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From the personal diary of John Brick.
June 26 2004
I go on these long hikes through the woods to clear my head…plus Doc says all the exercise is good for my health, though my knees and tired feet usually sing a different tune. What else can I say? I hike to clear my head. I also do a little writing…I’ve been published and made a few bucks here and there but nothing major. Mostly I just write for the sake of doing it…to jot my ideas down even if usually they’re not all that brilliant.
What I really like to do is refurbish old cars…you know, customizing old junkers, turning them into hot rods, that kind of stuff. For now its just a hobby. An expensive one. I’d love to make it a career, but as life has it, you need a job a little more reliable and humdrum to support the family. I’ve had some moderate success refurbishing cars…when I can get them. Finances are tight, so I can’t exactly blow the whole wad on Ebay or craigslist looking for classic cars. But a few years back I was lucky enough to take on my brother’s old Dodge A-100. He let his son borrow it and he and his girlfriend drove it all the way to Indiana with no gear oil…seized the whole engine right up and that was the end of that. My brother gave me the old Dodge. I chopped it a bit, gave it a suped-up Hemi, racing slicks and a bitchin’ root beer sparkle paint job…made a real dragster out of it! That sucker could do the quarter mile in 9 seconds…won a bunch of awards at car shows too. That old Dodge was good to me right up until some hoodlums stole it from my garage when my wife and I went away on vacation. Later I refurbished a ‘32 roadster and the year after that a ‘57 Chevy Bel Air. Took them to shows but no one gave them a second look. That’s the thing about ‘32 Deuces and ‘57 Chevs…they’re so common at car shows nowadays the only way to attract attention is to do something phenomenal with them. I mean, I’m good at what I do, but I’m no Chip Foose. I need something a little more unusual.
If only such an unusual vehicle would just land in my lap like the Dodge A-100 did. No such luck, really. You hear stories of these rare “barn treasures”…you know, some old lady in Pasadena finds the keys to her barn that she hasn’t opened since her husband died a half century ago. In it, along with a lot of useless crap there’s and old Studebaker in cherry condition with only 7,000 original miles on it…original chrome and paint still gleaming. She’s willing to sell it for cheap. The automotive Holy Grail! These are the kind of things that only happen to Jay Leno…for the rest of us its an unobtainable pipedream.
It was about four hours into my hike when my knees were screaming and my backpack felt like it was stuffed with lead instead of apples and power bars. I was in a part of the woods I’ve never been to and by this point only navigating by compass. I swear this vegetation is so thick and wild you’d think this area has never been treaded on by man but in this day and age I’d imagine that’s not possible. The sky was the color of gunmetal and just when I was thinking of turning around for the long haul back…I saw it. I rubbed my eyes in disbelief figuring it was exhaustion getting the best of me. Mother of God!
My heart raced as I tried to process the sight before me. It was a rusted old heap, if I’m not mistaken, a ‘49 Buick fastback. Does anyone even know its here? From the looks of that hefty tree growing from the hood it looks like its been here since the Kennedy administration if not before. My God, it’s a thing of beauty! Well, its going to need a lot of work…the roof is rotted, it has no tires, no engine, the headlight is falling out, a rear taillight is smashed as well as the windows and there is no driver’s door. Plus it’s probably home to more mice, spiders and snakes than I want to think about…ok, so there is more wrong with it than there is right but I do believe this is the unusual find I’ve been searching for! The guys in my car club
are going to love this! I think I’ve just found my next showstopper!
Sherborne School Archives, Sherborne School, Abbey Road, Sherborne, Dorset, UK, DT9 3AP oldshirburnian.org.uk/school-archives/
Title page of George Medd Butt's 'Sherborne Castle, A Descriptive Poem, in Two Cantos, with other pieces of verse'. The volume was printed by Cruttwell of Sherborne, Dorset (where G.M. Butt was bound as an apprentice), and published by subscription in October 1815 by Penny and Hodges.
The volume of poems was published when George Medd Butt was 18 years old, and also included the following poems: ‘Henry and Anna, A Ballad’, ‘To a Gentleman, on his presenting the author with the poems of Cowper’, ‘Sorrow, Pity, and the Muse’, ‘Lines occasioned by H.R.H. the Princess Charlotte’s visit to Earl Digby, at Sherborne Castle, November 9, 1814’, ‘The Tear of the Brave’, ‘Strephon and Love’, ‘Lines on the Conclusion of Peace with America, December, 1814’, ‘Waterloo’, ‘The Celestial Decree’.
The volume includes a list of subscriber and raised £100.
Five copies of the volume are known to exist: two are held at Sherborne Castle (both covered with grey boards), one copy is held at Sherborne School Library, one at the Bodleian Library at Oxford University and one at the British Library.
GEORGE MEDD BUTT QC (1797-1860) was born on 18 January 1797 at Sherborne, Dorset son of John Butt [a cordwainer?] and Frances. He was christened at Sherborne Abbey on 25 February 1797. In 1797, John Butt owned and occupied premises in Hound Street.
Siblings: Thomas Butt; Sarah Butt; Susannah Butt (1794-); Frances Elizabeth Butt (1803-1875, married name Storey); Jane Butt (1807-), married name John Jeanes, New Bond Street, London).
George Medd Butt attended the writing school at Sherborne, Dorset. He was bound as an apprentice at the printing office of Cruttwell’s Journal in Sherborne.
George Medd Butt went on to became editor to one of the minor London papers which supported his establishment in the legal profession
In 1830, he was called to the bar by the Hon. Society of the Inner Temple, and went on the Western Circuit, where he soon rose into reputation, and acquired an extensive practice.
George Medd Butt was married by licence at Sherborne Abbey on 7 September 1830 to Frances Jane Ffooks. The marriage was conducted by the Rev. Thomas Woodforde. Frances Jane Ffooks (1808-1887) was the daughter of Thomas Ffooks (1775-1845) and Frances Sophia (née Woodforde) (1777-1842) of Greenhill House, Sherborne. Thomas Ffooks was a solicitor, Clerk of the Peace, Governor & Warden of Sherborne School, Steward of the Sherborne Hundred, and placed notices on certain bridges in Dorset: ‘ANY PERSON WILFULLY INJURING ANY PART OF THIS COUNTY BRIDGE WILL BE GUILTY OF FELONY AND UPON CONVICTION LIBABLE TO BE TRANSPORTED FOR LIFE BY THE COURT. T. FOOKS’ (Grey’s Bridge, Dorchester & Sturminster Newton Bridge)
In 1843, during the Chancellorship of Lord Lyndhurst, George Medd Butt was made a Queen’s Counsel (QC), and shortly afterwards was elected a bencher of the Inner Temple. He was also Conservative MP for Weymouth and Melcombe Regis (returned 10 July 1852).
George Medd Butt made his last will and testament on 9 December 1858. He was then living at 17 Eaton Square, Middlesex. By his will, George left to his wife the dwelling house, stable, coach house and premises at 17 Eaton Square for life. After her death the same to my godson, Alan George Howell. Gives to his wife all my household furniture, plate, linen goods, chattels and effects belonging to the dwelling house, stable, coach house and premises. Leaves to his wife £100 immediately after my decease free of legacy duty. To my brother Thomas Butt, my trustee, £500. To my sister Susan Butt £400. To my sister Frances Elizabeth Storey, widow, £500. To my sister Jane, the wife of John Jeanes of New Bond Street, £400, for her sole and separate use free from the control of her husband. To Susan Salter, my wife’s maid, in case she shall be living with my wife at the time of my decease, £50 free and clear of legacy duty. Appoint my wife and my brother Thomas Butt executrix and executor. Residue of my estate and effects to Thomas Butt upon trust to pay the interest and annual proceeds to my wife for her life and after her death or remarrying, to be paid in equal share to: Thomas Butt, Susan Butt, Frances Elizabeth Storey and Jane Jeanes for life. One moiety of the residue to Alan George Howell and his sister Gertrude Lucy Howell. Witnessed by Charles Lempriere of the Inner Temple, Barrister, and William Henry Smith, 3 Tanfield Court Temple.
