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Kafe Antzokia (Bilbao), Tom Hagen Rock Photography 2014
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The Gallia Permanent Waving machine for hair styling was invented by Gaston Boudou around 1919 and in partnership with René Rambaud set about building up a business selling their Gallia machines. Over the years, the Gallia machine and reagents used had been improved and by 1929, there were many Gallia Hair Clinics operating throughout Europe and the US. The clinics also trained Gallia machine operators who were awarded their certificate and badge on successful completion of the course. Gallia was but one type of hair permanent waving machine available to hairstylists at the time.
A ‘permanent wave’ is commonly called a ‘perm and during the late 20’s a first class permanent wave would cost close to 300 Francs. Such a perm involved the use of chemical reagents to break down the keratin’s di-sulphide links and heat to re-form the hair into its new shape. A Permanent Wave could last up to six months before the hair outgrew it and a re-perm was required. Standard ‘non-permanent’ hair waving cost a fraction of that amount and at best, could last up to two weeks before it needed renewal.
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References:
Producing fashion: commerce, culture, and consumers by Regina Lee Blaszczyk (University of Pensylvania Press 2008, pp237-239).
golfgal.hubpages.com/hub/The-Permanent-Wave-That-Was-Only... (Interesting link about Permanent Waving with pictures of the types of machines involved, including one of Shirley Temple getting her curly locks renewed).
en.wikipedia.org/wiki/Perm_(hairstyle)
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Enamels: 1 (blue).
Finish: Gilt.
Material: Brass.
Fixer: Pin.
Size: 1 ½” x ¾” (about 38mm x 20mm).
Process: Die stamped.
Makers: Thomas Fattorini Ltd, Regent St, Birmingham (1933-1961).
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Thank you for reading.
Stuart.
North Atlantic Treaty Organization Permanent Representatives lay a wreath at the Tomb of the Unknown Soldier at Arlington National Cemetery, Jan. 14, 2016, in Arlington, Va. Dignitaries from all over the world pay respects to those buried at Arlington National Cemetery in more than 3000 ceremonies each year. (U.S. Army photo by Rachel Larue/Arlington National Cemetery/Released)
Permanent Mission of Principality of Monaco to the UN, New York, 17 September 2022.
© ITU/ J. Gorlovetskaya
Ko Chang (เกาะช้าง) is an island in Trat Province, Eastern Thailand. Ko Chang is Thailand's second largest island, and the biggest in Eastern Thailand. With about 5,000 permanent residents the island is not heavily populated, but tourism (and development) has increased dramatically over the last few years.
Ko Chang is one of Thailand's most beautiful islands with long white sandy beaches. The island is also home to a wide range of wildlife, including a good selection of birds, snakes, deer and a number of elephants. The island and its vicinity are great places for snorkeling, diving and jungle hiking. The "discovery" of the island as a tourist destination since 2000 has brought on a large amount of rapid development, and while still far quieter than places like Phuket or Ko Samui, it is far from quiet in high season. Regarding services and activities specifically aimed at tourists prices have reached such a level that the islanders are pricing themselves out of the market when compared to the other islands.
HISTORY
Prior to World War II, Ko Chang was little known to Westerners and was lightly-populated. The few families there made a living growing coconuts and fruit on the mainland. In January 1941, during the Franco-Thai War, the Thai Navy fought against a French surprise attack in in the waters to the south of Ko Chang.
The first backpacking foreigners started arriving on local fishing boats in the mid-1970s. In 1982, Ko Chang, along with surrounding areas, became part of Mu Ko Chang National Marine Park. Only very recently, in less than ten years, Ko Chang has turned into a major tourist destination, both for foreigners and local Thais.
This sudden tourism boom however, has been fraught with controversy concerning land use, etc. The government is trying to "develop" it from a backpackers' paradise to a top-level destination, and construction work is going on throughout the island, with basic huts torn down to make way for fancy resorts.
GEOGRAPHY
Ko Chang is the largest island in the Ko Chang Archipelago. The name means Elephant Island, named for the elephant shape of its headland, although elephants are not indigenous to the island.
Ko Chang has an area of approximately 429 square kilometres. The topography contains high mountains and complex stone cliffs. The highest mount is Khao Salak Phet which is 744 metres high, rich in fertile evergreen forest which is the main water source. Therefore, there are many waterfalls, beaches and splendid reefs in the west of the island.
Most accommodation is located on the western side of the island, where the sandy beaches are. On the eastern side of the island there are few sandy beaches; as such, this side is far less touristy. There are some nice waterfalls though.
70 percent of this undisturbed island is rainforest, steep hills, cliffs, waterfalls, and wildlife, fine beaches, coral reefs and an abundance of marine life. The island also offers tall mountains and rock cliffs.
CLIMATE
Ko Chang has the same seasons as Bangkok. The best season to go is the (comparatively) cool season between November and February. March to May are roasting hot and between June and October it rains, and a lot at that: 4,000 mm in an average year. Many guest houses close during this season, so accommodation is limited.
GET IN
BY PLANE
Bangkok Airways flies 3 times a day from Bangkok's Suvarnabhumi Airport (the "new" BKK) to Trat Airport. The flights depart at 08:30, 11:40 and 17:05, and take 1 hour exactly. Ticket prices are between 2,000B and 3,800B return trip depending on the time of year.
Direct door-to-door minibus transfers from Trat airport to Ko Chang resorts cost 500 Baht/person one way and 900 Baht/person return including the ferry crossing. The minibuses are air-conditioned.
From Bangkok's Suvarnabhumi Airport, take the free express shuttle bus from outside the arrivals concourse to the airport's own bus terminal, and from there the next available bus to either Trat or Chanthaburi, then proceed as described below.
BY BUS
From Bangkok the most economical way to get to Laem Ngop (where the Ko Chang ferry piers are) is to take a 1st class bus #999 from the Eastern (Ekamai) Bus Terminal direct to the Laem Ngop piers. The fare is 275 baht one-way (520 baht return) and takes just over five hours. Departures from Ekamai are at 07:45 & 09:45, and return at 14:00. Subject to seat availability, this bus can also be boarded at Chanthaburi and at Suvarnabhumi Airport. However, as of December 2009 there was a more comfortable way to travel from Bangkok Airport to Ko Chang: the new bus line # 392 starts from the airport bus terminus (make sure to take a free shuttle from main airport to airport bus terminus) at 07:30 and returns from Koh Chang at 12:30. Tickets can be bought online at the Suvarnabhumi Burapha Bus Company. As of 1 Nov. 2010 there are also express shared minibuses running from Suvarnabhumi airport non-stop to Lonely Beach on Ko Chang. Tickets are 308 baht for the big bus and 600 baht (800 baht round trip)for the Lonely Beach Express minibus which includes a ticket for the ferry. However, this service can be unreliable; jammed minivans with unsecure luggage and drivers breaking traffic rules. It is also not guaranteed that your return will be by minivan, but rather with a large bus carrying people for other destinations which requires lengthy stops along the way.
Alternatively, there are 1st class (approx. 5 hours, around 250 baht) and 2nd class services from both the Eastern Bus Terminal (Ekamai) and Northern Bus Terminal (Moh Chit) direct to Trat, and frequent songthaew services from Trat to Laem Ngop (approx. 30 minutes, 50 baht/person). Departures from Ekamai are more frequent than from Moh Chit. If coming by bus from the south, the #511 air-con bus can be used to connect directly between Bangkok's Southern (Sai Tai Mai) and Eastern (Ekamai) bus terminals.
Departures from Ekamai on the Cherdchai Private Bus company second class bus are 255 Baht to Trat (March 2015), with departures approximately every 2 hours during the day and advertised travel time being 4 hours.
There is a new government bus line 999 that travels between Ekamai station and the ferry to Ao Thammachart Pier. It is properly airconditioned and each traveller receives a refreshment pack. Unfortunately the travel times for bus 999 are limited. There are only 2 departure times per day, both in the morning.
The Cherdchai Private Bus company night sells seats on a first class airconditioned night bus that leaves Ekamai at 11.30pm and arrives in Trat town around 5am the next morning but it cannot be recommended as the bus was crowded, the airconditioning was almost non-existent, the toilet stank of urine and the bus itself was filthy. Be careful too that if the Cherdchai ticket booth at Ekamai charges you for a ferry ticket to Koh Chang as the ferry ticket is overpriced and puts you on a ferry to Centrepoint Pier, which is a 45 minutes trip compared to 25 minutes if you take the ferry to Ao Thammachart Pier.
Connection in Trat can also be used if coming from Pattaya (2nd class bus, 4 hours, around 200 baht).
There are direct minibus services to Laem Ngop from Pattaya, Ban Phe (gateway to Ko Samet), and Bangkok's Khao San Road and Victory monument (in front of the Payathai hospital). They, however, are less comfortable and spacious than public buses, and you may be charged significantly more by travel agencies selling tickets to these, as often with any tourist-oriented transportation in Thailand.
It may also be possible to proceed directly to Laem Ngop by minibus or songthaew from the Hat Lek / Koh Kong border crossing with southern Cambodia, depending on the time of year, time of day, etc - enquire locally. Price around 120 baht (one way) from the border to Trat bus station.
BY BOAT
Most ferries operate from Laem Ngop, which has three piers . The Laem Ngop (Tha Khrom Luang or Tha Laern Ngop) pier is approximately 700 metres west of Laem Ngop. The Centrepoint (Tha Centre Point) pier is located about 3.5 km north-west of Laem Ngop. These piers serve both vehicle and passenger ferries.
Koh Chang vehicle ferry pier is located in Thammachat Bay (Ao Thammachat), around 15 km west of Laem Ngop.
All piers on Ko Chang are situated on the eastern side of the island. The major piers are the two Dan Kao piers, Tha Dan Kao and Tha Ferry Dan Kao, who handles most of the traffic. To take a boat from Laem Ngop to the Dan Kao piers take around 45 minutes. The car ferry from Laem Ngop take around 1 hour and arrives at the Tha Ferry Dan Kao pier, situated 400 metres southeast of the Tha Dan Kao pier. The car ferry from Thammachat Bay stops at the Ko Chang Ferry Pier (Tha Ferry Ko Chang) in the Sapparot Bay (Ao Sapparot), 3 kilometres northwest from the Dan Kao piers.
Light meals, fruit, fruits and beverages are available at all the piers and on the car ferries.
There are two operators that provide daily speedboat services from Ko Kood to Ko Chang. One is based in Bang Bao, the other on Kai Bae Beach [6] Rates are the same but departures times can vary, so make sure to book ahead.
GET AROUND
In the daytime, you can catch a songtheaw on its route around the main road for 50 or 150 baht/person, depending how far you go. The rates are generally much higher than in other places, but the vehicles are almost new and in excellent condition. Starting from 5.00pm, many of them start to ask "taxi" price, telling you that they operate as a public transport only until that time, and may quote prices as high as say 500 baht from Lonely Beach to the Dan Kao pier (bargain if you choose to hire, do not support silly prices!). However, if you have some time and patience, you still can try and have a "shared" ride with some drivers, maybe for a higher rate if they expect little or no other passengers.
These taxis are also waiting at the Dan Kao Pier (50 baht/person to White Sand beach, 100 baht to Lonely Beach). At the Dan Kao Ferry-Pier there may be no taxis available. If you arrive without a vehicle you may have to walk the 400 metres to Dan Kao Pier. The prices have become unofficially fixed and there is little room for bargaining; however, the price you pay to return should be the price you payed to come in the first place (50B White Sands, 100B Lonely, 150B Bang Bao). If they try to add 50B to that, decline (not politely). There will be another taxi and accepting the price increase condones the practice and causes price increases over time.
Small motorcycles can be rented for 150-300B per day. The main road is sealed and almost circles the island and there are plans to complete the circuit in the near future. Cars are also available for rental, most hotels can help with it. 4x4 car recommended, since some roads might be in bad condition, especially near Lonely Beach.
To rent a motorbike at the center point pier is a good option to save money, as you are avoiding the expensive taxi rides. It further gives you the freedom to drive to more remote beaches where you most of the time fine lower rates for accommodation. [Update April 2014: Center Point motorbike rentals charging 250 baht/day daily rentals, 200 baht/day for 5 days, and 150 baht/day for monthly rentals. Price is (apparently) non negotiable. They also only provide you with ~.7L of fuel, so it's on you to fill the rest of the way up.]
If there are 2 or more people going with you, hiring a songtheaw may cost the same price, or even be cheaper than paying per each person in a "shared" songtheaw (there is no difference, an empty songtheaw can easily be hired). Just do not forget to bargain if their price sounds quite silly when compared, say, to Bangkok taxi-meter (on Ko Chang it can be difficult if not impossible to get the same price, but at least it should not cost double or even more). Generally most people just stay on the beach of their choice and walk to wherever they want to go.
Hitching on Ko Chang is also an alternative if you choose not to pay the often exorbitant fees of the songtheaw. Many islanders are more than willing to pick up a hitchhiker who happens to be going the same way they are. A Coke or cold bottle of green tea for the driver are always appreciated at the end of your journey.
SEE
Elephants - There are three or four places offering elephant rides. We checked them out and none of them are 'elephant friendly'. Please think carefully about wanting to sit on a chair on the back of an elephant. All you can see from the is trees and a long drop to the ground. Elephants for riding are 'broken' when they are babies. They are guided by a mahout with an 'ice pick'. The ice pick is not for show. It is used on the elephant. Perhaps not when you are there... Elephants under stress rock from side to side and actually look distressed. If you see this behaviour, or see that the animals are being chained with little or no shade, or see that they do 'tricks', they are being misused. This becomes your choice. Do you perpetuate a cruel practice for a bit of fun, or do you look elsewhere?
- The Mu Ko Chang National Park - National Marine Park comprising parts of Ko Chang and 46 other islands
- War memorial monument - in the very south of the island
WATERFALLS
- Klong Plu - the most popular waterfall, and the only one on the west side of the island
- Klong Nonsi - waterfall on the east side of the island
- Klong Nueng - said to be the most breathtaking waterfall
- Khiri Petch - medium sized waterfall, about 3 kilometres from Salak Petch village
- Kongoi - 5 waterfalls near Bang Bao
- The Thanmayom - near Thanmayom pier
DO
Scuba diving and fishing are the most popular activities, because there are many beautiful corals and many kinds of fish for fishing. Additionally, a jungle trekking is a great idea. Jungle trekking is divided in 2 parts- north and south. Jungle trekking of north is a nature walk that contains many kinds of fruit, and several of plants. On the other hand, jungle trekking of south includes visiting fishing villagse and offers you to see a variety of animals (monkeys, snakes, birds, lizards) You can also learn how to cook Thai food. The cost for each courses starts form 1200 baht. They will teach popular Thai food such as spicy salad (som-tum), chicken curry (kang keaw wan), spicy soup (tom yum), fried rice noodles (Pad Thai), and so on. Moreover, the main activity in koh chang is the island sightseeing. You can see a famous Chinese temple that everybody should visit and pray.
