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Out with a friend in the sunny Peak District this morning!!
Looks like some stubble burning going on here - interesting how the smoke has been trapped by the air above..!
Elsa has been deboxed. She is inserted in the base, but is without her cape.
I got the Beast Kingdom MC-005 Elsa 1/4 Scale Figure from Big Bad Toy Store today (Wednesday October 3, 2018). She is made from resin, has an excellent paint job, and stands 15 inches tall to the top of her head, or 16.5 inches to the top of her raised hand, or 18 inches tall on her stand. The base is 9.5 inches in diameter and 1 1/4 inches thick, with a non skid bottom. There is a silver plaque on the base which has the Edition number, 291, which is also on a separate Certificate of Authenticity. But there is no indication of the Edition size.
She is in her iconic Let It Go pose, same as the Maquette and many other figures. She comes in three parts, her body and dress, her cape, and the base. She has to be inserted into the base to stand, and the cape is inserted into her back. She is very stable on the base. There is silver glitter on her bodice and the snowflake and icicle patterns in her cape, and it does shed a little. She is a very accurate and very beautiful depiction of Snow Queen Elsa.
I show her being deboxed, then on the base without her cape, and finally fully assembled with her cape on.
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Product Features
1/4 scale
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Elsa of Arendelle 1/4 scale statue
More images at the manufacturer's Facebook page announcement of the figure:
Even without attending Open House this year, I took a lot of shots during September. THis these are the shots from the sixth out of seven churches I visited on the Saturday of the Heritage Weekend, with Elham to follow in due course. But on top of these there are then the shots from the day I spent on the Marsh with John Vigar, seven more that day, and then the six Suffolk, one Essex and one Norfolk church from my road trip to Fakenham a couple of weeks back.
In short, there will be many more pictures of churches for at least a few weeks, maybe a couple of months.
Just to you know.
By now the Saturday of the heriage weekend was getting on, I left Alkham at about two, and drove along to Folkestone, up the M20 and then up the Elham Valley beyond Lyminge where the first signpost pointed across the valley and up the valley side.
This was the third time I had tried to get into St Martin, and depsite having been there before, I struggled to find it again.
The road turned then would along the top of the valley, with turn offs heading back down the valley having no signs. I thought I had gone through the village, when I did come to the welcome to Acrise sign.
Half a mile on was the crossroads, and so I knew down the gravel track to the right was the way to the church. I parked up, got the camera gear and followed a couple who were walking their dog down to the church. Sun streamed through the mature trees on either side, creating a green tunnel with the church at the end.
The church was much older than I remembered, I walked round to the porch and found the door open. In I went.
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An atmospheric church hidden away in the undergrowth of the `big house`. The large round headed windows are seventeenth century, and are filled with dark nineteenth century glass. The extraordinary chancel arch dates from the thirteenth century, but incorporates earlier deeply cut mouldings, assembled to create a unique and atmospheric piece. The manorial pew, complete with table dated 1758 and tiny eighteenth century schoolchildren's chairs, stands on the south side. The chancel was `very well restored` in the nineteenth century, and it is the character of that period that prevails at the east end.
www.kentchurches.info/church.asp?p=Acrise
t Martin’s Church, Acrise, dating back some 900 years, continues to retain the simplicity and atmosphere of its original early Norman construction. Comprised of a nave and chancel, topped by massive wooden tie beams and king posts, it lies quietly hidden from the road. Approached through an avenue of trees, rooks seemingly act as sentinels, protecting the small church and ancient yard they have chosen as their home.
Acrise owes its name to the abundance of oaks that grew on the high ground in the area – oak rise. There are still many old oak trees to be found within the parish, which even today has only a small population of around two hundred people. Listed in the Domesday Book (1086) as being held by Ansketel of Rots from Bishop Odo of Bayeaux, it comprised one manor, woodland and a church.
St Martin’s was probably built by Ansketel shortly after the Domesday entry and replaced an earlier Saxon church. Whilst much of the work is now hidden by later 14th century alterations, parts of original windows and priest’s door remain testimony to the early Norman origin.
The church was dedicated to the popular St Martin who was born in Hungary in 316AD, serving as a Roman army officer before turning to Christianity. Outside the town gates of Amiens he famously gave half his military cloak to a beggar in whom he saw Christ. Subsequently, in a dream, he saw Christ wearing the garment. Baptised, Martin devoted himself to promoting rural monasticism throughout Western Europe.
Records show that there was a painted image of St Martin within the church. This would have been a reminder to the medieval parishioners that ‘Martinmas’ (11th November) was a key time of the year, being the day for hiring new servants and salting meat for the winter. Some say that you can still see traces of the painting to the side of the chancel arch.
Numerous very striking wall monuments dating back to Elizabeth I illustrate a strong association with the families that lived locally and at the adjacent manor house, Acrise Place. Notably, the Papillons resided there for some two hundred years from 1666 – the year of the great fire of London They were intimately connected with St Martin’s and would have sat in the unusual box shaped ‘Squires pew’, present to this day.
The musicians’ gallery was restored in 1824 and although no record exists of when it was originally constructed, tiny chairs (circa 1805), still in use, remain from when it accommodated the Sunday school. A magnificently carved and painted Royal Coat of Arms (circa 1690), from the reign of William and Mary, hangs in front of the gallery.
Substantially unaltered since the 14th century, St Martin’s has played its part in the history of the last millennium but never more so than in 1214. Then it would probably have been the first church in the land to ring out its bells to mark the end of the Pope’s six long years of Interdict. King John, camped nearby on Barham Downs with an army of soldiers, awaited a French invasion. England had been ex-communicated for John’s refusal to appoint the Pope’s choice as Archbishop of Canterbury, with the consequence that priests were unable to christen, marry nor bury their flock.
The French king, Phillip, saw his opportunity to enter into a crusade and invade these shores. John thwarted the plan by offering the crown of England, in exchange for the lifting of the Interdict, to the Pope’s Legate at Hoad’s Farm, a mile distant from St Martin’s. Church bells rang out across the whole country at the news and undoubtedly, St Martin’s would have been the first to ring a peel.
It is only possible to touch briefly on the history of St Martin’s, with its roots stretching back to the last time England was conquered. It stood its ground in 1944, playing its part when Acrise was home to British, American and Canadian troops preparing for the D Day landings. St Martin’s continues to stand, unbowed, a tribute to the craftsmen that fashioned it all those centuries ago.
So come and walk up the tree-lined avenue, listen as the rooks chatter a welcome and enter through the door as countless generations have done before. Pause, reflect and step back into history.
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
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The Cirneco dell'Etna is a small breed of dog originally from Sicily. This hound was historically used to hunt rabbits and can work for hours without food or water.The breed also has a keen sense of smell and is primarily built for endurance over harsh terrain such as that of Mount Etna. It is the smallest of the Mediterranean island hunting hounds, the others being the Pharaoh Hounds and Ibizan Hounds.Today they are increasingly kept for the sport of conformation showing and as pets, due to their low coat maintenance and friendly nature, although as an active hound they do need regular exercise. A Cirneco should measure from 43-51 cm (17-20in) and weigh between 10–12 kg (22-26lb). As with other breeds, those from hunting stock can lie outside these ranges.
The Cirneco dell'Etna is a small hound-type dog used in Sicily for rabbit hunting. It is found all over the Italian island and particularly in the area surrounding the active volcano, Mount Etna,where the dogs hunt on terrain formed by volcanic lava. Its presence in Sicily is noteworthy as one of the few ancient breeds that have undergone very little manipulation by man. Instead, the breed has been rigorously selected by nature for its ability to work for hours. The dog we have today is an extremely hardy breed. Affectionate and friendly, it is considered easier to train than some of its sighthound cousins. The Cirneco has been in Sicily for thousands of years. Most authors agree that the origins of the hound-type dog lie among ancient Egyptian prick-eared dogs. Bas-reliefs discovered along the Nile and dated around 4000 B.C. depict what could be the Cirneco today. Most probably, the Phoenicians spread these prick-eared, hound-type dogs as they sailed along their trade routes between Northern Africa and the Mediterranean coasts. Ancient records of hounds with upright ears and a pointed muzzle are found in many countries in that part of the world. The most vivid proof of the presence of the Cirneco dell’Etna in Sicily for at least the past 2500 years is the many coins minted between the 5th and 3rd centuries B.C. depicting exemplars of the breed. In particular, the Cirneco dell’Etna is used on coins minted at Segesta, with about 150 variations. In 400 B.C., Dionysus was said to have built a temple dedicated to the God Adranos on the south-western slope of the volcano, just outside the city of Adrano. Many dogs were bred there and legend claims that a thousand Cirnechi guarded the temple.The Cirneco was rarely seen and little known outside Sicily until 1932. Now Cirnechi have also been exported to many European countries where their elegant conformation has helped make them a success in the show ring and many have become FCI International Show Champions. The dog's affectionate temperament and adaptability make it an excellent family companion.
El cirneco del Etna es una raza de perro oriunda de Sicilia. Este tipo de lebrel de pequeño tamaño forma parte de un conjunto de razas caninas del Mediterráneo cuyo origen se encuentra en Egipto, y entre las que se encuentra el podenco Ibicenco. Se trata de un perro adaptado a terrenos difíciles, apto para la caza de conejos y liebres.Los machos miden entre 46 y 50 cm, y pesan de 10 a 12 kg, y las hembras miden entre 42 y 46 cm, pesando de 8 a 10 kg. La cabeza es alargada y estrecha y el hocico afilado y puntiagudo, con un stop muy poco pronunciado. La trufa es de color marrón claro, y los ojos, pequeños, pueden ser ocre claro, ámbar o grises. Las orejas, erguidas, son triangulares y puntiagudas, y están implantadas altas. El lomo es recto y largo, y el pecho no demasiado amplio, con la musculatura pectoral poco desarrollada, al contrario que las patas, fuertes y con una musculatura bien desarrollada. La cola, implantada baja, es gruesa y de diámetro uniforme. El manto, de color tostado o tostado y blanco, tiene un pelaje corto y espeso en la cabeza, orejas y patas y liso y semilargo en el tronco y la cola.Su nombre puede proceder del de la antigua ciudad de Cirene, donde Aristóteles, en De natura animalium, dice haber visto un perro cuya descripción coincide con la de este.Aunque parece claro que la raza es autóctona de Sicilia, es posible que fuese anterior a la civilización egipcia, y que hubiese sido llevado al norte de África por los fenicios. Esta hipótesis se vería confirmada por la existencia de una estatuilla hallada cerca de Siracusa, datada alrededor del 4000 a.c.Se encuentran representaciones del cirneco en monedas sicilianas del siglo Vl al siglo III a.c., y parece que se le tenía en gran consideración, como demuestra el hecho de que en una de las monedas halladas en la antigua ciudad siciliana de Segesta se le represente junto a una divinidad fenicia con facciones humanas. Desde entonces las características de la raza han permanecido prácticamente inalteradas, gracias en gran medida a los campesinos, que conservaron su pureza criándolo por su utilidad para cazar en las pendientes del Etna, de lava solidificada y difícilmente accesibles.
Der Cirneco dell’ Etna ist eine von der FCI anerkannte italienische Hunderasse, die von der Insel Sizilien stammt (FCI-Gruppe 5, Sektion 7, Standard Nr. 199).Frühere Studien gingen davon aus, dass der Cirneco dell'Etna von Jagdhunden abstammt, die zur Pharaonenzeit im Niltal gezüchtet wurden. Der Cirneco dell'Etna sei dann mit den Phöniziern nach Sizilien gekommen. Neueste Untersuchungen unterstützen allerdings eine andere Theorie: Der Cineco dell'Etna stammt ursprünglich aus Sizilien und lebte an den Abhängen des Ätna. Münzen und Gravuren aus der römischen Epoche belegen, dass Hunde dieses Typs bereits vor Christi Geburt auf Sizilien vorkamen.
Der Cirneco dell'Etna ist mittelgroß (bis zu 50 cm und bis zu 12 kg schwer), quadratisch gebaut, schlank, aber dennoch widerstandsfähig und robust. Das Fell ist kurz, sehr glatt und fest. Dabei ist das Fell auf dem Rumpf und der Rute ungefähr 3 cm lang. Die Fellfarbe ist falbfarben, von intensiv bis verwaschen, wie isabell-sandfarben. Weiße oder gescheckte Exemplare können vorkommen; in der Regel weist der Cirneco dell'Etna jedoch nur geringe weiße Abzeichen auf.Die Ohren sind auffällig groß und stehend typisch wie auch bei den Podencos.Der Cirneco dell'Etna wird zur Jagd auf Wildkaninchen verwendet. Sein Verbreitungsgebiet umfasst vor allem die Region um den Ätna, an dessen Abhängen er die Kaninchen im Gebüsch und Geröll aufstöbert. Er treibt die Kaninchen aus ihren Verstecken hervor, so dass die Jäger zum Schuss kommen können.
Le Cirneco de l'Etna (Cirneco dell’Etna) est un chien originaire de Sicile. La Fédération cynologique internationale l'a répertorié dans le groupe 5, section 7, standard n° 199.
Cirneco de l'Etna.....Chien de type lévrier bien qu'il soit classé dans le groupe 5. Chien adapté aux terrains difficiles qui chasse le lapin sauvage.Chien de nationalité italienne primitif qui descendrait des chiens de l’époque des Pharaons. Mais il pourrait s’agir d’une race autochtone d’origine sicilienne.
O cirneco do Etna (em italiano: Cirneco dell’Etna) é uma raça quase desconhecida fora da Itália, já que permaneceu isolada na Sicília por praticamente 2 000 anos. Em 1939 foi reconhecida como raça. Comum aos cães de raças antigas, estes têm dificuldade de adaptação ao mundo urbano, pois precisam de constante atividade e são difíceis de adestrar, embora sejam vistos como animais muito fiéis. Podendo pesar até 12 kg, tem como peculiaridade as grandes orelhas largas e eretas, o longo pescoço e a cabeça estreita.
Сицилийская борзая или Чирнеко дель Этна — порода собак. Происходит с Сицилии. Изначально выращивалась для охоты на зайца. Классические исследования собачьих пород, распространенных в Средиземноморском регионе, пришли к заключению, что Чирнеко Дель Этна происходят от античных охотничьих собак, выведенных в долине Нила в эпоху фараонов, собак, получивших достигших Сицилии благодаря Финикийцам. Но согласно последним исследованиям получила одобрения теория, согласно которой эта порода имеет непосредственно сицилийское происхождение, зародившись в окрестностях Этны. Монеты и гравюры доказывают, что Чирнеки существовали в этом регионе за много веков до нашей эр Собака примитивного типа, элегантного и утонченного сложения, среднего размера, не громоздкая, сильная и крепкая. По морфологическому сложению — собака удлиненных линий, легкого сложения; квадратного формата; шерсть тонкая.
