View allAll Photos Tagged pathos
Quello che vedo non è mio. Mentre quello che sento in ciò che vedo è mio: la sensazione, il sentimento, l'emozione, l'armonia, il pathos, la ragione, il racconto, l'attimo. Dunque, ciò che fotografo non è mio, mentre è mio ciò che sento in quello che fotografo. È questo "sentire" che voglio comunicare agli altri, condividere, e sarebbe assurdo rinchiuderlo in qualche stupida rivendicazione di proprietà, materiale, commerciale o intellettuale che sia. Con le mie foto non sto vendendo, lucrando, guadagnando; sto parlando, per essere ascoltato e non per essere comprato. E il mio parlare non ha copyright. Buona visione. E buon ascolto
Questi sono alcuni degli scatti realizzati al mercato nei pressi del Castello medievale di Bran, comune della storia regione della Transilvania, dimora dimora, secondo la leggenda, del sanguinario conte Dracula, personaggio ispirato alla figura del principe Vlad III che nel XV secolo fece parlare di sè per la ferocia e la crudeltà del suo animo .
La fortezza tuttavia, non è il vero maniero appartenuto all'imperatore Vlad ma era utilizzato dal sovrano come residenza di caccia. Curioso è l'aver appreso che i rumeni sono venuti a conoscenza di Dracula e di tutta la leggenda ad esso annessa ai primi anni '90, dopo che l'ex dittatore comunista Ceacescu è stato destituito dei suoi poteri.
Sapere questo ha suscitato curiosità prima e riflessione poi: mi trovavo li, in mezzo alla popolazione locale portatrice di tradizioni in parte costruite e piegate al consumismo frenetico, recitando la mia parte da turista occidentale, inconsciamente privo del reale contatto con quel mondo di genti diverse . Ero in Transilvania per vedere il castello di un vampiro? Ero in Transilvania per poi raccontare di esserci stato?
Come il pezzo di una carovana di passanti ciechi e sordi che si autocompiace perchè viaggia e conosce, che prende tutto per oro colato, che non si pone un perchè, un percome. Ecco come mi son sentito. Volutamente cieco.
La Romania non è una leggenda. Non è un vampiro.
Sono persone.
Che non conoscevo e non conosco.
The Sciarra amazon ' often attribuyed to Kresilas) offers a completely different reading : pathos, studiously avoided by the others is the keynote. Both her breasts are bare and she uses her dead horse's bridle for a belt ; she has clearly been raped. Exausted, she leans one elbow on a pillar (a boundary of the sactuary ?) , resting the other hand on her head as if about to faint . These responses to her situation regulate the poise or the entrire stature, wich employs polycleitan contrapposto as a purely sencondary aesthetic device , to unify the composition. No attemp is made to integrate the wound into all this : placed below and behind the right breast, it appears almost as an afterthought. Yet whareas it was the polycleitant amazon (Sosikles ?) that reportedly gained the prize, it is the Sciarra with its momentary pathos, and indications of settings, that announces the future. Andrew Stewart
The Berlin type was discovered in Rome near the Baths of Diocletian in 1868 and acquired the next year by the Pergamon Museum. Stylistically, this Amazon has been identified with Polycleitus (given the affinity of the head with that of his Doryphoros). Here, one can discern the pathos of the Amazon, who leans exhausted on a pillar (which Stewart suggests may be a boundary marker of the sanctuary). The entire right arm and left forearm, both hands and feet, and the pillar and its plinth have been restored.
It also is known as the Lansdowne or Sciarra type from two other copies.
One is said to have been acquired by the painter and antiquary Gavin Hamilton in 1771 to decorate the house of Lord Shelburne, Marquis of Lansdowne. It now is in the Metropolitan Museum of Art (New York), a gift of John D. Rockefeller in 1932. It preserves most of the right arm, part of the hand, and the upper portion of the pillar. The head, which was described by Hamilton at the time as one "which surpasses much any that I have yet seen," required only that the nose be restored, which was cast from the Sciarra statue, as were the missing feet The lower legs are plaster casts from the Berlin Amazon. The left hand, as in all the types, was missing and has not been restored.
