text:
(), , is a church cantata by Johann Sebastian Bach, composed in Weimar for Pentecost Sunday in 1714. Bach led the first performance on 20 May 1714 in the , the court chapel in the ducal Schloss. Erschallet, ihr Lieder is an early work in a genre to which he later contributed complete cantata cycles for all occasions of the liturgical year.

Bach was appointed  in Weimar in the spring of 1714, a position that called for the performance of a church cantata each month. He composed Erschallet, ihr Lieder as the third cantata in the series, to a text probably written by court poet Salomon Franck. The text reflects different aspects of the Holy Spirit. The librettist included a quotation from the day's prescribed Gospel reading in the only recitative, and for the closing chorale he used a stanza from Philipp Nicolai's hymn "" (1599).

The work is in six movements, and scored for four vocal soloists, four-part choir, three trumpets, timpani, oboe, bassoon and a string orchestra of two violins, two violas, and basso continuo. The orchestra for the holiday occasion is festive compared to the two works previously composed in Weimar. The cantata opens with a chorus, followed by the recitative, in which words spoken by Jesus are sung by the bass as the  (voice of Christ). A bass aria with trumpets addresses the Trinity, and a tenor aria then describes the Spirit that was present at the Creation. This is followed by an intimate duet of the Soul (soprano) and the Spirit (alto), to which an oboe plays the ornamented melody of Martin Luther's hymn "" and a solo cello provides the bass line. The theme of intimacy between God and Man is developed further in the following chorale, after which Bach specified an unusual repeat of the opening chorus.

While Bach served as Thomaskantor – director of church music – in Leipzig from 1723, he performed the cantata several times, sometimes in a different key and with changes in the scoring. Musicologists agree that he loved the cantata's Gospel text, "If ye love me ...", and the Pentecost hymn used in the duet, setting both the text and the hymn several times. John Eliot Gardiner writes that Bach "particularly valued" this cantata. It contains features that he used again in later compositions of cantatas, oratorios and his masses, for example movements with three trumpets and timpani in a triple meter for festive occasions, and duets as a symbol of God and man.

Background
Bach is known as a prolific composer of cantatas. When he assumed the position as Thomaskantor (director of church music) in Leipzig in 1723, he began the project to write church cantatas for the occasions of the liturgical year – Sundays and feast days – a project that he pursued for three years.

Bach was appointed organist and chamber musician in Weimar at the court of the co-reigning dukes in Saxe-Weimar, Wilhelm Ernst and his nephew Ernst August on 25 June 1708. He had composed sacred cantatas before, some during his tenure in Mühlhausen from 1706 to 1708. Most were written for special occasions and were based mainly on biblical texts and hymns. Examples include: Aus der Tiefen rufe ich, Herr, zu dir, BWV 131; the early chorale cantata Christ lag in Todes Banden, BWV 4 for Easter; Gott ist mein König, BWV 71, to celebrate the inauguration of the new city council on 4 February 1708; and the Actus Tragicus for a funeral.

In Weimar, Bach first concentrated on the organ, composing major works for the instrument, including the , the Toccata and Fugue in D minor, BWV 565, and the Prelude and Fugue in E major, BWV 566. Christoph Wolff suggests that Bach may have studied musical material belonging to the , ("court capelle" or court orchestra), and that he copied and studied works by Johann Philipp Krieger, Christoph Graupner, Georg Philipp Telemann, Marco Giuseppe Peranda and Johann David Heinichen in the period from 1711 to 1713. In early 1713 Bach composed his first cantatas in the new style that included recitatives and arias: the so-called Hunting Cantata, BWV 208, as a homage cantata for Christian, Duke of Saxe-Weissenfels, celebrated on 23 February, and possibly the church cantata for Sexagesima (the second Sunday before Lent) , on a text by Erdmann Neumeister.

In 1713, he was asked to apply for the position of music director of the  in Halle, succeeding Friedrich Wilhelm Zachow. Zachow had taught the young George Frideric Handel, and  composed many church cantatas in the new style, adopting recitatives and arias from the Italian opera. Bach was successful in his application for the position, but declined after Duke Wilhelm Ernst increased his salary and offered him a promotion.

Bach was promoted to  on 2 March 1714, an honour that entailed performing a church cantata monthly in the : With the appointment, he received the title Konzertmeister and new privileges:  Circumstances were favourable: Bach enjoyed a "congenial and intimate" space in the court chapel, called  (Heaven's Castle), and a professional group of musicians in the court capelle. He was inspired by a collaboration with the court poet Salomon Franck, who provided the texts for most of his church cantatas, capturing a "pure, straightforward theological message" in "elegant poetic language". The first two cantatas Bach composed in Weimar based on Franck's texts were , for Palm Sunday, which coincided with the Annunciation that year, and  for Jubilate Sunday. One month after Erschallet, ihr Lieder, Bach performed Ich hatte viel Bekümmernis, BWV 21, on the third Sunday after Trinity, again on a text by Franck. Erschallet, ihr Lieder, the third cantata in this series, is the first cantata for a feast day.

Occasion and words

 is the third of the Weimar cantatas. It was the first composed for a feast day, Pentecost Sunday (Whit Sunday), Pentecost being a high holiday along with Christmas and Easter. The prescribed readings for the feast day are taken from the Acts of the Apostles, on the Holy Spirit (), and from the Gospel of John, in which Jesus announces the Spirit who will teach, in his Farewell discourse (). As in many Bach cantatas, the libretto is compiled from Bible text, contemporary poetry and chorale. The poetry is attributed to Salomon Franck, although the verses are not included in his printed editions. Several of Bach's early stylistic mannerisms appear here, such as a biblical quotation in a recitative second movement rather than in a first choral movement, arias following each other without a recitative in between, and dialogue in a duet.

Franck's text shows elements of early Pietism: the expression of extreme feelings, for example "O seligste Zeiten!" (O most blessed times) in the opening chorus, and a "mystical demeanour", for example in the duet of the Soul and the Spirit united. In the middle section of the first movement, Franck paraphrases the Gospel text, which says in verse 23 that God wants to dwell with man, to "" (God Himself shall prepare our souls for His  temple, more literally: "God wants to prepare [our] souls to become his temples"). The words for the recitative are the quotation of verse 23 from the Gospel of John, "" (Whoever loves Me will keep My Word, and My Father will love him, and We will come to him and make Our dwelling with him). Movement 3 addresses the Trinity and movement 4 the Spirit that was present at the Creation. Movement 5 is a duet of the Soul and the Spirit, underlined by an instrumental quote from Martin Luther's Pentecost hymn "", which is based on the Latin hymn "Veni Sancte Spiritus, reple tuorum corda fidelium". Movement 6 is a chorale, verse four of Philipp Nicolai's hymn "". Nicolai's "Geistlich Brautlied" (Spiritual bridal song) continues the theme of unity between Soul and Spirit.

Performances and theme
With Bach's appointment to concert master and his regular monthly cantata compositions, he achieved permission to hold rehearsals in the church, to ensure high performance standards: "the rehearsing of the pieces at the home [of the capellmeister] has been changed, and it is ordered that it must always take place at the  [the music gallery in the palace church], and this is also to be observed by the ". The orchestra at his disposition consisted of the members of the court cappelle, three leaders, five singers and seven instrumentalists, augmented on demand by military musicians, town musicians and choristers from a gymnasium.

Bach conducted the first performance of  on 20 May 1714. His son Carl Philipp Emanuel Bach remembered that he often conducted and played first violin: "he played the violin cleanly and penetratingly, and thus kept the orchestra in better order than he could have done with the harpsichord". The parts for the first performance are lost, but the score and performing material for later performances have survived. Bach performed the cantata again, possibly in Köthen between 1717 and 1722, and several times as  in Leipzig. For the performance on 28 May 1724, he changed the instrumentation slightly and transposed the work from C major to D major. He reverted to C major for a performance on 13 May 1731. An organ part for a later performance of movement 5 is extant.

John Eliot Gardiner remarked that Bach "particularly valued" this cantata, and that it set "a pattern for his later approaches to the Pentecostal theme". Bach set the Gospel text of the recitative in a choral movement in other cantatas for Pentecost – , and .

Music

Scoring and structure
In the Weimar version, Bach scored the cantata four vocal soloists (soprano (S), alto (A), tenor (T) and bass) (B), a four-part choir, and an orchestra of three trumpets (Tr), timpani (Ti), recorder (Fl) or flauto traverso (Ft), oboe d'amore (Oa), two violins (Vl), two violas (Va), bassoon (Fg), cello (Vc), and basso continuo (Bc). It is a festive, rich instrumentation for the holiday, whereas the previous two cantatas in Weimar had not employed brass instruments. Bach used the French string orchestra with two viola parts, as in most cantatas until 1715, when he started to prefer the Italian scoring with one viola. In Weimar, a recorder or flauto traverso doubled the first violin an octave higher; in the first Leipzig performance it was a flauto traverso. A part for obbligato organ (Org) replacing oboe and cello in movement 5 was adopted in an even later performance. The work is about 25 minutes long. In the Weimar version and the 1724 version, Bach requested a repeat of the opening chorus, by adding after the chorale .

In the following table of the movements, the scoring follows the Weimar version of the Neue Bach-Ausgabe, and the abbreviations for voices and instruments the list of Bach cantatas. The keys are given for the Weimar version. The time signature is provided using the symbol for common time ().

Movements

The cantata text does not tell a story but reflects different aspects of the Holy Spirit, celebrated on Pentecost. It begins with general praise, then concentrates on one line from the Gospel, addresses the Holy Trinity, refers to the Spirit that was present at the Creation, shows a dialogue between the Soul and the Spirit, and concludes with a stanza from Nicolai's hymn which picks up the topic of unity between God (Spirit) and man, as shown in the dialogue. The text thus proceeds from general to more and more personal and intimate reflection.

John Eliot Gardiner, who conducted all Bach's church cantatas in 2000, placed the Pentecostal cantatas in the middle of the project, which he saw as a "year-long exploration of his cantatas in their seasonal context". He described Pentecost as "the culmination of those 'great fifty days' which follow the Resurrection, a watershed marking the completion of Jesus' work on earth and the coming of the Holy Spirit", and commented that Bach "comes up with music of unalloyed optimism and exuberance in celebration of ... the miraculous ignition of the divine Pentecostal spark which allows human beings to communicate across the language barrier". Regarding , the first cantata written for the occasion, he observed that Bach reflects the "stages in the evolving relationship of God with man", both by scoring and by his choice of keys. In the Weimar first version, the key of the first movements is C major, lowered to A minor (a third lower) in the fourth, lowered further to F major (again a third lower) in the fifth and sixth. The scoring is majestic, with three trumpets and timpani in movement 1 and three trumpets again in movement 3, reduced to strings in movement 4 and to single instruments in movement 5.

