10:38 27 March 2015

Tom Potter

Burglars broke into the home of a woman in her 80s

A woman in her 80s was forced to sit and watch as burglars stole jewellery from her home last night.

As she prepared to go to bed, the woman heard glass smashing and saw four or five men, wearing dark clothing and facial coverings, enter her home through patio doors.

The raid happened at about 10pm in Crossing Road, Palgrave, near Diss.

One of the burglars, described as about 6ft and of large build, told her to sit down and stayed with her while the other men searched her home.

The woman was unhurt but a quantity of jewellery is believed to have been stolen.

Detectives are asking anyone who may have seen any suspicious activity, or anyone with information about those involved, to call Suffolk police on 101, quoting crime number ST/15/925.

Alternatively, you can call Crimestoppers, anonymously if required, on 0800 555 111.

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Masked burglars smash way into home of woman in her 80s

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It was November 26, 2005, and the masses were beginning to make their way to Broad Ripple's the Patio. With a great local lineup of music in store, the venerable Guilford Avenue venue likely looked no different on this Saturday than it did on any other night to the casual passerby. But to faithful music lovers filing into the club, sheer sadness filled the air. Because after that night, this great live music spot would be no more.

Since NUVO's start back in 1990, this unfortunate scene has unfolded at several other Indianapolis venues, leaving music fans searching for somewhere new to get their fix. From The Vollrath to Locals Only, Chubby's Club LaSalle to the Music Mill, many meaningful live music spots have closed their doors in the past 25 years, each leaving behind a melodious mark on the city. For most however, the Patio's closing was certainly the saddest.

"There was so much tradition there. It was always on the front end of trends and on the front end of emerging artists," remembers Jeff Sample, who did a little bit of everything at the club between 1990 and 1999, from bartending to booking bands. "It was a destination place for touring acts. If you were going to come to Indianapolis that was pretty much the place you wanted to play, up to a certain level."

And all kinds of promising acts did play there before eventually hitting the big stage, including the Red Hot Chili Peppers, the Smashing Pumpkins, the Black Keys, My Morning Jacket and many, many more. The venue also served a very important role for local and regional acts too, Sample explains.

"On the local and regional level, if you were in a band and you were actually accepted to play at the Patio, that was pretty much a badge of honor," he recalls. "That completely legitimized who you were."

During the early '90s, another club on Indy's Eastside was also making a splash, drawing big name touring acts to the city. Located in the old Arlington Theatre, The Ritz's incredibly large stage hosted the likes of Danzig, Pantera, Iggy Pop and Slayer. And just like the Patio, local bands were welcome too. Vess Ruhtenberg (The Last IV, The United States Three) recalls, "I'm proud to say that my band Jot was the very first band to play The Ritz, and probably one of the last too." With a slew of hard-hitting acts playing at the club, The Ritz had an intense aura to it, according to Ruhtenberg.

"The shows were always almost like they were going to spin out of control," he says. "I would say that some of what the Emerson turned into started at The Ritz."

Unfortunately, The Ritz was eventually demolished, with an Ace Hardware now standing where the venue once was. Ruhtenberg jokes, "You can still go there and soak up the vibes, but it's pretty different." The venue certainly made an impact on many in the city though, including one Steve Duginske.

The DIY Way

Having recently moved with his family from Bloomington to Indianapolis, a young Duginske somehow convinced his parents to drop him off at a Circle Jerks show at The Ritz (at that time known as the Arlington Theatre) in October of 1987. Little did he know, this punk rock encounter was about to change his life.

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NUVO at 25: Music venues lost to time

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Tampered patio doors raise suspicion of attempted burglary

First published in News Last updated by Stuart Rust

GLOUCESTERSHIRE Constabulary are appealing for information following an attempted break-in at a house in Stroud.

On Friday, March 20, at 12.40pm police received a call fromhouseholders in The Stirrup, Cashes Green, who had discovered that the patio doors to their property had been tampered with. It appeared as if someone had attempted to break the lock.

The offenders didn't gain access and nothing was stolen however the police would like to hear from anyone who may have witnessed any suspicious activity in the area.

Call 101 quoting incident number 182 of March 20 if you have any information.

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Tampered patio doors reveal attempted break-in at a home in Stroud

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A door is a moving structure used to block off, and allow access to, an entrance to or within an enclosed space, such as a building or vehicle. Similar exterior structures are called gates. Typically doors have an interior side that faces the inside of a space and an exterior side that faces the outside of that space. While in some cases the interior side of a door may match its exterior side, in other cases there are sharp contrasts between the two sides, such as in the case of the vehicle door. Doors normally consist of a panel that swings on hinges or that slides or spins inside of a space.

When open, doors admit people, animals, ventilation or light. The door is used to control the physical atmosphere within a space by enclosing the air drafts, so that interiors may be more effectively heated or cooled. Doors are significant in preventing the spread of fire. They also act as a barrier to noise. Many doors are equipped with locking mechanisms to allow entrance to certain people and keep out others. As a form of courtesy and civility, people often knock before opening a door and entering a room.

Doors are used to screen areas of a building for aesthetics, keeping formal and utility areas separate. Doors also have an aesthetic role in creating an impression of what lies beyond. Doors are often symbolically endowed with ritual purposes, and the guarding or receiving of the keys to a door, or being granted access to a door can have special significance.[1] Similarly, doors and doorways frequently appear in metaphorical or allegorical situations, literature and the arts, often as a portent of change.

