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Eastgate is a permanently open gate through the Chester city walls, on the site of the original entrance to the Roman fortress of Deva Victrix in Chester, Cheshire, England. It is a prominent landmark in the city of Chester and the Eastgate clock on top of it is said to be the most photographed clock in England after Big Ben.
The original gate was guarded by a timber tower which was replaced by a stone tower in the 2nd century, and this in turn was replaced probably in the 14th century. The present gateway dates from 1768 and is a three-arched sandstone structure which carries the walkway forming part of Chester city walls. In 1899 a clock was added to the top of the gateway to celebrate the diamond jubilee of Queen Victoria two years earlier. It is carried on openwork iron pylons, has a clock face on all four sides, and a copper ogee cupola. The clock was designed by the Chester architect John Douglas. The whole structure, gateway and clock, was designated as a Grade I listed building on 28 July 1955.
Eastgate
History
Chester was first established as a Roman fortress and town, known as Deva Victrix, in about AD 74 or 75. The fortress was in the shape of a rectangle with rounded corners. This was protected by a turf and earth rampart on which was a timber palisade, and outside this was a V-shaped ditch. On each of the sides was a gate; the gate on the east side has survived as the Eastgate. It was defended by a timber tower. The road running through the gate led to Manchester, then across the Pennines to York. It is thought that outside the fortress this road was lined by timber buildings that were used as shops or for other kinds of commercial activities. Just outside the gate, to the north, was a large open area used as a parade ground.[2] From about AD 100 the defences of the fortress were reinforced by a sandstone wall and at this time the gates and their towers were rebuilt in stone.
In 907 the Saxon kings of Wessex refounded Chester as a burh. It is likely that at this time the Roman Eastgate was still present. By the medieval period the Eastgate was the most important entrance to the city. The Roman Eastgate had been replaced but the date of the replacement is not known. Its design was possibly influenced by Caernarvon Castle, which makes the early 14th century the most likely date for its construction. It consisted of a tall rectangular tower with octagonal corner turrets. At its flanks were lower towers that also had octagonal turrets. During an excavation in 1971 a portion of the northern flanking turret was found, consisting of cream-coloured sandstone (in contrast to the red sandstone normally used in Chester).
Outside the Eastgate, excavations in 1991 revealed the presence of three ditches. The ditch made during the Saxon period was wide but shallow, being only a little over 3 feet (1 m) in depth. It had been filled with rubble and masonry. The next ditch was deeper, 7.5 feet (2 m) deep, and this may have been constructed when the new Eastgate was built, probably in the 14th century. The third ditch was built during the later medieval period, probably to assist with drainage. The two later ditches were later used for the disposal of rubbish and became waterlogged, so that they contained organic materials that do not normally survive well in Chester.
By the 18th century the city walls were no longer needed for defensive purposes and so, rather than being pulled down, they were converted into walkways. The medieval gateways were obstructing the traffic into the city and were replaced by wider-arched gateways with balustraded parapets. The first gateway to be replaced was Eastgate in 1768, which was rebuilt as an "elegant arch". It was built at the expense of Richard Grosvenor, 1st Earl Grosvenor, and designed by Mr Hayden (or Heyden), the earl's surveyor of buildings.
Architecture
Eastgate is built in red sandstone and consists of a wide central arch, with rusticated jambs and voussoirs, and a small pedestrian arch on each side. On the inner keystone are the arms of the county palatine, a sword of justice and three sheaves. On this side of the gateway is a frieze-band with an inscription reading "THIS GATE BEGUN MDCCLXVIII JOHN KELSAL ESQ. MAYOR: FINISHED MDCCLXIX CHA. BOSWELL ESQ. MAYOR". The outer keystone has the arms of Richard Grosvenor with the motto "NOBILITATE VIRTUS NON STEMMA CHARACTER". The frieze-band inscription reads "ERECTED AT THE EXPENCE OF RICHARD LORD GROSVENOR A:D:MDCCLXIX". The walkway that forms part of the circuit of the city walls crosses the top of Eastgate, which is surmounted by the Victorian clock.
History
The first scheme to enhance Eastgate came following the visit of the Prince of Wales to the city in 1869. In 1872 Hugh Grosvenor, who was at that time the 3rd Marquess of Westminster, asked the local architect John Douglas to prepare a number of designs. The Marquess offered to pay half the cost of the project but the Chester Improvement Committee would not allow any council funds for it, and the scheme came to nothing. The idea was revived to celebrate the diamond jubilee of Queen Victoria in 1896. At this time the 1st Duke of Westminster suggested that the city should support Queen Victoria's Jubilee Institute of Nurses. Other ideas suggested at the time were a statue of Queen Victoria in the Town Hall square, or a clock in the Town Hall tower.
A committee was set up and, despite early support for the Queen's Institute and for general festivities, it was finally decided to erect a memorial tower and clock on Eastgate. John Douglas was again invited to prepare a design. His first design was for a stone structure costing £1,000 (equivalent to £121,000 in 2021). However, a wooden model showed that this would restrict the daylight to the neighbouring properties. In October 1897 a meeting of the subscribers to the fund (who had by that time raised nearly £651 (equivalent to £79,000 in 2021) carried a motion to erect a light iron-work structure containing a clock. John Douglas prepared a new design, which was approved in March 1898.
The clock's faces and mechanism were paid for by Edward Evans-Lloyd, a local solicitor and freeman of the city, while the cost of the tower was financed by public subscription, and the city corporation were to pay for its subsequent maintenance. The clock mechanism was made in 1897 by J. B. Joyce & Company of Whitchurch, Shropshire, who until 1974 supplied a technician to travel to Chester each week to wind it. The cast iron inscriptions on the clock were made by the Coalbrookdale Iron Company. The ironwork for the tower was made by the firm of James Swindley of Handbridge; James Swindley was John Douglas's cousin. The official opening of the clock was performed on 27 May 1899, Queen Victoria's 80th birthday.