The other copy is in the Ny Carlsberg Glyptotek (Copenhagen) and was acquired in 1897 from the Palazzo Sciarra and, in turn, from Cardinal del Monte in 1628 on whose property it was found, the former gardens of Sallust. The pillar has not been restored nor the right hand or left arm below the shoulder.
There is a bleeding wound to the side of the right breast, which may explain the gesture of the arm and the stance, the Amazon wearily leaning against the pillar for support. It also may signify the bravery of the warrior or, given that the wound is not consistent with the pose, simply be the invention of the copyist as an analogy to the wounded type.
The belt that ties the chiton is distinctive to the Berlin type and shows a leather strip that loops around hooks held in place by rivets at each end of a rectangular buckle. (The belt of the Mattei type is tied with a Herculean knot, with the loose ends hanging down; and the Capitoline type is simply a flat band that is not tied at all.) It may represent the broken rein of a horse, used on the battlefield by the distressed Amazon.
L'amazone lève le bras droit et passe l'autre devant le torse pour dénuder le sein gauche blessé. Cette composition est connue par une série de répliques dont la meilleure copie, signée par le sculpteur Sôsiclès, est conservée au musée du Capitole à Rome. Elles reproduiraient un original attribué au bronzier argien Polyclète, réalisé lors d'un concours organisé vers 440-430 avant Jésus-Christ, pour le sanctuaire d'Artémis à Ephèse. Les plus grands sculpteurs classiques y participeront parmi lesquels Crésilas, Phidias et Polyclète qui sera déclaré vainqueur.
Johann Elias Grimmel (1703-1759). "Jonah ejected by the whale" (1739).
The restoration of this painting was taken by the Lions Club Memmingen. Stemming from a Memming merchant family, had the born on October 28, 1703 Johann Elias Grimmel himself trained as a painter with Johann Friedrich Sichelbein and after his death with Jerome Hau in Kempten. During his twelve-year period of study at the Imperial Academy of Arts in Vienna (1726-38), in 1734 the Second Price falls to him in the held annually painting competition. After a brief interlude in Memmingen, he was appointed in 1741 as a teacher of drawing and painting at the Academy of Sciences in St. Petersburg, where he died on January 12, 1759 on "apoplexy". The workshop tradition of Sichelbein connecting with the pathos of Viennese Baroque, Grimmel in his panel paintings for St. Martin achieves considerable painterly quality.
Johann Elias Grimmel (1703 - 1759). "Jonas vom Walfisch ausgeworfen" (1739).
Die Restauration dieses Gemäldes wurde vom Lions Club Memmingen übernommen. Aus einer Memminger Handelsfamilie stammend, lässt sich der am 28. Oktober 1703 geborene Johann Elias Grimmel bei Johann Friedrich Sichelbein und nach dessen Tod bei Hieronymus Hau in Kempten zum Maler ausbilden. Während seiner zwölfjährigen Studienzeit an der Kaiserlichen Kunstakademie in Wien (1726-38) fällt ihm 1734 der II. Preis im alljährlich stattfindenden Malwettbewerb zu. Nach einem kurzen Intermezzo in Memmingen wird er 1741 als Lehrer für Zeichnen und Malen an die Akademie der Wissenschaften in St. Petersburg berufen, wo er am 12. Januar 1759 am "Schlagfluss" stirbt. Die Werkstatttradition Sichelbeins mit dem Pathos des Wiener Barock verbindend, gelangt Grimmel in seinen Tafelbildern für St. Martin zu beachtlicher malerischer Qualität.
Chevaliers de la Croix avec l'Étoile Rouge, Caballeros de la Cruz con la Estrella Roja
Kreuzherrenkloster Memmingen
Church building with its distinctive tower from the Hallhof (depository)
Detail of richly with Wessobrunner stucco decorated church ceiling
Church ceiling frescoes
The Kreuzherrenkloster (monastery of the Knights of the Cross with the red stars) Memmingen is a former monastery of the Order of the Holy Ghost in Memmingen in Bavaria in the diocese of Augsburg.