WIKITRAVEL
www.twitter.com/Memoire2cite #recherche #archives #Banlieue #rond-point #logement #Collectif #Grands-Ensembles #city #Cité #Moderne #Zup #Habitat #HLM #Copropriété #Quartier #Béton #immeuble #Cités #Résidençe #Barre #Grand-Ensemble #Batiment #Tower #Bloc #Europe #Old #Building #CartePostale #VintagePostcards #RetroModernism #World #Mémoire2Cité #Postcards #Mémoire2Ville #30Glorieuses @ l' #Urbanisme d'Antan d'#Avant d' #Autrefois le #Logement #Collectif * 50,60,70's dans tous ses états.. #Histoire & #Mémoire de l' #Habitat / #Rétro - #Villes / #H.L.M. / #Banlieue / #Renouvellement #Urbain / #Urbaine ...@ Les #30Glorieuses . com les #vues #urbaines #Paysages de #Ville (s) d'Antan. La France des ronds points enterre la France des territoires La puissance évocatrice du symbole des gilets jaunes - rendant visible une réalité sociale occultée - a largement été commentée. On a moins souligné la portée significatrice de leur installation sur les ronds-points en ce qu’elle venait mettre à mal notre représentation collective des rapports entre société et territoire.Aujourd’hui, le choix des gilets jaunes de s’installer sur les ronds-points vient radicalement mettre à mal cette construction géopolitique de la France des territoires. On est loin de cette description d’une France du local, restée dans un ordre territorial relevant de la communauté villageoise, organisant son quotidien au sein d’un bassin de vie bien délimité. Ce n’est pas la France des somewhere (quelque part) par opposition aux anywhere (nulle part) des métropoles, selon une lecture simpliste à prétention mondiale (David Goodhart) portée aux nues par la sphère politique que décrit l’occupation des ronds-points.
Les ronds-points de la vie en archipel
A l’inverse, cette occupation donne à voir une France de la mobilité (mêlant de façon inextricable contraintes et choix), de la multi-appartenance géographique et du «zapping» territorial. Les multiples portraits de gilets jaunes, dans leur diversité, décrivent une même forme de relations aux territoires, en archipel, de ménages, souvent biactifs, naviguant en permanence entre leurs lieux d’habitat (le rural ou le périurbain), de travail (la ville moyenne) et de loisirs ou de consommation (les métropoles).
En occupant ces ronds-points, les gilets jaunes expriment symboliquement à la fois cette réalité sociogéographique inédite, effet de la globalisation généralisée de nos modes de vie - nous sommes à la fois de quelque part et de nulle part - et le mal-être qu’elle induit : qui sommes-nous et comment reconnaître cette identité brouillée ?La démocratie des réseaux
Répondre à cette nouvelle donne ne passera pas par l’invocation rhétorique des vertus supposées du local et de la proximité, ni par la réparation vis-à-vis d’une France périphérique qui n’existe pas comme victime homogène de la mondialisation. Cela exige en revanche de prendre conscience de cette nouvelle réalité, d’en construire un récit collectif, de l’inscrire dans un imaginaire national qui jusqu’à présent, plus que tout autre, s’est attaché à idéaliser la France des terroirs et des pays. Mais cette France des ronds-points interpelle aussi l’ensemble de notre système politique. Elle trouve un écho dans le désarroi qu’expriment les maires. Comment une représentation politique de la société, en poupées russes, de la commune à l’Etat, fondée sur des circonscriptions bien délimitées, pourrait-elle prendre en compte l’exigence démocratique induite par la montée en puissance des réseaux, tant les réseaux sociaux virtuels que les réseaux physiques dont les ronds points sont les nouveaux pôles ?
Les territoires de la France périphérique
Depuis une dizaine d’années, politiques et médias décrivent à l’envi une opposition entre la France des métropoles et celle des territoires. Loin de décrire un fait géographique et anthropologique universel - les relations entre un espace, une société et une juridiction -, le territoire devient alors synonyme du local, de la proximité, et par glissements progressifs, celui d’une catégorie particulière : le rural. C’est au nom de cette acception particulière de la notion de territoires qu’on a pu stigmatiser le «mépris des territoires» du président de la République. L’addition de ces territoires produit par contrecoup une représentation globale : la France périphérique.
La France, championne du monde du nombre de ronds-points Ronds-points mais aussi grands ensembles, échangeurs d'autoroute, centres commerciaux, zones piétonnes, centrales nucléaires... Partout sur son territoire, la France des Trente Glorieuses a vu s'ériger ces symboles de modernité triomphante. Cette collection unique de cartes postales éditées entre les années 1960 et 1980 fait l'autopsie d'un désastre esthétique, urbanistique et sociétal. La beauté d'hier, canonisée et figée sur ces photos souvenirs, est devenue l'horreur d'aujourd'hui.La France des ronds-points - Meilleurs souvenirs des Trente glorieuses. Collection Jean-Marie Donat - Grand Format
Une figure routière est apparue et prolifère dans l'espace urbain français. On l'appelle " giratoire", ou plus communément" rond-point ", nuance terminologique qui cache une ambiguïté : à la fois mouvement et forme. Pour mieux saisir les contours de ce statut équivoque, cet ouvrage propose de reconstituer une généalogie qui nous conduit d'abord au cur des forêts de chasse et des jardins classiques, puis, via les embellissements du XVIIIe siècle et le Paris d'Haussmann, jusqu'à la fin du XIXe siècle - moment décisif où les inventeurs d'une nouvelle science nommée " urbanisme " (Cerda, Sitte, Stübben) cherchent une solution aux conflits des voitures dans les carrefours urbains. Mais c'est à Eugène Hénard, en 1906, que l'on doit l'invention du " carrefour à giration ", dispositif que les architectes du XXe siècle ne cesseront de reprendre et de décliner. Si l'efficacité des carrefours giratoires en termes de circulation et de sécurité est désormais avérée, leur systématisation, issue d'une vision trop instrumentale de la voie, prive souvent cet équipement d'une approche urbanistique réfléchie. Au moment où un véritable réseau de giratoires-balises tend à réorganiser l'espace urbain, des architectes, paysagistes et artistes se penchent sur cette pièce du vocabulaire territorial courant. Ainsi, au travers de nombreux projets présentés, se dessinent les voies d'une possible réinvention du rond-point comme dispositif d'articulation majeur de la matrice viaire contemporaine Une figure routière est apparue et prolifère dans l'espace urbain français. On l'appelle " giratoire", ou plus communément" rond-point ", nuance terminologique qui cache une ambiguïté : à la fois mouvement et forme. Pour mieux saisir les contours de ce statut équivoque, cet ouvrage propose de reconstituer une généalogie qui nous conduit d'abord au cur des forêts de chasse et des jardins classiques, puis, via les embellissements du XVIIIe siècle et le Paris d'Haussmann, jusqu'à la fin du XIXe siècle - moment décisif où les inventeurs d'une nouvelle science nommée " urbanisme " (Cerda, Sitte, Stübben) cherchent une solution aux conflits des voitures dans les carrefours urbains. Mais c'est à Eugène Hénard, en 1906, que l'on doit l'invention du " carrefour à giration ", dispositif que les architectes du XXe siècle ne cesseront de reprendre et de décliner. Si l'efficacité des carrefours giratoires en termes de circulation et de sécurité est désormais avérée, leur systématisation, issue d'une vision trop instrumentale de la voie, prive souvent cet équipement d'une approche urbanistique réfléchie. Au moment où un véritable réseau de giratoires-balises tend à réorganiser l'espace urbain, des architectes, paysagistes et artistes se penchent sur cette pièce du vocabulaire territorial courant. Ainsi, au travers de nombreux projets présentés, se dessinent les voies d'une possible réinvention du rond-point comme dispositif d'articulation majeur de la matrice viaire contemporaine
Eric Alonzo est architecte. Il est membre du Groupe de recherche sur l'architecture et les infrastructures (GRAI) et enseigne à l'école d'architecture de Paris-Malaquais, ainsi qu'à l'école nationale des Travaux publics de l'Etat. Il est par ailleurs responsable du centre de ressources de l'école d'architecture de la ville et des territoires à Marne-la-Vallée.Ronds-points, autoroutes, péages et aires de repos, caféterias, zones piétonnes et commerciales, châteaux d'eau, mini-golfs et campings... La France des années 1970 a vu naître partout de petites merveilles de modernité, qui ont fait l'objet de superbes cartes postales. En voici le meilleur, pour la première fois réuni dans un livre de collection, mosaïque nostalgique d'une vision de l'avenir aujourd'hui décalée.
Dans la lignée des mémorables Boring Postcards de Martin Parr, cet ouvrage richement illustré offre un portrait pittoresque de la France de notre enfance.In Girum imus nocte et consumimur igni. " Nous tournons en rond dans la nuit et nous sommes consumés par le feu. " Qui aurait pu imaginer que cette locution latine, palindrome à l'origine incertaine, livrerait aujourd'hui la tonalité d'une vaste contestation et, au-delà, l'allégorie d'une époque ?
En novembre et décembre 2018, ont en effet surgi sur les ronds-points de France des dizaines de milliers de gilets jaunes. S'ils y ont brûlé des feux conjugués de leurs colères, de leurs espoirs et d'une implacable répression d'État, ils y ont aussi entamé une longue marche giratoire autour d'un autre foyer : celui d'une politique ancrée dans le local, où s'articuleraient autonomie, écologie et justice sociale. Une politique de la Commune, ou plutôt des communes, qui ne serait plus seulement une lubie d'anarchistes ou de révolutionnaires sans révolution, mais un appel auquel les mouvements sociaux du futur auront à répondre.
Pour en entendre d'ores et déjà la rumeur, il faut s'essayer à une lecture d'ensemble du soulèvement jaune. Comprendre comment une mobilisation imprévue a mis en crise les habitudes éculées de la lutte. Expliquer pourquoi ce mouvement s'est tenu à l'écart des idéologies, parvenant, en définitive, à politiser des groupes populaires et périurbains jusqu'alors réfractaires à la politique. Et finir par inscrire l'événement dans une série de protestations qui font des potentialités libératrices et démocratiques du " proche " un nouvel enjeu d'imagination politique.In Girum imus nocte et consumimur igni. " Nous tournons en rond dans la nuit et nous sommes consumés par le feu. " Qui aurait pu imaginer que cette locution latine, palindrome à l'origine incertaine, livrerait aujourd'hui la tonalité d'une vaste contestation et, au-delà, l'allégorie d'une époque ?
En novembre et décembre 2018, ont en effet surgi sur les ronds-points de France des dizaines de milliers de gilets jaunes. S'ils y ont brûlé des feux conjugués de leurs colères, de leurs espoirs et d'une implacable répression d'État, ils y ont aussi entamé une longue marche giratoire autour d'un autre foyer : celui d'une politique ancrée dans le local, où s'articuleraient autonomie, écologie et justice sociale. Une politique de la Commune, ou plutôt des communes, qui ne serait plus seulement une lubie d'anarchistes ou de révolutionnaires sans révolution, mais un appel auquel les mouvements sociaux du futur auront à répondre.
Pour en entendre d'ores et déjà la rumeur, il faut s'essayer à une lecture d'ensemble du soulèvement jaune. Comprendre comment une mobilisation imprévue a mis en crise les habitudes éculées de la lutte. Expliquer pourquoi ce mouvement s'est tenu à l'écart des idéologies, parvenant, en définitive, à politiser des groupes populaires et périurbains jusqu'alors réfractaires à la politique. Et finir par inscrire l'événement dans une série de protestations qui font des potentialités libératrices et démocratiques du " proche " un nouvel enjeu d'imagination politique.La France, terre de ronds-points
Au départ, le clocher. Il repère visuellement non pas seulement le centre, mais l’espace de la communauté : loin qu’on soit sur la commune ou dans les champs, ou dans le quartier de la ville, le clocher vous redonne l’orientation (revenir, c’est par là), et il ordonne aussi le temps : on l’entendait sonner l’heure, celle qui commandait aux tâches de tous. Et ce monde-là n’est pas si loin, à preuve qu’ils sont toujours là, les petits triangles pointus noirs aperçus des rocades ou au détour d’une rue, sur la perspective d’une place. Quant aux heures, elles ont fondu dans le bruit : on vous l’égrène dans l’autoradio, elle s’affiche sur le tableau des heures de départ des trains, elle traîne dans le coin en haut à droite de l’écran d’ordinateur, puisqu’on regarde plus facilement le monde depuis la fenêtre à pixels de l’écran qu’en se retournant vers la vitre par où la cuisine donne plus ou moins sur le centre-ville.
L’essentiel était, pour l’espace, qu’on s’orientait selon des points, et que des routes, des rues, des rails, des cartes reliaient ces points. Le clocher symbolise ces points : même les kilomètres d’autoroute, dans la France centralisée, sont calculés depuis Notre-Dame et non depuis l’Élysée ou l’Assemblée nationale ou la mairie de Paris, vérifiez, la prochaine fois que vous roulerez.
Cela a commencé par un étrange mot : déviation. On utilise, dans le vocabulaire qui a surgi depuis, des mots comme déviance ou dérive dans d’autres sens, qui ne sont pas de raison. On a en tête, souvenirs d’enfance qui resurgissent parfois à un retour de vacances, qu’on traverse Saint-Hyppolite du Fort ou Marans, à un de ces gros bourgs tout en longueur, aux bâtisses serrées et grises, avec leur pharmacie, leur bureau de tabac et leur boulangerie, et puis ces maisons aux vitres sombres on se dit qu’on serait bien aise, si en ville on avait pour soi-même un tel espace, qu’un grenier serait pour les livres, et la cave pour les guitares électriques, et qu’on aurait là son bureau, et on a forcément des amis chez qui c’est comme ça, les chambres d’ami pas vraiment refaites ni en état, au matelas de fortune, mais qui permet qu’on s’y héberge sans chichis, si nombreux qu’on soit. Dans ces bourgs on s’embouteille, le camion n’en finit pas de redémarrer au feu rouge, la voiture qui tourne à gauche, clignotant désespérément battant, à cinquante mètres en avant d’où vous êtes, bloque toute la file, les façades sont noircies et il semble qu’une seule rue a de toujours servi de trait de scie dans ce nœud des hommes, cimetière à la sortie à gauche, un garage et un supermarché à la sortie à droite. Et puis il y a la route à deux voies avec bretelle d’accès qui en fait le tour, et la vieille pharmacie et la boulangerie ou le tabac-journaux de Selles-sur-le-Cher on ne les verra plus jamais. Il y a la route Vierzon-Tours et on a gommé le clocher au profit de cette fraction soudaine de bitume plus lisse et sans rien à voir, où la vitesse s’est établie pour quelques minutes à quatre-vingt-dix (si on est sages). Et plus de regard fugitif vers le monument aux morts et la place où, sauf marché du samedi, sont tristement garées encore des voitures : ces villages vieillissent, il n’y a plus d’électroménager ni de marchand de musique et accordéon (j’en connais encore, et trouve toujours prétexte pour les visiter, à Montrichard ou Sablé-sur-Sarthe), les enseignes sont reprises par les deux marchands d’assurance, l’entreprise de pompes funèbres et celle de taxis médicaux (qui vont parfois ensemble), et autres professions de santé, la maison de retraite qui, elle, a son parking neuf ouvrant sur la petite rocade et non le centre-ville, étant souvent le plus gros employeur à ici demeurer. Et je ne parle pas pour me moquer, ni pour noircir : ainsi en est-il de la ville où j’ai eu toute mon adolescence, dans la Vienne à Civray, et le cinéma dont j’écoutais à répétition les bandes-son, sans jamais voir le film, parce que l’issue de secours donnait dans le garage familial, beau temps que les deux vitrines symétriques en sont vides.
