The history of Rome includes the history of the city of Rome as well as the civilisation of ancient Rome. Roman history has been influential on the modern world, especially in the history of the Catholic Church, and Roman law has influenced many modern legal systems. Roman history can be divided into the following periods:

 

Pre-historical and early Rome, covering Rome's earliest inhabitants and the legend of its founding by Romulus

The period of Etruscan dominance and the regal period, in which, according to tradition, Romulus was the first of seven kings

The Roman Republic, which commenced in 509 BC when kings were replaced with rule by elected magistrates. The period was marked by vast expansion of Roman territory. During the 5th century BC, Rome gained regional dominance in Latium. With the Punic Wars from 264 to 146 BC, ancient Rome gained dominance over the Western Mediterranean, displacing Carthage as the dominant regional power.

The Roman Empire followed the Republic, which waned with the rise of Julius Caesar, and by all measures concluded after a period of civil war and the victory of Caesar's adopted son, Octavian, in 27 BC over Mark Antony.

The Western Roman Empire collapsed in 476 after the city was conquered by the Ostrogothic Kingdom. Consequently Rome's power declined, and it eventually became part of the Eastern Roman Empire, as the Duchy of Rome, from the 6th to 8th centuries. At this time, the city was reduced to a fraction of its former size, being sacked several times in the 5th to 6th centuries, even temporarily depopulated entirely.

Medieval Rome is characterised by a break with Constantinople and the formation of the Papal States. The Papacy struggled to retain influence in the emerging Holy Roman Empire, and during the saeculum obscurum, the population of Rome fell to as low as 30,000 inhabitants. Following the East–West Schism and the limited success in the Investiture Controversy, the Papacy did gain considerable influence in the High Middle Ages, but with the Avignon Papacy and the Western Schism, the city of Rome was reduced to irrelevance, its population falling below 20,000. Rome's decline into complete irrelevance during the medieval period, with the associated lack of construction activity, assured the survival of very significant ancient Roman material remains in the centre of the city, some abandoned and others continuing in use.

The Roman Renaissance occurred in the 15th century, when Rome replaced Florence as the centre of artistic and cultural influence. The Roman Renaissance was cut short abruptly with the devastation of the city in 1527, but the Papacy reasserted itself in the Counter-Reformation, and the city continued to flourish during the early modern period. Rome was annexed by Napoleon and was part of the First French Empire from 1798 to 1814.

Modern history, the period from the 19th century to the present. Rome came under siege again after the Allied invasion of Italy and was bombed several times. It was declared an open city on 14 August 1943. Rome became the capital of the Italian Republic (established in 1946). With a population of 4.4 million (as of 2015; 2.9 million within city limits), it is the largest city in Italy. It is among the largest urban areas of the European Union and classified as a global city.

 

Attempts have been made to find a linguistic root for the name Rome. Possibilities include derivation from the Greek Rhṓmē (Ῥώμη), meaning "bravery" or "courage"; Compare also Rumon, former name of the Tiber River. Its further etymology remains unknown, as with most Etruscan words. Thomas G. Tucker's Concise Etymological Dictionary of Latin (1931) suggests that the name is most probably from *urobsma (cf. urbs, robur) and otherwise, "but less likely" from *urosma "hill" (cf. Skt. varsman- "height, point," Old Slavonic врьхъ "top, summit", Russ. верх "top; upward direction", Lith. virsus "upper").

 

Rome timeline

753 BCAccording to legend, Romulus founds Rome.

753–509 BCRule of the seven Kings of Rome.

509 BCCreation of the Republic.

390 BCThe Gauls invade Rome. Rome sacked.

264–146 BCPunic Wars.

146–44 BCSocial and Civil Wars. Emergence of Marius, Sulla, Pompey and Caesar.

44 BCJulius Caesar assassinated.

 

There is archaeological evidence of human occupation of the Rome area from at least 5,000 years, but the dense layer of much younger debris obscures Palaeolithic and Neolithic sites. The evidence suggesting the city's ancient foundation is also obscured by the legend of Rome's beginning involving Romulus and Remus.

 

The traditional date for the founding of Rome is 21 April 753 BC, following M. Terentius Varro, and the city and surrounding region of Latium has continued to be inhabited with little interruption since around that time. Excavations made in 2014 have revealed a wall built long before the city's official founding year. Archaeologists uncovered a stone wall and pieces of pottery dating to the 9th century BC and the beginning of the 8th century BC, and there is evidence of people arriving on the Palatine hill as early as the 10th century BC.

 

The site of Sant'Omobono Area is crucial for understanding the related processes of monumentalisation, urbanisation, and state formation in Rome in the late Archaic period. The Sant'Omobono temple site dates to 7th–6th century BC, making these the oldest known temple remains in Rome.

 

The city's name was long credited to the legendary culture hero Romulus. It was said that Romulus and his twin brother Remus were the offspring of the rape of an Alban princess by the war god Mars and, via their mother, were further descended from the Trojan prince Aeneas, supposed son of the Greek love goddess Aphrodite. Exposed on the Tiber, they were suckled by a she-wolf and raised by a shepherd and his wife. Avenging themselves on their usurping grand-uncle and restoring their grandfather Numitor to Alba Longa's throne, they were ordered or decided to settle the hills around Rome's later Forum Boarium, an important river port connected in Roman myth with Hercules's tenth labour, capturing the cattle of Geryon.

 

Disputing some point of the founding or its related auguries, Remus was murdered by Romulus or one of his supporters. Romulus then established a walled and roughly square settlement, whose sacred boundary and gates were established by a ploughing ritual. Romulus then declared the town an asylum, permitted men of all classes to come to Rome as citizens, including criminals, runaway slaves, and freemen without distinction. To provide his citizens with wives, Romulus invited the neighbouring tribes to a festival in Rome where the Romans abducted many of their young women. After the ensuing war with the Sabines, Romulus shared Rome's kingship with the Sabine king Titus Tatius. Romulus selected 100 of the most noble men to form the Roman Senate, initially serving as his advisory council. These men he called fathers (Latin: patres), and their descendants became the patricians. He created three centuries of equites: Ramnes (meaning Romans), Tities (after the Sabine king), and Luceres (Etruscans). He also divided the general populace into thirty curiae, named after thirty of the Sabine women who had intervened to end the war between Romulus and Tatius. The curiae formed the voting units in the Comitia Curiata.

 

Rome grew from pastoral settlements on the Palatine Hill and surrounding hills approximately 30 km (19 mi) from the Tyrrhenian Sea on the south side of the Tiber. The Quirinal Hill was probably an outpost for the Sabines, another Italic-speaking people. At this location, the Tiber forms a Z-shaped curve that contains an island where the river can be forded. Because of the river and the ford, Rome was at a crossroads of traffic following the river valley and of traders travelling north and south on the west side of the peninsula.

 

Archaeological finds have confirmed that there were two fortified settlements in the 8th century BC, in the area of the future Rome: Rumi on the Palatine Hill, and Titientes on the Quirinal Hill, backed by the Luceres living in the nearby woods. These were simply three of numerous Italic-speaking communities that existed in Latium, a plain on the Italian peninsula, by the 1st millennium BC. The origins of the Italic peoples lie in prehistory and are therefore not precisely known, but their Indo-European languages migrated from the east in the second half of the 2nd millennium BC.

 

According to Dionysius of Halicarnassus, many Roman historians—including Cato and Sempronius—considered the Italian aborigines to have been prehistoric Greek colonists. The Romans then considered themselves a mix of these people, the Albans, and the other Latins, considered a blend of Pelasgians, Arcadians, Epeans, and refugee Trojans. Over time, the Etruscans and other ancient Italic peoples were admitted as citizens as well. The Sabines—considered to be Gaulish along with the other Umbri peoples of central Italy— were first mentioned in Dionysius's account for having captured the city of Lista by surprise, which was regarded as the mother-city of the Aborigines.

 

The Italic speakers in the area included Latins (in the west), Sabines (in the upper valley of the Tiber), Umbrians (in the north-east), Samnites (in the South), Oscans, and others. In the 8th century BC, they shared the peninsula with two other major ethnic groups: the Etruscans in the North and the Greeks in the south.

 

The Etruscans (Etrusci or Tusci in Latin) are attested north of Rome in Etruria (modern northern Lazio, Tuscany and part of Umbria). They founded cities such as Tarquinia, Veii, and Volterra and deeply influenced Roman culture, as clearly shown by the Etruscan origin of some of the mythical Roman kings. Historians have no literature, nor texts of religion or philosophy; therefore, much of what is known about this civilisation is derived from grave goods and tomb findings.

 

The Greeks had founded many colonies in Southern Italy between 750 and 550 BC (which the Romans later called Magna Graecia), such as Cumae, Naples, Reggio Calabria, Crotone, Sybaris, and Taranto, as well as in the eastern two-thirds of Sicily.

 

After 650 BC, the Etruscans became dominant in Italy and expanded into north-central Italy. Roman tradition claimed that Rome had been under the control of seven kings from 753 to 509 BC beginning with the mythical Romulus who was said to have founded the city of Rome along with his brother Remus. The last three kings were said to be Etruscan (at least partially)—namely Tarquinius Priscus, Servius Tullius and Tarquinius Superbus. (Priscus is said by the ancient literary sources to be the son of a Greek refugee and an Etruscan mother.) Their names refer to the Etruscan town of Tarquinia.

 

Livy, Plutarch, Dionysius of Halicarnassus, and others claim that Rome was ruled during its first centuries by a succession of seven kings. The traditional chronology, as codified by Varro, allots 243 years for their reigns, an average of almost 35 years, which has been generally discounted by modern scholarship since the work of Barthold Georg Niebuhr. The Gauls destroyed much of Rome's historical records when they sacked the city after the Battle of the Allia in 390 BC (according to Polybius, the battle occurred in 387/386) and what was left was eventually lost to time or theft. With no contemporary records of the kingdom existing, all accounts of the kings must be carefully questioned. The list of kings is also of dubious historical value, though the last-named kings may be historical figures. It is believed by some historians (again, this is disputed) that Rome was under the influence of the Etruscans for about a century. During this period, a bridge was built called the Pons Sublicius to replace the Tiber ford, and the Cloaca Maxima was also built; the Etruscans are said to have been great engineers of this type of structure. From a cultural and technical point of view, Etruscans had arguably the second-greatest impact on Roman development, only surpassed by the Greeks.

 

Expanding further south, the Etruscans came into direct contact with the Greeks and initially had success in conflicts with the Greek colonists; after which, Etruria went into a decline. Taking advantage of this, Rome rebelled and gained independence from the Etruscans around 500 BC. It also abandoned monarchy in favour of a republican system based on a Senate, composed of the nobles of the city, along with popular assemblies which ensured political participation for most of the freeborn men and elected magistrates annually.

 

The Etruscans left a lasting influence on Rome. The Romans learned to build temples from them, and the Etruscans may have introduced the worship of a triad of gods—Juno, Minerva, and Jupiter—from the Etruscan gods: Uni, Menrva, and Tinia. However, the influence of Etruscan people in the development of Rome is often overstated. Rome was primarily a Latin city. It never became fully Etruscan. Also, evidence shows that Romans were heavily influenced by the Greek cities in the South, mainly through trade.

 

The commonly held stories of the early part of the Republic (before roughly 300 BC, when Old Latin inscriptions and Greek histories about Rome provide more concrete evidence of events) are generally considered to be legendary, their historicity being a topic of debate among classicists. The Roman Republic traditionally dates from 509 BC to 27 BC. After 500 BC, Rome is said to have joined with the Latin cities in defence against incursions by the Sabines. Winning the Battle of Lake Regillus in 493 BC, Rome established again the supremacy over the Latin countries it had lost after the fall of the monarchy. After a lengthy series of struggles, this supremacy became fixed in 393, when the Romans finally subdued the Volsci and Aequi. In 394 BC, they also conquered the menacing Etruscan neighbour of Veii. The Etruscan power was now limited to Etruria itself, and Rome was the dominant city in Latium.

 

A formal treaty was agreed with the city-state of Carthage in 509 BC which defined the spheres of influence of each city and regulated trade between them.

 

Rome's early enemies were the neighbouring hill tribes of the Volscians, the Aequi, and of course the Etruscans. As years passed and military successes increased Roman territory, new adversaries appeared. The fiercest were the Gauls, a loose collective of peoples who controlled much of Northern Europe including what is modern North and Central-East Italy.

 

In 387 BC, Rome was sacked and burned by the Senones coming from eastern Italy and led by Brennus, who had successfully defeated the Roman army at the Battle of the Allia in Etruria. Multiple contemporary records suggest that the Senones hoped to punish Rome for violating its diplomatic neutrality in Etruria. The Senones marched 130 kilometres (81 mi) to Rome without harming the surrounding countryside; once they had sacked the city, the Senones withdrew from Rome. Brennus was defeated by the dictator Furius Camillus at Tusculum soon afterwards.

 

After that, Rome hastily rebuilt its buildings and went on the offensive, conquering the Etruscans and seizing territory from the Gauls in the north. After 345 BC, Rome pushed south against other Latins. Their main enemy in this quadrant were the fierce Samnites, who outsmarted and trapped the legions in 321 BC at the Battle of Caudine Forks. In spite of these and other temporary setbacks, the Romans advanced steadily. By 290 BC, Rome controlled over half of the Italian peninsula. In the 3rd century BC, Rome brought the Greek poleis in the south under its control as well.

 

Amidst the never-ending wars (from the beginning of the Republic up to the Principate, the doors of the temple of Janus were closed only twice—when they were open it meant that Rome was at war), Rome had to face a severe major social crisis, the Conflict of the Orders, a political struggle between the Plebeians (commoners) and Patricians (aristocrats) of the ancient Roman Republic, in which the Plebeians sought political equality with the Patricians. It played a major role in the development of the Constitution of the Roman Republic. It began in 494 BC, when, while Rome was at war with two neighbouring tribes, the Plebeians all left the city (the first Plebeian Secession). The result of this first secession was the creation of the office of Plebeian Tribune, and with it the first acquisition of real power by the Plebeians.

 

According to tradition, Rome became a republic in 509 BC. However, it took a few centuries for Rome to become the great city of popular imagination. By the 3rd century BC, Rome had become the pre-eminent city of the Italian peninsula. During the Punic Wars between Rome and the great Mediterranean empire of Carthage (264–146 BC), Rome's stature increased further as it became the capital of an overseas empire for the first time. Beginning in the 2nd century BC, Rome went through a significant population expansion as Italian farmers, driven from their ancestral farmlands by the advent of massive, slave-operated farms called latifundia, flocked to the city in great numbers. The victory over Carthage in the First Punic War brought the first two provinces outside the Italian peninsula, Sicily and Sardinia. Parts of Spain (Hispania) followed, and in the beginning of the 2nd century the Romans got involved in the affairs of the Greek world. By then all Hellenistic kingdoms and the Greek city-states were in decline, exhausted from endless civil wars and relying on mercenary troops.

 

The Romans looked upon the Greek civilisation with great admiration. The Greeks saw Rome as a useful ally in their civil strifes, and it was not long before the Roman legions were invited to intervene in Greece. In less than 50 years the whole of mainland Greece was subdued. The Roman legions crushed the Macedonian phalanx twice, in 197 and 168 BC; in 146 BC the Roman consul Lucius Mummius razed Corinth, marking the end of free Greece. The same year Cornelius Scipio Aemilianus, the son of Scipio Africanus, destroyed the city of Carthage, making it a Roman province.

 

In the following years, Rome continued its conquests in Spain with Tiberius Gracchus, and it set foot in Asia, when the last king of Pergamum gave his kingdom to the Roman people. The end of the 2nd century brought another threat, when a great host of Germanic peoples, namely Cimbri and Teutones, crossed the river Rhone and moved to Italy. Gaius Marius was consul five consecutive times (seven total), and won two decisive battles in 102 and 101 BC. He also reformed the Roman army, giving it such a good reorganisation that it remained unchanged for centuries.

 

The first thirty years of the last century BC were characterised by serious internal problems that threatened the existence of the Republic. The Social War, between Rome and its allies, and the Servile Wars (slave uprisings) were hard conflicts, all within Italy, and forced the Romans to change their policy with regards to their allies and subjects. By then Rome had become an extensive power, with great wealth which derived from the conquered people (as tribute, food or manpower, i.e. slaves). The allies of Rome felt bitter since they had fought by the side of the Romans, and yet they were not citizens and shared little in the rewards. Although they lost the war, they finally got what they asked, and by the beginning of the 1st century AD practically all free inhabitants of Italy were Roman citizens.

 

However, the growth of the Imperium Romanum (Roman power) created new problems, and new demands, that the old political system of the Republic, with its annually elected magistrates and its sharing of power, could not solve. Sulla's civil war and his later dictatorship, the extraordinary commands of Pompey Magnus, and the first triumvirate made that clear. In January 49 BC, Julius Caesar the conqueror of Gaul, crossed the Rubicon with his legions, occupying Rome and beginning a civil war with Pompey. In the following years, he vanquished his opponents, and ruled Rome for four years. After his assassination in 44 BC, the Senate tried to reestablish the Republic, but its champions, Marcus Junius Brutus (descendant of the founder of the republic) and Gaius Cassius Longinus were defeated by Caesar's lieutenant Marcus Antonius and Caesar's nephew, Octavian.

 

The years 44–31 BC mark the struggle for power between Marcus Antonius and Octavian (later known as Augustus). Finally, on 2 September 31 BC, in the Greek promontory of Actium, the final battle took place in the sea. Octavian was victorious, and became the sole ruler of Rome (and its empire). That date marks the end of the Republic and the beginning of the Principate.

 

Rome timeline

44 BC – AD 14Augustus establishes the Empire

AD 64Great Fire of Rome during Nero's rule

69–96Flavian dynasty; building of the Colosseum

3rd centuryCrisis of the Third Century; building of the Baths of Caracalla and the Aurelian Walls

284–337Diocletian and Constantine; building of the first Christian basilicas; Battle of Milvian Bridge; Rome is replaced by Constantinople as the capital of the Empire

395Definitive separation of Western and Eastern Roman Empire

410The Goths of Alaric sack Rome

455The Vandals of Gaiseric sack Rome

476Fall of the west empire and deposition of the final emperor Romulus Augustus

6th centuryGothic War (535–554): The Goths cut off the aqueducts in the siege of 537, an act which historians traditionally regard as the beginning of the Middle Ages in Italy

608Emperor Phocas donates the Pantheon to Pope Boniface IV, converting it into a Christian church; Column of Phocas (the last addition made to the Forum Romanum) is erected

630The Curia Julia (vacant since the disappearance of the Roman Senate) is transformed into the basilica of Sant'Adriano al Foro

663Constans II visits Rome for twelve days—the only emperor to set foot in Rome for two centuries. He strips buildings of their ornaments and bronze to be carried back to Constantinople

751Lombard conquest of the Exarchate of Ravenna; the Duchy of Rome is now completely cut off from the empire

754Alliance with the Franks; Pepin the Younger, King of the Franks, declared Patrician of the Romans, invades Italy; establishment of the Papal States

 

Life in Rome; animation in Latin with English subtitles

By the end of the Republic, the city of Rome had achieved a grandeur befitting the capital of an empire dominating the whole of the Mediterranean. It was, at the time, the largest city in the world. Estimates of its peak population range from 450,000 to over 3.5 million people with estimates of 1 to 2 million being most popular with historians. This grandeur increased under Augustus, who completed Caesar's projects and added many of his own, such as the Forum of Augustus and the Ara Pacis. He is said to have remarked that he found Rome a city of brick and left it a city of marble (Urbem latericium invenit, marmoream reliquit). Augustus's successors sought to emulate his success in part by adding their own contributions to the city. In AD 64, during the reign of Nero, the Great Fire of Rome left much of the city destroyed, but in many ways it was used as an excuse for new development.