After souvenir-hunters stole the hands of the clock, the city council glazed the clock faces in 1988. In 1992 an electric mechanism replaced the original wind-up mechanism. In 1996 the clock faces were restored with their original colours. It is said to be the most photographed clock in England after Big Ben.
Architecture
The clock has a face on each of its four sides, and is supported on an open-work wrought iron pavilion on pylons with a round arch on each side. Its plinth is inscribed on each face. The inscription on the east side reads "THIS CLOCK TOWER WAS ERECTED IN COMMEMORATION OF THE 60TH YEAR OF THE REIGN OF VICTORIA, QUEEN AND EMPRESS", on the west side "ANTIQUI COLANT ANTIQUUM DIERUM: B.C. ROBERTS, MAYOR 1897; J.C. HOLMES, MAYOR 1898", on the south side "THIS CLOCK WAS ERECTED BY EDWARD EVANS-LLOYD CITIZEN AND FREEMAN 1897", and on the north side "ERECTED BY PUBLIC SUBSCRIPTION & COMPLETED A.D. 1899 H. STOLTEFORTH MAYOR". Beneath each clock face in gilt is the date 1897, and above each face, again in gilt, the initials "VR". Over the clock is a copper ogee cupola which is surmounted by a weather vane with lions rampant or on gules background.
Chester is a cathedral city and the county town of Cheshire, England, on the River Dee, close to the England-Wales border. With a population of 79,645 in 2011, it is the most populous settlement of Cheshire West and Chester (a unitary authority which had a population of 329,608 in 2011) and serves as its administrative headquarters. It is also the historic county town of Cheshire and the second-largest settlement in Cheshire after Warrington.
Chester was founded in 79 AD as a "castrum" or Roman fort with the name Deva Victrix during the reign of Emperor Vespasian. One of the main army camps in Roman Britain, Deva later became a major civilian settlement. In 689, King Æthelred of Mercia founded the Minster Church of West Mercia, which later became Chester's first cathedral, and the Angles extended and strengthened the walls to protect the city against the Danes. Chester was one of the last cities in England to fall to the Normans, and William the Conqueror ordered the construction of a castle to dominate the town and the nearby Welsh border. Chester was granted city status in 1541.
The city walls of Chester are some of the best-preserved in the country and have Grade I listed status. It has a number of medieval buildings, but many of the black-and-white buildings within the city centre are Victorian restorations, originating from the Black-and-white Revival movement. Apart from a 100-metre (330 ft) section, the walls are almost complete. The Industrial Revolution brought railways, canals, and new roads to the city, which saw substantial expansion and development; Chester Town Hall and the Grosvenor Museum are examples of Victorian architecture from this period. Tourism, the retail industry, public administration, and financial services are important to the modern economy. Chester signs itself as Chester International Heritage City on road signs on the main roads entering the city.
The history of Chester extends back nearly two millennia, covering all periods of British history in between then and the present day. The city of Chester was founded as a fort, known as Deva Vitrix, by the Romans in AD 70s, as early as AD 74 based on discovered lead pipes. The city was the scene of battles between warring Welsh and Saxon kingdoms throughout the post-Roman years until the Saxons strengthened the fort against raiding Danes.
Following the Norman Conquest in 1066, Chester came under the Earl of Chester. It became a centre of the defence against Welsh raiders and a launch point for raids on Ireland.
The city grew as a trading port until the power of the Port of Liverpool overtook it. However the city did not decline and during the Georgian and Victorian periods was seen as a place of escape from the more industrial cities of Manchester and Liverpool.
Roman
The Romans founded Chester as Deva Victrix in AD 70s in the land of the Celtic Cornovii, according to ancient cartographer Ptolemy, as a fortress during the Roman expansion north.
It was named Deva either after the goddess of the Dee, or directly from the British name for the river. The 'victrix' part of the name was taken from the title of the Legio XX Valeria Victrix who were based at Deva. A civilian settlement grew around the settlement, probably starting as a group of traders and their families who were profiting from trade with the fortress. The fortress was 20% larger than other fortresses in Britannia built around the same time at York (Eboracum) and Caerleon (Isca Augusta); this has led to the suggestion that the fortress may have been intended to become the capital of the province rather than London (Londinium).
The civilian amphitheatre which was built in 1st century could sit between 8,000 and 10,000 people, is the largest known military amphitheatre in Britain, and is also a Scheduled Monument. The Minerva Shrine in the Roman quarry is the only rock cut Roman shrine still in situ in Britain. The fortress was garrisoned by the legion until at least the late 4th century. Although the army would have abandoned the fortress by 410 when the Romans retreated from Britannia the civilians settlement continued and its occupants probably continued to use the fortress and its defences as protection from raiders in the Irish Sea.
Sub-Roman and Saxon period
The Roman withdrawal from Britain was effectively complete by 410 and the Britons established a number of successor states. The area of Chester is thought to have formed part of the kingdom of Powys, whose early kings claimed descent from the exile Vortigern. Chester is generally identified with the Cair Legion ("Fort Legion") listed as one of the 28 cities of Britain in the History of the Britons traditionally attributed to Nennius. In Welsh legend, King Arthur is said to have fought his ninth battle against the Saxon invasion at the "city of the legions" and later St Augustine came to the city to try and subjugate the Welsh bishops to his mission. In 616, Æthelfrith of Northumbria defeated a Welsh army at the Battle of Chester and probably established the Anglo-Saxon position in the area from then on.
