This sharp-looking Custom Volkswagen Beetle branded with the classic Mooneyes logo is part of the Mattel Hot Wheels "HW Performance" mainline subseries, which features Hot Wheels with real brands.

 

This particular Hot Wheels VW Bug possesses all three qualities that I treasure most in Hot Wheels car:

 

1) It has both a die-cast metal body and a die-cast metal chassis, rare for a mainline (re: regular) Hot Wheels car today, although, since the Custom Volkswagen Beetle is a fairly small Hot Wheels car even by 1/64 scale standards, I don't think using a metal chassis instead of a plastic one is that much of a money drain for Mattel.

 

2) It's based on an actual licensed car (albeit a heavily-customized one in this case; though Hot Wheels has done at least a dozen different Volkswagen Beetle castings over the past almost half-century so it's not like I don't have plenty of "straight" Volkswagen Beetles). There are some "original" Hot Wheels designs I like such as "Avant Garde", though, even when it comes to fictional Hot Wheels designs, I generally prefer ones that have elements of real cars in them ("Avant Garde" is quite obviously a modern reimagining of the Citroen DS, for example).

 

3) It has a licensed sponsor logo. I've always been fanatical about wanting actual logos on Hot Wheels cars even when I was a little kid in the late 1970s and early 1980s. And Mooneyes is one of the all-time great racing part sponsor logos, right up there with Champion sparkplugs and Clay Smith Cams' "Mr. Horsepower".

 

This Custom Volkswagen Beetle is right up there in my top 5 mainline Hot Wheels cars of 2014 (along with "Herbie" the Love Bug Volkswagen Beetle, the two colours of the Mustang Funny Car, and the Morris Mini with the Union Jack on the roof). And I always wanted a Custom Volkswagen Beetle Hot Wheels car in yellow, so that's an extra point for it.

Ian's on the road again, wearing different shoes again.

 

Or something.

 

Yes, have audit will travel is taking me back to the north west and head office (UK) in Warrington.

 

I wasn't keen to go, as I would be one of those being audited, rather than being the auditor.

 

So it goes.

 

Up even earlier than usual, Jools went swimming first thing, while I woke up and packed.

 

It was to be a bright if cold day, and the promise of actual snow once I reached Manchester, so that was something to look forward to. No?

 

Jools dropped me off on the prom so I could have a walk, take some snaps before picking up the car.

 

It was cold.

 

Not Canada cold, clearly.

 

Minus three. And too cold to linger to watch the actual sunrise, so made do with snapping the reflected light of the hotels and a ferry coming into the harbour. I walked over Townwall Street, now cold to the bone, hoping the car hire place would be open on time.

 

It wasn't, but a couple of minutes later, a guy came to open up and let me inside where it was slightly warmer.

 

My old ruse of getting an automatic thus getting a larger car was ruined this time was I was given a Toyota Yaris. It struggled to get up Jubilee Way without the engine screaming. You'd better behave yourself for the next three days I told it.

 

Back home for breakfast, load the car and say goodbye to the cats. One last look, and I was off. The car had no sat nav, so had to use the phone.

 

Before going to the hotel, I was going to visit a former colleague who lives in Warrington, or nearly St Helens as I found out later, so programmed her address in, and off I went, along our street and towards the A2 and the long slog up to Dartford.

 

I connected my phone to charge, and straight away tunes from my Apple music store started playing. So, apart from the free U2 album it forced on all users, the rest was good if a little Skids and Velvet Underground heavy.

 

The miles were eaten up, even if I had to turn the music way up to drown the sound of the screaming engine.

 

Like all trips, I had something extra to sweeten the time away, and in this case it was a church. But not just any church, as you will see.

 

I watched a short documentary on Monday about Mary Queen of Scots, and remembered that she had been imprisoned and executed at Fotheringhay Castle in what is now Northamptonshire, and if I went over the Dartford Crossing, up the M11 to Cambridge, then were the A14 crossed the Great North Road, ten miles north was Fotheringhay.

 

So, I pressed on, under the river and into Essex, then along to the bottom of the M11, and north past Stanstead to Cambridge. Traffic wasn't bad, so I made good time, my phone telling me I would reach Fotheringhay at midday.

 

Turning off the A1, down narrow lanes, then the view to the church opens up, in what is possibly one of the finest vistas in all of England. St Mary and All Saints, 15th century and in its Perpendicular finest, it looks too good to be that old, but is.

 

Not only is the church mostly as it was, if plain inside, this was the parish church of the House of York, of several Kings including the final, Richard III.

 

This is real history.

 

I crossed over the narrow hump-back bridge that spanned the fast flowing, and nearly flooding, River Neane, into the village and parked outside the church. A set of grand gates lead off the main road to the northern porch, lined with fine trees, naked it being winter.

 

The tower seems over-large for the Nave and Chancel, it stands 116 feet tall, and is a chonker, the rest of the church seems small beside it, but the interior of the church is a large space, high to its vaulted roof.

 

I take shots, not as many as perhaps I should, but the church doesn't have centuries of memorials, but does have two House of York tombs, or mausoleums.

 

Back outside, my phone tells me I should be in Warrington by four, my friend, Teresa, wouldn't be home until half past, so I could have another break on the way.

 

The sat nav took me back to the A14, and from there it is just a 60 mile drive to the bottom of the M6 and then the hike two hours north.

 

At least it was a sunny day, though clouds were building, and was it my imagination, or did it look like snow falling already?

 

No, it was snow. big, fat, wet flakes at first, not much to worry about, but I pressed on past Coventry to the toll road, I sopped for half an hour there, enough time to have a drink and some crisps, then back outside where darkness was falling, as well as more snow.

 

The M6 might have had its upgrade complete, but a trip on it is rarely without delays. And for me, an hour delayed just before Warrington due to a crash, so we inched along in near darkness.

 

Teresa lived the other side of Warrington, so I had to press on further north, then along other main roads, round a bonkers roundabout before entering the town. Roads were lined with two up/two downs, doors leading straight onto the pavement. Cozy and northern.

 

They have two dog-mountains, I'm not sure of the breed, but think of something like a St Bernard and go bigger. They had just been for a walk, were damp and happy to be inside, laying on the kitchen floor. Taking up all the kitchen floor.

 

We talked for an hour, then I received a call from a guy I was supposed to be meeting up with: heavy snow was falling, I should get there sooner than later. So, I said my goodbyes and programmed the route to the hotel. Sorry, resort. Golf resort.

 

16 miles.

 

Snow was falling heavy, not too bad on main roads back to the motorway, though traffic on that was only going 40, it was fast enough. But the final six miles was long a main road, but it was covered in snow, with more falling.

 

The the fuel warning light went on.

 

Ignore that, I just wanted to get to the hotel safe and have dinner. Not end up in a hedge.

 

The final mile was very scary, snow only an inch deep, but slippery. There was a gatehouse marking the entrance to the golf club, I turned in and parked in the first space I came to.

 

Phew.

 

I checked in, and the place is huge, swish, but full of golfers.

 

But it does a sideline in conferences, training centre and a hotel. It was full.

 

I checked in, walked to the room, which is huge, and very comfortable, dropped my bags and went to the bar for dinner of beer and burgers. The place was almost empty, I watched cricket live from South Africa while I ate and drank.

 

Would I be tempted by the cheeseboard?

 

I would, dear reader, I would.

 

To my room to watch the football and relax while snow fell outside.

 

-------------------------------------------

 

The Church of St Mary and All Saints, Fotheringhay is a parish church in the Church of England in Fotheringhay, Northamptonshire. It is noted for containing a mausoleum to leading members of the Yorkist dynasty of the Wars of the Roses.

 

The work on the present church was begun by Edward III who also built a college as a cloister on the church's southern side. After completion in around 1430, a parish church of similar style was added to the western end of the collegiate church with work beginning in 1434. A local mason, William Horwood was contracted to build the nave, porch, and tower of this church for £300 for the Duke of York.[2] It is the parish church which still remains.

 

The large present church is named in honour of St Mary and All Saints, and has a distinctive tall tower dominating the local skyline. The church is Perpendicular in style and although only the nave, aisles and octagonal tower remain of the original building it is still in the best style of its period.[3] The tower is 78 feet (24 metres) high to the battlements, and is 116 feet (35 metres) high to the pinnacles of the octagon.[4]

 

The church has been described by Simon Jenkins as

 

float[ing] on its hill above the River Nene, a galleon of Perpendicular on a sea of corn.

 

The college continued to 1547, when it was seized by the Crown, along with all remaining chantries and colleges. The chancel was pulled down immediately after the college was granted to John Dudley, 1st Duke of Northumberland, by King Edward VI.[6] A grammar school was founded in its place which lasted until 1859.

 

Nearby Fotheringhay Castle was the principal home of two Dukes of York. Edward of Norwich, 2nd Duke of York, who was killed at the Battle of Agincourt in 1415 was buried in the church. He had earlier established a college for a master and twelve chaplains at the location. Edward's burial provided the basis for the later adoption of the church as a mausoleum to the Yorkist dynasty. In 1476 the church witnessed one of the most elaborate ceremonies of Edward IV's reign – the re-interment of the bodies of the king's father Richard Plantagenet, 3rd Duke of York and his younger brother Edmund, Earl of Rutland, who had been buried in a humble tomb at Pontefract. Father and son fell at the Battle of Wakefield on 30 December 1460.