 

Rome was a subsidised city at the time, with roughly 15 to 25 percent of its grain supply being paid by the central government. Commerce and industry played a smaller role compared to that of other cities like Alexandria. This meant that Rome had to depend upon goods and production from other parts of the Empire to sustain such a large population. This was mostly paid by taxes that were levied by the Roman government. If it had not been subsidised, Rome would have been significantly smaller.

 

Rome's population declined after its apex in the 2nd century. At the end of that century, during the reign of Marcus Aurelius, the Antonine Plague killed 2,000 people a day. Marcus Aurelius died in 180, his reign being the last of the "Five Good Emperors" and Pax Romana. His son Commodus, who had been co-emperor since AD 177, assumed full imperial power, which is generally associated with the beginning of the decline of the Western Roman Empire. Rome's population was only a fraction of its peak when the Aurelian Wall was completed in AD 273 (in that year its population was only around 500,000).

 

Starting in the early 3rd century, matters changed. The "Crisis of the Third Century" defines the disasters and political troubles for the Empire, which nearly collapsed. The new feeling of danger and the menace of barbarian invasions was clearly shown by the decision of Emperor Aurelian, who at year 273 finished encircling the capital itself with a massive wall which had a perimeter that measured close to 20 km (12 mi). Rome formally remained capital of the empire, but emperors spent less and less time there. At the end of 3rd century Diocletian's political reforms, Rome was deprived of its traditional role of administrative capital of the Empire. Later, western emperors ruled from Milan or Ravenna, or cities in Gaul. In 330, Constantine I established a second capital at Constantinople.

 

Christianity reached Rome during the 1st century AD. For the first two centuries of the Christian era, Imperial authorities largely viewed Christianity simply as a Jewish sect rather than a distinct religion. No emperor issued general laws against the faith or its Church, and persecutions, such as they were, were carried out under the authority of local government officials. A surviving letter from Pliny the Younger, governor of Bythinia, to the emperor Trajan describes his persecution and executions of Christians; Trajan notably responded that Pliny should not seek out Christians nor heed anonymous denunciations, but only punish open Christians who refused to recant.

 

Suetonius mentions in passing that during the reign of Nero "punishment was inflicted on the Christians, a class of men given to a new and mischievous superstition" (superstitionis novae ac maleficae). He gives no reason for the punishment. Tacitus reports that after the Great Fire of Rome in AD 64, some among the population held Nero responsible and that the emperor attempted to deflect blame onto the Christians. The war against the Jews during Nero's reign, which so destabilised the empire that it led to civil war and Nero's suicide, provided an additional rationale for suppression of this 'Jewish' sect.

 

Diocletian undertook what was to be the most severe and last major persecution of Christians, lasting from 303 to 311. Christianity had become too widespread to suppress, and in 313, the Edict of Milan made tolerance the official policy. Constantine I (sole ruler 324–337) became the first Christian emperor, and in 380 Theodosius I established Christianity as the official religion.

 

Under Theodosius, visits to the pagan temples were forbidden, the eternal fire in the Temple of Vesta in the Roman Forum extinguished, the Vestal Virgins disbanded, auspices and witchcraft punished. Theodosius refused to restore the Altar of Victory in the Senate House, as asked by remaining pagan Senators.

 

The Empire's conversion to Christianity made the Bishop of Rome (later called the Pope) the senior religious figure in the Western Empire, as officially stated in 380 by the Edict of Thessalonica. In spite of its increasingly marginal role in the Empire, Rome retained its historic prestige, and this period saw the last wave of construction activity: Constantine's predecessor Maxentius built buildings such as its basilica in the Forum, Constantine himself erected the Arch of Constantine to celebrate his victory over Maxentius, and Diocletian built the greatest baths of all. Constantine was also the first patron of official Christian buildings in the city. He donated the Lateran Palace to the Pope, and built the first great basilica, the old St. Peter's Basilica.

 

Still Rome remained one of the strongholds of paganism, led by the aristocrats and senators. However, the new walls did not stop the city being sacked first by Alaric on 24 August 410, by Geiseric on 2 June 455, and even by general Ricimer's unpaid Roman troops (largely composed of barbarians) on 11 July 472. This was the first time in almost 800 years that Rome had fallen to an enemy. The previous sack of Rome had been accomplished by the Gauls under their leader Brennus in 387 BC. The sacking of 410 is seen as a major landmark in the decline and fall of the Western Roman Empire. St. Jerome, living in Bethlehem at the time, wrote that "The City which had taken the whole world was itself taken." These sackings of the city astonished all the Roman world. In any case, the damage caused by the sackings may have been overestimated. The population already started to decline from the late 4th century onward, although around the middle of the fifth century it seems that Rome continued to be the most populous city of the two parts of the Empire, with a population of no fewer than 650,000 inhabitants. The decline greatly accelerated following the capture of Africa Proconsularis by the Vandals. Many inhabitants now fled as the city no longer could be supplied with grain from Africa from the mid-5th century onward.

 

At the end of the 6th century Rome's population had reduced to around 30,000. Many monuments were being destroyed by the citizens themselves, who stripped stones from closed temples and other precious buildings, and even burned statues to make lime for their personal use. In addition, most of the increasing number of churches were built in this way. For example, the first Saint Peter's Basilica was erected using spoils from the abandoned Circus of Nero. This architectural cannibalism was a constant feature of Roman life until the Renaissance. From the 4th century, imperial edicts against stripping of stones and especially marble were common, but the need for their repetition shows that they were ineffective. Sometimes new churches were created by simply taking advantage of early Pagan temples, while sometimes changing the Pagan god or hero to a corresponding Christian saint or martyr. In this way, the Temple of Romulus and Remus became the basilica of the twin saints Cosmas and Damian. Later, the Pantheon, Temple of All Gods, became the church of All Martyrs.

 

Porta San Paolo, a gate in the Aurelian Walls, built between AD 271 and AD 275. During the Gothic Wars of the mid-6th century, Rome was besieged several times by Eastern Roman and Ostrogoth armies. Ostrogoths of Totila entered through this gate in 549, because of the treason of the Isaurian garrison.

 

In 480, the last Western Roman emperor, Julius Nepos, was murdered and a Roman general of barbarian origin, Odoacer, declared allegiance to Eastern Roman emperor Zeno. Despite owing nominal allegiance to Constantinople, Odoacer and later the Ostrogoths continued, like the last emperors, to rule Italy as a virtually independent realm from Ravenna. Meanwhile, the Senate, even though long since stripped of wider powers, continued to administer Rome itself, with the Pope usually coming from a senatorial family. This situation continued until Theodahad murdered Amalasuntha, a pro-imperial Gothic queen, and usurped the power in 535. The Eastern Roman emperor, Justinian I (reigned 527–565), used this as a pretext to send forces to Italy under his famed general Belisarius, recapturing the city next year, on 9 December AD 536. In 537–538, the Eastern Romans successfully defended the city in a year-long siege against the Ostrogothic army, and eventually took Ravenna, too.

 

Gothic resistance revived however, and on 17 December 546, the Ostrogoths under Totila recaptured and sacked Rome. Belisarius soon recovered the city, but the Ostrogoths retook it in 549. Belisarius was replaced by Narses, who captured Rome from the Ostrogoths for good in 552, ending the so-called Gothic Wars which had devastated much of Italy. The continual war around Rome in the 530s and 540s left it in a state of total disrepair – near-abandoned and desolate with much of its lower-lying parts turned into unhealthy marshes as the drainage systems were neglected and the Tiber's embankments fell into disrepair in the course of the latter half of the 6th century. Here, malaria developed. The aqueducts, except for one, were not repaired. The population, without imports of grain and oil from Sicily, shrank to less than 50,000 concentrated near the Tiber and around the Campus Martius, abandoning those districts without water supply. There is a legend, significant though untrue, that there was a moment where no one remained living in Rome.

 

Justinian I provided grants for the maintenance of public buildings, aqueducts and bridges—though, being mostly drawn from an Italy dramatically impoverished by the recent wars, these were not always sufficient. He also styled himself the patron of its remaining scholars, orators, physicians and lawyers in the stated hope that eventually more youths would seek a better education. After the wars, the Senate was theoretically restored, but under the supervision of the urban prefect and other officials appointed by, and responsible to, the Eastern Roman authorities in Ravenna.

 

However, the Pope was now one of the leading religious figures in the entire Byzantine Roman Empire and effectively more powerful locally than either the remaining senators or local Eastern Roman (Byzantine) officials. In practice, local power in Rome devolved to the Pope and, over the next few decades, both much of the remaining possessions of the senatorial aristocracy and the local Byzantine Roman administration in Rome were absorbed by the Church.

 

The reign of Justinian's nephew and successor Justin II (reigned 565–578) was marked from the Italian point of view by the invasion of the Lombards under Alboin (568). In capturing the regions of Benevento, Lombardy, Piedmont, Spoleto and Tuscany, the invaders effectively restricted Imperial authority to small islands of land surrounding a number of coastal cities, including Ravenna, Naples, Rome and the area of the future Venice. The one inland city continuing under Eastern Roman control was Perugia, which provided a repeatedly threatened overland link between Rome and Ravenna. In 578 and again in 580, the Senate, in some of its last recorded acts, had to ask for the support of Tiberius II Constantine (reigned 578–582) against the approaching Dukes, Faroald I of Spoleto and Zotto of Benevento.

 

Maurice (reigned 582–602) added a new factor in the continuing conflict by creating an alliance with Childebert II of Austrasia (reigned 575–595). The armies of the Frankish King invaded the Lombard territories in 584, 585, 588 and 590. Rome had suffered badly from a disastrous flood of the Tiber in 589, followed by a plague in 590. The latter is notable for the legend of the angel seen, while the newly elected Pope Gregory I (term 590–604) was passing in procession by Hadrian's Tomb, to hover over the building and to sheathe his flaming sword as a sign that the pestilence was about to cease. The city was safe from capture at least.

 

Agilulf, however, the new Lombard King (reigned 591 to c. 616), managed to secure peace with Childebert, reorganised his territories and resumed activities against both Naples and Rome by 592. With the Emperor preoccupied with wars in the eastern borders and the various succeeding Exarchs unable to secure Rome from invasion, Gregory took personal initiative in starting negotiations for a peace treaty. This was completed in the autumn of 598—later recognised by Maurice—lasting until the end of his reign.

 

The position of the Bishop of Rome was further strengthened under the usurper Phocas (reigned 602–610). Phocas recognised his primacy over that of the Patriarch of Constantinople and even decreed Pope Boniface III (607) to be "the head of all the Churches". Phocas's reign saw the erection of the last imperial monument in the Roman Forum, the column bearing his name. He also gave the Pope the Pantheon, at the time closed for centuries, and thus probably saved it from destruction.

 

During the 7th century, an influx of both Byzantine Roman officials and churchmen from elsewhere in the empire made both the local lay aristocracy and Church leadership largely Greek speaking. The population of Rome, a magnet for pilgrims, may have increased to 90,000. Eleven of thirteen popes between 678 and 752 were of Greek or Syrian descent. However, the strong Byzantine Roman cultural influence did not always lead to political harmony between Rome and Constantinople. In the controversy over Monothelitism, popes found themselves under severe pressure (sometimes amounting to physical force) when they failed to keep in step with Constantinople's shifting theological positions. In 653, Pope Martin I was deported to Constantinople and, after a show trial, exiled to the Crimea, where he died.

 

Then, in 663, Rome had its first imperial visit for two centuries, by Constans II—its worst disaster since the Gothic Wars when the Emperor proceeded to strip Rome of metal, including that from buildings and statues, to provide armament materials for use against the Saracens. However, for the next half century, despite further tensions, Rome and the Papacy continued to prefer continued Byzantine Roman rule: in part because the alternative was Lombard rule, and in part because Rome's food was largely coming from Papal estates elsewhere in the Empire, particularly Sicily.

 

Rome Timeline

772The Lombards briefly conquer Rome but Charlemagne liberates the city a year later.

800Charlemagne is crowned Holy Roman Emperor in St. Peter's Basilica.

846The Saracens sack St. Peter.

852Building of the Leonine Walls.

962Otto I crowned Emperor by Pope John XII

1000Emperor Otto III and Pope Sylvester II.

1084The Normans sack Rome.

1144Creation of the commune of Rome.

1300First Jubilee proclaimed by Pope Boniface VIII.

1303Foundation of the Roman University.

1309Pope Clement V moves the Holy Seat to Avignon.

1347Cola di Rienzo proclaims himself tribune.

1377Pope Gregory XI moves the Holy Seat back to Rome.

Break with Constantinople and formation of the Papal States

Further information: Duchy of Rome and Papal States

In 727, Pope Gregory II refused to accept the decrees of Emperor Leo III, which promoted the Emperor's iconoclasm. Leo reacted first by trying in vain to abduct the Pontiff, and then by sending a force of Ravennate troops under the command of the Exarch Paulus, but they were pushed back by the Lombards of Tuscia and Benevento. Byzantine general Eutychius sent west by the Emperor successfully captured Rome and restored it as a part of the empire in 728.

 

On 1 November 731, a council was called in St. Peter's by Gregory III to excommunicate the iconoclasts. The Emperor responded by confiscating large Papal estates in Sicily and Calabria and transferring areas previously ecclesiastically under the Pope to the Patriarch of Constantinople. Despite the tensions Gregory III never discontinued his support to the imperial efforts against external threats.

 

In this period the Lombard kingdom revived under the leadership of King Liutprand. In 730, he razed the countryside of Rome to punish the Pope, who had supported Duke Transamund II of Spoleto. Though still protected by his massive walls, the Pope could do little against the Lombard king, who managed to ally himself with the Byzantines. Other protectors were now needed. Gregory III was the first Pope to ask for concrete help from the Frankish Kingdom, then under the command of Charles Martel (739).

 

Liutprand's successor Aistulf was even more aggressive. He conquered Ferrara and Ravenna, ending the Exarchate of Ravenna. Rome seemed his next victim. In 754, Pope Stephen II went to France to name Pippin the Younger, king of the Franks, as patricius Romanorum, i.e. protector of Rome. In the August of that year the King and Pope together crossed back the Alps and defeated Aistulf at Pavia. When Pippin went back to St. Denis however, Aistulf did not keep his promises, and in 756 besieged Rome for 56 days. The Lombards returned north when they heard news of Pippin again moving to Italy. This time he agreed to give the Pope the promised territories, and the Papal States were born.

 

In 771 the new King of the Lombards, Desiderius, devised a plot to conquer Rome and seize Pope Stephen III during a feigned pilgrimage within its walls. His main ally was one Paulus Afiarta, chief of the Lombard party within the city. He conquered Rome in 772 but angered Charlemagne. However the plan failed, and Stephen's successor, Pope Hadrian I called Charlemagne against Desiderius, who was finally defeated in 773. The Lombard Kingdom was no more, and now Rome entered into the orbit of a new, greater political institution.

 

Numerous remains from this period, along with a museum devoted to Medieval Rome, can be seen at Crypta Balbi in Rome.

 

On 25 April 799 the new Pope, Leo III, led the traditional procession from the Lateran to the Church of San Lorenzo in Lucina along the Via Flaminia (now Via del Corso). Two nobles (followers of his predecessor Hadrian) who disliked the weakness of the Pope with regards to Charlemagne, attacked the processional train and delivered a life-threatening wound to the Pope. Leo fled to the King of the Franks, and in November, 800, the King entered Rome with a strong army and a number of French bishops. He declared a judicial trial to decide if Leo III were to remain Pope, or if the deposers' claims had reasons to be upheld. This trial, however, was only a part of a well thought out chain of events which ultimately surprised the world. The Pope was declared legitimate and the attempters subsequently exiled. On 25 December 800, Pope Leo III crowned Charlemagne Holy Roman Emperor in St. Peter's Basilica.

 

This act forever severed the loyalty of Rome from its imperial progenitor, Constantinople. It created instead a rival empire which, after a long series of conquests by Charlemagne, now encompassed most of the Christian Western territories.

 

Following the death of Charlemagne, the lack of a figure with equal prestige led the new institution into disagreement. At the same time the universal church of Rome had to face emergence of the lay interests of the City itself, spurred on by the conviction that the Roman people, though impoverished and abased, had again the right to elect the Western Emperor. The famous counterfeit document called the Donation of Constantine, prepared by the Papal notaries, guaranteed to the Pope a dominion stretching from Ravenna to Gaeta. This nominally included the suzerainty over Rome, but this was often highly disputed, and as the centuries passed, only the strongest Popes were to be able to assert it. The main element of weakness of the Papacy within the walls of the city was the continued necessity of the election of new popes, in which the emerging noble families soon managed to insert a leading role for themselves. The neighbouring powers, namely the Duchy of Spoleto and Toscana, and later the Emperors, learned how to take their own advantage of this internal weakness, playing the role of arbiters among the contestants.

 

Rome was indeed prey of anarchy in this age. The lowest point was touched in 897, when a raging crowd exhumed the corpse of a dead pope, Formosus, and put it on trial.

 

From 1048 to 1257, the papacy experienced increasing conflict with the leaders and churches of the Holy Roman Empire and the Byzantine (Eastern Roman) Empire. The latter culminated in the East-West Schism, dividing the Catholic Church and Eastern Orthodox Church. From 1257 to 1377, the pope, though the bishop of Rome, resided in Viterbo, Orvieto, and Perugia, and then Avignon. The return of the popes to Rome after the Avignon Papacy was followed by the Western Schism: the division of the western church between two, and for a time three, competing papal claimants.

 

In this period the renovated Church was again attracting pilgrims and prelates from all the Christian world, and money with them: even with a population of only 30,000, Rome was again becoming a city of consumers dependent upon the presence of a governmental bureaucracy. In the meantime, Italian cities were acquiring increasing autonomy, mainly led by new families which were replacing the old aristocracy with a new class formed by entrepreneurs, traders and merchants. After the sack of Rome by the Normans in 1084, the rebuilding of the city was supported by powerful families such as the Frangipane family and the Pierleoni family, whose wealth came from commerce and banking rather than landholdings. Inspired by neighbouring cities like Tivoli and Viterbo, Rome's people began to consider adopting a communal status and gaining a substantial amount of freedom from papal authority.

 

Led by Giordano Pierleoni, the Romans rebelled against the aristocracy and Church rule in 1143. The Senate and the Roman Republic, the Commune of Rome, were born again. Through the inflammatory words of preacher Arnaldo da Brescia, an idealistic, fierce opponent of ecclesiastical property and church interference in temporal affairs, the revolt that led to the creation of the Commune of Rome continued until it was put down in 1155, though it left its mark on the civil government of the Eternal City for centuries. 12th-century Rome, however, had little in common with the empire which had ruled over the Mediterranean some 700 years before, and soon the new Senate had to work hard to survive, choosing an ambiguous policy of shifting its support from the Pope to the Holy Roman Empire and vice versa as the political situation required. At Monteporzio, in 1167, during one of these shifts, in the war with Tusculum, Roman troops were defeated by the imperial forces of Frederick Barbarossa. Luckily, the winning enemies were soon dispersed by a plague and Rome was saved.

 

In 1188 the new communal government was finally recognised by Pope Clement III. The Pope had to make large cash payments to the communal officials, while the 56 senators became papal vassals. The Senate always had problems in the accomplishment of its function, and various changes were tried. Often a single Senator was in charge. This sometimes led to tyrannies, which did not help the stability of the newborn organism.

