View allAll Photos Tagged self-confident
Kanadagans auf dem Gehweg, Seilersee, Iserlohn, 2016
Diese selbstbewusste Kanadagans kreuzte meinen Weg am Seeufer des Seilersees. Meine fotografischen Ambitionen nahm sie recht gelassen.
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This self-confident Canada goose crossed my way on the shores of Seilersee. She took my photographic ambitions quite calmly.
Portland is one of the most friendliest places I know. It never ceases to amaze me how a simple smile, from a random stranger on the street, can open up a channel to getting to know each other. A conversation, like opening a book. You pick it up, not really knowing what to expect, and you end up unfolding a beautiful story, a mystery just a minute ago.
Allison is a 22 y/o Portlander, studying graphic design and german. She had spent two years in Germany and got interested to learn the language on a deeper level.
Up until recently, Allison has had an eating disorder which solved itself when she started working at a new place. She's selling clothes and accessories to women to make them feel good about themselves. And Allison did, indeed look radiant and self confident.
Although she was working when I ran into her, Allison took a minute to pose for me and thanked me for inviting her to participate in my Human Family project.
As I said, Portland is a friendly place :-)
The area around Lübeck, today a large city with a population of more than 200,000, had been settled by Slavs since the 7th century. Slavs had a settlement north of the present city called "Liubice", which was razed by the pagan Rani tribe in 1128.
15 years later Adolf II, Count of Schauenburg and Holstein, founded the modern town as a German settlement on the river island of Bucu. He built a new castle, first mentioned as existing in 1147. Adolf II had to cede the castle to the Duke of Saxony, Henry the Lion, in 1158. After Henry's fall from power in 1181, the town became an Imperial city. Emperor Barbarossa ordained that the city should have a ruling council of 20 members. With the council dominated by merchants, trade interests shaped Lübeck's politics for centuries.
In the 14th century, Lübeck became the "Queen of the Hanseatic League", being by far the largest and most powerful member of that medieval trade organization. In 1375, Emperor Charles IV named Lübeck one of the five "Glories of the Empire", a title shared with Venice, Rome, Pisa, and Florence.
Conflicts about trading privileges resulted in fighting between Lübeck (with the Hanseatic League) and Denmark and Norway – with varying outcome. While Lübeck and the Hanseatic League prevailed in conflicts in 1435 and 1512, Lübeck lost when it became involved in a civil war that raged in Denmark from 1534 to 1536. From then on Lübeck's power slowly declined. The city remained neutral in the Thirty Years' War, but the devastation from the decades-long war and the new transatlantic orientation of European trade caused the Hanseatic League – and thus Lübeck with it – to decline in importance. However, Lübeck still remained an important trading town on the Baltic Sea.
In 1160 Henry the Lion moved the bishopric of Oldenburg to Lübeck and endowed a cathedral chapter. In 1163 a wooden church was built, however, at the beginning of the 13th century, it was no longer sufficient to meet the representative demands of the self-confident burghers.
St. Marien was built between 1250 and 1350. It has always been a symbol of the power and prosperity of the old Hanseatic city. It situated at the highest point of the island that forms the old town.
Gothic cathedrals in France and Flanders made of natural stone were the models for the new construction of Lübeck's three-nave basilica.
St. Marien epitomizes North German "Brick Gothic" and set the standard for many churches in the Baltic region. The church embodied the towering style of Gothic architecture using brick.
The incentive for the City Council to undertake such an enormous project was rooted in the bitter dispute with the Lübeck bishopric. As a symbol of the long-distance merchants' desire for freedom and the secular power of the city, which had been free of the Empire since 1226, the church building in the immediate vicinity of Lübeck's city hall and the market square was intended to clearly and uncatchably surpass in size the city's bishop's church, Lübeck Cathedral.
In March 1942, St. Marien (as well as the Cathedral and St. Peter) was almost completely burned out during the air raid on Lübeck, which destroyed one-fifth of the city centre. Reconstruction of the church began in 1947 and was essentially completed.
VCAD alumni’s Evan Ducharme second fashion collection “Belladonna” was shown at the Eco Fashion Week on April 23, 2013 in Vancouver, BC, Canada.
Evan’s work was inspired by such people as Ida Rentoul Outhwait, Arthur Rackham, Audrey Hepburn and Bette Davis as well as the World War 1 French military clothes and belladonna plant. The collection portrays women as strong and self-confident females.
In his collection Evan has used such natural and ecofriendly fibers as hemp, melton wool, silk-cotton blends, reclaimed wool crepe, organic jersey and organic cotton.
Turn Your Fashion Dreams into Reality:
www.youtube.com/watch?v=wJYtwSyxpCc
VCAD - Fashion Design Program
500 - 626 West Pender Street
Vancouver, BC V6B 1V9
CANADA
VCAD alumni’s Evan Ducharme second fashion collection “Belladonna” was shown at the Eco Fashion Week on April 23, 2013 in Vancouver, BC, Canada.
Evan’s work was inspired by such people as Ida Rentoul Outhwait, Arthur Rackham, Audrey Hepburn and Bette Davis as well as the World War 1 French military clothes and belladonna plant. The collection portrays women as strong and self-confident females.
In his collection Evan has used such natural and ecofriendly fibers as hemp, melton wool, silk-cotton blends, reclaimed wool crepe, organic jersey and organic cotton.
Turn Your Fashion Dreams into Reality:
www.youtube.com/watch?v=wJYtwSyxpCc
VCAD - Fashion Design Program
500 - 626 West Pender Street
Vancouver, BC V6B 1V9
CANADA
© Frank Schacht
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so sind sie, die chinesen, laechelnd und freundlich.
arbeiten sehr hart, halten die familie zusammen, finden immer irgendwie eine loesung fuer herausforderungen und koennen sehr viel ertragen. in china ist es immer bergauf gegeangen mit der wirtschaft und das rasant. wie die zukunft ausieht weiss niemand. ich vermute es wird etwas langsamer voran gehen. kein problem,da chinesen sehr flexibel sind und das finde ich sehr beeindruckend.
wir in deutschland, koennen sehr viel von der mentalitaet lernen , denn sie lernen vom ausland.
ein aufeinander zugehen in der gesamten welt kann berge versetzen und mehr verstaendnis bringen fuer alle seiten
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so they are, the Chinese, smiling and friendly. work very hard, hold together the family, find a solution for every challenge and can bear very much. in China it is went always uphill with the economy and that rapidly. for the future ,nobody knows. I assume it more slowly will somewhat in front go. no problem, Chinese are very flexible and i find it very impressive . we can learn very much in Germany ,of their mentality, because they learn a lot from foreign countries. more understandingcan bring us all more together and the world will be more peaceful. one world , one dream
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expo2010-----SHANGHAI-----expo2010------SHANGHAI
expo2010-----SHANGHAI-----expo2010------SHANGHAI
EXPO 2010年 Weltausstellung 上海世界博览会 Shànghǎi shìjiè bólǎnhuì
我爱中国 / Ich liebe China / I love China
加油中国 /China gebe niemals auf , geh voran /Go go China
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Von mir persoenlich gegruendet, die groessten
EXPO-GRUPPEN auf flickr.
EXPO 2010年 Shanghai shibóhuì上海世界博览会exklusiv #1
www.flickr.com/groups/1253656@N25/
Weltausstellungen / EXPOS-exklusiv-Expositions / World's Fairs
Hier sind Fotos und Videos zu sehen vom Beginn der Idee einer
Weltausstellung 1851 in London bis heute 2010 in Shanghai.
2012 in Suedkorea, 2015 in Italien.....
www.flickr.com/groups/1445322@N21/
balancity Deutscher Pavillion
www.flickr.com/groups/1521855@N21/
information zum logo = die 3 menschen sollen eine familie darstellen
die weltausstellung findet im jahre 2010 in der aufstrebenen metropole shanghai statt .
shanghai hat mittlerweile ueber 18 millionen registrierte einwohner.
Die bedeutung der grossen veranstaltung ist sehr wichtig und alles laeuft auf vollen touren.
Das motto der weltausstellung heisst “bessere stadt, besseres leben” . ein schoeneres leben fuer die in shanghai in einer sauberen umwelt.
Die umgebung von ca. 5,28 quadratkilometern, werden die veranstaltung abdecken
Dauer
01.mai bis zum 31.oktober 2010
erwartete besucherzahl
70.000.000 aus dem aus-und inland
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created the biggest EXPO GROUPS on flickr.
EXPO 2010年 Shanghai shibóhuì上海世界博览会exklusiv #1
www.flickr.com/groups/1253656@N25/
Weltausstellungen / EXPOS-exklusiv-Expositions / World's Fairs
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here you can be seen photographic pictures from all expositions
and world's fairs. from 1851 in london till today 2010 in shanghai.
this unique idea, to show your own country to the whole world and
at the same time you can visit the world on few square kilometers,
that is great and wonderful.
2012 in south korea, 2015 in italy....
www.flickr.com/groups/1445322@N21/
balancity German Pavillion
www.flickr.com/groups/1521855@N21/
information to logo = the three symbolised a family
the world fair takes place in the year 2010 in the ongoing metropolis shanghai. shanghai meanwhile registered inhabitants have over 18 million. The meaning of the large meeting is very important and everything runs on full routes. The slogan of the world fair is called “better city, better lives”. a more beautiful live for in shanghai in a clean environment. The environment of approx. 5.28 square kilometers, the meeting will cover Duration 01. May up to the 31.oktober 2010 expected number of visitors 70.000.000 from foreign coutries and domestics
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我爱中国 / Ich liebe China / I love China
加油中国 /China gebe niemals auf , geh voran /Go go China
EXPO 2010年 Weltausstellung 上海世界博览会 Shànghǎi shìjiè bólǎnhuì
expo2010-----SHANGHAI-----expo2010------SHANGHAI
expo2010-----SHANGHAI-----expo2010------SHANGHAI
This stylish lady couldn't look more self confident if she had been royalty. No identity, and this cabinet card has been trimmed, eliminating a photographer's mark. I'm thinking this one dates from around 1910. Any thoughts?
This was taken at the intersection of Hudson & Grove
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This set of photos is based on a very simple concept: walk every block of Manhattan with a camera, and see what happens. To avoid missing anything, walk both sides of the street.
That's all there is to it â¦
Of course, if you wanted to be more ambitious, you could also walk the streets of Brooklyn, Queens, Staten Island, and the Bronx. But that's more than I'm willing to commit to at this point, and I'll leave the remaining boroughs of New York City to other, more adventurous photographers.
Oh, actually, there's one more small detail: leave the photos alone for a month -- unedited, untouched, and unviewed. By the time I actually focus on the first of these "every-block" photos, I will have taken more than 8,000 images on the nearby streets of the Upper West Side -- plus another several thousand in Rome, Coney Island, and the various spots in NYC where I traditionally take photos. So I don't expect to be emotionally attached to any of the "every-block" photos, and hope that I'll be able to make an objective selection of the ones worth looking at.
As for the criteria that I've used to select the small subset of every-block photos that get uploaded to Flickr: there are three. First, I'll upload any photo that I think is "great," and where I hope the reaction of my Flickr-friends will be, "I have no idea when or where that photo was taken, but it's really a terrific picture!"
A second criterion has to do with place, and the third involves time. I'm hoping that I'll take some photos that clearly say, "This is New York!" to anyone who looks at it. Obviously, certain landscape icons like the Empire State Building or the Statue of Liberty would satisfy that criterion; but I'm hoping that I'll find other, more unexpected examples. I hope that I'll be able to take some shots that will make a "local" viewer say, "Well, even if that's not recognizable to someone from another part of the country, or another part of the world, I know that that's New York!" And there might be some photos where a "non-local" viewer might say, "I had no idea that there was anyplace in New York City that was so interesting/beautiful/ugly/spectacular."
As for the sense of time: I remember wandering around my neighborhood in 2005, photographing various shops, stores, restaurants, and business establishments -- and then casually looking at the photos about five years later, and being stunned by how much had changed. Little by little, store by store, day by day, things change ⦠and when you've been around as long as I have, it's even more amazing to go back and look at the photos you took thirty or forty years ago, and ask yourself, "Was it really like that back then? Seriously, did people really wear bell-bottom jeans?"
So, with the expectation that I'll be looking at these every-block photos five or ten years from now (and maybe you will be, too), I'm going to be doing my best to capture scenes that convey the sense that they were taken in the year 2013 ⦠or at least sometime in the decade of the 2010's (I have no idea what we're calling this decade yet). Or maybe they'll just say to us, "This is what it was like a dozen years after 9-11".
Movie posters are a trivial example of such a time-specific image; I've already taken a bunch, and I don't know if I'll ultimately decide that they're worth uploading. Women's fashion/styles are another obvious example of a time-specific phenomenon; and even though I'm definitely not a fashion expert, I suspected that I'll be able to look at some images ten years from now and mutter to myself, "Did we really wear shirts like that? Did women really wear those weird skirts that are short in the front, and long in the back? Did everyone in New York have a tattoo?"
Another example: I'm fascinated by the interactions that people have with their cellphones out on the street. It seems that everyone has one, which certainly wasn't true a decade ago; and it seems that everyone walks down the street with their eyes and their entire conscious attention riveted on this little box-like gadget, utterly oblivious about anything else that might be going on (among other things, that makes it very easy for me to photograph them without their even noticing, particularly if they've also got earphones so they can listen to music or carry on a phone conversation). But I can't help wondering whether this kind of social behavior will seem bizarre a decade from now ⦠especially if our cellphones have become so miniaturized that they're incorporated into the glasses we wear, or implanted directly into our eyeballs.
Oh, one last thing: I've created a customized Google Map to show the precise details of each day's photo-walk. I'll be updating it each day, and the most recent part of my every-block journey will be marked in red, to differentiate it from all of the older segments of the journey, which will be shown in blue. You can see the map, and peek at it each day to see where I've been, by clicking on this link
URL link to Ed's every-block progress through Manhattan
If you have any suggestions about places that I should definitely visit to get some good photos, or if you'd like me to photograph you in your little corner of New York City, please let me know. You can send me a Flickr-mail message, or you can email me directly at ed-at-yourdon-dot-com
Stay tuned as the photo-walk continues, block by block ...
X( X(To make you able to see , we never like you . Keep in mind that we hate you . Close the eyes to think about you : abject , ignoble,..bla blaaa ~ In your imagination , you imagined yourself as a commander.. "A Self-Confident Person" :)) but remember : If you don't respect yourself, no one else will respect you !
đúng là 1 câu chuyện bí ẩn mà ko ai biếc và chỉ có 1 con bitch nào đó làm ra mới biếc đc thôiiiii =)))))
Tui ko biếc ai làm nhưng một khi tui nghi ai là ko hề trật lất =))))))) vái cho m chết vì bị ung thư mỏ do quăng bom quá nhiều hay lông nhiều quá che khắp thân thể đại loại :))) ~ đúng nhà ở gần kho lựu đạn mua một kí chỉ tốn 1 ngàn =))))))))))
grưư tại cái bệnh chóng mặt mất nết khó chữa mà h chỉ đc lên vi tính 2 tiếng 1 ngàyyyy :((((( 어떻게 ~~~~
tức cái là tự nhiên mình đi ghiền boom và nạp card một đống xong 1 ngày chơi có 2 tiếng :)))) nhắc tới ưởng tiền dễ sợ :)))))
SMITH, GOLDWIN, writer, journalist, and controversialist; b. 13 Aug. 1823 in Reading, England, son of Richard Pritchard Smith, an Oxford-educated physician and railway promoter and director, and Elizabeth Breton, and the only one of their seven children to survive to adulthood; d. 7 June 1910 in Toronto.
After attending a private school and Eton College, Goldwin Smith in 1841 went to Christ Church and then in 1842 to Magdalen College, both at Oxford. He was awarded a first class in literae humaniores and obtained a ba in 1845 and an ma in 1848. He also carried off a series of prizes in classical studies, including one for a Latin essay on the position of women in ancient Greece. He both translated and wrote Latin verse, interests he would retain throughout his life. His education was intended as a preparation for the law and in 1842 his name had been entered at Lincoln’s Inn. He was called to the bar in 1850 but he never pursued a legal career.
When Smith was at Oxford the university was racked with religious controversy which focused on John Henry Newman and the Oxford Movement. Smith apparently admired Newman’s style but he was repelled by the movement’s ritualistic tendencies and its affinities with Roman Catholicism. Although he was a member of the Church of England, as was required of all Oxford students at the time, his mother’s Huguenot background may have contributed to his developing religious liberalism and dislike of clericalism. He would remain interested in religious issues until the end of his life, but his knowledge of theology was superficial. In addition, his understanding of the scientific controversies that were beginning to arise in pre-Darwinian Oxford was modest and was probably gained at the geological lectures of William Buckland, who upheld William Paley’s view that God’s existence was demonstrated by design in nature. Although Smith would come to accept a version of evolution and to realize, as he wrote in 1883, that it had “wrought a great revolution,” he never fully understood Charles Darwin’s hypothesis.
Smith spent the late 1840s in London and in travels on the Continent with Oxford friends. His growing interest in liberal reforms, especially in reducing the privileged status of the Church of England, was stimulated by events and personalities at home and abroad, though he quickly joined the side of authority during the Chartist disturbances in 1848. His first reformist thrusts were directed at Oxford. A fellow in civil law at University College from 1846, he joined in a demand for a reduction in clerical control over the university. Partly as a result of the agitation, which included letters from Smith to the Times of London in 1850, a royal commission, with Smith as assistant secretary, was struck in that year to investigate the university. The commission reported in 1852 and the Oxford University Act two years later relaxed but did not abolish religious tests.
During his years with the royal commission Smith widened his contacts in the political and intellectual world and turned to journalism, which was to be his permanent vocation. In 1850 he began contributing to the Morning Chronicle and in 1855 to the Saturday Review of Politics, Literature, Science and Art, both published in London, reviewing poetry and advocating university reform. In 1858 he was made a member of a new royal commission, chaired by the Duke of Newcastle, to examine Britain’s educational system, and he wrote part of the report which appeared in 1862. Meanwhile, also in 1858, the Conservative government of Lord Derby appointed Smith regius professor of modern history at Oxford. This post carried such prestige that Smith, who was only 35, might have been expected to settle into it for the rest of his life. In 1861 he indicated his intention to withdraw from active journalism and devote himself to his new profession as an historian. He apparently planned to write some serious scholarly works, but this goal proved incompatible with his intense interest in contemporary affairs. Lack of detachment was the most prominent characteristic of Smith’s historical writing. He always knew which side was right. For him history was not an arid, scientific search for objective accuracy. “History,” he argued, “without moral philosophy, is a mere string of facts; and moral philosophy, without history, is apt to become a dream.”
Smith used his chair largely to engage in controversies over political and religious questions. Although he was undoubtedly a stimulating and devoted lecturer and tutor, he showed no interest in original research and published nothing of scholarly merit. His later historical publications and literary biographies, including histories of the United States and the United Kingdom and studies on William Cowper and Jane Austen, were little more than a reworking of secondary sources usually spiced up with a dose of his principles and prejudices. He was a man of letters, not a research scholar, and he also published travel books and Latin and Greek authors in translation. His first book was typical. Of his five Lectures on modern history (1861), three dealt with religious controversies related to rationalism and agnosticism, another with the idea of progress, and only one with a historical topic, the founding of the American colonies. Though denying that history was a science, Smith was quite prepared to draw moral laws from his reading of the past. In the first place, he considered “the laws of the production and distribution of wealth . . . the most beautiful and wonderful of the natural laws of God. . . . To buy in the cheapest and sell in the dearest market, the supposed concentration of economical selfishness, is simply to fulfil the commands of the Creator.” These laws, discovered by Adam Smith, whom he viewed as a prophet, expressed a tenet of political economy from which he would never deviate: a market economy guided by the “hidden hand” was divinely sanctioned and if faithfully observed would lead to a just social order. Secondly, Smith’s reading of history convinced him that religion provided the cement holding the social order in place. “Religion,” he warned those who contended that progress had made Christianity obsolete, “is the very core, centre, and vital support of our social and political organization; so that without a religion the civil tie would be loosened, personal would completely prevail over public motives, selfish ambition and cupidity would break loose in all directions, and society and the body politic would be in danger of dissolution.”
To these lessons of history Smith added a third which would serve as a permanent guide to his judgements on the way of the world, a conviction that “colonial emancipation” should take place as rapidly as possible because it was – except for India and Ireland – inevitable. This conclusion appeared in a series of articles published in the London Daily News in 1862–63 and then in pamphlet form as The empire in 1863. There he presented a distillation of the opinions of his friends John Bright, Richard Cobden, and others of the so-called Manchester school who believed that Britain’s economic power, under free trade, was so great that the formal, political empire could be disbanded without economic loss. The lesson of the American revolution, for Smith a disaster which had divided the Anglo-Saxon people, was simply that colonies should be allowed to grow naturally into nations. Once they were freed of the yoke of dependency, “something in the nature of a great Anglo-Saxon federation may, in substance if not form, spontaneously arise out of affinity and mutual affection.” Though condemned by the Times and attacked by Benjamin Disraeli as one of the “prigs and pedants” who should make way for statesmen, Smith clung tenaciously to his anti-imperial faith.
