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Tutto il materiale qui pubblicato è proprietà intellettuale dell’autore. Come tale non può essere riprodotto, tutto o in parte, con qualunque mezzo, senza preventivo esplicito consenso dell’autore stesso.
The content of these images cannot be copied, distribuited or published for any media, electronic or otherwise. The utilization in other web pages without the express written consent of the author is PROHIBITED. To enquire about prints, licensing, or blogging, please e-mail me or message me. Thanks!
Please respect the artist's copyright ©2016 All Rights Reserved.
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160429_1693
This photograph was published in the Illustrated Chronicle on the 10th of December 1915.
During the Great War the Illustrated Chronicle published photographs of soldiers and sailors from Newcastle and the North East of England, which had been in the news. The photographs were sent in by relatives and give us a glimpse into the past.
The physical collection held by Newcastle Libraries comprises bound volumes of the newspaper from 1910 to 1925. We are keen to find out more about the people in the photographs. If you recognise anyone in the images and have any stories and information to add please comment below.
Copies of this photograph may be ordered from us, for more information see: www.newcastle.gov.uk/tlt Please make a note of the image reference number above to help speed up your order."
I have just published a book called "Nova Foresta". Photographs of the New Forest taken over the last 12 months. I used Lulu.com who print the book on demand i.e. they only print each copy as it is ordered - which should save a few trees. I have approved the pdf which looks good but haven't received the proof copy yet so can't comment on the printing and binding quality. However, if you just can't wait to get a copy (I know you can't) you can order it here:
I'll report on the printing quality as soon as I get the proof, but if you are interested in doing the same I can recommend the Lulu website which makes the process easy.
My photo from this Sunday, "Leaving Skyfall" was published in this week's Georgia Straight, after they saw it on Flickr! I even got paid ;-) Many thanks to The Georgia Straight for the compliment you made my week!
This photo, along with others I took, was published by Voice of America on October 1, 2014, in an on-line article titled: "Trekking Along the Nuclear Waste Adventure Trail." The article, and additional information about the Weldon Spring Site, can be found here: blogs.voanews.com/all-about-america/2014/10/01/trekking-a...
This is the view from the top of a seven-story high tomb of radioactive waste. During World War II this was the site of one of the largest ordnance production plants in the country. In 1940, the United States government displaced the towns of Hamburg, Howell, and Toonerville and their 576 citizens (most of whom were of German heritage - - probably not a coincidence) to build the Weldon Spring Ordnance Works. At its peak more than 5,000 people were employed in over 1,000 buildings and produced over 700 million pounds of TNT by the end of the war.
After the war, the site was transferred to the U.S. Atomic Energy Commission (AEC) for construction of the Weldon Spring Uranium Feed Materials Plant. The Plant processed raw uranium ore into “yellow cake,” or concentrated ore that was shipped to other sites. The toxic materials produced by the plant were stored in open-air lagoons along with TNT, wastes, uranium and radioactive materials which were disposed of in a quarry. In 1967 the Army took over the plant to produce dangerous herbicides, including Agent Orange used in the Vietnam War. The processing plant operated until 1968, after which the site was abandoned but still contained contaminated equipment and hazardous chemicals.
Beginning in the 1980's, the Government began extensive decontamination of the area, eventually building this gigantic "Cell" to entomb the waste materials. The mountainous site covers 45 acres and stores 1.5 million cubic yards of material. It was opened in 2002 as a tourist attraction, with stairs leading to the top of the cell. A viewing platform on top of the disposal cell is the highest accessible point in St. Charles County and has four plaques that provide information about the local area, the history of the site, and the construction of the disposal cell. A 9,000-square-foot interpretive center is housed in a building at the base of the cell that was once used to check workers for radioactivity. Exhibits explain the site's history, including of the towns of Toonerville, Howell, and Hamburg, a timeline of significant events, the legacy of the TNT and uranium plants, the efforts of the community to clean up the site, and how the disposal cell was constructed. The interpretive center is very interesting, well-done and well-worth the visit.
The area around the cell has been converted to a wildlife conservation area, with trails that connect the site to the nearby August Busch Memorial Conservation Area, the Weldon Spring Conservation Area, and KATY Trail State Park.
Taken with a Nikon D800 and 16 mm fisheye Nikkor lens.
Best viewed on black background here: View On Black
© All rights reserved - - No Usage Allowed in Any Form Without the Written Consent of the photographer.
The best way to view my photos is on Flickriver: Nikon66's photos on Flickriver
The Postcard
A postally unused carte postale published by L.L. The card, which has a divided back, was printed by EDIA of Paris and Versailles.
Senlis
Senlis is situated on the river Nonette, between the forests of Chantilly and d'Ermenonville in the South and d'Halatte in the North.
It is located 40 kilometres to the north of Paris, 44 km. from Beauvais and 79 km. from Amiens. The highest point of the town (140 m.) lies at the heart of the forest of Halatte, and the lowest point is located on the banks of the Nonette, west of the city.
The town was captured by the Germans at the beginning of the Great War. Several citizens were executed by firing squads in early September, including the mayor, Eugène Odent.
Odent was charged with orchestrating 'terrorist' civilian resistance - the charges included shuttering buildings to assist snipers, failing to demand orderly submission from his neighbours, and generally inconveniencing German troops. In 1931, the main street in Senlis was re-named after Odent.
In 'A Writer at War 14-18', Édouard Coeurdevey described the German destruction that he witnessed when visiting Senlis on the 6th. June 1915.
Senlis in the Movies
The historic appearance of Senlis, with its ancient cobbled alleys and its proximity to Paris, has made it a major destination for cinema. Among many, the following movies were filmed in Senlis:
- 'Coeurs du Monde' (1918) by D.W. Griffith, with Lillian Gish
- 'Ces Dames aux Chapeaux Verts' (1929) by André Berthomieu
- 'Le Dialogue des Carmélites' (1960) with Jeanne Moreau
- 'Cartouche' (1961) by Philippe de Broca, with Jean-Paul Belmondo and Claudia Cardinale
- 'Angelique and the King' (1965) with Michèle Mercier and Jean Rochefort
- 'Le Roi de Coeur' (1966) by Philippe de Broca
- 'Peau d'Âne' (1970) with Catherine Deneuve, Jean Marais and Jacques Perrin
- 'Raphaël ou le Débauché' (1971) by Michel Deville
- 'Les Stances à Sophie' (1971) by Moshé Mizrahi
- 'Les Malheurs d'Alfred' (1972) by Pierre Richard
- 'R.A.S' (Nothing to Report) (1973) by Yves Boisset
- 'L'Aile ou la Cuisse' (1976) with Louis de Funès and Coluche
- 'L'Avare' (1980) with Louis de Funès and Michel Galabru
- 'La Nuit de Varennes' (1982) by Ettore Scola, with Jean-Louis Barrault, Marcello Mastroianni and Hanna Schygulla
- 'Papy Fait de la Résistance' (1983) with Christian Clavier and Michel Blanc
- 'La Petite Voleuse' (1988) by Claude Miller, with Charlotte Gainsbourg
- 'La Reine Margot' (1994) with Isabelle Adjani and Daniel Auteuil
- 'Le Comte de Montécristo' (1997) with Gérard Depardieu
- 'Arsène Lupin' (2004) by Jean-Paul Salomé, with Kristin Scott-Thomas
- 'Séraphine' (2008) by Martin Provost with Yolande Moreau
- 'L'Autre Dumas' (2010) with Gérard Depardieu and Benoît Poelvoorde
- 'Crainquebille' (2010) television movie
- 'Soeur-Thérèse.com' (2011) TV series.
This is a shot from 2011, I'm posting it because it was recently published in "Our State" magazine. That's a North Carolina magazine that focuses on all things concerning North Carolina. My thanks to Our State for publishing one of my shots.
©All photographs on this site are copyright: ©DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2021 & GETTY IMAGES ®
No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of ©DESPITE STRAIGHT LINES (Paul Williams). No image may be used as source material for paintings, drawings, sculptures, or any other art form without permission and/or compensation to ©DESPITE STRAIGHT LINES (Paul Williams)
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I would like to say a huge and heartfelt 'THANK YOU' to GETTY IMAGES, and the 49.611+ Million visitors to my FLICKR site.
***** Selected for sale in the GETTY IMAGES COLLECTION on Sunday 18th August 2024
CREATIVE RF gty.im/2153966737 MOMENT ROYALTY FREE COLLECTION**
This photograph became my 7,007th frame to be selected for sale in the Getty Images collection and I am very grateful to them for this wonderful opportunity.
©DESPITE STRAIGHT LINES (Paul Williams)
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Photograph taken at an altitude of One hundred and fifty three metres at 10.48am on Wednesday May 8th 2024, on board an open air carriage on the Llewelyn steam locomotive which departed from Aberystwyth on the Vale of Rheidol route, here passing meadows in Melindwr.
Nikon D850 Single-lens reflex digital camera F Mount with FX CMOS 35.9mm x 23.9mm Image sensor 46.89 Million total pixels Hand held Focal length: 78mm Shutter speed: 1/2500s (Mechanical shutter) Aperture f/7.1 iso2000 Nikon VR Vibration Reduction enabled Image area Full Frame FX (36 x 24) NEF RAW L 45.4Million pixels (8256 x 5504) 14 Bit uncompressed Focus mode: AF-C Priority Selection: Release Nikon Back button focusing enabled AF-Focus area: 3D Tracking watch area: Normal 55 Tracking points Exposure mode: Manual mode Metering mode: Centre weighted metering Active D-Lighting: Normal White balance on: Natural light auto, 0, 0 Colour space: Adobe RGB Picture control: (SD) Standard (Sharpening +3.00/Clarity +1.00)
Nikon AF-S 24-120mm f/4G ED VR. Nikon GP-1 GPS module. Hoodman HEYENRG round eyepiece oversized eyecup. Black Rapid Curve Breathe strap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag. Nikon EN-EL15a battery.
LATITUDE: N 52d 24m 2.40s
LONGITUDE: W 3d 59m 30.40s
ALTITUDE: 26.0m
RAW (TIFF) FILE: 130.00MB NEF: 93.8MB
PROCESSED (JPeg) FILE: 53.10MB
PROCESSING POWER:
Nikon D850 Firmware versions C 1.21 (8/12/2022) LD Distortion Data 2.018 (16/01/20) LF 1.00 Nikon Codec Full version 1.31.2 (09/11/2021)
HP 110-352na Desktop PC with Windows 10 Home edition AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. My Passport USB 3.0 2TB portable desktop hard drive. Nikon NX STUDIO 64bit Version 1.2.2 (08/12/2022). Nikon Capture NX-D 64bit Version 1.6.2 (18/02/2020). Nikon Picture Control Utility 2 (Version 2.4.5 (18/02/2020). Nikon Transfer 2 Version 2.16.0 (08/12/2022). Adobe photoshop Elements 8 Version 8.0 64bit.
From the Official Programme
THE NATIONAL COMMEMORATION OF THE CENTENARY OF THE GALLIPOLI CAMPAIGN AND ANZAC DAY AT THE CENOTAPH, WHITEHALL, LONDON
HOSTED BY THE GOVERNMENT OF THE UNITED KINGDOM OF GREAT BRITAIN AND NORTHERN IRELAND IN PARTNERSHIP WITH THE HIGH COMMISSIONS OF AUSTRALIA AND NEW ZEALAND IN LONDON
On 25 April 1915 Allied soldiers landed on the Gallipoli peninsula in Turkey in one of the most ambitious amphibious assaults in history.
More than 550,000 soldiers from Britain, Ireland, France, Australia, New Zealand, the Indian sub-continent, Canada and Sri Lanka waged this historic campaign, including 400,000 from Britain alone. 58,000 Allied servicemen and 87,000 from Turkey died in this campaign.
ANZAC Day was established by Australia and New Zealand as an annual day of commemoration to remember their servicemen who died in Gallipoli. The first ANZAC Day march in London took place on 25 April 1916. ANZAC Day has been commemorated in London on 25 April every year since then.
ORDER OF SERVICE
11:00 Big Ben strikes the hour
Two minutes’ silence
The Last Post Sounded by buglers from the Band of Her Majesty’s Royal Marines
Reading by Michael Toohey, age 22, descendant of Private Thomas Toohey, Royal Dublin Fusiliers, killed in action at V beach on 25 April 1915, aged 22.
The Fallen by Laurence Binyon, 4th verse, published in The Times on 21 September 1914
They shall grow not old, as we that are left grow old: age shall not weary them nor the years condemn. At the going down of the sun and in the morning, we will remember them.
All: We will remember them.
Laying of Wreaths
After Her Majesty The Queen has laid a wreath the Massed Bands will play Elegy (1915) – in memoriam Rupert Brooke – by F S Kelly (1881–1916) and Largo by G F Handel (1685–1759).