History
The beginnings of the Holy Spirit consecrated monastery date back to the 13th century. Counterfeit refer to the year 1010, which was before the founding of the city of Memmingen in 1160. It was probably in 1210 by the Staufian Empire bailiff in Upper Swabia, count Heinrich von Neuffen-Weißenhorn and his wife Hedwig, donated. This ones established at the eastern edge of the central city in front of the gate Kalchtor a hospital, equipped it with landed property and handed it over to the Hospitaller Order of Canons Regular of the Holy Spirit in Rome, whose main activity focus was the care of the sick and the homeless and the admission of pregnant women and foundlings. After a devastating fire in 1223, the monastery and the hospital had to be rebuilt, in this context, it is also for the first time mentioned in the municipal document.
Since 1353, the City Council took part in the management of the hospital, in 1365 the hospital complex was divided into a lower and an upper Hospital. To the now directly managed by the Imperial City Lower Hospital belonged the Poor room on the ground floor and several adjoining rooms, to the remaining with the monastery Upper Hospital belonged furthermore the Church of St. Peter and Paul and the upper floors of the monastery and convent building. In the room for needy persons concentrated the imperial city charitable organisations. Together with the Antonite monastery the Crusaders shaped the intellectual and cultural life of the imperial city.
In a fire in 1477, again large parts of the complex were destroyed. The hospital church was rebuilt in 1480-1484 as a Gothic hall church and the whole complex obtained the form of a towards to the south lain Hallhof open three-winged complex. 1484 was southwards adjacent to the church building a tower built. In the years 1709-1711 the church was remodelled in Baroque style and fitted out with Wessobrunner stuck by Matthias Stiller and his son Michael Stiller (plasterer). The ceiling paintings stem from Johann Friedrich Sichelbein.
Shortly after the mediatization of the Free Imperial City and the transfer to the Electorate of Bavaria in 1802, the monastery was secularized. All expendable and movable properties of the monastery in 1803 were auctioned, the last Canons 1804 left the house. Still until the year 1806, the church was used as a parish church, after which it served as a timber warehouse. The room for the needy until 1816 served for the accommodation of prebendaries, in the monastery premises Bavarian officials were housed. Although the church and the steeple first in favor of a new toll and customs building should be demolished, but they would do without it from 1819 on since other areas were vacated and the demand for a new building was not given. Therefore, from 1820 the room for the needy served as storage space. The church was rebuilt into a goods hall, in the northern and southern side wall each a large gate entrance was broken, orchestra and pulpit were demolished. The stucco in the lower area was knocked off and vault and basements were demolished in order to obtain a ground-level access. In the nave itself a false floor was inserted and a wooden crane mounted. To the north, the entire complex was provided with a classicist facade.
Due to the foundation of the German Reich, the building as depository and Customs Office was increasingly without function, which is why the City Council in 1920 requested to expose in the former vestry works of Memminger painters. After a water pipe breakage was discussed in 1932 to relocate the municipal art collection to the unused nave, for cost reasons but this solution was discarded, and only from 1947 on the upper part of the nave was used as an exhibition and concert hall. The ground floor was combined with the room for the needy persons and from 1960 as a hospital arch as an open walkway used. In the convent building various municipal facilities were housed: the sing and music school, the Stadtjugendring (city youth council) and psycho-social support center.
The as a whole neglected complex from 1998 to 2003 was according to original plans elaborately rehabilitated and restored. In the process, inter alia, the intermediate floor in the nave was removed and restored the room for needy people of the hospital. Today the church hall serves again as an exhibition and event space, the Poor facility as a café.
Buildings
Steeple
The compex consisted of a hospital with attachments for economical use, as well as an east adjacent church and a convent building. The complex burned down several times, as part of the reconstruction work it was repeatedly extended and modified.
Poor facility
The oldest still surviving part is the Poor facility. Its two-aisled, four-yoked and vaulted by a ribbed vault hall dates from the early 15th century. By hospital master Elias Bruggberger extensive construction were induced from 1675 to 1680, at the same time, he Poor facility was expanded to additional floors in which two large halls were housed. The room on the second floor was provided in 1691 with a wooden coffered ceiling, which is largely still intact.
Monastery church
→ Main article: St. Peter and Paul (Memmingen)
1477 the abbey church of St. Peter and Paul in a fire was destroyed and rebuilt in the following years as equally two-aisled and four-yoked late Gothic hall church. As is common in many hospitals, it forms an extension of the Poor facility. After hospital master Sigismund Teufel it was from 1709 remodelled in Baroque style and the ceiling vaults probably by Matthias Stiller with Wessobrunner stucco coated. In each field of bays there are ceiling paintings, probably stemming from Memminger painter Johann Friedrich Sichelbein. Supported is the around 14 meter high vault of three stucco marble columns.