A drastic alteration in Smith’s personal circumstances led to his departure from England in 1868. He had resigned his chair at Oxford in 1866 in order to attend to his father, who had suffered permanent injury in a railway accident. In the autumn of 1867, when Smith was briefly absent, his father took his own life. Doubtless blaming himself for the tragedy – and now without an Oxford appointment – he decided to travel to North America, which he had previously visited in 1864, when Andrew Dickson White, president of Cornell University at Ithaca, N.Y., invited him to take up a teaching post at the newly founded institution. Smith was attracted by the determination of its founder, Ezra Cornell, to organize a university that was non-sectarian and open to all classes of society, though he had no sympathy for its commitment to coeducation. He remained at Cornell on a full-time basis for only two years but his connection with the university, which in 1906 named a building after him, continued for life. Whether it was the climate or the presence of women, admitted in 1869, that caused Smith to leave, he decided in 1871 to move to Toronto and to be near some relatives. Four years later that move became permanent as a consequence of his marriage in Toronto on 3 Sept. 1875 to William Henry Boulton*’s widow, Harriet Elizabeth Mann, née Dixon, who was two years his junior, an American by birth, and possessor of a significant fortune which included the estate named the Grange. Smith settled into a late-blooming marital bliss and the Grange’s affluent surroundings with ease: “a union for the afternoon and evening of life,” he told his American friend Charles Eliot Norton. He was, as he remarked after Harriet died in 1909, “finally bound to Canada by the happiest event of my life.”
The marriage, a personal healing of the unfortunate breach of 1776, was an extremely successful one. After years of transiency and a life seemingly limited to male friendships, Smith had found a perfect mate. His new wife was socially sophisticated and apparently utterly devoted to her austere husband who, in contrast to her first, spent his waking hours in reading, writing, and good talk. His circle of friends and visitors, the intellectual élite of the English-speaking world, joined local celebrities and politicians in the drawing-room of the Grange. “Here one is suddenly set down in an old English house,” Albert Venn Dicey wrote, “surrounded by grounds, with old four-post beds, old servants, all English, and English hosts . . . an English mansion in some English county.” For the remaining 35 years of his life, Smith lived in Canada, but he was never quite of it. From his “English mansion,” this talented and acerbic political and literary critic would hurl his jeremiads at a world that irritatingly deviated from the Manchester liberal faith in which he was steeped.
The move to Canada and marriage and domestic tranquillity did nothing to diminish Smith’s intellectual energy or his eagerness to improve public morality. Indeed, what he viewed as the underdeveloped, overly partisan state of Canadian public discussion spurred him on to greater effort. No sooner had he arrived in Toronto than he began reviewing for the Globe, but he quickly fell out with George Brown*, the paper’s proprietor, whose dogmatic righteousness brooked no competition. Smith soon turned to a series of attempts to establish independent organs, though independence usually meant agreement with Smith. First, he assisted Graeme Mercer Adam* in the founding of the Canadian Monthly and National Review (Toronto), where in February 1872 he adopted the nom de plume that would become his most characteristic signature, A Bystander. It was intended to imply that he was an outsider and therefore detached and analytical. In fact, it was soon obvious enough to readers that the author was a committed, often fierce, partisan, even if somewhat of an outsider. When the supporters of the Canada First movement launched the Nation in Toronto in 1874, Smith signed on as one of the principal contributors, both financially and as a writer. Then, in April 1876, he participated in a more ambitious project, the establishment, with John Ross Robertson* as publisher, of the Evening Telegram, a daily to compete with Brown’s Globe. It soon developed Conservative sympathies and Smith departed.
In June 1878 Smith returned to Toronto following an 18-month sojourn with Harriet in England more convinced than ever that the country needed the benefit of his intellectual guidance. Within a year he opened his own one-man show, the Bystander, subtitled “A monthly review of current events, Canadian and general.” The performance was a breathtaking one. For three years Smith’s outpourings filled its pages with brilliant, opinionated comment on virtually every political, cultural, and intellectual development in Europe and North America. He was determined to broaden the mental horizons of Canadians and by 1880 was pleased to admit that “the great questions of religious philosophy are beginning to engage a good many Canadian minds.” He expounded Adam Smith’s political economy, denounced women’s suffrage as a threat to the family, warned of the dangers of Herbert Spencer’s social Darwinism, castigated Bismarck, expatiated on the Eastern Question, and sniped at Disraeli. He even found space, when Sarah Bernhardt visited Canada in 1881, to agree with Bishop Édouard-Charles Fabre* and the Presbyterian (Montreal) in condemning her for her unsanctified liaisons. The Bystander’s suspicious eye frequently detected clerical power in Quebec and Ireland, and Jewish control over the European press. When Smith decided to give his active pen a rest in June 1881, he had established himself as a vigorous intellectual voice in Canada. A second series of the Bystander, this time published quarterly from January to October 1883, began after his return from another lengthy stay in England. The third and final series appeared between October 1889 and September 1890. In the interim he lent his support to another new journal, the Week, edited by Charles George Douglas Roberts*, which began publication in December 1883. Smith’s final venture in Canadian journalism came in 1896 when he acquired a controlling interest in the faltering Canada Farmers’ Sun (Toronto), a paper which, under George Weston Wrigley, had actively supported such radical causes as the political insurgency of the Patrons of Industry. The Bystander promptly put the paper back on orthodox rails by calling for free trade, retrenchment, and opposition to Canadian participation in the South African War. All of this activity still left time for a flood of articles in the international press: the Fortnightly Review, the Contemporary Review, and the Nineteenth Century, a Monthly Review in London, the Atlantic Monthly in Boston, and the Sun, the Nation, and the Forum in New York. Indeed, he published in any daily or monthly that would print his articles, reviews, and letters. His output was prodigious, the writing crisp and often epigrammatic.
Smith’s activities were not confined to intellectual labour. A public-spirited person, he devoted both money and energy to a variety of causes. Civic affairs especially concerned him for he believed that local governments should take greater responsibility for the welfare of citizens than was the case in Toronto. He chaired a citizens’ reform committee, advocated the commission system for city government, fought for the preservation and extension of parks for public recreation, campaigned for Sunday streetcars, and opposed free public lending libraries. (“A novel library,” he told Andrew Carnegie, “is to women mentally pretty much what the saloon is physically to men.”) He was distressed by problems of urban unemployment and poverty, and contributed generously to such charities and benevolent societies as the Associated City Charities of Toronto, which he founded, and the St Vincent de Paul Society. He also supported the building of a synagogue. For two decades he urged the appointment of a city welfare officer to supervise grants to social agencies, a cause that succeeded in 1893 only after Smith agreed to pay the officer’s salary for the first two years. Underlying these and other humanitarian endeavours was a philosophy of noblesse oblige, the Christian duty of the fortunate towards their weaker brethren. He feared that the failure of Christian voluntary charity would increase the popularity of those who advocated radical social programs. “Care for their own safety, then, as well as higher considerations, counsels the natural leaders of society to be at the post of duty,” Smith told a conference of the combined charities of Toronto in May 1889.
Education was another concern which Smith brought with him to Canada. In 1874 he was elected by Ontario teachers to represent them on the Council of Public Instruction and he was subsequently chosen president of the Ontario Teachers’ Association. But once again, university reform captured his deepest interest, and as in so many things, he advocated reforms that revealed his Oxford connections. Almost from the time of his arrival he proposed the federation of Ontario’s scattered universities on an Oxford model. He followed progress towards that federation in the 1880s and 1890s, regularly participating in University of Toronto functions and advocating university autonomy. In 1905 he accepted membership on, but not the chair of, a royal commission on the University of Toronto. One outcome was a new act in 1906 establishing a board of governors for the university, to which Smith was appointed. Among the many honorary degrees which Smith received from the great universities of the English-speaking world he must have particularly savoured the one conferred on him in 1902 by the University of Toronto; seven years earlier he had withdrawn his name from nomination for a degree in the face of the furious opposition of George Taylor Denison* and other imperial federationists who protested against the granting of the degree to a “traitor.”
For all of his breadth of knowledge and interest, Smith’s overriding concern was the contemporary world. His reputation rests on that collection of ideas which he regularly, and with remarkable consistency, applied to the issues of his time. Though he has most often been categorized as a “Victorian liberal,” it is not his liberal principles but rather his faith in the superiority of Anglo-Saxon civilization that is his most striking trait. That faith not only frequently contradicted his liberalism, but also, in its application to Canada, limited his ability to understand and sympathize with the aspirations of the people among whom he had chosen to take up residence.
Smith’s liberalism expressed itself most fulsomely in his commitment to free market economics, the secularization of public life, and opposition to empire. Though a firm believer in individualism and parliamentary government, Smith showed no special interest in civil liberties, except in his criticism of clericalism, and he favoured neither universal manhood nor women’s suffrage. He distrusted democracy and pronounced the French revolution (an event admired by most liberals) “of all the events in history, the most calamitous.” Inequality, he believed, was mankind’s permanent condition. While he repeatedly professed sympathy for labour and supported trade unions, he abhorred strikes and denounced as “chimeras” those reforms – single tax, currency inflation, public ownership, the regulation of hours of work – which labour radicals began to advocate in the late 19th century; progress he thought possible, but “there is no leaping into the millennium.” Although limited government intervention in the economy might sometimes be justified (he reluctantly supported Sir John A. Macdonald*’s arguments for a National Policy), collectivism and socialism were anathema He opposed income tax, old-age pensions, and even publicly financed education. In his introduction to Essays on questions of the day (1893), he summed up his social philosophy by confessing that “the opinions of the present writer are those of a Liberal of the old school as yet unconverted to State Socialism, who looks for further improvement not to an increase of the authority of government, but to the same agencies, moral, intellectual, and economical, which have brought us thus far, and one of which, science, is now operating with immensely increased power.” Clearly, it was not just “state socialism” that had failed to convert the master of the Grange; the new social liberalism of Thomas Hill Green and Leonard Trelawney Hobhouse was equally heretical to him. Indeed, by the late Victorian era one of Smith’s own adages could reasonably be applied to its author: “There is no reactionary,” the Bystander informed the readers of the Week in 1884, “like the exhausted Reformer.”
Had Smith’s social philosophy become threadbare merely as a result of the passage of time, then he might none the less rank as a significant liberal, if only of the “old school.” But the limits of his liberalism are even more evident when placed in the context of his nationalism – his belief in Anglo-Saxon superiority. In common with most 19th-century political thinkers, especially liberals, Smith believed that “nations” were “an ordinance of nature, and a natural bond.” Like John Stuart Mill, and in contrast to Lord Acton, he defined a nation in terms of the concept of cultural homogeneity. And although he opposed imperialism, he was nevertheless utterly at one with those imperialists who believed that the Anglo-Saxon cultural community, centred in Great Britain with branches around the world, was a superior civilization. Its political institutions, economic system, morality, and culture were all signs of its primacy in a world of diverse nations. In his first, and most famous, critique of the empire, he gave voice to his own form of nationalism, one which verged on cultural imperialism. “I am no more against Colonies than I am against the solar system,” he wrote in The empire. “I am against dependencies, when nations are fit to be independent. If Canada were made an independent nation she would still be a Colony of England, and England would still be her Mother Country in the full sense in which those names have been given to the most famous examples of Colonization in history. Our race and language, our laws and liberties, will be hers.”
For Smith the great failure, even tragedy, of Anglo-Saxon history was the American revolution. “Before their unhappy schism they were one people,” and the healing of that schism through the “moral, diplomatic and commercial union of the whole English-speaking race throughout the world” became the goal to which all else was secondary. He shared that goal with those Canadians who advocated imperial federation – Denison, George Monro Grant, George Robert Parkin* – but because his chosen route began with the annexation of Canada to the United States he found himself in permanent head-to-head combat with those same men.
Smith’s convictions about the superiority of Anglo-Saxon values are most strikingly illustrated in his attitude towards “lesser breeds without the Law.” His advocacy of colonial freedom was limited to those colonies which had English majorities. India, a conquered territory, was exempt; for Britain to relinquish what he called this “splendid curse” would be to abdicate its responsibility and leave the subcontinent to certain anarchy. If India troubled Smith, Ireland infuriated him. He mistrusted Roman Catholicism everywhere; in Ireland he despised it. As an ethnic group the Irish were an “amiable but thriftless, uncommercial, saint-worshipping, priest-ridden race.” He fought Home Rule as though his very life depended upon its defeat. “Statesmen might as well provide the Irish people with Canadian snowshoes,” he declaimed sarcastically, “as extend to them the Canadian Constitution.” His one-time associate William Ewart Gladstone was denounced as “an unspeakable old man” when he took up the Irish cause.
Other non-Anglo-Saxon groups fared little better. Though Smith occasionally expressed sympathy for “the wild-stocks of humanity” – the people of Africa, for example – he saw no reason to lament the oppressed state of the native North American. The doomed state of the native people was not the fault of the British who “had always treated [them] with humanity and justice”; with their disappearance, “little will be lost by humanity,” he concluded callously.
For the Jewish people, Smith reserved a special place in his catalogue of “undesirables.” The critical problem with the Jews was what Smith saw as their stubborn unwillingness to assimilate, to give up their religious beliefs and cultural practices, to become “civilized.” He regularly stereotyped them as “tribal,” “usurious,” “plutopolitans,” incapable of loyalty to their country of residence. The Talmud, the Bystander affirmed, “is a code of casuistical legalism . . . of all reactionary productions the most debased, arid, and wretched.” If the Jews would not assimilate they should be returned to their homeland. In a sentence that reeked with racist arrogance he declared that “two greater calamities perhaps have never befallen mankind than the transportation of the negro and the dispersion of the Jews.” Smith’s extreme ethnocentricity in the case of the Jewish people, as Gerald Tulchinsky has shown, can only be described as anti-Semitism.
Smith’s belief in Anglo-Saxon superiority and the importance that he attached to the reunification of the “race” provided him with both his questions and his answers when he analysed “Canada and the Canadian question.” On his arrival in Toronto Smith had discovered a nascent nationalist movement. He threw his support behind this amorphous group of young men whose platform was set out in William Alexander Foster*’s pamphlet Canada First; or, our new nationality: an address (Toronto, 1871), which called for the promotion of a national sentiment and the clarification of Canada’s status in the empire as well as for a number of political reforms. While Smith believed that the movement would promote Canadian independence, others favoured some form of equal partnership with the other members of the empire. For a time the movement attracted the sympathy of the prominent Liberal party intellectual Edward Blake*, but by the mid 1870s it had disintegrated, and its organ, the Nation, disappeared in 1876. This brief experience apparently convinced Smith that Canada could never become a genuine nation and that its destiny lay in union with the United States. In 1877 he set out these conclusions in an article for the Fortnightly Review and then in the Canadian Monthly, conclusions which he would repeat over the remainder of his life and which found their most famous expression in his Canada and the Canadian question in 1891. At the heart of his case was the claim that Canada could not be a nation because it lacked cultural homogeneity. The principal obstacle to nationhood was Quebec, composed as it was of an “unprogressive, religious, submissive, courteous, and, though poor, not unhappy people. . . . They are governed by the priest, with the occasional assistance of the notary. . . . The French-Canadians . . . retain their exclusive national character.” Confederation had failed to meld the competing “races” and regions into a single community and only political corruption, bribes to the regions, and the vested interests which benefited from the protective tariff kept this artificial country from collapsing. “Sectionalism,” he had written in 1878, “still reigns in everything, from the composition of a Cabinet down to that of a Wimbledon Rifle team.” In Smith’s mind the natural geographical and economic forces of North America worked against the unnatural political and sentimental opinions of Canadians. Like the United States, Canada was a North American nation and once this fact was recognized the two communities would achieve their destiny in unity. “The more one sees of society in the New World, the more convinced one is that its structure essentially differs from that of society in the Old World, and that the feudal element has been eliminated completely and forever.” Everything pointed towards “an equal and honorable alliance like that of Scotland and England” between Canada and her southern neighbour, “Canadian nationality being a lost cause.”
Over the years Smith’s conviction about Canada’s destiny intensified, his observation of French Canada hardening his hostility to that community. By 1891 he was willing to state emphatically that one of the principal benefits of union with the United States would be the final solution of the French Canadian problem. “Either the conquest of Quebec was utterly fatuous or it is to be desired that the American Continent should belong to the English tongue and to Anglo-Saxon civilisation.” Though the opposition of French Canadians to the South African War moderated these sentiments somewhat – Smith even considered joining forces with Henri Bourassa* in an anti-imperialist movement – he continued to fear, as he told Bourassa in 1905, “the connexion of your national aspirations with those of an ambitious and aggressive priesthood.” His ideal of cultural homogeneity left no room for a political nationality based on cultural diversity, the cornerstone of confederation. For him the call of race was irresistible: “In blood and character, language, religion, institutions, laws and interests, the two portions of the Anglo-Saxon race on this continent are one people.”
In all of his pronouncements on politics, economics, and Canada’s destiny, Smith seemed a self-confident, even dogmatic, pundit. But underneath that confidence was a profoundly uneasy man. The unease arose not only from Smith’s personal religious uncertainty but even more from his anxiety about the future of society in an age of religious scepticism. Though Smith does not seem to have experienced that typical Victorian “crisis of faith,” Darwinism and the higher criticism of the Bible certainly left him with little more than a thin deism and a vague humanism founded on Christian ethics. Throughout his life he struggled with religious questions, and his inconclusive answers were recorded in his Guesses at the riddle of existence (1897). But it was always to the social implications of the decline of faith that he returned. In an essay entitled “The prospect of a moral interregnum,” published in 1879, he observed: “That which prevails as Agnosticism among philosophers and the highly educated prevails as secularism among mechanics, and in that form is likely soon to breed mutinous questionings about the present social order among those who get the poorer share, and who can no longer be appeased by promises of compensation in another world.” For 30 years he repeated this gloomy theme, revealing his forebodings about the decline and fall of practically everything he accepted as eternal verities. Everywhere “prophets of unrest” loomed – Karl Marx, Henry George, Edward Bellamy, assorted socialists and anarchists, and the leaders of “the revolt of women” – questioning the established order, no longer satisfied by the opiate of religion. His increasingly shrill polemics signified his alienation from a world that had passed him by. He was simply too set in his ways to admit, as he was urged to do by Alphonse Desjardins*, the leader of the Quebec cooperative movement, “that improvements can be got by recognizing that the old liberal school of Political Economy has not discovered everything.”
Harriet Smith died at the Grange on 9 Sept. 1909. The following March the old man slipped and broke his thigh. He died on 7 June 1910 and was buried in St James cemetery. The Grange, which remained his wife’s property, was willed by her to the city of Toronto to serve as a public art gallery. The £20,000 Smith had inherited from his father had grown to more than $830,000 by the time of his death. He left his excellent library to the University of Toronto. Most of his fortune and his private papers went to Cornell University as a mark, Smith’s will revealingly declared, of his “attachment as an Englishman to the union of the two branches of our race on this continent with each other, and with their common mother.”
Photograph taken at 10:46am on Thursday 24th April 2014 in the heart of Leicester Square, Central London, WC2.
I had to react quickly, walking as I took the shot, as the guy sauntered through the bemused crowd, his radiant red top hat a magnet for attention and curiosity. Cool and self confident, he took the bemused looks in his stride.
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Nikon D800 52mm 1/400s f/9.0 iso200 RAW (14Bit)Handheld
Nikkor AF-S 24-70mm f/2.8G ED IF. Jessops 77mm UV filter. Nikon MB-D12 battery grip. Two Nikon EN-EL15 batteries. Digi Chip Speed Pro 64GB Class 10 SDXC. Nikon DK-17a magnifying eyepiece. Hoodman HGEC soft eyepiece cup.
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RAW (TIFF) FILE: 103.00MB
PROCESSED FILE: 15.19MB
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Processing power:
HP Pavillion Desktop with AMD A10-5700 APU processor. HD graphics. 2TB with 8GB RAM. 64-bit Windows 8.1. Verbatim USB 2.0 1TB desktop hard drive. Nikon VIEWNX2 Version 2.90 64bit. Adobe photoshop Elements 8 Version 8.0 64bit
When is your birthday? Which tree are you? I wonder which tree is the most popular! I am a hazelnut!
(Sorry about the bad quality!)
Dec 23 to Jan 01 Apple Tree
Jan 02 to Jan 11 Fir Tree
Jan 12 to Jan 24 Elm Tree
Jan 25 to Feb 03 Cypress Tree
Feb 04 to Feb 08 Poplar Tree
Feb 09 to Feb 18 Cedar Tree
Feb 19 to Feb 28 Pine Tree
Mar 01 to Mar 10 Weeping Willow Tree
Mar 11 to Mar 20 Lime Tree
Mar 21 Oak Tree
Mar 22 to Mar 31 Hazelnut Tree
Apr 01 to Apr 10 Rowan Tree
Apr 11 to Apr 20 Maple Tree
Apr 21 to Apr 30 Walnut Tree
May 01 to May 14 Poplar Tree
May 15 to May 24 Chestnut Tree
May 25 to Jun 03 Ash Tree
Jun 04 to Jun 13 Hornbeam Tree
Jun 14 to Jun 23 Fig Tree
Jun 24 Birch Tree
Jun 25 to Jul 04 Apple Tree
Jul 05 to Jul 14 Fir Tree
Jul 15 to Jul 25 Elm Tree
Jul 26 to Aug 04 Cypress Tree
Aug 05 to Aug 13 Poplar Tree
Aug 14 to Aug 23 Cedar Tree
Aug 24 to Sep 02 Pine Tree
Sep 03 to Sep 12 Weeping Willow Tree
Sep 13 to Sep 22 Lime Tree
Sep 23 Olive Tree
Sep 24 to Oct 03 Hazelnut Tree
Oct 04 to Oct 13 Rowan Tree
Oct 14 to Oct 23 Maple Tree
Oct 24 to Nov 11 Walnut Tree
Nov 12 to Nov 21 Chestnut Tree
Nov 22 to Dec 01 Ash Tree
Dec 02 to Dec 11 Hornbeam Tree
Dec 12 to Dec 21 Fig Tree
Dec 22 Beech Tree
APPLE TREE (the Love) - of slight build, lots of charm, appeal, and attraction, pleasant aura, flirtatious, adventurous, sensitive, always in love, wants to love and be loved, faithful and tender partner, very generous, scientific talents, lives for today, a carefree philosopher with imagination.