The Anglo-Saxons adopted the native name as the calque Legeceaster, which over time was shortened to Ceaster and finally corrupted to Chester. In 689, King Æthelred of Mercia founded the Minster Church of West Mercia on what is considered to be an early Christian site and known as the Minster of St John the Baptist, Chester (now St John the Baptist's Church), which later became the city's first cathedral. In the 9th century, the body of Æthelred's niece, St Werburgh was removed from Hanbury in Staffordshire; in order to save its desecration by Danish marauders, she was reburied in the Church of SS Peter & Paul—later to become the Abbey Church and present cathedral. Her name is still remembered by the St Werburgh's Street which passes beside the cathedral. The Saxons extended and strengthened the city walls to protect the city against the Danes, who occupied it for a short time until Alfred seized all the cattle and laid waste the surrounding land to drive them out. In fact it was Alfred's daughter Æthelfleda, "Lady of the Mercians", who rebuilt the Saxon burh. In 907, she dedicated a new church to St Peter.
The Anglo-Saxon Chronicle records that, in 973, King Edgar came to Chester following his coronation at Bath. He held his court in a place located in what is now called "Edgar's Field", near the old Dee bridge in Handbridge. Taking a barge up the River Dee from his court to the Minster of St John the Baptist, Edgar supposedly took the helm of the vessel while it was rowed by six or eight tributary "kings" (Latin: reguli, lit. "little kings").
The Chronicles of Melrose and of Florence of Worcester describe that "eight petty kings, namely, Kynath, king of the Scots, Malcolm, king of the Cumbrians, Maccus, king of several isles and five others, named Dufnall, Siferth, Huwall, Jacob and Juchill, met him there as he had appointed and swore that they would be faithful to him, and assist him by land and by sea".
After the kings swore fealty and allegiance they rowed him back to the palace. As he entered he is reported to have said that with so many kings' allegiance his successors could boast themselves to be kings of the English.
Middle Ages
After the 1066 Norman Conquest and the Harrying of the North, the Normans took Chester, destroying 200 houses in the city. Hugh d'Avranches, the first Norman earl (it was first given to a Fleming, Gherbod, who never took up residence but returned to Flanders where he was captured, and later killed) was William's nephew. He built a motte and bailey near the river, as another defence from the Celts. It is now known as Chester Castle and was rebuilt in stone by Henry III in 1245, after the last of six Norman earls died without issue.
Chester's earls were a law unto themselves. They kept huge hunting forests - Hugo was said to have 'preferred falconers and huntsmen to the cultivators of the soil', and Ranulf I converted the Wirral farmlands into another hunting forest. Before Ranulph, Hugo's son had inherited at the age of seven but died in the White Ship, along with the king's heir, William, on his way to England from France, where he was educated under the guardianship of Henry I. Earl Ranulf II, Ranulph's son, even helped to capture King Stephen in 1140, and ended up controlling a third of England after supporting Henry II's claim to the throne.
Other earls were Hugh II, Ranulf III and John the Scot. The traditional independence that Chester had under the earls was confirmed by a charter of Richard II in 1398 stating that 'the said county of Chester shall be the principality of Chester'. The earls are remembered with their shields on the suspension bridge over the river Dee, and again on the Grosvenor Park lodge.
The first earl had endowed a great Benedictine monastery dedicated to Saint Werburgh in 1092 (on the site of the church of dedicated to St Peter and St Paul). The monastery was dissolved under Henry VIII in 1540 and was rededicated to Christ and the Blessed Virgin Mary to become Chester Cathedral. Previously, the first Chester Cathedral was begun in 1075 by the first Norman Bishop of Mercia, Peter de Leya after the See was moved from Lichfield in Chester. De Leya's successor moved the See to Coventry and it later returned to Lichfield. St John's became the co-Cathedral and Collegiate Church.
There is a popular belief that it was the silting of the River Dee that created the land which is now Chester's racecourse (known as the Roodee), on which a stone cross still stands which is said to have been erected in memory of Lady Trawst who died as a result of an image of the Virgin Mary called Holy Rood falling upon her in Hawarden church a few miles down the river). But the Roodee was in existence as early as the 13th and 14th centuries, so it cannot have been created by later silting. The silting which led to the creation of the Roodee, in its current form, is well established on a sequence of post-medieval maps dating from the later 16th century. It has also been established by archaeological evaluations and excavations in the area of the Old Port, known as the Roodee tail. Physical evidence for the silting of this area of the city is shown by the building of the 14th-century port watch tower, now known as the Water Tower, which projects from the north-west corner of the city walls. This tower was originally built out into the river. Maps of the 16th century, its archaeological form and related documentary evidence all demonstrate this.
Despite stories to the contrary, the weir above the Old Dee Bridge was not built by the Romans but by Hugh Lupus, Earl of Chester between 1077 and 1101 to hold water for his river mills. The purpose of the weir on the river was to keep water levels high for these mills, one of which gave rise to the traditional song "Miller of Dee", which reflects the attitude of the happy miller who was granted a monopoly on grinding. It also prevents the salty tidal waters from entering the Dee fresh water basin.
Chester's port flourished under Norman rule. In 1195 a monk, Lucian, wrote 'ships from Aquitaine, Spain, Ireland and Germany unload their cargoes of wine and other merchandise'. In fact wine was imported through only four other English ports. During the 13th century Chester was famous for its fur trade and even by the mid-16th century the port was importing large amounts of fur and skins. In 1543 one ship alone brought in '1600 shhep fells, 68 dere, 69 fawne skins and 6300 broke (badger skins)' .
However the estuary was silting up so that trading ships to the port of Chester had to harbour downstream at Neston, Parkgate, and "Hoyle Lake" or Hoylake.
Chester's first known mayor was William the Clerk. The second known mayor was Walter of Coventry, who served between 1241 and 1245. The town's third mayor was Walter de Livet (Levett) who was named as mayor in a royal decree from May 1246. (Walter of Coventry and Walter de Livet may be the same person.) During early Chester history, the mayor often held his position for 10 years or more; apparently the early mayor's terms were open-ended.
