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1. 604 Gray Tabby Kitten Lays it all Out There, 2. Split Leaf Philodrendron in Hilo, Hawaii, 3. ____ in Mailbox 1st Try from 8x10 Huge, 4. Two Yummy Creamsicles, 5. 736sunrisefinleyltshpresamsatalot, 6. Sunrise Over My Home, 7. rubyinsleighbed&mymomasbabyjuly1914tualot, 8. White Flower in the Cascade Mountains,
9. My Christmas Card NARSADArtworks Published, 10. Byodo-In Temple in Hawaii, 11. 775 King and Queen Fisher Price Little People, 12. Sunrise at McFadden Marsh, 13. 083sunsetoutmybackwindow072105, 14. VACANCY - an understatement, 15. Not Exactly Puss 'n Boots, 16. pic016 Conrad the Polar Bear Standing Up,
17. My Great Grandparents Dawson Exposing Berry Loss approximately 1921-1922, 18. Arthur Kaye Dawson 1st picture Oklahoma Territory 1890ish, 19. My Mother in a Baby Carriage Late 1914 or Early 1915, 20. Thank God It's Friday the 13th Pin/Button - Whatever You Do, Don't You Dare Leave a Nice Comment (wink-wink), 21. Gray Cat Can't Decide Whether to Scratch or Stretch, 22. cd1-371-012602 Polar Bear Leaps in the Snow, 23. His Royal Highness, Montana de Montecore the Cat, 24. Spew Warning! Do Not View if You have Liquids Anywhere Near Your Mouth, Monitor or Keyboard,
25. 436 Very Fluffy Tuxedo Kitten in Hammock, 26. Lights on Rainy Pavement, Woodburn, Oregon, 27. Yellow Headed Blackbird is Back, 28. Anna Takes a Taste of Muffin's Paw, 29. Japanese Gardens, Portland, Oregon, 30. Row River Rapids and Covered Bridge, 31. Sunrise and Guardrail Reflections - I Wonder How Many of These I Have Slept Through in My Life?, 32. It Just Makes Me Crazy When You Kiss My Neck Like That... I Mean It!,
33. 126- Three Darling Kittens. Have you got their mittens?, 34. Another Rainy Day by the Library, 35. AFTER Picture of My Bedroom When I Was a Little Girl, Belmont, California, Early 1950s, 36. 319multicoloryoungcathumanesocietyoil1, 37. Not Exactly The Three Tenors, 38. 085 Caesar the Parrot Came for a Visit, 39. 707qsignmonroehighschoolappreciationwrong, 40. An Extremely Gnarled Tree
buried
Forest Hills, Queens, NYC
September 16, 2010
It all happened within 5 minutes.... At about quarter to 6, without warning, during the height of the evening rush, the most violent storm in recent memory tore across Staten Island, Brooklyn and central Queens. One tornado, with winds of 80 mph sent rooftops flying in Brooklyn, and a second tornado touched down in Queens, combined with a macroburst with winds in excess of 120mph. There was one tragic fatality, 1,500 trees were lost, 3,000 lightning strikes were counted, and 911 fielded 24,000 calls in the three hours following the storm.
The sky was getting dark, but having heard nothing on the weather forecast, I went out to the supermarket. As I walked back there was near constant thunder and I almost ran to get home, feeling the impending intensity in the air. I hurried up the front walk of our apartment just as the first big drops were falling and by the time I made it upstairs, water was blasting through the windows. Even after I closed them, water was coming THROUGH the air conditioner. You could see nothing outside but a dark-green and grey swirl and it sounded as if someone was punching the glass, trying to get in. The wind seemed to come from everywhere. And then it was suddenly gone.
Almost immediately, the sirens began, and I'm sure many were injured. Very sadly, a woman from Pennsylvania was killed nearby in her car. Our front walkway was barricaded by fallen trees, which was the general scene everywhere. Every block was littered with trees, many of them huge and ancient. A few windows in our building were smashed out. Eerily, there were also a number of shoes and umbrellas laying around- discarded as people ran for cover. In the air was the smell of fire. I must have seen more than 40 damaged cars, and about ten which were completely crushed. Many streets were impassable, and a traffic nightmare quickly ensued- total gridlock, people going the wrong way down streets, pedestrians everywhere, and off-duty cops trying their best to keep the peace. Someone told me it took him one hour to drive two blocks.
The general sense on the street was one of disbelief, as many homebound commuters emerged from the subway totally unaware of what happened, the unique Forest Hills blend of trees and urban-ness mangled out of recognition. As night fell, the scene became more chaotic still, with snarled traffic and constant sirens lasting until well after midnight. Firefighters from other neighborhoods were having trouble navigating the bizarre address system of Queens, and worse, could barely fight through the crowds. I overheard on a police radio that, among other incidents, a woman was going into labor a few blocks away.
Up at Queens Boulevard, a few stores had lost their windows- some had overturned shelves and puddles of water. Many signs were damaged and some teenagers were gleefully carrying a huge green "Yellowstone Blvd" sign that had fallen.
After midnight, there was a bit of peace, but within an hour around 7am, the chaos returned full force. There's a lot of clean-up to be done, and I imagine it will take weeks. All told, however, we are lucky. It is amazing, though sad, that there was only one fatality- that almost everyone managed to stay clear of all the falling trees is miraculous. Far worse things happen all the time around the world. Still, the words on everyone's lips as you walk through the neighborhood today are best summed up by what I heard an elderly woman say in a thick Russian accent: "In my life, I never seen nothing like this"
Alice hides like a pebble underfoot, not broken clean from her moorings. Snapped off wrong, spider-webbed and shattered, this little lost daughter of George and Annie McKay. I can't say how old she was or when she died, but a stone this small is usually a child under 5, and the design suggests the 1880s. These are tiny tales that someone trips over, easily unnoticed when the grass grows wild and high. Still, it's a beauty without rival – to swallow a body, then swallow the stone that stands atop it. The earth always works to encompass all that touches it, to reach wide and wrap around anything inclined to resist. Little bare-footed rushes through the graves gone before, and I come back with big steps wet through my shoes. This cold start to summer has a heavy heart about it, and it picks me up from where I'm sunken in the mud.
July 3, 2021
McKay Cemetery
McKay Section, Nova Scotia
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Marco Carta
Alcatraz - Milano
14 Maggio 2013
© Mairo Cinquetti
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È venuto al mondo a Cagliari nel 1985. Erano le 14.45 di un caldo 21 maggio, il primo giorno dei Gemelli. I nati sotto questo segno zodiacale si distinguono per l’intelligenza brillante. In più sono estremamente curiosi, eclettici, ironici e intuitivi. Marco Carta possiede tutte queste caratteristiche tipiche dei nati nei Gemelli; ma il suo percorso umano e artistico dimostra che il trionfatore di “Amici” è dotato anche di grande forza d’animo e fiera determinazione nel raggiungere gli obiettivi. Alla festa del sesto compleanno spegne le candeline promettendo a se stesso: «da grande farò il cantante». Da quel giorno dedica ogni energia alla realizzazione del sogno. Fin da bambino Marco canta con passione e insospettabile facilità le canzoni del suo idolo assoluto Lucio Battisti, che era anche l’artista prediletto della madre. I primi brani che interpreta con maggiore consapevolezza vocale sono “La solitudine” di Laura Pausini e “Albachiara” di Vasco Rossi.
La musica diventa la sua ragione di vita, e una preziosa valvola di sfogo, dopo la perdita dei genitori: il padre scompare quando ha 8 anni; la mamma quando ne ha 10. Marco cresce assieme al fratello con i nonni materni; coltivando con ambizione ancora maggiore il suo sogno. Il primo concerto visto è quello dei Lunapop. I primi dischi comprati sono “Ultimamente” di Alex Baroni e “Le cose che vivi”di Laura Pausini. Contemporaneamente affina il proprio talento vocale attraverso le prime esibizioni come solista in live-pub e cerimonie private, conquistando alcuni premi e critiche lusinghiere.
Dopo l’Istituto Professionale per Elettrotecnici, Marco lavora come parrucchiere nel salone della zia: i guadagni vengono investiti in biglietti d’aereo per volare a Roma a fare provini. Sono anni di illusioni e altrettante disillusioni, che però non intaccano la sua fiducia nelle proprie doti artistiche, tantomeno la determinazione nell’inseguire la grande occasione.
Il 20 ottobre 2007 finalmente Marco Carta viene ammesso nel cast di “Amici”. Il sogno si è avverato. Quasi… Infatti sono sei mesi molto duri fra incertezze, crisi esistenziali, dubbi, paure e difficoltà. Marco supera ogni ostacolo dimostrando che il suo talento artistico è supportato da notevole forza e sensibilità sul piano umano. Alla fine è un trionfo! Il 16 aprile 2008 Marco Carta vince la finale di “Amici” con il 75% delle preferenze.
Il plebiscito ottenuto ad “Amici” viene confermato con l’album d’esordio “Ti rincontrerò” (Warner Music), che conquista il disco di platino. Uscito il 13 giugno 2008, il disco “Ti rincontrerò” contiene 4 inediti: il singolo omonimo dedicato alla madre; il secondo singolo “Un grande libro nuovo”; “Anima di nuvola” e “Per sempre”. La tracklist è completata da cover che testimoniano la sua versatilità interpretativa: “A chi” (Fausto Leali), “Ti pretendo” (Raf), “E tu” (Claudio Baglioni), “La donna cannone” (Francesco De Gregori) e “Vita” (Lucio Dalla & Gianni Morandi) cantata in duetto con Luca Jurman. Nella versione deluxe del cd “Ti rincontrerò” in vendita su iTunes c’è anche una rilettura di “Mi ritorni in mente” di Lucio Battisti.
Marco Carta si aggiudica il premio internazionale What’s Up come miglior artista dell’anno e viene invitato come ospite d’onore ai Wind Music Awards. Il video del singolo “Ti rincontrerò” ottiene il “Pensionamento” nella trasmissione TRL di Mtv: si tratta di un riconoscimento che viene assegnato ai filmati che rimangono oltre 40 settimane fra le prime tre posizioni della classifica dei video più visti. E quello di Carta staziona a lungo al numero uno.
Il cantante sardo è abituato a primeggiare: già a scuola era il capitano della squadra di volley. Ha praticato anche il TaeKwonDo e gioca a calcio. Tifoso del Cagliari e simpatizzante della Roma, ha partecipato alla Partita del Cuore 2008 fra la Nazionale Italiana Cantanti e la Nazionale Unica formata da cantanti, attori e comici. In quell’occasione, trasmessa in diretta dalla Rai, Carta ha cantato dal vivo e si è fatto valere anche come calciatore nella squadra della Nazionale Unica. Dopo quella performance sportiva è entrato nel roster della Nazionale Italiana Cantanti.
Durante l’estate 2008 è protagonista di un tour entusiasmante che raduna oltre 200 mila spettatori. La consacrazione live arriva a Capodanno: Marco Carta festeggia l’arrivo del 2009 con un concerto nella sua Cagliari davanti a 70 mila persone. La straordinaria esperienza sul palco è testimoniata da “Marco Carta In Concerto” (Warner Music): cd+dvd con la ripresa di un’esibizione estiva a Cagliari. Pubblicato il 3 ottobre 2008, l’album dal vivo è vicino al traguardo del disco d’oro.
Altre grandi passioni sono gli animali (possiede 4 cani – 3 meticci e 1 carlino – e alcuni coloratissimi pappagallini) e il cinema, in particolare le trame thriller. Il film preferito è “Amityville Horror”; gli attori prediletti Robert De Niro e Cameron Diaz. Marco ha partecipato alla pellicola d’animazione “Impy 2” (in uscita a fine gennaio 2009) come doppiatore e interprete della cover “That’s The Way” inserita nella colonna sonora.
Il 2009 è l’anno del debutto al Festival di Sanremo dove vince nella categoria “artisti” con la canzone “La forza mia”, il primo singolo del nuovo omonimo album che in pochi giorni raggiunge il disco di platino per le vendite.
A fine aprile è partito il suo tour nei Palasport che lo vede impegnato nelle principali città italiane.
L’estate 2009 è stata ricca di riconoscimenti con due premi ai TRL Awards a Trieste (Man Of The Year e Best #1 Of The Year), tre premi agli Wind Musici Awards (uno per il disco di platino di “Ti rincontrerò”, uno per il disco di platino di “La Forza Mia”, e il terzo come artista più votato da RTL 102.5); infine a luglio a Venezia ha ritirato il premio speciale Venice Music Awards come artista maschile dell’anno.
A gennaio 2010 Marco Carta trionfa con “La Forza Mia” e “Dentro ad ogni brivido” nella classifica dei migliori video del 2009 selezionati da Mtv Hits e votati dagli utenti di SKY.it.
Marco Carta pubblica a maggio 2010 il nuovo disco di inediti “Il Cuore Muove” prodotto da Paolo Carta e anticipato in radio dal singolo “Quelle che dai” scritto da James Morrison.
Ai vertici delle classifiche di vendita di dischi; Marco da giugno ha iniziato il tour che lo ha visto protagonista per tutta l’estate nelle principali località italiane. A maggio 2011 riceve il premio per il disco d’oro ai Wind Music Awards a Verona.