By a codicil made to his will on 31 May 1860, George Medd Butt, gave the additional legacies: to my brother Thomas Butt £200; to my sister Susan Butt £200; t my sister Frances Storey £200. Witnessed by F.J. Butt, 17 Eaton Square, George Morris, 17 Eaton Square.
George Medd Butt died on 11 November 1860 at 17 Eaton Square, London. Probate granted to his widow, Frances Jane Butt, and his brother, Thomas Butt of 46 Bedford Row, gent.
Frances Jane Butt installed a window, designed by Clayton & Bell, in the south aisle of the nave of Sherborne Abbey, in memory of her husband George Medd Butt.
Devizes and Wiltshire Gazette, 15 November 1860:
'Death of Mr G.M. Butt, Q.C. We regret to announce the death of Mr George Medd Butt, Q.C. formerly M.P. for Weymouth, which event occurred at his residence in Eaton Square on Sunday last. The deceased gentleman was the son of Mr John Butt, of Sherborne, and in early life practised for some years with great success as a special pleader. In 1830, being then 33 years of age, he was called to the bar by the Hon. Society of the Inner Temple, and went to the Western Circuit, where he soon rose in reputation, and acquired an extensive practice. In 1843, during the Chancellorship of Lord Lyndhurst, Mr Butt was made a Queen’s Counsel, and shortly afterwards was elected a bencher of the Inner Temple. At the general election in July, 1847, Mr Butt offered his services to the electors of Weymouth, but was defeated, losing his election, however, by only three votes. In July, 1852, he again stood for Weymouth, and this time with more success, as he was at the head of the poll, the other candidates being Colonel W. Freestun and Mr Oswald. Mr Butt during the time he was member for Weymouth was rarely absent from his Parliamentary duties, and was a frequent speaker, although he never addressed the House at any great length. He protested adherence to the Conservative party, but was opposed to the re-imposition of a duty on foreign corn. He was in favour of Mr Spooner’s annual motion for an inquiry respecting Maynooth, and was so far a Reformer that he desired the removal of all serious blots and anomalies in the representative system. It was confidently expected that Mr Butt would have been raised to the judicial bench during Lord Derby’s tenure of office, but his chance never came. In private life and in the profession of which he was a member, Mr Butt was held in high esteem.'
Dorset County Chronicle:
'George Butt (for so he was called at Sherborne) was the self-taught architect of his own fortune. He was born in that town, of poor but respectable parents, who gave him the education they could afford at a long established writing school, over-shadowed by the venerable old Abbey Church. Being naturally studious and plodding, he spent his evenings at home in eargerly reading whatever books he could procure. His mother was anxious that he should be early bound as an apprentice at the printing office of Cruttwell’s Journal. Here he began his literary career when about 13 years of age, and in his leisure hours at the office devoted himself to studies of all kinds. He had a taste for poetry, and this he fostered by copying into a common-place book every scrap of verse that passed through his hands in setting up the types. After this training he aspired to be himself an author and wrote a creditable poem, entitled “Sherborne Castle,” which was published by subscription, and patronised by the whole town and neighbourhood. The amount realised was £100, a great sum for George in those days, and which he richly deserved, from his unwearied assiduity. To make the best interest of his fortune, one of his patrons, Peter Batson, prevailed on a Quaker of unbounded reputation for honesty to take, as a great favour, the lad’s riches at five per cent., on his own security; but Obadiah soon after failed in business, and cheated George, and many other hard-working youths, of the fruits of their industry. The event was not without its moral, and its ultimate advantage – Tu ne cede malis, sed contra audentior ito. George acted upon this advice, and struggled manfully against his misfortune, and years after, when he had been admitted as a barrister at the Temple, Peter Batson, the father of the Dorsetshire attorneys, gave him his first brief. The stepping-stone to the long robe was the press, for, on leaving Sherborne, he became editor to one of the minor London papers, by which he raised funds for his support until he was established in the legal profession. This was at length accomplished by close application to business, and taking pupils for instruction at his chambers, in Tanfield Court; and then he ventured on the Western Circuit, with what result we need not here detail, as his position in society, and his title Q.C., are the best proofs of his success. When in his zenith, Mr Butt offered himself as a candidate on the Conservative interest, to represent Weymouth, and sat for that borough during two consecutive Parliaments, but failed in again obtaining the hnour, after the dissolution in 1857. Mr Butt, in 1835 [sic], was married to Frances, eldest daughter of Thomas Ffooks, esq., many years Clerk of the Peace for the county of Dorset, but leaves no issue to inherit his fortune and his good name.'
E.C. Ffooks, 'The Family of Ffooks of Sherborne' (Privately printed in 1958): footnote on page 30: 'Frances Butt (née Ffooks) gave to Sherborne Abbey in her husband’s memory a stained glass window in the South Aisle embodying the History of St. Joseph of Arimathea.'
John Hutchins, 'History of Dorset' (3rd ed. Vol.IV), p.241:
'The south aisle, called St Mary’s Aisle, has three Perpendicular windows, of which two are filled with diapered quarries, and the central one with stained glass by Clayton and Bell, embodying the History of St. Joseph of Arimathea. It is intended as a memorial to the late George Medd Butt, esq., formerly MP for Weymouth and a native of Sherborne. The window was presented by his widow.'
List of subscribers to 'Sherborne Castle, A Descriptive Poem, in Two Cantos, with other pieces of Verse' (1815):
Her Royal Highness The Princess Charlotte of Wales.
The Right Hon. Earl Digby.
The Lord Bishop of Salisbury.
Miss Armitage, Sherborne.
Mr Allford, Henstridge, Somerset.
Mr James Allford, Axbridge, Somerset.
Sir Richard Borough, Bart, Baseldon Park, Berks.
Hon. Lady Borough, Baseldon Park, Berks. (2 copies)
E.R. Borough, Esq., Baseldon Park, Berks.
Mrs Burland, Leweston House, Dorset.
Rev. W.L. Bowles, Bremhill, Wilts. (2 copies)
Mr Batson, Sherborne.
Edmund Batten, Esq., Yeovil, Somerset.
H. Biging, Esq., Bourton, Dorset.
Mr J.K. Biging, Penzelwood, Somerset.
Mr T. Bartlett, junior, Wareham, Dorset.
Mr T. Brown, junior, Salisbury.
Mr William Brown, Tooley Street, Southwark.
Mr J. Burfit, Bourton, Dorset.
Mr T. Blake, Sherborne.
Mr C. Brooks, Sherborne.
Mrs J. Bishop, senior, Sherborne.
Mr John Bishop, junior, Sherborne.
Mr Bridle, Milborne Wick, Somerset.
Mrs Bradshaw, Cumberland Street, London.
Rev. J. Cutler, MA, Sherborne. [John Cutler (1756-1833), Headmaster of Sherborne School 1790-1823]
Rev. Dr. Colston, Lydford Rectory, Somerset.
Rev. B. Cooper, Yetminster, Dorset.
B.F. Coleman, Esq., Holwell, Somerset.
Mrs Cruttwell, Sherborne.
Miss Cruttwell, Sherborne.
Mr J. Cruttwell, Sherborne. (2 copies)
Rev. R. Cruttwell, Sherborne.
Mr Cooper, Sherborne.
Mrs Cooke, Yeovil, Somerset.
Mr Chaffey, Sherborne.
Mrs Cox, Sherborne.
Mrs T. Cox, Sherborne.
Mr Charles Cox, Sherborne.
Mr S. Cox, Bourton, Dorset.
Mr P. Crocker, Stourton, Wilts.
Mr T. Charlton, senior, Stourton, Wilts.
Mr G. Clark, Dorchester.
Mr William Carter, Yeovil, Somerset.
Mr Clayton, Whitchurch.
Mr J.M. Cape, Sherborne.
Mr C. Cape, London.
Miss S. Cape, Freemantle Park, Southampton.