Le mot rocade, donc, qui suivait, et ne concerne pas que les grandes villes, même si elles ont donné l’exemple. L’autoroute permet qu’on sorte à Poitiers nord ou Poitiers sud, Tours nord ou Tours centre ou Tours sud, et là s’embranche la rocade, avec ses quatre voies, ses feux rouges sur portique et ses voies de présélection. On contourne Laval à distance de sa cathédrale, on est comme sur le pourtour d’une boussole dont ce trait noir là-bas du clocher ancre l’aiguille qui pointe sur vous, et ce que vous voyez, de quartier en quartier, avec des arbres qui ont même eu le temps de grandir, c’est l’hôpital, puis l’indication de telle zone d’industrie (abattoirs à volaille dans ce cas, et les camions de volaille vivante à l’enseigne Poulets de Loué que vous avez doublés, maintenant au feu c’est une remorque isotherme blanche qui vous précède, la marchandise est transformée. De touter façon, maintenant que le contournement du Mans par autoroute est en service, même Laval je n’y passe plus, pour Rennes, Saint-Malo ou Alençon mieux vaut s’augmenter de trente kilomètres d’autoroute, on s’acquitte du péage en enquillant sa carte bleue mais il n’y a plus de ville ni feu rouge entre vous et les étudiants que vous retrouverez à Rennes, ou la mer qu’on découvrira à Saint-Malo. Ainsi se modifie la double relation à échelle large, les villes, la traversée du pays, et à échelle bien plus restreinte : ce qu’on voit au passage de la vie des autres, parce qu’on roule devant leur cour, qu’on est bloqué au stop en face d’un magasin, qu’on aperçoit derrière des rideaux, dans le mauvais éclairage d’une lampe, un intérieur immobile.
Et sont venus les ronds-points. Casser le heurt circulatoire des feux rouges par une diffusion continue et étalée des véhicules.
J’aimerais me souvenir de leur première apparition. Il fallait d’abord s’habituer à cette cession de priorité : celui qui arrivait, déjà dans l’orbite du cercle, il fallait le laisser passer. Mais une fois que vous étiez vous-même lancés, on s’assurait rageusement que celui-ci qui arrivait sur la route de droite, avait bien compris qu’il faudrait vous respecter. J’ai souvenir de grands ronds tout simples, avec bordure de ciment, et juste un vague monticule de terre au milieu. Et d’ailleurs au moins une fois s’être retrouvé au milieu pour avoir freiné trop tard, la voiture empâtée et ridicule dans l’herbe, là où auparavant on filait. Les premiers ronds-points gommaient des carrefours où on avait vu trop d’accidents, on comprenait qu’il fallait se faire raison. Ils ne changeaient pas la topologie, ni notre orientation. Au contraire, en cherchant, j’ai l’impression qu’ils l’a simplifiaient : à chacune des sorties en étoile du rond-point, les panneaux indiquant les endroits où cela menait, donc finalement quelque chose de plus clair. Et puis ils ont proliféré, on les a exportés, et dans ma ville, dont le rond-point maître arbore une plume de stylo de deux mètres de haut parce que Balzac et Anatole France y ont séjourné, on n’a pas de médiathèque, mais on a toujours deux nouveaux ronds-points en chantier, qu’ils fassent cinquante centimètres de diamètre, en beau pavé reconstitué, au milieu du carrefour, où ajoutent à la suite d’efflorescences soigneusement arrosées et entretenues avec végétation thématique et parfois inscription.
Non pour ironiser, ou s’en défendre comme d’un chancre qui rongerait nos villes : c’est le déplacement qui est étrange. En quoi ils ont déplacé notre perception spatiale de la ville en la déployant comme une pâte à pâtisserie sous la bouteille qui vous sert de rouleau – écoutez seulement comment désormais on vous indique un chemin : « Au rond-point à droite, puis deux ronds-points tout droit, tu sors au garage Renault et c’est deuxième rue à gauche. » Et qu’effectivement on y arrive très bien, on saura même repartir (« Au premier rond-point tu verras le grand panneau du Leclerc et après ce sera fléché autoroute. »), mais on n’aura rien su d’où on était dans Orléans, seulement si c’était plutôt nord de la Loire ou dessous. Et le mot giratoire n’a jamais pris. Question qui paraîtra sans doute mineure à un Parisien (la place de l’Étoile et celle de la Concorde ou Nation et Bastille fonctionnent aussi de façon giratoire, mais le monument au centre, l’obélisque, l’arc de triomphe ou la statue restent un point fixe d’organisation de l’espace, quand le rond-point est vide et renvoie à ce qui lui est extérieur), mais comment voudriez-vous en province vivre sans voiture ? Il faut l’Italie ou le Portugal pour redécouvrir qu’existe le commerce de proximité, encore le groupe Carrefour sème partout au Portugal, et à mon dernier voyage en Italie j’ai vu une enseigne géante « Auchan Pompéi ». Le groupe Mulliez, qui possède Auchan, comprend les enseignes Décathlon, Leroy-Merlin, Boulanger, Norauto, Saint-Maclou, Kiabi et quelques autres. Mulliez, Carrefour et Leclerc se partagent les portes de villes en y insérant des plaques d’espace qui valent à elles seules tout l’hyper-centre piéton, il y a un Auchan nord et un Auchan sud avec chacun sa cohorte des enseignes satellites, on laisse à Carrefour l’est et l’ouest et partout où ils installent sur les rocades un panneau publicitaire de six mètres sur quatre, l’autre groupe se débrouille pour placer le sien cent mètres plus amont : « Leclerc à 5 minutes » juste quand vous arrivez au rond-point Auchan. Sur la nationale 10 qui emmenait de Tours vers Poitiers, donc sur l’axe Paris-Bordeaux, il y avait autrefois, quand avec mon père nous ramenions les voitures neuves de Paris, une infinité de feux rouges, et se mêler très soudainement, si c’était la fin d’après-midi (« lé débauche », comme on disait aux temps ouvriers) à la circulation locale. Maintenant l’autoroute convoie le transit, et sur l’ancienne 10, jalonnée d’enseignes (et qui dira un jour ce désordre de couleurs et ce déni de langue, aux sigles Veloland, Jardiland ChaussLand ou JouetLand et Funer’air ou Trocante, Mobalpa, Gigastore, Authentica, Promoshow et tous les parallélépipèdes de la « vie moins chère » (« Vos rêvent méritent le meilleur prix », « le choix de vivre son intérieur », « le meuble de vie ») comme si la notion de rabais faisait partie du consensus global de nos idéaux ? Vers Tours sud, donc, sur l’ancienne nationale, les ronds-points se sont voulu une exposition d’art contemporain, chacun aménagé par un artiste dont on ne pourra paradoxalement jamais savoir le nom, puisque ce ne sont pas des lieux où il est possible de s’arrêter, et cette impression que l’art même est convoqué pour s’incliner devant la majesté des enseignes pour surgelés fait que désormais j’évite.
Mais l’obscénité même de cette prétention d’art ainsi exposée pour qui jamais ne s’y arrête, livré aux intempéries et aux sacs de plastique vide et autres emballages volants qu’accumulent les périphéries, pour souligner la nouveauté de l’espace ainsi régulant et dispersant la circulation dans la ville. Espaces de référence que nul ne pénètre, sauf leurs jardiniers. Cohortes municipales vouées à l’espace qu’on contourne, puisque la mode est d’en varier le paysage selon l’orientation, rocaille au nord, des arbres et des plantes côté sud. Et puis le symbole de la ville : si on est fier du zoo, on y mettra une fausse girafe, si c’est de la vigne, on y plantera une bouteille haute comme une maison. Mais on a les signaux d’alerte : justement parce que ce sont des franges vierges que la ville ménage dans l’arène des voitures (même le bitume finit par s’imprégner de cercles). Par exemple, à Villepinte où le grand rond-point d’entre les immeubles et la prison est laissé à lui-même, d’herbes folles et de broussailles, ce gamin de collège qui en atelier d’écriture, parlant des lieux qu’on revendique pour soi dans la ville, écrit l’igloo que lui et ses copains s’y sont aménagés : lieu secret, lieu de secret. Inatteignable, et invisible pour qui n’est pas prévenu. Je suis allé voir : circulation très dense, bretelles d’accès à deux voies, nul passage piéton, et l’ombre là-bas de la maison d’arrêt. Ou bien, en Seins Saint-Denis encore (le neuf trois, comme ils disent), cette étude savante qui dépiste dans les ronds-points des habitats d’insectes et d’oiseaux qui s’y établissent et s’y protègent, et d’étranges apports végétaux, lorsque les ronds-points voisinent les zones de transit et douanes des camions voués aux échanges internationaux.
Mais regardez comment nous-mêmes en voiture abordons les villes. Croisées sans quitter l’autoroute, si c’est Reims ou Chartres, la double flèche gothique vous indique l’hyper-centre, la ville histoire ou le signe ancien de la ville, à condition, sur les plaines de Beauce ou de Champagne, qu’on en ait préalable connaissance. Nous-mêmes ne l’établissons tels qu’au milieu des empilements blancs des cités d’immeubles, des minuscules taches criardes indiquant de très loin les portes commerciales de la ville. Quand on quitte l’autoroute pour la bretelle d’accès à la rocade, on perd de le repère. Les cités d’immeubles, la plaie des zones commerciales ont remplacé le centre : on a pris des ronds-points, on vous indique rocade est ou nord, mais on n’a plus de boussole, ni de direction. Le plus haut bâtiment de la ville, en général c’est l’hôpital, ou la cité administrative (et non plus l’hôtel de ville, ni le palais de justice).
Ce n’est pas la faute des ronds-points, mais disons qu’ils matérialisent la façon neuve dont s’organise dans la tête l’espace de la ville. Quand on travaille avec des élèves de collège ou de lycée sur la topologie de la ville, même avec un exercice très simple (par exemple : partir des lieux où on attend dans la ville, et sur ces instants d’attente restaurer ce qu’un cadre organise du champ visuel), on découvrira que l’établissement scolaire, sa cour et ses couloirs est un de ces espaces, comme le lieu d’habitation, la porte de l’immeuble, l’arrêt de bus, la boulangerie de proximité sont l’espace référent symétrique, voire originel (cette réflexion d’une jeune collégienne, récemment, dans une cité où la sécurité n’était pas assurée : « Je ne m’éloigne pas de l’entrée », le mot entrée ne désignant plus ce par quoi on quitte la ville pour pénétrer le lieu privé, mais au contraire le territoire de la ville permis, en dehors de la chambre et du domicile familiale, le lieu au contraire par où on sort). Mais la zone commerciale, avec les courses du samedi et la queue à la caisse, le vidéo-club où on loue le DVD, la galerie où la maman vous renouvelle le pantalon ou les baskets, plus le Mac’Donald où on accompagne les copains, et qui est le terminus de la ligne de bus, devient un de ces espaces organisés, mais comme une plaque dessinée dans le territoire de la ville. Lieu de même complexité que le lycée ou l’immeuble, mais séparé des deux premiers, sans jonction, comme la ville organisée sur son clocher, ses avenues et ses places, gardait du centre à la périphérie ses orientations, ses hiérarchies. Le lieu de loisir, le stade avec ses vestiaires, la piscine ou le dojo, deviennent pour les collégiens un autre de ces espaces, et l’hyper-centre, avec la rue piétonne, l’opticien ou la déambulation de la virée en ville, est organisé de la même façon : on s’est déplacé en bus ou en voiture, et depuis l’arrêt qui en trace l’origine concentrique, se réorganise une étendue hiérarchisée d’espace qui est votre occupation propre de la ville, mais ne suppose pas continuité de son appropriation. C’est ce que le rond-point concrétise par le déplacement mental auquel il contraint : ne compte pas la distance linéaire (« trois ronds-points et là sur la gauche »), ne compte pas l’orientation (on fait trois quarts de cercle pour prendre la rue juste voisine), et plus aucun repère central (s’il y a un repère fixe, il est plutôt côté périphérie : on vous indique une sauvegarde par le dehors, retour vers l’autoroute ou la rocade).