Ad aprile 2012 viene pubblicato il suo quarto disco di inediti “Necessità Lunatica” e il 31 marzo vince i Kids’ Choise Awards 2012 di Nickelodeon come “miglior cantante italiano”, oltre a tornare nella scuola di “Amici” nella sfida tra i big.
© 2010 Paul L. Csizmadia All Rights Reserved No Use Allowed without Permission
The Coast Guard Cutter 'Apalachee' (WYT-71) enjoys a little morning sun on the Cuyahoga River in Cleveland, Ohio.
Apalachee was commissioned on 26 November 1943. She was the first of her class to enter service, and was assigned to Baltimore, where she served through 1984. She was used for law enforcement and search and rescue patrols, fire fighting and light icebreaking when needed.
From 11 to 12 June 1965 she assisted in fighting the fire aboard the Columbian motor vessel Ciudad de Nieva near Baltimore. On 13 February 1968 she assisted in fighting a fire on Pier 5 in Baltimore. On 4 June 1969 she assisted in fighting the fire aboard the motor vessel Provence Town, again near Baltimore.
She transferred to Portland, Maine on 17 September 1984 where she served until she was decommissioned on 11 April 1986.
The U.S. Coast Guard Tug Association brought the former Coast Guard Cutter Apalachee (WYTM-71) to Cleveland in June of 2009 to be restored and presented as a maritime and Coast Guard museum ship. The Apalachee is a 110-ft icebreaking tug and the sister ship to the USCGC Kaw, which hailed from Cleveland for many years; the latter having provided icebreaking services for, among many others, the steamship William G. Mather, a museum ship currently in Cleveland, for many years.
It is hoped that the Apalachee will become an important attraction to Cleveland’s Lakefront revitalization project. As a USCG museum, a platform for educational opportunities, and a working venue for organizations such as the Sea Scouts, Navy Sea Cadets, Coast Guard Auxiliary, Coast Guard and Navy reserves, the Apalachee will become an important destination in Cleveland’s already growing harbor front attractions.
"And the secret garden bloomed and bloomed and every morning revealed new miracles."
~Frances Hodgson Burnett (The Secret Garden)
© all images copyright of Karen Wyatt and any use without permission is illegal
Without taking up too much time, you want to attempt to cover the entire side of bread with jelly. This is not always possible. However, if you spread the jelly thick enough the jelly will shift and fill in gaps when the two pieces of bread are put together.
Copyright © 2012 Ruggero Poggianella Photostream.
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Dal punto di vista storico sono stati i Saraceni ad occuparsi intensamente dell’olivicoltura in terra salentina, secondo quanto attestato da Bonaventura da Lama, il quale, nel 1724, fa riferimento ai fatti avvenuti tra il 769 ed il 963, un arco temporale in cui l’area oggi denominata Salento venne popolata da boschi di ulivi; si devono ai Saraceni anche l’introduzione del torchio per la produzione di olio e la coltivazione della varietà Cellina. Probabilmente quelli che sono giunti ai nostri giorni non sono gli ulivi originariamente impiantati dai Saraceni, come presumibile dalle continue modifiche subite dal paesaggio. I maestosi uliveti che popolano i paesaggi salentini contemporanei possono essere il risultato di impianti ed innesti su olivastri realizzati dai monaci basiliani e dalle popolazioni che con loro giunsero nel Salento dal Peloponneso, dalla Morea e dalle isole dell’arcipelago greco.
Degne di particolare menzione sono le piante secolari, colossali e maestose, veri monumenti naturali attualmente oggetto d’attenzione e tutela grazie ad una legge regionale. La Puglia intera, nonché il Salento, vengono spesso ricordati dai turisti di passaggio, nonché dai visitatori abituali per le bellezze naturalistiche: il mare, le lunghe spiagge e gli oliveti. Distese di tronchi deformati dal tempo, tutti uguali eppur diversi nella struttura, nella forma, nella chioma ormai imponente, gli ulivi secolari si stagliano sul panorama salentino, conferendogli odori e colori tipici e, ormai, tradizionali. L’albero di ulivo è, certamente, uno dei simboli per eccellenza del Salento: ne sono stati stimati circa 50-60 milioni su tutto il territorio e molti di essi sono secolari. Le caratteristiche geologiche, nonché la scarsa necessità di cure, fanno sì che gli ulivi resistano per anni, lustri, e, addirittura, secoli, alle intemperie, alla forza distruttrice del vento e della pioggia e all’insopportabile caldo torrenziale delle estati salentine. Chi li guarda resta spesso incantato e ammaliato nel pensare che quegli alberi, probabilmente, potrebbero raccontare più storie e tradizioni di un libro di “culacchi”. Ma è soprattutto la loro forma che lascia a bocca aperta, grandi e bambini: la pianta cresce molto lentamente e col passare del tempo il tronco si trasforma, diventando sempre più contorto, piegandosi su se stesso e, dopo lungo tempo, spaccandosi nel mezzo. È in questo momento che diviene casa per molteplici razze d’animaletti, di varia taglia. La corteggia assume diverse sfumature di colore a seconda dell’età del tronco, nonché della penetrazione della luce solare che brucia e secca il legno; laddove il sole non batte, infatti, il legno tende a restare più umido e, talvolta, a marcire.
Sebbene l’aspetto caratteristico degli ulivi, in special modo di quelli secolari, sia il tronco, non bisogna dimenticare che il vero elemento essenziale si cela nella grande chioma: miriadi di palline piccole e scure dalle quali ricavare l’oro verde del Salento, l’olio d’oliva, ormai esportato e conosciuto in tutto il mondo.
Al di là del valore commerciale, questi alberi hanno un valore storico e, per taluni aspetti, anche affettivo e per questo devono essere costantemente tutelati e salvaguardati da eventuali disboscamenti od espianti: spesso, infatti, i privati scelgono di adornare le proprie ville espiantando ulivi secolari che, se non ricollocati in un terreno idoneo, rischiano di seccare. Ma, ancora, soprattutto negli ultimi anni, con l’avvento di una condizione di crisi economico-finanziaria, spesso si sceglie di disboscare intere aree prima destinate alla coltivazione di alberi di ulivo per lasciar posto a nuove colture più produttive o, peggio, all’installazione di impianti tecnologici.
A cathedral without a bishop: St. Stephan in Vienna
In order to fully fulfill the function of a capital in its medieval understanding, Vienna lacked a decisive factor: Vienna was indeed a major city, but not the seat of a bishopric, but was subordinate to the Prince-Bishop of Passau in ecclesiastical matters. St. Stephen, the most important church in the city, had only the rank of a parish church.
Therefore, the first attempts to found a diocese in Vienna date back to the time of the Babenbergs. Also the under Ottokar II Přemysl after the fire of 1258 begun generous new building of the Saint Stephen's church in the late Romanesque style pursued this goal.
The Habsburgs' representational aspirations also focused on St. Stephen after they had taken control of Austria. Albrecht I began in 1304 with the construction of a new choir. The highlight, however, was reached under Duke Rudolf IV. This ambitious Habsburg wanted to turn Vienna into an important royal residence and St. Stephen as the "Capella regia Austriaca" into the court church of the Austrian sovereign princes, the sacral center of the country.
The background for this lay in the competition with the dynasty of Luxembourg: Emperor Charles IV was just about to expand his residence Prague to a metropolis of European importance. One of his measures was the elevation of Prague to the Archbishopric of 1344, which prompted the great expansion of St. Vitus' Cathedral on Prague's Hradcany.
Rudolf's plan to make St. Stephen the seat of a bishop failed because of the resistance of Passau, because the bishop rightly feared a reduction of his diocese. Nevertheless, Rudolf found a way to give St. Stephan a special rank. In 1359 he obtained the papal confirmation for the founding of a collegiate, an association of 24 dressed in cardinal red robes priests, which was headed by a provost in a bishop-like costume. By subordinating the collegiate directly to the Pope, it was beyond the Passau influence. Thanks to complicated ecclesiastical chess moves he finally succeeded in 1365 to transfer his foundation to St. Stephen, which increased the importance of the church.
This was also reflected in the structural design of the church. In 1359 Rudolf IV began with a large-scale expansion, which was to bear all the symbols of a ruling church: a princely gallery above the west portal was framed by two-storey Duke's chapels, in which the relic treasure was kept. A princely tomb was erected as the tomb of the rulers of the country and finally four towers were planned, which was actually a building prerogative of a bishop's church. By integrating parts of the late Romanesque predecessor building (the main portal and the westwork called "Giant Gate") into his concept, Rudolf gave his building program historical depth.
With the death of Rudolf, the interest of the Habsburgs in St. Stephen palpably came to an end, and the citizens of Vienna took the initiative for the further expansion of the church. Only with Frederick III., who saw his example in Rudolf IV, did a Habsburg take part in the expansion of the church. Friedrich ordered the beginning of the work on the north tower. However, his high tomb in the Apostle Choir of the Dome, which is another notable example of the dynastic program of the Habsburgs in the late Middle Ages, is particularly reminiscent of this Habsburg.
Frederick III. finally managed to bring the prestige matter of his ancestor Rudolf to a successful end: 1469 Frederick III succeeded in to bring about the Pope to elevate Vienna to a diocese. Although the Viennese diocese initially had only a minimal extension - it was smaller than the current urban area - but the Habsburgs had imposed their own will: The Cathedral of St. Stephen had finally a bishop.
Eine Kathedrale ohne Bischof: St. Stephan in Wien
Um im mittelalterlichen Verständnis die Funktion einer Hauptstadt vollends zu erfüllen, fehlte Wien eine entscheidende Sache: Wien war zwar eine bedeutende Großstadt, aber nicht Sitz eines Bistums, sondern unterstand in kirchlichen Belangen dem Fürstbischof von Passau. St. Stephan, die wichtigste Kirche der Stadt, hatte nur den Rang einer Pfarrkirche.
Daher datieren die ersten Versuche einer Bistumsgründung in Wien bereits in die Zeit der Babenberger. Auch der unter Ottokar II. Přemysl nach dem Brand von 1258 begonnene großzügige Neubau der Stephanskirche im spätromanischen Stil verfolgte dieses Ziel.
Auf St. Stephan konzentrierten sich auch die Repräsentationsbestrebungen der Habsburger, nachdem sie die Herrschaft in Österreich übernommen hatten. Albrecht I. begann bereits 1304 mit dem Bau eines neuen Chores. Der Höhepunkt wurde jedoch unter Herzog Rudolf IV. erreicht. Dieser ehrgeizige Habsburger wollte Wien zu einer bedeutenden Residenzstadt und St. Stephan als “Capella regia Austriaca”, als Hofkirche der österreichischen Landesfürsten, zum sakralen Zentrum des Landes machen.
Der Hintergrund dafür lag in der Konkurrenz mit der Dynastie der Luxemburger: Kaiser Karl IV. war gerade dabei, seine Residenz Prag zu einer Metropole europäischer Geltung auszubauen. Eine seiner Maßnahmen war die Erhebung Prags zum Erzbistum 1344, was den Anstoß gab für den großartigen Ausbau des Veitsdomes am Prager Hradschin.
Rudolfs Plan, St. Stephan zum Sitz eines Bischofs zu machen, scheiterte zwar am Widerstand Passaus, denn der Bischof fürchtete zu Recht eine Verkleinerung seiner Diözese. Dennoch fand Rudolf einen Weg, St. Stephan einen besonderen Rang zu verleihen. 1359 erwirkte er die päpstliche Bestätigung für die Gründung eines Kollegiatstiftes, einer Vereinigung von 24 in kardinalsrote Gewänder gekleideten Priestern, denen ein Probst in bischofsähnlicher Tracht vorstand. Indem er das Kollegiat direkt dem Papst unterstellte, war es dem Passauer Einfluss entzogen. Dank komplizierter kirchenrechtlicher Schachzüge gelang es ihm schließlich 1365 seine Stiftung auf St. Stephan zu übertragen, was die Bedeutung des Gotteshauses erhöhte.
Dies schlug sich auch in der baulichen Gestalt der Kirche nieder. 1359 begann Rudolf IV. mit einem groß angelegten Ausbau, der alle Symbole einer Herrscherkirche tragen sollte: Eine Fürstenempore über dem Westportal wurde von doppelstöckigen Herzogskapellen eingerahmt, in denen der Reliquienschatz verwahrt wurde. Eine Fürstengruft als Grablege der Herrscher des Landes wurde angelegt und schließlich waren vier Türme geplant, was eigentlich ein bauliches Vorrecht einer Bischofskirche war. Indem Rudolf Teile des spätromanischen Vorgängerbaues (das als “Riesentor” bezeichnete Hauptportal und das Westwerk) in sein Konzept integrieren ließ, gab er seinem Bauprogramm historische Tiefe.
Mit dem Tod Rudolfs erlosch das Interesse der Habsburger an St. Stephan spürbar, die Wiener Bürgerschaft übernahm die Initiative für den weiteren Ausbau der Kirche. Erst mit Friedrich III., der in Rudolf IV. sein Vorbild sah, beteiligte sich wieder ein Habsburger am Ausbau der Kirche. Friedrich veranlasste den Beginn der Arbeiten am Nordturm. An diesen Habsburger erinnert vor allem jedoch sein Hochgrab im Apostelchor des Domes, ein weiteres bemerkenswertes Beispiel für das dynastische Programm der Habsburger im Spätmittelalter.