Mr James Crofts, Yeovil, Somerset.
Mr John Corbin, Sherborne.
Mr Joseph Coombs, Henstridge, Somerset.
Captain Digby, Royal Navy, Holnest Lodge, Dorset.
Rev. Charles Digby, Bishop’s Caundle, Dorset.
Rev. William Douglas, Canon of Salisbury and Prebendary of Westminster.
James Dale, Esq., Glanville’s Wootton, Dorset.
G.S. Dawe, Esq., Ditcheat, Somerset.
Miss Dalton, Lattiford House, Somerset.
Mrs A. Deering, Sherborne.
Mr S. Dibsdall, Bristol.
Mr Dando, Bristol,
Mr James Drew, Bath.
John Edye, Esq., Pinney House, Somerset.
Mr J.B. Evans, Hindon, Wiltshire.
Rev. Mr. Frome, Folke, Dorset.
Mrs Frome, Folke, Dorset.
Rev. G. Frome, Folke, Dorset.
Mr T. Fooks, Sherborne. [Thomas Ffooks of Greenhill House, Sherborne (1775-1845). In 1830, G.M. Butt married his daughter, Frances Jane Ffooks]
Mr Fellows, Sherborne.
Mr Fleetwood, Sherborne.
Rev. J. Fawcett, Holland’s Cottage, Yeovil.
Rev. J. Fullager, Isle of Wight.
Mr R. Fitchett, Yeovil, Somerset.
Mr H. Feaver, Milborne Port, Somerset.
Mr Grantham Farrow, Reading.
Mr James Farrow, Reading.
Miss Farrow, Reading.
R. Gordon, Esq., MP, Leweston House, Dorset.
Robert Goodden, Esq., Compton House, Dorset.
Wyndham Goodden, Bath.
Mr Gray, Sherborne.
Miss Gray, Sherborne.
Mr S. Gould, Sherborne.
Mr H. Gifford, Sherborne.
Mr Gutch, Wincanton, Somerset.
Mrs G. Hawker, Sherborne.
Rev. J. Hawarden, Stourton, Wilts.
Mr N. Highmore, Sherborne.
Mr John Hellyar, junior, Sherborne.
Mr William Hodges, Sherborne.
Mr T. Hilliar, Sherborne.
Miss Hill, Compton, Dorset.
Miss E. Henning, Milborne Port, Somerset.
Miss Hyde, Castle Cary, Somerset.
Mr J. Hawkins, Sherborne. (2 copies)
Mr Hebert, Bishopsgate Street, London.
Mr Hardyman, Bristol.
Mr James, Sherborne.
Mrs W. Jeffery, Sherborne.
Miss Jeffery, junior, Sherborne.
Mr J. Jeanes, Bourton, Dorset.
Mr Kidgell, Pangborn, Berks.
Mr L. King, Sherborne.
Mr James Knight, Castle Cary, Somerset.
Rev. Mr Lynam, Silton Rectory, Dorset.
[] Lydiatt, Esq., Sherborne.
Mr James Langdon, Sherborne.
Mr John Longman, junior, Sherborne.
Mr R.S. Langdon, Yeovil, Somerset.
Mr Josiah Lowe, Goldsmith Street, Wood Street, Cheapside, London.
J. Melliar, Esq., Sherborne.
Rev. Thomas Maurice, MA, British Museum. (2 copies)
Miss Mitchell, Sherborne.
Mr J.P. Melmoth, Sherborne.
Mrs Messam, Baseldon, Berks.
Mr G. Mayo, Compton, Dorset.
Mr D. Maggs, Bourton, Dorset.
Mr Morris, Titchfield, Hants.
Mr H. Melhuish, Wincanton, Somerset.
G.M.B. Napier, Esq., Pennard House, Somerset.
Mrs Noake, Sherborne.
Mr H. Newman, Babcary, Somerset.
W.M. Pitt, Esq., MP, Kingston House, Dorset.
Rev. J. Parsons, Sherborne.
Dr Pew, Sherborne. (2 copies)
S. Pretor, Esq., Sherborne. (2 copies)
Rev. Mr Putt, Trent Rectory, Somerset.
Rev. E. Poulter, Close, Winchester. (2 copies)
Miss Poulter, Close, Winchester.
Rev. C.H. Pulsford, Charlton Adam, Somerset.
R. Pattison, Esq., Dorchester.
J. Parry, Esq., Chester.
Rev. D. Phelps, Snodling Parsonage, Kent.
Rev. J. Page, Baseldon, Berks.
W. Price, Esq., Lincoln’s Inn, London.
Mr E. Penny, Sherborne. (2 copies)
Mr C. Penny, London.
Mr Prebble, Pangborn, Berks.
Sir Nelson Rycroft, Bart., Fir Grove, Farnham, Surrey.
Lady Rycroft, Fir Grove, Farnham, Surrey.
Miss Rycroft, Fir Grove, Farnham, Surrey.
Henry Rycroft, Esq., Fir Grove, Farnham, Surrey.
J. Rogers, Esq., Yarlington Lodge, Somerset.
Mrs Rogers, Yarlington Lodge, Somerset.
Miss Rogers, Yarlington Lodge, Somerset.
Mrs F. Rogers, Yarlington.
J.F. Reeve, Esq., Glastonbury, Somerset.
Miss Jane Ridout, Sherborne.
Mr J. Randall, Wincanton, Somerset.
Mrs C. Ridout, Bath.
Mrs J. Ridout, Bath.
[] Schuyler, Esq., Wooland House, Dorset.
Mr C. Score, Sherborne.
Mr G. Score, Sturminister Newton, Dorset.
Mr Stone, Sherborne.
Mrs Serle, Sherborne.
Miss Spratt, Sherborne.
Miss Scott, Sherborne.
Mr William Simmonds, Sherborne.
Mr Sampson, Farnham, Surrey.
Mr Smith, Whitchurch.
Mr Shortney, London.
W. Toogood, Esq., Sherborne.
Rev. C. Toogood, Sherborne. (2 copies)
Rev. Dr. Toogood, Writhlington, Somerset.
Mr Turner, Sherborne.
Mr J.M. Thorne, Sherborne.
Rev. B. Treleaven, Dorchester. (2 copies)
Mr Thompson, Compton, Dorset.
Mr Jonah Thompson, Compton, Dorset.
Mrs Thompson, Holland Street, Blackfriars, London. (2 copies)
Mr W. Trim, Yetminster, Dorset.
Mr T. Titcombe, Shepton Mallet, Somerset.
Mr W. Towers, Sherborne.
Mr Trulock, Leweston House, Dorset.
Mr John Trowbridge, Sherborne.
Mr E.H. Turner, Sherborne.
Mr William Usher, London.
Rev. Mr Wyndham, Corton Rectory, Somerset.
Mrs Wickham, Horsington Rectory, Somerset.
Miss M.H. Williams, Marston, Somerset.
Rev. D. Williams, Sherborne.
Rev. Mr. Woodforde, Ansford, Somerset.
W. Whitaker, Esq., Motcombe, Dorset.
Rev. G.M. Webster, B.D., Bourton, Dorset.
Mrs W. Wickham, Bullington, Hants.
Mr Wickham, Frome, Somerset.
Mr Winter, Sherborne. (2 copies)
Mr G. Warry, Sherborne.
Mr Woodforde, Sherborne.
Rev. J. Weston, Sherborne.
Mr T. Whitty, Sherborne.
Mr J. S. Ward, Bruton, Somerset.
Mr John Woolcott, junior, Salisbury.
Mr Wyatt, Sherborne Castle.
Mr S. Whiffen, Sherborne.
Mr Israel Watts, Sherborne.
Master W. Wells, Yeovil, Somerset.
Rev. H.F. Yeatman, Stock House, Dorset.
If you have any additional information about this image or if you would like to use one of our images then we would love to hear from you. Please leave a comment below or contact us via the Sherborne School Archives website: oldshirburnian.org.uk/school-archives/contact-the-school-...