1

"" (literally: sound, you songs) is a festive concerto, marked  by Bach. Words and music are possibly based on an earlier lost secular  (congratulatory cantata). A printing of Franck's works contains a cantata for New Year's Day,  (Sound again, congratulating songs) that may have served as a model. The movement is in da capo form: the first section is repeated after a contrasting middle section. It is scored for three "choirs": one of trumpets, another of strings and bassoon, and a four-part chorus. The number three, symbolizing the Trinity, appears again in the  time signature and in the use of three trumpets. The first part opens with trumpet fanfares, alternating with flowing coloraturas in the strings. The voices enter as a third homophonic choir. They repeat the first measure of the fanfare motif on the word "Erschallet" (resound!), as the trumpets echo the motif. The voices repeat the motif from the second measure of the fanfare on "ihr Lieder", and the trumpets echo it again. The chorus repeats measures 3 and 4 on "erklinget, ihr Saiten", commanding the strings to play. As a culmination, the first syllable of "" (most blessed times) is held on a seventh chord (first in measure 53), during which the instruments play their motifs.

In the middle section in A minor the trumpets rest while the other instruments play  with the voices. Polyphonic imitation expands on the idea that God will prepare the souls to be his temples. The first sequence progresses from the lowest to the highest voice, with entrances after two or three measures. The highest voice begins the second sequence, and the other voices enter in closer succession, one or two measures apart. Gardiner interprets the polyphony as "conjuring before us the elegant tracery of those 'temples' which God promises to make of our souls". The first part is repeated as da capo.

The movement is comparable to the opening of Tönet, ihr Pauken! Erschallet, Trompeten! BWV 214 (Resound, ye drums! Ring out, ye trumpets!) composed in 1733 on another text calling instruments to sound, which Bach later used with a different text to open his Christmas Oratorio. Bach used a festive scoring with three trumpets in triple meter in his 1733   for the court in Dresden, in the Gloria, in  contrast to the preceding Kyrie.

2
The cantata's only recitative quotes one line from the Gospel reading of the day: "" (Whoever loves Me will keep My Word[, and My Father will love him, and We will come to him and make Our dwelling with him]). Bach reflects Jesus' promise to "make Our dwelling with him" in melismatic lines in counterpoint with motifs in the cello similar to motifs in movement 5. He assigned the words of Jesus to the bass as the  (voice of Christ). He illustrates the final rest in God by ending the solo line on a whole note low C, the lowest note he demanded of a soloist. The musicologist Julian Mincham describes the vocal line:
The initial bars of melody are warm and quietly authoritative, but at the mention of dwelling with Him the movement takes on a very different character. The bass line becomes enlivened with little leaps of delight ... The singer's last note is a bottom d (c in the transposed version) several notes lower than a bass's accepted range. ... when achieved it is an arresting sound, confirming the rock-like certainty of the promise that we shall eventually reside with God.

3
The first aria, addressing the Trinity, "" (Holiest Trinity), is accompanied by a choir of three trumpets and basso continuo, a rare combination that expresses the idea of the words. The trumpet is a symbol of a ruler. The three trumpets sometimes play in unison, to further illustrate the Trinity. The theme is composed of the three notes of the major chord. The aria is in three sections.

Bach wrote an aria accompanied by only an obbligato brass instrument again in his Missa of 1733 in B minor, composed for the court in Dresden and much later integrated into his Mass in B minor. The bass aria Quoniam tu solus sanctus, reflecting God's holiness and majesty, is set for corno da caccia, two bassoons and basso continuo. When he assembled the complete mass, he used an aria with only woodwinds to reflect the Holy Spirit in Et in Spiritum Sanctum, also a movement with many symbols of the Trinity.

4

The second aria, for tenor, "" (O paradise of the soul), also contains three sections and a triple meter, but in contrast to the previous movement, describes in continuous waves of the unison strings the Spirit that was present at the Creation, worded  (O paradise of the soul, fanned by the Spirit of God, which blew at creation). Alfred Dürr wrote that the music "conveys the impression of release from all earthly gravity".

5
The last solo movement, a duet aria, "" (Come, do not keep me waiting longer), consists of a dialogue between the Soul and the Holy Spirit, and takes a form close to a love lyric. The part of the Spirit is assigned to the alto, while similar duets of the Soul and Jesus in later cantatas are set for soprano and bass – for example in Ich hatte viel Bekümmernis, BWV 21 and Wachet auf, ruft uns die Stimme, BWV 140.

Bach set the text in a complex structure uniting two singers, a solo oboe and a solo cello. The soprano and alto sing of their unity in "neo-erotic" or "overtly erotic/Pietistic" language: "I shall die, if I have to be without you" the one; "I am yours, and you are mine!" the other. The cello provides an intricate counterpoint throughout, which Albert Schweitzer describes as "a motif of purified happiness". The voices and the cello form a trio, another symbol of the Trinity. The musicologist Anne Leahy of the Dublin Institute of Technology notes that Bach had possibly stanza 3 in mind, which speaks of love, and used the instrument which is named after love.

The oboe d'amore plays the richly ornamented melody of the Pentecost hymn "" ("Come, Holy Spirit, Lord God, fill with the goodness of Your grace the hearts, wills, and minds of Your faithful. Ignite Your burning love in them".) Bach set this hymn, which seems close to his heart, twice in his Great Eighteen Chorale Preludes, as BWV 651 and BWV 652.

Bach used duets again when he composed in 1733 his  (Kyrie and Gloria) in B minor for the court in Dresden, which he later integrated into his Mass in B minor. He wrote two duets movements in the style of contemporary operatic love duets and placed two of them in the centre of each part of the Missa: Christe eleison for two sopranos in the centre of the Kyrie,  in the centre of the symmetrical structure of the Gloria. When he compiled the Mass in B minor, he chose another duet  for the Credo, scored for soprano and alto, as in Erschallet, ihr Lieder.

6

The text of the concluding chorale is taken from Nicolai's "Geistlich Brautlied" (Spiritual bridal song) "Wie schön leuchtet der Morgenstern", continuing the theme of unity between Soul and Spirit. "" (A joyful radiance reaches me from God) is illustrated by a violin part added to the four-part choir. The text ends with the words:

Until 1724 the opening chorus was repeated after the chorale, marked "chorus repetatur ab initio" in the manuscript.

Gardiner describes the cantata as "evidently ... a work which he particularly valued", adding: "he comes up with music of unalloyed optimism and exuberance in celebration of the first gifts of newly-awakened nature, as well as the miraculous ignition of the divine Pentecostal spark which allows human beings to communicate across the language barrier." Dürr comments:

Publication
The cantata was published by Breitkopf & Härtel in 1888 in volume 35 of the first complete edition of Bach's works by the Bach Gesellschaft, edited by Alfred Dörffel. In the Neue Bach-Ausgabe, the second complete edition of Bach's works, in the historical-critical edition, Dietrich Kilian edited both the reconstructed Weimar version (1959) and the first Leipzig version (1960) in volume 13, adding the critical report in 1960.

Recordings
The entries are taken from the listing on the Bach Cantatas Website. Ensembles playing period instruments in historically informed practise are marked green.

Notes

References

Cited sources
Scores

Books

Online sources

The complete recordings of Bach's cantatas are accompanied by liner notes from musicians and musicologists; John Eliot Gardiner commented on his Bach Cantata Pilgrimage, Tadashi Isoyama wrote for Masaaki Suzuki, and Christoph Wolff for Ton Koopman.

External links

 Luke Dahn: BWV 172.6 bach-chorales.com

1714 compositions
Church cantatas by Johann Sebastian Bach
Pentecost


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redpajama_set_name: RedPajamaGithub


text:
We have built the foundation for a world class bank - CBG MD
The Managing Director of Consolidated Bank Ghana, (CBG) Mr. Daniel Wilson Addo, has said that the foundation for a world class bank has been laid, paving the way for the "erection of the super structure, which will stand through the ages and be a monument for all time".
CBG MD, Daniel Wilson Addo
He said this at a thanksgiving service to climax the first anniversary of the Bank.
CBG was formed to take over the operations of five banks whose licences were withdrawn because of liquidity challenges.
In record time, the Bank has stabilised its operations and integrated the staff and banking applications of all its 114 branches. It has also posted its first profit and significantly increased its visibility nationwide.
CBG staffs
The thanksgiving was therefore held to show appreciation to God for the remarkable achievement and to also rally the Board, Management and Staff for greater success.
In an inspiring address, the Managing Director said the challenges the Bank faced and overcame in its first year of operation were enormous but added that "suffice to say that at every stage we were motivated by the scale of the task ahead and a strong desire to justify the confidence placed in us".
He thanked the Board for its guidance and the Management as well as Staff for working together through the tough times.
Mr. Addo explained that the thanksgiving service was important because the successes were not "just by efficient planning, and execution but through an unshakable conviction that the Lord will guide us through the pitfalls".
The Board Chairman of CBG, Nana Abrah-Appiah, in his remarks said CBG has evolved from the back of the pack to become a force to reckon with in the industry.
He also congratulated the CBG team and called on all to "commit to building and leaving a sustainable legacy for Ghana and generations to come".
The service was officiated by the immediate past Presiding Bishop of the Methodist Church Ghana, Most Reverend Titus Awotwi Pratt who admonished the Management and Staff to go about their duties professionally.
He told them that they owe it to themselves and the nation that their work is beyond reproach and not to repeat the mistakes of those whose actions created the financial sector challenges.
The thanksgiving service, which came off on Sunday, at the Burma Hall of Burma Camp in Accra, was also used to honour over 20 staff of the bank with plaques, cash and souvenirs.
Author: Pulse Staff Source: Pulse Ghana
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redpajama_set_name: RedPajamaCommonCrawl


Thermal resistance of approximately 120 ℃.
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text:
Die Geschichte der Stadt Avignon umfasst die Entwicklungen auf dem heutigen Gebiet der Stadt Avignon von der ersten Besiedlung bis zur Gegenwart. Sie reicht bis ins Neolithikum zurück. Auf dem steilen Felshügel Rocher des Doms, der als natürlicher Schutzwall diente und vor regelmäßigen Hochwassern der Rhone schützte, entstand in der Antike eine erste keltoligurische Siedlung. Dank der strategisch günstigen Lage am Zusammenfluss von Rhône und Durance gründeten Griechen wenig später einen Handelsstützpunkt namens Avenio. Im Mittelalter stieg Avignon zu einer wichtigen Stadt im Königreich Provence auf. Das vierzehnte Jahrhundert war von besonders hoher Bedeutung, da sich die Päpste für das Exil entschieden und ihren Sitz nach Avignon verlegten. Nach dem Weggang der Päpste blieben die Stadt und die benachbarte Grafschaft Venaissin für viele Jahrhunderte unter Verwaltung eines päpstlichen Gesandten. Während der Französischen Revolution wurde Avignon zur Hauptstadt des Départements Vaucluse.