Friedrich III. gelang es schließlich auch, die Prestigeangelegenheit seines Ahnen Rudolf zu einem erfolgreichen Ende zu bringen: 1469 erreichte Friedrich III. beim Papst die Erhebung Wiens zum Bistum. Die Wiener Diözese hatte zwar zunächst nur eine minimale Ausdehung – sie war kleiner als das heutige Stadtgebiet – aber die Habsburger hatten ihren Willen durchgesetzt: Der Dom zu St. Stephan hatte endlich einen Bischof.
Martin Mutschlechner
www.habsburger.net/de/kapitel/eine-kathedrale-ohne-bischo...
Without a doubt the sweetest and most caring man I have ever met! Old school methods of showing he cares and a heart of gold. All-in-all proof that angels walk among us! <3
Philly LGBTQ Pride Parade along John F. Kennedy Boulevard between North Broad and North 15th Street in Philadelphia, PA on Sunday afternoon, 7 June 2026 by Elvert Barnes Photography
Elvert Barnes WITHOUT APOLOGIES / LGBTQ Public Displays of Affection Archives at elvertxbarnes.com/withoutapologies
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54th PHILLY GAY PRIDE 2026 WEEKEND Project
Elvert Barnes PHILLY PA Archives at exbphoto.com/phillypa
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Elvert Barnes June 2926 Archives at exbphoto.com/2026
WITHOUT APOLOGIES Posters on Utility Box at DuPont Circle, NW, Washington DC on Wednesday afternoon, 7 June 2017 by Elvert Barnes Photography
WITHOUT APOLOGIES LGBT Public Displays of Affection Project / Street Art Series
elvertbarnes.com/withoutapologies
Street Photography: WRITINGS ON THE WALL / SIGNS OF GAY PRIDE 2017
Battle of the Bands - The Natural played barefoot to support One Day Without Shoes, and raffle donations were given to Friends of Toms!!
Lowaldie is an example of a town with minimal development. The only siding on the Brown's Well line without a goods shed, it was surveyed into 72 township allotments.
One allotment was dedicated as a site for an Institute.
Half of the allotments were offered for sale in 1914 but only one was sold. All unsold allotments were put up for auction in 1916. Again only one was sold. Only two buildings were ever erected in the town: a residence which was used as a hall for seven years, and the Institute.
Despite this, it had a post office, phone exchange, limited general store and grain buyer. They all operated from the residence. The Institute was also used as a school and for church services. The town had cricket and tennis clubs. [Ref: Murray Mallee Heritage Survey (1998) A & P Kloeden Bruce Harry & Associates]
*FUNDS OBTAINED BY CONCERT July 16
A successful concert was given in the Lowaldie Hall on Saturday evening, July 15. The proceeds were in aid of a new hall: the one now in use is too small.
The apple bobbing, ladies’ nail driving, and gentlemen's sewing competitions attracted a large number of entries. \
A dance followed. Supper was provided by the ladies. [Ref: Murray Pioneer and Australian River Record (Renmark) 21-7-1922]
*New Institute Hall
The Lowaldie institute is nearing completion, and arrangements are being made for the laying of the foundation stone on November 15. Tea and a social and dance will follow.
Mr C T Haines was the contractor. Messrs O R Williams and M Earl placed the first stone in position and Mrs George Haines put the last brick of the chimney in position. [Ref: Advertiser (Adelaide) Tuesday 12-11-1935]
*Foundation Stone and Opening
15 November
The ceremony of setting in the foundation stone and opening the institute was held. Mr J H Gray set in the foundation stone and Mr C W Jones opened the institute.
The speakers, who were the pioneer settlers of the district, were introduced by Mr F Ridge.
In the evening a concert was held, Mr J H Gray being chairman. Items were rendered by Mesdames W S Tonkin and G A Haines, Misses June Williams, Ruth McClean, Fay Tonkin, and A M Galley, and Messrs D Oakley, R Ritchie, and J A Gray.
A dance followed, Mr F O'Malley being MC. Music was supplied by Miss G M Lawson and Mr R Ritchie. A strawberries stall was in charge of Mesdames O R Williams, A Marks, and V Klaebe, and Mr J C Boyce had charge of the cool drinks. A profit of about £17 was made. [Ref: Advertiser (Adelaide) 11-12-1935]
*A Spinsters' Ball was held in the Lowaldie Institute in aid of the school fund. Novelty dances were won.
The MC's were Miss M Miller and Mr F O'Malley. [Ref: Advertiser (Adelaide) 5-5-1936]
*The first anniversary of the opening of the Lowaldie Institute was celebrated with a concert and dance and strawberry fete.
Mr J H Gray was chairman. The music for the dance was supplied by Oakley’s Orchestra. A birthday cake, made and iced by Mrs O R Williams, was won by Miss F E Griffiths. Mr A Jones was MC. More than £8 was cleared. [Ref: Advertiser (Adelaide 14-11-1936]
*A cricket match between Lowaldie and Yurgo resulted in a win for Yurgo. Scores:— Yurgo 104 Lowaldie 91 (R Williams 30 C Lukeman 28).
Tea was provided in the Institute.
In the evening a dance was held in aid of the cricket club. Oakleys’ Orchestra supplied the music. Mr A Nurse was MC. The takings were £6. [Ref: Advertiser (Adelaide) 13-2-1937]
*A social was held in the Lowaldie Institute in aid of the institute fund.
Music for the dancing was supplied by Mrs O R Williams. Mr A Nurse was MC.
A floater supper was enjoyed by those present. [Ref: Advertiser (Adelaide) 29-7-1937]
*The annual break-up concert of the Lowaldie school was held at the school in the form of an outdoor concert. The children trained by the head teacher (Miss L Willmott) gave several items, after which they were each given a present off the Christmas tree.
Prizes for good work during the year were won by Eva Hoff, Edmund Hoff, Sydney Langford, Peter Olson, Ron Roecke, and Stanley Gray.
The manual work made by the children during the year was on sale, the stalls being in charge of Ron Roecke, Edward Olson, Arthur Hoff, and Stanley Gray.
Supper was served by the women. [Ref Advertiser 22-12-1937]
*A dance was held in the Lowaldie Institute in aid of the Lowaldie school. Music was supplied by Oakley's Orchestra. Mr C Ern Langford was MC.
A pasty supper was supplied by the women.
Arbor Day was celebrated at the Lowaldie school. A sports programme was conducted for the children. Several trees and shrubs were planted. Lollies and oranges were given to the children.
Dinner and tea were supplied by the women.
A busy bee at the cricket oval grubbed the mallee stumps and put down a new pitch. [Ref: Advertiser (Adelaide) 29-7-1938]
*A combined Sunday School Anniversary of the Borrika and Lowaldie Sunday Schools was held at the Lowaldie Institute (Karoonda circuit). Items were rendered by both schools, 24 scholars taking part. Rev S G Forth gave a fine children's address at each service. Mrs R Williams, Lowaldie, and Miss Cowled, Borrika were the pianists.
At the close of the afternoon service, award books were presented to the scholars. Tea was provided by the ladies. [Ref: Australian Christian Commonwealth (SA) 17-11-1939]
*Proceeds from annual concert and dance to celebrate the sixth anniversary of opening of institute on November 29 amounted to £16 12.
Profit from this entertainment is being donated to Queen of Navy (Betty Williams) for Prisoners of War Fund. [Ref: Advertiser (Adelaide) 3-12-1941]
*A very successful dance was held at Lowaldie on Saturday, April 17. The hall was well filled and novelties provided much amusement. The proceeds were in aid of Red Cross and Fighting Forces Comforts Funds. [ Ref: Murray Pioneer (Renmark) 22-4-1943]
*At Lowaldie on Saturday evening a concert in aid of Red Cross queens was given by folk from Lowaldie and surrounding towns including Karoonda and Sandalwood.
After the concert dancing was indulged in.
The evening was very successful from a social as well as a financial viewpoint: the attendance was very good and the Lowaldie Hall was packed, people having come from miles around. [Ref: Murray Pioneer (Renmark) 24-6-1943]
*A social was tendered to Mr and Mrs J H Gray.
Mr Gray is a pioneer of this district, having resided there for 31 years. Mr C W Jones, on behalf of the community, presented the guests with a wallet.
Trustees of Karoonda Methodist circuit also made a presentation. [Ref: Advertiser (Adelaide 12-11-1943]
*Lowaldie — On February 2, a large crowd attended a welcome home dance in honour of WO Don Coombe, who after six years' service with the RAAF, has recently been discharged. A gift was presented by Mr S T Barr on behalf of Lowaldie Institute Committee and friends assembled.
Music was supplied by C Goodhand (piano accordion), E Stokes (drums) and M D Williams (piano). [Ref: Advertiser (Adelaide) 12-2-1946]
*A welcome home dance was recently held in the hall. During the evening an honour roll was unveiled by Mrs S T Barr. This was designed and carved by Mr Jack Peake, of Karoonda. [Ref: Advertiser (Adelaide) 12-10-1946]
*At Lowaldie Mr C W Jones, on behalf of local residents, presented Mr, Mrs and Miss Waters with a wireless set as a token of appreciation for service rendered during the past 18 years.
Mr Waters is the postmaster, and his wife and daughter attend to the cleaning of the hall after functions. [Ref: Chronicle (Adelaide) 17-10-1946]
*Busy Bees
BEES destroyed the concentration of worshippers at a recent harvest thanksgiving service at Lowaldie, near Karoonda.
The annual service is held in the local hall, but since bees have been in residence there for months, this year it was considered safer to move into the little iron kitchen adjoining. Even then, two members of the congregation were stung and the caretaker hovered in the background, ever ready with a bottle of methylated spirits for use as an antidote [Ref: News (Adelaide) 7-4-1948]
*Griffiths-Abbott
At the Methodist Church, Karoonda, on Saturday, March 6th the marriage was solemnised of Margaret A youngest daughter of Mrs and the late Mr H Griffiths, of Lowaldie, to Rex M only son of Mr and Mrs J Abbott, of Long Valley, Strathalbyn. The Rev A Holdway officiated, and Mrs Ron Abbott, of Karoonda, presided at the organ.
After the ceremony all journeyed on to the Lowaldie Hall, which was beautifully decorated for the occasion by her Lowaldie friends, and a dance took place. Afterwards a dainty home-made supper was served and thoroughly enjoyed by all. [Ref: Southern Argus (Port Elliot) 13-5-1948]
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I've never been able to take a photo of the moon like this before. I still had Paul's 90-300mm lens so I was thrilled to try it. It was actually quite light out, but without a tripod I needed a fast shutter speed so now it looks like this was quite late at night. I wish I still had his lens actually - the moon on Saturday night was amazing. I tried my best to get it, but I struggled really.
27th June:
My Mom woke me up this morning before she went to London & gave me a huge hug. Then I went back to sleep. & aaaah it was freaking hot today. My Dad got me up with the promise for bacon for breakfast - vegetarian, of course, so I was quite happy to get up. Then he needed to run down to town to get some netting for some of the plants to grow up, & he had to go then because it closed early on a Sunday. & he needed to get some more things from Tesco. So he ended up cooking me bacon for lunch, which worked out well because I took ages to get dressed. & my Dad makes the best sandwiches. It doesn't matter what filling I choose, he always makes them way better than me. & I cannot stress how gorgeous it is when he makes me a vegetarian bacon sandwich. On a side note, it really irritates me when people say you shouldn't call it bacon if it's vegetarian - it's just a name people!!
Anyway, I went out to sunbathe on the blankets for a while. I read some of The Sunday Times, & then about 20 pages of To The Lighthouse. I've already decided I don't like it. Who knows, maybe my opinion will change later on. Hugh popped home with Luke for a little while, then they went over to the AC to watch the England vs. Germany game. I moved inside & opened the doors again so that the sun could reach me, but I could move into the shade when it was just way too hot. My Dad kept me up to date with the footie - 4-1. Ouch. & things probably would have been different if the ref. had allowed that second goal by England.
I just read for the afternoon (not To the Lighthouse though) until it got cooler & I went to chat to my Dad out in the garden. I had helped put up the netting earlier in the day, & now I wanted to help out with the watering. You know those people who enjoy playing with fire? Well I enjoy playing with water. It's just awesome. I started out with the watering can & did the new plants my Dad had just put down on the patio, & then the pansies, & the tub of yellow & purple flowers - I don't know what they're called. Then I got to go & water the plants on the 3rd level with the hosepipe. I think there was a row of fuchsia, & then parallel to that some little green things. I water the green things first with this drippy setting, & then used the jet on the fuchsia, but aimed at the soil, not them. I experimented with the types of spray you could get with the hosepipe, as in jet, mist, cone, flat. I planned to wait until my Dad had come back onto this layer, but still on the other side of the fence, & then aim the spray up so it went over the fence & got him. But I had my back turned & he was next to me before I could get him. & then my Dad gave me his flip-flops so I could walk on the gravel path & do the roses on the other side, so I used the jet. & there was a row of little colourful flowers in front of the roses, but their name escapes me. The hosepipe kept getting stuck on rocks though, & the flow of water would lessen so I'd have to go & unstick it. I'd aim the hosepipe up into the air then, or facing the fence, but it would either fall down on me, or hit the fence & come back at me. It wasn't awful though, it was just spray, so it was quite fun.