 

In 1204 the streets of Rome were again in flames when the struggle between Pope Innocent III's family and its rivals, the powerful Orsini family, led to riots in the city. Many ancient buildings were then destroyed by machines used by the rival bands to besiege their enemies in the innumerable towers and strongholds which were a hallmark of the Middle Age Italian towns.

 

The struggle between the Popes and the emperor Frederick II, also king of Naples and Sicily, saw Rome support the Ghibellines. To repay his loyalty, Frederick sent to the commune the Carroccio he had won from the Lombards at the battle of Cortenuova in 1234, and which was exposed in the Campidoglio.

 

In that year, during another revolt against the Pope, the Romans headed by senator Luca Savelli sacked the Lateran. Savelli was the father of Honorius IV, but in that age family ties often did not determine one's allegiance.

 

Rome was never to evolve into an autonomous, stable reign, as happened to other communes like Florence, Siena or Milan. The endless struggles between noble families (Savelli, Orsini, Colonna, Annibaldi), the ambiguous position of the Popes, the haughtiness of a population which never abandoned the dreams of their splendid past but, at the same time, thought only of immediate advantage, and the weakness of the republican institutions always deprived the city of this possibility.

 

In an attempt to imitate more successful communes, in 1252 the people elected a foreign Senator, the Bolognese Brancaleone degli Andalò. In order to bring peace in the city he suppressed the most powerful nobles (destroying some 140 towers), reorganised the working classes and issued a code of laws inspired by those of northern Italy. Brancaleone was a tough figure, but died in 1258 with almost nothing of his reforms turned into reality. Five years later Charles I of Anjou, then king of Naples, was elected Senator. He entered the city only in 1265, but soon his presence was needed to face Conradin, the Hohenstaufen's heir who was coming to claim his family's rights over southern Italy, and left the city. After June 1265 Rome was again a democratic republic, electing Henry of Castile as senator. But Conradin and the Ghibelline party were crushed in the Battle of Tagliacozzo (1268), and therefore Rome fell again in the hands of Charles.

 

Nicholas III, a member of Orsini family, was elected in 1277 and moved the seat of the Popes from the Lateran to the more defensible Vatican. He also ordered that no foreigner could become senator of Rome. Being a Roman himself, he had himself elected senator by the people. With this move, the city began again to side for the papal party. In 1285 Charles was again Senator, but the Sicilian Vespers reduced his charisma, and the city was thenceforth free from his authority. The next senator was again a Roman, and again a pope, Honorius IV of the Savelli.

 

The successor to Celestine V was a Roman of the Caetani family, Boniface VIII. Entangled in a local feud against the traditional rivals of his family, the Colonna, at the same time he struggled to assure the universal supremacy of the Holy See. In 1300 he launched the first Jubilee and in 1303 founded the first University of Rome. The Jubilee was an important move for Rome, as it further increased its international prestige and, most of all, the city's economy was boosted by the flow of pilgrims. Boniface died in 1303 after the humiliation of the Schiaffo di Anagni ("Slap of Anagni"), which signalled instead the rule of the King of France over the Papacy and marked another period of decline for Rome.

 

Boniface's successor, Clement V, never entered the city, starting the so-called "Avignon captivity", the absence of the Popes from their Roman seat in favour of Avignon, which would last for more than 70 years. This situation brought the independence of the local powers, but these were revealed to be largely unstable; and the lack of the holy revenues caused a deep decay of Rome. For more than a century Rome had no new major buildings. Furthermore, many of the monuments of the city, including the main churches, began to fall into ruin.

 

Cola di Rienzo stormed the Capitoline Hill in 1347 to create a new Roman Republic. Though short-lived, his attempt is recorded by a 19th-century statue near the ramped Cordonata leading to Michelangelo's Piazza del Campidoglio.

In spite of its decline and the absence of the Pope, Rome had not lost its spiritual prestige: in 1341 the famous poet Petrarca came to the city to be crowned as Poet laureate in Capitoline Hill. Noblemen and poor people at one time demanded with one voice the return of the Pope. Among the many ambassadors that in this period took their way to Avignon, emerged the bizarre but eloquent figure of Cola di Rienzo. As his personal power among the people increased by time, on 20 May 1347 he conquered the Capitoline at the head of an enthusiastic crowd. The period of his power, though very short-lived, aspired to the prestige of Ancient Rome. Now in possession of dictatorial powers, he took the title of "tribune", referring to the pleb's magistracy of the Roman Republic. Cola also considered himself at an equal status of that of the Holy Roman Emperor. On 1 August, he conferred Roman citizenship on all the Italian cities, and even prepared for the election of a Roman emperor of Italy. It was too much: the Pope denounced him as heretic, criminal and pagan, the populace had begun to be disenchanted with him, while the nobles had always hated him. On 15 December, he was forced to flee.

 

In August 1354, Cola was again a protagonist, when Cardinal Gil Alvarez De Albornoz entrusted him with the role of "senator of Rome" in his programme of reassuring the Pope's rule in the Papal States. In October the tyrannical Cola, who had become again very unpopular for his delirious behaviour and heavy bills, was killed in a riot provoked by the powerful family of the Colonna. In April 1355, Charles IV of Bohemia entered the city for the ritual coronation as Emperor. His visit was very disappointing for the citizens. He had little money, received the crown not from the Pope but from a Cardinal, and moved away after a few days.

 

With the emperor back in his lands, Albornoz could regain a certain control over the city, while remaining in his safe citadel in Montefiascone, in the Northern Lazio. The senators were chosen directly by the Pope from several cities of Italy, but the city was in fact independent. The Senate council included six judges, five notaries, six marshals, several familiars, twenty knights and twenty armed men. Albornoz had heavily suppressed the traditional aristocratic families, and the "democratic" party felt confident enough to start an aggressive policy. In 1362 Rome declared war on Velletri. This move, however, provoked a civil war. The countryside party hired a condottieri band called "Del Cappello" ("Hat"), while the Romans bought the services of German and Hungarian troops, plus a citizen levy of 600 knights and even 22,000 infantry. This was the period in which condottieri bands were active in Italy. Many of the Savelli, Orsini and Annibaldi expelled from Rome became leaders of such military units. The war with Velletri languished, and Rome again gave itself to the new Pope, Urban V, provided Albornoz did not enter the walls.

 

On 16 October 1367, in reply to the prayers of St Brigid and Petrarca, Urban finally visited for the city. During his presence, Charles IV was again crowned in the city (October 1368). In addition, the Byzantine emperor John V Palaeologus came in Rome to beg for a crusade against the Ottoman Empire, but in vain. However, Urban did not like the unhealthy air of the city, and on 5 September 1370 he sailed again to Avignon. His successor, Gregory XI, officially set the date of his return to Rome at May 1372, but again the French cardinals and the King stopped him.

 

Only on 17 January 1377, Gregory XI could finally reinstate the Holy See in Rome.

 

The incoherent behaviour of his successor, the Italian Urban VI, provoked in 1378 the Western Schism, which impeded any true attempt of improving the conditions of the decaying Rome. The 14th century, with the absence of the popes during the Avignon Papacy, had been a century of neglect and misery for the city of Rome, which dropped to its lowest level of population. With the return of the papacy to Rome repeatedly postponed because of the bad conditions of the city and the lack of control and security, it was first necessary to strengthen the political and doctrinal aspects of the pontiff.

 

When in 1377 Gregory XI was in fact returned to Rome, he found a city in anarchy because of the struggles between the nobility and the popular faction, and in which his power was now more formal than real. There followed four decades of instability, characterised by the local power struggle between the commune and the papacy, and internationally by the great Western Schism, at the end of which was elected Pope, Martin V. He restored order, laying the foundations of its rebirth.

 

In 1433 the Duke of Milan, Filippo Maria Visconti signed a peace treaty with Florence and Venice. He then sent the condottieri Niccolò Fortebraccio and Francesco Sforza to harass the Papal States, in vengeance for Eugene IV's support to the two former republics.

 

Fortebraccio, supported by the Colonna, occupied Tivoli in October 1433 and ravaged Rome's countryside. Despite the concessions made by Eugene to the Visconti, the Milanese soldiers did not stop their destruction. This led the Romans, on 29 May 1434 to institute a Republican government under the Banderesi. Eugene left the city a few days later, during the night of 4 June.

 

However, the Banderesi proved incapable of governing the city, and their inadequacies and violence soon deprived them of popular support. The city was therefore returned to Eugene by the army of Giovanni Vitelleschi on 26 October 1434. After the death in mysterious circumstances of Vitelleschi, the city came under the control of Ludovico Scarampo, Patriarch of Aquileia. Eugene returned to Rome on 28 September 1443.

 

The latter half of the 15th century saw the seat of the Italian Renaissance move to Rome from Florence. The Papacy wanted to surpass the grandeur of other Italian cities. To this end the popes created increasingly extravagant churches, bridges, town squares and public spaces, including a new Saint Peter's Basilica, the Sistine Chapel, Ponte Sisto (the first bridge to be built across the Tiber since antiquity), and Piazza Navona. The Popes were also patrons of the arts engaging such artists as Michelangelo, Perugino, Raphael, Ghirlandaio, Luca Signorelli, Botticelli, and Cosimo Rosselli.

 

Under Pope Nicholas V, who became Pontiff on 19 March 1447, the Renaissance can be said to have begun in Rome, heralding a period in which the city became the centre of Humanism. He was the first Pope to embellish the Roman court with scholars and artists, including Lorenzo Valla and Vespasiano da Bisticci.

 

On 4 September 1449 Nicholas proclaimed a Jubilee for the following year, which saw a great influx of pilgrims from all Europe. The crowd was so large that in December, on Ponte Sant'Angelo, some 200 people died, crushed underfoot or drowned in the River Tiber. Later that year the Plague reappeared in the city, and Nicholas fled.

 

However Nicholas brought stability to the temporal power of the Papacy, a power in which the Emperor was to have no part at all. In this way, the coronation and the marriage of Frederick III, Holy Roman Emperor on 16 March 1452, was more a civil ceremony. The Papacy now controlled Rome with a strong hand. A plot by Stefano Porcari, whose aim was the restoration of the Republic, was ruthlessly suppressed in January 1453. Porcari was hanged together with the other plotters, Francesco Gabadeo, Pietro de Monterotondo, Battista Sciarra and Angiolo Ronconi, but the Pope gained a treacherous reputation, as when the execution was beginning he was too drunk to confirm the grace he had previously given to Sciarra and Ronconi.

 

Nicholas was also actively involved in Rome's urban renewal, in collaboration with Leon Battista Alberti, including the construction of a new St Peter's Basilica.

 

Nicholas' successor Calixtus III neglected Nicholas's cultural policies, instead devoting himself to his greatest passion, his nephews. The Tuscan Pius II, who took the reins after his death in 1458, was a great Humanist, but did little for Rome. During his reign Lorenzo Valla demonstrated that the Donation of Constantine was a forgery. Pius was the first Pope to use guns, in campaign against the rebel barons Savelli in the neighbourhood of Rome, in 1461. One year later the bringing to Rome of the head of the Apostle St. Andrew produced a great number of pilgrims. The reign of Pope Paul II (1464–1471) was notable only for the reintroduction of the Carnival, which was to become a very popular feast in Rome in the following centuries. In the same year (1468) a plot against the Pope was uncovered, organised by the intellectuals of the Roman Academy founded by Pomponio Leto. The conspirators were sent to Castel Sant'Angelo.

 

More important by far was the Pontificate of Sixtus IV, considered the first Pope-King of Rome. In order to favour his relative Girolamo Riario, he promoted the unsuccessful Congiura dei Pazzi against the Medici of Florence (26 April 1478) and in Rome fought the Colonna and the Orsini. The personal politics of intrigue and war required much money, but in spite of this Sixtus was a true patron of art in the manner of Nicholas V. He reopened the Academy and reorganised the Collegio degli Abbreviatori, and in 1471 began the construction of the Vatican Library, whose first curator was Platina. The Library was officially founded on 15 Jun

What I assume is a reconstruction of a 1908 Type Roe Biplane on display at the 2013 Goodwood Revival. Handily undercover on a showery day

Hindu deities are the gods and goddesses in Hinduism. The terms and epithets found in Indian culture, that are translated as deity, varies with the text and diverse traditions within Hinduism, and include Deva, Devi, Ishvara, Bhagavan and Bhagavathi.[1][2][note 1]

 

The deities of Hinduism have evolved from Vedic era (2nd millennium BCE) through medieval era (1st millennium CE), regionally within India and in southeast Asia, and across Hinduism's diverse traditions.[3][4] The Hindu deity concept varies from a personal god as in Yoga school of Hindu philosophy,[5][6] to 33 Vedic deities,[7] to hundreds of Puranic deities, to millions of deities in Tantra traditions of Hinduism.[8] Illustrations of major deities include Vishnu, Sri (Lakshmi), Shiva, Parvati (Durga), Brahma and Saraswati. These deities have distinct and complex personalities, yet often viewed as aspects of the same Ultimate Reality called Brahman.[9][note 2] From ancient times, the idea of equivalence has been cherished in Hinduism, in its texts and in early 1st millennium sculpture with concepts such as Harihara (half Shiva, half Vishnu),[10] Ardhanarishvara (half Shiva, half Parvati) or Vaikuntha Kamalaja (half Vishnu, half Lakshmi),[11] with mythologies and temples that feature them together, declaring they are the same.[12][13][14] Major deities have inspired their own Hindu traditions, such as Vaishnavism, Shaivism and Shaktism, but with shared mythology, ritual grammar, theosophy, axiology and polycentrism.[15][16][17] Some Hindu traditions such as Smartism from mid 1st millennium CE, have included multiple major deities as henotheistic manifestations of Saguna Brahman, and as a means to realizing Nirguna Brahman.[18][19][20]

 

Hindu deities are represented with various icons and anicons, in paintings and sculptures, called Murtis and Pratimas.[21][22][23] Some Hindu traditions, such as ancient Charvakas rejected all deities and concept of god or goddess,[24][25][26] while 19th-century British colonial era movements such as the Arya Samaj and Brahmo Samaj rejected deities and adopted monotheistic concepts similar to Abrahamic religions.[27][28] Hindu deities have been adopted in other religions such as Jainism,[29] and in regions outside India such as predominantly Buddhist Thailand and Japan where they continue to be revered in regional temples or arts.[30][31][32]

 

In ancient and medieval era texts of Hinduism, the human body is described as a temple,[33][34] and deities are described to be parts residing within it,[35][36] while the Brahman (Absolute Reality, God)[18][37] is described to be the same, or of similar nature, as the Atman (self, soul), which Hindus believe is eternal and within every living being.[38][39][40] Deities in Hinduism are as diverse as its traditions, and a Hindu can choose to be polytheistic, pantheistic, monotheistic, monistic, agnostic, atheistic or humanist.[41][42][43]

Deities in Hinduism are referred to as Deva (masculine) and Devi (feminine).[44][45][46] The root of these terms mean "heavenly, divine, anything of excellence".[47] According to Douglas Harper, the etymological roots of Deva mean "a shining one," from *div- "to shine," and it is a cognate with Greek dios "divine" and Zeus, and Latin deus (Old Latin deivos).[48]

 

In the earliest Vedic literature, all supernatural beings are called Asuras.[49][50] By the late Vedic period (~500 BCE), benevolent supernatural beings are referred to as Deva-Asuras. In post-Vedic texts, such as the Puranas and the Itihasas of Hinduism, the Devas represent the good, and the Asuras the bad.[3][4] In some medieval Indian literature, Devas are also referred to as Suras and contrasted with their equally powerful, but malevolent half-brothers referred to as the Asuras.[51]

 

Hindu deities are part of Indian mythology, both Devas and Devis feature in one of many cosmological theories in Hinduism.[52][53]

 

Characteristics of Vedic era deities[edit]

In Vedic literature, Devas and Devis represent the forces of nature and some represent moral values (such as the Adityas, Varuna, and Mitra), each symbolizing the epitome of a specialized knowledge, creative energy, exalted and magical powers (Siddhis).[54][55]

The most referred to Devas in the Rig Veda are Indra, Agni (fire) and Soma, with "fire deity" called the friend of all humanity, it and Soma being the two celebrated in a yajna fire ritual that marks major Hindu ceremonies. Savitr, Vishnu, Rudra (later given the exclusive epithet of Shiva), and Prajapati (later Brahma) are gods and hence Devas.[30]

 

The Vedas describes a number of significant Devis such as Ushas (dawn), Prithvi (earth), Aditi (cosmic moral order), Saraswati (river, knowledge), Vāc (sound), Nirṛti (destruction), Ratri (night), Aranyani (forest), and bounty goddesses such as Dinsana, Raka, Puramdhi, Parendi, Bharati, Mahi among others are mentioned in the Rigveda.[58] Sri, also called Lakshmi, appears in late Vedic texts dated to be pre-Buddhist, but verses dedicated to her do not suggest that her characteristics were fully developed in the Vedic era.[59] All gods and goddesses are distinguished in the Vedic times, but in the post-Vedic texts (~500 BCE to 200 CE), and particularly in the early medieval era literature, they are ultimately seen as aspects or manifestations of one Brahman, the Supreme power.[59][60]

 

Ananda Coomaraswamy states that Devas and Asuras in the Vedic lore are similar to Angels-Theoi-Gods and Titans of Greek mythology, both are powerful but have different orientations and inclinations, the Devas representing the powers of Light and the Asuras representing the powers of Darkness in Hindu mythology.[61][62] According to Coomaraswamy's interpretation of Devas and Asuras, both these natures exist in each human being, the tyrant and the angel is within each being, the best and the worst within each person struggles before choices and one's own nature, and the Hindu formulation of Devas and Asuras is an eternal dance between these within each person.[63][64]

 

The Devas and Asuras, Angels and Titans, powers of Light and powers of Darkness in Rigveda, although distinct and opposite in operation, are in essence consubstantial, their distinction being a matter not of essence but of orientation, revolution or transformation. In this case, the Titan is potentially an Angel, the Angel still by nature a Titan; the Darkness in actu is Light, the Light in potentia Darkness; whence the designations Asura and Deva may be applied to one and the same Person according to the mode of operation, as in Rigveda 1.163.3, "Trita art thou (Agni) by interior operation".