Toponymie

Namensherkunft
Die ältesten Formen des Namens sind durch die Griechen überliefert:  (Stephanos von Byzanz; Strabon 4,1,11),  (Ptolemaios 2,10). Die römische Bezeichnung Avennĭo Cavarum (Pomponius Mela 2,575, Plinius der Ältere 3,36), übersetzt "Avignon der Kavaren", macht deutlich, dass Avignon eine von drei Städten des kelto-ligurischen Volksstammes der Kavaren war, zusammen mit Cavaillon und Orange.

Die heutige Toponymie des Namens geht auf eine vor-indoeuropäische Übersetzung ab-ên gefolgt von der Endung -i-ōn(e) zurück. Diese Übersetzung wäre ein Hydronym und ein Oronym, also eine Bezeichnung für einen Ort, der an einem Fluss liegt (Rhône), oder möglicherweise auch an einem Gelände (Rocher-des-Doms).

Das griechische Auenion wurde im ersten Jahrhundert als Avennĭo (oder Avēnĭo), -ōnis latinisiert, um sich dann im klassisch Okzitanischem als Avinhon zu schreiben, oder Avignoun in der mistralischen Schreibung. Die Einwohner nennen sich auf okzitanisch oder provenzalisch avinhonencs oder avignounen.

Präpositionsstreit
In Frankreich gibt es eine Kontroverse, ob man den Ausdruck "in Avignon" mit "à Avignon" oder "en Avignon" übersetzt. Normalerweise wird im Französischen für Städte die Präposition à benutzt, en hingegen nur für weibliche Ländernamen ("en France") oder Länder, die mit einem Vokal beginnen ("en Iran"). Die Internetseite der Stadt von Avignon empfiehlt die Verwendung von à, wenn man von der Stadt im strengeren Sinne spricht.

Einige behaupten gleichzeitig, dass es eine Konvention in der französischen Sprache geben würde, die es einem erlaubt eine Örtlichkeit innerhalb von Avignon mit en anstelle von à zu bezeichnen und auch die Académie française lehnt diese Verwendung nicht grundsätzlich ab.

Für die Herkunft von en gibt es zwei Erklärungen:
 Linguistik und Literatur: Die okzitanische Sprache lässt keine Lücke zwischen zwei Vokalen zu. Deshalb spricht man im Provenzalischen (einem Dialekt des Okzitanischen) von an Avinhon, à-n-Avignoun, wie an Arle, à-n-Arle, aber auch as Aiz, a-z-Ais (à Aix). Frédéric Mistral führt außerdem en Avignoun auf. Diese Besonderheit müsste die französische Sprache örtlich beeinflusst haben, wie auch eine Vielzahl anderer Beispiele zeigt (im Franzitanischen).
 Historisch: Die Redewendung en Avignon weist auf den Kirchenstaat von Avignon hin, der noch bis 1791 existiert hat. Man war wohnhaft en Avignon so wie man auch en Provence residieren konnte.

Die Verwendung des Ausdrucks en Avignon ist in der Bevölkerung und der Presse auf nationaler Ebene weiterhin verbreitet, scheint aber allmählich zurückzugehen.

Weitere Orte mit Avignon als Namensbestandteil
Insgesamt acht weitere französische Orte haben Avignon als Namensbestandteil, darunter vier in Avignons unmittelbarer Umgebung: Cabrières-d'Avignon, Morières-lès-Avignon, Saint-Saturnin-lès-Avignon (alle Département Vaucluse) und Villeneuve-lès-Avignon. Darüber hinaus existieren die Gemeinden Avignon-lès-Saint-Claude (Département Jura) und die Gemeinden Avignonet (Département Isère), Avignonet-Lauragais (Département Haute-Garonne) und Chavignon (Département Aisne).

Vor- und Frühgeschichte
Die Gegend von Avignon wurde bereits im Neolithikum besiedelt, wie Ausgrabungen am Rocher-des-Doms und im Quartier de la Balance gezeigt haben.

Ausgrabungen am nördlichen Teil vom Rocher-des-Dom unter Leitung von Sylvain Gagnière haben Anfang der 1960er eine kleine anthropomorphe Stele (Höhe: 20 cm) zutage gefördert, die eine "Begräbnisstele" darstellt. Sie zeigt auf der Vorderseite eine stilisierte menschliche Figur und auf der Rückseite eine Sonnendarstellung, was eine einzigartige Entdeckung für diesen Stelentyp darstellt.

Im Vergleich zu identischen Sonnenfiguren zeigt diese Stele den "ersten Avignonesen" und wird innerhalb einer Zeitspanne eingeordnet, die sich zwischen der Kupfersteinzeit und der Frühbronzezeit erstreckt und dem meridionalem Chalkolithikum entspricht.

Weitere Funde waren zwei aus grünem Gestein geschliffene Äxte, ein für die Pasteurs des plateaux ("Hirten der Hochebene") typisches Steingerät, einige chalkolithische Schmuckobjekte und Überreste von einheimischen oder importierten (ionisch und phokäisch) Hallstatt-Töpferwaren.

Antike

Der Name der Stadt reicht ungefähr bis ins 4. Jahrhundert v. Chr. zurück. Die erste Erwähnung Avignons (Aouen(n)ion) erfolgte durch Artemidor von Ephesos. Sein geographisches Werk ging zwar verloren, ist jedoch durch eine Kurzfassung des Markian von Herakleia bekannt geblieben und durch das geographische Lexikon Ethnika des Stephanos von Byzanz, der sich auf diese Schrift stützt. Er nennt dort:  Dieses Toponym hat zwei Deutungen: "Stadt des starken Windes" oder noch wahrscheinlicher "Herr des Flusses". Die anderen Quellen führen seinen Ursprung auf das gallische mignon (Sumpf/Moor) und den keltischen bestimmten Artikel zurück.

Die Stadt wurde gegen 539 v. Chr. als griechisches Emporion durch die Phokäer von Marseille gegründet. Die Massalioten begannen im Laufe des 4. Jahrhunderts v. Chr. Bündnisverträge mit einigen Städten des Rhônetals wie Avignon und Cavaillon zu unterzeichnen. Ein Jahrhundert später gehörte Avignon zur "Region der Massalioten" oder zum "Land von Massalia".

Befestigt auf ihrem Fels war die Stadt für lange Zeit Hauptstadt der Kavaren. Nach Ankunft der römischen Legion um 120 v. Chr. verbündeten sich die mit den Massalioten alliierten Kavaren mit den Römern. Unter der Vorherrschaft des römischen Reiches wechselte der Name von Aouenion zu Avennio. Die Stadt wurde zunächst Teil der Gallia Narbonensis (118 v. Chr.), dann Teil von Viennensis II. Avignon blieb bis zur Eroberung durch die römischen Feldherren Gaius Trebonius und Decimus Iunius Brutus Bündnispartner von Marseille.  wurde Avignon eine Stadt des römischen Rechts und 43 v. Chr. erwarb sie den Status einer lateinischen Kolonie. Pomponius Mela zählte sie zu den blühendsten Städten der Provinz.

Im Laufe der Jahre 121 und 122 hielt sich Kaiser Hadrian in der Provincia auf, wo er Vaison, Orange, Apt und Avignon besuchte. Avignon gewährte er den Status einer römischen Kolonie ("Colonia Julia Hadriana Avenio") und die Bürger ließen sich in die Tribus einschreiben.

Nach der Durchreise von Maximianus Herculius, der gegen die Bagauden kämpfte, wurde eine erste hölzerne Brücke über die Rhône gebaut und Avignon auf deren rechten Ufer vereinigt. Die Brücke konnte mittels Dendrochronologie ins Jahr 290 datiert werden. Im 3. Jahrhundert n. Chr. existierte eine kleine christliche Gemeinde außerhalb der Stadtmauern, die als Vorläufer der Abtei Saint-Ruf gilt.

Frühmittelalter
Wann es genau zur Christianisierung der Stadt kam, ist ungewiss. Sicher ist, dass der erste historische Bischof von Avignon, Nectarius (Julius), am 29. November 439 an einem regionalen Konzil in der Kathedrale von Riez teilnahm, bei dem die dreizehn Bischöfe der drei Provinzen von Arles anwesend waren.

Im November 441 nahm Nectarius von Avignon in Begleitung seines Diakons Fontidius am Ersten Konzil von Orange teil. In der von Hilarius von Arles einberufenen und geleiteten Versammlung legten die Konzilsväter das Asylrecht fest. Im Jahr darauf beteiligte er sich in Begleitung seiner Lektoren Fonteius und Saturninus am ersten Konzil von Vaison, bei dem siebzehn Bischöfe aus den sogenannten "Sieben Provinzen" (Dioecesis Septem Provinciarum) teilnahmen. Nectarius verstarb im Jahr 455.

Als die Völkerwanderung begann, blieben auch die Städte im Rhônetal nicht verschont. Im Jahr 472 wurde Avignon von den Burgundern geplündert und darauffolgend von Patiens, dem alten Lyon, mit Nahrungsmitteln versorgt.

500 griff der König der Franken, Chlodwig I., den Burgunderkönig Gundobad an. Dieser wurde beschuldigt, den Vater seiner Ehefrau Chlothilde ermordet zu haben. Geschlagen verließ er Lyon und flüchtete sich nach Avignon, das von Chlodwig anschließend belagert wurde. Gregor von Tours meldet, dass der Frankenkönig die Felder verwüstete, die Weinreben zerschnitt, die Olivenbäume fällte und die Obstgärten plünderte. Der Burgunder konnte durch das Einschreiten des römischen Generals Aredius gerettet werden. Er hatte an seinen Helfer gegen die "fränkischen Barbaren" appelliert, die das Land verwüsten würden.