While I was playing with the hosepipe my Dad brought my phone down & asked if I'd text Hugh (he was charging his) as we wanted to get on with our evening, but he didn't text back. After I'd finished watering the bottom level my Dad asked me to water the rose beds on the second level while he went to call Hugh. Apparently his phone was off. But I did manage to briefly get a little bit of water on my Dad until he ran back up to the top layer. I was going to advance on him, but he went & stood in front of the Garden Room doors, which he pointed out was also right in front of my laptop, so I couldn't spray him anymore. I did manage to get him while watering the new bed we have planted on the top layer though. I waited until he was turned away from me, then aimed the hosepipe up in the air but angled at him. By the time it got him I had the hosepipe facing away, though it was obviously me. I got him a few more times after that until he threatened to not let me have Chinese tonight.
Hugh got home after I'd finished watering & said he'd left his phone at home. My Dad ordered take away & then I read until he went out to get it. When he got back we watched the Doctor Who finale which was lovely. & we haven't had Chinese in ages, so that was nice. With last week's Doctor Who I totally predicted that the mystery centurion would be Rory (although I'll admit I did originally say it would be John Barrowman), & then I said the box would have the Doctor in it! Actually, they were using it to imprison the Doctor in, but my point is that when they said they were going to use/were using it it to imprison something deadly & powerful in it that I knew they meant him. Though it was totally cheesy that all his enemies banded together. But back to this week - I really liked it, the more I think about it. & the Doctor telling his story to little Amy. I didn't get it when he was talking about how he 'borrowed' the Tardis, & then I was like "OH" when Amy remembered it in her wedding rhyme. I'm not going to say everyone episode of this series was great, as they had some seriously awful ones in there, but I loved the characters so much that it sort of makes up for it.
We watched BB afterwards & then my Mom called for a quick chat. Afterward my brother & I went downstairs & I took a picture of him for my Dad to use on a form he needs to send in for parental consent or something. Then we were going to watch a movie together before he goes camping, but ended up just having Two & a Half Men on. My Dad came down & we all basically hung out while getting on with our own things. I was going to bake something for Hugh, but we didn't have any sugar. I realised I did have one of those "add eggs & you're done" boxes, but we only had one & needed 3. Eventually I remembered the 5 minute chocolate cake, which only requires one egg, so I made that & used brown sugar. He didn't really like it, but I thought it was okay.
He went up to bed & I helped him pack. He had to unscrew his cooking stuff, & the smell of gas in his room was awful. We chucked open the windows & it was gone pretty quickly, but eew. & then he went to bed & I read (but once again, not To the Lighthouse) until I eventually went to sleep going up to 3am.
Without mysteries, life would be very dull indeed. What would be left to strive for if everything were known.
- Charles de Lint
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Unter der Bezeichnung Bodensee fasst man die drei im nördlichen Alpenvorland liegenden Gewässereinheiten Obersee, Untersee und Seerhein zusammen. Es handelt sich also um zwei verschiedene, aber räumlich nahe liegende Seen, die durch den Seerhein - ein Abschnitt des Rheins - verbunden sind.
Der römische Geograph Pomponius Mela erwähnt als Erster um das Jahr 43 n. Chr. den Obersee als Lacus Venetus und den Untersee als Lacus Acronius, die beide vom Rhein durchflossen würden. Plinius der Ältere bezeichnet den Bodensee um 75 n. Chr. erstmals als Lacus Brigantinus nach dem damaligen römischen Hauptort am See, Brigantium (Bregenz). Dieser Name stammt von dem ursprünglich hier ansässigen keltischen Stamm der Brigantier.
Die Bezeichnung „Bodensee“ leitet sich vom Ortsnamen Bodman ab. Dieser am Westende des Überlinger Sees gelegene Ort war im frühen Mittelalter für eine gewisse Zeit als fränkische Königspfalz, alemannischer Herzogssitz und Münzstätte von überregionaler Bedeutung, weshalb der Name auf den See übertragen worden sein dürfte („See, an dem Bodman liegt“ = Bodman-See). Der Name lacus potmanicus ist seit 833 n. Chr. bezeugt und hat sich im deutschen Sprachraum zu „Bodamer See“ und schließlich zu „Bodensee“ weiterentwickelt.[2] Man vergleiche auch den Namen des Bodanrück, des Höhenzugs zwischen Überlinger See und Untersee, und die Geschichte der Familie Bodman. Die deutsche Bezeichnung Bodensee wurde von zahlreichen anderen Sprachen übernommen, siehe z.B. nl. Bodenmeer, dän. Bodensøen, norw. Bodensjøen, schw. Bodensjön, isl. Bodenvatn, finn. Bodenjärvi, estn. Bodeni järv, lit. Bodeno ežeras, lett. Bodenezers, russ. Боденское озеро, poln. Jezioro Bodeńskie, tschech. Bodamské jezero, slowak. Bodamské jazero, ung. Bodeni-tó, bulg. Боденско езеро, ukr. Боденське озеро, kroat. Bodensko jezero, alban. Liqeni i Bodenit. Auch in Asien heißt der Bodensee so, z.B. marathi बोडन से Bōdana sē, mandarin 波登湖 / 博登湖, Bódēng-hú, kor. 보덴 호 Bodaen-ho, jap. ボーデン湖 Bōden-ko.
Nach dem Konzil von Konstanz im 15. Jahrhundert verbreitete sich im (katholisch-) romanischen Sprachraum der alternative Name Lacus Constantinus mit Bezug auf die am Ausfluss des Rheins aus dem Obersee liegende Stadt Konstanz, die ihren Namen (Constantia) wiederum wohl dem römischen Kaiser Constantius Chlorus (um 300 n. Chr.) verdankt, also frz. Lac de Constance, ital. Lago di Costanza, port. Lago de Constança, span. Lago de Constanza, rumän. Lacul Constanța. Auch im romanisch beeinflussten Englisch fasste der Name als Lake Constance Fuß und wurde seitdem von dort in weitere Sprachen exportiert, z.B: kiswahili Ziwa la Konstanz. Im Rätoromanischen existiert sowohl die Form Lai da Constanza als auch Lai Bodan.
Die poetische Bezeichnung „Schwäbisches Meer“ haben Autoren der frühen Neuzeit und der Aufklärung von antiken Autoren, möglicherweise Tacitus übernommen. Allerdings lag dieser Übernahme ein Irrtum zu Grunde (ähnlich wie etwa auch beim Teutoburger Wald und dem Taunus): Die Römer hatten nämlich nicht den Bodensee, sondern die Ostsee manchmal als Mare Suebicum bezeichnet. In Zeiten, als die Römer die von ihnen so genannten „germanischen Sueben“ auch in der Nähe eines Meeres verortet hatten, war dies verständlich. Die Autoren der Frühneuzeit übersahen dies und übernahmen die Bezeichnung für den größten See mitten im ehemaligen Herzogtum Schwaben, zu dem unter anderem auch die deutschsprachigen Gebiete der heutigen Schweiz gehörten.[3]
de.wikipedia.org/wiki/Bodensee
en.wikipedia.org/wiki/Lake_Constance
es.wikipedia.org/wiki/Lago_de_Constanza
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" No Surrender " 1985 Film - No Surrender is a dark humour Alan Bleasdale film.
Set in Liverpool in the 1980's, it has many sub plots going on at the same time involving 2 sets of pensioners (one Catholic and the other Protestant), a band who can't play, a magician who can't do magic, an underworld gangland boss torturing the previous manager, a group of very old mentally handicaped patients and enough bad language to make a Chubby Brown show look PG!!!!
A normal night out these days.
www.youtube.com/watch?v=wkxnDSjF0jo
www.youtube.com/watch?v=zpv0zNozIG4&feature=related People who should know a lot better !
en.wikipedia.org/wiki/Orange_Order
thathideousman.blogspot.com/2011/03/book-notes-orange-ord...
Traffic in Southport Town Centre was brought to a standstill this lunchtime as another Orange Parade marched to Princes Park.
www.qlocal.co.uk/southport/news_list/Orange_Lodge_March_I... See Comments
forums.icnorthwest.co.uk/viewtopic.php?f=29&t=14740&a... " Discussion " From The Message Boards - Members of the online community respond to the major issues of the day .
Do you think the Orange Lodge should pay for the July 12 policing costs?
www.southportvisiter.co.uk/southport-news/southport-south...
Southport Orange Parade organisers given a clear message after 16 people were arrested
www.liverpoolecho.co.uk/liverpool-news/local-news/2011/07...
See Comments - Let's have a heated debate
www.liverpool-lol.co.uk/ Liverpool Loyal Orange Lodge Site
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The Postcard
A postally unused postcard published by the Bodleian Library and printed at the Oxford University Press.
Percy Bysshe Shelley
Percy Bysshe Shelley, who was born on the 4th. August 1792, was one of the major English Romantic poets.
A radical in his poetry as well as in his political and social views, Shelley did not achieve fame during his lifetime, but recognition of his achievements in poetry grew steadily following his death, and he became an important influence on subsequent generations of poets, including Robert Browning, Algernon Charles Swinburne, Thomas Hardy, and W. B. Yeats.
American literary critic Harold Bloom describes Shelley as:
"A superb craftsman, a lyric poet without
rival, and surely one of the most advanced
sceptical intellects ever to write a poem."
Shelly's reputation fluctuated during the 20th. century, but in recent decades he has achieved increasing critical acclaim for the sweeping momentum of his poetic imagery, his mastery of genres and verse forms, and the complex interplay of sceptical, idealist, and materialist ideas in his work.
Among his best-known works are "Ozymandias" (1818), "Ode to the West Wind" (1819), "To a Skylark" (1820), the philosophical essay "The Necessity of Atheism" written alongside his friend T. J. Hogg (1811), and the political ballad "The Mask of Anarchy" (1819).
Shelley's other major works include the verse drama The Cenci (1819) and long poems such as Alastor, or The Spirit of Solitude (1815), Julian and Maddalo (1819), Adonais (1821), Prometheus Unbound (1820) - widely considered his masterpiece - Hellas (1822), and his final, unfinished work, The Triumph of Life (1822).
Shelley also wrote prose fiction and a quantity of essays on political, social, and philosophical issues.
Much of his poetry and prose was not published in his lifetime, or only published in expurgated form, due to the risk of prosecution for political and religious libel.
From the 1820's, his poems and political and ethical writings became popular in Owenist, Chartist, and radical political circles, and later drew admirers as diverse as Karl Marx, Mahatma Gandhi, and George Bernard Shaw.
Shelley's life was marked by family crises, ill health, and a backlash against his atheism, political views and defiance of social conventions. He went into permanent self-exile in Italy in 1818, and over the next four years produced what Leader and O'Neill call:
"Some of the finest poetry
of the Romantic period".
His second wife, Mary Shelley, was the author of Frankenstein.
Shelley died in a boating accident in 1822 at the age of 29.
Percy Bysshe Shelley - The Early Years
Shelley was born at Field Place, Warnham, West Sussex. He was the eldest son of Sir Timothy Shelley (1753–1844), a Whig Member of Parliament for Horsham from 1790 to 1792 and for Shoreham between 1806 and 1812, and his wife, Elizabeth Pilfold (1763–1846), the daughter of a successful butcher.
Percy had four younger sisters and one much younger brother. Shelley's early childhood was sheltered and mostly happy. He was particularly close to his sisters and his mother, who encouraged him to hunt, fish and ride.
At the age of six, he was sent to a day school run by the vicar of Warnham church, where he displayed an impressive memory and gift for languages.
In 1802 he entered the Syon House Academy in Brentford. Shelley was bullied and unhappy at the school, and sometimes responded with violent rage. He also began suffering from the nightmares, hallucinations and sleep walking that were periodically to afflict him throughout his life.
Shelley developed an interest in science which supplemented his voracious reading of tales of mystery, romance and the supernatural. During his holidays at Field Place, his sisters were often terrified by being subjected to his experiments with gunpowder, acids and electricity. Back at school he blew up a fence with gunpowder.
In 1804, Shelley entered Eton College, a period which he later recalled with loathing. He was subjected to particularly severe mob bullying which the perpetrators called "Shelley-baits".
A number of biographers and contemporaries have attributed the bullying to Shelley's aloofness, nonconformity and refusal to take part in fagging. His peculiarities and violent rages earned him the nickname "Mad Shelley".
His interest in the occult and science continued, and contemporaries describe him giving an electric shock to a master, blowing up a tree stump with gunpowder and attempting to raise spirits with occult rituals.
In his senior years, Shelley came under the influence of a part-time teacher, Dr James Lind, who encouraged his interest in the occult, and introduced him to liberal and radical authors.
Shelley also developed an interest in Plato and idealist philosophy which he pursued in later years through self-study. According to Richard Holmes, Shelley, by his leaving year, had gained a reputation as a classical scholar and a tolerated eccentric.
In his last term at Eton, his first novel Zastrozzi appeared and he had established a following among his fellow students. Prior to enrolling at University College, Oxford in October 1810, Shelley completed Original Poetry by Victor and Cazire (written with his sister Elizabeth), the verse melodrama The Wandering Jew and the Gothic novel St. Irvine; or, The Rosicrucian: A Romance (published 1811).