ASH TREE (the Ambition) - uncommonly attractive, vivacious, impulsive, demanding, does not care for criticism, ambitious, intelligent, talented, likes to play with fate, can be egotistic, very reliable and trustworthy, faithful and prudent lover, sometimes brains rule over the heart, but takes partnership very seriously.
BEECH TREE (the Creative) - has good taste, concerned about its looks, materialistic, good organization of life and career, economical, good leader, takes no unnecessary risks, reasonable, splendid lifetime companion, keen on keeping fit (diets, sports, etc.)
BIRCH TREE (the inspiration) - vivacious, attractive, elegant, friendly, unpretentious, modest, does not like anything in excess, abhors the vulgar, loves life in nature and in calm, not very passionate, full of imagination, little ambition, creates a calm and content atmosphere.
CEDAR TREE (the Confidence) - of rare beauty, knows how to adapt, likes luxury, of good health, not in the least shy, tends to look down on others, self-confident, determined, impatient, likes to impress others, many talents, industrious, healthy optimism, waiting for the one true love, able to make quick decisions.
CHESTNUT TREE (the Honesty) - of unusual beauty, does not want to impress, well-developed sense of justice, vivacious, interested, a born diplomat, but irritates easily and sensitive in company, often due to a lack of self confidence, acts sometimes superior, feels not understood loves only once, has difficulties in finding a partner.
CYPRESS TREE (the Faithfulness) - strong, muscular, adaptable, takes what life has to give, content, optimistic, craves money and acknowledgment, hates loneliness, passionate lover which cannot be satisfied, faithful, quick-tempered, unruly, pedantic, and careless.
ELM TREE (the Noble-mindedness) - pleasant shape, tasteful clothes, modest demands, tends not to forgive mistakes, cheerful, likes to lead but not to obey, honest and faithful partner, likes making decisions for others, noble-minded, generous, good sense of humor, practical.
FIG TREE (the Sensibility) - very strong, a bit self-willed, independent, does not allow contradiction or arguments, loves life, its family, children and animals, a bit of a social butterfly, good sense of humor, likes idleness and laziness, of practical talent and intelligence.
FIR TREE (the Mysterious) - extraordinary taste, dignity, sophisticated, loves anything beautiful, moody, stubborn, tends to egoism but cares for those close to them, rather modest, very ambitious, talented, industrious, uncontented lover, many friends, many foes, very reliable.
HAZELNUT TREE (the Extraordinary) - charming, undemanding, very understanding, knows how to make an impression, active fighter for social cause, popular, moody, and capricious lover, honest, and tolerant partner, precise sense of judgment.
HORNBEAM TREE (the Good Taste) - of cool beauty, cares for its looks and condition, good taste, is not egoistic, makes life as comfortable as possible, leads a reasonable and disciplined life, looks for kindness and acknowledgement in an emotional partner, dreams of unusual lovers, is seldom happy with its feelings, mistrusts most people, is never sure of its decisions, very conscientious.
LIME TREE (the Doubt) - accepts what life dishes out in a composed way, hates fighting, stress, and labor, dislikes laziness and idleness, soft and relenting, makes sacrifices for friends, many talents but not tenacious enough to make them blossom, often wailing and complaining, very jealous but loyal.
MAPLE TREE (Independence of Mind) - no ordinary person, full of imagination and originality, shy and reserved, ambitious, proud, self-confident, hungers for new experiences, sometimes nervous, has many complexities, good memory, learns easily, complicated love life, wants to impress.
OAK TREE (the Brave) - robust nature, courageous, strong, unrelenting, independent, sensible, does not like change, keeps its feet on the ground, person of action.
OLIVE TREE (the Wisdom) - loves sun, warmth and kind feelings, reasonable, balanced, avoids aggression and violence, tolerant, cheerful, calm, well-developed sense of justice, sensitive, empathetic, free of jealousy, loves to read and the company of sophisticated people.
PINE TREE (the Particular) - loves agreeable company, very robust, knows how to make life comfortable, very active, natural, good companion, but seldom friendly, falls easily in love but its passion burns out quickly, gives up easily, everything disappointments until it finds its ideal, trustworthy, practical.
POPLAR TREE (the Uncertainty) - looks very decorative, not very self-confident, only courageous if necessary, needs goodwill and pleasant surroundings, very choosy, often lonely, great animosity, artistic nature, good organizer, tends to lean toward philosophy, reliable in any situation, takes partnership seriously.
ROWAN TREE (the Sensitivity) - full of charm, cheerful, gifted without egoism, likes to draw attention, loves life, motion, unrest, and even complications, is both dependent and independent, good taste, artistic, passionate, emotional, good company, does not forgive.
WALNUT TREE (the Passion) - unrelenting, strange and full of contrasts, often egotistic, aggressive, noble, broad horizon, unexpected reactions, spontaneous, unlimited ambition, no flexibility, difficult and uncommon partner, not always liked but often admired, ingenious strategist, very jealous and passionate, no compromise.
WEEPING WILLOW (the Melancholy) - beautiful but full of melancholy, attractive, very empathetic, loves anything beautiful and tasteful, loves to travel, dreamer, restless, capricious, honest, can be influenced but is not easy to live with, demanding, good intuition, suffers in love but finds sometimes an anchoring partner.
MINUTO DE REFLEXÃO:
INVEJA - JEALOUSY
( ... )
- O ódio é cruel e destruidor, mas a inveja é pior ainda. ( Rei Salomão )
- Tenho uma idade em que inveja e ciúme já não fazem mais parte do meu repertório. Há muito me conformei com a minha feiúra. Assim como me conformei com a beleza dos outros. ( Bette Davis )
- A inveja é uma merda. ( Anônimo )
- Não há ódio mais implacável do que o da inveja. ( Arthur Schopenhauer )
- A inveja que fala e que grita é sempre inofensiva; a inveja que se cala é que se deve temer. ( Antoine Rivarol )
- O que mais me choca é o ar de triunfo que certas pessoas têm ao constatar o envelhecimento alheio. ( Odete Lara )
- Há duas invejas: a boa e a condenável. A boa consiste em, quando encontrares alguém superior a ti em alguma coisa, desejares ser como ele; a condenável consiste em desejar a sua queda. ( As-Saalibi )
- A vida dos invejosos é triste, pois eles só se sentem felizes no lugar dos outros. ( Sílvio Ceccato )
- A inveja é o fruto da incapacidade. ( Adágio Popular )
- A cada bela impressão que causamos, conquistamos um inimigo. Para ser popular é indispensável ser medíocre. ( Oscar Wilde )
- A inveja é um vírus que se caracteriza pela ausência de sintomas aparentes. O ódio espuma. A preguiça se derrama. A gula engorda. A avareza acumula. A luxúria se oferece. O orgulho brilha. Só a inveja se esconde. ( Zuenir Ventura )
( ... )
- A competent and self-confident person is incapable of jealousy in anything. Jealousy is invariably a symptom of neurotic insecurity. ( Robert A. Heinlein )
- Don't waste your life on jealousy. Sometimes you're ahead, sometimes you're behind. The race is long, and in the end it's only you with yourself.
- When you're a beautiful person on the inside, there is nothing in the world that can change that about you. Jealousy is the result of one's lack of self-confidence, self-worth, and self-acceptance. The Lesson: If you can't accept yourself, then certainly no one else will. ( Sasha Azevedo )
18 years old and always barefoot at home. Loves to pose for the camera like most girls of her age. She was the one who had prepared all the candles. A sweet but also smart and self-confident lady-to-become.
Even a young Blue Jay has that self confident assertive look. On one of my bird water dishes. Nov. 2021.
It happens all over Europe, the moment there's a bit of sunshine, the people pull down the blinds, and quite often when there even isn't any sunshine. Close off the world they say, place me in my little cocoon. It's worse in standard class than in first. In first the people tend to be more self-confident and sanguine. And the Japanese are especially prone to it. This Trenitalia Freccia Bianca is just pulling into Bologna Centrale, hence the turnover of passengers.
used in The Curse of the Window Blinds
Located on Grant Street at the intersection of Perkins Street, the former Alexandra Mechanic’s Institute and Free Library, built in 1883, is a beautiful example of a Victorian Free Classical building, and is part of the north eastern Victorian town’s historical centre. It was originally designed as Alexandra’s Mechanics’ Institute with a billiard room extension added in 1892. The building has been lovingly restored, and features many features typical of Victorian Free Classical architecture. The style was ebullient and self confident as it expressed society’s growing prosperity and self confidence, and is mostly represented in civil, commercial and religious buildings, but spread to a certain degree to domestic structures as well. The parapet concealing the roof, decorative accents along the roofline and windows and doors with accentuated vertical proportions are all typical of the Victorian Free Classical architecture movement.
The Mechanics' Institute Movement began in British urban industrial cities in the early 1800s to enable men of the lower classes to improve themselves. A "mechanic" was a person applying skills and technology. During the Nineteenth Century, most towns in Victoria established a Mechanics' Institute or Athenaeum with a library and meeting hall. Common objects of the Mechanics' Institute Movement was to spread useful knowledge and provide rational (non alcoholic) recreation for the community.
The former Alexandra Mechanic’s Institute and Free Library is still used for its original literary purpose, and a modern extension, subtly attached to the historic building, doubles the library’s available floor space, allowing for a wider array of benefits.
Alexandra is a town in Victoria, Australia. It is located at the junction of the Goulburn Valley Highway (B340) and Maroondah Highway (B360), 26 kilometres west of Eildon. The town was settled in the late 1860s, with a Post Office opening on 15 March 1867 (known until 24 April 1867) as Redgate. The town was originally known as Redgate, or Red Gate Diggings. The current name either derives from Alexandra of Denmark (Queen’s Consort to King Edward VII of England) when given a stature of her to the shire; or from three men named Alexander (Alesander, McGregor, Alexander Don, and Alexander Luckie) who discovered gold in the area in 1866. Charles Jones born Herefordshire also discovered Gold on the Luckie Mine in 1866. He bought a Hotel with John Henry Osborne and was the proprietor of the New York and London Hotel Grant Street Alexandra. The railway to Alexandra arrived in the town via Yea from Tallarook in 1909, and closed on November 18, 1978. The Rubicon Tramway connected Alexandra with the village of Rubicon, at the junction of the Rubicon and Royston Rivers. Today many tourists pass through Alexandra on their way to the Mount Buller ski resort from Melbourne. The town contains the Timber Tramway and Museum (located at the Alexandra Railway Station), and the National Trust classified post office and law courts. There is a local market on the second Saturday of each month from September to May, an annual art show at Easter, an agricultural show and rose festival in November, and the annual Truck, Rod and Ute Show in June.
VCAD alumni’s Evan Ducharme second fashion collection “Belladonna” was shown at the Eco Fashion Week on April 23, 2013 in Vancouver, BC, Canada.
Evan’s work was inspired by such people as Ida Rentoul Outhwait, Arthur Rackham, Audrey Hepburn and Bette Davis as well as the World War 1 French military clothes and belladonna plant. The collection portrays women as strong and self-confident females.
In his collection Evan has used such natural and ecofriendly fibers as hemp, melton wool, silk-cotton blends, reclaimed wool crepe, organic jersey and organic cotton.
Turn Your Fashion Dreams into Reality:
www.youtube.com/watch?v=wJYtwSyxpCc
VCAD - Fashion Design Program
500 - 626 West Pender Street
Vancouver, BC V6B 1V9
CANADA
I've met this adorable dog in metro. He was self-confidently trotting in direction of a carriage. One glance he gave me, but it was enough to fell in love with him! Such an intelligent, charismatic face. I would grab him next second he agrees to come home with me. He travelled alone with a smile on his face.
it's been...months since my last upload. and these have definitely been tumultuous times. i fell out of love, lost friendships, and finished school. but i also found new passions and made new friends too. i can't believe i neglected photography for so long but now i'm back and i'm stronger and more confident than ever
VCAD alumni’s Evan Ducharme second fashion collection “Belladonna” was shown at the Eco Fashion Week on April 23, 2013 in Vancouver, BC, Canada.
Evan’s work was inspired by such people as Ida Rentoul Outhwait, Arthur Rackham, Audrey Hepburn and Bette Davis as well as the World War 1 French military clothes and belladonna plant. The collection portrays women as strong and self-confident females.
In his collection Evan has used such natural and ecofriendly fibers as hemp, melton wool, silk-cotton blends, reclaimed wool crepe, organic jersey and organic cotton.
Turn Your Fashion Dreams into Reality:
www.youtube.com/watch?v=wJYtwSyxpCc
VCAD - Fashion Design Program
500 - 626 West Pender Street
Vancouver, BC V6B 1V9
CANADA
VCAD alumni’s Evan Ducharme second fashion collection “Belladonna” was shown at the Eco Fashion Week on April 23, 2013 in Vancouver, BC, Canada.
Evan’s work was inspired by such people as Ida Rentoul Outhwait, Arthur Rackham, Audrey Hepburn and Bette Davis as well as the World War 1 French military clothes and belladonna plant. The collection portrays women as strong and self-confident females.
In his collection Evan has used such natural and ecofriendly fibers as hemp, melton wool, silk-cotton blends, reclaimed wool crepe, organic jersey and organic cotton.
Turn Your Fashion Dreams into Reality:
www.youtube.com/watch?v=wJYtwSyxpCc
VCAD - Fashion Design Program
500 - 626 West Pender Street
Vancouver, BC V6B 1V9
CANADA
VCAD alumni’s Evan Ducharme second fashion collection “Belladonna” was shown at the Eco Fashion Week on April 23, 2013 in Vancouver, BC, Canada.
Evan’s work was inspired by such people as Ida Rentoul Outhwait, Arthur Rackham, Audrey Hepburn and Bette Davis as well as the World War 1 French military clothes and belladonna plant. The collection portrays women as strong and self-confident females.
In his collection Evan has used such natural and ecofriendly fibers as hemp, melton wool, silk-cotton blends, reclaimed wool crepe, organic jersey and organic cotton.
Turn Your Fashion Dreams into Reality:
www.youtube.com/watch?v=wJYtwSyxpCc
VCAD - Fashion Design Program
500 - 626 West Pender Street
Vancouver, BC V6B 1V9
CANADA
VCAD alumni’s Evan Ducharme second fashion collection “Belladonna” was shown at the Eco Fashion Week on April 23, 2013 in Vancouver, BC, Canada.
Evan’s work was inspired by such people as Ida Rentoul Outhwait, Arthur Rackham, Audrey Hepburn and Bette Davis as well as the World War 1 French military clothes and belladonna plant. The collection portrays women as strong and self-confident females.
In his collection Evan has used such natural and ecofriendly fibers as hemp, melton wool, silk-cotton blends, reclaimed wool crepe, organic jersey and organic cotton.
Turn Your Fashion Dreams into Reality:
www.youtube.com/watch?v=wJYtwSyxpCc
VCAD - Fashion Design Program
500 - 626 West Pender Street
Vancouver, BC V6B 1V9
CANADA
From shyness to leadership: Louise promotes the interests of het fellow-villagers
“Before I had attended the [Vision, Commitment, Action] workshops at Zakpota Epicenter, my contributions to discussions in the village weren’t heard. Now I know much better how to articulate my opinion. Since attending these workshops I have become much more self-confident, and I am consulted more and more often when decisions are being made in my community. And, at the request of the women from my village, I have become the leader of the women’s credit group. Together we have taken out a loan at the Credit Bank, which we divide among us [to finance our income generating activities]. I also give the women advice about their businesses.”
To learn more about our work in Benin please visit: www.thp.org/benin
Photos by Johannes Ode. Photographer must be consulted prior to any non Hunger Project use of images in any communication.
The Postcard
A Shurey's postcard, on the back of which is printed:
'This beautiful Series of Fine Art Post Cards
is supplied free exclusively by Shurey's
Publications, comprising "Smart Novels",
"Yes or No", and "Dainty Novels".
The publications are obtainable throughout
Great Britain, the Colonies and Foreign
Countries'.
The claim of world-wide availability seems somewhat misplaced - can you imagine walking into a shop in, e.g. Port Saïd or Manila in the early 1900's and asking for a copy of 'Yes or No'?
Does anyone out there know what the ominous-looking box is for? If so, please let us know.
The Card was posted in Luton on Thursday the 16th. June 1910 to:
Miss Boston,
Brightwell,
Morden,
Surrey.
The message on the divided back was as follows:
"The box came quite safely,
Dad fetched it on Saturday.
I should not get a pin Dear
as they are not worn now.
You are behind the times.
Leave it until you come
home, also your hat unless
you are hard up.
Dad, Mum and I went up to
the Hoo on Tuesday - we did
enjoy ourselves.
We will write a letter next
week.
Much love,
H."
Jack Sheppard
Jack Sheppard, also known as 'Honest Jack', who was born on the 4th. March 1702, was a notorious English thief and prison escapee of early 18th. century London.
Born into a poor family, he was apprenticed as a carpenter, but took to theft and burglary in 1723, with little more than a year of his training to complete.
He was arrested and imprisoned five times in 1724, but escaped four times from prison, making him a notorious public figure, and wildly popular with the poorer classes.
Ultimately, he was caught, convicted, and hanged at Tyburn, ending his brief criminal career after less than two years.
The inability of the notorious "Thief-Taker General" Jonathan Wild to control Sheppard, and injuries suffered by Wild at the hands of Sheppard's colleague Joseph "Blueskin" Blake led to Wild's downfall.
Sheppard was as renowned for his attempts to escape from prison as he was for his crimes. An autobiographical "Narrative", thought to have been ghostwritten by Daniel Defoe, was sold at his execution, quickly followed by popular plays.
The character of Macheath in John Gay's The Beggar's Opera (1728) was based on Sheppard, keeping him in the limelight for over 100 years.
He returned to public consciousness around 1840, when William Harrison Ainsworth wrote a novel entitled Jack Sheppard, with illustrations by George Cruikshank. The popularity of his tale, and the fear that others would be drawn to emulate his behaviour, led the authorities to refuse to license any plays in London with "Jack Sheppard" in the title for forty years.
Jack Sheppard - The Early Years
Sheppard was born in White's Row, in London's Spitalfields. He was baptised on the 5th. March, the day after he was born, at St Dunstan's, Stepney, suggesting a fear of infant mortality by his parents, perhaps because the newborn was weak or sickly.
His parents named him after an older brother, John, who had died before his birth. In life however, he was better known as Jack, or even "Gentleman Jack" or "Jack the Lad".
Jack had a second brother, Thomas, and a younger sister, Mary. Their father, a carpenter, died while Sheppard was young, and his sister died two years later.
Unable to support her family without her husband's income, Jack's mother sent him to Mr Garrett's School, a workhouse near St Helen's Bishopsgate, when he was six years old.
Jack was sent out as a parish apprentice to a cane-chair maker, taking a settlement of 20 shillings, but his new master soon died. He was sent out to a second cane-chair maker, but Sheppard was treated badly.
Finally, when Sheppard was 10, he went to work as a shop-boy for a wool draper who had a shop on the Strand. The draper was called William Kneebone. (... the origin of 'The knee bone's connected to the thigh bone'? ... Maybe not ...)
Sheppard's mother had been working for Kneebone since her husband's death. Kneebone taught Sheppard to read and write, and apprenticed him to a carpenter appropriately named Owen Wood, in Wych Street, off Drury Lane in Covent Garden. Sheppard signed his seven-year indenture on the 2nd. April 1717.
By 1722, Jack Sheppard was showing great promise as a carpenter. Aged 20, he was a small man, only 5'4" (1.63 m) and lightly built, but deceptively strong. He had a pale face with large, dark eyes, a wide mouth and a quick smile. Despite a slight stutter, his wit made him popular in the taverns of Drury Lane. He served five unblemished years of his apprenticeship, but then began to be led into crime.
Jack Sheppard's Criminal Career
Joseph Hayne, a button-moulder who owned a shop nearby, also ran a tavern named the Black Lion off Drury Lane, which he encouraged the local apprentices to frequent.
The Black Lion was visited by criminals such as Joseph "Blueskin" Blake, Sheppard's future partner in crime, and self-proclaimed "Thief-Taker General" Jonathan Wild, secretly the linchpin of a criminal empire across London and later Sheppard's implacable enemy.
