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This artistic provocation seeks to estimate the orders of magnitude of critical ecosystem services fundamental to all planetary life processes. It is common to use economic metaphors, which entail specific understandings of value, to describe our relationships with society, the world, and the biosphere. Today’s prevailing economic conventions are unable to recognize the intrinsic value of the ecosystems on which all life depends. In cultures overdetermined by concepts from economics, we are left without adequate discursive instruments to socially or politically address the importance of ecosystem contribution to life on Earth. This experiment consists of 1 square meter of wheat, cultivated in a closed environment. Critical inputs such as water, light, heat, and nutrients are measured, monitored, and displayed for the public. This procedure makes palpable the immense scale of ecosystem contributions and provides a speculative reference for a reckoning of the undervalued and over exploited “work of the biosphere.”
Credit: Life Support System, artwork and photo: DISNOVATION.ORG
In the Nine Years War Speyer was occupied on 28 September in 1688 by French troops. When the French General Montclar finally announced that he had orders to destroy the entire city except the cathedral, brought the Speyerer citizens its furniture and household effects, as far as they could not carry it away with the carts provided by the French in the cathedral and piled it there several meters high. On 31 May 1689, the city was finally set on fire. After the fire had spread to the vicinity of the cathedral, it was succeded to prevent the flames from spreading by hammering of adjacent roofs and putting up water tanks. By a thunderstorm on the night of 2 June but the fire was so strongly fanned that even the multiple extinguishing of the burning west end could not prevent that the fire eventually spread to the poorly accessible east dome. In this chaos invaded French soldiers in the cathedral and plundered the upper imperial and royal tombs. Only the tombs of the Salian were spared except the grave of Henry V, as they were very deep in the ground and the soldiers apparently fled from the cathedral where they left their digging equipments. Those were found at the opening of imperial tombs in 1900. Also spared was the Madonna as it was stored in a shrine. It was after its rescue brought in the Frankfurter Catherine's church and during the recolonisation of Speyer returned in the cathedral. Because of the tremendous heat the vault in the western part became fragile and collapsed. The eastern part, however, resisted the flames. It was after the repopulation of Speyer closed by a wall and further used for worship. 1755 the upper portion of the residual west end with the two towers because of the danger of collapse had to be removed.
In the second half of the 18th century was enough money availabe to build the western part of the cathedral again. Under Franz Ignaz Michael Neumann, the son of the famous baroque architect Balthasar Neumann, 1772-1778 the yawning gap in the western part of the nave has been closed in its original form. The almost completely torn down west end was under inclusion of the Romanesque porch replaced by a contemporary Baroque facade. However, it had only 100-year existence. Still today the rupture especially in using other bricks can be seen, the overall picture, however, is uniform. This early act of reconstructive preservation of historical monuments in spite of everything can be explained by the rather scarce funds of the city: A baroque new construction of the main building as a consequence also would have had the new construction of the choir to obtain an aesthetically pleasing spatial impression.
In 1794, revolutionary troops devastated the cathedral, and the house of God was deconsecrated. In the process, the entire interior was lost, and the portrait of Mary there was destroyed. Under Napoleon Bonaparte, the French troops used the cathedral as a cowshed and as food and material store. After in the Peace of Luneville of 9 February 1801 the left-bank areas binding under international law were ceded to France, the ownership of the cathedral passed to the French government. In Concordat of July 15, 1801 respectively in the Bull of Circumscription "Qui Christi Domini vices" of the November 29, 1801 recognized Pope Pius VII the dissolution of the diocese of Speyer and the assignment of the local Catholic church to the diocese of Mainz. Since the cathedral was dilapidated, due to the building assessment of architect Peter Henrion it should be demolished in 1805, the remainder of the west-wing (west-bau) being turned into a triumphal arch. However, the city council of Speyer refused to take over the for the demolition necessary costs. After the bishop of Mainz, Joseph Ludwig Colmar, had used his good relations with the wife of Napoleon, Empress Joséphine de Beauharnais and the French Culture Minister, Jean Etienne Portalis to convince them of the outstanding cultural importance of the cathedral, Napoleon agreed to withdraw the already issued demolition disposal. By imperial decree of 23 September 1806, he ordered the return of the cathedral to the Catholics of Speyer, which in it were also made responsible for the future maintenance costs. As at this time the as a church foundation established Speyer Cathedral Parish was the only in the town existing Catholic legal person, this one took over in a public ceremony on 3 November 1806 from the hands of mayor Ludwig Sonntag, as the representative of the Frenche State, the ownership of the cathedral.
After Napoleon's defeat, the diocese on the left-Rhenish area was newly established in 1817, and the cathedral not only served as a parish, but in addition again as a bishop's church; 1818-1822 it was restored and 1822 newly consecrated. 1846-1853 created the painters Johann Schraudolph and Joseph Schwarzmann commissioned by Ludwig I of Bavaria frescoes in Nazarene style.
On behalf of the former Bavarian King Ludwig I, the Austrian Emperor Franz Joseph I and the Duke Adolph of Nassau, in 1854-1858 was undertaken the new construction of the west-bau in neo-Romanesque style. Heinrich Hübsch, one of the most renowned architects of early Historicism, oriented himself freely to the original west-bau taking up central tower and two smaller flanking towers, however, he deviated from the draft both in the choice of materials as in the proportions considerably. The renovation of the west facade and the decoration of the cathedral were considered in the 19th century as "great work". Ludwig I was convinced that for a long time nothing greater had been created as the frescoes in the cathedral of Speyer.
At the turn of the 20th century, there was a change of mood: Georg Dehio complained in 1916 even cautiously among the disasters that have hit the dome the changes of the 19th century were not the smallest.