At Oxford Shelley attended few lectures, instead spending long hours reading and conducting scientific experiments in the laboratory he set up in his room. He met a fellow student, Thomas Jefferson Hogg, who became his closest friend.
Shelley became increasingly politicised under Hogg's influence, developing strong radical and anti-Christian views. Such views were dangerous in the reactionary political climate prevailing during Britain's war with Napoleonic France, and Shelley's father warned him against Hogg's influence.
In the winter of 1810–1811, Shelley published a series of anonymous political poems and tracts: Posthumous Fragments of Margaret Nicholson, The Necessity of Atheism (written in collaboration with Hogg) and A Poetical Essay on the Existing State of Things.
Shelley mailed The Necessity of Atheism to all the bishops and heads of colleges at Oxford, and he was called to appear before the college's fellows, including the Dean, George Rowley. His refusal to answer questions put by college authorities regarding whether or not he authored the pamphlet resulted in his expulsion from Oxford on the 25th. March 1811, along with Hogg.
Hearing of his son's expulsion, Shelley's father threatened to cut all contact with Shelley unless he agreed to return home and study under tutors appointed by him. Shelley's refusal to do so led to a falling-out with his father.
Shelley's Marriage to Harriet Westbrook
In late December 1810, Shelley had met Harriet Westbrook, a pupil at the same boarding school as Shelley's sisters. They corresponded frequently that winter, and also after Shelley had been expelled from Oxford.
Shelley expounded his radical ideas on politics, religion and marriage to Harriet, and they gradually convinced each other that she was oppressed by her father and at school.
Shelley's infatuation with Harriet developed in the months following his expulsion, when he was under severe emotional strain due to the conflict with his family, his bitterness over the breakdown of his romance with his cousin Harriet Grove, and his unfounded belief that he might be suffering from a fatal illness.
At the same time, Harriet Westbrook's elder sister Eliza, to whom Harriet was very close, encouraged the young girl's romance with Shelley. Shelley's correspondence with Harriet intensified in July, while he was holidaying in Wales, and in response to her urgent pleas for his protection, he returned to London in early August.
Putting aside his philosophical objections to matrimony, he left with the sixteen-year-old Harriet for Edinburgh on the 25th. August 1811, and they were married there on the 28th.
Hearing of the elopement, Harriet's father, John Westbrook, and Shelley's father cut off the allowances of the bride and groom. Shelley's father believed that his son had married beneath him, as Harriet's father had earned his fortune in trade, and was the owner of a tavern and coffee house.
Surviving on borrowed money, Shelley and Harriet stayed in Edinburgh for a month, with Hogg living under the same roof. The trio left for York in October, and Shelley went on to Sussex to settle matters with his father, leaving Harriet behind with Hogg.
Shelley returned from his unsuccessful excursion to find that Harriet's sister Eliza had moved in with Harriet and Hogg. Harriet confessed that Hogg had tried to seduce her while Shelley had been away. Accordingly Shelley, Harriet and Eliza soon left for Keswick in the Lake District, leaving Hogg in York.
At this time Shelley was involved in an intense platonic relationship with Elizabeth Hitchener, a 28-year-old unmarried schoolteacher of advanced views, with whom he had been corresponding. Hitchener, whom Shelley called the "sister of my soul" and "my second self", became his confidante and intellectual companion as he developed his views on politics, religion, ethics and personal relationships.
Shelley proposed that Elizabeth join him, Harriet and Eliza in a communal household where all property would be shared.
The Shelleys and Eliza spent December and January in Keswick where Shelley visited Robert Southey whose poetry he admired. Southey was taken with Shelley, even though there was a wide gulf between them politically, and predicted great things for him as a poet.
Southey also informed Shelley that William Godwin, author of Political Justice, which had greatly influenced him in his youth, and which Shelley also admired, was still alive. Shelley wrote to Godwin, offering himself as his devoted disciple. Godwin, who had modified many of his earlier radical views, advised Shelley to reconcile with his father, become a scholar before he published anything else, and give up his avowed plans for political agitation in Ireland.
Meanwhile, Shelley had met his father's patron, Charles Howard, 11th. Duke of Norfolk, who helped secure the reinstatement of Shelley's allowance.
With Harriet's allowance also restored, Shelley now had the funds for his Irish venture. Their departure for Ireland was precipitated by increasing hostility towards the Shelley household from their landlord and neighbours who were alarmed by Shelley's scientific experiments, pistol shooting and radical political views.
As tension mounted, Shelley claimed he had been attacked in his home by ruffians, an event which might have been real, or a delusional episode triggered by stress. This was the first of a series of episodes in subsequent years where Shelley claimed to have been attacked by strangers during periods of personal crisis.
Early in 1812, Shelley wrote, published and personally distributed in Dublin three political tracts: An Address, to the Irish People; Proposals for an Association of Philanthropists; and Declaration of Rights. He also delivered a speech at a meeting of O'Connell's Catholic Committee in which he called for Catholic emancipation, repeal of the Acts of Union and an end to the oppression of the Irish poor. Reports of Shelley's subversive activities were sent to the Home Secretary.
Returning from Ireland, the Shelley household travelled to Wales, then Devon, where they again came under government surveillance for distributing subversive literature. Elizabeth Hitchener joined the household in Devon, but several months later had a falling out with the Shelleys and left.
The Shelley household settled in Tremadog, Wales in September 1812, where Shelley worked on Queen Mab, a utopian allegory with extensive notes preaching atheism, free love, republicanism and vegetarianism. The poem was published the following year in a private edition of 250 copies, although few were initially distributed, because of the risk of prosecution for seditious and religious libel.
In February 1813, Shelley claimed he was attacked in his home at night. The incident might have been real, a hallucination brought on by stress, or a hoax staged by Shelley in order to escape government surveillance, creditors and his entanglements in local politics. The Shelleys and Eliza fled to Ireland, then London.
Back in England, Shelley's debts mounted as he tried unsuccessfully to reach a financial settlement with his father. On the 23rd. June 1813, Harriet gave birth to a girl, Eliza Ianthe Shelley, but in the following months the relationship between Shelley and his wife deteriorated.
Shelley resented the influence that Harriet's sister had over her, while Harriet was alienated by Shelley's close friendship with an attractive widow, Harriet Boinville, and her daughter Cornelia Turner.
Following Ianthe's birth, the Shelleys moved frequently across London, Wales, the Lake District, Scotland and Berkshire to escape creditors and to search for a home.
In March 1814, Shelley remarried Harriet in London to settle any doubts about the legality of their Edinburgh wedding and to secure the rights of their child. Nevertheless, the Shelleys lived apart for most of the following months, and Shelley reflected bitterly on:
"My rash & heartless union with Harriet".
Shelley's Elopement with Mary Godwin
In May 1814, Shelley began visiting his mentor William Godwin almost daily, and soon fell in love with Mary, the sixteen-year-old daughter of Godwin and the late feminist author Mary Wollstonecraft.
Shelley and Mary declared their love for each other during a visit to her mother's grave in the churchyard of St. Pancras Old Church on the 26th. June 1814. When Shelley told William Godwin that he intended to leave Harriet and live with Godwin's daughter, his mentor banished him from the house, and forbade Mary from seeing him.
Shelley and Mary however eloped to Europe on the 28th. July 1814, taking Mary's step-sister Claire Clairmont with them. Before leaving, Shelley had secured a loan of £3,000, but had left most of the funds at the disposal of Godwin and Harriet, who was now pregnant. The financial arrangement with Godwin led to rumours that he had sold his daughters to Shelley.
Shelley, Mary Godwin and Claire made their way across war-ravaged France where Shelley wrote to Harriet, asking her to meet them in Switzerland with the money he had left for her.
However, hearing nothing from Harriet in Switzerland, and being unable to secure sufficient funds or suitable accommodation, the three travelled to Germany and Holland before returning to England on the 13th. September 1814.
Shelley spent the next few months trying to raise loans and avoid bailiffs. Mary was pregnant, lonely, depressed and ill. Her mood was not improved when she heard that, on the 30th. November 1814, Harriet had given birth to Charles Bysshe Shelley, heir to the Shelley fortune and baronetcy.
This was followed, in early January 1815, by news that Shelley's grandfather, Sir Bysshe, had died leaving an estate worth £220,000. The settlement of the estate, and a financial settlement between Shelley and his father (now Sir Timothy), however, was not concluded until April the following year.
In February 1815, Mary gave premature birth to a baby girl who died ten days later, deepening her depression. In the following weeks, Mary became close to Hogg who temporarily moved into the household.
Shelley was almost certainly having a sexual relationship with Claire at this time, and it is possible that Mary, with Shelley's encouragement, was also having a sexual relationship with Hogg. In May Claire left the household, at Mary's insistence, to reside in Lynmouth.
In August 1815 Shelley and Mary moved to Bishopsgate where Shelley worked on Alastor, a long poem in blank verse based on the myth of Narcissus and Echo. Alastor was published in an edition of 250 in early 1816 to poor sales and largely unfavourable reviews from the conservative press.
On the 24th. January 1816, Mary gave birth to William Shelley. Percy was delighted to have another son, but was suffering from the strain of prolonged financial negotiations with his father, Harriet and William Godwin. Shelley showed signs of delusional behaviour, and was contemplating an escape to the continent.
Lord Byron
Claire initiated a sexual relationship with Lord Byron in April 1816, just before his self-exile on the continent, and then arranged for Byron to meet Shelley, Mary and her in Geneva.
Shelley admired Byron's poetry, and had sent him Queen Mab and other poems. Shelley's party arrived in Geneva in May and rented a house close to Villa Diodati, on the shores of Lake Geneva, where Byron was staying. There Shelley, Byron and the others engaged in discussions about literature, science and "various philosophical doctrines".
One night, while Byron was reciting Coleridge's Christabel, Shelley suffered a severe panic attack with hallucinations. The previous night Mary had had a more productive vision or nightmare which inspired her novel Frankenstein.
Shelley and Byron then took a boating tour around Lake Geneva, which inspired Shelley to write his "Hymn to Intellectual Beauty", his first substantial poem since Alastor.
A tour of Chamonix in the French Alps inspired "Mont Blanc", which has been described as an atheistic response to Coleridge's "Hymn before Sunrise in the Vale of Chamoni". During this tour, Shelley often signed guest books with a declaration that he was an atheist. These declarations were seen by other British tourists, including Southey, which hardened attitudes against Shelley back home.
Relations between Byron and Shelley's party became strained when Byron was told that Claire was pregnant with his child. Shelley, Mary, and Claire left Switzerland in late August, with arrangements for the expected baby still unclear, although Shelley made provision for Claire and the baby in his will.
In January 1817 Claire gave birth to a daughter by Byron who she named Alba, but later renamed Allegra in accordance with Byron's wishes.
Shelley's Marriage to Mary Godwin
Shelley and Mary returned to England in September 1816, and in early October they heard that Mary's half-sister Fanny Imlay had killed herself. Mary believed that Fanny had been in love with Shelley, and Shelley himself suffered depression and guilt over her death, writing:
"Friend had I known thy secret grief
Should we have parted so."
Further tragedy followed in December 1816 when Shelley's estranged wife Harriet drowned herself in the Serpentine in Hyde Park. Harriet, pregnant and living alone at the time, believed that she had been abandoned by her new lover. In her suicide letter she asked Shelley to take custody of their son Charles but to leave their daughter in her sister Eliza's care.
Shelley married Mary Godwin on the 30 December 1816, despite his philosophical objections to the institution. The marriage was intended to help secure Shelley's custody of his children by Harriet and to placate Godwin who had refused to see Shelley and Mary because of their previous adulterous relationship.
After a prolonged legal battle, the Court of Chancery eventually awarded custody of Shelley and Harriet's children to foster parents, on the grounds that Shelley had abandoned his first wife for Mary without cause, and was an atheist.
In March 1817 the Shelleys moved to the village of Marlow, Buckinghamshire, where Shelley's friend Thomas Love Peacock lived. The Shelley household included Claire and her baby Allegra, both of whose presence was resented by Mary. Shelley's generosity with money and increasing debts also led to financial and marital stress, as did Godwin's frequent requests for financial help.
On the 2nd. September 1817 Mary gave birth to a daughter, Clara Everina Shelley. Soon after, Shelley left for London with Claire, which increased Mary's resentment towards her step-sister. Shelley was arrested for two days in London over money he owed, and attorneys visited Mary in Marlowe over Shelley's debts.
Shelley was part of the literary and political circle that surrounded Leigh Hunt, and during this period he met William Hazlitt and John Keats. Shelley's major work during this time was Laon and Cythna, a long narrative poem featuring incest and attacks on religion.
It was hastily withdrawn after publication due to fears of prosecution for religious libel, and was re-edited and reissued as The Revolt of Islam in January 1818. Shelley also published two political tracts under a pseudonym: A Proposal for putting Reform to the Vote throughout the Kingdom (March 1817) and An Address to the People on the Death of Princess Charlotte (November 1817).
In December he wrote "Ozymandias", which is considered to be one of his finest sonnets, as part of a competition with friend and fellow poet Horace Smith.
Shelley in Italy
On the 12th. March 1818 the Shelleys and Claire left England:
"To escape its tyranny civil and religious".