According to Sheppard's autobiography, he had been an innocent until going to Hayne's tavern, but there began an attachment to strong drink and the affections of Elizabeth Lyon, a prostitute also known as Edgeworth Bess from her place of birth at Edgeworth in Middlesex.
In his History, Defoe records that:
"Bess was a main lodestone
in attracting of him up to this
Eminence of Guilt."
Such, Sheppard claimed, was the source of his later ruin. Peter Linebaugh offers a more romantic view:
"Sheppard's sudden transformation
was a liberation from the dull drudgery
of indentured labour.
He progressed from pious servitude to
self-confident rebellion and levelling."
Jack Sheppard threw himself into a hedonistic whirl of drinking and whoring. Inevitably, his carpentry suffered, and he became disobedient to his master.
With Edgeworth Bess's encouragement, Sheppard took to crime in order to augment his legitimate wages. His first recorded theft was in Spring 1723, when he engaged in petty shoplifting, stealing two silver spoons while on an errand for his master to the Rummer Tavern in Charing Cross.
Sheppard's misdeeds initially went undetected, and he moved on to larger crimes, often stealing goods from the houses where he was working.
Finally, he quit the employ of his master on the 2nd. August 1723, with less than two years of his apprenticeship left, although he continued to work as a journeyman carpenter. He progressed to burglary, falling in with criminals in Jonathan Wild's gang.
He moved to Fulham, living as husband and wife with Edgeworth Bess at Parsons Green, before moving to Piccadilly. When Bess was arrested and imprisoned at St. Giles's Roundhouse, the beadle, a Mr Brown, refused to let Sheppard visit, so he broke in and took her away.
Two Arrests and Two Escapes
Sheppard was first arrested after a burglary he committed with his brother, Tom, and his mistress, Bess, in Clare Market on the 5th. February 1724.
Tom, also a carpenter, had already been convicted once for stealing tools from his master the previous autumn and burned in the hand. Tom was arrested again on the 24th. April 1724. Afraid that he would be hanged this time, Tom informed on Jack, and a warrant was issued for Jack's arrest.
Jonathan Wild was aware of Sheppard's thefts, as Sheppard had fenced some stolen goods through one of Wild's men, William Field.
Wild asked another of his men, James Sykes (known as "Hell and Fury") to challenge Sheppard to a game of skittles at Redgate's public house near Seven Dials. Sykes betrayed Sheppard to a Mr Price, a constable from the parish of St. Giles, to gather the usual £40 reward for giving information leading to the conviction of a felon.
The magistrate, Justice Parry, had Sheppard imprisoned overnight on the top floor of St Giles's Roundhouse pending further questioning, but Sheppard escaped within three hours by breaking through the timber ceiling and lowering himself to the ground with a rope fashioned from bedclothes.
Still wearing irons, Sheppard coolly joined the crowd that had been attracted by the sounds of his breaking out. He distracted their attention by pointing to the shadows on the roof and shouting that he could see the escapee, and then swiftly departed.
On the 19th. May 1724, Sheppard was arrested for a second time, caught in the act of picking a pocket in Leicester Fields (near present-day Leicester Square). He was detained overnight in St Ann's Roundhouse in Soho and visited there the next day by Bess; however she was recognised as his wife, and locked in a cell with him.
They appeared before Justice Walters, who sent them to the New Prison in Clerkenwell, but they escaped from their cell within a matter of days. By the 25th. May, they had filed through their manacles. They removed a bar from the window and used their knotted bed-clothes to descend to ground level.
Finding themselves in the yard of the neighbouring Bridewell, they clambered over the 22-foot-high (6.7 m) prison gate to freedom. This feat was widely publicised, not least because Sheppard was only a small man, and Bess was a large, buxom woman.
Jack Sheppard's Third Arrest, Trial, and Third Escape
Sheppard's thieving abilities were admired by Jonathan Wild, who demanded that Sheppard surrender his stolen goods for Wild to fence, and so take the greater profits, but Sheppard refused.
Instead Jack began to work with Joseph "Blueskin" Blake, and they burgled Sheppard's former master, William Kneebone, on the 12th. July 1724. However Wild could not permit Sheppard to continue outside his control, and began to seek Sheppard's arrest.
Unfortunately for Sheppard, his fence, William Field, was one of Wild's men. After Sheppard had a brief foray with Blueskin as highwaymen on the Hampstead Road on the 19th. and 20th. July, Field informed on Sheppard to Wild.
Wild believed that Bess would know Sheppard's whereabouts, so he plied her with drinks at a brandy shop near Temple Bar until she betrayed him. Sheppard was arrested for a third time at Blueskin's mother's brandy shop in Rosemary Lane, east of the Tower of London on the 23rd. July by Wild's henchman, Quilt Arnold.
Sheppard was imprisoned in Newgate Prison pending his trial at the next Assize. He was prosecuted on three charges of theft at the Old Bailey, but was acquitted on the first two due to lack of evidence.
Kneebone, Wild and Field gave evidence against him on the third charge, the burglary of Kneebone's house. He was convicted on the 12th. August, the case "being plainly prov'd", and sentenced to death.
However, on the 31st. August, the very day when the death warrant arrived from the court in Windsor setting the 4th. September as the date for his execution, Sheppard escaped.
Having loosened an iron bar in a window used when talking to visitors, he was visited by Bess and Poll Maggott, who distracted the guards while he removed the bar. His slight build enabled him to climb through the resulting gap in the grille, and he was smuggled out of Newgate in women's clothing that his visitors had brought him.
He took a coach to Blackfriars Stairs, then a boat up the River Thames to the horse ferry in Westminster, near the warehouse where he hid his stolen goods, and made good his escape.
Jack Sheppard's Fourth Arrest and Final Escape
By this point, Sheppard was a hero to a segment of the population, being a cockney, non-violent, handsome and seemingly able to escape punishment for his crimes at will.
He spent a few days out of London, visiting a friend's family in Chipping Warden in Northamptonshire, but was soon back in town. He evaded capture by Wild and his men, but was arrested again on the 9th. September by a posse from Newgate as he hid out on Finchley Common, and was returned to the condemned cell at Newgate.
Jack's fame had increased with each escape, and he was visited in prison by the great, the good and the curious. His plans to escape in September were thwarted twice when the guards found files and other tools in his cell.
Jack was accordingly transferred to a strong-room in Newgate known as the "Castle", clapped in leg irons, and chained to two metal staples in the floor to prevent further escape attempts.
After demonstrating to his gaolers that these measures were insufficient, by showing them how he could use a small nail to unlock the horse padlock at will, he was bound more tightly and handcuffed. In his History, Defoe reports that Sheppard made light of his predicament, joking that:
"I am the Sheppard, and all the Gaolers
in the Town are my Flock, and I cannot
stir into the Country, but they are all at
my Heels Laughing after me".
Meanwhile, "Blueskin" Blake was arrested by Wild and his men on the 9th. October, and Tom, Jack's brother, was transported for robbery on the 10th. October 1724.
New court sessions began on the 14th. October, and Blueskin was tried on the 15th. October, with Field and Wild again giving evidence. Their accounts were not consistent with the evidence that they gave at Sheppard's trial, but Blueskin was convicted anyway.
Enraged, Blueskin attacked Wild in the courtroom, slashing his throat with a pocket-knife and causing an uproar. Wild was lucky to survive, and his grip over his criminal empire started to slip while he recuperated.
Taking advantage of the disturbance, which spread to Newgate Prison next door and continued into the night, Sheppard escaped for the fourth time. He unlocked his handcuffs and removed the chains.
Still encumbered by his leg irons, he attempted to climb up the chimney, but his path was blocked by an iron bar set into the brickwork. He removed the bar, and used it to break through the ceiling into the "Red Room" above the "Castle", a room which had last been used some seven years before to confine aristocratic Jacobite prisoners after the Battle of Preston.
Still wearing his leg irons as night fell, he then broke through six barred doors into the prison chapel, then to the roof of Newgate, 60 feet (20 m) above the ground. He went back down to his cell to get a blanket, then back to the roof of the prison, and used the blanket to reach the roof of an adjacent house, owned by William Bird, a turner.
He broke into Bird's house, and went down the stairs and out into the street at around midnight without disturbing the occupants. Escaping through the streets to the north and west, Sheppard hid in a cowshed in Tottenham (near modern Tottenham Court Road).
Spotted by the cowshed's owner, Sheppard told him that he had escaped from Bridewell Prison, having been imprisoned there for failing to support a (nonexistent) bastard son. Jack's leg irons remained in place for several days until he persuaded a passing shoemaker to accept the considerable sum of 20 shillings to bring a blacksmith's tools and help him remove them, telling him the same tale.
His manacles and leg irons were later recovered in the rooms of Kate Cook, one of Sheppard's mistresses. This latest escape astonished everyone. Daniel Defoe, working as a journalist, wrote an account for John Applebee, The History of the Remarkable Life of John Sheppard. In his History, Defoe reports the belief in Newgate that the Devil came in person to assist Sheppard's escape.
The Final Capture of Jack Sheppard
Sheppard's final period of liberty lasted just two weeks. He disguised himself as a beggar and returned to the city. He broke into Rawlins brothers' pawnbroker's shop in Drury Lane on the night of the 29th. October 1724, taking a black silk suit, a silver sword, rings, watches, a wig, and other items.
He dressed himself as a dandy gentleman, and used the proceeds to spend a day and the following evening on the tiles with two mistresses. He was arrested a final time in the early morning of the 1st. November, blind drunk:
"In a handsome Suit of Black, with a
Diamond Ring and a carnelian ring
on his Finger, and a fine Light Tye
Peruke".
This time, Sheppard was placed in the Middle Stone Room, in the centre of Newgate next to the "Castle", where he could be observed at all times. He was also loaded with 300 pounds of iron weights. He was so celebrated that the gaolers charged high society visitors four shillings to see him:
"The Concourse of People of tolerable
Fashion to see him was exceeding Great,
he was always Chearful and Pleasant to a
Degree, as turning almost everything as
was said onto a Jest and Banter."
To a Reverend Wagstaffe who visited him, he said, according to Defoe:
"One file's worth all the Bibles
in the World".
The King's painter James Thornhill painted his portrait.
Several prominent people sent a petition to King George I, begging for his sentence of death to be commuted to transportation.
Sheppard came before Mr Justice Powis in the Court of King's Bench at Westminster Hall on the 10th. November. He was offered the chance to have his sentence reduced by informing on his associates, but he scorned the offer, and the death sentence was confirmed. The next day, Blueskin was hanged, and Sheppard was moved to the condemned cell.
The Execution of Jack Sheppard
The following Monday, 16th. November, Sheppard was taken to the gallows at Tyburn to be hanged. He had planned one more escape, but his pen-knife, intended to cut the ropes binding him on the way to the gallows, was found by a prison warder shortly before he left Newgate for the last time.
A joyous procession passed through the streets of London, with Sheppard's cart drawn along Holborn and Oxford Street accompanied by a mounted City Marshal and liveried Javelin Men.
The occasion was as much as anything a celebration of Sheppard's life, attended by crowds of up to 200,000 (one third of London's population). The procession halted at the City of Oxford tavern on Oxford Street, where Sheppard drank a pint of sack.
A carnival atmosphere pervaded Tyburn, where his "official" autobiography, published by Applebee and probably ghostwritten by Defoe, was on sale. Sheppard handed a paper to someone as he mounted the scaffold, perhaps as a symbolic endorsement of the account in the "Narrative".
Jack's slight build had aided his previous prison escapes, but it condemned him to a slow death by strangulation from the hangman's noose. After hanging for the prescribed 15 minutes, his body was cut down.
The crowd pressed forward to stop his body from being removed, fearing dissection; their actions inadvertently prevented Sheppard's friends from implementing a plan to take his body to a doctor in an attempt to revive him. His badly mauled remains were recovered later, and buried in the churchyard of St. Martin-in-the-Fields that evening.
Jack Sheppard's Legacy
There was a spectacular public reaction to Sheppard's deeds. He was even cited (favourably) as an example in newspapers, pamphlets, broadsheets, and ballads which were all devoted to his amazing exploits, and his story was adapted for the stage almost immediately.
Harlequin Sheppard, a pantomime by John Thurmond (subtitled "A Night Scene in Grotesque Characters"), opened at the Theatre Royal, Drury Lane, on the 28th. November, only two weeks after Sheppard's hanging.
In a famous contemporary sermon, a London preacher drew on Sheppard's popular escapes as a way of holding his congregation's attention:
"Let me exhort ye, then, to open the locks
of your hearts with the nail of repentance!
Burst asunder the fetters of your beloved
lusts! - mount the chimney of hope! - take
from thence the bar of good resolution! -
break through the stone wall of despair!"
The account of his life remained well-known through the Newgate Calendar, and a three-act farce was published but never produced. However when mixed with songs, it became The Quaker's Opera, later performed at Bartholomew Fair.
An imagined dialogue between Jack Sheppard and Julius Caesar was published in the British Journal on the 4th. December 1724, in which Sheppard favourably compares his virtues and exploits to those of Caesar.
The most prominent play based on Sheppard's life is John Gay's The Beggar's Opera (1728). Sheppard was the inspiration for the figure of Macheath; his nemesis, Peachum, is based on Jonathan Wild. The play was spectacularly popular, restoring the fortune that Gay had lost in the South Sea Bubble, and was produced regularly for over 100 years.
An unperformed but published play The Prison-Breaker was turned into The Quaker's Opera (in imitation of The Beggar's Opera) and performed at Bartholomew Fair in 1725 and 1728. Two centuries later The Beggar's Opera was the basis for The Threepenny Opera of Bertolt Brecht and Kurt Weill (1928).
Sheppard's tale may have been an inspiration for William Hogarth's 1747 series of 12 engravings, Industry and Idleness. These show the descent of an apprentice, Tom Idle, into crime and eventually to the gallows, beside the rise of his fellow apprentice, Francis Goodchild. Goodchild marries his master's daughter and takes over his business, becoming wealthy as a result, eventually emulating Dick Whittington to become Lord Mayor of London.
A melodrama, Jack Sheppard, The Housebreaker, or London in 1724, by W. T. Moncrieff was published in 1825.
More successful was William Harrison Ainsworth's third novel, entitled Jack Sheppard, which was originally published in Bentley's Miscellany from January 1839 with illustrations by George Cruikshank, overlapping with the final episodes of Charles Dickens' Oliver Twist.
An archetypal Newgate novel, it generally remains close to the facts of Sheppard's life, but portrays him as a swashbuckling hero. Like Hogarth's prints, the novel pairs the descent of the "idle" apprentice into crime with the rise of a typical melodramatic character, Thames Darrell, a foundling of aristocratic birth who defeats his evil uncle to recover his fortune.
Cruikshank's images perfectly complemented Ainsworth's tale - Thackeray wrote that:
"Mr Cruickshank really created the tale,
and Mr Ainsworth, as it were, only put
words to it."
The novel quickly became very popular: it was published in book form later that year, before the serialised version was completed, and even outsold early editions of Oliver Twist. Ainsworth's novel was adapted into a successful play by John Buckstone in October 1839 at the Adelphi Theatre.
Indeed, it seems likely that Cruikshank's illustrations were deliberately created in a form that would be easy to repeat as tableaux on stage. The play has been described as:
"The exemplary climax of the
pictorial novel dramatized
pictorially".
Jack Sheppard's story generated a form of cultural mania, embellished by pamphlets, prints, cartoons, plays and souvenirs, not repeated until George du Maurier's Trilby in 1895.
By early 1840, a cant song from Buckstone's play, "Nix My Dolly, Pals, Fake Away" was reported to be "deafening us in the streets". Public alarm at the possibility that young people would emulate Sheppard's behaviour led the Lord Chamberlain to ban, at least in London, the licensing of any plays with "Jack Sheppard" in the title for forty years.
The fear may not have been entirely unfounded: Courvousier, the valet of Lord William Russell, said in one of his several confessions that the book had inspired him to murder his master.
Frank and Jesse James wrote letters to the Kansas City Star signed "Jack Sheppard".
Burlesques of the story were written after the ban was lifted, including a popular Gaiety Theatre, London, piece called Little Jack Sheppard (1886) by Henry Pottinger Stephens and William Yardley, which starred Nellie Farren as Jack.
The Sheppard story has been revived three times on film in the 20th century: The Hairbreadth Escape of Jack Sheppard (1900), Jack Sheppard (1923), and Where's Jack? (1969), a British costume drama directed by James Clavell with Tommy Steele in the title role.
Jake Arnott features him in his 2017 novel The Fatal Tree.
In 1971 the British pop group Chicory Tip paid tribute to Sheppard in "Don't Hang Jack", the B-side to "I Love Onions". The song, apparently sung from the viewpoint of a witness in the courtroom, describes Jack's daring exploits as a thief, and futilely begs the judge to spare Sheppard because he was loved by the women of the town, and idolised by the lads who "made him their king."
In Jordy Rosenberg's 2018 novel Confessions of the Fox, a 21st-century academic discovers a manuscript containing Sheppard's "confessions", which tell the story of his childhood and his love affair with Edgeworth Bess, and make the unlikely revelation that he was a transgender man.
Charles Mackay in Memoirs of Extraordinary Popular Delusions and the Madness of Crowds wrote:
"Whether it be that the multitude, feeling the
pangs of poverty, sympathise with the daring
and ingenious depredators who take away
the rich man's superfluity, or whether it be the
interest that mankind in general feel for the
records of perilous adventure, it is certain that
the populace of all countries look with admiration
upon great and successful thieves."
A Hungarian Cloudburst
So what else happened on the day that the card was posted?
Well, on the 16th. June 1910, a cloudburst in Hungary added to existing flood waters, killing 800 people in villages in the Kronstadt district, another 180 in Temesvar and 100 in Moldava.
Arizona and New Mexico
Also on that day, the United States Senate unanimously passed a bill extending statehood to the territories of Arizona and New Mexico.
Admission as a state still required adopting a proposed state constitution, subject then to the approval of Congress and the President, as well as other procedures.
When the group dancing commenced the tiny girl in the foreground grabbed my hand and very self-confidently led me to the dance floor. She looked so proud that she had bagged the biggest (tallest anyway) trophy in the house. The other girl chose Arlene who stepped aside to take this pic. Now I've got two of the lovliest girls in the house all to myself... couldn't be more pleased.
100_3997e; More than My Share
from the series
"believe me, it´s a scarf "
giant luxury
scarf stole
wrap cloak
with 2 sleeves
fabric knitting
art-yarn fusion
with lurex & metallic effects
a perfect lagenlook layer
for self-confident fashion divas
photos of this series flic.kr/s/aHsjGcjoVd
photos of this series
bicycle bike Velo Bicyclette Fiets bicicleta bici Fahrrad Rad www.flickr.com/photos/97695964@N02/albums/72157667498023871
Soapbox derby, June 16. 2013 in Wahnbek / near Oldenburg - city in the German state of Lower Saxony.
Spontaner Entschluss der Ju-Jutsu Kinder- u. Jugendgruppe des TuS Bloherfelde am Seifenkistenrennen (Sonntag, den 16. 06. 2013) in Wahnbek / Nähe Oldenburg (Oldb) teilzunehmen.
The area around Lübeck, today a large city with a population of more than 200,000, had been settled by Slavs since the 7th century. Slavs had a settlement north of the present city called "Liubice", which was razed by the pagan Rani tribe in 1128.
15 years later Adolf II, Count of Schauenburg and Holstein, founded the modern town as a German settlement on the river island of Bucu. He built a new castle, first mentioned as existing in 1147. Adolf II had to cede the castle to the Duke of Saxony, Henry the Lion, in 1158. After Henry's fall from power in 1181, the town became an Imperial city. Emperor Barbarossa ordained that the city should have a ruling council of 20 members. With the council dominated by merchants, trade interests shaped Lübeck's politics for centuries.
In the 14th century, Lübeck became the "Queen of the Hanseatic League", being by far the largest and most powerful member of that medieval trade organization. In 1375, Emperor Charles IV named Lübeck one of the five "Glories of the Empire", a title shared with Venice, Rome, Pisa, and Florence.
Conflicts about trading privileges resulted in fighting between Lübeck (with the Hanseatic League) and Denmark and Norway – with varying outcome. While Lübeck and the Hanseatic League prevailed in conflicts in 1435 and 1512, Lübeck lost when it became involved in a civil war that raged in Denmark from 1534 to 1536. From then on Lübeck's power slowly declined. The city remained neutral in the Thirty Years' War, but the devastation from the decades-long war and the new transatlantic orientation of European trade caused the Hanseatic League – and thus Lübeck with it – to decline in importance. However, Lübeck still remained an important trading town on the Baltic Sea.
In 1160 Henry the Lion moved the bishopric of Oldenburg to Lübeck and endowed a cathedral chapter. In 1163 a wooden church was built, however, at the beginning of the 13th century, it was no longer sufficient to meet the representative demands of the self-confident burghers.
St. Marien was built 1250 - 1350. It has always been a symbol of the power and prosperity of the Hanseatic city. It situated at the highest point of the island that forms the old town.
Gothic cathedrals in France and Flanders made of natural stone were the models for the new construction of Lübeck's three-nave basilica.
St. Marien epitomizes North German "Brick Gothic" and set the standard for many churches in the Baltic region. The church embodied the towering style of Gothic architecture using brick.