"Hot Stuff", by Famous Funny Men
Humor, wit, pathos, satire, and ridicule, repartee, bulls [?] and blunders, clerical wit and humor, lawyers’ wit and humor, anecdotes of great men, puns and conundrums, doctors’ wit and humor, political wit and humor, temperance anecdotes, Irish wit, negro wit, women’s pathos and humor, children’s wit and blunders, railway jokes and anecdotes, charades, riddles, puzzles, etc.
From a reproduction of Sears, Roebuck and Co. catalog of Fall, 1900.
model: Krissy
Found your heart and lost your lover;
Lick your wounds and run for cover.
Take your time there'll be another
And don't make the same mistake twice,
Unless you can pay the price.
All those years that you spent in growing
End up one more line you're towing
Don't look now but your age is showing
And its much too late to turn back
You better pull in the slack.
Captured Angel
Aching to make your break
Your freedom's at stake
You better fly now...
Fly now, fly now
While your wings are still young
Your cage door's been flung
Wide open...
And I'm hoping you see
That there's a place beside me,
If you ever need it.
Sold your dreams for sweet salvation
Left with righteous indignation
Now it seems that you face starvation
And nourishment doesn't come cheap
You better go back to sleep.
Captured Angel
Aching to make your break
Your freedom's at stake
You better fly now...
Fly now, fly now
While your wings are still young
Your cage door's been flung
Wide open...
And I'm hoping you see
That there's a place beside me,
If you ever need it.
words by Dan Fogelberg
Reverses into its parking space at Pathos Harbour. This bus is former J340BSH and now has an Iveco engine fitted
Mil Mi-35P Hind-F/ Panther Cyprus Air Force -
Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
These fragments of an equestrian statue probably represent Nero. The execution tinged with a certain pathos reflects a sensibility that was different to that of the classical-style portraits of the Julio-Claudian family. It also reveals the origins of the work, which was found in Asia Minor, as well as the absolutist tendencies of the reign of Nero, who craved an imperial role like that of the Hellenistic monarchs.
Fragments of an equestrian statue
The equestrian group was a mode of representation created in Greece and adopted in Rome. Equestrian statues of the emperor emphasized his role as commander-in-chief of the armies. The Louvre holds fragments of a large statue of this type.
The left arm, lost below the biceps, was cast separately and was probably fitted into some sculpted drapery. The left hand held the reins. The work is executed in a naturalistic manner; the artist paid special attention to the rendering of the muscles and veins. The head with its fleshy proportions is turned to the left. Thick hair with full, wavy locks tops a face whose eyes and parted lips impart a highly expressive appearance and a rather brutal sensuality.
A vestige of the damnatio memoriae
The identity of the figure represented in this work has been disputed. The particular arrangement of the slighly parted bangs favors the hypothesis that it is a prince of the Julio-Claudian family. There is general agreement on the name of Nero, by comparison with coin portraits, though on the coins he does not wear this hair style. Further comparison with other portraits of the sovereign would enable this probable identity to be confirmed; but Nero's excesses led the Senate, after his suicide in AD 68, to condemn his portraits to "damnatio memoriae," that is, to destruction and oblivion. Therefore, only a few remnants remain of the images of this emperor - some portraits of him as a child, and statues saved from destruction by their geographical distance (perhaps the case of these fragments found in Turkey).
Memory of the Hellenistic kings
This portrait marks a break with the classical-style treatment of Julio-Claudian works. The face remains idealized, but with a note of pathos foreign to Augustian moderation: on the contrary, the sharp movement of the head, the movement in the hair and the facial expressiveness hark back to the traditional Hellenistic royal portrait.
These stylistic elements, which reflect an enduring baroque sensibility in Asia Minor, are well suited to a representation of Nero, whose political ideology they highlight. Fascinated by Greek civilization, the prince sought to infuse the role of emperor with the absolutism of the Hellenistic monarchies.