A doctor had also recommended that Shelley go to Italy for his chronic lung complaint, and Shelley had arranged to take Claire's daughter, Allegra, to her father Byron who was now in Venice.
After travelling some months through France and Italy, Shelley left Mary and baby Clara at Bagni di Lucca (in today's Tuscany) while he travelled with Claire to Venice to see Byron and make arrangements for visiting Allegra.
Byron invited the Shelleys to stay at his summer residence at Este, and Shelley urged Mary to meet him there. Clara became seriously ill on the journey, and died on the 24th. September 1818 in Venice.
Following Clara's death, Mary fell into a long period of depression and emotional estrangement from Shelley.
The Shelleys moved to Naples on the 1st. December 1818, where they stayed for three months. During this period Shelley was ill, depressed and almost suicidal: a state of mind reflected in his poem "Stanzas written in Dejection – December 1818, Near Naples".
While in Naples, Shelley registered the birth and baptism of a baby girl, Elena Adelaide Shelley (born on the 27th. December 1818), naming himself as the father and falsely naming Mary as the mother.
The parentage of Elena has never been conclusively established. Biographers have variously speculated that she was adopted by Shelley to console Mary for the loss of Clara, that she was Shelley's child to Claire, that she was his child to his servant Elise Foggi, or that she was the child of a "mysterious lady" who had followed Shelley to the continent.
Shelley registered the birth and baptism on the 27th. February 1819, and the household left Naples for Rome the following day, leaving Elena with carers. Elena died in a poor suburb of Naples on the 9th. June 1820.
In Rome, Shelley was in poor health, probably suffering from nephritis and tuberculosis which later was in remission. Nevertheless, he made significant progress on three major works: Julian and Maddalo, Prometheus Unbound, and The Cenci.
Julian and Maddalo is an autobiographical poem which explores the relationship between Shelley and Byron, and analyses Shelley's personal crises of 1818 and 1819. The poem was completed in the summer of 1819, but was not published in Shelley's lifetime.
Prometheus Unbound is a long dramatic poem inspired by Aeschylus's retelling of the Prometheus myth. It was completed in late 1819 and published in 1820.
The Cenci is a verse drama of rape, murder and incest based on the story of the Renaissance Count Cenci of Rome and his daughter Beatrice. Shelley completed the play in September, and the first edition was published that year. It was to become one of his most popular works, and the only one to have two authorised editions during his lifetime.
Shelley's three-year-old son William died in June, probably of malaria. The new tragedy caused a further decline in Shelley's health, and deepened Mary's depression. On the 4th. August she wrote:
"We have now lived five years together;
and if all the events of the five years
were blotted out, I might be happy".
The Shelleys were now living in Livorno where, in September, Shelley heard of the Peterloo Massacre of peaceful protesters in Manchester. Within two weeks he had completed one of his most famous political poems, The Mask of Anarchy, and despatched it to Leigh Hunt for publication. Hunt, however, decided not to publish it for fear of prosecution for seditious libel. The poem was only officially published in 1832.
The Shelleys moved to Florence in October, where Shelley read a scathing review of the Revolt of Islam (and its earlier version Laon and Cythna) in the conservative Quarterly Review. Shelley was angered by the personal attack on him in the article which he erroneously believed had been written by Southey. His bitterness over the review lasted for the rest of his life.
On the 12th. November, Mary gave birth to a boy, Percy Florence Shelley. Around the time of Percy's birth, the Shelleys met Sophia Stacey, who was a ward of one of Shelley's uncles, and who was staying at the same pension as the Shelleys.
Sophia, a talented harpist and singer, formed a friendship with Shelley while Mary was preoccupied with her newborn son. Shelley wrote at least five love poems and fragments for Sophia including "Song Written for an Indian Air".
The Shelleys moved to Pisa in January 1820, ostensibly to consult a doctor who had been recommended to them. There they became friends with the Irish republican Margaret Mason (Lady Margaret Mountcashell) and her common-law husband George William Tighe. Mrs Mason became the inspiration for Shelley's poem "The Sensitive Plant", and Shelley's discussions with Mason and Tighe influenced his political thought and his critical interest in the population theories of Thomas Malthus.
In March Shelley wrote to friends that Mary was depressed, suicidal and hostile towards him. Shelley was also beset by financial worries, as creditors from England pressed him for payment and he was obliged to make secret payments in connection with his "Neapolitan charge" Elena.
Meanwhile, Shelley was writing A Philosophical View of Reform, a political essay which he had begun in Rome. The unfinished essay, which remained unpublished in Shelley's lifetime, has been called:
"One of the most advanced and
sophisticated documents of political
philosophy in the nineteenth century".
Another crisis erupted in June when Shelley claimed that he had been assaulted in the Pisan post office by a man accusing him of foul crimes. Shelley's biographer James Bieri suggests that this incident was possibly a delusional episode brought on by extreme stress, as Shelley was being blackmailed by a former servant, Paolo Foggi, over baby Elena.
It is likely that the blackmail was connected with a story spread by another former servant, Elise Foggi, that Shelley had fathered a child to Claire in Naples and had sent it to a foundling home. Shelley, Claire and Mary denied this story, and Elise later recanted.
In July, hearing that John Keats was seriously ill in England, Shelley wrote to the poet inviting him to stay with him at Pisa. Keats replied with hopes of seeing him, but instead, arrangements were made for Keats to travel to Rome.
In early July 1820, Shelley heard that baby Elena had died on 9 June. In the months following the post office incident and Elena's death, relations between Mary and Claire deteriorated, and Claire spent most of the next two years living separately from the Shelleys, mainly in Florence.
That December Shelley met Teresa (Emilia) Viviani, who was the 19-year-old daughter of the Governor of Pisa and who was living in a convent awaiting a suitable marriage. Shelley visited her several times over the next few months, and they started a passionate correspondence which dwindled after her marriage the following September. Emilia was the inspiration for Shelley's major poem Epipsychidion.
In March 1821 Shelley completed "A Defence of Poetry", a response to Peacock's article "The Four Ages of Poetry". Shelley's essay, with its famous conclusion "Poets are the unacknowledged legislators of the world", remained unpublished in his lifetime.
Following the death of Keats in 1821, Shelley wrote Adonais, which is considered to be one of the major pastoral elegies. The poem was published in Pisa in July 1821, but sold few copies.
Shelley went alone to Ravenna in early August to see Byron, making a detour to Livorno for a rendezvous with Claire. Shelley stayed with Byron for two weeks and invited the older poet to spend the winter in Pisa. After Shelley heard Byron read his newly completed fifth canto of Don Juan he wrote to Mary:
"I despair of rivalling Byron."
In November Byron moved into Villa Lanfranchi in Pisa, just across the river from the Shelleys. Byron became the centre of the "Pisan circle" which was to include Shelley, Thomas Medwin, Edward Williams and Edward Trelawny.
In the early months of 1822, Shelley became increasingly close to Jane Williams, who was living with her partner Edward Williams in the same building as the Shelleys.
Shelley wrote a number of love poems for Jane, including "The Serpent is Shut out of Paradise" and "With a Guitar, to Jane". Shelley's obvious affection for Jane was to cause increasing tension between Shelley, Edward Williams and Mary.
Claire arrived in Pisa in April at Shelley's invitation, and soon after they heard that her daughter Allegra had died of typhus in Ravenna. The Shelleys and Claire then moved to Villa Magni, near Lerici on the shores of the Gulf of La Spezia.
Shelley acted as mediator between Claire and Byron over arrangements for the burial of their daughter, and the added strain led to Shelley having a series of hallucinations.
Mary almost died from a miscarriage on the 16th, June, her life only being saved by Shelley's effective first aid. Two days later Shelley wrote to a friend that there was no sympathy between Mary and him, and if the past and future could be obliterated he would be content in his boat with Jane and her guitar.
That same day he also wrote to Trelawny asking for prussic acid. The following week, Shelley woke the household with his screaming over a nightmare or hallucination in which he saw Edward and Jane Williams as walking corpses, and himself strangling Mary.
During this time, Shelley was writing his final major poem, the unfinished The Triumph of Life, which Harold Bloom has called:
"The most despairing poem he wrote".
The Death of Shelley
On the 1st. July 1822, Shelley and Edward Williams sailed in Shelley's new boat the Don Juan to Livorno where Shelley met Leigh Hunt and Byron in order to make arrangements for a new journal, The Liberal.
After the meeting, on the 8th. July, Shelley, Williams and their boat boy sailed out of Livorno for Lerici. A few hours later, the Don Juan and its inexperienced crew were lost in a storm. The vessel, an open boat, had been custom-built in Genoa for Shelley.
Mary Shelley declared in her "Note on Poems of 1822" that the design had a defect, and that the boat was never seaworthy. In fact, however, the Don Juan was overmasted; the sinking was due to a severe storm and poor seamanship of the three men on board.
Shelley's badly decomposed body washed ashore at Viareggio ten days later, and was identified by Trelawny from the clothing and a copy of Keats's Lamia in a jacket pocket. On the 16th. August, his body was cremated on a beach near Viareggio, and the ashes were buried in the Protestant Cemetery of Rome.
When news of Shelley's death reached England, the Tory London newspaper The Courier printed:
"Shelley, the writer of some infidel poetry,
has been drowned; now he knows whether
there is God or no."
Shelley's ashes were reburied in a different plot at the cemetery in 1823. His grave bears the Latin inscription Cor Cordium (Heart of Hearts), and a few lines of "Ariel's Song" from Shakespeare's The Tempest:
'Nothing of him that doth fade
But doth suffer a sea change
Into something rich and strange'.
When Shelley's body was cremated on the beach, his presumed heart resisted burning, and was retrieved by Trelawny. The heart was possibly calcified from an earlier tubercular infection, or was perhaps his liver.
Trelawny gave the scorched organ to Hunt, who preserved it in spirits of wine and refused to hand it over to Mary. He finally relented, and the heart was eventually buried either at St Peter's Church, Bournemouth or in Christchurch Priory. Hunt also retrieved a piece of Shelley's jawbone which, in 1913, was given to the Shelley-Keats Memorial in Rome.
Shelley's Political, Religious and Ethical views
-- Politics
Shelley was a political radical who was influenced by thinkers such as Rousseau, Paine, Godwin, Wollstonecraft, and Leigh Hunt. He advocated Catholic Emancipation, republicanism, parliamentary reform, the extension of the franchise, freedom of speech and peaceful assembly, an end to aristocratic and clerical privilege, and a more equal distribution of income and wealth.
The views he expressed in his published works were often more moderate than those he advocated privately, because of the risk of prosecution for seditious libel and his desire not to alienate more moderate friends and political allies. Nevertheless, his political writings and activism brought him to the attention of the Home Office, and he came under government surveillance at various periods.
Shelley's most influential political work in the years immediately following his death was the poem Queen Mab, which included extensive notes on political themes. The work went through 14 official and pirated editions by 1845, and became popular in Owenist and Chartist circles. His longest political essay, A Philosophical View of Reform, was written in 1820, but not published until 1920.
-- Nonviolence
Shelley's advocacy of nonviolent resistance was largely based on his reflections on the French Revolution and the rise of Napoleon, and his belief that violent protest would increase the prospect of a military despotism.
Although Shelley sympathised with supporters of Irish independence, he did not support violent rebellion. In his early pamphlet An Address, to the Irish People (1812) he wrote:
"I do not wish to see things changed now,
because it cannot be done without violence,
and we may assure ourselves that none of
us are fit for any change, however good, if
we condescend to employ force in a cause
we think right."
In his later essay A Philosophical View of Reform, Shelley did concede that there were political circumstances in which force might be justified:
"The last resort of resistance is undoubtably [sic] insurrection. The right of insurrection is derived
from the employment of armed force to counteract
the will of the nation."
Shelley supported the 1820 armed rebellion against absolute monarchy in Spain, and the 1821 armed Greek uprising against Ottoman rule.
Shelley's poem "The Mask of Anarchy" (written in 1819, but first published in 1832) has been called:
"Perhaps the first modern statement of
the principle of nonviolent resistance".
Gandhi was familiar with the poem, and it is possible that Shelley had an indirect influence on Gandhi through Henry David Thoreau's Civil Disobedience.
-- Religion
Shelley was an avowed atheist, who was influenced by the materialist arguments in Holbach's Le Système de la Nature. His atheism was an important element of his political radicalism, as he saw organised religion as inextricably linked to social oppression.
The overt and implied atheism in many of his works raised a serious risk of prosecution for religious libel. His early pamphlet The Necessity of Atheism was withdrawn from sale soon after publication following a complaint from a priest. His poem Queen Mab, which includes sustained attacks on the priesthood, Christianity and religion in general, was twice prosecuted by the Society for the Suppression of Vice in 1821. A number of his other works were edited before publication to reduce the risk of prosecution.
-- Free Love
Shelley's advocacy of free love drew heavily on the work of Mary Wollstonecraft and the early work of William Godwin. In his notes to Queen Mab, he wrote:
"A system could not well have been
devised more studiously hostile to
human happiness than marriage."
He argued that:
"The children of unhappy marriages
are nursed in a systematic school of
ill-humour, violence and falsehood".