Her Majesty The Queen lays the first wreath followed by:
The Right Honourable David Cameron, Prime Minister Great Britain and Northern Ireland
Senator the Honourable George Brandis QC, Attorney General, Commonwealth of Australia
The Right Honourable David Carter MP, 29th Speaker of the New Zealand House of Representatives
A representative of the Republic of Turkey
The Right Honourable Nick Clegg, Deputy Prime Minister Great Britain and Northern Ireland
The Right Honourable Michael Fallon, Secretary of State for Defence
The Right Honourable Sajid Javid, Secretary of State for Culture, Media and Sport
The Right Honourable Hugo Swire, Minister of State, Foreign and Commonwealth Office
Helen Grant, Minister for the First World War Centenary
Dr Andrew Murrison, Prime Minister’s Special Representative for the First World War Centenary
The Right Honourable Ed Miliband, Leader of Her Majesty’s Opposition
Keith Brown MSP, Cabinet Secretary for Infrastructure, Investment and Cities, Scottish Government
The Right Honourable Carwyn Jones, First Minister, Welsh Government
A representative of the Northern Ireland Executive
Lieutenant General Sir Gerry Berragan KBE CB, Adjutant General
Air Marshal Dick Garwood CB CBE DFC, Director General Defence Safety Authority
Vice Admiral Sir Philip Jones KCB, Fleet Commander and Deputy Chief of Naval Staff
Lieutenant General John Caligari AO DSC, Chief Capability Development Group, Australian Defence Force
Brigadier Antony Hayward ONZ, Head New Zealand Defence Staff, New Zealand High Commission
Colonel Ömer Özkan, Air Attaché, Embassy of Turkey
A representative of the People’s Republic of Bangladesh
Steven Vandeput, Minister of Defence of Belgium
His Excellency Gordon Campbell, High Commissioner for Canada
A representative of the Republic of France
A representative of the Federal Republic of Germany
His Excellency Dr Ranjan Mathai, High Commissioner for the Republic of India
His Excellency Daniel Mulhall, Ambassador of Ireland to the United Kingdom
His Excellency The Honourable Joseph Muscat, Prime Minister of the Republic of Malta
A representative of the Federal Democratic Republic of Nepal
His Excellency Muhammad Nawaz Sharif, Prime Minister of the Islamic Republic of Pakistan
His Excellency The Honourable Peter O’Neill CMG MP, Prime Minister of the Independent State of Papua New Guinea
His Excellency Mr Obed Mlaba, High Commissioner for the Republic of South Africa
A representative of the Democratic Socialist Republic of Sri Lanka
Sonata Tupou, Acting High Commissioner for the Kingdom of Tonga
The Honourable Bronwyn Bishop MP, Speaker to the Australian House of Representatives
Bill Muirhead AM, Agent-General for South Australia
Ken Smith, Trade Commissioner for Europe and Agent General for UK at Trade & Investment Queensland
Kevin Skipworth CVO, Agent-General for Western Australia
Ian Matterson, Representative of the Premier of Tasmania
Mathew Erbs, on behalf of the Agent-General for Victoria
Gary Dunn, Deputy Commonwealth Secretary General
General The Lord Richards of Herstmonceux GCB CBE DSO, Deputy Grand President, British Commonwealth Ex-Servicemen’s League
Vice Admiral Peter Wilkinson CB CVO, National President, the Royal British Legion
Right Honourable The Viscount Slim OBE DL, Returned and Services League of Australia
Colonel Andrew Martin ONZM, Royal New Zealand Returned and Services Association
Lindsay Birrell, CEO, London Legacy
Captain Christopher Fagan DL, Chairman, The Gallipoli Association
The Honourable Mrs Ros Kelly AO, Commissioner, Commonwealth War Graves Commission
Sue Pillar, Director of Volunteer Support, Soldiers’ And Sailors’ Families Association (SSAFA)
Captain Jim Conybeare, Master, The Honourable Company of Master Mariners
Lyn Hopkins, Director General, The Victoria League for Commonwealth Friendship
Sir Anthony Figgis KCVO CMG, Chairman, Royal Overseas League
Reveille sounded by buglers from the Band of Her Majesty’s Royal Marines
THE PRAYERS
Prayer by The Venerable Ian Wheatley QHC, Royal Navy Chaplain of the Fleet
God our Father, we come together today to honour all those who gave themselves with great courage in service and sacrifice for their country in the Gallipoli Campaign. We pray that their example may continue to inspire us to strive for the common good, that we may build up the harmony and freedom for which they fought and died.
Help us O Lord, to lift our eyes above the torment of this broken world, and strengthen our resolve to work for peace and justice, and for the relief of want and suffering. As we honour the past, may we put our faith in your future; for you are the source of life and hope, now and forever. Amen.
Hymn led by the Choirs of Chelmsford Cathedral and accompanied by the Massed Bands
I Vow To Thee My Country
All:
I vow to thee, my country, all earthly things above,
Entire and whole and perfect, the service of my love;
The love that asks no question, the love that stands the test,
That lays upon the altar the dearest and the best;
The love that never falters, the love that pays the price,
The love that makes undaunted the final sacrifice.
I heard my country calling, away across the sea,
Across the waste of waters, she calls and calls to me.
Her sword is girded at her side, her helmet on her head,
And around her feet are lying the dying and the dead;
I hear the noise of battle, the thunder of her guns;
I haste to thee, my mother, a son among thy sons.
And there’s another country, I’ve heard of long ago,
Most dear to them that love her, most great to them that know;
We may not count her armies, we may not see her King;
Her fortress is a faithful heart, her pride is suffering;
And soul by soul and silently her shining bounds increase,
And her ways are ways of gentleness, and all her paths are peace.
Prayer read by Grace van Gageldonk (14 years old) from Australia
God of compassion and mercy, we remember with thanksgiving and sorrow, those whose lives in world wars and conflicts past and present, have been
given and taken away.
Enfold in your love, all who in bereavement, disability and pain, continue to suffer the consequences of fighting and terror; and guide and protect all those who support and sustain them. Amen.
National anthem Advance Australia Fair
Led by the Choirs of Chelmsford Cathedral and accompanied by the Massed Bands
Australians all let us rejoice,
For we are young and free;
We’ve golden soil and wealth for toil,
Our home is girt by sea;
Our land abounds in nature’s gifts
Of beauty rich and rare;
In history’s page, let every stage
Advance Australia Fair.
In joyful strains then let us sing,
‘Advance Australia Fair’.
Prayer read by Kathryn Cooper (11 years old) from New Zealand
God of hope, the source of peace and the refuge of all in distress, we remember those you have gathered from the storm of war into the everlasting peace of your presence; may that same peace calm our fears, bring reconciliation and justice to all peoples, and establish lasting harmony among the nations.
We pray for all members of the armed forces who strive for peace and fight for justice today; bless and keep their families and friends at home awaiting their return. Help us, who today remember the cost of war, to work for a better tomorrow, and bring us all, in the end, to the peace of your presence; through Jesus Christ our Lord. Amen.
National anthem God Defend New Zealand
Led by the Choirs of Chelmsford Cathedral and accompanied by the Massed Bands
E Ihowā _Atua,
O ngā _iwi mātou rā
Āta whakarangona;
Me aroha noa
Kia hua ko te pai;
Kia tau tō _atawhai;
Manaakitia mai
Aotearoa
God of Nations at Thy feet,
in the bonds of love we meet,
hear our voices, we entreat,
God defend our free land.
Guard Pacific’s triple star
from the shafts of strife and war,
make her praises heard afar,
God defend New Zealand.
Reading Atatürk’s message to bereaved pilgrims, 1934, read by Ecenur Bilgiç (14 years old) from Turkey
Those heroes that shed their blood and lost their lives…
You are now lying in the soil of a friendly country. Therefore rest in peace.
There is no difference between the Johnnies and the Mehmets to us where they lie side by side here in this country of ours…
You, the mothers, who sent their sons from faraway countries, wipe away your tears; your sons are now lying in our bosom and are in peace, after having lost their lives on this land they have become our sons as well.
National anthem İstiklal Marşı (The Independence March)
Led by Burak Gülşen from Turkey, accompanied by the Massed Bands
Korkma, sönmez bu şafaklarda yüzen al sancak;
Sönmeden yurdumun üstünde tüten en son ocak.
O benim milletimin yıldızıdır, parlayacak;
O benimdir, o benim milletimindir ancak.
Çatma, kurban olayım, çehreni ey nazlı hilal!
Kahraman ırkıma bir gül! Ne bu şiddet, bu celal?
Sana olmaz dökülen kanlarımız sonra helal…
Hakkıdır, Hakk’a tapan, milletimin istiklal!
Fear not! For the crimson flag that flies at this dawn, shall not fade,
As long as the last fiery hearth that is ablaze in my country endures.
For that is the star of my nation, which will forever shine;
It is mine; and solely that of my valiant nation.
Frown not, I beseech you, oh thou coy crescent!
Come smile upon my heroic race! Why this rage, this fury?
The blood we shed for you shall not be blessed otherwise;
For independence is the absolute right of my God-worshipping nation.
Remembering Gallipoli a commemoration created by Michael McDermott
Music composed by Michael McDermott
Reading by James McDermott (17 years old) from the United Kingdom
The Attack at Dawn (May, 1915) by Leon Maxwell Gellert (1892–1977)
‘At every cost,’ they said, ‘it must be done.’
They told us in the early afternoon.
We sit and wait the coming of the sun
We sit in groups, — grey groups that watch the moon.
We stretch our legs and murmur half in sleep
And touch the tips of bayonets and yarn.
Our hands are cold. They strangely grope and creep,
Tugging at ends of straps. We wait the dawn!
Some men come stumbling past in single file.
And scrape the trench’s side and scatter sand.
They trip and curse and go. Perhaps we smile.
We wait the dawn! … The dawn is close at hand!
A gentle rustling runs along the line.
‘At every cost,’ they said, ‘it must be done.’
A hundred eyes are staring for the sign.
It’s coming! Look! … Our God’s own laughing sun!
Closing prayers by The Venerable Ian Wheatley QHC, Royal Navy Chaplain of the Fleet
Eternal God,
from whom all thoughts of truth and peace proceed;
Kindle, we pray, in the hearts of all, the true love of peace
and guide with your pure and peaceable wisdom
those who take counsel for the nations of the world,
that in tranquillity your kingdom may go forward,
and all people may spend their days in security, freedom and peace;
through Jesus Christ our Lord. Amen.
Merciful God
we offer to you the fears in us
that have not yet been cast out by love:
may we accept the hope you have
placed in the hearts of all people,
and live lives of justice, courage and mercy;
through Jesus Christ our Lord. Amen.
The Lord’s Prayer
All:
Our Father, who art in heaven,
hallowed be thy name;
thy kingdom come, thy will be done;
on earth as it is in heaven.
Give is this day our daily bread.
And forgive is our trespasses,
And forgive us our trespasses,
as we forgive those that trespass against us.
And lead is not into temptation;
but deliver us from evil.
For thine is the kingdom,
the power and the glory,
fro ver and ever. Amen.
The Blessing
God grant to the living grace, to the departed rest,
to the Church, the Queen, the Commonwealth and all people,
unity, peace and concord,
and to us and all God’s servants, life everlasting;
and the blessing of God almighty,
the Father, the Son and the Holy Spirit,
be among you and remain with you always. Amen.
National anthem God Save the Queen
Led by the Choirs of Chelmsford Cathedral and accompanied by the Massed Bands
God save our gracious Queen,
Long live our noble Queen.
God save the Queen!
Send her victorious,
Happy and glorious,
Long to reign over us;
God save the Queen!
They Are At Rest by Sir Edward Elgar (1857–1934), sung by the Choirs of Chelmsford Cathedral (unaccompanied)
THE MARCH PAST
Contingents from:
The Royal Navy
HMS QUEEN ELIZABETH
The Fleet Air Arm
The Submarine Service
Hybrid (HMS OCEAN, HMS ALBION,
Britannia Royal Naval College)
The Royal Marines
Maritime Reserves (Royal Navy
and Royal Marines Reserves)
Representatives from the Armed Forces of other countries who fought at Gallipoli
invited to join the March Past:
Australia
New Zealand
Canada
Turkey
India
Germany
Ireland
France
Bangladesh
Pakistan
South Africa
Papua New Guinea
Tonga
The Gallipoli Association
Naval Services Associations
The Royal Naval Association
The Royal Marines Association
Army Units and their Associations
The Royal Regiment of Artillery
The Royal Corps of Engineers
The Royal Regiment of Scotland
The Princess of Wales’ Royal Regiment
The Duke of Lancaster’s Regiment
The Royal Regiment of Fusiliers
The Royal Anglian Regiment
The Yorkshire Regiment
The Mercian Regiment
The Royal Welsh
The Royal Irish Regiment
The Royal Gurkha Rifles
The Rifles
The Royal Logistics Corps
The Royal Army Medical Corps
The Royal Army Veterinary Corps
The Royal Yeomanry
The Royal Wessex Yeomanry
The Scottish and North Irish Yeomanry
The London Regiment
Court & City Yeomanry Association
In-Pensioners of the Royal Hospital Chelsea
The Turkish Air Force Band plays Marche Mustafa Kemal Atatürk by Fazıl Çağlayan
Followed by: Descendants of those whose ancestors were involved in the Gallipoli campaign and others who march past the Cenotaph every year to commemorate Anzac Day.
