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en.wikipedia.org/wiki/Karnak#Temple_of_Amenhotep_IV_(deliberately_dismantled)
The Karnak Temple Complex, comprises a vast mix of decayed temples, pylons, chapels, and other buildings near Luxor, Egypt. Construction at the complex began during the reign of Senusret I (reigned 1971–1926 BCE) in the Middle Kingdom (around 2000–1700 BCE) and continued into the Ptolemaic Kingdom (305–30 BCE), although most of the extant buildings date from the New Kingdom. The area around Karnak was the ancient Egyptian Ipet-isut ("The Most Selected of Places") and the main place of worship of the 18th Dynastic Theban Triad, with the god Amun as its head. It is part of the monumental city of Thebes, and in 1979 it was inscribed on the UNESCO World Heritage List along with the rest of the city. The Karnak complex gives its name to the nearby, and partly surrounded, modern village of El-Karnak, 2.5 kilometres (1.6 miles) north of Luxor.
Name
The original name of the temple was Nesut-Tawy, meaning "Throne of the Two Lands". Other names included Ipet-Iset, meaning "The Finest of Seats", as well as Ipt-Swt, meaning "Selected Spot", or Ipetsut, meaning "The Most Select of Places".
Some believe that the modern name of Karnak is derived from Arabic: خورنق Khurnaq meaning "fortified village". However, this speculation is not supported by any historical evidence.
The complex is a vast open site and includes the Karnak Open Air Museum. It is believed to be the second[citation needed] most visited historical site in Egypt; only the Giza pyramid complex near Cairo receives more visits. It consists of four main parts, of which only the largest is currently open to the general public. The term Karnak often is understood as being the Precinct of Amun-Re only, because this is the only part most visitors see. The three other parts, the Precinct of Mut, the Precinct of Montu, and the dismantled Temple of Amenhotep IV, are closed to the public. There also are a few smaller temples and sanctuaries connecting the Precinct of Mut, the Precinct of Amun-Re, and the Luxor Temple. The Precinct of Mut is very ancient, being dedicated to an Earth and creation deity, but not yet restored. The original temple was destroyed and partially restored by Hatshepsut, although another pharaoh built around it in order to change the focus or orientation of the sacred area. Many portions of it may have been carried away for use in other buildings.
The key difference between Karnak and most of the other temples and sites in Egypt is the length of time over which it was developed and used. Construction of temples started in the Middle Kingdom and continued into Ptolemaic times. Approximately thirty pharaohs contributed to the buildings, enabling it to reach a size, complexity, and diversity not seen elsewhere. Few of the individual features of Karnak are unique, but the size and number of features are overwhelming. The deities represented range from some of the earliest worshipped to those worshipped much later in the history of the Ancient Egyptian culture. Although destroyed, it also contained an early temple built by Amenhotep IV (Akhenaten), the pharaoh who later would celebrate a near monotheistic religion he established that prompted him to move his court and religious center away from Thebes. It also contains evidence of adaptations, where the buildings of the ancient Egyptians were used by later cultures for their own religious purposes.
One famous aspect of Karnak is the Great Hypostyle Hall in the Precinct of Amun-Re, a hall area of 50,000 sq ft (5,000 m2) with 134 massive columns arranged in 16 rows. One hundred and twenty-two of these columns are 10 metres (33 ft) tall, and the other 12 are 21 metres (69 ft) tall with a diameter of over 3 metres (9.8 ft). The architraves on top of these columns are estimated to weigh 70 tons. These architraves may have been lifted to these heights using levers. This would be an extremely time-consuming process and also would require great balance to get to such great heights. A common alternative theory regarding how they were moved is that large ramps were constructed of sand, mud, brick or stone and that the stones were then towed up the ramps. If stone had been used for the ramps, they would have been able to use much less material. The top of the ramps presumably would have employed either wooden tracks or cobblestones for towing the megaliths.
There is an unfinished pillar in an out-of-the-way location that indicates how it would have been finished. Final carving was executed after the drums were put in place so that it was not damaged while being placed. Several experiments moving megaliths with ancient technology were made at other locations – some of which are amongst the largest monoliths in the world.
In 2009 UCLA launched a website dedicated to virtual reality digital reconstructions of the Karnak complex and other resources.The sun god's shrine has light focused upon it during the winter solstic
The history of the Karnak complex is largely the history of Thebes and its changing role in the culture. Religious centers varied by region, and when a new capital of the unified culture was established, the religious centers in that area gained prominence. The city of Thebes does not appear to have been of great significance before the Eleventh Dynasty and previous temple building there would have been relatively small, with shrines being dedicated to the early deities of Thebes, the Earth goddess Mut and Montu. Early building was destroyed by invaders. The earliest known artifact found in the area of the temple is a small, eight-sided column from the Eleventh Dynasty, which mentions Amun-Re. Amun (sometimes called Amen) was long the local tutelary deity of Thebes. He was identified with the ram and the goose. The Egyptian meaning of Amun is "hidden" or the "hidden god".
Major construction work in the Precinct of Amun-Re took place during the Eighteenth Dynasty, when Thebes became the capital of the unified Ancient Egypt. Almost every pharaoh of that dynasty added something to the temple site. Thutmose I erected an enclosure wall connecting the Fourth and Fifth pylons, which comprise the earliest part of the temple still standing in situ. Hatshepsut had monuments constructed and also restored the original Precinct of Mut, that had been ravaged by the foreign rulers during the Hyksos occupation. She had twin obelisks, at the time the tallest in the world, erected at the entrance to the temple. One still stands, as the second-tallest ancient obelisk still standing on Earth; the other has broken in two and toppled. Another of her projects at the site, Karnak's Red Chapel or Chapelle Rouge, was intended as a barque shrine and originally may have stood between her two obelisks. She later ordered the construction of two more obelisks to celebrate her sixteenth year as pharaoh; one of the obelisks broke during construction, and thus, a third was constructed to replace it. The broken obelisk was left at its quarrying site in Aswan, where it still remains. Known as the unfinished obelisk, it provides evidence of how obelisks were quarried.
Construction of the Great Hypostyle Hall also may have begun during the Eighteenth Dynasty (although most new building was undertaken under Seti I and Ramesses II in the Nineteenth). Merneptah, also of the Nineteenth Dynasty, commemorated his victories over the Sea Peoples on the walls of the Cachette Court, the start of the processional route (also known as the Avenue of Sphinxes) to the Luxor Temple. The last major change to the Precinct of Amun-Re's layout was the addition of the First Pylon and the massive enclosure walls that surround the whole precinct, both constructed by Nectanebo I of the Thirtieth Dynasty.
In 323 AD, Roman emperor Constantine the Great recognised the Christian religion, and in 356 Constantius II ordered the closing of pagan temples throughout the Roman empire, into which Egypt had been annexed in 30 BC. Karnak was by this time mostly abandoned, and Christian churches were founded among the ruins, the most famous example of this is the reuse of the Festival Hall of Thutmose III's central hall, where painted decorations of saints and Coptic inscriptions can still be seen.
Thebes' exact placement was unknown in medieval Europe, though both Herodotus and Strabo give the exact location of Thebes and how long up the Nile one must travel to reach it. Maps of Egypt, based on the 2nd century Claudius Ptolemaeus' mammoth work Geographia, had been circulating in Europe since the late 14th century, all of them showing Thebes' (Diospolis) location. Despite this, several European authors of the 15th and 16th centuries who visited only Lower Egypt and published their travel accounts, such as Joos van Ghistele and André Thévet, put Thebes in or close to Memphis.
The Karnak temple complex is first described by an unknown Venetian in 1589, although his account gives no name for the complex. This account, housed in the Biblioteca Nazionale Centrale di Firenze, is the first known European mention, since ancient Greek and Roman writers, about a whole range of monuments in Upper Egypt and Nubia, including Karnak, Luxor temple, the Colossi of Memnon, Esna, Edfu, Kom Ombo, Philae, and others.
Karnak ("Carnac") as a village name, and name of the complex, is first attested in 1668, when two capuchin missionary brothers, Protais and Charles François d'Orléans, travelled though the area. Protais' writing about their travel was published by Melchisédech Thévenot (Relations de divers voyages curieux, 1670s–1696 editions) and Johann Michael Vansleb (The Present State of Egypt, 1678).
The first drawing of Karnak is found in Paul Lucas' travel account of 1704, (Voyage du Sieur Paul Lucas au Levant). It is rather inaccurate, and can be quite confusing to modern eyes. Lucas travelled in Egypt during 1699–1703. The drawing shows a mixture of the Precinct of Amun-Re and the Precinct of Montu, based on a complex confined by the three huge Ptolemaic gateways of Ptolemy III Euergetes / Ptolemy IV Philopator, and the massive 113 m long, 43 m high and 15 m thick, First Pylon of the Precinct of Amun-Re.
Karnak was visited and described in succession by Claude Sicard and his travel companion Pierre Laurent Pincia (1718 and 1720–21), Granger (1731), Frederick Louis Norden (1737–38), Richard Pococke (1738), James Bruce (1769), Charles-Nicolas-Sigisbert Sonnini de Manoncourt (1777), William George Browne (1792–93), and finally by a number of scientists of the Napoleon expedition, including Vivant Denon, during 1798–1799. Claude-Étienne Savary describes the complex in rather great detail in his work of 1785; especially in light of the fact that it is a fictional account of a pretend journey to Upper Egypt, composed out of information from other travellers. Savary did visit Lower Egypt in 1777–78, and published a work about that too.
This is the largest of the precincts of the temple complex, and is dedicated to Amun-Re, the chief deity of the Theban Triad. There are several colossal statues, including the figure of Pinedjem I which is 10.5 metres (34 ft) tall. The sandstone for this temple, including all of the columns, was transported from Gebel Silsila 100 miles (161 km) south on the Nile river. It also has one of the largest obelisks, weighing 328 tonnes and standing 29 metres (95 ft) tall.
Located to the south of the newer Amen-Re complex, this precinct was dedicated to the mother goddess, Mut, who became identified as the wife of Amun-Re in the Eighteenth Dynasty Theban Triad. It has several smaller temples associated with it and has its own sacred lake, constructed in a crescent shape. This temple has been ravaged, many portions having been used in other structures. Following excavation and restoration works by the Johns Hopkins University team, led by Betsy Bryan (see below) the Precinct of Mut has been opened to the public. Six hundred black granite statues were found in the courtyard to her temple. It may be the oldest portion of the site.
In 2006, Betsy Bryan presented her findings of one festival that included apparent intentional overindulgence in alcohol. Participation in the festival was great, including the priestesses and the population. Historical records of tens of thousands attending the festival exist. These findings were made in the temple of Mut because when Thebes rose to greater prominence, Mut absorbed the warrior goddesses, Sekhmet and Bast, as some of her aspects. First, Mut became Mut-Wadjet-Bast, then Mut-Sekhmet-Bast (Wadjet having merged into Bast), then Mut also assimilated Menhit, another lioness goddess, and her adopted son's wife, becoming Mut-Sekhmet-Bast-Menhit, and finally becoming Mut-Nekhbet. Temple excavations at Luxor discovered a "porch of drunkenness" built onto the temple by the pharaoh Hatshepsut, during the height of her twenty-year reign. In a later myth developed around the annual drunken Sekhmet festival, Ra, by then the sun god of Upper Egypt, created her from a fiery eye gained from his mother, to destroy mortals who conspired against him (Lower Egypt). In the myth, Sekhmet's blood-lust was not quelled at the end of the battle and led to her destroying almost all of humanity, so Ra had tricked her by turning the Nile as red as blood (the Nile turns red every year when filled with silt during inundation) so that Sekhmet would drink it. The trick, however, was that the red liquid was not blood, but beer mixed with pomegranate juice so that it resembled blood, making her so drunk that she gave up slaughter and became an aspect of the gentle Hathor. The complex interweaving of deities occurred over the thousands of years of the culture.
The temple that Akhenaten (Amenhotep IV) constructed on the site was located east of the main complex, outside the walls of the Amun-Re precinct. It was destroyed immediately after the death of its builder, who had attempted to overcome the powerful priesthood who had gained control over Egypt before his reign. It was so thoroughly demolished that its full extent and layout is currently unknown. The priesthood of that temple regained their powerful position as soon as Akhenaten died, and were instrumental in destroying many records of his existence.
After few years of speculation, modernized version of NJ-22 is finally seen at Batajnica Airbase. It's not clear if this is deep modernization of aging aircraft or just cosmetic upgrade. However, on this image we can see R-60MK air-to-air missiles on the wing tips (new feature), LVB-250F laser guided bomb (still in development phase) and some kind of guided missile which is definitely modified soviet S-24A/B unguided rocket (designation is VRVZ-240 EK-16 according to label on missile).
Reconstruction of the Terme Boxer, 2018, bronze cast, 128 x 110 x 55 cm, recostruction created by Vinzenz Brinkmann and Ulrike Koch-Brinkmann (Liebieghaus Skulpturensammlung, Frankfurt am Main, Sammlung Stäelisches Kunstinstitut)
Im Appenzeller Hinterland sind am 13. Januar die Sylvesterchläuse unterwegs, und wünschen "Es guets Neus" in der Tradition des Julianischen Kalenders.13 January, «Old New Year's Eve», the «Chläuse» make their way around the Appenzell hinterland. The origin and meaning of this ancient custom are the subject of speculation, because few written documents exist.
German postcard by Ross Verlag, no. A 2013/1, 1939-1940. Photo: Metro-Goldwyn-Mayer.
Lupe Velez (1908-1944), was one of the first Mexican actresses to succeed in Hollywood. Her nicknames were 'The Mexican Spitfire' and 'Hot Pepper'. She was the leading lady in such silent films as The Gaucho (1927), Lady of the Pavements (1928), and Wolf Song (1929). During the 1930s, her well-known explosive screen persona was exploited in a series of successful films like Hot Pepper (1933), Strictly Dynamite (1934), and Hollywood Party (1934). In the 1940s, Vélez's popularity peaked after appearing in the Mexican Spitfire films, a series created to capitalise on Vélez's well-documented fiery personality. She had several highly publicised romances and a stormy marriage. In 1944, Vélez died of an intentional overdose of the barbiturate drug Seconal. Her death and the circumstances surrounding it have been the subject of speculation and controversy.
Lupe Vélez was born María Guadalupe Villalobos Vélez in 1908 in the city of San Luis Potosí in Mexico. She was the daughter of Jacobo Villalobos Reyes, a colonel in the army of the dictator Porfirio Diaz, and his wife Josefina Vélez, an opera singer according to some sources, or vaudeville singer according to others. She had three sisters: Mercedes, Reina and Josefina, and a brother, Emigdio. The family was financially comfortable and lived in a large home. At the age of 13, her parents sent her to study at Our Lady of the Lake (now Our Lady of the Lake University) in San Antonio, Texas. It was at Our Lady of the Lake that Vélez learned to speak English and began to dance. She later admitted that she liked dance class, but was otherwise a poor student. Denny Jackson at IMDb: "Life was hard for her family, and Lupe returned to Mexico to help them out financially. She worked as a salesgirl for a department store for the princely sum of $4 a week. Every week she would turn most of her salary over to her mother, but kept a little for herself so she could take dancing lessons. By now, she figured, with her mature shape and grand personality, she thought she could make a try at show business." She began her career as a performer in Mexican vaudeville in 1924. She initially performed under her paternal surname, but after her father returned home from the war, he was outraged that his daughter had decided to become a stage performer. She chose her maternal surname, "Vélez", as her stage name and her mother introduced Vélez and her sister Josefina to the popular Spanish Mexican vedette María Conesa, "La Gatita Blanca". Vélez debuted in a show led by Conesa, where she sang 'Oh Charley, My Boy' and danced the shimmy. Aurelio Campos, a young pianist, and friend of the Vélez sisters recommended Lupe to stage producers, Carlos Ortega and Manuel Castro. Ortega and Castro were preparing a season revue at the Regis Theatre and hired Vélez to join the company in March 1925. Later that year, Vélez starred in the revues 'Mexican Rataplan' and '¡No lo tapes!', both parodies of the Bataclan's shows in Paris. Her suggestive singing and provocative dancing was a hit with audiences, and she soon established herself as one of the main stars of vaudeville in Mexico. After a year and a half, Vélez left the revue after the manager refused to give her a raise. She then joined the Teatro Principal but was fired after three months due to her "feisty attitude". Vélez was quickly hired by the Teatro Lirico, where her salary rose to 100 pesos a day. In 1926, Frank A. Woodyard, an American who had seen Vélez perform, recommended her to stage director Richard Bennett, the father of actresses Joan and Constance Bennett. Bennett was looking for an actress to portray a Mexican cantina singer in his upcoming play 'The Dove'. He sent Vélez a telegram inviting her to Los Angeles to appear in the play. Vélez had been planning to go to Cuba to perform, but quickly changed her plans and traveled to Los Angeles. However, upon arrival, she discovered that she had been replaced by another actress.
While in Los Angeles, Lupe Vélez met the comedian Fanny Brice. Brice recommended her to Flo Ziegfeld, who hired her to perform in New York City. While Vélez was preparing to leave Los Angeles, she received a call from MGM producer Harry Rapf, who offered her a screen test. Producer and director Hal Roach saw Vélez's screen test and hired her for a small role in the comic Laurel and Hardy short Sailors, Beware! (Fred Guiol, Hal Yates, 1927). After her debut, Vélez appeared in another Hal Roach short, What Women Did for Me (James Parrott, 1927), opposite Charley Chase. Later that year, she did a screen test for the upcoming Douglas Fairbanks feature The Gaucho (F. Richard Jones, 1927). Fairbanks was impressed by Vélez and hired her to appear in the film with him. The Gaucho was a hit and critics were duly impressed with Vélez's ability to hold her own alongside Fairbanks, who was well known for his spirited acting and impressive stunts. Her second major film was Stand and Deliver (Donald Crisp, 1928), produced by Cecil B. DeMille. That same year, she was named one of the WAMPAS Baby Stars. Then she appeared in Lady of the Pavements (1929), directed by D. W. Griffith, and Where East Is East (Tod Browning, 1929), starring Lon Chaney as an animal trapper in Laos. In the Western The Wolf Song (Victor Fleming, 1929), she appeared alongside Gary Cooper. As she was regularly cast as 'exotic' or 'ethnic' women that were volatile and hot-tempered, gossip columnists took to referring to Vélez as "Mexican Hurricane", "The Mexican Wildcat", "The Mexican Madcap", "Whoopee Lupe" and "The Hot Tamale". Lupe Vélez made the transition to sound films without difficulty. Studio executives had predicted that her accent would likely hamper her ability to make the transition. That idea was dispelled after she appeared in the all-talking Rin Tin Tin vehicle, Tiger Rose (George Fitzmaurice, 1929). The film was a hit and Vélez's sound career was established. Vélez appeared in a series of Pre-Code films like Hell Harbor (Henry King, 1930), The Storm (William Wyler, 1930), and the crime drama East Is West (Monta Bell, 1930) opposite Edward G. Robinson. The next year, she appeared in her second film for Cecil B. DeMille, Squaw Man (Cecil B. DeMille, 1931), opposite Warner Baxter, in Resurrection (Edwin Carewe, 1931), and The Cuban Love Song (W.S. Van Dyke, 1931), with the popular singer Lawrence Tibbett. She had a supporting role in Kongo (William J. Cowen, 1932) with Walter Huston, a sound remake of West of Zanzibar (Tod Browning, 1928) which tries to outdo the Lon Chaney original in morbidity. She also starred in Spanish-language versions of Universal films like Resurrección (Eduardo Arozamena, David Selman, 1931), the Spanish version of Resurrection (1931), and Hombres en mi vida (Eduardo Arozamena, David Selman, 1932), the Spanish version of Men in Her Life (William Beaudine, 1931) in which Lois Moran had starred.