Охотничья собака, выведенная для охоты на кролика по сложной местности; обладает большим темпераментом, но в то же время мягкая и привязчивая.
Cirneco dell’etna on italialainen koirarotu. Se on vinttikoiran tyyppinen pystykorvainen, alkukantainen ja harvinainen rotu. Cirneco dell’etnan tarkka alkuperä jää hämärän peittoon, mutta se on hyvin vanha rotu ja muuttunut vuosisatojen saatossa vain vähän. Rotu on saanut olla melko rauhassa, ja vasta viime vuosina sen jalostukseen on puututtu.Rotu on nykyisin lähinnä seura- ja harrastekoira. Italiassa sitä käytetään yhä villikaniinien metsästykseen. Cirneco on nopea koira, ja ketteränä se pystyy vaihtamaan suuntaa nopeasti esimerkiksi metsästyksen aikana. Cirneco käyttää metsästäessään kuuloaan, näköään ja hajuaistiaan.Cirneco dell’etna on luonteeltaan temperamenttinen, eloisa, ystävällinen, iloinen ja leikkisä koira. Cirnecon leikkisyys säilyy yleensä vanhoihin päiviin asti. Cirneco on myös hyvin läheisyyttä rakastava koira, ja sen lempipaikka onkin yleensä kainalossa sohvalla tai peiton alla omistajansa vieressä. Cirneco kiintyy voimakkaasti perheeseensä ja tulee yleensä hyvin toimeen ystävällisenä ja lempeänä koirana kaikenikäisten ihmisten kanssa. Miellyttämisenhalua cirnecolla ei ole kovin paljon, joten ilman hyvää motivointikeinoa se ei välttämättä aina tottele ainakaan ensimmäisellä käskyllä. Cirnecolla on kuitenkin miellyttämisenhalua enemmän kuin yleensä vinttikoirilla. Cirneco tarvitsee johdonmukaisen ja määrätietoisen peruskasvatuksen.
Cirneco dell’etna on ikivanha rotu, jonka juuret johtavat 1000-luvulle ennen ajanlaskun alkua. Joidenkin mielestä se polveutuu Egyptin viimeisten dynastioiden faaraoiden koirista ja niistä koirista, joita foinikialaiset kauppiaat toivat Italiaan. Tutkimukset antavat aiheen olettaa, että se olisi Sisilian alkuperäisrotu. Cirneconnäköisiä korkokuvia on löydetty faaraoiden haudoista, mm. Luxorista ja Ben-Hassanista. Sisiliasta on myös löydetty 45 cm korkea luuranko, joka muistuttaa cirnecoa suuresti. Luuranko on paikallistettu vuoteen 1400 eaa. Nykyisin kyseinen luuranko on nähtävissä Pigorini-museossa Roomassa. Myös vanhoista Sisiliasta löytyneistä kolikoista on löydetty cirnecoa esittäviä koiran kuvia.
Il cirneco dell'Etna è un cane appartenente ad una razza molto antica, che ha subito poche manipolazioni nel corso dei secoli.Le origini del cirneco risalgono al 1000 a.C. Si dice che questa razza derivi dai cani dei Faraoni egiziani delle ultime dinastie e da cani importati in Sicilia dai commercianti fenici. Successivi studi hanno indicato che molto probabilmente il Cirneco è una razza autoctona siciliana.Il cirneco dell'Etna appartiene alla classe dei cani da caccia di tipo primitivo; è un animale molto veloce e per questo viene utilizzato soprattutto nella caccia al coniglio selvatico e alla lepre.Si presenta con una figura molto snella, con gambe lunghe, orecchie dritte e con un corpo muscoloso ma nello stesso tempo molto elegante. Ha un fiuto eccezionale ed è agilissimo nel cambiare direzione durante l'inseguimento della preda. Da notare che, sebbene l'aspetto del cirneco ricordi quello dei levrieri, non caccia a vista ma usa l'olfatto, come un cane da cerca; secondo la classificazione della Federazione Cinologica Internazionale (F.C.I.), tutti i cani appartenenti alla razza dei "levrieri" appartengono al 10º gruppo, mentre il cirneco è inserito nel 5º Gruppo, quello delle razze di tipo primitivo.Generalmente raggiunge l'altezza di 46-50 cm al garrese negli esemplari maschi, mentre le femmine misurano dai 42 ai 46. Il peso del maschio si aggira intorno ai 10-12 kg, mentre le femmine raggiungono gli 8-10. La lunghezza del tronco è in media uguale all'altezza al garrese: il cirneco ha dunque una costruzione quadrata. È strutturato da una massa muscolare che comprende l'80% del corpo. Si presenta snello e, se nutrito in modo adeguato, mantiene una linea elegante e slanciata.Cane velocissimo e molto agile, è capace di raggiungere persino i 40/45 km/h nella corsa.I colori del mantello del cirneco dell'Etna vanno dal sabbia dorato al cervo scuro; non necessariamente devono essere presenti macchie bianche, ma possono essercene su tutto il corpo; sebbene molto rari, ne esistono colorati di bianco arancio (come nel setter inglese) e di bianco puro (pur non essendo propriamente albino). Il colore riconosciuto dagli standard di razza è il fulvo più o meno intenso, isabella e sabbia, con lista bianca in fronte, al petto, piedi bianchi, punta della coda bianca e ventre bianco.Dotato di grande intelligenza, è generalmente indipendente e solitario. Generalmente diffidente con gli estranei, si affeziona ad un solo padrone. Si può dire che abbia le sue simpatie e antipatie a pelle: con alcuni individui non socializza e alla loro vista abbaia; con altri inizialmente si mostra aggressivo ma poi socializza e con altri ancora prova un feeling immediato e socializza subito. È un cane che per il padrone darebbe tutto se stesso.Se correttamente socializzato da cucciolo, evidenzia un carattere molto disponibile e gioioso e privo di diffidenze anche verso le persone appena conosciute.Se cresce in un ambiente familiare, dove ha ricevuto tutti gli stimoli nei confronti dell'ambiente esterno, ama essere portato a spasso e incontrare altri cani e persone, anche se sconosciuti. Se lasciato libero, soprattutto in luoghi di campagna, cambia visibilmente espressione; tutti i muscoli si tendono, ama ispezionare l'ambiente circostante e, anche se all'inizio sembra indipendente, in realtà sa sempre dove si trova il suo padrone e puntualmente ritorna sotto la sua attenzione. Prima di liberare un cirneco in un luogo aperto occorre aver rafforzato un rapporto sereno e di fiducia. Il cirneco è un cane primitivo e rispetto ad altri animali domestici, molto spesso è un soggetto che porta rancore se trattato male, non dimentica facilmente uno sgarbo subito, non sopporta di essere rimproverato con eccessiva durezza.La vita media di questo cane è molto elevata, quindici anni circa, ma esistono esemplari che vivono anche venti anni.
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Example photos of CE2 with and without terrain shadows.
CE3 no longer has working terrain shadows. These photos illustrate clearly why i think its a big deal.
Terrain thats far enough away from you to drop to a lower level of detail, wont cast a shadow.
If that terrain happens to have trees on it, they then appear to float in the air.
In CE3 though it gets worse. Further excessive optimization of the engine means that trees that are behind you and a certain distance away, dont cast shadows.
So imagine standing in a valley facing one side, with your back to the sun. Not only will the terrain behind you not cast the valley in shadow, but the trees wont cast any shadows either.
They kind of do, but only when they are just outside of your peripheral, making them pop-up.
Its ugly.
On March 11th 2011 a magnitude 9.0 earthquake rocked Japan that sparked a tsunami and a nuclear crisis. In the days and weeks that followed much to Tokyo was without the bright lights and neon that it is so well known for. Shinjuku's famous electronics district that glows was all but extinguished.
Read about that day and the ones that followed on ShootTokyo:
“It is time for our people to live in freedom, without walls and checkpoints”, urged President of the Palestinian National Authority Mahmoud Abbas in his address to MEPs on Thursday. He conveyed his people’s gratitude to the European Parliament for recognising a State of Palestine and criticised Israel for pursuing its occupation of Palestinian territories.
The “Palestinian nation wants to live in full sovereignty [...] and the EU, being a major player, is helping to create an embryo Palestinian State”, said President Abbas. He asked MEPs for more help to find a fair and just two-state solution based on the 1967 borders. Mr Abbas also welcomed the recent French initiative to revive the Middle East peace talks, but advocated for setting a deadline for these talks to end.
President Abbas also condemned the use of violence and terrorist attacks as a means to build a state, warning that terrorism could be eradicated from the region only if Israel puts an end to its occupation of Palestinian territories. “Israel has turned our country into an open prison”, he said.
European Parliament President Martin Schulz said that helping to ensure the stability and proper functioning of Palestine is a moral duty for EU. “Your presence here today, the day after President Rivlin delivered his address, sends a strong signal that the will to achieve a lasting peace between Israel and Palestine is still alive”, he added.
Read more:
www.europarl.europa.eu/news/en/top-stories/20160617TST326...
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Without the Prineville BLM, the dots of Cottonwood Canyon State Park would never be connected. The park was a ranch before being sold first to the Western Rivers Conservancy in 2008, and then by that nonprofit to the Oregon Parks and Recreation Department (OPRD) from 2009-2011. But the private land checker-boards across the landscape with BLM-administered land filling in the gaps. BLM and Oregon State Parks are working together to create a seamless experience for visitors to Oregon’s newest State Park.
When Congress designated the John Day as a Wild and Scenic River in 1988, the legislation stated that the river was "to be administered through a cooperative management agreement [CMA] between the State of Oregon and the Secretary of Interior." To facilitate the new park, the BLM will be completing an Environmental Assessment to modify the existing agreement. Under the modified CMA, OPRD would be able to construct and maintain trails, restore native vegetation, and provide a reservation service to the one boat-in campsite on BLM land. The BLM and OPRD are working on a review of the trail system in order to include a travel management plan in the EA for Cottonwood Canyon.
Cottonwood Canyon State Park straddles 16 miles of the lower John Day River, where Highway 206 crosses the river between Gilliam and Sherman Counties. Visitors can come to experience the park – even while OPRD and BLM work out the details of the CMA. The 8,000-acre park boasts amazing, rugged canyons, spectacular views and a primitive experience for guests. The park will remain generally undeveloped with miles of trails, primitive campgrounds, a day use area, a Welcome Center, restrooms and self-guided interpretive walks around the old ranch buildings. When the CMA is complete, the park boundary will include an additional 10,000 acres of BLM – making it the largest State Park in Oregon.
To find out more about this beautiful park, head on over to the Oregon State Parks page:
www.oregonstateparks.org/index.cfm?do=parkPage.dsp_parkPa...
Photo by Jeff Clark/BLM/2014
Without them, we would have many challenges. We put our weight on them all day as we walk around; we rest them in the evening. Sometimes we cross them; othertimes not. We dress them up in all kinds of ways - formal leather shoes, crocs with a million jibbitz, crazy pimped out box-fresh sneakers (trainers for the UK folks). Maybe you even go barefoot sometimes.
The bottom line is, when you're 30 feet up in the air and people are looking up at your soles, they're just feet. And fascinating they are, too :)
Between the two Boughtons along the sandstone ridge, little did I know there are three parishes, Chart Sutton, Sutton Valance and East Sutton.
As it happened I sailed past Chart Sutton without realising it was there, and there was a wedding on at Sutton Valance. But I had seen some fine hand made signs pointing to an open church, which happened to be East Sutton.
I was welcomed warmly, and once we had all agreed to how many churches in Kent I had visited, one of the wardens gave me a fine guided tour of the church.
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A knockout church that stands cheek by jowl with the red brick mansion that is now a prison with warning signs that tell you not to photograph the house whilst photographing the church! Mainly fourteenth century building but remodelled with new windows in the fifteenth. It contains much of interest although in many respects the late nineteenth century restoration which removed the plaster from the walls has created an interior unlike anything that went before. The memorials to the Filmer family are what most people come to see – from a rare 17th century brass plate to a nineteenth century marble baby the church ahs it all. The windows are mostly late 19th and early 20th century by Westlake. The post WW1 south chapel east window depicts a soldier, sailor, airmen and nurse under figures of Osmund, Edmund and Christ. The lovely font is one of the nicest thirteenth century examples around – one amazingly thin pillars. Architecturally the north chapel north window, with flamboyant tracery is the masterpiece but really it is the whole ensemble that goes to create such a welcoming and memorable space.
www.kentchurches.info/church.asp?p=East+Sutton
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EAST SUTTON.
THE next parish eastward from Town Sutton is East Sutton, having the appellation of East from its situation eastward of the two adjoining parishes of Sutton Valence and Chart Sutton, though that of Sutton, near Dover, is likewise frequently stiled East Sutton, from its situation in the eastern part of this county.
IT is a small parish, and would be but little known or frequented was it not for the residence of the Filmer family in it. It is much the same situation and soil as the last described parish of Sutton Valence, the quarry hills crossing the middle of it; the church stands near the summit of the hill, at the back of East Sutton-place, which is pleasantly situated, having a most beautiful and extensive view southward, the park lying before it, which is well cloathed with trees both of ash and oak, and has a fine piece of water in sight of the house in the lower part of it; about half a mile south-east from the manor house, about the middle of the hill, is Little Charlton, which has still the appearance of a gentleman's seat, having several good rooms in it well ornamented with stucco, fret-work, &c. and every convenience requisite for a gentleman's family, and the hospitality of former times; from the top of the hill southward it is within the Weald, a low, flat and miry country. On the other side, above the church, from the shade of the quantities of trees which spread thickly over it, that part has an unpleasant and gloomy aspect. In this part is (hartway-street, the only village in this parish, the southern side of which only, on which however almost all the houses are built, being in this parish and its northern boundary, the other side of it being in Bromfield; the rest of the houses in East Sutton, excepting the two small hamlets of Friday and Sunday-streets, being intersperted at various distances throughout it.