The incentive for the City Council to undertake such an enormous project was rooted in the bitter dispute with the Lübeck bishopric. As a symbol of the long-distance merchants' desire for freedom and the secular power of the city, which had been free of the Empire since 1226, the church building in the immediate vicinity of Lübeck's city hall and the market square was intended to clearly and uncatchably surpass in size the city's bishop's church, Lübeck Cathedral.
The bronze baptismal font was cast in one piece. The reliefs were cast at the same time and not riveted on later. This is the masterly work of Hans Apengeter (~ 1300 - 1351), who lived and had a workshop in Lübeck in 1344. "Apengeter" or "Apengiesser" was the professional title for craftsmen who performed such metalwork. Here a detail.
St. Mary's Church in Lübeck (German: Marienkirche, officially St. Marien zu Lübeck) was built between 1250 and 1350. It has always been a symbol of the power and prosperity of the old Hanseatic city, and is situated at the highest point of the island that forms the old town of Lübeck. It is part of the UNESCO World Heritage Site of the old Hanseatic City of Lübeck.
St. Mary's epitomizes north German Brick Gothic and set the standard for about 70 other churches in the Baltic region, making it a building of enormous architectural significance. St Mary's Church embodied the towering style of French Gothic architecture style using north German brick. It has the tallest brick vault in the world, the height of the central nave being 38.5 metres.
It is built as a three-aisled basilica with side chapels, an ambulatory with radiating chapels, and vestibules like the arms of a transept. The westwork has a monumental two-tower façade. The height of the towers, including the weather vanes, is 124.95 metres and 124.75 metres, respectively.
St. Mary's is located in the Hanseatic merchants' quarter, which extends uphill from the warehouses on the River Trave to the church. As the main parish church of the citizens and the city council of Lübeck, it was built close to the town hall and the market.
HISTORY OF THE BUILDING
In 1150, Henry the Lion moved the Bishopric of Oldenburg to Lübeck and established a cathedral chapter. A wooden church was built in 1163, and starting in 1173/1174 this was replaced by a Romanesque brick church. At the beginning of the 13th century, however, it no longer met the expectations of the self-confident, ambitious, and affluent bourgeoisie, in terms of size and prestige. Romanesque sculptures from this period of the church's history are today exhibited at St. Anne's Museum in Lübeck
The design of the three-aisled basilica was based on the Gothic cathedrals in France and Flanders, which were built of natural stone. St. Mary's is the epitome of ecclesiastical Brick Gothic architecture and set the standard for many churches in the Baltic region, such as the St. Nicholas' Church in Stralsund and St. Nicholas in Wismar.
No one had ever before built a brick church this high and with a vaulted ceiling. The lateral thrust exerted by the vault is met by buttresses, making the enormous height possible. The motive for the Lübeck town council to embark on such an ambitious undertaking was the acrimonious relationship with the Bishopric of Lübeck. The church was built close to the Lübeck Town Hall and the market, and it dwarfed the nearby Romanesque Lübeck Cathedral, the church of the bishop established by Henry the Lion. It was meant as a symbol of the desire for freedom on the part of the Hanseatic traders and the secular authorities of the city, which had been granted the status of a free imperial city (Reichsfreiheit), making the city directly subordinate to the emperor, in 1226. It was also intended to underscore the pre-eminence of the city vis-à-vis the other cities of the Hanseatic League, which was being formed at about the same time (1356).
The Chapel of Indulgences (Briefkapelle) was added to the east of the south tower in 1310. It was both a vestibule and a chapel and, with its portal, was the church's second main entrance from the market. Probably originally dedicated to Saint Anne, the chapel received its current name during the Reformation, when paid scribes moved in. The chapel, which is 12 metres long, 8 metres deep, and 2 metres high, has a stellar vault ceiling and is considered a masterpiece of High Gothic architecture. It has often been compared to English Gothic Cathedral Architecture and the chapter house of Malbork Castle. Today the Chapel of Indulgences serves the community as a church during winter, with services from January to March.
In 1939 the town council built its own chapel, known as the Bürgermeisterkapelle (Burgomasters' Chapel), at the southeast corner of the ambulatory, the join being visible from the outside where there is a change from glazed to unglazed brick. It was in this chapel, from the large pew that still survives, that the newly elected council used to be installed. On the upper floor of the chapel is the treasury, where important documents of the city were kept. This part of the church is still in the possession of the town.
Before 1444, a chapel consisting of a single bay was added to the eastern end of the ambulatory, its five walls forming five eighths of an octagon. This was the last Gothic extension to the church. It was used for celebrating the so-called Hours of the Virgin, as part of the veneration of the Virgin Mary, reflected in its name Marientidenkapelle (Lady Chapel) or Sängerkapelle (Singers' Chapel).
In total, St Mary's Church has nine larger chapels and ten smaller ones that serve as sepulchral chapels and are named after the families of the Lübeck city council that used them and endowed them.
DESTRUCTION AND RESTAURATION
In an air raid by 234 bombers of the British Royal Air Force on 28–29 March 1942 – the night of Palm Sunday – the church was almost completely destroyed by fire, together with about a fifth of the Lübeck city centre, including Lübeck Cathedral and St. Peter's Church.
Among the artefacts destroyed was the famous Totentanzorgel (Danse Macabre organ), an instrument played by Dieterich Buxtehude and probably Johann Sebastian Bach. Other works of art destroyed in the fire include the Mass of Saint Gregory by Bernt Notke, the monumental Danse Macabre, originally by Bernt Notke but replaced by a copy in 1701, the carved figures of the rood screen, the Trinity altarpiece by Jacob van Utrecht (formerly also attributed to Bernard van Orley) and the Entrance of Christ into Jerusalem by Friedrich Overbeck. Sculptures by the woodcarver Benedikt Dreyer were also lost in the fire: the wooden statues of the saints on the west side of the rood screen and the organ sculpture on the great organ from around 1516–18 and Man with Counting Board. Also destroyed in the fire were the mediaeval stained glass windows from the St. Mary Magdalene Church (de), which were installed in St. Mary's Church from 1840 on, after the St. Mary Magdalene Church was demolished because it was in danger of collapse. Photographs by Lübeck photographers like William Castelli (de) give an impression of what the interior looked like before the War.
The glass window in one of the chapels has an alphabetic list of major towns in the pre-1945 eastern territory of the German Reich. Because of the destruction it suffered in World War II, St. Mary's Church is one of the Cross of Nails centres. A plaque on the wall warns of the futility of war.
The church was protected by a makeshift roof for the rest of the war, and the vaulted ceiling of the chancel was repaired. Reconstruction proper began in 1947, and was largely complete by 1959. In view of the previous damage by fire, the old wooden construction of the roof and spires was not replaced by a new wooden construction. All church spires in Lübeck were reconstructed using a special system involving lightweight concrete blocks underneath the copper roofing. The copper covering matched the original design and the concrete roof would avoid the possibility of a second fire. A glass window on the north side of the church commemorates the builder, Erich Trautsch (de), who invented this system.
In 1951, the 700th anniversary of the church was celebrated under the reconstructed roof; for the occasion, Chancellor Konrad Adenauer donated the new tenor bell, and the Memorial Chapel in the South Tower was inaugurated.
In the 1950s, there was a long debate about the design of the interior, not just the paintings (see below). The predominant view was that destruction had restored the essential, pure form. The redesign was intended to facilitate the dual function that St. Mary's had at that time, being both the diocesan church and the parish church. In the end, the church held a limited competition, inviting submissions from six architects, including Gerhard Langmaack (de) and Denis Boniver (de), the latter's design being largely accepted on 8 February 1958. At the meeting, the bishop, Heinrich Meyer (de), vehemently – and successfully – demanded the removal of the Fredenhagen altar (see below).
The redesign of the interior according to Boniver's plans was carried out in 1958–59. Since underfloor heating was being installed under a completely new floor, the remaining memorial slabs of Gotland limestone were removed and used to raise the level of the chancel. The chancel was separated from the ambulatory by whitewashed walls 3 metres high. The Fredenhagen altar was replaced by a plain altar base of muschelkalk limestone and a crucifix by Gerhard Marcks suspended from the transverse arch of the ceiling. The inauguration of the new chancel was on 20 December 1959.
At the same time, a treasure chamber was made for the Danzig Parament Treasure from St. Mary's Church in Danzig (now Gdańsk), which came to Lübeck after the War (removed in 1993), the Parament Treasure is now exhibited at St. Anne's Museum), and above that a large organ loft was built. The organ itself was not installed until 1968.
The gilded flèche, which extends 30 metres higher than the nave roof, was recreated from old designs and photographs in 1980.
LOTHAR MALSKAT AND THE FRESCOS
The heat of the blaze in 1942 dislodged large sections of plaster, revealing the original decorative paintings of the Middle Ages, some of which were documented by photograph during the Second World War. In 1948 the task of restoring these gothic frescos was given to Dietrich Fey. In what became the largest counterfeit art scandal after the Second World War, Fey hired local painter Lothar Malskat to assist with this task, and together they used the photographic documentation to restore and recreate a likeness to the original walls. Since no paintings of the clerestory of the chancel were available, Fey had Malskat invent one. Malskat "supplemented" the restorations with his own work in the style of the 14th century. The forgery was only cleared up after Malskat reported his deeds to the authorities in 1952, and he and Fey received prison sentences in 1954. The major fakes were later removed from the walls, on the instructions of the bishop.
Lothar Malskat played an important part in the novel The Rat by Günter Grass.
INTERIOR DECORATION
St. Mary's Church was generously endowed with donations from the city council, the guilds, families, and individuals. At the end of the Middle Ages it had 38 altars and 65 benefices. The following mediaeval artefacts remain:
A bronze baptismal font made by Hans Apengeter (de) (1337). Until 1942 it was at the west end of the church; it is now in the middle of the chancel. It holds 406 litres, almost the same as a Hamburg or Bremen beer barrel, which holds 405 litres.
Darsow Madonna from 1420, heavily damaged in 1942, restored from hundreds of individual pieces, put back in place again in 1989
Tabernacle from 1479, 9.5 metres high, made by Klaus Grude (de) using about 1000 individual bronze parts, some gilded, on the north wall of the chancel
Winged altarpiece by Christian Swarte (c. 1495) with Woman of the Apocalypse, now installed behind the main altar
Bronze burial slab by Bernt Notke for the Hutterock family (1505), in the Prayer Chapel (Gebetskapelle) in the north ambulatory
Of the rood screen destroyed in 1942 only an arch and the stone statues remain: Elizabeth with John the Baptist as a child, Virgin and Child with Saint Anne , the Archangel Gabriel and Mary (Annunciation), John the Evangelist and St. Dorothy.
In the ambulatory, sandstone reliefs (1515) from the atelier of Heinrich Brabender (de), with scenes from the Passion of Christ: to the north, the Washing of the Feet and the Last Supper; to the south, Christ in the garden of Gethsemane and his capture. The Last Supper relief includes a detail associated with Lübeck: a little mouse gnawing at the base of a rose bush. Touching it is supposed to mean that the person will never again return to Lübeck – or will have good luck, depending on the version of the superstition.
Remains of the original pews and the Antwerp altarpiece (de) (1518), in the Lady Chapel (Singers' Chapel)
John the Evangelist, a wooden statue by Henning von der Heide (c. 1505)
St. Anthony, a stone statue, donated in 1457 by the town councillor Hermann Sundesbeke (de), a member of the Brotherhood of St. Anthony
Remains of the original gothic pews in the Burgomasters' Chapel in the southern ambulatory
The Lamentation of Christ, one of the main works of the Nazarene Friedrich Overbeck, in the Prayer Chapel in the north ambulatory
The choir screens separating the choir from the ambulatory are recent reconstructions. The walls that had been built for this purpose in 1959 were removed in the 1990s. The brass bars of the choir screens were mostly still intact, but the wooden parts had been almost completely destroyed by fire in 1942. The oak crown and frame were reconstructed on the basis of what remained of the original construction.
ANTWERP ALTARPIECE
The impressive Antwerp altarpiece (de) in the Lady Chapel (Singers' Chapel) was created in 1518. It was donated for the chapel in 1522 by Johann Bone, a merchant from Geldern. After the chapel was converted into a confessional chapel in 1790, the altarpiece was moved around the church several times. During the Second World War, it was in the Chapel of Indulgences (Briefkapelle) and thus escaped destruction. The double-winged altarpiece depicts the life of the Virgin Mary in 26 painted and carved scenes.Before 1869, the wings of the predella, which depict the legends of the Holy Kinship were removed, sawn to make panel paintings, and sold. In 1869, two such paintings from the private collection of the mayor of Lübeck Karl Ludwig Roeck (de) were acquired for the collection in what is now St. Anne's Museum. Two more paintings from the outsides of the predella wings were acquired by the Kulturstiftung des Landes Schleswig-Holstein (de) (Cultural foundation of Schleswig-Holstein) and have been in St. Anne's Museum since 1988. Of the remaining paintings, two are in the Staatsgalerie Stuttgart and two are in a private collection in Stockholm.
MEMORIALS
In the renaissance and baroque periods, the church space contained so many memorials that it became like a hall of fame of the Lübeck gentry. Memorials in the main nave, allowed from 1693, had to be made of wood, for structural reasons, but those in the side naves could also be made of marble. Of the 84 memorials that were still extant in the 20th century, almost all of the wooden ones were destroyed by the air raid of 1942, but 17, mostly stone ones on the walls of the side naves survived, some heavily damaged. Since these were mostly baroque works, they were deliberately ignored in the first phase of reconstruction, restoration beginning in 1973. They give an impression of how richly St. Mary's church was once furnished. The oldest is that of Hermann von Dorne (de), a mayor who died in 1594, a heraldic design with mediaeval echoes. The memorial to Johann Füchting (de), a former councillor and Hanseatic merchant who died in 1637, is a Dutch work of the transitional period between the Renaissance and Baroque times by the sculptor Aris Claeszon (de) who worked in Amsterdam. After the phase of exuberant cartilage baroque, the examples of which were all destroyed by fire, Thomas Quellinus introduced a new type of memorial to Lübeck and created memorials in the dramatic style of Flemish High Baroque for
the councillor Hartwig von Stiten (de), made in 1699;
the councillor Adolf Brüning (de), made in 1706;
the mayor Jerome of Dorne (de) (who died in 1704) and
the mayor Anton Winckler (de) (1707),
the last one being the only one to remain undamaged. In the same year, the Lübeck sculptor Hans Freese created the memorial for councillor Gotthard Kerkring (de) (who had died in 1705), whose oval portrait is held by a winged figure of death. A well-preserved example of the memorials of the next generation is the one for Peter Hinrich Tesdorpf (de), a mayor who died in 1723.
The Sepulchral Chapel of the Tesdorpf family contains a bust by Gottfried Schadowof mayor Johann Matthaeus Tesdorpf (de), which the Council presented to him in 1823 on the occasion of his anniversary as a member of the Council, and which was installed here in 1835. Among the later memorials is also the gravestone of mayor Joachim Peters (de) by Landolin Ohmacht (c. 1795).
THE FREDENHAGEN ALTARPIECE
The main item from the Baroque period, an altar with an altarpiece 18 metres high, donated by the merchant Thomas Fredenhagen (de) and made by the Antwerp sculptor Thomas Quellinus from marble and porphyry (1697) was seriously damaged in 1942. After a lengthy debate lasting from 1951 to 1959, Heinrich Meyer (de), the bishop at the time, prevailed, and it was decided not to restore the altar but to replace it with a simple altar of limestone, with a bronze crucifix made by Gerhard Marcks. Speaking of the historical significance of the altar, the director of the Lübeck Museum at the time said that it was the only work of art of European stature that the Protestant Church in Lübeck had produced after the Reformation.
Individual items from the altarpiece are now in the ambulatory: the Calvary group with Mary and John, the marble predella with a relief of the Last Supper and the three crowned figures, the allegorical sculptures of Belief and Hope, and the Resurrected Christ. The other remains of the altar and altarpiece are now stored over the vaulted ceiling between the towers. The debate as to whether it is possible and desirable to restore the altar as a major work of baroque art of European stature is ongoing.
STAINED GLAS
Except for a few remains, the air raid of 1942 destroyed all the windows, including the stained glass windows that Carl Julius Milde had installed at Saint Mary's after they were rescued from the St. Mary Magdalene Church (de) when the St. Mary Magdalene's Priory was demolished in the 19th century, and including the windows made by Professor Alexander Linnemann (de) from Frankfurt in the late 19th century. In the reconstruction, simple diamond-pane leaded windows were used, mostly just decorated with the coat of arms of the donor, though some windows had an artistic design.
The windows in the Singers' Chapel (Lady Chapel) depict the coat of arms of the Hanseatic towns of Bremen, Hamburg and Lübeck, and the lyrics of Buxtehude's Lübeck cantata, Schwinget euch himmelan (BuxWV 96).
The monumental west window, designed by Hans Gottfried von Stockhausen (de), depicts the Day of Judgment.
The window of the Memorial chapel (Gedenkkapelle) in the South Tower (which holds the destroyed bells), depicts coats of arms of towns, states and provinces of former eastern territories of Germany.
Both windows in the Danse Macabre Chapel (Totentanzkapelle), which were designed by Alfred Mahlau in 1955/1956 and made in the Berkentien stained glass atelier in Lübeck, adopt motifs from the Danse Macabre painting that was destroyed by fire in 1942. They replace the Kaiserfenster (Emperor's Window), which was donated by Kaiser Wilhelm II on the occasion of his visit to Lübeck in 1913. It was manufactured by the Munich court stained glass artist Karl de Bouché (de) and depicted the confirmation of the town privileges by Emperor Barbarossa.
In 1981–82, windows by Johannes Schreiter (de) were installed in the Chapel of Indulgences (Briefkapelle). Their ragged diamond pattern evokes not only the destruction of the church but also the torn nets of the Disciples (Luke 6).
In December 2002, the tympanum window was added above the north portal of the Danse Macabre Chapel after a design by Markus Lüpertz.
This window, like the windows by Johannes Schreiter in the Chapel of Indulgences (Briefkapelle), was manufactured and assembled by Derix Glass Studios in Taunusstein.
CHURCHYARD
Saint Mary's Churchyard (de), with its views of the north face of the Lübeck Town Hall (de ), the Kanzleigebäude (de), and the Marienwerkhaus (de) has the ambiance of a mediaeval town.
The architectural features include the subjects of Lübeck legends; a large block of granite to the right of the entrance was supposedly not left there by the builders but put there by the Devil.
To the north and west of the church, the courtyard is now an open space, mediaeval buildings having been removed. At the corner between Schüsselbuden (de) and Mengstraße (de) are the remaining stone foundations of the Maria am Stegel (de) Chapel (1415), which served as a bookshop before the Second World War. In the late 1950s, it was decided not to reconstruct it, and the remaining external walls of the ruins were cleared away. On Mengstraße, opposite the churchyard, is a building with facades from the 18th century: the clergy house known as die Wehde (de), which also gave its name to the courtyard that lies behind it, the Wehdehof.
The war memorial, created in 1929 by the sculptor Hermann Joachim Pagels (de) 1929 on behalf of the congregation of the church to commemorate their dead, is made of Swedish granite from Karlshamn. The inscription reads (in translation):
The congregation of St. Mary's
in memory of their dead
1914 1918
(to which was added after the Second World War)
and
1939 1945
MUSIC AT ST. MARY´S
Music played an important part in the life of St. Mary's as far back as the Middle Ages. The Lady Chapel (Singers' Chapel), for instance, had its own choir. After the Reformation and Johannes Bugenhagen's Church Order, the Lübeck Katharineum school choir provided the singing for religious services. In return the school received the income of the chapel's trust fund. Until 1802, the cantor was both a teacher at the school and responsible for the singing of the choir and the congregation. The organist, was responsible for the organ music and other instrumental music; he also had administrative and accounting responsibilities and was responsible for the upkeep of the building,.
MAIN ORGAN
St. Mary's is known to have had an organ in the 14th century, since the occupation "organist" is mentioned in a will from 1377. The old great organ was built in 1516–1518 under the direction of Martin Flor (de) on the west wall as a replacement for the great organ of 1396. It had 32 stops, 2 manuals and a pedalboard. This organ, "in all probability the first and only Gothic organ with a thirty-two-foot principal (deepest pipe, 11 metres long) in the western world of the time",[a] was repeatedly added to and re-built over the centuries. For instance, the organist and organ-builder Barthold Hering (de) (who died in 1555) carried out a number of repairs and additions; in 1560/1561 Jacob Scherer added a chest division with a third manual. From 1637 to 1641, Friederich Stellwagen carried out a number of modifications. Otto Diedrich Richborn (de) added three registers in 1704. In 1733, Konrad Büntung exchanged four registers, changed the arrangement of the manuals and added couplers. In 1758, his son, Christoph Julius Bünting (de) added a small swell division with three voices, the action being controllable from the breast division manual. By the beginning of the 19th century the organ had 3 manuals and a pedalboard, 57 registers and 4,684 pipes. In 1851, however, a completely new organ was installed – built by Johann Friedrich Schulze (de), in the spirit of the time, with four manuals, a pedalboard, and 80 voices, behind the historic organ case by Benedikt Dreyer, which was restored and added to by Carl Julius Milde. This great organ was destroyed in 1942 and was replaced in 1968 by what was then the largest mechanical-action organ in the world. It was built by Kemper & Son. It has 5 manuals and a pedalboard, 100 stops and 8,512 pipes; the longest are 11 metres, the smallest is the size of a cigarette. The tracker action operates electrically and has free combinations; the stop tableau is duplicated.