In 1932, Lupe Vélez took a break from her film career and traveled to New York City where she was signed by Broadway impresario Florenz Ziegfeld, Jr. to take over the role of "Conchita" in the musical revue 'Hot-Cha!'. The show also starred Bert Lahr, Eleanor Powell, and Buddy Rogers. Back in Hollywood, Lupe switched to comedy after playing dramatic roles for five years. Denny Jackson at IMDb: "In 1933 she played the lead role of Pepper in Hot Pepper (1933). This film showcased her comedic talents and helped her to show the world her vital personality. She was delightful." After Hot Pepper (John G. Blystone, 1933) with Edmund Lowe and Victor McLaglen, Lupe played beautiful but volatile, characters in a series of successful films like Strictly Dynamite (Elliott Nugent, 1934), Palooka (Benjamin Stoloff, 1934) both opposite Jimmy Durante, and Hollywood Party (Allan Dwan, a.o., 1934) with Laurel and Hardy. Although Vélez was a popular actress, RKO Pictures did not renew her contract in 1934. Over the next few years, Vélez worked for various studios as a freelance actress; she also spent two years in England where she filmed The Morals of Marcus (Miles Mander, 1935) and Gypsy Melody (Edmond T. Gréville, 1936). She returned to Los Angeles the following year where she appeared in the final part of the Wheeler & Woolsey comedy High Flyers (Edward F. Cline, 1937). In 1938, Vélez made her final appearance on Broadway in the musical You Never Know, by Cole Porter. The show received poor reviews from critics but received a large amount of publicity due to the feud between Vélez and fellow cast member Libby Holman. Holman was irritated by the attention Vélez garnered from the show with her impersonations of several actresses including Gloria Swanson, Katharine Hepburn, and Shirley Temple. The feud came to a head during a performance in New Haven, Connecticut after Vélez punched Holman in between curtain calls and gave her a black eye. The feud effectively ended the show. Upon her return to Mexico City in 1938 to star in her first Mexican film, Vélez was greeted by ten thousand fans. The film La Zandunga (Fernando de Fuentes, 1938) co-starring Arturo de Córdova, was a critical and financial success. Vélez was slated to appear in four more Mexican films, but instead, she returned to Los Angeles and went back to work for RKO Pictures. In 1939, Lupe Vélez was cast opposite Leon Errol and Donald Woods in the B-comedy, The Girl from Mexico (Leslie Goodwins, 1939). Despite being a B film, it was a hit with audiences and RKO re-teamed her with Errol and Wood for a sequel, Mexican Spitfire (Leslie Goodwins, 1940). That film was also a success and led to a series of eight Spitfire films. Wikipedia: "In the series, Vélez portrays Carmelita Lindsay, a temperamental yet friendly Mexican singer married to Dennis 'Denny' Lindsay (Woods), an elegant American gentleman. The Spitfire films rejuvenated Vélez's career. Moreover, they were films in which a Latina headlined for eight films straight –a true rarity." In addition to the Spitfire series, she was cast in such films as Six Lessons from Madame La Zonga (John Rawlins, 1941), Playmates (David Butler, 1941) opposite John Barrymore, and Redhead from Manhattan (Lew Landers, 1943). In 1943, the final film in the Spitfire series, Mexican Spitfire's Blessed Event (Leslie Goodwins, 1943), was released. By that time, the novelty of the series had begun to wane. Velez co-starred with Eddie Albert in the romantic comedy, Ladies' Day (Leslie Goodwins, 1943), about an actress and a baseball player. In 1944, Vélez returned to Mexico to star in an adaptation of Émile Zola's novel Nana (Roberto Gavaldón, Celestino Gorostiza, 1944), which was well-received. It would be her final film. After filming wrapped, Vélez returned to Los Angeles and began preparing for another stage role in New York.
Lupe Vélez's temper and jealousy in her often tempestuous romantic relationships were well documented and became tabloid fodder, often overshadowing her career. Vélez was straightforward with the press and was regularly contacted by gossip columnists for stories about her romantic exploits. Her first long-term relationship was with actor Gary Cooper. Vélez met Cooper while filming The Wolf Song in 1929 and began a two-year affair with him. The relationship was passionate but often stormy. Reportedly Vélez chased Cooper around with a knife during an argument and cut him severely enough to require stitches. By that time, the rocky relationship had taken its toll on Cooper who had lost 45 pounds and was suffering from nervous exhaustion. Paramount Pictures ordered him to take a vacation to recuperate. While he was boarding the train, Vélez showed up at the train station and fired a pistol at him. During her marriage to actor Johnny Weissmuller, stories of their frequent physical fights were regularly reported in the press. Vélez reportedly inflicted scratches, bruises, and love-bites on Weissmuller during their fights and "passionate love-making". In July 1934, after ten months of marriage, Vélez filed for divorce citing cruelty. She withdrew the petition a week later after reconciling with Weissmuller. In January 1935, she filed for divorce a second time and was granted an interlocutory decree that was dismissed when the couple reconciled a month later. In August 1938, Vélez filed for divorce for a third time, again charging Weissmuller with cruelty. Their divorce was finalised in August 1939. After the divorce became final, Vélez began dating actor Guinn "Big Boy" Williams in late 1940. They were reportedly engaged but never married. Vélez was also linked to author Erich Maria Remarque and the boxers Jack Johnson and Jack Dempsey. In 1943, Vélez began an affair with her La Zandunga co-star Arturo de Córdova. De Córdova had recently moved to Hollywood after signing with Paramount Pictures. Despite the fact that de Córdova was married to Mexican actress Enna Arana with whom he had four children, Vélez granted an interview to gossip columnist Louella Parsons in September 1943 and announced that the two were engaged. Vélez ended the engagement in early 1944, reportedly after de Córdova's wife refused to give him a divorce. Vélez then met and began dating a struggling young Austrian actor named Harald Maresch (who went by the stage name Harald Ramond). In September 1944, she discovered she was pregnant with Ramond's child. She announced their engagement in late November 1944. On 10 December, four days before her death, Vélez announced she had ended the engagement and kicked Ramond out of her home. On the evening of 13 December 1944, Vélez dined with her two friends, the silent film star Estelle Taylor and Venita Oakie. In the early morning hours of 14 December, Vélez retired to her bedroom, where she consumed 75 Seconal pills and a glass of brandy. Her secretary, Beulah Kinder, found the actress's body on her bed later that morning. A suicide note addressed to Harald Ramond was found nearby. Lupe Vélez was only 36 years old. More than four-thousand people filed past her casket during her funeral. Her body was interred in Mexico City, at Panteón Civil de Dolores Cemetery. Velez' estate, valued at $125,000 and consisting mostly of her Rodeo House home, two cars, jewelry, and personal effects were left to her secretary Beulah Kinder with the remainder in trust for her mother, Mrs. Josephine Velez. Together with Dolores del Rio, Ramon Novarro, and José Mojica, she was one of the few Mexican people who had made history in the early years of Hollywood.
Sources: Denny Jackson (IMDb), Wikipedia, and IMDb.
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The Jewish families who settled in Queensland from the time of Separation formed the nucleus of the Brisbane Hebrew Congregation founded in Brisbane in 1865. The congregation used a number of venues as temporary places of worship, while raising money through various land speculations to purchase a site and build a Synagogue. The present site was purchased by R B Lewin and sold to the congregation for £200. In 1885 designs for a Synagogue were sought from architects and plans submitted by Arthur Morry, who worked in the Government Architect's office, were chosen. The foundation stone was laid on the 7th of July 1885 and a bottle containing artefacts and documents was embedded beneath it. The foundation stone is no longer visible following the raising of the level of Margaret Street, and it is believed that the courtyard of the Synagogue was raised at the same time. This is supported by the fact that ventilated arches for the basement are now located well below ground level.
Arthur Midson, a prominent building contractor, built the Synagogue for the sum of £6450. It was finally consecrated on the 18th of July 1886. The building features a large circular geometric tracery window of Oamaru stone above the Margaret Street arched doorway. The stained glass lead lighting was obtained from Messrs Lyon, Cottier & Co of Sydney. The window is flanked on either side by a minaret turret which rose to a height of 90 feet (27 metres) from the original ground level. The rendered brick structure, constructed on concrete foundations, contains a basement, a nave and side aisles on the ground floor with a minister's retiring or robe room at the rear. In accordance with traditional Jewish religious practices the sexes are seperated during worship, and a gallery level for females only is incorporated constructed. It contains 140 seats and two women's retiring rooms.
The Synagogue remained largely unaltered over the years. Prior to the centenary celebrations of the Brisbane Jewish community in 1965, considerable renovations were carried out, including the installation of additional stained glass windows. Many of these were donated by congregation members whose families died in the Holocaust (World War II). The words 'The Brisbane Synagogue' and the congregation's spiritual name 'Kehilla Kedosha Sha'ari Emuna', (The Holy Congregation of the Gates of Faith) were added over the arched entry during 1967/1968.
Source: Queensland Heritage Register.
המשפחות היהודיות שהתיישבו בקווינסלנד מאז הפרידה היוו את גרעין הקהילה העברית של בריסביין שנוסדה בבריסביין בשנת 1865. הקהילה השתמשה במספר מקומות כמקומות פולחן זמניים, תוך גיוס כסף באמצעות השערות שונות על קרקע כדי לרכוש אתר ולבנות בית כנסת. האתר הנוכחי נרכש על ידי ר. ב. לוין ונמכר לקהילה תמורת 200 דולר. בשנת 1885 ביקשו אדריכלים עיצובים לבית כנסת ונבחרו תוכניות שהוגשו על ידי ארתור מורי, שעבד במשרד האדריכלים הממשלתי. אבן היסוד הונחה ב-7 ביולי 1885 ובקבוק המכיל חפצים ומסמכים הוטבע מתחתיו. אבן היסוד כבר לא נראית לאחר העלאת רמת רחוב מרגרט, ונחשבת כי חצר בית הכנסת הועלתה באותו הזמן. זה נתמך על ידי העובדה כי קשתות מאוורר עבור המרתף נמצאים כעת הרבה מתחת לפני הקרקע.
ארתור מידסון, קבלן בנייה מפורסם, בנה את בית הכנסת בסכום של 6450 דולר. הוא הוקדש לבסוף ב-18 ביולי 1886. הבניין כולל חלון עגול גדול של אבן אומרו מעל דלת הקשת ברחוב מרגרט. תאורת העופרת הזכוכית הצבועה הושגה ממר ליון, קוטייה ושות ' מסידני. החלון מקיף משני הצדדים על ידי מגדל מינראט אשר עלה לגובה של 90 רגל (27 מטרים) ממרחב הקרקע המקורי. מבנה הלבנים, שנבנה על יסודות בטון, מכיל מרתף, נב ומסדרונות צדדיים בקומה הקרובה עם חדר הפרישה של השר או חדר הלבוש מאחור. בהתאם למנהגים דתיים יהודיים מסורתיים, המינים מופרדים במהלך עבודת האל, ובונה רמת גלריה לנשים בלבד. הוא מכיל 140 מושבים ושני חדרים לנשים.
בית הכנסת נשאר ללא שינוי במשך השנים. לפני חגיגות המאה שנה של הקהילה היהודית בבריסביין בשנת 1965, בוצעו שיפוצים משמעותיים, כולל התקנת חלונות זכוכית צבועה נוספים. רבים מהם נתרמו על ידי חברי הקהילה שמשפחותיהם מתו בשואה (מלחמת העולם השנייה). המילים ' בית הכנסת בריסביין 'והשם הרוחני של הקהילה' קהילה קדושה שארי אמונה', (הקהילה הקדושה של שערי האמונה) הוספו מעל הכניסה הקשתית במהלך 1967/1968.
מקור: רישום המורשת של קווינסלנד
Anders (possibly his first name) Steffensen
Names and dates are all speculation.
b. May 27, 1850 Veflinge, Denmark
d.
Christine (wife)
b. December 21, 1863
d. August 14, 1896
The 1897 plat indicates a home on his 120 acres, set back a third of the way from the road. That would not be this one.
The 1921 plat indicates two homes on his land. The more eastern home on the property pinpoints this locale. The home on the 1897 plat is not indicated anymore.
Parents:
Steffen Hansen: 1813 - ?
Anna Maria Elisabeth Hansen: 1822 - 1901
There was some speculation that Red Sonja and the Sparta Warrior had the same headsculpt with different hair. If the Sparta Warrior is different, it might only be subtle changes in the paint job. Even so, for some reason I find I like the Spartan's sculpt a bit more than Sonja's. It might be a little soft, but I guess not having any expectations for the Spartan makes it easier to accept her as she is.
Burnt Norton
Time present and time past
Are both perhaps present in time future
And time future contained in time past.
If all time is eternally present
All time is unredeemable.
What might have been is an abstraction
Remaining a perpetual possibility
Only in a world of speculation.
What might have been and what has been
Point to one end, which is always present.
Footfalls echo in the memory
Down the passage which we did not take
Towards the door we never opened
Into the rose-garden. My words echo
Thus, in your mind.
But to what purpose
Disturbing the dust on a bowl of rose-leaves
I do not know.
Other echoes
Inhabit the garden. Shall we follow?
Quick, said the bird, find them, find them,
Round the corner. Through the first gate,
Into our first world, shall we follow
The deception of the thrush? Into our first world.
There they were, dignified, invisible,
Moving without pressure, over the dead leaves,
In the autumn heat, through the vibrant air,
And the bird called, in response to
The unheard music hidden in the shrubbery,
And the unseen eyebeam crossed, for the roses
Had the look of flowers that are looked at.
There they were as our guests, accepted and accepting.
So we moved, and they, in a formal pattern,
Along the empty alley, into the box circle,
To look down into the drained pool.
Dry the pool, dry concrete, brown edged,
And the pool was filled with water out of sunlight,
And the lotos rose, quietly, quietly,
The surface glittered out of heart of light,
And they were behind us, reflected in the pool.
Then a cloud passed, and the pool was empty.
Go, said the bird, for the leaves were full of children,
Hidden excitedly, containing laughter.
Go, go, go, said the bird: human kind
Cannot bear very much reality.
Time past and time future
What might have been and what has been
Point to one end, which is always present.
T. S. Eliot Poems
The Four Quartets
This is the last of this series for now, tomorrow being Valentines Day I need to liven up and get all lovey dovey again lol. I'll revisit this horror scene in Spring and Summer. :-)
Happy Friday the 13th my flicke friends, :-) and thank you all for your support and friendship. :-))
Buckingham Palace is a London royal residence and the administrative headquarters of the monarch of the United Kingdom. Located in the City of Westminster, the palace is often at the centre of state occasions and royal hospitality. It has been a focal point for the British people at times of national rejoicing and mourning.
Originally known as Buckingham House, the building at the core of today's palace was a large townhouse built for the Duke of Buckingham in 1703 on a site that had been in private ownership for at least 150 years. It was acquired by King George III in 1761 as a private residence for Queen Charlotte and became known as The Queen's House. During the 19th century it was enlarged by architects John Nash and Edward Blore, who constructed three wings around a central courtyard. Buckingham Palace became the London residence of the British monarch on the accession of Queen Victoria in 1837.
The last major structural additions were made in the late 19th and early 20th centuries, including the East Front, which contains the well-known balcony on which the British royal family traditionally congregates to greet crowds. A German bomb destroyed the palace chapel during the Second World War; the Queen's Gallery was built on the site and opened to the public in 1962 to exhibit works of art from the Royal Collection.
The original early-19th-century interior designs, many of which survive, include widespread use of brightly coloured scagliola and blue and pink lapis, on the advice of Sir Charles Long. King Edward VII oversaw a partial redecoration in a Belle Époque cream and gold colour scheme. Many smaller reception rooms are furnished in the Chinese regency style with furniture and fittings brought from the Royal Pavilion at Brighton and from Carlton House. The palace has 775 rooms, and the garden is the largest private garden in London. The state rooms, used for official and state entertaining, are open to the public each year for most of August and September and on some days in winter and spring.
In the Middle Ages, the site of the future palace formed part of the Manor of Ebury (also called Eia). The marshy ground was watered by the river Tyburn, which still flows below the courtyard and south wing of the palace. Where the river was fordable (at Cow Ford), the village of Eye Cross grew. Ownership of the site changed hands many times; owners included Edward the Confessor and Edith of Wessex in late Saxon times, and, after the Norman Conquest, William the Conqueror. William gave the site to Geoffrey de Mandeville, who bequeathed it to the monks of Westminster Abbey.
In 1531, Henry VIII acquired the Hospital of St James, which became St James's Palace, from Eton College, and in 1536 he took the Manor of Ebury from Westminster Abbey. These transfers brought the site of Buckingham Palace back into royal hands for the first time since William the Conqueror had given it away almost 500 years earlier. Various owners leased it from royal landlords, and the freehold was the subject of frenzied speculation during the 17th century. By then, the old village of Eye Cross had long since fallen into decay, and the area was mostly wasteland. Needing money, James VI and I sold off part of the Crown freehold but retained part of the site on which he established a four-acre (1.6 ha) mulberry garden for the production of silk. (This is at the north-west corner of today's palace.) Clement Walker in Anarchia Anglicana (1649) refers to "new-erected sodoms and spintries at the Mulberry Garden at S. James's"; this suggests it may have been a place of debauchery. Eventually, in the late 17th century, the freehold was inherited from the property tycoon Sir Hugh Audley by the great heiress Mary Davies.