THIS PLACE was part of those possessions with which Odo, bishop of Baieux, was enriched by his half-brother William the Conqueror, under the general title of whose lands it is thus entered in the survey of Domesday:
The same Adam Fitzhubert holds of the bishop Sudtone. It was taxed at one suling and an half. The arable land is eight carucates. In demesne there are two, and fifteen villeins, with nine borderers, having four carucates. There is a church and ten servants, and eight acres of meadow. Wood for the pannage of fifty bogs. In the time of king Edward the Confessor, and afterwards, it was worth ten pounds, now twelve pounds, and yet it pays eighteen pounds. Leuenot held it of king Edward.
On the bishop's disgrace, which happened in 1084, about four years after the taking the above survey, this among the rest of his estates became confiscated to the crown.
In the reign of Henry the IIId, John de Salario held East Sutton (fn. 1) of Simon de Montfort, earl of Leicester; Geffry de Maitel held it in the latter end of that reign, and the beginning of the reign of king Edward the 1st, his successor was Adam de Martel, whose right to it was allowed against the king before the justices itinerant, in the 21st year of Edward I. Aymer de Valence, earl of Pembroke, was in possession of it in the beginning of the next reign of king Edward II. and died in the 17th year of it s. p. upon which his three sisters became his coheirs; of whom Isabel, married to John de Hastings, of Bergavenny, seems to have had this manor allotted to her as part of her share in the inheritance, and in his descendants, earls of Pembroke, it continued down in like manner as Sutton Valence manor before described, till on their failure of issue in king Henry the IVth's reign, Reginald, lord Grey, of Ruthyn, became entitled to it as next of kin and heir of Aymer, earl of Pembroke, but on his being taken prisoner by Owen Glendower, in Wales, king Henry IV. in his 4th year, granted licence to I obert Braybrook, bishop of London, and others, then seoffees of his several lordships, to sell this manor among others, towards raising a sum of money for his ransom. They sold it to Richard Brigge Lancaster, king at arms, who alienated it in the third year of king Henry V. to Thomas Buttiller and Thomas Bank. After which it passed into the family of Darrell, one of whom Sir Richard de Darrel, possessed it in the reign of king Edward IV.
In the first year of king Henry VIII. John York, esq. of Ramsbury, in Wiltshire, was owner of it, and in the 6th year of that reign passed it away to Richard Chetham, prior of the priory of Ledes, and it seems to have been for the use of his convent by the receipt in the exchequer, anno 8 Henry VIII. Nevertheless they had divested themselves of the possession of it before the 20th year of that reign, when Sir Henry Guldeford, knight of the garter, and comptroller of the king's houshold, owned it. He died s. p. in the 23d year of that reign, and his heirs sold this manor the next year to Richard Hill, esq. who in the 29th year of it alienated it to Thomas, lord Cromwell, and he soon afterwards exchanged it with the crown for other lands, where the fee of it remained till the king in his 37th year granted it, with its appurtenances, to John Tuston, and Stephen Reaves, to hold in capite, and they that year alienated it to Thomas Argall, who bore for his arms, Party per fess, argent and vert, a pale counterchanged; three lions heads erased gules. He procured his lands in this county to be disgavelled by the act of the 2d and 3d of Edward VI. and died possessed of it in the 6th year of that reign.
His son and heir, Richard Argall, esq. had by Mary his wife, daughter of Sir Reginald Scott, of Scots-hall, a son John, and two daughters, Catherine, wife of Ralph Bathurst, esq. of Horton Kirkby, and Elizabeth, of Sir Edward Filmer, of Little Charleton, in this parish, John Argall, esq. the son, was of Colchester, in Essex, and in the 8th year of king James I. sold this manor to his brother-in-law, Sir Edward Filmer before-mentioned, who upon that removed from his seat of Little Charleton to the manor house of East Sutton, called East Sutton-place, where he kept his shrievalty in the 13th year of that reign. The family of Filmer was originally seated at the manor of Herst, in the parish of Otterden, where Robert Filmer lived in king Edward the IId.'s reign. His descendants continued there till Robert Filmer, son of James, removed to the manor of Little Charlton, in this parish, which he had purchased of the family of Kempe, and had built a seat on it for his residence, it was antiently called Charlton-court, and had owners of its own name in the reigns of king Edward II. and III. (fn. 2) He was one of the prothonotaries of the common pleas for twenty years in the reign of queen Elizabeth, and to him Cooke, clarencieux, in 1570, granted, or rather confirmed the arms of the family, viz. Sable, three bars, and as many cinquefoils in chief, or. He died in 1585, and was buried in this church, which has ever since continued the burialplace of the family. He was the father of Sir Edward Filmer, the purchaser of this manor of East Sutton as before mentioned. (fn. 3)
He had by his wife before mentioned, nine sons and nine daughters, and died in 1629, being succeeded here by Robert, his eldest son, who was knighted by king Charles I. and resided at East Sutton. He employed his pen in defence of the rights of the crown. He was educated at Trinity-college, Cambridge, and wrote the Anarchy of a limited or mixed Monarchy; Patriarcha, or the natural Power of Kings; the Freeholder's grand Inquest, and Reflections concerning the Original of Government, besides several other tracts, all which were published after his death by his son. He was a great sufferer during the civil wars of king Charles I.'s reign, having his house here plundered ten times by the rebels, and himself imprisoned in Leeds-castle for his loyalty. He died in 1653, having married Anne, daughter and coheir of Martin Heton, bishop of Ely, by which an addition of fortune, as well as of arms, accrued to him.
He was succeeded by his eldest son, Sir Edward Filmer, gentleman of the privy chamber both to king Charles I. and II. who dying unmarried at Paris, in 1668, was succeeded in his estates by his next brother, Robert Filmer, esq. barrister-at-law, of Gray's inn, who, in consideration of his father's sufferings and loyalty to Charles I. was, on Dec. 24, 1674, created a baronet. He resided at East Sutton-place, which, as well as the park round it, he greatly augmented and improved, inclosing the whole with a stone wall. He died in 1675, leaving several sons and daughters, of whom Sir Robert Filmer, bart. his eldest son and successor, resided here, and in 1689, being the last of king James II. served the office of sheriff. He died in 1720, having married Elizabeth, daughter and coheir of Sir William Beversham, of Holbrookhall, in Suffolk, one of the masters in chancery, (fn. 4) by whom he had several sons and daughters. Beversham Filmer, esq. one of the younger sons, was of Lincoln'sinn, barrister-at law, master of the Nisi Prius office in B. R. and one of the most able conveyancers this kingdom has produced. He died unmarried in 1763, and was buried in this church, having by his last will bequeathed his estates in this county to his nephew, Sir John Filmer, bart.
Sir Edward Filmer, bart. the eldest son, resided at East Sutton, and married Mary, daughter of John Wallis, esq. of Oxfordshire, only son and heir of the learned John Wallis, D. D. Savilian professor of geometry at Oxford, and F. R. S. by whom he had twenty children, viz. eleven sons and nine daughters; of the former, John, the eldest, succeeded him in title and estate; Beversham married Dorothea, second daughter of William Henley, esq. late of Gore-court; the died in 1793, s. p. Edmund is rector of Crundall, and married Arabella-Christiana, the eldest daughter of Sir John Honywood, bart. by his first lady, by whom he has had six sons and two daughters; Francis, barrister-at-law, of Lincoln's-inn, is unmarried. Of the daughters, Dorothy, married the late Sir John Honywood, bart. He died in 1755, æt. 72, and was succeeded by his eldest son, Sir John Filmer, bart. of East Sutton, who died in 1797, æt. 84, and was buried with his ancestors in this church. He married Dorothy, daughter of the Rev. Julius Deedes, prebendary of Canterbury, by whom he had no issue. She survived him, but the title, and this manor and seat, together with the rest of his possessions in this parish, devolved to his next brother and heir, now Sir Beversham Filmer, bart. who resides here, and is the present owner of them.
BOYTON is a manor in this parish, which formerly belonged to the priory of Christ-church, in Canterbury, and continued so till the dissolution of it in the reign of king Henry VIII. when it was, together with the rest of the possessions of the priory, surrendered into the king's hands, who by his dotation-charter in his 33d year, settled this manor on his new-erected dean and chapter of Canterbury, part of whose possessions it still remains.
The lessee of this manor, in the year 1645, was Sir Robert Stapleton, bart. who held it under the ruling powers of that time, the dean and chapter being dissolved, at the yearly rent of 5l. 6s. 8d. and one pound for entertainment money to the receiver of the church.
The family of Hope have been lessees of it for many years, the present lessee being Mrs. Sarah Hope.
Charities.
STEPHEER PENDE, gent. of this parish, by deed, anno 23 Henry VIII. gave a messuage, barn, garden, and two crosts of land, containing four acres in this parish; and GEORGE USMER, gent. of this parish, by deed, anno 6 Elizabeth, gave two pieces of land, containing three acres, in this parish; and by his will, anno 8 Elizabeth, gave three pieces of land, called Randalls and Lakefield, the latter in Town Sutton, and the former in this parish, all which were given for the habitation and maintenance of the curate of this parish, but if such curate should not reside in the said messuage, then the churchwardens were to receive the rents of all the before-mentioned premises, and apply them towards the repairs of the church. And he gave by will a piece of land called Park-corner, otherwise Lodge-land, in this parish, to the intent that the churchwardens should receive the rents, and, with the assent and advice of the inhabitants, yearly distribute the same amongst the poor on Good Friday and All Holland day, by equal proportion. And he further willed, that the churchwardens should receive the rents of two pieces of land in this parish, called Huntings, to be by them bestowed, with the advice of the inhabitants, in bread, cheese, and beer, among the poor of it on St. George's and Christmas day, yearly.
DAME ELIZABETH FILMER, widow of Sir Edward Filmer, in 1638, gave 100l. to the use of the poor of this parish.
MRS. SUSAN WATTS, of this parish, widow, gave 50l. for the use of the poor, and directed, that poor antient widows should be first preferred, and most relieved, according to their necessities.
The above-mentioned sums of 100l. and 50l. having been many years placed out at interest upon a mortgage, were, in 1722, together with 10l. raised by subscription among the parishioners, and 10l. given by Sir Edward Filmer, bart. and the further sum of 25l. raised by the sale of timber growing on the lands called Huntings and Lodge-lands above-mentioned, amounting in all to 1951. laid out in the purchase of a messuage, barn, orchard, and six pieces of land in Hedcorn, upon the den of Hockenbury, purchased of one William Fleet, and now in the occupation of John Croucher, at the yearly rent of 10l. 1s. 8d. to the uses following: to pay 40s. a year to the curate of this parish, so long as he inhabited here, and demeaned himself well, and diligently served the cure, and preached four quarterly sermons as therein directed; but in default of such residency, &c. to pay one moiety of the said 40s. towards the repairs of the church, and the other moiety, together with all the residue of the rents of the said Hockenbury farm, to the use of the poor.
SIR ROBERT FILMER, bart. gave by will in 1703, a piece of land, the yearly produce of it to be given in wheat, among eight of the poorest inhabitants at Christmas, vested in Sir John Filmer, bart. and now of the annual produce of 20s.
The number of poor relieved constantly are about twentyfive, casually about ten.
EAST SUTTON is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sutton.
The church is dedicated to St. Peter and St. Paul. It is not a large building, and has a square tower at the west end of it. It is kept remarkably neat, and in good repair. The grave-stones of the Filmers in it are a complete series of this family, from the time of their coming to reside in this parish. All the brasses on them are perfect. The grave-stone over Sir Edward Filmer, who died in 1629, within the altar rails, is very curious, having an entire sheet of copper over it, with the portraits of himself, his wife, and his numberous issue, engraved on it, and their names respectively over them, and the coats of arms and quarterings, belonging to him and his wife, at the corners of it. There is a neat bust in white marble of the late Sir Edward Filmer, bart. who died in 1755, with an inscription to his memory against the wall, over the pew where the family sit.
The church of Sutton was antiently part of the possessions of the priory of Leeds, to which it was appropraited, and the duty of it was first served by a chaplain, appointed by the prior and convent, at whose request it was afterwards united to the adjoining church of Town Sutton, of their patronage likewise, to which it has been ever since esteemed as a chapel.
On the dissolution of the priory of Leeds, in the reign of Henry VIII the parsonage appropriate of East Sutton came into the hands of the crown, as did likewise the patronage of the church of Town Sutton, with the chapel of East Sutton annexed, where they did not continue long; for the king settled them both, in his 32d year, on his new-erected dean and chapter of Rochester, with whom they remain at this time.
The parsonage has been for many years held in lease, by the family of Filmer; the present interest of the lease being vested in Sir Beversham Filmer, baronet.
The vicar of Town Sutton serves the cure of this church, as a chapel annexed to it, and as such is entitled to the vicarial profits of this parish, in right of his vicarage.
The church of East Sutton is not valued in the king's books, being included in that of Town Sutton.
¶On the abolition of deans and chapters, after the death of Charles I. this parsonage was surveyed in 1649, when it was returned, that the parsonage, late belonging to the late dean and chapter of Rochester, consisted of a parsonage house, and all tithes, and the glebe land lying together, containing forty-three acres and two roods, at the improved rent of seventy-five pounds; also seventeen acres more of glebe land, let at fifteen pounds per annum; all which premises were let by the late dean and chapter, anno 13 Charles I. to Sir Robert Filmer, for twenty-one years, at the yearly rent of ten pounds, and of two good capons, or four shillings in money, so there remained a clear rent of 79l. 16s. per annum; and that the lessee repaired the chancel of this church; out of which lease the vicarage was excepted, then worth twenty pounds per annum.
The lessee of the parsonage claims the tithes of all corn, hops, and grass, growing in this parish. In the reign of queen Anne these tithes were estimated at upwards of eighty pounds per annum; besides which, the glebe land belonging to it, was let at fifty pounds per annum.
In 1648 the communicants of this parish were one hundred and thirty.
The small tithes and other emoluments of this benefice, in the beginning of queen Anne's reign were estimated at eighteen pounds per annum, there being no glebe land belonging to it.
The land given and devised by Stephen Pende and George Ulmer, as before mentioned, was worth ten pounds per annum, in the above reign, and seems to have been intended for the better performance of divine service in this church every Sunday; before which, the vicar of Sutton Valence used to perform it here but once or twice in a quarter of a year. From the year 1648 to 1680, the parishioners bestowed the above income on the repairs of the church; but since that time, the vicar of Sutton Valence has generally had it, in consequence of which, he preaches here and at Sutton Valence alternately on a Sunday, morning and afternoon.