 

— Ananda Coomaraswamy, Journal of the American Oriental Society[65]

Characteristics of medieval era deities[edit]

In the Puranas and the Itihasas with the embedded Bhagavad Gita, the Devas represent the good, and the Asuras the bad.[3][4] According to the Bhagavad Gita (16.6-16.7), all beings in the universe have both the divine qualities (daivi sampad) and the demonic qualities (asuri sampad) within each.[4][66] The sixteenth chapter of the Bhagavad Gita states that pure god-like saints are rare and pure demon-like evil are rare among human beings, and the bulk of humanity is multi-charactered with a few or many faults.[4] According to Jeaneane Fowler, the Gita states that desires, aversions, greed, needs, emotions in various forms "are facets of ordinary lives", and it is only when they turn to lust, hate, cravings, arrogance, conceit, anger, harshness, hypocrisy, violence, cruelty and such negativity- and destruction-inclined that natural human inclinations metamorphose into something demonic (Asura).[4][66]

The Epics and medieval era texts, particularly the Puranas, developed extensive and richly varying mythologies associated with Hindu deities, including their genealogies.[67][68][69] Several of the Purana texts are named after major Hindu deities such as Vishnu, Shiva and Devi.[67] Other texts and commentators such as Adi Shankara explain that Hindu deities live or rule over the cosmic body as well in the temple of human body.[33][70] They remark that the Sun deity is the giver of vision, the Vayu deity the nose, the Prajapati the sexual organs, the Lokapalas (directions) are the ears, moon deity the mind, Mitra deity is the inward breath, Varuna deity is the outward breath, Indra deity the arms, Brhaspati the speech, Vishnu whose stride is great is the feet, and Maya is the smile.[70]

 

Symbolism[edit]

Edelmann states that gods and anti-gods of Hinduism are symbolism for spiritual concepts. For example, god Indra (a Deva) and the antigod Virocana (an Asura) question a sage for insights into the knowledge of the self.[71] Virocana leaves with the first given answer, believing now he can use the knowledge as a weapon. In contrast, Indra keeps pressing the sage, churning the ideas, and learning about means to inner happiness and power. Edelmann suggests that the Deva-Asura dichotomies in Hindu mythology may be seen as "narrative depictions of tendencies within our selves".[71] Hindu deities in Vedic era, states Mahoney, are those artists with "powerfully inward transformative, effective and creative mental powers".[72]

 

In Hindu mythology, everyone starts as an Asura, born of the same father. "Asuras who remain Asura" share the character of powerful beings craving for more power, more wealth, ego, anger, unprincipled nature, force and violence.[73][74] The "Asuras who become Devas" in contrast are driven by an inner voice, seek understanding and meaning, prefer moderation, principled behavior, aligned with Ṛta and Dharma, knowledge and harmony.[73][74][75]

 

The god (Deva) and antigod (Asura), states Edelmann, are also symbolically the contradictory forces that motivate each individual and people, and thus Deva-Asura dichotomy is a spiritual concept rather than mere genealogical category or species of being.[76] In the Bhāgavata Purana, saints and gods are born in families of Asuras, such as Mahabali and Prahlada, conveying the symbolism that motivations, beliefs and actions rather than one's birth and family circumstances define whether one is Deva-like or Asura-like.[76]

Another Hindu term that is sometimes translated as deity is Ishvara, or alternatively various deities are described, state Sorajjakool et al., as "the personifications of various aspects of one and the same Ishvara".[77] The term Ishvara has a wide range of meanings that depend on the era and the school of Hinduism.[78][79][80] In ancient texts of Indian philosophy, Ishvara means supreme soul, Brahman (Highest Reality), ruler, king or husband depending on the context.[78] In medieval era texts, Ishvara means God, Supreme Being, personal god, or special Self depending on the school of Hinduism.[2][80][81]

 

Among the six systems of Hindu philosophy, Samkhya and Mimamsa do not consider the concept of Ishvara, i.e., a supreme being, relevant. Yoga, Vaisheshika, Vedanta and Nyaya schools of Hinduism discuss Ishvara, but assign different meanings.

 

Early Nyaya school scholars considered the hypothesis of a deity as a creator God with the power to grant blessings, boons and fruits; but these early Nyaya scholars then rejected this hypothesis, and were non-theistic or atheists.[25][82] Later scholars of Nyaya school reconsidered this question and offered counter arguments for what is Ishvara and various arguments to prove the existence of omniscient, omnipresent, omnipotent deity (God).[83]

 

Vaisheshika school of Hinduism, as founded by Kanada in 1st millennium BC, neither required nor relied on creator deity.[84][85] Later Vaisheshika school adopted the concept of Ishvara, states Klaus Klostermaier, but as an eternal God who co-exists in the universe with eternal substances and atoms, but He "winds up the clock, and lets it run its course".[84]

 

Ancient Mimamsa scholars of Hinduism questioned what is Ishvara (deity, God)?[86] They considered deity concept unnecessary for a consistent philosophy and moksha (soteriology).[86][87]

 

In Samkhya school of Hindu philosophy, Isvara is neither a creator-God, nor a savior-God.[88] This is called one of the several major atheistic schools of Hinduism by some scholars.[89][90][91] Others, such as Jacobsen, state that Samkhya is more accurately described as non-theistic.[92] Deity is considered an irrelevant concept, neither defined nor denied, in Samkhya school of Hindu philosophy.[93]

 

In Yoga school of Hinduism, it is any "personal deity" (Ishta Deva or Ishta Devata)[94] or "spiritual inspiration", but not a creator God.[81][89] Whicher explains that while Patanjali's terse verses in the Yogasutras can be interpreted both as theistic or non-theistic, Patanjali's concept of Isvara in Yoga philosophy functions as a "transformative catalyst or guide for aiding the yogin on the path to spiritual emancipation".[95]

 

The Advaita Vedanta school of Hinduism asserted that there is no dualistic existence of deity (or deities).[96][97] There is no otherness nor distinction between Jiva and Ishvara.[98][99] God (Ishvara, Brahman) is identical with the Atman (soul) within each human being in Advaita Vedanta school,[100] and there is a monistic Universal Absolute Oneness that connects everyone and everything, states this school of Hinduism.[39][99][101] This school, states Anantanand Rambachan, has "perhaps exerted the most widespread influence".[102]

 

The Dvaita sub-school of Vedanta Hinduism, founded in medieval era, Ishvara is defined as a creator God that is distinct from Jiva (individual souls in living beings).[40] In this school, God creates individual souls, but the individual soul never was and never will become one with God; the best it can do is to experience bliss by getting infinitely close to God.[20]

 

Number of deities[edit]

Yāska, the earliest known language scholar of India (~ 500 BCE), notes Wilkins, mentions that there are three deities (Devas) according to the Vedas, "Agni (fire), whose place is on the earth; Vayu (wind), whose place is the air; and Surya (sun), whose place is in the sky".[107] This principle of three worlds (or zones), and its multiples is found thereafter in many ancient texts. The Samhitas, which are the oldest layer of text in Vedas enumerate 33 devas,[note 3] either 11 each for the three worlds, or as 12 Adityas, 11 Rudras, 8 Vasus and 2 Ashvins in the Brahmanas layer of Vedic texts.[7][47]

 

The Rigveda states in hymn 1.139.11,

 

ये देवासो दिव्येकादश स्थ पृथिव्यामध्येकादश स्थ ।

अप्सुक्षितो महिनैकादश स्थ ते देवासो यज्ञमिमं जुषध्वम् ॥११॥[111]

 

O ye eleven gods whose home is heaven, O ye eleven who make earth your dwelling,

Ye who with might, eleven, live in waters, accept this sacrifice, O gods, with pleasure.

– Translated by Ralph T. H. Griffith[112]

 

Gods who are eleven in heaven; who are eleven on earth;

and who are eleven dwelling with glory in mid-air; may ye be pleased with this our sacrifice.

– Translated by HH Wilson[113]

 

— Rigveda 1.139.11

Millions, one or one-ness?[edit]

Thirty-three divinities are mentioned in other ancient texts, such as the Yajurveda,[114] however, there is no fixed "number of deities" in Hinduism any more than a standard representation of "deity".[115] There is, however, a popular perception stating that there are 330 million (or "33 crore") deities in Hinduism.[116] Most, by far, are goddesses, state Foulston and Abbott, suggesting "how important and popular goddesses are" in Hindu culture.[115] No one has a list of the 330 million goddesses and gods, but all deities, state scholars, are typically viewed in Hinduism as "emanations or manifestation of genderless principle called Brahman, representing the many facets of Ultimate Reality".[115][116][117]

 

This concept of Brahman is not the same as the monotheistic separate God found in Abrahamic religions, where God is considered, states Brodd, as "creator of the world, above and independent of human existence", while in Hinduism "God, the universe, human beings and all else is essentially one thing" and everything is connected oneness, the same god is in every human being as Atman, the eternal Self.[117][118]

Hinduism has an ancient and extensive iconography tradition, particularly in the form of Murti (Sanskrit: मूर्ति, IAST: Mūrti), or Vigraha or Pratima.[22] A Murti is itself not the god in Hinduism, but it is an image of god and represents emotional and religious value.[124] A literal translation of Murti as idol is incorrect, states Jeaneane Fowler, when idol is understood as superstitious end in itself.[124] Just like the photograph of a person is not the real person, a Murti is an image in Hinduism but not the real thing, but in both cases the image reminds of something of emotional and real value to the viewer.[124] When a person worships a Murti, it is assumed to be a manifestation of the essence or spirit of the deity, the worshipper's spiritual ideas and needs are meditated through it, yet the idea of ultimate reality or Brahman is not confined in it.[124]

 

A Murti of a Hindu deity is typically made by carving stone, wood working, metal casting or through pottery. Medieval era texts describing their proper proportions, positions and gestures include the Puranas, Agamas and Samhitas particularly the Shilpa Shastras.[21] The expressions in a Murti vary in diverse Hindu traditions, ranging from Ugra symbolism to express destruction, fear and violence (Durga, Kali), as well as Saumya symbolism to express joy, knowledge and harmony (Saraswati, Lakshmi). Saumya images are most common in Hindu temples.[125] Other Murti forms found in Hinduism include the Linga.[126]

 

A Murti is an embodiment of the divine, the Ultimate Reality or Brahman to some Hindus.[21] In religious context, they are found in Hindu temples or homes, where they may be treated as a beloved guest and serve as a participant of Puja rituals in Hinduism.[127] A murti is installed by priests, in Hindu temples, through the Prana Pratishtha ceremony,[128] whereby state Harold Coward and David Goa, the "divine vital energy of the cosmos is infused into the sculpture" and then the divine is welcomed as one would welcome a friend.[129] In other occasions, it serves as the center of attention in annual festive processions and these are called Utsava Murti.[130]

In Hinduism, deities and their icons may be hosted in a Hindu temple, within a home or as an amulet. The worship performed by Hindus is known by a number of regional names, such as Puja.[134] This practice in front of a murti may be elaborate in large temples, or be a simple song or mantra muttered in home, or offering made to sunrise or river or symbolic anicon of a deity.[135][136][137] Archaeological evidence of deity worship in Hindu temples trace Puja rituals to Gupta Empire era (~4th century CE).[138][139] In Hindu temples, various pujas may be performed daily at various times of the day; in other temples, it may be occasional.[140][141]

 

The Puja practice is structured as an act of welcoming, hosting, honoring the deity of one's choice as one's honored guest,[142] and remembering the spiritual and emotional significance the deity represents the devotee.[124][134] Jan Gonda, as well as Diana L. Eck, states that a typical Puja involves one or more of 16 steps (Shodasha Upachara) traceable to ancient times: the deity is invited as a guest, the devotee hosts and takes care of the deity as an honored guest, praise (hymns) with Dhupa or Aarti along with food (Naivedhya) is offered to the deity, after an expression of love and respect the host takes leave, and with affection expresses good bye to the deity.[143][144] The worship practice may also involve reflecting on spiritual questions, with image serving as support for such meditation.[145]

 

Deity worship (Bhakti), visiting temples and Puja rituals are not mandatory and is optional in Hinduism; it is the choice of a Hindu, it may be a routine daily affair for some Hindus, periodic ritual or infrequent for some.[146][147] Worship practices in Hinduism are as diverse as its traditions, and a Hindu can choose to be polytheistic, pantheistic, monotheistic, monistic, agnostic, atheistic or humanist.[41]

 

Examples[edit]

Main articles: List of Hindu deities and Rigvedic deities

Major deities have inspired a vast genre of literature such as the Puranas and Agama texts as well their own Hindu traditions, but with shared mythology, ritual grammar, theosophy, axiology and polycentrism.[16][17] Vishnu and his avatars are at the foundation of Vaishnavism, Shiva for Shaivism, Devi for Shaktism, and some Hindu traditions such as Smarta traditions who revere multiple major deities (five) as henotheistic manifestations of Brahman (absolute metaphysical Reality).[116][148][149]

 

While there are diverse deities in Hinduism, states Lawrence, "Exclusivism – which maintains that only one's own deity is real" is rare in Hinduism.[116] Julius Lipner, and other scholars, state that pluralism and "polycentrism" – where other deities are recognized and revered by members of different "denominations", has been the Hindu ethos and way of life.[16][150]

 

Trimurti and Tridevi[edit]

The concept of Triad (or Trimurti, Trinity) makes a relatively late appearance in Hindu literature, or in the second half of 1st millennium BCE.[151] The idea of triad, playing three roles in the cosmic affairs, is typically associated with Brahma, Vishnu and Shiva (also called Mahesh); however, this is not the only triad in Hindu literature.[152] Other triads include Tridevi, of three goddesses – Lakshmi, Saraswati and Durga in the text Devi Mahatmya, in the Shakta tradition, who further assert that Devi is the Brahman (Ultimate Reality) and it is her energy that empowers Brahma, Vishnu and Shiva.[151] The other triads, formulated as deities in ancient Indian literature, include Sun (creator), Air (sustainer) and Fire (destroyer); Prana (creator), Food (sustainer) and Time (destroyer).[151] These triads, states Jan Gonda, are in some mythologies grouped together without forming a Trinity, and in other times represented as equal, a unity and manifestations of one Brahman.[151] In the Puranas, for example, this idea of threefold "hypostatization" is expressed as follows,

 

They [Brahma, Vishnu, Shiva] exist through each other, and uphold each other; they are parts of one another; they subsist through one another; they are not for a moment separated; they never abandon one another.

 

— Vayu Purana, 5.17, Translated by Jan Gonda[151]

The triad appears in Maitrayaniya Upanishad, for the first time in recognized roles known ever since, where they are deployed to present the concept of three Guṇa – the innate nature, tendencies and inner forces found within every being and everything, whose balance transform and keeps changing the individual and the world.[152][153] It is in the medieval Puranic texts, Trimurti concepts appears in various context, from rituals to spiritual concepts.[151] The Bhagavad Gita, in verses 9.18, 10.21-23 and 11.15, asserts that the triad or trinity is manifestation of one Brahman, which Krishna affirms himself to be.[154] However, suggests Bailey, the mythology of triad is "not the influence nor the most important one" in Hindu traditions, rather the ideologies and spiritual concepts develop on their own foundations.[152]

 

Avatars of Hindu deities[edit]

Hindu mythology has nurtured the concept of Avatar, which represents the descent of a deity on earth.[155][156] This concept is commonly translated as "incarnation",[155] and is an "appearance" or "manifestation".[157][158]

 

The concept of Avatar is most developed in Vaishnavism tradition, and associated with Vishnu, particularly with Rama and Krishna.[159][160] Vishnu takes numerous avatars in Hindu mythology. He becomes female, during the Samudra manthan, in the form of Mohini, to resolve a conflict between the Devas and Asuras. His male avatars include Matsya, Kurma, Varaha, Narasimha, Vamana, Parashurama, Rama, Krishna, Buddha, and Kalki.[160] Various texts, particularly the Bhagavad Gita, discuss the idea of Avatar of Vishnu appearing to restore the cosmic balance whenever the power of evil becomes excessive and causes persistent oppression in the world.[156]

 

In Shaktism traditions, the concept appears in its legends as the various manifestations of Devi, the Divine Mother principal in Hinduism.[161] The avatars of Devi or Parvati include Durga and Kali, who are particularly revered in eastern states of India, as well as Tantra traditions.[162][163][164] Twenty one avatars of Shiva are also described in Shaivism texts, but unlike Vaishnava traditions, Shaiva traditions have focussed directly on Shiva rather than the Avatar concept.[155]

 

The Marx Lounge includes recent publications provided by the UK’s primary radical publishing company, Verso Books, and copies of The Communist Manifesto translated into the minority languages of Liverpool. Activating the work is a lively discursive programme of talks and discussions by leading thinkers in the field and an accompanying poster campaign on public sites around the city. The Marx Lounge is a complete experiential environment where audiences can sit, read, speculate and come to their own conclusions on the relevance and viability of Marx’s ideas today.

 

In addition, Alfredo Jaar presents a new three-channel video work, We Wish to Inform You that We Didn’t Know, in the old Scandinavian Hotel building.

 

Alfredo Jaar is part of Touched at:

52 Renshaw Street, L1 4PN

Tel: 0845 220 2800

Open: daily 10.00–18.00 until 28 November

Free Entry / Fully Accessible

 

Photograph by Alexandra Wolkowicz

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City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, which is located northeast of the centre of the grid patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers right up to the 20th century. The credit for the urban layout of the city and its structures is attributed to two architects namely, Vidyadar Bhattacharya, the chief architect in the royal court and Sir Samuel Swinton Jacob, apart from the Sawai himself who was a keen architectural enthusiast. The architects achieved a fusion of the Shilpa Shastra of Indian architecture with Rajput, Mughal and European styles of architecture.

 

The palace complex lies in the heart of Jaipur city, to the northeast of the very centre. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a man who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.

 

Following Jaisingh's death in 1744, there were internecine wars among the Rajput kings of the region but cordial relations were maintained with the British Raj. Maharaja Ram Singh sided with the British in the Sepoy Mutiny or Uprising of 1857 and established himself with the Imperial rulers. It is to his credit that the city of Jaipur including all of its monuments (including the City Palace) are stucco painted 'Pink' and since then the city has been called the "Pink City". The change in colour scheme was as an honour of hospitality extended to the Prince of Wales (who later became King Edward VII) on his visit. This colour scheme has since then become a trademark of the Jaipur city.

 

Man Singh II, the adopted son of Maharaja Madho Singh II, was the last Maharaja of Jaipur to rule from the Chandra Mahal palace, in Jaipur. This palace, however, continued to be a residence of the royal family even after the Jaipur kingdom merged with the Indian Union in 1949 (after Indian independence in August 1947) along with other Rajput states of Jodhpur, Jaisalmer and Bikaner. Jaipur became the capital of the Indian state of Rajasthan and Man Singh II had the distinction of becoming the Rajapramukh (present day Governor of the state) for a time and later was the Ambassador of India to Spain.

Charlestown Shopping Centre is a shopping centre located in the northern end of Finglas in Dublin that opened in October 2007. Phase two of the centre opened in October 2015. The second phase included a nine screen Odeon cinema and a Leisureplex which includes a Bowling alley and Quasar. The are is serviced by a number of bus routes including the 40, 9 and 83.

Photographic distractions during a Christmas shopping trip to Brighton. Resurfacing the ice rink between sessions.

Includes photos from the David Thompson Highway 11 Rocky Mountains Alberta near Nordegg and the David Thompson Resort

A litter of puppies at a rural restaurant / ranch in Patagonia, Chile. Cute overload.

Assignment-4

Every morning of rural women

【Maiko, June 14, 2020】

Maiko is Kanohisa.

Shooting location is Seirai-in Temple.

Photo by kurara.

 

【舞妓, 2020-06-14】

舞妓は叶久さんです。

撮影場所は西来院。

Photo by kurara.

 

-----------------

About reprint of photograph :

The reproduction and use of photographs are welcome, but please be sure to include the following information.

写真の転載について :

写真の転載・使用は歓迎いたしますが、その際に必ず 次の記載をしていただくようお願いします。

 

Maiko is Kanohisa.

Photo by Photographer name/撮影者名.

(licensed CC BY-SA 2.0)

55maiko.net

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This is the first of three leaves from a copy of William Peraldus' “Tomus secundus qui appellatur summa vitorum” that include parts of Tractatus III “De luxuria” (Lust) and Tractatus IV “Avaritia” (Averice). They are all from the same manuscript but they are are independent of each other and do not run consecutively.

 

The text on this leaf is from Tractatus III “De luxuria” Pars 4 “Deremediis contra luxuriam” as follows: -

Opens in Caput 3 “Dechories et quam malum ….”, and Caput 4 “De aliis remediis contra luxuriam”.