536 folgte Avignon dem Schicksal der Provence, die durch den neuen ostgotischen König Vitiges an die Merowinger abgetreten wurde. Chlothar I. annektierte Avignon, Orange, Carpentras und Gap, Childebert I. Arles und Marseille, Theudebert I. Aix, Apt, Digne und Glandevès. Kaiser Justinian I. in Konstantinopel billigte diese Abtretung.

Trotz der Völkerwanderung blühte das geistige Leben an der Rhône weiterhin. Gregor von Tours bemerkt, dass nach dem Tod des Bischofs Antoninus 561 der Pariser Abt Dommole bei Chlothar I. den Bischofsvorsitz von Avignon ablehnte, da er überzeugt war "dass es zu anstrengend wäre, inmitten von sophistischen Senatoren und philosophischen Richtern zu sein".

Das siebte und achte Jahrhundert waren die dunkelsten der avignonesischen Geschichte. Die Stadt fiel 612 dem fränkischen König Theuderich II. (Theudericus) zum Opfer. 650 weist das Konzil von Chalon-sur-Saône auf eine letzte bischöfliche Teilnahme von provenzalen Diözesen hin. Für die folgenden 205 Jahre gab es keinen Bischof mehr in Avignon, den letzten bekannten Titel trug Agricola von Avignon.

Anfang des achten Jahrhunderts drangen muslimische Armeen im Zuge der islamischen Expansion über die Pyrenäen und eroberten zahlreiche Gebiete, darunter auch 734 die Stadt Avignon. Karl Martell, der bereits 732 eine siegreiche Kampagne gegen die arabischen Truppen führte, schickte 736 seinen Bruder Childebrand in den Süden, um die Stadt zu belagern. 737 erschien Martell selbst mit Verstärkung. Die Stadt wurde während der Schlacht bei Avignon von den fränkischen Truppen eingenommen und bis auf die Grundmauern niedergebrannt. Martells Armee zog danach weiter über die Rhône zur Belagerung der Stadt Narbonne.

879 kam es zur Aufstellung einer zentralen Regierung. Der Bischof von Avignon, Ratfred, begab sich mit anderen provenzalen Kollegen aufs Placitum von Mantaille in der Grafschaft Vienne, wo man Boso von Vienne zum König der Provence wählte.

Die Rhône konnte wieder überschritten werden, da 890 ein Teil der antiken Brücke von Avignon restauriert wurde. Im selben Jahr folgte Ludwig III. seinem Vater Boso auf den Thron. Seine Wahl fand am Placitum von Varennes nahe Mâcon statt. Sein tatkräftigster Unterstützer Teutbert übernahm die Grafschaft von Apt. Mit dem Titel eines "Generalgouverneurs der gesamten Grafschaft von Arles und der Provence" waltete er 896 als Bevollmächtigter des Königs in Avignon, Arles und Marseilles. Auf seine Bitte hin schenkte Ludwig III. dem Priester Rigmond von Avignon zwei Jahre später die Ortschaft Bédarrides.

Am 19. Oktober 907 gab der später erblindete Kaiser Ludwig dem Avignoner Bischof Remigius eine Insel auf der Rhône zurück. Die dazugehörige Urkunde erwähnt zum ersten Mal eine für Maria gewidmete Kirche.

Nach der Festnahme und Hinrichtung seines Cousins ging Ludwig III. 905 ins Exil nach Italien. Hugo von Arles wurde sein persönlicher Berater und Regent und übte den größten Teil seiner Vorrechte im Königreich Provence aus. Als Ludwig III. ihm 911 die Titel "duc de Provence" und "marquis de la Viennoise" verlieh, verließ Hugo Vienne. Er ließ sich in der Stadt Arles nieder, die der ursprüngliche Sitz seiner Familie war und machte sie zur neuen Hauptstadt der Provence.

Am 2. Mai 916 gab Ludwig der Blinde die Kirchen von Saint-Ruf und Saint-Géniès der Diözese von Avignon zurück. Am selben Tag überprüfte der Bischof Fulcherius diese zugunsten seiner Kanoniker und der zwei Kirchen Notre-Dame und Saint-Étienne, aus denen die Kathedrale von Avignon hervorging.

Ein wichtiges politisches Ereignis fand 934 statt, als die Königreiche von Provence und Hochburgund wiedervereinigt wurden. Diese Vereinigung bildete das Königreich Arelat, in dem Avignon eine der stärksten Städte wurde.

Ende des 9. Jahrhunderts richteten die spanischen Mauren eine militärische Basis in Fraxinet ein und führten von dort aus fast während des gesamten 10. Jahrhunderts Plünderungszüge durch die Alpen durch.

In der Nacht vom 21. auf den  entführten sie Dom Mayeul, den Abt von Cluny, der gerade aus Rom zurückkehrte. Nachdem man ein Lösegeld von 1000 Pfund – eine enorme Summe für die damalige Zeit – auszahlte, wurde Mayeul Mitte August befreit und kehrte im September nach Cluny zurück.

Im September 973 mobilisierten Guillaume und sein älterer Bruder Roubaud, beide Söhne des Grafen von Avignon Boson II., im Namen von Dom Mayeul den gesamten Adel der Provence. Mit Hilfe von Arduin jagten die provenzalen Truppen, nach zwei Wochen der Belagerung, die Sarazenen in ihren Verstecken von Fraxinet und Ramatuelle, sowie in Peirimpi nahe Noyers, im Tal des Jabron. Guillaume und Roubaud erhielten dort ihre Titel als Grafen der Provence.

Während 976 Bermond, der Schwager von Eyric, zum Vizegraf von Avignon durch den Burgunderkönig Konrad III. ernannt wurde, berichtet das Chartular von Notre-Dame-des-Doms für den 1. April, dass der Bischof Landry den Kanonikern von Saint-Étienne ihre Rechte zurückgab, die er sich vorher unrechtmäßig angeeignet hatte. Er überließ ihnen eine Mühle und zwei Häuser, die er nach ihrem Wunsch an der Stelle des heutigen Tour de Trouillas des Papstpalastes erbauen ließ. 980 wurden diese Kanoniker vom Bischof Garnier als Domkapitel eingesetzt.

994 erreichte Dom Mayeul Avignon, wo er seinem Freund Guillaume bei dessen Tod Beistand leistete. Der Graf besaß als Nachfolger einen Sohn, der zusammen mit seinem Onkel Roubaud unter dem Namen Guillaume II. regierte. Aber die Gemeinde von Avignon organisierte sich gegenüber der gräflichen und bischöflichen Macht. Gegen das Jahr 1000 gab es bereits einen Prokonsul Béranger, der zusammen mit seiner Gattin Gilberte eine Abtei am "Castrum Caneto" gründete.

1032 wurde das Königreich von Arles an das Heilige Römische Reich angegliedert. Die Rhône wurde von nun an zur Grenze, die nur über die alte Brücke von Avignon überquert werden konnte. Einige Avignonesen benutzen immer noch die Ausdrücke Terre d'Empire ("Boden des Kaiserreiches") um das avignonesische Ufer zu bezeichnen und Terre du Royaume ("Boden des Königreiches") für das Ufer von Villeneuve, das im Besitz des Königs von Frankreich war.

Hochmittelalter

Nach der Teilung des Karolingischen Reiches stand Avignon, das zum Königreich von Arles und Burgund gehörte, unter der Herrschaft der Grafen von Provence und Forcalquier, danach von den Grafen aus Toulouse und der Provence.

Unter der Lehnsherrschaft dieser Grafen wurde die Stadt mit einer autonomen Verwaltung ausgestattet (Errichtung eines Konsulats 1129, zwei Jahre vor dem Nachbarn Arles).

1209 fand ein Konzil in Avignon statt, das eine zweite Exkommunikation von Raimund VI. von Toulouse zur Folge hatte.

Zur Zeit der Albigenserkriege wurde die Stadt durch Raimund VII. von Toulouse, dem Grafen von Toulouse, belagert und am  durch König Ludwig VIII. eingenommen.

Ende September wurde Avignon, wenige Tage nach der Übergabe der Stadt an die Truppen von König , von Überschwemmungen heimgesucht.

1249 errichtete die Stadt nach dem Tod von , dessen Erben an den Kreuzzügen teilnahmen, eine Republik.

1251 wurde sie jedoch gezwungen, sich den beiden Brüdern von Ludwig IX., Alfons von Poitiers und Karl I. von Anjou, zu unterwerfen. Nach dem Tod von Alfons 1271, erbte Philipp III. seinen Teil von Avignon und übertrug ihn 1285 an seinen Sohn Philipp den Schönen. Dieser überließ ihn 1290 an Karl II. von Anjou, der seitdem einziger Eigentümer der gesamten Stadt blieb.

Papsttum von Avignon

1309 wurde Avignon unter Papst Clemens V., zur Zeit des Konzils von Vienne, päpstliche Residenz. Sein Nachfolger Johannes XXII., ein ehemaliger Bischof der Diözese von Avignon, machte diese zur Hauptstadt des Christentums und baute seinen ehemaligen Palast zum ersten Papstpalast um. Darauf folgten Benedikt XII., der den Alten Palast erbauen ließ und Clemens VI., der gleich darauf den Neuen Palast errichtete. Dieser kaufte die Stadt am 9. Juni 1348 von Johanna I. von Aragon, der Königin von Neapel und Gräfin der Provence. Innozenz VI. ließ die Stadtmauer zu einer befestigten Ringmauer ausbauen. Seine zwei Nachfolger Urban V. und Gregor XI. hatten den Wunsch nach Rom zurückzukehren, was dem Letzteren auch gelang. Jedoch führte der frühzeitige Tod des siebten Papstes von Avignon zur Auslösung des Großen Abendländischen Schismas, so dass Clemens VII. und Benedikt XIII. erneut in Avignon herrschten. Insgesamt gab es folglich neun Päpste, die sich im Papstpalast abwechselten und diesen im Laufe ihres Pontifikats ausbauten.

Unter ihrer Herrschaft blühte der Hofstaat auf, der zahlreiche Händler, Maler, Bildhauer und Musiker anzog. Der Palast war das bemerkenswerteste Gebäude der Internationalen Gotik. Seine Konstruktion und Ornamentierung war die gemeinsame Arbeit der besten Architekten Frankreichs, Pierre Peysson und Jean du Louvres, genannt die Loubières, und den größten Freskenmalern der Schule von Siena, Simone Martini und Matteo Giovannetti.