Possibly the first house erected within the site was that of Sir William Blake, around 1624. The next owner was Lord Goring, who from 1633 extended Blake's house, which came to be known as Goring House, and developed much of today's garden, then known as Goring Great Garden. He did not, however, obtain the freehold interest in the mulberry garden. Unbeknown to Goring, in 1640 the document "failed to pass the Great Seal before Charles I fled London, which it needed to do for legal execution". It was this critical omission that would help the British royal family regain the freehold under George III. When the improvident Goring defaulted on his rents, Henry Bennet, 1st Earl of Arlington was able to purchase the lease of Goring House and he was occupying it when it burned down in 1674, following which he constructed Arlington House on the site—the location of the southern wing of today's palace—the next year. In 1698, John Sheffield acquired the lease. He later became the first Duke of Buckingham and Normanby. Buckingham House was built for Sheffield in 1703 to the design of William Winde. The style chosen was of a large, three-floored central block with two smaller flanking service wings. It was eventually sold by Buckingham's illegitimate son, Sir Charles Sheffield, in 1761 to George III for £21,000. Sheffield's leasehold on the mulberry garden site, the freehold of which was still owned by the royal family, was due to expire in 1774.
Under the new royal ownership, the building was originally intended as a private retreat for Queen Charlotte, and was accordingly known as The Queen's House. Remodelling of the structure began in 1762. In 1775, an Act of Parliament settled the property on Queen Charlotte, in exchange for her rights to nearby Somerset House, and 14 of her 15 children were born there. Some furnishings were transferred from Carlton House and others had been bought in France after the French Revolution of 1789. While St James's Palace remained the official and ceremonial royal residence, the name "Buckingham-palace" was used from at least 1791. After his accession to the throne in 1820, George IV continued the renovation intending to create a small, comfortable home. However, in 1826, while the work was in progress, the King decided to modify the house into a palace with the help of his architect John Nash. The external façade was designed, keeping in mind the French neoclassical influence preferred by George IV. The cost of the renovations grew dramatically, and by 1829 the extravagance of Nash's designs resulted in his removal as the architect. On the death of George IV in 1830, his younger brother William IV hired Edward Blore to finish the work. William never moved into the palace. After the Palace of Westminster was destroyed by fire in 1834, he offered to convert Buckingham Palace into a new Houses of Parliament, but his offer was declined.
Buckingham Palace became the principal royal residence in 1837, on the accession of Queen Victoria, who was the first monarch to reside there; her predecessor William IV had died before its completion. While the state rooms were a riot of gilt and colour, the necessities of the new palace were somewhat less luxurious. It was reported the chimneys smoked so much that the fires had to be allowed to die down, and consequently the palace was often cold. Ventilation was so bad that the interior smelled, and when it was decided to install gas lamps, there was a serious worry about the build-up of gas on the lower floors. It was also said that the staff were lax and lazy and the palace was dirty. Following the Queen's marriage in 1840, her husband, Prince Albert, concerned himself with a reorganisation of the household offices and staff, and with addressing the design faults of the palace. By the end of 1840, all the problems had been rectified. However, the builders were to return within a decade.
By 1847, the couple had found the palace too small for court life and their growing family and a new wing, designed by Edward Blore, was built by Thomas Cubitt, enclosing the central quadrangle. The large East Front, facing The Mall, is today the "public face" of Buckingham Palace and contains the balcony from which the royal family acknowledge the crowds on momentous occasions and after the annual Trooping the Colour. The ballroom wing and a further suite of state rooms were also built in this period, designed by Nash's student Sir James Pennethorne. Before Prince Albert's death, the palace was frequently the scene of musical entertainments, and the most celebrated contemporary musicians entertained at Buckingham Palace. The composer Felix Mendelssohn is known to have played there on three occasions. Johann Strauss II and his orchestra played there when in England. Under Victoria, Buckingham Palace was frequently the scene of lavish costume balls, in addition to the usual royal ceremonies, investitures and presentations.
Widowed in 1861, the grief-stricken Queen withdrew from public life and left Buckingham Palace to live at Windsor Castle, Balmoral Castle and Osborne House. For many years the palace was seldom used, even neglected. In 1864, a note was found pinned to the fence of Buckingham Palace, saying: "These commanding premises to be let or sold, in consequence of the late occupant's declining business." Eventually, public opinion persuaded the Queen to return to London, though even then she preferred to live elsewhere whenever possible. Court functions were still held at Windsor Castle, presided over by the sombre Queen habitually dressed in mourning black, while Buckingham Palace remained shuttered for most of the year.
In 1901, the new king, Edward VII, began redecorating the palace. The King and his wife, Queen Alexandra, had always been at the forefront of London high society, and their friends, known as "the Marlborough House Set", were considered to be the most eminent and fashionable of the age. Buckingham Palace—the Ballroom, Grand Entrance, Marble Hall, Grand Staircase, vestibules and galleries were redecorated in the Belle Époque cream and gold colour scheme they retain today—once again became a setting for entertaining on a majestic scale but leaving some to feel Edward's heavy redecorations were at odds with Nash's original work.
The last major building work took place during the reign of George V when, in 1913, Sir Aston Webb redesigned Blore's 1850 East Front to resemble in part Giacomo Leoni's Lyme Park in Cheshire. This new refaced principal façade (of Portland stone) was designed to be the backdrop to the Victoria Memorial, a large memorial statue of Queen Victoria created by sculptor Sir Thomas Brock, erected outside the main gates on a surround constructed by architect Sir Aston Webb. George V, who had succeeded Edward VII in 1910, had a more serious personality than his father; greater emphasis was now placed on official entertainment and royal duties than on lavish parties. He arranged a series of command performances featuring jazz musicians such as the Original Dixieland Jazz Band (1919; the first jazz performance for a head of state), Sidney Bechet and Louis Armstrong (1932), which earned the palace a nomination in 2009 for a (Kind of) Blue Plaque by the Brecon Jazz Festival as one of the venues making the greatest contribution to jazz music in the United Kingdom.
During the First World War, which lasted from 1914 until 1918, the palace escaped unscathed. Its more valuable contents were evacuated to Windsor, but the royal family remained in residence. The King imposed rationing at the palace, much to the dismay of his guests and household. To the King's later regret, David Lloyd George persuaded him to go further and ostentatiously lock the wine cellars and refrain from alcohol, to set a good example to the supposedly inebriated working class. The workers continued to imbibe, and the King was left unhappy at his enforced abstinence.
George V's wife, Queen Mary, was a connoisseur of the arts and took a keen interest in the Royal Collection of furniture and art, both restoring and adding to it. Queen Mary also had many new fixtures and fittings installed, such as the pair of marble Empire-style chimneypieces by Benjamin Vulliamy, dating from 1810, which the Queen had installed in the ground floor Bow Room, the huge low room at the centre of the garden façade. Queen Mary was also responsible for the decoration of the Blue Drawing Room. This room, 69 feet (21 metres) long, previously known as the South Drawing Room, has a ceiling designed by Nash, coffered with huge gilt console brackets. In 1938, the northwest pavilion, designed by Nash as a conservatory, was converted into a swimming pool.
During the Second World War, which broke out in 1939, the palace was bombed nine times. The most serious and publicised incident destroyed the palace chapel in 1940. This event was shown in cinemas throughout the United Kingdom to show the common suffering of the rich and poor. One bomb fell in the palace quadrangle while George VI and Queen Elizabeth (the future Queen Mother) were in the palace, and many windows were blown in and the chapel destroyed. Wartime coverage of such incidents was severely restricted, however. The King and Queen were filmed inspecting their bombed home; it was at this time the Queen famously declared: "I'm glad we have been bombed. Now I can look the East End in the face". The royal family were seen as sharing their subjects' hardship, as The Sunday Graphic reported:
By the Editor: The King and Queen have endured the ordeal which has come to their subjects. For the second time a German bomber has tried to bring death and destruction to the home of Their Majesties ... When this war is over the common danger which King George and Queen Elizabeth have shared with their people will be a cherished memory and an inspiration through the years.
On 15 September 1940, known as Battle of Britain Day, an RAF pilot, Ray Holmes of No. 504 Squadron RAF rammed a German Dornier Do 17 bomber he believed was going to bomb the Palace. Holmes had run out of ammunition and made the quick decision to ram it. Holmes bailed out and the aircraft crashed into the forecourt of London Victoria station. The bomber's engine was later exhibited at the Imperial War Museum in London. The British pilot became a King's Messenger after the war and died at the age of 90 in 2005. On VE Day—8 May 1945—the palace was the centre of British celebrations. The King, the Queen, Princess Elizabeth (the future queen) and Princess Margaret appeared on the balcony, with the palace's blacked-out windows behind them, to cheers from a vast crowd in The Mall. The damaged Palace was carefully restored after the war by John Mowlem & Co.
Many of the palace's contents are part of the Royal Collection, held in trust by King Charles III; they can, on occasion, be viewed by the public at the Queen's Gallery, near the Royal Mews. The purpose-built gallery opened in 1962 and displays a changing selection of items from the collection. It occupies the site of the chapel that was destroyed in the Second World War. The palace was designated a Grade I listed building in 1970. Its state rooms have been open to the public during August and September and on some dates throughout the year since 1993. The money raised in entry fees was originally put towards the rebuilding of Windsor Castle after the 1992 fire devastated many of its staterooms. In the year to 31 March 2017, 580,000 people visited the palace, and 154,000 visited the gallery.
The palace used to racially segregate staff. In 1968, Charles Tryon, 2nd Baron Tryon, acting as treasurer to Queen Elizabeth II, sought to exempt Buckingham Palace from full application of the Race Relations Act 1968. He stated that the palace did not hire people of colour for clerical jobs, only as domestic servants. He arranged with Civil servants for an exemption that meant that complaints of racism against the royal household would be sent directly to the Home Secretary and kept out of the legal system.
The palace, like Windsor Castle, is owned by the reigning monarch in right of the Crown. Occupied royal palaces are not part of the Crown Estate, nor are they the monarch's personal property, unlike Sandringham House and Balmoral Castle. The Government of the United Kingdom is responsible for maintaining the palace in exchange for the profits made by the Crown Estate. In 2015, the State Dining Room was closed for a year and a half because its ceiling had become potentially dangerous. A 10-year schedule of maintenance work, including new plumbing, wiring, boilers and radiators, and the installation of solar panels on the roof, has been estimated to cost £369 million and was approved by the prime minister in November 2016. It will be funded by a temporary increase in the Sovereign Grant paid from the income of the Crown Estate and is intended to extend the building's working life by at least 50 years. In 2017, the House of Commons backed funding for the project by 464 votes to 56.
Buckingham Palace is a symbol and home of the British monarchy, an art gallery and a tourist attraction. Behind the gilded railings and gates that were completed by the Bromsgrove Guild in 1911, lies Webb's famous façade, which was described in a book published by the Royal Collection Trust as looking "like everybody's idea of a palace". It has not only been a weekday home of Elizabeth II and Prince Philip but is also the London residence of the Duke of York and the Earl and Countess of Wessex. The palace also houses their offices, as well as those of the Princess Royal and Princess Alexandra, and is the workplace of more than 800 people. Charles III lives at Clarence House while restoration work continues, although he conducts official business at Buckingham Palace, including weekly meetings with the Prime Minister. Every year, some 50,000 invited guests are entertained at garden parties, receptions, audiences and banquets. Three garden parties are held in the summer, usually in July. The forecourt of Buckingham Palace is used for the Changing of the Guard, a major ceremony and tourist attraction (daily from April to July; every other day in other months).
Interior
The front of the palace measures 355 feet (108 m) across, by 390 feet (120 m) deep, by 80 feet (24 m) high and contains over 830,000 square feet (77,000 m2) of floorspace. There are 775 rooms, including 188 staff bedrooms, 92 offices, 78 bathrooms, 52 principal bedrooms and 19 state rooms. It also has a post office, cinema, swimming pool, doctor's surgery, and jeweller's workshop. The royal family occupy a small suite of private rooms in the north wing.
Principal rooms
The principal rooms are contained on the first-floor piano nobile behind the west-facing garden façade at the rear of the palace. The centre of this ornate suite of state rooms is the Music Room, its large bow the dominant feature of the façade. Flanking the Music Room are the Blue and the White Drawing Rooms. At the centre of the suite, serving as a corridor to link the state rooms, is the Picture Gallery, which is top-lit and 55 yards (50 m) long. The Gallery is hung with numerous works including some by Rembrandt, van Dyck, Rubens and Vermeer; other rooms leading from the Picture Gallery are the Throne Room and the Green Drawing Room. The Green Drawing Room serves as a huge anteroom to the Throne Room, and is part of the ceremonial route to the throne from the Guard Room at the top of the Grand Staircase. The Guard Room contains white marble statues of Queen Victoria and Prince Albert, in Roman costume, set in a tribune lined with tapestries. These very formal rooms are used only for ceremonial and official entertaining but are open to the public every summer.
Semi-state apartments
Directly underneath the state apartments are the less grand semi-state apartments. Opening from the Marble Hall, these rooms are used for less formal entertaining, such as luncheon parties and private audiences. At the centre of this floor is the Bow Room, through which thousands of guests pass annually to the monarch's garden parties. When paying a state visit to Britain, foreign heads of state are usually entertained by the monarch at Buckingham Palace. They are allocated an extensive suite of rooms known as the Belgian Suite, situated at the foot of the Minister's Staircase, on the ground floor of the west-facing Garden Wing. Some of the rooms are named and decorated for particular visitors, such as the 1844 Room, decorated in that year for the state visit of Nicholas I of Russia, and the 1855 Room, in honour of the visit of Napoleon III of France. The former is a sitting room that also serves as an audience room and is often used for personal investitures. Narrow corridors link the rooms of the suite; one of them is given extra height and perspective by saucer domes designed by Nash in the style of Soane. A second corridor in the suite has Gothic-influenced cross-over vaulting. The suite was named after Leopold I of Belgium, uncle of Queen Victoria and Prince Albert. In 1936, the suite briefly became the private apartments of the palace when Edward VIII occupied them. The original early-19th-century interior designs, many of which still survive, included widespread use of brightly coloured scagliola and blue and pink lapis, on the advice of Charles Long. Edward VII oversaw a partial redecoration in a Belle Époque cream and gold colour scheme.
East wing
Between 1847 and 1850, when Blore was building the new east wing, the Brighton Pavilion was once again plundered of its fittings. As a result, many of the rooms in the new wing have a distinctly oriental atmosphere. The red and blue Chinese Luncheon Room is made up of parts of the Brighton Banqueting and Music Rooms with a large oriental chimneypiece designed by Robert Jones and sculpted by Richard Westmacott. It was formerly in the Music Room at the Brighton Pavilion. The ornate clock, known as the Kylin Clock, was made in Jingdezhen, Jiangxi Province, China, in the second half of the 18th century; it has a later movement by Benjamin Vulliamy circa 1820. The Yellow Drawing Room has wallpaper supplied in 1817 for the Brighton Saloon, and a chimneypiece which is a European vision of how the Chinese chimney piece may appear. It has nodding mandarins in niches and fearsome winged dragons, designed by Robert Jones.
At the centre of this wing is the famous balcony with the Centre Room behind its glass doors. This is a Chinese-style saloon enhanced by Queen Mary, who, working with the designer Charles Allom, created a more "binding" Chinese theme in the late 1920s, although the lacquer doors were brought from Brighton in 1873. Running the length of the piano nobile of the east wing is the Great Gallery, modestly known as the Principal Corridor, which runs the length of the eastern side of the quadrangle. It has mirrored doors and mirrored cross walls reflecting porcelain pagodas and other oriental furniture from Brighton. The Chinese Luncheon Room and Yellow Drawing Room are situated at each end of this gallery, with the Centre Room in between.
Court ceremonies
Investitures for the awarding of honours (which include the conferring of knighthoods by dubbing with a sword) usually take place in the palace's Throne Room. Investitures are conducted by the King or another senior member of the royal family: a military band plays in the musicians' gallery, as recipients receive their honours, watched by their families and friends.
State banquets take place in the Ballroom, built in 1854. At 120 feet (36.6 m) long, 60 feet (18 m) wide and 45 feet (13.5 m) high, it is the largest room in the palace; at one end of the room is a throne dais (beneath a giant, domed velvet canopy, known as a shamiana or baldachin, that was used at the Delhi Durbar in 1911). State Banquets are formal dinners held on the first evening of a state visit by a foreign head of state. On these occasions, for up to 170 guests in formal "white tie and decorations", including tiaras, the dining table is laid with the Grand Service, a collection of silver-gilt plate made in 1811 for the Prince of Wales, later George IV.
The largest and most formal reception at Buckingham Palace takes place every November when the King entertains members of the diplomatic corps. On this grand occasion, all the state rooms are in use, as the royal family proceed through them, beginning at the great north doors of the Picture Gallery. As Nash had envisaged, all the large, double-mirrored doors stand open, reflecting the numerous crystal chandeliers and sconces, creating a deliberate optical illusion of space and light.
Smaller ceremonies such as the reception of new ambassadors take place in the "1844 Room". Here too, the King holds small lunch parties, and often meetings of the Privy Council. Larger lunch parties often take place in the curved and domed Music Room or the State Dining Room. Since the bombing of the palace chapel in World War II, royal christenings have sometimes taken place in the Music Room. Queen Elizabeth II's first three children were all baptised there. On all formal occasions, the ceremonies are attended by the Yeomen of the Guard, in their historic uniforms, and other officers of the court such as the Lord Chamberlain.
Former ceremonial
Formerly, men not wearing military uniform wore knee breeches of 18th-century design. Women's evening dress included trains and tiaras or feathers in their hair (often both). The dress code governing formal court uniform and dress has progressively relaxed. After the First World War, when Queen Mary wished to follow fashion by raising her skirts a few inches from the ground, she requested a lady-in-waiting to shorten her own skirt first to gauge the King's reaction. King George V disapproved, so the Queen kept her hemline unfashionably low. Following his accession in 1936, King George VI and Queen Elizabeth allowed the hemline of daytime skirts to rise. Today, there is no official dress code. Most men invited to Buckingham Palace in the daytime choose to wear service uniform or lounge suits; a minority wear morning coats, and in the evening, depending on the formality of the occasion, black tie or white tie.