Tudor and Stuart times
Originally the port was located to the north of the Watergate just below the city wall. To the south of the Watergate the Roodee existed in smaller form than today. The map sequence shows the river moving its course from against the wall north of the Watergate out to its current location between 1580 and approximately the 1830s. By the first edition OS map the river had reached its current position. However, it is apparent that some rivulets and inlets have been lost since, although some have been identified in archaeological work on the site of the former House of Industry and Gasworks.
In September 1642 tension between King Charles I and Parliament was growing and civil war looked like it might be a possibility. Charles visited Chester and ensured the election of pro-royalist mayor William Ince. In March 1643, leading Chester royalist Francis Gamull was commissioned to raise a regiment of foot to defend the city. Colonel Robert Ellis, an experienced soldier, was asked to construct outer defences to the city. A series of earthworks were constructed around the city from Boughton through Hoole and Newton to the Water Tower. The earthworks consisted of a ditch and mud wall with a series of 'mounts' or gun platforms were added along with turnpike gates on incoming roads.
Parliamentary forces began to lay siege to the city of Chester. In the early morning of 20 September 1645, parliamentary forces overran the eastern earthworks at the Boughton turnpike and captured the east suburbs of the city up to the walls. They began to construct cannon batteries within range of the city.
A cannon battery placed in St John's churchyard breached the city walls on 22 September near the Roman amphitheatre. A hole some 25 feet wide was made with thirty-two cannon shots. Following the breach an attempt was made to storm the city, but the defenders repelled the charge. According to an account at the time by Lord Byron, the breach was stopped up with woolpacks and featherbeds from all parts of the town. One can see to this day the repairs made to the wall, the section of which is next to the Roman Gardens (see photo below).
On the evening of 23 September 1645, King Charles I entered the City of Chester with 600 men via the Old Dee Bridge. He stayed the night at Sir Francis Gamull's house on Bridge Street. Also during the evening Sydenham Poyntz, a Parliamentarian in pursuit of the King's forces, entered Whitchurch (15 miles to the south) with 3000 horse. A battle looked likely.
Later that evening the King became aware of Poyntz's movements, as a messenger was intercepted at Holt. A decision was made to send out Lord Gerrard's horse troops and five hundred foot soldiers in the morning.
On the morning of 24 September 1645 the Battle of Rowton Heath occurred in moor land called Miller's Heath near the village of Rowton, two miles to the south east of Chester on the modern A41 road. Parliamentary forces crushed the Royalist loyal Cavaliers. The city was under siege at the time by the Parliamentary army. Royalist forces were coming to lift the siege and join up with Scottish allies, but were intercepted by Parliamentary Forces outside Chester.
The engagement lasted all day starting at 9am and continued throughout the day in three stages as Royalists were pushed back towards the City and its walls. The battle was mainly conducted on horseback with musketeers supporting the cavalry's flanks. As the battle went on into the afternoon, more troops were ordered to march out of the Northgate in support of the Royalists on Rowton Moor, but this decision was too late—the battle was already lost.
As the fighting reached the suburbs it was watched by King Charles I and Sir Francis Gamull from Chester's Phoenix Tower (now also called King Charles' Tower) on the city walls. The King quickly withdrew to the Cathedral tower, but even this was not safe, as the captain standing next to him was shot in the head by musket fire from the victorious Parliamentarians who took residence in the St John's Church tower.
The battle cost the lives of 600 Royalists and an unknown number of Parliamentarians. Among the Royalist dead was Lord Bernard Stuart (1622–1645) Earl of Lichfield, the king's cousin. His portrait is displayed in the National Gallery.
Also slain at the same time was William Lawes (1602–1645) a noted English composer and musician. He was buried in Chester Cathedral without a memorial. He was remembered by the king as the 'Father of Musick' and his portrait as a cavalier hangs in the Faculty of Music at Oxford.
Today there is a small memorial to the battle in the village of Rowton. It consists of a brief history and a battle plan of field at the time.
The next day the king slipped out of Chester and crossed the Old Dee Bridge en route to Denbigh. He left instructions for the city to hold out for 10 days more.
By 1646, after having refused to surrender nine times and with Lord Byron at the head of the city's defences, having only spring water and boiled wheat for lunch — the citizens (17,000) had already eaten their dogs — a treaty was signed. The mills and the waterworks lay in ruins. When the exultant Puritan forces were let loose on the city, despite the treaty, they destroyed religious icons including the high cross, which was not erected again for over three centuries. In 1646 King Charles I was proclaimed a traitor beside its base.
Worse was to come. The starved citizens then bore the full brunt of the plague, with 2099 people dead from the summer of 1647 to the following spring.
In 1643 Sir Richard Grosvenor petitioned the Assembly to enclose the Row which ran through the front of his town house on Lower Bridge Street, and his request was granted. At the time he was employed in the Royalist army as a Commander. Some speculate that perhaps the room was being used to organise the Royalist Resistance in Chester. In the years after the war, people further down the street also asked for the Row to be enclosed. Eventually Lower Bridge Street lost its rows. The only trace can now be found at number 11.
Most of Chester was rebuilt after the Civil War. There are many fine half-timbered houses dating from this time still standing today.
Chester port declined with most of the ships going from the colonies now going to Liverpool, although it was still the major port of passenger embarkation for Ireland until the early 19th century. A new port was established on the Wirral called Parkgate, but this also fell out of use. The road to the port of Chester was called the 'Great Irish Road' and ran from Bristol to Chester.
Georgian and Victorian eras
The port declined seriously from 1762 onwards. By 1840 it could no longer effectively compete with Liverpool as a port, although significant shipbuilding and ropemaking continued at Chester. It was once thought that Chester's maritime trade was brought to an end by the silting of the River Dee, although recent research has shown this was not the case. It was the use of larger ocean-going ships that led to the diversion of the trade to the relatively young town of Liverpool and other locations on the River Mersey, which had long been rivals to Chester, such as Runcorn.