Die päpstliche Bibliothek von Avignon war im 14. Jahrhundert mit zweitausend Büchern die größte Europas. Sie brachte eine Gruppe von Klerikern hervor, die sich insbesondere für Belles Lettres (Schöne Literatur) begeisterten. Aus dieser ging auch der Mitbegründer des Humanismus Petrarca hervor. Wohingegen die clementinische Kapelle, genannt Grand Chapelle, Komponisten, Sänger und Musiker anzog, darunter Guillaume de Machaut und Philippe de Vitry. Auch Johannes Ciconia kam für seine Studien hierher.

 traf als erster die Entscheidung nach Rom zurückzukehren, chaotische Zustände und verschiedene Konflikte verhinderten jedoch, dass er dort blieb. Er starb sehr vorzeitig nach seiner Rückkehr an die Rhône.

Sein Nachfolger  beschloss seinerseits nach Rom zu ziehen und beendete damit die erste Papsttum-Phase von Avignon. Nach der Rückverlegung des Papstsitzes 1377 durch Gregor XI. wurde Avignon kurzzeitig von einem Legaten verwaltet. Während des Großen Schismas (1379–1411) kehrten die Päpste wieder zurück. Danach wurde die Stadt erneut von einem Legaten verwaltet, den ab 1542 ein Vizelegat assistierte.

Frühe Neuzeit
Nach dem Tod des Erzbischofs von Arles, Philippe de Lévis (1475), reduzierte Papst Sixtus IV. aus Rom die Diözese von Arles: er löste die Diözese Avignon aus der Provinz von Arles, errichtete ein Erzbistum und ordnete diesem die Bistümer von Carpentras, Cavaillon und Vaison-la-Romaine unter.

Der Baron des Adrets belagerte die Stadt 1562, um sich für das Massaker von Orange zu rächen.

Karl IX. durchquerte die Stadt auf seiner königlichen Grand Tour durch Frankreich (1564–1566), begleitet von seinem Hofstaat und den großen Leuten des Königreichs: seinen Bruder Heinrich III., Heinrich von Navarra, sowie den Kardinälen von Bourbon und Lothringen, Charles de Bourbon und Charles de Lorraine-Guise. Der Hof hielt sich dort drei Wochen lang auf.

1618 ging Kardinal Richelieu ins Exil nach Avignon.

Die Stadt empfing 1607 den Besuch von Vincent de Paul und 1622 den von François de Sales.

1691 wurde das Legatsamt aufgehoben und der Vizelegat regierte von nun an alleine die Stadt. In der Folge blieb Avignon bis zur Französischen Revolution päpstlicher Besitz.

Zu Beginn des 18. Jahrhunderts waren die Straßen von Avignon stets eng und gewunden, die Gebäude veränderten sich aber und die neuen Häuser ersetzten Stück für Stück die alten Stadthäuser. Um die Stadt herum entstanden Anbaugebiete für Maulbeeren, Obstgärten und Weideland.

1721 kam es zum Ausbruch einer Großen Pest, die die 24.000 Einwohner zählende Stadt auf ein Viertel ihrer Bevölkerung dezimierte.

Am  gründete François Morénas die Zeitung Courrier d'Avignon, deren Name im Laufe der Zeit und der Verbote variierte. Veröffentlicht in der päpstlichen Enklave, außerhalb des Königreichs von Frankreich nahe Monaco, konnte sich die Zeitung dem Kontrollsystem der französischen Presse entziehen, musste jedoch die autoritäre Aufsicht des Pontifikats ertragen. Der Courrier d'Avignon erschien von 1733 bis 1793 mit zwei Unterbrechungen, einmal zwischen dem Juni 1768 und August 1769 aufgrund der französischen Annexion von Avignon, und das andere Mal zwischen dem 30. November 1790 und dem 24. Mai 1791.

Bußbruderschaften
Alphonse Rastoul bemerkte in seinem 1836 erschienenen Tableau d'Avignon, dass die Prozession der Büßer das Hauptereignis der Stadt war und "dass es dergleichen nirgendwo sonst in Frankreich gab". Die "Grauen Büßer" waren die ersten in einer langen Folge von avignonesischen Bußbruderschaften. Darauf folgten die "Schwarzen Büßer", die 1488 von einer Gruppe florentinischer Adliger gegründet wurden, die "Weißen Büßer", eine 1527 durch dreizehn Avignonesen gegründete Bruderschaft und die "Blauen Büßer", die 1557 aus Abspaltungen der anderen Bruderschaften hervorgingen. Am Ende des 16. Jahrhunderts wurden die "Schwarzen Büßer der Barmherzigkeit" gebildet. Die Bewegung wurde mit der Stiftung der "Violetten Büßer" fortgesetzt (1622), gefolgt von den "Roten Büßern" (1700). Die Französische Revolution stoppte die Gründung neuer Vereinigungen.

Die Prozession mit dem größten Zulauf war die der Weißen Büßer, an der Henri III. 1575 teilnahm. Frédéric Mistral lieferte folgende Beschreibung:
Eine andere Prozession war die "Befreiungszeremonie", die jedes Jahr von den "Schwarzen der Barmherzigkeit" organisiert wurde, um die Begnadigung eines zum Tode Verurteilten zu feiern, an der auch Kardinal Richelieu während seines Exils in Avignon von 1618 bis 1619 teilnahm.

Französische Revolution bis 19. Jahrhundert

Am 12. September 1791 stimmte die verfassungsgebende Nationalversammlung über die Annektierung von Avignon und der Wiedervereinigung der Grafschaft Venaissin mit dem Königreich von Frankreich ab, was ein Referendum zur Folge hatte, das den Einwohnern der Grafschaft vorgelegt wurde.

In der Nacht vom 16. auf den  fand nach der Lynchung des Beamten Nicolas Jean-Baptiste Lescuyer durch die Menschenmenge, der zu Unrecht verdächtigt wurde Kirchengüter in Besitz zu nehmen, das Massacre de la Glacière statt. Dieses stellte eine schwarze Episode in der Geschichte der Stadt dar. Sechzig Personen wurden insgesamt hingerichtet und in den untersten Teil des Tour de la Glacière vom Papstpalast geworfen.

Am  marschierten die föderalistischen Aufständischen von General Rousselet in Avignon ein. Bei der Überquerung der Durance zur Besetzung der Stadt durch die marseillaisischen Truppen wurde Joseph Agricol Viala getötet, der später als Revolutionsheld verehrt wurde. Am 25. Juli tauchte General Carteaux vor der Stadt auf, die am nächsten Tag Rousselets Truppen verließen, als Folge einer Fehldeutung der Befehle aus Marseille.

Bei der Gründung des Départements Vaucluse am  wurde die Stadt chef-lieu. Diese Wiedervereinigung wurde 1797 durch den Vertrag von Tolentino bestätigt. Am  Jahr IV eroberte der Chevalier von Alexandre Mottard de Lestang für die Royalisten mit einer Truppenstärke von 10000 Mann die Stadt. Der Représentant en mission Boursault eroberte die Stadt wieder zurück und ließ Lestang erschießen.

Während der Revolution und 1815 war Avignon unglücklicher Schauplatz des Terreur blanche, bei dem es am 2. August 1815 zur Ermordung von Marschall Brune kam.

Zwischen 1820 und 1830 erhielt Avignon die Île de la Barthelasse, die zuvor zu Villeneuve gehörte.

Am  wurde die Eisenbahnstrecke Avignon–Marseille durch die Compagnie du chemin de fer de Marseille à Avignon eröffnet. 1860 wurde der heutige Bahnhof Gare d'Avignon-Centre gebaut. Im November 1898 wurde das Straßenbahnnetz der Compagnie des Tramways Électriques d'Avignon in Betrieb genommen, die die ehemalige Gesellschaft für Pferdebahntransporte als Nachfolger ablöste.

Während des Staatsstreiches vom  hielten sich die Avignonesen, darunter Alphonse Gent, auf Seite der Opposition.

1856 wurde Avignon von einem außergewöhnlichen Hochwasser der Durance überflutet.

20. Jahrhundert bis heute

Das 20. Jahrhundert erlebte eine wichtige Entwicklung der Stadt, vor allem in den Außenbezirken, zudem wurden mehrere wichtige Projekte ins Leben gerufen. Zwischen 1920 und 1975 verdoppelte sich die Bevölkerungszahl praktisch, trotz der Abspaltung von Le Pontet 1925 und des Zweiten Weltkrieges.

1937 wurde der Flugplatz von Avignon-Caumont errichtet, der zu einem Flughafen wurde und seit dem Beginn der 1980er Jahre einen wichtigen Aufschwung erlebte. Es kam zur Eröffnung internationaler Flugstrecken, zum Bau eines neuen Towers und zur Verlängerung der Start- und Landebahn.

Nach dem Zweiten Weltkrieg wurde Avignon am 11. November 1948 mit dem Croix de guerre mit Silberstern ausgezeichnet. Die Stadt erholte sich, entwickelte ihr 1947 eingeführtes Festival, renovierte ihre Denkmäler und förderte Tourismus und Handel.

1977 war sie Preisträger des Europapreises, der vom Europarat verliehen wird.

1996 startete das Projekt der Bahnstrecke LGV Méditerranée, die durch die Gemeinde und über die Rhône führen sollte. Von 1998 bis 2001 wurde der Bahnhof Gare d'Avignon TGV gebaut.

Militärleben

Kasernen

Ein Teil des Papstpalastes wurde nach der Französischen Revolution als Kaserne für Pioniertruppen genutzt. Danach richtete sich dort von 1881 bis 1900 ein Regiment der Infanterie ein. Das Militärkommando benannte den Palast damals in "Duprat-Kaserne" um, zu Ehren von Jean Étienne Benoît Duprat, dem ehemaligen Oberst der Nationalgarde von Avignon, der General des französischen Kaiserreichs wurde und in der Schlacht bei Wagram fiel.

Unter Napoleon III. schlug Eugène Viollet-le-Duc eine Restaurierung des Gebäudes vor, um dieses den Status eines historischen Denkmals zurückzugeben, was aber ohne Erfolg blieb. Das Projekt begann 1860, der Krieg von 1870 verhinderte jedoch die Fertigstellung und rettete somit die Zerstörung des Gewölbes im Großen Audienzsaal, das entfernt werden sollte. Der Standort blieb vorerst militärisch.