Court presentation of débutantes
Débutantes were aristocratic young ladies making their first entrée into society through a presentation to the monarch at court. These occasions, known as "coming out", took place at the palace from the reign of Edward VII. The débutantes entered—wearing full court dress, with three ostrich feathers in their hair—curtsied, performed a backwards walk and a further curtsey, while manoeuvring a dress train of prescribed length. The ceremony, known as an evening court, corresponded to the "court drawing rooms" of Victoria's reign. After World War II, the ceremony was replaced by less formal afternoon receptions, omitting the requirement of court evening dress. In 1958, Queen Elizabeth II abolished the presentation parties for débutantes, replacing them with Garden Parties, for up to 8,000 invitees in the Garden. They are the largest functions of the year.
Garden and surroundings
Further information: Buckingham Palace Garden
At the rear of the palace is the large and park-like garden, which together with its lake is the largest private garden in London. There, Queen Elizabeth II hosted her annual garden parties each summer and also held large functions to celebrate royal milestones, such as jubilees. It covers 17 ha (42 acres) and includes a helicopter landing area, a lake and a tennis court.
Adjacent to the palace is the Royal Mews, also designed by Nash, where the royal carriages, including the Gold State Coach, are housed. This rococo gilt coach, designed by William Chambers in 1760, has painted panels by G. B. Cipriani. It was first used for the State Opening of Parliament by George III in 1762 and has been used by the monarch for every coronation since William IV. It was last used for the coronation of King Charles III and Queen Camilla. Also housed in the mews are the coach horses used at royal ceremonial processions as well as many of the cars used by the royal family.
The Mall, a ceremonial approach route to the palace, was designed by Aston Webb and completed in 1911 as part of a grand memorial to Queen Victoria. It extends from Admiralty Arch, across St James's Park to the Victoria Memorial, concluding at the entrance gates into the palace forecourt. This route is used by the cavalcades and motorcades of visiting heads of state, and by the royal family on state occasions—such as the annual Trooping the Colour.
Security breaches
The boy Jones was an intruder who gained entry to the palace on three occasions between 1838 and 1841. At least 12 people have managed to gain unauthorised entry into the palace or its grounds since 1914, including Michael Fagan, who broke into the palace twice in 1982 and entered Queen Elizabeth II's bedroom on the second occasion. At the time, news media reported that he had a long conversation with her while she waited for security officers to arrive, but in a 2012 interview with The Independent, Fagan said she ran out of the room, and no conversation took place. It was only in 2007 that trespassing on the palace grounds became a specific criminal offence.
Cascading Universe & Garden of Cosmic Speculation, 2 of the gardens at Portrack House near Dumfries. The house features garden designs by Charles Jencks. The house is only open to the public on one day a year.
Canon 5D MKII, Canon 17-40mm, F11, 17mm, ISO200, Exp 1/250 Seconds
Hitech Soft Grad 0.6
~Brian Kerr Photography~'s photos on Flickriver
Please do not use this image on websites, blogs or any other media without asking my written permission. All rights reserved.....© Brian Kerr Photography 2011
After speculation that Stagecoach Manchester's Magic Bus operation would finish in the new year it came as a surprise when a number of Enviro 400's were treated to a coat of the blue magic paint.
With First now having an increased presence on the Wilmslow Road corridor this may be one of the reasons to retain Magic Bus. 19223 is seen on Wilmslow Road on the morning of 6th January 2015 not long after being released back to traffic.
NEW: I NOW CREATE MUSIC, JOIN ME ON SOUNDCLOUD!
SHOP: www.icanvas.com/canvas-art-prints/artist/ben-heine
This is a text portrait with Michael's biography. It is made with words only. I made it because I loved Michael's soul. I'm going to miss the King of Pop very much, RIP.
Please, don't miss my other MJ portraits:
- M J - Eternal Hurt Child: www.flickr.com/photos/benheine/3728685685
- M J - Heal the world: www.flickr.com/photos/benheine/3677029800
- M J - INVINCIBLE: www.flickr.com/photos/benheine/3699136453
(And my other "text portrait" of Usain Bolt: www.flickr.com/photos/benheine/3895560188)
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For more information about my art: info@benheine.com
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Troubled Musical Genius: Michael Jackson
Michael Jackson's unique blend of soul, funk and rock made him the biggest pop act in the world.
Beyond this, his business acumen and intuitive understanding of the music market allowed him to showcase his remarkable talents.
Michael Jackson sold records by the million - and broke records too.
With the soulful vocal presence of Marvin Gaye and Stevie Wonder and the dance moves of James Brown, Jackson's appeal crossed both national and racial boundaries.
His first break came in 1968, when the Jackson Five signed to the Motown label, and he was just 11 when the group released its first single.
Hits like I Want You Back, ABC, The Love You Save, and I'll Be There, which all went to number one in the United States in 1970, made the Jackson Five the first group in pop history to have their first four singles top the charts.
Before long, the youngest member of the Jackson Five was beginning to outstrip his brothers.
A series of solo hits, including Got To Be There, Rockin' Robin and Ben - the maudlin, yet chart-topping, paean to a rat - had shown that the promise of early years had come to fruition.
By the mid-1970s, both Michael's, and his brothers', careers were beginning to stall. Motown has ended its interest in the group, which had re-signed - as the Jacksons - to the Epic label.
But it was while Michael was working on the film musical The Wiz, an all-black retelling of the Wizard of Oz - in which he played the Scarecrow to Diana Ross's Dorothy - that he met the man who would turn him into a superstar and transform the world of popular music.
Music producer, composer and arranger, Quincy Jones, who could already boast a formidable track record, having created hits for artists like Frank Sinatra, Aretha Franklin and George Benson, took Jackson's raw talent and moulded it into an awesome new sound.
Video extravaganza
Their first collaboration, Off The Wall, released in 1979, became the first album to provide four top ten US hits for an artist: the title track, Don't Stop Till You Get Enough, Rock With You and She's Out of My Life.
Four years later came Thriller, the album which would define his career. A heady mix of disco, R&B and funk, its nine tracks spawned seven hit singles and became the best-selling album of all time, with at least 55 million copies bought to date.
Having already experimented with video on Off The Wall, Jackson now took the new medium to new heights.
The John Landis-directed film, accompanying the album's title track, was a 16-minute big-budget extravaganza, featuring cutting-edge special effects and the voice of veteran horror actor, Vincent Price.
The Thriller video, and its companion, Beat It, also ended MTV's neglect of black artists, while making the mini-musical blockbuster de rigueur for any self-respecting pop star.
Besides his successful solo career, Jackson also recorded a series of hit duets with Paul McCartney, who had written the Off The Wall track, Girlfriend.
The two stars appeared on one another's albums with songs like The Girl Is Mine and the chart-topping Say Say Say.
Stripped-down sound
The relationship soured, though, in 1985, when Jackson outbid both McCartney and Yoko Ono to secure the ATV music-publishing catalogue, which included the rights to more than 250 Lennon/McCartney songs.
Not for the first time, Jackson's ruthless business streak had asserted itself.
The same year also saw the USA For Africa charity single, We Are The World, co-written by Jackson and Lionel Ritchie, reach number one in the US.
The Jackson phenomenon showed no sign of slowing down when, in 1987, he released the third, and final, Quincy Jones-produced album, Bad.
With five number one hits, including Man in the Mirror and Dirty Diana, the album also featured a 17-minute video, courtesy of Martin Scorsese, to promote the title track and a year-long world tour, at the time the largest-grossing in history.
Dangerous, Jackson's 1991 outing, featured a more stripped-down sound than its three predecessors.
But the magic remained, and tracks like Heal the World and Black and White soon became worldwide hits, despite the tabloid headlines and court cases which now threatened to damage the singer's reputation.
But his 1995 album, a compilation of old hits and new material entitled HIStory, failed to ignite the popular imagination.
Controversy
Despite the biggest-ever publicity campaign for an album, estimated at $30m, HIStory enjoyed a brief appearance in the charts.
Whether this was due to the star's increasingly erratic behaviour, continuing speculation about his private life or just the public turning increasingly to rap and hip-hop, is a matter for debate.
But one track, in particular - They Don't Care About Us, with the lyrics, "Jew me, sue me" - outraged many people including Jackson's long-time friend and supporter Steven Spielberg, who saw it as anti-Semitic.
And his appearance at the 1996 Brit Awards ceremony in London, surrounded by children and a rabbi, proved too much for some, most notably Pulp's Jarvis Cocker, who showed his displeasure by storming the stage and interrupting the performance.
Michael Jackson's final album, Invincible (2001) was released at a time when he looked anything but.
A swirl of controversy, including Jackson's repeated assertions that his record company, Sony, had asked for their money back - all $200m of it - and that the label's chairman, Tommy Mottola, held black artists back, effectively drowned out the music.
It seemed an underwhelming end to what had been one of the most spectacular of all musical careers.
In recent years, Jackson was plagued by money problems and shielded himself from public view.
Arrested in 2003 on charges of molesting a 14-year-old boy, he was cleared in June 2005 after a five-month trial.
As rumours of bankruptcy circled after the trial, Jackson moved for a period to the Middle East.
There he befriended the king of Bahrain's son, Sheikh Abdulla Bin Hamad Bin Isa Al-Khalifa, who helped fund Jackson's lavish lifestyle.
But the sheikh later sued Jackson for $7m (£4.7m), saying the star had reneged on a music contract that would have been used to pay back loans. The pair settled out of court last year.
Jackson was due to begin a series of sold-out comeback concerts, starting with an appearance in London next month.
Hundreds of fans queued at the O2 arena as tickets went on sale to the public and more than a quarter of a million people queued online.
In the end, around 750,000 tickets were sold for the 50-date residency - which Jackson had billed his "final curtain call".
Rehearsals for the show were under way when the star suffered a cardiac arrest at his home in Bel Air. He was later pronounced dead at the UCLA medical centre in Los Angeles.
There is some speculation about the possible age and use of this iconic building. For many years it was dated at 1420, however, ongoing research, sponsored by English Heritage, puts the date back to 1347. Whichever date is correct it is probable that the Britons Arms, or ‘Ye Goddes House’ as it then was, fulfilled a semi religious role in relation to the church of St. Peter Hungate which sits directly to the south.
The plan and layout of the building are untypical of the age, the style relates more closely to the buildings of the Netherlands or Low Countries and reflects the strong links which Norwich had with the continent. It is one of the five remaining timber framed thatched buildings to survive in the city, and the only building to survive the great fire of 1507.
From this time the inhabitants of the building were many and various. In the late 15th. century ‘barbour surgeons’ occupied the property, later it was associated with the wool trade. It is first recorded as an Ale House in 1760, known then as ‘The Kings Arms.’ Not until 1845 does it become ‘The Britons Arms', possibly reflecting the anti-royalist sympathies of the age.
From the mid eighteenth century until 1941 the Britons Arms traded as an Ale House. It was closed during WW2 and used by fire watchers.
In 1951 the brewers Stewart and Patteson sold the property to Norwich City Council for the nominal sum of £10 and the lease was taken by Molly Kent (nee Drury) who founded the business The Britons Arms Coffee House and Restaurant.
In the early 1970's Norfolk born and educated sisters Sue Skipper and Gilly Mixer went into partnership with Molly Kent who eventually retired. The business flourished, but the ancient fabric of the building became increasingly unsound. Unable to meet the cost of repair, in 2011 Norwich City Council put the property up for auction. Under the banner ‘UP IN ARMS’ the sisters mounted a vigorous campaign aimed at keeping the well- loved building in public ownership and accessible to all. At the very last moment the City Council agreed to withdraw the property from auction and offered a 21year lease to The Norwich Preservation Trust.
The Trust was successful in raising substantial funds, largely from English Heritage and the building was extensively restored and re-thatched in 2013 at a cost of £500,000.
In 2020, after 69 years of unbroken trading The Britons Arms Coffee House and Restaurant permanently closed.
The building gained Grade: II* listed building status on 26th. February 1954. (English Heritage Legacy ID: 229069).
The view down 7th Street toward Francisco compresses about a century of downtown Los Angeles speculation into a single frame. The Pacific Mutual Building holds the middle distance — a 1908 Beaux-Arts office block by John Parkinson and George Edwin Bergstrom with later additions, its terracotta-clad shaft topped by a row of steep Flemish gables and finials that read as a deliberate Northern European flourish on what was, at the time, a frontier financial district. Behind it the AON Center (Charles Luckman, 1973) carries the early-1970s corporate slab idiom: bronze-tinted curtain wall, ground-to-cornice piers, the sponsor's mark on the parapet. To the right the buff stone and dark glass of one of the Wells Fargo Center towers (Skidmore, Owings & Merrill, 1983) closes the canyon.
The composition reads the city the way a New Yorker would expect a city to be read — a crosswalk-level vanishing point with the historic building framed by glass — and it's something LA itself often resists offering. The DASH electric shuttle at left, the pedestrian-scaled traffic island at right, and the empty crosswalk all argue for a downtown that's still negotiating what it wants to be. The early sun is doing the work of separating the terracotta from the steel.
The Australian Meat Employees Industry Union Building was built for the Bank of New South Wales in 1887. It was third building which the bank had constructed. Built by Townsville builder Denis Kelleher at a cost of £7,500, the building was probably designed by Sydney architect John Smedley, with construction supervised by architect WM Eyre of the Townsville firm of Eyre and Munro and Brisbane architect FDG Stanley.
The Bank of New South Wales was the second banking company to be established in Townsville. The Australian Joint Stock Bank opened on the 19th of February 1866 and the Bank of New South Wales on the 20th of March 1866.
The Bank of New South Wales was founded in 1817 in Sydney, New South Wales. In 1851 Robert Towns, a Sydney businessman, became a shareholder. During the early 1860s Towns formed a business partnership with John Melton Black in his North Queensland properties and investment speculations, including the establishment of a port on Cleveland Bay. Keen to protect his investment in the new settlement at the port and to encourage the expansion of the Bank of New South Wales into North Queensland, Towns facilitated the establishment of a branch of the bank in Townsville within a year of settlement.
The first branch building, leased from Towns and Black, was located in Flinders Street East near the site of the present building, but the managers and staff soon complained that the building was hot and plagued by mosquitoes from Ross Creek. A decision was made to move after Queensland Bank Inspector, Alexander Archer, reported that the bank and its records were unsafe located amongst a group of wooden buildings.
The second bank building and a manager's residence were constructed in 1869 on the corner of Wickham Street and The Strand on the present Customs House site. While these premises were well placed for the sea breezes, the building was again deemed unsuitable because of the distance from the centre of town and the difficulty of access via Wickham Street.
By August 1875 the Bank of New South Wales had purchased a new site closer to the centre of town while still taking advantage of the sea breezes. However, the block on the corner of Flinders and Wickham Streets remained undeveloped for a further twelve years, despite Brisbane architect James Cowlishaw calling tenders on the 8th of January 1883 for the erection of banking premises at Townsville for the Bank of New South Wales.
During the 1860s, Cowlishaw had supervised the construction of the Brisbane branch of the Bank of NSW for Sydney architect GA Mansfield, and was also involved in the construction of branches in Bowen and Rockhampton. It is not certain whether the 1883 tender for a new bank building in Townsville was for a building designed by Cowlishaw, or another design by Mansfield to be supervised by Cowlishaw. However, newspaper reports of 1887 suggest that, either way, the 1883 design for a Bank of New South Wales in Townsville was not constructed.
By October 1887 however, the Townsville Herald noted that FDG Stanley, architect for three buildings being erected in Townsville including the Bank of NSW, inspected these with his local representative Mr WM Eyre who was supervising their construction. Three months later on the 24th of December 1887, the same newspaper congratulated the architect Mr Smedley of Sydney for his design of the newly completed Bank of New South Wales building. This suggests Smedley was Mansfield's successor as the bank's design architect in Sydney, and Eyre was the local supervising architect with Stanley his senior partner.
The new premises included the banking chamber, manager and accountant's offices, strong rooms and ablution facilities. The manager's residence included nine private rooms, kitchen, bathroom linen press and pantry. Included in the complex were stables, a coach house and a messenger's room.
In 1925 Townsville architect Walter Hunt supervised alterations to the building including the installation of the pressed metal ceiling in the banking chamber. The work was carried out by contractor J Hillman.
On 17 November 1931 the Bank of Commerce amalgamated with the Bank of New South Wales. In Townsville the combined businesses operated from the Flinders St/Wickham Street offices until the 12th of January 1935 when the main office of the bank moved to new premises at the corner of Flinders and Stokes Streets.
The former premises became known as the East Flinders Street Branch of the Bank of New South Wales, with the branch operating from the building until it was sold. Historical Services Section of the Westpac Banking Corporation provided information that the property was sold in 1940 for £2500 but titles information indicates that the building was not sold until the 26th of February 1941 when the Australian Meat Industry Employees Union (Queensland Branch) [AMIEU] purchased it.
With the threat of invasion of Australia by Japan during the early years of WWII, Townsville was selected as the supply base for the allied forces in the south west Pacific. By 1941 many buildings in the city had been requisitioned including the former Bank of New South Wales from the AMIEU.
A detachment of Area Signals personnel established a telegraph, switchboard and dispatch rider service in the building prior to February 1942. For a short time after Pearl Harbour, Col Frank North, Commander of the Townsville area, established his headquarters in the building along with the Signals Corp. During this period PMG style switchboards were installed and the communication centre connected to service units being established throughout the region. Telegraph facilities in the building were linked to Charters Towers and to units further west as well as to Victoria Barracks, Brisbane. Part of the first floor was also used as living quarters for the Area Signals Officer and Operations Officer.
During this period, a concrete bunker was constructed at the rear of the property to house a cypher group who worked to decode Japanese messages. Pigeon lofts were also built in the yard to supply ships and aircraft with carrier pigeons.
Towards the end of 1942 or early 1943, the switch installation became a security monitor of all telephone calls, both civil and military, emanating from North Queensland. About twenty AWAs manned the switch which was connected to the Security Monitoring Centre at Stuart, south of Townsville. The monitoring unit remained in the building until the end of the war.
The AMIEU, located in Denham Street during the war, did not move into this building until about 1948. For the next three decades the AMIEU building became a bastion of the Labor movement in Townsville and North Queensland, with the building and surrounding area becoming a focus for workers seeking permits to work at the Ross River Meatworks, seeking social security in the Queensland Building diagonally opposite, and visiting the Tattersalls Hotel, across Wickham Street which was a favourite recreation venue for all those who lived and worked in the area.
From the late 1940s until the early 1970s, the building was a hive of activity and the centre of labour issues for North Queensland. During this period. apart from the AMIEU, the Trades and Labour Council and the Seaman's Union operated at various times from offices on the first floor, and later the Communist Party had an office on the Wickham Street verandah.