Limited Edition Prints | Blog | Google+
The Shanghai skyline as seen from the top of the Pearl Tower. The resulting photographs were an interesting mistake of camera shake while zooming in on sections of the heavily smog filled city. They gave me a sense of a long forsaken metropolis so I named this series – Vestige.
Me'Lange Sparkle Denim in Black(system skirt-not mesh)
.ploom. Henna (Reds)
Curious Kitties Passionate Lover Eyes - Purple
#2::DUCE::2# Evolution Charcoal
Pathos Glitter Nails (purple)
**NOYA** Night & Day Make Up 2014 - Eyeliner + Lashes
Essences - Hangover Lipsticks 07
7 Deadly s{K}ins -September 2015 Girls skin v1 NOCleavage (marshmallow)
One windy day in the mid-1990s, less than ten years after leaving the Soviet Union for life in the West, a husband-and-wife artist team grab a video camera and descend from their studio into the mostly deserted streets of Chelsea. In a neighborhood where taxi garages still outnumber art galleries, they begin filming pieces of litter and random objects as they are blown around the streets and sidewalks of the West 20s. Rather than being a documentary record of urban neglect, the resulting video is full of pathos and comedy. Through their eyes scraps of trash become living beings. A plastic spoon flips over like a restless sleeper. A small paper bag puffs up like blowfish. A coiled length of rope does acrobatic tricks. A tiny piece of Styrofoam plays tag with a black plastic bag. A McDonald’s box assaults a to-go coffee cup. A white glove performs a set of somersaults, only to be outdone by a neatly tied up plastic bag that can’t stop tumbling. A cardboard box slides down the street like a skateboarder. A toilet paper roll sets off on a journey into the unknown. A plastic bag takes flight, or at least attempts to do so. Never stated in the video is its relationship to their own lives, blown by the “winds of history” into exile from a nation that would soon cease to exist, buffeted continually by the turbulence that comes with being artists in New York City, always at risk of being tossed aside by the vagaries of the art market, or by the vagaries of life itself.
(Igor and Svetlana Kopystiansky)
Contributor
Raphael Rubinstein
Raphael Rubinstein is the author of The Miraculous (Paper Monument, 2014) and A Geniza (Granary Books, 2015).
brooklynrail.org/2020/09/miraculous/18-Chelsea
From the archive of "Incidents"(1996/7)
kopystianskyincidents.tumblr.com/
We worked at "Incidents" in a period of two years: 1996-97. After the work was accomplished in 1997 it was exhibited:
1997 “L'Autre. 4e Biennale de Lyon, Art Contemporain," Lyon, France. Curated by Harald Szeemann, (cat.).
1997 "2nd Johannesburg Biennale,” South Africa. Curated by Okwui Enwezor (cat.).
1997 “In Medias Res,” Dolmabahce Palace, Istanbul. Curated by René Block (cat.).
1999 “Szenewechsel” (Change of Scene) Museum of Modern Art, Frankfurt/Main. Curated by Jean-Christophe Ammann and Mario Kramer.
1999 “Trace” Liverpool Biennial of Contemporary Art, Tate Gallery Liverpool. Curated by Anthony Bond, (cat.).
1999 “Wait,” Kunst-Werke, Berlin. Curated by Klaus Biesenbach
2000 Folkwang Museum in Essen, Germany. Curated by Klaus Biesenbach
2000 “Moment,” Dundee Contemporary Arts, Great Britain. Curated by Katrina Brown
2000 “Incidents,” Vor und Zurück. Curated by Sylvia Martin. Kunstmuseum Düsseldorf, Germany.
2000 “Igor and Svetlana Kopystiansky” Museum Sztuki, Lodz, Poland
2000 “Incidents” Art Gallery of New South Wales, Sydney, Australia. Curated by Anthony Bond.
2004 “9th Triennal of Small Sculpture” Fellbach, Germany. Curated by Jean-Christophe Ammann.
2005 “Igor & Svetlana Kopystiansky,” Kunsthalle Fridericianum, Kassel, Germany. Curated by René Block.
2005 “Igor & Svetlana Kopystiansky,” Fine Arts Center of the University of Massachusetts, Amherst, MA. Curators Loretta Yarlow/Gregory Salzmann
2005 “From the permanent collection. Kopystiansky, Roth, Orozco, Cahn, Muniz.“ AGNSW, Sydney. Curated by Anthony Bond.