 

Thomas Whiting, Chester Herald, has left a detailed account of the events:

 

on 24 July [1476] the bodies were exhumed, that of the Duke, "garbed in an ermine furred mantle and cap of maintenance, covered with a cloth of gold" lay in state under a hearse blazing with candles, guarded by an angel of silver, bearing a crown of gold as a reminder that by right the Duke had been a king. On its journey, Richard, Duke of Gloucester, with other lords and officers of arms, all dressed in mourning, followed the funeral chariot, drawn by six horses, with trappings of black, charged with the arms of France and England and preceded by a knight bearing the banner of the ducal arms. Fotheringhay was reached on 29 July, where members of the college and other ecclesiastics went forth to meet the cortege. At the entrance to the churchyard, King Edward waited, together with the Duke of Clarence, the Marquis of Dorset, Earl Rivers, Lord Hastings and other noblemen. Upon its arrival the King 'made obeisance to the body right humbly and put his hand on the body and kissed it, crying all the time.' The procession moved into the church where two hearses were waiting, one in the choir for the body of the Duke and one in the Lady Chapel for that of the Earl of Rutland, and after the King had retired to his 'closet' and the princes and officers of arms had stationed themselves around the hearses, masses were sung and the King's chamberlain offered for him seven pieces of cloth of gold 'which were laid in a cross on the body.' The next day three masses were sung, the Bishop of Lincoln preached a 'very noble sermon' and offerings were made by the Duke of Gloucester and other lords, of 'The Duke of York's coat of arms, of his shield, his sword, his helmet and his coursers on which rode Lord Ferrers in full armour, holding in his hand an axe reversed.' When the funeral was over, the people were admitted into the church and it is said that before the coffins were placed in the vault which had been built under the chancel, five thousand persons came to receive the alms, while four times that number partook of the dinner, served partly in the castle and partly in the King's tents and pavilions. The menu included capons, cygnets, herons, rabbits and so many good things that the bills for it amounted to more than three hundred pounds.

 

In 1495 the body of Cecily Neville, Duchess of York was laid to rest beside that of her husband the Duke of York, as her will directed. She bequeathed to the College

 

a square canopy, crymson cloth of gold, a chasuble, and two tunicles, and three copes of blue velvet, bordered, with three albs, three mass books, three grails and seven processioners.

 

After the choir of the church was destroyed in the Reformation during the sixteenth century, Elizabeth I ordered the removal of the smashed York tombs and created the present monuments to the third Duke and his wife around the altar.

 

The birthday of Richard III is commemorated annually by the Richard III Society by the placing of white roses in the church.

 

en.wikipedia.org/wiki/Church_of_St_Mary_and_All_Saints,_F...

 

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As any experienced pub quizzer will be able to tell you, Cambridgeshire shares borders with more other counties than any other English county, and one of the pleasures of exploring its churches by bike is to occasionally pop over a border and cherry-pick some of the best churches nearby. I had long wanted to visit Fotheringhay in Northamptonshire, and it is only ten miles west of Peterborough, and so I thought why not? I could also take in its near neighbours Nassington and Warmington, both noted as interesting churches.

   

Fotheringhay is a haunted place. It is haunted by noble birth and violent death, by its pivotal importance as a place in 15th Century English politics, and by its desolation in later centuries - not to mention by one significant event in the last couple of years.

   

The view of the church from the south across the River Nene is one of the most famous views of a church in England - there can be few books about churches which do not include it. The tower is a spectacular wedding cake, the square stage surmounted by an octagonal bell stage. This is not an unusual arrangement in the area of the Nene and Ouse Valleys, but nowhere is it on such a scale and with such intricacy as this.

   

The nave is also vast, a great length of flying buttresses running above each aisle, and walls of glass, great perpendicular windows designed to let in light and drive out superstition. What you cannot see from across the river is that, behind the big oak tree, the church has no chancel.

   

Inside, it is a square box full of light divided by great arcades that march resolutely eastwards towards a large blank wall. Heraldic shields stand aloof up in the arcades, and the one fabulous spot of colour is the great pulpit nestled in the south arcade, another sign that this building was designed to assert the doctrine of the Holy Catholic Church. This place swallows sound and magnifies light. It is thrilling, awe-inspiring. What happened here?

   

In the medieval period, Fotheringhay Castle was the powerbase of the House of York. The church was built as a result of a bequest by Edward III, who died in 1370. It was complete by the 1430s, with a college of priests and a large nave for the Catholic devotions of the people.

   

Over the next century it would house the tombs of, among others, Edward of Norwich, 2nd Duke of York and grandson of Edward III who was killed in 1415 at Agincourt, and Richard Plantaganet, 3rd Duke of York, who was killed in the Battle of Wakefield in 1460. It was Richard's claim to the throne of England which had led to the Wars of the Roses. His decapitated head was gleefully displayed on a pike above Micklegate Bar in York by the victorious Lancastrian forces. Also killed in the battle was Richard's 17 year old son Edmund.

   

But the Lancastrian delight was shortlived, for by the following year Richard's eldest son had become King as Edward IV. He immediately arranged for the translation of the bodies of his father and brother from their common grave at Pontefract back to Fotheringhay.

   

It was recorded that on 24 July the bodies were exhumed, that of the Duke garbed in an ermine furred mantle and cap of maintenance, covered with a cloth of gold lay in state under a hearse blazing with candles, guarded by an angel of silver, bearing a crown of gold as a reminder that by right the Duke had been a king.

   

On its journey, Richard, Duke of Gloucester, with other lords and officers of arms, all dressed in mourning, followed the funeral chariot, drawn by six horses, with trappings of black, charged with the arms of France and England and preceded by a knight bearing the banner of the ducal arms.

   

Fotheringhay was reached on 29 July, where members of the college and other ecclesiastics went forth to meet the cortege. At the entrance to the churchyard, King Edward waited, together with the Duke of Clarence, the Marquis of Dorset, Earl Rivers, Lord Hastings and other noblemen. Upon its arrival the King made obeisance to the body right humbly and put his hand on the body and kissed it, crying all the time.

   

The procession moved into the church where two hearses were waiting, one in the choir for the body of the Duke and one in the Lady Chapel for that of the Earl of Rutland, and after the King had retired to his closet and the princes and officers of arms had stationed themselves around the hearses, masses were sung and the King's chamberlain offered for him seven pieces of cloth of gold 'which were laid in a cross on the body.

   

The sorrowing Edward IV donated the great pulpit for the proclamation of the Catholic faith. And then in 1483 he died. He was succeeded as tradition required by his son, the 12 year old Edward V. But three months after his father's death the younger Edward was also dead, in mysterious circumstances. He was succeeded by his uncle, who had been born here in Fotheringhay in 1452, and who would reign, albeit briefly, as Richard III.

   

Was Richard III really the villain that history has made him out to be? Did he really murder his nephew to achieve the throne? Within two years he had also been killed at the Battle of Bosworth Field, and the Lancastrians were finally triumphant. Henry VII established the Tudor dynasty, and, as we all know, history is written by the victors, not by the losers.

   

But Fotheringhay had one more dramatic scene to set in English history before settling back into obscurity, and this time it involved the Tudors. In September 1586 a noble woman of middle years arrived at Fotheringhay Castle under special guard, and was imprisoned here. Her name was Mary, and she was on trial for treason.

   

It is clear today that most of the evidence was entirely fictional, but the powers of the day had good reason to fear Mary, for she had what appeared to many to be a legitimate claim to the English throne. She was the daughter of James V of Scotland, and had herself become Queen of Scotland at the age of just six weeks. She spent her childhood and youth in France while regents governed the nation in her stead, and she married Francis, the Dauphin of France, who became King of France in 1559. Briefly, Mary was both Queen of Scotland and Queen Consort of France, but in 1561 Francis died, and Mary returned to Scotland to govern her own country.

   

But there was a problem. Mary was a Catholic. Scotland had led the way in the English-speaking Reformation with a particularly firebrand form of Calvinism, and the protestant merchants of Edinburgh, Glasgow, Aberdeen and Dundee were aghast at the prospect of a Catholic monarch.

   

And there was a further problem. Scotland was currently at peace with its neighbour England, where Queen Elizabeth I had brought some stability to the troubled country. But the Catholic Church did not recognise Elizabeth as the rightful monarch of England, because it was considered that her father Henry VIII's divorce from his first wife Katherine of Aragon was invalid. As he had divorced Katherine to marry Elizabeth's mother Ann Boleyn, Catholics considered that the rightful line of succession had passed horizontally from Henry VIII to his deceased elder sister and then on to her descendants, the most senior of whom was Mary, Queen of Scotland.

   

Mary remarried in Scotland, but her husband was murdered, and she was forced to abdicate her throne in favour of their one year old baby. He would be brought up by protestant regents and advisors, and would reign Scotland as James VI. His protestant faith allowed the English crown to recognise the line's legitimate claims, and in 1603 James VI of Scotland became James I of England, the first monarch to govern both nations.

   

But that was all in the future. After her abdication, Mary fled south to seek the protection of her cousin Elizabeth. She spent most of the next 18 years in protective custody. A succession of plots and conspiracies implicated her, and finally on 8th February 1587, at the age of 44, Mary Queen of Scots was beheaded at Fotheringhay Castle.

   

One of her son James's first acts on ascending the English throne was to order that the castle where his mother had been shamefully imprisoned and executed be razed to the ground.

   

The chancel of Fotheringhay church and its College of Priests were already gone by then, demolished after the Reformation, leaving the York tombs exposed to the elements. it is said that Elizabeth herself, on a visit to Fotheringhay in 1566, insisted that they be brought back into the church.

   

Fotheringhay church settled back into obscurity. During the long 18th Century sleep of the Church of England it suffered neglect and disuse, but was restored well in the 19th Century. A chapel was designated for the memory of the York dynasty during the 20th Century, a sensitive issue for the Church of England which does not recognise prayers for the dead, but they can happen here in the Catholic tradition.

   

Today, the population of Fotheringhay cannot be much more than a hundred, an obscure backwater in remote north-east Northamptonshire, consisting of little more than its grand church set above the water meadows of the River Nene. But there was one more day in the public light to come.

