Wednesday, 27 May 2020: our temperature this morning is 9C (windchill 7C). Sunrise is at 5:30 am, and sunset is at 9:36 pm. Bright and sunny,

 

Today is THE day - my car will hopefully be fixed, with a new push-start button being installed. I am SO excited at the thought of being able to get out again, after just over three weeks of not risking driving in case the car dies again, leaving me stranded, especially if I go out of the city.

 

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Added 23 May 2020:

"There are currently no bison in Waterton Lakes National Park. Parks Canada relocated the bison herd before the Kenow Wildfire to keep the animals safe. The bison handling facilities sustained some damage and the grassland in the Bison Paddock burned. We are assessing how to fix the handling facility and are planning to eventually bring the bison back. It is too early to provide a time frame on the return of the bison as this depends on the natural recovery of the native grassland that make up their habitat." From Parks Canada.

 

I am adding the description that I added under a previously-posted photo taken on the same trip, to remind myself of where I went and what I saw. Since then, they had the devastating Kenow wildfire in 2017. This destroyed so much of the whole park, though thankfully sparing the little town of Waterton itself, thanks to amazing firefighters.

 

"From 26 to 28 August 2014, I was lucky enough to go with friends down to Waterton Lakes National Park and then further east on the third day. Fantastic scenery, 4 Black Bears (including one that was swimming in the lake), Bison, Deer, Golden-mantled Ground Squirrels, Chipmunks, various bird species including Burrowing Owls and a family of Dusky Grouse (uncommon in the park, so we were very lucky), a few wildflowers, several Yellow-bellied Marmots (a first for me!), and a few different insect species. I even got the chance to see three or four new-to-me old, wooden grain elevators.

 

The weather forecast that I saw before we left Calgary said that we were in for three beautiful days of sunshine. So, luck was on our side, giving us warm, sunny days - until the BIG STORM hit! We had driven eastwards from the park, hoping to see Yellow-bellied Marmots and, if we were really lucky, a Burrowing Owl. The storm was approaching very fast, around 5:00 p.m. just before we started our return trip to Calgary. It was like nothing we had ever seen before - a menacing cloud that was travelling fast and furious. Despite trying our best to get away from it, it eventually engulfed our car, surrounding us with more or less zero visibility, pounding hail, thunder and lightning, and tremendously strong winds. There was nothing to do but stop the car and sit tight, hoping that the hail would not break the car windows and that this severe thunderstorm would not develop into a tornado! This storm was very scary, but at the same time, exciting (only because all turned out OK in the end!). Fortunately, we weren't caught in the very centre of it. Our road trip sure went out with a bang! Later, I contacted the Alberta Tornado Watch and posted a photo for them to see. They said the storm that happened that day was a mesocyclone."

This huge, multi-coloured stencil decorated the gallery walls for the charity exhibition by c215, focusing on CARF's kids.

- with glass tears

- installed June 28, 2011 (Vesper Day: Feast of Sts. Peter and Paul - patron saints: Sorsogon City)

- special thanks to Mr. Markie Cadag of Donsol, Sorsogon for the motivation, tips, and tricks. hehehe...

 

Philly

Michail Pirgelis 'adopted', Sprüth Magers Berlin, 2014 / Courtesy Sprüth Magers Berlin / featured on artfridge.de

The entire 525 m (1722 ft) of the tunnel was installed with Philips Color Kinetics ColorGraze MX4 Powercore fixtures, transforming the mostly unused railway tunnel into a visually stunning walkway connecting the north and south portals. Grazing fixtures were specifically chosen for the inside of the railway in order to showcase the unique architectural and geological components of the 155 year old tunnel, while ColorBlast Powercore gen4 fixtures were installed at both portals to invitingly illuminate the entrances. The lighting inside the tunnel runs a dynamic “Philips Light Show” 365 days a year, drawing in locals and tourists alike. Citizens can even request custom lightshows for events held on the waterfront.

 

The Brockville Railway Tunnel was reopened to the public on August 12, 2017 to coincide with the Canada 150 celebrations taking place across the Great White North this year. Already a hotbed of tourist activity in the summer months, the newly restored Brockville Railway Tunnel serves as a perfect gateway between the section of the city known as ‘The Gorge’ and the waterfront, drawing as much as 30,000 more visitors to the downtown area. 1193

Kings College Chapel, Cambridge

 

Produced in Cologne about 1510, and probably installed in one of the Cologne religious houses. After the desecration of the monasteries it was bought by the Norwich glass dealer JC Hampp, probably on his 1804 tour, and by the 1820s he had sold it to the antiquarian William Wilkins, who installed it in a house he had built on Lensfield Road in Cambridge.

 

After Wilkins's death it was auctioned off, eventually being donated and installed in the College WWI Memorial Chapel in 1921 as a memorial to Laurence Humphry.

 

The Holy Hunt. The Archangel Gabriel as a huntsman, holding four hounds in leash, pursues a unicorn, which takes refuge with the Virgin Mary, as she sits within a closed garden, surrounded by her symbols. (Hilary Wayment, 1988).

 

The Medieval bestiaries suggested that a uncorn can only be trapped by a maiden. As soon as the unicorn sees her, it lays its head on her lap and falls asleep. The allegory drawn from this was that the unicorn represented the Incarnation of Jesus, and the maiden his mother Mary.

 

The scene is often depicted in medieval art with a hunter approaching. The juxtaposition between the maiden and the hunter is similar to that between Mary and Gabriel in Annunciation scenes. In the chapel glass the hunter is clearly depicted as Gabriel.

 

As well as the famous 16th Century glass in the main chapel windows, there is a large collection of late medieval and early modern English and Continental glass in the side-chapels. Some of it is not very well displayed in comparison with the similar collection at Glasgow Cathedral, being set in front of, and in some cases behind, glazing bars.

 

The Chapel was begun by Henry VI, completed under the direction of Henry VII, the great window glass scheme installed under the somewhat-disinterested Henry VIII. 'The heart and soul of early 20th Century Anglicanism' according to M R James, was the Festival of Nine Lessons and Carols which began here during the First World War and helped to invent the modern Christmas. The fan vaulting is spectacular, the proportions (300ft long, 40ft wide, 90ft high) almost shocking in their single-minded Perpendicular triumphalism. The Chapel vies with Ely and Peterborough Cathedrals as the best single medieval building in Cambridgeshire, but the vast scheme of early 16th Century glass in the main windows is undoubtedly the biggest and best of its kind anywhere in the British Isles.

.

 

Quartely Myth (détail)

Installation de Pannaphan Yodmanee (Thaïlande, 1988, vit et travaille à Bangkok)

2019

Objets trouvés, icônes, béton, rocher, peinture, technique mixte

Courtesy of the artist and Yavuz Gallery Singapore

 

Malgré un aspect extérieur peu attractif avec ses deux énormes tuyaux d'égout en béton brut, l'installation de Pannaphan Yodmanee s'avère une des plus originales de la 15è Biennale. L'artiste thaïlandaise se différencie des autres artistes de l'exposition car elle a appris à peindre avec des maîtres de l'art bouddhique et maîtrise tant les représentations iconographiques du bouddhisme que de l'art chrétien. Mêlant les civilisations du passé et du présent, elle peint des figures d'art sacré asiatique comme occidental à l'intérieur des tuyaux dans lesquels le public peut pénétrer.

 

À l'image des grottes bouddhiques de la route de la soie historique mais revisitées par une artiste d'aujourd'hui, elle parvient à construire les traces d'un univers pictural caché d'une grande force. Celui-ci évoque des civilisations disparues sous l'effet d'un cataclysme ou d'une guerre qui aurait pu conduire des humains à tenter de survivre dans des profondeurs urbaines.

 

Comme dans les jardins secs du bouddhisme zen, deux rochers placés à l'entrée et à la sortie du parcours pictural incitent à la méditation et renvoient au concept d'impermanence de toute chose à l'image de ces usines désaffectées dans lesquelles se déroule la Biennale.

 

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Ancien fleuron de l’industrie au cœur de l’histoire ouvrière lyonnaise, l’usine d’électroménager Fagor-Brandt, située dans le quartier de Gerland à Lyon, s’étendait sur un site de 4,5 hectares (110 000 m² dont 73 000 m² de bâtiments couverts), aujourd'hui partiellement en réhabilitation. Si, au début des années 1980, l’usine employait encore 1800 ouvriers, ils n’étaient plus qu’un peu moins de 400 dans les années 2000. La production a été progressivement délocalisée à partir de 2005 et l’usine a été revendue à SITL, puis à Cenntro Motors en 2010. Alors que s’entamait sa reconversion dans la production de voitures électriques, l’usine a périclité jusqu'à sa fermeture en 2015. Le site, actuellement en friche sur 29 000 m2, accueille désormais des événements culturels tels que les Nuits Sonores depuis 2017 et la Biennale d'Art Contemporain de Lyon en 2019. Extrait du site de Lyon

www.lyon.fr/lieu/art-contemporain/usines-fagor-brant

 

L'exposition internationale aux usines Fagor

"Là où les eaux se mêlent"

15è Biennale d'art contemporain de Lyon

www.biennaledelyon.com/lieux/usines-fagor/

 

La Biennale de Lyon confie le commissariat de l’exposition internationale au Palais de Tokyo et à son équipe de curateurs : Adélaïde Blanc, Daria de Beauvais, Yoann Gourmel, Matthieu Lelièvre, Vittoria Matarrese, Claire Moulène et Hugo Vitrani. Ensemble, ils ont imaginé cette biennale comme un vaste écosystème, à la jonction de paysages biologiques (l’ensemble des échanges avec le vivant, qu’il soit végétal, animal ou bactériologique), économiques (l’ensemble des échanges avec les ressources et les appétits qu’elles concernent : produire, distribuer, consommer) et cosmogoniques (l’ensemble des relations avec l’esprit du monde et la conscience de notre place dans l’Univers). Extrait du site officiel de la Biennale

Bantra Sanmelani Club, Howrah.

  

Kumari Puja :

Kumari, or Kumari Devi, is the tradition of worshiping young pre-pubescent girls as manifestations of the divine female energy or devi in Hindu religious traditions. The word Kumari, derived from Sanskrit Kaumarya meaning "virgin", means young unmarried girls in Nepali and some Indian languages and is a name of the goddess Durga as a child.

In Nepal a Kumari is a pre-pubescent girl selected from the Shakya or Bajracharya clan of the Nepalese Newari community. The Kumari is revered and worshiped by some of the country'sHindus as well as the Nepali Buddhists, though not the Tibetan Buddhists. While there are several Kumaris throughout Nepal, with some cities having several, the best known is the Royal Kumari of Kathmandu, and she lives in the Kumari Ghar, a palace in the center of the city. The selection process for her is especially rigorous. The current Royal Kumari, Matina Shakya, aged four, was installed in October 2008 by the Maoist government that replaced the monarchy. Samita Bajracharya, as the Kumari of Patan is the second most important living goddess.

In India a Kumari is generally chosen for one day and worshipped accordingly on certain festivals like Navaratri or Durga Puja. In the Indian state of Bengal this is a particularly prevalent practice.

A Kumari is believed to be the incarnation of the goddess Taleju (the Nepalese name for Durga) until she menstruates, after which it is believed that the goddess vacates her body. Serious illness or a major loss of blood from an injury are also causes for her to revert to common status.

  

Philosophy and scriptures

The worship of the goddess in a young girl represents the worship of divine consciousness spread all over the creation. As the supreme goddess is thought to have manifested this entire cosmos out of her womb she exists equally in animate as well as inanimate objects. While worship of an idol represents the worship and recognition of supreme through inanimate materials, worship of a human represents veneration and recognition of the same supreme in conscious beings.

In the Shakta text Devi Mahatmyam or Chandi, the goddess is said to have declared that she resides in all female living beings in this universe. The entire ritual of Kumari is based on this verse. But while worshiping a goddess, only a young girl is chosen over a mature lady because of their inherent purity and chastity which are considered to be principal characteristics of Durga.

Hindu scriptures like the Jñanarnava Rudrayamala tantra assign different names to a Kumari depending on her age. A one year-old girl is called Sandhya, a two year-old girl is called Sarasvati, a child of three years of age is called Tridhamurti, on her fourth year she is Kalika, on fifth she is Subhaga, on sixth she is Uma, on her seventh year she is called Malini. an eight year girl is called Kubjika, on the ninth year she is Kaalasandarbha, on reaching tenth year she is Aparajita, on eleventh she is Rudrani, on twelfth year she is named Bhairavi, on thirteenth she is Mahalakshmi, on fourteenth she is Pithanayika, on fifteenth she is Kshetragya, and on sixteenth years of her age she is Ambika.

In India, Kumaris are worshiped only for a day and these names are assigned only while the ritual lasts, usually a few hours. Usually one cannot be a Kumari beyond sixteen years of age due to menarche.

The main target of a Kumari puja is to realize the potential divinity in every human being, mostly female. A Hindu spiritual aspirant sees the universal consciousness manifested in an innocent child.(en.wikipedia.org/wiki/Kumari_(children))

 

Mac Pro working alone, installing the latest updates from Apple.

The Church of All Saints at Nunney, Somerset, England, is a Grade I listed building dating from the 12th century.

It was probably built on the site of an earlier Saxon or Norman church from which a Saxon cross and Norman font can still be seen. A 15th-century wagon or Barrel vault used to cover the nave however the timber rotted and it was demolished in 1957. A temporary roof was installed and hidden by a suspended ceiling. Plans are being drawn up to replace the roof and fundraising is under way.

Sir John Delamare and other lords of Nunney Castle are buried in the church.

The Anglican parish is part of the benefice of Postlebury within the archdeaconry of Wells. Wikipedia

Installing linux (small Linux):

 

486 Processor

4 MB RAM memory

120 MB hard disc

Black/white monitor

 

- Small Linux, is a live-Diskette distribution (2 diskettes)

  

La Tarjeta PCMCIA con la disketera es CASi mas grande que el mismo portatil.

more artworks from the series 'Islands and Other Experiments' by Darlene Charneco

mixed media, 25 pieces. installed at artsites art+ architecture. mouse over to see titles and whether each is sold/available.

 

view set here

Brand: Hot Wheels

Series: 2019 id series 1 - Speed Demons 1/5

Livery: Dodge, Speed Demons, Hot Wheels id

Scale: 1/64

Base: Transparent smoked plastic- ©2017 Mattel

Collector/casting number: T9712

Country of manufacture: Malaysia

Place/date of purchase: The Apple Store, 2019

Condition: Minty fresh 10/10

 

Remarks/comments: I didn't just buy one car when I visited The Apple Store. No, I had to make it worth it and grab more than just one car. This car is not a new casting to their lineup unlike the Miura. This Charger casting has been around since 2011. Though of course whether the casting is new or not, they still need to be fitted/modified to work with the new series. Having added aerodynamics with the front clip curved upward. Though that wasn't needed for the Miura because that car already has that design feature. Also a clear base to show the new mini chip installed inside the bottom of the car. The wheels selected for this series are also new to Hot Wheels. The wheels will have a stripe with the name of the series the car is apart of. This car has "Speed Demons" on the wheels. The Muira has "Factory Fresh" on it's wheels. Something I don't think has been done before.

window install at the alaska building

Seen during a long haul trip from Alberta to BC.