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.
Challenge to use the meta-parts (or mega-bricks) of lego planes to make it a spacecraft : Set 60104, 60102, 60022, 3181, 7893.
Brick number 30201 (Quarter Saucer Base) : in old theme : Aquazone, Space Insectoids and Alpha team Mission Deep Sea
Brick number 30317 (Quarter Saucer Top) : in old theme : space UFO, Alpha team Mission Deep Sea
The central command post is round, as Startrek's spaceships. The central circle is in 2 floors : the officers on the 1st floor on the bridge, and the Commandos Squad/robots on the ground floor. There are 1445 Bricks.
Crew :
3 Officers on the Bridge.
2 Pilots in the cockpit.
3 Battle droids.
6 Space Commandos.
Arms :
1 Double Laser Gatling.
2 Big Missiles (or 2 big Sondes, if we want to explore).
8 small missiles
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.
'Views in Camera, 2017'; Photographs taken around the Sheffield area in the last year, Part II - 223Mby MP4 video
** This is a 6min video so has to be downloaded to see the full version as only 3 minutes are shown in the Flickr interface.
** For non-Pro Flickr users, the download limit appears to be 3 minutes on download as well, and so there is a link here-
www.rail.tightfitz.com/Video/Views_in_Camera_-_II-conv.mp4
to obtain the full version for non-Pro users, right click the link and select 'Save Link As' to save the file to the desktop.
Well, the Xmas and New Year festivities are over, we managed just one day of snow, last Friday, the 29th December and since then, bad weather has arrived in the form of 'Storm Eleanor' prevails and we have had a couple of days of heavy rain and high winds, for the UK that is. As my end-of-year Flickr 'Xmas Card', this time around its the second part of the 'Views in Camera' piece, the last was uploaded on August 31st and the scene commenced at a cold and wet Woodhead Tunnel portal, last January, see-
www.flickr.com/photos/daohaiku/36942529635/
This, follow-up set, is an eclectic miscellany of shots taken between the end of August last year near, after the last video was finished and this one commences in an area just north-east of the centre of the city of Sheffield, close to the River Don in Neepsend, Shalesmoor and Millsands, commencing 3rd September, through to late October last year. The bulk of the 2nd half of the video was shot in the Millsands area of Sheffield on one late, sunny Sunday morning on 15th October and, like much of Sheffield, this area has seen a large down-turn in the once thriving heavy industries over the last 30 or so years. Some of these buildings are still in use, others have been re-used/purposed, and others demolished so this set of pictures is an attempt to grab a a record of what's left, before it goes forever. An earlier review of the desperate scene in Sheffield from the early 1980s to 1990s can be found in Adrian Wynn's great book on the subject, 'A View of Sheffield', published by Pickard Communications in 2007 and is highly recommended for a good view of what the changing scene was like in those days. In addition, Berris Conolly, another local photographer, has two books out, 'River Don, Seventeen Bridges' from views in 1989 & 2009 and 'Sheffield Photographs 1988-2008', published in 2008, see-
The video is in approximately 10 sections and is in chronological order of the 66 images taken and whilst there is some reference to the railways in this second video, most of the material is related, post the 1980s and 1990s changes, with what is still left to photograph from those times. As such this was series was prompted by the book indicated above, Adrian Wynn's book on Sheffield, from pictures taken in the late 1980s and early 1990s and theses provided a location for some of the shots here, to see for myself, how much things had changed over the past 30 years. I was thinking today, whilst gearing up to prepare this narrative, that Adrian has captured some very good historical records of the area which can be seen in the video; this not only being just a record but containing very pointed and stark political comment on those times.
1. Langsett Road. The very first shot can be found in Adrian's book with what was then, a boarded up derelict building next to the Masons Arms with the first of the three boards seen in his shot declaring- 'For Thou Can not Worship Both Money and The Lord. Evil Thatcher. Pension Snatcher' and on the third board, off to the right, 'For God's Sake, Vote Labour'. As the photograph shows here, the area to the right of the Mason's Arms has now been re-developed though the pub is still in the same style, if not in livery. Another obvious change in this, when compared to Adrian's shot in 1990, the 'wires are up', as the Sheffield SuperTram now plies this route along Langsett Road. The red brick section of the building on the right was where the first painted caption declared the choices between money and the Lord...
2. Burgoyne Road. These shots were taken whilst moving south-east along Langsett Road and this is another of the pictures which features in Adrian's book. The site is now bereft of the St. Bartholomew's Church which at the time of the 1989 picture was stood at the bottom of the road with, behind it then, the towering edifice of one of the Neepsend gas holders with folk atop the then popular 'Sheffield Ski Slope' visible. The church at that time was in the process of being demolished and so the gas holder was easy to see; since then, a year or so ago, that gasholder has now also been demolished and the Sheffield Ski Slope has also gone, gutted by fire a few years ago; the land is currently being considered for redevelopment into another sports facility. As a tribute to the old church, on the left at the side of the white Mercedes hatchback, stands the St. Bartholomew's Church centre.
3. Love Street. Moving towards the River Don and an area centred on one of Adrian's pictures taken on 'Love St', the street itself still extant and still with many old buildings around it, though from the look of some of them now; their time must be coming soon. The John & Matthew Woollens building can be seen in the third shot on the right, 'Bone Cutters' by all accounts but that went out of business as long ago as 1874 after which it became a Signage business run by one of the Woollens family, Edwin James, from Rotherham. The 2nd of the 3 'Love St' pictures shows the one most corresponding to Adrian's shot of the 'Cherry Flan' cafe which stood on the corner where the railings mark the edge of the car park. In his picture from 1992 and in this one, the still extant and thriving, Sheffield Workhouse, now called 'Mayfair Court', with many a flat up for sale within... also known as 'the Doss House' it was built in 1908 for single, down-and-out men... Also in the 2nd picture, some 'wag', has put up a poster for 'The Lady Boys' from Bangkok, appearing in Sheffield from time-to-time, this for two weeks at the end of November, 2015. To the left of the 'Lady Boys' sign is the land once occupied by the Britannia Works which were off to the left of the 'Cherry Flan' in Adrian's picture but the works are featured elsewhere in his book. The last shot of the 3, looks back along 'Lurve Street' and shows the 'new builds' which have gone up here-abouts behind the old 'Woollens Signs' building.
4. Well Meadow Street. Another series of shots prompted by one of Adrian's pictures, this time its the area around Well Meadow Street and this has changed, and is still changing, significantly. Adrian's picture in 1992, had its own pastel, colourful feal to it, taken in flat light and the 1st picture here, of a set of 9, reflects less of that feel but at least the buildings are being renovated and the view, apart from the 'yellow' roller door in the earlier picture, is pretty much the same; the roller door was at the bottom of the road where now palisade fence has been erected. Already on the lower right, some of the buildings have been let out with the area at the top of the street having been redeveloped into flats. The houses on the left which were actually derelict by 1992 with the windows boarded up, are finally being renovated; its good to see this happening where its still possible to retain the old history of the place. The second shot shows a closer view where the yellow roller door into the works of Samuel Peace & Sons Ltd. once stood, the area has now been opened out though the fence is a rather ugly replacement. The 3rd, 4th & 5th shots show the view up Well Meadow Street, which here runs parallel to Netherthorpe Road, and looks towards the new student accommodation near the large intersection at Western Bank and the University of Sheffield. The 6th shot looks back along the full length of the redevelopment with more graffiti'd hoardings up on the left, in preparation for more land to be given over to student accommodation and such like. In the 7th shot, the wooden canvasses erected around derelict land along Brownell Street, are an ideal location for the graffiti artists to have a field-day with their tagging and in some respects it does brighten up an otherwise glum area. The last 2 in the set of 9 at this location look back from the other side of the palisade fence seen earlier, and now on the site of the old Samuel Peace & Sons Ltd. Steel & File manufacturers; the University Arts Tower is in the background looking up Meadow Well Street once more. The final shot, to confirm where we are, with the presence of the camera, and me I guess, attracting some suspicion from the owners of the 'Hot Chilli' food establishment, who were clearly concerned about what was going on, until I explained what it was all about, and showed them, a copy of Adrian's 'A View of Sheffield', which resulted in them being highly interested in same picture from 1992. A link to more information about this important area and its conservation, can be found here-
www.sheffieldhistory.co.uk/forums/topic/7358-well-meadow-...