A list of the vicars of Sutton Valence, or Town Sutton, with this chapel of East Sutton annexed, has been already given in the description of that parish.
No Nagada Sang Dhol without Bhansali for Deepika Padukone! - www.bolegaindia.com/gossips/No_Nagada_Sang_Dhol_without_B...
33rd Annual NYC DYKE MARCH along 5th Avenue at 35th Street in NYC on Saturday evening, 28 June 2025 by Elvert Barnes Photography
Elvert Barnes WITHOUT APOLOGIES / LGBTQ Public Displays of Affection Archives at elvertxbarnes.com/withoutapologies
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Elvert Barnes PROTESTS 2025 at elvertxbarnes.com/protests
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elvertxbarnes.com/nyc-gay-pride
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Elvert Barnes June 2025 at exbphoto.com/2025
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My New Facebook Page.. I'll happy if you'll want to add me
Thanks for your visit and all your comments and favs!
Explore - May. 06 2010 #226
© All rights reserved. Use without permission is illegal!
My New Facebook Page.. I'll happy if you'll want to add me
Thanks for your visit and all your comments and favs!
At the end I've decided to re-open a new facebook page. I've lost all my contacts because my previous facebook account was disabled. So, if you want to add me... :)
Without people in the photo for scale, one gets the wrong impression of a 904- they're tiny! The wheels are the same 15 inch size as any 914 or contemporary 911/912, putting the fenders at well under 75cm, and the roof barely less than 1m tall.
I was stunned to realize, 3/5/14, that I'd actually seen 4 (FOUR) different Carrera GTS' at RennSport Reunion IV... 3 are silver, #18, #33, #12, and one is white with red rockers between the wheels. How cool is that?? so I've made sure each is tagged "Carrera GTS" and has "#12" or whatever in its tag too.
DSC_0330
...shelter without confinement, and love without penalties." -- Walter Lionel George
There's no better example for this quote than my girl Sally.
It's been exactly 2 years since she came wandering into my life. She was skinny, flea bitten and pregnant. I fell in love with her at first sight, and that love has only gotten stronger.
She's a quiet, reserved girl, that seems genuinely content to just have a place to get a meal and a friendly petting.
Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).
Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions
"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".
The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.
The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.
Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.
Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:
Wet with cool dew drops
fragrant with perfume from the flowers
came the gentle breeze
jasmine and water lily
dance in the spring sunshine
side-long glances
of the golden-hued ladies
stab into my thoughts
heaven itself cannot take my mind
as it has been captivated by one lass
among the five hundred I have seen here.
Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.
Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.
There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.
Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.
The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.
In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:
During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".
Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.
While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’
Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.
An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.
Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983
Commercialization and entrance into mainstream pop culture
Main article: Commercial graffiti
With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.
In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".
Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.
Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.
Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.
Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.
There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.
The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.
Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.
Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis
Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.
Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.
Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"
Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal
In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.
Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.
Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.
Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.
With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.
Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.
Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.
Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.
Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.
Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.
Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.
Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.
The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.
I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.
The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.
Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.
Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.
In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".
There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.
Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.
A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.
By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.
Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.
In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.
A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.
From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.
In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.
Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.
Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.
Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.
In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.
Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.
In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.
In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."
In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.
In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.
In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.
In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.
In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.
The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.
To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."
In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.
In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.
Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".
Graffiti Tunnel, University of Sydney at Camperdown (2009)
In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.
Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.
Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.
In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.
Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.
Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.
To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.
When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.
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Traditional style little clock tower. A clock without hands on a roof of a shop building in the famous Sakaimachi Street in Otaru.
Public Clock Photography / 4:3 remastered 2017
I heard on the radio a few months back, about places in Britain that sound like they should be elsewhere, I can't remember the examples given. But for me, Luddenham sounds as Norfolk as it is possible to get. And yet it is a parish and small village here in Kent.
Were it not for the sat nav, I don't think I would have found Luddenham, not without someone reading the map anyway. From Burham it was a half hour blast down the M2 to Faversham, then taking roads that got ever narrower, I left Faversham, drove though a wood, then out onto the Oare Marshes.
Out over the marshes down a narrow single-track lane, winding round the edge of fields to a large farm that was once a manor house, and beside it was St Mary.
What warmth there had been in the day was now long gone, and the wind had turned to the north east and increased. As I stood inside the half-empty church, I could hear the wind whistling round the tower outside.
Highlight for me here was a fine collection of Victorian tiles, including a design each for one of the gospel saints, and a wonderful stone coffin lid depicting a face with two hands holding it.
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The familiar country scene of Norman church, medieval Court and sprawling farmyard - but the history of Luddenham is far from standard. Here we have a promontory of land which formerly provided wharves off the River Swale some way to the north. Indeed, the place name gets it origin from the Saxon `Lud` meaning a river. The church is now in the care of The Churches Conservation Trust and consists of nave, chancel and south tower. The latter dates from the early nineteenth century and replaced a tower which originally stood to the north of the nave. The west door is a rather weather-beaten twelfth century example. Following redundancy, the church lost most of its furnishings, so its vast spacious interior is something of a surprise to the visitor. There are some medieval tiles in the sanctuary, where graffiti on the glass records those who were probably too poor to have permanent memorials outside. At the back of the church is a fragment of thirteenth century coffin lid brought here from the ruined church at Stone, about a mile to the south west. Rather touchingly it has a heart clasped by two hands in its crisp carving. The church is usually open.
www.kentchurches.info/church.asp?p=Luddenham
LIES the next parish north-westward from Ore, and was, in the reign of the Conqueror, called Cildresham, by which name it is described in the survey of Domesday.
IT is situated about a mile northward of the high London road from Judde-hill, the southern part of it reaching up to Bizing wood, part of which is within it. It lies very low and flat; the arable lands in it, which consist of about three hundred and ninety-six acres, and the upland, meadow, and pasture, of about two hundred acres, are very rich and fertile; near one half of it is marsh land, which reaches to the waters of the Swale, which are its northern boundary.
The church stands nearly in the middle of the upland part of it, and the parsonage-house, which has a mote round it, near half a mile southward of it, close to Bysing-wood. There is no village, and not more than ten houses in the parish, the unhealthiness of its situation occassions its being but very thinly inhabited, those who risk their lives in it seldom attaining any great age.
THERE ARE some parts of this parish which lie at some distance from the rest of it, several other parishes intervening: in Perry-field, almost opposite the 47th mile-stone on the high London road, but on the other or south side of it, there are twenty-two acres of land, and between Goodneston and Boughton under Blean, there are thirty-two acres of land belonging to this parish. There are many instances of the like in different parts of this county, and in this neighbourhood in particular there are several, for a part of the parish of Morton, near Sittingborne, lies within this parish of Luddenham, and entirely surrounded by it, several other parishes intervening between this part of Murston and the rest of it. Part of Preston parish lies near Davington-hill; Upleez farm, the property of lord Romney, which lies westward of Ore, is in Faversham parish; and part of Ospringe parish lies surrounded by the town of Faversham and its liberties.
MR. JACOB among his Plantæ a Favershamienses, has given a list of a number of scarce plants found by him in this parish, to which the reader is referred for an account of them.
THIS PLACE was part of the vast possessions of Odo, bishop of Baieux, under the general title of whose lands it is thus entered in the survey of Domesday:
Anssrid holds of the bishop of Baieux Cildresham. It was taxed at one suling. The arable land is three carucates. In demesne there is one carucate and an half. There are five servants, and two acres of meadow. There is wood, but it pays nothing.
Upon the bishop's disgrace, about four years afterwards, this estate came to the crown, among the rest of this possessions, whence it was granted by the king, among other lands, to Fulbert de Dover, for his assistance, in the defence of Dover castle. These lands were held of the king in capite by barony, the tenant being bound by his tenure to maintain a certain number of soldiers, from time to time, for the defence of the castle.
Of Fulbert de Dover and his heirs, this place was held, as one knight's fee, of the honour of Chilham, which they made the caput baroniæ, or chief seat of their barony.
THE MANOR OF LUDDENHAM came afterwards into the possession of a family who fixed their name on it. William de Luddenham, in the 13th year of king John's reign, held it as one knight's see, of the honor of Chilham, in manner as before mentioned. His heirs, in the next reign of Henry III. sold this manor to the Northwoods, one of whom, Sir Roger de Northwood, in the 41st year of that reign, procured licence to alter the tenure of his lands from gavelkind to that of knight's service, of which there is a recapitulation in the Book of Aid, and among them mention is made of ninety acres of marsh land, which lay partly in his manor of Luddenham, and partly in Iwase.
From the family of Northwood this manor passed into that of Frogenhall; John de Frogenhall, at the latter end of king Edward the IIId.'s reign, died possessed of it, with an appendage called Bishopsbush. After which it at length descended in the beginning of king Edward the IVth.'s reign to Thomas Frogenhall, who married Joane, daughter and heir of William de Apulderfield, and dying in 1576, being the 17th year of that reign, was buried with his wife in Faversham church; their daughter and sole heir Anne, carried this manor in marriage to Mr. Thomas Quadring, of London, and he in like manner leaving one sole daughter and heir Joane. she entitled her husband Richard Dryland, of Cooksditch, in Faversham, to the possession of it. He alenated the appendage of Bishopsbush above-mentioned, to Crispe, who passed it away to Mr. William Hayward, from which name it went in marriage to Mr. Thomas Southhouse, gent. who possessed it at the end of king Charles I.'s reign; but both the name and situation of the estate have been for some time so totally for gotten, that the most diligent enquiries cannot trace out either of them.
But the manor of Luddenham itself went with Katherine, the sole daughter and heir of Richard Dryland, in marriage to Reginald Norton, of Lees-court, in Sheldwich, from which name it passed by sale, in king James I.'s reign, to Francis Cripps, esq. who sold it to Kirton, from which name it passed, in king James II.'s reign, to John Briant, esq. whose heirs passed it away, in king George I.'s reign, to Mr. John Blaxland, and his heirs alienated it, about the year 1753, to Beversham Filmer, esq. of London, a younger son of Sir Robert Filmer, bart. of East Sutton, and of Lincoln's-inn, barrister-at-law. He died ununmarried, and full of years, in 1763, (fn. 1) having by his will given this manor, among the rest of his lands in this county and elsewhere, to his eldest nephew, Sir John Filmer, bart. of East Sutton, who died s. p. in 1797, and by will devised this estate to his next brother, Sir Bevertham Filmer, bart. the present owner of it. A court baron is held for his manor.
At the court held for the manor of Chilham, the tenant of this manor is constantly presented by the jury for default of service, as being held of it under the notion of one knight's fee, and he is always amerced at two shillings, the payment of which is never with-held by him.
HAM is a principal estate, adjoining to the marshes, at the eastern boundary of this parish, and partly in that part of Preston which is separated from the rest of it by Davington and Ospringe intervening, being within that appendage to the manor of Copton, called from hence Hamme marsh. This estate, for several generations, belonged to the family of Roper, lords Teynham, and was sold in 1766 by Henry Roper, lord Teynham, to Mr. William Chamberlain, of London, who sold it to Benjamin Hatley Foote, Esq. and his son George Talbot Hatley Foote, Esq. now owns it.
NASHES is an estate in this parish, which formerly belonged to the Coppingers; Ambrose Coppinger possessed it in the reign of queen Elizabeth, whence it passed to the Brewsters, who were owners of much land at Linsted, Tenham, and other parts of this neighbourhood; from them it was sold to Mr. James Tassell, of Linsted; after which it became the property of Dr. Dravid Jones, and afterwards of Mr. Anthony Ingles, gent. of Ashford, who in 1776 conveyed it be sale to Mr. James Tappenden, gent. of Faversham, the present owner of it, who is descended from those of this name, who were for several generations resident at Sittingborne, where several of them lie buried, and are said to be extracted from the Denne of Tappenden, in Smarden, and bear for their arms, Or, two lions passant, in chief, and one in base, rampant, azure.
Charities.
Thomas Streynsham, gent. of Faversham, was possessed of a farm of 16l. per annum in this parish, Out of the profits of which, by his will in 1585, he devised 3l. per annum for ever, to the use of the poor of that parish.
The poor constantly relieved are about twenty; casually twelve.
Luddenham is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Ospringe.
The church, which is dedicated to St. Mary, is a small building, consisting of one isle and one chancel, having a tower steeple on the north side of it, in which are three bells.
¶This church was formerly an appendage to the manor of Luddenham, and as such came into the possession of William de Luddenham before-men tioned, lord of it, who, as appears by the leiger-book of the abbey of Faversham, gave this church to the abbot and convent there, which he did by placing his knife on the altar in the church of their convent, and this with the consent of his daughter and heir Matilda, and of Gaysle his wife, in the presence of the convent, and many of the clergy and laity, which gift was confirmed afterwards by Sir William de Insula, who married his daughter; notwithstanding which, William de Insula their son, laid claim to it as part of his inheritance, and a suit was commenced in the beginning of king John's reign, by him, against the abbot and convent, to recover the possession of it, which seems to have been determined in his favor, and the religious were forced to be contented with the pension of 66s. 8d. to be paid to them yearly out of it. (fn. 2). This pension they continued to enjoy from it till the time of their dissolution, in the 30th year of Henry VIII. when it came, with the rest of their possessions, into the king's hands, who settled it, among other premises, in his 33d year, on his new-founded dean and chapter of Canterbury, who continue to receive it from the rector at this time.
The determination of the above-mentioned suit against the religious, did not put them out of hopes of, some time or other, recovering the possession of this church, the appropriation of which they got to be inserted in a confirmation of some of their possessions by pope Gregory X. in 1274; but this did not avail them any thing, for this church still continued unappropriated, as it does at this time, being esteemed a rectory, the patronage of which has been for a great length of time in the crown.
The church of Luddenham is valued in the king's books at 12l. 8s. 4d. and the yearly tenths at 1l. 4s. 10d. In 1578, here were communicants fifty-four. The crown patron.
In 1640 there were communicants sixty-eight. The yearly value of it one hundred pounds. It is now esteemed of the same clear yearly value.
There is a modusclaimed for five hundred and thirtyone acres of the marsh lands in this parish, almost all of which are at two-pence, though there are some few at four-pence per acre.
The exploitation rights for this text are the property of the Vienna Tourist Board. This text may be reprinted free of charge until further notice, even partially and in edited form. Forward sample copy to: Vienna Tourist Board, Media Management, Invalidenstraße 6, 1030 Vienna; media.rel@wien.info. All information in this text without guarantee.