Im Pfälzischen Erbfolgekrieg wurde Speyer am 28. September 1688 von Französischen Truppen besetzt. Als der französische General Montclar schließlich verkündete, er habe den Befehl, die gesamte Stadt außer den Dom zu zerstören, brachten die Speyerer Bürger ihre Möbel und ihren Hausrat, soweit sie ihn nicht mit den durch die Franzosen bereitgestellten Karren wegschaffen konnten, in den Dom und stapelten ihn mehrere Meter hoch. Am 31. Mai 1689 wurde die Stadt schließlich in Brand gesetzt. Nachdem sich das Feuer bis in die Umgebung des Domes ausgebreitet hatte, gelang es, das Übergreifen der Flammen durch das Einschlagen von benachbarten Dächern und das Aufstellen von Wasserbehältern zu verhindern. Durch einen Gewittersturm in der Nacht zum 2. Juni wurde das Feuer aber so stark angefacht, dass selbst das mehrfache Löschen des brennenden Westbaus nicht verhinderte, dass sich das Feuer schließlich bis in die schlecht zugängliche Ostkuppel ausbreitete. In diesem Chaos drangen französische Soldaten in den Dom ein und plünderten die oberen Kaiser- und Königsgräber. Nur die Gräber der Salier blieben bis auf das Grab Heinrichs V. verschont, da sie sehr tief im Boden lagen und die Soldaten den Dom offenbar fluchtartig verließen, wobei sie ihre Grabgeräte zurückließen. Diese fand man bei der Öffnung der Kaisergräber im Jahr 1900. Ebenfalls verschont blieb das Marienbildnis, da es in einem Schrein gelagert wurde. Es wurde nach seiner Bergung in die Frankfurter Katherinenkirche gebracht und bei der Wiederbesiedlung Speyers in den Dom zurückgebracht. Durch die gewaltige Hitze wurde das Gewölbe im Westteil brüchig und stürzte ein. Der Ostteil hingegen hielt den Flammen stand. Er wurde nach der Wiederbesiedlung Speyers durch eine Mauer abgeschlossen und wurde für Gottesdienste weiter benutzt. 1755 mussten der obere Bereich des stehen gebliebenen Westbaus mit den beiden Türmen wegen Einsturzgefahr abgetragen werden.
In der zweiten Hälfte des 18. Jahrhunderts war genügend Geld vorhanden, den Westteil des Doms wieder aufzubauen. Unter Franz Ignaz Michael Neumann, dem Sohn des berühmten Barockbaumeisters Balthasar Neumann, wurde 1772–1778 die klaffende Lücke im westlichen Teil des Langhauses in der ursprünglichen Form geschlossen. Das fast völlig abgetragene Westwerk wurde unter Einbeziehung der romanischen Vorhalle durch eine zeitgemäße barocke Fassade ersetzt. Sie hatte jedoch nur gut 100 Jahre Bestand. Heute noch ist der Bruch vor allem an der Verwendung anderer Mauersteine zu erkennen, das Gesamtbild jedoch einheitlich. Dieser frühe Akt einer rekonstruktiven Denkmalpflege lässt sich mit den trotz allem eher begrenzten Geldmitteln der Stadt erklären: Ein barocker Neubau des Langhauses hätte auch den Neubau des Chors zur Folge haben müssen, um einen ästhetisch ansprechenden Raumeindruck zu erhalten.
Im Jahr 1794 verwüsteten Revolutionstruppen den Dom, und das Gotteshaus wurde profaniert. Dabei ging die ganze Innenausstattung verloren, auch das Marienbildnis wurde dabei zerstört. Unter Napoleon Bonaparte nutzten die französischen Truppen den Dom als Viehstall sowie als Futter- und Materiallager. Nachdem im Frieden von Lunéville vom 9. Februar 1801 die linksrheinischen Gebiete völkerrechtlich verbindlich an Frankreich abgetreten worden waren, ging das Eigentum am Dom an die französische Regierung über. Im Konkordat vom 15. Juli 1801 bzw. in der Zirkumskriptionsbulle „Qui Christi Domini vices“ vom 29. November 1801 anerkannte Papst Pius VII die Aufhebung des Bistums Speyer und die Zuordnung der dortigen katholischen Gemeinde zum Bistum Mainz. Da der Dom baufällig war, sollte er infolge eines Baugutachtens des Architekten Peter Henrion im Jahr 1805 abgerissen werden, wobei der Rest des Westbaus zum Triumphbogen umgebaut werden sollte. Der Stadtrat von Speyer weigerte sich jedoch, die für den Abriss notwendigen Kosten zu übernehmen. Nachdem der Mainzer Bischof Joseph Ludwig Colmar seine guten Beziehungen zur Frau Napoleons, Kaiserin Joséphine de Beauharnais sowie zum französischen Kultusminister Jean Etienne Portalis dazu genutzt hatte, diese von der überragenden kulturellen Bedeutung des Doms zu überzeugen, erklärte sich Napoleon einverstanden, die bereits erlassene Abrissverfügung zurückzunehmen. Mit kaiserlichem Dekret vom 23. September 1806 verfügte er die Rückgabe des Doms an die Katholiken von Speyer, die darin auch für die künftigen Unterhaltskosten verantwortlich gemacht wurden. Da zu diesem Zeitpunkt die als Kirchenstiftung errichtete Speyerer Domgemeinde die einzige in der Stadt existierende katholische juristische Person war, übernahm diese im Rahmen einer öffentlichen Zeremonie am 3. November 1806 das Eigentum an der Kathedrale aus der Hand des Bürgermeisters Ludwig Sonntag als dem Vertreter des französischen Staats.
Nach der Niederlage Napoleons wurde das Bistum 1817 auf linksrheinischem Gebiet neu errichtet, und der Dom diente nicht mehr nur als Pfarr-, sondern daneben auch wieder als Bischofskirche; 1818–1822 wurde er saniert und 1822 neu geweiht. 1846–1853 schufen die Maler Johann von Schraudolph und Joseph Schwarzmann im Auftrag Ludwig I. von Bayern Fresken im Nazarener Stil.
Im Auftrag des ehemaligen bayerischen Königs Ludwig I., des österreichischen Kaisers Franz Joseph I. und des Herzogs Adolph von Nassau kam es zu einer Neuerrichtung des Westbaus 1854–1858 im neoromanischen Stil. Heinrich Hübsch, einer der renommiertesten Architekten des frühen Historismus, orientierte sich frei am ursprünglichen Westbau, indem er Mittelturm und zwei kleinere Flankentürme aufgriff, wich jedoch von der Vorlage sowohl bei der Materialwahl wie bei den Proportionen erheblich ab. Die Erneuerung der Westfassade und die Ausmalung des Doms wurden im 19. Jahrhundert als „großes Werk“ angesehen. Ludwig I. war der Überzeugung, dass seit langer Zeit nichts Größeres geschaffen worden sei als die Fresken im Speyerer Dom.