5. Cornish Street. In the same year, Adrian photographed the area closer to the River Don and the next 4 shots show the current scene along Cornish Street, Neepsend, it too not having changed much in layout since the earlier picture from 1992. There has however, been a good deal of 'tidying up' undertaken when compared to the derelict scene which pervaded many places in Sheffield in the 1980s and early 1990s. Serendipitously again, as walking along the street to find the same view as the earlier picture, and some 'interest' came along in the form of 'woman and child on bike', peddling along away from the river behind us, with the George Barnsley & Sons works, 'the world’s largest producer of files and cutting tools for the shoemaking industry', over on the right. Again, in Adrian's 1992 picture, the building was already in a sorry looking state with windows on the ground floor boarded up and the street and pavements looking worse than they do here. The house ahead of the cyclist at that time was also boarded up but now it has been re-opened and that area, right next to the river is looking, once more, to be on the up-and-up. The chimney stack in the background is now part of Cornish Place and from Wikipedia-
'...The building was formerly the factory of James Dixon & Sons, a Britannia metal, Sheffield plate and Cutlery manufacturer. In the late 1990s the disused building was cleaned and converted into apartments, it is regarded as the most impressive cutlery works that still stands in Sheffield[1] and rivals the cotton mills of Lancashire and the West Riding in terms of architectural quality and heritage. The most impressive parts of the building are the east and west ranges which have Grade II* listed status while the rest of the works have the lower Grade II rating. The 'Cornish' in the buildings name is thought to derive from the manufacture of Britannia metal which is made up of 93% tin which came from Cornwall...'
Moving around the corner and the state of the main building can be seen in the next 3 of the 4 pictures taken here. There are also further details about George Barnsley & Sons', here-
www.bcd-urbex.com/george-barnsley-sons-cornish-works-shef...
and here-
www.aworldinruins.co.uk/george-barnsley--sons
6. Bardwell Street. Not far away, and venturing closer to the railway in this part of the town, the next 5 pictures are centred around the Bardwell Street area and this road passes along under the MSLR's line form Sheffield Victoria, via Woodhead, to Manchester Piccadilly or, it did once! The first of the 5 pictures shows the well graffiti'd building which was once occupied by the Cannon Brewery and is now set to become ... more student accommodation; though the process seems a little slow. The next shot of the 5 reflects the one most closely resembling Adrian Wynn's shot, one of the oldest in his book and taken in 1982 and in his shot, being 1982, the Woodhead line is electric overheads are still present, complete with cables, but not for very much longer. Some of the buildings along Bardwell Street have also been demolished so it was difficult to get this shot exactly correct, the two camera lenses were also of somewhat differing focal length. The older picture was taken with at a wider focal length with the camera further along the road towards the railway over-bridge; this I didn't do as all the detail would then have been missed out due to the demolition of the buildings on the left in the present picture. There are still lots of identifiable features between 1982 and this, taken in October last year, 35 years apart, the arch of the MSLR's railway bridge being just visible at the end of the wall of the building on the right. The line formation is now of course overgrown with birch trees along its sides, but with the single line to Deepcar still present and in use, carrying the nightly steel train from the Aldwarke steelworks for rolling at Stocksbridge Works. Graffiti tag'ers have been out and about again, festooning the derelict parts of buildings with their bright artwork and with the 'House Skate Park', just around the corner near the black car, opposite the old Canon Brewery building, the Skating building also suitably decorated, see the shots in the end-of-last-year video, here-
www.flickr.com/photos/daohaiku/24276897661/
and the last of the 5 pictures in this series. The last two pictures of the 5 are taken from close to the indoor, 'House Skate Park' at the end of Bardwell Street and the line of the MSLR's Woodhead route can be clearly seen, being demarked by the line of tree-growth, marching up the 1-in-100 slope to the left and up towards Woodhead Tunnel. The panorama in the last of the 5 shots shows the end of Bardwell Street, now Road of course, in Neepsend with House Skate Park on the right, with its colourful outside adornments and yet more derelict buildings on the left. It seems devastating removal of old industry in and around Sheffield has left a nightmare of a problem for the planners to find a new use for, particularly the vast spaces of land these firms once used to occupy on the periphery of the town and closer to the centre, old Victorian buildings which also be dealt with, in one way or another; usually by demolition and re-use.
7. Burnaby Street. Another five shots taken on the bank up to Walkley and once more reflecting a shot taken by Adrian in his book 'A View of Sheffield - pictures from 1982-1992', this one taken in 1982 on Burnaby Street when much of this area was being re-developed on a grand scale to renew time-expired, and unwanted, 1960s housing. It took a while to try and get the angle exactly correct with respect to the 1982 which features, along with a single house being demolished in the centre foreground, the still extant U-shaped block of flats at Regent Court, painted white and right next to the River Loxley which flows into the River Don at Hillsborough. From the angle of the shadow of the northern-most, left, section of the 'U' shaped structure, I walked along the top of the bank until the angle matched and these 5 shots show the change in fortunes of the whole area since Adrian took his picture in 1982. The scene in the background of the 5 pictures looks over northwards towards Owlerton and Wadsley Bridge and the line of the Woodhead Route, the Stocksbridge Branch as it now exists. The 3rd and 4th of the five pictures is clearly getting closer but in Adrian's shot, the end of the U-shaped building has its 'top' facing the camera so clearly this shot isn't quite far enough along to the north. These pictures pan around to the north-east a little and reveal the hill rising to the Ski Slop area on the far right at Parkwood Springs but still the angle isn't quite right. The last of the shots, in my view, is just about spot-on. The end of the white Regent Court building is now facing directly towards the camera and at a realistically good angle down the bank towards the building; the re is even a somewhat similar house in the centre foreground, not in the process of being demolished, which doesn't look unlike the style of the one in the 1982 picture. This last picture was taken on the steps leading down to Hammerton Close from Lonsdale Lane withing spitting distance of Burnaby Street. The woodland in the left background of this picture are on the outliers of Beeley and Great Hollins Wood which runs on the north side of the Stocksbridge branch line through Middlewood and Oughtibridge and on through Wharncliffe Side to Deepcar and the exchange sidings at Ellen Wood which allows steel stock to be taken into the Samuel Fox steelworks at Stocksbridge.
8. Graffiti Millsands Area. Another derelict site on a fast-filling out area right next to the river at Millsands, a colourful extravaganza of graffiti tagging art which will be liked and hated in equal measure. This is a series of 18 shots taken at the derelict building site which sat amidst a plethora of old industrial businesses which were also festooned about the Sheffield area.. Here, this site was in and surrounded by- the Eclipse Patent Roof Glazing Works, the Don Confectionary Works, Millsands Forge & Rolling Mills, next to the river of course, and the Eclipse Lantern Works; Eclipse being, I guess the outfit that still makes hack saw blades. The artworks/tags here are set about a site which at this time during the middle of October, was still resplendent with Buddleia and other vegetation which, along with the still extant signage form past uses and the red brickwork, all conspired to make a garden scene with the paraphernalia of Sheffield's continued re-development, rising in the background. And this can be seen to good effect in the last shot in the series of 18 where a local heads towards the river with the old Eclipse Lantern Works behind her to the left and the Eclipse Glazing works off on the far left; the Lantern Works have now been partly taken over by car rental firm, EuropCar. I enjoyed photographing this area and liked the feel which was brought about by the combination of all the elements, old and new, constructed or natural and with the added bonus of reminders of past 'do's and dont's'...