Published 1965
Souvenir of Clairol Carousel at the New York World's Fair 1964-65.
Description of the Clairol Carousel:
Ladies can see themselves in various hair colors, view a film on beauty and talk with experts.
Designed for women only, the carousel encloses a revolving turntable, divided into 38 individual booths in which the film is shown. Elsewhere, ladies may peer into a mirrored device to see themselves in several different hair colors, and beauty consultants provide formulas for the colors desired.
ENGLISH:
I've chosen my best photos of Maranhão trip and published them in Maranhão, images of a Brazilian paradise, a visual recollection of the state of Maranhão, from the crumbling buildings of its capital, São Luís to the mesmerizing and unique landscapes of the Lençóis Maranhenses, through the fascinating celebration of the bumba-meu-boi festival .
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ESPAÑOL:
He seleccionado mis mejores fotos del Maranhão y las he publicado en Maranhão, imágenes de un paraíso brasileño un recuerdo visual del estado de Maranhão, desde los decrépitos edificios de su capital, São Luís a los fascinantes y únicos paisajes de los Lençóis Maranhenses, pasando por la increíble celebración del festival del bumba-meu-boi.
The Postcard
A postally unused carte postale that was published by L.L.
Although the card was not posted, someone has used a pencil to write "T. Banfield" on the divided back.
The Notre-Dame de Paris Fire
The Notre-Dame de Paris fire broke out on the 15th. April 2019, just before 18:20 CEST, beneath the roof of Notre-Dame de Paris cathedral. By the time the fire was extinguished, the building's spire had collapsed, most of its roof had been destroyed, and its upper walls were severely damaged.
Extensive damage to the interior was prevented by its stone vaulted ceiling, which largely contained the burning roof as it collapsed. Many works of art and religious relics were moved to safety early in the emergency, but others suffered smoke damage, and some of the exterior art was damaged or destroyed.
The cathedral's altar, two pipe organs, and its three 13th.-century rose windows suffered little or no damage. Three emergency workers were injured, and contamination of the site and the nearby environment resulted.
French president Emmanuel Macron said that the cathedral would be restored by 2024, and launched a fundraising campaign which brought in pledges of over €1 billion. It was estimated that a complete restoration could require twenty years or more.
On the 25th. December 2019, the cathedral did not host Christmas services for the first time since 1803.
Background to The Fire
The Catholic cathedral of Notre-Dame de Paris, part of the "Paris, Banks of the Seine" UNESCO World Heritage Site, was begun in the 12th. century.
Its walls and interior vaulted ceiling are of stone; its roof and flèche (spire) were of wood (much of it 13th.-century oak), sheathed in lead to exclude water. The spire was rebuilt several times, most recently in the 19th. century.
The cathedral's stonework has been severely eroded by years of weather and pollution, and the spire had extensively rotted because fissures in its lead sheathing were admitting water.
The roof timbers were dry, spongy and powdery with age. In 2014, the Ministry of Culture estimated necessary renovations would cost €150 million, and in 2016 the Archdiocese of Paris launched an appeal to raise €100 million over the following five to ten years.
At the time of the fire, the spire was undergoing restoration, and scaffolding was being erected over the transept.
Extensive attention had been given to the risk of fire at the cathedral. The Paris Fire Brigade drilled regularly to prepare for emergencies there, including on-site exercises in 2018; a firefighter was posted to the cathedral each day; and fire wardens checked conditions beneath the roof three times daily.
Fortunately the Twelve Apostle and Four Evangelist statues at the spire's base had been removed for conservation days before the fire.
The Notre-Dame Fire
Fire broke out in the attic beneath the cathedral's roof at 18:18. At 18:20 the fire alarm sounded and guards evacuated the cathedral. A guard was sent to investigate, but to the wrong location – the attic of the adjoining sacristy – where he found no fire. About fifteen minutes later the error was discovered, but by the time guards had climbed the three hundred steps to the cathedral attic the fire was well advanced.
The alarm system was not designed to automatically notify the fire brigade, which was summoned at 18:51 after the guards had returned. Firefighters arrived within ten minutes.
Fighting the Notre-Dame Fire
More than 400 firefighters were engaged. A hundred government employees along with police and municipal workers moved precious artefacts to safety via a human chain.
The fire was primarily fought from inside the structure, which was more dangerous for personnel, but reduced potential damage to the cathedral - applying water from outside risked deflecting flames and hot gases (at temperatures up to 800 °C) inwards. Deluge guns were used at lower-than-usual pressures to minimise damage to the cathedral and its contents. Water was supplied by pump-boat from the Seine.
Aerial firefighting was not used because water dropped from heights could have caused structural damage, and heated stone can crack if suddenly cooled. Helicopters were also not used because of dangerous updrafts, but drones were used for visual and thermal imaging, and robots for visual imaging and directing water streams. Molten lead falling from the roof posed a special hazard for firefighters.
By 18:52, smoke was visible from the outside; flames appeared within the next ten minutes. The spire of the cathedral collapsed at 19:50, creating a draft that slammed all the doors and sent a fireball through the attic. Firefighters then retreated from within the attic.
Shortly before the spire fell, the fire had spread to the wooden framework inside the north tower, which supported eight very large bells. Had the bells fallen, it was thought that the damage done as they fell could have collapsed the towers, and with them the entire cathedral.
At 20:30, firefighters abandoned attempts to extinguish the roof and concentrated on saving the towers, fighting from within and between the towers. By 21:45 the fire was under control.
Adjacent apartment buildings were evacuated due to concern about possible collapse, but on the 19th. April the fire brigade ruled out that risk. One firefighter and two police officers were injured.
Damage to Notre-Dame
Most of the wood/metal roof and the spire of the cathedral was destroyed, with about one third of the roof remaining. The remnants of the roof and spire fell atop the stone vault underneath, which forms the ceiling of the cathedral's interior. Some sections of this vaulting collapsed in turn, allowing debris from the burning roof to fall to the marble floor below, but most sections remained intact due to the use of rib vaulting, greatly reducing damage to the cathedral's interior and objects within.
The cathedral contained a large number of artworks, religious relics, and other irreplaceable treasures, including a crown of thorns said to be the one Jesus wore at his crucifixion. Other items were a purported piece of the cross on which Jesus was crucified, the Tunic of St. Louis, a pipe organ by Aristide Cavaillé-Coll, and the 14th.-century Virgin of Paris statue.
Some artwork had been removed in preparation for the renovations, and most of the cathedral's sacred relics were held in the adjoining sacristy, which the fire did not reach; all the cathedral's relics survived. Many valuables that were not removed also survived.
Lead joints in some of the 19th.-century stained-glass windows melted, but the three major rose windows, dating back to the 13th. century, were undamaged. Several pews were destroyed, and the vaulted arches were blackened by smoke, though the cathedral's main cross and altar survived, along with the statues surrounding it.
Some paintings, apparently only smoke-damaged, are expected to be transported to the Louvre for restoration. The rooster-shaped reliquary atop the spire was found damaged but intact among the debris. The three pipe organs were not significantly damaged. The largest of the cathedral's bells, the bourdon, was also not damaged. The liturgical treasury of the cathedral and the "Grands Mays" paintings were moved to safety.
Environmental Damage
Airparif said that winds rapidly dispersed the smoke, carrying it away aloft along the Seine corridor. It did not find elevated levels of particulate air pollution at monitoring stations nearby. The Paris police stated that there was no danger from breathing the air around the fire.
The burned-down roof had been covered with over 400 metric tons of lead. Settling dust substantially raised surface lead levels in some places nearby, notably the cordoned-off area and places left open during the fire. Wet cleaning for surfaces and blood tests for children and pregnant women were recommended in the immediate area.
People working on the cathedral after the fire did not initially take the lead precautions required for their own protection; materials leaving the site were decontaminated, but some clothing was not, and some precautions were not correctly followed; as a result, the worksite failed some inspections and was temporarily shut down.
There was also more widespread contamination; testing, clean-up, and public health advisories were delayed for months, and the neighbourhood was not decontaminated for four months, prompting widespread criticism.
Reactions to the Notre-Dame Fire
President of France Emmanuel Macron, postponing a speech to address the Yellow Vests Movement planned for that evening, went to Notre-Dame and gave a brief address there. Numerous world religious and government leaders extended condolences.
Through the night of the fire and into the next day, people gathered along the Seine to hold vigils, sing and pray.
White tarpaulins over metal beams were quickly rigged to protect the interior from the elements. Nettings protect the de-stabilised exterior.
The following Sunday at Saint-Eustache Church, the Archbishop of Paris, Michel Aupetit, honoured the firefighters with the presentation of a book of scriptures saved from the fire.
Investigation Into The Notre-Dame Fire
On the 16th. April, the Paris prosecutor said that there was no evidence of a deliberate act.
The fire has been compared to the similar 1992 Windsor Castle fire and the Uppark fire, among others, and has raised old questions about the safety of similar structures and the techniques used to restore them. Renovation works increase the risk of fire, and a police source reported that they are looking into whether such work had caused this incident.
The renovations presented a fire risk from sparks, short-circuits, and heat from welding (roof repairs involved cutting, and welding lead sheets resting on timber). Normally, no electrical installations were allowed in the roof space due to the extreme fire risk.
The roof framing was of very dry timber, often powdery with age. After the fire, the architect responsible for fire safety at the cathedral acknowledged that the rate at which fire might spread had been underestimated, and experts said it was well known that a fire in the roof would be almost impossible to control.
Of the firms working on the restoration, a Europe Echafaudage team was the only one working there on the day of the fire; the company said no soldering or welding was underway before the fire. The scaffolding was receiving electrical supply for temporary elevators and lighting.
The roofers, Le Bras Frères, said it had followed procedure, and that none of its personnel were on site when the fire broke out. Time-lapse images taken by a camera installed by them showed smoke first rising from the base of the spire.
On the 25th. April, the structure was considered safe enough for investigators to enter. They unofficially stated that they were considering theories involving malfunction of electric bell-ringing apparatus, and cigarette ends discovered on the renovation scaffolding.
Le Bras Frères confirmed its workers had smoked cigarettes, contrary to regulations, but denied that a discarded cigarette end could have started the fire. The Paris prosecutor's office announced on the 26th. June that no evidence had been found to suggest a criminal motive.
The security employee monitoring the alarm system was new on the job, and was on a second eight-hour shift that day because his relief had not arrived. Additionally, the fire security system used confusing terminology in its referencing parts of the cathedral, which contributed to the initial confusion as to the location of the fire.
As of September, five months after the fire, investigators thought the cause of the fire was more likely an electrical fault than a cigarette. Determining the exact place in which the fire started was expected to take a great deal more time and work. By the 15th. April 2020, investigators stated:
"We believe the fire to have been
started by either a cigarette or a
short circuit in the electrical system".
Reconstruction of Notre-Dame Cathedral
On the night of the fire Macron said that the cathedral, which is owned by the state, would be rebuilt, and launched an international fundraising campaign. France's cathedrals have been owned by the state since 1905, and are not privately insured.
The heritage conservation organisation Fondation du Patrimoine estimated the damage in the hundreds of millions of euros, but losses from the fire are not expected to substantially impact the private insurance industry.
European art insurers stated that the cost would be similar to ongoing renovations at the Palace of Westminster in London, which currently is estimated to be around €7 billion.
This cost does not include damage to any of the artwork or artefacts within the cathedral. Any pieces on loan from other museums would have been insured, but the works owned by the cathedral would not have been insurable.
While Macron hoped the cathedral could be restored in time for the 2024 Paris Summer Olympics, architects expect the work could take from twenty to forty years, as any new structure would need to balance restoring the look of the original building, using wood and stone sourced from the same regions used in the original construction, with the structural reinforcement required for preventing a similar disaster in the future.
There is discussion of whether to reconstruct the cathedral in modified form. Rebuilding the roof with titanium sheets and steel trusses has been suggested; other options include rebuilding in the original lead and wood, or rebuilding with modern materials not visible from the outside (like the reinforced concrete trusses at Reims Cathedral).
Another option would be to use a combination of restored old elements and newly designed ones. Chartres Cathedral was rebuilt with wrought iron trusses and copper sheeting after an 1836 fire.
French prime minister Édouard Philippe announced an architectural design competition for a new spire that would be:
"Adapted to the techniques
and the challenges of our era."
The spire replacement project has gathered a variety of designs and some controversy, particularly its legal exemption from environmental and heritage rules. After the design competition was announced, the French senate amended the government's restoration bill to require the roof to be restored to how it was before the fire.
On the 16th. July, 95 days after the fire, the law that will govern the restoration of the cathedral was finally approved by the French parliament. It recognises its UNESCO World Heritage Site status and the need to respect existing international charters and practices, to:
"Preserve the historic, artistic and architectural
history of the monument, and to limit any
derogations to the existing heritage, planning,
environmental and construction codes to a
minimum".
On the 15th. April 2020, Germany offered to restore some of the large clerestory windows located far above eye level with three expert tradesmen who specialize in rebuilding cathedrals. Monika Grütters, Germany's Commissioner for Culture was quoted as saying that her country would shoulder the costs.
As of the 30th. November all of the tangled scaffolding was removed from the spire area, and was therefore no longer a threat to the building.