Author: Andreas Nierhaus, Curator of Architecture/Wien Museum
Last updated January 2014
Architecture in Vienna
Vienna's 2,000-year history is present in a unique density in the cityscape. The layout of the center dates back to the Roman city and medieval road network. Romanesque and Gothic churches characterize the streets and squares as well as palaces and mansions of the baroque city of residence. The ring road is an expression of the modern city of the 19th century, in the 20th century extensive housing developments set accents in the outer districts. Currently, large-scale urban development measures are implemented; distinctive buildings of international star architects complement the silhouette of the city.
Due to its function as residence of the emperor and European power center, Vienna for centuries stood in the focus of international attention, but it was well aware of that too. As a result, developed an outstanding building culture, and still today on a worldwide scale only a few cities can come up with a comparable density of high-quality architecture. For several years now, Vienna has increased its efforts to connect with its historical highlights and is drawing attention to itself with some spectacular new buildings. The fastest growing city in the German-speaking world today most of all in residential construction is setting standards. Constants of the Viennese architecture are respect for existing structures, the palpability of historical layers and the dialogue between old and new.
Culmination of medieval architecture: the Stephansdom
The oldest architectural landmark of the city is St. Stephen's Cathedral. Under the rule of the Habsburgs, defining the face of the city from the late 13th century until 1918 in a decisive way, the cathedral was upgraded into the sacral monument of the political ambitions of the ruling house. The 1433 completed, 137 meters high southern tower, by the Viennese people affectionately named "Steffl", is a masterpiece of late Gothic architecture in Europe. For decades he was the tallest stone structure in Europe, until today he is the undisputed center of the city.
The baroque residence
Vienna's ascension into the ranks of the great European capitals began in Baroque. Among the most important architects are Johann Bernhard Fischer von Erlach and Johann Lucas von Hildebrandt. Outside the city walls arose a chain of summer palaces, including the garden Palais Schwarzenberg (1697-1704) as well as the Upper and Lower Belvedere of Prince Eugene of Savoy (1714-22). Among the most important city palaces are the Winter Palace of Prince Eugene (1695-1724, now a branch of the Belvedere) and the Palais Daun-Kinsky (auction house in Kinsky 1713-19). The emperor himself the Hofburg had complemented by buildings such as the Imperial Library (1722-26) and the Winter Riding School (1729-34). More important, however, for the Habsburgs was the foundation of churches and monasteries. Thus arose before the city walls Fischer von Erlach's Karlskirche (1714-39), which with its formal and thematic complex show façade belongs to the major works of European Baroque. In colored interior rooms like that of St. Peter's Church (1701-22), the contemporary efforts for the synthesis of architecture, painting and sculpture becomes visible.
Upgrading into metropolis: the ring road time (Ringstraßenzeit)
Since the Baroque, reflections on extension of the hopelessly overcrowed city were made, but only Emperor Franz Joseph ordered in 1857 the demolition of the fortifications and the connection of the inner city with the suburbs. 1865, the Ring Road was opened. It is as the most important boulevard of Europe an architectural and in terms of urban development achievement of the highest rank. The original building structure is almost completely preserved and thus conveys the authentic image of a metropolis of the 19th century. The public representational buildings speak, reflecting accurately the historicism, by their style: The Greek Antique forms of Theophil Hansen's Parliament (1871-83) stood for democracy, the Renaissance of the by Heinrich Ferstel built University (1873-84) for the flourishing of humanism, the Gothic of the Town Hall (1872-83) by Friedrich Schmidt for the medieval civic pride.
Dominating remained the buildings of the imperial family: Eduard van der Nüll's and August Sicardsburg's Opera House (1863-69), Gottfried Semper's and Carl Hasenauer's Burgtheater (1874-88), their Museum of Art History and Museum of Natural History (1871-91) and the Neue (New) Hofburg (1881-1918 ). At the same time the ring road was the preferred residential area of mostly Jewish haute bourgeoisie. With luxurious palaces the families Ephrussi, Epstein or Todesco made it clear that they had taken over the cultural leadership role in Viennese society. In the framework of the World Exhibition of 1873, the new Vienna presented itself an international audience. At the ring road many hotels were opened, among them the Hotel Imperial and today's Palais Hansen Kempinski.
Laboratory of modernity: Vienna around 1900
Otto Wagner's Postal Savings Bank (1903-06) was one of the last buildings in the Ring road area Otto Wagner's Postal Savings Bank (1903-06), which with it façade, liberated of ornament, and only decorated with "functional" aluminum buttons and the glass banking hall now is one of the icons of modern architecture. Like no other stood Otto Wagner for the dawn into the 20th century: His Metropolitan Railway buildings made the public transport of the city a topic of architecture, the church of the Psychiatric hospital at Steinhofgründe (1904-07) is considered the first modern church.
With his consistent focus on the function of a building ("Something impractical can not be beautiful"), Wagner marked a whole generation of architects and made Vienna the laboratory of modernity: in addition to Joseph Maria Olbrich, the builder of the Secession (1897-98) and Josef Hoffmann, the architect of the at the western outskirts located Purkersdorf Sanatorium (1904) and founder of the Vienna Workshop (Wiener Werkstätte, 1903) is mainly to mention Adolf Loos, with the Loos House at the square Michaelerplatz (1909-11) making architectural history. The extravagant marble cladding of the business zone stands in maximal contrast, derived from the building function, to the unadorned facade above, whereby its "nudity" became even more obvious - a provocation, as well as his culture-critical texts ("Ornament and Crime"), with which he had greatest impact on the architecture of the 20th century. Public contracts Loos remained denied. His major works therefore include villas, apartment facilities and premises as the still in original state preserved Tailor salon Knize at Graben (1910-13) and the restored Loos Bar (1908-09) near the Kärntner Straße (passageway Kärntner Durchgang).
Between the Wars: International Modern Age and social housing
After the collapse of the monarchy in 1918, Vienna became capital of the newly formed small country of Austria. In the heart of the city, the architects Theiss & Jaksch built 1931-32 the first skyscraper in Vienna as an exclusive residential address (Herrengasse - alley 6-8). To combat the housing shortage for the general population, the social democratic city government in a globally unique building program within a few years 60,000 apartments in hundreds of apartment buildings throughout the city area had built, including the famous Karl Marx-Hof by Karl Ehn (1925-30). An alternative to the multi-storey buildings with the 1932 opened International Werkbundsiedlung was presented, which was attended by 31 architects from Austria, Germany, France, Holland and the USA and showed models for affordable housing in greenfield areas. With buildings of Adolf Loos, André Lurçat, Richard Neutra, Gerrit Rietveld, the Werkbundsiedlung, which currently is being restored at great expense, is one of the most important documents of modern architecture in Austria.
Modernism was also expressed in significant Villa buildings: The House Beer (1929-31) by Josef Frank exemplifies the refined Wiener living culture of the interwar period, while the house Stonborough-Wittgenstein (1926-28, today Bulgarian Cultural Institute), built by the philosopher Ludwig Wittgenstein together with the architect Paul Engelmann for his sister Margarete, by its aesthetic radicalism and mathematical rigor represents a special case within contemporary architecture.
Expulsion, war and reconstruction
After the "Anschluss (Annexation)" to the German Reich in 1938, numerous Jewish builders, architects (female and male ones), who had been largely responsible for the high level of Viennese architecture, have been expelled from Austria. During the Nazi era, Vienna remained largely unaffected by structural transformations, apart from the six flak towers built for air defense of Friedrich Tamms (1942-45), made of solid reinforced concrete which today are present as memorials in the cityscape.
The years after the end of World War II were characterized by the reconstruction of the by bombs heavily damaged city. The architecture of those times was marked by aesthetic pragmatism, but also by the attempt to connect with the period before 1938 and pick up on current international trends. Among the most important buildings of the 1950s are Roland Rainer's City Hall (1952-58), the by Oswald Haerdtl erected Wien Museum at Karlsplatz (1954-59) and the 21er Haus of Karl Schwanzer (1958-62).
The youngsters come
Since the 1960s, a young generation was looking for alternatives to the moderate modernism of the reconstruction years. With visionary designs, conceptual, experimental and above all temporary architectures, interventions and installations, Raimund Abraham, Günther Domenig, Eilfried Huth, Hans Hollein, Walter Pichler and the groups Coop Himmelb(l)au, Haus-Rucker-Co and Missing Link rapidly got international attention. Although for the time being it was more designed than built, was the influence on the postmodern and deconstructivist trends of the 1970s and 1980s also outside Austria great. Hollein's futuristic "Retti" candle shop at Charcoal Market/Kohlmarkt (1964-65) and Domenig's biomorphic building of the Central Savings Bank in Favoriten (10th district of Vienna - 1975-79) are among the earliest examples, later Hollein's Haas-Haus (1985-90), the loft conversion Falkestraße (1987/88) by Coop Himmelb(l)au or Domenig's T Center (2002-04) were added. Especially Domenig, Hollein, Coop Himmelb(l)au and the architects Ortner & Ortner (ancient members of Haus-Rucker-Co) by orders from abroad the new Austrian and Viennese architecture made a fixed international concept.
MuseumQuarter and Gasometer
Since the 1980s, the focus of building in Vienna lies on the compaction of the historic urban fabric that now as urban habitat of high quality no longer is put in question. Among the internationally best known projects is the by Ortner & Ortner planned MuseumsQuartier in the former imperial stables (competition 1987, 1998-2001), which with institutions such as the MUMOK - Museum of Modern Art Foundation Ludwig, the Leopold Museum, the Kunsthalle Wien, the Architecture Center Vienna and the Zoom Children's Museum on a wordwide scale is under the largest cultural complexes. After controversies in the planning phase, here an architectural compromise between old and new has been achieved at the end, whose success as an urban stage with four million visitors (2012) is overwhelming.
The dialogue between old and new, which has to stand on the agenda of building culture of a city that is so strongly influenced by history, also features the reconstruction of the Gasometer in Simmering by Coop Himmelb(l)au, Wilhelm Holzbauer, Jean Nouvel and Manfred Wehdorn (1999-2001). Here was not only created new housing, but also a historical industrial monument reinterpreted into a signal in the urban development area.
New Neighborhood
In recent years, the major railway stations and their surroundings moved into the focus of planning. Here not only necessary infrastructural measures were taken, but at the same time opened up spacious inner-city residential areas and business districts. Among the prestigious projects are included the construction of the new Vienna Central Station, started in 2010 with the surrounding office towers of the Quartier Belvedere and the residential and school buildings of the Midsummer quarter (Sonnwendviertel). Europe's largest wooden tower invites here for a spectacular view to the construction site and the entire city. On the site of the former North Station are currently being built 10,000 homes and 20,000 jobs, on that of the Aspangbahn station is being built at Europe's greatest Passive House settlement "Euro Gate", the area of the North Western Railway Station is expected to be developed from 2020 for living and working. The largest currently under construction residential project but can be found in the north-eastern outskirts, where in Seaside Town Aspern till 2028 living and working space for 40,000 people will be created.
In one of the "green lungs" of Vienna, the Prater, 2013, the WU campus was opened for the largest University of Economics of Europe. Around the central square spectacular buildings of an international architect team from Great Britain, Japan, Spain and Austria are gathered that seem to lead a sometimes very loud conversation about the status quo of contemporary architecture (Hitoshi Abe, BUSarchitektur, Peter Cook, Zaha Hadid, NO MAD Arquitectos, Carme Pinós).
Flying high
International is also the number of architects who have inscribed themselves in the last few years with high-rise buildings in the skyline of Vienna and make St. Stephen's a not always unproblematic competition. Visible from afar is Massimiliano Fuksas' 138 and 127 meters high elegant Twin Tower at Wienerberg (1999-2001). The monolithic, 75-meter-high tower of the Hotel Sofitel at the Danube Canal by Jean Nouvel (2007-10), on the other hand, reacts to the particular urban situation and stages in its top floor new perspectives to the historical center on the other side.
Also at the water stands Dominique Perrault's DC Tower (2010-13) in the Danube City - those high-rise city, in which since the start of construction in 1996, the expansion of the city north of the Danube is condensed symbolically. Even in this environment, the slim and at the same time striking vertically folded tower of Perrault is beyond all known dimensions; from its Sky Bar, from spring 2014 on you are able to enjoy the highest view of Vienna. With 250 meters, the tower is the tallest building of Austria and almost twice as high as the St. Stephen's Cathedral. Vienna, thus, has acquired a new architectural landmark which cannot be overlooked - whether it also has the potential to become a landmark of the new Vienna, only time will tell. The architectural history of Vienna, where European history is presence and new buildings enter into an exciting and not always conflict-free dialogue with a great and outstanding architectural heritage, in any case has yet to offer exciting chapters.
Info: The folder "Architecture: From Art Nouveau to the Presence" is available at the Vienna Tourist Board and can be downloaded on www.wien.info/media/files/guide-architecture-in-wien.pdf.
Copyright © 2014 Ruggero Poggianella
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La Ford Mustang è un'autovettura sportiva statunitense prodotta dalla Ford Motor Company dal 1964. Si tratta di uno dei prodotti più venduti dell'industria automobilistica mondiale, imitata da molti costruttori e tuttora in produzione. La sua struttura originaria derivava dalla Ford Falcon. Fortemente voluta dal manager della società dell'epoca Lee Iacocca, poteva essere considerata una piccola muscle car equipaggiata di un motore da 2,8 L di cilindrata, erogante una potenza di 105 CV (78 kW). La presentazione della Mustang coincise perfettamente con la prima ondata della generazione dei cosiddetti Baby Boomers, cioè di quei giovani nati subito dopo la fine della seconda guerra mondiale. Questi giovani si affacciavano sul mondo del lavoro in un contesto di un'economia forte. A questa generazione nessun costruttore di automobili aveva pensato e pertanto non esistevano modelli di auto indirizzati specificatamente a loro.
Fu Iacocca ad identificare questo settore del mercato e a proporre loro una vettura giovane e sofisticata.
La Ford però in quel periodo risentiva di una situazione economica difficile dovuta agli scarsi risultati, e seguente dismissione, della Edsel avvenuto alla fine del 1959. Quando Iacocca propose la sua nuova vettura si trovò di fronte una direzione, con al vertice Robert McNamara, poco propensa ad imbarcarsi in una nuova rischiosa avventura. Iacocca però perseverò ed ottenne il via libera per la produzione alla metà del 1962. Gli vennero concessi 18 mesi per progettare e realizzare la vettura che sarebbe divenuta la Mustang. Alla fine il progetto venne portato a termine in un tempo inferiore e utilizzando un budget minore di quanto preventivato. La chiave di volta di questo successo fu data dalla decisione di utilizzare il maggior numero possibile di componenti meccaniche già prodotte dalla Ford. Per quanto riguardava il design della vettura ci si basò sul manuale interno spingendo al massimo la tecnologia produttiva dell'epoca.