Qu’on remarque par exemple le paradoxe de ces éternels cercles paysagés (oui, c’est leur mot), et de l’invariable assaut de publicité qu’ils concentrent en amont, où naît une étrange écriture faite de taches rondes, avec le trait noir du trajet qui les contourne. La ville ne s’organise plus depuis son centre, un autre paysage naît, dont l’essentiel manifestation concrète est cette suite de cercles qui éclate le trajet dans la circularité extérieure de la ville. Il pourrait en naître des fictions : ce matin, revenant de faire le plein d’essence et relever ma boîte postale, à ce rond-point en construction (j’habite une ville qui comporte toujours un rond-point nouveau en construction), un double cercle de bordures de béton moulé, et cet homme seul au milieu, debout sous la pluie, qui considérait l’émergence en polystyrène orange d’une future arrivée d’électricité. Comme le petit prince sur sa planète, le constructeur d’îles urbaines, peut-être un seul homme faisant partout jaillir les cercles au milieu des voitures. Ou bien un pays qui ne serait fait que de ronds-points, mais il n’y aurait pas besoin de villes au milieu, ce serait seulement pour notre circulation paysagère. Ou bien celui qui consacrerait sa vie à en établir le relevé, l’inventaire, l’exacte description, sur toute l’étendue du territoire, et s’attacherait à démontrer qu’aucun nulle part n’est identique à un autre, quelles que soient les récurrences, les typologies, les fonctions.Plus besoin de clochers. Resterait à la place (sauf en Angleterre où il est braqué vers la droite), l’éternel rond bleu parfait qui vous fait face, en contraste avec le triangle rouge de la cessation de priorité, et porte flèche vers le sens unique. Un monde à sens unique, voilà ce qu’on a produit. Et pour le reste, errez, tournez.Ce n’est peut-être pas un hasard si les gilets jaunes les squattent partout en France depuis plusieurs semaines : en France, on trouve des ronds-points partout. Et selon le dernier recensement, on en compterait pas moins de 50 000. Un record mondial.Le rond-point, une histoire made in France. Peu le savent, mais le rond-point est une idée purement française… qui a plus d’un siècle. On doit l’un des premiers prototypes à Eugène Hénard, architecte et urbaniste de la mairie de Paris, et à qui l’on doit le rond-point de la place de l’Étoile (là où les gilets jaunes saccageront l’arc de triomphe ; voyez comme l’histoire est une boucle bouclée).L’idée d’Eugène, c’est de fluidifier le trafic et simplifier la vie des piétons en forçant les voitures à ne circuler que dans un seul sens. L’idée fait mouche, et les politiques publiques vont rapidement l’adopter partout en France. Pourquoi ? Parce qu’il aurait permis de réduire de 40% les accidents. Conclusion : environ 500 ronds-points continueraient de sortir de terre tous les ans.Avec presque 50 000 modèles installés partout en France, le pays en compte six fois plus que l’Allemagne, dix fois plus que les États-Unis.Des coûts délirants. Même s’il est moins sexy que la tour Eiffel ou la baguette de pain, le rond-point est donc un symbole français, qu’on le veuille ou non. Avec presque 50 000 modèles installés partout en France, le pays en compte six fois plus que l’Allemagne, dix fois plus que les États-Unis. Une innovation exotique pour certains, une hérésie pour tous les autres. Car le rond-point coûte cher. Très cher : entre 200 000 et un million d’euros pour chaque nouveau modèle, sans compter les délires artistiques ou architecturaux que chaque commune ou région désire implanter sur les terre-pleins centraux Cet « art giratoire », à l’origine de nombreuses atrocités esthétiques, a donné naissance à un jeu concours pour élire le pire rond-point de France. Mais il est aussi devenu la cible de critiques sur la gestion de l’argent public, dépensé à tort et à travers selon le banquier Mathieu Pigasse, directeur général de Lazard France : « Près de deux milliards d’euros sont consacrés à la seule décoration de ces magnifiques ouvrages publics. » Tout cela est dit avec beaucoup d’ironie, comme on s’en doute.Mais à l’heure des réductions de coûts généralisées, le mouvement des gilets jaunes pourrait aussi servir à questionner ces antiquités giratoires financées, on le rappelle, par le contribuable. Des alternatives plus économiques existent, notamment les ilots séparateurs ou les voies de tourne-à-gauche situées aux carrefours. À méditer, pour éviter, au moins cette fois, de continuer à tourner en rond.Pourquoi la France a-t-elle autant de ronds-points ?
Gérard Briais, ancien(ne) étudiant(e) en Économie et Architecture à Université de Paris @ La France détient le record du monde du nombre de ronds-points – six fois plus qu’en Allemagne ! On estime qu’il existe environ 30 000 ronds-points, et que 500 nouveaux sont inaugurés chaque année pour un coût, pas vraiment modique, de 200 000 à 1 million d’euros selon la complexité de l’ouvrage et le prix des parcelles à acheter.A cela, il convient d’ajouter la décoration : environ 10 000 euros par an pour un rond-point végétalisé, entre 30 000 et 75 000 euros pour une sculpture. Qui peut d’ailleurs coûter bien plus cher : La Dame de la mer de Manolo Valdez installée en 2010 entre Bidart et Biarritz (Pyrénées-Atlantiques), a coûté 500 000 euros et provoqué de grosses tensions entre ces deux communes quand il s’est agi de payer la facture.D’aucuns ont prétendu que la vraie finalité de ces aménagements routiers aurait été de financer les partis politiques grâce à des commissions versées par les sociétés de travaux publics. Force est de constater que si cette raison a pu exister, elle est dorénavant obsolète. Je suis un praticien des marchés publics et je vois mal avec les dispositifs actuels comment cela pourrait se (re)produireQuoi qu’il en soit, les giratoires continuent de pousser !Quelles en sont les raisons ?La première est historique : c’est une invention tricolore, même si elle a eu besoin d’un petit coup de pouce anglais – assez fanatiques de leurs roundabouts – pour être fonctionnelle.La deuxième raison tient en un mot : sécurité. Les études le prouvent, les ronds-points contribuent à l’améliorer parce qu’ils obligent les véhicules à ralentir, et qu’ils rendent impossible les collisions les plus dangereuses, celles à angle droit et celles de face.La troisième raison est très française : comme l’Etat est très centralisé en France, ce dispositif s’est propagé plus vite qu’ailleurs comme l’explique Eric Alonzo, codirecteur du troisième cycle à l’Ecole d’architecture de Marne-la-Vallée et spécialiste du sujet auquel il a consacré un livre.Pourtant, depuis une dizaine d’années, les techniciens des Directions départementales de l’équipement ont tendance à freiner le mouvement, puisque la plupart des carrefours importants sont aménagés : « Pour les autres, ceux entre une route principale et une voie secondaire à trafic plus faible, les solutions avec îlots séparateurs et éventuellement voies de tourne-à-gauche, offrent une sécurité équivalente pour un coup inférieur, moins de 10 000 euros »,Pour autant, les grands travaux continuent. A qui la faute ? A la loi sur la décentralisation de 1982 : si les services techniques de l’Etat conseillent, c’est aux élus locaux que revient la décision finale. Y compris pour les routes nationales qui, depuis 2007, sont gérées par les conseils généraux.Et la quatrième raison est devenu la mise en valeur de la région, d’un artisanat, un personnage célèbre, un jumelage… Et donc, de nombreux élus veulent leur rond-point. Coûte que coûte. L’effet de mode est tel qu’on en vient à se demander si certains ne sont pas construits uniquement pour pouvoir être décorés.
Voici quelques exemples d’”Art giratoire”…
Ils sont l'image même de cet hiver revendicatif, le dernier bastion des gilets jaunes. Ils, ce sont les ronds-points, autour desquels nous tournons chaque jour sans nous soucier de leur étrangeté. Étrangeté car ils n’existent quasiment qu’ici, en France : notre pays a en effet le triste privilège d’en abriter 65.000, plus de la moitié de ceux installés sur la planète. Sociologie d’un autre mal français : la "rond-point-manie".Avant d’être le siège de la révolte, initialement fiscale, des "gilets jaunes", les ronds-points étaient précisément attaqués pour leur poids sur les finances publiques, notamment à cause du fameux "art des ronds-points".
L’efficacité de ces carrefours giratoires sur le plan de la sécurité routière est avérée (le risque d'accident y aurait diminué d'environ 40%). En revanche, leur embellissement est considéré comme un gaspillage d’argent public. Une association de contribuables a même organisé le Prix du Pire Rond-Point de France… A Marseille, au rond point de Pierre Guerre, trône bien un pouce du sculpteur César, mais les 60 000 autres ronds-points du territoire sont perçus comme moins "chanceu Une taupe géante qui sort d’une motte de terre, un poteau de télésiège et son trois places, un cabine de plage d’où s’échappent des mouettes, une fusée, une soucoupe volante, une chaise agrandie comme dans Alice au Pays des Merveilles ou encore une sorte de Pac-man taillé dans les buissons. L’art des ronds-points a une part hallucinogène. Elle est d’ailleurs totalement assumée par « un sculpteur-créateur » de ronds-points, Jean-Luc Plé, qui développe depuis les années 2000 son art giratoire principalement en Charente-Maritime. Un monde étrange peuplé d’enfants géants courant sur une dune et des grands parasols plantés dans la pelouse. Ajouter à cela la collection de moulins, d’amphores, de charrettes et de bosquets charmants qui égayent les ronds-points de France, première au monde sur ce secteur. L’art des ronds-points peut multiplier par 2 voire par 10 la facture initiale, et le budget total des ronds-points atteint aujourd’hui les 20 milliards d’euros. Mais n’est-il pas nécessaire pour différencier les abords uniformisés de la France périurbaine ?La révolte des "gilets jaunes", s’est accompagnée d’une transformation des ronds-points qu’aucun artiste n’a encore imaginée dans une performance. Balayant cette image de verrue fiscale et esthétique, ils sont devenus de nouvelles places publiques. A l’image de tous les mouvements qui depuis une dizaine d’années se sont précisément levés sur des places. Le collectif d’écrivains Inculte emmené entre autres par le Prix Goncourt Mathias Enard a d’ailleurs consacré un livre entier à ces places de la révolte en avril dernier. Partant de ces lieux de contestation pour mieux les décrire.
- Puerta del Sol et ses « indignados » à Madrid par Pierre Ducrozet
- Le Parc Zucotti de New York et Occupy Wall Street par Cloé Korman et Mathieu Larnaudie
- La place Tahrir et le Printemps Arabe au Caire par François Beaune et Aiman Habdel Hafez- La Place Syntagma à Athènes et le rêve d’alternatives aux plans de rigueur par Camille Louis et Maria Kakogianni
- Les barricades pro européennes du Maïdan à Kiev par Emmanuel Ruben
Des lieux éphémères qui ont en commun, lorsqu’ils seront abandonnés, après l’usure, la fatigue mais aussi la violence, d’avoir été la marque d’un relief historique. C’est ce que ces textes d’écrivains d’Inculte ont voulu prolonger. Quelque soit l’issue de ces différents mouvements et leurs divisions, ils sont écrits sur ces places, dont font aussi partie aujourd’hui les ronds-points, un art des possibles. Une réappropriation de l’espace public dont le sens reste encore à déplier.
Le rond-point, nouveau symbole du ras le bol. À force d’en emprunter tous les jours, nous avons fini par les oublier, et pourtant… les ronds-points sont étrangement revenus dans l’actu ces jours-ci grâce (ou à cause) du mouvement des gilets jaunes. Transformés en bastion de résistance, occupés ou saccagés ces « carrefours giratoires » qui jusque-là suscitaient l’indifférence deviennent subitement un sujet de discussion médiatique, comme le souligne le magazine Slate : « Les gilets jaunes ont détourné la fonction des carrefours giratoires, transformant ces connecteurs froids de l’ère automobile en lieux de vie éphémères. » En d’autres termes, les révolutionnaires de 2018 prennent aujourd’hui d’assaut les ronds-points comme leurs ancêtres la Bastille. Mais comment en est-on arrivé là ?
CHRONIQUE - Entre les deux France, celle des ronds-points et celle des places publiques, l'opposition est totale.L'Hexagone bâtisseur d'églises, mais combien au juste? Le ministère de la Culture en recense quelque 26.383 «d'intérêt patrimonial» (sic). De même est-il est difficile de dénombrer les ronds-points. Les commentateurs, forcés de s'y intéresser en raison du tropisme des «gilets jaunes» pour ces endroits ouverts à tout vent, s'accordent sur le chiffre (rond) de 30.000. Pour être précis, il faudrait dire 30.001, car il convient de ne pas oublier le seul rond-point de Paris, celui des Champs-Élysées. Plus exactement «le rond-point des Champs-Élysées-Marcel-Dassault», sa dénomination depuis 1991.
Notons que «la place de l'Étoile» n'est pas un rond-point à proprement parler, même s'il s'agit d'un «carrefour giratoire». Et d'ailleurs, les automobilistes ne peuvent l'ignorer: la circulation autour de l'Arc de triomphe doit respecter «la priorité à droite», alors que sur tous les ronds-points de France et de Navarre le conducteur déjà engagé dans le circuit est prioritaire vis-à-vis de celui qui...
D’où vient la passion française pour les ronds-points ?Ces carrefours délaissés ont pris la lumière avec le mouvement des gilets jaunes, entamé il y a un an. Pas tout à fait étonnant : la passion de l’Hexagone pour les ronds-points est sans égale.À leur évocation, les mêmes mots fusent bien souvent : moches, verrues, béton, vide, périphérie. Les ronds-points, ces carrefours emblématiques de nos villes modernes, ont ceci de paradoxal qu’ils sont à la fois un objet de détestation généralisée et une véritable passion de l’urbanisme français récent. Combien ? La question, fréquente, n’est pas facile à trancher. Les estimations du nombre de giratoires en France vont du simple au double.Pour ce dossier, nous avons opté pour un indicateur accessible à tous et qui permet la comparaison : les cartes contributives OpenStreetMap, une base de données ouverte et alimentée par des centaines de milliers d’internautes. Le chiffre n’est pas d’une exactitude absolue : il peut être surévalué ou sous-évalué par endroits. Malgré ces biais, il a le mérite d’offrir un ordre de grandeur par région et par pays. Et d’asseoir ce que chacun suppose : oui, la France a une affection toute particulière pour les ronds-points.La France compte 30.001 ronds-points et Paris un seul aux Champs-Élysées
O Parque da Lajinha tem 880.000m2 que se dividem em jardins, trilhas, lago, duas cachoeiras e área de mata nativa. Parque municipal, fundado em 1983, é um ótimo local para descanso e caminhadas.
Quiosques com banheiros e bebedouros, academia ao ar livre para exercícios, área para grandes eventos com palco permanente, orquidário e dois antigos bondes oferecem opções de lazer aos visitantes. Além disso, há no local um Centro de Educação Ambiental, com biblioteca voltada para os alunos da rede municipal de ensino e um relógio de sol.
A fauna do Parque da Lajinha é composta, predominantemente, por aves, peixes, répteis, artrópodos e mamíferos de pequeno e médio porte, vivendo soltos pela vegetação local. Em sua mata nativa destacam-se árvores como araucárias, eucaliptos, garapas e angicos. Além disso há bambuzais espalhados em volta do lago.
Especialistas em ecologia oferecem, com agendamento prévio, visitas guiadas nas trilhas do parque para escolas e grupos interessados em conhecer a natureza do local.
O parque é policiado pela Guarda Municipal de Juiz de Fora e não é permitido entrar no local com bebidas alcoólicas, equipamentos de som, bicicletas e velas. Menores de 14 anos só podem visitar o parque acompanhados por responsáveis.
Desde 1998 há a intenção de transformar o local num Zoológico, mas os custos para sua criação e manutenção inviabilizaram, até o momento, a execução do projeto.
My friend Olalla Carrillo and I made this video just for fun a few sunny weeks ago.
Watch in Youtube HD here:
www.youtube.com/watch?v=qqvedw_lUFc
We did have some technical problems so the quality is not as good as it should, we're sorry.
And please, read below:
Music is courtesy of Felizonia.
Please, check the band here if you liked the music :)!
www.facebook.com/felizoniagrupo?fref=ts
Dresses are courtesy of Vintage and Coffee.
And here is their page, in case you loved them!
www.facebook.com/vintageandcoffee?fref=ts
love!
—Y
Permanently growing demand seemed to support the case for aggressive farm expansion a few years ago, but the commodity boom is now over and the finances of many producers have become perilous.
In spring of 2007, the Albertina also received the previously based in Salzburg "Batliner Collection" as unrestricted permanent loan. The collection of Rita and Herbert Batliner includes important works by modern masters, from French impressionism to German expressionism of the "Blue Rider" and the "bridge" to works of the Fauvist or the Russian avant-garde from Chagall to Malevich.
de.wikipedia.org / wiki / Albertina_ (Vienna)
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Veranstaltung mit Izabela Uhl – Professional Beauty in Hamburg Wandsbek.