Barcellona (E)

Nancy Buchanan & Joseph Santarromana Present in association with Phantom Galleries LA:

The Long Weekend

Installations and Performances

Jordan Biren and Corrina Peipon, Ashley McLean Emenegger, MaryLinda Moss and Nikii Henry, Danial Nord, Cielo Pessione & John O'Brien, Astra Price, Natasa Prosenc, Joseph Santarromana & William Roper, Evelyn Serrano, Suzanne Siegel, Kyungmi Shin & Todd Gray

Organized by Nancy Buchanan & Joseph Santarromana

Phantom Galleries LA in Pasadena

680 E. Colorado Boulevard, Pasadena 91101

Friday, March 28, Saturday March 29, Sunday March 30

7 to 10 pm

 

For information:

Liza Simone

Phantom Galleries LA Executive Director

PhantomGalleriesLA.com

213.626.2854

 

Examining themes of fashion and consumption, we will present durational performances and installation works in this former furniture store's windows. Questions regarding the relationship of art and commerce today are myriad, and while there are no simple answers, most observers agree that there are many troubling implications of the influences of speculation, branding and celebrity on the current climate. Giving away the aesthetic experience through such a temporary event is a return to earlier, more idealistic times, yet placing the work within a shopping district anchors it to the realistic present. We imagine this to be an exciting event which will attract art audiences, as well as provide an unusual experience to passers-by.

Jordan Biren and Corrina Peipon present a tableau/performance, "The Exchange of the Avant-Garde" inspired by quotes taken from a recent Norman Klein discussion of the late Jean Baudrillard:

"...avant-garde strategies are now central to the branding of all products..."

"...The simulacrum was simply the original itself. It had emerged as the glowing center of all global branding...It was simply the mood that sold anything. "

The tableau represents the "look" of a business transaction, while an inner dialogue belies conflicted psychological realities of personal negotiation through a world of branded transactions. With the supporting text contradicting the appearance of the action, only the image of the event remains, an image meant to draw attention to the presumptions, or "branded" recognition, of what is taking place. A search for what defines in what we see that which we are told we are seeing. _

Nancy Buchanan's "3 Fates" sees myth reduced to marketing; throughout cultural history, sacred and mythic women have appeared in threes, sometimes also merging into one mythic figure. In Greek mythology, the three Fates personified destiny and controlled the thread of life from birth to death (and beyond). The Greek word moira (_____) translates as a part or portion—and so, one's fate is the part one is destined to play in life. While their forerunners were draped in white, could the gowns worn by these fashionable "Fates" hint at what lies beyond fashion? Siren-red satin, prison-jumpsuit orange, camouflage (with glitter).

In Ashley McLean Emenegger's "Judgment Day," colorful felt cut out dolls hang in the balance above a miniature, faux mythological environment, the Garden of Eden meets a metaphoric apocalyptic collapse, where the yearning for sincere expression clashes with the expectation and imposition of compliance to the contemporary notion of aesthetics. Beckoned by the allure and idealization of the Promised Land below, the dolls, both identical and unique, are naturally confused by the conundrum of self declaration versus the desire to fit in.

MaryLinda Moss collaborates with Nikii Henry to create a Performative Installation. Through the evening figures moving through space will leave an imprint, a record of the presence of the body in the world. Using gauze and plaster, 'clothing" will be formed on the body. As the body moves on, it's image is left behind to create a record of the journey through time and space

Danial Nord addresses the troubling relationships between art and commerce, and the implications and influences of speculation, branding and celebrity on the current art-making climate. His inspiration comes from Hollywood's historical misrepresentation of artists, and overheard dialogues between dealers and potential clients at recent Art Fairs. Nord's installation centers on a projected clip from the film "On the Town" which shows a ballerina as an artist, described in the film as "the perfect urban woman", making a painting.

Cielo Pessione & John O'Brien create a tableau in which two personages appear in the dark at the center of the space, like a players in a theatre. The female personage will have a pile of rags or fashion magazines under her She could be a Queen, he a Poet. Each has a different style of dress, which means different ways to live and to consider the capitalism of attire.

Astra Price addresses what food we have and what food we use. Inspired by constantly seeing fruit trees that have gone unharvested and unused, this two-part work will repurpose unused domestic fruit in two phases. On night one, she will process this food; juice, simple salad, etc… and serve it to the people on the streets. Given the city of Pasadena's origin having strong ties to citrus production, this work addresses some issues of site specificity, but can just as easily be applied to larger concepts of consumption and waste.

Natasa Prosenc's installation, "Innocence – Dissolved" metaphorically performs the impasse of fast lane consumerism wrapped into the ideology of progress; the discarded toys suffocating in the thickened gooey mass of the past embodied emotional investment, that has nowhere else to go except release into obsession with possession and consumption. As our environment is cluttered with an unprecedented excess of material objects, our culture witnesses a steadily dissolving ability to infuse these objects with emotion. It is this emotional investment that animates our relationship with objects and with materiality as such. Now that this emotional link is loosening, our world is changing. These old-fashioned toys, once brimming with the energy from a child's power of imagination and warmth of her touch are now discarded, as are the imaginative and emotive habits that go along with them.

—Media and film theoretician Maja Manojlovic

Joseph Santarromana & William Roper reprise their 2007 "Malambing Thang in which the artists contemplated the nature of desire and longing and how these emotional states create and/or affect the perception of ones identity. In the current 'Malambing Thang (Live),' these same issues of longing, desire and identity attempt to play themselves out as pure commodity. Viewers on the street will see the backs of a group of people in the video projection and will have to look around the projection to view the live performers.

Evelyn Serrano invites viewers to a session of dysfunctional, mid-air storytelling, where the "truth" is spinned, Serrano has engaged a sign spinner to manipulate a short poem exploring connections between the spectacle of corporate identity, the branding of culture and the contemporary choreography of meaning.

Suzanne Siegel once shopped for chairs at this very furniture store – she recalls that they were expensive and the salespeople had attitude. Siegel's "Shopping Expedition" references memories of shopping trips to the city (Boston) as a child and also nostalgia for a gentler consumer experience.

Kyungmi Shin & Todd Gray will create a performance and a video projection piece for "The Long Weekend" during the performance night, Todd will be installed in the window space and drum for the duration of the evening; this drumming will trigger a random choice of short video projection sequences created by Kyungmi of Kumasi market in Ghana. The Kumasi market is the largest open-air market in West Africa, and the video was shot walking around the market.

=======

About the artists:

JORDAN BIREN has recently resumed his long dormant performance practice to augment over two decades of work in single channel video. In both video and perfomance, his work considers permutations of meaning behind narrative articulation. He teaches Video Art at Cal State University San Bernardino.

Nancy Buchanan addresses issues of power and money in her work, taking the form of video, drawing, collage, and installation. She is faculty of Film/Video at CalArts.

Todd Gray has exhibited his photo based work internationally and is represented in the permanent collections of museums and universities here and abroad. Gray maintains studios in both Inglewood, California and Takoradi, Ghana.

Ashley McLean Emenegger is by tradition an assemblage artist whose work questions established "absolutes", reveres and summons the feminine, and speaks to the tender parts of the soul. Her felt installation work also contends with the issues of absolutes versus personal mythology but in a more humorous manner with vibrant color, child-like media, and less subdued irreverence.

MaryLinda Moss delves into the ephemeral, the transitional, the transformative in ourselves, the vulnerable point from which we come to a new awareness of self. Her sculpture relates to the body and its processes, and has a unique quality in its use of organic matter in conjunction with other materials. Her sculptural and installation pieces are an abstracted embodiment of our emotional and spiritual experiences often relating to the cycles and elements of the natural world.

Danial Nord's work critiques the influence of consumerism and commercial media in our overstimulated environment. He currently lives and works in Los Angeles. Nord studied at the Tyler School of Art and the NYU Center for Digital Multimedia. This past year he exhibited solo projects at HAUS and Fringe in Los Angeles.

John O'Brien was born in Sagamihara, Japan; he currently lives and works in Los Angeles, California and Umbria, Italy. His work has shown itself to bear an effective confluence of diverse attitudes and disciplines. Installation, video, performance, sculpture, painting and drawing come together in an artistic practice pointed at the investigation of objects and their significance to us. His practice encompasses studio art, public art, art writing and curatorial work.

Cielo Pessione was born in Rome Italy, she currently lives and works in Los Angeles, California and Umbria, Italy. After finishing her art degree at the Liceo Artistico, she completed her University studies with a doctorate in Modern Literature at the Sapienza University of Rome. She works in the visual arts (fiber arts, installation and printmaking) and works with performance in both traditional and experimental settings.

Astra Price is a new media artist interested in exploring the non-static

world in art and life. Currently she gives shape to her explorations through

video in a variety of forms including improvisation, installations and

single channel work and has been recently been focusing on concerns of food

in her kitchen and in her art.

Natasa Prosenc is an internationally acclaimed visual artist whose work challenges the conventions assigned to video art and narrative film. By escaping the categories her visual concepts tap into the preconscious sentient self prior to all thought and theory.

William Roper is an artist working in the disciplines of music, theater and the visual arts. He eagerly awaits the return of The Great Waschbär.

Joseph Santarromana's work is biographical, addressing the perception and construction of identities. His work has been exhibited internationally and he is currently teaching at California State University in Long Beach and the University of California in Riverside, He also runs a video art DVD Publishing company: www.system-yellow.com.

Evelyn Serrano is a Cuban artist, mother, and independent curator currently living in Los Angeles County, California. She is also the Assistant Director of Programs at the CalArts Community Arts Partnership (CAP). She has exhibited her work in solo and group exhibitions nationally and internationally. Serrano feels honored to have worked with talented groups of visual artists, writers and actors for several exhibitions and art events she has curated both nationally and internationally.

Kyungmi Shin is an installation artist whose work weaves the language of photoraphy, sculpture, painting and video. She studied at SF Art Institute & UC Berkeley, and currents lives and works in Los Angeles and Ghana.

Suzanne Siegel is an assemblage artist whose work focuses on social/feminist concerns. She has been exhibiting locally and nationally for thirty years.

 

photo by Liza Simone

With the rain falling harder, it was a bit of a route march to Holborn and my next church, the stunning St Sepulchre, which was also open.

 

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St Sepulchre-without-Newgate, also known as the Church of the Holy Sepulchre (Holborn), is an Anglican church in the City of London. It is located on Holborn Viaduct, almost opposite the Old Bailey. In medieval times it stood just outside ("without") the now-demolished old city wall, near the Newgate. It has been a living of St John's College, Oxford, since 1622.

 

The original Saxon church on the site was dedicated to St Edmund the King and Martyr. During the Crusades in the 12th century the church was renamed St Edmund and the Holy Sepulchre, in reference to the Church of the Holy Sepulchre in Jerusalem. The name eventually became contracted to St Sepulchre.

 

The church is today the largest parish church in the City. It was completely rebuilt in the 15th century but was gutted by the Great Fire of London in 1666,[1] which left only the outer walls, the tower and the porch standing[2] -. Modified in the 18th century, the church underwent extensive restoration in 1878. It narrowly avoided destruction in the Second World War, although the 18th-century watch-house in its churchyard (erected to deter grave-robbers) was completely destroyed and had to be rebuilt.

 

The interior of the church is a wide, roomy space with a coffered ceiling[3] installed in 1834. The Vicars' old residence has recently been renovated into a modern living quarter.

 

During the reign of Mary I in 1555, St Sepulchre's vicar, John Rogers, was burned as a heretic.

 

St Sepulchre is named in the nursery rhyme Oranges and Lemons as the "bells of Old Bailey". Traditionally, the great bell would be rung to mark the execution of a prisoner at the nearby gallows at Newgate. The clerk of St Sepulchre's was also responsible for ringing a handbell outside the condemned man's cell in Newgate Prison to inform him of his impending execution. This handbell, known as the Execution Bell, now resides in a glass case to the south of the nave.

 

The church has been the official musicians' church for many years and is associated with many famous musicians. Its north aisle (formerly a chapel dedicated to Stephen Harding) is dedicated as the Musicians' Chapel, with four windows commemorating John Ireland, the singer Dame Nellie Melba, Walter Carroll and the conductor Sir Henry Wood respectively.[4] Wood, who "at the age of fourteen, learned to play the organ" at this church [1] and later became its organist, also has his ashes buried in this church.

 

The south aisle of the church holds the regimental chapel of the Royal Fusiliers (City of London Regiment), and its gardens are a memorial garden to that regiment.[5] The west end of the north aisle has various memorials connected with the City of London Rifles (the 6th Battalion London Regiment). The church was designated a Grade I listed building on 4 January 1950.

 

en.wikipedia.org/wiki/St_Sepulchre-without-Newgate

 

The Early History of St. Sepulchre's—Its Destruction in 1666—The Exterior and Interior—The Early Popularity of the Church—Interments here—Roger Ascham, the Author of the "Schoolmaster"—Captain John Smith, and his Romantic Adventures—Saved by an Indian Girl— St. Sepulchre's Churchyard—Accommodation for a Murderess—The Martyr Rogers—An Odd Circumstance—Good Company for the Dead—A Leap from the Tower—A Warning Bell and a Last Admonition—Nosegays for the Condemned—The Route to the Gallows-tree— The Deeds of the Charitable—The "Saracen's Head"—Description by Dickens—Giltspur Street—Giltspur Street Compter—A Disreputable Condition—Pie Corner—Hosier Lane—A Spurious Relic—The Conduit on Snow Hill—A Ladies' Charity School—Turnagain Lane—Poor Betty!—A Schoolmistress Censured—Skinner Street—Unpropitious Fortune—William Godwin—An Original Married Life.

 

Many interesting associations—Principally, however, connected with the annals of crime and the execution of the laws of England—belong to the Church of St. Sepulchre, or St. 'Pulchre. This sacred edifice—anciently known as St. Sepulchre's in the Bailey, or by Chamberlain Gate (now Newgate)—stands at the eastern end of the slight acclivity of Snow Hill, and between Smithfield and the Old Bailey. The genuine materials for its early history are scanty enough. It was probably founded about the commencement of the twelfth century, but of the exact date and circumstances of its origin there is no record whatever. Its name is derived from the Holy Sepulchre of our Saviour at Jerusalem, to the memory of which it was first dedicated.

 

The earliest authentic notice of the church, according to Maitland, is of the year 1178, at which date it was given by Roger, Bishop of Sarum, to the Prior and Canons of St. Bartholomew. These held the right of advowson until the dissolution of monasteries by Henry VIII., and from that time until 1610 it remained in the hands of the Crown. James I., however, then granted "the rectory and its appurtenances, with the advowson of the vicarage," to Francis Phillips and others. The next stage in its history is that the rectory was purchased by the parishioners, to be held in fee-farm of the Crown, and the advowson was obtained by the President and Fellows of St. John the Baptist College, at Oxford.

 

The church was rebuilt about the middle of the fifteenth century, when one of the Popham family, who had been Chancellor of Normandy and Treasurer of the King's Household, with distinguished liberality erected a handsome chapel on the south side of the choir, and the very beautiful porch still remaining at the south-west corner of the building. "His image," Stow says, "fair graven in stone, was fixed over the said porch."

 

The dreadful fire of 1666 almost destroyed St. Sepulchre's, but the parishioners set energetically to work, and it was "rebuilt and beautified both within and without." The general reparation was under the direction of Sir Christopher Wren, and nothing but the walls of the old building, and these not entirely, were suffered to remain. The work was done rapidly, and the whole was completed within four years.