2007 “Igor & Svetlana Kopystiansky,” ESPOO Museum of Modern Art (EMMA), Espoo, Finland. Curated by Timo Valjakka (cat.)
2008 "From the permanent collection.” AGNSW, Sydney. Curated by Anthony Bond.
2009 “Igor and Svetlana Kopystiansky” Cinema 2, April 22. Musée National d'Art Moderne Center Pompidou, Paris, France. Curated by Philippe-Alain Michaud.
2009 "False Twins” S.M.A.K., Stedelijk Museum voor Actuele Kunst, Ghent, Belgium, Curated by Guillaume Désanges.
2009 “From the permanent collection. Roman Opalka, Brice Marden Igor and Svetlana Kopystiansky and Rachel Whiteread,“ AGNSW, Sydney. Curated by Anthony Bond.
2009 KunstFilmBiennale, "From the collection of the Center Pompidou Paris.” Medienkunstraum der Bundeskunsthalle Bonn, Germany. Curated by Philippe-Alain Michaud.
2010 “Radical Conceptual. Positions in the MMK Collection.” MMK Frankfurt/Main, Germany. Curated by Susanne Gaensheimer.
2010 “Image by Image. Film and Contemporary art from the collection of the Centre Pompidou,” Museum Ostwall, Dortmund, Germany. Curated by Philippe-Alain Michaud and Olivier Michelon.
2010 “Igor and Svetlana Kopystiansky, ” Musée d’Art Moderne de Saint-Etienne Métropole. 6th of February – 18th of April, France. (cat.)
2011 “Energy and Process. Igor and Svetlana Kopystiansky. Presentation of the collection. TATE Modern London. Curated by Stuart Comer.
2011 “Wunder,” Deichttorhallen Hamburg and Siemens Stiftung. Curated by Hürlimann | Lepp | Tyradellis (cat.)
2011 “From Trash to Treasure,” Kunsthalle zu Kiel, Germany. Curated by Anette Hüsch, (cat.)
2012 “Wunder,” Kunsthalle Krems, Austria. March 4th to July 1st Curated by Hürlimann | Lepp | Tyradellis.
2012 “Igor and Svetlana Kopystiansky: Incidents (1996/7),” From the permanent collection. MoMA, New York.
2013 “Incidents,” in works from the collection selected by Rineke Dijkstra for The Krazy House. February 23-May 26. MMK Frankfurt. Catalogue.
2013-2014 “Everyday Epiphanies. Photography and Daily Life Since 1969.” Curator Douglas Eklund. The Metropolitan Museum of Art. June 25, 2013–January 26, 2014.
2014. Collection Display. MMK Frankfurt, Germany.
A marble sculpture near the main (west) door of St Giles.
It forms a memorial of sensitivity, melancholy and pathos, having been gently achieved by John, later Sir John Steell of Edinburgh in memory of the 669 soldiers and families of the 78th Highland Regiment who died of cholera.
Later and after the Childers reorganisation of the British Army in 1881, the 78th became the Seaforth Highlanders.
The 78th (the Ross-shire Buffs) with some other regiments were summoned urgently from Britain as the news of the disasters in Afghanistan reached London in 1842. This refers to the annihilation of the HEIC and British Army of occupation in Kabul, which caused the recall of the Gov General of India, Ist and last Earl of Auckland, George Eden, who appears distantly on my family tree. The only military survivor to escape, from the entire British Army in retreat, was Assistant Surgeon William Brydon. A few hundred prisoners- soldiers and wives were later released from captivity. Brydon was famously painted into history by Lady Elizabeth Butler, he is buried in Rosemarkie.
Lady Butler also painted the Charge of the Royal Scots Greys at Waterloo, known as “Scotland forever”.
In 2013 the retreat from Kabul was termed, "the worst British military disaster until the fall of Singapore exactly a century later."
Also of continuing interest to me is Lt Col James MacBean, 78th Regt, who is buried in the St Cuthbert's cemetery in Edinburgh who was sometime commanding officer of one of the battalions. He was born Inverness in 1785, died at 27 Inverleith Row, Edinburgh, on 23 Oct 1845. The dates suggest he had already retired when the cholera catastrophe virtually destroyed the 1st battalion and their families in Sindh Provence.