Fu utilizzata anche, all'epoca, la nuova tecnologia che permetteva di ottenere superfici vetrate curve con assenza di distorsioni. Come detto la piattaforma di partenza era quella della Falcon. Il telaio però venne completamente rivisto per adeguarlo alle caratteristiche della nuova vettura. Fu aggiunto anche un innovativo sistema strutturale, detto Torque Box, che permetteva di incrementare la rigidità, la solidità e la maneggevolezza della vettura, rispetto a quelle dell'epoca, facilitandone nello stesso tempo la produzione. In pratica questa componente diventava un singolo pezzo da realizzare. Anche il lancio pubblicitario della Mustang fu un grande successo. La vettura venne presentata al New York Fair il 17 aprile del 1964. Due giorni dopo, 19 aprile, venne presentata in contemporanea sulle tre televisioni americane. La risposta del pubblico fu enorme ed immediata e si verificò un quasi terremoto in tutte le concessionarie Ford del paese. L'idea iniziale che portò alla realizzazione della Mustang si deve a Donald N. Frey e a Lee Iacocca, allora general manager della Ford. Il primissimo concept della vettura, denominata Ford Mustang I, fu realizzato in appena 100 giorni e debuttò il 7 ottobre 1962, durante il GP degli Stati Uniti a Watkins Glen (New York). Profondamente diverso dal modello che nacque in seguito, era una spyder a due posti con motore centrale, lunga appena 3.919 millimetri e larga 1.549 mm. Infatti, nelle prime intenzioni di Iacocca, l'auto doveva fare concorrenza alla Chevrolet Corvair Monza. Il motore utilizzato fu il 1498cc V4 della Ford Taunus, in versione da 109cv. Per "saggiare" la risposta dei potenziali acquirenti, i vertici Ford promossero dei tour dimostrativi nei college, ricercando una clientela giovane; tuttavia, la risposta del pubblico fu poco entusiasta, così l'auto rimase allo stadio di concept car, e il progetto dovette ricominciare da capo, arrivando poi all'auto che si conosce oggi. Il design dell'auto venne affidato a David Ash e a Joseph Oros, dello studio di design della Lincoln – Mercury, marchi di proprietà della Ford, che risultarono vincitori di una gara interna voluta da Iacocca. La versione base doveva essere costituita da una vettura hardtop sulla quale sarebbe stato montato un motore a sei cilindri in linea. La cilindrata di questa unità motrice era di 2,8 L mentre la potenza sviluppata raggiungeva i 105 hp (78 kW). La trasmissione doveva essere affidata ad un cambio manuale a tre marce. Il prezzo di vendita della prima Mustang doveva essere di 2.368 dollari USA dell'epoca ma alla fine quest'ultimo crebbe di alcune centinaia di dollari. Il design della Mustang ricevette molti riconoscimenti e premi. Il suo muso lungo, che ricordava la Lincoln Continental, il suo abitacolo corto e un tocco di stile internazionale che faceva pensare alle Ferrari le valsero nel 1964 il prestigioso premio quale Motor Trend Car of the Year e, prima vettura a riceverlo, il premio “Eccellenza” nel design proposto dalla Tiffany. Nello stesso anno la Mustang fu anche la pace-car alla 500 miglia di Indianapolis. Nonostante il suo progetto fosse indirizzato a farla identificare come vettura sportiva nella realizzazione della Mustang si era ampiamente fatto ricorso a componenti di altre vetture della Ford. Così sospensioni e trasmissione provenivano dalla Ford Falcon e dalla media Ford Fairlane. La piattaforma utilizzata era quella della Falcon del 1964 con sezioni laterali scatolate e con cinque elementi di rinforzo saldati. Sebbene la lunghezza della Mustang e della Falcon fosse identica, 4,613 m, l'interasse della Mustang era più corto, 2,743 m. Anche la larghezza differiva di poco, la Mustang era di 86 mm più stretta della Falcon, mentre quasi identica rimase la carreggiata delle due vetture. La Mustang pesava a secco 1.170 kg per la versione che montava il sei cilindri in linea e 1.360 kg nella versione dotata di motore a V8. Come per la Falcon e la Fairlane la Mustang adottava lo schema delle sospensioni indipendenti all'anteriore e lo SLA (Short-Long-Arm), con molle montate sul braccio superiore. Le sospensioni posteriori erano del tipo Hotchkiss con l'assale montato su molle. I freni erano quelli standard della Falcon: a tamburo da 229 mm di diametro per la versione sei cilindri e da 254 mm per la versione dotata di V8. Lo sterzo era caratterizzato da un rapporto di riduzione di 27:1 ed erano necessarie 5 rotazioni complete del volante per raggiungere il massimo angolo di sterzata. Poteva però essere montato, come optional, anche uno sterzo più diretto, con rapporto di 21,7:1, che migliorava le prestazioni in questo campo, anche se a prezzo di un maggiore sforzo fisico da parte del conducente. Molto del fascino della Mustang derivava dalla lista degli optional disponibili che rendeva possibile realizzare quasi una vettura su misura per ogni cliente. Erano disponibili diverse tipologie di trasmissioni: quattro marce manuale e tre marce automatico Cruise-O-Matic. Come motori era possibile montare un sei cilindri in linea da 4,2 L e da 164 Hp (122 kW) oppure un motore da 4,7 L da 210 hp (157 kW). A partire dal giugno del 1964 divenne disponibile la versione K-Code da 271 hp (202 kW) del motore. Quest'ultimo faceva parte di un kit nel quale erano comprese molle delle sospensioni più dure, ammortizzatori più rigidi, barre anti-rollio anteriori, ruote più larghe e sterzo manuale. Questo kit ad alte prestazioni era l'optional più costoso della gamma Mustang e nel 1965 ne furono montati solo 7.273 su un totale di 680.992 Mustang vendute. Altri optional erano costituiti dal differenziale autobloccante, cerchi ruota e relative coperture di disegno più elaborato, freni più potenti, aria condizionata, consolle centrale, tetto in vinile, diversi impianti radio, sedili e diversi altri accessori. Verso la fine del 1965 divennero disponibili, sempre a richiesta, i freni a disco anteriori. Furono poi aggiunti dei pacchetti specificatamente rivolti agli interni, Interior Decor Group o Pony Interior. Naturalmente il prezzo di acquisto della vettura, basso inizialmente, saliva con queste personalizzazioni di diverse centinaia di dollari che rendevano la Mustang una delle vetture con il più alto margine di profitto per i concessionari e per la ditta stessa. Due erano le tipologie di carrozzeria disponibili: decapottabile e hardtop. Fu con il model year 1965, cioè dopo soli cinque mesi dalla presentazione del modello, che vennero introdotti i primi importanti cambiamenti. Per prima cosa venne rivista la gamma dei motori disponibili. Venne tolto il 2,8 L che fu sostituito da un 3,3 L che forniva 120 hp (89 kW) a 4.400 giri al minuto. Con l'introduzione del modello 1965 venne eliminato anche la versione che montava il 4,2 L che fu rimpiazzata da due nuovi modelli dotati del 4,7 L (289inch) V8. La prima, di ingresso alla gamma, con carburatore doppio corpo e 200 hp (149 kW) di potenza. La gamma continuava con un modello dotato di carburatore a quattro corpi che forniva 225 hp (168 kW) per concludersi con il modello ad alte prestazioni, o HiPo, che invece era rimasto invariato. Altra importante variante fu l'introduzione della carrozzeria fastback, cioè due porte più portellone posteriore. Con questo modello ci fu anche il passaggio, avvenuto su tutta la produzione Ford, dai generatori a corrente continua (DC) Dinamo a quelli a corrente alternata (AC) Alternatore e venne introdotto anche il nuovo pacchetto optional GT, o ad alte prestazioni, nel quale erano compresi sia il precedente pacchetto HiPo che altre componenti. Questo kit era disponibile con i motori da 200 e da 225 hp e con tutte le tipologie di carrozzeria, dal cabrio, soft top, hard top e coupé. Il modello 1966 della Mustang vide l'introduzione di modifiche minori negli allestimenti e di alcuni nuovi optional. Questi ultimi erano rappresentati dalla trasmissione automatica anche per le versioni più potenti, nuovi colori per gli interni e per la carrozzeria, un sistema audio Stereosonic ad otto tracce e con ricezione in AM oltre ad una delle prime radio AM/FM disponibili su una vettura. Il modello 1967 fu il primo a subire delle riprogettazioni importanti e che vide l'ingresso nella gamma del motore Big block V8. Il modello che funse da base per l'introduzione di questo motore fu quello dotato del 4.7 L. Su questa vettura venne montato il motore a V da 6,4 L (391inch) che forniva 320 hp (239 kW), già montato sulla Ford Thunderbird. Con il model year 1968 venne introdotto il motore Supercobra da 6,5 L. Venne usata una versione limitata a 335 hp (250 kW) e non quella originale da 410 hp (305 kW). L'anno successivo venne introdotta la muscle car Boss 429, una vettura costruita a mano e creata per ottenere l'omologazione NASCAR. Questa vettura fu disponibile solo nel biennio 1969 – 1970. La carrozzeria era simile alla fastback ed era stata denominata dalla Ford Sport Roof. Gli interni, lussuosi, erano denominati Mach 1. Per i colori la Ford si mantenne su schemi sobri, rispetto a quelli sgargianti dell'epoca. Altre caratteristiche che permettevano di riconoscere questa vettura erano le decalcomanie Boss 429 poste su entrambi i parafanghi anteriori, le ruote Magnum 500 da 15 pollici (380 mm) di diametro con gomme Goodyear Polyglass e la presa d'aria realizzata sul cofano. Per ottenere maggiori benefici nelle competizioni, e con le tariffe assicurative, la potenza del motore era stata limitata a 375 hp (280 kW). Però era possibile ottenere con poche modifiche effettuate direttamente in fabbrica (montaggio della testata in alluminio con camera di combustione emisferica e sostituzione della guarnizione della testata con un mix di O-ring e altre guarnizioni – sostituzione impianto di scarico e rimozione del limitatore all'aspirazione) un incremento di 75/100 hp (56/74 kW). Se la vettura veniva portata a questo livello di prestazioni non erano più disponibili l'aria condizionata e la trasmissione automatica. Nello stesso periodo per ottenere le omologazioni nella Trans-Am fu creata la Boss 302 nella quale la Ford cercò di unire la potenza di una muscle car con la maneggevolezza di una vettura sport. Su questa vettura era montato il 4,8 L V8 del 1968. Su questo motore furono montate le testate del futuro 5,8 L (351inch) che verrà presentato nel 1970 con la denominazione di Cleveland. La potenza erogata dal motore era di 290 hp (216 kW) mentre la trasmissione era del tipo manuale a quattro marce. Originariamente la vettura doveva essere denominata Trans-Am ma la Ford fu battuta dalla Pontiac che applicò la stessa denominazione ad una versione speciale della Firebird. L'aspetto estetico della vettura era stato curato da Larry Shinoda e la vettura venne soprannominata Baby Boss. Nei primi due anni di produzione furono vendute quasi 1.5 milioni di Mustang, stabilendo così il nuovo record delle vendite. Le vetture venivano prodotte negli stabilimenti di San Josè (California), Dearborn e Metuchen (New Jersey). Le altre case automobilistiche si trovavano nella condizione di non poter reagire. La General Motors produceva la Convair Monza, una vettura a motore posteriore che poteva competere con la Mustang ma le cui vendite rimasero sempre molto lontane da quelle realizzate dalla vettura Ford. Fu solo nel 1967, con la presentazione della Chevrolet Camaro e della Pontiac Firebird, che la GM poté contare su dei modelli comparabili alla Mustang. La AMC presentò, nel 1968, la sua Javelin e in seguito la AMX, una due posti capace di elevate prestazioni. La Chrysler aveva presentato qualche settimana prima della Mustang la sua Barracuda che però non ottenne lo stesso successo della sua concorrente, anche se in seguito divenne una delle più potenti Muscle-car disponibili. In Germania la prima serie fu venduta col nome T5, poiché Mustang identificava un veicolo commerciale della Krupp, e venne acquistata prevalentemente dai militari americani stanziati nel paese. Dopo la fusione tra la Lincoln e la Mercury, ambedue marchi del gruppo Ford, un'altra Mustang fece la sua apparizione: la Mercury Cougar. Questa vettura altro non era che un Mustang di fascia alta. Presentata nel 1967 ottenne nello stesso anno il premio quale Motor Trend Car.
Between the two Boughtons along the sandstone ridge, little did I know there are three parishes, Chart Sutton, Sutton Valance and East Sutton.
As it happened I sailed past Chart Sutton without realising it was there, and there was a wedding on at Sutton Valance. But I had seen some fine hand made signs pointing to an open church, which happened to be East Sutton.
I was welcomed warmly, and once we had all agreed to how many churches in Kent I had visited, one of the wardens gave me a fine guided tour of the church.
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A knockout church that stands cheek by jowl with the red brick mansion that is now a prison with warning signs that tell you not to photograph the house whilst photographing the church! Mainly fourteenth century building but remodelled with new windows in the fifteenth. It contains much of interest although in many respects the late nineteenth century restoration which removed the plaster from the walls has created an interior unlike anything that went before. The memorials to the Filmer family are what most people come to see – from a rare 17th century brass plate to a nineteenth century marble baby the church ahs it all. The windows are mostly late 19th and early 20th century by Westlake. The post WW1 south chapel east window depicts a soldier, sailor, airmen and nurse under figures of Osmund, Edmund and Christ. The lovely font is one of the nicest thirteenth century examples around – one amazingly thin pillars. Architecturally the north chapel north window, with flamboyant tracery is the masterpiece but really it is the whole ensemble that goes to create such a welcoming and memorable space.
www.kentchurches.info/church.asp?p=East+Sutton
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EAST SUTTON.
THE next parish eastward from Town Sutton is East Sutton, having the appellation of East from its situation eastward of the two adjoining parishes of Sutton Valence and Chart Sutton, though that of Sutton, near Dover, is likewise frequently stiled East Sutton, from its situation in the eastern part of this county.