   

In 2012, an archaeological dig in the centre of the city of Leicester, some 30 miles from here, uncovered a skeleton which had been buried in such a manner that it seemed it might be the dead King Richard III. Carbon dating and DNA matching proved that it was so. A controversy erupted about where the dead king might be reburied. Leicester Cathedral seemed the obvious place, although pompous claims were made by, among others, the MP for York, for him to be buried in York Minster. But there was also a case for the remains being returned here, to the quiet peace of Fotheringhay.

   

In the event reason held sway and Richard was reburied in Leicester, but Fotheringhay church, along with Leicester Cathedral, York Minster and Westminster Abbey, was one of four sites to host books of remembrance for Richard III.

   

In June 2015 I was surprised to find that the book here was still in use at the west end of the nave, and is still regularly signed by people. Perhaps they think it is the visitors book.

 

Simon Knott. June 2015.

 

www.flickr.com/photos/norfolkodyssey/19327047848/in/photo...

  

Temple Newsam (historically Temple Newsham), (grid reference SE357322) is a Tudor-Jacobean house in Leeds, West Yorkshire, England, with grounds landscaped by Capability Brown.

 

The estate lends its name to the Temple Newsam ward of Leeds City Council, in which it is situated, and lies to the east of the city, just south of Halton Moor, Halton, Whitkirk and Colton. It is one of nine sites in the Leeds Museums & Galleries group.

 

The house is a Grade I listed building, defined as a "building of outstanding or national architectural or historic interest". The stables are Grade II* listed ("particularly significant buildings of more than local interest"), and ten separate features of the estate are Grade II listed ("buildings of special architectural or historic interest"), including the Sphinx Gates and the Barn.[1] Temple Newsam House is one of Leeds Museums and Galleries sites.[2] It is also part of the research group, Yorkshire Country House Partnership.[3]

 

History

1066 to 1520

In the Domesday Book of 1086 the manor is listed as Neuhusam (meaning new houses) and was held by Ilbert de Lacy and his sons.[4] Before the Norman Conquest of 1066 it had been held by Dunstan and Glunier, Anglo-Saxon thanes.[4] In about 1155, Henry de Lacy gave it to the Knights Templar, who built Temple Newsam Preceptory on a site near the present house.[5] The Templars farmed the estate very efficiently, with 1100 animals.[6] In 1307 the Templars were suppressed, and Edward II granted the manor to Sir Robert Holland who held it until 1323 when he was deprived of his estates.[6] The Templars tried to retake the estate but they were forced to surrender and in 1327 it was granted to Mary de St Pol, the Countess of Pembroke, who held the manor for 50 years.[6] In 1377 by royal decree the estate reverted to Philip Darcy, 4th Baron Darcy de Knayth (1341–1398).[6] It then passed through several members of the Darcy family, until it was inherited by the 21-year old Thomas, Lord Darcy in 1488.[7] Between 1500 and 1520 a Tudor manor house, known as Temple Newsam House, was built on the site.[8] It has also been spelled "Newsham" in the past.[9]

 

An oil on panel painting by Hans Eworth of Henry Stuart and his brother Charles Stuart in a grand interior based on a print by Hans Vreedman de Vries

An oil on panel painting from 1563 by Hans Eworth of Henry Stuart and his brother Charles Stuart in a grand interior based on a print by Hans Vreedman de Vries which may reflect Temple Newsam's Great Chamber

1500 to 1650

In 1537 Thomas, Lord Darcy was executed for the part he played in the Pilgrimage of Grace and the property was seized by the Crown.[7] In 1544 Henry VIII gave it to his niece Lady Margaret Douglas (Countess of Lennox), and she lived there with her husband Matthew Stewart, 4th Earl of Lennox.[7] Their son Henry Stuart, Lord Darnley, who was born in the house in 1545 and educated there, married Mary, Queen of Scots, by whom he was the father of King James VI of Scotland and I of England.[10] A portrait of Henry and his brother was probably intended to represent the interior of Temple Newsam despite being based on a print of an ideal interior.[11] Following the marriage in 1565, Temple Newsam was seized by Queen Elizabeth I and was managed by an agent.[12]

 

In 1609 King James I, successor to Elizabeth, granted the estate to his Franco-Scottish second cousin Ludovic Stewart, 2nd Duke of Lennox (1574–1624), who was a favourite of the King and given many titles and estates, including farmland and coalmines in the local area.[13] Despite his opportunities, Ludovic was in constant debt and he mortgaged the estate in 1614 for the sum of £9,000 (around £860,000 in today's money).[14] In 1622 Lennox began the sale of the estate to Sir Arthur Ingram (c. 1565 – 1642), a Yorkshire-born London merchant, civil servant, investor in colonial ventures and arms dealer, for £12,000, which he paid in two instalments, the last in July 1624, after Lennox's death.[14] During the next 20 years the mansion was rebuilt, incorporating some of the previous house in the west wing.[8] The north and south wings were rebuilt and the east wing was demolished after a bad fire in 1635.[15] Arthur's son, also called Arthur, inherited the estate with its debts and continued the building and renovation work.[16] Six months after Charles I was beheaded in 1649, Arthur Ingram the younger was declared delinquent and he compounded his estates and retired to Temple Newsam.[17]

 

1650 to 1900

After the death of Arthur the younger's eldest son, Thomas, in 1660, Temple Newsam was inherited by Arthur's second son, Henry Ingram, 1st Viscount of Irvine (created a peer of Scotland as Baron Ingram and Viscount of Irvine in 1661 - although the family used the English form "Irwin").[18] In 1661, Henry married Lady Essex Montagu, daughter of Edward Montagu, 2nd Earl of Manchester, a favourite of Charles II.[18] The estate then passed through Henry's two sons and five grandsons, the last being Henry Ingram, 7th Viscount of Irvine.[18] The 4th Viscount brought back paintings from his Grand Tour of 1704-7.[19] Extant receipts from 1692 show women as well as men were employed to work the estate in haymaking.[20] In 1712, William Etty designed a new approach to the house, with a bridge and ponds.[21][22] In 1714, Temple Newsam was inherited by Rich Ingram, the 5th Viscount, and his wife Ann who spent a vast fortune furnishing the house and creating the East Avenue.[19] Between 1738 and 1746, Henry Ingram, 7th Viscount of Irvine remodelled the west and north wings of the house, creating new bedrooms and dressing rooms and the picture gallery.[23] A painting in Leeds City Art Gallery by Philippe Mercier of c. 1745 shows Henry and his wife standing in front of Temple Newsam House.[24]

 

A coloured engraving made in 1699 by J Kip after a drawing by Leonard Knyff showing an aerial view of the house and estate at Temple Newsam

1699 Engraving by J Kip after a drawing by Leonard Knyff

In the 1760s, Charles Ingram, 9th Viscount of Irvine, employed Capability Brown to re-landscape the park on the insistence of his wife, Frances Shepheard, daughter of Samuel Shepheard.[25] Reflecting her interest in pastoral landscape design, Frances is depicted as a shepherdess in a portrait by Benjamin Wilson at Temple Newsam.[25] Both Frances and Charles were actively involved in the design and implementation.[26] Some aspects of Brown's plan depicted in paintings by James Chapman and Michael Angelo Rooker were never completed such as a large lake near the house.[26] Extant financial records show that in 1759 women as well as men were employed as garden labourers.[20] After Charles died in 1778, Frances rebuilt the south wing in 1796; she lived at Temple Newsam until her death in 1807.[27] Charles and Frances's eldest daughter Isabella Ingram, (Marchioness of Hertford) (d.1834) who inherited Temple Newsam, was the mistress of the Prince of Wales (later King George IV) from 1806 to 1819. In 1806, George visited Temple Newsam and presented Isabella with Chinese wallpaper, which she hung in the small Drawing Room next to the Great Hall in around 1820, embellished with cut out birds from Audubon's The Birds of America (now worth £7.5 million).[28] Lady Hertford inherited the house in 1807; after her husband died in 1822 she spent the season in London, and the rest of the time at Temple Newsam where she involved herself in charitable works including distributing food and clothing to the local people.[29] She allowed the servants to hold an annual supper and ball at Temple Newsam.[29] Reports of poachers were made during 1826 and 1827.[30] During the last years of Isabella's life, the canal, railway and roads encroached on the estate as well as coal mining; and she dealt with the companies setting these up.[29] In 1820 the novelist Sir Walter Scott published Ivanhoe featuring a Templar preceptory named Temple Stowe, believed to have been modelled on Temple Newsam; the name is preserved in local road names such as Templestowe Crescent.[31] At her death in 1834, Isabella left Temple Newsam to her widowed sister, Frances Ingram Shepheard, wife of Lord William Gordon, who died in 1841.[32]

  

Temple Newsam House from Morris's Country Seats (1880)

In 1841 the estate was inherited by Hugo Charles Meynell Ingram (d. 1869), son of Elizabeth Ingram, sister of Frances Ingram (Lady Gordon), who made no alterations to the estate.[33] In 1868, the Prince of Wales stayed at Temple Newsam during his visit to Leeds to open the Fine Art Exhibition in the New Infirmary; temporary triumphal arches were erected on the estate.[34] Following Hugo Charles's death, his son Hugo Meynell-Ingram (d.1871) inherited Temple Newsam; two years later, at his death, his wife Emily Meynell Ingram (d.1904) inherited the estate.[33] Emily spent a large part of her widowhood at Temple Newsam; she developed it considerably by replacing the sash windows and remodelling the dining room, great staircase and Lord Darnley's room.[33] Emily bequeathed Temple Newsam to her nephew Edward Wood, 1st Earl of Halifax.[8]

 

20th century

In 1909, 610 acres (2.5 km2) of the estate at Knostrop were compulsorily purchased by Leeds Corporation to build a sewage plant.[35] During the First World War (1914–17) the south wing of the house was turned into a hospital by Edward Wood and his wife Dorothy. Edward Wood fought in France as part of the Yorkshire Hussars, whilst Dorothy oversaw the running of the hospital as part of the Mayors War Committee.[36] In 1922 Edward Wood sold the park and house to Leeds Corporation for a nominal sum, placing covenants over them to ensure their preservation for the future.[35]

 

On 19 October 1923, Temple Newsam was opened to the public along with a golf course.[37] In the Derby Daily Telegraph newspaper, Temple Newsam was compared to Hampton Court.[37] Despite many people visiting the house and using the golf course, the Corporation lost money during the first decade mostly due to poor farming practices.[37] In July 1932, the Great Yorkshire Show was held at Temple Newsam and was a great success.[37] Preparations for war were made as early as April 1939, and in August, small items were being packed up for storage.[37] In September 1939, Temple Newsam was closed to the public and items were moved there for storage from Leeds City Art Gallery.[37] It was decided that objects would be displayed, and the house was officially reopened in November 1939, when it was again likened to Hampton Court in the press.[37]

 

Architecture

Photograph of entrance porch of Temple Newsam House, Leeds, showing at top the word 'FATHER', below a mullioned window, below a raised portico with coat of arms above a doorway flanked by two Ionic columns on each side.