The Seamen's Union, miners unions, the Trades and Labour Council and affiliated unions, and particularly the Communist Party were involved in the 1948 Railway Strike; a strike which highlighted the conflict between the unions and the Labor Party and a conflict which was to split the party a few years later. The Seamen's Union and various mining and craft unions played active roles in this conflict with the Queensland Government and the industrial court over wage fixing measures introduced by the court in 1939. This conflict was to raise questions of fundamental importance to a democratic society, such as the extent of civil liberties, the use of violence, and the distortion of truth.
The labour organisations in this building were also involved in the Mount Isa Strike of 1964/1965 when the Qld Trades and Labour Council, representing unionists at the mine, came into conflict with Mount Isa Mines management over bonus payments. The Communist Party was also involved to a lesser degree through union officials and members who were members of the Communist Party.
From 1 January 1954 Remington Rand Charters Pty Ltd leased most of the ground floor and part of the first floor of the building. They had a showroom of typewriters and business machines in the banking chamber, a workshop at the rear, and accounting branch offices upstairs connected by a stairs to the banking chamber. A partition in the corridor divided them from the other tenants. Remington Rand vacated the building early in the 1970s, then for several years ex-employees continued to work from the building. The ground floor has remained vacant since these workshops closed in the late 1970s.
About 1962 - 1963, the toilets on the first floor were altered to divide the single male toilet into male and female toilets. This became necessary after the introduction of a Federal award which, after some 60 years, again allowed women to work at the meatworks, and so women would be coming to the union offices in the building for their work tickets.
There were also apparently substantial wrought iron gates in the Flinders Street fence and at the Wickham Street entrance, which have all been removed.
During the VP50 Celebrations in 1995, a small ceremony was held in the building and a plaque presented recognising the service of the men and women of the Royal Australian Corps of Signals here during WWII.
Source: Queensland Heritage Register.
Baphomet (/ˈbæfoʊmɛt/; from Medieval Latin Baphometh, Baffometi, Occitan Bafometz) is a term originally used to describe an idol or other deity that the Knights Templar were accused of worshipping and that subsequently was incorporated into disparate occult and mystical traditions. It appeared as a term for a pagan idol in trial transcripts of the Inquisition of the Knights Templar in the early 14th century.[The name first came into popular English usage in the 19th century, with debate and speculation on the reasons for the suppression of the TemplarsSince 1856, the name Baphomet has been associated with a "Sabbatic Goat" image drawn by Eliphas Levi which contains binary elements representing the "sum total of the universe" (e.g. male and female, good and evil, etc.The name Baphomet appeared in July 1098 in a letter by the crusader Anselm of Ribemont: Sequenti die aurora apparente, altis vocibus Baphometh invocaverunt; et nos Deum nostrum in cordibus nostris deprecantes, impetum facientes in eos, de muris civitatis omnes expulimus. As the next day dawned, they called loudly upon Baphometh; and we prayed silently in our hearts to God, then we attacked and forced all of them outside the city walls. A chronicler of the First Crusade, Raymond of Aguilers, called the mosques Bafumarias. The name Bafometz later appeared around 1195 in the Occitan poems "Senhors, per los nostres peccatz" by the troubadour Gavaudan. Around 1250 a poem bewailing the defeat of the Seventh Crusade by Austorc d'Aorlhac refers to Bafomet. De Bafomet is also the title of one of four surviving chapters of an Occitan translation of Ramon Llull's earliest known work, the Libre de la doctrina pueril, "book on the instruction of children". Two Templars burned at the stake, from a French 15th-century manuscript. When the medieval order of the Knights Templar was suppressed by King Philip IV of France, on Friday October 13, 1307, Philip had many French Templars simultaneously arrested, and then tortured into confessions. Over 100 different charges had been leveled against the Templars. Most of them were dubious, as they were the same charges that were leveled against the Cathars and many of King Philip's enemies; he had earlier kidnapped Pope Boniface VIII and charged him with near identical offenses of heresy, spitting and urinating on the cross, and sodomy. Yet Malcolm Barber observes that historians "find it difficult to accept that an affair of such enormity rests upon total fabrication".The "Chinon Parchment suggests that the Templars did indeed spit on the cross," says Sean Martin, and that these acts were intended to simulate the kind of humiliation and torture that a Crusader might be subjected to if captured by the Saracens, where they were taught how to commit apostasy "with the mind only and not with the heart". Similarly Michael Haag suggests that the simulated worship of Baphomet did indeed form part of a Templar initiation ritual. The indictment (acte d'accusation) published by the court of Rome set forth ... "that in all the provinces they had idols, that is to say, heads, some of which had three faces, others but one; sometimes, it was a human skull ... That in their assemblies, and especially in their grand chapters, they worshipped the idol as a god, as their saviour, saying that this head could save them, that it bestowed on the order all its wealth, made the trees flower, and the plants of the earth to sprout forth."The name Baphomet comes up in several of these confessions. Peter Partner states in his 1987 book The Knights Templar and their Myth, "In the trial of the Templars one of their main charges was their supposed worship of a heathen idol-head known as a 'Baphomet' ('Baphomet' = Mahomet)."The description of the object changed from confession to confession. Some Templars denied any knowledge of it. Others, under torture, described it as being either a severed head, a cat, or a head with three faces.The Templars did possess several silver-gilt heads as reliquaries,including one marked capud lviiim,another said to be St. Euphemia,and possibly the actual head of Hugues de Payens. The claims of an idol named Baphomet were unique to the Inquisition of the Templars.Karen Ralls, author of the Knights Templar Encyclopedia, argues that it is significant that "no specific evidence [of Baphomet] appears in either the Templar Rule or in other medieval period Templar documents."Gauserand de Montpesant, a knight of Provence, said that their superior showed him an idol made in the form of Baffomet; another, named Raymond Rubei, described it as a wooden head, on which the figure of Baphomet was painted, and adds, "that he worshipped it by kissing its feet, and exclaiming, 'Yalla,' which was," he says, "verbum Saracenorum," a word taken from the Saracens. A templar of Florence declared that, in the secret chapters of the order, one brother said to the other, showing the idol, "Adore this head—this head is your god and your Mahomet."Modern scholars such as Peter Partner and Malcolm Barber agree that the name of Baphomet was an Old French corruption of the name Muhammad, with the interpretation being that some of the Templars, through their long military occupation of the Outremer, had begun incorporating Islamic ideas into their belief system, and that this was seen and documented by the Inquisitors as heresy.Alain Demurger, however, rejects the idea that the Templars could have adopted the doctrines of their enemies. Helen Nicholson writes that the charges were essentially "manipulative"—the Templars "were accused of becoming fairy-tale Muslims." Medieval Christians believed that Muslims were idolatrous and worshipped Muhammad as a god, with mahomet becoming mammet in English, meaning an idol or false god. This idol-worship is attributed to Muslims in several chansons de geste. For example, one finds the gods Bafum e Travagan in a Provençal poem on the life of St. Honorat, completed in 1300.In the Chanson de Simon Pouille, written before 1235, a Saracen idol is called Bafumetz.
Alternative etymologies
Knights Templar Seal representing the Gnostic figure Abraxas. While modern scholars and the Oxford English Dictionary state that the origin of the name Baphomet was a probable Old French version of "Mahomet",alternative etymologies have also been proposed.In the 18th century, speculative theories arose that sought to tie the Knights Templar with the origins of Alchemy.Bookseller, Freemason and Illuminatus [33] Christoph Friedrich Nicolai (1733–1811), in Versuch über die Beschuldigungen welche dem Tempelherrenorden gemacht worden, und über dessen Geheimniß (1782), was the first to claim that the Templars were Gnostics, and that "Baphomet" was formed from the Greek words βαφη μητȢς, baphe metous, to mean Taufe der Weisheit, "Baptism of Wisdom". Nicolai "attached to it the idea of the image of the supreme God, in the state of quietude attributed to him by the Manichaean Gnostics", according to F. J. M. Raynouard, and "supposed that the Templars had a secret doctrine and initiations of several grades" which "the Saracens had communicated ... to them." He further connected the figura Baffometi with the pentagram of Pythagoras:
What properly was the sign of the Baffomet, 'figura Baffometi,' which was depicted on the breast of the bust representing the Creator, cannot be exactly determined ... I believe it to have been the Pythagorean pentagon (Fünfeck) of health and prosperity: ... It is well known how holy this figure was considered, and that the Gnostics had much in common with the Pythagoreans. From the prayers which the soul shall recite, according to the diagram of the Ophite-worshippers, when they on their return to God are stopped by the Archons, and their purity has to be examined, it appears that these serpent-worshippers believed they must produce a token that they had been clean on earth. I believe that this token was also the holy pentagon, the sign of their initiation (τελειας βαφης μετεος).
Émile Littré (1801–1881) in Dictionnaire de la langue francaise asserted that the word was cabalistically formed by writing backward tem. o. h. p. ab, an abbreviation of templi omnium hominum pacis abbas, 'abbot' or 'father of the temple of peace of all men.' His source is the "Abbé Constant", which is to say, Alphonse-Louis Constant, the real name of Eliphas Levi.
Hugh J. Schonfield (1901–1988),one of the scholars who worked on the Dead Sea Scrolls, argued in his book The Essene Odyssey that the word "Baphomet" was created with knowledge of the Atbash substitution cipher, which substitutes the first letter of the Hebrew alphabet for the last, the second for the second last, and so on. "Baphomet" rendered in Hebrew is בפומת; interpreted using Atbash, it becomes שופיא, which can be interpreted as the Greek word "Sophia", meaning wisdom. This theory is an important part of the plot of the novel The Da Vinci Code.
Joseph Freiherr von Hammer-Purgstall
Joseph von Hammer-Purgstall (1774-1856) associated a series of carved or engraved figures found on a number of supposed 13th century Templar artifacts (such as cups, bowls and coffers) with the Baphometic idol.
In 1818, the name Baphomet appeared in the essay by the Viennese Orientalist Joseph Freiherr von Hammer-Purgstall, Mysterium Baphometis revelatum, seu Fratres Militiæ Templi, qua Gnostici et quidem Ophiani, Apostasiæ, Idoloduliæ et Impuritatis convicti, per ipsa eorum Monumenta "Discovery of the Mystery of Baphomet, by which the Knights Templars, like the Gnostics and Ophites, are convicted of Apostasy, of Idolatry and of moral Impurity, by their own Monuments"), which presented an elaborate pseudohistory constructed to discredit Templarist Masonry and, by extension, Freemasonry. Following Nicolai, he argued, using as archaeological evidence "Baphomets" faked by earlier scholars[citation needed] and literary evidence such as the Grail romances, that the Templars were Gnostics and the "Templars' head" was a Gnostic idol called Baphomet.
His chief subject is the images which are called Baphomet ... found in several museums and collections of antiquities, as in Weimar ... and in the imperial cabinet in Vienna. These little images are of stone, partly hermaphrodites, having, generally, two heads or two faces, with a beard, but, in other respects, female figures, most of them accompanied by serpents, the sun and moon, and other strange emblems, and bearing many inscriptions, mostly in Arabic ... The inscriptions he reduces almost all to Mete[, which] ... is, according to him, not the Μητις of the Greeks, but the Sophia, Achamot Prunikos of the Ophites, which was represented half man, half woman, as the symbol of wisdom, unnatural voluptuousness and the principle of sensuality ... He asserts that those small figures are such as the Templars, according to the statement of a witness, carried with them in their coffers. Baphomet signifies Βαφη Μητεος, baptism of Metis, baptism of fire,or the Gnostic baptism, an enlightening of the mind, which, however, was interpreted by the Ophites, in an obscene sense, as fleshly union ... the fundamental assertion, that those idols and cups came from the Templars, has been considered as unfounded, especially as the images known to have existed among the Templars seem rather to be images of saints.
Hammer's essay did not pass unchallenged, and F. J. M. Raynouard published an "Etude sur 'Mysterium Baphometi revelatum'" in Journal des savants the following year. Charles William King criticized Hammer saying he had been deceived by "the paraphernalia of ... Rosicrucian or alchemical quacks,"[43] and Peter Partner agreed that the images "may have been forgeries from the occultist workshops." At the very least, there was little evidence to tie them to the Knights Templar—in the 19th century some European museums acquired such pseudo-Egyptian objects,[citation needed] which were catalogued as "Baphomets" and credulously thought to have been idols of the Templars.
Eliphas Lévi
Androgyne of Heinrich Khunrath, Amphitheatrum Sapientiae Aeternae.
Later in the 19th century, the name of Baphomet became further associated with the occult. Eliphas Levi published Dogme et Rituel de la Haute Magie ("Dogma and Rituals of High Magic") as two volumes (Dogme 1854, Rituel 1856), in which he included an image he had drawn himself which he described as Baphomet and "The Sabbatic Goat", showing a winged humanoid goat with a pair of breasts and a torch on its head between its horns (illustration, top). This image has become the best-known representation of Baphomet. Lévi considered the Baphomet to be a depiction of the absolute in symbolic form and explicated in detail his symbolism in the drawing that served as the frontispiece:
The goat on the frontispiece carries the sign of the pentagram on the forehead, with one point at the top, a symbol of light, his two hands forming the sign of occultism, the one pointing up to the white moon of Chesed, the other pointing down to the black one of Geburah. This sign expresses the perfect harmony of mercy with justice. His one arm is female, the other male like the ones of the androgyne of Khunrath, the attributes of which we had to unite with those of our goat because he is one and the same symbol. The flame of intelligence shining between his horns is the magic light of the universal balance, the image of the soul elevated above matter, as the flame, whilst being tied to matter, shines above it. The beast's head expresses the horror of the sinner, whose materially acting, solely responsible part has to bear the punishment exclusively; because the soul is insensitive according to its nature and can only suffer when it materializes. The rod standing instead of genitals symbolizes eternal life, the body covered with scales the water, the semi-circle above it the atmosphere, the feathers following above the volatile. Humanity is represented by the two breasts and the androgyne arms of this sphinx of the occult sciences.
Witches' Sabbath
Lévi's depiction of Baphomet is similar to that of The Devil in early Tarot. Lévi, working with correspondences different from those later used by S. L. MacGregor Mathers, "equated the Devil Tarot key with Mercury," giving "his figure Mercury's caduceus, rising like a phallus from his groin."
Lévi believed that the alleged devil worship of the medieval Witches' Sabbath was a perpetuation of ancient pagan rites. A goat with a candle between its horns appears in medieval witchcraft records, and other pieces of lore are cited in Dogme et Rituel.
Le Diable, from the early eighteenth century Tarot of Marseilles by Jean Dodal.
Below this figure we read a frank and simple inscription—THE DEVIL. Yes, we confront here that phantom of all terrors, the dragon of the all theogenies, the Ahriman of the Persians, the Typhon of the Egyptians, the Python of the Greeks, the old serpent of the Hebrews, the fantastic monster, the nightmare, the Croquemitaine, the gargoyle, the great beast of the Middle Ages, and—worse than all these—the Baphomet of the Templars, the bearded idol of the alchemist, the obscene deity of Mendes, the goat of the Sabbath. The frontispiece to this ‘Ritual’ reproduces the exact figure of the terrible emperor of night, with all his attributes and all his characters.... Yes, in our profound conviction, the Grand Masters of the Order of Templars worshipped the Baphomet, and caused it to be worshipped by their initiates; yes, there existed in the past, and there may be still in the present, assemblies which are presided over by this figure, seated on a throne and having a flaming torch between the horns. But the adorers of this sign do not consider, as do we, that it is a representation of the devil; on the contrary, for them it is that of the god Pan, the god of our modern schools of philosophy, the god of the Alexandrian theurgic school and of our own mystical Neoplatonists, the god of Lamartine and Victor Cousin, the god of Spinoza and Plato, the god of the primitive Gnostic schools; the Christ also of the dissident priesthood.... The mysteries of the Sabbath have been variously described, but they figure always in grimoires and in magical trials; the revelations made on the subject may be classified under three heads—1. those referring to a fantastic and imaginary Sabbath; 2. those which betray the secrets of the occult assemblies of veritable adepts; 3. revelations of foolish and criminal gatherings, having for their object the operations of black magic.
Lévi's Baphomet, for all its modern fame, does not match the historical descriptions from the Templar trials, although it may also have been partly inspired by grotesque carvings on the Templar churches of Lanleff in Brittany and
Saint-Merri in Paris, which depict squatting bearded men with bat wings, female breasts, horns and the shaggy hindquarters of a beast,[unreliable source] as well as Eugène Viollet-le-Duc's vivid gargoyles that were added to Notre-Dame de Paris about the same time as Lévi's illustration.[citation needed]
Goat of Mendes
Banebdjedet
Lévi called his image "The Goat of Mendes", possibly following Herodotus' account that the god of Mendes—the Greek name for Djedet, Egypt—was depicted with a goat's face and legs. Herodotus relates how all male goats were held in great reverence by the Mendesians, and how in his time a woman publicly copulated with a goat. E. A. Wallis Budge writes,
At several places in the Delta, e.g. Hermopolis, Lycopolis, and Mendes, the god Pan and a goat were worshipped; Strabo, quoting (xvii. 1, 19) Pindar, says that in these places goats had intercourse with women, and Herodotus (ii. 46) instances a case which was said to have taken place in the open day. The Mendisians, according to this last writer, paid reverence to all goats, and more to the males than to the females, and particularly to one he-goat, on the death of which public mourning is observed throughout the whole Mendesian district; they call both Pan and the goat Mendes, and both were worshipped as gods of generation and fecundity. Diodorus (i. 88) compares the cult of the goat of Mendes with that of Priapus, and groups the god with the Pans and the Satyrs. The goat referred to by all these writers is the famous Mendean Ram, or Ram of Mendes, the cult of which was, according to Manetho, established by Kakau, the king of the IInd dynasty.Historically, the deity that was venerated at Egyptian Mendes was a ram deity, Banebdjedet (literally Ba of the lord of djed, and titled "the Lord of Mendes"), who was the soul of Osiris. Lévi combined the images of the Tarot of Marseilles Devil card and refigured the ram Banebdjed as a he-goat, further imagined by him as "copulator in Anep and inseminator in the district of Mendes".