The world will now have to wait for Notre-Dame de Paris to be restored to its former magnificence.
model: femmina di tigre siberiana
La Torbiera, Italy
©ALL RIGHTS RESERVED. My pictures may not be downloaded, copied, published, reproduced, uploaded, edited or used in any way without my written permission.
Note: this photo was published in a Nov 3, 2011 blog titled "Woo Hoo Overtime!"
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I'm somewhat embarrassed to admit that, until last night, I had never been to a professional football game in my life. Baseball, basketball, and tennis: yes, of course. High-school and college football games: sure, though that was a long time ago. Indeed, the last college football game I watched (in person) was in the mid-60s, when I was invited to the annual Harvard-Yale game by a Radcliffe student I had begun dating -- a development to which my MIT college roommate reacted, in shock, by howling, "Radcliffe? You're dating a Cliffie? She must be a pig!" After which he pulled out his flute, every time he thought she might be present when he returned to our off-campus apartment, and played "Old McDonald Had a Farm" until he collapsed in gales of laughter on the stairwell. Highly inaccurate, I hasten to note, and totally unfair. But I digress...
Anyway, a freelance writer, Mitch Ligon (whose photo you can see here in one of my Flickr sets), invited me to accompany him last night to the New York Jets - Philadelphia Eagles game out in the New Jersey Meadowlands -- another first-time experience. I was given a photographer's press pass, which gave me access to the locker rooms, press box, various other "inner sanctum" locations ... and, most important, the football field itself. I was given a red jersey to wear, told to stay outside the yellow dashed lines that ring the field, and turned loose for the evening. I felt somewhat inadequate, because I knew that the "real" professional photographers would be equipped with high-cameras and monstrous telephoto lenses beyond anything I had ever touched, or could possibly afford; and even though my Nikon D300 and 70-300mm zoom lens is fairly respectable in amateur circles, I had no idea if I would be able to take any decent photos at all...
The other problem is that I know little or nothing about the nuances of football, beyond the obvious fact that the quarterback either passes the ball, or hands off to someone who attempts to run the ball downfield. Punts and field-goal kicks are also a familiar concept, but if you don't have a good anticipatory sense of who is about to do what to whom, it's easy to miss the "moment" when the perfect shot might be available. Also, I didn't really know anything about the players, aside from the respective star quarterbacks: Philadelphia's controversial Michael Vick, and New York's newly-named starting quarterback, Mark Sanchez. I had looked at the team rosters on the Internet before the game, so at least I knew their jersey numbers (#6 for Sanchez, and #7 for Vick, as you'll see in the photos) -- but the "action" was often so far away (at the other end of the field) that I couldn't tell whether the starting quarterback, or one of the substitutes, was making the plays.
Nevertheless, by the beginning of the second quarter I was feeling a little more comfortable -- if only because I found it easy to follow along behind the other professional photographers as they marched (or ran) from one end of the field to the other, in order to get their equipment set up for what they expected would be the next great shot. By the end of the game, I had taken 1,100+ photos, including several of Michael Vick in a post-game locker-room interview; and from the sound of the clickety-click-clack of my fellow photographers, I could tell that many of them had taken several thousand. I'll spare you the technical details of my feeble attempts to get some decent shots; I had picked up some good tips from the sports-photography chapter of Scott Kelby's Digital Photography, and I did my best within the limitations of my equipment and my lack of familiarity with the situation.
What impressed me most about the whole experience was the scale of modern professional football -- the scale of everything. It's one thing to read that there are 80,000 people in a football stadium; it's another thing to actually be there and hear the simultaneous roar of those 80,000 people as a quarterback is sacked or a long pass is completed. It's one thing to read that a professional football player is 6 feet, 5 inches tall and weighs 350 pounds; it's another thing to stand next to several dozen such giants. Heck, I thought there were only 20 or 30 such giants on each team; I had no idea that there were 64 of them (a number which will be pared down as the pre-season comes to an end), or that there might be 20-30 different coaches. And then there are the hundreds of "staff members" scurrying around all over the place, carrying out their various duties and assignments; and there are the security guards and State Police, who spent most of the time scanning the stadium crowd rather than watching the players, presumably watching for scuffles or fights or ... well, who knows what. There are cheerleaders too, in this case bearing the official name of New York Jets Flight Crew; I had expected half a dozen, but there were two dozen perky, long-haired beauties, with permanently frozen smiles, who who danced and pranced before the crowd at every conceivable opportunity.
All of this has resulted in the photos you'll see in this album. I had to delete roughly a hundred of my original images, because they were out of focus, or because a referee decided to walk in front of my camera at the wrong moment; and another 900 were "okay," but not terribly exciting. I'm sure that none of them are as crisp, sharp, and well-composed as those taken by the Sports Illustrated photographer and the other professionals on the field; but I did end up with 72 "keepers" that I hope you'll enjoy...
... and, yes, I probably will attend another football game or two in the years ahead. Whether I'm lucky enough to get down on the field again is anyone's guess....
From the Official Programme
THE NATIONAL COMMEMORATION OF THE CENTENARY OF THE GALLIPOLI CAMPAIGN AND ANZAC DAY AT THE CENOTAPH, WHITEHALL, LONDON
HOSTED BY THE GOVERNMENT OF THE UNITED KINGDOM OF GREAT BRITAIN AND NORTHERN IRELAND IN PARTNERSHIP WITH THE HIGH COMMISSIONS OF AUSTRALIA AND NEW ZEALAND IN LONDON
On 25 April 1915 Allied soldiers landed on the Gallipoli peninsula in Turkey in one of the most ambitious amphibious assaults in history.
More than 550,000 soldiers from Britain, Ireland, France, Australia, New Zealand, the Indian sub-continent, Canada and Sri Lanka waged this historic campaign, including 400,000 from Britain alone. 58,000 Allied servicemen and 87,000 from Turkey died in this campaign.
ANZAC Day was established by Australia and New Zealand as an annual day of commemoration to remember their servicemen who died in Gallipoli. The first ANZAC Day march in London took place on 25 April 1916. ANZAC Day has been commemorated in London on 25 April every year since then.
ORDER OF SERVICE
11:00 Big Ben strikes the hour
Two minutes’ silence
The Last Post Sounded by buglers from the Band of Her Majesty’s Royal Marines
Reading by Michael Toohey, age 22, descendant of Private Thomas Toohey, Royal Dublin Fusiliers, killed in action at V beach on 25 April 1915, aged 22.
The Fallen by Laurence Binyon, 4th verse, published in The Times on 21 September 1914
They shall grow not old, as we that are left grow old: age shall not weary them nor the years condemn. At the going down of the sun and in the morning, we will remember them.
All: We will remember them.
Laying of Wreaths
After Her Majesty The Queen has laid a wreath the Massed Bands will play Elegy (1915) – in memoriam Rupert Brooke – by F S Kelly (1881–1916) and Largo by G F Handel (1685–1759).
Her Majesty The Queen lays the first wreath followed by:
The Right Honourable David Cameron, Prime Minister Great Britain and Northern Ireland
Senator the Honourable George Brandis QC, Attorney General, Commonwealth of Australia
The Right Honourable David Carter MP, 29th Speaker of the New Zealand House of Representatives
A representative of the Republic of Turkey
The Right Honourable Nick Clegg, Deputy Prime Minister Great Britain and Northern Ireland
The Right Honourable Michael Fallon, Secretary of State for Defence
The Right Honourable Sajid Javid, Secretary of State for Culture, Media and Sport
The Right Honourable Hugo Swire, Minister of State, Foreign and Commonwealth Office
Helen Grant, Minister for the First World War Centenary
Dr Andrew Murrison, Prime Minister’s Special Representative for the First World War Centenary
The Right Honourable Ed Miliband, Leader of Her Majesty’s Opposition
Keith Brown MSP, Cabinet Secretary for Infrastructure, Investment and Cities, Scottish Government
The Right Honourable Carwyn Jones, First Minister, Welsh Government
A representative of the Northern Ireland Executive
Lieutenant General Sir Gerry Berragan KBE CB, Adjutant General
Air Marshal Dick Garwood CB CBE DFC, Director General Defence Safety Authority
Vice Admiral Sir Philip Jones KCB, Fleet Commander and Deputy Chief of Naval Staff
Lieutenant General John Caligari AO DSC, Chief Capability Development Group, Australian Defence Force
Brigadier Antony Hayward ONZ, Head New Zealand Defence Staff, New Zealand High Commission
Colonel Ömer Özkan, Air Attaché, Embassy of Turkey
A representative of the People’s Republic of Bangladesh
Steven Vandeput, Minister of Defence of Belgium
His Excellency Gordon Campbell, High Commissioner for Canada
A representative of the Republic of France
A representative of the Federal Republic of Germany
His Excellency Dr Ranjan Mathai, High Commissioner for the Republic of India
His Excellency Daniel Mulhall, Ambassador of Ireland to the United Kingdom
His Excellency The Honourable Joseph Muscat, Prime Minister of the Republic of Malta
A representative of the Federal Democratic Republic of Nepal
His Excellency Muhammad Nawaz Sharif, Prime Minister of the Islamic Republic of Pakistan
His Excellency The Honourable Peter O’Neill CMG MP, Prime Minister of the Independent State of Papua New Guinea
His Excellency Mr Obed Mlaba, High Commissioner for the Republic of South Africa
A representative of the Democratic Socialist Republic of Sri Lanka
Sonata Tupou, Acting High Commissioner for the Kingdom of Tonga
The Honourable Bronwyn Bishop MP, Speaker to the Australian House of Representatives
Bill Muirhead AM, Agent-General for South Australia
Ken Smith, Trade Commissioner for Europe and Agent General for UK at Trade & Investment Queensland
Kevin Skipworth CVO, Agent-General for Western Australia
Ian Matterson, Representative of the Premier of Tasmania
Mathew Erbs, on behalf of the Agent-General for Victoria
Gary Dunn, Deputy Commonwealth Secretary General
General The Lord Richards of Herstmonceux GCB CBE DSO, Deputy Grand President, British Commonwealth Ex-Servicemen’s League
Vice Admiral Peter Wilkinson CB CVO, National President, the Royal British Legion
Right Honourable The Viscount Slim OBE DL, Returned and Services League of Australia
Colonel Andrew Martin ONZM, Royal New Zealand Returned and Services Association
Lindsay Birrell, CEO, London Legacy
Captain Christopher Fagan DL, Chairman, The Gallipoli Association
The Honourable Mrs Ros Kelly AO, Commissioner, Commonwealth War Graves Commission
Sue Pillar, Director of Volunteer Support, Soldiers’ And Sailors’ Families Association (SSAFA)
Captain Jim Conybeare, Master, The Honourable Company of Master Mariners
Lyn Hopkins, Director General, The Victoria League for Commonwealth Friendship
Sir Anthony Figgis KCVO CMG, Chairman, Royal Overseas League
Reveille sounded by buglers from the Band of Her Majesty’s Royal Marines
THE PRAYERS
Prayer by The Venerable Ian Wheatley QHC, Royal Navy Chaplain of the Fleet
God our Father, we come together today to honour all those who gave themselves with great courage in service and sacrifice for their country in the Gallipoli Campaign. We pray that their example may continue to inspire us to strive for the common good, that we may build up the harmony and freedom for which they fought and died.
Help us O Lord, to lift our eyes above the torment of this broken world, and strengthen our resolve to work for peace and justice, and for the relief of want and suffering. As we honour the past, may we put our faith in your future; for you are the source of life and hope, now and forever. Amen.
Hymn led by the Choirs of Chelmsford Cathedral and accompanied by the Massed Bands
I Vow To Thee My Country
All:
I vow to thee, my country, all earthly things above,
Entire and whole and perfect, the service of my love;
The love that asks no question, the love that stands the test,
That lays upon the altar the dearest and the best;
The love that never falters, the love that pays the price,
The love that makes undaunted the final sacrifice.
I heard my country calling, away across the sea,
Across the waste of waters, she calls and calls to me.
Her sword is girded at her side, her helmet on her head,
And around her feet are lying the dying and the dead;
I hear the noise of battle, the thunder of her guns;
I haste to thee, my mother, a son among thy sons.
And there’s another country, I’ve heard of long ago,
Most dear to them that love her, most great to them that know;
We may not count her armies, we may not see her King;
Her fortress is a faithful heart, her pride is suffering;
And soul by soul and silently her shining bounds increase,
And her ways are ways of gentleness, and all her paths are peace.
Prayer read by Grace van Gageldonk (14 years old) from Australia
God of compassion and mercy, we remember with thanksgiving and sorrow, those whose lives in world wars and conflicts past and present, have been
given and taken away.
Enfold in your love, all who in bereavement, disability and pain, continue to suffer the consequences of fighting and terror; and guide and protect all those who support and sustain them. Amen.
National anthem Advance Australia Fair
Led by the Choirs of Chelmsford Cathedral and accompanied by the Massed Bands
Australians all let us rejoice,
For we are young and free;
We’ve golden soil and wealth for toil,
Our home is girt by sea;
Our land abounds in nature’s gifts
Of beauty rich and rare;
In history’s page, let every stage
Advance Australia Fair.