Entrance Porch 17th century

Photograph of the west front of Temple Newsam

Centre of Temple Newsam west front

Remains of the early 16th century house were retained in the new building, including the brickwork and bay windows in the centre of the west front.[38] The plan of the new house was a conservative E-shape.[38] The Long Gallery and entrance hall in the south wing followed Elizabethan and early Jacobean styles.[38] The entrance porch has Classical columns but they are of Flemish design, rather than following correct Italian design.[38] There are Tudor doorways and timberwork in the cellars, which are largely Tudor in date.[39] Tudor features have also been discovered beneath later layers of decoration, including Lord Darcy's crest scratched into the plaster in the Blue Damask room.[40] An inventory of 1565 indicates that the hall, great chamber (later the dining room), gallery and chapel (later the kitchen) were probably where they are now.[40] There is a Tudor doorway in the north wing which was probably the entrance to the original chapel.[41]

 

In the 17th century, the south and north wings were rebuilt and the east wing demolished, replaced by a low wall with an arched gateway, giving the house a fashionable 'half-H' appearance.[39] It is possible that the man who made plans for the alteration was Bernard Dinninghof of York.[41] There is also some resemblance to designs by Inigo Jones.[42] Round the top of the house, letters appear in a balustrade, declaring the piety and loyalty of Sir Arthur Ingram: 'ALL GLORY AND PRAISE BE GIVEN TO GOD THE FATHER THE SON AND HOLY GHOST ON HIGH PEACE ON EARTH GOOD WILL TOWARDS MEN HONOUR AND TRUE ALLEGIANCE TO OUR GRACIOUS KING LOVING AFFECTION AMONGST HIS SUBJECTS HEALTH AND PLENTY BE WITHIN THIS HOUSE.'[38] The chapel in the north wing retains some 17th century features, such as armorial stained glass, probably by Henry Gyles and a carved wooden pulpit by Thomas Ventris, made around 1636, with geometric patterns, pilasters and friezes.[38] The walls had panels of Old Testament figures, painted by John Carleton.[38] An inventory dated 1667 records that the House had 66 rooms and 11 outhouses.[39] An engraving by Kip and Knyff dated 1699 is an accurate representation of the house, showing the varying height of the house and some buildings that were later demolished, including the arched gateway flanked by two small lodges and a detached garden building dating from the mid 1670s.[23]

 

Photograph of stone and brick Sphinx gate piers at Temple Newsam, c. 1760 by Lancelot Brown based on designs published by Lord Burlington in 1738 and used at Chiswick

Sphinx gate piers, c. 1760

Photograph of the mid-18th century stable block at Temple Newsam showing the pediment

Stable Block at Temple Newsam, added by Henry, 7th Lord Irwin

In 1718, the steward of Temple Newsam suggested an underground service passage to link the north and south wings to the 5th Viscount, who agreed.[43] This tunnel linked the original kitchens in the south wing to the rest of the house.[44] In 1738, Henry, 7th Viscount Irwin wrote to his mother describing the neglected state of the house with windows coming away and cracked brickwork.[23] The house was almost entirely remodelled by Henry.[38] He wanted to follow Palladian design and used craftsmen from York to do so.[45] He widened the gallery, improved the ceiling and windows and created additional rooms.[23] The gallery, completed around 1746, has fine Rococo carvings with overmantle paintings of classical scenes by Antonio Joli.[19] There are also elaborate gilded Rococo ornamental candle holders.[19] The gallery ceiling has detailed stucco work including a medallion of King George I.[19] The ceilings in the new Saloon and Library, made from the old Long Gallery, were decorated by Thomas Perritt and Joseph Rose.[45] The doorcases are elaborately carved, probably by Richard Fisher.[45] Two chimney pieces in the Saloon were based on designs by William Kent.[45] The distinctive sphinx gate piers by Lancelot Brown constructed in 1768 were based on designs published by Lord Burlington in 1738 and used at Chiswick.[45][1] The main rooms in the west wing were redecorated and the windows were replaced with sliding sash windows.[45] A large pedimented stable block was built to the north of the house, in 1742 and probably designed by Daniel Garratt, also in the Palladian style.[45][46] A painting by Mercier of around 1749, also shows a planned block to the south and a low wall connecting the north and south wings which were never completed.[23][21]

 

In 1796, Frances Shepheard employed a Mr Johnson to alter and reface the south wing in a style which tried to copy that of Sir Arthur Ingram's original house.[45] Her approach was a departure from the designs for the wing commissioned by her dead husband from John Carr and Robert Adam, as well as the landscaping by Capability Brown who was also consulted about rebuilding the south wing.[45] The wing was made two storeys high throughout with a suite of reception rooms on the ground floor with state bedchambers above.[27] In the 1790s, the kitchens were moved to the north wing and the original kitchen became a brushing room where servants brushed down nobles returning from hunting parties.[44]

 

At the end of the 19th century, Emily Meynell Ingram replaced the sash windows with stone mullions and leaded lights and rebuilt the north porch adding the Meynell Ingram coat of arms over the doorway.[27] She redecorated several rooms and had the great oak staircase installed.[27] The dining room, great staircase and Lord Darnley's room were remodelled in Elizabethan style.[33] In 1877, Emily converted the library at the east end of the gallery into a chapel.[47]

 

Coalmining on the estate

Estate records show the existence of coal pits in and around the park in the seventeenth century and Bell Wood to the south of the house would have had bell pits for coal extraction. A colliery at Halton village was leased to a number of different individuals from 1660 through to at least the 1790s. The leases generally required the leaseholder to supply coals to Temple Newsam house.[48]

 

In 1815, William Fenton, one of the 'Coal Kings' of Yorkshire,[49] began the sinking of a mine shaft on the estate at Thorpe Stapleton. The colliery was named Waterloo to commemorate the famous battle of that year.[50] Waterloo Colliery was operated as a royalty concession with contracted 'rents' for coal extracted going to the Temple Newsam landowner. Fenton also had a village built for his workers on land between the River Aire and the Aire and Calder navigation. The village was initially called Newmarket but then became Irwin Square on ordnance survey maps[51] and Ingram Place on census lists, but it was commonly simply known as Waterloo. The Yorkshire, Lancashire and England cricketer Albert Ward was born here in 1865. The village had two rows of cottages and a school building. It was connected to the colliery by a wooden footbridge over the river.[52] Deep coal mining on the estate ended with the closure of the Temple Pit of Waterloo Main Colliery in 1968.

  

Temple Newsam House

Opencast mining on the estate began in May 1942. Seven sites were exploited to the south of the house almost entirely destroying Capability Brown's landscape. One site reached within 330 feet (100 m) of the South Terrace. It continued at the Gamblethorpe site as far as Dawson's Wood, in full view of the house, until 1987.[53] No trace of the opencast remains now as the parkland was re-landscaped.

 

In 2019 there was a temporary exhibition about coal mining at Temple Newsam which was called 'Blot on the Landscape'.[54]

 

House and estate today

The house and estate are owned by Leeds City Council and open to the public. The house has undergone substantial restoration to its exterior. There is an established programme of restoring rooms back to known previous configurations, reversing the numerous intrusive installations and modifications that took place during the building's "art museum" phase.