Zur Jahrhundertwende, gut sechzig Jahre nachdem Charles de Montalembert seine Vandalisme en France, lettre à M. Victor Hugo schrieb, blieb der Palast in einem sehr schlechten Zustand. Die beiden Türme der Hauptfassade wurden entfernt, die Innenräume waren durch Geröll der militärischen Besetzung versperrt, Statuen waren zerbrochen, Fenster und Türen ohne jeglichen Respekt vor der Architektur geöffnet, wie zum Beispiel am Portal der großen Kapelle, bei der Pioniertruppen eine Tür durchbrachen.

Der Palast blieb bis 1902 in Militärbesitz. Als Ausgleich für eine Verlegung der Truppen musste von der Stadt eine neue Kaserne außerhalb der Stadtmauern, die "Chabran-Kaserne", gebaut werden. Sie wurde die Kaserne des 58. Infanterie-Regiments und ist zurzeit Sitz der Präfektur. Im September 1906 verließen die Truppen den Palast.

Innerhalb der Stadtmauern befindet sich in der heutigen cours Jean Jaurès die "Kaserne von Hautpoul". Sie war die ehemalige Kaserne der 7. Pioniere und wurde dort eingerichtet, wo sich vorher die ehemaligen Klöstergärten der Cölestiner befanden. Sie wurde gegen 1865 fertiggestellt und ist zurzeit Sitz der Finanzverwaltung von Avignon.

Außerhalb der Stadtmauern befindet sich am boulevard Saint-Roch die caserne de Salles, eine ehemalige Kaserne der Kavallerie. Sie dient nun als Polizeirevier und war vor langer Zeit ein Krankenhaus für Pestkranke, das später umgebaut worden ist.

Liste der in Avignon stationierten Militäreinheiten
Regimenter der Infanterie
 118. Territoriales Infanterie-Regiment (RIT): unter Befehl von Oberstleutnant Nanta. In Avignon: Mobilmachung zwischen dem 2. und 5. August 1914, Rückkehr zwischen dem 5. März und 7. Mai 1918
 258. Infanterie-Regiment: Reserve-Regiment des 58., 1916 infolge der Angriffe an der Front aufgelöst
 58. Infanterie-Regiment: 1914 unter Befehl von Oberst Jaguin

Pionier-Regimenter
 1. Regiment der Pontonier-Artillerie: wurde nach der Stationierung in die Kaserne von Hautpoul zum 7. Pionier-Regiment. Zusammenschluss des 23. und 24. Brückenbau-Bataillons zu Beginn des Ersten Weltkrieges und später Aufnahme des 15. Pionier-Bataillons.
 19. Pionier-Bataillon, 1906 in Avignon stationiert.

Regimenter der Pferdjäger
 11. Pferdjäger-Regiment, 1870 in Avignon stationiert
 5. Pferdjäger-Regiment, das seit 1675 existiert und 1816 in Avignon als Régiment de Chasseurs du Cantal neu gegründet wurde

Andere Regimenter
 27. Regiment algerischer Tirailleure
 8. Husaren-Regiment, 1798 in Avignon stationiert

Literatur
Deutsch

Französisch

Anmerkungen

Avignon

redpajama_set_name: RedPajamaWikipedia


A Russian developer in Skolkovo has created an open source computer vision platform, in collaboration with Facebook and Google, that acts as a teaching machine and enables them "see".
VisionLabs integrated two popular libraries for developers – OpenCV and Torch. The joint project with Facebook and Google was launched last year. "The two IT giants became interested in the in-depth study of neural networks and artificial intelligence and hence extended their support," the official told IANS.
Google, Facebook and VisionLabs do not consider this a commercial project – its purpose is developing the community and its aim is long-term prospects.
The idea of integrating the two popular developer "worlds" had been on the cards for some time. The creators of Torch and OpenCV had been discussing it. But, as is often the case, nobody actually set about making the integration happen, the official elaborated.


The "Prince of Peace Fleece Throw" will surely bring you joy and peace to your home this holiday season. This special fleece blanket features a delicate white script, with a cheery bright red background. The uplifting message is framed with a soft green holly, pinecones, and snowflake motifs. Get wrapped up with this divine addition for the holidays!


Skyworks is the largest manufacturer of microwave ferrite materials in the world, producing tens of millions of pieces each year for the wireless industry. Our products range from high volume garnets for wireless infrastucture to specialized materials for radar applications. Applications require materials which work best in above resonance devices from 100 MHz to around 3 GHz, and another range of materials which suit devices working below resonance from about 1 GHz to 40 GHz or more. Another set of materials are available for high power applications. Some have suitable switching properties for devices based on below resonance phase shifting.


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The MicroScope platform is an informatics infrastructure dedicated to the annotation and comparative analysis of genomes and metagenomes of microorganisms.
Several types of projects are eligible for "basic" or "collaborative" services : i.e. genomics projects, metagenomics projects, RNA-Seq and evolutionary projects.
The MicroScope platform benefits from the informatics infrastructure of the Genoscope : Network attached storage capacity of around 1 PB ; Computing power, with direct connection to data servers, provided mainly by x86_64 dual processor servers (approx 500 cores, typically 8 GB/core) ; Data life cycle management : defining data life cycle enables differentiated measures to be implemented for backup and archiving.
As of October 2012 : 121 MircoScope projects, 10 metagenomics projects, 14 RNA-Seq projects (up to 6 experiments per project), 4 evolutionary projects (containing dozens of evolved clones). The list of projects currently ongoing and the publications list are available on the platform website : http://www.genoscope.cns.fr/agc/microscope/ ; (menu « About »).
LABGeM : certified to ISO 9001:2008 standards in January 2012. This certification applies to research, development and service activities.
MicroScope platform : IBiSA certified since 2006.


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From your personal experiences, to your physical environment to the messages you have inherited from your upbringing, invitations to fear are an inevitable part of life.
Everything from fear of flying to trepidation of public speaking to debilitating immobility in taking even a small risk or the fear of making a wrong decision, can keep you in a status quo orbit and prevent you from stepping into the potential joy and expansive experiences that life has to offer.
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This workshop of a 1 day or 2 days (depending on the request of the organizer) is designed to help you identify your fear, take steps to conquer it and set yourself free from its tyranny.
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Fear is an irrefutable part of our make-up that serves the dual purpose of keeping us alert so we can feel safe in the world, as well as being the means through which we are able to respond to threatening situations…but it doesn't have to terrorise us.


text:
by Carole Sabas
the 19-year-old director making waves in hollywood
Alexi Gonzalez and her classmates at the Ghetto Film School premiered a film last night that David O. Russell described as "extraordinary."
Alexi Gonzalez ticks all the boxes of the movie industry's current obsessions: she's a young, strong-willed, plain-spoken female director from a second generation American-Hispanic background. She is also a fellow at the Ghetto Film School, a non-profit program that teaches filmmaking to teens in the Bronx and Los Angeles. Selected as the best script from her class's thesis project submissions, and produced with a team of her classmates, Alexi's first short film premiered at LA's Hammer Museum yesterday.
"Demon's Gate" is a modern Tokyo story, an art-house thriller that's both eerie and mesmerizingly stylish. And, as the film's director, Gonzalez doesn't shy away from her serious subject matter; the movie explores anti-kawaii femininity, mass murder and self-mutilation, all shot with impeccable lighting.
The film screening and gala dinner last night were hosted by the chairman of Fox Filmed Entertainment, Jim Gianopulos, and director David O. Russell, both enthusiastic supporters of the Ghetto Film School. It was an exciting, cross-generational event that suggested the studios are finally getting the memo from the film world's millennial prodigies. Russell told Alexi he thought the film was "wildly imaginative, visual, tight, succinct, elegant, emotional, well scored, well acted - extraordinary." He added, "I wasn't even on the starting block at your age."
Alexi shared a few thoughts with us beforehand - about Japanese cinema, deadly fugu sushi and the representation of women in film.
You filmed "Demon's Gate" in just one week. What were the specific challenges?
What to start with...? GFS announced that our thesis project would be a shoot in Tokyo. We had one week to write scripts, then the class picked the best. I didn't know anything about Japan so I started doing online research. I ended up looking for different communities. I studied the census of the homeless, and how the numbers are considered controversial in Japan (officially, the homeless are a minority of 1,000 people in Tokyo). I already knew I wanted a female protagonist. Ultimately, I got all the pieces of my puzzle together and my script was picked. I wrote 11 drafts. Then I had to convince GFS and the class to [let me] double up as the director.
After that, it was all about making a movie in Japanese without knowing the language - from casting the actors over Skype to bonding with them on set using a translator. Oh, and I also had to manage an excruciating closeup scene of a live blowfish being cut into sushi. One of our crew members is now a vegetarian!
Your film is both a beautiful thriller and a moral fable. Were you conscious of striking a balance?
Certainly. Our teachers had us watch a bunch of great Asian films. I got very inspired by Kurosawa's Rashômon, the way he positions characters in the scene, the feeling that it translates on the screen. I took a lot from David Fincher's movies, too - I love the cinematography of The Girl with the Dragon Tattoo. I was also excited by the South Korean film Oldboy, with its amazing blue lighting. I knew from the beginning that I wanted to offset the violence in my film. My character gives her victims beautiful lacquered boxes of poisoned sushi.
Hollywood is talking about diversity and empowering women a lot at the moment. Do you feel like a spokeswoman for your generation?
Absolutely! My family comes from a Hispanic background - from Cuba and Ecuador on my mother's side, Columbia on my father's. I want to be a director for many reasons, but one of them is giving representation [to characters who are not] the stereotyped, sexualized Hispanic woman of American movies. Alvy [Johnson], one of our GFS teachers, told us early on about the Bechdel Test for Women in Movies. Google it! Basically, it asks, "How many films can you name in which two women talk to each other about something besides a man?" It was a real wakeup call for me.
Tell us about Ghetto Film School and its mission.
Joe Hall, the founder of GFS, is also the founder of the only film high school in the US, the Cinema High School. It's in the Bronx, where my family moved temporarily. I got into the school, then into the non-profit GFS summer film program. It was a tough transition when we moved back to California (I grew up in Inland Empire, two hours southeast of LA). But by some miracle, GFS opened the MacArthur Park program in 2014. It's a 30-month free training scheme. If you want to become a storyteller, it's definitely your place. You have to work harder than you've ever worked before, but there's so much respect and trust in the GFS family! It gave me so many incredible opportunities.
What's your next goal?
Thanks to GFS, I hope to get "Demon's Gate" into festivals, and I'm also starting an internship with the ABC show How to Get Away with Murder. First, I'll be in the writers' room, but I hope to get bumped to the production office, because that's where I want to work when I'm older. For now, my immediate goal is to become a director of photography and a feature film director. I will have my first feature wrapped before I am 21.
ghettofilm.org
Text Carole Sabas
Still from "Demon's Gate"
david o russell
alexi gonzalez
ghetto film school
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Frogs tattoos and Frog tattoo designs are very popular. However this doesn't mean that you can't get something different. Frog tattoos are a cute tattoo design. The frog is a symbol of fertility in many cultures. If you like frogs and are considering a frog tattoo, you should take a look at some pictures of frog tattoos. Frogs can be very beautiful animals.