Then Pars 5 “De prohibitione simplicis fornicationis”, part of Caput 1 “De ordine dicendorum in ista parte ...”. Plus, in the right column of the verso there is text not yet found.

These texts concern remedies against lechery and the prohibition of simple fornication.

 

The size of this leaf is 160mm x 107mm (6 3/10ins. x 4 2/10ins.).

 

PURCHASE DETAILS: -

Part of Lot 761 at Arenberg Auctions, Brussels on 14th. December 2019.

 

GENERAL COMMENTS: -

Whilst remnants of hinges remain, these leaves show very little age related wear and are in excellent condition.

In the auction house description, these leaves were described as being from a Bible. Images were provided which, because of the headlines, indicated that this was not the case and that the leaves were from a copy of William Peraldus' ““Tomus secundus qui appellatur summa vitorum” (“Summa on the Vices”) and that the texts concerned Lust and Averice. These are superb leaves of small size and the text is not at all common. The only other leaves that I have been able to find on the market are two leaves being offered by that are considerably larger (330mm x 240mm) and are priced at $3,250 each.

 

WILLIAM PERALDIS: -

William Peraldus (c. 1200 - c. 1271) studied at the university in Paris, and became the prior of the Dominican Order in Lyon. He published his treatment of the vices c. 1236, and put it in circulation together with his treatment of the virtues by 1249/1250. For fully ten years he performed all the episcopal functions of the Church of Lyons, having been chosen for this work during the vacancy of the see by Philip I, Count of Savoy who, although not in Holy orders, bore the title of Archbishop of Lyon from 1245 to 1267. Because of Perault's long labours in ministering to the needs of the diocese, he himself came to be known as the Bishop or Archbishop of Lyon.

 

“SUMMA ON THE VICES”: -

Peraldis' “Summa on the vices” is the second Tome of his work “Summa de virtutibus et vitiis”. The Summa is composed of nine treatises of varying length, in the following order: vice in general, gluttony, lechery, avarice, sloth (or acedia), pride, envy, wrath, and the sin of the tongue. As those who consult this site, and the Summa itself, will see, some of these treatises are fairly short (Vice in general, Gluttony, Envy), others are of moderate length (Lust, Wrath, the Sin of the Tongue), and three are massive compositions hundreds of pages in length (Avarice, Sloth, Pride). In all of them, Peraldus gathered together, organized, and analyzed the most current ethical resources of his day for the benefit of preachers and confessors engaged in the pastoral work of the Church following the canons of the fourth Lateran Council.

 

The Sex P*ssed Dolls, on stage at the Concorde 2, Brighton. Nancy Doll, a vocalist with attitude.

 

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for Feeb’s Rascal Street Sales Room, Slink Enhancement Fingernails (for default hands), Elephante Poses Change of Heart SLink Nail Applier Set, for With Love Fair!

 

Blog Post: auroratown.wordpress.com/2014/02/12/feebs-rascal-street-s...

Includes 'Satori in Paris (Part Two)'

Includes photos from the David Thompson Highway 11 Rocky Mountains Alberta near Nordegg and the David Thompson Resort

 

Lake Abraham Lake Reservoir

The area that includes the Battery is also called White Point Gardens. This section of Charleston holds a significant place in history for the area. In the early 1720's, approximately 50 pirates were hung on the gallows and left swinging as a deterrent to keep other pirates from entering Charleston Harbor. The cannons were originally placed in the Battery to defend Charleston during the War of 1812.

Members: Ron Whiteside sent the Reunion notice of the Doolittle Raiders which took place. It’s too long to include in the Nov Newsletter, but I thought I’d send it as a separate mailing in case you were interested in reading it. I did put part of it in the Newsletter.

 

The Final Toast

 

It's the cup of brandy that no one wants to drink.

On April 17, 2013 in Fort Walton Beach , Florida , the surviving

Doolittle Raiders gathered publicly for the last time.

 

They once were among the most universally admired and revered men

in the United States . There were 80 of the Raiders in April 1942,

when they carried out one of the most courageous and

heart-stirring military operations in this nation's history. The

mere mention of their unit's name, in those years, would bring

tears to the eyes of grateful Americans.

 

Now only four survive.

After Japan 's sneak attack on Pearl Harbor , with the United

States reeling and wounded, something dramatic was needed to turn

the war effort around.

Even though there were no friendly airfields close enough to Japan

for the United States to launch a retaliation, a daring plan was

devised. Sixteen B-25s were modified so that they could take off

from the deck of an aircraft carrier. This had never before been

tried -- sending such big, heavy bombers from a carrier.

 

The 16 five-man crews, under the command of Lt. Col. James

Doolittle, who himself flew the lead plane off the USS Hornet,

knew that they would not be able to return to the carrier. They

would have to hit Japan and then hope to make it to China for a

safe landing.

 

But on the day of the raid, the Japanese military caught wind of

the plan. The Raiders were told that they would have to take off

from much farther out in the Pacific Ocean than they had counted

on. They were told that because of this they would not have

enough fuel to make it to safety.

And those men went anyway.

 

They bombed Tokyo , and then flew as far as they could. Four

planes crash-landed; 11 more crews bailed out, and three of the

Raiders died. Eight more were captured; three were executed.

Another died of starvation in a Japanese prison camp. One crew

made it to Russia .

 

The Doolittle Raid sent a message from the United States to its

enemies, and to the rest of the world: We will fight. And, no

matter what it takes, we will win.

Of the 80 Raiders, 62 survived the war. They were celebrated as

national heroes, models of bravery. Metro-Goldwyn-Mayer produced

a motion picture based on the raid; "Thirty Seconds Over Tokyo,"

starring Spencer Tracy and Van Johnson, was a patriotic and

emotional box-office hit, and the phrase became part of the

national lexicon. In the movie-theater previews for the film, MGM

proclaimed that it was presenting the story "with supreme pride."

 

Beginning in 1946, the surviving Raiders have held a reunion each

April, to commemorate the mission. The reunion is in a different

city each year. In 1959, the city of Tucson , Arizona , as a

gesture of respect and gratitude, presented the Doolittle Raiders

with a set of 80 silver goblets. Each goblet was engraved with

the name of a Raider.

 

Every year, a wooden display case bearing all 80 goblets is

transported to the reunion city. Each time a Raider passes away,

his goblet is turned upside down in the case at the next reunion,

as his old friends bear solemn witness.

 

Also in the wooden case is a bottle of 1896 Hennessy Very Special

cognac. The year is not happenstance: 1896 was when Jimmy

Doolittle was born.

There has always been a plan: When there are only two surviving

Raiders, they would open the bottle, at last drink from it, and

toast their comrades who preceded them in death.

As 2013 began, there were five living Raiders; then, in February,

Tom Griffin passed away at age 96.

 

What a man he was. After bailing out of his plane over a

mountainous Chinese forest after the Tokyo raid, he became ill

with malaria, and almost died. When he recovered, he was sent to

Europe to fly more combat missions. He was shot down, captured,

and spent 22 months in a German prisoner of war camp.

The selflessness of these men, the sheer guts ... there was a

passage in the Cincinnati Enquirer obituary for Mr. Griffin that,

on the surface, had nothing to do with the war, but that

emblematizes the depth of his sense of duty and devotion:

"When his wife became ill and needed to go into a nursing home,

he visited her every day. He walked from his house to the nursing

home, fed his wife and at the end of the day brought home her

clothes. At night, he washed and ironed her clothes. Then he

walked them up to her room the next morning. He did that for

three years until her death in 2005."

So now, out of the original 80, only four Raiders remain: Dick

Cole (Doolittle's co-pilot on the Tokyo raid), Robert Hite,

Edward Saylor and David Thatcher. All are in their 90s. They have

decided that there are too few of them for the public reunions to

continue.

The events in Fort Walton Beach marked the end. It

has come full circle; Florida 's nearby Eglin Field was where the

Raiders trained in secrecy for the Tokyo mission. The town

planned to do all it can to honor the men: a six-day celebration

of their valor, including luncheons, a dinner and a parade.

Do the men ever wonder if those of us for whom they helped save

the country have tended to it in a way that is worthy of their

sacrifice? They don't talk about that, at least not around other

people. But if you find yourself near Fort Walton Beach this

week, and if you should encounter any of the Raiders, you might

want to offer them a word of thanks. I can tell you from

firsthand observation that they appreciate hearing that they are

remembered.

The men have decided that after this final public reunion they

will wait until a later date -- some time this year -- to get

together once more, informally and in absolute privacy. That is

when they will open the bottle of brandy. The years are flowing

by too swiftly now; they are not going to wait until there are

only two of them.

They will fill the four remaining upturned goblets.

And raise them in a toast to those who are gone.

 

Their 70th Anniversary Photo

PLEASE SEND THIS ON TO EVERYONE IN YOUR ADDRESS BOOK, ESPECIALLY

TO THOSE WHO WERE TOO YOUNG TO KNOW ABOUT THESE GUYS. THIS SHOULD

BE READ BY EVERY KID IN GRADE AND HIGH SCHOOL SO THEY KNOW WHAT

HAPPENED.

Available body styles include three-door coupé / hatchback and five-door hatchback, plus a saloon version in certain markets. The saloon version is manufactured in Argentina, where it is sold alongside the three-door version; it is exported from there to Brazil and Hungary as the C4 Pallas, and to Spain as the C4 Berline. A four-door saloon version is also built and sold in China as the Citroën C-Triomphe.

 

A seven-seater compact MPV version, the Grand C4 Picasso, was introduced in 2006, while a five-seater called the C4 Picasso was introduced in 2007.

 

A panel van based on the coupé bodyshell is available in some markets, including Ireland.

Includes one handmade denim jacket, ONE pair of denim-striped socks Licca OR Takara size. Edges are intentionally frayed, and Fray-block was applied to edges to minimize future fraying.

Julie Murray, a senior staff attorney at Planned Parenthood, agreed that the privacy right was not absolute. However, she pointed out the fact that, in 1993 a court ruled that, under the privacy clause that a person on death row was entitled to bodily autonomy which stopped the state from requiring the inmate to undergo medication that could render the inmate "competent" enough to be executed. The right to autonomy, she argued ought to extend even to mothers who have reached 6 weeks pregnant.

 

She said that six weeks claimed was the time that women even knew they were pregnant. "Whether it takes you 10 days or a month to figure that out, that's a decision that should be left to women," Ms. Murray argued.

 

The decision of Thursday's court indicated that justices were disposed to the argument, pointing out that the state's ban on abortions at 6 weeks "in many instances completely forecloses" the possibility of having an abortion.

 

The justices are not officially partisan However, they are appointed for 10-year terms by the general assembly of the state that is run by Republicans.

 

Justice Kaye Hearn, who was the author of the opinion released this Thursday is sole woman and second woman to be a judge in the Court. Chief Justice Donald Beatty, the second Black justice appointed in the years following Reconstruction was also a part of the decision along together with Justice John C. Few.

 

Justice Hearn seemed to indicate an understanding of the abortionists during oral arguments.

 

www.dream11today.com/south-carolina-constitution-includes...

The Lidl Run Kildare Events 2013 were held at the Curragh Racecourse, Newbridge, Co. Kildare, Ireland on Sunday 12th May 2013. There were three events: a 10KM, a half marathon, and a full marathon. This is a selection of photographs which includes all events. The photographs are taken from the start and finish of the marathon, the finish of the 10KM, and the finish of the half marathon. Due to the large numbers participating we did not manage to photograph everyone - which was not helped by the weather. Congratulations to Jo Cawley and her RunKildare crew for another great event. The weather didn't dampen the spirits of the many happy participants.

 

Electronic timing was provided by Red Tag Timing [www.redtagtiming.com/]

 

Overall Race Summary

Participants: There were approximately 3,000 participants over the 3 race events - there were runners, joggers, and walkers participating.

Weather: A cold breezy morning with heavy rain at the start. The weather dried up for the 10KM and the Half Marathon races

Course: This is an undulating course with some good flat stretches on the Curragh.

  

Viewing this on a smartphone device?

If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".

 

Some Useful Links

GPS Garmin Trace of the Kildare Marathon Route: connect.garmin.com/activity/175709313

Homepage of the Lidl Run Kildare Event: www.kildaremarathon.ie/index.html

Facebook Group page of the Lidl Run Kildare Event: www.facebook.com/RunKildare

Boards.ie Athletics Discussion Board pages about the race series: www.boards.ie/vbulletin/showthread.php?t=2056815306

Our photographs from Run Kildare 2012: www.flickr.com/photos/peterm7/sets/72157629707887620/

Our photographs from Run Kildare 2011: www.flickr.com/photos/peterm7/sets/72157626725200956/

A small selection of photographs from Run Kildare 2010: www.flickr.com/photos/peterm7/sets/72157623899845567/ (first event)

 

Can I use the photograph with the watermark?

Yes! Absolutely - you can post this photograph to your social networks, blogs, micro-blogging, etc.

 

How can I get a full resolution, no watermark, copy of these photographs?

 

All of the photographs here on this Flickr set have a visible watermark embedded in them. All of the photographs posted here on this Flickr set are available, free, at no cost, at full resolution WITHOUT watermark. We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not know of any other photographers who operate such a policy. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, web multimedia, commercial/promotional material that you provide a link back to our Flickr page to attribute us. This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.

 

Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.

 

In summary please remember - all we ask is for you to link back to our Flickr set or Flickr pages. Taking the photographs and preparing them for online posting does take a significant effort. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.

 

If you would like to contribute something for your photograph(s)?

Some people offer payment for our photographs. We do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would pay for their purchase from other photographic providers we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.

 

I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?

 

As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:

 

     ►You were hidden behind another participant as you passed our camera

     ►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set

     ►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone

     ►We simply missed you - sorry about that - we did our best!

  

You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.

 

Don't like your photograph here?

That's OK! We understand!

 

If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.

 

I want to tell people about these great photographs!

Great! Thank you! The best link to spread the word around is probably www.flickr.com/peterm7/sets

  

ENVY Holly Crop Top includes:

 

High neck off-shoulder long sleeved crop top in sizes for Maitreya, Belleza Venus, Isis, Freya, Slink Physique and Hourglass.

 

Texture change HUD for 18 different colors of torso, sleeves and corset lacing with gold and silver metal choices - pick and choose your own custom look.

 

Perfect for any casual but sexy or dangerous look!

 

NOTE: Not all colors have been included in the images - there's just too many!

 

PLEASE BE AWARE, YOU WILL NOT GET THE SHINY EFFECT IF YOU DO NOT HAVE ADVANCED LIGHTING ENABLED. THIS ITEM WAS MADE WITH MATERIALS AND INTENDED FOR USE WITH ADVANCED LIGHTING. WITHOUT IT, THIS ITEM WILL LOOK LIKE A NORMAL FABRIC CROP TOP INSTEAD.

 

marketplace.secondlife.com/stores/170648

 

maps.secondlife.com/secondlife/Harmony%20Glen/67/242/2264

We have expanded the color range of PRECIOSA Rocailles for you to include new natural colors!

 

We offer you the PRECIOSA Traditional Czech Beads™ rocaille range in newly developed and unique shades of light lilac and pink. This involves an exceptional change in our standard extensive color range after many years.

 

Don't miss the opportunity to get your hands on the seed beads in these delicate tones. They are excellent in children's costume jewelry collections, hair decorations or various tassels. The time of brides is also fast approaching. Decorate and adorn your unforgettable day with seed beads in the new glass colors!

 

The shades of delicate pink and lilac in opaque colors and transparent lilac can also be beautified with the sfinx and rainbow surface finishes. See for yourself.

 

You will love the unique extended color range of these glass seed beads!

 

TECHNICAL DATA:

PRECIOSA Rocailles

 

Article number: 311 19 001

Size: 1/0, 6/0, 8/0, 10/0, 11/0 (opaque pink 73420 and opaque lilac 23420)

Size: 1/0, 6/0, 8/0 (transparent lilac 20420)

 

Article number: 331 19 001

Size: 6/0 (the sfinx and rainbow finishes)

 

The Sfinx Finish

78420 (on opaque pink)

28420 (on opaque lilac)

28420 (on opaque lilac)

 

The Rainbow Finish

74420 (on opaque pink)

24420 (on opaque lilac)

21420 (on transparent lilac)

 

Visit our website for more information about the PRECIOSA New Seed Beads Colors

 

WEBSITE | FACEBOOK | YOUTUBE | GOOGLE+ | PINTEREST

INSTAGRAM

UUP MLA, Jo-Anne Dobson with Paula Rodgers, Policy Coordinator, and Stacey Nugent, Give and Take Scheme Project Worker for the Southern HSCT area at the Ulster Unionist Party Conference at the Armagh City Hotel on October 22 2012.

 

Here Jo-Anne Dobson MLA mets with some of the Include Youth team.

 

includeyouth.org/giveandtake/

includeyouth.org/policy

+++ 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:

The Bell AH-1 SuperCobra is a twin-engined attack helicopter that was developed on behalf of, and primarily operated by, the United States Marine Corps (USMC). The twin Cobra family, itself part of the larger Huey family, includes the AH-1J SeaCobra, the AH-1T Improved SeaCobra, and the AH-1W SuperCobra. The Super Cobra was derived from the single-engine AH-1 Cobra, which had been developed during the mid-1960s as an interim gunship for the U.S. Army. The USMC had quickly taken an interest in the type but sought a twin-engine arrangement for greater operational safety at sea, along with more capable armaments. While initially opposed by the Department of Defense, who were keen to promote commonality across the services, in May 1968, an order for an initial 49 twin-engine AH-1J SeaCobras was issued to Bell. The type entered service during the final months of the US's involvement in the Vietnam War, seeing limited action in the theatre as a result.

 

The USMC promptly sought greater payload capacity than that provided by the original Sea Cobra; thus the AH-1T, equipped with the dynamic systems of the Model 309 and a lengthened fuselage, was produced by Bell during the 1970s. In the following decade, in response to the denial of funding to procure the Boeing AH-64 Apache attack helicopter, the USMC opted to procure a more capable variant of the AH-1T; equipped with revised fire control systems compatible with new munitions, such as the AGM-114 Hellfire anti-tank missile, the new model, designated AH-1W, commenced delivery in 1986.

 

In the early 1980s, the Marine Corps sought a new navalized helicopter. Accordingly, it evaluated the Boeing AH-64 Apache attack helicopter as first choice over a two-week period in September 1981, which included shipboard operation tests. Furthermore, various concepts were studied at this time. However, the service's request for funding to purchase the AH-64 was denied by Congress that same year. As an alternative option, the Marines procured a more powerful version of the AH-1T. Other changes included modified fire control systems to carry and fire AIM-9 Sidewinder and AGM-114 Hellfire missiles. The new version, which was funded by Congress, received the AH-1W designation. During March 1986, deliveries of the AH-1W SuperCobra commenced, eventually totaling 179 new-built helicopters along with the upgrading of 43 existing AH-1Ts.

 

This development also fell into the period when Great Britain was looking for a potential attack helicopter for the British Army, and Western Germany was - together with France - about to mutually develop a new attack helicopter that would in Germany replace the PAH-1, the light Bo 105 helicopter armed with six HOT anti-tank missiles. In 1984, the French and West German governments had issued a requirement for an advanced antitank helicopter, with one variant desired by the French dedicated to the escort and antihelicopter role. As originally planned, both countries would procure a total of 427 helicopters called “Tiger”. The West Germans planned on acquiring 212 models of the anti-tank variant named PAH-2 (Panzerabwehrhubschrauber or "Anti-tank helicopter"), with deliveries starting at the end of 1992. The French wanted 75 HAPs (Hélicoptère d'Appui Protection or "Support and Escort Helicopter") and 140 HACs (Hélicoptère Anti Char or "Anti-Tank Helicopter"), with deliveries starting at the end of 1991 and 1995, respectively. In the meantime, the USA also offered both the AH-1 as well as the more modern AH-64 as alternatives.