 

"The tower," says Mr. Godwin, "retained its original aspect, and the body of the church, after its restoration, presented a series of windows between buttresses, with pointed heads filled with tracery, crowned by a string-course and battlements. In this form it remained till the year 1790, when it appears the whole fabric was found to be in a state of great decay, and it was resolved to repair it throughout. Accordingly the walls of the church were cased with Portland stone, and all the windows were taken out and replaced by others with plain semi-circular heads, as now seen—certainly agreeing but badly with the tower and porch of the building, but according with the then prevailing spirit of economy. The battlements, too, were taken down, and a plain stone parapet was substituted, so that at this time (with the exception of the roof, which was wagon-headed, and presented on the outside an unsightly swell, visible above the parapet) the church assumed its present appearance." The ungainly roof was removed, and an entirely new one erected, about 1836.

 

At each corner of the tower—"one of the most ancient," says the author of "Londinium Redivivum," "in the outline of the circuit of London" —there are spires, and on the spires there are weathercocks. These have been made use of by Howell to point a moral: "Unreasonable people," says he, "are as hard to reconcile as the vanes of St. Sepulchre's tower, which never look all four upon one point of the heavens." Nothing can be said with certainty as to the date of the tower, but it is not without the bounds of probability that it formed part of the original building. The belfry is reached by a small winding staircase in the south-west angle, and a similar staircase in an opposite angle leads to the summit. The spires at the corners, and some of the tower windows, have very recently undergone several alterations, which have added much to the picturesqueness and beauty of the church.

 

The chief entrance to St. Sepulchre's is by a porch of singular beauty, projecting from the south side of the tower, at the western end of the church. The groining of the ceiling of this porch, it has been pointed out, takes an almost unique form; the ribs are carved in bold relief, and the bosses at the intersections represent angels' heads, shields, roses, &c., in great variety.

 

Coming now to the interior of the church, we find it divided into three aisles, by two ranges of Tuscan columns. The aisles are of unequal widths, that in the centre being the widest, that to the south the narrowest. Semi-circular arches connect the columns on either side, springing directly from their capitals, without the interposition of an entablature, and support a large dental cornice, extending round the church. The ceiling of the middle aisle is divided into seven compartments, by horizontal bands, the middle compartment being formed into a small dome.

 

The aisles have groined ceilings, ornamented at the angles with doves, &c., and beneath every division of the groining are small windows, to admit light to the galleries. Over each of the aisles there is a gallery, very clumsily introduced, which dates from the time when the church was built by Wren, and extends the whole length, excepting at the chancel. The front of the gallery, which is of oak, is described by Mr. Godwin as carved into scrolls, branches, &c., in the centre panel, on either side, with the initials "C. R.," enriched with carvings of laurel, which have, however, he says, "but little merit."

 

At the east end of the church there are three semicircular-headed windows. Beneath the centre one is a large Corinthian altar-piece of oak, displaying columns, entablatures, &c., elaborately carved and gilded.

 

The length of the church, exclusive of the ambulatory, is said to be 126 feet, the breadth 68 feet, and the height of the tower 140 feet.

 

A singularly ugly sounding-board, extending over the preacher, used to stand at the back of the pulpit, at the east end of the church. It was in the shape of a large parabolic reflector, about twelve feet in diameter, and was composed of ribs of mahogany.

 

At the west end of the church there is a large organ, said to be the oldest and one of the finest in London. It was built in 1677, and has been greatly enlarged. Its reed-stops (hautboy, clarinet, &c.) are supposed to be unrivalled. In Newcourt's time the church was taken notice of as "remarkable for possessing an exceedingly fine organ, and the playing is thought so beautiful, that large congregations are attracted, though some of the parishioners object to the mode of performing divine service."

 

On the north side of the church, Mr. Godwin mentions, is a large apartment known as "St. Stephen's Chapel." This building evidently formed a somewhat important part of the old church, and was probably appropriated to the votaries of the saint whose name it bears.

 

Between the exterior and the interior of the church there is little harmony. "For example," says Mr. Godwin, "the columns which form the south aisle face, in some instances, the centre of the large windows which occur in the external wall of the church, and in others the centre of the piers, indifferently." This discordance may likely enough have arisen from the fact that when the church was rebuilt, or rather restored, after the Great Fire, the works were done without much attention from Sir Christopher Wren.

 

St. Sepulchre's appears to have enjoyed considerable popularity from the earliest period of its history, if one is to judge from the various sums left by well-disposed persons for the support of certain fraternities founded in the church—namely, those of St. Katherine, St. Michael, St. Anne, and Our Lady—and by others, for the maintenance of chantry priests to celebrate masses at stated intervals for the good of their souls. One of the fraternities just named—that of St. Katherine— originated, according to Stow, in the devotion of some poor persons in the parish, and was in honour of the conception of the Virgin Mary. They met in the church on the day of the Conception, and there had the mass of the day, and offered to the same, and provided a certain chaplain daily to celebrate divine service, and to set up wax lights before the image belonging to the fraternity, on all festival days.

 

The most famous of all who have been interred in St. Sepulchre's is Roger Ascham, the author of the "Schoolmaster," and the instructor of Queen Elizabeth in Greek and Latin. This learned old worthy was born in 1515, near Northallerton, in Yorkshire. He was educated at Cambridge University, and in time rose to be the university orator, being notably zealous in promoting what was then a novelty in England—the study of the Greek language. To divert himself after the fatigue of severe study, he used to devote himself to archery. This drew down upon him the censure of the all-work-and-no-play school; and in defence of himself, Ascham, in 1545, published "Toxophilus," a treatise on his favourite sport. This book is even yet well worthy of perusal, for its enthusiasm, and for its curious descriptions of the personal appearance and manners of the principal persons whom the author had seen and conversed with. Henry VIII. rewarded him with a pension of £10 per annum, a considerable sum in those days. In 1548, Ascham, on the death of William Grindall, who had been his pupil, was appointed instructor in the learned languages to Lady Elizabeth, afterwards the good Queen Bess. At the end of two years he had some dispute with, or took a disgust at, Lady Elizabeth's attendants, resigned his situation, and returned to his college. Soon after this he was employed as secretary to the English ambassador at the court of Charles V. of Germany, and remained abroad till the death of Edward VI. During his absence he had been appointed Latin secretary to King Edward. Strangely enough, though Queen Mary and her ministers were Papists, and Ascham a Protestant, he was retained in his office of Latin secretary, his pension was increased to £20, and he was allowed to retain his fellowship and his situation as university orator. In 1554 he married a lady of good family, by whom he had a considerable fortune, and of whom, in writing to a friend, he gives, as might perhaps be expected, an excellent character. On the accession of Queen Elizabeth, in 1558, she not only required his services as Latin secretary, but as her instructor in Greek, and he resided at Court during the remainder of his life. He died in consequence of his endeavours to complete a Latin poem which he intended to present to the queen on the New Year's Day of 1569. He breathed his last two days before 1568 ran out, and was interred, according to his own directions, in the most private manner, in St. Sepulchre's Church, his funeral sermon being preached by Dr. Andrew Nowell, Dean of St. Paul's. He was universally lamented; and even the queen herself not only showed great concern, but was pleased to say that she would rather have lost ten thousand pounds than her tutor Ascham, which, from that somewhat closehanded sovereign, was truly an expression of high regard.

 

Ascham, like most men, had his little weaknesses. He had too great a propensity to dice and cock-fighting. Bishop Nicholson would try to convince us that this is an unfounded calumny, but, as it is mentioned by Camden, and other contemporary writers, it seems impossible to deny it. He died, from all accounts, in indifferent circumstances. "Whether," says Dr. Johnson, referring to this, "Ascham was poor by his own fault, or the fault of others, cannot now be decided; but it is certain that many have been rich with less merit. His philological learning would have gained him honour in any country; and among us it may justly call for that reverence which all nations owe to those who first rouse them from ignorance, and kindle among them the light of literature." His most valuable work, "The Schoolmaster," was published by his widow. The nature of this celebrated performance may be gathered from the title: "The Schoolmaster; or a plain and perfite way of teaching children to understand, write, and speak the Latin tongue. … And commodious also for all such as have forgot the Latin tongue, and would by themselves, without a schoolmaster, in short time, and with small pains, recover a sufficient habilitie to understand, write, and speak Latin: by Roger Ascham, ann. 1570. At London, printed by John Daye, dwelling over Aldersgate," a printer, by the way, already mentioned by us a few chapters back (see page 208), as having printed several noted works of the sixteenth century.

 

Dr. Johnson remarks that the instruction recommended in "The Schoolmaster" is perhaps the best ever given for the study of languages.

 

Here also lies buried Captain John Smith, a conspicuous soldier of fortune, whose romantic adventures and daring exploits have rarely been surpassed. He died on the 21st of June, 1631. This valiant captain was born at Willoughby, in the county of Lincoln, and helped by his doings to enliven the reigns of Elizabeth and James I. He had a share in the wars of Hungary in 1602, and in three single combats overcame three Turks, and cut off their heads. For this, and other equally brave deeds, Sigismund, Duke of Transylvania, gave him his picture set in gold, with a pension of three hundred ducats; and allowed him to bear three Turks' heads proper as his shield of arms. He afterwards went to America, where he had the misfortune to fall into the hands of the Indians. He escaped from them, however, at last, and resumed his brilliant career by hazarding his life in naval engagements with pirates and Spanish men-of-war. The most important act of his life was the share he had in civilising the natives of New England, and reducing that province to obedience to Great Britain. In connection with his tomb in St. Sepulchre's, he is mentioned by Stow, in his "Survey," as "some time Governor of Virginia and Admiral of New England."

 

Certainly the most interesting events of his chequered career were his capture by the Indians, and the saving of his life by the Indian girl Pocahontas, a story of adventure that charms as often as it is told. Bancroft, the historian of the United States, relates how, during the early settlement of Virginia, Smith left the infant colony on an exploring expedition, and not only ascended the river Chickahominy, but struck into the interior. His companions disobeyed his instructions, and being surprised by the Indians, were put to death. Smith preserved his own life by calmness and self-possession. Displaying a pocket-compass, he amused the savages by an explanation of its power, and increased their admiration of his superior genius by imparting to them some vague conceptions of the form of the earth, and the nature of the planetary system. To the Indians, who retained him as their prisoner, his captivity was a more strange event than anything of which the traditions of their tribes preserved the memory. He was allowed to send a letter to the fort at Jamestown, and the savage wonder was increased, for he seemed by some magic to endow the paper with the gift of intelligence. It was evident that their captive was a being of a high order, and then the question arose, Was his nature beneficent, or was he to be dreaded as a dangerous enemy? Their minds were bewildered, and the decision of his fate was referred to the chief Powhatan, and before Powhatan Smith was brought. "The fears of the feeble aborigines," says Bancroft, "were about to prevail, and his immediate death, already repeatedly threatened and repeatedly delayed, would have been inevitable, but for the timely intercession of Pocahontas, a girl twelve years old, the daughter of Powhatan, whose confiding fondness Smith had easily won, and who firmly clung to his neck, as his head was bowed down to receive the stroke of the tomahawks. His fearlessness, and her entreaties, persuaded the council to spare the agreeable stranger, who could make hatchets for her father, and rattles and strings of beads for herself, the favourite child. The barbarians, whose decision had long been held in suspense by the mysterious awe which Smith had inspired, now resolved to receive him as a friend, and to make him a partner of their councils. They tempted him to join their bands, and lend assistance in an attack upon the white men at Jamestown; and when his decision of character succeeded in changing the current of their thoughts, they dismissed him with mutual promises of friendship and benevolence. Thus the captivity of Smith did itself become a benefit to the colony; for he had not only observed with care the country between the James and the Potomac, and had gained some knowledge of the language and manners of the natives, but he now established a peaceful intercourse between the English and the tribes of Powhatan."

 

On the monument erected to Smith in St. Sepulchre's Church, the following quaint lines were formerly inscribed:—

 

"Here lies one conquered that hath conquered kings,

Subdued large territories, and done things

Which to the world impossible would seem,

But that the truth is held in more esteem.

Shall I report his former service done,

In honour of his God, and Christendom?

How that he did divide, from pagans three,

Their heads and lives, types of his chivalry?—

For which great service, in that climate done,

Brave Sigismundus, King of Hungarion,

Did give him, as a coat of arms, to wear

These conquered heads, got by his sword and spear.

Or shall I tell of his adventures since

Done in Virginia, that large continent?

How that he subdued kings unto his yoke,

And made those heathens flee, as wind doth smoke;

And made their land, being so large a station,

An habitation for our Christian nation,

Where God is glorified, their wants supplied;

Which else for necessaries, must have died.

But what avails his conquests, now he lies

Interred in earth, a prey to worms and flies?

Oh! may his soul in sweet Elysium sleep,

Until the Keeper, that all souls doth keep,

Return to judgment; and that after thence

With angels he may have his recompense."

 

Sir Robert Peake, the engraver, also found a last resting-place here. He is known as the master of William Faithorne—the famous English engraver of the seventeenth century—and governor of Basing House for the king during the Civil War under Charles I. He died in 1667. Here also was interred the body of Dr. Bell, grandfather of the originator of a well-known system of education.

 

"The churchyard of St. Sepulchre's," we learn from Maitland, "at one time extended so far into the street on the south side of the church, as to render the passage-way dangerously narrow. In 1760 the churchyard was, in consequence, levelled, and thrown open to the public. But this led to much inconvenience, and it was re-enclosed in 1802."

 

Sarah Malcolm, the murderess, was buried in the churchyard of St. Sepulchre's in 1733. This coldhearted and keen-eyed monster in human form has had her story told by us already. The parishioners seem, on this occasion, to have had no such scruples as had been exhibited by their predecessors a hundred and fifty years previous at the burial of Awfield, a traitor. We shall see presently that in those more remote days they were desirous of having at least respectable company for their deceased relatives and friends in the churchyard.

 

"For a long period," says Mr. Godwin (1838), "the church was surrounded by low mean buildings, by which its general appearance was hidden; but these having been cleared away, and the neighbourhood made considerably more open, St. Sepulchre's now forms a somewhat pleasing object, notwithstanding that the tower and a part of the porch are so entirely dissimilar in style to the remainder of the building." And since Godwin's writing the surroundings of the church have been so improved that perhaps few buildings in the metropolis stand more prominently before the public eye.

 

In the glorious roll of martyrs who have suffered at the stake for their religious principles, a vicar of St. Sepulchre's, the Reverend John Rogers, occupies a conspicuous place. He was the first who was burned in the reign of the Bloody Mary. This eminent person had at one time been chaplain to the English merchants at Antwerp, and while residing in that city had aided Tindal and Coverdale in their great work of translating the Bible. He married a German lady of good position, by whom he had a large family, and was enabled, by means of her relations, to reside in peace and safety in Germany. It appeared to be his duty, however, to return to England, and there publicly profess and advocate his religious convictions, even at the risk of death. He crossed the sea; he took his place in the pulpit at St. Paul's Cross; he preached a fearless and animated sermon, reminding his astonished audience of the pure and wholesome doctrine which had been promulgated from that pulpit in the days of the good King Edward, and solemnly warning them against the pestilent idolatry and superstition of these new times. It was his last sermon. He was apprehended, tried, condemned, and burned at Smithfield. We described, when speaking of Smithfield, the manner in which he met his fate.