IT is a small parish, and would be but little known or frequented was it not for the residence of the Filmer family in it. It is much the same situation and soil as the last described parish of Sutton Valence, the quarry hills crossing the middle of it; the church stands near the summit of the hill, at the back of East Sutton-place, which is pleasantly situated, having a most beautiful and extensive view southward, the park lying before it, which is well cloathed with trees both of ash and oak, and has a fine piece of water in sight of the house in the lower part of it; about half a mile south-east from the manor house, about the middle of the hill, is Little Charlton, which has still the appearance of a gentleman's seat, having several good rooms in it well ornamented with stucco, fret-work, &c. and every convenience requisite for a gentleman's family, and the hospitality of former times; from the top of the hill southward it is within the Weald, a low, flat and miry country. On the other side, above the church, from the shade of the quantities of trees which spread thickly over it, that part has an unpleasant and gloomy aspect. In this part is (hartway-street, the only village in this parish, the southern side of which only, on which however almost all the houses are built, being in this parish and its northern boundary, the other side of it being in Bromfield; the rest of the houses in East Sutton, excepting the two small hamlets of Friday and Sunday-streets, being intersperted at various distances throughout it.
THIS PLACE was part of those possessions with which Odo, bishop of Baieux, was enriched by his half-brother William the Conqueror, under the general title of whose lands it is thus entered in the survey of Domesday:
The same Adam Fitzhubert holds of the bishop Sudtone. It was taxed at one suling and an half. The arable land is eight carucates. In demesne there are two, and fifteen villeins, with nine borderers, having four carucates. There is a church and ten servants, and eight acres of meadow. Wood for the pannage of fifty bogs. In the time of king Edward the Confessor, and afterwards, it was worth ten pounds, now twelve pounds, and yet it pays eighteen pounds. Leuenot held it of king Edward.
On the bishop's disgrace, which happened in 1084, about four years after the taking the above survey, this among the rest of his estates became confiscated to the crown.
In the reign of Henry the IIId, John de Salario held East Sutton (fn. 1) of Simon de Montfort, earl of Leicester; Geffry de Maitel held it in the latter end of that reign, and the beginning of the reign of king Edward the 1st, his successor was Adam de Martel, whose right to it was allowed against the king before the justices itinerant, in the 21st year of Edward I. Aymer de Valence, earl of Pembroke, was in possession of it in the beginning of the next reign of king Edward II. and died in the 17th year of it s. p. upon which his three sisters became his coheirs; of whom Isabel, married to John de Hastings, of Bergavenny, seems to have had this manor allotted to her as part of her share in the inheritance, and in his descendants, earls of Pembroke, it continued down in like manner as Sutton Valence manor before described, till on their failure of issue in king Henry the IVth's reign, Reginald, lord Grey, of Ruthyn, became entitled to it as next of kin and heir of Aymer, earl of Pembroke, but on his being taken prisoner by Owen Glendower, in Wales, king Henry IV. in his 4th year, granted licence to I obert Braybrook, bishop of London, and others, then seoffees of his several lordships, to sell this manor among others, towards raising a sum of money for his ransom. They sold it to Richard Brigge Lancaster, king at arms, who alienated it in the third year of king Henry V. to Thomas Buttiller and Thomas Bank. After which it passed into the family of Darrell, one of whom Sir Richard de Darrel, possessed it in the reign of king Edward IV.
In the first year of king Henry VIII. John York, esq. of Ramsbury, in Wiltshire, was owner of it, and in the 6th year of that reign passed it away to Richard Chetham, prior of the priory of Ledes, and it seems to have been for the use of his convent by the receipt in the exchequer, anno 8 Henry VIII. Nevertheless they had divested themselves of the possession of it before the 20th year of that reign, when Sir Henry Guldeford, knight of the garter, and comptroller of the king's houshold, owned it. He died s. p. in the 23d year of that reign, and his heirs sold this manor the next year to Richard Hill, esq. who in the 29th year of it alienated it to Thomas, lord Cromwell, and he soon afterwards exchanged it with the crown for other lands, where the fee of it remained till the king in his 37th year granted it, with its appurtenances, to John Tuston, and Stephen Reaves, to hold in capite, and they that year alienated it to Thomas Argall, who bore for his arms, Party per fess, argent and vert, a pale counterchanged; three lions heads erased gules. He procured his lands in this county to be disgavelled by the act of the 2d and 3d of Edward VI. and died possessed of it in the 6th year of that reign.
His son and heir, Richard Argall, esq. had by Mary his wife, daughter of Sir Reginald Scott, of Scots-hall, a son John, and two daughters, Catherine, wife of Ralph Bathurst, esq. of Horton Kirkby, and Elizabeth, of Sir Edward Filmer, of Little Charleton, in this parish, John Argall, esq. the son, was of Colchester, in Essex, and in the 8th year of king James I. sold this manor to his brother-in-law, Sir Edward Filmer before-mentioned, who upon that removed from his seat of Little Charleton to the manor house of East Sutton, called East Sutton-place, where he kept his shrievalty in the 13th year of that reign. The family of Filmer was originally seated at the manor of Herst, in the parish of Otterden, where Robert Filmer lived in king Edward the IId.'s reign. His descendants continued there till Robert Filmer, son of James, removed to the manor of Little Charlton, in this parish, which he had purchased of the family of Kempe, and had built a seat on it for his residence, it was antiently called Charlton-court, and had owners of its own name in the reigns of king Edward II. and III. (fn. 2) He was one of the prothonotaries of the common pleas for twenty years in the reign of queen Elizabeth, and to him Cooke, clarencieux, in 1570, granted, or rather confirmed the arms of the family, viz. Sable, three bars, and as many cinquefoils in chief, or. He died in 1585, and was buried in this church, which has ever since continued the burialplace of the family. He was the father of Sir Edward Filmer, the purchaser of this manor of East Sutton as before mentioned. (fn. 3)
He had by his wife before mentioned, nine sons and nine daughters, and died in 1629, being succeeded here by Robert, his eldest son, who was knighted by king Charles I. and resided at East Sutton. He employed his pen in defence of the rights of the crown. He was educated at Trinity-college, Cambridge, and wrote the Anarchy of a limited or mixed Monarchy; Patriarcha, or the natural Power of Kings; the Freeholder's grand Inquest, and Reflections concerning the Original of Government, besides several other tracts, all which were published after his death by his son. He was a great sufferer during the civil wars of king Charles I.'s reign, having his house here plundered ten times by the rebels, and himself imprisoned in Leeds-castle for his loyalty. He died in 1653, having married Anne, daughter and coheir of Martin Heton, bishop of Ely, by which an addition of fortune, as well as of arms, accrued to him.
He was succeeded by his eldest son, Sir Edward Filmer, gentleman of the privy chamber both to king Charles I. and II. who dying unmarried at Paris, in 1668, was succeeded in his estates by his next brother, Robert Filmer, esq. barrister-at-law, of Gray's inn, who, in consideration of his father's sufferings and loyalty to Charles I. was, on Dec. 24, 1674, created a baronet. He resided at East Sutton-place, which, as well as the park round it, he greatly augmented and improved, inclosing the whole with a stone wall. He died in 1675, leaving several sons and daughters, of whom Sir Robert Filmer, bart. his eldest son and successor, resided here, and in 1689, being the last of king James II. served the office of sheriff. He died in 1720, having married Elizabeth, daughter and coheir of Sir William Beversham, of Holbrookhall, in Suffolk, one of the masters in chancery, (fn. 4) by whom he had several sons and daughters. Beversham Filmer, esq. one of the younger sons, was of Lincoln'sinn, barrister-at law, master of the Nisi Prius office in B. R. and one of the most able conveyancers this kingdom has produced. He died unmarried in 1763, and was buried in this church, having by his last will bequeathed his estates in this county to his nephew, Sir John Filmer, bart.
Sir Edward Filmer, bart. the eldest son, resided at East Sutton, and married Mary, daughter of John Wallis, esq. of Oxfordshire, only son and heir of the learned John Wallis, D. D. Savilian professor of geometry at Oxford, and F. R. S. by whom he had twenty children, viz. eleven sons and nine daughters; of the former, John, the eldest, succeeded him in title and estate; Beversham married Dorothea, second daughter of William Henley, esq. late of Gore-court; the died in 1793, s. p. Edmund is rector of Crundall, and married Arabella-Christiana, the eldest daughter of Sir John Honywood, bart. by his first lady, by whom he has had six sons and two daughters; Francis, barrister-at-law, of Lincoln's-inn, is unmarried. Of the daughters, Dorothy, married the late Sir John Honywood, bart. He died in 1755, æt. 72, and was succeeded by his eldest son, Sir John Filmer, bart. of East Sutton, who died in 1797, æt. 84, and was buried with his ancestors in this church. He married Dorothy, daughter of the Rev. Julius Deedes, prebendary of Canterbury, by whom he had no issue. She survived him, but the title, and this manor and seat, together with the rest of his possessions in this parish, devolved to his next brother and heir, now Sir Beversham Filmer, bart. who resides here, and is the present owner of them.
BOYTON is a manor in this parish, which formerly belonged to the priory of Christ-church, in Canterbury, and continued so till the dissolution of it in the reign of king Henry VIII. when it was, together with the rest of the possessions of the priory, surrendered into the king's hands, who by his dotation-charter in his 33d year, settled this manor on his new-erected dean and chapter of Canterbury, part of whose possessions it still remains.
The lessee of this manor, in the year 1645, was Sir Robert Stapleton, bart. who held it under the ruling powers of that time, the dean and chapter being dissolved, at the yearly rent of 5l. 6s. 8d. and one pound for entertainment money to the receiver of the church.
The family of Hope have been lessees of it for many years, the present lessee being Mrs. Sarah Hope.
Charities.
STEPHEER PENDE, gent. of this parish, by deed, anno 23 Henry VIII. gave a messuage, barn, garden, and two crosts of land, containing four acres in this parish; and GEORGE USMER, gent. of this parish, by deed, anno 6 Elizabeth, gave two pieces of land, containing three acres, in this parish; and by his will, anno 8 Elizabeth, gave three pieces of land, called Randalls and Lakefield, the latter in Town Sutton, and the former in this parish, all which were given for the habitation and maintenance of the curate of this parish, but if such curate should not reside in the said messuage, then the churchwardens were to receive the rents of all the before-mentioned premises, and apply them towards the repairs of the church. And he gave by will a piece of land called Park-corner, otherwise Lodge-land, in this parish, to the intent that the churchwardens should receive the rents, and, with the assent and advice of the inhabitants, yearly distribute the same amongst the poor on Good Friday and All Holland day, by equal proportion. And he further willed, that the churchwardens should receive the rents of two pieces of land in this parish, called Huntings, to be by them bestowed, with the advice of the inhabitants, in bread, cheese, and beer, among the poor of it on St. George's and Christmas day, yearly.
DAME ELIZABETH FILMER, widow of Sir Edward Filmer, in 1638, gave 100l. to the use of the poor of this parish.
MRS. SUSAN WATTS, of this parish, widow, gave 50l. for the use of the poor, and directed, that poor antient widows should be first preferred, and most relieved, according to their necessities.
The above-mentioned sums of 100l. and 50l. having been many years placed out at interest upon a mortgage, were, in 1722, together with 10l. raised by subscription among the parishioners, and 10l. given by Sir Edward Filmer, bart. and the further sum of 25l. raised by the sale of timber growing on the lands called Huntings and Lodge-lands above-mentioned, amounting in all to 1951. laid out in the purchase of a messuage, barn, orchard, and six pieces of land in Hedcorn, upon the den of Hockenbury, purchased of one William Fleet, and now in the occupation of John Croucher, at the yearly rent of 10l. 1s. 8d. to the uses following: to pay 40s. a year to the curate of this parish, so long as he inhabited here, and demeaned himself well, and diligently served the cure, and preached four quarterly sermons as therein directed; but in default of such residency, &c. to pay one moiety of the said 40s. towards the repairs of the church, and the other moiety, together with all the residue of the rents of the said Hockenbury farm, to the use of the poor.
SIR ROBERT FILMER, bart. gave by will in 1703, a piece of land, the yearly produce of it to be given in wheat, among eight of the poorest inhabitants at Christmas, vested in Sir John Filmer, bart. and now of the annual produce of 20s.
The number of poor relieved constantly are about twentyfive, casually about ten.
EAST SUTTON is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sutton.
The church is dedicated to St. Peter and St. Paul. It is not a large building, and has a square tower at the west end of it. It is kept remarkably neat, and in good repair. The grave-stones of the Filmers in it are a complete series of this family, from the time of their coming to reside in this parish. All the brasses on them are perfect. The grave-stone over Sir Edward Filmer, who died in 1629, within the altar rails, is very curious, having an entire sheet of copper over it, with the portraits of himself, his wife, and his numberous issue, engraved on it, and their names respectively over them, and the coats of arms and quarterings, belonging to him and his wife, at the corners of it. There is a neat bust in white marble of the late Sir Edward Filmer, bart. who died in 1755, with an inscription to his memory against the wall, over the pew where the family sit.
The church of Sutton was antiently part of the possessions of the priory of Leeds, to which it was appropraited, and the duty of it was first served by a chaplain, appointed by the prior and convent, at whose request it was afterwards united to the adjoining church of Town Sutton, of their patronage likewise, to which it has been ever since esteemed as a chapel.
On the dissolution of the priory of Leeds, in the reign of Henry VIII the parsonage appropriate of East Sutton came into the hands of the crown, as did likewise the patronage of the church of Town Sutton, with the chapel of East Sutton annexed, where they did not continue long; for the king settled them both, in his 32d year, on his new-erected dean and chapter of Rochester, with whom they remain at this time.
The parsonage has been for many years held in lease, by the family of Filmer; the present interest of the lease being vested in Sir Beversham Filmer, baronet.
The vicar of Town Sutton serves the cure of this church, as a chapel annexed to it, and as such is entitled to the vicarial profits of this parish, in right of his vicarage.
The church of East Sutton is not valued in the king's books, being included in that of Town Sutton.
¶On the abolition of deans and chapters, after the death of Charles I. this parsonage was surveyed in 1649, when it was returned, that the parsonage, late belonging to the late dean and chapter of Rochester, consisted of a parsonage house, and all tithes, and the glebe land lying together, containing forty-three acres and two roods, at the improved rent of seventy-five pounds; also seventeen acres more of glebe land, let at fifteen pounds per annum; all which premises were let by the late dean and chapter, anno 13 Charles I. to Sir Robert Filmer, for twenty-one years, at the yearly rent of ten pounds, and of two good capons, or four shillings in money, so there remained a clear rent of 79l. 16s. per annum; and that the lessee repaired the chancel of this church; out of which lease the vicarage was excepted, then worth twenty pounds per annum.