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Telefon: 040 60 53 48 01
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E-Mail: beauty@izabela-uhl.de
Internet: www.izabela-uhl.de
© 2011 Thomas Ulrich / LoboStudio Hamburg
zur freien Verwendung im Rahmen der Berichterstattung über das Studio Izabela Uhl – Professional Beauty und der Kooperation zwischen diesem und der BEWEI Bodyform-Lounge. Bitte Autorenvermerk und Belegexemplar!!!
This Bald Eagle cannot be released back into the wild due to injuries too severe for it to survive on it's own.
Permanence de l'artiste dans son expo à l'Espace Caboch'Art, à Draguignan, en janvier 2016
Pour voir les images Gif tirées du film : herve-germain.blogspot.fr/2016/12/state-of-progress-14.html
Film en entier sur YouTube : www.youtube.com/watch?v=eQUALKP_YXA
1ère Partie : www.flickr.com/photos/monsieur-g/31372615520/in/photostream/
This is my UK permanent resident visa, which is the visa that allows me to be in the UK. It's current and has no expiration date so I've tried to spoil it so it would be harder for someone to copy.
Note that the visa does not have my name or even my photograph on it. There are quite legitimate criticisms of the UK immigration system, namely that it is ridiculously easy to forge visas and that they're insecure.
I disagree that it's easy to forge them, but it would be easy for someone to remove the visa from my passport and put it in their own. Since there's no name or photo, how would immigration know that the visa was stolen? I think the Home Office needs to get their act together regarding visas; they're just not secure enough.
HISTORY UPDATED - Permanently retired.
Replacing an earlier scanned photo with a better version 05-Dec-21 (DeNoise AI).
'go again' titles, left side ('lets go' titles on the right side).
Note: Go Fly Ltd was a 'low-cost' airline founded by British Airways in 1998 to compete with other low-cost airlines such as easyJet. It was based at London-Stansted. The company was sold by BA in a Management 'Buy Out' in 2001. It didn't help and Go Air was bought by it's rival, easyJet, in Dec-02 and was completely merged into easyJet's operations by 2005.
This aircraft was delivered to the GPA Group Ltd and leased to Philippine Airlines as EI-BZK in May-90. ownership was transferred to GECAS Technical Services in Jul-97. The aircraft was returned to GECAS in Jun-98 and leased to Go Fly (UK) as G-IGOA the following month.
Go Fly was merged into the easyJet Airline Company in Dec-02 and the aircraft was returned to the lessor in Jun-04 and stored. It was leased to AirAsia (Malaysia) as 9M-AAY in Sep-04.
It was returned to the lessor in May-08 and sold on the same day to Nordic Aviation Contractor A/S as OY-JTD and leased to JetTime A/S a few days later. It was fitted with blended winglets in Nov-08.
The aircraft was wet-leased to Arkefly (TUI Airlines Netherlands) in Jul-15 for two months, returning to JetTime at the end of Aug-15. It was returned to the lessor in Oct-17 and stored at Lasham, UK.
In Dec-17 it was sold to TAG Aviation (Stansted) Ltd as G-CKTH and remained stored at Lasham until it was sold to Maleth Aero (Malta) as 9H-ZAK in May-18.
It was fitted with a CIP interior and painted at Bournemouth, UK. The aircraft entered service in Jul-18 and operated on behalf of Orix Jet (UK). It was stored at Stansted, UK in Mar-20 due to the COVID-19 Pandemic.
It was returned to Vallair Ltd as N539CC in Oct-21 after 31 years in service and donated to the Nanchang Hangkong University, China in Nov-21 for use as a ground trainer. Updated 05-Dec-21.
Nicolas de Rivière, Permanent Representative of France to the United Nations, briefs reporters ahead of the Security Council meeting on the maintenance of peace and security of Ukraine.
UN Photo/Mark Garten
5 May 2022
New York, United States of America
Photo # UN7932737
The Ganden Sumtsenling Monastery, also known as Sungtseling and Guihuasi (Tibetan: དགའ་ལྡན་སུམ་རྩེན་གླིང་, dga' ldan sum rtsen gling, Chinese: 松赞林寺 Sōngzànlín Sì), is a Tibetan Buddhist monastery situated 5 kilometres from the city of Zhongdian at elevation 3,380 metres in Yunnan province, China. Built in 1679, the monastery is the largest Tibetan Buddhist monastery in Yunnan province and is sometimes referred to as the Little Potala Palace. Located in the capital of Diqing Tibetan Autonomous Prefecture, it is also the most important monastery in southwest China.
It belongs to the Yellow Hat sect of Tibetan Buddhism of the Gelukpa order of the Dalai Lama. The Fifth Dalai Lama's Buddhist visionary zeal established the monastery in Zhongdian, in 1679. Its architecture is a fusion of the Tibetan and Han Chinese. It was extensively damaged in the Cultural Revolution and subsequently rebuilt in 1983; at its peak, the monastery contained accommodation for 2,000 monks; it currently accommodates in its rebuilt structures 700 monks in 200 associated houses.
Because of the popularity of James Hilton's novel Lost Horizon (novel) (1933), which introduced Shangri-La and is said have been written on an inspirational theme of "the Tibetan Buddhist Scriptures, where human beings, animals, and nature lived in harmony under the rule of a Tibetan", the Chinese authorities changed the name of Zhongdian County to Shangri-La County in 2001, basically to encourage tourism. The earlier names were – the Zhongdian (建塘镇 Jiàntáng Zhèn) to the Chinese, and Gyalthang (Standard Tibetan: རྒྱལ་ཐང་རྫོང་) to the Tibetans, of the town which has predominantly Tibetan population. The name of the county's capital town was similarly changed from Jiantang to Shangri-la. The ambiance of the town is distinctly Tibetan with prayer flags fluttering, mountains known by holy names, lamaseries and rocks inscribed in Tibetan language with Buddhist sutras.
GEOGRAPHY
The monastery, with a group of structures packed together on a rolling farm land, located in the town of Jiantang in the Yunnan province, now renamed as Shangri-la town in the renamed Shangri-la county, is in the heart of the mountain range known as Hengduan Mountain Range; it is part of the Mount Baimang Nature Reserve in Yunnan province but the monastery does not have snow covered backdrop. It is delimited in the north west contiguously by Tibet, to the north by Muli and Ganzi, on the west by the Salween River Lisu Autonomous Prefecture, on its south by the Lijiang; the populace is an amalgam of Tibetans, Hui, Bai, Naxi and Han. The town is located on the famous Southern Silk Road, which originates in Sichuan province in the north, crosses Yunnan province and goes to Vietnam.
Well established road links exist from Shangri-la to Lhasa, Litang, Dali and Tibetan Sichuan. It is 198 kilometres to the northwest of Lijiang. Shangri-La is also well connected by air with Lhasa and Kunming from its airport known as Shangri-La Diqing Airport, which is 7 kilometres to the south of the town in the Diqing Tibetan Autonomous Prefecture. However, there are no rail links at present. The monastery is an hour's walk from the Shangri-la town and is a major attraction for tourists and the change of name of the town to Shangri-la and the impressive Monastery complex are stated to have encouraged tourism to this place.
HISTORY
The Sumtseling monastery belonging to the Gelukpa order of Buddhism was established by the Fifth Dalai Lama in 1679. It was built during the rule of the Qing dynasty Kangxi Emperor (r.1662-1722). He fully patronized the development of this monastery. It is also said that the emperor was associated in the reincarnation search for the Seventh Dalai Lama.
In the 1930s, the monastery had provided full support to the Communist general He Long who passed through this area during his campaign. However, in 1959, the People's Liberation Army (PLA) of China bombed the monastery during their invasion of Tibet. Since 1981, the situation has changed, the monastery buildings have been mostly restored and normality prevails.
STTRUCTURES
The Monastery built in the 17th century as the largest Buddhist monastery in Yunnan province, after a revelation by the Fifth Dalai Lama is in accordance with Tibetan traditional architectural style. It has six main structures including eight colleges. The entrance gate is at the foot of the hill and provides access to the main hall of the monastery through 146 steps.
In the main hall of the monastery, more than 1500 monks congregate to recite the Buddhist scriptures. This hall houses a plethora of scriptures written on palm leaves, a gilded statue of Shakyamuni Buddha which is 8 metres tall at the main altar along with paintings depicting the life of Buddha. The altar has permanent decorated by yak butter lamps.
The monastery has two major lamasery buildings – Zhacang and Jikang – apart from several smaller lamaseries. Numerous living rooms have also been built for the monks to reside. The main monastery structure built in Tibetan style has a gilded copper roof similar to the one at the Potala Monastery in Lhasa. The other buildings in the complex are built in Han Chinese style.
The road from the old town of the city, leads to the scripture chamber (Gucheng Zangjingtang), which was earlier a Red Army Memorial hall to commemorate the Red Army's long march in the 1930s. At the opposite end of this hall, across the street is the Gulshan Park (Gulshan Gongyuan), which has a monastery with a commanding view of the town and its surroundings. Further along the road, known as the 'Changzeng Lu' 2 kilometres long north-south trending street with intersecting roads laid in grid pattern) to the extreme south, is another temple. Passing through this street leads to gardens and a pavilion; and further to the north on a hill, there is a Chorten (Tibetan stupa). The east west road 'Tuanje Jie' leads to many smaller temples at the south end around the old town.
FESTIVALS
The Gedong Festival is held in the precincts of the monastery annually on 29 November when devotees from the region attend to worship and also to witness the religious mask dances – the Cham dance – that are performed by the monks in colourful costumes depicting deities, ghosts and animals.
A three-day 'Horse Racing Festival' also known as 'Heavenly Steed Festival' is held at Zandiaong, some time in June (according to the lunar calendar: 5th day of the 5th month), to the south east of the town, which involves dancing, singing and eating, in addition to the racing of horses. Horse traders assemble here in their finest attire of furs and silks. Families of villagers camp in tents at the designated horse racing meadow land at an elevation of 3,288 metres.
A new festival introduced in 1990s is called the 'Minority Festival' held in September when artists from neighbouring districts and Tibet participate to present their art forms.
___________________________________________
Shangri-La is a county-level city in northwestern Yunnan province, People's Republic of China and is the location of the seat of the Dêqên Tibetan Autonomous Prefecture.
NAME
In the second half of the 20th century Shangri-La was called Zhongdian (Chinese: 中甸 Zhōngdiàn) but was renamed on 17 December 2001 as Shangri-La (other spellings: Semkyi'nyida, Xianggelila, or Xamgyi'nyilha) after the fictional land of Shangri-La in the 1933 James Hilton novel Lost Horizon, in an effort to promote tourism in the area. The original Tibetan population previously refers to this place by its traditional name Gyalthang or Gyaitang (Standard Tibetan: རྒྱལ་ཐང།; Wylie: rgyal thang, ZWPY: Gyaitang), meaning "Royal plains". This ancient name is reflected in the Tibetan Pinyin name of the town of Jiantang (建塘; Jiàntáng), the county seat.
TOWNS
Jiantang Town
Zhongdian Town
Hutiaoxia Town
Jinjiang Town
Luoji Township
In the early morning of January 11, 2014, a fire broke out in the 1,000-year-old Dukezong Tibetan neighborhood. About 242 homes and shops were destroyed and 2,600 residents were displaced. About half of the old town was destroyed by the fire, half was spared. After the fire residents were allowed back to their homes and shops. By the end of 2014 rebuilding had started and tourism started to come back. Generally tourism was not affected by the fire, since the main sights in the old town, such as the prayer wheel and temples were not damaged. Many of the other main sights are located outside of the old town.
CLIMATE
Shangri-La has a monsoon-influenced humid continental climate (Köppen Dwb), due to the high elevation. Winters are chilly but sunny, with a January 24-hour average temperature of −3.2 °C, while summers are cool, with a July 24-hour average temperature of 13.5 °C, and feature frequent rain; more than 70% of the annual precipitation is delivered from June to September. The annual mean is 5.85 °C. Except during the summer, nights are usually sharply cooler than the days. Despite the dryness of the winter, the small amount of precipitation is generally sufficient to cause major transportation dislocations and isolate the area between November and March. Being located just 27° in latitude from the equator, the effects of altitude on the climate are so exceptional that it actually means the average yearly temperature is 2.5°C lower than that for Bergen, Norway, located as much as 60° from the equator.
NATIONAL PARK
Pudacuo National Park, the first national park in China to meet IUCN standards, is part of the Three Parallel Rivers of Yunnan Protected Areas World Heritage Site.
TRANSPORT
The town's airport is Diqing Airport. Covering an area of 225 hectares, it is one of the biggest airports in the northwest of Yunnan. There are flights to Kunming, Chengdu, Lhasa, Guangzhou and Shenzhen.
Since there is no railway available in Shangri-la, taking a long-distance bus is also a major means to get to Shangri-la besides flight. It takes about 4 hours to get to Shangri-la from Lijiang by bus.It is also advised to rent a car so that tourists could also visit the Tiger Leaping Gorge and the First Bend of Yangtze River on the way.
Many travelers use the county town as a gateway into Tibet, either travelling many days overland by jeep to Lhasa, or by flying from the city's airport. However, the town itself is a tourist destination, primarily due to the nearby Gandan Sumtseling Monastery, Ganden Sumtsen Ling, 松赞林寺 Sōngzànlín Sì), Pudacuo National Park, and Tiger Leaping Gorge.
China National Highway 214
WIKIPEDIA
Shackles very thick and heavy which are scary and degrading to think a person can be shackled and manacled like this
Veranstaltung mit Izabela Uhl – Professional Beauty in Hamburg Wandsbek.
Izabela Uhl – Professional Beauty
Permanent Make-Up auf höchstem Niveau mit Produkten des vielfach ausgezeichneten Unternehmen RISO. Für Allergiker und hypersensible Hauttypen. Die ersten Pigmentierfarben, die auch Ihr Arzt empfehlen würde. Kosmetische und medizinische Fußpflege mit Wellnessfaktor und hochwertiger Nails-Art und Nageldekorationen in Hamburg Wandsbek.
Izabela Uhl – Professional Beauty
Walddörferstrasse 92
22041 Hamburg
Telefon: 040 60 53 48 01
Mobil: 0173 2 33 08 11
E-Mail: beauty@izabela-uhl.de
Internet: www.izabela-uhl.de
© 2011 Thomas Ulrich / LoboStudio Hamburg
zur freien Verwendung im Rahmen der Berichterstattung über das Studio Izabela Uhl – Professional Beauty und der Kooperation zwischen diesem und der BEWEI Bodyform-Lounge. Bitte Autorenvermerk und Belegexemplar!!!
Scenes from the side event “Peace Building and Well-Being Processes to Contribute to the Eradication of Violence Against Indigenous Women” held during the UN Permanent Forum on Indigenous Issues at UN Headquarters on 28 April 2017.