 

Development of the Tiger started during the Cold War, and it was initially intended as a pure anti-tank helicopter platform to be used against a Soviet ground invasion of Western Europe. A joint venture, consisting of Aérospatiale and MBB, was subsequently chosen as the preferred supplier, but in 1986 the development program was already canceled again due to spiraling costs: it had been officially calculated that supplying the German forces with an equivalent number of US-produced McDonnell Douglas AH-64 Apache attack helicopters would have been a considerably cheaper alternative to proceeding with the Tiger’s development, which became a more and more complex project because the helicopter would have to be able to fulfill more roles, and the duty profiles of Germany and France became significantly different. According to statements by the French Defence Minister André Giraud in April 1986, the collaborative effort had become more expensive than an individual national program and was also forecast to take longer to complete.

 

This opened the door for American proposals even wider, and beyond the state-of-the-art AH-64 Bell proposed a further upgraded two-engine AH-1W. Bell had been working as a private initiative with both the AH-1T+ demonstrator and the AH-1W prototype, and developed a new experimental hingeless rotor system with four composite blades, designed to withstand up to 23 mm rounds and thus greatly improving battlefield survivability. This new main rotor was manually foldable, reduced vibrations and allowed the engine power to be increased, thus greatly improving the SuperCobra’s performance and load capabilities. The twin engine’s power had until then been restricted, but in the AH-1-4BW the power was liberated to full 1,800 shp (1,342 kW), with a reinforced gearbox that could even cope with 2.400 shp. Top speed climbed by 23 mph/37 km/h, rate of climb improved, and the load capability was raised by 1.000 lb (450 kg). The AH-1-4BW was now able to fly a full looping, something the AH-1 had not been able to do before. However, empty weight of this demonstrator helicopter climbed to 12,189 lb (5,534 kg) and the maximum TOW to 18,492 lb (8.391 kg).

 

Other changes included a different position for the stabilizers further aft, closer to the tail rotor, which furthermore received small end plates to improve directional stability. The modified AH-1W prototype was aptly re-designated “AH-1-4BW” (4BW standing for “4-blade whiskey”), and there were plans to upgrade the type even further with a fully digitalized cockpit to meet contemporary requirements, e.g. for the British Army.

 

The West-German Bundesluftwaffe’s interest in the “outdated” AH-1 was initially only lukewarm, but when Bell offered to lend the AH-1-4BW prototype for evaluations and as a development mule for the eventual integration of the European HOT missile and indigenous sensors and avionics, a mutual agreement was signed in late 1987 to have the AH-1-4BW tested by the Luftwaffe in the environment where the type would be operated.

The AH-1-4BW prototype (s/n 166 022) was delivered to Manching in Southern Germany in summer 1988 on board of a C-5 Galaxy. It was operated by the Luftwaffe’s Wehrtechnische Dienststelle (WTD, Technical and Airworthiness Center for Aircraft) 61 for two years and successfully made several tests. This program was divided into three “Phases”. “Phase I” included focused on flight characteristics, tactical operations, and mock air-to-air combat against Luftwaffe CH-53s which acted as Mi-24 aggressors. Upon program start the AH-1-4BW received German markings, the registration 98+11, and a new, subdued paint scheme in Luftwaffe colors instead of the original USMC scheme in an overall medium green.

 

In “Phase I” the AH-1-4BW retained its American weapon systems, as the flight testing did not involve weapon deployment or integration. Instead, dummies or target designators were carried. After these initial tests that lasted almost a year Bell agreed to let the WTD 61 modify the AH-1-4BW further with European avionics to deploy the HOT 3 anti-tank missile, which would be the helicopter’s primal weapon in the German Heeresflieger’s service, since Germany did at that time neither use the similar American TOW nor the more sophisticated AGM-114 Hellfire, even though the German PARS 3 LR missile (also known as TRIGAT-LR: Third Generation AntiTank, Long Range) was already under development since 1988. This upgrade and test program section received the designation “Phase II”. Outwardly, the newly modified AH-1 was recognizable through a different sensor turret in the nose and a modified HOT missile sight for the gunner in the front seat.

 

In late 1989 the helicopter underwent another modification by WTD 61, which was to test equipment already intended for the PAH-2. Under the trials’ final “Phase III” the AH-1-4BW received a globular fairing on a mast on top of the main rotor, to test the tactical value of observing, identifying, and selecting targets while the helicopter would remain in cover. This sensor mast combined a panoramic IR camera with a targeting sight for anti-tank missiles and the gun turret, and it functionally replaced the standard chin sensor turret (which was brought back to AH-1W standard). Another novel feature was a streamlined, sugar scope-shaped exhaust diffusor with two chambers which guided hot gases upwards into the main rotor’s downwash, as an alternative to the original diffusors which only mixed cold ambient air with the hot efflux. It turned out to be very effective and was subsequently adapted for the Tiger. Other changes included a new hingeless three-blade tail rotor that was supposed to reduce operational noise and frequency issues with the new 4-blade main rotor, and the endplate stabilizers were enlarged to compensate for the huge “eyeball” on top of the main rotor which significantly changed the AH-1’s flight characteristics, especially at high speed.

 

Further tests of the Phase III SuperCobra lasted until summer 1990 and provided both Bell as well as the Luftwaffe with valuable benchmark data for further weapon system developments. When the lease contract ended in 1991, the AH-1-4BW was sent back to the United States. In the meantime, though, the political situation had changed dramatically. The USSR had ceased to exist, so that the Cold War threat especially in Europe had ended almost overnight after the Aérospatiale/MBB joint venture, now officially called Eurocopter, had signed an agreement in 1989 which financially secured the majority of the Tiger’s pending development through to serial production, including arrangements for two assembly lines to be built at Aerospatiale's Marignane plant and MBB's Donauwörth facility. This eventually saved the Tiger and in 1991 it had become clear that no American attack helicopter would be bought by either Germany or France. Great Britain as another potential European customer also declined the AH-1 and eventually procured the more modern AH-64 in the form of the license-built AgustaWestland Apache.

 

In 1992, the Eurocopter Group was officially established, and the Tiger moved closer to the hardware stage; this led to considerable consolidation of the aerospace industry and the Tiger project itself. A major agreement was struck in December 1996 between France and Germany that cemented the Tiger's prospects and committed the development of supporting elements, such as a series of new generation missile designs for use by the new helicopter. National political issues continued to affect the prospects of the Tiger, however. A proposed sale of up to 145 Tigers to Turkey proved a source of controversy; Turkey selected the Tiger as the preferred option, but conflicting attitudes between Eurocopter, France and Germany regarding military exports led to Turkey withdrawing its interest. Eventually, Turkey procured AH-1s and started an indigenous attack helicopter program.

 

However, the AH-1-4BW’s development and its vigorous testing in Germany were not in vain: Lacking a USMC contract, Bell developed this new design into the AH-1Z with its own funds during the 1990s and 2000s. By 1996, the Marines were again prevented from ordering the AH-64: developing a marine version of the Apache would have been expensive and it was likely that the Marine Corps would be its only customer. Instead, the service signed a contract for the upgrading of AH-1Ws into AH-1Zs, which incorporated many elements from the AH-1-4BW.

  

General characteristics:

Crew: Two (pilot, co-pilot/gunner)

Length: 58 ft 0 in (17.68 m) overall

45 ft 7 in (14 m) for fuselage only

Width: 10 ft 9 in (3.28 m) for stub wings only

Height: 13 ft 9 in (4.19 m)

13 ft 9 in (4.19 m) incl. Phase III sensor mast

Main rotor diameter: 42 ft 8 in (13.00 m)

Airfoil: blade root: DFVLR DM-H3; blade tip: DFVLR DM-H4

Main rotor area: 1,428.9 sq ft (132.75 m2)

Empty weight: 12,189 lb (5,534 kg)

Max. take-off weight: 18,492 lb (8.391 kg)

 

Powerplant:

2× General Electric T700-401 turboshaft engine, with 1,800 shp (1,342 kW)

 

Performance:

Maximum speed: 190 kn (220 mph, 350 km/h)

Never exceed speed: 190 kn (220 mph, 350 km/h)

Range: 317 nmi (365 mi, 587 km)

Service ceiling: 12,200 ft (3,700 m)

Rate of climb: 1,620 ft/min (8.2 m/s)

 

Armament:

1× 20 mm (0.787 in) M197 3-barreled Gatling cannon

in the A/A49E-7 chin turret (750 rounds ammo capacity)

4× hardpoints under the stub wings for a wide range of weapons, including…

- 20 mm (0.787 in) autocannon pods

- Twenty-two round pods with 68 mm (2.68 in) SNEB unguided rockets,

- Nineteen or seven round pods with 2.75” (70 mm) Hydra 70 or APKWS II rockets,

- 5” (127 mm) Zuni rockets – 8 rockets in two 4-round LAU-10D/A launchers

- Up to 8 TOW missiles in two 4-round XM65 missile launchers, on outboard hardpoints, or

up to 8 HOT3

up to 8 AGM-114 Hellfire missiles in 4-round M272 missile launchers, on outboard hardpoint,

- Up to 2 AIM-9 Sidewinder anti-aircraft missiles, launch rails above each outboard hardpoint or

up to 2 Air-to-Air Stinger (ATAS) air-to-air missiles in single launch tubes

  

The kit and its assembly:

This what-if model was inspired by the real attempts of Bell to sell a twin-engine Cobra variant to Germany as a replacement for the light PAH-1/Bo 105 helicopter, while plans were made to build an indigenous successor together with France which eventually became the PAH-2/Tiger. These proposals fell well into the time frame of the (also) real AH-14BW project, and I imagined that this specific helicopter had been lent to the Luftwaffe for evaluation?

 

The basis is the Italeri 1:72 AH-1W kit, a solid basis which requires some work, though. And because I had the remains of a French Tigre at hand (which gave its cockpit for my recent JASDF A-2 build) I decided to use some of the leftover parts for something that borders a kitbashing. This includes the 4-blade main and 3-blade tail rotor, and I integrated the Tiger’s scoop-shaped exhaust diffusor behind the main rotor – a tricky task that require a lot of PSR, but the result looks very natural, if not elegant? The Tiger’s end plate stabilizers were used, too, mounted to the AH-1’s trim stabilizers that were mounted further back, as on the real AH-1-4BW.

 

To change the look even further I decided to add a sensor pod on top of the main rotor, and this required a totally new mechanical solution to hold the latter. Eventually I integrated a sleeve for a fixed metal axis which also holds the sensor ball (from a MisterCraft Westland Lynx – a bit oversized, but suitable for a prototype), and the PAH-2 rotor received an arrangement of levers that hold it in place and still allow it to spin.

 

The ordnance was also taken from the Italeri Tigre, with HOT quadruple launchers for the outer weapon stations, the inner hardpoints were left empty and I also did not mount the American chaff/flare dispensers on top of the stub wings.

  

Painting and markings:

The Luftwaffe did a LOT of interesting camouflage experiments in the early Eighties, adopting several standardized schemes for aircraft, but the Heeresflieger were less enthusiastic and retained the overall Gelboliv (RAL 6014) scheme before a three-color camouflage, consisting of two green tones and a dirty black was gradually introduced – even though apparently not in a uniform fashion, because there were variations for the darker shade of green (retaining RAL 6014 or using FS 34079, as on the Luftwaffe Norm ’83 scheme that was applied to Tornado IDSs, RF-4Es, some Starfighters and to the Transall fleet).

 

My fictional AH-1-4BW would fall into that transitional phase and I decided to give the helicopter an experimental scheme, which was used/tested on early Tornado IDS, consisting of RAL 7021 (Teerschwarz), RAL 7012 (Basaltgrau) and RAL 6014 (Gelboliv) – on aircraft with undersides in RAL 7000 (Silbergrau), but on a helicopter rather as a wraparound scheme. However, inspired by Luftwaffe F-4Fs with a modified Norm ‘72 splinter scheme that added a simple light grey fin to break up the aircrafts’ profile in a side view, I used RAL 7030 (Steingrau) on the tail tip to achieve the same effect, and the light grey was also used, together with Basaltgrau und Gelboliv mottles on the sensor ball – looks a bit like WWII Luftwaffe style, but appeared plausible for the system’s tactical use from behind some ground cover. The cockpit interior became very dark grey, just like the rotor blades, which were adorned with orange warning markings at the tips – seen on some Luftwaffe helicopters instead of classic yellow or red-white-red bands.

 

The decals were puzzled together from various sources. National markings came from generic Luftwaffe sheets from TL Modellbau, the light blue WTD 61 emblems behind the cockpit were taken from a Peddinghaus decal sheet with early Luftwaffe unit markings. The dayglo panels were created with generic decal material (TL Modellbau, too) and stencils came mostly from a Fujimi AH-1 sheet, procuring German or even multi-language material appeared too tedious and costly.

The photo calibration markings on nose and fins were improvised from black and white decal sheet material, punched out, cut into quarters, and then applied as circles. Adds an experimental touch to the Cobra!

 

The kit received a light black ink washing and some post-panel-shading, esp. to brighten up the grey and increase the contrast between the camouflage tones, which appeared even more murky after the dayglow stripes had been added. Finally, the Cobra received an overall coat wit matt acrylic varnish, position lights were added/painted, and the sensor ball received sights made from yellow chrome PET foil, simply punched out and fixed into place with some Humbrol Clearfix.

  

This one took a while to materialize and was more work than one might expect at first glance. But it looks quite cool, esp. the PAH-2/Tiger’s exhaust fairing fits very well into the Cobra’s lines and adds an elegant touch to the helicopter. The “Eye ball” is a bit large, yes, but IMHO acceptable for a prototype or test vehicle. And the livery certainly conveys a German touch.

Sherborne is a market town and civil parish in north west Dorset, in South West England. It is sited on the River Yeo, on the edge of the Blackmore Vale, 6 miles ( 10 kilometres ) east of Yeovil. The A30 road, which connects London to Penzance, runs through the town. In the 2011 census the population of Sherborne parish and the two electoral wards was 9,523. 28.7% of the population is aged 65 or older. Sherborne's historic buildings include Sherborne Abbey, its manor house, independent schools, and two castles: the ruins of a 12th-century fortified palace and the 16th-century mansion known as Sherborne Castle built by Sir Walter Raleigh. Much of the old town, including the abbey and many medieval and Georgian buildings, is built from distinctive ochre-coloured ham stone. The town is served by Sherborne railway station.

The town was named scir burne by the Saxon inhabitants, a name meaning clear stream and is called as such in the Domesday book. Sherborne was made the capital of Wessex, one of the seven Saxon kingdoms of England, and King Alfred's elder brothers King Ethelbert and King Ethelbald are buried in the abbey. In 705 the diocese was split between Sherborne and Winchester, and King Ine founded an abbey for St Aldhelm, the first bishop of Sherborne. In 933, King Æthelstan granted land at Sherborne to the nuns of Shaftesbury Abbey under the condition that they would recite the Psalter once a year on All Saints' day and say prayers for the king. The bishop's seat was moved to Old Sarum in 1075 and the church at Sherborne became a Benedictine monastery. In the 15th century the church was burnt down during tensions between the town and the monastery, and rebuilt between 1425 and 1504 incorporating some of the Norman structure remains. In 1539 the monastery was bought by Sir John Horsey and became a conventional church. Sherborne was the centre of a hundred of the same name for many centuries. In the 12th century Roger de Caen, Bishop of Salisbury and Chancellor of England, built a fortified palace in Sherborne. The palace was destroyed in 1645 by General Fairfax, and its ruins are owned by English Heritage.

In 1594 Sir Walter Raleigh built an Elizabethan mansion in the grounds of the old palace, today known as Sherborne Castle.

Sherborne Castle And Classic and Super Car day.

This event I went to, on the 15th July 2017. A first time visit for me. I must say, I was disappointed with the event. It was for me disjointed. I found the Italian Day at Lymington before this event to be a, much more friendly day. And had over 50 Ferrari’s there, a lot more than they had at this special day. I understand the event was for charity and I do acknowledge that much effort and time went into the event to turn out as it did. However to have only 5 five Lamborghini’s there was a little disappointing. It was after all a Super Car day. I think the martial’s too could be better they didn’t seem to control the crowds much letting them walk into roped off areas, for protection from the cars and stopped many people getting photographs of the event by stepping in front of other spectators and the cars speeding past. Don’t get me wrong it was not a bad day just a day I thought could have been better.

Built by Sir Walter Raleigh in 1594 and stately home of the Digby family since 1617, Sherborne Castle is a Historic House which reflects a glorious variety of decorative styles from over 400 years of English history. Experience the Castle's rich interiors with splendid collections of art, furniture and porcelain. In the cellars see Raleigh's original kitchen and family artefacts and archaeological treasures in the museum. Outside, the eighteenth century gardens designed by Capability Brown with magnificent specimen trees, floral borders and sweeping lawns forming one of his finest Lake landscapes you will see. Delightful walks guide you round the 50-acre Lake, past Sir Walter Raleigh’s Seat to the river Cascade, close by to the adjacent medieval Castle ruins and on to Pope’s seat where you can watch the abundant wildlife on the lake.

In the Civil War Sherborne was strongly Royalist, and the old castle was left in ruins by General Fairfax of the Parliamentary forces in 1645. The name Sherborne Castle was then applied to the new house, though today the term Sherborne New Castle is generally used to refer to it, in the same manner as Sherborne Old Castle is used for the ruins.

Through the early and mid-18th century William, 5th Lord Digby, who laid out the grounds praised by Alexander Pope, and his heirs Edward, 6th Lord Digby, who inherited in 1752, and Henry, 7th Lord, created Earl Digby, laid out the present castle gardens, including the 1753 lake designed by Capability Brown, which separates the old and new castles. The ruins of the old castle are part of the gardens, being conspicuous amongst the trees across the lake. King George III visited the house and gardens in 1789, shortly before awarding Henry Digby with a peerage. When Edward, 2nd and last Earl Digby died in 1856 the house was passed to the Wingfield Digby family, who still own the house. The house was modernised by the architect Philip Charles Hardwick.

In the First World War the house was used by the Red Cross as a hospital and in the Second World War as the headquarters for the commandos involved in the D-Day landings. The gardens are Grade I listed in the National Register of Historic Parks and Gardens. They are open to the public much of the year, and the house is open to the public most Saturdays. The estate often hosts special events, such as concerts and firework displays. The old castle was leased by English Heritage and is now separate from the rest of the estate.

We sell different kinds of inflatable featured products include

 

bounce house,inflatable,bouncer,inflatable castles,inflatable

 

slides,inflatable sports,inflatable tent,inflatable water

 

games,inflatable pools,inflatable boat,inflatable air

 

dancer,inflatable balloons and so on.We also can produce the

 

inflatable bouncers as your design,size and colors.

If you have any further questions please let me know.

Email:info@yginflatable.com

website:http://www.pangoinflatable.com/

  

We sell different kinds of inflatable featured products include

 

bounce house,inflatable,bouncer,inflatable castles,inflatable

 

slides,inflatable sports,inflatable tent,inflatable water

 

games,inflatable pools,inflatable boat,inflatable air

 

dancer,inflatable balloons and so on.We also can produce the

 

inflatable bouncers as your design,size and colors.

If you have any further questions please let me know.