In the Georgian era, Chester became again a centre of affluence, a town with elegant terraces where the landed aristocracy lived. This trend continued into the Industrial Revolution, when the city was populated with the upper classes in fleeing to a safe distance from the industrial sprawls of Manchester and Liverpool.
Edmund Halley (of comet fame) was the deputy controller of Chester Castle for a short time and on 10 May 1697 recorded a fall of one inch hailstones in the area. William Molyneux was in exile here from Ireland in 1691 and was working on his book Dioptrics published in London the following year.
The Industrial Revolution brought the Chester Canal (now part of the Shropshire Union Canal) to the city (which was dubbed 'England's first unsuccessful canal', after its failure to bring heavy industry to Chester) as well as railways and two large central stations, only one of which remains. The building of the route to Holyhead involved one particularly notable tragedy, when a cast iron bridge over the river Dee just by the Roodee race course, collapsed. The Dee bridge disaster sent shock waves through the whole nation because there were many other bridges of similar design on the growing national rail network. Robert Stephenson was the engineer to the new line, and he came in for heavy criticism at the inquest held locally. The design was faulty, and many other bridges had to be demolished or replaced. In an attempt to strengthen the brittle cast iron girders of the bridge, Stephenson added tough wrought iron straps along the length of the spans, but, far from improving the structure, added little or no extra strength. A Royal Commission was set up to investigate the problem, and they confirmed the conclusions of the Railway Inspectorate that the design was wrong.
A leadworks was established by the canal in 1799; its shot tower, which was used for making lead shot for the Napoleonic Wars, is the oldest remaining shot tower in the UK.
The Ruskinian Venetian Gothic Town Hall was ceremoniously opened by Prince of Wales in 1869; its design, following a public competition held to replace the Exchange building, which had stood at the centre of Northgate Street until it burnt down in 1862, was by William Henry Lynn (1829–1915) an Irish architect with a practice in Belfast. Along with the Cathedral Church of Christ & the Blessed Virgin Mary, it still dominates the city skyline. The Volunteer Street drill hall was completed in 1868. The three clock faces were added in 1980.
The Eastgate clock was also built at this time, and is a central feature as it crosses Eastgate street, and is part of the city walls. The clock is very popular with tourists, and this has given it the grand title of the second most photographed clock in the UK (perhaps even the World) after Big Ben.
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Con ocasión del día del libro, el 23 de abril de 2015 se ha inaugurado esta exposición permanente que ofrece una panorámica general de las colecciones y autores que han publicado con el sello editorial de la Universidad de Deusto, desde su fundación en 1886 hasta nuestros días. Más información: bit.ly/1HwM7B4
Imagen tomada por Belén Ibarrola.
Lou-Anne Gaylene Gilchrist, Ambassador, Permanent Representative of Saint Vincent and the Grenadines to the OAS
Date: March 20, 2019
Place: Washington DC
Credit: Juan Manuel Herrera/OAS
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Luz Elena Baños Rivas, Ambassador, Permanent Representative of Mexico to the OAS
Date: March 22, 2023
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Thomas Gainsborough - British, 1727 - 1788
Seashore with Fishermen, c. 1781/1782
West Building, Main Floor — Gallery 58
From a rocky shoreline, we look on several light-skinned people working by the sea with a boat and a net in this freely painted, almost square seascape. The scene is framed by a silhouette of low boulders along the lower right corner, and a towering cream-white rock rising two-thirds of the way up the composition to our left. Scrubby, celery-green vegetation grows on the rocky outcropping. Near the center, close to the towering white rocks, three people sit, reaching for something near one end of a boat while a fourth person braces against the rock, presumably to push the boat out to the sea. Closer to us, three people on the shore work with a net. Two stand with the net hooked over their shoulders, and a third person crouches in the water with head down. The people all wear simple shirts and pants in shades of tan, mustard yellow, burnt orange, and pale blue. All but two wear hats. The sea meets the shore with frothy white foam and cresting, low waves. The sea beyond fades from pale sage green to arctic blue along the horizon, which comes about a third of the way up the composition. Two sail boats tilt against the wind in the distance. Pale, smoky lavender-purple clouds drift across the ice-blue sky.
Gainsborough's landscapes are highly personal statements that evolved from ideas and images he developed in his studio, either directly on canvas or in scale models. In this work he focused on the physical exertions of fishermen as they confront strong winds and pounding surf. Even the massive cliff on the far side of the cove, its thrusting diagonal posed against the wind, seems to echo the efforts of the men struggling to launch their boat into the waves.
Gainsborough owned works by Dutch marine painters, and their influence is evident here. His own free and suggestive painting technique, however, gives the scene a unique degree of freshness and spontaneity. He applied his paint in thin, translucent layers that are accented by deft touches of impasto, particularly in the fishermen's clothing and on the white foam of the waves. A restrained palette of browns and creams suggests the shore and rocks; gray-greens, gray-blues, and white highlights describe the sun-filled expanse of the sea, while the sky is colored with delicate hints of purple, blue, and pink.
More information on this painting can be found in the Gallery publication British Paintings of the Sixteenth through Nineteenth Centuries, which is available as a free PDF www.nga.gov/content/dam/ngaweb/research/publications/pdfs...
Thomas Gainsborough was born in Sudbury, Suffolk, the youngest of the nine children of John Gainsborough and the sister of the Reverend Humphry Burroughs; he was baptized in Sudbury on 14 May 1727. He attended Sudbury Grammar School, of which his maternal uncle was the master. He took to sketching at an early age, and when he was thirteen prevailed upon his father to send him up to London to become an artist. A pupil of the French illustrator and draftsman Hubert Gravelot, Gainsborough was intimately involved with avant-garde rococo art and design, and seems to have assisted Francis Hayman on his genre paintings for the decoration of Vauxhall Gardens.