Participants included:
Cristiane Juliao Pankararu, Brazil (moderator)
Monica Michelana (spiritual ceremony)
Joan Carling, Board Member FIMI
Nwe Oo, Bangladesh Indigenous Women’s Network (BIWN)
Celerina Sanchez, Alianza de Mujeres Indegenas de Centro America y Mexico
Victoria Tauli-Corpuz, UN Special Rapporteur on the Rights of Indigenous Peoples
Buba Balkisou, Network for Indigenous and Local Communities for Sustainable Management of Forest Ecosystems in Central Africa (REPALEAC Cameroon)
Rune Fjelheim, Director General of Samediggi - Sami Parliament
Maria Noel Vaeza, Director, Programme Division, UN Women
Photo: UN Women/Ryan Brown
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.
Crew members thread strands of the permanent cables through saddles in the tower pylons. The project's recent BridgeView episodes explain this process. You can view them here -- www.trimet.org/pm/library/videos.htm
Licensed for all uses by TriMet.
Vassily Nebenzia, Permanent Representative of the Russian Federation to the United Nations, is followed by journalists asking him questions ahead of the Security Council meeting on the maintenance of peace and security of Ukraine.
UN Photo/Mark Garten
5 May 2022
New York, United States of America
Photo # UN7932733
Comparecencia del secretario de Hacienda, Ernesto Cordero Arroyo, y del director general de Petróleos Mexicanos, Juan José Suárez Coppel, ante la Comisión Permanente del Congreso de la Unión. Participación de diputados priistas.
The Lobkowicz Palace[1] (Czech: Lobkowický palác) is a part of the Prague Castle complex in Prague, Czech Republic. It is the only privately owned building in the Prague Castle complex and houses the Lobkowicz Collections and Museum.
The palace was built in the second half of the 16th century by the Czech nobleman Jaroslav of Pernštejn (1528–1569) and completed by his brother, Vratislav of Pernštejn (1530–1582), the chancellor of the Czech Kingdom. It was opened to the public for the first time on 2 April 2007 as the Lobkowicz Palace Museum. Set in 22 galleries, the museum displays a selection of pieces from the Lobkowicz Collections, including works by artists such as Antonio Canaletto, Pieter Brueghel the Elder, Lucas Cranach the Elder, and Diego Velázquez, as well as decorative art, military paraphernalia, musical instruments, and original scores of composers including Beethoven and Mozart.
History
Lobkowicz Palace was built in the second half of the 16th century by the Czech nobleman Jaroslav of Pernštejn (1528-1569) and completed by his brother, Vratislav of Pernštejn (1530–1582), the chancellor of the Czech Kingdom. Vratislav's wife, Maria Maximiliana Manrique de Lara y Mendoza, brought the Infant Jesus of Prague statue, thought to have healing powers, from her homeland of Spain to the Palace. The statue was later given by Vratislav and Maria Maximiliana's daughter, Polyxena (1566-1642), to the Church of Our Lady Victorious in Prague, where it remains on display as a popular tourist attraction. A replica of the Infant Jesus of Prague is on permanent display in the Lobkowicz Palace Museum.
Martinic, in the Lobkowicz Palace on 23 May 1618, Rudolf Vejrych after Václav Brožík
The Palace came into the Lobkowicz family through the marriage of Polyxena to Zdeněk Vojtěch, 1st Prince Lobkowicz (1568-1628). In 1618, Protestant rebels threw the Catholic Imperial Ministers from the windows of the Royal Palace at Prague Castle, known as the Second Defenestration of Prague. Surviving the fall, the ministers took refuge in Lobkowicz Palace, where they were protected from further assault by Polyxena.
Following the defeat of the Protestant faction at the Battle of White Mountain in 1620, the Catholic Lobkowicz family grew in influence and power for the next three centuries. Lobkowicz Palace took on a more formal, imperial role and functioned as the Prague residence when the family needed to be present at the seat of Bohemian power for political and ceremonial purposes. With the exception of the 63 years (1939-2002) during which the property was confiscated and held by Nazi and then Communist authorities, the Palace has belonged to the Lobkowicz family.
After World War I, and the abolition of hereditary titles in 1918, Maximilian Lobkowicz (1888-1967), son of Ferdinand Zdenko, 10th Prince Lobkowicz (1858-1938), demonstrated his support for the fledgling First Republic of Czechoslovakia by making several rooms at the palace available to the government headed by Tomas G. Masaryk. In 1939, the occupying Nazi forces confiscated the Palace, along with all other Lobkowicz family properties. The Palace was returned in 1945, only to be seized again after the Communist takeover in 1948. For the next forty years, the Palace was used for a variety of purposes, including State offices and as a museum of Czech history.
After the Velvet Revolution of 1989 and the fall of the Communist government, President Václav Havel enacted a series of laws that allowed for the restitution of confiscated properties. Following a twelve-year restitution process, the palace returned to the ownership of the Lobkowicz family in 2002. On 2 April 2007, after four years of restoration and refurbishment, the palace was opened to the public for the first time as the Lobkowicz Palace Museum, home to one part of The Lobkowicz Collections. The 17th century baroque Concert Hall of the Lobkowicz Palace hosts regular concerts of classical music, and the premises are also used for weddings.
Architecture
After the Thirty Years War, the Palace underwent a number of significant changes, particularly under Václav Eusebius, 2nd Prince Lobkowicz. He was responsible for the palace’s significant baroque alterations and some of its more lavishly decorated salons. Václav Eusebius redesigned the palace in the Italianate style. His design influence can be seen today in the Imperial Hall, whose walls are painted in fresco with trompe l'oeil statues of emperors surrounded by geometric designs, floral and other decorative motifs. Additional examples of the Italianate style are the Concert Hall and the Balcony Room, whose ceilings are adorned with elaborate painted stuccowork and frescoes by F.V. Harovník.
In the 18th century, Joseph František Maximilian, 7th Prince Lobkowicz commissioned the reconstruction of the exterior of the Palace in preparation for the coronation at Prague Castle of Emperor Leopold II as King of Bohemia in 1791. The alterations included the addition of the palace's panoramic balconies. Despite the various alterations made through the years, remnants of original 16th-century murals and graffito work can still be seen in both of the interior courtyards.
The Lobkowicz Collection
Haymaking, Pieter Brueghel the Elder, oil on panel, The Lobkowicz Collections
The oldest and largest privately owned art collection in the Czech Republic, the Lobkowicz Collection draws its significance from its comprehensive nature, reflecting the cultural, social, political and economic life of Central Europe for over seven centuries. In 1907, Max Dvořák, a prominent member of the Vienna School of Art History, created the first complete catalogue of The Collections.[2] After the restitution laws in the early 1990s, the Lobkowicz family was able to reassemble most of the collection, subsequently making it available to the public for the first time.
Paintings
The Lobkowicz Collections comprise approximately 1,500 paintings, including famous works by artists including Pieter Brueghel the Elder, Pieter Brueghel the Younger, Jan Brueghel the Elder, Bellotto,[which?] Lucas Cranach the Elder, Lucas Cranach the Younger, Diego Velázquez Peter Paul Rubens, Paolo Veronese and Canaletto. The collections also include: an extensive collection of Spanish portraits; Central European portraits by Hans von Aachen and the School of Prague; Dutch, Flemish and German genre paintings; and over 50 paintings and watercolors of Lobkowicz residences by Carl Robert Croll.
The three most prestigious artworks in the collection are Haymaking (1565) by Pieter Brueghel the Elder, and two panoramic views of London by Canaletto. Other notable works include: Hygieia Nourishing the Sacred Serpent (c. 1614) by the Flemish master, Peter Paul Rubens; The Virgin and Child with Saints Barbara and Catherine (c. 1520) by Lucas Cranach the Elder; Christ and the Woman Taken in Adultery (c. 1530) by Lucas Cranach the Younger; Caritas Romana (early-mid 16th century) by Georg Pencz and smaller paintings such as A Village in Winter (c. 1600) by Pieter Brueghel the Younger and St. Martin Dividing his Cloak (1611) by Jan Brueghel the Elder. Venetian painting of the 16th century is represented by Paolo Veronese's David with the Head of Goliath (1575).
The Italian baroque collection includes a prayerful Madonna by Giovanni Battista Salvi, and paintings by Francesco del Cairo, Antonio Zanchi and Giovanni Paolo Pannini. The principal Lobkowicz residences and estates—Roudnice nad Labem, Nelahozeves, Jezeří and Bílina—are depicted in oils and watercolors, commissioned from the 19th-century German painter Carl Robert Croll.
The portraits contained in The Collections reflect the Lobkowicz family's participation in European political and cultural life. The collection includes full-length Spanish portraits of Pernstejns, Lobkowiczes, Rožmberks and related members of European and ruling Habsburg dynasties by painters such as Alonso Sánchez Coello, Juan Pantoja de la Cruz, Jacob Seisenegger and Hans Krell. Among the 17th and the 18th century works in the collection is the Spanish Infanta Margarita Theresa (c. 1655), attributed to Diego Velázquez. Later portraits of members of the Lobkowicz family are by Viennese portraitists of the 19th century such as Franz Schrotzberg and Friedrich von Amerling.
The collection of paintings is accompanied by an extensive collection of graphics and drawings, including a set of engravings of Rome by Giovanni Battista Piranesi.
Decorative Arts
While not as well known as the paintings, books and music associated with the Lobkowiczes, decorative and sacred arts objects, dating from the 13th through the 20th centuries, form a significant part of The Collections.
During the Nazi occupation of Czechoslovakia and the later period of Communist rule, the private chapels in the family’s principal residences were desecrated and their contents dispersed. Important artefacts survived, including a 12th-century reliquary cross of rock crystal and gilded copper. The gold reliquary head of a female saint, possibly St. Ursula, dated c. 1300 and known as the Jezeri Bust, was found in a trunk of theatrical props. It is now on display in the Lobkowicz Palace.
Late-Renaissance and early-baroque ceramics from Italy feature prominently in the collections. Several pieces of colorful Deruta ware are considered to be among the earliest Italian ceramics brought back to Bohemia. Ordered during a trip to Italy in 1551, the pieces are colourfully decorated with an image of a bull, which was the Pernstejn family crest.
By the late 17th century, Chinese hard-paste porcelain had become the great obsession of European rulers and aristocrats. The Dutch workshops at Delft created tin-glazed earthenware that was an early European imitation of the expensive Chinese ware. Around 1680 when he was Imperial Envoy to the Netherlands, Wenzel Ferdinand, Count Lobkowicz of Bilina, commissioned a personalized work, designed with intricate overlapping letters of his initials WL. With 150 pieces, the set is the largest surviving Delft dinner service. A selection of pieces are on display at the Lobkowicz Palace Museum. In the spring of 2000, over sixty pieces from this service were lent to the Rijksmuseum, Amsterdam, to be displayed as part of the "Glory of the Golden Age" exhibition.
The Meissen factory outside Dresden discovered how to produce hard-paste porcelain in the first decade of the 18th century, for the first time outside of Asia. As a result of the factory’s proximity to the Lobkowicz landholdings and castles, 18th and 19th century examples of these porcelain works are prevalent in the collections, ranging from the earlier delicate chinoiserie motifs to the more traditional European elements and designs with fruits and flowers.
Some of the cabinetmaking and marquetry in the Collections come from the Eger craftsmen who worked in Western Bohemia in the 17th century. Several Eger jewelry cabinets are considered among the finest ever produced.[citation needed] Other pieces include caskets, tables and games boards, which are lavishly inlaid with ivory, mother-of-pearl and tortoiseshell, depicting landscapes, animals and classical motifs.
Music
The Music Archive of the Lobkowicz Collection holds over 5,000 items. Originally housed in The Lobkowicz Library at the principal family seat of Roudnice Castle, the entire archive was confiscated, first by the Nazis in 1941, and again by the Communist regime, which sent it to the Museum of Czech Music. In October 1998, the Music Archive was returned to the family in its entirety and moved to Nelahozeves Castle under the auspices of the Roudnice-Lobkowicz Foundation.
The Music Archive, established by Ferdinand August, 3rd Prince of Lobkowicz, was assembled over three centuries by principal members of the family who were not only enthusiastic collectors, but patrons of the arts and also often talented performers. The Music Archive contains works by over five hundred composers and musicians. These include a rare collection of late 17th- and early 18th-century lute, mandolin and guitar scores. This collection, regarded as the world’s largest private collection of baroque music for plucked instruments, has a particularly extensive collection of works by French composers, including Denis and Ennemond Gaultier, St. Luc, Charles Mouton, and Jacques Gallot. The Music Archive is most noted, however, for its late 18th- and early 19th-century collection, including works by Handel, Mozart, Haydn and Beethoven, including Beethoven’s Third (Eroica), Fourth and Fifth symphonies, and Mozart’s hand written re-orchestration of Handel’s Messiah.
Philip Hyacinth, 4th Prince of Lobkowicz, and his second wife, Anna Wilhelmina Althan, were both distinguished lutenists and the prince an accomplished composer as well. Both were both taught by some of the finest contemporary lutenists, including Sylvius Leopold Weiss and Andreas Bohr, and their fine period instruments remain part of the collections. Their son, Ferdinand Philip, the sixth prince, played the glass harmonica and championed the son of one of the family's foresters, the opera composer Christoph Willibald Gluck.
The family member who had the greatest impact on the history of Western music, however, was the 7th Prince, Joseph Franz Maximilian. A talented singer, violinist and cellist, the 7th Prince was the major patron of Beethoven, who dedicated his Third (Eroica), Fifth, and Sixth (Pastoral) symphonies to the Prince, as well as other works. It was the annual stipend provided by the Prince (and continued by his son until the composer’s death), supplemented by support from the Archduke Rudolf and Prince Kinsky, that allowed Beethoven the freedom to compose without dependence on commissions and time-consuming teaching.[citation needed]
In addition to the manuscripts and printed music, the Collections include musical instruments from house orchestras that performed in the various family residences at Jezeří and Roudnice nad Labem in Northern Bohemia, as well as in Vienna. Also on display are lutes from the 16th and 17th centuries by Maler, Tieffenbrucker and Unverdorben; a 17th-century guitar; violins of Italian, German and Czech origin (Gasparo da Salo, Jacob Stainer, Eberle, Hellmer, Rauch); contrabasses from Edlinger[disambiguation needed] and Jacob Stainer; Guarneri and Kulik violoncelli; 18th-century Viennese wind instruments and a pair of copper martial kettledrums. A rare item in the collection is a suite of six elaborately decorated silver trumpets made in 1716 by Michael Leichamschneider of Vienna – one of only two documented sets in existence.
The Nelahozeves Castle Music Room displays a spinet, a contrabass by Posch[disambiguation needed] and other string instruments as well as two pairs of copper and bronze kettledrums.