 

Connected with the martyrdom of Rogers an odd circumstance is quoted in the "Churches of London." It is stated that when the bishops had resolved to put to death Joan Bocher, a friend came to Rogers and earnestly entreated his influence that the poor woman's life might be spared, and other means taken to prevent the spread of her heterodox doctrines. Rogers, however, contended that she should be executed; and his friend then begged him to choose some other kind of death, which should be more agreeable to the gentleness and mercy prescribed in the gospel. "No," replied Rogers, "burning alive is not a cruel death, but easy enough." His friend hearing these words, expressive of so little regard for the sufferings of a fellow-creature, answered him with great vehemence, at the same time striking Rogers' hand, "Well, it may perhaps so happen that you yourself shall have your hands full of this mild burning." There is no record of Rogers among the papers belonging to St. Sepulchre's, but this may easily be accounted for by the fact that at the Great Fire of 1666 nearly all the registers and archives were destroyed.

 

A noteworthy incident in the history of St. Sepulchre's was connected with the execution, in 1585, of Awfield, for "sparcinge abrood certen lewed, sedicious, and traytorous bookes." "When he was executed," says Fleetwood, the Recorder, in a letter to Lord Burleigh, July 7th of that year, "his body was brought unto St. Pulcher's to be buryed, but the parishioners would not suffer a traytor's corpse to be laid in the earth where their parents, wives, children, kindred, masters, and old neighbours did rest; and so his carcass was returned to the burial-ground near Tyburn, and there I leave it."

 

Another event in the history of the church is a tale of suicide. On the 10th of April, 1600, a man named William Dorrington threw himself from the roof of the tower, leaving there a prayer for forgiveness.

 

We come now to speak of the connection of St. Sepulchre's with the neighbouring prison of Newgate. Being the nearest church to the prison, that connection naturally was intimate. Its clock served to give the time to the hangman when there was an execution in the Old Bailey, and many a poor wretch's last moments must it have regulated.

 

On the right-hand side of the altar a board with a list of charitable donations and gifts used to contain the following item:—"1605. Mr. Robert Dowe gave, for ringing the greatest bell in this church on the day the condemned prisoners are executed, and for other services, for ever, concerning such condemned prisoners, for which services the sexton is paid £16s. 8d.—£50.

 

It was formerly the practice for the clerk or bellman of St. Sepulchre's to go under Newgate, on the night preceding the execution of a criminal, ring his bell, and repeat the following wholesome advice:—

 

"All you that in the condemned hold do lie,

Prepare you, for to-morrow you shall die;

Watch all, and pray, the hour is drawing near

That you before the Almighty must appear;

Examine well yourselves, in time repent,

That you may not to eternal flames be sent.

And when St. Sepulchre's bell to-morrow tolls,

The Lord above have mercy on your souls.

Past twelve o'clock!"

 

This practice is explained by a passage in Munday's edition of Stow, in which it is told that a Mr. John Dowe, citizen and merchant taylor of London, gave £50 to the parish church of St. Sepulchre's, under the following conditions:—After the several sessions of London, on the night before the execution of such as were condemned to death, the clerk of the church was to go in the night-time, and also early in the morning, to the window of the prison in which they were lying. He was there to ring "certain tolls with a hand-bell" appointed for the purpose, and was afterwards, in a most Christian manner, to put them in mind of their present condition and approaching end, and to exhort them to be prepared, as they ought to be, to die. When they were in the cart, and brought before the walls of the church, the clerk was to stand there ready with the same bell, and, after certain tolls, rehearse a prayer, desiring all the people there present to pray for the unfortunate criminals. The beadle, also, of Merchant Taylors' Hall was allowed an "honest stipend" to see that this ceremony was regularly performed.

 

The affecting admonition—"affectingly good," Pennant calls it—addressed to the prisoners in Newgate, on the night before execution, ran as follows:—

 

"You prisoners that are within,

Who, for wickedness and sin,

 

after many mercies shown you, are now appointed to die to-morrow in the forenoon; give ear and understand that, to-morrow morning, the greatest bell of St. Sepulchre's shall toll for you, in form and manner of a passing-bell, as used to be tolled for those that are at the point of death; to the end that all godly people, hearing that bell, and knowing it is for your going to your deaths, may be stirred up heartily to pray to God to bestow his grace and mercy upon you, whilst you live. I beseech you, for Jesus Christ's sake, to keep this night in watching and prayer, to the salvation of your own souls while there is yet time and place for mercy; as knowing to-morrow you must appear before the judgment-seat of your Creator, there to give an account of all things done in this life, and to suffer eternal torments for your sins committed against Him, unless, upon your hearty and unfeigned repentance, you find mercy through the merits, death, and passion of your only Mediator and Advocate, Jesus Christ, who now sits at the right hand of God, to make intercession for as many of you as penitently return to Him."

 

And the following was the admonition to condemned criminals, as they were passing by St. Sepulchre's Church wall to execution:—" All good people, pray heartily unto God for these poor sinners, who are now going to their death, for whom this great bell doth toll.

 

"You that are condemned to die, repent with lamentable tears; ask mercy of the Lord, for the salvation of your own souls, through the [merits, death, and passion of Jesus Christ, who now sits at the right hand of God, to make intercession for as many of you as penitently return unto Him.

 

"Lord have mercy upon you;

Christ have mercy upon you.

Lord have mercy upon you;

Christ have mercy upon you."

 

The charitable Mr. Dowe, who took such interest in the last moments of the occupants of the condemned cell, was buried in the church of St. Botolph, Aldgate.

 

Another curious custom observed at St. Sepulchre's was the presentation of a nosegay to every criminal on his way to execution at Tyburn. No doubt the practice had its origin in some kindly feeling for the poor unfortunates who were so soon to bid farewell to all the beauties of earth. One of the last who received a nosegay from the steps of St. Sepulchre's was "Sixteen-string Jack," alias John Rann, who was hanged, in 1774, for robbing the Rev. Dr. Bell of his watch and eighteen pence in money, in Gunnersbury Lane, on the road to Brentford. Sixteen-string Jack wore the flowers in his button-hole as he rode dolefully to the gallows. This was witnessed by John Thomas Smith, who thus describes the scene in his admirable anecdotebook, "Nollekens and his Times:"—" I remember well, when I was in my eighth year, Mr. Nollekens calling at my father's house, in Great Portland Street, and taking us to Oxford Street, to see the notorious Jack Rann, commonly called Sixteenstring Jack, go to Tyburn to be hanged. … The criminal was dressed in a pea-green coat, with an immense nosegay in the button-hole, which had been presented to him at St. Sepulchre's steps; and his nankeen small-clothes, we were told, were tied at each knee with sixteen strings. After he had passed, and Mr. Nollekens was leading me home by the hand, I recollect his stooping down to me and observing, in a low tone of voice, 'Tom, now, my little man, if my father-in-law, Mr. Justice Welch, had been high constable, we could have walked by the side of the cart all the way to Tyburn.'"

 

When criminals were conveyed from Newgate to Tyburn, the cart passed up Giltspur Street, and through Smithfield, to Cow Lane. Skinner Street had not then been built, and the Crooked Lane which turned down by St. Sepulchre's, as well as Ozier Lane, did not afford sufficient width to admit of the cavalcade passing by either of them, with convenience, to Holborn Hill, or "the Heavy Hill," as it used to be called. The procession seems at no time to have had much of the solemn element about it. "The heroes of the day were often," says a popular writer, "on good terms with the mob, and jokes were exchanged between the men who were going to be hanged and the men who deserved to be."

 

"On St. Paul's Day," says Mr. Timbs (1868), "service is performed in St. Sepulchre's, in accordance with the will of Mr. Paul Jervis, who, in 1717, devised certain land in trust that a sermon should be preached in the church upon every Paul's Day upon the excellence of the liturgy o the Church of England; the preacher to receive 40s. for such sermon. Various sums are also bequeathed to the curate, the clerk, the treasurer, and masters of the parochial schools. To the poor of the parish he bequeathed 20s. a-piece to ten of the poorest householders within that part of the parish of St. Sepulchre commonly called Smithfield quarter, £4 to the treasurer of St. Bartholomew's Hospital, and 6s. 8d. yearly to the clerk, who shall attend to receive the same. The residue of the yearly rents and profits is to be distributed unto and amongst such poor people of the parish of St. Sepulchre's, London, who shall attend the service and sermon. At the close of the service the vestry-clerk reads aloud an extract from the will, and then proceeds to the distribution of the money. In the evening the vicar, churchwardens, and common councilmen of the precinct dine together."

 

In 1749, a Mr. Drinkwater made a praiseworthy bequest. He left the parish of St. Sepulchre £500 to be lent in sums of £25 to industrious young tradesmen. No interest was to be charged, and the money was to be lent for four years.

 

Next to St. Sepulchre's, on Snow Hill, used to stand the famous old inn of the "Saracen's Head." It was only swept away within the last few years by the ruthless army of City improvers: a view of it in course of demolition was given on page 439. It was one of the oldest of the London inns which bore the "Saracen's Head" for a sign. One of Dick Tarlton's jests makes mention of the "Saracen's Head" without Newgate, and Stow, describing this neighbourhood, speaks particularly of "a fair large inn for receipt of travellers" that "hath to sign the 'Saracen's Head.'" The courtyard had, to the last, many of the characteristics of an old English inn; there were galleries all round leading to the bedrooms, and a spacious gateway through which the dusty mail-coaches used to rumble, the tired passengers creeping forth "thanking their stars in having escaped the highwaymen and the holes and sloughs of the road." Into that courtyard how many have come on their first arrival in London with hearts beating high with hope, some of whom have risen to be aldermen and sit in state as lord mayor, whilst others have gone the way of the idle apprentice and come to a sad end at Tyburn! It was at this inn that Nicholas Nickleby and his uncle waited upon the Yorkshire schoolmaster Squeers, of Dotheboys Hall. Mr. Dickens describes the tavern as it existed in the last days of mail-coaching, when it was a most important place for arrivals and departures in London:—

 

"Next to the jail, and by consequence near to Smithfield also, and the Compter and the bustle and noise of the City, and just on that particular part of Snow Hill where omnibus horses going eastwards seriously think of falling down on purpose, and where horses in hackney cabriolets going westwards not unfrequently fall by accident, is the coach-yard of the 'Saracen's Head' inn, its portals guarded by two Saracen's heads and shoulders, which it was once the pride and glory of the choice spirits of this metropolis to pull down at night, but which have for some time remained in undisturbed tranquillity, possibly because this species of humour is now confined to St. James's parish, where doorknockers are preferred as being more portable, and bell-wires esteemed as convenient tooth-picks. Whether this be the reason or not, there they are, frowning upon you from each side of the gateway; and the inn itself, garnished with another Saracen's head, frowns upon you from the top of the yard; while from the door of the hind-boot of all the red coaches that are standing therein, there glares a small Saracen's head with a twin expression to the large Saracen's head below, so that the general appearance of the pile is of the Saracenic order."

 

To explain the use of the Saracen's head as an inn sign various reasons have been given. "When our countrymen," says Selden, "came home from fighting with the Saracens and were beaten by them, they pictured them with huge, big, terrible faces (as you still see the 'Saracen's Head' is), when in truth they were like other men. But this they did to save their own credit." Or the sign may have been adopted by those who had visited the Holy Land either as pilgrims or to fight the Saracens. Others, again, hold that it was first set up in compliment to the mother of Thomas à Becket, who was the daughter of a Saracen. However this may be, it is certain that the use of the sign in former days was very general.

 

Running past the east end of St. Sepulchre's, from Newgate into West Smithfield, is Giltspur Street, anciently called Knightriders Street. This interesting thoroughfare derives its name from the knights with their gilt spurs having been accustomed to ride this way to the jousts and tournaments which in days of old were held in Smithfield.

 

In this street was Giltspur Street Compter, a debtors' prison and house of correction appertaining to the sheriffs of London and Middlesex. It stood over against St. Sepulchre's Church, and was removed hither from the east side of Wood Street, Cheapside, in 1791. At the time of its removal it was used as a place of imprisonment for debtors, but the yearly increasing demands upon the contracted space caused that department to be given up, and City debtors were sent to Whitecross Street. The architect was Dance, to whom we are also indebted for the grim pile of Newgate. The Compter was a dirty and appropriately convictlooking edifice. It was pulled down in 1855. Mr. Hepworth Dixon gave an interesting account of this City House of Correction, not long before its demolition, in his "London Prisons" (1850). "Entering," he says, "at the door facing St. Sepulchre's, the visitor suddenly finds himself in a low dark passage, leading into the offices of the gaol, and branching off into other passages, darker, closer, more replete with noxious smells, than even those of Newgate. This is the fitting prelude to what follows. The prison, it must be noticed, is divided into two principal divisions, the House of Correction and the Compter. The front in Giltspur Street, and the side nearest to Newgate Street, is called the Compter. In its wards are placed detenues of various kinds—remands, committals from the police-courts, and generally persons waiting for trial, and consequently still unconvicted. The other department, the House of Correction, occupies the back portion of the premises, abutting on Christ's Hospital. Curious it is to consider how thin a wall divides these widely-separate worlds! And sorrowful it is to think what a difference of destiny awaits the children—destiny inexorable, though often unearned in either case—who, on the one side of it or the other, receive an eleemosynary education! The collegian and the criminal! Who shall say how much mere accident— circumstances over which the child has little power —determines to a life of usefulness or mischief? From the yards of Giltspur Street prison almost the only objects visible, outside of the gaol itself, are the towers of Christ's Hospital; the only sounds audible, the shouts of the scholars at their play. The balls of the hospital boys often fall within the yards of the prison. Whether these sights and sounds ever cause the criminal to pause and reflect upon the courses of his life, we will not say, but the stranger visiting the place will be very apt to think for him. …

 

"In the department of the prison called the House of Correction, minor offenders within the City of London are imprisoned. No transports are sent hither, nor is any person whose sentence is above three years in length." This able writer then goes on to tell of the many crying evils connected with the institution—the want of air, the over-crowded state of the rooms, the absence of proper cellular accommodation, and the vicious intercourse carried on amongst the prisoners. The entire gaol, when he wrote, only contained thirty-six separate sleeping-rooms. Now by the highest prison calculation—and this, be it noted, proceeds on the assumption that three persons can sleep in small, miserable, unventilated cells, which are built for only one, and are too confined for that, being only about one-half the size of the model cell for one at Pentonville—it was only capable of accommodating 203 prisoners, yet by the returns issued at Michaelmas, 1850, it contained 246!

 

A large section of the prison used to be devoted to female delinquents, but lately it was almost entirely given up to male offenders.

 

"The House of Correction, and the Compter portion of the establishment," says Mr. Dixon, "are kept quite distinct, but it would be difficult to award the palm of empire in their respective facilities for demoralisation. We think the Compter rather the worse of the two. You are shown into a room, about the size of an apartment in an ordinary dwelling-house, which will be found crowded with from thirty to forty persons, young and old, and in their ordinary costume; the low thief in his filth and rags, and the member of the swell-mob with his bright buttons, flash finery, and false jewels. Here you notice the boy who has just been guilty of his first offence, and committed for trial, learning with a greedy mind a thousand criminal arts, and listening with the precocious instinct of guilty passions to stories and conversations the most depraved and disgusting. You regard him with a mixture of pity and loathing, for he knows that the eyes of his peers are upon him, and he stares at you with a familiar impudence, and exhibits a devil-may-care countenance, such as is only to be met with in the juvenile offender. Here, too, may be seen the young clerk, taken up on suspicion—perhaps innocent—who avoids you with a shy look of pain and uneasiness: what a hell must this prison be to him! How frightful it is to think of a person really untainted with crime, compelled to herd for ten or twenty days with these abandoned wretches!