Um die Wende zum 20. Jahrhundert kam es zu einem Stimmungsumschwung: Georg Dehio beklagte 1916 sogar vorsichtig, unter den Unglücken, die den Dom getroffen hätten, seien die Veränderungen des 19. Jahrhunderts nicht die kleinsten gewesen.
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The rest of my pre-orders finally arrived from my dealer today! I LOVE them all! My first impressions:
Jordan: gorgeous skin tone and challenging but very intriguing expression. She looks great in the sunlight!
Rayna: I love her skin tone and rich mahogany hair and her colourful screening. Her eyes are so beautiful! She is exactly like all the pictures I have seen of her on Flickr and I will need to debox her to make my own personal bond with her.
Nadja: she has such a strong personality, I can 'feel' her even while she is still in her box. I can't say enough how awesome I find the combination of everything on her: hair colour and style, gorgeous side glancing eyes, and I love the colours in her screening - yes, even the lips!
Ayumi: she is stunningly beautiful and I am so happy with her beautiful hair: the fringe has been done so well which is a big relief to me. I will need to debox her to get close to this beauty, as I can't find the angles of her expression very well while she is still in her box. But I LOVE all the details on her outfit and her face/hair are perfection.
The Fabulous Fizz Bar, Proms and Prosecco in the Park 2019; Chetwynd Deer Park, Newport, Shropshire.
A quick hand over of the day's timetable from engine driver to station staff at Dymchurch, Kent, on the Romney, Hythe and Dymchurch Railway. Taken with a Nikon D90 (thank goodness for 3D focus tracking - the train was moving quickly!).
U.S. 5TH FLEET AREA OF OPERATIONS (Sept. 27, 2015) U.S. Marine Sgt. Ryan Jackson, right, gives orders to his squad during a military operations in urban terrain exercise. Jackson is a squad leader with India Company, Battalion Landing Team 3rd Battalion, 1st Marine Regiment, 15th Marine Expeditionary Unit. The 15th MEU, embarked aboard the ships of the Essex Amphibious Ready Group, is a forward-deployed, flexible sea-based Marine air-ground task force capable of engaging with regional partners and maintaining regional security. (U.S. Marine Corps photo by Sgt. Jamean Berry/Released)
Twitter: bit.ly/1xr6HiM
Facebook: on.fb.me/1cj34Am
15th MEU: go.usa.gov/FnwB
YouTube: bit.ly/1Fqrch5
I am way, way behind with posting photos at the moment - far too busy making the things to write about them!
Anyway, a couple of weeks ago I ran my first stall - quite a nerve-wracking experience but it went well in the end and I learned a lot.
I'd been invited by the Friends of Scarcroft School (FoSS) to participate in a fundraising Pamper Evening at Scarcroft Primary School in York (the location explains the odd backdrop to the photo). As the name suggests, it was a girly-themed evening (my ever-reliable husband came along to help me set up/provide moral support, and was about the only bloke there!) with stalls selling clothes, cosmetics, jewellery etc, as well as a burlesque workshop!
I decided to make products to sell on the evening which reflected the theme, so went for a "Shoes and Bags" themed cupcake tower and a range of hand decorated couture cookies. It was also a great excuse to finally make a handbag cake - had fancied doing one for my birthday some months back, but was far too busy to make myself a cake...
The stall and products were very well received, but I had a slow start as people thought that my products were "too professional to be for sale" and for display only! Which is a lovely compliment but equally a double edged sword...thankfully business got better as the night progressed and had quite a bit of interest - we'll see how much it translates into future orders.
The fortress of Terezín was constructed between the years 1780 and 1790 by the orders of the Austrian emperor Joseph II in the north-west region of Bohemia. It was designed to be a component of a projected but never fully realized fort system of the monarchy, another piece being the fort of Josefov. Terezín took its name from the mother of the emperor, Maria Theresa of Austria who reigned as empress of Austria in her own right from 1740–1780. By the end of the 18th century, the facility was obsolete as a fort; in the 19th century, the fort was used to accommodate military and political prisoners.
From 1914 till 1918 it housed one of its most famous prisoners: Gavrilo Princip. Princip assassinated Archduke Franz Ferdinand of Austria and his wife on June 28, 1914, which led to the outbreak of the First World War. Princip died in cell number 1 from tuberculosis on April 28, 1918.
On June 10, 1940, the Gestapo took control of Terezín and set up the prison in the Small Fortress (kleine Festung), see below. By November 24, 1941, the Main Fortress (große Festung, i.e. the walled town of Theresienstadt) was turned into a ghetto. To outsiders, it was presented by the Nazis as a model Jewish settlement, but in reality it was a concentration camp 'where over 33 000 inmates died as a result of hunger, sickness, or the sadistic treatment meted out by their captors'. Theresienstadt was also used as a transit camp for European Jews en route to Auschwitz. 'Although some survivors claim the population reached 75,000, official records place the highest figure on September 18, 1942, at 58,491 in Kasernes (barracks) designed to accommodate 7000 combat troups.
Excerpt from Wiki.