Email:info@yginflatable.com

website:http://www.pangoinflatable.com/

7 Cars 7 Countries 7 Days

 

A group of car enthusiasts, cars of which include six Porsches, a 991 50th anniversary, a 991 Carrera 2s, a 997 Targa 4S, 2 x 981 Boxster S and a 987 Cayman S plus one BMW Z4M roadster endeavour to travel 7 countries UK, Netherlands, Germany, Switzerland, France, Monaco & Italy in 7 days (10 day trip).

 

Along the way driving many of the best known French & Swiss mountain passes, drive around the Monaco public racetrack, Alfa Romeo, Porsche and Mercedes Museums.

 

Great friends, many laughs, long days, high speeds and incredible memories. Eurotrip 2017.

 

Website

www.tomscottphotography.co.uk

 

Like me on Facebook

tomscottphotography

 

Follow me on Twitter

 

Email me: tomscottphotography@hotmail.com

 

All rights reserved, permission must be granted for any use (including website posting)

Final Project:

You will be required to work on a project that includes photographing (a minimum of) five different individuals in the style of your choice. Once you have selected the style, keep it consistent throughout the series.

 

You will also need:

 

1. an establishing shot (an image that tells us something about your idea. For example if you were to do a series of chefs the establishing shot could be a close-up of a measuring spoons.)

2. a self-portrait, with a brief artist statement

   

Side Note: A lot of thing didn't come through like I had wanted. Had flakey models, then scored on a really expressive friend of a friend, and I got these new to me models that showed up and kicked ass, then I got severely sick and ended up in urgent care Monday, etc. But hopefully I was able to get domestic abuse portrayed like I wanted to. I decided not to try for sexual abuse because no matter how I tried it, it could be construed as porn, and that isn't something I wish to ever touch upon.

 

Artist's Statement:

Emmy's work is influenced by elements in the world that most people consider to be imperfect, broken, or weak. She builds upon imperfection because it is the only true indicator of character and beauty. She captures imperfection as the summit of her art. She is inspired by things that surround her every day, and uses them as a creative base. As the proud divorced, single mother of five closely spaced children she has no shortage of material from which to draw.

 

With her work, it is difficult to ignore the obvious experience and background Emmy has in graphic design. In addition to photography and graphic design, she is an entrepreneur, business ideas person, CEO of a small assessment corporation, movie scriptwriter, mother, and friend to all, even those pesky telemarketers if they happen to catch her on the telephone at home.

 

The most important thing to Emmy is the opportunity to create art. To be an artist, even an unknown one, is more important to her than going forth and finding notoriety. She feels the only way for her to create is to continue growing as an artist whether by introducing new techniques, new mediums, or a combination of both. Her primary focus is on creating art that reaches across boundaries. She creates art that speaks figuratively and demands its own place within its world. She tries to create art that will link people to her, and with her.

 

Fast Facts on Domestic Violence

 

Battering on women is the most under reported crime in America.

 

Domestic violence is the leading cause of injury to women between the ages of 15 and 44 in the United States; more than car accidents, muggings, and rapes combined. "Violence Against Women, A Majority Staff Report," Committee on the Judiciary, United States Senate, 102nd Congress, October 1992, p.3.

 

Three to four million women in the United States are beaten in their homes each year by their husbands, ex-husbands, or male lovers. "Women and Violence," Hearings before the U.S. Senate Judiciary Committee, August 29 and December 11, 1990, Senate Hearing 101-939, pt. 1, p. 12.

 

One woman is beaten by her husband or partner every 15 seconds in the United States. Uniform Crime Reports, Federal Bureau of Investigation, 1991.

 

About 1 out of 4 women are likely to be abused by a partner in her lifetime. Sara Glazer, "Violence, Against Women" CO Researcher, Congressional Quarterly, Inc., Volume 3, Number 8, February, 1993, p. 171.

 

Approximately 95% of the victims of domestic violence are women. Statistics, National Clearinghouse for the Defense of Battered Women, Ruth Peachey, M.D. 1988.

 

Police report that between 40% and 60% of the calls they receive, especially on the night shift, are domestic violence disputes. Carrillo, Roxann "Violence Against Women: An Obstacle to Development," Human Development Report, 1990.

 

Battering occurs among people of all races, ages, socio-economic classes, religious affiliations, occupations, and educational backgrounds.

 

Fifty percent of all homeless women and children in this country are fleeing domestic violence. Senator Joseph Biden, U.S. Senate Committee on the Judiciary, Violence Against Women: Victims of the System, 1991.

 

A battering incident is rarely an isolated event.

 

Battering tends to increase and become more violent over time.

 

Many batterers learned violent behavior growing up in an abusive family.

 

25% - 45% of all women who are battered are battered during pregnancy.

 

Domestic violence does not end immediately with separation. Over 70% of the women injured in domestic violence cases are injured after separation.

 

Domestic violence is not only physical and sexual violence but also psychological. Psychological violence means intense and repetitive degradation, creating isolation, and controlling the actions or behaviors of the spouse through intimidation or manipulation to the detriment of the individual. "Five Year State Master Plan for the Prevention of and Service for Domestic Violence." Utah State Department of Human Services, January 1994.

The Lidl Run Kildare Events 2013 were held at the Curragh Racecourse, Newbridge, Co. Kildare, Ireland on Sunday 12th May 2013. There were three events: a 10KM, a half marathon, and a full marathon. This is a selection of photographs which includes all events. The photographs are taken from the start and finish of the marathon, the finish of the 10KM, and the finish of the half marathon. Due to the large numbers participating we did not manage to photograph everyone - which was not helped by the weather. Congratulations to Jo Cawley and her RunKildare crew for another great event. The weather didn't dampen the spirits of the many happy participants.

 

Electronic timing was provided by Red Tag Timing [www.redtagtiming.com/]

 

Overall Race Summary

Participants: There were approximately 3,000 participants over the 3 race events - there were runners, joggers, and walkers participating.

Weather: A cold breezy morning with heavy rain at the start. The weather dried up for the 10KM and the Half Marathon races

Course: This is an undulating course with some good flat stretches on the Curragh.

  

Viewing this on a smartphone device?

If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".

 

Some Useful Links

GPS Garmin Trace of the Kildare Marathon Route: connect.garmin.com/activity/175709313

Homepage of the Lidl Run Kildare Event: www.kildaremarathon.ie/index.html

Facebook Group page of the Lidl Run Kildare Event: www.facebook.com/RunKildare

Boards.ie Athletics Discussion Board pages about the race series: www.boards.ie/vbulletin/showthread.php?t=2056815306

Our photographs from Run Kildare 2012: www.flickr.com/photos/peterm7/sets/72157629707887620/

Our photographs from Run Kildare 2011: www.flickr.com/photos/peterm7/sets/72157626725200956/

A small selection of photographs from Run Kildare 2010: www.flickr.com/photos/peterm7/sets/72157623899845567/ (first event)

 

Can I use the photograph with the watermark?

Yes! Absolutely - you can post this photograph to your social networks, blogs, micro-blogging, etc.

 

How can I get a full resolution, no watermark, copy of these photographs?

 

All of the photographs here on this Flickr set have a visible watermark embedded in them. All of the photographs posted here on this Flickr set are available, free, at no cost, at full resolution WITHOUT watermark. We take these photographs as a hobby and as a contribution to the running community in Ireland. We do not know of any other photographers who operate such a policy. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, web multimedia, commercial/promotional material that you provide a link back to our Flickr page to attribute us. This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.

 

Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.

 

In summary please remember - all we ask is for you to link back to our Flickr set or Flickr pages. Taking the photographs and preparing them for online posting does take a significant effort. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.

 

If you would like to contribute something for your photograph(s)?

Some people offer payment for our photographs. We do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would pay for their purchase from other photographic providers we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.

 

I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?

 

As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:

 

     ►You were hidden behind another participant as you passed our camera

     ►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set

     ►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone

     ►We simply missed you - sorry about that - we did our best!

  

You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.

 

Don't like your photograph here?

That's OK! We understand!

 

If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.

 

I want to tell people about these great photographs!

Great! Thank you! The best link to spread the word around is probably www.flickr.com/peterm7/sets

  

+++ 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:

The Bell AH-1 SuperCobra is a twin-engined attack helicopter that was developed on behalf of, and primarily operated by, the United States Marine Corps (USMC). The twin Cobra family, itself part of the larger Huey family, includes the AH-1J SeaCobra, the AH-1T Improved SeaCobra, and the AH-1W SuperCobra. The Super Cobra was derived from the single-engine AH-1 Cobra, which had been developed during the mid-1960s as an interim gunship for the U.S. Army. The USMC had quickly taken an interest in the type but sought a twin-engine arrangement for greater operational safety at sea, along with more capable armaments. While initially opposed by the Department of Defense, who were keen to promote commonality across the services, in May 1968, an order for an initial 49 twin-engine AH-1J SeaCobras was issued to Bell. The type entered service during the final months of the US's involvement in the Vietnam War, seeing limited action in the theatre as a result.

 

The USMC promptly sought greater payload capacity than that provided by the original Sea Cobra; thus the AH-1T, equipped with the dynamic systems of the Model 309 and a lengthened fuselage, was produced by Bell during the 1970s. In the following decade, in response to the denial of funding to procure the Boeing AH-64 Apache attack helicopter, the USMC opted to procure a more capable variant of the AH-1T; equipped with revised fire control systems compatible with new munitions, such as the AGM-114 Hellfire anti-tank missile, the new model, designated AH-1W, commenced delivery in 1986.

 

In the early 1980s, the Marine Corps sought a new navalized helicopter. Accordingly, it evaluated the Boeing AH-64 Apache attack helicopter as first choice over a two-week period in September 1981, which included shipboard operation tests. Furthermore, various concepts were studied at this time. However, the service's request for funding to purchase the AH-64 was denied by Congress that same year. As an alternative option, the Marines procured a more powerful version of the AH-1T. Other changes included modified fire control systems to carry and fire AIM-9 Sidewinder and AGM-114 Hellfire missiles. The new version, which was funded by Congress, received the AH-1W designation. During March 1986, deliveries of the AH-1W SuperCobra commenced, eventually totaling 179 new-built helicopters along with the upgrading of 43 existing AH-1Ts.

 

This development also fell into the period when Great Britain was looking for a potential attack helicopter for the British Army, and Western Germany was - together with France - about to mutually develop a new attack helicopter that would in Germany replace the PAH-1, the light Bo 105 helicopter armed with six HOT anti-tank missiles. In 1984, the French and West German governments had issued a requirement for an advanced antitank helicopter, with one variant desired by the French dedicated to the escort and antihelicopter role. As originally planned, both countries would procure a total of 427 helicopters called “Tiger”. The West Germans planned on acquiring 212 models of the anti-tank variant named PAH-2 (Panzerabwehrhubschrauber or "Anti-tank helicopter"), with deliveries starting at the end of 1992. The French wanted 75 HAPs (Hélicoptère d'Appui Protection or "Support and Escort Helicopter") and 140 HACs (Hélicoptère Anti Char or "Anti-Tank Helicopter"), with deliveries starting at the end of 1991 and 1995, respectively. In the meantime, the USA also offered both the AH-1 as well as the more modern AH-64 as alternatives.

 

Development of the Tiger started during the Cold War, and it was initially intended as a pure anti-tank helicopter platform to be used against a Soviet ground invasion of Western Europe. A joint venture, consisting of Aérospatiale and MBB, was subsequently chosen as the preferred supplier, but in 1986 the development program was already canceled again due to spiraling costs: it had been officially calculated that supplying the German forces with an equivalent number of US-produced McDonnell Douglas AH-64 Apache attack helicopters would have been a considerably cheaper alternative to proceeding with the Tiger’s development, which became a more and more complex project because the helicopter would have to be able to fulfill more roles, and the duty profiles of Germany and France became significantly different. According to statements by the French Defence Minister André Giraud in April 1986, the collaborative effort had become more expensive than an individual national program and was also forecast to take longer to complete.

 

This opened the door for American proposals even wider, and beyond the state-of-the-art AH-64 Bell proposed a further upgraded two-engine AH-1W. Bell had been working as a private initiative with both the AH-1T+ demonstrator and the AH-1W prototype, and developed a new experimental hingeless rotor system with four composite blades, designed to withstand up to 23 mm rounds and thus greatly improving battlefield survivability. This new main rotor was manually foldable, reduced vibrations and allowed the engine power to be increased, thus greatly improving the SuperCobra’s performance and load capabilities. The twin engine’s power had until then been restricted, but in the AH-1-4BW the power was liberated to full 1,800 shp (1,342 kW), with a reinforced gearbox that could even cope with 2.400 shp. Top speed climbed by 23 mph/37 km/h, rate of climb improved, and the load capability was raised by 1.000 lb (450 kg). The AH-1-4BW was now able to fly a full looping, something the AH-1 had not been able to do before. However, empty weight of this demonstrator helicopter climbed to 12,189 lb (5,534 kg) and the maximum TOW to 18,492 lb (8.391 kg).

 

Other changes included a different position for the stabilizers further aft, closer to the tail rotor, which furthermore received small end plates to improve directional stability. The modified AH-1W prototype was aptly re-designated “AH-1-4BW” (4BW standing for “4-blade whiskey”), and there were plans to upgrade the type even further with a fully digitalized cockpit to meet contemporary requirements, e.g. for the British Army.

 

The West-German Bundesluftwaffe’s interest in the “outdated” AH-1 was initially only lukewarm, but when Bell offered to lend the AH-1-4BW prototype for evaluations and as a development mule for the eventual integration of the European HOT missile and indigenous sensors and avionics, a mutual agreement was signed in late 1987 to have the AH-1-4BW tested by the Luftwaffe in the environment where the type would be operated.

The AH-1-4BW prototype (s/n 166 022) was delivered to Manching in Southern Germany in summer 1988 on board of a C-5 Galaxy. It was operated by the Luftwaffe’s Wehrtechnische Dienststelle (WTD, Technical and Airworthiness Center for Aircraft) 61 for two years and successfully made several tests. This program was divided into three “Phases”. “Phase I” included focused on flight characteristics, tactical operations, and mock air-to-air combat against Luftwaffe CH-53s which acted as Mi-24 aggressors. Upon program start the AH-1-4BW received German markings, the registration 98+11, and a new, subdued paint scheme in Luftwaffe colors instead of the original USMC scheme in an overall medium green.

 

In “Phase I” the AH-1-4BW retained its American weapon systems, as the flight testing did not involve weapon deployment or integration. Instead, dummies or target designators were carried. After these initial tests that lasted almost a year Bell agreed to let the WTD 61 modify the AH-1-4BW further with European avionics to deploy the HOT 3 anti-tank missile, which would be the helicopter’s primal weapon in the German Heeresflieger’s service, since Germany did at that time neither use the similar American TOW nor the more sophisticated AGM-114 Hellfire, even though the German PARS 3 LR missile (also known as TRIGAT-LR: Third Generation AntiTank, Long Range) was already under development since 1988. This upgrade and test program section received the designation “Phase II”. Outwardly, the newly modified AH-1 was recognizable through a different sensor turret in the nose and a modified HOT missile sight for the gunner in the front seat.

 

In late 1989 the helicopter underwent another modification by WTD 61, which was to test equipment already intended for the PAH-2. Under the trials’ final “Phase III” the AH-1-4BW received a globular fairing on a mast on top of the main rotor, to test the tactical value of observing, identifying, and selecting targets while the helicopter would remain in cover. This sensor mast combined a panoramic IR camera with a targeting sight for anti-tank missiles and the gun turret, and it functionally replaced the standard chin sensor turret (which was brought back to AH-1W standard). Another novel feature was a streamlined, sugar scope-shaped exhaust diffusor with two chambers which guided hot gases upwards into the main rotor’s downwash, as an alternative to the original diffusors which only mixed cold ambient air with the hot efflux. It turned out to be very effective and was subsequently adapted for the Tiger. Other changes included a new hingeless three-blade tail rotor that was supposed to reduce operational noise and frequency issues with the new 4-blade main rotor, and the endplate stabilizers were enlarged to compensate for the huge “eyeball” on top of the main rotor which significantly changed the AH-1’s flight characteristics, especially at high speed.

 

Further tests of the Phase III SuperCobra lasted until summer 1990 and provided both Bell as well as the Luftwaffe with valuable benchmark data for further weapon system developments. When the lease contract ended in 1991, the AH-1-4BW was sent back to the United States. In the meantime, though, the political situation had changed dramatically. The USSR had ceased to exist, so that the Cold War threat especially in Europe had ended almost overnight after the Aérospatiale/MBB joint venture, now officially called Eurocopter, had signed an agreement in 1989 which financially secured the majority of the Tiger’s pending development through to serial production, including arrangements for two assembly lines to be built at Aerospatiale's Marignane plant and MBB's Donauwörth facility. This eventually saved the Tiger and in 1991 it had become clear that no American attack helicopter would be bought by either Germany or France. Great Britain as another potential European customer also declined the AH-1 and eventually procured the more modern AH-64 in the form of the license-built AgustaWestland Apache.

 

In 1992, the Eurocopter Group was officially established, and the Tiger moved closer to the hardware stage; this led to considerable consolidation of the aerospace industry and the Tiger project itself. A major agreement was struck in December 1996 between France and Germany that cemented the Tiger's prospects and committed the development of supporting elements, such as a series of new generation missile designs for use by the new helicopter. National political issues continued to affect the prospects of the Tiger, however. A proposed sale of up to 145 Tigers to Turkey proved a source of controversy; Turkey selected the Tiger as the preferred option, but conflicting attitudes between Eurocopter, France and Germany regarding military exports led to Turkey withdrawing its interest. Eventually, Turkey procured AH-1s and started an indigenous attack helicopter program.

 

However, the AH-1-4BW’s development and its vigorous testing in Germany were not in vain: Lacking a USMC contract, Bell developed this new design into the AH-1Z with its own funds during the 1990s and 2000s. By 1996, the Marines were again prevented from ordering the AH-64: developing a marine version of the Apache would have been expensive and it was likely that the Marine Corps would be its only customer. Instead, the service signed a contract for the upgrading of AH-1Ws into AH-1Zs, which incorporated many elements from the AH-1-4BW.

  

General characteristics:

Crew: Two (pilot, co-pilot/gunner)

Length: 58 ft 0 in (17.68 m) overall

45 ft 7 in (14 m) for fuselage only

Width: 10 ft 9 in (3.28 m) for stub wings only

Height: 13 ft 9 in (4.19 m)

13 ft 9 in (4.19 m) incl. Phase III sensor mast

Main rotor diameter: 42 ft 8 in (13.00 m)

Airfoil: blade root: DFVLR DM-H3; blade tip: DFVLR DM-H4

Main rotor area: 1,428.9 sq ft (132.75 m2)

Empty weight: 12,189 lb (5,534 kg)

Max. take-off weight: 18,492 lb (8.391 kg)

 

Powerplant:

2× General Electric T700-401 turboshaft engine, with 1,800 shp (1,342 kW)

 

Performance:

Maximum speed: 190 kn (220 mph, 350 km/h)

Never exceed speed: 190 kn (220 mph, 350 km/h)

Range: 317 nmi (365 mi, 587 km)

Service ceiling: 12,200 ft (3,700 m)

Rate of climb: 1,620 ft/min (8.2 m/s)

 

Armament:

1× 20 mm (0.787 in) M197 3-barreled Gatling cannon

in the A/A49E-7 chin turret (750 rounds ammo capacity)

4× hardpoints under the stub wings for a wide range of weapons, including…

- 20 mm (0.787 in) autocannon pods

- Twenty-two round pods with 68 mm (2.68 in) SNEB unguided rockets,

- Nineteen or seven round pods with 2.75” (70 mm) Hydra 70 or APKWS II rockets,

- 5” (127 mm) Zuni rockets – 8 rockets in two 4-round LAU-10D/A launchers

- Up to 8 TOW missiles in two 4-round XM65 missile launchers, on outboard hardpoints, or

up to 8 HOT3

up to 8 AGM-114 Hellfire missiles in 4-round M272 missile launchers, on outboard hardpoint,

- Up to 2 AIM-9 Sidewinder anti-aircraft missiles, launch rails above each outboard hardpoint or

up to 2 Air-to-Air Stinger (ATAS) air-to-air missiles in single launch tubes

  

The kit and its assembly:

This what-if model was inspired by the real attempts of Bell to sell a twin-engine Cobra variant to Germany as a replacement for the light PAH-1/Bo 105 helicopter, while plans were made to build an indigenous successor together with France which eventually became the PAH-2/Tiger. These proposals fell well into the time frame of the (also) real AH-14BW project, and I imagined that this specific helicopter had been lent to the Luftwaffe for evaluation?