 

The wider estate is made up of woods (the second largest part of the Forest of Leeds).[55] There are sporting facilities for football, golf, running, cycling, horse-riding and orienteering. There is an innovative children's playground opened in 2011 which caters for both disabled and able-bodied children.[56] Pegasus Wood, to the south of the house, commemorates veterans of the Normandy Landing at Pegasus Bridge in 1944.[57]

 

Photograph of brick barn at the Home Farm, Temple Newsam

Great Barn, Home Farm, Temple Newsam

The Home Farm, open to the public, has a barn built in 1694 and is the largest working rare breeds farm in Europe, and only one of 16 nationally approved by the Rare Breeds Survival Trust. Breeds include Gloucester, Kerry, Irish Moiled, Red Poll, White Park, British White, Beef Shorthorn, Vaynol and Belted Galloway cattle; Kerry Hill; Whitefaced Woodland and Portland sheep, and Golden Guernsey goats.[58] The farm was targeted by arsonists twice in 2011 with damage caused to buildings, and some animals killed.[59]

 

There are extensive gardens, with a celebrated rhododendron walk and six national plant collections: Aster novi-belgii (Michaelmas daisies), Phlox paniculata, Delphinium elatum (Cultivars), Solenostemon scutellarioides (sys. Coleus blumei), Primula auricula and Chrysanthemum (Charm and Cascade cultivars).[60] Within the Walled Garden there are 800 yards of herbaceous borders.[61]

 

Collections

There are substantial holdings of fine and decorative art which are designated by the Department of Culture, Media and Sport (DCMS) as being of national significance.[62]

 

Of most significant historical and cultural interest is the Chippendale Society collection of Chippendale works that are on permanent loan.[63] In his book "Britain's Best Museums and Galleries", Mark Fisher (a former DCMS minister) gave the museum an excellent review. When interviewed on Front Row, Radio 4, November 2004 Fisher placed Temple Newsam House in the top three non-national museums in the country, along with Birmingham's Barber Institute and the Dulwich Picture Gallery.[64]

He's rocking 2. . . . It's been amazing to see all the little things that this kid conquers. It's amazing what he has accomplished in 2.5 years of life. I'm always amazed by how fully he lives and loves. Keep it up buddy. Lead well. Love and serve well. You got it in you. #two #firetruck #homedepot #learning #kids

Curral das Freiras

 

Curral das Freiras ("Pen of the Nuns") is a civil parish in the municipality of Câmara de Lobos in the Portuguese archipelago of Madeira. The population in 2011 was 2,001,[1] in an area of 25.03 km².[2] It is situated in the mountainous interior of the island. Being one of the more distant locations from the municipal seat of Câmara de Lobos, it is geographically isolated from other communities by the cliffs and peaks surrounding its central valley. A tunnel southwards in the direction of Funchal now offers safe access to the valley.

 

History

 

Charles Wilkes (1798-1877) - Descent into the Curral das Freiras - Narrative of the United States Exploring Expedition during the years 1838, 1839, 1840, 1841, 1842. Volume 1, 1845

Initially, during its early settlement access to the valley of Curral was difficult, and was only attempted by semi-nomadic shepherds and slaves who gained their emancipation or escaped from servitude. These people built small homes, and a small hamlet developed towards the end of the 15th century. More permanent residents began to dwell in the valley shortly after, although the area remained little developed.

 

The settlement was part of the dominion of João Gonçalves Zarco, who granted its use for cultivation around 1462 to João Ferreira and his wife Branca Dias. These settlers later donated their lands to their grandchild Branca Teixeira, on 22 August 1474. On 11 September 1480, the lands were, once again, sold to the second Captain-Donatório, João Gonçalves da Câmara (Zarco´s son), who in turn donated it the Convento of Santa Clara in the name of his daughter Elvira and Joana who lived in the convent.

 

During early colonization, the settlement was simply known as Curral or Curral da Serra (English: corral or English: corral of the mountains), because it was known for its extensive pasture-lands, used for grazing cattle and small herds (sheep and goats). The name was subsequently altered, when these lands became the property of the nuns of the Convent of Santa Clara (between 1492 and 1497). There is also some discrepancy; others credit the name change after 1566, when the nuns of the Convent took refuge on these properties, during the French privateer attacks on Funchal.

 

The lands of Curral das Freiras were part of the parish of Santo António, but, owing to its extreme isolation from this ecclesiastical seat, the religious parish of Curral das Freiras was instituted in 1780. Later, on 17 March 1790, by regal charter (from Queen Maria I, Curral das Freiras became an independent parish, separating from Santo António.

 

Geography

Situated in a deep valley and encircled by steep mountain slopes, the parish of Curral das Freiras is located 29 kilometres from the municipal seat of Câmara de Lobos. Most of the buildings in the parish overlook the main valley, with the steep hillsides encircling the parish used for the cultivation of cherries and grapes used in the production of Madeira wine.

Temple Newsam (historically Temple Newsham), (grid reference SE357322) is a Tudor-Jacobean house in Leeds, West Yorkshire, England, with grounds landscaped by Capability Brown.

 

The estate lends its name to the Temple Newsam ward of Leeds City Council, in which it is situated, and lies to the east of the city, just south of Halton Moor, Halton, Whitkirk and Colton. It is one of nine sites in the Leeds Museums & Galleries group.

 

The house is a Grade I listed building, defined as a "building of outstanding or national architectural or historic interest". The stables are Grade II* listed ("particularly significant buildings of more than local interest"), and ten separate features of the estate are Grade II listed ("buildings of special architectural or historic interest"), including the Sphinx Gates and the Barn.[1] Temple Newsam House is one of Leeds Museums and Galleries sites.[2] It is also part of the research group, Yorkshire Country House Partnership.[3]

 

History

1066 to 1520

In the Domesday Book of 1086 the manor is listed as Neuhusam (meaning new houses) and was held by Ilbert de Lacy and his sons.[4] Before the Norman Conquest of 1066 it had been held by Dunstan and Glunier, Anglo-Saxon thanes.[4] In about 1155, Henry de Lacy gave it to the Knights Templar, who built Temple Newsam Preceptory on a site near the present house.[5] The Templars farmed the estate very efficiently, with 1100 animals.[6] In 1307 the Templars were suppressed, and Edward II granted the manor to Sir Robert Holland who held it until 1323 when he was deprived of his estates.[6] The Templars tried to retake the estate but they were forced to surrender and in 1327 it was granted to Mary de St Pol, the Countess of Pembroke, who held the manor for 50 years.[6] In 1377 by royal decree the estate reverted to Philip Darcy, 4th Baron Darcy de Knayth (1341–1398).[6] It then passed through several members of the Darcy family, until it was inherited by the 21-year old Thomas, Lord Darcy in 1488.[7] Between 1500 and 1520 a Tudor manor house, known as Temple Newsam House, was built on the site.[8] It has also been spelled "Newsham" in the past.[9]

 

An oil on panel painting by Hans Eworth of Henry Stuart and his brother Charles Stuart in a grand interior based on a print by Hans Vreedman de Vries

An oil on panel painting from 1563 by Hans Eworth of Henry Stuart and his brother Charles Stuart in a grand interior based on a print by Hans Vreedman de Vries which may reflect Temple Newsam's Great Chamber

1500 to 1650

In 1537 Thomas, Lord Darcy was executed for the part he played in the Pilgrimage of Grace and the property was seized by the Crown.[7] In 1544 Henry VIII gave it to his niece Lady Margaret Douglas (Countess of Lennox), and she lived there with her husband Matthew Stewart, 4th Earl of Lennox.[7] Their son Henry Stuart, Lord Darnley, who was born in the house in 1545 and educated there, married Mary, Queen of Scots, by whom he was the father of King James VI of Scotland and I of England.[10] A portrait of Henry and his brother was probably intended to represent the interior of Temple Newsam despite being based on a print of an ideal interior.[11] Following the marriage in 1565, Temple Newsam was seized by Queen Elizabeth I and was managed by an agent.[12]

 

In 1609 King James I, successor to Elizabeth, granted the estate to his Franco-Scottish second cousin Ludovic Stewart, 2nd Duke of Lennox (1574–1624), who was a favourite of the King and given many titles and estates, including farmland and coalmines in the local area.[13] Despite his opportunities, Ludovic was in constant debt and he mortgaged the estate in 1614 for the sum of £9,000 (around £860,000 in today's money).[14] In 1622 Lennox began the sale of the estate to Sir Arthur Ingram (c. 1565 – 1642), a Yorkshire-born London merchant, civil servant, investor in colonial ventures and arms dealer, for £12,000, which he paid in two instalments, the last in July 1624, after Lennox's death.[14] During the next 20 years the mansion was rebuilt, incorporating some of the previous house in the west wing.[8] The north and south wings were rebuilt and the east wing was demolished after a bad fire in 1635.[15] Arthur's son, also called Arthur, inherited the estate with its debts and continued the building and renovation work.[16] Six months after Charles I was beheaded in 1649, Arthur Ingram the younger was declared delinquent and he compounded his estates and retired to Temple Newsam.[17]

 

1650 to 1900

After the death of Arthur the younger's eldest son, Thomas, in 1660, Temple Newsam was inherited by Arthur's second son, Henry Ingram, 1st Viscount of Irvine (created a peer of Scotland as Baron Ingram and Viscount of Irvine in 1661 - although the family used the English form "Irwin").[18] In 1661, Henry married Lady Essex Montagu, daughter of Edward Montagu, 2nd Earl of Manchester, a favourite of Charles II.[18] The estate then passed through Henry's two sons and five grandsons, the last being Henry Ingram, 7th Viscount of Irvine.[18] The 4th Viscount brought back paintings from his Grand Tour of 1704-7.[19] Extant receipts from 1692 show women as well as men were employed to work the estate in haymaking.[20] In 1712, William Etty designed a new approach to the house, with a bridge and ponds.[21][22] In 1714, Temple Newsam was inherited by Rich Ingram, the 5th Viscount, and his wife Ann who spent a vast fortune furnishing the house and creating the East Avenue.[19] Between 1738 and 1746, Henry Ingram, 7th Viscount of Irvine remodelled the west and north wings of the house, creating new bedrooms and dressing rooms and the picture gallery.[23] A painting in Leeds City Art Gallery by Philippe Mercier of c. 1745 shows Henry and his wife standing in front of Temple Newsam House.[24]

 

A coloured engraving made in 1699 by J Kip after a drawing by Leonard Knyff showing an aerial view of the house and estate at Temple Newsam