Military equipment
Hunting was an important activity for Central European nobility from the late Renaissance period onwards, and all of the major Lobkowicz properties served as venues for hunting. Bearing witness to these hunting parties and their participants are hundreds of mounted trophies in the Lobkowicz Collections, dating from the 18th to the early 20th centuries. The social aspects of the hunt are also reflected in the numerous paintings and graphics by local artists in the collection, among them pictures of favourite horses, dogs and trophies. The central part of the hunting-related exhibitions, however, is the firearms themselves, which are displayed in two armoury rooms at Lobkowicz Palace, while further items from the collection are held at Nelahozeves Castle.
The majority of these rifles and pistols were produced locally for the family between 1650 and 1750, by the 17th-century Prague workshops of Adam Brand, Paul Ignatius Poser, the Neireiter family and Leopold Becher, as well as Roudnice craftsmen such as Johannes Lackner and Adel Friedrich during the mid-18th century. These exhibits reflect the patronage of the Lobkowicz family, who provided the gun makers with large orders for guns for many centuries.
The collection features a group of identical flintlock rifles produced for the Lobkowicz Militia in the 18th century, one of the largest collections of such items. Additional weapons came from Silesia, while the most elaborate 18th-century rifles and pistols (some in the Turkish manner) with mother-of-pearl inlay were produced in Vienna. Goldsmiths and silversmiths specializing in inlay were employed to decorate guns, rifles, crossbows and powder flasks of the finest quality.
The palace housed an exhibition of the work Illustrated geography and history of Bohemia by Bavarian cartographer Mauritius Vogt. The exhibition ran until 31 May 2015.
Lobkowicz Collections o.p.s.
In 1994, a non-profit organisation, Lobkowicz Collections o.p.s. (previously the Roudnice Lobkowicz Foundation), was established to curate and maintain the Lobkowicz Collection, recently returned to the family after the Velvet Revolution. The organisation also works to provide access to the art, music and literature contained in the collection to academic researchers and the general public. Lobkowicz Collections o.p.s. has co-ordinated the installation of the collections at both Lobkowicz Palace and Nelahozeves Castle.
The organisation's responsibilities include:
•overseeing the preservation and installation of the objects in The Collections
•developing education programs for students
•promoting and facilitating academic research around The Collections
•administering loans to other cultural institutions
•curating exhibitions of works included in the collections for the public
Significant restoration projects include the restoration of Peter Paul Rubens’ Hygieia Nourishing the Sacred Serpent, restored by Hubert von Sonnenburg of the Metropolitan Museum of Art. This project was funded by the American Friends for the Preservation of Czech Culture (AFPCC).
Lobkowicz Collections o.p.s. also administers lending of artworks to exhibitions. Since 1993, over 200 works of art have been lent to museums in the Czech Republic and abroad, including the Metropolitan Museum of Art in New York, the National Gallery of Art in Washington DC, the Royal Academy of Art in London and the Rijksmuseum in Amsterdam.
Veranstaltung mit Izabela Uhl – Professional Beauty in Hamburg Wandsbek.
Izabela Uhl – Professional Beauty
Permanent Make-Up auf höchstem Niveau mit Produkten des vielfach ausgezeichneten Unternehmen RISO. Für Allergiker und hypersensible Hauttypen. Die ersten Pigmentierfarben, die auch Ihr Arzt empfehlen würde. Kosmetische und medizinische Fußpflege mit Wellnessfaktor und hochwertiger Nails-Art und Nageldekorationen in Hamburg Wandsbek.
Izabela Uhl – Professional Beauty
Walddörferstrasse 92
22041 Hamburg
Telefon: 040 60 53 48 01
Mobil: 0173 2 33 08 11
E-Mail: beauty@izabela-uhl.de
Internet: www.izabela-uhl.de
© 2011 Thomas Ulrich / LoboStudio Hamburg
zur freien Verwendung im Rahmen der Berichterstattung über das Studio Izabela Uhl – Professional Beauty und der Kooperation zwischen diesem und der BEWEI Bodyform-Lounge. Bitte Autorenvermerk und Belegexemplar!!!
Replacing an earlier digital photo with a better version 23-Oct-19, plus Topaz DeNoise AI 30-Jan-24.
Landing on the far runway with quite a bit of heat shimmer!
A purpose built freighter, this aircraft was first flown in Feb-99 with the McDonnell Douglas test registration N9030Q.
It was stored at Kingman, AZ, USA after it's 1st flight and returned to Longbeach, CA, USA prior to delivery to EVA Air Cargo as B-16113 in Aug-99.
After only 16 years in service the aircraft was permanently retired at San Bernardino, CA, USA in Mar-15. It was last noted still at San Bernardino in Oct-16.
My Mamiya 80mm f/1.9 decided that it would be better off in two pieces a couple weeks ago, so I planned out and built this tilt-shift deal with the important half of the lens. The bellows is a cut down VW beetle shift boot from ebay. It works surprisingly well! And is much more durable than version 1.0.
Veranstaltung mit Izabela Uhl – Professional Beauty in Hamburg Wandsbek.
Izabela Uhl – Professional Beauty
Permanent Make-Up auf höchstem Niveau mit Produkten des vielfach ausgezeichneten Unternehmen RISO. Für Allergiker und hypersensible Hauttypen. Die ersten Pigmentierfarben, die auch Ihr Arzt empfehlen würde. Kosmetische und medizinische Fußpflege mit Wellnessfaktor und hochwertiger Nails-Art und Nageldekorationen in Hamburg Wandsbek.
Izabela Uhl – Professional Beauty
Walddörferstrasse 92
22041 Hamburg
Telefon: 040 60 53 48 01
Mobil: 0173 2 33 08 11
E-Mail: beauty@izabela-uhl.de
Internet: www.izabela-uhl.de
© 2011 Thomas Ulrich / LoboStudio Hamburg
zur freien Verwendung im Rahmen der Berichterstattung über das Studio Izabela Uhl – Professional Beauty und der Kooperation zwischen diesem und der BEWEI Bodyform-Lounge. Bitte Autorenvermerk und Belegexemplar!!!
Fórum Político Permanente da Saúde - FPPS - 10 anos Coalisão Saúde
Vice-Presidente da República Geraldo Alckmin durante Fórum Político Permanente da Saúde - FPPS, no Restaurante NAU, em Brasília-DF.
Fotos: Júlio César Silva/MDIC
Enfermée dans cette dualité permanente. Elle m'épuise.
Si le père Noël pouvait déposer une baguette magique pour faire disparaitre ce "il" et tout recommencer depuis le début.
Bourton-on-the-Water is a village and civil parish in Gloucestershire, England, that lies on a wide flat vale within the Cotswolds Area of Outstanding Natural Beauty. The village had a population of 3,296 at the 2011 census. Much of the village centre is a designated Conservation Area.
Bourton-on-the-Water's high street is flanked by long wide greens and the River Windrush that runs through them. The river is crossed by five low, arched stone bridges. They were built between 1654 and 1953, leading to the nickname of "Venice of the Cotswolds"
The village often has more visitors than residents during the peak tourist season. Some 300,000 visitors arrive each year as compared to under 3,500 permanent residents.
There are three churches, Our Lady and St Kenelm Roman Catholic Church, Bourton-on-the-Water Baptist Church and St Lawrence, Church of England. The latter is usually open to visitors during the week. It is a Grade II listed building. A part of it was built in the 14th century but major modifications were made in the 1780s and in the late 1800s.
Educational institutions include Bourton-on-the-Water Primary School and the Cotswold School, a co-educational comprehensive school.
An electoral ward of the same name exists and includes Cold Aston in addition to Bourton. The total population of the ward at the 2011 census was 3,676. The village itself had 3,296 people; the estimated population in mid-2016 was 3,482.
Bourton-on-the-Water parish is bounded by the Fosse Way along the northwest, while the eastern boundary is defined by a series of brooks, namely Slaughter Brook, the River Dikler and the River Windrush. The southern boundary is associated with a watercourse that runs between Bourton Hill and Broadwater Bottom.
The earliest evidence of human activity within the Bourton-on-the-Water area was found in the Slaughter Bridge gravel-spread, where Neolithic pottery (dated c. 4000 B.C.) was discovered. Moreover, excavations of the Salmonsbury Camp give evidence of almost continuous habitation through the Neolithic period, the Bronze Age and throughout England's Roman period (c. 43 to 410 A.D.). A Roman road, Icknield Street (also known as Ryknild Street), ran from the Fosse Way at Bourton-on-the-Water to Templeborough in South Yorkshire. Ancient Roman pottery and coins discovered in the village itself give clear evidence of extended Roman occupation. By the 11th century a Christian church, Norman, was established and the village had developed along the River Windrush much as it is today. Centuries earlier, a Saxon timber church was located on that site in about AD 708, built on the site of an old Roman temple. Some of the St Lawrence church on that site today was built in the 14th century but most of it is from the 17th and 18th centuries.
The village was served by a passenger railway between 1862 and 1962. Tourism did not become a significant factor in the village until the 1920s and 1930s. The Model Village opened in 1937. There was a significant increase in the population between 1931 and 1951.
Following the formation of the Territorial Force in 1908, the town, for recruiting, was granted to the Royal Gloucestershire Hussars. Following this formation the regiment maintained a troop from B Squadron. Today the regiment, now a squadron of The Royal Wessex Yeomanry, continues to recruit from this area.
The houses and shops in the village are constructed of the ashlar yellow limestone characteristic of the Cotswolds and they have the embellishments that make Cotswold architecture so picturesque: projecting gables, string-courses, windows with stone mullions, dripmoulds and stone hoodmoulds over the doors.
Parts of the James Bond movie Die Another Day (2002) were filmed in the car park at Bourton-on-the-Water and on the nearby ex-RAF aircraft runway at RAF Little Rissington.
The small historic core of Bourton-on-the-Water along with associated areas along the River Windrush have been designated a UK Conservation Area.
Salmonsbury Camp, a nearby Iron Age habitation, is designated a UK National scheduled monument (SAM 32392).
English Heritage designates 114 buildings within Bourton-on-the-Water; all have Grade II or Grade II* listed status. (Grade II* indicates particularly important buildings of more than special interest.)
During the summer, a game of medieval football is played with goalposts set up in the River Windrush itself. Two teams play with a standard football and a referee attempts to keep order. Crowds line the banks of the river and the aim is to score as many goals as possible (while getting everyone else as wet as possible).
The model village is a 1:9 replica of the village and includes a model of the model village itself (a model within a model). It was built by local craftsmen in the 1930s, and opened in 1937. The model village was awarded Grade II listed status in 2013 in recognition of its uniquely precise details and the genuine building materials and methods used, which replicate those used in the construction of the life-size village.
The model railway
The Cotswold Motoring Museum (home of Brum)
Birdland Park and Gardens, which has a collection of birds, including penguins, parrots and passerine (perching) birds and a large pond full of salmon which can be fed by the public. There are bird-of-prey displays and a penguin feeding demonstration.
The Dragonfly Maze, designed by Kit Williams
On the fourth Sunday of each month, there is a farmers' market
Oasis' music video "I'm Outta Time" was recorded in the town, and shows Liam Gallagher walking in the countryside of the area, and in the model village and the town.
Long-distance footpaths and local walks start, finish or pass through Bourton-on-the-Water. One such route that begins its 100-mile route north is the Heart of England Way.
The village has its own non-league football club, Bourton Rovers, who play in the Hellenic Football League at the Rissington Road ground.
Local news and television programmes are provided BBC South and ITV Meridian. Television signals are received from the Oxford TV transmitter and the local relay transmitter situated in Icomb. Local radio stations are BBC Radio Gloucestershire, Heart West, Greatest Hits Radio South West, WRFM (Witney Radio) and Cotswolds Radio, community based radio station The town is served by the local newspaper, Cotswold Journal.
Bourton-on-the-Water was first served by rail with the opening of the Bourton-on-the-Water railway in 1862. This was a branch line from Kingham on the Oxford, Worcester and Wolverhampton Railway (OWWR). The station was situated just to the north of the village. The OWWR (and its branch) later amalgamated with the Great Western Railway (GWR) and, in 1881, the branch was extended westwards and formed part of the GWR's Banbury and Cheltenham Direct Railway. The station closed to passengers in 1962 and to goods in 1964.
The closest operating railway station now is in Moreton-in-Marsh. The heritage Gloucestershire Warwickshire Railway uses part of the route of the former Great Western Railway's main line in the Cotswolds; it does not pass through the village.
Notable people
Actor Wilfrid Hyde-White was born in Bourton-on-the-Water in 1903
Major-general Dudley Johnson, British Army officer and Victoria Cross recipient, was born here in 1884 and fought in the First World War (1914–18).
Racing cyclist Sharon Laws, who competed in the 2008 Summer Olympics, grew up in the village.
Composer Edwin Ransford.
The River Windrush is a tributary of the River Thames in central England. It rises near Snowshill in Gloucestershire and flows south east for 65 km (40 mi) via Burford and Witney to meet the Thames at Newbridge in Oxfordshire.
The river gives its name to the village of Windrush in Gloucestershire.
The Windrush starts in the Cotswold Hills in Gloucestershire northeast of Taddington, which is north of Guiting Power, Temple Guiting, Ford and Cutsdean. It flows for about 35 miles (56 km): through Bourton-on-the-Water, by the village of Windrush, Gloucestershire, into Oxfordshire and through Burford, Witney, Ducklington and Standlake. It meets the Thames at Newbridge upstream of Northmoor Lock.
The river-name Windrush is first attested in an Anglo-Saxon charter of 779, where it appears as Uuenrisc. It appears as Wenris and Wænric in charters of 949, and Wenríc in one of 969. The name means 'white fen', from the Welsh gwyn and the Old Celtic reisko.
The river may still host trout, grayling, perch, chub, roach and dace. It held good populations of native crayfish until at least the 1980s. Its waters were used in cloth and woollen blanket making in Witney from mid 17th century. In 2007, it was among many of the district's rivers to flood. It flooded generally but perhaps most acutely in Witney, whose only bridge across the river was submerged. Some decline has been noted, especially in years of release of untreated sewage from plants of Thames Water. The river after drier spells sees algae formations.
The ship HMT Empire Windrush, synonymous with postwar immigration of West Indian people to the UK, was named after the river.
An Area of Outstanding Natural Beauty is one of 46 areas of countryside in England, Wales, or Northern Ireland that has been designated for conservation due to its significant landscape value. On 22 November 2023 the AONBs in England and Wales adopted a new name, National Landscapes, and are in the process of rebranding.
Areas are designated in recognition of their national importance by the relevant public body: Natural England, Natural Resources Wales, and the Northern Ireland Environment Agency respectively. In place of AONB, Scotland uses the similar national scenic area (NSA) designation. Areas of Outstanding Natural Beauty enjoy levels of protection from development similar to those of UK national parks, but unlike national parks the responsible bodies do not have their own planning powers. They also differ from national parks in their more limited opportunities for extensive outdoor recreation.