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Haken - Cockroach King
In the Nine Years War Speyer was occupied on 28 September in 1688 by French troops. When the French General Montclar finally announced that he had orders to destroy the entire city except the cathedral, brought the Speyerer citizens its furniture and household effects, as far as they could not carry it away with the carts provided by the French in the cathedral and piled it there several meters high. On 31 May 1689, the city was finally set on fire. After the fire had spread to the vicinity of the cathedral, it was succeded to prevent the flames from spreading by hammering of adjacent roofs and putting up water tanks. By a thunderstorm on the night of 2 June but the fire was so strongly fanned that even the multiple extinguishing of the burning west end could not prevent that the fire eventually spread to the poorly accessible east dome. In this chaos invaded French soldiers in the cathedral and plundered the upper imperial and royal tombs. Only the tombs of the Salian were spared except the grave of Henry V, as they were very deep in the ground and the soldiers apparently fled from the cathedral where they left their digging equipments. Those were found at the opening of imperial tombs in 1900. Also spared was the Madonna as it was stored in a shrine. It was after its rescue brought in the Frankfurter Catherine's church and during the recolonisation of Speyer returned in the cathedral. Because of the tremendous heat the vault in the western part became fragile and collapsed. The eastern part, however, resisted the flames. It was after the repopulation of Speyer closed by a wall and further used for worship. 1755 the upper portion of the residual west end with the two towers because of the danger of collapse had to be removed.
In the second half of the 18th century was enough money availabe to build the western part of the cathedral again. Under Franz Ignaz Michael Neumann, the son of the famous baroque architect Balthasar Neumann, 1772-1778 the yawning gap in the western part of the nave has been closed in its original form. The almost completely torn down west end was under inclusion of the Romanesque porch replaced by a contemporary Baroque facade. However, it had only 100-year existence. Still today the rupture especially in using other bricks can be seen, the overall picture, however, is uniform. This early act of reconstructive preservation of historical monuments in spite of everything can be explained by the rather scarce funds of the city: A baroque new construction of the main building as a consequence also would have had the new construction of the choir to obtain an aesthetically pleasing spatial impression.
In 1794, revolutionary troops devastated the cathedral, and the house of God was deconsecrated. In the process, the entire interior was lost, and the portrait of Mary there was destroyed. Under Napoleon Bonaparte, the French troops used the cathedral as a cowshed and as food and material store. After in the Peace of Luneville of 9 February 1801 the left-bank areas binding under international law were ceded to France, the ownership of the cathedral passed to the French government. In Concordat of July 15, 1801 respectively in the Bull of Circumscription "Qui Christi Domini vices" of the November 29, 1801 recognized Pope Pius VII the dissolution of the diocese of Speyer and the assignment of the local Catholic church to the diocese of Mainz. Since the cathedral was dilapidated, due to the building assessment of architect Peter Henrion it should be demolished in 1805, the remainder of the west-wing (west-bau) being turned into a triumphal arch. However, the city council of Speyer refused to take over the for the demolition necessary costs. After the bishop of Mainz, Joseph Ludwig Colmar, had used his good relations with the wife of Napoleon, Empress Joséphine de Beauharnais and the French Culture Minister, Jean Etienne Portalis to convince them of the outstanding cultural importance of the cathedral, Napoleon agreed to withdraw the already issued demolition disposal. By imperial decree of 23 September 1806, he ordered the return of the cathedral to the Catholics of Speyer, which in it were also made responsible for the future maintenance costs. As at this time the as a church foundation established Speyer Cathedral Parish was the only in the town existing Catholic legal person, this one took over in a public ceremony on 3 November 1806 from the hands of mayor Ludwig Sonntag, as the representative of the Frenche State, the ownership of the cathedral.
After Napoleon's defeat, the diocese on the left-Rhenish area was newly established in 1817, and the cathedral not only served as a parish, but in addition again as a bishop's church; 1818-1822 it was restored and 1822 newly consecrated. 1846-1853 created the painters Johann Schraudolph and Joseph Schwarzmann commissioned by Ludwig I of Bavaria frescoes in Nazarene style.
On behalf of the former Bavarian King Ludwig I, the Austrian Emperor Franz Joseph I and the Duke Adolph of Nassau, in 1854-1858 was undertaken the new construction of the west-bau in neo-Romanesque style. Heinrich Hübsch, one of the most renowned architects of early Historicism, oriented himself freely to the original west-bau taking up central tower and two smaller flanking towers, however, he deviated from the draft both in the choice of materials as in the proportions considerably. The renovation of the west facade and the decoration of the cathedral were considered in the 19th century as "great work". Ludwig I was convinced that for a long time nothing greater had been created as the frescoes in the cathedral of Speyer.
At the turn of the 20th century, there was a change of mood: Georg Dehio complained in 1916 even cautiously among the disasters that have hit the dome the changes of the 19th century were not the smallest.
Im Pfälzischen Erbfolgekrieg wurde Speyer am 28. September 1688 von Französischen Truppen besetzt. Als der französische General Montclar schließlich verkündete, er habe den Befehl, die gesamte Stadt außer den Dom zu zerstören, brachten die Speyerer Bürger ihre Möbel und ihren Hausrat, soweit sie ihn nicht mit den durch die Franzosen bereitgestellten Karren wegschaffen konnten, in den Dom und stapelten ihn mehrere Meter hoch. Am 31. Mai 1689 wurde die Stadt schließlich in Brand gesetzt. Nachdem sich das Feuer bis in die Umgebung des Domes ausgebreitet hatte, gelang es, das Übergreifen der Flammen durch das Einschlagen von benachbarten Dächern und das Aufstellen von Wasserbehältern zu verhindern. Durch einen Gewittersturm in der Nacht zum 2. Juni wurde das Feuer aber so stark angefacht, dass selbst das mehrfache Löschen des brennenden Westbaus nicht verhinderte, dass sich das Feuer schließlich bis in die schlecht zugängliche Ostkuppel ausbreitete. In diesem Chaos drangen französische Soldaten in den Dom ein und plünderten die oberen Kaiser- und Königsgräber. Nur die Gräber der Salier blieben bis auf das Grab Heinrichs V. verschont, da sie sehr tief im Boden lagen und die Soldaten den Dom offenbar fluchtartig verließen, wobei sie ihre Grabgeräte zurückließen. Diese fand man bei der Öffnung der Kaisergräber im Jahr 1900. Ebenfalls verschont blieb das Marienbildnis, da es in einem Schrein gelagert wurde. Es wurde nach seiner Bergung in die Frankfurter Katherinenkirche gebracht und bei der Wiederbesiedlung Speyers in den Dom zurückgebracht. Durch die gewaltige Hitze wurde das Gewölbe im Westteil brüchig und stürzte ein. Der Ostteil hingegen hielt den Flammen stand. Er wurde nach der Wiederbesiedlung Speyers durch eine Mauer abgeschlossen und wurde für Gottesdienste weiter benutzt. 1755 mussten der obere Bereich des stehen gebliebenen Westbaus mit den beiden Türmen wegen Einsturzgefahr abgetragen werden.