Shelley believed that the ideal of chastity outside marriage was "a monkish and evangelical superstition" which led to the hypocrisy of prostitution and promiscuity.
Shelley believed that "sexual connection" should be free among those who loved each other, and last only as long as their mutual love. Love should also be free, and not subject to obedience, jealousy and fear.
He denied that free love would lead to promiscuity and the disruption of stable human relationships, arguing that relationships based on love would generally be of long duration and marked by generosity and self-devotion.
When Shelley's friend T. J. Hogg made an unwanted sexual advance to Shelley's first wife Harriet, Shelley forgave him of his "horrible error" and assured him that he was not jealous. It is very likely that Shelley encouraged Hogg and Shelley's second wife Mary to have a sexual relationship.
-- Vegetarianism
Shelley converted to a vegetable diet in early March 1812 and sustained it, with occasional lapses, for the remainder of his life. Shelley's vegetarianism was influenced by ancient authors such as Hesiod, Pythagoras, Socrates, Plato, Ovid and Plutarch, but more directly by John Frank Newton, author of The Return to Nature, or, A Defence of the Vegetable Regimen (1811).
Shelley wrote two essays on vegetarianism: A Vindication of Natural Diet (1813) and "On the Vegetable System of Diet" (written circa 1813–1815, but first published in 1929).
William Owen Jones argues that Shelley's advocacy of vegetarianism was strikingly modern, emphasising its health benefits, the alleviation of animal suffering, the inefficient use of agricultural land involved in animal husbandry, and the economic inequality resulting from the commercialisation of animal food production. Shelley's life and works inspired the founding of the Vegetarian Society in England (1847) and directly influenced the vegetarianism of George Bernard Shaw and perhaps Gandhi.
Reception and Influence of Shelley's Work
Shelley's work was not widely read in his lifetime outside a small circle of friends, poets and critics. Most of his poetry, drama and fiction was published in editions of only 250 copies which generally sold poorly. Only The Cenci went to an authorised second edition while Shelley was alive – in contrast, Byron's The Corsair (1814) sold out its first edition of 10,000 copies in one day.
The initial reception of Shelley's work in mainstream periodicals (with the exception of the liberal Examiner) was generally unfavourable. Reviewers often launched personal attacks on Shelley's private life and political, social and religious views, even when conceding that his poetry contained beautiful imagery and poetic expression.
There was also criticism of Shelley's intelligibility and style, Hazlitt describing it as:
"A passionate dream, a straining
after impossibilities, a record of fond
conjectures, a confused embodying
of vague abstraction".
Shelley's poetry soon however gained a wider audience in radical and reformist circles. Queen Mab became popular with Owenists and Chartists, and Revolt of Islam influenced poets sympathetic to the workers' movement such as Thomas Hood, Thomas Cooper and William Morris.
However, Shelley's mainstream following did not develop until a generation after his death. Bieri argues that editions of Shelley's poems published in 1824 and 1839 were edited by Mary Shelley to highlight her late husband's lyrical gifts and downplay his radical ideas. Matthew Arnold famously described Shelley as a "beautiful and ineffectual angel".
Shelley was a major influence on a number of important poets in the following decades, including Robert Browning, Swinburne, Hardy and Yeats. Shelley-like characters frequently appeared in nineteenth-century literature, such as Scythrop in Peacock's Nightmare Abbey, Ladislaw in George Eliot's Middlemarch, and Angel Clare in Hardy's Tess of the d'Urbervilles.
Twentieth-century critics such as Eliot, Leavis, Allen Tate and Auden variously criticised Shelley's poetry for deficiencies in style, "repellent" ideas, and immaturity of intellect and sensibility.
However, Shelley's critical reputation rose from the 1960's as a new generation of critics highlighted Shelley's debt to Spenser and Milton, his mastery of genres and verse forms, and the complex interplay of sceptical, idealist and materialist ideas in his work.
American literary critic Harold Bloom describes him as:
"A superb craftsman, a lyric poet
without rival, and surely one of the
most advanced sceptical intellects
ever to write a poem".
According to Donald H. Reiman:
"Shelley belongs to the great tradition
of Western writers that includes Dante,
Shakespeare and Milton".
John Lauritsen and Charles E. Robinson have argued that Shelley's contribution to Mary Shelley's novel Frankenstein was extensive, and that he should be considered a collaborator or co-author.
However Professor Charlotte Gordon and others have disputed this contention. Fiona Sampson has said:
"In recent years Percy's corrections, visible
in the Frankenstein notebooks held at the
Bodleian Library in Oxford, have been
seized on as evidence that he must have
at least co-authored the novel. In fact, when
I examined the notebooks myself, I realised
that Percy did rather less than any line editor
working in publishing today."
Thoughts From Percy Shelley
"The soul's joy lies in doing."
"I have drunken deep of joy, And
I will taste no other wine tonight."
"A poet is a nightingale, who sits in
darkness and sings to cheer its own
solitude with sweet sounds."
"War is the statesman's game, the
priest's delight, the lawyer's jest,
the hired assassin's trade."
"Soul meets soul on lovers' lips."
"Fear not for the future,
weep not for the past."
"Our sincerest laughter with some
pain is fraught; Our sweetest songs
are those that tell of saddest thought."
"O, wind, if winter comes, can
can spring be far behind?"
© All Rights Reserved - No Usage Allowed in Any Form Without the Written Consent of Connie Lemperle/ lemperleconnie or the Cincinnati Zoo & Botanical Gardens
Link to Cincinnati Zoo's Web Site ..............
"Link to the Cincinnati Zoo's Flickr photostream".
Mexican Wolf
Canis lupus baileyei
Also known as "el lobo", the Mexican wolf is the smallest subspecies of the North American gray wolf. Wolves live in family groups called packs. The wolf parents are the leaders of the pack, called the alpha pair. The rest of the group includes their sons and daughters and possibly a few other close relatives. The wolf family eats, sleeps, travels, plays, and hunts together as a team. By hunting cooperatively, wolves can bring down prey much larger than themselves such as elk. While wolves may occasionally take down unprotected livestock, they much prefer wild prey. Once exterminated from the wild, Mexican wolves are being reintroduced into their former range in Arizona and New Mexico.
A wolf's howl can be heard more than five miles away.
A wolf's sense of smell is about 100 times better than a human's.
Dogs are descendents of wolves domesticated over thousands of years.
Fact File
Where to see them: Wolf Woods
Height: 4.5 to 5.5 ft
Weight: 60 to 80 lbs
Lifespan: 12 to 15 yrs in captivity
Habitat: Mountain and forest
Diet: Elk, deer, peccaries, rabbits, rodents, and carrion
Risk Status: Species at Risk (Endangered—U.S. Endangered Species Act)
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Have a nice night everyone!
6/5/13 2:20 PM
I don’t mind admitting these strobes are whipping my ass. So far I’ve winged it without the destructions. I have to wait for my wife to read me the destructions for the umbrellas. They are frustrating me. Then I have to buy a set of extension cords to plug the strobes in and figure out the hot shoe remote. @Sigmon Whitener, @Sammy Roberts, HELP! I’ll search the web for a tutorial. @Sammy, when you come to visit I may force you to help!
6/5/13 11:46:17 PM
Just setting up the umbrellas about whipped my butt. i got them up tonight. Now I have to run wires and figure out the remote synch. I have a synch that sets on my hot shoe and three extra cords that seem to go to no where. I may just turn these on and use available light.........I'll be forced sooner or later to go to a sight to see if anyone has a demo. I've got a lot of learning to do and these may just lie in the garage and replace my Van.
I get the soft box cloths, the snoot and I have some filters but the night might be over for me.
My extension cords etc are tied up with my PA in my trailer and it is pouring rain.
6/6/13 7:40 PM
I moved the strobes into the living room with built in Dry wall and outlets. I will be forced to dust the living room now. I may have set a trap for my wife and I to trip and fall down the steps! Yes, I did the floor job but didn’t know what I was doing there either. I will fix everything! First I have to learn how the synchs work!
I figured out how to turn on two of the three strobes but can’t figure out the sync receiver. I don’t think my D-600 has a plug in. Maybe the D-7000 does but it is in the shop. I will check the D-90. But just turning on the lights makes for some fun!
I really have to work on the light positions etc and have to give in and watch a tutorial on how to sync up the strobes. I have plugged in and out of every PA system known to man using adapters from hell but I can't find anywhere to plug into the D-600. I'll look at my other cameras. I may be doomed to buy another camera specifically for the strobes.
Practicing Pet Photography! Bad focus in the eyes...... I have to increase the aperture and shoot on manual. Obviously being behind the camera instead of using a remote would be better. However I thought maybe a running set up of a system might be fun for the group.
If I can make those strobes work correctly I may do some portrait work for friends. See the shadow off the magazine on my chest? I have to do things like turn the overhead light off. This is without the kicker or gold Umbrella flash. I also only used the modeling lights on the strobes as I can't figure out the syncs yet. If I do i may be dangerous. This means if you get any clients and need some excuse to come to Winston to shoot you can use my stuff. i have about three or four other backdrops to try. We need to get some curtains to take care of the outside light coming in. I am close but really need some practice.
Also you can see if you blow this up the magazine labels lose focus. So i also have to get the aperture down, which means setting the numbers higher f/16 an up....maybe that will help the depth of field.
www.flickr.com/photos/shanesflyingdiscshow/sets/721576339...
My feet are in the lower left-hand corner--to the right, Sarah W., then Dan, up-top Beth, then Sarah M.
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.
Not for use without permission
This was first place he lived, not many doors down from other place. This was where he lived that he wrote about in a moveable feast. When I first started living in Paris, years ago, I lived very close to this. It could get rather loud at night but remained looking like quintessential Paris street.
ⓒRebecca Bugge, All Rights Reserved
Do not use without permission.
From the tomb of the Piurni family, Chiusi, Italy
#Ny Carlsberg Glyptotek was founded by the brewer Carl Jacobsen, a man who had a vivid interest in contemporary Danish and French art - and ancient art too. He had a great collection which he, and his wife Ottilia donated to the public, in two deeds in 1888 and 1889. The collection seen today still reflects these intentions.
The museum contains over 10 000 objects of art - ancient and somewhat more modern.
The museum today consists of four buildings - the oldest being the Dahlerup building, named after its architect Vilhelm Dahlerup, who was the master behind what is still the main entrance to the museum. His complex was symmetrical with three wings, around an open court-yard. He was very influenced by earlier eras, and for example the façade is in a style which should be called Italian Renaissance - though 400 years too late. His interior was in turn influenced by both roccoco, and the Imperial Rome. This was inaugurated in 1897.
The second building was made by Hack Kampmann, and fittingly called the Kampmann building. Kampmann was a classicist, and his creation differed greatly from the other. But the second building was built to fit with the already existing one, forming a closed courtyard in the middle, which was covered with glass and would form one of the most famous sights of the place, the Winter Garden. This was opened to the public in 1906.
In 1996 the latest addition to the museum was opened to the public, the Henning Larsens building, by the architect of the same name.
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Il Duomo di San Giorgio si erge nel cuore di Ragusa Ibla.
Antica chiesa madre della città prima del 1693, sorgeva all’estremità est dell'abitato, nei pressi dell'attuale Giardino ibleo, dove si trova ancora il grande portale quattrocentesco, di stile gotico-catalano, unica vestigia rimasta dell'antico tempio.
La chiesa fu gravemente danneggiata dal terremoto e restarono in piedi parte della facciata, alcune cappelle e parte della Cappella maggiore, per cui venne costruito un ampio locale adiacente alla navata sinistra del vecchio tempio, in cui poter svolgere le funzioni.
Nel secondo quarto del XVIII secolo, si decise di trasferire la chiesa nel sito della vecchia di San Nicola, che fino al XVI secolo era stata la parrocchia dei fedeli di rito greco e successivamente, passata al rito latino, era divenuta chiesa sacramentale di San Giorgio. Del progetto venne incaricato nel 1738 Rosario Gagliardi, architetto di Noto, uno dei protagonisti della ricostruzione barocca, di cui questo edificio è una delle opere migliori.
La prima pietra fu posta il 28 giugno del 1739, come ricorda una lapide murata sul lato destro della scalinata, e tuttavia, come ricorda l'enigmatica iscrizione posta sul lato opposto, i lavori poterono cominciare solo nel 1744. Il 5 ottobre 1775, con la salita delle campane, si conclusero i lavori della facciata. Secondo tradizione la cupola sarebbe stata progettata e realizzata nel 1820 dal capomastro ragusano Carmelo Cultraro, su modello di quella del Pantheon di Parigi, ma recenti studi e riscontri archivistici ne assegnano la paternità all'architetto Stefano Ittar.
Al Vescovo venne intitolato l'altare del transetto destro che probabilmente è posto nel luogo in cui sorgeva l'altare maggiore dell'antica chiesa. In questo duomo è stato girato la seconda serie di l'onore e il rispetto
L'interno
Il progetto di Rosario Gagliardi, di cui si conservano le tavole originali, è caratterizzato dalla monumentale facciata a torre che ingloba il campanile nel prospetto e termina con una cuspide a bulbo, richiamando i tabernacoli lignei, seicenteschi, delle chiese cappuccine.