In joyful strains then let us sing,
‘Advance Australia Fair’.
Prayer read by Kathryn Cooper (11 years old) from New Zealand
God of hope, the source of peace and the refuge of all in distress, we remember those you have gathered from the storm of war into the everlasting peace of your presence; may that same peace calm our fears, bring reconciliation and justice to all peoples, and establish lasting harmony among the nations.
We pray for all members of the armed forces who strive for peace and fight for justice today; bless and keep their families and friends at home awaiting their return. Help us, who today remember the cost of war, to work for a better tomorrow, and bring us all, in the end, to the peace of your presence; through Jesus Christ our Lord. Amen.
National anthem God Defend New Zealand
Led by the Choirs of Chelmsford Cathedral and accompanied by the Massed Bands
E Ihowā _Atua,
O ngā _iwi mātou rā
Āta whakarangona;
Me aroha noa
Kia hua ko te pai;
Kia tau tō _atawhai;
Manaakitia mai
Aotearoa
God of Nations at Thy feet,
in the bonds of love we meet,
hear our voices, we entreat,
God defend our free land.
Guard Pacific’s triple star
from the shafts of strife and war,
make her praises heard afar,
God defend New Zealand.
Reading Atatürk’s message to bereaved pilgrims, 1934, read by Ecenur Bilgiç (14 years old) from Turkey
Those heroes that shed their blood and lost their lives…
You are now lying in the soil of a friendly country. Therefore rest in peace.
There is no difference between the Johnnies and the Mehmets to us where they lie side by side here in this country of ours…
You, the mothers, who sent their sons from faraway countries, wipe away your tears; your sons are now lying in our bosom and are in peace, after having lost their lives on this land they have become our sons as well.
National anthem İstiklal Marşı (The Independence March)
Led by Burak Gülşen from Turkey, accompanied by the Massed Bands
Korkma, sönmez bu şafaklarda yüzen al sancak;
Sönmeden yurdumun üstünde tüten en son ocak.
O benim milletimin yıldızıdır, parlayacak;
O benimdir, o benim milletimindir ancak.
Çatma, kurban olayım, çehreni ey nazlı hilal!
Kahraman ırkıma bir gül! Ne bu şiddet, bu celal?
Sana olmaz dökülen kanlarımız sonra helal…
Hakkıdır, Hakk’a tapan, milletimin istiklal!
Fear not! For the crimson flag that flies at this dawn, shall not fade,
As long as the last fiery hearth that is ablaze in my country endures.
For that is the star of my nation, which will forever shine;
It is mine; and solely that of my valiant nation.
Frown not, I beseech you, oh thou coy crescent!
Come smile upon my heroic race! Why this rage, this fury?
The blood we shed for you shall not be blessed otherwise;
For independence is the absolute right of my God-worshipping nation.
Remembering Gallipoli a commemoration created by Michael McDermott
Music composed by Michael McDermott
Reading by James McDermott (17 years old) from the United Kingdom
The Attack at Dawn (May, 1915) by Leon Maxwell Gellert (1892–1977)
‘At every cost,’ they said, ‘it must be done.’
They told us in the early afternoon.
We sit and wait the coming of the sun
We sit in groups, — grey groups that watch the moon.
We stretch our legs and murmur half in sleep
And touch the tips of bayonets and yarn.
Our hands are cold. They strangely grope and creep,
Tugging at ends of straps. We wait the dawn!
Some men come stumbling past in single file.
And scrape the trench’s side and scatter sand.
They trip and curse and go. Perhaps we smile.
We wait the dawn! … The dawn is close at hand!
A gentle rustling runs along the line.
‘At every cost,’ they said, ‘it must be done.’
A hundred eyes are staring for the sign.
It’s coming! Look! … Our God’s own laughing sun!
Closing prayers by The Venerable Ian Wheatley QHC, Royal Navy Chaplain of the Fleet
Eternal God,
from whom all thoughts of truth and peace proceed;
Kindle, we pray, in the hearts of all, the true love of peace
and guide with your pure and peaceable wisdom
those who take counsel for the nations of the world,
that in tranquillity your kingdom may go forward,
and all people may spend their days in security, freedom and peace;
through Jesus Christ our Lord. Amen.
Merciful God
we offer to you the fears in us
that have not yet been cast out by love:
may we accept the hope you have
placed in the hearts of all people,
and live lives of justice, courage and mercy;
through Jesus Christ our Lord. Amen.
The Lord’s Prayer
All:
Our Father, who art in heaven,
hallowed be thy name;
thy kingdom come, thy will be done;
on earth as it is in heaven.
Give is this day our daily bread.
And forgive is our trespasses,
And forgive us our trespasses,
as we forgive those that trespass against us.
And lead is not into temptation;
but deliver us from evil.
For thine is the kingdom,
the power and the glory,
fro ver and ever. Amen.
The Blessing
God grant to the living grace, to the departed rest,
to the Church, the Queen, the Commonwealth and all people,
unity, peace and concord,
and to us and all God’s servants, life everlasting;
and the blessing of God almighty,
the Father, the Son and the Holy Spirit,
be among you and remain with you always. Amen.
National anthem God Save the Queen
Led by the Choirs of Chelmsford Cathedral and accompanied by the Massed Bands
God save our gracious Queen,
Long live our noble Queen.
God save the Queen!
Send her victorious,
Happy and glorious,
Long to reign over us;
God save the Queen!
They Are At Rest by Sir Edward Elgar (1857–1934), sung by the Choirs of Chelmsford Cathedral (unaccompanied)
THE MARCH PAST
Contingents from:
The Royal Navy
HMS QUEEN ELIZABETH
The Fleet Air Arm
The Submarine Service
Hybrid (HMS OCEAN, HMS ALBION,
Britannia Royal Naval College)
The Royal Marines
Maritime Reserves (Royal Navy
and Royal Marines Reserves)
Representatives from the Armed Forces of other countries who fought at Gallipoli
invited to join the March Past:
Australia
New Zealand
Canada
Turkey
India
Germany
Ireland
France
Bangladesh
Pakistan
South Africa
Papua New Guinea
Tonga
The Gallipoli Association
Naval Services Associations
The Royal Naval Association
The Royal Marines Association
Army Units and their Associations
The Royal Regiment of Artillery
The Royal Corps of Engineers
The Royal Regiment of Scotland
The Princess of Wales’ Royal Regiment
The Duke of Lancaster’s Regiment
The Royal Regiment of Fusiliers
The Royal Anglian Regiment
The Yorkshire Regiment
The Mercian Regiment
The Royal Welsh
The Royal Irish Regiment
The Royal Gurkha Rifles
The Rifles
The Royal Logistics Corps
The Royal Army Medical Corps
The Royal Army Veterinary Corps
The Royal Yeomanry
The Royal Wessex Yeomanry
The Scottish and North Irish Yeomanry
The London Regiment
Court & City Yeomanry Association
In-Pensioners of the Royal Hospital Chelsea
The Turkish Air Force Band plays Marche Mustafa Kemal Atatürk by Fazıl Çağlayan
Followed by: Descendants of those whose ancestors were involved in the Gallipoli campaign and others who march past the Cenotaph every year to commemorate Anzac Day.
The Postcard
A postally unused carte postale that was published by A. Bourdier of Versailles. The card has a divided back.
The Gardens of Versailles
The Gardens of Versailles are situated to the west of the palace. They cover some 800 hectares (1,977 acres) of land, much of which is landscaped in the classic French formal garden style perfected here by André Le Nôtre.
Beyond the surrounding belt of woodland, the gardens are bordered by the urban areas of Versailles to the east and Le Chesnay to the north-east, by the National Arboretum de Chèvreloup to the north, the Versailles plain (a protected wildlife preserve) to the west, and by the Satory Forest to the south.
In 1979, the gardens along with the château were inscribed on the UNESCO World Heritage List due to its cultural importance during the 17th. and 18th. centuries.
The gardens are now one of the most visited public sites in France, receiving more than six million visitors a year.
The gardens contain 200,000 trees, 210,000 flowers planted annually, and feature meticulously manicured lawns and parterres, as well as many sculptures.
50 fountains containing 620 water jets, fed by 35 km. of piping, are located throughout the gardens. Dating from the time of Louis XIV and still using much of the same network of hydraulics as was used during the Ancien Régime, the fountains contribute to making the gardens of Versailles unique.
On weekends from late spring to early autumn, there are the Grandes Eaux - spectacles during which all the fountains in the gardens are in full play. Designed by André Le Nôtre, the Grand Canal is the masterpiece of the Gardens of Versailles.
In the Gardens too, the Grand Trianon was built to provide the Sun King with the retreat that he wanted. The Petit Trianon is associated with Marie-Antoinette, who spent time there with her closest relatives and friends.
The Du Bus Plan for the Gardens of Versailles
With Louis XIII's purchase of lands from Jean-François de Gondi in 1632 and his assumption of the seigneurial role of Versailles in the 1630's, formal gardens were laid out west of the château.
Claude Mollet and Hilaire Masson designed the gardens, which remained relatively unchanged until the expansion ordered under Louis XIV in the 1660's. This early layout, which has survived in the so-called Du Bus plan of c.1662, shows an established topography along which lines of the gardens evolved. This is evidenced in the clear definition of the main east–west and north–south axis that anchors the gardens' layout.
Louis XIV
In 1661, after the disgrace of the finance minister Nicolas Fouquet, who was accused by rivals of embezzling crown funds in order to build his luxurious château at Vaux-le-Vicomte, Louis XIV turned his attention to Versailles.
With the aid of Fouquet's architect Louis Le Vau, painter Charles Le Brun, and landscape architect André Le Nôtre, Louis began an embellishment and expansion program at Versailles that would occupy his time and worries for the remainder of his reign.
From this point forward, the expansion of the gardens of Versailles followed the expansions of the château.
(a) The First Building Campaign
In 1662, minor modifications to the château were undertaken; however, greater attention was given to developing the gardens. Existing bosquets (clumps of trees) and parterres were expanded, and new ones created.
Most significant among the creations at this time were the Versailles Orangerie and the "Grotte de Thétys". The Orangery, which was designed by Louis Le Vau, was located south of the château, a situation that took advantage of the natural slope of the hill. It provided a protected area in which orange trees were kept during the winter months.
The "Grotte de Thétys", which was located to the north of the château, formed part of the iconography of the château and of the gardens that aligned Louis XIV with solar imagery. The grotto was completed during the second building campaign.
By 1664, the gardens had evolved to the point that Louis XIV inaugurated the gardens with the fête galante called Les Plaisirs de L'Île Enchantée. The event, was ostensibly to celebrate his mother, Anne d'Autriche, and his consort Marie-Thérèse but in reality celebrated Louise de La Vallière, Louis' mistress.
Guests were regaled with entertainments in the gardens over a period of one week. As a result of this fête - particularly the lack of housing for guests (most of them had to sleep in their carriages), Louis realised the shortcomings of Versailles, and began to expand the château and the gardens once again.
(b) The Second Building Campaign
Between 1664 and 1668, there was a flurry of activity in the gardens - especially with regard to fountains and new bosquets; it was during this time that the imagery of the gardens exploited Apollo and solar imagery as metaphors for Louis XIV.
Le Va's enveloppe of the Louis XIII's château provided a means by which, though the decoration of the garden façade, imagery in the decors of the grands appartements of the king and queen formed a symbiosis with the imagery of the gardens.
With this new phase of construction, the gardens assumed the design vocabulary that remained in force until the 18th. century. Solar and Apollonian themes predominated with projects constructed at this time.
Three additions formed the topological and symbolic nexus of the gardens during this phase of construction: the completion of the "Grotte de Thétys", the "Bassin de Latone", and the "Bassin d'Apollon".
The Grotte de Thétys
Started in 1664 and finished in 1670 with the installation of the statuary, the grotto formed an important symbolic and technical component to the gardens. Symbolically, the "Grotte de Thétys" related to the myth of Apollo - and by association to Louis XIV.
It represented the cave of the sea nymph Thetis, where Apollo rested after driving his chariot to light the sky. The grotto was a freestanding structure located just north of the château.
The interior, which was decorated with shell-work to represent a sea cave, contained the statue group by the Marsy brothers depicting the sun god attended by nereids.
Technically, the "'Grotte de Thétys" played a critical role in the hydraulic system that supplied water to the garden. The roof of the grotto supported a reservoir that stored water pumped from the Clagny pond and which fed the fountains lower in the garden via gravity.
The Bassin de Latone
Located on the east–west axis is the Bassin de Latone. Designed by André Le Nôtre, sculpted by Gaspard and Balthazar Marsy, and constructed between 1668 and 1670, the fountain depicts an episode from Ovid's Metamorphoses.
Altona and her children, Apollo and Diana, being tormented with mud slung by Lycian peasants, who refused to let her and her children drink from their pond, appealed to Jupiter who responded by turning the Lycians into frogs.
This episode from mythology has been seen as a reference to the revolts of the Fronde, which occurred during the minority of Louis XIV. The link between Ovid's story and this episode from French history is emphasised by the reference to "mud slinging" in a political context.