9. The River Don Area. From the Graffiti on Bridge St. to the River at Millsands and yet more iconic buildings, with the odd hark back to the past once again, taken from Adrian Wynn's book. Almost the last picture in that book, taken looking towards the old Bridgehouses Goods depot, see-
www.disused-stations.org.uk/s/sheffield_bridgehouses/
west of the then closed Sheffield Victoria Station, is somewhat reflected in the 1st of the set of 18 pictures here, taken walking along the riverside and back. This first of 3, rendered in B/W, showing the Aizlewood Mill, with the Victoria Station site in the background, shows the changes in just over 30 years, the most noted changes being the closure of Victoria Station and the complete removal of the Bridgehouses Goods Depot, part of one of the goods depot buildings pokes into the picture of Adrian's, taken in 1986; the land on which the Goods Depot was located is still up for sale. The 2nd of the 3 shots shows a wider view along the river with, in turn, the Harlequin Public House, which the GCRS uses for their Sheffield meetings, the Aizlewood Mill and beyond that, the 'New Testament Church of God' building. At far left, the green bridge, installed when the Sheffield ring road was built, carries the now single line through the Victoria Station site, up to Deepcar; a set of arches which comprise the Wicker Arches, march off towards the right from the bridge. The last of the first three in the set of 18, is a close up of the old and new bridges, the older one carrying the lines to the north-west and just above this bridge deck is the northern portal of the Spittal Hill Tunnel, see-
www.flickr.com/photos/134774261@N07/33357890945
which carried 'Fiery Jack', the shunting locomotive with its 4 wagons between the Midland's Wicker Station, off to the right near the tall background building, and at this end, connecting with the MSLR's line to Manchester. The 1986 picture in Adrian Wynn's book, due to the complete lack of vegetation around the station site in those days, clearly shows the western portal of the tunnel, just under the Bridgehouses Goods building awning. After this, further views along the river from Nursery St., a close-up of the splendid Aizlewood Mill followed by Riverside House and then a view looking towards the railway bridge over the main road at Wicker. Following on from that, a short tour of the splendid structures which stand at the side of the River Don and the Upper Don Walk; the first showing the scene crossing Blonk St. bridge and looking towards Lady's Bridge and West Bar with the Exchange Brewery, occupied by the Tennant Brothers at one stage and with, in the 1960s and 1970s, that distinctive odour of fermenting hops, pervading the air in this area. Looking the other way, east towards Attercliffe and in the background on the arches, the Midland Main line passes over the River Don with the red-brick Victoria Hotel just beyond the white pedestrian bridge. A B/W rendition follows showing the scene looking past the Holiday Inn Express and the road up to the old Victoria Station site which is now blocked from view, taken in August 2017. Immediately following this shot, a very similar shot taken on my old Praktika film camera during the Sheffield Rag week 'goings on' in mid-September, 1968; the whole of the area then was open to view up to the Victoria Station site with Victoria Station Road running along the back beneath the series of black poster awnings; only the far left one having anything pasted on it... maybe 'SAVE OUR STATION'! The Effingham St gasometer is in the background and the square chimney close to the station site can be seen and this artifact is still in-situ today. The general state and mess the River Don was in at this time can be easily seen and its not clear to me whether it was a good idea wallowing around in the filth that was terms a river; much has changed since this time of course and now the River Don is 'clear as a bell'. The means of access, for those in the 'Rag Week Boat Race', can be seen and as I recall, this was my last picture here before heading off and delivering the goods, i.e. all the money I had collected for the 1968 Rag Week Magazine, full of useful venue information, advertising and to be frank, shear filth in terms of the cartoon jokes! Moving back along Castlegate now at the other side of the river and the splendid buildings on the eastern side of the river come into view, this glorious red/grey brick edifice at either side of Lady's Bridge was
Castle House but is now, partly, 'Cut Price Carpets' complete with 21st century appendage, a satellite dish; neglecting that, didn't the Victorians do well! The weir at Lady's Bridge is next, looking back towards the Victoria Station site and this one, for me, is very appealing in its colour and grandeur. Now on the opposite side of the river to earlier, some of the less impressive structures, still extant, one with square chimney, a soupçon of graffiti and green metal window frames. The 'New Testament Church of God Family Life Centre' now occupies a building not far from its rather impressive church, with two folk sat chatting over 'stuff' alongside the slowly flowing water of the Don; a beautiful scene. And, lastly is this almost final set, the camera now points once more across the river to the Aizlewood Mill on the right and the The Harlequin Freehouse on the left and under normal circumstance, that's where I would have headed next except there was a further shot I thought it worthwhile attempting to take to complete this second series of the 'Views in Camera'.
10. Rutland Road. Parkwood Springs. Unfortunately, the shot I had anticipated taking, from the site of the old Neepsend Engine Shed just off Rutland Road, which in the past had been easily accessible by walking across a piece of open ground, had now been completely taken over by a new-build industrial building and not only that, the space was all nicely palisaded off, the building occupying the whole of the space. This was just behind the camera in this final shot and, as luck would have it, on the other side of the road, 'there's a picture there', flashed straight into mind as a building on Botsford St., just a 'stones-throw' north of the M.S.L.R.'s now single line formation to Deepcar, was in view and with suitable brick-work, graffiti and blue van, probably makes a better picture than the rather mundane one I was thinking of showing just a set of rails disappearing towards the Sheffield Victoria site! Some heavy gradient filtering required in this one as the sun continued in full throttle and the shadows split the scene in half still, a worthy piece to end this 2nd of the 'Views in Camera' Video...
Although I have used as reference, 'A View of Sheffield, pictures 1982-1992' and this has been useful, there are many more images from this period in Adrian's book which speaks of the enormous changes which were taking places in Sheffield in the 1980s and 1990s and I can only recommend this for further viewing; the half dozen or so 'Then' pictures which I have used as reference, reflecting on a small portion of that 35 years ago vista.
A very Happy New Year to all interested views, many thanks for the comments and information provided over the last year, appreciate it all and am looking forward to a new, but maybe differently-accented, 2018...
E.& O.E.
Designed by architect Hadi Simaan and AREP and engineer Ove Arup and Partners.
The Aspire Tower, also known as Torch Tower or Khalifa Sports Tower, Doha Olympic Tower or the Torch. Ref: en.wikipedia.org/wiki/Aspire_Tower
At 300 meters high and with 360° panoramic views across Doha, The Torch is Qatar’s tallest landmark. The hotel is the centerpiece of Doha’s majestic sports city – Aspire Zone. Embodying the spirit of the 15th Asian Games, The Torch spreads across 51 floors.
Doha, Qatar
Camera: Canon EOS 5D Mark II
Lens: Zeiss Distagon T* 2/25 ZE
Focal Length: 25 mm
Exposure: 5.0 sec at f/5.0
ISO: 100
Published: en.wikipedia.org/wiki/File:The_Torch_Doha_121002-3790-jik...
en.wikipedia.org/wiki/Aspire_Tower
az.wikipedia.org/wiki/Ən_hündür_binaların_siyahısı
de.wikipedia.org/wiki/Aspire_Tower
hr.wikipedia.org/wiki/Aspire_Tower
The recipe for this delicious curry is now published on my gourmet webzine :: Richly Spiced Cambodian Chicken Curry
♥
Cambodian cuisine is less known than that of its neighbours, Thailand and Vietnam. It is a colourful cuisine whose style and ingredients reveals strong influences from its neighbouring countries (though less spicy in general) and China. Influences can also be seen from the period of French occupation (including the use of caramel in certain dishes and eating curries with toasted baguette) and India (many Cambodian curries contain Indian curry powder and black pepper as opposed to chilli, which is served separately).
See: www.facebook.com/events/501459483222848/
A rally in Washington, DC in support of the equal health and livelihood of trans people, that included basic information about trans health issues and stories of denied / inappropriate care, as well as hope for the future
Published in Washington State Bans Health Insurance Discrimination Against Transgender People - The New Civil Rights Movement
Published in Transgender? New evidence on the biology of gender identity - Myria
Published on Cape Town Tourism website
www.capetown.travel/blog/entry/sad_scenes_of_beached_fals...