1699 Engraving by J Kip after a drawing by Leonard Knyff

In the 1760s, Charles Ingram, 9th Viscount of Irvine, employed Capability Brown to re-landscape the park on the insistence of his wife, Frances Shepheard, daughter of Samuel Shepheard.[25] Reflecting her interest in pastoral landscape design, Frances is depicted as a shepherdess in a portrait by Benjamin Wilson at Temple Newsam.[25] Both Frances and Charles were actively involved in the design and implementation.[26] Some aspects of Brown's plan depicted in paintings by James Chapman and Michael Angelo Rooker were never completed such as a large lake near the house.[26] Extant financial records show that in 1759 women as well as men were employed as garden labourers.[20] After Charles died in 1778, Frances rebuilt the south wing in 1796; she lived at Temple Newsam until her death in 1807.[27] Charles and Frances's eldest daughter Isabella Ingram, (Marchioness of Hertford) (d.1834) who inherited Temple Newsam, was the mistress of the Prince of Wales (later King George IV) from 1806 to 1819. In 1806, George visited Temple Newsam and presented Isabella with Chinese wallpaper, which she hung in the small Drawing Room next to the Great Hall in around 1820, embellished with cut out birds from Audubon's The Birds of America (now worth £7.5 million).[28] Lady Hertford inherited the house in 1807; after her husband died in 1822 she spent the season in London, and the rest of the time at Temple Newsam where she involved herself in charitable works including distributing food and clothing to the local people.[29] She allowed the servants to hold an annual supper and ball at Temple Newsam.[29] Reports of poachers were made during 1826 and 1827.[30] During the last years of Isabella's life, the canal, railway and roads encroached on the estate as well as coal mining; and she dealt with the companies setting these up.[29] In 1820 the novelist Sir Walter Scott published Ivanhoe featuring a Templar preceptory named Temple Stowe, believed to have been modelled on Temple Newsam; the name is preserved in local road names such as Templestowe Crescent.[31] At her death in 1834, Isabella left Temple Newsam to her widowed sister, Frances Ingram Shepheard, wife of Lord William Gordon, who died in 1841.[32]

  

Temple Newsam House from Morris's Country Seats (1880)

In 1841 the estate was inherited by Hugo Charles Meynell Ingram (d. 1869), son of Elizabeth Ingram, sister of Frances Ingram (Lady Gordon), who made no alterations to the estate.[33] In 1868, the Prince of Wales stayed at Temple Newsam during his visit to Leeds to open the Fine Art Exhibition in the New Infirmary; temporary triumphal arches were erected on the estate.[34] Following Hugo Charles's death, his son Hugo Meynell-Ingram (d.1871) inherited Temple Newsam; two years later, at his death, his wife Emily Meynell Ingram (d.1904) inherited the estate.[33] Emily spent a large part of her widowhood at Temple Newsam; she developed it considerably by replacing the sash windows and remodelling the dining room, great staircase and Lord Darnley's room.[33] Emily bequeathed Temple Newsam to her nephew Edward Wood, 1st Earl of Halifax.[8]

 

20th century

In 1909, 610 acres (2.5 km2) of the estate at Knostrop were compulsorily purchased by Leeds Corporation to build a sewage plant.[35] During the First World War (1914–17) the south wing of the house was turned into a hospital by Edward Wood and his wife Dorothy. Edward Wood fought in France as part of the Yorkshire Hussars, whilst Dorothy oversaw the running of the hospital as part of the Mayors War Committee.[36] In 1922 Edward Wood sold the park and house to Leeds Corporation for a nominal sum, placing covenants over them to ensure their preservation for the future.[35]

 

On 19 October 1923, Temple Newsam was opened to the public along with a golf course.[37] In the Derby Daily Telegraph newspaper, Temple Newsam was compared to Hampton Court.[37] Despite many people visiting the house and using the golf course, the Corporation lost money during the first decade mostly due to poor farming practices.[37] In July 1932, the Great Yorkshire Show was held at Temple Newsam and was a great success.[37] Preparations for war were made as early as April 1939, and in August, small items were being packed up for storage.[37] In September 1939, Temple Newsam was closed to the public and items were moved there for storage from Leeds City Art Gallery.[37] It was decided that objects would be displayed, and the house was officially reopened in November 1939, when it was again likened to Hampton Court in the press.[37]

 

Architecture

Photograph of entrance porch of Temple Newsam House, Leeds, showing at top the word 'FATHER', below a mullioned window, below a raised portico with coat of arms above a doorway flanked by two Ionic columns on each side.

Entrance Porch 17th century

Photograph of the west front of Temple Newsam

Centre of Temple Newsam west front

Remains of the early 16th century house were retained in the new building, including the brickwork and bay windows in the centre of the west front.[38] The plan of the new house was a conservative E-shape.[38] The Long Gallery and entrance hall in the south wing followed Elizabethan and early Jacobean styles.[38] The entrance porch has Classical columns but they are of Flemish design, rather than following correct Italian design.[38] There are Tudor doorways and timberwork in the cellars, which are largely Tudor in date.[39] Tudor features have also been discovered beneath later layers of decoration, including Lord Darcy's crest scratched into the plaster in the Blue Damask room.[40] An inventory of 1565 indicates that the hall, great chamber (later the dining room), gallery and chapel (later the kitchen) were probably where they are now.[40] There is a Tudor doorway in the north wing which was probably the entrance to the original chapel.[41]

 

In the 17th century, the south and north wings were rebuilt and the east wing demolished, replaced by a low wall with an arched gateway, giving the house a fashionable 'half-H' appearance.[39] It is possible that the man who made plans for the alteration was Bernard Dinninghof of York.[41] There is also some resemblance to designs by Inigo Jones.[42] Round the top of the house, letters appear in a balustrade, declaring the piety and loyalty of Sir Arthur Ingram: 'ALL GLORY AND PRAISE BE GIVEN TO GOD THE FATHER THE SON AND HOLY GHOST ON HIGH PEACE ON EARTH GOOD WILL TOWARDS MEN HONOUR AND TRUE ALLEGIANCE TO OUR GRACIOUS KING LOVING AFFECTION AMONGST HIS SUBJECTS HEALTH AND PLENTY BE WITHIN THIS HOUSE.'[38] The chapel in the north wing retains some 17th century features, such as armorial stained glass, probably by Henry Gyles and a carved wooden pulpit by Thomas Ventris, made around 1636, with geometric patterns, pilasters and friezes.[38] The walls had panels of Old Testament figures, painted by John Carleton.[38] An inventory dated 1667 records that the House had 66 rooms and 11 outhouses.[39] An engraving by Kip and Knyff dated 1699 is an accurate representation of the house, showing the varying height of the house and some buildings that were later demolished, including the arched gateway flanked by two small lodges and a detached garden building dating from the mid 1670s.[23]

 

Photograph of stone and brick Sphinx gate piers at Temple Newsam, c. 1760 by Lancelot Brown based on designs published by Lord Burlington in 1738 and used at Chiswick

Sphinx gate piers, c. 1760

Photograph of the mid-18th century stable block at Temple Newsam showing the pediment

Stable Block at Temple Newsam, added by Henry, 7th Lord Irwin

In 1718, the steward of Temple Newsam suggested an underground service passage to link the north and south wings to the 5th Viscount, who agreed.[43] This tunnel linked the original kitchens in the south wing to the rest of the house.[44] In 1738, Henry, 7th Viscount Irwin wrote to his mother describing the neglected state of the house with windows coming away and cracked brickwork.[23] The house was almost entirely remodelled by Henry.[38] He wanted to follow Palladian design and used craftsmen from York to do so.[45] He widened the gallery, improved the ceiling and windows and created additional rooms.[23] The gallery, completed around 1746, has fine Rococo carvings with overmantle paintings of classical scenes by Antonio Joli.[19] There are also elaborate gilded Rococo ornamental candle holders.[19] The gallery ceiling has detailed stucco work including a medallion of King George I.[19] The ceilings in the new Saloon and Library, made from the old Long Gallery, were decorated by Thomas Perritt and Joseph Rose.[45] The doorcases are elaborately carved, probably by Richard Fisher.[45] Two chimney pieces in the Saloon were based on designs by William Kent.[45] The distinctive sphinx gate piers by Lancelot Brown constructed in 1768 were based on designs published by Lord Burlington in 1738 and used at Chiswick.[45][1] The main rooms in the west wing were redecorated and the windows were replaced with sliding sash windows.[45] A large pedimented stable block was built to the north of the house, in 1742 and probably designed by Daniel Garratt, also in the Palladian style.[45][46] A painting by Mercier of around 1749, also shows a planned block to the south and a low wall connecting the north and south wings which were never completed.[23][21]

 

In 1796, Frances Shepheard employed a Mr Johnson to alter and reface the south wing in a style which tried to copy that of Sir Arthur Ingram's original house.[45] Her approach was a departure from the designs for the wing commissioned by her dead husband from John Carr and Robert Adam, as well as the landscaping by Capability Brown who was also consulted about rebuilding the south wing.[45] The wing was made two storeys high throughout with a suite of reception rooms on the ground floor with state bedchambers above.[27] In the 1790s, the kitchens were moved to the north wing and the original kitchen became a brushing room where servants brushed down nobles returning from hunting parties.[44]

 

At the end of the 19th century, Emily Meynell Ingram replaced the sash windows with stone mullions and leaded lights and rebuilt the north porch adding the Meynell Ingram coat of arms over the doorway.[27] She redecorated several rooms and had the great oak staircase installed.[27] The dining room, great staircase and Lord Darnley's room were remodelled in Elizabethan style.[33] In 1877, Emily converted the library at the east end of the gallery into a chapel.[47]

 

Coalmining on the estate

Estate records show the existence of coal pits in and around the park in the seventeenth century and Bell Wood to the south of the house would have had bell pits for coal extraction. A colliery at Halton village was leased to a number of different individuals from 1660 through to at least the 1790s. The leases generally required the leaseholder to supply coals to Temple Newsam house.[48]

 

In 1815, William Fenton, one of the 'Coal Kings' of Yorkshire,[49] began the sinking of a mine shaft on the estate at Thorpe Stapleton. The colliery was named Waterloo to commemorate the famous battle of that year.[50] Waterloo Colliery was operated as a royalty concession with contracted 'rents' for coal extracted going to the Temple Newsam landowner. Fenton also had a village built for his workers on land between the River Aire and the Aire and Calder navigation. The village was initially called Newmarket but then became Irwin Square on ordnance survey maps[51] and Ingram Place on census lists, but it was commonly simply known as Waterloo. The Yorkshire, Lancashire and England cricketer Albert Ward was born here in 1865. The village had two rows of cottages and a school building. It was connected to the colliery by a wooden footbridge over the river.[52] Deep coal mining on the estate ended with the closure of the Temple Pit of Waterloo Main Colliery in 1968.