 

The basis is the Italeri 1:72 AH-1W kit, a solid basis which requires some work, though. And because I had the remains of a French Tigre at hand (which gave its cockpit for my recent JASDF A-2 build) I decided to use some of the leftover parts for something that borders a kitbashing. This includes the 4-blade main and 3-blade tail rotor, and I integrated the Tiger’s scoop-shaped exhaust diffusor behind the main rotor – a tricky task that require a lot of PSR, but the result looks very natural, if not elegant? The Tiger’s end plate stabilizers were used, too, mounted to the AH-1’s trim stabilizers that were mounted further back, as on the real AH-1-4BW.

 

To change the look even further I decided to add a sensor pod on top of the main rotor, and this required a totally new mechanical solution to hold the latter. Eventually I integrated a sleeve for a fixed metal axis which also holds the sensor ball (from a MisterCraft Westland Lynx – a bit oversized, but suitable for a prototype), and the PAH-2 rotor received an arrangement of levers that hold it in place and still allow it to spin.

 

The ordnance was also taken from the Italeri Tigre, with HOT quadruple launchers for the outer weapon stations, the inner hardpoints were left empty and I also did not mount the American chaff/flare dispensers on top of the stub wings.

  

Painting and markings:

The Luftwaffe did a LOT of interesting camouflage experiments in the early Eighties, adopting several standardized schemes for aircraft, but the Heeresflieger were less enthusiastic and retained the overall Gelboliv (RAL 6014) scheme before a three-color camouflage, consisting of two green tones and a dirty black was gradually introduced – even though apparently not in a uniform fashion, because there were variations for the darker shade of green (retaining RAL 6014 or using FS 34079, as on the Luftwaffe Norm ’83 scheme that was applied to Tornado IDSs, RF-4Es, some Starfighters and to the Transall fleet).

 

My fictional AH-1-4BW would fall into that transitional phase and I decided to give the helicopter an experimental scheme, which was used/tested on early Tornado IDS, consisting of RAL 7021 (Teerschwarz), RAL 7012 (Basaltgrau) and RAL 6014 (Gelboliv) – on aircraft with undersides in RAL 7000 (Silbergrau), but on a helicopter rather as a wraparound scheme. However, inspired by Luftwaffe F-4Fs with a modified Norm ‘72 splinter scheme that added a simple light grey fin to break up the aircrafts’ profile in a side view, I used RAL 7030 (Steingrau) on the tail tip to achieve the same effect, and the light grey was also used, together with Basaltgrau und Gelboliv mottles on the sensor ball – looks a bit like WWII Luftwaffe style, but appeared plausible for the system’s tactical use from behind some ground cover. The cockpit interior became very dark grey, just like the rotor blades, which were adorned with orange warning markings at the tips – seen on some Luftwaffe helicopters instead of classic yellow or red-white-red bands.

 

The decals were puzzled together from various sources. National markings came from generic Luftwaffe sheets from TL Modellbau, the light blue WTD 61 emblems behind the cockpit were taken from a Peddinghaus decal sheet with early Luftwaffe unit markings. The dayglo panels were created with generic decal material (TL Modellbau, too) and stencils came mostly from a Fujimi AH-1 sheet, procuring German or even multi-language material appeared too tedious and costly.

The photo calibration markings on nose and fins were improvised from black and white decal sheet material, punched out, cut into quarters, and then applied as circles. Adds an experimental touch to the Cobra!

 

The kit received a light black ink washing and some post-panel-shading, esp. to brighten up the grey and increase the contrast between the camouflage tones, which appeared even more murky after the dayglow stripes had been added. Finally, the Cobra received an overall coat wit matt acrylic varnish, position lights were added/painted, and the sensor ball received sights made from yellow chrome PET foil, simply punched out and fixed into place with some Humbrol Clearfix.

  

This one took a while to materialize and was more work than one might expect at first glance. But it looks quite cool, esp. the PAH-2/Tiger’s exhaust fairing fits very well into the Cobra’s lines and adds an elegant touch to the helicopter. The “Eye ball” is a bit large, yes, but IMHO acceptable for a prototype or test vehicle. And the livery certainly conveys a German touch.

Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint), and electronic drawing.

 

An artist who practices or works in technical drawing may be called a drafter, draftsman, or draughtsman.[1]

 

A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[2] The wide availability of drawing instruments makes drawing one of the most common artistic activities.

Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.

Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.

 

There are several categories of drawing, including figure drawing, cartooning, doodling and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).

 

A quick, unrefined drawing may be called a sketch.

 

In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.

Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.

 

Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]

 

The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.

 

Drawing Outside of the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.[16]

 

Notable draftsmen[edit]

Since the 14th century, each century has produced artists who have created great drawings.

 

Notable draftsmen of the 14th, 15th and 16th centuries include Leonardo da Vinci, Albrecht Dürer, Michelangelo and Raphael.

Notable draftsmen of the 17th century include Claude, Nicolas Poussin, Rembrandt, Guercino, and Peter Paul Rubens.

Notable draftsmen of the 18th century include Jean-Honoré Fragonard, Giovanni Battista Tiepolo, and Antoine Watteau.

Notable draftsmen of the 19th century include Paul Cézanne, Aubrey Beardsley, Jacques-Louis David, Pierre-Paul Prud'hon, Edgar Degas, Théodore Géricault, Francisco Goya, Jean Ingres, Odilon Redon, Henri de Toulouse-Lautrec, Honoré Daumier, and Vincent van Gogh.

Notable draftsmen of the 20th century include Käthe Kollwitz, Max Beckmann, Jean Dubuffet, George Grosz, Egon Schiele, Arshile Gorky, Paul Klee, Oscar Kokoschka, Alphonse Mucha, M. C. Escher, André Masson, Jules Pascin, and Pablo Picasso.

The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[18] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.

 

Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[19] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.

 

Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.

 

Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.

 

The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.

Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[20]

 

Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.

 

The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[21] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[22]

 

Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.

 

Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.

 

Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.

 

Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[23]

Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.

 

Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.

 

Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.

 

Form and proportion[edit]Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.

 

When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive shapes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic shapes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive shapes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[24]

 

A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.

 

Perspective[edit]

Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[25] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.

 

Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.

 

Recipe includes Tasmanian Pepper (also known as Mountain Pepper) gives a new twist on a German Spice Cookie. Recipe at www.what-about-the-food.com

Private Robert Quantrill

 

Amended - see comments below. For now I'm not quite sure who is commemorated here.

 

1909 postmarked (at Matthews) postcard view of a RFD carrier and his wagon. The message includes, "I suppose you recognize this man" and is signed "Virgil." The 1910 census lists Virgil's father, Albert L. Ritter, as a rural route mail carrier living in Matthews. We don't know where the photo was taken.

 

From a private collection.

 

A closeup section of this postcard can be seen here.

 

www.flickr.com/photos/hoosier_recollections/6877945091/in...

Modular by design, our turbo-back systems are available in street or race configurations. Street series systems include a Magnaflow 200 cell catalytic converter. Race series systems include a test pipe. On race day the cat can be easily swapped for a test pipe. Six unique tip fitments allow our turbo-backs to fit any mk4 1.8T. Our 1.8T turbo-backs are technically a combination of our 3" downpipes and our 2.5" & 3" cat-backs. Repeating the features of our downpipes and cat-backs would only make a long story longer. One feature our downpipes and cat-backs can't boast on their own is power gain. In our extensive testing we were able to dyno test a 'typical' mk4 and measure the changes. We used a relatively stock 2002 GTI 337 edition. The car was chipped, had a cold air intake and an aftermarket diverter valve. No other engine modifications were made to the car. Equipped with stock exhaust, we drove the car thoroughly and dyno tested it. The stock exhaust was swapped out for our 3" turbo-back system and the car was driven to adapt then dyno tested again. With weather conditions literally exact we measured peak gains of 22.5 hp and 48 lb/ft to the wheels! Power gains were felt all over. Boost was built faster and held out longer with the stock turbocharger. No power losses were felt at any point in the powerband. Turbo-back pricing starts at $770 and varies by series, pipe size and tip fitment. All configurations can be purchased.

This photo was taken at a friend's house watching the Ohio State away game (Go Bucks!) and includes one of my closest friends. It features the "Bald" filter by Brielle Garcia on Snapchat. This filter's main feature is to obviously make the user appear bald but it also does a bit of smoothing and evening to the skin. The rest of the face remains untouched/unaltered. I am wearing a full face of makeup here as well with false lashes

I wanted to include this photo, ridiculous as it is, because it shows that filters don't always have to be so serious and about "fixing your flaws" and everything else they can suck you into. Filters can also be fun, they can make you and others laugh, and be a good way to capture the moment as well. I look at this photo and I see the fun we all had that night, the laughs, and the good memories. Though a more serious selfie could capture those same things, it feels different and honestly personally preferable to see them this way. This was much more about capturing a moment and the energy associated with that moment than anything else. My student identity as an Ohio Stater and my social identity coincide beautifully here. Taking time away from studies to hang out with friends and watch the game is a great way to relax. Here, there is social pressure but when you're with the right group of people it kind of fades away. I could show up no-makeup in a t-shirt or like this and both are equally accepted. Though this a filter, it actually allows me to express my personality a lot and I feel like the true version of myself is shown more.

The Royal Exchange is a grade II listed building in Manchester, England. It is located in the city centre on land bounded by St Ann's Square, Exchange Street, Market Street, Cross Street and Old Bank Street. The complex includes the Royal Exchange Theatre and the Royal Exchange Shopping Centre.

 

The Royal Exchange was heavily damaged in the Manchester Blitz and in the 1996 Manchester bombing. The current building is the last of several buildings on the site used for commodities exchange, primarily but not exclusively of cotton and textiles.

 

The cotton industry in Lancashire was served by the cotton importers and brokers based in Liverpool who supplied Manchester and surrounding towns with the raw material needed to spin yarns and produce finished textiles. The Liverpool Cotton Exchange traded in imported raw cotton. In the 18th century, the trade was part of the slave trade in which African slaves were transported to America where the cotton was grown and then exported to Liverpool where the raw cotton was sold. The raw cotton was processed in Manchester and the surrounding cotton towns and Manchester Royal Exchange traded in spun yarn and finished goods throughout the world including Africa. Manchester's first exchange opened in 1729 but closed by the end of the century. As the cotton industry boomed, the need for a new exchange was recognised.

 

Thomas Harrison designed the new exchange of 1809 at the junction of Market Street and Exchange Street. Harrison designed the exchange in the Classical style. It had two storeys above a basement and was constructed in Runcorn stone. The cost, £20,000, was paid for in advance by 400 members who bought £50 shares and paid £30 each to buy the site. The semi-circular north façade had fluted Doric columns. The exchange room where business was conducted covered 812 square yards. The ground floor also contained the members' library with more than 15,000 books. The basement housed a newsroom lit by a dome and plate-glass windows, its ceiling was supported by a circle of Ionic pillars spaced 15 feet (4.6 m) from the walls. The first-floor dining-room was accessed by a geometrical staircase. The exchange opened to celebrate the birthday of George III in 1809. It also contained other anterooms and offices.

 

As the cotton trade continued to expand, larger premises were required and its extension was completed in 1849. The Exchange was run by a committee of notable Manchester industrialists. From 1855 to 1860, the committee was chaired by Edmund Buckley.

 

The second exchange was replaced by a third designed by Mills & Murgatroyd, constructed between 1867 and 1874. It was extended and modified by Bradshaw Gass & Hope between 1914 and 1931 to form the largest trading hall in England.The trading hall had three domes and was double the size of the current hall. The colonnade parallel to Cross Street marked its centre. On trading days merchants and brokers struck deals which supported the jobs of tens of thousands of textile workers in Manchester and the surrounding towns. Manchester's cotton dealers and manufacturers trading from the Royal Exchange earned the city the name, Cottonopolis.

 

The exchange was seriously damaged during World War II when it took a direct hit from a bomb during a German air raid in the Manchester Blitz at Christmas in 1940. Its interior was rebuilt with a smaller trading area. The top stages of the clock tower, which had been destroyed, were replaced in a simpler form. Trading ceased in 1968, and the building was threatened with demolition.

 

The exchange has four storeys and two attic storeys built on a rectangular plan in Portland stone. It was designed in the Classical style. Its slate roof has three glazed domes and on the ground floor an arcade orientated east to west. It has a central atrium at first-floor level. The ground floor facade has channelled rusticated piers and the first, second and third floors have Corinthian columns with entablature and a modillioned cornice. The first attic storey has a balustraded parapet while the second attic storey has a mansard roof. At the north-west corner is a Baroque turret and there are domes over other corners. The west side has a massive round-headed entrance arch with wide steps up and the first and second floor windows have round-headed arches. The third floor and first attic storey have mullioned windows.

 

The building remained empty until 1973, when it was used to house a theatre company (69 Theatre Company); the company performed in a temporary theatre but there were plans for a permanent theatre whose cost was then estimated at £400,000. The Royal Exchange Theatre was founded in 1976 by five artistic directors: Michael Elliott, Caspar Wrede, Richard Negri, James Maxwell and Braham Murray. The theatre was opened by Laurence Olivier on 15 September 1976.In 1979, the artistic directorship was augmented by the appointment of Gregory Hersov.

 

The building was damaged on 15 June 1996 when an IRA bomb exploded in Corporation Street less than 50 yards away. The blast caused the dome to move, although the main structure was undamaged. That the adjacent St Ann's Church survived almost unscathed is probably due to the sheltering effect of the stone-built exchange. Repairs, which were undertaken by Birse Group, took over two years and cost £32 million, a sum provided by the National Lottery. While the exchange was rebuilt, the theatre company performed in Castlefield. The theatre was repaired and provided with a second performance space, the Studio, a bookshop, craft shop, restaurant, bars and rooms for corporate hospitality. The theatre's workshops, costume department and rehearsal rooms were moved to Swan Street. The refurbished theatre re-opened on 30 November 1998 by Prince Edward. The opening production, Stanley Houghton's Hindle Wakes was the play that should have opened the day the bomb was exploded.

 

In 1999 the Royal Exchange was awarded "Theatre of the Year" in the Barclays Theatre Awards, in recognition of its refurbishment and ambitious re-opening season.

 

In 2014 Sarah Frankcom was appointed the sole artistic director.

 

In January 2016, the Royal Exchange was awarded Regional Theatre of the Year by The Stage. In announcing the award, The Stage said: "This was the year that artistic director Sarah Frankcom really hit her stride at the Royal Exchange. The Manchester theatre in the round's output during 2015 delivered its best year in quite some time."

 

In January 2018, the Royal Exchange Young Company won the "School of the Year" award at The Stage Awards 2018.

 

On 28 March 2019, the Royal Exchange announced that Frankcom was stepping down as artistic director of the theatre to take up a new post as director of the prestigious drama school LAMDA. On 8 July 2019, the theatre announced the appointment of Bryony Shanahan and Roy Alexander Weise as joint artistic directors.

 

The theatre features a seven-sided steel and glass module that squats within the building's Great Hall. It is a pure theatre in the round in which the stage area is surrounded on all sides, and above, by seating. Its unique design conceived by Richard Negri of the Wimbledon School of Art is intended to create a vivid and immediate relationship between actors and audiences. As the floor of the exchange was unable to take the weight of the theatre and its audience, the module is suspended from the four columns carrying the hall's central dome. Only the stage area and ground-level seating rest on the floor. The 150-ton theatre structure opened in 1976 at a cost of £1 million amid some scepticism from Mancunians.]

 

The theatre can seat an audience of up to 800 on three levels, making it the largest theatre in the round in the world. There are 400 seats at ground level in a raked configuration, above which are two galleries, each with 150 seats set in two rows.]

 

The Studio is a 90-seat studio theatre with no fixed stage area and moveable seats, allowing for a variety of production styles (in the round, thrust etc.) Prior to 2020, the studio acted as host to a programme of visiting touring theatre companies, stand-up comedians and performances for young people.

 

en.wikipedia.org/wiki/Royal_Exchange,_Manchester

From a wander around the Arctic Snow Hotel, near Rovaniemi, Finland. They have cosy looking cabins with glass roofs to give that sleeping under the stars feel. Inside the cold part, there are designer rooms, an ice bar, restaurant and chapel

Peniche and the sea are inseparable. It is one of the largest traditional fishing ports in Portugal and a major Atlantic hub for maritime-tourist activities.

 

Before heading to the beach, your visit to Peniche must include a walk through the historic centre. Besides the Nossa Senhora dos Remédios Sanctuary, the São Pedro and Misericórdia Churches, the Peniche Fort is a must-see. It was built in the 16th/17th centuries to defend the coast, together with the Fort on Consolação beach and the fort on the Island of Berlengas. It played a major role at various points in Portuguese history but its most recent purpose was to serve as a political prison under the Estado Novo regime, holding some of the most important public personalities in the fight against Fascism. You will learn all about it once inside, since it is currently the Peniche City Museum.

 

In addition to fishing, which has always been one of the sources of income of its people, Peniche is also known for the art of bobbin lacework, perfected by the women while the men were out at sea.

 

The sea is still one of the main points of interest and development, and the beaches at Peniche are much appreciated. While Consolação and Baleal bays provide good shelter for a family day out, the waves on this west coast, such as the Supertubos (tubular Supertube waves) off Medão Grande Beach, are much sought after by surfers and bodyboarders from across the world. It was elected one of “Portugal’s 7 Wonders” in a national tournament. Together with Lagido Beach, it is the setting for the major world surf championship, Rip Curl Pro Portugal, an event that is part of the World Surf League Tour.

 

The Nature Reserve on the Island of Berlengas is a boat ride away. Its translucent waters are ideal for divers, who will find here a natural sanctuary for sea flora and fauna. The choppy sea and the seclusion of the Island have also prompted many mysterious stories about fishermen and sunken vessels off this coast.

 

It’s only natural that the sea dominates the local cuisine, so you mustn’t leave Peniche without tasting the bouillabaisse, the seafood rice or the charcoal-grilled sardines, always accompanied by the Western region’s wines. For dessert, we recommend the almond cakes, whether an “Amigo de Peniche” or the biscuits called “Esses”.

From last night's concert given by the Brighton and Hove Russian Choir, held as part of the Steyning Festival. The Steyning Camera Club have been asked to shoot the events, so expect more in the coming months. Whilst Traditional Russian Folk, is not exactly my kind of music, it was harmoniously easy on the ear and choir's leader was full of infectious energy

 

www.steyningfestival.co.uk/

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