View On Black I arrived at about 4.30 PM
55 whales had beached themselves Most are now dead
My photos and story :
greenpointstadium-and-capetown.blogspot.com/2009/05/33-fa...
AN EYE WITNESS ACCOUNT:
====================================
Leaving Kommetjie beach at 16:00 on the 29th March, anger, frustration and misery dominated the atmosphere.
When arriving at the beach at about 13:30 there were about 7-10 volunteers around each Whale. Half of these volunteers were children who were wetting towels as well as filling their small beach buckets with water, all to “save the whales”.
The area was closed off with red and white hazard tape none of which prevent the public in lending a helping hand. Walking the entire stretch of the kalk covered beach, at the end was one Whale with three volunteers and two students from the University of Pretoria who were part of the operation.
The problem remained we were told, that despite getting the Whale back into the water it would beach again and this particular one had done it twice already. However this did not dampen nor hinder the enthusiasm and will to want to save the whale by the three volunteers hugging the whale with their icy cold hands.
In the distance there were loud bangs and while everyone was reluctant to want to admit it, they knew what was happening. The shots seemed to be getting closer and closer and there was an almost instant grouping of the three volunteers and three bystanders. The small group pushed with as much power and might as possible but the heavy whale merely moved. There were a few more shots in the distance and again the group- more united this time to achieve their goal of saving the beautiful wild and large creature, tried to move the whale.
All of a sudden the group was stopped by the research students from Pretoria as the students were given instructions not to move the whale by their authorities. The walk back to the main beach was long and silent. The journey began from the life of the whale we tried to save, then coming across two that had been shot, and then one, then another and another and another... until reaching the authorities who were doing the shooting.
The beach was filled with civilians and small children, some crying, some running and some trying to save the whales before the authorities reached them. There seemed to be much confusion among the authorities from a civilian’s perspective.
The gunman seemed to walk so easily from whale to whale shot after shot. The authorities were announcing “people go home, vacate the beach and go home”. These instructions were ignored by all and the shots kept coming.
Not one of the civilians understood why the whales were being killed. The volunteers were frantically running from one whale to the next as the previous whale they were helping was being killed. When any of the bystanders asked a question they were told “I am not answering any questions, please leave the beach”.
I believe this whole operation was very unprofessional by the authorities; it was unsafe to fire a weapon of such destruction among children and passionate volunteers. This operation could have been conducted in a better manner if they simply had police clear the entire stretch of the beach before taking any shots. This would have taken frantic panic out of the situation and would have ensured safety of the bystanders especially the potentially psychological damage for children.
When leaving the gloomy environment there were three bulldozers with “solid waste” printed on them - devastating.
Upon arriving at the beach there was one whale which had died of natural causes and it was not realised that there would be plenty more when leaving the beach of Kommetjie.
www.news24.com/Content/MyNews24/YourStory/1162/ee4dd4d1c4... 08-05/A_sad_day_at_Kommetjie
Transactions of the Zoological Society of London
[London] :Published for the Zoological Society of London by Academic Press
Marina And The Diamonds
Friday, June 5th, 2015
Bowery Presents
Webster Hall, NYC
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ALL RIGHTS RESERVED.
THIS MATERIAL MAY NOT BE PUBLISHED,
BROADCAST, REWRITTEN OR REDISTRIBUTED.
Another tutorial published on trendyTUTS.com. Want to learn how I have don this? Follow this link...
trendytuts.com/web-layout-tutorials/how-to-design-an-eleg...
Previously published image processed to reveal more detail.
XH558 completed her last flight on 28th October and has now been permanently grounded at Robin Hood (Doncaster/Sheffield) airport due to withdrawal of support from three major backers which resulted in the loss of its certificate of airworthiness.
For further information, including visits and tours, go to the "Vulcan to the Sky" website: www.vulcantothesky.org/
_FX06874dt
All Rights Reserved © 2015 Frederick Roll ~ fjroll.com
Please do not use this image without prior permission
The Postcard
A postcard published by The Coast Publishing Co. of Vancouver B.C. The card was posted in Vancouver on Thursday the 19th. February 1920 to:
Miss Waub,
63, Gore Road,
Victoria Park,
London E.,
England.
The message on the divided back of the card was as follows:
"Dear G,
Thought you might like to
put this amongst your other
PCs.
Tell Mother to hurry along
and send me a line - it seems
such an age since she last
wrote.
I am comfortably settled at
last in a house of my own.
With lots of love to Wally,
Dad, Mum and Self.
A."
Flumes
A flume is a man-made channel for water in the form of an open declined gravity chute whose walls are raised above the surrounding terrain, in contrast to a trench or ditch.
Flumes are not to be confused with aqueducts, which are built to transport water, rather than transporting materials using flowing water as a flume does. Flumes route water from a diversion dam or weir to a collection location.
Many flumes took the form of wooden troughs elevated on trestles, often following the natural contours of the land. Originating as a part of a mill race, they were later used in the transportation of logs in the logging industry, known as a log flumes. They were also extensively used in hydraulic mining and working placer deposits for gold, tin and other heavy minerals.
George Rose (Actor)
So what else happened on the day the card was posted?
Well, the 19th. February 1920 marked the birth in Bicester, of George Rose.
George Walter Rose was an English actor and singer in theatre and film.
Born the son of a butcher, Rose studied at the Central School of Speech and Drama. After graduation, he was briefly a farmer and secretary. After wartime service and studies at Oxford, he made his Old Vic stage debut in 1946.
George Rose's Acting Career
Rose spent four years with the Old Vic company, and made his Broadway debut in a 1946 production of Henry IV, Part I. George continued to play in New York City and London's West End for the remainder of the decade.
He spent most of the 1950's appearing in broad comedy roles in the UK, later joining the Royal Shakespeare Company.
He returned to Broadway to portray Dogberry in Much Ado About Nothing in 1959. Two years later, he co-starred to much acclaim in Robert Bolt's A Man for All Seasons, first in London and then in New York. This included Variety naming him best supporting actor for his portrayal of the Common Man. From then on he appeared primarily in American plays and films.
Rose made his screen debut in Midnight Frolics in 1949 and went on to make more than 30 films. Notable film credits include The Pickwick Papers (1952), Track the Man Down (1955), A Night to Remember (1958), The Flesh and the Fiends (1959), Hawaii (1966), and A New Leaf (1971).
Rose starred in the 1975 television series Beacon Hill, an Americanised version of Upstairs, Downstairs. Other television credits include Naked City, Trials of O'Brien, the mini-series Holocaust (1978), and several appearances on the Hallmark Hall of Fame.
On Broadway, among other roles, he played the First Gravedigger in John Gielgud's 1964 production of Hamlet starring Richard Burton, a suspicious storekeeper in William Hanley's Slow Dance on the Killing Ground (1964), a bitter soldier in Peter Shaffer's Royal Hunt of the Sun (1965), and the detective in Joe Orton's Loot (1968).
His first Tony Award nomination was for his portrayal of Louis Greff, Coco Chanel's friend, in the musical Coco in 1969. In the 1974 comedy My Fat Friend, opposite Lynn Redgrave, he won a Drama Desk Award and received another Tony nomination. In 1976, he finally won a Tony as Alfred P. Doolittle in the Broadway revival of My Fair Lady.
George received further acclaim in the role of General Burgoyne in The Devil's Disciple, as Mr. Darling and Captain Hook in Peter Pan and as one of the replacements for Rex Harrison in The Kingfisher; he won a 1979 Drama Desk Award for the last.
In 1980, he appeared as Major General Stanley in the hit Joe Papp adaptation of The Pirates of Penzance, co-starring Kevin Kline and Linda Ronstadt, being nominated for another Tony award. He also starred in the film adaptation of the production, released in 1983.
Rose won his second Tony in 1986, for Rupert Holmes' musical adaptation of The Mystery of Edwin Drood. Rose was appearing in a national tour of Drood at the time of his death in 1988. His last film role was Pound Puppies and the Legend of Big Paw, in which he voiced the villain Marvin McNasty (and also sang one of the film's songs).