  

Temple Newsam House

Opencast mining on the estate began in May 1942. Seven sites were exploited to the south of the house almost entirely destroying Capability Brown's landscape. One site reached within 330 feet (100 m) of the South Terrace. It continued at the Gamblethorpe site as far as Dawson's Wood, in full view of the house, until 1987.[53] No trace of the opencast remains now as the parkland was re-landscaped.

 

In 2019 there was a temporary exhibition about coal mining at Temple Newsam which was called 'Blot on the Landscape'.[54]

 

House and estate today

The house and estate are owned by Leeds City Council and open to the public. The house has undergone substantial restoration to its exterior. There is an established programme of restoring rooms back to known previous configurations, reversing the numerous intrusive installations and modifications that took place during the building's "art museum" phase.

 

The wider estate is made up of woods (the second largest part of the Forest of Leeds).[55] There are sporting facilities for football, golf, running, cycling, horse-riding and orienteering. There is an innovative children's playground opened in 2011 which caters for both disabled and able-bodied children.[56] Pegasus Wood, to the south of the house, commemorates veterans of the Normandy Landing at Pegasus Bridge in 1944.[57]

 

Photograph of brick barn at the Home Farm, Temple Newsam

Great Barn, Home Farm, Temple Newsam

The Home Farm, open to the public, has a barn built in 1694 and is the largest working rare breeds farm in Europe, and only one of 16 nationally approved by the Rare Breeds Survival Trust. Breeds include Gloucester, Kerry, Irish Moiled, Red Poll, White Park, British White, Beef Shorthorn, Vaynol and Belted Galloway cattle; Kerry Hill; Whitefaced Woodland and Portland sheep, and Golden Guernsey goats.[58] The farm was targeted by arsonists twice in 2011 with damage caused to buildings, and some animals killed.[59]

 

There are extensive gardens, with a celebrated rhododendron walk and six national plant collections: Aster novi-belgii (Michaelmas daisies), Phlox paniculata, Delphinium elatum (Cultivars), Solenostemon scutellarioides (sys. Coleus blumei), Primula auricula and Chrysanthemum (Charm and Cascade cultivars).[60] Within the Walled Garden there are 800 yards of herbaceous borders.[61]

 

Collections

There are substantial holdings of fine and decorative art which are designated by the Department of Culture, Media and Sport (DCMS) as being of national significance.[62]

 

Of most significant historical and cultural interest is the Chippendale Society collection of Chippendale works that are on permanent loan.[63] In his book "Britain's Best Museums and Galleries", Mark Fisher (a former DCMS minister) gave the museum an excellent review. When interviewed on Front Row, Radio 4, November 2004 Fisher placed Temple Newsam House in the top three non-national museums in the country, along with Birmingham's Barber Institute and the Dulwich Picture Gallery.[64]

Ian's on the road again, wearing different shoes again.

 

Or something.

 

Yes, have audit will travel is taking me back to the north west and head office (UK) in Warrington.

 

I wasn't keen to go, as I would be one of those being audited, rather than being the auditor.

 

So it goes.

 

Up even earlier than usual, Jools went swimming first thing, while I woke up and packed.

 

It was to be a bright if cold day, and the promise of actual snow once I reached Manchester, so that was something to look forward to. No?

 

Jools dropped me off on the prom so I could have a walk, take some snaps before picking up the car.

 

It was cold.

 

Not Canada cold, clearly.

 

Minus three. And too cold to linger to watch the actual sunrise, so made do with snapping the reflected light of the hotels and a ferry coming into the harbour. I walked over Townwall Street, now cold to the bone, hoping the car hire place would be open on time.

 

It wasn't, but a couple of minutes later, a guy came to open up and let me inside where it was slightly warmer.

 

My old ruse of getting an automatic thus getting a larger car was ruined this time was I was given a Toyota Yaris. It struggled to get up Jubilee Way without the engine screaming. You'd better behave yourself for the next three days I told it.

 

Back home for breakfast, load the car and say goodbye to the cats. One last look, and I was off. The car had no sat nav, so had to use the phone.

 

Before going to the hotel, I was going to visit a former colleague who lives in Warrington, or nearly St Helens as I found out later, so programmed her address in, and off I went, along our street and towards the A2 and the long slog up to Dartford.

 

I connected my phone to charge, and straight away tunes from my Apple music store started playing. So, apart from the free U2 album it forced on all users, the rest was good if a little Skids and Velvet Underground heavy.

 

The miles were eaten up, even if I had to turn the music way up to drown the sound of the screaming engine.

 

Like all trips, I had something extra to sweeten the time away, and in this case it was a church. But not just any church, as you will see.

 

I watched a short documentary on Monday about Mary Queen of Scots, and remembered that she had been imprisoned and executed at Fotheringhay Castle in what is now Northamptonshire, and if I went over the Dartford Crossing, up the M11 to Cambridge, then were the A14 crossed the Great North Road, ten miles north was Fotheringhay.

 

So, I pressed on, under the river and into Essex, then along to the bottom of the M11, and north past Stanstead to Cambridge. Traffic wasn't bad, so I made good time, my phone telling me I would reach Fotheringhay at midday.

 

Turning off the A1, down narrow lanes, then the view to the church opens up, in what is possibly one of the finest vistas in all of England. St Mary and All Saints, 15th century and in its Perpendicular finest, it looks too good to be that old, but is.

 

Not only is the church mostly as it was, if plain inside, this was the parish church of the House of York, of several Kings including the final, Richard III.

 

This is real history.

 

I crossed over the narrow hump-back bridge that spanned the fast flowing, and nearly flooding, River Neane, into the village and parked outside the church. A set of grand gates lead off the main road to the northern porch, lined with fine trees, naked it being winter.

 

The tower seems over-large for the Nave and Chancel, it stands 116 feet tall, and is a chonker, the rest of the church seems small beside it, but the interior of the church is a large space, high to its vaulted roof.

 

I take shots, not as many as perhaps I should, but the church doesn't have centuries of memorials, but does have two House of York tombs, or mausoleums.

 

Back outside, my phone tells me I should be in Warrington by four, my friend, Teresa, wouldn't be home until half past, so I could have another break on the way.

 

The sat nav took me back to the A14, and from there it is just a 60 mile drive to the bottom of the M6 and then the hike two hours north.

 

At least it was a sunny day, though clouds were building, and was it my imagination, or did it look like snow falling already?

 

No, it was snow. big, fat, wet flakes at first, not much to worry about, but I pressed on past Coventry to the toll road, I sopped for half an hour there, enough time to have a drink and some crisps, then back outside where darkness was falling, as well as more snow.

 

The M6 might have had its upgrade complete, but a trip on it is rarely without delays. And for me, an hour delayed just before Warrington due to a crash, so we inched along in near darkness.

 

Teresa lived the other side of Warrington, so I had to press on further north, then along other main roads, round a bonkers roundabout before entering the town. Roads were lined with two up/two downs, doors leading straight onto the pavement. Cozy and northern.

 

They have two dog-mountains, I'm not sure of the breed, but think of something like a St Bernard and go bigger. They had just been for a walk, were damp and happy to be inside, laying on the kitchen floor. Taking up all the kitchen floor.

 

We talked for an hour, then I received a call from a guy I was supposed to be meeting up with: heavy snow was falling, I should get there sooner than later. So, I said my goodbyes and programmed the route to the hotel. Sorry, resort. Golf resort.

 

16 miles.

 

Snow was falling heavy, not too bad on main roads back to the motorway, though traffic on that was only going 40, it was fast enough. But the final six miles was long a main road, but it was covered in snow, with more falling.

 

The the fuel warning light went on.

 

Ignore that, I just wanted to get to the hotel safe and have dinner. Not end up in a hedge.

 

The final mile was very scary, snow only an inch deep, but slippery. There was a gatehouse marking the entrance to the golf club, I turned in and parked in the first space I came to.

 

Phew.

 

I checked in, and the place is huge, swish, but full of golfers.

 

But it does a sideline in conferences, training centre and a hotel. It was full.

 

I checked in, walked to the room, which is huge, and very comfortable, dropped my bags and went to the bar for dinner of beer and burgers. The place was almost empty, I watched cricket live from South Africa while I ate and drank.

 

Would I be tempted by the cheeseboard?

 

I would, dear reader, I would.

 

To my room to watch the football and relax while snow fell outside.

 

-------------------------------------------

 

The Church of St Mary and All Saints, Fotheringhay is a parish church in the Church of England in Fotheringhay, Northamptonshire. It is noted for containing a mausoleum to leading members of the Yorkist dynasty of the Wars of the Roses.

 

The work on the present church was begun by Edward III who also built a college as a cloister on the church's southern side. After completion in around 1430, a parish church of similar style was added to the western end of the collegiate church with work beginning in 1434. A local mason, William Horwood was contracted to build the nave, porch, and tower of this church for £300 for the Duke of York.[2] It is the parish church which still remains.