Aleister Crowley
The Baphomet of Lévi was to become an important figure within the cosmology of Thelema, the mystical system established by Aleister Crowley in the early twentieth century. Baphomet features in the Creed of the Gnostic Catholic Church recited by the congregation in The Gnostic Mass, in the sentence: "And I believe in the Serpent and the Lion, Mystery of Mysteries, in His name BAPHOMET."[55]
In Magick (Book 4), Crowley asserted that Baphomet was a divine androgyne and "the hieroglyph of arcane perfection": Seen as that which reflects. "What occurs above so reflects below, or As above so below" The Devil does not exist. It is a false name invented by the Black Brothers to imply a Unity in their ignorant muddle of dispersions. A devil who had unity would be a God... 'The Devil' is, historically, the God of any people that one personally dislikes... This serpent, SATAN, is not the enemy of Man, but He who made Gods of our race, knowing Good and Evil; He bade 'Know Thyself!' and taught Initiation. He is 'The Devil' of The Book of Thoth, and His emblem is BAPHOMET, the Androgyne who is the hieroglyph of arcane perfection... He is therefore Life, and Love. But moreover his letter is ayin, the Eye, so that he is Light; and his Zodiacal image is Capricornus, that leaping goat whose attribute is Liberty. For Crowley, Baphomet is further a representative of the spiritual nature of the spermatozoa while also being symbolic of the "magical child" produced as a result of sex magic. As such, Baphomet represents the Union of Opposites, especially as mystically personified in Chaos and Babalon combined and biologically manifested with the sperm and egg united in the zygote. Crowley proposed that Baphomet was derived from "Father Mithras". In his Confessions he describes the circumstances that led to this etymology: I had taken the name Baphomet as my motto in the O.T.O. For six years and more I had tried to discover the proper way to spell this name. I knew that it must have eight letters, and also that the numerical and literal correspondences must be such as to express the meaning of the name in such a ways as to confirm what scholarship had found out about it, and also to clear up those problems which archaeologists had so far failed to solve ... One theory of the name is that it represents the words βαφὴ μήτεος, the baptism of wisdom; another, that it is a corruption of a title meaning "Father Mithras". Needless to say, the suffix R supported the latter theory. I added up the word as spelt by the Wizard. It totalled 729. This number had never appeared in my Cabbalistic working and therefore meant nothing to me. It however justified itself as being the cube of nine. The word κηφας, the mystic title given by Christ to Peter as the cornerstone of the Church, has this same value. So far, the Wizard had shown great qualities! He had cleared up the etymological problem and shown why the Templars should have given the name Baphomet to their so-called idol. Baphomet was Father Mithras, the cubical stone which was the corner of the Temple.
Modern interpretations and usage
The Devil in the Rider-Waite tarot deck.
Lévi's Baphomet is the source of the later Tarot image of the Devil in the Rider-Waite design. The concept of a downward-pointing pentagram on its forehead was enlarged upon by Lévi in his discussion (without illustration) of the Goat of Mendes arranged within such a pentagram, which he contrasted with the microcosmic man arranged within a similar but upright pentagram. The actual image of a goat in a downward-pointing pentagram first appeared in the 1897 book La Clef de la Magie Noire by Stanislas de Guaita. It was this image that was later adopted as the official symbol—called the Sigil of Baphomet—of the Church of Satan, and continues to be used among Satanists.Promotional poster for Léo Taxil, Les Mystères de la franc-maçonnerie dévoilés (1886), adapts Lévi's invention. Baphomet, as Lévi's illustration suggests, has occasionally been portrayed as a synonym of Satan or a demon, a member of the hierarchy of Hell. Baphomet appears in that guise as a character in James Blish's The Day After Judgment.[citation needed] Christian evangelist Jack T. Chick claimed that Baphomet is a demon worshipped by Freemasons,a claim that apparently originated with the Taxil hoax. Léo Taxil's elaborate hoax employed a version of Lévi's Baphomet on the cover of Les Mystères de l'Alchimie dévoilés, his lurid paperback "exposé" of Freemasonry, which in 1897 he revealed as a hoax intended to ridicule the Catholic Church and its anti-alchemic propaganda. In 2014 The Satanic Temple commissioned an 8 1/2 foot statue of Baphomet to stand alongside a monument of the Ten Commandments at Oklahoma State Capitol, citing "respect for diversity and religious minorities" as reasons for erecting the monument. After the Ten Commandments monument was vandalized plans to erect the Baphomet statue were put on hold as the Satanic Temple did not want their statue to stand alone by the Oklahoma capitol. The Oklahoma Supreme Court declared all religious displays illegal and on 25 July 2015 the statue was erected near a warehouse in Detroit, as a symbol of the modern Satanist movement. The Satanic Temple may take the statue to Arkansas where another 10 Commandments monument is proposed. Baphomet appears in Dungeons & Dragons as a powerful demon lord, and is also known as the "Horned King", or the "Prince of Beasts". Baphoment is followed by minotaurs and other savage creatures. He desires the end of civilizations so all creatures may embrace their most basic, brutal instincts. He is described as a massive, black minotaur, with blood around his mouth and red eyes. He wears an iron crown topped with the heads of his enemies, along with spiked armor. He wields a huge glaive, named "Heartcleaver", but commonly fights with his hooves, claws, and horns. He rules of the 600th layer of The Abyss, known as the "Endless Maze", and is the sworn enemy of Yeenoghu, another demon lord.
Warkworth Castle in Northumberland is forever associated with the Percy Earls of Northumberland but the site did not start with them. Indeed there is some mystery over who first built it and when. Located on a tight bend in the River Coquet and about a mile from the sea, the castle sits on the neck of this land which means that the enclosed space becomes an outer ward with the river as its moat on three sides. The medieval church and modern village now occupy the bend.
As an easy to defend site, close to the English/Scottish border, the speculation is that it may have had some sort of fortification well before the present building but this is now elusive - especially so if the first fortification was of mere earth and timber. Henry, son of King David I of Scotland, was granted the site around 1139 AD and he, in turn, granted salt pans to various local monks. As the new Earl of Northumberland the old guide book speculates that he either built the first castle or he improved an existing motte and bailey with new stone walls; the guide book certainly notes ‘Norman’ foundations at various points in the current building. A castle certainly exists in documents of 1157 AD.
King John of England confirmed the castle to Robert of Clavering in 1199 AD. Robert spent much time in the area as Sheriff of Northumberland and was gifted other local estates. He is thought to have built the main gateway, some of the walls and improved the Great Hall. He may also have built or improved the keep but this work has since vanished under the large and luxurious later Percy building. The Claverings held the castle but such was its importance that royal troops were also garrisoned here at times - at the king’s expense - due to the Scottish wars. In 1322 the constable of the castle sent 26 light horsemen (hobilars) to join the English army. The Scots were beaten off in 1327 and again the following year when Robert The Bruce besieged it.
The last Clavering male died in debt in 1332 and the castle eventually passed to Henry, the second Lord Percy of Alnwick. He improved the gatehouse and walls and may have added the Grey Mare’s Tail tower on the eastern side. From this time onwards Warkworth was the second castle home of the Percys and much favoured by them. The third Percy lord was a great soldier in the 100 Years War in France and was created Earl of Northumberland in 1377 before winning the battles of Otterburn and Homildon Hill against the Scots.
Sometime during this period extensive building work was carried out by the Percys with the keep on the motte being rebuilt as a sumptuous and comfortable building with decent accommodation, ample water management and drainage. It even had a very modern feature - a light well extending down the centre of the building to draw in both light and fresh air. For the ‘grim north’ this was a very princely home.
However after supporting Henry IV’s 1399 coup against Richard II, the Percys fell out with King Henry and rebelled - leading to executions and a period of disgrace. During this time Warkworth was attacked by a royal army with gunpowder artillery and it surrendered after seven discharges of the royal cannons. It is thus the first British castle to be successfully attacked by artillery despite the claims of nearby Bamburgh Castle.
John, Duke of Bedford held the castle for 11 years before it was returned to the next Percy - Henry, Earl of Northumberland. He was drawn into disputes with the junior Nevilles (the Earls of Salisbury and Warwick) but was supported by the senior Nevilles, the Earls of Westmoreland, who had their own issues with the junior Nevilles. Inevitably all this was mostly about money and inheritance. It paved the way to private battles between these families BEFORE the so-called Wars of the Roses. Indeed the first Battle of St Albans in 1455 may be more of a Mafia-style ‘hit’ as the Yorkists were lead by the three Richards (York, Salisbury and Warwick) and the principal dead were the Duke of Somerset, Henry Percy and a Percy kinsman, Lord Clifford.
The castle passed into Yorkist hands and - at various times - the Earl of Warwick directed sieges at Alnwick, Bamburgh and Dunstanburgh using Warkworth as his base. Warwick’s brother John Neville was given the castle and the earldom of Northumberland for a time but Edward IV eventually returned it to Henry Percy, the 4th Earl of Northumberland. John Neville was thus ‘downgraded’ to 1st Marquis of Montague and was thoroughly alienated by this action, leading to John joining his brother Warwick in rebellion against Edward IV. Warkworth’s Montague Tower is probably his work.
The 4th Percy earl carried out some work in his own right. One oddity is that a collegiate church was planned right in front of the keep which would have cut the keep off from the rest of the inner bailey. We know this as the present church foundations contain a tunnel which would have passed under the massive building to allow access to the keep from the bailey. However the guide book suggests the church was never finished and that the foundation crypts were partly buried and then became used for storage.
Henry the 4th earl became infamous for not supporting King Richard III at Bosworth in 1485. He then managed to get himself killed by the locals at Cocklodge in 1489 and is now buried in Beverley Cathedral. Later Percys got involved in the 16th century religious conflicts in England and none of them came out of it well. One even got involved in the Gunpowder Plot against the new Protestant King James I of England. One footnote is that King James visited Warkworth in this period and found it ruined and overrun by goats and sheep in every chamber. Some of his party went into the castle and were: “Much moved to see it so spoiled and so badly kept”.
Later Percys favoured Alnwick over Warkworth and it was one of these (now a Duke) who turned the site over to the future Ministry of Public Building and Works in 1922. It is now an English Heritage site and well worth a visit.
Strathalbyn.
A Special Survey of 4,000 acres was taken out along the Angas River in 1839 for George Hall (secretary to Governor Gawler) and William Mein and others. Land was surveyed from the mouth of the Angas along the river to about where Macclesfield is now situated. Other contributors to the Mouth of the Angas Special Survey were Strathalbyn settlers including: 806 acres purchased by Dr John Rankine, Blackwood Park; 166 acres purchased by William Rankine, Glenbarr; 410 acres purchased by Donald McLean; 81 acres purchased by Edward and Charles Stirling of Hampton and later the Lodge. William and Nicol Mein kept 728 acres for themselves but George Hall (who kept about 930 acres) was a Colonial Office employee with an eye on speculation. He also paid £4,000 for the Great Bend Special Survey along the River Murray from Morgan to Blanchetown but it was claimed this was taken for Governor Gawler but in Hall’s name to avoid scandal! But the land was not worth £1 per acre! The Meins were graziers and also took out Occupational Licenses for leasehold land in 1843. They were Scots so they donated £600 for the building fund for the Presbyterian Church in Adelaide in 1840. But in 1843 they dissolved a business partnership in Adelaide and they appear to have left the colony perhaps to join their relatives in NSW. Meins did not stay on to become Strathalbyn pioneers unlike the Rankines, McLeans and Stirlings. The other prominent early founder was William Dawson- hence the creek flowing in front of Glen Barr is the Dawson Creek which enters the Angas River in Strathalbyn. Dawson Banks is another of the grand old properties in Strathalbyn.
Stirlings chose their land to the north of the town and built Hampden and the Lodge; John Rankine chose his land to the north of the town and built Blackwood Park whilst brother William Rankine chose land to the south on Dawson Creek and built Glenbarr house. The first public building in the fledgling town of Strathalbyn was the Strathalbyn Hotel erected in 1840 and the second was probably St. Andrews Presbyterian Church which opened in 1844 with additions in 1869. As most of the settlers were Scottish the name chosen for the town was Scottish and the first church was Presbyterian. The first farmer to produce a crop was David Gollan. His interest in wheat led him to open the first flour mill in 1850 in the centre of the town. Mill Bridge adjacent to the flourmill bridged the Angas River. As the town progressed quickly a local council was formed in 1854 with the Stirlings, Rankines and Archibald McLean (investor in Langhorne Creek) being among the first councillors. The Stirlings were especially important to Strathalbyn. Edward Stirling (the father) joined into a partnership with (Sir) Thomas Elder and Robert Barr Smith in 1855. Stirling stayed with the company as it funded the Moonta and Wallaroo copper mines in 1861 then he withdrew but remained as an investor in the mines. The company went on to become Elder Smith and Co the most successful SA 19th century company. Edward Stirling had two sons, (Sir) Edward Stirling a famed surgeon who lived at St. Vigeans at Stirling and (Sir) Lancelot Stirling, local Member of Parliament for the Strathalbyn district, sheep and cattle breeder and company director. The Stirlings lived in the family home Hampden until it burnt down around 1870. Then they moved into the Lodge which was extended and remained the family home for Sir Lancelot Stirling after his father Edward died in 1873. Lancelot lived there until he died in 1932. The Stirlings of Strathalbyn also owned and operated Nalpa Station on Lake Albert. The Lodge is now the centre of a new suburban development at Strathalbyn.
From the beginning Strathalbyn prospered because of its access to water from the Angas River, its reliable rainfall, its genial climate for cropping and from the patronage of its wealthy founders. The town was laid out in 1840 and blocks sold at that time. The discovery of silver, lead and zinc at nearby Wheal Ellen mine in 1857 further boosted the growing town. The mine closed a short time later but re-opened in 1869 and operated until closure in 1888. It briefly re-opened from 1910-14 for the last phase. Until recently Strathalbyn had another zinc mine conducted by Terramin Mining which started operations in 2007. The zinc from here was sent to Nyrstar refinery at Port Pirie for smelting. The mining occurred 360 metres below the ground surface. The mine had a life of five years and closed in late 2013 ending the jobs of 115 local people. But Strathalbyn has always had a range of local industry. A foundry operated in the town from the mid 1850s as well as the usual businesses of blacksmith, saddlery etc, and the town handled coach services to Wellington via Langhorne Creek from around 1854. It was also one of the first towns in SA to have its own gas works started by David Trenouth in 1868. By 1870 the small urban centre of Strathalbyn had gas street lights! The gas works operated until 1917 when an electrical service took over power provision. From an early date Strathalbyn also had its own newspaper and printing press the Southern Argus housed in Argus House which was built 1867/68. The Southern Argus which is still published, is SA’s oldest country newspaper. In 1912 it established an offshoot - the Victor Harbor Times. In terms of transportation and the transport of goods Strathalbyn prospered as it was the terminus of the horse drawn tram service from Port Elliott and Goolwa in 1869. That is why the Terminus Hotel is so named. In 1884 that line was converted to a broad gauge rail line for steam engines and linked at Mt Barker with the line to Adelaide. Strathalbyn had a flour mill from 1850 as noted above and in the 1860s the town had its own brewery. The heyday of business boom for Strathalbyn was in the 1860s and 1870 when so many of the fine town buildings were erected. Heritage buildings are shown on map above and they include:
Commercial Street/Dawson Street.
•At the northern end of Commercial Street on the corner with North Parade is the Doctor’s Residence. 26 North Parade. Dr Herbert built a grand 8 roomed residence here in 1858. Dr Ferguson purchased it in 1869 and added and altered the verandas. Dr Shone bought it in 1897. Dr Formby took it over in 1907 and kept it until he sold it to Dr Fairley in 1979! Note the double chimneys and the ogee(S shaped) gutters above the bay windows and the 1850s French windows.
•On the northern end of Commercial Street is the Wesleyan Methodist Church which was built in 1874. It replaced the demolished Methodist church built in 1854. Built of random stone, semi rounded windows etc. It became the only Methodist church at the time of Methodist amalgamations in 1900 .It closed around the time of amalgamation with the Presbyterians and Congregationalists in 1977. The Hall was added in 1939.
•Blackwell House, 18 Commercial Street. A two storey bluestone structure from the 1860s. It was much altered in 1912 when the parapet along the roof was removed, the slate replaced with iron and the upper balcony added.
•The former Power House 1917 –when gas works closed. Became Council Chamber 1939 when ETSA arrived.
•Coleman Mill store. Fine stone building with few windows. Built 1864. Coleman bought the mill from Gollan.
•1850 flour mill which was sold to Laucke’s in 1938. Commercial Rd and Mill Street an imposing four storey structure. Note the four storeys, purple sandstone, and little windows.
•Beside the mill is Water Villa house. The earliest part dates from 1849 and the Italianate bay window sections are 1879. David Gollan the owner of the 1850 flour mill built this as his residence. It is a mixture of stones. Note the French doors in the old original part of the house onto the veranda.
•Argus House, 1868. 33 Commercial Street. It was a print works and residence and shop.
•Post Office 1911. 37 Commercial Street.
•Savings Banks of South Australia. A fine two storey structure for the bank and manager’s residence. Built in 1930. It has rough stone, prominent gables, repeating arches, wooden doors, and terra cotta tiles.
•Church of Christ. Opened in 1873.Limestone walls, arched windows.
•Masonic Hall built in 1896 but Lodge established 1866.Additons 1912 and 1957.
Rankine Street/Albyn Terrace.
•Strathalbyn Police Station (1855) and Court House (1865) now the National Trust Museum.
•National Bank 2 Albyn Terrace. Squared stone blocks, two storeys and a dominant building. Elaborate porch and balcony and decorative window surrounds etc. Erected in 1869. Nearby Norfolk Island pine was planted in 1895.
•Tucker & Sons solicitors at 8 Albyn Terrace. Have a look at all the shops along Albyn Terrace a great 19th century streetscape still largely intact. It was used in the film “Picnic at Hanging Rock.”
High Street.
•London House general store at 7 High Street 1867. Now an antiques shop. Cobb and Co used to use the stables at the rear for the daily coaching service to Adelaide. London House had the first telephone in Strathalbyn in 1883.
•Robin Hood hotel erected in 1855 and still standing. 18 High Street.
•The Strathalbyn library 9 High Street. Opened 1922 with a classical façade with good symmetry.
•The Town Hall at 11 High Street. 1874 opened as a two storey stone structure with fancy parapet as an institute building. The parapet is supported by paired brackets.
Other locations- Chapel Street, East Terrace and South Terrace.
•St. Andrews Uniting Church (formerly Presbyterian) 1844 for main church with transept added 1857. Manse erected 1854. 1869 tower completed, bell donated by Edward Stirling. Clock installed 1895. Church hall on the opposite corner was built in 1911.
•Former Primitive Methodist Church 1861 was sold to the Anglican Church as a church hall in 1901 following the Methodist amalgamation. It was sold to the Foresters Lodge in 1912(when Anglicans purchased the former Catholic Church) and much later it as sold to the Scouts.