After a short period on his own in London between about 1744 and 1748, during which he painted small-scale portraits and landscapes in the manner of Jan Wijnants and Jacob van Ruisdael, and married Margaret Burr, Gainsborough returned to his native Suffolk. After a few years in Sudbury he moved, in 1752, to the larger seaport town of Ipswich. There is only one, uncorroborated, reference (to a visit to Flanders in later life) to suggest that he ever traveled abroad, as was customary among his fellow artists. By 1759, still finding it difficult to make ends meet and now with two daughters to support, he realized he had exhausted the possibilities of local patronage and moved to the fashionable spa town of Bath, where he achieved instantaneous success.
Set back by a nervous illness in 1763, he later became a founding member of the Royal Academy of Arts, contributing to its first exhibition a scintillating female full-length portrait in the manner of Van Dyck. Unlike many of his contemporaries, Gainsborough customarily painted his portraits entirely with his own hand; his only known assistant was his nephew Gainsborough Dupont, who was apprenticed to him in 1772.
In 1774 Gainsborough moved to London, where he settled in a wing of Schomberg House, Pall Mall. In 1777 he received the first of many commissions from the royal family. In 1780 he exhibited a wide range of landscape compositions, and in 1783 made a tour of the Lake District in search of picturesque scenery. An original printmaker, he experimented in these years with soft-ground etching and aquatint; influenced by Philippe-Jacques de Loutherbourg's popular entertainment, the Eidophusikon, he also constructed a peep-show box in which transparencies were seen magnified and lit by candles from behind, producing a dramatic and colorful effect. After quarreling with the Royal Academy about the hanging of his pictures (he rarely participated in Academy affairs), from 1784 onward Gainsborough arranged annual exhibitions in his studio. He was by then comparatively well off. He died of cancer in London on 2 August 1788.
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The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
..
________________________________
The National Gallery of Art in Washington, DC is a world-class art museum that displays one of the largest collections of masterpieces in the world including paintings, drawings, prints, photographs, sculpture, and decorative arts from the 13th century to the present. The National Gallery of Art collection includes an extensive survey of works of American, British, Italian, Flemish, Spanish, Dutch, French and German art. With its prime location on the National Mall, surrounded by the Smithsonian Institution, visitors often think that the museum is a part of the Smithsonian. It is a separate entity and is supported by a combination of private and public funds. Admission is free. The museum offers a wide range of educational programs, lectures, guided tours, films, and concerts.
The original neoclassical building, the West Building includes European (13th-early 20th century) and American (18th-early 20th century) paintings, sculptures, decorative arts, and temporary exhibitions. The National Gallery of Art was opened to the public in 1941 with funds provided by the Andrew W. Mellon Foundation. The original collection of masterpieces was provided by Mellon, who was the U. S. Secretary of the Treasury and ambassador to Britain in the 1930s. Mellon collected European masterpieces and many of the Gallery’s original works were once owned by Catherine II of Russia and purchased in the early 1930s by Mellon from the Hermitage Museum in Leningrad.
The core collection includes major works of art donated by Paul Mellon, Ailsa Mellon Bruce, Lessing J. Rosenwald, Samuel Henry Kress, Rush Harrison Kress, Peter Arrell Browne Widener, Joseph E. Widener, and Chester Dale. The Gallery's collection of paintings, drawings, prints, photographs, sculpture, medals, and decorative arts traces the development of Western art from the Middle Ages to the present, including the only painting by Leonardo da Vinci in the Americas and the largest mobile created by Alexander Calder.
The NGA's collection galleries and Sculpture Garden display European and American paintings, sculpture, works on paper, photographs, and decorative arts. Paintings in the permanent collection date from the Middle Ages to the present. The Italian Renaissance collection includes two panels from Duccio's Maesta, the tondo of the Adoration of the Magi by Fra Angelico and Filippo Lippi, a Botticelli work on the same subject, Giorgione's Allendale Nativity, Giovanni Bellini's The Feast of the Gods, Ginevra de' Benci (the only painting by Leonardo da Vinci in the Americas) and groups of works by Titian and Raphael.
The collections include paintings by many European masters, including a version of Saint Martin and the Beggar, by El Greco, and works by Matthias Grünewald, Cranach the Elder, Rogier van der Weyden, Albrecht Dürer, Frans Hals, Rembrandt, Johannes Vermeer, Francisco Goya, Jean Auguste Dominique Ingres, and Eugène Delacroix, among others. The collection of sculpture and decorative arts includes such works as the Chalice of Abbot Suger of St-Denis and a collection of work by Auguste Rodin and Edgar Degas. Other highlights of the permanent collection include the second of the two original sets of Thomas Cole's series of paintings titled The Voyage of Life, (the first set is at the Munson-Williams-Proctor Arts Institute in Utica, New York) and the original version of Watson and the Shark by John Singleton Copley (two other versions are in the Museum of Fine Arts, Boston and the Detroit Institute of Arts).
en.wikipedia.org/wiki/National_Gallery_of_Art
Andrew W. Mellon, who pledged both the resources to construct the National Gallery of Art as well as his high-quality art collection, is rightly known as the founder of the gallery. But his bequest numbered less than two hundred paintings and sculptures—not nearly enough to fill the gallery’s massive rooms. This, however, was a feature, not a failure of Mellon’s vision; he anticipated that the gallery eventually would be filled not only by his own collection, but also by additional donations from other private collectors. By design, then, it was both Andrew Mellon and those who followed his lead—among them, eight men and women known as the Founding Benefactors—to whom the gallery owes its premier reputation as a national art museum. At the gallery’s opening in 1941, President Roosevelt stated, “the dedication of this Gallery to a living past, and to a greater and more richly living future, is the measure of the earnestness of our intention that the freedom of the human spirit shall go on.”
www.doaks.org/resources/cultural-philanthropy/national-ga...