 

"On the other, the House of Correction side of the gaol, similar rooms will be found, full of prisoners communicating with each other, laughing and shouting without hindrance. All this is so little in accordance with existing notions of prison discipline, that one is continually fancying these disgraceful scenes cannot be in the capital of England, and in the year of grace 1850. Very few of the prisoners attend school or receive any instruction; neither is any kind of employment afforded them, except oakum-picking, and the still more disgusting labour of the treadmill. When at work, an officer is in attendance to prevent disorderly conduct; but his presence is of no avail as a protection to the less depraved. Conversation still goes on; and every facility is afforded for making acquaintances, and for mutual contamination."

 

After having long been branded by intelligent inspectors as a disgrace to the metropolis, Giltspur Street Compter was condemned, closed in 1854, and subsequently taken down.

 

Nearly opposite what used to be the site of the Compter, and adjoining Cock Lane, is the spot called Pie Corner, near which terminated the Great Fire of 1666. The fire commenced at Pudding Lane, it will be remembered, so it was singularly appropriate that it should terminate at Pie Corner. Under the date of 4th September, 1666, Pepys, in his "Diary," records that "W. Hewer this day went to see how his mother did, and comes home late, telling us how he hath been forced to remove her to Islington, her house in Pye Corner being burned; so that the fire is got so far that way." The figure of a fat naked boy stands over a public house at the corner of the lane; it used to have the following warning inscription attached:— "This boy is in memory put up of the late fire of London, occasioned by the sin of gluttony, 1666." According to Stow, Pie Corner derived its name from the sign of a well-frequented hostelry, which anciently stood on the spot. Strype makes honourable mention of Pie Corner, as "noted chiefly for cooks' shops and pigs dressed there during Bartholomew Fair." Our old writers have many references—and not all, by the way, in the best taste—to its cookstalls and dressed pork. Shadwell, for instance, in the Woman Captain (1680) speaks of "meat dressed at Pie Corner by greasy scullions;" and Ben Jonson writes in the Alchemist (1612)—

 

"I shall put you in mind, sir, at Pie Corner,

Taking your meal of steam in from cooks' stalls."

 

And in "The Great Boobee" ("Roxburgh Ballads"):

 

"Next day I through Pie Corner passed;

The roast meat on the stall

Invited me to take a taste;

My money was but small."

 

But Pie Corner seems to have been noted for more than eatables. A ballad from Tom D'Urfey's "Pills to Purge Melancholy," describing Bartholomew Fair, eleven years before the Fire of London, says:—

 

"At Pie-Corner end, mark well my good friend,

'Tis a very fine dirty place;

Where there's more arrows and bows. …

Than was handled at Chivy Chase."

 

We have already given a view of Pie Corner in our chapter on Smithfield, page 361.

 

Hosier Lane, running from Cow Lane to Smithfield, and almost parallel to Cock Lane, is described by "R. B.," in Strype, as a place not over-well built or inhabited. The houses were all old timber erections. Some of these—those standing at the south corner of the lane—were in the beginning of this century depicted by Mr. J. T. Smith, in his "Ancient Topography of London." He describes them as probably of the reign of James I. The rooms were small, with low, unornamented ceilings; the timber, oak, profusely used; the gables were plain, and the walls lath and plaster. They were taken down in 1809.

 

In the corner house, in Mr. Smith's time, there was a barber whose name was Catchpole; at least, so it was written over the door. He was rather an odd fellow, and possessed, according to his own account, a famous relic of antiquity. He would gravely show his customers a short-bladed instrument, as the identical dagger with which Walworth killed Wat Tyler.

 

Hosier Lane, like Pie Corner, used to be a great resort during the time of Bartholomew Fair, "all the houses," it is said in Strype, "generally being made public for tippling."

 

We return now from our excursion to the north of St. Sepulchre's, and continue our rambles to the west, and before speaking of what is, let us refer to what has been.

 

Turnagain Lane is not far from this. "Near unto this Seacoal Lane," remarks Stow, "in the turning towards Holborn Conduit, is Turnagain Lane, or rather, as in a record of the 5th of Edward III., Windagain Lane, for that it goeth down west to Fleet Dyke, from whence men must turn again the same way they came, but there it stopped." There used to be a proverb, "He must take him a house in Turnagain Lane."

 

A conduit formerly stood on Snow Hill, a little below the church. It is described as a building with four equal sides, ornamented with four columns and pediment, surmounted by a pyramid, on which stood a lamb—a rebus on the name of Lamb, from whose conduit in Red Lion Street the water came. There had been a conduit there, however, before Lamb's day, which was towards the close of the sixteenth century.

 

At No. 37, King Street, Snow Hill, there used to be a ladies' charity school, which was established in 1702, and remained in the parish 145 years. Dr. Johnson and Mrs. Thrale were subscribers to this school, and Johnson drew from it his story of Betty Broom, in "The Idler." The world of domestic service, in Betty's days, seems to have been pretty much as now. Betty was a poor girl, bred in the country at a charity-school, maintained by the contributions of wealthy neighbours. The patronesses visited the school from time to time, to see how the pupils got on, and everything went well, till "at last, the chief of the subscribers having passed a winter in London, came down full of an opinion new and strange to the whole country. She held it little less than criminal to teach poor girls to read and write. They who are born to poverty, she said, are born to ignorance, and will work the harder the less they know. She told her friends that London was in confusion by the insolence of servants; that scarcely a girl could be got for all-work, since education had made such numbers of fine ladies, that nobody would now accept a lower title than that of a waiting-maid, or something that might qualify her to wear laced shoes and long ruffles, and to sit at work in the parlour window. But she was resolved, for her part, to spoil no more girls. Those who were to live by their hands should neither read nor write out of her pocket. The world was bad enough already, and she would have no part in making it worse.

 

"She was for a long time warmly opposed; but she persevered in her notions, and withdrew her subscription. Few listen, without a desire of conviction, to those who advise them to spare their money. Her example and her arguments gained ground daily; and in less than a year the whole parish was convinced that the nation would be ruined if the children of the poor were taught to read and write." So the school was dissolved, and Betty with the rest was turned adrift into the wide and cold world; and her adventures there any one may read in "The Idler" for himself.

 

There is an entry in the school minutes of 1763, to the effect that the ladies of the committee censured the schoolmistress for listening to the story of the Cock Lane ghost, and "desired her to keep her belief in the article to herself."

 

Skinner Street—now one of the names of the past—which ran by the south side of St. Sepulchre's, and formed the connecting link between Newgate Street and Holborn, received its name from Alderman Skinner, through whose exertions, about 1802, it was principally built. The following account of Skinner Street is from the picturesque pen of Mr. William Harvey ("Aleph"), whose long familiarity with the places he describes renders doubly valuable his many contributions to the history of London scenes and people:—"As a building speculation," he says, writing in 1863, "it was a failure. When the buildings were ready for occupation, tall and substantial as they really were, the high rents frightened intending shopkeepers. Tenants were not to be had; and in order to get over the money difficulty, a lottery, sanctioned by Parliament, was commenced. Lotteries were then common tricks of finance, and nobody wondered at the new venture; but even the most desperate fortune-hunters were slow to invest their capital, and the tickets hung sadly on hand. The day for the drawing was postponed several times, and when it came, there was little or no excitement on the subject, and whoever rejoiced in becoming a house-owner on such easy terms, the original projectors and builders were understood to have suffered considerably. The winners found the property in a very unfinished condition. Few of the dwellings were habitable, and as funds were often wanting, a majority of the houses remained empty, and the shops unopened. After two or three years things began to improve; the vast many-storeyed house which then covered the site of Commercial Place was converted into a warehousing depôt; a capital house opposite the 'Saracen's Head' was taken by a hosier of the name of Theobald, who, opening his shop with the determination of selling the best hosiery, and nothing else, was able to convince the citizens that his hose was first-rate, and, desiring only a living profit, succeeded, after thirty years of unwearied industry, in accumulating a large fortune. Theobald was possessed of literary tastes, and at the sale of Sir Walter Scott's manuscripts was a liberal purchaser. He also collected a library of exceedingly choice books, and when aristocratic customers purchased stockings of him, was soon able to interest them in matters of far higher interest…

 

"The most remarkable shop—but it was on the left-hand side, at a corner house—was that established for the sale of children's books. It boasted an immense extent of window-front, extending from the entrance into Snow Hill, and towards Fleet Market. Many a time have I lingered with loving eyes over those fascinating story-books, so rich in gaily-coloured prints; such careful editions of the marvellous old histories, 'Puss in Boots,' 'Cock Robin,' 'Cinderella,' and the like. Fortunately the front was kept low, so as exactly to suit the capacity of a childish admirer. . . . . But Skinner Street did not prosper much, and never could compete with even the dullest portions of Holborn. I have spoken of some reputable shops; but you know the proverb, 'One swallow will not make a summer,' and it was a declining neighbourhood almost before it could be called new. In 1810 the commercial depôt, which had been erected at a cost of £25,000, and was the chief prize in the lottery, was destroyed by fire, never to be rebuilt—a heavy blow and discouragement to Skinner Street, from which it never rallied. Perhaps the periodical hanging-days exercised an unfavourable influence, collecting, as they frequently did, all the thieves and vagabonds of London. I never sympathised with Pepys or Charles Fox in their passion for public executions, and made it a point to avoid those ghastly sights; but early of a Monday morning, when I had just reached the end of Giltspur Street, a miserable wretch had just been turned off from the platform of the debtors' door, and I was made the unwilling witness of his last struggles. That scene haunted me for months, and I often used to ask myself, 'Who that could help it would live in Skinner Street?' The next unpropitious event in these parts was the unexpected closing of the child's library. What could it mean? Such a well-to-do establishment shut up? Yes, the whole army of shutters looked blankly on the inquirer, and forbade even a single glance at 'Sinbad' or 'Robinson Crusoe.' It would soon be re-opened, we naturally thought; but the shutters never came down again. The whole house was deserted; not even a messenger in bankruptcy, or an ancient Charley, was found to regard the playful double knocks of the neighbouring juveniles. Gradually the glass of all the windows got broken in, a heavy cloud of black dust, solidifying into inches thick, gathered on sills and doors and brickwork, till the whole frontage grew as gloomy as Giant Despair's Castle. Not long after, the adjoining houses shared the same fate, and they remained from year to year without the slightest sign of life—absolute scarecrows, darkening with their uncomfortable shadows the busy streets. Within half a mile, in Stamford Street, Blackfriars, there are (1863) seven houses in a similar predicament— window-glass demolished, doors cracked from top to bottom, spiders' webs hanging from every projecting sill or parapet. What can it mean? The loss in the article of rents alone must be over £1,000 annually. If the real owners are at feud with imaginary owners, surely the property might be rendered valuable, and the proceeds invested. Even the lawyers can derive no profit from such hopeless abandonment. I am told the whole mischief arose out of a Chancery suit. Can it be the famous 'Jarndyce v. Jarndyce' case? And have all the heirs starved each other out? If so, what hinders our lady the Queen from taking possession? Any change would be an improvement, for these dead houses make the streets they cumber as dispiriting and comfortless as graveyards. Busy fancy will sometimes people them, and fill the dreary rooms with strange guests. Do the victims of guilt congregate in these dark dens? Do wretches 'unfriended by the world or the world's law,' seek refuge in these deserted nooks, mourning in the silence of despair over their former lives, and anticipating the future in unappeasable agony? Such things have been—the silence and desolation of these doomed dwellings make them the more suitable for such tenants."

 

A street is nothing without a mystery, so a mystery let these old tumble-down houses remain, whilst we go on to tell that, in front of No. 58, the sailor Cashman was hung in 1817, as we have already mentioned, for plundering a gunsmith's shop there. William Godwin, the author of "Caleb Williams," kept a bookseller's shop for several years in Skinner Street, at No. 41, and published school-books in the name of Edward Baldwin. On the wall there was a stone carving of Æsop reciting one of his fables to children.

 

The most noteworthy event of the life of Godwin was his marriage with the celebrated Mary Wollstonecraft, authoress of a "Vindication of the Rights of Women," whose congenial mind, in politics and morals, he ardently admired. Godwin's account of the way in which they got on together is worth reading:—"Ours," he writes, "was not an idle happiness, a paradise of selfish and transitory pleasures. It is, perhaps, scarcely necessary to mention, that influenced by ideas I had long entertained, I engaged an apartment about twenty doors from our house, in the Polygon, Somers Town, which I designed for the purpose of my study and literary occupations. Trifles, however, will be interesting to some readers, when they relate to the last period of the life of such a person as Mary. I will add, therefore, that we were both of us of opinion, that it was possible for two persons to be too uniformly in each other's society. Influenced by that opinion, it was my practice to repair to the apartment I have mentioned as soon as I rose, and frequently not to make my appearance in the Polygon till the hour of dinner. We agreed in condemning the notion, prevalent in many situations in life, that a man and his wife cannot visit in mixed society but in company with each other, and we rather sought occasions of deviating from than of complying with this rule. By this means, though, for the most part, we spent the latter half of each day in one another's society, yet we were in no danger of satiety. We seemed to combine, in a considerable degree, the novelty and lively sensation of a visit with the more delicious and heartfelt pleasure of a domestic life."

 

This philosophic union, to Godwin's inexpressible affliction, did not last more than eighteen months, at the end of which time Mrs. Godwin died, leaving an only daughter, who in the course of time became the second wife of the poet Shelley, and was the author of the wild and extraordinary tale of "Frankenstein."

 

www.british-history.ac.uk/report.aspx?compid=45116

A worker checks the placement of a solar panel.

Installed in the 1920s after a major renovation, the triptych of stained glass chancel windows were created by Melbourne stained glass manufacturer Brooks, Robinson and Company Glass Merchants, who dominated the market in stained glass in Melbourne during the 1920s, 1930s and 1940s.

 

Across the bottom of the three are written "Behold a voice cut of a cloud saying this is my beloved Son in whom I am well pleased. Hear ye Him", which is taken from the book of Matthew.

 

The left hand window shows Moses clutching the tablets on which are inscribed the Ten Commandments. The right window features Saint Peter, one of the Twelve Apostles of Jesus, holding his Gospel book. The central window of the triptych features Jesus descending from heaven. Alpha and Omega appear in the quatrefoil windows above Moses and Saint Peter, whilst "Father, Son and Holy Ghost" appear in the quinfoil window above the central lancet window of Jesus.

 

Blackwood reredos beneath the triptych, dating from 1939, feature a mosaic of the last supper also created by stained glass and church outfitters Brooks, Robinson and Company. A similar one may be found at St. Matthews Church of England in High Street, Prahran.

 

Built amid workers' cottages and terrace houses of shopkeepers, St. Mark the Evangelist Church of England sits atop an undulating rise in the inner Melbourne suburb of Fitzroy. Nestled behind a thick bank of agapanthus beyond its original cast-iron palisade fence, it would not look out of place in an English country village with its neat buttresses, bluestone masonry and simple, unadorned belfry.

 

St. Mark the Evangelist was the first church to be built outside of the original Melbourne grid as Fitzroy developed into the city's first suburb. A working-class suburb, the majority of its residents were Church of England and from 1849 a Mission Church and school served as a centre for religious, educational and recreational facilities. The school was one of a number of denominational schools established by the Church of England and was partly funded by the Denominational School Board.

 

St. Mark the Evangelist Church of England was designed by architect James Blackburn and built in Early English Gothic style. Richard Grice, Victorian pastoralist and philanthropist, generously contributed almost all the cost of its construction. Work commenced in 1853 to accommodate the growing Church of England congregation of Fitzroy. On July 1st, 1853, the first stone of St. Mark the Evangelist was laid by the first Bishop of Melbourne, The Right Rev. Charles Perry.