On arrival in India the 78th were sent to the newly coveted province of Sindh and ordered to march up the banks of the Indus to the small town of Sukkur. Although they arrived in good health, illness soon overtook them. According to Captain Keogh of the regiment, - “a most virulent fever broke out, which continued, without cessation, throughout the stay of the regiment. Some lingered for weeks, some for days. It was not infrequent to hear of the death of a man to whom one had spoken but half an hour previously. The hospital was probably overwhelmed, some of the barrack-rooms were converted into wards, and at one time there were upwards of 800 under treatment.”
It was decided to send the survivors downriver to Hyderabad and it proved to be a ghastly journey. Keogh continues; “at last, on the 21st and 25th of December 1844, we embarked, or rather the men crawled, on board common country boats, which conveyed us to Hyderabad. The sun struck through the thatching by day, and the very heavy dews penetrated it by night, when it was extremely cold... When we moored in the evening we used to bury our dead, and I sewed up many of the poor fellows in their blankets and rugs, the only substitutes for a coffin we had. We dug the graves deep, and with the bodies buried the boxes and everything else that had belonged to them. We put layers of thorns inside, round, and on the top of the graves, in hopes of preserving the remains of our poor comrades from the attacks of the troops of jackals swarming in the neighbourhood.”
The analysis of the reasons for the disaster show how little was known about the cause of the disease. It was at first thought to be malaria.
A regimental history observed that; “The regiment marched into Sukkur apparently in excellent health, but disease must have been contracted on the way up, when passing through swampy tracts where the heat of the sun had engendered malaria. The excitement of the march kept the scourge from showing itself...[however]...the medical men attributed the sickness in a great degree to the improper time at which the regiment was moved, and the malaria engendered by the heat of the sun on the swampy plains which had been overflowed by the Indus.”
The casualties to the 78th were on a scale which caused serious discontent. The accusation that the problem had been exacerbated by excessive drinking and intemperance led the 78th to accuse General Napier of having obliged the regiment to march to Sukkur too late in the year, at the start of the hot season.
The Asiatic Journal and Monthly Miscellany reported, - "With reference to the exaggerated and unjust statements respecting this unfortunate regiment, a letter has appeared in a London newspaper (The Times March 24th 1845) from Sir William Napier vindicating his brother from the imputation cast upon him of being “the murderer” of the soldiers and showing that due precautions had been taken by him to secure... the 78th Regiment which was ordered up the river from Karachi to Sukkur... Although the 78th arrived at Sukkur in excellent health... the disease burst out suddenly with unusual violence and enraged till the end of the year “the sickness” he adds “has astounded the medical men who call it an extraordinary epidemic for which they cannot account, this then furnishes further evidence of the fatal as well as the deceitful character of the Sindh climate especially to Europeans. . . . We understand that the officers, NCOs and privates of HM 78th Highlanders have subscribed upwards of 1000 rupees or 100 pounds for the purpose of erecting a monument in one of the public churches of Edinburgh to the memory of their comrades who died in Sindh... This cenotaph will be raised to commemorate the victims of the noisome pestilence, the unhappy beings whose deaths at Sukkur put the last sad seal to the iniquity of the Sindh invasion.” (p 561).
John Steell was also the sculptor responsible for Alexander taming Bucephalus outside the Edinburgh City Chambers, Wellington outside Registry House, Robert Burns in both Manhattan and Auckland, Walter Scott under the Scott Monument on Prices Street, Allan Ramsay in Princes Street Gardens, and Prince Albert the Prince Consort in Charlotte Square.
Steell was born in Aberdeen, but his family moved to 5 Calton Hill in Edinburgh in 1806. He was one of the thirteen children of John Steell senior (1779–1849), a carver and gilder, and his wife, Margaret Gourlay, the daughter of William Gourlay, a Dundee shipbuilder. As the family grew they moved to a larger house at 20 Calton Hill. Due to his father's own fame as a sculptor, for much of his early working career he is referred to as John Steel Junior.
Steell initially followed his father, training to be a carver himself, being apprenticed in 1818. In 1819 his father was declared bankrupt by the Trades of Calton, bringing much shame on the family. However, John Junior showed artistic talent, and despite this, the family sent him to study art at the Trustees Academy in Edinburgh, under Andrew Wilson.