The revolts of the Fronde - the word fronde also means slingshot - have been regarded as the origin of the use of the term "mud slinging" in a political context.
The Bassin d'Apollon
Further along the east–west axis is the Bassin d'Apollon. The Apollo Fountain, which was constructed between 1668 and 1671, depicts the sun god driving his chariot to light the sky. The fountain forms a focal point in the garden, and serves as a transitional element between the gardens of the Petit Parc and the Grand Canal.
The Grand Canal
With a length of 1,500 metres and a width of 62 metres, the Grand Canal, which was built between 1668 and 1671, prolongs the east–west axis to the walls of the Grand Parc. During the Ancien Régime, the Grand Canal served as a venue for boating parties.
In 1674 the king ordered the construction of Petite Venise (Little Venice). Located at the junction of the Grand Canal and the northern transversal branch, Little Venice housed the caravels and yachts that were received from The Netherlands and the gondolas and gondoliers received as gifts from the Doge of Venice.
The Grand Canal also served a practical role. Situated at a low point in the gardens, it collected water that drained from the fountains in the garden above. Water from the Grand Canal was pumped back to the reservoir on the roof of the Grotte de Thétys via a network of windmill- and horse-powered pumps.
The Parterre d'Eau
Situated above the Latona Fountain is the terrace of the château, known as the Parterre d'Eau. Forming a transitional element from the château to the gardens below, the Parterre d'Eau provided a setting in which the symbolism of the grands appartements synthesized with the iconography of the gardens.
In 1664, Louis XIV commissioned a series of statues intended to decorate the water feature of the Parterre d'Eau. The Grande Command, as the commission is known, comprised twenty-four statues of the classic quaternities and four additional statues depicting abductions from the classic past.
Evolution of the Bosquets
One of the distinguishing features of the gardens during the second building campaign was the proliferation of bosquets. Expanding the layout established during the first building campaign, Le Nôtre added or expanded on no fewer that ten bosquets between 1670 and 1678:
-- The Bosquet du Marais
-- The Bosquet du Théâtre d'Eau, Île du Roi
-- The Miroir d'Eau
-- The Salle des Festins (Salle du Conseil)
-- The Bosquet des Trois Fontaines
-- The Labyrinthe
-- The Bosquet de l'Arc de Triomphe
-- The Bosquet de la Renommée (Bosquet des Dômes)
-- The Bosquet de l'Encélade
-- The Bosquet des Sources
In addition to the expansion of existing bosquets and the construction of new ones, there were two additional projects that defined this era, the Bassin des Sapins and the Pièce d'Eau des Suisses.
-- The Bassin des Sapins
In 1676, the Bassin des Sapins, which was located north of the château below the Allée des Marmoset's was designed to form a topological pendant along the north–south axis with the Pièce d'Eau des Suisses located at the base of the Satory hill south of the château.
Later modifications in the gardens transformed this fountain into the Bassin de Neptune.
-- Pièce d'Eau des Suisses
Excavated in 1678, the Pièce d'Eau des Suisses - named after the Swiss Guards who constructed the lake - occupied an area of marshes and ponds, some of which had been used to supply water for the fountains in the garden.
This water feature, with a surface area of more than 15 hectares (37 acres), is the second largest - after the Grand Canal - at Versailles.
(c) The Third Building Campaign
Modifications to the gardens during the third building campaign were distinguished by a stylistic change from the natural aesthetic of André Le Nôtre to the architectonic style of Jules Hardouin Mansart.
The first major modification to the gardens during this phase occurred in 1680 when the Tapis Vert - the expanse of lawn that stretches between the Latona Fountain and the Apollo Fountain - achieved its final size and definition under the direction of André Le Nôtre.
Beginning in 1684, the Parterre d'Eau was remodelled under the direction of Jules Hardouin-Mansart. Statues from the Grande Commande of 1674 were relocated to other parts of the garden; two twin octagonal basins were constructed and decorated with bronze statues representing the four main rivers of France.
In the same year, Le Vau's Orangerie, located to south of the Parterrre d'Eau was demolished to accommodate a larger structure designed by Jules Hardouin-Mansart.
In addition to the Orangerie, the Escaliers des Cent Marches, which facilitated access to the gardens from the south, to the Pièce d'Eau des Suisses, and to the Parterre du Midi were constructed at this time, giving the gardens just south of the château their present configuration and decoration.
Additionally, to accommodate the anticipated construction of the Aile des Nobles - the north wing of the château - the Grotte de Thétys was demolished.
With the construction of the Aile des Nobles (1685–1686), the Parterre du Nord was remodelled to respond to the new architecture of this part of the château.
To compensate for the loss of the reservoir on top of the Grotte de Thétys and to meet the increased demand for water, Jules Hardouin-Mansart designed new and larger reservoirs situated north of the Aile des Nobles.
Construction of the ruinously expensive Canal de l'Eure was inaugurated in 1685; designed by Vauban it was intended to bring waters of the Eure over 80 kilometres, including aqueducts of heroic scale, but the works were abandoned in 1690.
Between 1686 and 1687, the Bassin de Latone, under the direction of Jules Hardouin-Mansart, was rebuilt. It is this final version of the fountain that one sees today at Versailles.
During this phase of construction, three of the garden's major bosquets were modified or created. Beginning with the Galerie des Antiques, this bosquet was constructed in 1680 on the site of the earlier and short-lived Galerie d'Eau. This bosquet was conceived as an open-air gallery in which antique statues and copies acquired by the Académie de France in Rome were displayed.
The following year, construction began on the Salle de Bal. Located in a secluded section of the garden west of the Orangerie, this bosquet was designed as an amphitheater that featured a cascade – the only one surviving in the gardens of Versailles. The Salle de Bal was inaugurated in 1685 with a ball hosted by the Grand Dauphin.
Between 1684 and 1685, Jules Hardouin-Mansart built the Colonnade. Located on the site of Le Nôtre's Bosquet des Sources, this bosquet featured a circular peristyle formed from thirty-two arches with twenty-eight fountains, and was Hardouin-Mansart's most architectural of the bosquets built in the gardens of Versailles.
(d) The Fourth Building Campaign
Due to financial constraints arising from the War of the League of Augsburg and the War of the Spanish Succession, no significant work on the gardens was undertaken until 1704.
Between 1704 and 1709, bosquets were modified, some quite radically, with new names suggesting the new austerity that characterised the latter years of Louis XIV's reign.
Louis XV
With the departure of the king and court from Versailles in 1715 following the death of Louis XIV, the palace and gardens entered an era of uncertainty.
In 1722, Louis XV and the court returned to Versailles. Seeming to heed his great-grandfather's admonition not to engage in costly building campaigns, Louis XV did not undertake the costly rebuilding that Louis XIV had.
During the reign of Louis XV, the only significant addition to the gardens was the completion of the Bassin de Neptune (1738–1741).
Rather than expend resources on modifying the gardens at Versailles, Louis XV - an avid botanist - directed his efforts at Trianon. In the area now occupied by the Hameau de la Reine, Louis XV constructed and maintained les Jardins Botaniques.
In 1761, Louis XV commissioned Ange-Jacques Gabriel to build the Petit Trianon as a residence that would allow him to spend more time near the Jardins Botaniques. It was at the Petit Trianon that Louis XV fell fatally ill with smallpox; he died at Versailles on the 10th. May 1774.
Louis XVI
Upon Louis XVI's ascension to the throne, the gardens of Versailles underwent a transformation that recalled the fourth building campaign of Louis XIV. Engendered by a change in outlook as advocated by Jean-Jacques Rousseau and the Philosophes, the winter of 1774–1775 witnessed a complete replanting of the gardens.
Trees and shrubbery dating from the reign of Louis XIV were felled or uprooted with the intent of transforming the French formal garden of Le Nôtre and Hardouin-Mansart into a version of an English landscape garden.
The attempt to convert Le Nôtre's masterpiece into an English-style garden failed to achieve its desired goal. Owing largely to the topology of the land, the English aesthetic was abandoned and the gardens replanted in the French style.
However, with an eye on economy, Louis XVI ordered the Palisades - the labour-intensive clipped hedging that formed walls in the bosquets - to be replaced with rows of lime trees or chestnut trees. Additionally, a number of the bosquets dating from the time of the Sun King were extensively modified or destroyed.
The most significant contribution to the gardens during the reign of Louis XVI was the Grotte des Bains d'Apollon. The rockwork grotto set in an English style bosquet was the masterpiece of Hubert Robert in which the statues from the Grotte de Thétys were placed.
Revolution
In 1792, under order from the National Convention, some of the trees in the gardens were felled, while parts of the Grand Parc were parcelled and dispersed.
Sensing the potential threat to Versailles, Louis Claude Marie Richard (1754–1821) – director of the Jardins Botaniques and grandson of Claude Richard – lobbied the government to save Versailles. He succeeded in preventing further dispersing of the Grand Parc, and threats to destroy the Petit Parc were abolished by suggesting that the parterres could be used to plant vegetable gardens, and that orchards could occupy the open areas of the garden.
These plans were never put into action; however, the gardens were opened to the public - it was not uncommon to see people washing their laundry in the fountains and spreading it on the shrubbery to dry.
Napoléon I
The Napoleonic era largely ignored Versailles. In the château, a suite of rooms was arranged for the use of the empress Marie-Louise, but the gardens were left unchanged, save for the disastrous felling of trees in the Bosquet de l'Arc de Triomphe and the Bosquet des Trois Fontaines. Massive soil erosion necessitated planting of new trees.
Restoration
With the restoration of the Bourbons in 1814, the gardens of Versailles witnessed the first modifications since the Revolution. In 1817, Louis XVIII ordered the conversion of the Île du Roi and the Miroir d'Eau into an English-style garden - the Jardin du Roi.
The July Monarchy; The Second Empire
While much of the château's interior was irreparably altered to accommodate the Museum of the History of France (inaugurated by Louis-Philippe on the 10th. June 1837), the gardens, by contrast, remained untouched.
With the exception of the state visit of Queen Victoria and Prince Albert in 1855, at which time the gardens were a setting for a gala fête that recalled the fêtes of Louis XIV, Napoléon III ignored the château, preferring instead the château of Compiègne.
Pierre de Nolhac
With the arrival of Pierre de Nolhac as director of the museum in 1892, a new era of historical research began at Versailles. Nolhac, an ardent archivist and scholar, began to piece together the history of Versailles, and subsequently established the criteria for restoration of the château and preservation of the gardens, which are ongoing to this day.
Bosquets of the Gardens
Owing to the many modifications made to the gardens between the 17th. and the 19th. centuries, many of the bosquets have undergone multiple modifications, which were often accompanied by name changes.
Deux Bosquets - Bosquet de la Girondole - Bosquet du Dauphin - Quinconce du Nord - Quinconce du Midi
These two bosquets were first laid out in 1663. They were arranged as a series of paths around four salles de verdure and which converged on a central "room" that contained a fountain.
In 1682, the southern bosquet was remodeled as the Bosquet de la Girondole, thus named due to spoke-like arrangement of the central fountain. The northern bosquet was rebuilt in 1696 as the Bosquet du Dauphin with a fountain that featured a dolphin.
During the replantation of 1774–1775, both the bosquets were destroyed. The areas were replanted with lime trees and were rechristened the Quinconce du Nord and the Quinconce du Midi.
Labyrinthe - Bosquet de la Reine
In 1665, André Le Nôtre planned a hedge maze of unadorned paths in an area south of the Latona Fountain near the Orangerie. In 1669, Charles Perrault - author of the Mother Goose Tales - advised Louis XIV to remodel the Labyrinthe in such a way as to serve the Dauphin's education.
Between 1672 and 1677, Le Nôtre redesigned the Labyrinthe to feature thirty-nine fountains that depicted stories from Aesop's Fables. The sculptors Jean-Baptiste Tuby, Étienne Le Hongre, Pierre Le Gros, and the brothers Gaspard and Balthazard Marsy worked on these thirty-nine fountains, each of which was accompanied by a plaque on which the fable was printed, with verse written by Isaac de Benserade; from these plaques, Louis XIV's son learned to read.
Once completed in 1677, the Labyrinthe contained thirty-nine fountains with 333 painted metal animal sculptures. The water for the elaborate waterworks was conveyed from the Seine by the Machine de Marly.
The Labyrinthe contained fourteen water-wheels driving 253 pumps, some of which worked at a distance of three-quarters of a mile.
Citing repair and maintenance costs, Louis XVI ordered the Labyrinthe demolished in 1778. In its place, an arboretum of exotic trees was planted as an English-styled garden.
Rechristened Bosquet de la Reine, it would be in this part of the garden that an episode of the Affair of the Diamond Necklace, which compromised Marie-Antoinette, transpired in 1785.
Bosquet de la Montagne d'Eau - Bosquet de l'Étoile
Originally designed by André Le Nôtre in 1661 as a salle de verdure, this bosquet contained a path encircling a central pentagonal area. In 1671, the bosquet was enlarged with a more elaborate system of paths that served to enhance the new central water feature, a fountain that resembled a mountain, hence the bosquets new name: Bosquet de la Montagne d'Eau.
