Plum City – (AbelDanger.net). United States Marine Field McConnell has linkeda protection racket apparently operated out of Skinners’ Hall by Norman Inkster and Gordon Campbell in a carbon-footprint spot fixing conspiracy with KPMG, to arson attacks by the bcIMC pension-fund members who allegedly set crime scenes on the Pacific Rim property in Tofino at sixes and sevens.
McConnell notes Inkster’s erstwhile associates in KPMG’s forensic practice have built a sixes and sevens Guild Socialist community with the Worshipful Company of Management Consultants (at Skinners Hall since 1987) and Gordon Campbell has used bcIMC ‘s CAI private equity group to sponsor the Worshipful Company of Firefighters as co-habitor at The Insurers Hall in Aldermanbury near London Wall.
#1631: Marine Links Cisco Starnet Pig-Farm Key to Pension Fund bcIMC, Arsons at Pacific Rim Resort
Clive of India – an 18th century exponent of Skinners/Merchant Taylors 6 and 7 protection rackets which have been operating since the 15th century!
“Suspicious fires at Pacific Rim resort
The Tofino Fire Department, Tofino RCMP and BC Ambulance Service appeared on the scene that was littered with handfuls of cars and curious onlookers who were snapping pictures of the site.
The firefighters asked the onlookers to leave because the cars parked along the highway were causing a potential traffic jam. David helped a few firefighters transport between Maltby Road and the adjacent site, accessible from the highway through a gravel road, which is normally fenced off.
Onlookers had opened up the chain link fence before emergency services appeared on the scene. The fires continued to blaze until it was quenched later that night, according to David.
She said at Maltby Road another fire truck was there and firefighters worked to get the hydrant attached to the hose and slung around the building to access the blaze.
The building just past the Pacific Rim resort sign was once a store, David added. “It looked pretty bad this morning,” she said after driving past the area at 8 a.m. on Wednesday. “The site was abandoned about 12 years ago.”
Check out www.westerlynews.ca for more updates on the incident.
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“The first Skinners met in local taverns or churches to discuss problems but as they became wealthier they began to pay for more permanent rooms. By the end of the 13th century they were using the building that became Skinners’ Hall, then known as the Copped Hall. The frontage of this original property faced Dowgate Hill and was divided into five shops with rooms above. Behind the shops was the main hall, reached via a courtyard that gave ample space for the preparation of processions and pageants.
The ceremonial entrance leads to a cloister style courtyard from which guests can enter the Grade 1 listed hall and enjoy the splendour of this historic venue. Featuring a banqueting hall, court rooms, roof garden and gallery, the hall is visited by historians, artists and architects as well as being available to the general public to hire for private or corporate events.
A scheduled ancient monument, Skinners’ Hall is steeped in history and antiquities redolent of the privileged life style afforded by successful commerce throughout the centuries. The enormous banqueting hall has a minstrels’ gallery and is panelled with paintings by Sir Frank Brangwyn. The outer hall is open to the ceiling of the gallery above it creating a wonderful setting for the glass chandelier made for Empress Catherine the Great of Russia, and the large bell in the hall, cast in 1190, is one of the oldest in the country.
The court room of 1670 is panelled in pencil cedar from Virginia, well known for perfuming the room and on hot days you can still smell the wood.”
During the ten years I worked in Midtown Manhattan, I passed through the old RCA Building [RCA became Serco and Serco cesium fountain clock is used by Skinners to synchronize attacks where crime scene investigations are set at sixes and sevens] at Rockefeller Center several times a week without paying much attention to its huge, sepia-toned Art Deco murals. I look at the decorations in the lobby with an admiring eye, now, especially the fourth mural to the left side of the elevator banks, the last in a series on the rise of civilization, painted by British Artist Frank Brangwyn in the early 1930s.
Near the top of the panel, a hooded figure, straight out of the Bible, can be seen from behind, standing on a hill, his arms in the air (much like The Preacher in a Brangwyn etching). The crowd massed to the Teacher’s back in the foreground of the picture is a rag tag assortment of humanity. Gentlemen in top hats, hobos, buxom matrons, squirming children, and, at least, one sleeping dog.