The earliest in records are those represented in the paintings of the Egyptian tombs, in which they are shown as single or double doors, each in a single piece of wood. In Egypt, where the climate is intensely dry, there would be no fear of their warping, but in other countries it would be necessary to frame them, which according to Vitruvius (iv. 6.) was done with stiles (sea/si) and rails (see: Frame and panel): the spaces enclosed being filled with panels (tympana) let into grooves made in the stiles and rails. The stiles were the vertical boards, one of which, tenoned or hinged, is known as the hanging stile, the other as the middle or meeting stile. The horizontal cross pieces are the top rail, bottom rail, and middle or intermediate rails. The most ancient doors were in timber, those made for King Solomon's temple being in olive wood (I Kings vi. 31-35), which were carved and overlaid with gold. The doors dwelt upon in Homer would appear to have been cased in silver or brass. Besides Olive wood, elm, cedar, oak and cypress were used. A 5,000-year-old door has been found by archaeologists in Switzerland.[2]

All ancient doors were hung by pivots at the top and bottom of the hanging stile which worked in sockets in the lintel and sill, the latter being always in some hard stone such as basalt or granite. Those found at Nippur by Dr. Hilprecht, along with his assistant Nola Begeja, dating from 2000 B.C. were in dolerite. The tenons of the gates at Balawat were sheathed with bronze (now in the British Museum). These doors or gates were hung in two leaves, each about 8ft 4in (2.54m) wide and 27ft (8.2m). high; they were encased with bronze bands or strips, 10 in. high, covered with repouss decoration of figures, etc. The wood doors would seem to have been about 3 in. thick, but the hanging stile was over 14 inches (360mm) diameter. Other sheathings of various sizes in bronze have been found, which proves this to have been the universal method adopted to protect the wood pivots. In the Hauran in Syria, where timber is scarce the doors were made in stone, and one measuring 5ft 4in (1.63m) by 2ft 7in (0.79m) is in the British Museum; the band on the meeting stile shows that it was one of the leaves of a double door. At Kuffeir near Bostra in Syria, Burckhardt found stone doors, 9 to 10ft (3.0m). high, being the entrance doors of the town. In Etruria many stone doors are referred to by Dennis.

The ancient Greek and Roman doors were either single doors, double doors, sliding doors or folding doors, in the last case the leaves were hinged and folded back. In Eumachia, is a painting of a door with three leaves. In the tomb of Theron at Agrigentum there is a single four-panel door carved in stone. In the Blundell collection is a bas-relief of a temple with double doors, each leaf with five panels. Among existing examples, the bronze doors in the church of SS. Cosmas and Damiano, in Rome, are important examples of Roman metal work of the best period; they are in two leaves, each with two panels, and are framed in bronze. Those of the Pantheon are similar in design, with narrow horizontal panels in addition, at the top, bottom and middle. Two other bronze doors of the Roman period are in the Lateran Basilica.

The Greek scholar Heron of Alexandria created the earliest known automatic door in the 1st century AD during the era of Roman Egypt.[3] The first foot-sensor-activated automatic door was made in China during the reign of Emperor Yang of Sui (r. 604618), who had one installed for his royal library.[3] The first automatic gate operators were later created in 1206 by the Arabic inventor, Al-Jazari.[4][need quotation to verify]

Copper and its alloys were integral in medieval architecture. The doors of the church of the Nativity at Bethlehem (6th century) are covered with plates of bronze, cut out in patterns. Those of Hagia Sophia at Constantinople, of the 8th and 9th century, are wrought in bronze, and the west doors of the cathedral of Aix-la-Chapelle (9th century), of similar manufacture, were probably brought from Constantinople, as also some of those in St. Marks, Venice. The bronze doors on the Aachen Cathedral in Germany date back to about AD 800. Bronze baptistery doors at the Cathedral of Florence were completed in 1423 by Ghiberti.[5](For more information, see: Copper in architecture).

Of the 11th and 12th centuries there are numerous examples of bronze doors, the earliest being one at Hildesheim, Germany (1015). The Hildesheim design affected the concept of Gniezno door in Poland. Of others in South Italy and Sicily, the following are the finest: in Sant Andrea, Amalfi (1060); Salerno (1099); Canosa (1111); Troia, two doors (1119 and 1124); Ravello (1179), by Barisano of Trani, who also made doors for Trani cathedral; and in Monreale and Pisa cathedrals, by Bonano of Pisa. In all these cases the hanging stile had pivots at the top and bottom. The exact period when the hinge was substituted is not quite known, but the change apparently brought about another method of strengthening and decorating doors, viz, with wrought-iron bands of infinite varieties of design. As a rule three bands from which the ornamental work springs constitute the hinges, which have rings outside the hanging stiles fitting on to vertical tenons run into the masonry or wooden frame. There is an early example of the 12th century in Lincoln; in France the metal work of the doors of Notre Dame at Paris is perhaps the most beautiful in execution, but examples are endless throughout France and England.

Returning to Italy, the most celebrated doors are those of the Battistero di San Giovanni (Florence), which together with the door frames are all in bronze, the borders of the latter being perhaps the most remarkable: the modeling of the figures, birds and foliage of the south doorway, by Andrea Pisano (1330), and of the east doorway by Ghiberti (14251452), are of great beauty; in the north door (14021424) Ghiberti adopted the same scheme of design for the paneling and figure subjects in them as Andrea Pisano, but in the east door the rectangular panels are all filled, with bas-reliefs, in which Scripture subjects are illustrated with innumerable figures, these being probably the gates of Paradise of which Michelangelo speaks.

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