In der zweiten Hälfte des 18. Jahrhunderts war genügend Geld vorhanden, den Westteil des Doms wieder aufzubauen. Unter Franz Ignaz Michael Neumann, dem Sohn des berühmten Barockbaumeisters Balthasar Neumann, wurde 1772–1778 die klaffende Lücke im westlichen Teil des Langhauses in der ursprünglichen Form geschlossen. Das fast völlig abgetragene Westwerk wurde unter Einbeziehung der romanischen Vorhalle durch eine zeitgemäße barocke Fassade ersetzt. Sie hatte jedoch nur gut 100 Jahre Bestand. Heute noch ist der Bruch vor allem an der Verwendung anderer Mauersteine zu erkennen, das Gesamtbild jedoch einheitlich. Dieser frühe Akt einer rekonstruktiven Denkmalpflege lässt sich mit den trotz allem eher begrenzten Geldmitteln der Stadt erklären: Ein barocker Neubau des Langhauses hätte auch den Neubau des Chors zur Folge haben müssen, um einen ästhetisch ansprechenden Raumeindruck zu erhalten.
Im Jahr 1794 verwüsteten Revolutionstruppen den Dom, und das Gotteshaus wurde profaniert. Dabei ging die ganze Innenausstattung verloren, auch das Marienbildnis wurde dabei zerstört. Unter Napoleon Bonaparte nutzten die französischen Truppen den Dom als Viehstall sowie als Futter- und Materiallager. Nachdem im Frieden von Lunéville vom 9. Februar 1801 die linksrheinischen Gebiete völkerrechtlich verbindlich an Frankreich abgetreten worden waren, ging das Eigentum am Dom an die französische Regierung über. Im Konkordat vom 15. Juli 1801 bzw. in der Zirkumskriptionsbulle „Qui Christi Domini vices“ vom 29. November 1801 anerkannte Papst Pius VII die Aufhebung des Bistums Speyer und die Zuordnung der dortigen katholischen Gemeinde zum Bistum Mainz. Da der Dom baufällig war, sollte er infolge eines Baugutachtens des Architekten Peter Henrion im Jahr 1805 abgerissen werden, wobei der Rest des Westbaus zum Triumphbogen umgebaut werden sollte. Der Stadtrat von Speyer weigerte sich jedoch, die für den Abriss notwendigen Kosten zu übernehmen. Nachdem der Mainzer Bischof Joseph Ludwig Colmar seine guten Beziehungen zur Frau Napoleons, Kaiserin Joséphine de Beauharnais sowie zum französischen Kultusminister Jean Etienne Portalis dazu genutzt hatte, diese von der überragenden kulturellen Bedeutung des Doms zu überzeugen, erklärte sich Napoleon einverstanden, die bereits erlassene Abrissverfügung zurückzunehmen. Mit kaiserlichem Dekret vom 23. September 1806 verfügte er die Rückgabe des Doms an die Katholiken von Speyer, die darin auch für die künftigen Unterhaltskosten verantwortlich gemacht wurden. Da zu diesem Zeitpunkt die als Kirchenstiftung errichtete Speyerer Domgemeinde die einzige in der Stadt existierende katholische juristische Person war, übernahm diese im Rahmen einer öffentlichen Zeremonie am 3. November 1806 das Eigentum an der Kathedrale aus der Hand des Bürgermeisters Ludwig Sonntag als dem Vertreter des französischen Staats.
Nach der Niederlage Napoleons wurde das Bistum 1817 auf linksrheinischem Gebiet neu errichtet, und der Dom diente nicht mehr nur als Pfarr-, sondern daneben auch wieder als Bischofskirche; 1818–1822 wurde er saniert und 1822 neu geweiht. 1846–1853 schufen die Maler Johann von Schraudolph und Joseph Schwarzmann im Auftrag Ludwig I. von Bayern Fresken im Nazarener Stil.
Im Auftrag des ehemaligen bayerischen Königs Ludwig I., des österreichischen Kaisers Franz Joseph I. und des Herzogs Adolph von Nassau kam es zu einer Neuerrichtung des Westbaus 1854–1858 im neoromanischen Stil. Heinrich Hübsch, einer der renommiertesten Architekten des frühen Historismus, orientierte sich frei am ursprünglichen Westbau, indem er Mittelturm und zwei kleinere Flankentürme aufgriff, wich jedoch von der Vorlage sowohl bei der Materialwahl wie bei den Proportionen erheblich ab. Die Erneuerung der Westfassade und die Ausmalung des Doms wurden im 19. Jahrhundert als „großes Werk“ angesehen. Ludwig I. war der Überzeugung, dass seit langer Zeit nichts Größeres geschaffen worden sei als die Fresken im Speyerer Dom.
Um die Wende zum 20. Jahrhundert kam es zu einem Stimmungsumschwung: Georg Dehio beklagte 1916 sogar vorsichtig, unter den Unglücken, die den Dom getroffen hätten, seien die Veränderungen des 19. Jahrhunderts nicht die kleinsten gewesen.
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The fortress of Terezín was constructed between the years 1780 and 1790 by the orders of the Austrian emperor Joseph II in the north-west region of Bohemia. It was designed to be a component of a projected but never fully realized fort system of the monarchy, another piece being the fort of Josefov. Terezín took its name from the mother of the emperor, Maria Theresa of Austria who reigned as empress of Austria in her own right from 1740–1780. By the end of the 18th century, the facility was obsolete as a fort; in the 19th century, the fort was used to accommodate military and political prisoners.
From 1914 till 1918 it housed one of its most famous prisoners: Gavrilo Princip. Princip assassinated Archduke Franz Ferdinand of Austria and his wife on June 28, 1914, which led to the outbreak of the First World War. Princip died in cell number 1 from tuberculosis on April 28, 1918.