The lessee of the parsonage claims the tithes of all corn, hops, and grass, growing in this parish. In the reign of queen Anne these tithes were estimated at upwards of eighty pounds per annum; besides which, the glebe land belonging to it, was let at fifty pounds per annum.
In 1648 the communicants of this parish were one hundred and thirty.
The small tithes and other emoluments of this benefice, in the beginning of queen Anne's reign were estimated at eighteen pounds per annum, there being no glebe land belonging to it.
The land given and devised by Stephen Pende and George Ulmer, as before mentioned, was worth ten pounds per annum, in the above reign, and seems to have been intended for the better performance of divine service in this church every Sunday; before which, the vicar of Sutton Valence used to perform it here but once or twice in a quarter of a year. From the year 1648 to 1680, the parishioners bestowed the above income on the repairs of the church; but since that time, the vicar of Sutton Valence has generally had it, in consequence of which, he preaches here and at Sutton Valence alternately on a Sunday, morning and afternoon.
A list of the vicars of Sutton Valence, or Town Sutton, with this chapel of East Sutton annexed, has been already given in the description of that parish.
Cave Without A Name, Kendall County, Texas - One of Texas' hidden treasures, in February 2009 the Cave Without A Name was designated an official Natural Landmark!
Despite the innumerable caves and caverns that dot the Texas landscape, there are only a handful of caves that are open to touring by the public. Running along the interstate, it's easy to spot the billboards for Natural Bridge Caverns, Inner Space Caverns, Cascade Caverns - but very few people have ever heard of the Cave Without A Name. In fact, despite living less than an hour away for over ten years, I had no knowledge of it until recently. Yet this little cave is just as interesting as any of the larger, more travelled tourist stops.
Located about ten miles northeast of Boerne at the end of twisty-turny Hill Country roads near the Guadalupe River, the Cave Without A Name led an unremarkable existence until the 1920's. Much like Longhorn Caverns, the cave was used by bootleggers during Prohibition. The cave was opened in 1939 as a tourist attraction, the name chosen by a local boy who decided the caves were too beautiful for a name.
For decades, the Cave Without A Name remained an obscure, out-of-the-way spot, known mostly by locals and advertised by small hand-made signs on the highway. Tragedy struck when the manager of the cave (and the owner's son) passed away while exploring a nearby complex known tragically as Dead Man's Cave for drainage channels. Despite this loss, the cave remains open.
Then in February 2009, the Cave Without A Name was designated an official National Landmark by the National Park Service, along with five other historic sites around the country. Fewer than 600 locations have been designated as National Landmarks since the inception of the program, and only six within the past decade.
At the end of Kreutzberg Road, there is a small visitor's center and gift shop. Stairs lead down to the caverns below, well-lit with several impressive speleological formations - stalagmites, stalactites, soda straws, flowstone, ribbons, rimstone. It's a short tour, but easy and level without difficulty, the tour group size is usually small and it is easy to get up close to the formations (but don't touch - it's still a live cave). Longer 'adventure tours' are available (the website says they have been suspended due to high water, but that was written in 2007 before the area's record drought). Definitely worth the visit for anyone interested in caves or spelunking. Pictures taken April 6, 2008.
For more information on the Cave Without A Name:
- Texas Speleological Survey Entry.
This photograph is free for use on the internet under the 'Creative Commons Attribution-NonCommercial' license. You are free to copy, distribute, transmit and/or adapt this photograph without seeking permission first, as long as you provide attribution to the photograph (preferably by linking to this web page, or including the phrase 'Copyright Matthew Lee High'), and as long as the the photo is not used for commercial purposes. For more information about Creative Commons licenses, visit http://creativecommons.org/licenses/by-nc/2.0/deed.en.
Peloponnesian?
Without apparent provenance (ancient or modern)
Late 6th c. BCE (Late Archaic/Early Classical)
For more photos and information, see the CMA site.
Cleveland Museum of Art, Cleveland, Ohio, USA
John L. Severance Fund 2000.6
This is a hard one to explain. Richard Brown, resident neuroscientist at the Exploratorium, had an exhibit for the Liminality party, called "A world without colors". You walked into a room, and all of a sudden you were in a black and white movie: everything was monochromatic, a pale shade of yellow, and it was impossible to determine the color of anything. Very stunning sensation.
At the entrance of the room there was a rainbow-striped carpet: as you passed the threshold (the "limen"), the rainbow lost all its colors and became a collection of stripes in shades of gray. Posters on the wall looked like black ink etchings. There were big bowls of multi-flavored Jelly beans, and they all looked gray and black. It made it harder to identify the flavor, showing that taste is a very complex and multimodal perception, which relies on more than just the taste receptors on our tongues, but includes sight as well as smell. When we say that we eat with our eyes, it is literally (albeit partially) true.
How did it work? He flooded the room with low-vapor sodium lights, which put out only one frequency of light. Our brain can compute color by comparing the information that comes in from our three different types of cones (photoreceptors in the retina, the back of the eye). By flooding the visual scene with one frequency, this comparison is shortcircuited, and the brain interprets everything as monochromatic.
Another genius bit was that he had arranged a number of regular flashlights that you could pick up and go around the room shining a beam of full-spectrum light on objects. This brought back the colors only in the spot where the light shone. It was like having a magic wand that painted colors on the world.
He had also arranged colored markers and index cards, so that you could make a "black and white" drawing, then with the flashlight discover the colors in them. And a lot of other small details. It was a fascinating and fun room to spend some time in, albeit a little eerie and otherworldly.
Of course, digital cameras are not like our brains, so taking pictures did not work very well. They came out strongly dominant in the yellow, but the sense of monochromaticism was lost. So I photoshopped this image to reproduce the percept of what it felt like to be in the room. I think it came out relatively true to the experience.
Killdeer - A shorebird you can see without going to the beach, Killdeer are graceful plovers common to lawns, golf courses, athletic fields, and parking lots. These tawny birds run across the ground in spurts, stopping with a jolt every so often to check their progress, or to see if they have startled up any insect prey. Their voice, a far-carrying, excited kill-deer, is a common sound even after dark, often given in flight as the bird circles overhead on slender wings. Widespread, numerous, and noisy – these words describe the killdeer, Charadrius vociferus, a conspicuous, easy-to-identify member of the plover family. It is one of the noisiest of American birds, which accounts for the "vociferus" part of its scientific name. Although the killdeer is classed as a migratory species, this bird is a year-round resident of Texas, choosing a variety of habitats as home. It is found throughout the state, with the possible exception of the Panhandle during frigid winter weather. It thrives in open or semi-open areas and is at home in either dry or wet locations. An arid mesa or canyon can be as appealing as a home near a river or by a lake shore. Plains and prairies, whether grassy or bare, and fields or pastures, whether cultivated or fallow, attract the birds as often as the marshes, beaches, bays, and lagoon flats of the coast. Killdeer also manage to live side-by-side with people, using airports, golf courses, and lawns as foraging areas. Pebbled rooftops serve as well for nest sites as dry gravel beds along creeks and rivers. Both nest and eggs blend into the surroundings, but the birds take no chances, guarding the nest constantly throughout the 26 to 28 day incubation period. If the nest is threatened, the female is a master at the art of subterfuge. Imitating a severely injured bird, she flutters a few feet from the nest, falls flat on the ground as though hopelessly wounded, and utters piteous cries. If approached, she recovers enough to move farther from the nest, but continues to drag one or both wings on the ground as if broken. She may even roll over and gasp and pant as if completely exhausted by her efforts. Throughout the performance she continues to cry pitifully as if in pain. By spreading her tail feathers and throwing her body from side to side, she exposes a golden-red rump patch that may look like blood to the enemy. The male also may get into the act, flying around the intruder at a safe distance, screaming protests. Working as a team, they continue the performance until the intruder is lured away from the nest. Another diversion the birds use is the false nest act. When feeding birds are approached, one will move away, completely ignoring the enemy, and settle into a depression with all the motions associated with covering a nest of eggs. As the enemy draws near, the bird glides off to expose the empty depression. To add insult, the bird also makes a cry that sounds like a chuckle. If the enemy continues to follow, the false nest act will be repeated until the follower gets tired of looking into empty depressions and goes away. For more info see: tpwd.texas.gov/publications/nonpwdpubs/introducing_birds/...
Cave Without A Name, Kendall County, Texas - One of Texas' hidden treasures, in February 2009 the Cave Without A Name was designated an official Natural Landmark!
Despite the innumerable caves and caverns that dot the Texas landscape, there are only a handful of caves that are open to touring by the public. Running along the interstate, it's easy to spot the billboards for Natural Bridge Caverns, Inner Space Caverns, Cascade Caverns - but very few people have ever heard of the Cave Without A Name. In fact, despite living less than an hour away for over ten years, I had no knowledge of it until recently. Yet this little cave is just as interesting as any of the larger, more travelled tourist stops.
Located about ten miles northeast of Boerne at the end of twisty-turny Hill Country roads near the Guadalupe River, the Cave Without A Name led an unremarkable existence until the 1920's. Much like Longhorn Caverns, the cave was used by bootleggers during Prohibition. The cave was opened in 1939 as a tourist attraction, the name chosen by a local boy who decided the caves were too beautiful for a name.
For decades, the Cave Without A Name remained an obscure, out-of-the-way spot, known mostly by locals and advertised by small hand-made signs on the highway. Tragedy struck when the manager of the cave (and the owner's son) passed away while exploring a nearby complex known tragically as Dead Man's Cave for drainage channels. Despite this loss, the cave remains open.
Then in February 2009, the Cave Without A Name was designated an official National Landmark by the National Park Service, along with five other historic sites around the country. Fewer than 600 locations have been designated as National Landmarks since the inception of the program, and only six within the past decade.
At the end of Kreutzberg Road, there is a small visitor's center and gift shop. Stairs lead down to the caverns below, well-lit with several impressive speleological formations - stalagmites, stalactites, soda straws, flowstone, ribbons, rimstone. It's a short tour, but easy and level without difficulty, the tour group size is usually small and it is easy to get up close to the formations (but don't touch - it's still a live cave). Longer 'adventure tours' are available (the website says they have been suspended due to high water, but that was written in 2007 before the area's record drought). Definitely worth the visit for anyone interested in caves or spelunking. Pictures taken April 6, 2008.
For more information on the Cave Without A Name:
- Texas Speleological Survey Entry.
This photograph is free for use on the internet under the 'Creative Commons Attribution-NonCommercial' license. You are free to copy, distribute, transmit and/or adapt this photograph without seeking permission first, as long as you provide attribution to the photograph (preferably by linking to this web page, or including the phrase 'Copyright Matthew Lee High'), and as long as the the photo is not used for commercial purposes. For more information about Creative Commons licenses, visit http://creativecommons.org/licenses/by-nc/2.0/deed.en.
Through everyday encounters with domestic poverty, we are reminded to appreciate having food and shelter, but most of us all but forget about our feet. Food, shelter, AND shoes facilitate life’s fundamentals. Imagine a life without shoes; constantly aware of the ground in front of you, suffering regular cuts and scrapes, tending to infection after each walk, and enduring not only terrain, but heat and cold.
The problem is large, but the solution is simple. Wearing shoes and practicing basic hygiene can prevent both infection and disease due to unsafe roads and contaminated soil. By imagining a life barefoot, we can all contribute to the awareness of these conditions. On April 8th, communities, campuses, organizations, and individuals are banding together to walk barefoot for One Day Without Shoes.
For more information please feel free to visit www.toms.com
Paes, Helio & Cao are from Brazil, pasted as part of street art without borders.
Pitr is a french street artist.
The Oz (Oscar Diggs) 12'' doll has been deboxed. He is posed free standing, both with and without his accessories, which include his top hat, his traveling bag, and the China Girl 4'' mini doll.
The Oscar Diggs doll is a 12'' tall posable fashion doll, with a removable outfit. It consists of a black faux wool coat with black satin lining, a black satin vest, dark gray pinstriped pants, a black bow tie, and white satin dress shirt. His vest is actually only a front panel sewn onto his shirt. He also has ankle high black boots, and a black top hat. His outfit looks well tailored, and fits him well.
His face is a decent facimile of the Oscar Diggs movie character. His skin tone is a medium tan. He has dark brown facial hair, with thick eyebrows, mustache and goatee. He has small, narrow dark brown eyes staring straight ahead. His nose is medium sized and straight. He has short rooted hair that is a mixture of dark brown and black strands. His sideburns are black. His hair is slicked back, but doesn't have a lot of hair product, so is still soft and resilient, even over his forehead, and stays pretty neat. I groom his hair just using my fingers.
His body is well proportioned, with his head, hands, feet looking to be realistic sizes. His articulation consists of neck, shoulder, elbow and hip joints. His neck is a ball joint allowing 360 rotation and tilting up about 20 degrees. His shoulder ball joint allowing 360 rotation about a vertical plane, and tilting about 45 degrees from the vertical. His elbows are ball joints allowing 360 degress rotation, and tilting about 45 degrees. Finally his hips allow 360 rotation (constrained by his pants), and tilting about 20 degrees away from the vertical. He can sit with his legs together. Since he cannot bend his knees, he has to sit with his legs straight.
I think that this doll is a great bargain for the $20 price. He looks good, has rooted hair, has a good looking outfit, with many accessories, including the 4'' China Girl mini doll. The mini doll seems to be identical to the Disney Store mini doll, that is sold separately for $9.50. I can't be absolutely sure of that until I get the DS mini doll, which should happen by Tuesday, February 19.
Oz (Oscar Diggs) 12'' Fashion Doll With China Girl 4'' Mini Doll
By Tollytots, a division of Jakks Pacific
Based on a character in Disney's Oz The Great and Powerful
Released by Target online February 5, 2013
Purchased from Target online on February 6, 2013
Received on February 14, 2013
First Look
Following product information from the US Target website
Oz the Great and Powerful Oz and China Fashion Dolls
$19.99
This Oz doll is inspired by James Franco's character in the movie Oz the Great and Powerful. Oz is dressed for adventure in his coat, vest and top hat. This articulated doll comes with a mini China Doll and a travel bag, so your little one can reenact all her favorite scenes from the movie.