La collocazione della chiesa al termine di un'alta scalinata e la posizione obliqua rispetto alla piazza sottostante accentuano l'imponenza e gli effetti plastici, creati da una lieve convessità del partito centrale e dalla presenza delle colonne libere. Due coppie di volute fanno da raccordo tra i diversi livelli ospitando, rispettivamente, le statue di San Giorgio e San Giacomo in basso, e quelle di San Pietro e San Paolo in alto.
Sulla cuspide, sotto la croce, si legge la data 1775, che indica la conclusione dei lavori della facciata.
Nel primo ordine del partito centrale si apre un grande portale con cornice mistilinea, ricca di fregi e rilievi a motivi vegetali, mentre le porte lignee hanno una preziosa decorazione scultorea, in sei riquadri, con la raffigurazione di episodi del martirio di San Giorgio, opera dell'intagliatore palermitano Vincenzo Fiorello, che li realizzò nel 1793.
L'interno, a croce latina, con le braccia chiuse da absidi semicircolari, è sereno ed equilibrato e viene diviso in tre navate da dieci robusti pilastri in pietra, con un'ampia zoccolatura in pece. Gli intagli che decorano il cornicione e i capitelli dei pilastri furono realizzati tra il 1779 ed il 1781 dagli scultori Giambattista Muccio e Giorgio Nobile di Ragusa.
Nell'incrocio del transetto con la navata centrale si eleva la cupola di gusto neoclassico, a doppia calotta, poggiante su due file di colonne.
Questa chiesa trova corrispondenza non tanto nell'architettura italiana, ma è molto più simile ai modelli dell'Europa del nord, come le chiese londinesi di Hawksmoor e quelle di Neumann in Franconia che sviluppano in facciata il tema del partito centrale a torre.[senza fonte]
Nelle cappelle delle navate laterali si trovano tele di alcuni dei più celebri artisti del settecento siciliano: Vito D'Anna, Antonio Manno, Giuseppe Tresca.
Sopra le porte laterali sono conservati i due simulacri che vengono portati in processione per le strade, durante la festa patronale di San Giorgio: la statua del Santo a cavallo opera dello scultore palermitano Girolamo Bagnasco, che la realizzò nel 1874, e la grande cassa-reliquiario in lamina d'argento sbalzata, opera del 1818 dell'argentiere palermitano Domenico La Villa.
Sulla navata centrale prospetta il grande organo (1887) a 3368 canne, capolavoro della ditta Serassi di Bergamo, che lo volle chiamare Organum maximum, in quanto sintesi della sua migliore arte organaria.
Nell'adiacente sacrestia si conserva un resto della monumentale ancona in pietra calcarea che lo scultore Antonello Gagini aveva scolpito per la vecchia chiesa di San Giorgio tra il 1573 e il 1576. Dalle rovine della chiesa furono recuperate tre nicchie e quattro statue che, pur assemblate in modo alquanto scorretto, danno tuttavia una idea della magnificenza dell'opera originaria.
The homeless in rural Florida have proven what I believed in all along. That they could help each other without paid staff, when given the proper resources. Homeless veterans, men, women, and children have shown that they can take a hand up, instead of a handout, and get their lives back in order. In less than three years there were five shelters; two for homeless Veterans.
We recently closed one shelter because the Mission in Citrus eliminated 75% of the homeless Veteran problem in Citrus County, and due to the slowdown in our present economy. Our shelters are geared to operate at the lowest cost, and to be moved or closed when necessary. They are located close to jobs and resources.
Close to 450 former residents still keep in contact with me through email, Facebook, or phone. I am so very proud of them, as their accomplishments are no less than a miracle. We are not faith based but live by faith. No one is forced to go to church, but over 90% attend services each week at the church of their choice. Our saying is that God runs things around here. And He does. Miracle after miracle has occurred during the past four years. A Good Samaritan to all in need. We are struggling now, as we have been denied funding because we do not have anyone who can write grants properly. But we are working on that. And all of the praise, glory, and honor, we give to God for all His blessings.
Over two thousand people were helped back into society since 2009, by using fewer dollars and more sense. Their success record is 80%, which is much higher than the national average. There are no security cameras or locked doors. Our foundation is based on that no one should lose their freedoms that so many Veterans have died for, unless they are a criminal. Since February 1st 2013, over 42 people moved into homes with jobs. That may seem small to many, but it was over 50% of our residents living at our shelters. Fourteen were children. Five were entire families.
Our 1st Veteran's shelter was opened on less than $5000, and a lot of faith. It is now approaching its fourth year of operation. Veterans have returned to society into their own homes after receiving their much deserved benefits. Similar shelters were built using millions. Formerly homeless Veterans run the shelter, after being helped themselves. All give a volunteer commitment. Fund raising is now in progress to increase their capacity. Our second shelter was designed after the John Wayne-type outposts in the old west. In rural areas, the homeless have to walk between 12-50 miles for help and services. The outpost provided meals, shelter, laundry, showers, and much more. It served many Veterans living in the woods and swamps, and those traveling around the country. The model was highly successful, before it’s closing due to lack of funds... Our next project is a mobile command center called Angels on Wheels. It will be able to help Veterans in any area with full service. The mobile vehicle will enable the Mission in Citrus to reach out to many Veterans, who are currently receiving little to no help.
“If we do not help them, who will?”
The Mission in Citrus Homeless Shelters were founded in 2008, after the Executive Director “I “became homeless. My research and personal experience showed that traditional shelters were not working, and too much of their budgets were spent on administration expenses, and not on the residents. Too many criminalized homelessness. Most of the homeless are not criminals; they just need the resources to get their lives back in order. A hand up, not a hand out. The focus is on jobs, and our Hire the Homeless program has been highly successful. The residents also help operate the shelter by paying for their upkeep with donations, once they find employment or receive disability. They volunteer thousands of hours to Habitat for Humanity, area food banks, Sertoma Club, Lion's Club, and many other nonprofits. No one is allowed to sit around. All earn their keep.
We have overcome many obstacles in the past four years, from 60 tents to 5 shelters. We had major fights with everyone from the Fire Marshal, Sheriff’s Dept., and many other agencies, including County Commissioners. We now have positive working relationships with all of them. We have earned their respect. We still have a long way to go.
Grant writing is hard because there is little time after helping so many people each day. We beg for 80% of our operating funds using collections sites, such as Wal-Mart, and County flea markets. Over 1000 people were helped last year with $120,000. The Mission in Citrus continues to fight for homeless rights. Our emails are sent to numerous government officials each day. Homelessness can decrease through more accountability of dollars. One shelter gets Federal funds, while operating at an annual cost of $38,000 a bed. It is cheaper to go to Harvard.
Our residents age from four days old to 72 years old. The new face of homelessness has become many homeless women and children. We are expecting two new babies in the next month. The days of the old homeless stereotype are over. The present economy is taking no prisoners.
Our long term goals are to share our system with others, and to increase our homeless Veterans beds by 150 by buying a motel. We soon hope to start a successful in-house drug and alcohol treatment shelter. The Mission in Citrus could easily become a movie as so many miracles have occurred there. When I turned 51 last year, over 200 former residents visited, Face booked, emailed, or called. That does not happen at normal shelters.
They take great pride as they have become a family, and lift each other up. We have two quotes. “If we do not help them…Who will? “And “We follow the parable of the good Samaritan.” We help all in need. In our history, we have never failed to feed and help anyone who has entered our gates. We even take food and water into the woods and swamps for many hard core Veterans, who have lost faith in society.
About The Mission in Citrus
Our Mission is to help all in need to the best of our ability. We follow the parable of the Good Samaritan, as there are no requirements for our services. We constantly reinvent the wheel to make it all work. The faces of homelessness can change as well as each individual’s circumstances. And there have been very few that we have not been able to help. Veterans have become our priority as we have seen their suffering the most.
To all the past and present residents of the Mission in Citrus. I am so very proud of you. You made it work. God gave us the direction and help through many. God bless you all and much Love to all of you
James M Sleighter – Founder and Executive Director of the Mission in Citrus
Part of a large zhe155 stencil pasteup in Phonebooth,Paris/france
thankz 2 urbanhearts,streetart without borders project!!
Shelter area Refugee Camp in the Heart of the City
A free, interactive, awareness-raising event
The set contains 2010 photos of the Toronto MSF display- Refugee Camp in the Heart of the City.
Photos © Linda Dawn Hammond / IndyFoto.com 2010, with usage granted to Médecins Sans Frontières / Doctors Without Borders (MSF)
Médecins Sans Frontières / Doctors Without Borders (MSF) Donor Enquiries
Call MSF at 1 800 982 7903 and ask to speak with one of their Donor Relations team members, or email them at donorrelations@msf.ca
2011
Join Médecins Sans Frontières / Doctors Without Borders (MSF) at
Refugee Camp in the Heart of the City, a free, interactive, awareness-raising exhibit. You'll be personally guided through the camp by an experienced MSF field worker and gain insight into the daily realities of 43 million people uprooted by war and conflict.
The exhibit is an outdoor reconstruction of an actual refugee camp, where experienced MSF staff (doctors, nurses, logisticians) guide visitors through a 40 to 60 minute interactive tour explaining the crucial elements for survival in a refugee crisis.
DATES & LOCATIONS
St. John’s: Bannerman Park, September 8-11, 2011
Halifax: Garrison Grounds, September 15-18, 2011
Moncton: Riverfront Park, September 22-25, 2011
Québec: Place d’Youville, September 29-October 3, 2011
We encourage you forward this invitation to anyone you know who may have the opportunity to visit the exhibit.
Thank you!
In Spring 2010, Médecins Sans Frontières / Doctors Without Borders (MSF) brought The Refugee Camp in the Heart of the City exhibit to Ontario and Québec on a four-city tour.
Ottawa: Confederation Park, May 13-16, 2010
Montréal: Parc Jeanne-Mance, May 20-23, 2010
Toronto: Christie Pits, May 27-30, 2010
Waterloo: Waterloo Public Square, June 3-6, 2010
The goal of the exhibit is to raise awareness about the plight of the world’s 42 million refugees and internally displaced people (IDPs) uprooted by war and conflict.
The Refugee Camp in the Heart of the City exhibit is an outdoor reconstruction of an actual refugee camp, where experienced MSF staff (doctors, nurses, logisticians) guide visitors through a 40 to 60 minute interactive tour explaining the crucial elements for survival in a refugee or IDP crisis.
During the tour, each visitor will learn some of the challenges a refugee or IDP faces in trying to access food, shelter, water and medical care. The 740 m2 (8,000 square feet) exhibit is designed to accommodate approximately 800 to 1,200 visitors per day, and consists of the following areas:
•Shelter area
•Food distribution area
•Latrine area
•Water supply
•Health clinic
•Nutrition treatment centre
•Cholera treatment centre
•Vaccination tent
About the Refugee Camp exhibit
Guided by MSF aid workers, visitors are asked to imagine that they are among the millions of people fleeing violence and persecution in, for example, Somalia, Colombia, the Democratic Republic of Congo, or Sudan.
The exhibit is made up of materials used by MSF in its emergency medical work around the world, including emergency refugee housing, a food distribution tent, water pump, health clinic, vaccination tent, therapeutic feeding center, and a cholera treatment center. It addresses questions such as:
•Will I be safe?
•What will I eat?
•How do I find water?
•Can I get medical care?
•Where will I live?
Learn more about the issues refugees and internally displaced persons (IDPs) face with this interactive guide.
The exhibit is free and open to the public. If you are planning to come with a group of 15 or more please schedule a group visit for your city. Individuals are welcome without reservations.
The Refugee Camp in the Heart of the City was first launched in France in 1995, and has toured in countries in Asia, Europe, the Middle East and North America. In 2008, the exhibit attracted close to 30,000 visitors during a 4 city tour of Western Canada and 4 city tour of California.
Donor Enquiries
Call MSF at 1 800 982 7903 and ask to speak with one of their Donor Relations team members, or email them at donorrelations@msf.ca
I just got back from a week in the Rockies with two of my Red Lobster friends. The east ridge of Edith Cavell (the left skyline) was a line that always attracted me but we never got around to climbing it. A little late now, but at least I can pay homage to it in graphic form. :-)
Last year a section of hanging glacier near the tip of the tall tree on the left hand side of the image came off and careened into the lake below. A tidal wave ensued that swept down the valley toward the parking lot, leaving a huge debris channel for us to view that extends to just below the parking lot. Despite warning signs, people continue to walk around the lake below the hanging ice cliffs. Darwinism at work again?
As always, thoughtful feedback, constructive criticisms, and suggestions are always appreciated. What do you like about it? What might you do differently and why?
Use of this photo without permission is not cool. Please contact me if you would like to use it.
St Michael's Church, Bath viewed from Northgate Street. It was the first church to be found outside the city walls and is therefore also known as St Michael's Without.
As the Ulua river rose beyond it's banks just outside of La Lima Honduras, many had to set up temporary housing with their few possessions in the median between two highways. Red Cross has been assisting with water, food and minimal shelter.
Abellio London took over route 117 from Metroline from 3rd September 2011.
Seen on the 117 here in Church Street, Ashford, is an old specification 10-reg Enviro200, without the revised front and rear styling, and without the revised interior too - though what it does have is an offside emergency exit door! The 117 is meant to be run with brand new 11-reg examples.
It's 8534 (YX10 FEM).