The bosquet was completely remodeled in 1704 at which time it was rechristened Bosquet de l'Étoile.
Bosquet du Marais - Bosquet du Chêne Vert - Bosquet des Bains d'Apollon - Grotte des Bains d'Apollon
Created in 1670, this bosquet originally contained a central rectangular pool surrounded by a turf border. Edging the pool were metal reeds that concealed numerous jets for water; a swan that had water jetting from its beak occupied each corner.
The centre of the pool featured an iron tree with painted tin leaves that sprouted water from its branches. Because of this tree, the bosquet was also known as the Bosquet du Chêne Vert.
In 1705, this bosquet was destroyed in order to allow for the creation of the Bosquet des Bains d'Apollon, which was created to house the statues had once stood in the Grotte de Thétys.
During the reign of Louis XVI, Hubert Robert remodeled the bosquet, creating a cave-like setting for the Marsy statues. The bosquet was renamed the Grotte des Bains d'Apollon.
Île du Roi - Miroir d'Eau - Jardin du Roi
Originally designed in 1671 as two separate water features, the larger - Île du Roi - contained an island that formed the focal point of a system of elaborate fountains.
The Île du Roi was separated from the Miroir d'Eau by a causeway that featured twenty-four water jets. In 1684, the island was removed and the total number of water jets in the bosquet was significantly reduced.
The year 1704 witnessed a major renovation of the bosquet, at which time the causeway was remodelled and most of the water jets were removed.
A century later, in 1817, Louis XVIII ordered the Île du Roi and the Miroir d'Eau to be completely remodeled as an English-style garden. At this time, the bosquet was rechristened Jardin du Roi.
Salle des Festins - Salle du Conseil - Bosquet de l'Obélisque
In 1671, André Le Nôtre conceived a bosquet - originally christened Salle des Festins and later called Salle du Conseil - that featured a quatrefoil island surrounded by a channel containing fifty water jets. Access to the island was obtained by two swing bridges.
Beyond the channel and placed at the cardinal points within the bosquet were four additional fountains. Under the direction of Jules Hardouin-Mansart, the bosquet was completely remodeled in 1706. The central island was replaced by a large basin raised on five steps, which was surrounded by a canal. The central fountain contained 230 jets that, when in play, formed an obelisk – hence the new name Bosquet de l'Obélisque.
Bosquet du Théâtre d'Eau - Bosquet du Rond-Vert
The central feature of this bosquet, which was designed by Le Nôtre between 1671 and 1674, was an auditorium/theatre sided by three tiers of turf seating that faced a stage decorated with four fountains alternating with three radiating cascades.
Between 1680 and Louis XIV's death in 1715, there was near-constant rearranging of the statues that decorated the bosquet.
In 1709, the bosquet was rearranged with the addition of the Fontaine de l'Île aux Enfants. As part of the replantation of the gardens ordered by Louis XVI during the winter of 1774–1775, the Bosquet du Théâtre d'Eau was destroyed and replaced with the unadorned Bosquet du Rond-Vert. The Bosquet du Théâtre d'Eau was recreated in 2014, with South Korean businessman and photographer Yoo Byung-eun being the sole patron, donating €1.4 million.
Bosquet des Trois Fontaines - Berceau d'Eau
Situated to the west of the Allée des Marmousets and replacing the short-lived Berceau d'Eau (a long and narrow bosquet created in 1671 that featured a water bower made by numerous jets of water), the enlarged bosquet was transformed by Le Nôtre in 1677 into a series of three linked rooms.
Each room contained a number of fountains that played with special effects. The fountains survived the modifications that Louis XIV ordered for other fountains in the gardens in the early 18th. century and were subsequently spared during the 1774–1775 replantation of the gardens.
In 1830, the bosquet was replanted, at which time the fountains were suppressed. Due to storm damage in the park in 1990 and then again in 1999, the Bosquet des Trois Fontaines was restored and re-inaugurated on the 12th. June 2004.
Bosquet de l'Arc de Triomphe
This bosquet was originally planned in 1672 as a simple pavillon d'eau - a round open expanse with a square fountain in the centre. In 1676, this bosquet was enlarged and redecorated along political lines that alluded to French military victories over Spain and Austria, at which time the triumphal arch was added - hence the name.
As with the Bosquet des Trois Fontaines, this bosquet survived the modifications of the 18th. century, but was replanted in 1830, at which time the fountains were removed.
Bosquet de la Renommée - Bosquet des Dômes
Built in 1675, the Bosquet de la Renommée featured a fountain statue of Fame. With the relocation of the statues from the Grotte de Thétys in 1684, the bosquet was remodelled to accommodate the statues, and the Fame fountain was removed.
At this time the bosquet was rechristened Bosquet des Bains d'Apollon. As part of the reorganisation of the garden that was ordered by Louis XIV in the early part of the 18th. century, the Apollo grouping was moved once again to the site of the Bosquet du Marais - located near the Latona Fountain - which was destroyed and was replaced by the new Bosquet des Bains d'Apollon.
The statues were installed on marble plinths from which water issued; and each statue grouping was protected by an intricately carved and gilded baldachin.
The old Bosquet des Bains d'Apollon was renamed Bosquet des Dômes due to two domed pavilions built in the bosquet.
Bosquet de l'Encélade
Created in 1675 at the same time as the Bosquet de la Renommée, the fountain of this bosquet depicts Enceladus, a fallen Giant who was condemned to live below Mount Etna, being consumed by volcanic lava.
From its conception, this fountain was conceived as an allegory of Louis XIV's victory over the Fronde. In 1678, an octagonal ring of turf and eight rocaille fountains surrounding the central fountain were added. These additions were removed in 1708.
When in play, this fountain has the tallest jet of all the fountains in the gardens of Versailles - 25 metres.
Bosquet des Sources - La Colonnade
Designed as a simple unadorned salle de verdure by Le Nôtre in 1678, the landscape architect enhanced and incorporated an existing stream to create a bosquet that featured rivulets that twisted among nine islets.
In 1684, Jules Hardouin-Mansart completely redesigned the bosquet by constructing a circular arched double peristyle. The Colonnade, as it was renamed, originally featured thirty-two arches and thirty-one fountains – a single jet of water splashed into a basin center under the arch.
In 1704, three additional entrances to the Colonnade were added, which reduced the number of fountains from thirty-one to twenty-eight. The statue that currently occupies the centre of the Colonnade - the Abduction of Persephone - (from the Grande Commande of 1664) was set in place in 1696.
Galerie d'Eau - Galerie des Antiques - Salle des Marronniers
Occupying the site of the Galerie d'Eau (1678), the Galerie des Antiques was designed in 1680 to house the collection of antique statues and copies of antique statues acquired by the Académie de France in Rome.
Surrounding a central area paved with colored stone, a channel was decorated with twenty statues on plinths, each separated by three jets of water.
The Galerie was completely remodeled in 1704 when the statues were transferred to Marly and the bosquet was replanted with horse chestnut trees - hence the current name Salle des Marronniers.
Salle de Bal
This bosquet, which was designed by Le Nôtre and built between 1681 and 1683, features a semi-circular cascade that forms the backdrop for a salle de verdure.
Interspersed with gilt lead torchères, which supported candelabra for illumination, the Salle de Bal was inaugurated in 1683 by Louis XIV's son, the Grand Dauphin, with a dance party.
The Salle de Bal was remodeled in 1707 when the central island was removed and an additional entrance was added.
Replantations of the Gardens
Common to any long-lived garden is replantation, and Versailles is no exception. In their history, the gardens of Versailles have undergone no less than five major replantations, which have been executed for practical and aesthetic reasons.
During the winter of 1774–1775, Louis XVI ordered the replanting of the gardens on the grounds that many of the trees were diseased or overgrown, and needed to be replaced.
Also, as the formality of the 17th.-century garden had fallen out of fashion, this replantation sought to establish a new informality in the gardens - that would also be less expensive to maintain.
This, however, was not achieved, as the topology of the gardens favored the Jardin à la Française over an English-style garden.
Then, in 1860, much of the old growth from Louis XVI's replanting was removed and replaced. In 1870, a violent storm struck the area, damaging and uprooting scores of trees, which necessitated a massive replantation program.
However, owing to the Franco-Prussian War, which toppled Napoléon III, and the Commune de Paris, replantation of the garden did not get underway until 1883.
The most recent replantations of the gardens were precipitated by two storms that battered Versailles in 1990 and then again in 1999. The storm damage at Versailles and Trianon amounted to the loss of thousands of trees - the worst such damage in the history of Versailles.
The replantations have allowed museum and governmental authorities to restore and rebuild some of the bosquets that were abandoned during the reign of Louis XVI, such as the Bosquet des Trois Fontaines, which was restored in 2004.
Catherine Pégard, the head of the public establishment which administers Versailles, has stated that the intention is to return the gardens to their appearance under Louis XIV, specifically as he described them in his 1704 description, Manière de Montrer les Jardins de Versailles.
This involves restoring some of the parterres like the Parterre du Midi to their original formal layout, as they appeared under Le Nôtre. This was achieved in the Parterre de Latone in 2013, when the 19th. century lawns and flower beds were torn up and replaced with boxwood-enclosed turf and gravel paths to create a formal arabesque design.
Pruning is also done to keep trees at between 17 and 23 metres (56 to 75 feet), so as not to spoil the carefully designed perspectives of the gardens.
Owing to the natural cycle of replantations that has occurred at Versailles, it is safe to state that no trees dating from the time of Louis XIV are to be found in the gardens.
Problems With Water
The marvel of the gardens of Versailles - then as now - is the fountains. Yet, the very element that animates the gardens, water, has proven to be the affliction of the gardens since the time of Louis XIV.
The gardens of Louis XIII required water, and local ponds provided an adequate supply. However, once Louis XIV began expanding the gardens with more and more fountains, supplying the gardens with water became a critical challenge.
To meet the needs of the early expansions of the gardens under Louis XIV, water was pumped to the gardens from ponds near the château, with the Clagny pond serving as the principal source.
Water from the pond was pumped to the reservoir on top of the Grotte de Thétys, which fed the fountains in the garden by means of gravitational hydraulics. Other sources included a series of reservoirs located on the Satory Plateau south of the château.
The Grand Canal
By 1664, increased demand for water necessitated additional sources. In that year, Louis Le Vau designed the Pompe, a water tower built north of the château. The Pompe drew water from the Clagny pond using a system of windmills and horsepower to a cistern housed in the Pompe's building. The capacity of the Pompe 600 cubic metres per day - alleviated some of the water shortages in the garden.
With the completion of the Grand Canal in 1671, which served as drainage for the fountains of the garden, water, via a system of windmills, was pumped back to the reservoir on top of the Grotte de Thétys.
While this system solved some of the water supply problems, there was never enough water to keep all of the fountains running in the garden in full-play all of the time.
While it was possible to keep the fountains in view from the château running, those concealed in the bosquets and in the farther reaches of the garden were run on an as-needed basis.
In 1672, Jean-Baptiste Colbert devised a system by which the fountaineers in the gardens would signal each other with whistles upon the approach of the king, indicating that their fountain needed to be turned on. Once the king had passed a fountain in play, it would be turned off and the fountaineer would signal that the next fountain could be turned on.
In 1674, the Pompe was enlarged, and subsequently referred to as the Grande Pompe. Pumping capacity was increased via increased power and the number of pistons used for lifting the water. These improvements increased the water capacity to nearly 3,000 cubic metres of water per day; however, the increased capacity of the Grande Pompe often left the Clagny pond dry.
The increasing demand for water and the stress placed on existing systems of water supply necessitated newer measures to increase the water supplied to Versailles. Between 1668 and 1674, a project was undertaken to divert the water of the Bièvre river to Versailles. By damming the river and with a pumping system of five windmills, water was brought to the reservoirs located on the Satory Plateau. This system brought an additional 72,000 cubic metres water to the gardens on a daily basis.
Despite the water from the Bièvre, the gardens needed still more water, which necessitated more projects. In 1681, one of the most ambitious water projects conceived during the reign of Louis XIV was undertaken.
Owing to the proximity of the Seine to Versailles, a project was proposed to raise the water from the river to be delivered to Versailles. Seizing upon the success of a system devised in 1680 that raised water from the Seine to the gardens of Saint-Germain-en-Laye, construction of the Machine de Marly began the following year.
The Machine de Marly was designed to lift water from the Seine in three stages to the Aqueduc de Louveciennes some 100 metres above the level of the river. A series of huge waterwheels was constructed in the river, which raised the water via a system of 64 pumps to a reservoir 48 metres above the river. From this first reservoir, water was raised an additional 56 metres to a second reservoir by a system of 79 pumps. Finally, 78 additional pumps raised the water to the aqueduct, which carried the water to Versailles and Marly.
In 1685, the Machine de Marly came into full operation. However, owing to leakage in the conduits and breakdowns of the mechanism, the machine was only able to deliver 3,200 cubic metres of water per day - approximately one-half the expected output. The machine was nevertheless a must-see for visitors. Despite the fact that the gardens consumed more water per day than the entire city of Paris, the Machine de Marly remained in operation until 1817.