•St. Barnabas Catholic Church 2 Chapel Street. This was a late addition to Strathalbyn being erected in 1913. But Catholic services began in 1881 when a Catholic church was consecrated in Rowe St. The first priest arrived in 1906. A presbytery as built 1911 in East Tce and then church two years later. The 1881 church was sold in 1913 as Anglican parish hall called St. Barnabas. It is on the corner of Rowe and Murray street.
•Christ Church Anglican Church 7 East Terrace. The tower on Christ Church was erected from donations on the death of Sir Lancelot Stirling in 1932. The tower opened in 1933 but the church was built in 1871.
•Railway Station on South Terrace erected 1883 in time for opening of broad gauge line to Adelaide and start of branch line trains to Milang from Sandergrove siding.
•Two storey residence attached to Rowe’s foundry in South Terrace. Britannia House as it is known was built in 1855.
The Challenger crewmember remains are being transferred from 7 hearse vehicles to a MAC C-141 transport plane at the Kennedy Space Center's Shuttle Landing Facility for transport to Dover Air Force Base, Delaware. The STS-51L crew consisted of: Mission Specialist, Ellison S. Onizuka, Teacher in Space Participant Sharon Christa McAuliffe, Payload Specialist, Greg Jarvis and Mission Specialist, Judy Resnik. In the front row from left to right: Pilot Mike Smith, Commander, Dick Scobee and Mission Specialist, Ron McNair.
As we investigate the reasoning of the STS-107 breakup, we cannot ignore the horrible fate of the crew. Here is an account of the final moments of not only the Columbia, but the Challenger crew.
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Was Columbia in reentry LOS at the time of breakup?
No. Both voice communication and data telemetry were still being received right up to the breakup of Columbia. Unlike previous manned programs - Mercury, Gemini and Apollo, as well as the Russian Soyuz vehicles - the Shuttle does not have a loss-of-signal phase during reentry. The reason is actually pretty simple.
First off, understand that the blackout period is caused by a sheath of ionized air, formed during the high-heating, high-deceleration phase of re-entry, through which radio waves cannot penetrate. This is what every manned flight from Mercury thru Apollo experienced, and provided much of the suspense and drama during the reentry phase of John Glenn's Friendship 7 Mercury flight. Even the Shuttle experienced the same effect during its early flights.
The communications loss due to the blackout period was resolved after the second Tracking Data and Relay Satellite (TDRS) was placed in orbit. The reason is that the ionization sheath is open at the trailing end behind the Shuttle, providing a hole through which communication with the shuttle can be maintained with the favorably positioned TDRS. This second TDRS also allows communication during the other portions of entry that did not exist prior to its placement in 1988 - a period roughly from the time of the de-orbit OMS burn to an altitude of 200,000 feet for a landing at Edwards Air Force Base, barring passes over ground sites.
So, with two functioning TDRS satellites in operation, communications with the Shuttle can be maintained throughout the entire reentry phase of the mission.
What happened to the crew when Columbia broke up?
Actually, it's better to speculate on the fate of the crew cabin, and then decide for yourself what probably happened to the crew.
Once the cabin tore loose from the rest of the fuselage and all electrical power was lost, the cabin was probably hammered, buffeted and braked by atmospheric drag as it continued its re-entry. The cabin would have been heated by the surrounding shock-induced plasma, and as G-forces built up the integrity of the heat-weakened aluminum infrastructure would have been compromised and the cabin would eventually collapse in on itself. Some fragmentation would have no doubt taken place, and pieces would have broken loose and fallen behind and below the cabin's path as they slowed down quicker in the atmospheric drag.
This speculation is based on some of the findings of the investigation into the loss of Challenger in 1986. As with Columbia, the initial impressions on the fate of the Challenger crew was that they had perished instantly when the shuttle came apart a minute after launch. However, when the crew cabin was found relatively intact a few months later did it become apparent that the cabin had in fact separated cleanly from the fuselage, continued on a parabolic arc to an altitude of ~65,000 feet, and then fell back to impact in the Atlantic Ocean with a force of 200 G’s. Even then, the cabin was still relatively intact despite hitting the surface of the ocean with that degree of force.
When the cabin broke loose from the rest of Challenger, it became separated from all electrical and life support resources. Save for a few seconds of air in the lines, very shortly after separation the crew would have been without any life support. Upon recovery it was found that the state of some life-support equipment indicated that at least some of the crew had survived the initial breakup were able to activate their safety equipment. Three of the four Personal Egress Air Packs (PEAP) located behind each seat on the Shuttle had in fact been activated. However, because the crew were not wearing any sort of pressure suits, the PEAPs would not have provided the required amount of breathable air necessary to retain consciousness at the altitudes the cabin reached. The team of coroners and medical specialists that performed the autopsies of the remains concluded that that the crew were soon all unconscious shortly after the cabin began its final arc of transit, and were most likely not killed until the impact with the ocean, two minutes after the External Tank exploded.
It should be noted that since the loss of Challenger, many of the contingency plans were revised extensively. As a result, Columbia’s crew were equipped with better survival gear, including pressure suits and personal parachutes. Assuming they were conscious of the emergency, the Columbia crew would have closed their visors when cabin pressure was lost, which would have automatically pressurized the suits. At that point, the only thing the crew would have needed to do would have been to wait until the cabin fell below 15,000', blow the escape hatch, extend the egress pole, slide out and away from the orbiter down the pole, and parachute to safety. This is how the procedure works in theory, and provided the cabin stayed relatively intact until 15,000'. Since this did not happen, it can be assumed that the cabin was compromised in such a way that the crew had no opportunity to attempt any sort of egress.
In Hemphill, searchers found what are believed to be human remains, and what appeared to be gauges and other Columbia components in a farmer's field on 2/10/03. Although no details were given on the human remains, over 100 pieces of debris ranging from gauges to switches and other components, many of which still had the wires attached to them. Remains that a hospital employee identified as charred torso, thigh bone and skull on a rural road near other unspecified debris in Hemphill, east of Nacogdoches. Remains identified as a charred human leg on a farm in Sabine County, about 50 miles (80 km) east of Nacogdoches.
"Elsewhere around Norwood, even grimmer discoveries were being made. Deputy Faron Howell was in charge of search teams that soon began stumbling across human remains.
"There was a hand, and a foot, then a leg from the knee down. One of my men found a human heart. The biggest piece was a torso, the upper bit with the chest ripped in half." A thigh bone and a skull, the flesh torn away, were also located."
The Unthinkable Fate of the Challenger Crew
The last words captured by the fight voice recorder in Challenger were not Commander Francis Scobee's haunting, "Go at throttle up." Three seconds later, Pilot Michael Smith uttered, "Uh oh," at the very moment that all electronic data from the spacecraft was lost.
The public has never heard the inflection of Smith's words, nor the ambient noise in the cabin that underscored them (you can read a transcript here). Despite the existence of evidence of what happened after Challenger's 73 seconds of flight, little of that reality is part of the public's consciousness, understanding, or recollection of the events of January 28, 1986. In part, this can be attributed to a justifiable desire to believe in a merciful outcome: that Christa McAuliffe and the shuttle astronauts all died instantly in what appeared from the ground to be an explosion. But like Smith's instinctive interjection, telltale signs exist that our worst nightmare about the Challenger disaster may have been true. It was very likely that the mid-air blast was not strong enough to kill the crew - and that at least some of the seven astronauts were terrifyingly aware of the impending fate.
More about Challenger
On July 28, 1986, Dr. Joseph P. Kerwin, director of Life Sciences at the Johnson Space Center, submitted his report on the cause of death of the Challenger astronauts. The crew module was found that March in 100 feet of water, about 18 miles from the launch site in a location coded "contact 67." While references to the crew were stricken from the report, details about the condition of the module provide many clues about the fate of the astronauts. Kerwin wrote that the cause of the crew's death was inconclusive, but that the force of the initial explosion was too weak to have caused death or even serious injury. This was a direct contradiction to NASA's standard line about the crew's fate, that they were vaporized in the explosion and suffered no further.
If the astronauts were not killed by the blast, then how long did they survive? Challenger as a whole was destroyed at 48,000 feet, but the crew module continued its flight upward for 25 more seconds (to 65,000 feet) before pitching straight down and falling into the Atlantic Ocean.
Evidence that at least some of the crew survived included the recovered personal egress air packs, or PEAPs, designed to provide oxygen to the crew in case they had to ditch the craft in a ground emergency. (NASA had no protocol for in-flight shuttle emergencies in 1986.) Each pack contained several minutes of breathing air, but the tanks had to be opened manually. Salvagers recovered four PEAPs; three of them had been opened. The one belonging to Michael Smith was mounted behind his seat, so it's likely another crewmember had leaned forward to activate it.
Kerwin and his experts theorized that the loss of cabin pressure inside the module could have knocked out the crew within a matter of seconds, but damage from the 200-mph impact made determining the rate of depressurization impossible. The air from the PEAPs would not be enough to keep the crew conscious during a rapid drop in pressure. But a rapid drop in pressure would likely have ripped up the middeck floor, which did not occur. A slow or gradual drop in pressure would keep the crew conscious much longer, and the impact at the bottom of that tumble was harsher on the crew's bodies than any car or plane crash would have been.
In either scenario, it is likely that some - if not all - of the crew were awake and coherent after the disintegration of Challenger, and were conscious long enough to feel the module pitch its nose straight down, to see the blue sky in the cockpit window rotate away in favor of the continent below, and to experience a weightless free fall toward the ocean that lasted a full two minutes and 55 seconds. It is a horrifying scenario so extreme that it's unlikely that even 25 more years will be enough to contemplate it objectively.
For now, many still choose to believe that the men and women aboard the Challenger didn't survive the explosion and were unaware that their loved ones on the ground were watching them descend in a plume of smoke to their deaths. Perhaps that belief holds some truth. Or perhaps, it simply serves to bring some peace to the earthbound souls left in the wake of the Challenger's loss.
Challenger was one of NASA's greatest successes - but also one of its darkest legacies.
It was initially built between 1975 and 1978 to be a test vehicle, but was later converted into a fully fledged spacecraft.
In its heyday, it completed nine milestone missions - from launching the first female astronaut into space to taking part in the first repair of a satellite by an astronaut.
But it was also the vehicle that very nearly ended the space program when a probe into the 1986 disaster found that the shuttle was doomed before it had even taken off.
Roger Boisjoly, a NASA contractor at rocket-builder Morton Thiokol Inc, warned in 1985 that seals on the booster rocket joints could fail in freezing temperatures.
'The result would be a catastrophe of the highest order — loss of human life,' he wrote in a memo.
On the eve of the ill-fated flight, Boisjoly and several colleagues reiterated their concerns and argued against launching because of predicted cold weather at the Kennedy Space Center.
But they were overruled by Morton Thiokol managers, who gave NASA the green light.
After the accident, Boisjoly testified to a presidential commission investigating the Challenger accident.
The group determined that hot gases leaked through a joint in one of the booster rockets shortly after blastoff that ended with the explosion of the shuttle's hydrogen fuel.
Boisjoly died in 2012 aged 73.
HOW CREW DIED ACCORDING TO NASA STUDY
(The following information appeared on the NASA Headquarters Website.)
On July 28, 1986 Rear Admiral Richard H. Truly, NASA's Associate Administrator for Space Flight and a former astronaut, released this report from Joseph P. Kerwin, biomedical specialist from the Johnson Space Center in Houston, Texas, relating to the deaths of the astronauts in the Challenger accident. Dr. Kerwin had been commissioned to undertake this study soon after the accident on January 28, 1986. A copy of this report is available in the NASA Historical Reference Collection, History Office, NASA Headquarters, Washington, DC.]
****************************************************************
RADM Richard H. Truly
Associate Administrator for Space Flight
NASA Headquarters
Code M
Washington, DC 20546
Dear Admiral Truly:
The search for wreckage of the Challenger crew cabin has been completed. A team of engineers and scientists has analyzed the wreckage and all other available evidence in an attempt to determine the cause of death of the Challenger crew. This letter is to report to you on the results of this effort. The findings are inconclusive. The impact of the crew compartment with the ocean surface was so violent that evidence of damage occurring in the seconds which followed the explosion was masked. Our final conclusions are:
·the cause of death of the Challenger astronauts cannot be positively determined;
·the forces to which the crew were exposed during Orbiter breakup were probably not sufficient to cause death or serious injury; and
·the crew possibly, but not certainly, lost consciousness in the seconds following Orbiter breakup due to in-flight loss of crew module pressure.
Our inspection and analyses revealed certain facts which support the above conclusions, and these are related below: The forces on the Orbiter at breakup were probably too low to cause death or serious injury to the crew but were sufficient to separate the crew compartment from the forward fuselage, cargo bay, nose cone, and forward reaction control compartment. The forces applied to the Orbiter to cause such destruction clearly exceed its design limits. The data available to estimate the magnitude and direction of these forces included ground photographs and measurements from onboard accelerometers, which were lost two-tenths of a second after vehicle breakup.
Two independent assessments of these data produced very similar estimates. The largest acceleration pulse occurred as the Orbiter forward fuselage separated and was rapidly pushed away from the external tank. It then pitched nose-down and was decelerated rapidly by aerodynamic forces. There are uncertainties in our analysis; the actual breakup is not visible on photographs because the Orbiter was hidden by the gaseous cloud surrounding the external tank. The range of most probable maximum accelerations is from 12 to 20 G's in the vertical axis. These accelerations were quite brief. In two seconds, they were below four G's; in less than ten seconds, the crew compartment was essentially in free fall. Medical analysis indicates that these accelerations are survivable, and that the probability of major injury to crew members is low.
After vehicle breakup, the crew compartment continued its upward trajectory, peaking at an altitude of 65,000 feet approximately 25 seconds after breakup. It then descended striking the ocean surface about two minutes and forty-five seconds after breakup at a velocity of about 207 miles per hour. The forces imposed by this impact approximated 200 G's, far in excess of the structural limits of the crew compartment or crew survivability levels.
The separation of the crew compartment deprived the crew of Orbiter-supplied oxygen, except for a few seconds supply in the lines. Each crew member's helmet was also connected to a personal egress air pack (PEAP) containing an emergency supply of breathing air (not oxygen) for ground egress emergencies, which must be manually activated to be available. Four PEAP's were recovered, and there is evidence that three had been activated. The nonactivated PEAP was identified as the Commander's, one of the others as the Pilot's, and the remaining ones could not be associated with any crew member. The evidence indicates that the PEAP's were not activated due to water impact.
It is possible, but not certain, that the crew lost consciousness due to an in-flight loss of crew module pressure. Data to support this is:
·The accident happened at 48,000 feet, and the crew cabin was at that altitude or higher for almost a minute. At that altitude, without an oxygen supply, loss of cabin pressure would have caused rapid loss of consciousness and it would not have been regained before water impact.
·PEAP activation could have been an instinctive response to unexpected loss of cabin pressure.
·If a leak developed in the crew compartment as a result of structural damage during or after breakup (even if the PEAP's had been activated), the breathing air available would not have prevented rapid loss of consciousness.
·The crew seats and restraint harnesses showed patterns of failure which demonstrates that all the seats were in place and occupied at water impact with all harnesses locked. This would likely be the case had rapid loss of consciousness occurred, but it does not constitute proof.
Much of our effort was expended attempting to determine whether a loss of cabin pressure occurred. We examined the wreckage carefully, including the crew module attach points to the fuselage, the crew seats, the pressure shell, the flight deck and middeck floors, and feedthroughs for electrical and plumbing connections. The windows were examined and fragments of glass analyzed chemically and microscopically. Some items of equipment stowed in lockers showed damage that might have occurred due to decompression; we experimentally decompressed similar items without conclusive results.
Impact damage to the windows was so extreme that the presence or absence of in-flight breakage could not be determined. The estimated breakup forces would not in themselves have broken the windows. A broken window due to flying debris remains a possibility; there was a piece of debris imbedded in the frame between two of the forward windows. We could not positively identify the origin of the debris or establish whether the event occurred in flight or at water impact. The same statement is true of the other crew compartment structure. Impact damage was so severe that no positive evidence for or against in-flight pressure loss could be found.
Finally, the skilled and dedicated efforts of the team from the Armed Forces Institute of Pathology, and their expert consultants, could not determine whether in-flight lack of oxygen occurred, nor could they determine the cause of death.
/signed/
Joseph P. Kerwin
"Exactly what happened..."
In February 2001 a visitor to my "Icarus Rising" site asked if I could tell her "exactly what happened" in the Challenger disaster. After chuckling for a moment over the fact that whole books have been written on that topic, I sat down and typed out for her the following summary of events, which is based upon my examination of print and video records of the disaster.
The extreme cold of the night before had chilled the rubber insulating O-rings in the right solid rocket booster's aft field joint (the joint near the SRB's lower supporting strut that attached it to the external fuel tank) well below their specified operating temperature. Because no shuttle had ever been launched in such cold weather, engineers at Morton Thiokol (the company that manufactures the boosters) had no data to say just what would happen in such conditions, although their examination of retrieved boosters from previous launches had led them to conclude that lower launch temperatures directly affected the O-rings' ability to seal the joints properly upon SRB ignition. This sealing failure was called "blow-by" and was indicated by evidence of hot gases from the firing of the SRBs having eroded the O-rings during flight. The lower the temperature, the greater the blow-by. In fact, one SRB used on a 1983 Challenger launch had actually sustained a complete O-ring failure resulting in hot gases escaping from the joint, but the moment of failure had occurred after the SRBs had separated from the external tank. If it had happened half a minute or so earlier, we would today be talking about the 1983 Challenger disaster. Nevertheless, Morton Thiokol engineers could not categorically say that the seal would fail if the shuttle were launched in sub-freezing temperatures, only that it might, and so their "no-go" recommendation was overruled by Morton Thiokol managers, who in turn gave the "go" to NASA managers. In fairness to those who approved the launch, evidence of "blow-by" had been observed during launches when the air temperature was as high as 73 degrees, and they argued that "blow-by" appeared to happen no matter what the temperature was (of course, this should have been taken as evidence that the entire O-ring and joint configuration needed to be redesigned anyway).
When the SRBs were ignited at liftoff on January 28, both the primary and the secondary O-rings at the right SRB's aft field joint failed as engineers had feared they would. Evidence of this failure took the form of high-speed video images that showed seven discrete puffs of dark black smoke emanating from the area of the right SRB's aft field joint during the first two seconds after liftoff. However, the leak apparently sealed itself after that, probably plugged by debris from burned fuel and the failed O-ring seals.