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A quote from my review of Edward Snowden's autobiography Permanent Record. Although discussing technology, this book is more about the world we want for tomorrow.
readwriterespond.com/2019/10/review-permanent-record/
Image via "Another Case For Sherlock Holmes" by Kaptain Kobold flickr.com/photos/kaptainkobold/6126348722 is licensed under CC BY-NC-SA
Comissão Mista Permanente sobre Migrações Internacionais e Refugiados (CMMIR) realiza reunião semipresencial para deliberação e votação das emendas da CMMIR ao PLOA/2023 (PLN 32/2022-CN), que "estima a receita e fixa a despesa da União para o exercício financeiro 2023".
Na tela, relator da CMMIR, senador Paulo Paim (PT-RS), em pronunciamento via videoconferência.
Foto: Roque de Sá/Agência Senado
Permanent Cosmetic Ink Permanent Makeup Ink Tattoo Ink
Detailed Product Description
Product Name:
Organic Micropigments For Permanent Makeup
Packaging:
10ml/bottle
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Wine Red
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Using Method:
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Lip...
www.pmubeauty.com/lip-tattooing-semi-permanent-makeup-ink...
Subcomissão Permanente de Acompanhamento do Setor de Mineração (SUBMINERA) realiza audiência pública interativa para debater a modernização da legislação brasileira mineral.
Mesa:
procurador da república, Darlan Airton Dias;
procurador federal, Luiz Antonio Soterio de Oliveira;
senador Wilder Morais (PP-GO);
professor voluntário da UNB, Adriano Drummond Cançado Trindade;
presidente da ABPM, Luis Azevedo.
Foto: Jefferson Rudy/Agência Senado
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza audiência interativa para debater aspectos civis do sequestro internacional de crianças, com a presença, entre outros, dos ministros da Justiça, Torquato Jardim, e das Relações Exteriores, Aloysio Nunes Ferreira.
Mesa:
mãe de criança com processo de repatriação, Valéria Ghisi;
chefe de Divisão de Cooperação Jurídica Internacional do Itamaraty, André Veras;
adjunta da advogada - geral da União, Fernanda Menezes Pereira;
presidente eventual da CMCVM, deputada Luana Costa (PSC-MA);
coordenadora-geral da Autoridade Central Administrativa Federal, Natália Camba;
Advogada, Claudia Grabois.
Foto: Waldemir Barreto/Agência Senado
Subcomissão Permanente sobre Esporte, Educação Física e Formação de Categorias de Base no Esporte (CEEEFCB) realiza 2ª audiência pública para debater o Plano Nacional de Esporte.
Mesa:
presidente da Confederação Brasileira do Desporto Escolar (CBDE), Antônio Hora Filho;
representante do Ministério da Defesa, General de Divisão, Jorge Antonio Smicelato;
presidente da CEEEFCB, senadora Leila Barros (PSB-DF);
secretário Especial do Esporte do Ministério da Cidadania, Décio dos Santos Brasil;
representante da Confederação Brasileira de Desportos de Surdos (CBDS), Deborah Dias de Souza.
Foto: Geraldo Magela /Agência Senado
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza seminário destinado a discutir e avaliar a Lei Maria da Penha. Evento integrante da programação dos 16 dias de ativismo pelo fim da violência contra a mulher.
À mesa em pronunciamento, representante do Consórcio Nacional de ONG’s Feministas, Renata Teixeira Jardim.
Foto: Edilson Rodrigues/Agência Senado
Fotografía: Ángel Cantero / Del jueves 5 al domingo 8 de diciembre de 2013, Diáconos permanentes de toda España, junto con sus esposas, han participado en el XXVIII Encuentro Nacional del Diaconado Permanentede que se ha celebrado en el Centro Diocesano de Espiritualidad de Valladolid. Han sido días de trabajo y reflexión sobre el lema "Llamados a servir", para que sean verdaderos servidores humildes de la Iglesia y reprersentación sacramental de Cristo Siervo entre nosotros.
Permanent Installation [Sheetrock, cut paper, ink, acrylic] for a temporary alternative space.
The Magical Frrest, progeny of Chicago alt-space Camp Gay, closed its doors for the last time in 2006.
Permanent Makeup plays New World Brewery, Ybor City, Tampa, FL - December 25, 2011 - for another fine New Granada Xmas show.
Note: Please share, download and use these photos for non-commercial purposes but be sure to abide by the creative commons license by crediting the photos to Nicole Kibert / www.elawgrrl.com and if using online, add a link back to this page or to www.elawgrrl.com. This license does not permit commercial use. Thanks.
Comissão Mista Permanente sobre Migrações Internacionais e Refugiados (CMMIR) realiza reunião para análise de requerimentos.
A comissão mista foi criada em 2019 para acompanhar movimentos migratórios nas fronteiras do Brasil e a situação dos refugiados internacionais dentro do País. O colegiado precisa ser reinstalado todos os anos. A composição é de 12 senadores e 12 deputados como membros titulares e mesmo número de suplentes, escolhidos pelo critério da proporcionalidade partidária.
Mesa:
presidente da CMMIR, senadora Mara Gabrilli (PSD-SP);
relator da CMMIR, deputado Túlio Gadêlha (Rede-PE);
vice-presidente da CMMIR, deputada Carol Dartora (PT-PR).
Bancada:
deputado Gabriel Mota (Republicanos-RR), em pronunciamento;
senador Paulo Paim (PT-RS).
Foto: Roque de Sá/Agência Senado
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública interativa para debater o tema: "Bionergia e biocombustível: perspectivas para crescimento no Brasil".