Personal Life and Murder of George Rose
Rose owned a pet lynx, birds and other exotic creatures. He had a music collection numbering around 17,000 records.
In 1984, he purchased a holiday home in Sosúa, Dominican Republic, where he spent much of his time between his performances. Rose was gay and had no immediate family or permanent partner. He reportedly longed to have an heir.
Shortly after moving, he took in a 14-year-old boy whom he supported financially and to whom he planned to leave his estate. He adopted the boy in January 1988.
(No good turn ever goes unpunished - below is a good example of this).
On the 5th. May 1988, during a two-week hiatus from the national tour of Drood, Rose was tortured and beaten to death by his adopted son, the boy's biological father, an uncle, and a friend of the father.
The assailants tried to make the death look like a car accident, but soon confessed to killing Rose. Though all four men were charged and spent time in prison, no trial was ever held, and eventually all were released.
Rose is buried in an unmarked grave in a cemetery near his holiday home in Sosúa.
Some recent publications of my pictures. Update time...
JP Delahaye's paper in March 2013 issue of "Pour la Science"
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!
Specimen book published by Dave Greer, 1984:
www.flickr.com/photos/39182740@N04/3687440726/in/album-72...
Nicolette Gray [177] traces this stunning face with complex floral embellishment to Egyptian Ornamented by Bower & Bacon, 1830.
It is clearly different from the wood type design reported by Rob Roy Kelly [97], who illustrates a specimen tradenamed Rose Ornamental shown by Nesbitt in 1838.
Nesbitt, a New York printer, was the distributor of wood types produced by Edwin Allen [1811-1891] of Connecticut [Kelly 38].
Super-strong "Egyptian" letterforms, originated by Figgins in 1815 [Gray 149], are still unbeatable today for irresistible attention-grabbing!
This letterpress typeface has been digitized for posterity by THP Partner Paul Smith of Octopi Fonts: www.myfonts.com/fonts/octopi/egypt-rose/.
More about this font: forums.typeheritage.com/topic/rose-egyptian/
This photo is published under Creative Commons Attribution-Share-Alike Licence, means you are free to use this photo with attribution under same licence. For credits, please use following;
Owner: Thai National Parks
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
This little booklet, written by Gill, was published by Faber but printed at Gill & Hague's press in High Wycombe, Buckinghamshire.
Published in January 1894 by The Historical Publishing Company, author J. W. Buel, this book contains 300 photographs of every aspect of the fair.
The World's Fair: Columbian Exposition (also known as the Chicago World's Fair) was a world's fair held in Chicago in 1893 to celebrate the 400th anniversary of Christopher Columbus' arrival in the New World in 1492. At the core of the fair was an area that quickly became known as the White City for its buildings with white stucco siding and its streets illuminated by electric lights.
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-----------------------------
I Pentatonix - abbreviato "PTX" - gruppo vocale "a cappella", vincitore di 2 Grammy Award, approdano all'Alcatraz di Milano il 19 giugno.
Dal Texas con furore ecco i cinque artisti fenomeno (anche del web) che cantano a cappella, i Pentatonix. Diventano delle stelle della scena musicale internazionale dopo aver vinto un talent americano, The Sing-Off, fino a quando poi YouTube non pensa a fare il resto.
Proprio su YouTube si mettono in luce con la loro versione di Telephone. E poi Somebody That I Used to Know di Gotye, Gangnam Style di Psy, We Are Young dei Fun fino ai Daft Punk e ai Radioactive degli Imagine Dragons featuring la violoncellista Lindsey Stirling, opera originalissima con la quale vincono nel 2013 un YouTube Music Award.
Dal 2011, anno in cui si sono affacciati sulla scena musicale, i Pentatonix hanno conquistato un successo dopo l’altro: hanno venduto 2.8 milioni di copie soltanto negli Stati Uniti e vinto 2 Grammy Awards. L’ultimo album, Pentatonix ha debuttato al primo posto nella Billboard Top 200 Albums e il primo singolo, Can’t Sleep Love, ha già ottenuto più di 14 milioni di visualizzazioni su Youtube.
Scott Hoying - Baritono e coro
Mitch Grassi - Controtenore e coro
Kirstie Maldonado - Mezzosoprano e coro
Avi Kaplan - Basso e coro
Kevin Olusola - Beatbox e violoncello
This photograph was published in the Illustrated Chronicle on the 1st of October 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 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.
Thanks to www.flickr.com/photos/michaelbarnes/ for the cover preview.
Photosho is a new All Canadian content independent Magazine put together by Mike and Rachel Barnes thanks guys for choosing my photo .
For more info on the magazine Here is there flickr group www.flickr.com/groups/photosho/ and the magazines web site www.photosho.ca/issue1.html
The history of the Austrian Museum of Applied Arts/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides Emperor Franz Joseph I on 7 March on the initiative of his uncle Archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London), the establishment of the "k. k. Austrian Museum for Art and Industry" and apponted Rudolf von Eitelberger, the first professor of art history at the University of Vienna, to director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the kk polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k. k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom setting up of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park on the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger Straße 11-13/Schwarzspanierstrasse 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by Emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building on the ring. Objects from now on could be placed permanently and arranged according to main materials. / / The Arts School moves into the house on Stubenring. / / Opening of Austrian art and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum of funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Applied Arts, adjoining the museum, Stubenring 3 , also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry and the School of Art at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the arts and crafts school join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and crafts since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger is Jacob von Falke, his longtime deputy, appointed manager. Falke plans all collection areas als well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high baroque in the history of art and in applied arts in particular.
1895 / end of the Directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism .
1897 / end of the Directorate of Bruno Bucher. Arthur von Scala, Director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and school of applied arts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagated the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, Archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine art and crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the " k. k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum receives thereby rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and crafts.
1914 / Exhibition of works by the Austrian art industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum of arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide .
1920 / As part of the reform of museums of the First Republic, the collection areas are delineated. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the Directorate of Eduard Leisching Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director .
1930 / The Werkbund (artists' organization) Exhibition Vienna, A first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag finishes his Directorate .
1932 / Richard Ernst is the new director .
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over craft inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is re-established by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" of Austria by Nazi Germany, the museum was renamed "National Museum of Decorative Arts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Applied Arts in Vienna" is also enlarged in this way.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Applied Arts in Vienna" is renamed "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the Directorate Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as the new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna 1900 presents Crafts of Art Nouveau for the first time after the Second World War. / / It is started with the systematic processing of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary grantes the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel is as a branch of the Museum angegliedert (annexed). Gleichzeitig (at the same time) with the building came the important collection of Franz Sobek - old Viennese clocks, emerged between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are merged.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues to today of Austria's most important design project in the 20th Century.
1968 / On Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows on the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director .
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the art space in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as Director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: Designer. First exhibition of the Italian designer in Austria
1986 / Peter NOEVER is appointed as Director and started building up the collection of contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of thee old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is re-established, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchnerstraße is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on the MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa : Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive Personale of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned .
2000 / Outsourcing the federal museums, transforming the museum into a "scientific institution under public law". / / The exhibition of art and industry. The beginnings of the Austrian Museum of Applied Arts in Vienna are dealing with the founding history of the house and the collection.
2001 / As part of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work the "Four lemurs heads " are placed at the Stubenbrücke located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin in Vienna is presented.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historic Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, the exhibition The Price of Beauty. 100 years Wiener Werkstätte takes place. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disziplinatornbsp / / The exhibition Ukiyo-e Reloaded for the first time presents the collection of Japanese woodblock prints of the MAK in large scale.
2006 / Since the beginning of the year the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents special exhibitions annually. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects .
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes using a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, the center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property of museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noevers resignation Martina Kandeler-Fritsch takes over temporarily the management. / / Since 1 September Christoph Thun-Hohenstein is director of the MAK.