The idea for what would eventually become the AONB designation was first put forward by John Dower in his 1945 Report to the Government on National Parks in England and Wales. Dower suggested there was need for protection of certain naturally beautiful landscapes that were unsuitable as national parks owing to their small size and lack of wildness. Dower's recommendation for the designation of these "other amenity areas" was eventually embodied in the National Parks and Access to the Countryside Act 1949 as the AONB designation.
The purpose of an AONB designation is to conserve and enhance the natural beauty of the designated landscape.
There are two secondary aims: meeting the need for quiet enjoyment of the countryside and having regard for the interests of those who live and work there. To achieve these aims, AONBs rely on planning controls and practical countryside management. As they have the same landscape quality, AONBs may be compared to the national parks of England and Wales. National parks are well known in the UK; by contrast, there is evidence to indicate many residents in AONBs may be unaware of the status. However, the National Association of AONBs is working to increase awareness of AONBs in local communities, and, in 2014, successfully negotiated to have the boundaries of AONBs in England shown on Google Maps.
There are 46 Areas of Outstanding Natural Beauty in the United Kingdom: 33 in England, four in Wales, one on the England–Wales border, and eight in Northern Ireland. The first AONB was established in 1956 on the Gower Peninsula in South Wales, and the most recent to be designated is the Tamar Valley AONB, established in 1995. More recent changes include the Clwydian Range AONB being extended in 2012 to form the Clwydian Range and Dee Valley AONB, and the Strangford Lough and Lecale Coast AONBs being merged to form a single AONB in 2010.
AONBs vary greatly in terms of size, type and use of land, and whether they are partly or wholly open to the public. The smallest AONB is the Isles of Scilly, 16 km2 (6.2 sq mi), and the largest is the Cotswolds, 2,038 km2 (787 sq mi). AONBs cover around 15% of England and 4% of Wales.
AONBs in England and Wales were originally created under the same legislation as the national parks, the National Parks and Access to the Countryside Act 1949. Unlike AONBs, national parks have special legal powers to prevent unsympathetic development. AONBs in general remain the responsibility of their local authorities by means of special committees that include members appointed by a minister and by parishes, and only very limited statutory duties were imposed on local authorities within an AONB by the original 1949 Act. However, further regulation and protection of AONBs in England and Wales was added by the Countryside and Rights of Way (CRoW) Act 2000, under which new designations are now made,
In the National Planning Policy Framework (March 2012), the government stated that AONBs and national parks have equal status when it comes to planning decisions on landscape issues. Two of the AONBs (the Cotswolds and the Chilterns), which extend into a large number of local authority areas, have their own statutory bodies, known as conservation boards. In 2019 the Glover Report made various recommendations regarding the future of AONBs – the report's 'central proposal' being to bring National Parks and AONBs together as part of one 'family of national landscapes' – but as at 1 November 2020 the government has yet to respond to those recommendations. However, the Cotswolds Conservation Board announced in September 2020 that they were re-styling the area name and it is now known as the Cotswolds National Landscape.
All English and Welsh AONBs have a dedicated AONB officer and other staff. As required by the CRoW Act, each AONB has a management plan that sets out the characteristics and special qualities of the landscape and how they will be conserved and enhanced. The AONBs are collectively represented by the National Association for Areas of Outstanding Natural Beauty (NAAONB), an independent registered charity acting on behalf of AONBs and their partners, which uses the slogan "Landscapes for Life".
AONBs in Northern Ireland was designated originally under the Amenity Lands (NI) Act 1965; subsequently under the Nature Conservation and Amenity Lands (NI) Order 1985.
There are growing concerns among environmental and countryside groups that AONB status is increasingly under threat from development. The Campaign to Protect Rural England said in July 2006 that many AONBs were under greater threat than ever before. Three particular AONBs were cited: the Dorset AONB threatened by a road plan, the threat of a football stadium in the Sussex Downs AONB, and, larger than any other, a £1 billion plan by Imperial College London to build thousands of houses and offices on hundreds of acres of AONB land on the Kent Downs at Wye. In September 2007 government approval was finally given for the development of a new football ground for Brighton and Hove Albion within the boundaries of the Sussex Downs AONB, after a fierce fight by conservationists. The subsequent development, known as Falmer Stadium, was officially opened in July 2011. The Weymouth Relief Road in Dorset was constructed between 2008 and 2011, after environmental groups lost a High Court challenge to prevent its construction.
Writing in 2006, Professor Adrian Phillips listed threats facing AONBs, which he says include uncertainty over future support for land management, increasing development pressures, the impacts of globalization, and climate change. More subtle threats include creeping suburbanization and horsiculture.
Poet Laureate Simon Armitage wrote a poem "Fugitives", commissioned by the National Association of AONBs, which he read on Arnside Knott on 21 September 2019 to launch the celebration of the 70th anniversary of the National Parks and Access to the Countryside Act.
Gloucestershire is a ceremonial county in South West England. It is bordered by Herefordshire to the north-west, Worcestershire to the north, Warwickshire to the north-east, Oxfordshire to the east, Wiltshire to the south, Bristol and Somerset to the south-west, and the Welsh county of Monmouthshire to the west. The city of Gloucester is the largest settlement and the county town.
The county is predominantly rural, with an area of 3,150 square kilometres (1,220 sq mi) and a population of 916,212. After Gloucester (118,555) the largest distinct settlements are Cheltenham (115,940), Stroud (26,080), and Yate (28,350). In the south of the county, the areas around Filton and Kingswood are densely populated and part of Bristol built-up area. For local government purposes Gloucestershire comprises a non-metropolitan county, with six districts, and the unitary authority area of South Gloucestershire.
Gloucestershire is bisected by the river River Severn, which enters the county near Tewkesbury and forms a wide valley down its centre before broadening into a large tidal estuary. The hills to the east form the majority of the Cotswolds AONB, and the uplands to the west are part of the Forest of Dean and the Wye Valley AONB, which stretches into Wales.
Gloucestershire was likely established in the tenth century, and expanded to approximately its current borders in the eleventh. The county was relatively settled during the late Middle Ages, and contained several wealthy monasteries such as Tewkesbury, Gloucester, Hailes, and Cirencester; the Forest of Dean was also a major iron-producing region in this period. The city of Bristol became an independent county in 1373, by which point it was the third-largest city in England. Gloucestershire was not heavily industrialised during the Industrial Revolution, but the Port of Gloucester was expanded with new docks and the small Forest of Dean coalfield was exploited.
The region now known as Gloucestershire was originally inhabited by Brythonic peoples (ancestors of the Welsh and English and other Romano-British peoples) in the Iron Age and Roman periods. After the Romans left Britain in the early 5th century, the Brythons re-established control but the territorial divisions for the post-Roman period are uncertain. The city of Caerloyw (Gloucester today, still known as Caerloyw in modern Welsh) was one centre and Cirencester may have continued as a tribal centre as well. The only reliably attested kingdom is the minor south-east Wales kingdom of Ergyng, which may have included a portion of the area (roughly the Forest of Dean). In the final quarter of the 6th century, the Saxons of Wessex began to establish control over the area.
The English conquest of the Severn valley began in 577 with the victory of Ceawlin at Deorham, followed by the capture of Cirencester, Gloucester and Bath. The Hwiccas who occupied the district were a West Saxon tribe, but their territory had become a dependency of Mercia in the 7th century, and was not brought under West Saxon dominion until the 9th century. No important settlements were made by the Danes in the district. Gloucestershire probably originated as a shire in the 10th century, and is mentioned by name in the Anglo-Saxon Chronicle in 1016. Towards the close of the 11th century, the boundaries were readjusted to include Winchcombeshire, previously a county by itself, and at the same time the forest district between the Wye and the Severn was added to Gloucestershire. The divisions of the county for a long time remained very unsettled, and the thirty-nine hundreds mentioned in the Domesday Survey and the thirty-one hundreds of the Hundred Rolls of 1274 differ very widely in name and extent both from each other and from the twenty-eight hundreds of the present day.
Gloucestershire formed part of Harold's earldom at the time of the Norman Conquest of England, but it offered slight resistance to William the Conqueror.
During The Anarchy, Empress Matilda was supported by her half brother, Robert of Gloucester, who had rebuilt Bristol Castle. The castles at Gloucester and Cirencester were garrisoned on her behalf. Beverston Castle was also a site of the conflict.
During 13th century Eleanor, Fair Maid of Brittany was imprisoned for quite some time in Gloucester Castle and Bristol Castle, both were considered strongest among England castles.
In the barons' war of the reign of Henry III, Gloucester was garrisoned for Simon de Montfort, but was captured by Prince Edward in 1265, in which year de Montfort was slain at the Battle of Evesham.
Bristol and Gloucester actively supported the Yorkist cause during the Wars of the Roses.
In the religious struggles of the 16th century Gloucester showed strong Protestant sympathy, and in the reign of Mary, Bishop Hooper was sent to Gloucester to be burnt as a warning to the county.
The same Puritan leanings induced the county to support the Parliamentary cause in the civil war of the 17th century. In 1643 Bristol and Cirencester were captured by the Royalists, but the latter was recovered in the same year and Bristol in 1645. Two Civil War battles were fought at Beverston Castle, and Parliament ordered its battlements destroyed to deprive the Royalists use of the fortress. Gloucester was garrisoned for the Parliament throughout the struggle.
On the subdivision of the Mercian diocese in 680 the greater part of modern Gloucestershire was included in the diocese of Worcester, and shortly after the Conquest constituted the archdeaconry of Gloucester, which in 1290 comprised the deaneries of Campden, Stow, Cirencester, Fairford, Winchcombe, Stonehouse, Hawkesbury, Bitton, Bristol, Dursley and Gloucester. The district west of the Severn, with the exception of a few parishes in the deaneries of Ross and Staunton, constituted the deanery of the forest within the archdeaconry and diocese of Hereford. In 1535 the deanery of Bitton had been absorbed in that of Hawkesbury. In 1541 the diocese of Gloucester was created, its boundaries being identical with those of the county. On the erection of Bristol to a see in 1542 the deanery of Bristol was transferred from Gloucester to that diocese. In 1836 the sees of Gloucester and Bristol were united; the archdeaconry of Bristol was created out of the deaneries of Bristol, Cirencester, Fairford and Hawkesbury; and the deanery of the forest was transferred to the archdeaconry of Gloucester. In 1882 the archdeaconry of Cirencester was constituted to include the deaneries of Campden, Stow, Northleach north and south, Fairford and Cirencester. In 1897 the diocese of Bristol was recreated, and included the deaneries of Bristol, Stapleton and Bitton.
After the Conquest very extensive lands and privileges in the county were acquired by the church, the Cirencester Abbey alone holding seven hundreds at fee-farm, and the estates of the principal lay-tenants were for the most part outlying parcels of baronies having their caput in other counties. The large estates held by William Fitz Osbern, Earl of Hereford, escheated to the crown on the rebellion of his son Earl Roger in 1074. The Berkeleys have held lands in Gloucestershire from the time of the Domesday Survey, and the families of Basset, Tracy, Clifton, Dennis and Poyntz have figured prominently in the annals of the county. Gilbert de Clare, Earl of Gloucester, and Richard of Cornwall claimed extensive lands and privileges in the shire in the 13th century, and Simon de Montfort owned Minsterworth and Rodley.
Bristol was made a county in 1373, and in 1483 Richard III created Gloucester as an independent county, adding to it the hundreds of Dudston and Kings Barton. The latter were reunited to Gloucestershire in 1673, but the cities of Bristol and Gloucester continued to rank as independent counties, with separate jurisdiction, county rate and assizes. The chief officer of the Forest of Dean was the warden, who was generally also constable of St Briavel Castle. The first justice-seat for the forest was held at Gloucester Castle in 1282, the last in 1635.
Gloucestershire was first represented in parliament in 1290, when it returned two members. Bristol and Gloucester acquired representation in 1295, Cirencester in 1572 and Tewkesbury in 1620. Under the Reform Act of 1832 the county returned four members in two divisions; Bristol, Gloucester, Cirencester, Stroud and Tewkesbury returned two members each, and Cheltenham returned one member. The act of 1868 reduced the representation of Cirencester and Tewkesbury to one member each.
The physical characteristics of the three natural divisions of Gloucestershire have given rise in each to a special industry. The forest district, until the development of the Sussex mines in the 16th century, was the chief iron producing area of the kingdom, the mines having been worked in Roman times, while the abundance of timber gave rise to numerous tanneries and to an important shipbuilding trade. The hill district, besides fostering agricultural pursuits, gradually absorbed the woollen trade from the big towns, which now devoted themselves almost entirely to foreign commerce. Silkweaving was introduced in the 17th century, and was especially prosperous in the Stroud valley. The abundance of clay and building-stone in the county gave rise to considerable manufactures of brick, tiles and pottery. Numerous minor industries sprang up in the 17th and 18th centuries, such as flax-growing and the manufacture of pins, buttons, lace, stockings, rope and sailcloth.
Gloucester Cathedral and Bristol Cathedral, Tewkesbury Abbey, and the Church of St. John the Baptist in Cirencester with its great Perpendicular porch, are historic buildings of Gloucestershire. Of the abbey of Hailes near Winchcomb, founded by Richard, Earl of Cornwall, in 1246, little more than the foundations are left, but these have been excavated with great care, and interesting fragments have been brought to light.
Most of the old market towns have line parish churches. At Deerhurst near Tewkesbury, and Cleeve near Cheltenham, there are churches of special interest on account of the pre-Norman work they retain. The Perpendicular church at Lechlade is unusually perfect; and that at Fairford was built (c. 1500), according to tradition, to contain the remarkable series of stained glass windows which are said to have been brought from the Netherlands. These are, however, adjudged to be of English workmanship, and are one of the finest series in the country. The castle at Berkeley is a splendid example of a feudal stronghold. Thornbury Castle, in the same district, is a fine Tudor ruin, the pretensions of which evoked the jealousy of Cardinal Wolsey against its builder, Edward Stafford, 3rd Duke of Buckingham, who was beheaded in 1521. Near Cheltenham is the fine 15th-century mansion of Southam de la Bere, of timber and stone.
Memorials of the de la Bere family appear in the church at Cleeve. The mansion contains a tiled floor from Hailes Abbey. Near Winchcomb is Sudeley Castle, dating from the 15th century, but the inhabited portion is chiefly Elizabethan. The chapel is the burial place of Queen Catherine Parr. At Great Badminton is the mansion and vast domain of the Beauforts (formerly of the Botelers and others), on the south-eastern boundary of the county.
The defunct Cameo Theatre on Broadway. It opened in October 1910 as Clune's Broadway Theatre, one of the first purpose-built 'picture playhouses' in the city, and the oldest surviving movie theatre on Broadway.
The 24-sheet billboard above it probably incorporates part of Clune's original electric rooftop sign, with a working digital clock that advertised 'THE TIME - THE PLACE - CLUNE'S BROADWAY'.
It was also the longest continually operating movie theatre in California, if not the USA. Clune's advertisements promising 'continuous performance' held true until December 1991.
You can see a colour postcard of the original interior halfway down this page.