During Louis XIV's reign, water supply systems represented one-third of the building costs of Versailles. Even with the additional output from the Machine de Marly, fountains in the garden could only be run à l'ordinaire - which is to say at half-pressure.
With this measure of economy, the fountains still consumed 12,800 cubic metres of water per day, far above the capacity of the existing supplies. In the case of the Grandes Eaux - when all the fountains played to their maximum - more than 10,000 cubic metres of water was needed for one afternoon's display.
Accordingly, the Grandes Eaux were reserved for special occasions such as the Siamese Embassy visit of 1685–1686.
The Canal de l'Eure
One final attempt to solve water shortage problems was undertaken in 1685. In this year it was proposed to divert the water of the Eure river, located 160 km. south of Versailles and at a level 26 m above the garden reservoirs.
The project called not only for digging a canal and for the construction of an aqueduct, it also necessitated the construction of shipping channels and locks to supply the workers on the main canal.
Between 9,000 to 10,000 troops were pressed into service in 1685; the next year, more than 20,000 soldiers were engaged in construction. Between 1686 and 1689, when the Nine Years' War began, one-tenth of France's military was at work on the Canal de l'Eure project.
However with the outbreak of the war, the project was abandoned, never to be completed. Had the aqueduct been completed, some 50,000 cubic metres of water would have been sent to Versailles - more than enough to solve the water problem of the gardens.
Today, the museum of Versailles is still faced with water problems. During the Grandes Eaux, water is circulated by means of modern pumps from the Grand Canal to the reservoirs. Replenishment of the water lost due to evaporation comes from rainwater, which is collected in cisterns that are located throughout the gardens and diverted to the reservoirs and the Grand Canal.
Assiduous husbanding of this resource by museum officials prevents the need to tap into the supply of potable water of the city of Versailles.
The Versailles Gardens In Popular Culture
The creation of the gardens of Versailles is the context for the film 'A Little Chaos', directed by Alan Rickman and released in 2015, in which Kate Winslet plays a fictional landscape gardener and Rickman plays King Louis XIV.
Published in Silver Kris Magazine, Singapore Air, Sept 07 issue.
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Pls View Large, Hurghada Egypt
HDR, Photomatix Pro
twixd.
Another tutorial published on trendyTUTS.com. Want to learn how I have don this? Follow this link...
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The Postcard
A Phototype Series postcard that was published by Valentine & Sons Ltd. of Dundee and London. The card was posted in Southport using a 2½d. stamp on Friday the 19th. September 1952.
It was sent to:
Mrs. David,
95, Cathedral Road,
Cardiff.
The message on the divided back of the card was as follows:
"Southport, Friday,
Boots Cafe.
Thank you so much for
your letter & the ticket.
I shall do that tomorrow.
I have a case for E. Lewis
today.
Have a Liverpool job tonight
if I'm early enough, and two
Manchester ones yesterday -
another tomorrow.
Burton-on-Trent on Monday!
I do hope you had a good
day yesterday.
Much love to all.
E."
Southport
Southport is a large seaside town in Merseyside, England. At the 2001 census, it had a population of 90,336, making it the eleventh most populous settlement in North West England.
Southport lies on the Irish Sea coast and is fringed to the north by the Ribble estuary. The town is 16.7 miles (26.9 km) north of Liverpool and 14.8 miles (23.8 km) southwest of Preston.
The town was founded in 1792 when William Sutton, an innkeeper, built a bathing house at what is now the south end of Lord Street. At that time, the area, was sparsely populated and dominated by sand dunes.
At the turn of the 19th century, the area became popular with tourists due to the easy access from the nearby Leeds and Liverpool Canal. The rapid growth of Southport largely coincided with the Industrial Revolution and the Victorian era.
Town attractions include Southport Pier with its Southport Pier Tramway, the second longest seaside pleasure pier in the British Isles, and Lord Street, an elegant tree-lined shopping street, once home of Napoleon III of France.
Extensive sand dunes stretch for several miles from Woodvale to Birkdale, the south of the town. Local fauna include the Natterjack toad and the Sand lizard.
The town contains examples of Victorian architecture and town planning, on Lord Street and elsewhere. A particular feature of the town is the extensive tree planting. This was one of the conditions required by the Hesketh family when they made land available for development in the 19th century. Hesketh Park at the northern end of the town is named after them, having been built on land donated by Rev. Charles Hesketh. For interesting information about the park, please search for the tag 36HES75
Southport today is still one of the most popular seaside resorts in the UK. It hosts various events, including an annual air show on and over the beach, the largest independent flower show in the UK (in Victoria Park) and the British Musical Fireworks Championship. The town is at the centre of England's Golf Coast and has hosted the Open Championship at the Royal Birkdale Golf Club.
Southport Bathing Pool
A railway poster in 1932 suggested that travellers visit Southport – the ‘Paris of the North’ – in preference to any other European destination, for one reason only: its open-air swimming pool.
Set in Prince’s Park, next to the Marine Lake and close to the pier, this huge, oval-shaped pool also had a café with a glass-domed roof, where an orchestra would play every afternoon.
Crowds were entertained by swimming competitions and beauty contests.
As the railway poster declared:
"'Swimming Pool' is far too prosaic a name to describe
the magnificent temple that Southport has built to the
goddess of air and water and sunshine. Here the youth
and beauty of the town disport themselves in the most
elegant surroundings and men and maidens meet in
pleasant cafes surrounding the pool to talk about the
concert that is over, or the dance that is to come."
At the grand opening on the 17th. May 1928, Lord Derby cut the ribbon, and was presented with roses by local girls dressed in his racing colours of black and white.
A group of children then swam the length of the pool, followed by a parade of ladies wearing costumes made of silk and taffeta from a local store. Finally St Hilda’s Band entertained the crowd with a selection of popular songs.
A local paper commented:
"One was reminded forcibly of the Lido."
This was one of the first known uses of the term lido (after the shore in Venice) to describe a British open air pool.
The pool closed in 1989, and was demolished in 1993. The site made way for the Ocean Plaza development, a mammoth retail park.
Paul Webster
So what else happened on the day that the card was posted?
Well, the 19th. September 1952 marked the birth of Paul Webster. Paul is a British film producer.
Webster has worked both as an independent, and with several production companies. He worked with Working Title Films for five years, setting up their Los Angeles office. Between 1995 and 1997 he was Head of Production for Miramax Films.
In 1998 he joined Channel 4 to create Film Four. In 2004 he joined Kudos Film and Television, heading their film unit, Kudos Pictures.
Webster was executive producer, along with Robert Redford and Rebecca Yeldham, of the 2004 film The Motorcycle Diaries, directed by Walter Salles, based on Che Guevara's book of the same name.
Webster was nominated for an Academy Award for Best Picture for the 2007 film Atonement, for which he was also nominated for a BAFTA in the category of "Best British Film" and won a BAFTA for "Best Film".
He was previously nominated for a BAFTA and a Genie Award for Best Motion Picture for his work on the 2007 film Eastern Promises.
Webster produced the Disneynature documentary on flamingos, The Crimson Wing: Mystery of the Flamingos, released internationally in 2009.
The 1952 Farnborough Airshow Crash
13 days previously, on the 6th. September 1952, there was a major crash at the Farnborough Airshow in Hampshire following the in-flight breakup of a prototype de Havilland 110 jet fighter due to structural failure.
Both men on board the aircraft died, along with 29 spectators. 63 spectators were injured.
The jet disintegrated in mid-air during an aerobatic manoeuvre, causing the death of pilot John Derry and onboard flight test observer Anthony Richards. Debris from the aircraft fell onto a crowd of spectators.
The cause of the break-up was later determined to be structural failure due to a design flaw in the wing's leading edge. All DH 110's were initially grounded, but after design modification, the type entered service with the Royal Navy as the Sea Vixen.
Stricter safety procedures were subsequently enacted for UK air shows, and there were no further spectator fatalities until the 2015 Shoreham Airshow crash in which 11 people died.
-- The Crash
The planned demonstration of the DH 110 on that day was nearly cancelled when the aircraft at Farnborough, WG 240, an all-black night fighter prototype, became unserviceable.
It was de Havilland's second DH 110 prototype, and had been taken supersonic over the show on the opening day. Derry and Richards therefore collected WG 236, the first DH 110 prototype, from de Havilland's factory in Hatfield, Hertfordshire, and flew it to Farnborough, starting their display at around 3:45 p.m.
Following a supersonic dive and flypast from 40,000 feet (12,000 m) and during a left bank at about 830 km/h (520 mph) toward the air show's 120,000 spectators, the pilot pulled up into a climb.
In less than a second, the aircraft disintegrated: the outer sections of the wing, both engines and the cockpit separated from the airframe. The cockpit, with the two crew members still inside, fell right in front of the spectators nearest the runway, injuring several people.
The engines travelled much further on a ballistic trajectory; one engine crashed harmlessly, but the second one ploughed into Observation Hill, causing most of the fatalities.
The rest of the airframe fluttered down and crashed on the opposite side of the runway.
One eyewitness was Richard Gardner, then five years old. He recalled in adulthood:
"I'll never forget, it looked like confetti, looked like silver confetti. The remaining airframe floated down right in front of us. It just came down like a leaf.
And then the two engines, like two missiles, shot out of the airframe and hurtled in the direction of the airshow.
There was a sort of silence, then people, one or two people screamed but mostly it was just a sort of shock. You could hear some people sort of whimpering which was quite shocking."
Sixty-three years later, speaking on the BBC Today radio programme in the wake of the 2015 Shoreham Airshow crash, author Moyra Bremner recalled her own traumatic experience.
"A huge bang silenced the crowd and
was followed by "My God, look out,"
from the commentator."
Bremner, standing on the roof of her parents' car, realised that an engine was heading straight towards her. It passed a few feet over her head, a "massive shining cylinder", and then plunged into the crowd on the hill behind.
Following the accident, the air display programme continued once the debris was cleared from the runway, with Neville Duke exhibiting the prototype Hawker Hunter and taking it supersonic over the show later that day.
-- Commemoration
It took 69 years for the civilian casualties to be commemorated - a memorial consisting of 32 bricks inscribed with the name of the airshow and its 31 casualties was unveiled at the Farnborough Air Sciences Museum on the 6th. September 2021.
-- Aftermath of the Crash
Elizabeth II and Duncan Sandys, the Minister of Supply, both sent messages of condolence.
At the coroner's court, Group Captain Sidney Weetman Rochford Hughes, the commandant of the Experimental Flying Department, gave expert testimony, saying:
"From previous experience of Mr Derry's flying
demonstrations here on the four days of the
display, from the messages received from him
on the radio-telephone, and from investigation
of the wreckage, I am convinced that the pilot
had no warning whatsoever of the impending
failure of his aircraft."
The coroner's jury recorded that:
"Derry and Richards died accidentally
in the normal course of their duty.
The deaths of the spectators were
accidental.
No blame is attached to Mr. John
Derry".
-- Investigation Into the Crash
Author Brian Rivas, who co-wrote the 1982 book 'John Derry, The Story of Britain's First Supersonic Pilot' suggested that as Derry straightened up the aircraft and pulled into a climb, the outer part of the starboard wing failed and broke off, followed by the same section of the port wing.
The subsequent sudden change to the centre of gravity made the aircraft "rear up", tearing off the cockpit section, the two engines and the tailplane.
According to Rivas, subsequent investigations showed that the wing failed because it had only 64% of its intended strength.
More stringent airshow safety measures were subsequently introduced: jets were obliged to keep at least 230 m (750 ft) from crowds if flying straight and 450 m (1,480 ft) when performing manoeuvres, and always at an altitude of at least 150 m (490 ft).
image on right is mine! The original: taken in the Director's Room of the Bauhaus Weimar 2009
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Sustainability in Interior Design (Portfolio Skills) [Paperback] Sian Moxon (Author)
First try, first published and a first win in a comp :)
Now thats what you call a beginners luck!
Digital Camera Magazine - Sept Issue
Normally I don't bother sending my pics to any places but the reasons behind submitting my photo to this magazine was that I needed to have a photo published somewhere so that it would be favourable to pass the interview to join the photography course at TAFE. (TAFE = like a college)
Never thought I'd win anything so it's a huge surprise!
... and a little more on TAFE:
For anyone who wanted to enrol in photography course at TAFE, you have to present your portfolio and go through an interview where you'll get questions like "Do you work or have worked in photography industry?" or "Have you ever had your photo published?" which unfortunately I had answer "no" and had me wondering why I needed experience since I wanted to learn from the beginning.
Anyways, I found out the reason behind the strict student selection was due to limited seat as their photography course is so popular. On my initial application, I was not offered a spot but now with this, I may have a better luck at the next year's interview. :)
Thanks DC mag for the awesome Manfrotto tripod! It's an awesome trophy!
Published!
My photo of Trafalgar Square was published as the the lead image in an article on London in the Italian magazine "Meridiani" (no. 206)
Funny thing is, this image was submitted to +Getty Images (Through "GettyWants") and was rejected by them! Their loss & my gain, in the long run! I negotiated the fee for myself :)
(Because it was across two pages, I couldn't scan it, so here is a photo!) The original can be seen here goo.gl/ZELPt
#publlished