Unfortunately, Blackburn did not live to see its completion, dying the following year in 1854 of typhoid. This left St. Mark the Evangelist without an architect to oversee the project, and a series of other notable Melbourne architects helped finish the church including Lloyd Tayler, Leonard Terry and Charles Webb. Even then when St. Mark the Evangelist opened its doors on Sunday, January 21st, 1855, the church was never fully completed with an east tower and spire never realised. The exterior of the church is very plain, constructed of largely unadorned bluestone, with simple buttresses marking structural bays and tall lancet windows. The church's belfry is similarly unadorned, yet features beautiful masonry work. It has a square tower and broach spire.

 

Inside St. Mark the Evangelist Church of England it is peaceful and serves as a quiet sanctuary from the noisy world outside. I visited it on a hot day, and its enveloping coolness was a welcome relief. Walking across the old, highly polished hardwood floors you cannot help but note the gentle scent of the incense used during mass. The church has an ornately carved timber Gothic narthex screen which you walk through to enter the nave. Once there you can see the unusual two storey arcaded gallery designed by Leonard Terry that runs the entire length of the east side of building. Often spoken of as “The Architect’s Folly” Terry's gallery was a divisive point in the Fritzroy congregation. Some thought it added much beauty to the interior with its massive square pillars and seven arches supporting the principals of the roof. Yet it was generally agreed that the gallery was of little effective use, and came with a costly price tag of £3,000.00! To this day, it has never been fully utlised by the church. St. Mark the Evangelist has been fortunate to have a series of organs installed over its history; in 1854 a modest organ of unknown origin: in 1855 an 1853 Foster and Andrews, Hull, organ which was taken from the Athenaeum Theatre in Melbourne's Collins Street: in 1877 an organ built by Melbourne organ maker William Anderson: and finally in 1999 as part of major renovation works a 1938 Harrison and Harrison, Durham, organ taken from St. Luke's Church of England in Cowley, Oxfordshire. The church has gone through many renovations over the ensuing years, yet the original marble font and pews have survived these changes and remain in situ to this day. Blackwood reredos in the chancel, dating from 1939, feature a mosaic of the last supper by stained glass and church outfitters Brooks, Robinson and Company. A similar one can be found at St. Matthew's Church of England in High Street in Prahran. The fine lancet stained glass windows on the west side of St. Mark the Evangelist feature the work of the stained glass firms Brooks, Robinson and Company. and William Montgomery. Many of the windows were installed in the late Nineteenth Century.

 

The St. Mark the Evangelist Parish Hall and verger's cottage were added in 1889 to designs by architects Hyndman and Bates. The hall is arranged as a nave with clerestorey windows and side aisles with buttresses. In 1891 the same architects designed the Choir Vestry and Infants Sunday School on Hodgson Street, to replace the earlier school of 1849 which had been located in the forecourt of the church.

 

The present St. Mark the Evangelist's vicarage, a two-storey brick structure with cast-iron lacework verandahs, was erected in 1910.

 

I am very grateful to the staff of Anglicare who run the busy adjoining St. Mark's Community Centre for allowing me to have free range of the inside of St. Mark the Evangelist for a few hours to photograph it so extensively.

 

James Blackburn (1803 - 1854) was an English civil engineer, surveyor and architect. Born in Upton, West Ham, Essex, James was the third of four sons and one daughter born to his parents. His father was a scalemaker, a trade all his brothers took. At the age of 23, James was employed by the Commissioners of Sewers for Holborn and Finsbury and later became an inspector of sewers. However, his life took a dramatic turn in 1833, when suffering economic hardship, he forged a cheque. He was caught and his penalty was transportation to Van Diemen’s Land (modern day Tasmania). As a convicted prisoner, yet also listed as a civil engineer, James was assigned to the Roads Department under the management of Roderic O’Connor, a wealthy Irishman who was the Inspector of Roads and Bridges at the time. On 3 May 1841 James was pardoned, whereupon he entered private practice with James Thomson, another a former convict. In April 1849, James sailed from Tasmania aboard the "Shamrock" with his wife and ten children to start a new life in Melbourne. Once there he formed a company to sell filtered and purified water to the public, and carried out some minor architectural commissions including St. Mark the Evangelist in Fitzroy. On 24 October he was appointed city surveyor, and between 1850 and 1851 he produced his greatest non-architectural work, the basic design and fundamental conception of the Melbourne water supply from the Yan Yean reservoir via the Plenty River. He was injured in a fall from a horse in January 1852 and died on 3 March 1854 at Brunswick Street, Collingwood, of typhoid. He was buried as a member of St. Mark The Evangelist Church of England. James is best known in Tasmania for his ecclesiastical architectural work including; St Mark's Church of England, Pontville, Tasmania (1839-1841), Holy Trinity Church, Hobart, Tasmania (1841-1848): St. George's Church of England, Battery Point, Tasmania, (1841-1847).

 

Leonard Terry (1825 - 1884) was an architect born at Scarborough, Yorkshire, England. Son of Leonard Terry, a timber merchant, and his wife Margaret, he arrived in Melbourne in 1853 and after six months was employed by architect C. Laing. By the end of 1856 he had his own practice in Collins Street West (Terry and Oakden). After Mr. Laing's death next year Leonard succeeded him as the principal designer of banks in Victoria and of buildings for the Anglican Church, of which he was appointed diocesan architect in 1860. In addition to the many banks and churches that he designed, Leonard is also known for his design of The Melbourne Club on Collins Street (1858 - 1859) "Braemar" in East Melbourne (1865), "Greenwich House" Toorak (1869) and the Campbell residence on the corner of Collins and Spring Streets (1877). Leonard was first married, at 30, on 26 June 1855 to Theodosia Mary Welch (d.1861), by whom he had six children including Marmaduke, who trained as a surveyor and entered his father's firm in 1880. Terry's second marriage, at 41, on 29 December 1866 was to Esther Hardwick Aspinall, who bore him three children and survived him when on 23 June 1884, at the age of 59, he died of a thoracic tumor in his last home, Campbellfield Lodge, Alexandra Parade, in Collingwood.

 

Lloyd Tayler (1830 - 1900) was an architect born on 26 October 1830 in London, youngest son of tailor William Tayler, and his wife Priscilla. Educated at Mill Hill Grammar School, Hendon, and King's College, London, he is said to have been a student at the Sorbonne. In June 1851 he left England to join his brother on the land near Albury, New South Wales. He ended up on the Mount Alexander goldfields before setting up an architectural practice with Lewis Vieusseux, a civil engineer in 1854. By 1856 he had his own architectural practice where he designed premises for the Colonial Bank of Australasia. In the 1860s and 1870s he was lauded for his designs for the National Bank of Australasia, including those in the Melbourne suburbs of Richmond and North Fitzroy, and further afield in country Victoria at Warrnambool and Coleraine. His major design for the bank was the Melbourne head office in 1867. With Edmund Wright in 1874 William won the competition for the design of the South Australian Houses of Parliament, which began construction in 1881. The pair also designed the Bank of Australia in Adelaide in 1875. He also designed the Australian Club in Melbourne's William Street and the Melbourne Exchange in Collins Street in 1878. Lloyd's examples of domestic architecture include the mansion "Kamesburgh", Brighton, commissioned by W. K. Thomson in 1872. Other houses include: "Thyra", Brighton (1883): "Leighswood", Toorak, for C. E. Bright: "Roxcraddock", Caulfield: "Cherry Chase", Brighton: and "Blair Athol", Brighton. In addition to his work on St. Mark the Evangelist in Fitzroy, Lloyd also designed St. Mary's Church of England, Hotham (1860); St Philip's, Collingwood, and the Presbyterian Church, Punt Road, South Yarra (1865); and Trinity Church, Bacchus Marsh (1869). The high point of Lloyd's career was the design for the Melbourne head office of the Commercial Bank of Australia. His last important design was the Metropolitan Fire Brigade Headquarters Station, Eastern Hill in 1892. Lloyd was also a judge in 1900 of the competition plans for the new Flinders Street railway station. Lloyd was married to Sarah Toller, daughter of a Congregational minister. They established a comfortable residence, Pen-y-Bryn, in Brighton, and it was from here that he died of cancer of the liver on the 17th of August 1900 survived by his wife, four daughters and a son.

 

Charles Webb (1821 - 1898) was an architect. Born on 26 November 1821 at Sudbury, Suffolk, England, he was the youngest of nine children of builder William Webb and his wife Elizabeth. He attended Sudbury Academy and was later apprenticed to a London architect. His brother James had migrated to Van Diemen's Land in 1830, married in 1833, gone to Melbourne in 1839 where he set up as a builder in and in 1848 he bought Brighton Park, Brighton. Charles decided to join James and lived with James at Brighton. They went into partnership as architects and surveyors. The commission that established them was in 1850 for St Paul's Church, Swanston Street. It was here that Charles married Emma Bridges, daughter of the chief cashier at the Bank of England. Charles and James built many warehouses, shops and private homes and even a synagogue in the city. After his borther's return to England, Charles designed St. Andrew's Church, Brighton, and receiving an important commission for Melbourne Church of England Grammar School in 1855. In 1857 he added a tower and a slender spire to Scots Church, which James had built in 1841. He designed Wesley College in 1864, the Alfred Hospital and the Royal Arcade in 1869, the South Melbourne Town Hall and the Melbourne Orphan Asylum in 1878 and the Grand Hotel (now the Windsor) in 1884. In 1865 he had designed his own home, "Farleigh", in Park Street, Brighton, where he died on 23 January 1898 of heat exhaustion. Predeceased by Emma in 1893 and survived by five sons and three daughters, he was buried in Brighton cemetery.

 

Brooks, Robinson and Company first opened their doors on Elizabeth Street in Melbourne in 1854 as importers of window and table glass and also specialised in interior decorating supplies. Once established the company moved into glazing and were commonly contracted to do shopfronts around inner Melbourne. In the 1880s they commenced producing stained glass on a small scale. Their first big opportunity occurred in the 1890s when they were engaged to install Melbourne's St Paul's Cathedral's stained-glass windows. Their notoriety grew and as a result their stained glass studio flourished, particularly after the closure of their main competitor, Ferguson and Urie. They dominated the stained glass market in Melbourne in the early 20th Century, and many Australian glass artists of worked in their studio. Their work may be found in the Princess Theatre on Melbourne's Spring Street, in St John's Church in Toorak, and throughout churches in Melbourne. Brooks, Robinson and Company was taken over by Email Pty Ltd in 1963, and as a result they closed their stained glass studio.

  

from my show at cinders... they have pics of the work & opening up at www.cindersgallery.com

In October 2012 crews install underground steel supports to protect the Polson Building. These supports create a physical barrier to limit settlement during boring of the SR 99 tunnel, so the adjacent building is not affected. This technique was used to protect Antonio Gaudi’s Holy Family Church (La Sagrada Familia), a world heritage monument in Barcelona, during a similar tunnel project. Learn more about the program at www.alaskanwayviaduct.org.

Another Day of Bumpin @ Acer Arena. Installing new gear and making sure it all works, with final setup and rehearsals taking place. It really is a huge Audio/Lighting/Television rig for this event. I tooks these pics on the 30th of June when i was there installing things. I was there from 7:30am to 6pm. This whole setup is for Hillsong Conference 07 and this conference happens every year around 2-6 july. Starts Monday Night (July 2nd obviously) and introduction to Hillsong Conference 07 will be huge!! (Secrets withheld)

 

*JD is a worship leader with the United Team from Hillsong Church

New window installed in June 2014 in the north walk of the cloister designed by Emma Lindsay and made in the cathedral workshop by artist & conservator Grace Ayson (who I was able to catch up with soon after taking this photo). It is both beautifully designed and made, and uses some of the most luxurious glass available, gold-pink flashed.

www.canterbury-cathedral.org/2014/06/18/two-beautiful-new...

 

In the first half of the 20th century a plan was drawn up to fill the traceries of the cloister windows with stained glass, but this got no further than a single window in the east walk and two in the west. Recently a further two windows have been added in a more contemporary style, and hopefully further commemorative pieces may yet be added by future generations.

 

Arguably the most important of England's cathedrals and its Mother Church, few other buildings embody the nation's history as much as this one. It also bears the distinction of being the first major example of Gothic architecture in Britain, where French masons introduced the style during the rebuilding of the choir following a major fire in the 1170s. Throughout the following centuries it became one of Europe's leading centres of pilgrimage, when thousands flocked to venerate the shrine of murdered archbishop St Thomas Becket, but brought to an abrupt end with the English Reformation, when a saint who defied a monarch was viewed with particular enmity. Though all traces of the rich shrine were destroyed, the site of Becket's martyrdom in the north transept remains a place of reverence to this day.

 

The cathedral is a stunning building which represents both the earliest and latest styles of English Gothic architecture, from the French inspired eastern limb and apse, to the nave, transepts and the three towers, all soaring examples of the Perpendicular style, the central tower (the 'Bell Harry') being an especially fine structure (the north-west tower was rebuilt in the 1830s as a copy of its medieval neighbour on the south side following the demolition of an earlier Norman tower, thus the present symmetry of the west façade is a relatively recent feature, originally its mismatched towers would have given it a more Continental appearance).

 

The earliest parts of the cathedral however are Norman, represented the easternmost chapels and transepts flanking the choir, survivors of the fire of 1174, each transept being adorned by a richly decorated miniature tower. The crypt below is the finest in the country, extending below most of the east end (with a transitional early Gothic extension to the east under the apse). Superb examples of Romanesque art can be seen in many of the crypt's sculpted capitals, and the unusually well preserved murals in St Gabriel's chapel (sadly photography is forbidden in these areas).

 

The cathedral contains many notable tombs and monuments of all periods from the 13th to 20th centuries, foremost amongst them being the tombs of Edward the Black Prince (with a superb bronze effigy) and King Henry IV.

 

It's most celebrated feature is its wonderful collection of stained glass, much of it dating back to the late 12th and early 13th centuries including a sequence of the Ancestors of Christ and the especially beautiful 'Miracle windows' in the ambulatory (relating various miracles associated with Becket's shrine). The glass is justly famous as the very finest in Britain, its deep blues and reds often compared with the famous windows of Chartres.

 

On the north side many of the former monastic buildings remain, with a fine late medieval cloister and a vast rectangular chapter house. The cathedral library also stands here, but was rebuilt after being destroyed by bombing in World War II; fortunately all the medieval glass in the cathedral had been removed for safe-keeping throughout the war and damage to the building was otherwise superficial.

 

Canterbury Cathedral put simply invites superlatives, one of the most rewarding churches anywhere and a magnificent testament to England's Christian heritage.

 

www.canterbury-cathedral.org/

I arrive in Belfast for the Svanen and I find myself greeted by the Sea Installer already loaded up.

 

Belfast, Northern Ireland

 

Sea Installer's previous work:

 

www.youtube.com/watch?v=yQnF86rh8Eg

Westbury

Bamboo structure being installed several days before the Smithsonian Folklife Festival opens. Designed by artist Danny Yung, collaborating with Choi Wing Kei.