DANSE MACABRE ORGAN (CHOIR ORGAN)
The Dance macabre organ (Totentanzorgel) was older than the old great organ. It was installed in 1477 on the east side of the north arm of the "transept" in the Danse Macabre Chapel (so named because of the Danse Macabre painting that hung there) and was used for the musical accompaniment of the requiem masses that were celebrated there. After the Church Reformation it was used for prayers and for Holy Communion services. In 1549 and 1558 Jakob Scherer added to the organ among other things, a chair organ (Rückpositiv), and in 1621 a chest division was added. Friedrich Stellwagen also carried out extensive repairs from 1653 to 1655. Thereafter, only minor changes were made. For this reason, this organ, together with the Arp Schnitger organ in St. James' Church in Hamburg and the Stellwagen Organ in St. James' Church (de) in Lübeck, attracted the interest of organ experts in connection with the Orgelbewegung. The disposition (de) of the organ was changed back to what it had been in the 17th century. But, like the Danse Macabre organ, this organ was also destroyed in 1942.
In 1955 the organ builders Kemper & Son restored the Danse Macabre organ in accordance with its 1937 dimensions, but now in the northern part of the ambulatory, in the direction of the raised choir. Its original place is now occupied by the astronomical clock. This post-War organ, which was very prone to malfunction, was replaced in 1986 by a new Danse Macabre organ, built by Führer Co. in Wilhelmshaven and positioned in the same place as its predecessor. It has a mechanical tracker action, with four manuals and a pedalboard, 56 stops and approximately 5,000 pipes. This organ is particularly suited for accompanying prayers and services, as well as an instrument for older organ music up to Bach.
As a special tradition at St Mary's, on New Year's Eve the chorale Now Thank We All Our God is accompanied by both
OTHER INSTRUMENTS
There used to be an organ on the rood screen, as a basso continuo instrument for the choir that was located there – the church's third organ. In 1854 the breast division that was removed from the Great Organ (built in 1560–1561 by Jacob Scherer) when it was converted was installed here. This "rood screen organ" had one manual and seven stops and was replaced in 1900 by a two-manual pneumatic organ made by the organ builder Emanuel Kemper, the old organ box being retained. This organ, too, was destroyed in 1942.
In the Chapel of Indulgences (Briefkapelle) there is a chamber organ originally from East Prussia. It has been in the chapel since 1948. It has a single manual and eight voices, with separate control of bass and descant parts. It was built by Johannes Schwarz in 1723 and from 1724 was the organ of the Schloßkapelle (Castle Chapel) of Dönhofstädt near Rastenburg (now Kętrzyn, Poland). From there it was acquired by Lübeck organ builder Karl Kemper in 1933. For a few years it was in the choir of St. Catherine's Church, Lübeck. Then, Walter Kraft brought it, as a temporary measure, to the Chapel of Indulgences at St. Mary's, this being the first part of the church to be ready for church services after the War. Today this organ provides the accompaniment for prayers as well as the Sunday services that are held in the Chapel of Indulgences from January to March.
ORGANISTS
Two 17th-century organists, especially, shaped the development of the musical tradition of St. Mary's: Franz Tunder from 1642 until his death in 1667, and his successor and son-in-law, Dieterich Buxtehude , from 1668 to 1707. Both were defining representatives of the north German organ school and were prominent both as organists and as composers. In 1705 Johann Sebastian Bach came to Lübeck to observe and learn from Buxtehude,[b] and Georg Friedrich Händel and Johann Mattheson had already been guests of Buxtehude in 1703. Since then, the position of organist at St. Mary's Church has been one of the most prestigious in Germany.
With their evening concerts, Tunder and Buxtehude were the first to introduce church concerts independent of religious services. Buxtehude developed a fixed format, with a series of five concerts on the two last Sundays of the Trinity period (i.e. the last two Sundays before Advent) and the second, third, and fourth Sunday in Advent. This very successful series of concerts was continued by Buxtehude's successors, Johann Christian Schieferdecker (1679–1732), Johann Paul Kunzen (de) (1696–1757), his son Adolf Karl Kunzen (de) (1720–1781) and Johann Wilhelm Cornelius von Königslöw.
For the evening concerts they each composed a series of Biblical oratorios, including Israels Abgötterey in der Wüsten [Israel's Idol Worship in the Desert] (1758), Absalon (1761) and Goliath (1762) by Adolf Kunzen and ''Die Rettung des Kindes Mose [The Finding of Baby Moses] and Der geborne Weltheiland [The Saviour of the World is born] (1788), Tod, Auferstehung and Gericht [Death, Resurrection and Judgment] (1790) , and Davids Klage am Hermon nach dem 42ten Psalm [David's Lament on Mount Hermon (Psalm 42)] (1793) by Königslöw.
Around 1810 this tradition ended for a time. Attitudes towards music and the Church had changed, and external circumstances (the occupation by Napoleon's troops and the resulting financial straits) made such expensive concerts impossible.
In the early 20th century it was the organist Walter Kraft (1905–1977) who tried to revive the tradition of the evening concerts, starting with an evening of Bach's organ music, followed by an annual programme of combined choral and organ works. In 1954 Kraft created the Lübecker Totentanz (Lübeck Danse Macabre) as a new type of evening concert.
The tradition of evening concerts continues today under the current organist (since 2009), Johannes Unger.
The Lübeck Boys Choir at St. Mary’s
THE LÜBECK BOYS CHOIR
has been at St. Mary’s since 1970. It was originally founded as the Lübecker Kantorei in 1948. The choir sings regularly at services on Sundays and religious festivals. The performance of the St John Passion on Good Friday has become a Lübeck tradition.
ST. MARY´S CHURCH TODAY
CONGREGATION
Since the establishment of Johannes Bugenhagen's Lutheran Church Order by the town council in 1531 St. Mary has been Protestant. Today it belongs to the North Elbian Evangelical Lutheran Church. Services are held on Sundays and Church festivals from 10 o'clock. From Mondays to Saturdays in the summer season and in Advent there is a short prayer service with organ music at noon (after the parade of the figures of the Astronomical Clock), which tourists and locals are invited to attend. Since 15 March 2010 there has been an admission charge of two euros for visitors.
ASTRONOMICAL CLOCK
The astronomical clock was built in 1561–1566. It used to stand in the ambulatory, behind the high altar but was completely destroyed in 1942. Only a clock dial that was replaced during a previous restoration remains, in St. Anne's Museum The new Astronomical Clock, which was installed on the East side of the Northern transept, in the Danse Macabre Chapel. It is the work of Paul Behrens, a Lübeck clockmaker, who planned it as his lifetime achievement from 1960 to 1967. He collected donations for it, made the clock, including all its parts, and maintained the clock until his death. The clock front is a simplified copy of the original. Calendar and planetary discs controlled by a complicated mechanical movement show the day and the month, the position of the sun and the moon, the signs of the zodiac (the thirteen astronomical signs, not the twelve astrological signs), the date of Easter, and the golden number.
At noon, the clock chimes and a procession of figures passes in front of the figure of Christ, who blesses each of them. The figures originally represented the prince-electors of the Holy Roman Empire; since the post-War reconstruction, they represent eight representatives of the peoples of the world.
CARILLON
After the War, a carillon with 36 bells was installed In the South Tower. Some of the bells came from St Catherine's Church in Danzig (now Gdańsk, Poland). On the hour and half-hour, choral melodies are played, alternating according to the season. Formerly the carillon was operated by a complicated electromechanical system of cylinders; the mechanism is now computer-controlled. At Christmas and Easter, the organist plays the clock chimes manually.
BELLS
The 11 historic bells of the church originally hung in the South Tower in a bell loft 60 metres high. An additional seven bells for sounding the time were made by Heinrich von Kampen (de) in 1508–1510 and installed in the flèche. During the fire in the air raid of 1942, the bells are reported to have rung again in the upwind before crashing to the ground. The remains of two bells, the oldest bell, the "Sunday bell" by Heinrich von Kampen (2,000 kg, diameter 1,710 mm, strike tone a0) and the tenor bell by Albert Benningk from 1668 (7,134 kg, diameter 2,170 mm, strike tone a0F#0), were preserved as a memorial in the former Schinkel Chapel, at the base of the South Tower The "Council and Children's Bell" made in 1650 by Anton Wiese (de), which used to be rung for the short prayer services before council meetings and for christenings, was given to Strecknitz Mental Home (de) in 1906 and was thus the only one of the historic bells to survive World War II. Today it hangs in the tower of what is now the University of Lübeck hospital.
The set of bells in the North Tower now consists of seven bells. It ranks among the largest and deepest-pitched of its kind in northern Germany. The three baroque bells originate from Danzig churches, (Gratia Dei and Dominicalis from St. John's (de) and Osanna from St. Mary's). After the Second World War, these bells from the "Hamburger bell cemetery" were hung in the tower as temporary replacement bells.
In 1951 the German Chancellor, Konrad Adenauer donated a new tenor bell. In 1985 three additional bells were made., completing the set. They have inscriptions referring to peace and reconciliation.
In 2005, the belfry was renovated. The steel bell frame from the reconstruction was replaced with a wooden one and the bells were hung directly on wooden yokes, so that the bells ring out with more brilliance.
This great peal is easily recognised because of the unusual disposition (intervals between the individual bells); the series of whole tone steps between bells 1–5 results in a distinctive sound with added vibrancy due to the tone of the historic bells.
DIMENSIONS
Total Length: 103 metres
Length of the middle nave: 70 metres
Vault height in the main nave: 38.5 metres
Vault height in the side naves: 20.7 metres
Height of the towers: 125 metres
Floor area: 3,300 square metres
WIKIPEDIA
St. Mary's Church in Lübeck (German: Marienkirche, officially St. Marien zu Lübeck) was built between 1250 and 1350. It has always been a symbol of the power and prosperity of the old Hanseatic city, and is situated at the highest point of the island that forms the old town of Lübeck. It is part of the UNESCO World Heritage Site of the old Hanseatic City of Lübeck.
St. Mary's epitomizes north German Brick Gothic and set the standard for about 70 other churches in the Baltic region, making it a building of enormous architectural significance. St Mary's Church embodied the towering style of French Gothic architecture style using north German brick. It has the tallest brick vault in the world, the height of the central nave being 38.5 metres.
It is built as a three-aisled basilica with side chapels, an ambulatory with radiating chapels, and vestibules like the arms of a transept. The westwork has a monumental two-tower façade. The height of the towers, including the weather vanes, is 124.95 metres and 124.75 metres, respectively.
St. Mary's is located in the Hanseatic merchants' quarter, which extends uphill from the warehouses on the River Trave to the church. As the main parish church of the citizens and the city council of Lübeck, it was built close to the town hall and the market.
HISTORY OF THE BUILDING
In 1150, Henry the Lion moved the Bishopric of Oldenburg to Lübeck and established a cathedral chapter. A wooden church was built in 1163, and starting in 1173/1174 this was replaced by a Romanesque brick church. At the beginning of the 13th century, however, it no longer met the expectations of the self-confident, ambitious, and affluent bourgeoisie, in terms of size and prestige. Romanesque sculptures from this period of the church's history are today exhibited at St. Anne's Museum in Lübeck
The design of the three-aisled basilica was based on the Gothic cathedrals in France and Flanders, which were built of natural stone. St. Mary's is the epitome of ecclesiastical Brick Gothic architecture and set the standard for many churches in the Baltic region, such as the St. Nicholas' Church in Stralsund and St. Nicholas in Wismar.
No one had ever before built a brick church this high and with a vaulted ceiling. The lateral thrust exerted by the vault is met by buttresses, making the enormous height possible. The motive for the Lübeck town council to embark on such an ambitious undertaking was the acrimonious relationship with the Bishopric of Lübeck. The church was built close to the Lübeck Town Hall and the market, and it dwarfed the nearby Romanesque Lübeck Cathedral, the church of the bishop established by Henry the Lion. It was meant as a symbol of the desire for freedom on the part of the Hanseatic traders and the secular authorities of the city, which had been granted the status of a free imperial city (Reichsfreiheit), making the city directly subordinate to the emperor, in 1226. It was also intended to underscore the pre-eminence of the city vis-à-vis the other cities of the Hanseatic League, which was being formed at about the same time (1356).
The Chapel of Indulgences (Briefkapelle) was added to the east of the south tower in 1310. It was both a vestibule and a chapel and, with its portal, was the church's second main entrance from the market. Probably originally dedicated to Saint Anne, the chapel received its current name during the Reformation, when paid scribes moved in. The chapel, which is 12 metres long, 8 metres deep, and 2 metres high, has a stellar vault ceiling and is considered a masterpiece of High Gothic architecture. It has often been compared to English Gothic Cathedral Architecture and the chapter house of Malbork Castle. Today the Chapel of Indulgences serves the community as a church during winter, with services from January to March.
In 1939 the town council built its own chapel, known as the Bürgermeisterkapelle (Burgomasters' Chapel), at the southeast corner of the ambulatory, the join being visible from the outside where there is a change from glazed to unglazed brick. It was in this chapel, from the large pew that still survives, that the newly elected council used to be installed. On the upper floor of the chapel is the treasury, where important documents of the city were kept. This part of the church is still in the possession of the town.
Before 1444, a chapel consisting of a single bay was added to the eastern end of the ambulatory, its five walls forming five eighths of an octagon. This was the last Gothic extension to the church. It was used for celebrating the so-called Hours of the Virgin, as part of the veneration of the Virgin Mary, reflected in its name Marientidenkapelle (Lady Chapel) or Sängerkapelle (Singers' Chapel).
In total, St Mary's Church has nine larger chapels and ten smaller ones that serve as sepulchral chapels and are named after the families of the Lübeck city council that used them and endowed them.
DESTRUCTION AND RESTAURATION
In an air raid by 234 bombers of the British Royal Air Force on 28–29 March 1942 – the night of Palm Sunday – the church was almost completely destroyed by fire, together with about a fifth of the Lübeck city centre, including Lübeck Cathedral and St. Peter's Church.
Among the artefacts destroyed was the famous Totentanzorgel (Danse Macabre organ), an instrument played by Dieterich Buxtehude and probably Johann Sebastian Bach. Other works of art destroyed in the fire include the Mass of Saint Gregory by Bernt Notke, the monumental Danse Macabre, originally by Bernt Notke but replaced by a copy in 1701, the carved figures of the rood screen, the Trinity altarpiece by Jacob van Utrecht (formerly also attributed to Bernard van Orley) and the Entrance of Christ into Jerusalem by Friedrich Overbeck. Sculptures by the woodcarver Benedikt Dreyer were also lost in the fire: the wooden statues of the saints on the west side of the rood screen and the organ sculpture on the great organ from around 1516–18 and Man with Counting Board. Also destroyed in the fire were the mediaeval stained glass windows from the St. Mary Magdalene Church (de), which were installed in St. Mary's Church from 1840 on, after the St. Mary Magdalene Church was demolished because it was in danger of collapse. Photographs by Lübeck photographers like William Castelli (de) give an impression of what the interior looked like before the War.
The glass window in one of the chapels has an alphabetic list of major towns in the pre-1945 eastern territory of the German Reich. Because of the destruction it suffered in World War II, St. Mary's Church is one of the Cross of Nails centres. A plaque on the wall warns of the futility of war.
The church was protected by a makeshift roof for the rest of the war, and the vaulted ceiling of the chancel was repaired. Reconstruction proper began in 1947, and was largely complete by 1959. In view of the previous damage by fire, the old wooden construction of the roof and spires was not replaced by a new wooden construction. All church spires in Lübeck were reconstructed using a special system involving lightweight concrete blocks underneath the copper roofing. The copper covering matched the original design and the concrete roof would avoid the possibility of a second fire. A glass window on the north side of the church commemorates the builder, Erich Trautsch (de), who invented this system.
In 1951, the 700th anniversary of the church was celebrated under the reconstructed roof; for the occasion, Chancellor Konrad Adenauer donated the new tenor bell, and the Memorial Chapel in the South Tower was inaugurated.
In the 1950s, there was a long debate about the design of the interior, not just the paintings (see below). The predominant view was that destruction had restored the essential, pure form. The redesign was intended to facilitate the dual function that St. Mary's had at that time, being both the diocesan church and the parish church. In the end, the church held a limited competition, inviting submissions from six architects, including Gerhard Langmaack (de) and Denis Boniver (de), the latter's design being largely accepted on 8 February 1958. At the meeting, the bishop, Heinrich Meyer (de), vehemently – and successfully – demanded the removal of the Fredenhagen altar (see below).
The redesign of the interior according to Boniver's plans was carried out in 1958–59. Since underfloor heating was being installed under a completely new floor, the remaining memorial slabs of Gotland limestone were removed and used to raise the level of the chancel. The chancel was separated from the ambulatory by whitewashed walls 3 metres high. The Fredenhagen altar was replaced by a plain altar base of muschelkalk limestone and a crucifix by Gerhard Marcks suspended from the transverse arch of the ceiling. The inauguration of the new chancel was on 20 December 1959.
At the same time, a treasure chamber was made for the Danzig Parament Treasure from St. Mary's Church in Danzig (now Gdańsk), which came to Lübeck after the War (removed in 1993), the Parament Treasure is now exhibited at St. Anne's Museum), and above that a large organ loft was built. The organ itself was not installed until 1968.
The gilded flèche, which extends 30 metres higher than the nave roof, was recreated from old designs and photographs in 1980.
LOTHAR MALSKAT AND THE FRESCOS
The heat of the blaze in 1942 dislodged large sections of plaster, revealing the original decorative paintings of the Middle Ages, some of which were documented by photograph during the Second World War. In 1948 the task of restoring these gothic frescos was given to Dietrich Fey. In what became the largest counterfeit art scandal after the Second World War, Fey hired local painter Lothar Malskat to assist with this task, and together they used the photographic documentation to restore and recreate a likeness to the original walls. Since no paintings of the clerestory of the chancel were available, Fey had Malskat invent one. Malskat "supplemented" the restorations with his own work in the style of the 14th century. The forgery was only cleared up after Malskat reported his deeds to the authorities in 1952, and he and Fey received prison sentences in 1954. The major fakes were later removed from the walls, on the instructions of the bishop.
Lothar Malskat played an important part in the novel The Rat by Günter Grass.
INTERIOR DECORATION
St. Mary's Church was generously endowed with donations from the city council, the guilds, families, and individuals. At the end of the Middle Ages it had 38 altars and 65 benefices. The following mediaeval artefacts remain:
A bronze baptismal font made by Hans Apengeter (de) (1337). Until 1942 it was at the west end of the church; it is now in the middle of the chancel. It holds 406 litres, almost the same as a Hamburg or Bremen beer barrel, which holds 405 litres.
Darsow Madonna from 1420, heavily damaged in 1942, restored from hundreds of individual pieces, put back in place again in 1989
Tabernacle from 1479, 9.5 metres high, made by Klaus Grude (de) using about 1000 individual bronze parts, some gilded, on the north wall of the chancel
Winged altarpiece by Christian Swarte (c. 1495) with Woman of the Apocalypse, now installed behind the main altar
Bronze burial slab by Bernt Notke for the Hutterock family (1505), in the Prayer Chapel (Gebetskapelle) in the north ambulatory
Of the rood screen destroyed in 1942 only an arch and the stone statues remain: Elizabeth with John the Baptist as a child, Virgin and Child with Saint Anne , the Archangel Gabriel and Mary (Annunciation), John the Evangelist and St. Dorothy.
In the ambulatory, sandstone reliefs (1515) from the atelier of Heinrich Brabender (de), with scenes from the Passion of Christ: to the north, the Washing of the Feet and the Last Supper; to the south, Christ in the garden of Gethsemane and his capture. The Last Supper relief includes a detail associated with Lübeck: a little mouse gnawing at the base of a rose bush. Touching it is supposed to mean that the person will never again return to Lübeck – or will have good luck, depending on the version of the superstition.
Remains of the original pews and the Antwerp altarpiece (de) (1518), in the Lady Chapel (Singers' Chapel)
John the Evangelist, a wooden statue by Henning von der Heide (c. 1505)
St. Anthony, a stone statue, donated in 1457 by the town councillor Hermann Sundesbeke (de), a member of the Brotherhood of St. Anthony
Remains of the original gothic pews in the Burgomasters' Chapel in the southern ambulatory
The Lamentation of Christ, one of the main works of the Nazarene Friedrich Overbeck, in the Prayer Chapel in the north ambulatory
The choir screens separating the choir from the ambulatory are recent reconstructions. The walls that had been built for this purpose in 1959 were removed in the 1990s. The brass bars of the choir screens were mostly still intact, but the wooden parts had been almost completely destroyed by fire in 1942. The oak crown and frame were reconstructed on the basis of what remained of the original construction.