The London Metal Exchange is reported to be backing plans by a consortium of metals traders and banks to develop a blockchain-based system for tracking the trade of physical metal.
According to the Financial Times the LME, the world's largest metals trading venue, supports the initiative dubbed 'Forcefield'. The consortium is led by Swiss commodity trader Mercuria and includes banks such as Macquarie and ING, each contributing to providing a better picture of the flow of metals around the world.
The initiative would enable industrial consumers to better track the source of their metal and give metals traders secure ownership of their inventory.
The FT notes that the initiative comes as companies face increased pressure from investors and non-government organisations (NGOs) to detail the environmental and social impacts of their supply chains.
Although the LME closely tracks metal such as copper, zinc and aluminium that sits in its global network of warehouses, a far larger amount of metal is traded and stored outside of the exchange.
The Exchange also has no approved warehouses in China, the world's largest consumer of metals, making it harder for traders and consumers to be certain about the supply of their metal and to assess broader supply and demand conditions.
Matt Chamberlain, chief executive of the LME, has not commented on the Mercuria-led initiative but has spoken of the metal industry's need to agree on a tracking and storage system based on blockchain, the technology behind bitcoin.
He noted that in a blockchain-based system "you know where your metal is, you have proof of your metal, but nobody can see what your metal is and where your metal is.
Blockchain's distributed ledger technology (DLT) reduces the need to have one central owner of the database, who would have too much private information to make it viable.
In 2016, the LME launched an electronic tracking system known as LMEshield, but to date it has not received widespread adoption by the industry.
Proposals under MiFID II to strengthen the regulation of commodities markets, curb price speculation and regulate companies in these markets have been announced by the Commission.
Study finds 70% of companies lack visibility into their supply chain, while supply chain disruption – affecting three-quarters of corporates – is poorly understood and increasingly comes from technology.


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text:
Evernote's Phil Libin: 'Line between business and consumer tech is fading' (video)
Illustration by Think Visual
In five years there will be no such thing as a successful enterprise software company that's not also a successful consumer tech player, according to Evernote CEO and founder Phil Libin.
Evernote is a note-taking app that works on mobile and desktop devices that enables users to preserve their thoughts, memories and ideas in written, audio and graphical form.
At the Dublin Web Summit this week, Libin told Siliconrepublic.com that more than 80m people around the world use the app, with 20pc of users in the US and a similar proportion of users in Europe.
"I think Evernote is maybe the least original idea in technology," Libin quipped, referring to the original purpose of computers and smartphones to help people write things down to remember them.
"The vision was to build a second brain that made you smarter every time you used it and it's not a complicated idea, but a difficult problem to solve but one I could see myself working the rest of my life on."
Libin said the core Evernote user is someone who struggles with work/life balance. "The modern knowledge worker is someone whose entire happiness is based on how elegantly they can navigate through this flood of information coming at them every day in their personal and work life and we just try to make those people a little happier, more productive."
Cloud platforms like Box and Dropbox are providing APIs for developers to bolt on useful, productive apps to their services and Libin does not see this as a competitive threat.
"I don't think they are looking to copy us or anyone else. They are amazing companies with amazing founders and great ideas. There is always going to be some overlap in what we do and stuff that is complementary and competitive, but that's just true of the world.
"Currently, our most important partners are Apple, Google, Microsoft, Facebook and Amazon, and all these companies work with us on stuff but also compete with us on stuff.
"We refuse to see the world in zero sum terms – being a start-up is not like being a boxer, it's more like playing music where you are there with other musicians and the interactions make everyone better. So yeah, I think the world is a better place because of companies like Box and Dropbox and Google and everyone else in it, and we're honoured to be part of that group."
Libin said there is a definite trend under way in terms of social technologies that companies like Microsoft (Yammer) and Salesforce.com (Chatter) are adding to their enterprise offerings.
"We actually just announced a big partnership with Salesforce.com to fully integrate Evernote. What we're really seeing is that the line between consumer and business is completely fading and I think that five years from now there will be no such thing as a successful enterprise software company that's not also a successful consumer software company."
"Modern knowledge workers are going to demand the same quality of experience everywhere in their lives and so it's the same people who use Evernote in their personal lives and at work."
Looking to the future Libin, said Evernote is focused on making products that make people smarter as they use them.
"The real way to think about it is we want Evernote to present information to you that you need to accomplish whatever you are working on before you have to even think to search for it. We think that even though we became famous for our searches, if you have to search for something it has already failed. If we had done our job you wouldn't have had to search because we would have shown you the information before you even had the thought you needed to search for it.
"This anticipatory computing is a really big trend that we're all in at Evernote and not just us, lots of companies are working on this and we are going to do some thing really imaginative things around augmenting your intelligence," Libin said.
Related: Microsoft, apps, Google, Cloud, Salesforce, Amazon, Evernote, Box, Web Summit, Dropbox
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text:
Bezuayehu now walks without pain and with a purpose
Cleft lip and palate repair for Zane
Maxwell's Extended Family
Determined Mom Finds Healing for her Daughters
A Family Transformation: Zara, Maria, and Walida
A Brave Heart for Jesus
Resilience, determination, and a restored faith
By Harold Haamumba on Monday, March 14, 2016
One grandfather's struggle to find healing for his granddaughter
Mwamba stares at the camera with a confident yet unsure smile. It has been a long journey to her healing, and her relaxed yet shy demeanor shows her victory.
Like any other child at the age of three, Mwamba loved playing in the backyard. It was during one of these innocent playtimes that her little life and that of those around her changed. Mwamba was running around in the yard when she decided to jump over a pot of boiling hot water, which was set aside for their morning tea. Unfortunately, her little legs miscalculated the danger involved. She tripped on the pot, and all the contents of it spilled on her little body. She was rushed to the local hospital. Her screams of pain also alerted her grandfather, Patrick. Without hesitation, he decided to rush to the local hospital, where he found his wife and granddaughter in the clinic. The clinic was not used to handling such severe burns. They decided to refer Mwamba to a bigger hospital. It was at this hospital that Patrick's faith was severely tested.
Mwamba's leg was burned as a toddler. She found healing at the CURE hospital.
While in the new hospital, Patrick observed that Mwamba's wounds were not getting any better. He was not satisfied with the level of care and attention she was receiving, and he feared that he would watch his granddaughter rot and die in his presence. Patrick's assumption was that the hospital's staff were afraid to touch the burn wounds. He refused to let this be the end of Mwamba's life story.
Patrick decided to act and get Mwamba out of hospital without the consent of the medical staff. In anger, the doctor wrote "ALM," meaning "Leaving Without Medical Advice" on Mwamba's file. The hospital took this as a precaution, saying that they would not be responsible for any misfortune that happened to Mwamba after Patrick left the hospital.
Back home, Mwamba's sickness put a strain on her parents' marriage. Her father lost hope and gave up on his daughter and walked out of the family home.
With nowhere else to turn to, Patrick decided to go to a traditional herbalist, who said he could heal Mwamba's wounds. For the next couple of months, the herbalist worked on Mwamba, and the wounds contracted and healed. Sadly, no physiotherapy was rendered on Mwamba to counter the skin contraction, and this would greatly affect her in the future.
Patrick and Mwamba returned home feeling a bit better, though their spirits were shattered by this tough experience. When Patrick's elder brother came to see them, he was shocked when he saw Mwamba. She looked pale, and he advised Patrick to go back to the hospital they had come from earlier on because it looked like Mwamba needed blood.
Mwamba after she was treated for her burn contractures.
When Patrick got to the hospital, he found the same doctor who had advised them not to leave. The doctor was angry that they had left in the first place, and he started calling Patrick a wizard. These accusations hurt Patrick, who was already feeling low in spirit. The doctor went on to tell Patrick that there was no hope and that Mwamba would die within 24 hours! To make matters worse, there was no blood at the blood bank. Never one to give up, Patrick decided to donate blood, which was needed for the transfusion. Mwamba was able to recover, and they spent two weeks in hospital.
Shortly after they got home, Mwamba's grandmother died, and this was a devastating and heartbreaking blow for Patrick and Mwamba. To top it all, Mwamba had lost mobility; she was not able to walk. For a year, Mwamba was home. One day, Patrick's former workmate, Mr. Njobvu, came to see Patrick's home. Mr. Njobvu happened to be the Human Resource Manager of Beit CURE hospital at the time, and he advised Patrick to bring Mwamba to CURE.
Patrick and Mwamba's first visit to CURE was in 2012. Patrick was humbled by the care that they received, both on a spiritual and physical level. Mwamba was able to receive help for her burn contractures. She was one of the candidates for plastic surgery, and she also received orthopedic surgery because one of her legs was growing longer than the other. Patrick was humbled and amazed by the care that they were given while at CURE. He was speechless when he discovered that the treatment would also be at no cost. This brought so much joy and happiness to him because he is a retired school head teacher who can't afford hospital bills.
Mwamba and her grandfather. Healing changes everything.
After many hospital visits, in 2015, Mwamba and her grandfather were able to walk out of the hospital with huge grins and smiles on their faces. Letting go of all the pain and resentment harbored was not easy for Patrick, but he managed to forgive everyone, including the doctor who called him a wizard.
Patrick believes that he received a lot of healing as well. Even though his desire was not physical healing like that of Mwamba, he believes that he was able to receive emotional healing, and this has strengthened his faith in God. He was so happy about the care that they received while at CURE that Patrick was willing to do any type of job for free as a sign of gratitude. Patrick is now an ordained church elder at his church, and his faith has been restored because of the blessings that he received.
Mwamba also got her share of happiness. She was able to start first grade in 2014, and she is now a proud second grader. She was also able to walk out of our hospital on her own two feet, and she is finally able to be a normal eight year old. It is hard to believe that this precious doll has spent so much of her life in hospital. God truly extended his hand to touch the wounds and heart of this little girl.
Mwamba and her grandfather taught us so much and were our heros.
Every day at CURE, we meet many mothers and their children. Sometimes, we do not know their stories or how God brought them to us. The love and empathy we extend should be a reflection of God's heart to them, and we must always strive to show them care and affection. In the case of Patrick, it was touching to see a grandfather go through so much trouble for his grandchild. Even when faced with adversity, he refused to back down and give up. Such resilience and determination is worth emulating. Even though Patrick says he learned a lot from us, we believe that he also taught us the true attributes of going the extra mile, fighting on, and showing people Jesus's love. His determination also helped us become better people, and that is why we think that Patrick is a hero!
Authors: Situmbeko Wambulawae and Harold Haamumba
burn contracture
CURE Zambia
untreated burns
About the Author: Harold Haamumba
Harold Haamumba is the spiritual director at the CURE Zambia hospital, where he has served since the hospital opened in 2006. Harold received his theology training at Theological College of Zimbabwe, graduating with a bachelor's degree in missions. Prior to joining CURE, Harold helped start the first ever English-speaking Brethren in Christ Church congregation in Zimbabwe. Harold and and his wife, Na, have three children.