This temporary plug appeared to stay in place for the next 56 seconds until the shuttle entered the zone of maximum dynamic pressure, called Max Q, during which shuttles ordinarily experience increased atmospheric stress as they climb toward orbit (later data showed that the stress Challenger endured that day was greater than on any previous launch but still within design specifications). At 58 seconds after launch, however, long-range video showed a flicker appearing in the area of the right SRB's aft field joint and quickly expanding to a continuous plume of flame; the stress of going through Max Q coupled with the throttling up of the shuttle's main engines apparently had broken the debris plug at the joint, allowing a 6,000 degree flame to escape through the side of the booster. The slip stream caused by the shuttle's nearly 1,500 mile-per-hour speed deflected the plume toward the SRB's lower supporting strut and the external fuel tank. The increasing loss of chamber pressure in the right SRB due to the leak caused the shuttle's guidance system to compensate for the loss of thrust on the right side by swiveling the shuttle's engines and the SRBs' nozzles in an attempt to keep Challenger on course. At 66 seconds after liftoff, data showed a significant loss of fuel pressure from the external tank to the main engines, indicating a growing hydrogen fuel leak, which fed the growing flame from the right SRB's failed joint. By this time the SRB's supporting strut had been severely weakened by exposure to the flame, as had the surface of the external tank. At 70 seconds after liftoff, long-range video showed a circumferential leak of hydrogen gas about a third of the way up on the external tank, indicating that the hydrogen innertank had failed. A bright, sustained glow also appeared between the external tank and the underside of the shuttle. At 72 seconds, data showed extreme movement of the right SRB relative to the left booster and the shuttle, indicating that the lower supporting strut had broken away completely.
At this point several simultaneous events occurred that resulted in the destruction of the shuttle. Probably at the same time that the SRB supporting strut failed, the lower third of the external tank fell away, releasing the hydrogen innertank's remaining load of liquid hydrogen. This release propelled the upper part of the hydrogen innertank upward into the liquid oxygen tank above it. At about the same moment, the right SRB pivoted around its remaining upper strut, its nose cone smashing into the top of the external tank. This resulted in the release of all of the remaining liquid hydrogen and oxygen fuel, which vaporized instantly in the thin atmosphere nine miles up. This sudden fuel vaporization produced what appeared to be a fireball or fiery explosion but was really a combination of reflected sunlight, radiance from the brightness of the SRBs' exhaust nozzles and some local burning of gases within the expanding vapor cloud. Because of the right SRB's pivoting around its upper attachment, its motion suddenly pointed Challenger to the left, with the result that the shuttle was no longer pointed in the same direction that it was flying. The resulting aerodynamic stress from this "broadside" effect at nearly 2,000 miles per hour was more than the shuttle was built to withstand, and the forward part of the shuttle broke away from the payload bay. The nose of the shuttle became separated from the crew cabin, the steering rockets in the nose releasing their fuel in an explosive burn. The rest of the shuttle, its forward end suddenly opened like a tube to the supersonic wind, blew apart from the inside out. All of this happened within the space of a second or so. Contrary to initial speculation, there was no actual explosion (in spite of Tom Brokaw's citing of scientists at the time who likened the force of the "explosion" to that of "a small nuclear blast"); what we saw was the dramatic vaporization of Challenger's liquid fuel in the thin atmosphere as the shuttle broke up under severe aerodynamic stress. Challenger was not blasted to pieces by an explosion; it was blown apart by aerodynamics.
The crew cabin's momentum after the breakup quickly carried it upward to an altitude of around twelve miles before aerodynamics and gravity slowed its ascent and the cabin began the long fall to the ocean. What happened to the crew after the breakup and during the fall will never be fully answered. When the cabin broke away from the rest of the shuttle, it lost all its electrical power and oxygen supplies. If the cabin depressurized due to the breakup, then the crew would have quickly begun losing consciousness due to lack of oxygen. The fact that three out of four recovered PEAPs (Personal Egress Air Packs) had been activated and partially used indicates that at least some of the crew survived the breakup long enough to take some action to try to stay alive. Their having turned on the PEAPs does not prove that the cabin lost pressure but does show that at least some of the crew, all of whom were wearing air-tight flight helmets, believed that pressure had been lost or was being lost (otherwise, the packs wouldn't have been activated). If the cabin indeed lost pressure after the breakup, then the crew in all likelihood lost consciousness, although the short time between breakup and the cabin's impact with the ocean means that, barring cardiac arrest, they were alive but unconscious when the cabin hit the water. If, on the other hand, the cabin maintained its pressure, then they were likely alive and awake until the end. A third possibility is that the cabin depressurized at the altitude of shuttle breakup but repressurized as it fell into the denser atmosphere near sea level, which raises the nightmarish possibility that the astronauts passed out after the breakup only to regain consciousness in time to see the ocean's surface racing toward them at 200 miles per hour. Regardless of whether they were conscious or unconscious during the fall, any astronauts still alive died instantly upon impact with the ocean's surface. Damage to the cabin from its hitting the ocean's surface made it impossible to determine what damage, if any, had happened to the cabin during the breakup, which is why it's impossible to say just what happened to the crew during the fall. (The alleged "transcript" of the crew's fall to the ocean that has been published in tabloid magazines and on some Internet sites is only a hoax.)
Based on an archer from the west pediment of Temple of Aphaia now in Munich, 2019, marble stucco on PMMA (acylic), egg tempera, tin, wood, and gold foil, 96 x 77 x 55 cm, created by Vinzenz Brinkmann and Ulrike Koch-Brinkmann (Liebieghaus Skulpturensammlung, Frankfurt am Main, property of the Städelscher Museums-Verein e.V.)
I leave these speculations to others. It’s quite possible that my work represents a search for beauty in the most prosaic and ordinary places. One doesn’t have to be in some faraway dreamland in order to find beauty. Saul Leiter
Kodak Portra 160 120 Film
Tetenal Colortec C-41
Pre wash 5 mins at dev temp 38.5Deg
Dev 3.15 mins - invert 2 times every 30 secs
Blix 4 mins - invert 2 times every 30 secs
Wash 4 mins - Change water every 30 secs
Stabiliser 1 mins - invert 2 times every 30 secs
Wash 5 mins to clear residue of chemicals
Reconstruction of the Small Herculaneum Woman, 2019, marble stucco on plaster cast, egg tempera, and gold foil 185 x 56 x 65 cm, created by Vinzenz Brinkmann and Ulrike Koch-Brinkmann (Liebieghaus Skulpturensammlung Frankfurt, on permanent loan from Johann Wolfgang Goethe-Universität, Frankfurt am Main)
Ethiopian Prime Minister Meles Zenawi has died at the age of 57, state media say, after weeks of speculation about his health.
On the picture:
In a filthy clinic, Balto has his left leg in a bamboo split that serves as a cast. His family and his cows have come to keep him company. He is lying on the ground, surrounded by fodder for the animals and by a stifling smoke coming from the fire that his wife is using to cook.
“I was walking peacefully in my field when soldiers began shooting at me for no reason… I was shot with a bullet in my knee. I was lucky, that day 11 people were killed and the soldiers threw four of their bodies off a bridge. They were eaten by hyenas, we only found their bones…”
For security reasons, i cannot show his face, even if he asked me to.
As Meles Zenawi has passed away, things may change, but i 'm not so sure as the government had months to prepare the next step...
© Eric Lafforgue
I am the Storm
60 x 90 cm
Glass, beads, tiles, amethyst, stoneware, mirror, nuggets, TG, crockery and paper
Wedi backing
Grouted in dark lilac
The Great Goddess is not only the giver of life, she also takes it away. She is warmth, sustenance, shelter... she is storms, earthquakes, destruction. Mother Nature is not always gentle and kind - once unleashed, her rage is both awe inspiring and terrifying.
This mosaic shows one of her less peaceful aspects. Here, she is the storm. She is driving the storm, the storm is driving her. But she is also spinning out of control - no one can control the power of the storm, not even she herself. No one knows where its going or where the pieces will fall once it has blown itself out.
The swirls of the storm incorporate pictures of some of the scary, crazy, amazing, wonderful, terrible influences currently pulling our world in different directions. Whether the influences are for good or bad is a matter of opinion, where it will end a matter of speculation, but I know I'm not alone in feeling frightened. The storm however isn't frightened, she just is. Her face is an island of calm in the centre of all the surrounding chaos, she looks serene and joyous - who doesn't love a good storm?
The pictures within the mosaic are not in any particular symbolic order of up/down, right/left, good/bad, dark/light... I placed them where they fitted in best according to the colour of the mosaic.
On the top left hand side there's a picture of a cockroach. Cockroaches are not usually seen as forces for good, but I put it here as a hopeful image. It represents the life force in every living being. You often hear that after a nucular war the only suvivors would be the cockroaches - apparently that is not based on fact, but I do believe, if the worst comes to the worst and we manage to wipe out all of humankind and probably a large number of the other inahbitants of Earth while we're at it... I belive that life will continue in some form or other. And if its the cockroaches who survive, good for them.
Below that is the sun... from which we get warmth, light, vitamin D, solar flares, skin cancer, global warming... it shows us that behind the clouds of even the fiercest storm, the sun will still be shining. Admittedly it might take a while for it to get through after a nucular Winter, but it will be there.
Starting from the centre of the dark upper swirl the first image is of Angela Merkel, Chancellor of Germany. I see her as an island of sanity and stability in the current political landscape. I think we should have far more women in postions of power, and btw, women are entitled to being just as falible as men are. I also think that a strong and united Europe is a very desirable thing in these times of shifting power balances. The world would probably be a better place if we had more politicians like Angela Merkel running things.
The next picture is of a woman wearing a niqab, standing for equal rights, obviously. But also against Islamophobia - I purposly chose a woman with a slightly challenging expression. I'm amazed at how much agression and fear a picture like this will often provoke. I once had a fascinating conversation with a women who wears a veil in public. She is articulate, intelligent, and has a great sense of humour. She wears a veil by choice because it is part of her culture and part of her belief system. I still object deeply to cultures that force women (or men) to cover up whatever parts of their anatomy - ours too! Free the nipple! But hating and fearing individuals because they are different is not the solution. So the niqab itself and the reactions to it disturb me about equally.
The next one is Malala - no need for explaination, right? A force for good against unbelievable odds, and an inspiration to us all. If she can still stand up fearlessly for what is right, after all she's been through, surely we can persevere and turn these current developments around!
Next up is a bunch of newspapers. They're from the UK in this case, but they stand for the press in general, all over the world. Some people think that journalists need to be controlled and persecuted... some think they should be free to write what they want about whatever they want. Some people think they always lie, some people think they're in the pockets of various interest groups. Its funny, I feel that in the last half year or so, journalists have moved from being shifty blighters who we need to keep a good eye on, to definitely absolutely being the good guys, a major defence against totalitarian regimes everywhere. This is a classic case of only appreciating something once you might loose it... Free press , please oh please lets keep free press!
Putin. What can I say? I do not like what is happening over there one little bit. I'd really rather not find out what he is working towards.
And on the right hand point of the upper swirl we have Trump. I was worried this mosaic would end up centered too much on the US, because the problems and challenges facing us are global. But lets face it, this mosaic was concieved and inspired by his election and his actions ever since. So yes, it is US centric.
Following the swirl, we come to the Pope. I am highly suspicious of organised religion, religious fundamentalism is resonsable for so much intollerance and hate the world over. So its very interesting that I included the heads of two major organised religions on this mosaic as forces for good. This current pope impresses me no end.
Next is a picture of two hands holding onto prison bars, sybolising lack or loss of basic freedoms for far too many people around the world, and fear that this will increase if things continue the way they seem to be headed now. Don't get me started on for profit prisons! How could that ever be a good idea???
To the left of the Goddess' arms we have the Damai Lama, the second religious leader on this mosaic. He was delt a very difficult hand and has against all odds become a figure who is rightfully admired and revered all the world over. I'm taking Tibet to represent anexed or supressed countries and peoples. China has a lot to answer for in this case and is certainly also observing current global developments with great interest.
Left of the Dalai Lama is a pile of books. Knowledge, or rather lack of it, is the root of many of the more sinister current trends. The books here are old, because knowledge and understanding of our past helps us understand the present and may help us shape the future.
The final image on this swirl is a selection of News outlet logos - representing free press again, but also internet comunication. It has never before been easier to get information on any topic whatsoever, it has proabably never been harder to suppress information either, or to spread false information... it has also never been harder to sift through all the information and try to decide what is true and what is fake. For better or worse, this is technology shaping our world today.
On the right hand side of the Goddess' hair there is a picture of some demonstrators in pussy hats from the women's marches in the US. It is inspiring to see people going out and standing up peacefully for what they believe to be right. Not only in the US, I had pictures of peaceful demonstrations from all over the place, but picked this one because... well: pussy hats, they are cool. Lets hope there are enough people who will continue to do so, that people will be legally allowed to do so... and that it will make a difference.
The blue streak at the hight of her naval, from left to right: First off a LGBT rainbow fist. Equal rights for all... lets hope these rights will not be eroded in the US and that more people all over the world will be able to live and love freely the way they want. Although right now, in too many places, it seems to be going in the other direction.
The next picture is one of the boats in the Mediterranean full of refugees from Syria. It was very hard to choose some of these pictures, and this one, while I was sticking glass to it, then grouting and polishing the tess, I was aware that every little dot on that picture is a human being who has been through horrors I don't even want to imagine. These here are the "lucky" ones, the ones who made it to the Mediterranean and who were sighted before their boat capsized - if anyone who has to flee their country can ever be considered lucky.
The third picture in this row is a group of test tubes/flacons - science, knowledge, research, a blessing or a curse? On the one hand I am deeply in favour of scientific peer reviewed studies as a mothod for gaining knowledge on any subject you care to name. Research should be as independant as possible, but at the same time it is very expensive and can also lead to enormous profits. Letting the free market decide on prices for drugs - for instance - is evidently not a good idea. And don't get me started on for profit health care. That is rather a lot for a couple of test tubes to stand in for though, isn't it?
To the right of her navel there is a puddle of water covered by a film of oil. The colours are beautiful... oil-contaminated water not so much. Renewable energy sources, anyone?
Next is a picture of a whale, just because. These creatures are so fascinating, we know so little about them, and who knows if they'll even last long enough for us to learn more.
The final image in this row is Brexit - another shocking and unexpected vote, another "where on earth is this all going to end?" moment. Buckle up, because like it or not, we're going to find out.
The light strip of clouds from left to right: The first picture is of a bundle of banknotes, because so much nowadays comes down to money - lack of it, wanting more of it, having too much of it. Plenty of studies show that higher income inequality reduces the quality of life for both the haves and the have nots, but at the same time income inequality is increasing at an alarming rate all over. Go figure.
To the left of her knees is a "coexist" sign. I have nothing against any religions or beliefs, so long as they also respect mine. For goodness' sake just live an let live, why is this so hard?
Too much of religion seems to be about hating, suppressing and controling others.
To the right of her knees there's an image of five interlinking hands with five different skin colours. What goes for religion also goes for skin colour... live and let live, we're all in this together. Unfortunatey racism isn't just going to dissapper anytime soon.
The next one is more of the same: The black power sign, another inspiring instance of people standing up for their rights. Its nowhere near where it should be, work in progress... And like so much else here, in the current political climate, things will likely get worse before they get better.
Finally, an archve picture of an atomic mushroom cloud. Too many atomic bombs are in the hands of people who are too trigger happy by far. I don't even want to think about it. But unfortunately I do.
The last Swirl by her feet, starting from the right and working inwards: The first image is one of the most chilling to me. It is of a perfectly nice US family posing with their guns. Seriously, I just don't get the thing Americans have for guns. I live in a country where many housholds have a gun - but locked away for use in the case of war, not paraded around on a Sunday afternoon picknick!
The next is a Polar bear... who may soon become extinct because of global warming and the melting of the ice caps.
To the right of her feet is a lovely picture representing another whole mixture of politics and
religion, a conflict with no end in sight, which can stand for many more similar situations all over the world.
To the left of her feet: A wolf. Wolves are coming back to Switzerland after having been extinct here for many years, which is very cool. Then there are people who don't want them to make a comeback and keep shooting them. The kind of story that is playing out in many places around the world..
The picture right on the left of this swirl is one of the protestors of Standing Rock, a man on a horse facing a line of tanks. The outcome was sadly expected and disapointing, but what a heartwarming show of solidarity and pride in their heritage. People all over the world were rooting for them. Renewable energy sources, anyone?
Going on down: The Chinese Wall - standing in for all kinds of walls built between all kinds of boundries. History doesn't seem to show this to be a particularly successful way of going about things, but hey, people keep on trying.
The next image is of parched earth. Global warming, floods, draught... Is access to clean drinking water a right or a privelege? Will the earth be able to sustain an ever growing population?
The next is another very nasty picture: a sea turtle caught in piece of plastic. The amount of plasic in our oceans in horrendous, and that is another thing that is likely to get worse before it might one day hopefully get better.
The last image on this swirl is a tank. Because war. I don't want to live through one if at all possible. I'm sure a great many other people don't want to either. I expect people living in a war zone would really like it to stop. There are absolutley things worth fighting for... but lets try to work towards less wars, yeah?
The very last picture on the bottom left hand side is a small dandelion working its way through asphalt. Isn't it amazing how you can have six feet of concrete, and somewhere underneath there is a little seed just patiently waiting to work its way through? Life cannot be contained.
There are speculations that the cows can see their fate via dream.
Before they are sacrificed, they are often given a bath.
.... Artist, Michel de Broin's 'One Thousand Speculations', a 7.9 metre / 25 foot in diameter ball made up of 1,000 mirrors .... the world's largest mirror ball
Speculative apartment developments such as these at Xian are typical of modern China. A massive building boom has caused every city to be surrounded by tower blocks built on borrowed money. The problem is that there are far more apartments than buyers/renters and vast numbers stand empty whilst yet more are built nearby. I can only see this ending in some sort of financial collapse in the building industry in China. For now it provides employment for thousands, probably millions.
At The Garden of Cosmic Speculation.
Dumfries, 2012.
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images of a new 'construct,' basically by-products of my mental design exploration, not sure what to tag these with exactly
Only the speculation about their relationship status, then the fuss about her ex-husband Rafael van der Vaart (32) and his wild womanizing: Sylvie Meis (37) is currently in the focus of the media. But the situation does not seem to bring calm she appears relaxed with her best friend in a lux...
www.newerfeed.net/sylvie-meis-spend-time-in-a-comfortable...
As I was approached by adifferentminifigure I want to state that this is only speculation. Please do not threaten them in any way because of unfounded speculation, as this is morally inacceptable. Some of the renders and printing look very similar to Cyclopsbrick's renders and printing which lead me and a few other people to this speculation.