ANTWERP ALTARPIECE
The impressive Antwerp altarpiece (de) in the Lady Chapel (Singers' Chapel) was created in 1518. It was donated for the chapel in 1522 by Johann Bone, a merchant from Geldern. After the chapel was converted into a confessional chapel in 1790, the altarpiece was moved around the church several times. During the Second World War, it was in the Chapel of Indulgences (Briefkapelle) and thus escaped destruction. The double-winged altarpiece depicts the life of the Virgin Mary in 26 painted and carved scenes.Before 1869, the wings of the predella, which depict the legends of the Holy Kinship were removed, sawn to make panel paintings, and sold. In 1869, two such paintings from the private collection of the mayor of Lübeck Karl Ludwig Roeck (de) were acquired for the collection in what is now St. Anne's Museum. Two more paintings from the outsides of the predella wings were acquired by the Kulturstiftung des Landes Schleswig-Holstein (de) (Cultural foundation of Schleswig-Holstein) and have been in St. Anne's Museum since 1988. Of the remaining paintings, two are in the Staatsgalerie Stuttgart and two are in a private collection in Stockholm.
MEMORIALS
In the renaissance and baroque periods, the church space contained so many memorials that it became like a hall of fame of the Lübeck gentry. Memorials in the main nave, allowed from 1693, had to be made of wood, for structural reasons, but those in the side naves could also be made of marble. Of the 84 memorials that were still extant in the 20th century, almost all of the wooden ones were destroyed by the air raid of 1942, but 17, mostly stone ones on the walls of the side naves survived, some heavily damaged. Since these were mostly baroque works, they were deliberately ignored in the first phase of reconstruction, restoration beginning in 1973. They give an impression of how richly St. Mary's church was once furnished. The oldest is that of Hermann von Dorne (de), a mayor who died in 1594, a heraldic design with mediaeval echoes. The memorial to Johann Füchting (de), a former councillor and Hanseatic merchant who died in 1637, is a Dutch work of the transitional period between the Renaissance and Baroque times by the sculptor Aris Claeszon (de) who worked in Amsterdam. After the phase of exuberant cartilage baroque, the examples of which were all destroyed by fire, Thomas Quellinus introduced a new type of memorial to Lübeck and created memorials in the dramatic style of Flemish High Baroque for
the councillor Hartwig von Stiten (de), made in 1699;
the councillor Adolf Brüning (de), made in 1706;
the mayor Jerome of Dorne (de) (who died in 1704) and
the mayor Anton Winckler (de) (1707),
the last one being the only one to remain undamaged. In the same year, the Lübeck sculptor Hans Freese created the memorial for councillor Gotthard Kerkring (de) (who had died in 1705), whose oval portrait is held by a winged figure of death. A well-preserved example of the memorials of the next generation is the one for Peter Hinrich Tesdorpf (de), a mayor who died in 1723.
The Sepulchral Chapel of the Tesdorpf family contains a bust by Gottfried Schadowof mayor Johann Matthaeus Tesdorpf (de), which the Council presented to him in 1823 on the occasion of his anniversary as a member of the Council, and which was installed here in 1835. Among the later memorials is also the gravestone of mayor Joachim Peters (de) by Landolin Ohmacht (c. 1795).
THE FREDENHAGEN ALTARPIECE
The main item from the Baroque period, an altar with an altarpiece 18 metres high, donated by the merchant Thomas Fredenhagen (de) and made by the Antwerp sculptor Thomas Quellinus from marble and porphyry (1697) was seriously damaged in 1942. After a lengthy debate lasting from 1951 to 1959, Heinrich Meyer (de), the bishop at the time, prevailed, and it was decided not to restore the altar but to replace it with a simple altar of limestone, with a bronze crucifix made by Gerhard Marcks. Speaking of the historical significance of the altar, the director of the Lübeck Museum at the time said that it was the only work of art of European stature that the Protestant Church in Lübeck had produced after the Reformation.
Individual items from the altarpiece are now in the ambulatory: the Calvary group with Mary and John, the marble predella with a relief of the Last Supper and the three crowned figures, the allegorical sculptures of Belief and Hope, and the Resurrected Christ. The other remains of the altar and altarpiece are now stored over the vaulted ceiling between the towers. The debate as to whether it is possible and desirable to restore the altar as a major work of baroque art of European stature is ongoing.
STAINED GLAS
Except for a few remains, the air raid of 1942 destroyed all the windows, including the stained glass windows that Carl Julius Milde had installed at Saint Mary's after they were rescued from the St. Mary Magdalene Church (de) when the St. Mary Magdalene's Priory was demolished in the 19th century, and including the windows made by Professor Alexander Linnemann (de) from Frankfurt in the late 19th century. In the reconstruction, simple diamond-pane leaded windows were used, mostly just decorated with the coat of arms of the donor, though some windows had an artistic design.
The windows in the Singers' Chapel (Lady Chapel) depict the coat of arms of the Hanseatic towns of Bremen, Hamburg and Lübeck, and the lyrics of Buxtehude's Lübeck cantata, Schwinget euch himmelan (BuxWV 96).
The monumental west window, designed by Hans Gottfried von Stockhausen (de), depicts the Day of Judgment.
The window of the Memorial chapel (Gedenkkapelle) in the South Tower (which holds the destroyed bells), depicts coats of arms of towns, states and provinces of former eastern territories of Germany.
Both windows in the Danse Macabre Chapel (Totentanzkapelle), which were designed by Alfred Mahlau in 1955/1956 and made in the Berkentien stained glass atelier in Lübeck, adopt motifs from the Danse Macabre painting that was destroyed by fire in 1942. They replace the Kaiserfenster (Emperor's Window), which was donated by Kaiser Wilhelm II on the occasion of his visit to Lübeck in 1913. It was manufactured by the Munich court stained glass artist Karl de Bouché (de) and depicted the confirmation of the town privileges by Emperor Barbarossa.
In 1981–82, windows by Johannes Schreiter (de) were installed in the Chapel of Indulgences (Briefkapelle). Their ragged diamond pattern evokes not only the destruction of the church but also the torn nets of the Disciples (Luke 6).
In December 2002, the tympanum window was added above the north portal of the Danse Macabre Chapel after a design by Markus Lüpertz.
This window, like the windows by Johannes Schreiter in the Chapel of Indulgences (Briefkapelle), was manufactured and assembled by Derix Glass Studios in Taunusstein.
CHURCHYARD
Saint Mary's Churchyard (de), with its views of the north face of the Lübeck Town Hall (de ), the Kanzleigebäude (de), and the Marienwerkhaus (de) has the ambiance of a mediaeval town.
The architectural features include the subjects of Lübeck legends; a large block of granite to the right of the entrance was supposedly not left there by the builders but put there by the Devil.
To the north and west of the church, the courtyard is now an open space, mediaeval buildings having been removed. At the corner between Schüsselbuden (de) and Mengstraße (de) are the remaining stone foundations of the Maria am Stegel (de) Chapel (1415), which served as a bookshop before the Second World War. In the late 1950s, it was decided not to reconstruct it, and the remaining external walls of the ruins were cleared away. On Mengstraße, opposite the churchyard, is a building with facades from the 18th century: the clergy house known as die Wehde (de), which also gave its name to the courtyard that lies behind it, the Wehdehof.
The war memorial, created in 1929 by the sculptor Hermann Joachim Pagels (de) 1929 on behalf of the congregation of the church to commemorate their dead, is made of Swedish granite from Karlshamn. The inscription reads (in translation):
The congregation of St. Mary's
in memory of their dead
1914 1918
(to which was added after the Second World War)
and
1939 1945
MUSIC AT ST. MARY´S
Music played an important part in the life of St. Mary's as far back as the Middle Ages. The Lady Chapel (Singers' Chapel), for instance, had its own choir. After the Reformation and Johannes Bugenhagen's Church Order, the Lübeck Katharineum school choir provided the singing for religious services. In return the school received the income of the chapel's trust fund. Until 1802, the cantor was both a teacher at the school and responsible for the singing of the choir and the congregation. The organist, was responsible for the organ music and other instrumental music; he also had administrative and accounting responsibilities and was responsible for the upkeep of the building,.
MAIN ORGAN
St. Mary's is known to have had an organ in the 14th century, since the occupation "organist" is mentioned in a will from 1377. The old great organ was built in 1516–1518 under the direction of Martin Flor (de) on the west wall as a replacement for the great organ of 1396. It had 32 stops, 2 manuals and a pedalboard. This organ, "in all probability the first and only Gothic organ with a thirty-two-foot principal (deepest pipe, 11 metres long) in the western world of the time",[a] was repeatedly added to and re-built over the centuries. For instance, the organist and organ-builder Barthold Hering (de) (who died in 1555) carried out a number of repairs and additions; in 1560/1561 Jacob Scherer added a chest division with a third manual. From 1637 to 1641, Friederich Stellwagen carried out a number of modifications. Otto Diedrich Richborn (de) added three registers in 1704. In 1733, Konrad Büntung exchanged four registers, changed the arrangement of the manuals and added couplers. In 1758, his son, Christoph Julius Bünting (de) added a small swell division with three voices, the action being controllable from the breast division manual. By the beginning of the 19th century the organ had 3 manuals and a pedalboard, 57 registers and 4,684 pipes. In 1851, however, a completely new organ was installed – built by Johann Friedrich Schulze (de), in the spirit of the time, with four manuals, a pedalboard, and 80 voices, behind the historic organ case by Benedikt Dreyer, which was restored and added to by Carl Julius Milde. This great organ was destroyed in 1942 and was replaced in 1968 by what was then the largest mechanical-action organ in the world. It was built by Kemper & Son. It has 5 manuals and a pedalboard, 100 stops and 8,512 pipes; the longest are 11 metres, the smallest is the size of a cigarette. The tracker action operates electrically and has free combinations; the stop tableau is duplicated.
DANSE MACABRE ORGAN (CHOIR ORGAN)
The Dance macabre organ (Totentanzorgel) was older than the old great organ. It was installed in 1477 on the east side of the north arm of the "transept" in the Danse Macabre Chapel (so named because of the Danse Macabre painting that hung there) and was used for the musical accompaniment of the requiem masses that were celebrated there. After the Church Reformation it was used for prayers and for Holy Communion services. In 1549 and 1558 Jakob Scherer added to the organ among other things, a chair organ (Rückpositiv), and in 1621 a chest division was added. Friedrich Stellwagen also carried out extensive repairs from 1653 to 1655. Thereafter, only minor changes were made. For this reason, this organ, together with the Arp Schnitger organ in St. James' Church in Hamburg and the Stellwagen Organ in St. James' Church (de) in Lübeck, attracted the interest of organ experts in connection with the Orgelbewegung. The disposition (de) of the organ was changed back to what it had been in the 17th century. But, like the Danse Macabre organ, this organ was also destroyed in 1942.
In 1955 the organ builders Kemper & Son restored the Danse Macabre organ in accordance with its 1937 dimensions, but now in the northern part of the ambulatory, in the direction of the raised choir. Its original place is now occupied by the astronomical clock. This post-War organ, which was very prone to malfunction, was replaced in 1986 by a new Danse Macabre organ, built by Führer Co. in Wilhelmshaven and positioned in the same place as its predecessor. It has a mechanical tracker action, with four manuals and a pedalboard, 56 stops and approximately 5,000 pipes. This organ is particularly suited for accompanying prayers and services, as well as an instrument for older organ music up to Bach.
As a special tradition at St Mary's, on New Year's Eve the chorale Now Thank We All Our God is accompanied by both
OTHER INSTRUMENTS
There used to be an organ on the rood screen, as a basso continuo instrument for the choir that was located there – the church's third organ. In 1854 the breast division that was removed from the Great Organ (built in 1560–1561 by Jacob Scherer) when it was converted was installed here. This "rood screen organ" had one manual and seven stops and was replaced in 1900 by a two-manual pneumatic organ made by the organ builder Emanuel Kemper, the old organ box being retained. This organ, too, was destroyed in 1942.
In the Chapel of Indulgences (Briefkapelle) there is a chamber organ originally from East Prussia. It has been in the chapel since 1948. It has a single manual and eight voices, with separate control of bass and descant parts. It was built by Johannes Schwarz in 1723 and from 1724 was the organ of the Schloßkapelle (Castle Chapel) of Dönhofstädt near Rastenburg (now Kętrzyn, Poland). From there it was acquired by Lübeck organ builder Karl Kemper in 1933. For a few years it was in the choir of St. Catherine's Church, Lübeck. Then, Walter Kraft brought it, as a temporary measure, to the Chapel of Indulgences at St. Mary's, this being the first part of the church to be ready for church services after the War. Today this organ provides the accompaniment for prayers as well as the Sunday services that are held in the Chapel of Indulgences from January to March.
ORGANISTS
Two 17th-century organists, especially, shaped the development of the musical tradition of St. Mary's: Franz Tunder from 1642 until his death in 1667, and his successor and son-in-law, Dieterich Buxtehude , from 1668 to 1707. Both were defining representatives of the north German organ school and were prominent both as organists and as composers. In 1705 Johann Sebastian Bach came to Lübeck to observe and learn from Buxtehude,[b] and Georg Friedrich Händel and Johann Mattheson had already been guests of Buxtehude in 1703. Since then, the position of organist at St. Mary's Church has been one of the most prestigious in Germany.
With their evening concerts, Tunder and Buxtehude were the first to introduce church concerts independent of religious services. Buxtehude developed a fixed format, with a series of five concerts on the two last Sundays of the Trinity period (i.e. the last two Sundays before Advent) and the second, third, and fourth Sunday in Advent. This very successful series of concerts was continued by Buxtehude's successors, Johann Christian Schieferdecker (1679–1732), Johann Paul Kunzen (de) (1696–1757), his son Adolf Karl Kunzen (de) (1720–1781) and Johann Wilhelm Cornelius von Königslöw.
For the evening concerts they each composed a series of Biblical oratorios, including Israels Abgötterey in der Wüsten [Israel's Idol Worship in the Desert] (1758), Absalon (1761) and Goliath (1762) by Adolf Kunzen and ''Die Rettung des Kindes Mose [The Finding of Baby Moses] and Der geborne Weltheiland [The Saviour of the World is born] (1788), Tod, Auferstehung and Gericht [Death, Resurrection and Judgment] (1790) , and Davids Klage am Hermon nach dem 42ten Psalm [David's Lament on Mount Hermon (Psalm 42)] (1793) by Königslöw.
Around 1810 this tradition ended for a time. Attitudes towards music and the Church had changed, and external circumstances (the occupation by Napoleon's troops and the resulting financial straits) made such expensive concerts impossible.
In the early 20th century it was the organist Walter Kraft (1905–1977) who tried to revive the tradition of the evening concerts, starting with an evening of Bach's organ music, followed by an annual programme of combined choral and organ works. In 1954 Kraft created the Lübecker Totentanz (Lübeck Danse Macabre) as a new type of evening concert.
The tradition of evening concerts continues today under the current organist (since 2009), Johannes Unger.
The Lübeck Boys Choir at St. Mary’s
THE LÜBECK BOYS CHOIR
has been at St. Mary’s since 1970. It was originally founded as the Lübecker Kantorei in 1948. The choir sings regularly at services on Sundays and religious festivals. The performance of the St John Passion on Good Friday has become a Lübeck tradition.
ST. MARY´S CHURCH TODAY
CONGREGATION
Since the establishment of Johannes Bugenhagen's Lutheran Church Order by the town council in 1531 St. Mary has been Protestant. Today it belongs to the North Elbian Evangelical Lutheran Church. Services are held on Sundays and Church festivals from 10 o'clock. From Mondays to Saturdays in the summer season and in Advent there is a short prayer service with organ music at noon (after the parade of the figures of the Astronomical Clock), which tourists and locals are invited to attend. Since 15 March 2010 there has been an admission charge of two euros for visitors.
ASTRONOMICAL CLOCK
The astronomical clock was built in 1561–1566. It used to stand in the ambulatory, behind the high altar but was completely destroyed in 1942. Only a clock dial that was replaced during a previous restoration remains, in St. Anne's Museum The new Astronomical Clock, which was installed on the East side of the Northern transept, in the Danse Macabre Chapel. It is the work of Paul Behrens, a Lübeck clockmaker, who planned it as his lifetime achievement from 1960 to 1967. He collected donations for it, made the clock, including all its parts, and maintained the clock until his death. The clock front is a simplified copy of the original. Calendar and planetary discs controlled by a complicated mechanical movement show the day and the month, the position of the sun and the moon, the signs of the zodiac (the thirteen astronomical signs, not the twelve astrological signs), the date of Easter, and the golden number.
At noon, the clock chimes and a procession of figures passes in front of the figure of Christ, who blesses each of them. The figures originally represented the prince-electors of the Holy Roman Empire; since the post-War reconstruction, they represent eight representatives of the peoples of the world.
CARILLON
After the War, a carillon with 36 bells was installed In the South Tower. Some of the bells came from St Catherine's Church in Danzig (now Gdańsk, Poland). On the hour and half-hour, choral melodies are played, alternating according to the season. Formerly the carillon was operated by a complicated electromechanical system of cylinders; the mechanism is now computer-controlled. At Christmas and Easter, the organist plays the clock chimes manually.
BELLS
The 11 historic bells of the church originally hung in the South Tower in a bell loft 60 metres high. An additional seven bells for sounding the time were made by Heinrich von Kampen (de) in 1508–1510 and installed in the flèche. During the fire in the air raid of 1942, the bells are reported to have rung again in the upwind before crashing to the ground. The remains of two bells, the oldest bell, the "Sunday bell" by Heinrich von Kampen (2,000 kg, diameter 1,710 mm, strike tone a0) and the tenor bell by Albert Benningk from 1668 (7,134 kg, diameter 2,170 mm, strike tone a0F#0), were preserved as a memorial in the former Schinkel Chapel, at the base of the South Tower The "Council and Children's Bell" made in 1650 by Anton Wiese (de), which used to be rung for the short prayer services before council meetings and for christenings, was given to Strecknitz Mental Home (de) in 1906 and was thus the only one of the historic bells to survive World War II. Today it hangs in the tower of what is now the University of Lübeck hospital.
The set of bells in the North Tower now consists of seven bells. It ranks among the largest and deepest-pitched of its kind in northern Germany. The three baroque bells originate from Danzig churches, (Gratia Dei and Dominicalis from St. John's (de) and Osanna from St. Mary's). After the Second World War, these bells from the "Hamburger bell cemetery" were hung in the tower as temporary replacement bells.
In 1951 the German Chancellor, Konrad Adenauer donated a new tenor bell. In 1985 three additional bells were made., completing the set. They have inscriptions referring to peace and reconciliation.
In 2005, the belfry was renovated. The steel bell frame from the reconstruction was replaced with a wooden one and the bells were hung directly on wooden yokes, so that the bells ring out with more brilliance.
This great peal is easily recognised because of the unusual disposition (intervals between the individual bells); the series of whole tone steps between bells 1–5 results in a distinctive sound with added vibrancy due to the tone of the historic bells.
DIMENSIONS
Total Length: 103 metres
Length of the middle nave: 70 metres
Vault height in the main nave: 38.5 metres
Vault height in the side naves: 20.7 metres
Height of the towers: 125 metres
Floor area: 3,300 square metres
WIKIPEDIA
Hejira is a 1976 folk/rock/jazz album by Canadian singer-songwriter Joni Mitchell. The album title is a transliteration of the Arabic word hijra, which means "journey", referring specifically to the migration of the prophet Muhammad (and his companions) from Mecca to Medina in 622. The songs on the album were largely written by Mitchell on a trip by car from Maine back to Los Angeles, California, with prominent imagery including highways, small towns and snow. The photographs of Mitchell on the front and back cover were taken by Norman Seeff and appear against a backdrop of Lake Mendota, in Madison, Wisconsin, after an ice storm.
Mitchell said of the album: "the whole 'Hejira' album was really inspired... I wrote the album while traveling cross-country by myself and there is this restless feeling throughout it... The sweet loneliness of solitary travel."
Dominated by Mitchell's guitar and Jaco Pastorius's distinctive fretless bass, it drew on a range of influences but was more cohesive and accessible than some of her later more jazz-oriented work.
Critically, the album was generally well received and has since been recognized as one of the high-water marks in Mitchell's career. In 2000, German Spex magazine critics voted it the 55th greatest album of the 20th century, calling it "a self-confident, coolly elegant design. Its cover was chosen as the 11th greatest album cover by Rolling Stone in 1991.
Track listing
All tracks written & arranged by Joni Mitchell (Copyright Warner Bros. Music).
Side one
"Coyote" – 5:01
"Amelia" – 6:01
"Furry Sings the Blues" – 5:07
"A Strange Boy" – 4:15
"Hejira" – 6:42
Side two
"Song for Sharon" – 8:40
"Black Crow" – 4:22
"Blue Motel Room" – 5:04
"Refuge of the Roads" – 6:42
Simple, stylish and self-confident. A classic icon in a modern package,
handcrafted just for you.
Our story is simple. Embrace the DNA of a design classic and skilfully and respectfully remaster it to meet the demands of modern day life.
Mini Remastered by David Brown Automotive is a handcrafted masterpiece with all the style, technology and engineering excellence that encompasses our ethos, whilst retaining all the spirit and personality of the original.
1.275 cc
4 in-line
71 hp @ 4.00 rpm
87 lb @ 3.100 rpm
Vmax : 145 km/h
0-100 kmh : 11,7 sec
740 kg (curb weight)
88th Geneva International Motor Show
Internationaler Auto-Salon Genf
Suisse - Schweiz - Switzerland
March 2018
........for a woman like me!