On June 10, 1940, the Gestapo took control of Terezín and set up the prison in the Small Fortress (kleine Festung), see below. By November 24, 1941, the Main Fortress (große Festung, i.e. the walled town of Theresienstadt) was turned into a ghetto. To outsiders, it was presented by the Nazis as a model Jewish settlement, but in reality it was a concentration camp 'where over 33 000 inmates died as a result of hunger, sickness, or the sadistic treatment meted out by their captors'. Theresienstadt was also used as a transit camp for European Jews en route to Auschwitz. 'Although some survivors claim the population reached 75,000, official records place the highest figure on September 18, 1942, at 58,491 in Kasernes (barracks) designed to accommodate 7000 combat troups.
Excerpt from Wiki.
Four men carry Meow Meow above their heads while she does the splits, sings a 1930s political song in German, and orders audience members to carry her around the theatre.
The Studio, Sydney Opera House, Sydney 2007
Came across this in a local hotel in one of the function rooms. The hotel was called The Gorteen and burned down and left derelict.
For most Monster fans, it is well know that Monster set up OEM factories in Guangdong and Shanghai in China. From special access, hotsalemarts gets the same wires and chips as those of authentic Monster products from the Shanghai OEM factory, and then assembles the new headphones. From the outward appearance and the acoustic effect, they are the same as the original ones. It performs very well on the low frequency, linear extension and active bass. In appearance, it is blameless! However, for the suspicious or buyers who pursue authentic products, please think carefully before the purchasing. Thank you! Headphones are available on first-come-first-served basis as hotsalesmart has a day limit quantity of sale as 50 pairs. Monster does not give many orders to the OEM factory every week, so Studio and SOLO HD is less in storage. Thus, please just pre-order if you need, we will ship out the order as soon as we get the products.
We strongly recommend customers going to the Apple shop or Monster Beats shop to try the original headphones before ordering from hotsalemarts.com. Buyers can also invite experts to test the acoustic! This is just to prevent any unnecessary quarrels for any acoustic deficiency issue. Well, the buyers have the final say. It is not much helpful for us the seller to say how good the products are, right? If our headphones are not as good effect as that of the original ones, we will accept customers' return sincerely. There might somone asking that why some other online shops sell the same products evern cheaper? Here, what I would like to say is, please do not compare our hotsalesmart products with those less quality headphones. There are only us hotsalesmart produces the 1:1 copy of monster beats by dre studio and solo HD headphones. Our materials and accessaries are the same as the original, our cost is much higher and the outward appearance is perfect. And, we have a limited production of 50 pieces every day. While the less quality products in other shops, the outward appearance is very rough with big crack; the leather is fake leather with poor permeability; it is easy to break and the acoustic effect is very bad. Monster Beats by Dr. Dre headphones of Hotsalesmart use fully enclosed design, which is has excellent sound insulation. With soft leather ear cushion, it is very comfortable. Its sound is rather low pass, performing well in descending, intensity and elastic, keeping up with fast and close rhythm. It is very suitable for R&B, Hipop, Rock and electronic sounds users. If interested in the Beats headphones, customers could purchase on the online shop hotsalesmart.com or in the pro shops. However, we are confident! Nothing is good or bad but by comparison!
For delivery and return: we promise all our headphones are Factory Products (that means, made of original wires and chips). To prevent the case that some buyers might return the low-price and low-quality fake products to us and get our good hotsalesmart products, we will take the photos of our real products before the shipment. Before the delivery, to make sure that the item is perfect, we will listen to the songs of Black Eyed Peas with the headphones. All products will be packaged with protection films, so the headphones do not damage easily in transit.
it is time of hotsalemarts.com shop's fifth anniversary, we will present 1 monster beats tour headphones (black) without package with $45.07 for free if your order is more than $100.
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{{I'm a curious person! If you distributed any of my pictures, please contact me and tell me where :) At least please write a comment or something.}}
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www.youtube.com/watch?v=iPAr7kL-mmg
The Decemberists - The Mariner's Revenge Song
"Now that is what I call a Re-enactment!
Bartimaeus the blind beggar
May the Peace of the Risen Christ be with you! Easter is here.
We had a most successful Re-enactment of Our Lord's Passion. After so many months of preparation, sewing machines running hot updating costumes, actors learning lines, sound systems being upgraded and more, there we stood at 11am on Good Friday with microphone in hand: "Welcome to the 2018 Re-enactment of Our Lord's Passion!" And so it began.
How do we measure "success" in regards to our re-enactment?
On one measure you can use crowd numbers, donations, "Likes" and Shares and that would be appropriate if this was just a normal play. Even on that basis our event would certainly be considered a success with somewhere around 5,000 people participating and lots of great feedback and support.
But how do you measure success for a play that tries to be an authentic re-enactment of the Passion of Jesus Christ based on scripture and tradition of the Church? In this case we were told by the Pauline Fathers that many people came back and they were hearing confessions the whole day.
We saw many people following the play and praying along with us.
Crowning with Thorns
Many came up to us after the play thanking us for such an invigorating presentation of our Lord's Passion. Here are some of the early tales we have been told of the day.
One of the biggest challenges with a moving play is the safety of actors, crew and pilgrims as the play moves from scene to scene. We try many methods such as fixed tape and ropes as well as rope held by our marshalls. Enforcement for keeping the crowd back tends to fall towards the soldiers who, like in a theatre restaurant, instruct the crowd to move back for their own safety. Our photographer, eager to get "the photo", allowed a little old lady to sneak past the barriers so she could touch the cloak of Jesus. As the Centurion swung his arm giving orders to his soldiers, this lady who stood upright under his swing moved forward. "What the?" cried the Centurion and firmly moved her back with instructions. I thought she would be concerned at the firm treatment but she was grinning ear to ear and holding her bag telling her family, "I touched his cloak!"
I touched Jesus' Robes!
Some of our Marshalls volunteered to help on the day. Often these had not experienced the fluid intensity of a moving play like this and even though they were holding on to the rope barrier, found themselves sucked into the crowd. When the Centurion or one of the soldiers noticed their lost marshall and we heard the cry, "Get him out of there!" as they reached in and brought him back into line.