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A cosy hangout to mark the end of Year of Open 2017 and to look forward to #OER18.
Bring your own hot chocolate and marshmallows to roast over our open fire, come and share your experiences of advocating for open. All welcome.


Year 3 and 4 have been working on different types of film, and we are currently focusing on stop motion, the style of filming used for the likes of Wallace and Gromit. The pupils have been creating their own scenery, as well as their own characters, and then using these to create short films. What do you think of the pupils' scenery so far? Can you guess what they have created?
The pupils have been using Folioscope to create these short animations. Some some pupils have told us that they are going to download the app at home and continue animating.


In Matt Nagy's first year as a head coach, he guided the Bears to their second-biggest single-season turnaround since the 1970 AFL-NFL merger.
The Bears' 12-4 record was the best the franchise had produced since 2006. The 16-15 loss to the Eagles in the wild-card round of the playoffs was a bitter setback made even more gut wrenching by Cody Parkey's missed 43-yard FG attempt with five seconds remaining. It caromed off the left upright and then the crossbar, his sixth kick that failed after striking one of the uprights.
But that did not distract from the monumental shift in the fortunes of a franchise that was resurrected.
In less than 12 months, Nagy transformed the culture at Halas Hall, urging his players to be themselves and to think in terms of "we," not "me." A favorite mantra of the 40-year-old Nagy's was: "Be You," which was written on his play-calling chart, lest he forget his own advice.
Nagy, the offensive play-caller, took chances that most NFL coaches wouldn't, dialing up trick plays at the most unexpected times and utilizing personnel that shocked even his own players. In a refreshing twist, he wasn't afraid to take responsibility when his best-laid plans blew up in his face.
General manager Ryan Pace also deserves much of the credit for the Bears' rapid rebuild. In addition to hiring Nagy, he swung a deal just before the start of the regular season to acquire difference-making OLB Khalil Mack. The elite pass rusher proved to be the final and perhaps most important piece of the rebuilding process.
Not only did Mack lead the team with 12.5 sacks, six forced fumbles, 18 QB hits and two recovered fumbles, he made every member of an already-great defense better and added even more swagger to a locker room that had just begun to take on the confident persona of its head coach.
Mack was one of five Bears voted to the Pro Bowl, including DE Akiem Hicks, CB Kyle Fuller, S Eddie Jackson and RS Tarik Cohen. Hicks was the only one of the five who did not also make All-Pro.
That group illustrates the different avenues that Pace has traversed in his quest to build sustainable success.
Hicks was picked up as an under-the-radar unrestricted free agent in 2016 and then rewarded with a lucrative extension when he played up to his vast potential after having just scratched the surface previously. Fuller was inherited by the Pace regime and appeared to have one foot out the door when the team declined his fifth-year option. But the 14th overall pick in 2014 rebounded from missing the entire 2016 season to tie for the league lead with seven interceptions.
Jackson and Cohen, the 5-foot-6 dynamo, were drafted by Pace within seven picks of each other in 2017, which should go down as the best fourth round in franchise history.
While it was a havoc-wreaking defense that fueled the Bears' resurgence in 2018, there was no denying the role that second-year QB Mitch Trubisky played in elevating an offense that was often a laughingstock in 2017. With some help from a defense that scored six touchdowns – more on that later – the Bears scored 24 points or more 11 times in 2018, something they managed just three times a year earlier.
Trubisky, the second overall pick in 2017, was guided every step of the way, not only by Nagy, but by offensive coordinator Mark Helfrich and QB coach Dave Ragone. It was Trubisky's first year in a new system, and his third scheme in as many years, going back to his senior season at North Carolina.
Still, his passer rating improved from 77.5 to 95.4, and he was sacked seven fewer times while throwing 104 more passes because he became much more proficient at escaping pressure and turning potentially negative plays into positive yardage.
Adding a degree of difficulty, Trubisky was working with an almost entirely new cast of skill-position characters. Of the Bears' top five pass catchers in 2018, Cohen was the only one who had ever caught a regular-season pass from Trubisky entering Week One. Nagy envisioned a well-balanced passing offense with an equitable distribution of the ball, and that's exactly what he got.
Cohen led the way with 71 receptions and was second with 725 receiving yards for an impressive 10.2-yard average. He was followed by three veteran free-agent additions, WRs Taylor Gabriel (67, 688, 10.3) and Allen Robinson (55, 754, 13.7) and TE Trey Burton (54, 569, 10.5). Rookie WR Anthony Miller (33, 423, 12.8) slumped badly late in the season when he was impeded by a recurring shoulder situation that will require postseason surgery, yet he still led the team with seven TD catches, followed by Burton (six), Cohen (five) and Robinson (four).
The run game was a work in progress throughout an inconsistent season, and it remains a major question mark going forward.
Powerful Jordan Howard seems miscast in Nagy's offense and averaged just 3.7 yards per carry, nearly a full yard below what he did in his first two seasons. Howard backers complained that he didn't get the ball enough to hit peak efficiency, and there were games in which the running attack appeared to be an afterthought. But Howard had 250 carries, just two less than his rookie season of 2016, when he averaged 5.2 yards per carry, and he appeared slower and more tentative than in the past.
His only two 100-rushing yard outings came in the final four regular-season games, but he received only 10 carries and totaled only 35 yards in the playoff loss.
Cohen fits better because he's an exceptional receiver, but he's not built to be an every-down back and spends far too much time running east-to-west when he should be heading north.
On paper, the run game didn't look that bad – at first glance. The Bears were 11th in rushing yards but that was skewed by Trubisky's 421 yards on 68 attempts (6.2-yard average). The more telling stat was average gain per rush, where the Bears finished 27th.
Some of the blame for run-game failures must go to an O-line that was without RG Kyle Long (foot/ankle) for eight games and incorporated rookie LG James Daniels into the starting lineup at midseason, just a few weeks after his 21st birthday. But the group did a good job protecting Trubisky, allowing him to be sacked 24 times in 14 starts.
Trubisky and the offense benefited from the knowledge that their defense was good enough to win most of the time with only marginal production on the other side of the ball.
That defense, and the team as a whole, took a brutal beating in Week One, when a 20-0 lead in Green Bay turned into a 24-23 loss. But the Bears gave an indication of the turnaround that was to characterize the entire season, when they bounced back with three straight victories.
Just in the first month alone, Mack demonstrated beyond any doubt, that he is a special player. In his first four games as a Bear, without the benefit of training camp or preseason, he had four sacks, four forced fumbles, four tackles for loss and a pick-6.
But the Bears got knocked back again after their Week Five bye, with back-to-back losses to the Dolphins in overtime and the Patriots at home. This time they responded with a five-game win streak and nine wins in the final 10 weeks to close out the season.
The win streak featured the rare play-making ability of the defense. Jackson's 65-yard fumble return and OLB Leonard Floyd's 19-yard interception return led the 41-9 rout of the Bills the first weekend in November. That was followed by three victories in 11 days, all of them against NFC North opponents. Jackson's 27-yard pick-6 clinched a 25-20 victory over the Vikings, and four days later, his 41-yard interception-return TD closed out the scoring in a 23-16 Thanksgiving Day victory over the Lions.
After one final roadblock, a 30-27 overtime loss to the Giants on the road, the Bears regrouped to finish with a flourish, beating the NFC's No. 2 seed Rams convincingly and then avenging the earlier loss to the Packers, surviving the 49ers on the road and pummeling the Vikings in Minnesota.
The final push summed up how much progress the Bears made in one season. It left them with a 7-1 mark at home, their best since 2005, and a 5-1 record in the NFC North, their best since 2010. They snapped a 10-game losing streak within the division and reversed a 4-20 record in the NFC North dating back to 2014.


How to set colors to canvas and elements. CS-Cart Product Designer.
Home Knowledge base User Guide to CS-Cart "HTML5 Product Designer" add-on How to set colors to canvas and elements?
How to add colors in the palette?
Where can I set up a color palette for fonts, cliparts, sticker background?
A color palette is a range of colors you can use while product customizing process. You can create as many color palettes as you want. In addition, you can specify what color palette refers to: text, cliparts, special cliparts and etc. You can adjust these color palettes according to your demands.
Go to Website -> Product Designer -> "Color palette" to create the color scheme.
Status - Active - the color palette is available to work with; Disabled - unavailable to work with.
Colors are specified as an RGB triplet in hexadecimal format with a color picker.
In the admin panel, go to Website ->HTML5 Product designer -> "Colors".
Or just click "Colors" in the right-hand menu, if you have already opened the section HTML5 Product Designer. On this page, you can edit/delete colors and choose a color status (Active or Disabled).
Click "Plus" button to add a new color.
Name - Make up a name for a color or use the official color names.
Color - Click the color button and pick the color from a table or use a color picker, that is located on the right. Also, you can enter the hex code in the field and the required color will be displayed at once. Click on the "choose" button to save the selected color.
Color palettes - Your created color palettes will be displayed here. Tick color palettes to which you would like to assign this color. You may choose several color palettes at once.
Position - define the place of a new color in the list of all colors.
Where can I set up a color palette for fonts, cliparts, sticker backgroud?
If you have already created a product for personalization, you can set up a color palette for fonts, cliparts and sticker background. You can set up one of your created color palettes in HTML5 Product designer tools display panel.
You can see Product designer tools display panel in the admin panel on editing product page -> "HTML5 Product designer" tab.