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The area around Lübeck, today a large city with a population of more than 200,000, had been settled by Slavs since the 7th century. Slavs had a settlement north of the present city called "Liubice", which was razed by the pagan Rani tribe in 1128.
15 years later Adolf II, Count of Schauenburg and Holstein, founded the modern town as a German settlement on the river island of Bucu. He built a new castle, first mentioned as existing in 1147. Adolf II had to cede the castle to the Duke of Saxony, Henry the Lion, in 1158. After Henry's fall from power in 1181, the town became an Imperial city. Emperor Barbarossa ordained that the city should have a ruling council of 20 members. With the council dominated by merchants, trade interests shaped Lübeck's politics for centuries.
In the 14th century, Lübeck became the "Queen of the Hanseatic League", being by far the largest and most powerful member of that medieval trade organization. In 1375, Emperor Charles IV named Lübeck one of the five "Glories of the Empire", a title shared with Venice, Rome, Pisa, and Florence.
Conflicts about trading privileges resulted in fighting between Lübeck (with the Hanseatic League) and Denmark and Norway – with varying outcome. While Lübeck and the Hanseatic League prevailed in conflicts in 1435 and 1512, Lübeck lost when it became involved in a civil war that raged in Denmark from 1534 to 1536. From then on Lübeck's power slowly declined. The city remained neutral in the Thirty Years' War, but the devastation from the decades-long war and the new transatlantic orientation of European trade caused the Hanseatic League – and thus Lübeck with it – to decline in importance. However, Lübeck still remained an important trading town on the Baltic Sea.
In 1160 Henry the Lion moved the bishopric of Oldenburg to Lübeck and endowed a cathedral chapter. In 1163 a wooden church was built, however, at the beginning of the 13th century, it was no longer sufficient to meet the representative demands of the self-confident burghers.
St. Marien was built 1250 - 1350. It has always been a symbol of the power and prosperity of the Hanseatic city. It situated at the highest point of the island that forms the old town.
Gothic cathedrals in France and Flanders made of natural stone were the models for the new construction of Lübeck's three-nave basilica.
St. Marien epitomizes North German "Brick Gothic" and set the standard for many churches in the Baltic region. The church embodied the towering style of Gothic architecture using brick.
The incentive for the City Council to undertake such an enormous project was rooted in the bitter dispute with the Lübeck bishopric. As a symbol of the long-distance merchants' desire for freedom and the secular power of the city, which had been free of the Empire since 1226, the church building in the immediate vicinity of Lübeck's city hall and the market square was intended to clearly and uncatchably surpass in size the city's bishop's church, Lübeck Cathedral.
Another detail of the choir stalls. It looks very strange. I hope it is not what I first saw in this carving.
管樂雅集 - 黑管妹 / 無敵鳳眼妹好可愛喔 - 自信眼睛會亮的豎笛妹好漂亮
Wind instrument music elegant gathering - The sister with a clarinet / The invincible younger sister with phoenix eye is So lovable - The self confident and eyes bright clarinet younger sister very beautiful
Reunión elegante de la música del instrumento de viento-La hermana con un clarinet / La hermana más joven invencible con el ojo de Phoenix es tan adorable - La hermana más joven segura de sí mismo y de los ojos del clarinet brillante muy hermosa
管楽は風雅に集います - クラリネットの妹 / 敵なしの鳳眼の妹真は優秀です - 目の会亮のが笛の妹を立てるのがとてもきれいなことに自信を持ちます
Elegante Versammlung der Windinstrument-Musik - Die Schwester mit einem Clarinet / Die unbesiegbare jüngere Schwester mit Phoenix-Auge ist so entzückend - Der Selbst jüngere Schwester des überzeugten und Augen hellen Clarinet sehr schön
"無敵鳳眼妹好可愛喔" 用海賊王魯夫的聲音講這一句話
Tainan Taiwan / Tainan Taiwán / 台灣台南
光圈全開
The aperture all opens
La abertura toda se abre
開きはすべて開く
Alle Blendenöffnung öffnet
原圖JPG直出無後製
Original picture JPG is straight has no children the system
El JPG original del cuadro es recto no tiene ninguÌn niño el sistema
原図JPGはずっと跡継ぎがいなくてつくることを出します
Ursprünglicher Abbildung JPG ist hat keine Kinder das System gerade
本圖無合成無折射
This chart does not have the refraction without the synthesis
Esta carta no tiene la refracción sin la síntesis
当合成がないことを求めて屈折がありません
Dieses Diagramm hat die Brechung nicht ohne die Synthese
可用放大鏡開1:1原圖
The available magnifying glass opens 1:1 original picture
La lupa disponible abre el cuadro de la original del 1:1
利用できる拡大鏡は1:1の原物映像を開ける
Die vorhandene Lupe öffnet 1:1vorlagenabbildung
DEAR FB FRIENDS :) NEED SOME COMMENTS AND FB LIKES/TWEETS ON MY ARTICLE! :) THNX :) Check out the article on: blog.sfgate.com/smellthetruth/2012/06/28/fx-thursday-nigh...
The stars shone brilliantly at Lure Night Club in Hollywood for the FX Summer Comedy Party. The celebration included series stars from Anger Management, Brand X With Russell Brand, Louie, Wilfred, and Totally Biased. Celebrities in attendance were Charlie Sheen, Russell Brand, Louis C.K., W. Kamau Bell, Selma Blair, Shawnee Smith, Daniela Bobadilla, Noureen DeWulf, Michael Arden, Derek Richardson, Elijah Wood, Jason Gann, Fiona Gubelmann and Dorian Brown.
The room was electric, buzzing with the anticipated arrival of the “winning” man himself, Charlie Sheen, star of Anger Management. He was easy to spot upon his entrance, surrounded by nearly a dozen bodyguards. I noticed that he was the only celeb with such an entourage.
Several sections of Lure were roped off for celebrities and VIPs. Massive video screens were everywhere, promoting the Thursday evening line up. Upon arrival with my daughter as my date, I stopped by to visit with each show and reunited with my friends from Wilfred — where I proudly work with them as the “marijuana expert” for the show.
About Cheryl Shuman:
Referred to as the "Martha Stewart of Marijuana," Cheryl Shuman announces the formation of Green Asset International Inc.. Shuman brings 25 years of experience working with media, celebrities, marketing and health care in Beverly Hills. Shuman found her passion in the cannabis movement since 1996 working as an activist and legal cannabis patient. Since using cannabis therapy, she has survived cancer and injuries from two car crashes.
Shuman was the founder of Beverly Hills NORML, founding charter member of the NORML Women's Alliance and served on the steering committee for Public Relations and Marketing on an International platform. Cheryl Shuman is a founding member of the NCIA, National Cannabis Industry Association and served as the Director of Special Projects for the NCIA including the Women's Cannabusiness Network. Cheryl Shuman transformed her non-profit career into a thriving profitable media enterprise.
Cheryl was the Executive Director of Celebrity, Media and Public Relations for the KUSH Brand which includes KUSH Magazine, KUSH Conventions and DailyBuds.com. Cheryl Shuman has been interviewed for television programs, newspapers and magazines, including but not limited to: ABC News, CNN, Fox News, NBC News, Access Hollywood, Entertainment Tonight, Today Show NBC, HBO Entertainment News and more.
Her private medical cannabis collective, "The Beverly Hills Cannabis Club" is unlisted and membership is by referral only. Through her personal relationships and connections within Hollywood, Cheryl Shuman has been named as one of the most influential women in the cannabis reform movement by international media. Her position within the cannabis industry creates the first and only company of its kind and at the forefront of entertainment marketing, celebrity endorsements, product placement integration, sponsorships, production and technology.
Cheryl Shuman serves as media spokesperson for the hot new vaporizer CANNACig Rapid Fire Marketing (pink sheets: RFMK) and conducts their marketing, public relations, product placement, and consulting services.
Cheryl Shuman's "Green Asset International Inc." is a business development company and acquisition vehicle. Green Asset made news with an historic $100 million funding facility dedicated to the cannabis industry with plans to go public by 2014.
--
Cheryl Shuman, C.E.O.
Green Asset International Inc.
Director of Celebrity, Media & Public Relations
"Smell the Truth" - Hearst Digital Media
(www.blog.sfgate.com/smellthetruth/)
The Truth List
Spokesperson for CANNACig by RFMK
www.vinhaler.com/online-store.html
(www.Rapid-Fire-Marketing.com/)
Beverly Hills Cannabis Club
Join Free Using "Cheryl Shuman" as your invitation code on:
(www.BeverlyHillsCannabisClub.com)
Social Network Links:
BHCC: www.BeverlyHillsCannabisClub.com
LinkedIN: www.LinkedIn.com/in/CherylShuman
Facebook: www.FaceBook.com/CherylShumanInc
Twitter: www.Twitter.com/CherylShuman
YouTube: www.YouTube.com/BeverlyHillsCannabis
CASTING NOW!!! DREAM BIG! Nothing like being featured in a national TV show to gain huge national publicity for your business, career, or yourself!
Hollywood's most celebrated Network & Cable producers are now working with Cheryl Shuman to develop 4 (Four) different reality series evolving around the cannabis community and movement. These will be hits!! Imagine Entourage Meets Sex in the City Meets The Apprentices Meets Top Model Meets The Big C Meets the Cannabis Movement. These new hit shows about real men & women, living captivating lives in LEGAL MEDICAL MARIJUANA are now casting! This upcoming docu-series gives viewers an inside look at Cannabis Communities most intriguing, interesting, compelling, & glamorous individuals. In addition, we will be profiling some of the most compelling patient stories to help promote law reform as well as top political figures during the upcoming election.
The Production Team is currently looking for fabulous men, women and their families who live or work in the cannabis industry as well as main stream cannabis consumers to be on this series. We are searching for outgoing, exciting, strong, self-confident men & women who reside in LEGAL medical cannabis states who want to share their amazing lives!
Theses new docu-series are an amazing platform to promote current or future activism, business endeavors, careers, ideas, etc... you can't beat the huge publicity of a national television show to make you and your ideas/brand a major success!
If you or someone you know is living "the good life" in one of the legal medical marijuana communities, we want to hear from you!
TO SUBMIT:
Be sure to mention you heard about this from Cheryl Shuman for priority consideration, and email ALL the information requested below ASAP to:
BeverlyHillsCannabisClub@gmail.com
Be sure to include:
1. Your name (first and last)
2. Contact phone number
3. City/Zip where you live
4. A short bio about you and your fabulous life and what makes you a fit for this tv show
5. Recent photos of you, your family, and your home/BUSINESS (jpg format please)
6. Be sure to mention you heard about this from Cheryl Shuman for priority consideration!
TO RECEIVE NOTICES LIKE THIS WITH MORE INFO ON ENTERTAINMENT INDUSTRY JOBS, OPPORTUNITIES, AND EVENTS:
Just go to www.BeverlyHillsCannabisClub.com and click Register!
Kindest Personal Regards
Cheryl Shuman
Director of Celebrity, Media & Public Relations
FOR ADDITIONAL INFORMATION COMMENTS AND FB LIKES/TWEETS ON MY ARTICLES! :) THNX :) Check out the article on:
blog.sfgate.com/smellthetruth/2012/06/11/an-inside-look-a...
blog.sfgate.com/smellthetruth/2012/06/28/fx-thursday-nigh...
The stars shone brilliantly at Lure Night Club in Hollywood for the FX Summer Comedy Party. The celebration included series stars from Anger Management, Brand X With Russell Brand, Louie, Wilfred, and Totally Biased. Celebrities in attendance were Charlie Sheen, Russell Brand, Louis C.K., W. Kamau Bell, Selma Blair, Shawnee Smith, Daniela Bobadilla, Noureen DeWulf, Michael Arden, Derek Richardson, Elijah Wood, Jason Gann, Fiona Gubelmann and Dorian Brown.
The room was electric, buzzing with the anticipated arrival of the “winning” man himself, Charlie Sheen, star of Anger Management. He was easy to spot upon his entrance, surrounded by nearly a dozen bodyguards. I noticed that he was the only celeb with such an entourage.
Several sections of Lure were roped off for celebrities and VIPs. Massive video screens were everywhere, promoting the Thursday evening line up. Upon arrival with my daughter as my date, I stopped by to visit with each show and reunited with my friends from Wilfred — where I proudly work with them as the “marijuana expert” for the show.
About Cheryl Shuman:
Referred to as the "Martha Stewart of Marijuana," Cheryl Shuman announces the formation of Green Asset International Inc.. Shuman brings 25 years of experience working with media, celebrities, marketing and health care in Beverly Hills. Shuman found her passion in the cannabis movement since 1996 working as an activist and legal cannabis patient. Since using cannabis therapy, she has survived cancer and injuries from two car crashes.
Shuman was the founder of Beverly Hills NORML, founding charter member of the NORML Women's Alliance and served on the steering committee for Public Relations and Marketing on an International platform. Cheryl Shuman is a founding member of the NCIA, National Cannabis Industry Association and served as the Director of Special Projects for the NCIA including the Women's Cannabusiness Network. Cheryl Shuman transformed her non-profit career into a thriving profitable media enterprise.
Cheryl was the Executive Director of Celebrity, Media and Public Relations for the KUSH Brand which includes KUSH Magazine, KUSH Conventions and DailyBuds.com. Cheryl Shuman has been interviewed for television programs, newspapers and magazines, including but not limited to: ABC News, CNN, Fox News, NBC News, Access Hollywood, Entertainment Tonight, Today Show NBC, HBO Entertainment News and more.
Her private medical cannabis collective, "The Beverly Hills Cannabis Club" is unlisted and membership is by referral only. Through her personal relationships and connections within Hollywood, Cheryl Shuman has been named as one of the most influential women in the cannabis reform movement by international media. Her position within the cannabis industry creates the first and only company of its kind and at the forefront of entertainment marketing, celebrity endorsements, product placement integration, sponsorships, production and technology.
Cheryl Shuman serves as media spokesperson for the hot new vaporizer CANNACig Rapid Fire Marketing (pink sheets: RFMK) and conducts their marketing, public relations, product placement, and consulting services.
Cheryl Shuman's "Green Asset International Inc." is a business development company and acquisition vehicle. Green Asset made news with an historic $100 million funding facility dedicated to the cannabis industry with plans to go public by 2014.
--
Cheryl Shuman, C.E.O.
Green Asset International Inc.
Director of Celebrity, Media & Public Relations
"Smell the Truth" - Hearst Digital Media
(www.blog.sfgate.com/smellthetruth/)
The Truth List
Spokesperson for CANNACig by RFMK
www.vinhaler.com/online-store.html
(www.Rapid-Fire-Marketing.com/)
Beverly Hills Cannabis Club
Join Free Using "Cheryl Shuman" as your invitation code on:
(www.BeverlyHillsCannabisClub.com)
Social Network Links:
BHCC: www.BeverlyHillsCannabisClub.com
LinkedIN: www.LinkedIn.com/in/CherylShuman
Facebook: www.FaceBook.com/CherylShumanInc
Twitter: www.Twitter.com/CherylShuman
YouTube: www.YouTube.com/BeverlyHillsCannabis
Simple, stylish and self-confident. A classic icon in a modern package,
handcrafted just for you.
Our story is simple. Embrace the DNA of a design classic and skilfully and respectfully remaster it to meet the demands of modern day life.
Mini Remastered by David Brown Automotive is a handcrafted masterpiece with all the style, technology and engineering excellence that encompasses our ethos, whilst retaining all the spirit and personality of the original.
1.275 cc
4 in-line
71 hp @ 4.00 rpm
87 lb @ 3.100 rpm
Vmax : 145 km/h
0-100 kmh : 11,7 sec
740 kg (curb weight)
89th Geneva International Motor Show
Internationaler Auto-Salon Genf
Suisse - Schweiz - Switzerland
March 2019
wherever she goes she would paint the empty skies just to catch your fleeting smile she can make me feel a little shy she's my brand new toy ... --Jeremy Days
Model: Sin-Sue, Germany
Abbaye Saint-Michel-de-Cuxa has a long and winding history, starting in 840, when near the river Tet "Sant Andreu d'Eixalada" was founded. This small abbey was washed away during a flood already soon after.
The monks moved to nearby Cuixa, where in 879, abbot Protasius (he came from Urgell) and Miro the Elder, count of Conflent and Roussillon (and brother of Wilfred the Hairy) signed the founding treaty of the new monastery.
Under protection and influence of the Counts of Cerdanya the abbey gained importance. A large complex was built over the next century. In 974 a monk from Cluny (!) consecrated the main altar of the new church, dedicated to Saint Michael. Since 961 abbot Garin led the monastery. He was a perfectly connected intellectual figure, friend of Gerbert d'Aurillac (later Pope Sylvester II). At that time Pietro I Orseolo, formerly the Doge of Venice and later a venerated Saint, joined the community as well as Saint Romuald, later the founder of the congregation of Camaldolese.
Influental and powerful Oliba (971-1046), descendant of Wilfred the Hairy, count of Berga and Ripoll and later bishop of Vic and abbot here kept the place in the political center of the County of Barcelona. He had founded a couple of monasteries (eg. Montserrat), had been a political adviser and was a well travelled man. He had been impressed by the architecture he had seen in Italy and was heavily involved in the architectonial process, transforming the pre-romanesque complex, started by his predecessors.
Saint-Michel-de-Cuxa lost the importance it once had and during the next centuries. There was a row of self-confident abbots, without any interest in monastical traditions. The French Revolution ended that - and the last monk fled 1793, just before the revolutionists ruined the place with great effort. The abbey was sold afterwards by the government - and another story started.
The abbey fell in disrepair. The cloister, erected 1130-1140, was still complete in the 1780s. After the Revolution the new owner had different plans, as he needed a water basin, and reckoned the cloister the perfect place.
In 1841, the owner tried to sell the cloister to Perpignan, where it should find a place in the garden of the archbishop, but the negotiation failed. At that time 37 pillars and capitals were still in situ. Soon after the cloister was taken apart. Most carvings were sold to people in nearby Prades, to beautify their gardens.
Around 1905 an American sculptor, living in France, opened an antique trade. He tracked down the scattered pieces of the cloister - and started to buy them sucessfully. He was proud, that in the end he had the major part of the cloister, having spent about 3000 US$.
To cut the story short, most of the pillars, arcades and capitals are now in New York, where the joined the cloisters from Saint-Guilhem-le-Désert and Bonnefont. They are all part of "The Cloisters", once founded and financed by John D. Rockefeller, now part of the "Metropolitan Museum of Art".
The large fountain, that was the center of this cloister once, can now be seen in the Philadelphia Museum of Art. There te fountain is the center of a cloister, that once was in Saint-Genis-des-Fontaines.
The Cloisters:
www.metmuseum.org/visit/visit-the-cloisters/
Philadelphia Museum of Art
www.philamuseum.org/collections/permanent/42060.html
There must have been a workshop of carvers within the 10th century, that probably worked near the quarries in Villefranche-de-Conflent, where the marble was cut. This workshop developed a distinctive artistic style, that can be seen as well in the prieuré de Serrabone and in Saint-Martin-du-Canigou.
A masterly carved cherub with four wings.
Ezekiel 1:5-8
"Also from within it came the likeness of four living creatures. And this was their appearance: they had the likeness of a man. Each one had four faces, and each one had four wings. Their legs were straight, and the soles of their feet were like the soles of calves’ feet. They sparkled like the color of burnished bronze. The hands of a man were under their wings on their four sides; and each of the four had faces and wings."
Geoffrey Morriss
Aged 9, I was shifted from Manchester to Hatfield in Hertfordshire because of my father's job. On the first day at the new school, Green Lanes Primary, the teacher told me, "Sit next to him." pointing to an empty seat. I introduced myself to Geoffrey and was promptly told off for talking.
I told the teacher in a loud, authoritative tone, that it would have been rude not to introduce myself, after all, it was only good manners. That did not go down well with the teacher, but the rest of the kids, so they told me later, were in awe that I had been so self-confident in the face of whom they considered the scariest teacher in the school.
That was the 6th October, 1958. Geoff and I were close friends from that moment. We grew up together, went on family holidays together, we were for each other the brother that neither of us had.
Our lifelong friendship came to an abrupt end when he succumbed to a cerebral haemorrhage on the 10th December, 2019.
He leaves his wife Maureen, son James, daughter Caroline, and a fine gaggle of grandchildren.
Rest in peace, dear friend; never forgotten.
© Timothy Pickford-Jones 2019
Simple, stylish and self-confident. A classic icon in a modern package,
handcrafted just for you.
Our story is simple. Embrace the DNA of a design classic and skilfully and respectfully remaster it to meet the demands of modern day life.
Mini Remastered by David Brown Automotive is a handcrafted masterpiece with all the style, technology and engineering excellence that encompasses our ethos, whilst retaining all the spirit and personality of the original.
1.275 cc
4 in-line
71 hp @ 4.00 rpm
87 lb @ 3.100 rpm
Vmax : 145 km/h
0-100 kmh : 11,7 sec
740 kg (curb weight)
89th Geneva International Motor Show
Internationaler Auto-Salon Genf
Suisse - Schweiz - Switzerland
March 2019