Depicting the Sermon on the Mount from behind may hardly be a traditional take on the story, but such eccentric touches are a hallmark of Brangwyn’s art. This self-taught painter and onetime apprentice to William Morris (leader of the Arts and Crafts Movement) is yet another notable early 20th century artist, all but forgotten in the era of dogmatic Modernism. Brangwyn not only excelled as a muralist, book illustrator, and print maker but also won fame as a designer of stained glass windows, ceramics, furniture, and even wall-paper. Fortunately, changing times and changing tastes have brought Brangwyn out of the shadows.
The Belgian-born artist was Roman Catholic, the son of an British architectural designer who often took on ecclesiastical commissions. As the artist liked to recall, he came into the world in the shadow of Bruges Cathedral, within the sound of its bells. Religious themes appear frequently in his work. Brangwyn was especially drawn to images of saints, monks, nuns, and the downtrodden and dispossessed, who often take center stage in starkly realistic biblical scenes like his etching of The Nativity (seen here in two variations), set in a rustic French inn.
Brangwyn was the prolific illustrator of over 80 books. Seven prints from three of these titles can be found in the Sacred Art Pilgrim Collection. There are two woodcuts from Belgian Poet Emile Verhaeren’s Les Villes Tentaculaires, capturing the dark, seething atmosphere of this apocalyptic vision of life in over-industrialized, octopus-like urban centers.Three etchings come from L’Ombre de la Croix by French Writers Jerome and Jean Tharaud, offering glimpses into the life of early 20th century Central European Jews, who must live in the shadow of the Cross, as a minority people in a predominantly Christian culture. Two more etchings formed part of a suite of 32 small format prints, illustrating The Book of Job.
The Stations of the Cross was a sacred theme of special importance to Brangwyn. As he told his artist-biographer, William de Belleroche, the subject was “at the back of my mind all of my life, ” and he hoped to make it his “most important work.” Brangwyn was commissioned in 1920 to create a cycle of Stations of the Cross paintings for the war-damaged cathedral in Arras, France. The project was never completed, but Brangwyn made hundreds of studies and sketches.
With the help of Belleroche, Brangwyn eventually produced a set of woodcuts on the theme between 1930 and 1934 and a lithographic series in 1935. (My collection has one woodcut ofStation III, and two sketches for the lithographic plates of Station II and Station X ; the first sketch includes two self-portraits of Brangwyn and a drawing of his dog, Roger!)
In the preface to an edition of Brangwyn reproductions, titled The Way of the Cross, Roman Catholic Writer G. K. Chesterton noted a certain “Christian exuberance, which piled itself up to overflowing,” in the artist’s work, reminiscent of the Baroque painter, Peter Paul Rubens. But Chesterton also detected an “ugly energy” in the crowd scenes, more like Flemish medieval art, which he considered “more attractive than vulgar beauty.” The dramatic, sometimes brutal urgency of Brangwyn’s figurative compositions makes his imagery of Christ’s Passion outstanding sacred art.”
“The Worshipful Company of Firefighters is one of the 108 livery companies of the City of London. The Company’s aim is to promote the development and advancement of the science, art and the practice of firefighting, fire prevention and life safety. It operates essentially as a charitable organisation, and also encourages professionalism and the exchange of information between members and others who work in allied fields.
One of the new City livery companies, its origins date from 1988 with the founding of the Guild of Firefighters. The Company of Firefighters was recognised by the City of London Corporation from 13 June 1995 as a company without livery; it was granted livery by the Court of Aldermen on 23 October 2001, thereby becoming the Worshipful Company of Firefighters
The Firefighters’ coat of arms is blazoned: Quarterly: 1 and 3, Argent on three Bars wavy Azure a Firehelmet Or; 2 and 4, Argent over all a Cross Gules and in pale a Sword downwards Argent; and, its motto is Flammas Oppugnantes Fidimus Deo.”
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