Mesa (E/D):
diretor técnico do Centro Internacional de Energias Renováveis (CIBiogás) e representante da Itaipu Binacional, Rafael Gonzales;
coordenador-geral de fontes alternativas da Secretaria de Planejamento e Desenvolvimento Energético do Ministério de Minas e Energia (MME), Lívio Teixeira de Andrade Filho;
diretor do Departamento de Biocombustíveis da Secretaria de Petróleo, Gás Natural e Biocombustíveis do Ministério de Minas e Energia (MME), Miguel Ivan Lacerda de Oliveira;
relator da CMMC, deputado Sérgio Souza (PMDB-PR);
diretor executivo da União da Indústria de Cana-de-Açúcar (Unica), Eduardo Leão de Sousa;
diretor superintendente da União Brasileira do Biodiesel e do Bioquerosene (Ubrabio), Donizete Tokarski;
gerente de Economia da Associação Brasileira das Indústrias de Óleos Vegetais (Abiove), Daniel Furlan.
Foto: Marcos Oliveira/Agência Senado
“The material basis of media technologies – and books are only one example – is changing, for which historical perspectives might give not only comforting back-up (‘nothing is as permanent as change’) but also ideas to push the change forward.” (Jussi Parikka, 2012)
We can certainly talk about change; our present landscape is a space where the digital and physical have become synonymous, which many believe to be signaling the coming of an ontology-less future, through the accelerated disruption of cultural value. In this light old standards show their age and obsolescence in the face of the new, and with each new wave of informational overload we are further alienated by the system, that revolves around an economy of monetary circulation. All these factors come together to push a re-evaluation of identity and the human value. This brings to mind the genealogy of currency, articulated by Joseph Beuys during the discussion entitled What is money? : “Of course ‘Geld’ [‘money’] comes from ‘Gold’, same etymology. But it comes equally from ‘Geltung’ [‘validity’], meaning the value people fix based on their perception of a natural right. The word ‘Geltung’ is rooted in representations of a natural right, while the word ‘Gold’ is rooted in the economy of barter!” (Joseph Beuys, 2012).
In this light, Geltung [validity]: perception of a natural right brings together four artistic investigations that re-evaluate established methods of financial exchange bestowing new material values and identities to their subjects. In a landscape where monetary currency is pinnacle, the artists interrogate notions of personal and individual history, locality and its impact in identity and the framework that contains our cultural objects.
Diogo da Cruz’s work, WORDCOIN (2016 – Current), proposes the implementation of a new currency, that will give a literal value to each one’s speech. By creating The Bank for Argumentation, the costumer-museum-goer will have the opportunity to trust his or hers arguments to an institution that can save and trade them, giving the deserved and objective exposure to their ideas. Max Dovey presents Breath (BRH) (2017), a digital currency that is mined through human respiration. The installation combines breathing and micro-computers to mine, store and trade human breath as a virtual currency on the crypto-market(s). The market value of BRH is determined by the inflation created by respiratory miners who participate in the physical installation. Felicity Hammond’s artworks draws upon images from her own archive, using documents of the landscape and found images online; those of both existing and imagined future spaces. Hammond utilises particular motifs and structures that respond specifically to the digital representations found online of Dundee’s vast regeneration programme. For I keep forgetting I’ve been to Tokyo: GAIDEN (2017), Petra Szemán follows the virtual self through parallel and intersecting realities, along the departure-initiation-return structure of a hero’s journey. Drawing upon personal and/or constructed experiences, the work explores the idea of a non-localised identity that’s an archive of accumulated personal mythologies acquired from a multitude of realities.
An offline/online exhibition curated by Alejandro Ball and Inês Costa
Opening night: 27 October 2017, 7pm – 9pm
Performance part of NEoN Festival: 9 November 2017, 7pm – 8pm
Supported by Creative Scotland, University of Dundee and Leisure and Culture Dundee
October 19, 2019 - Bishop Parkes ordained Deacon Pablo Riano, Deacon Andrew Williams, Deacon Wil Huertas, Deacon Rafael Ferreris, Deacon Hector Rios, Deacon Mike Miller, Deacon Carlos Zayas Hernandez and Deacon Marc Garofani to the permanent diaconate at the Cathedral of St. Jude the Apostle in St. Petersburg. Photo credit: Michael Donovan with Life Through the Lens Photography.
Luis Porto, OAS Senior Advisor for Strategy and Organizational Development
Date: June 11, 2015
Place: Washington, DC
Credit: Maria Patricia Leiva/OAS
Celia Toppin, Deputy Permanent Secretary in the Ministry of Community Development and Culture of Barbados
Date: March 23, 2011
Place: Washington, DC
Credit: Juan Manuel Herrera/OAS
Comissão Permanente Mista de Combate à Violência contra a Mulher (CMCVM) realiza reunião para discutir a violência estrutural sofrida pelas mulheres.
Mesa:
professora da Universidade de Brasília (UnB), autora da pesquisa "Pequena memória para um tempo sem memória: violências e resistências entre mulheres do Serviço Social na Ditadura civil-militar de 1964-1985", Maria Elaene Rodrigues Alves;
professora da Universidade Federal do Amazonas, autora da pesquisa "O começo do fim do mundo: a violência contra as mulheres e a construção da Usina Hidrelétrica de Belo Monte", Milena Fernandes Barroso;
presidente eventual da CMCVM, deputada Luizianne Lins (PT-CE);
professora da Universidade de Brasília (UnB), autora da pesquisa "O que se faz quando há violência? A política de assistência social no combate à violência intrafamiliar", Priscilla Maia de Andrade.
Foto: Marcos Oliveira/Agência Senado
Comissão Mista Permanente sobre Mudanças Climáticas (CMMC) realiza audiência pública para discutir candidatura do Brasil para sediar a Conferência das Partes em 2019 (COP-25).
Em pronunciamento, à mesa, presidente da CMMC, deputado Sergio Souza (MDB-PR).
Foto: Pedro França/Agência Senado