Love the retro drawer pulls

www.twitter.com/Memoire2cite Les 30 Glorieuses . com et la carte postale.. Il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain. Jérôme (Mémoire2Ville) #chercheur #archiviste #maquettiste dans l #histoire des #logementssociaux #logement #HLM #logementsocial #Patrimoine @ Les films du MRU -Industrialiser la construction, par le biais de la préfabrication.Cette industrialisation a abouti, dans les années 1950, à un choix politique de l'Etat, la construction massive de G.E. pour résoudre la très forte crise du logement dont souffrait la France www.youtube.com/watch?v=zR_jxCANYac&fbclid=IwAR2IzWlM... … Le temps de l'urbanisme, 1962, Réalisation : Philippe Brunet www.dailymotion.com/video/xgj2zz?playlist=x34ije … … … … -Les grands ensembles en images Les ministères en charge du logement et leur production audiovisuelle (1944-1966) MASSY - Les films du MRU - La Cité des hommes, 1966, Réalisation : Fréderic Rossif, Albert Knobler www.dailymotion.com/video/xgiqzr?playlist=x34i - Les films du MRU @ les AUTOROUTES - Les liaisons moins dangereuses 1972 la construction des autoroutes en France - Le réseau autoroutier 1960 Histoire de France Transports et Communications - www.dailymotion.com/video/xxi0ae?playlist=x34ije … - A quoi servaient les films produits par le MRU ministère de la Reconstruction et de l'Urbanisme ? la réponse de Danielle Voldman historienne spécialiste de la reconstruction www.dailymotion.com/video/x148qu4?playlist=x34ije … -les films du MRU - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : la préfabrication en usine, le coffrage glissant... www.dailymotion.com/video/xyjudq?playlist=x34ije … - TOUT SUR LA CONSTRUCTION DE NOTRE DAME LA CATHEDRALE DE PARIS Içi www.notredamedeparis.fr/la-cathedrale/histoire/historique... -MRU Les films - Le Bonheur est dans le béton - 2015 Documentaire réalisé par Lorenz Findeisen produit par Les Films du Tambour de Soie içi www.dailymotion.com/video/x413amo?playlist=x34ije Noisy-le-Sec le laboratoire de la reconstruction, 1948 L'album cinématographique de la reconstruction maison préfabriquée production ministère de la Reconstruction et de l'Urbanisme, 1948 L'album cinématographique içi www.dailymotion.com/video/xwytke archipostcard.blogspot.com/search?updated-max=2009-02-13T... -Créteil.un couple à la niaiserie béate exalte les multiples bonheurs de la vie dans les new G.E. www.youtube.com/watch?v=FT1_abIteFE … La Ville bidon était un téléfilm d'1 heure intitulé La Décharge.Mais la censure de ces temps de présidence Pompidou en a interdit la diffusion télévisuelle - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - Hansjörg Schneider BAUNETZWOCHE 87 über Papiermoderne www.baunetz.de/meldungen/Meldungen_BAUNETZWOCHE_87_ueber_... … - ARCHITECTURE le blog de Claude LOTHIER içi leblogdeclaudelothier.blogspot.com/2006/ - - Le balnéaire en cartes postales autour de la collection de David Liaudet, et ses excellents commentaires.. www.dailymotion.com/video/x57d3b8 -Restaurants Jacques BOREL, Autoroute A 6, 1972 Canton d'AUXERRE youtu.be/LRNhNzgkUcY munchies.vice.com/fr/article/43a4kp/jacques-borel-lhomme-... … Celui qu'on appellera le « Napoléon du prêt-à-manger » se détourne d'ailleurs peu à peu des Wimpy, s'engueule avec la maison mère et fait péricliter la franchise ... museedelacartepostale.fr/blog/ -'être agent de gestion locative pour une office H.L.M. en 1958' , les Cités du soleil 1958 de Jean-Claude Sée- les films du MRU içi www.dailymotion.com/video/xgj74q présente les réalisations des HLM en France et la lutte contre l'habitat indigne insalubre museedelacartepostale.fr/exposition-permanente/ - www.queenslandplaces.com.au/category/headwords/brisbane-c... - collection-jfm.fr/t/cartes-postales-anciennes/france#.XGe... - www.cparama.com/forum/la-collection-de-cpa-f1.html - www.dauphinomaniac.org/Cartespostales/Francaises/Cartes_F... - furtho.tumblr.com/archive

le Logement Collectif* 50,60,70's, dans tous ses états..Histoire & Mémoire d'H.L.M. de Copropriété Renouvellement Urbain-Réha-NPNRU., twitter.com/Memoire2cite tout içi sig.ville.gouv.fr/atlas/ZUS/ - media/InaEdu01827/la-creatio" rel="noreferrer nofollow">fresques.ina.fr/jalons/fiche-media/InaEdu01827/la-creatio Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,

www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije

Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.

Lieux géographiques : la Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije : mécanisation, rationalisation et élaboration industrielle de la production. Des exemples concrets sont présentés afin d'illustrer l'utilisation des différentes innovations : les coffrages outils, coffrage glissant, le tunnel, des procédés pour accélérer le durcissement du béton. Le procédé dit de coffrage glissant est illustré sur le chantier des tours Pablo Picasso à Nanterre. Le principe est de s'affranchir des échafaudages : le coffrage épouse le contour du bâtiment, il s'élève avec la construction et permet de réaliser simultanément l'ensemble des murs verticaux. Au centre du plancher de travail, une grue distribue en continu le ferraillage et le béton. Sur un tel chantier les ouvriers se relaient 24h / 24 , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije

Le reportage se penche ensuite sur la préfabrication en usine. Ces procédés de préfabrication en usine selon le commentaire sont bien adaptés aux pays en voie de développement, cela est illustré dans le reportage par une réalisation en Libye à Benghazi. Dans la course à l'allégement des matériaux un procédé l'isola béton est présenté. Un chapitre sur la construction métallique explique les avantage de ce procédé. La fabrication de composants ouvre de nouvelles perspectives à l'industrie du bâtiment.www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,www.dailymotion.com/playlist/x34ije_territoiresgouv_cinem... - mémoire2cité - le monde de l'Architecture locative collective et bien plus encore - mémoire2cité - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : www.dailymotion.com/video/xyjudq?playlist=x34ije la préfabrication en usine www.dailymotion.com/video/xx6ob5?playlist=x34ije , le coffrage glissant www.dailymotion.com/video/x19lwab?playlist=x34ije ... De nouvelles perspectives sont nées dans l'industrie du bâtiment avec les principes de bases de l'industrialisation du bâtiment www.dailymotion.com/video/x1a98iz?playlist=x34ije ,

Le Joli Mai (Restauré) - Les grands ensembles BOBIGNY l Abreuvoir www.youtube.com/watch?v=eUY9XzjvWHE … et la www.youtube.com/watch?v=hK26k72xIkU … www.youtube.com/watch?v=xCKF0HEsWWo …

Genève Le Grand Saconnex & la Bulle Pirate - architecte Marçel Lachat -

Un film de Julien Donada içi www.youtube.com/watch?time_continue=1&v=4E723uQcpnU … … .Genève en 1970. pic.twitter.com/1dbtkAooLM è St-Etienne - La muraille de Chine, en 1973 ce grand immeuble du quartier de Montchovet, existait encore photos la Tribune/Progres.

www.youtube.com/watch?v=AJAylpe8G48 …, - la tour 80 HLM située au 1 rue Proudhon à Valentigney dans le quartier des Buis Cette tour emblématique du quartier avec ces 15 étages a été abattu par FERRARI DEMOLITION (68). VALENTIGNEY (25700) 1961 - Ville nouvelle-les Buis 3,11 mn www.youtube.com/watch?v=C_GvwSpQUMY … - Au nord-Est de St-Etienne, aux confins de la ville, se dresse une colline Montreynaud la ZUP de Raymond Martin l'architecte & Alexandre Chemetoff pour les paysages de St-Saens.. la vidéo içi * Réalisation : Dominique Bauguil www.youtube.com/watch?v=Sqfb27hXMDo … … - www.dailymotion.com/video/xk6xui?playlist=x34ije , www.dailymotion.com/video/xk1dh2?playlist=x34ije , www.dailymotion.com/video/xwytke?playlist=x34ije , www.dailymotion.com/video/x1bci6m?playlist=x34ije l'industrie dla Grande Borne 91, le Vaudreuil 27, Avoriaz, Avenue de Flandres à Paris, tours Picasso à Nanterre, vues de la défense, Benghazi Libye 1975 Réalisateur : Sydney Jézéquel, Karenty la construction des Autoroutes en France - Les liaisons moins dangereuses 1972 www.dailymotion.com/video/xxi0ae?playlist=x34ije Cardem les 60 ans de l'entreprise de démolition française tres prisée des bailleurs pour les 80, 90's (1956 - 2019) toute l'Histoire de l'entreprise içi www.youtube.com/watch?v=Yyf1XGvTZYs - 69 LYON & la Cardem pour la démolition de la barre 230 Quartier la Duchère le 2 juillet 2015, youtu.be/BSwidwLw0NA pic.twitter.com/5XgR8LY7At -34 Béziers - C'était Capendeguy le 27 janv 2008 En quelques secondes, 450 kg d'explosifs ont soufflé la barre HLM de 492 lgts, de 480 m, qui laissera derrière elle 65.000 tonnes de gravas. www.youtube.com/watch?v=rydT54QYX50 … … Les usines Peugeot - Sochaux Montbéliard. 100 ans d'histoire en video www.youtube.com/watch?v=X4w3CxXVAyY … - 42 LOIRE SAINT-ETIENNE MONTREYNAUD LA ZUP Souvenirs avec Mascovich & son clip "la tour de Montreynaud" www.youtube.com/watch?v=p7Zmwn224XE …

Villeneuve-la-Garenne, La Caravelle est à mettre au crédit de Jean Dubuisson, l’un des architectes les plus en vue des années 1960, www.dailymotion.com/video/x1re3h5 via @Dailymotion - AMIENS les HLM C'était le 29 juillet 2010, à 11h02. En quelques secondes, cette tour d'habitation s'est effondrée, détruite par implosion. Construite en 1961, la tour avait été vidée de ses habitants quelques années auparavant. www.youtube.com/watch?v=ajz2xk5KBNo … … - Les habitants de Montreynaud parlent de leur quartier et de cette destruction entre nostalgie et soulagement içi en video www.dailymotion.com/video/xmiwfk - Les bâtiments de la région parisienne - Vidéo Ina.fr www.ina.fr/video/CAF96034508/les-batiments-de-la-region-p... … via @Inafr_officiel - Daprinski - George Michael (Plaisir de France remix) www.youtube.com/watch?v=sJeH-nzlj3I

Ministère de l'Équipement et de l'Aménagement du Territoire - Dotation par la France d'autoroutes modernes "nécessité vitale" pour palier à l'inadaptation du réseau routier de l'époque voué à la paralysie : le reportage nous montre des images d'embouteillages. Le ministre de l'Équipement et de l'Aménagement du Territoire dans les deux gouvernements de Pierre Messmer, de 1972 à 1974, Olivier Guichard explique les ambitions du programme de construction qui doit atteindre 800 km par ans en 1978. L'ouverture de section nouvelles va bon train : Nancy / Metz par exemple. Le reportage nous montre l'intérieur des bureaux d'études qui conçoivent ces autoroute dont la conception est assistée par ordinateurs dont le projet d'ensemble en 3D est visualisé sur un écran. La voix off nous informe sur le financement de ces équipements. Puis on peut voir des images de la construction du pont sur la Seine à Saint Cloud reliant l'autoroute de Normandie au périphérique, de l'échangeur de Palaiseau sur 4 niveau : record d'Europe précise le commentaire. Le reportage nous informe que des sociétés d'économies mixtes ont étés crées pour les tronçons : Paris / Lille, Paris / Marseille, Paris / Normandie. Pour accélérer la construction l’État a eu recours à des concessions privées par exemple pour le tronçon Paris / Chartres. "Les autoroutes changent le visage de la France : artères économiques favorisant le développement industriel elles permettent de revitaliser des régions en perte de vitesse et de l'intégrer dans le mouvement général de l'expansion" Sur le plan européen elles vont combler le retard de la France et réaliser son insertion. Images de l'inauguration de l'autoroute entre Paris et Bruxelles par le président Georges Pompidou. Le reportage rappel que l'autre fonction capitale des autoroute est de favoriser la sécurité. La question de la limitation de vitesse est posée au ministre de l’Équipement, qui n'y est favorable que sur certains tronçons. Un des facteur de sécurité selon le commentaire est l'humanisation des autoroutes : aires de repos, restaurants, signalisation touristiques... "Rien n'est impossible aux techniques modernes" nous apprend la voix off qui prend comme exemple le déplacement sur rail de 65 mètres d'un château classé afin de faire passer l'autoroute Lille / Dunkerque.Durée : 4 minutes 30 secondes Sur les routes de France les ponts renaissent 1945 reconstruction de la France après la Seconde Guerre mondiale www.dailymotion.com/video/xuxrii?playlist=x34ije Lyon, Tournon, Caen - Le Bosquel, un village renait 1947 l'album cinématographique de la reconstruction, réalisation Paul de Roubaix production ministère de la Reconstruction et de l'Urbanisme, village prototype, architecte Paul Dufournet, www.dailymotion.com/video/xx5tx8?playlist=x34ije - Demain Paris 1959 dessin animé présentant l'aménagement de la capitale dans les années 60, Animation, dessin animé à vocation pédagogique visant à promouvoir la politique d’aménagement suivie dans les années 60 à Paris. Un raccourci historique sur l’extension de Paris du Moyen Âge au XIXe siècle (Lutèce, œuvres de Turgot, Napoléon, Haussmann), ce dessin animé retrace la naissance de la banlieue et de ses avatars au XXe siècle. Il annonce les grands principes d’aménagement des villes nouvelles et la restructuration du centre de Paris (référence implicite à la charte d’Athènes). Le texte est travaillé en rimes et vers. Une chanson du vieux Paris conclut poétiquement cette vision du futur. Thèmes principaux : Aménagement urbain / planification-aménagement régional Mots-clés : Banlieue, extension spatiale, histoire, quartier, ville, ville nouvelle Lieu géographique : Paris 75 Architectes ou personnalités : Eugène Haussmann, Napoléon, Turgot Réalisateurs : André Martin, Michel Boschet Production : les films Roger Leenhardt

www.dailymotion.com/video/xw6lak?playlist=x34ije - Rue neuve 1956 la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, villes, villages, grands ensembles réalisation : Jack Pinoteau , Panorama de la reconstruction de la France dix ans après la fin de la seconde guerre mondiale, ce film de commande évoque les villes et villages français détruits puis reconstruits dans un style respectant la tradition : Saint-Malo, Gien, Thionville, Ammerschwihr, etc. ainsi que la reconstruction en rupture avec l'architecture traditionnelle à Châtenay-Malabry, Arles, Saint Étienne, Évreux, Chambéry, Villeneuve-Saint-Georges, Abbeville, Le Havre, Marseille, Boulogne-sur-Mer, Dunkerque. Le documentaire explique par exemple la manière dont a été réalisée la reconstruction de Saint-Malo à l'intérieur des rempart de la vieille ville : "c'est la fidélité à l'histoire et la force du souvenir qui a guidé l'architecte". Dans le même esprit à Gien, au trois quart détruite en 1940, seul le château construit en 1494 pour Anne de Beaujeu, fille aînée de Louis XI, fut épargné par les bombardements. La ville fut reconstruite dans le style des rares immeubles restant. Gien est relevé de ses ruines et le nouvel ensemble harmonieux est appelé « Joyau de la Reconstruction française ». Dans un deuxième temps est abordé le chapitre de la construction des cités et des grands ensembles, de l’architecture du renouveau qualifiée de "grandiose incontestablement". S’il est précisé "on peut aimer ou de ne pas aimer ce style", l’emporte au final l’argument suivant : les grands ensembles, c'est la campagne à la ville, un urbanisme plus aéré, plus vert." les films caravelles 1956, Réalisateur : Jack Pinoteau (connu pour être le metteur en scène du film Le Triporteur 1957 qui fit découvrir Darry Cowl) www.dailymotion.com/video/xuz3o8?playlist=x34ije - www.dailymotion.com/video/xk1g5j?playlist=x34ije Brigitte Gros - Urbanisme - Filmer les grands ensembles 2016 - par Camille Canteux chercheuse au CHS -Centre d'Histoire Sociale - Jeanne Menjoulet - Ce film du CHS daté de 2014 www.youtube.com/watch?v=VDUBwVPNh0s … L'UNION SOCIALE POUR L'HABITAT le Musée des H.L.M. musee-hlm.fr/ union-habitat.org/ - EXPOSITION :LES 50 ANS DE LA RESIDENCe SALMSON POINT-Du JOUR www.salmsonlepointdujour.fr/pdf/Exposition_50_ans.pdf - Sotteville Construction de l’Anjou, le premier immeuble de la Zone Verte sottevilleaufildutemps.fr/2017/05/04/construction-de-limm... - www.20minutes.fr/paris/diaporama-7346-photo-854066-100-an... - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...