Working with his father from studios at 6 Hanover Street, his first major step came in 1827 when the North British Fire Insurance Company, at 1 Hanover Street, commissioned a huge timber statue of St Andrew to be placed on the outside of their office. Now housed within the Lodge Room premises of Lodge Dalkeith Kilwinning in Dalkeith.
The work appears closely based on a sketch of a statue of St Andrew in Rome by François Duquesnoy. As the office stood immediately opposite the Royal Scottish Academy it was quickly noticed by Edinburgh's artistic society, and acknowledged as a fine work. In 1829, spurred on by the success of this work, he travelled to Rome to study sculpture more intensely.
The first work to attract international attention was Alexander taming Bucephalus carved in 1832–33 (cast in bronze in 1883, and now standing in the quadrangle of Edinburgh City Chambers). Around 1838 he was appointed as Sculptor to Her Majesty the Queen, a post which was later recognised as part of the Royal Household in Scotland. In 1840 he opened Scotland's first foundry on Grove Street in Edinburgh, dedicated to sculpture, to cast his statue of Wellington himself.
In 1854 he commissioned a new house for himself at 24 Greenhill Gardens and lived there for the rest of his life. His fame by then was international, receiving commissions from the United States, Canada and New Zealand. Prior to this he had lived at 3 Randolph Place on the edge of the Moray Estate in Edinburgh's West End.
He exhibited at the Royal Scottish Academy and the Royal Academy, and was knighted in 1876 following the unveiling, by Queen Victoria, of his statue The Prince Consort, which stands in the centre of Charlotte Square in Edinburgh.
Steell died at home, 24 Greenhill Gardens in Edinburgh's southern suburbs, on 15 September 1891 and is buried in an unmarked grave in Edinburgh's Old Calton Cemetery. This grave was purchased by his father John Steell senior and many members of the Steell and Gourlay families are also interred there.
Limited Edition Prints | Blog | Google+
The Shanghai skyline as seen from the top of the Pearl Tower. The resulting photographs were an interesting mistake of camera shake while zooming in on sections of the heavily smog filled city. They gave me a sense of a long forsaken metropolis so I named this series – Vestige.
Limited Edition Prints | Blog | Google+
Hmm, not much to say about this one. Let me see ... it is your standard brick corner complete with arches, located at one of the most prestigious Universities in the US. It comes complete with long hallways leading to equally good educational prospects. While you are considering which direction to take, you can enjoy a refreshing drink at the nice little water fountain. Come by and join me for a pensive good time at the Stanford University corner.
Buy Prints | Blog | Google+
I just got back from two weeks of exhausting travel through China and I am pretty sure that I am REM-ing as I type this with one eye open and the other shut … and drooping a little …
I took this picture of San Francisco’s Legion of Honor a few weeks ago during a late-night photo run with a friend. This fine art museum is situated on a fantastic vista point overlooking the Golden Gate Bridge. On a good day you can see the sailboats dotting the water through the treeline. On a bad day you just stand there hugging yourself in the cold, staring at a fog bank.
We spent a while there freezing our butts off and trying to squeeze through the security gates in vain. The clouds had a cool wispy look from the wind and there was a single blue star in the top of the frame. The lights caused a bit of lens flare but I liked the effect so I left it in there. Just inside the gate is a large courtyard housing a replica of Rodin’s “The Thinker”. The guy is the epitome of concentration because he is sitting butt naked in good old San Francisco weather in the middle of the night without even flinching. I sure hope he figures out what he is trying to solve so he can put on his clothes and get home before his wife wonders where he has been. Hmm … how did he manage to squeeze through the security gate to get inside?
818 Mil Mi-35P Hind-F/ Panther (023369) Cyprus Air Force -
Andreas Papandreou Airbase , Pathos International Airport Cyprus 08-11-2019
Limited Edition Prints | Blog | Google+
I was only a couple hours from Everest Base Camp when my driver suddenly stopped the car and motioned for me to get out. I looked around and surmised that this was probably not an ambush so I took my camera with me and climbed a nearby hill. When I got to the top, I was greeted by this view of Lady Everest. I took a few quick photos and got back in the car before I froze my nose off, not knowing how lucky I was to get this unusually clear shot of the peak.