Our marshalls and soldiers request people to stay back for their own safety. When the Roman soldiers and Jewish guards broke out into another scuffle we heard the cry, "They're fighting again!" and the crowd suddenly made space. "Please stand back for your own safety," we once more cried as the procession moved on.
When Jesus was being scourged, the process started with one Roman making a few lashes. Then he gets moved back with the cry, "Let someone do it properly!" The primary flogging Roman soldier let fly with the whip dipped in the fake blood. Drops of blood flew in an arc and the soft straps struck Jesus with a satisfying slap and Jesus cried out. The crowd stopped chattering with an audible gasp.
One of our new actors had not actually attended the play in past years so this was all an amazing experience. When Jesus was being scourged and mocked, tears came to her eyes, but the Woman of Jerusalem in charge held her and said, "Don't cry yet. We have to call for his crucifixion in the next scene." So she held back her tears and like a trooper joined the crowd calling for Jesus' crucifixion. As she said afterwards, it won't be the same contemplating the story of Jesus' Passion in future.
At the start of the play we made sure the actors and crew knew that this was a "Live" play. That meant no retakes, no pause to re-do the scene, no stepping in to try again. "The play must go on!" we instructed. "After all, the pilgrims haven't read the script and the story won't be affected if your lines are not exact. So long as we get the important bits in the right order, no-one will know." That was good advice.
When Pontius Pilate was standing majestically on the balcony addressing the crowd, the sign of Roman Superiority detached from the balcony railing and fell to the ground with a crash. Pontius Pliate's eyes opened wide for a brief moment and then he turned his gaze back to the Crowd and Caiaphas and the Jews and continued as if nothing was wrong. The crew quickly removed the sign and all moved on as if this was part of play. We were told afterwards how clever this was, the falling of the sign representing the fall of Roman Justice. The play must go on.
Although we have a script which covers all the main dialogue and actions, the flavour comes from the interactions and improvised dialogue of the actors. Insults between the Jews and Romans provided occasional humour too. At the crucifixion, one of the Jewish Chief Priests called out "How many Romans does it take to Crucify someone?" Being sick of their taunts a Roman Guard approached them and said, "I have room for one more. Are you ready?" The Chief Priest stepped back behind the Jewish Guards and replied, "I have an appointment tomorrow and can't today."
We will report further tales as they come to light, but I want to end this post-play post with some heartfelt thanks. When organising an event like this where there are months of preparation involving over 100 cast, crew and support organisations, the whole thing only works when people do their part. This year worked so well because everyone did their part, no matter how small that part may have appeared. The actors didn't just remember their lines, but they also worked with their fellow actors and added their own ideas for their character. For example, the actor playing the blind beggar Bartimeus had the idea of having a blindfold and sat in his spot near the start of the play, begging for alms for about 20 minutes before the play reached him. Then he improvised with many calls for alms and requests about what the commotion was. It was a great job which really brought out the character of the blind beggar. It may have only been a bit part, but it formed part of the greater whole.
The same applied for each of the roles, from the primary speaking parts through to the behind the scenes actors of the Women of Jerusalem and Apostles before and after the abandonment of Jesus.
So many people have done their parts and done them well I am very proud to have been able to assist in co-ordinating and directing the play. An event like this generates a great camaraderie and fellowship and fosters a deeper understanding of not just this critical point in salvation history, but also the very human element that is the point of the whole Passion. Every actor and member of the crew and supporters must know that all the work and effort has been worthwhile to so many people.
Thank you.
~David Bruggeman"
Copied from goodfridaypassionplay.blogspot.com.au/
For more information please visit www.paulinefathers.org.au
No need to meditate or imagine, this event will take you to Calvary!
Images by Giovanni Portelli Photography © 2018.
In Montana Rodeo show near West Yellowstone the hot dog stand had served its last orders of the night.
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Field orders given to crew of the Enola Gay, with primary target the T-bridge close to the A-Bomb Dome (the actual hypocenter). Hiroshima was one of four cities on the short list as a target (the others were Kyoto, Yokohama, and Kokuru). Hiroshima was the only city believed not to have allied POW camps, thus was selected as the target.
As we get older, we start to witness traces of our past decay and finally disappear in front of eyes. I came across this old favourite pub on my walk today and thought about all the stories and secrets its walls hold …
Bishop Olmsted ordains diocese’s newest priest
By Ambria Hammel | June 2, 2012 | The Catholic Sun
Bishop Thomas J. Olmsted ordained Dan Vanyo to the priesthood June 2 at Ss. Simon and Jude Cathedral.
He joins 254 diocesan and religious priests who serve the Phoenix Diocese by offering the Holy Sacrifice of the Mass, conferring the sacraments and overseeing aspects of parish life. Many of them were on hand to offer congratulations to their newest brother.
That included a handful of local priests and some from St. John Vianney Theological Seminary in Denver who played key roles in Fr. Vanyo’s discernment. Fr. Vanyo, 43, began discerning his call to the priesthood at age 32 when a friend through a local Catholic singles group was discerning religious life.
“I never discerned anything,” Fr. Vanyo said. He researched some religious orders, but it wasn’t until a day for prospective diocesan seminarians that he reached a peaceful conclusion.
“They need help here,” Fr. Vanyo, then a hospice nurse, recalled thinking. “That’s when I gave the Lord my fiat. If you open the door, I’ll walk through it.”
He ran into Fr. Chauncey Winkler, who he knew from the local Catholic Retreat for Young Singles group and told him, “I think this is where I could be of some help.”
He entered the seminary in 2005 and was among a reported 487 ordinands nationally who will join the ranks of priesthood this year. Bishop Olmsted read from the Ordination Rite during Mass.
He reminded the crowd, including family and friends who filled the first row on both sides, that Jesus chose certain disciples to carry out publicly in His name, a priestly office. He reminded the diocese’s newest priest of his roles of Christ the teacher, priest and shepherd.
“Carry out the ministry of Christ the priest with constant joy and love,” the bishop said. He also challenged Fr. Vanyo to bring the people together in one family. That’s a challenge the priest plans to meet in his new home, Queen of Peace Parish in Mesa. He will serve as parochial vicar starting July 1.