www.youtube.com/watch?v=g7RwwkNzF68 - la dérive des continents youtu.be/kEeo8muZYJU Et la disparition des Mammouths - RILLIEUX LA PAPE & Dynacité - Le 23 février 2017, à 11h30, les tours Lyautey étaient foudroyées. www.youtube.com/watch?v=W---rnYoiQc 1956 en FRANCE - "Un jour on te demanda de servir de guide, à un architecte en voyage d etudes, ensemble vous parcourez la Françe visitant cité jardins, gratte ciel & pavillons d'HLM..." @ les archives filmées du MRU www.youtube.com/watch?v=zR_jxCANYac&fbclid=IwAR2IzWlM... … Villages de la Françe cité du Soleil

Ginger CEBTP Démolition, filiale déconstruction du Groupe Ginger, a réalisé la maîtrise d'oeuvre de l'opération et produit les études d'exécution. L'emblématique ZUP Pruitt Igoe. vaste quartier HLM (33 barres de 11 étages) de Saint-Louis (Missouri) USA. démoli en 1972 www.youtube.com/watch?v=nq_SpRBXRmE … "Life is complicated, i killed people, smuggled people, sold people, but perhaps in here.. things will be different." ~ Niko Bellic - cité Balzac, à Vitry-sur-Seine (23 juin 2010).13H & Boom, quelques secondes plus tard, la barre «GHJ», 14 étages et 168 lgts, s’effondrait comme un château de cartes sous les applaudissements et les sifflets, bientôt enveloppés dans un nuage de poussière. www.youtube.com/watch?v=d9nBMHS7mzY … - "La Chapelle" Réhabilitation thermique de 667 logements à Andrézieux-Bou... youtu.be/0tswIPdoVCE - 11 octobre 1984 www.youtube.com/watch?v=Xk-Je1eQ5po DESTRUCTION par explosifs de 10 tours du QUARTIER DES MINGUETTES, à LYON. les tours des Minguettes ; VG des tours explosant et s'affaissant sur le côté dans un nuage de fumée blanche ; à 13H15, nous assistons à l'explosion de 4 autres tours - St-Etienne Métropole & Montchovet - la célèbre Muraille de Chine ( 540 lgts 270m de long 15 allees) qui était à l'époque en 1964 la plus grande barre HLM jamais construit en Europe. Après des phases de rénovation, cet immeuble a été dynamité en mai 2000 www.youtube.com/watch?v=YB3z_Z6DTdc … - PRESQU'ILE DE GENNEVILLIERS...AUJOURD'HUI...DEMAIN... (LA video içi parcours.cinearchives.org/Les-films-PRESQU-ILE-DE-GENNEVI... … ) Ce film de la municipalité de Gennevilliers explique la démarche et les objectifs de l’exposition communale consacrée à la presqu’île, exposition qui se tint en déc 1972 et janvier 1973 - le mythe de Pruitt-Igoe en video içi nextcity.org/daily/entry/watch-the-trailer-for-the-pruitt... … - 1964, quand les loisirs n’avaient (deja) pas le droit de cité poke @Memoire2cite youtu.be/Oj64jFKIcAE - Devenir de la ZUP de La Paillade youtu.be/1qxAhsqsV8M v - Regard sur les barres Zum' youtu.be/Eow6sODGct8 v - MONTCHOVET EN CONSTRUCTION Saint Etienne, ses travaux - Vidéo Ina.fr www.ina.fr/video/LXF99004401 … via - La construction de la Grande Borne à Grigny en 1969 Archive INA www.youtube.com/watch?time_continue=12&v=t843Ny2p7Ww (discours excellent en seconde partie) -David Liaudet : l'image absolue, c'est la carte postale" phothistory.wordpress.com/2016/04/27/david-liaudet-limage... … l'architecture sanatoriale Histoire des sanatoriums en France (1915-1945). Une architecture en quête de rendement thérapeutique..

passy-culture.com/wp-content/uploads/2009/10/Les-15-Glori... … … & hal.archives-ouvertes.fr/tel-01935993/document Gwenaëlle Le Goullon (LAHRA), auteur du livre "la genèse des grands ensembles",& Danièle Voldman (CHS, Centre d'Histoire Sociale), expliquent le processus qui a conduit l'Etat, et le ministère de l'urbanisme &de la reconstruction à mener des chantiers exp www.youtube.com/watch?v=zR_jxCANYac&fbclid=IwAR2IzWlM... mémoire2cité & l'A.U.A. - Jacques Simon (1929 - 26 septembre 2015) est un architecte paysagiste formé à l'École des beaux-arts de Montréal et à l'École nationale supérieure du paysage de Versailles. Fasciné par la campagne qui témoigne d'une histoire de labeur, celle des agriculteurs "ses amis", "les génies de la terre", Jacques SIMON, paysagiste dplg, Premier Grand Prix du Paysage en 1990*, réalise avec eux des installations paysagères éphémères principalement dans des champs et visibles du ciel. Avec sa palette d'artiste, Jacques SIMON réinvente des paysages comme les agriculteurs eux-aussi à leur façon les créent et les entretiennent. Le CAUE du Rhône vous invite à venir découvrir ses travaux au travers d'un kaléidoscope de photographies empreintes de spontanéité, de fraîcheur et d'humour. Cette exposition nous interpelle sur le caractère essentiel d'une nature changeante, fragile, sur l'importance d'une activité agricole diversifiée et sur la nécessaire évolution du métier de paysan. Elle nous amène aussi à voir et à interpréter ce que l'on voit, elle éveille en nous le sens de la beauté du paysage en conjuguant les différentes échelles de perception et de lecture; à pied et à vol d'oiseau, à la fois l'échelle humaine, terrestre, géologique, forestière, hydrologique, biologique mais aussi esthétique et symbolique. Jacques Simon, paysagiste cosmopolite est l'un des principaux acteurs du renouveau de la pensée paysagère en France dans les années 60 et 70 conjuguant avec cohérence sa pratique de paysagiste, de voyageur, d'éditeur, d'enseignant avec son approche plus artistique du paysage, subtile, sensible et humaine de la nature avec la réalisation de "performances". Ses projets paysagers comme ses interventions paysagères éphémères sont marqués par la mobilité, la fragilité, une empathie avec le lieu, par la dualité même du voyage : découverte / évanouissement, création / disparition. Jacques Simon dessine, écrit sur le paysage, "une surface", un peu à la manière du land'art avec les techniques et les outils du jardinier, du cultivateur. Il ne s'agit plus de représenter la nature mais de l'utiliser en créant avec et dans le paysage. L'intention de Jacques Simon n'est pas d'apposer sa marque sur le paysage mais de travailler instinctivement avec lui afin que ses travaux-installations manifestent même brièvement un contact en harmonie avec le monde naturel. "On dit qu'il a bouleversé l'esprit du paysage, il a remis les choses essentielles à leur place. Il rit de l'importance qu'on veut bien lui donner, fils de l'air, il ne veut rien de plus que passer dans les cerveaux pour les ventiler, les rafraîchir et non pour les modeler; son "importance", il l'a ailleurs et autrement; il est historique parce que dans son temps, dans celui qui s'écoule et non dans celui qui passe". Extrait de "Jacques Simon, tous azimuts", Jeanne-Marie Sens et Hubert Tonka, Pandora Editions, 1991. Il a introduit une nouvelle conception de l'art du paysage proche du Land art, Jacques Simon est l'auteur d'une série d'ouvrages sur différents aspects du paysage et abordés d'un point de vue technique. Il a travaillé de 1964 à 1966 en collaboration avec Michel Corajoud. Il a conçu le Parc de la Deûle (qui lui a valu le Grand Prix national du Paysage en 2006, après l'avoir reçu une première fois en 19901).

Il est mort le 29 septembre 20151 et a été incinéré à Auxerre Le paysagiste Jacques Simon s'est éteint le 26 septembre dernier à l'âge de 86 ans. Diplômé de Versailles en 1959, il fut sans doute l'une des figures les plus emblématiques, les plus géniales et les plus originales du paysagisme contemporain. Premier grand prix du paysage et prix du Conseil de l'Europe pour le parc de la Deule, on lui doit des principes de compositions très forts, autour du nivellement, du traitement du végétal ou de la place laissée au vide. Ses intuitions comme ses travaux ont inspiré tous les paysagistes avec lesquels il a travaillé, à commencer par Michel Corajoud ou Gilles Vexlard. On lui doit un profond renouvellement dans la composition des grands ensembles, ses réalisations -comme le parc Saint-John Perse à Reims- restant des modèles pour tous les professionnels. Jacques Simon développa également une production d'œuvres plus éphémères, attentif aux mouvements et aux transformations. Pédagogue talentueux et généreux, il le fut autant par les documents techniques et la revue qu'il publia, que par ses interventions en atelier devant plusieurs générations d'étudiants de l'école. Les paysagistes perdent un de leurs plus féconds inspirateurs. L'ENSP s'associe au deuil de sa famille et de ses proches. Témoignages à la mémoire de Jacques Simon

Dans les années 1990 à l'école du Paysage de Versailles, lorsque nous entrions en première année, la première satisfaction était d'acquérir du nouveau matériel d'expression plastique. Encre, feutres, supports en grand format et sur papier calque...mais aussi découvrir des livres de notre professeur Jacques Simon : des carnets de dessins et de croquis, des photomontages découpés aux ciseaux.

En amphithéâtre lors de conférences et séances de projections de diapositives, Jacques Simon évoquait surtout sa capacité à piloter un hélicoptère. Je viens de retrouver un extrait d'un article à ce sujet..« (...) Car depuis une dizaine d'années, le Bourguignon a trouvé une solution à son imagination en bourgeonnement permanent. Jacques Simon crée ‘pour lui tout seul'. Ni commande ni concours. Mais des messages géants écrits dans les champs et seulement visibles d'avion ou d'hélicoptère. Un art éphémère et privé dont il s'amuse, les veilles de moissons, tout autour de sa ferme de Turny, dans l'Yonne.Et là, plus rien ne l'arrête. Les agriculteurs du coin ont pris l'habitude de le voir faucher des allées entières de luzerne. De l'apercevoir écraser d'interminables chemins de phacelia, un graminé californien qui existe en trois couleurs (blanc, bleu, rouge). De l'observer dans son hélicoptère photographiant le résultat. Ses messages sont des hommages ou des avertissements. L'un prévient : ‘Hé, si tu n'as plus de forêt t'es foutu.' Un autre : 'Sans les paysans, je m'emmerde. Signé : la Terre.' Même l'hiver, Jacques Simon s'adonne à cette calligraphie paysagère. (...) ».

Extrait paru dans La Croix l'événement du dimanche 11 et lundi 12 juin 1995, par Frédéric Potet, rubrique Culture.

son site simonpaysage.free.fr/

file:///C:/Users/user/Downloads/B_Blanchon_AUA.pdf Interview to Jacques Simon incleded on the dvd that accompanies book "Metropoles en Europe", from the exhibition "Lille - Metropoles en Europe". The French landscape architect Jacques Simon's love for nature first developed on his father's tree farm and then deepened when he traveled as a young man to Sweden and then Canada, where he attended art school in Montreal while working as a lumberjack. Between 1957 and 1959, Simon studied at the École Nationale de Horticulture. He has since become an important link in the renewal of French landscape architecture, combining the Anglo-Saxon and Scandinavian garden cultures he absorbed in his travels with classic Latin structures. He works as often as possible in situ, and does not shy away from driving the tractor himself.

www.youtube.com/watch?v=OyBnqrUlK9U turny.chez.com/A0archives/jSIMMON.htm Jacques Simon, Il crée la revue Espaces verts en 1968, l’anime jusqu’en 1982, publie des cahiers spéciaux dédiés à « l’Aménagement des espaces libres ». Même l'hiver, il s'adonne à cette calligraphie paysagère».La Croix dimanche 11 et lundi 12 juin 1995, simonpaysage.free.fr/ Jacques Simon écrit ses premiers articles dès la fin des années 1950 pour des revues comme Maison et Jardin et Urbanisme. En 1965, il signe l’un de ses premiers livres, L’Art de connaître les arbres. strabic.fr/Jacques-Simon-Gilles-Vexlard … jacques simon & Le parc des Coudrays - Élancourt-Maurepas, 1970 strabic.fr/Jacques-Simon-Gilles-Vexlard … simonpaysage.free.fr/ Jacques Simon - Espaces verts n° 27, avril-mai-juin 1971, p. 44-45 Fasciné par la campagne qui témoigne d'une histoire de labeur, celle des agriculteurs "ses amis", "les génies de la terre" paysagiste dplg, Premier Grand Prix du Paysage en 1990*, www.youtube.com/watch?v=OyBnqrUlK9U …ici es EDITIONS DU CABRI PRESENTE PARIS LA BANLIEUE 1960-1980 -La video Içi www.youtube.com/watch?v=lDEQOsdGjsg ,

A partir des années 1950, le trafic de la banlieue parisienne suit l’urbanisation galopante et les dessertes ferroviaires doivent s’adapter et se moderniser.Quelques amateurs ont su immortaliser un monde ferroviaire qui était alors en voie de disparition. Dans ce film, nous retrouvons les dessertes 750 volts par troisième rail en rames « Standard » sur les lignes de Versailles-RD, sur la ligne d’Auteuil et entre Puteaux et Issy-Plaine mais aussi les derniers trains à vapeur à St Lazare, à La Bastille et sur le Nord et quelques ultimes voyages sur les lignes de Ceinture.

32 lights installed in the Town Hall:

- 12x 1st floor (4 entrance, 2 front windows, 3 back windows, 3 interior)

- 6x 2nd floor

- 8x 3rd floor

- 2x Skylights

- 2x clock

- 2x bell

 

Town Hall Light kit available in my Web store and ebay store.

 

Installation picture guide will post soon at my Website Gallery

 

Watch the animated building review of the Town Hall at my YouTube channel

 

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The Huntress Fountain features a bronze figure of Diana the goddess of hunting shooting an arrow. The fountain was installed in 1906 and made by Countess Feodora Gleichen the first woman member of the Royal Society of British Sculptors. The Rose Garden Hyde Park London established by Henry VIII in 1536

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New guardrails are being installed along SR 203 between Stillwater Hill Road and NE 88th Street. Since February, this portion of roadway had been reduced to a single lane due to damage from a landslide.