“I am most excited that I will be able to hear people’s confessions. When the Holy Spirit touches the hearts of the penitents with His grace in the confessional, I will be blessed to be a witness to it,” Fr. Vanyo said.
In addition to a parish presence, Fr. Vanyo will serve as chaplain at Seton Catholic Preparatory High School in Chandler. Fr. Vanyo will offer his first liturgy, a Mass of Thanksgiving, at his home parish Holy Cross in Mesa, at 10 a.m. June 3.
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The annual clergy gathering focused on reaching out to young adults and youth during Orders & Fellowship 2017 in Salina, Kansas.
Bella likes to pretend she is a waitress and take everyone's orders before each meal. Nice chilled day at home today. Good start to the year :-)
Confidental Orders, to only be opened when the name "Elena" is received. The code word was received, and the contents were acted on as appropriate.
On April 18th of 2015, my hometown of Ermelo (The Netherlands), celebrated its 70th anniversary year of the liberation from occupation by Nazi Germany during the Second World War.
On this exact day, seventy years ago, Canadian soldiers came into town via the Putterweg, hit a roadblock and met with some German resistance.
Today, festivities included a re-enactment of the fighting and liberation, in which cadets of the Royal Military School (the KMS in Ermelo) were dressed in period-accurate Canadian uniforms and ran through the Putterweg, guns blazing.
There was lots of music, a static show of military vehicles and demonstrations of armaments and equipment by our own armed forces; the 400th Medical Battalion (400 GNKBAT), 45th Mechanized Infantry Battalion (45 PAINFBAT RIOG), Communications (Regiment Verbindingstroepen) and one of the Engineering Battalions (Genie).
St Mary, Martham, Norfolk
This magnificent building sits on a gentle rise in its busy village not far from the North Sea. Here, we have left the tedious urban coastal strip behind, and we are in a land of villages, rivers and woods, the Fleggs, and St Mary is the Cathedral of the Fleggs. Unequivocably so, because this is the biggest, grandest church for miles around. The views from the tower are spectacular; even on the hazy, misty day I went up it in 2005 I identified twelve other churches from the top. On a clear day there must be many more.
St Mary is a church of two distinct parts, and this is as obvious from the outside as it is within. The tower is early Perpendicular, and the nave with its aisles and clerestories is classic mid-15th century work, a textbook large East Anglian church. But the chancel is something else again. It was built in the 1870s as a memorial to a 19th century Rector, Jonathan Dawson, the gift of Mrs Alice Langley. Tall, solid, in a flamboyante style, it is an astonishing conceit, as if a chapel from a French cathedral had been lifted up and put down here instead.
The architect of the chancel was Philip Boyce. As Pevsner notes, very little is known about him; he seems to have worked out of Cheltenham, and was a member of the Royal Institute of Architects for just four years. No other work is known by him in East Anglia, and so si monumentum requiris, circumspice.
As well as building the chancel, Boyce was responsible for what is a crisp, reasonably successful restoration of the nave. You step into a church full of light and space. St Mary is home to a fine collection of medieval survivals, the most interesting of which is the seven sacrament font. This is in relatively good condition, with crowded scenes set beneath cusped arches which retain their original colour. The carving is not delicate, but rather earthy.
The most easterly panel is the Last Rites, the figure in the bed wrapped up somewhat like a mummy. You can see the chrismatory box in the hands of the acolyte at his feet. Then, in anticlockwise order, come Baptism (NE), the infant being dunked in the water; Confirmation (N) including a babe in arms; Confession (NW), perhaps the most interesting panel, the action taking place in a chapel withe the devil sneaking out through the door; Ordination (W), the ordinand kneeling; The Last Judgement (SW), which is the odd panel out; Matrimony (S), a very clear panel, the woman wearing a kennel headdress, and finally Mass (SE), the Priest with his back to us, the altar beyond with riddle posts.
Eight Saints stand in niches around the pillar. The most obvious is St Andrew with his saltire cross. I suspect that at some point the font has been turned one place anti-clockwise and reset, probably during the Restoration, because I think that Baptism may have faced east and the Last Judgement west.
Martham's most spectacular treasure is the collection of medieval glass in the east windows of the south and north aisles. These consist of a series of more than twenty panels of individual Saints and scenes, presumably part of a much larger sequence originally. Much of it is good glass of the 15th century Norwich school; all of it is restored to a greater or lesser extent, but the added panes are not intrusive. Some scenes have been reconstructed using the smallest of details as a starting point, while others have been merely filled in where a piece was missing.
The north aisle east window features a large crucifixion in the middle at the top, with two other large scenes below, the Scourging of Christ and a tender scene of the infant Christ meeting St John the Baptist. Flanking these are scenes including St Edmund, St Margaret, The Ascension, the Resurrection, St Agnes and a King and Queen who might be part of a Coronation of the Queen of Heaven scene.
The east window of the south aisle contains a similar collection, but with one or two more unusual subjects. The main central light is a dramatic figure of St Michael, with innocent souls on one pan of his balance and wicked looking devils on the other. Below him is Eve spinning. The flanking subjects include St Mary of Magdala, St James, St Margaret, a tonsured figure with a crook and a variety of angels illustrating the orders.
This is all spectacular stuff, and it is offset quietly by a fine range of bench ends, some old and some new, which are good quality work and include a number of figures and faces. Curiously, some of the medieval poppyheads appear to have been altered, probably in Victorian times. One face has been given a 17th century puritan's top hat, and another turned into a bell with a Marian monogram.
And so, we come to the chancel. It really is very impressive, and it is difficult to remain neutral about it. I like it a lot, but I can understand why other people condemn it. You enter beneath a cusped chancel arch through a fine, wrought-iron screen. The capitals on the arch are a cornucopia of intricate detail. The glass is not wonderful, but it has a rich cathedral quality in keeping. The Easter sepulchre on the north side of the sanctuary is the Reverend Dawson's memorial. Put together with the capitals and stone reredos I do not think there is a richer, louder and more confident Victorian moment in Norfolk, not excluding Booton.