 

The large present church is named in honour of St Mary and All Saints, and has a distinctive tall tower dominating the local skyline. The church is Perpendicular in style and although only the nave, aisles and octagonal tower remain of the original building it is still in the best style of its period.[3] The tower is 78 feet (24 metres) high to the battlements, and is 116 feet (35 metres) high to the pinnacles of the octagon.[4]

 

The church has been described by Simon Jenkins as

 

float[ing] on its hill above the River Nene, a galleon of Perpendicular on a sea of corn.

 

The college continued to 1547, when it was seized by the Crown, along with all remaining chantries and colleges. The chancel was pulled down immediately after the college was granted to John Dudley, 1st Duke of Northumberland, by King Edward VI.[6] A grammar school was founded in its place which lasted until 1859.

 

Nearby Fotheringhay Castle was the principal home of two Dukes of York. Edward of Norwich, 2nd Duke of York, who was killed at the Battle of Agincourt in 1415 was buried in the church. He had earlier established a college for a master and twelve chaplains at the location. Edward's burial provided the basis for the later adoption of the church as a mausoleum to the Yorkist dynasty. In 1476 the church witnessed one of the most elaborate ceremonies of Edward IV's reign – the re-interment of the bodies of the king's father Richard Plantagenet, 3rd Duke of York and his younger brother Edmund, Earl of Rutland, who had been buried in a humble tomb at Pontefract. Father and son fell at the Battle of Wakefield on 30 December 1460.

 

Thomas Whiting, Chester Herald, has left a detailed account of the events:

 

on 24 July [1476] the bodies were exhumed, that of the Duke, "garbed in an ermine furred mantle and cap of maintenance, covered with a cloth of gold" lay in state under a hearse blazing with candles, guarded by an angel of silver, bearing a crown of gold as a reminder that by right the Duke had been a king. On its journey, Richard, Duke of Gloucester, with other lords and officers of arms, all dressed in mourning, followed the funeral chariot, drawn by six horses, with trappings of black, charged with the arms of France and England and preceded by a knight bearing the banner of the ducal arms. Fotheringhay was reached on 29 July, where members of the college and other ecclesiastics went forth to meet the cortege. At the entrance to the churchyard, King Edward waited, together with the Duke of Clarence, the Marquis of Dorset, Earl Rivers, Lord Hastings and other noblemen. Upon its arrival the King 'made obeisance to the body right humbly and put his hand on the body and kissed it, crying all the time.' The procession moved into the church where two hearses were waiting, one in the choir for the body of the Duke and one in the Lady Chapel for that of the Earl of Rutland, and after the King had retired to his 'closet' and the princes and officers of arms had stationed themselves around the hearses, masses were sung and the King's chamberlain offered for him seven pieces of cloth of gold 'which were laid in a cross on the body.' The next day three masses were sung, the Bishop of Lincoln preached a 'very noble sermon' and offerings were made by the Duke of Gloucester and other lords, of 'The Duke of York's coat of arms, of his shield, his sword, his helmet and his coursers on which rode Lord Ferrers in full armour, holding in his hand an axe reversed.' When the funeral was over, the people were admitted into the church and it is said that before the coffins were placed in the vault which had been built under the chancel, five thousand persons came to receive the alms, while four times that number partook of the dinner, served partly in the castle and partly in the King's tents and pavilions. The menu included capons, cygnets, herons, rabbits and so many good things that the bills for it amounted to more than three hundred pounds.

 

In 1495 the body of Cecily Neville, Duchess of York was laid to rest beside that of her husband the Duke of York, as her will directed. She bequeathed to the College

 

a square canopy, crymson cloth of gold, a chasuble, and two tunicles, and three copes of blue velvet, bordered, with three albs, three mass books, three grails and seven processioners.

 

After the choir of the church was destroyed in the Reformation during the sixteenth century, Elizabeth I ordered the removal of the smashed York tombs and created the present monuments to the third Duke and his wife around the altar.

 

The birthday of Richard III is commemorated annually by the Richard III Society by the placing of white roses in the church.

 

en.wikipedia.org/wiki/Church_of_St_Mary_and_All_Saints,_F...

 

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As any experienced pub quizzer will be able to tell you, Cambridgeshire shares borders with more other counties than any other English county, and one of the pleasures of exploring its churches by bike is to occasionally pop over a border and cherry-pick some of the best churches nearby. I had long wanted to visit Fotheringhay in Northamptonshire, and it is only ten miles west of Peterborough, and so I thought why not? I could also take in its near neighbours Nassington and Warmington, both noted as interesting churches.

   

Fotheringhay is a haunted place. It is haunted by noble birth and violent death, by its pivotal importance as a place in 15th Century English politics, and by its desolation in later centuries - not to mention by one significant event in the last couple of years.

   

The view of the church from the south across the River Nene is one of the most famous views of a church in England - there can be few books about churches which do not include it. The tower is a spectacular wedding cake, the square stage surmounted by an octagonal bell stage. This is not an unusual arrangement in the area of the Nene and Ouse Valleys, but nowhere is it on such a scale and with such intricacy as this.

   

The nave is also vast, a great length of flying buttresses running above each aisle, and walls of glass, great perpendicular windows designed to let in light and drive out superstition. What you cannot see from across the river is that, behind the big oak tree, the church has no chancel.

   

Inside, it is a square box full of light divided by great arcades that march resolutely eastwards towards a large blank wall. Heraldic shields stand aloof up in the arcades, and the one fabulous spot of colour is the great pulpit nestled in the south arcade, another sign that this building was designed to assert the doctrine of the Holy Catholic Church. This place swallows sound and magnifies light. It is thrilling, awe-inspiring. What happened here?

   

In the medieval period, Fotheringhay Castle was the powerbase of the House of York. The church was built as a result of a bequest by Edward III, who died in 1370. It was complete by the 1430s, with a college of priests and a large nave for the Catholic devotions of the people.

   

Over the next century it would house the tombs of, among others, Edward of Norwich, 2nd Duke of York and grandson of Edward III who was killed in 1415 at Agincourt, and Richard Plantaganet, 3rd Duke of York, who was killed in the Battle of Wakefield in 1460. It was Richard's claim to the throne of England which had led to the Wars of the Roses. His decapitated head was gleefully displayed on a pike above Micklegate Bar in York by the victorious Lancastrian forces. Also killed in the battle was Richard's 17 year old son Edmund.

   

But the Lancastrian delight was shortlived, for by the following year Richard's eldest son had become King as Edward IV. He immediately arranged for the translation of the bodies of his father and brother from their common grave at Pontefract back to Fotheringhay.

   

It was recorded that on 24 July the bodies were exhumed, that of the Duke garbed in an ermine furred mantle and cap of maintenance, covered with a cloth of gold lay in state under a hearse blazing with candles, guarded by an angel of silver, bearing a crown of gold as a reminder that by right the Duke had been a king.

   

On its journey, Richard, Duke of Gloucester, with other lords and officers of arms, all dressed in mourning, followed the funeral chariot, drawn by six horses, with trappings of black, charged with the arms of France and England and preceded by a knight bearing the banner of the ducal arms.

   

Fotheringhay was reached on 29 July, where members of the college and other ecclesiastics went forth to meet the cortege. At the entrance to the churchyard, King Edward waited, together with the Duke of Clarence, the Marquis of Dorset, Earl Rivers, Lord Hastings and other noblemen. Upon its arrival the King made obeisance to the body right humbly and put his hand on the body and kissed it, crying all the time.

   

The procession moved into the church where two hearses were waiting, one in the choir for the body of the Duke and one in the Lady Chapel for that of the Earl of Rutland, and after the King had retired to his closet and the princes and officers of arms had stationed themselves around the hearses, masses were sung and the King's chamberlain offered for him seven pieces of cloth of gold 'which were laid in a cross on the body.

   

The sorrowing Edward IV donated the great pulpit for the proclamation of the Catholic faith. And then in 1483 he died. He was succeeded as tradition required by his son, the 12 year old Edward V. But three months after his father's death the younger Edward was also dead, in mysterious circumstances. He was succeeded by his uncle, who had been born here in Fotheringhay in 1452, and who would reign, albeit briefly, as Richard III.

   

Was Richard III really the villain that history has made him out to be? Did he really murder his nephew to achieve the throne? Within two years he had also been killed at the Battle of Bosworth Field, and the Lancastrians were finally triumphant. Henry VII established the Tudor dynasty, and, as we all know, history is written by the victors, not by the losers.

   

But Fotheringhay had one more dramatic scene to set in English history before settling back into obscurity, and this time it involved the Tudors. In September 1586 a noble woman of middle years arrived at Fotheringhay Castle under special guard, and was imprisoned here. Her name was Mary, and she was on trial for treason.

   

It is clear today that most of the evidence was entirely fictional, but the powers of the day had good reason to fear Mary, for she had what appeared to many to be a legitimate claim to the English throne. She was the daughter of James V of Scotland, and had herself become Queen of Scotland at the age of just six weeks. She spent her childhood and youth in France while regents governed the nation in her stead, and she married Francis, the Dauphin of France, who became King of France in 1559. Briefly, Mary was both Queen of Scotland and Queen Consort of France, but in 1561 Francis died, and Mary returned to Scotland to govern her own country.

   

But there was a problem. Mary was a Catholic. Scotland had led the way in the English-speaking Reformation with a particularly firebrand form of Calvinism, and the protestant merchants of Edinburgh, Glasgow, Aberdeen and Dundee were aghast at the prospect of a Catholic monarch.

   

And there was a further problem. Scotland was currently at peace with its neighbour England, where Queen Elizabeth I had brought some stability to the troubled country. But the Catholic Church did not recognise Elizabeth as the rightful monarch of England, because it was considered that her father Henry VIII's divorce from his first wife Katherine of Aragon was invalid. As he had divorced Katherine to marry Elizabeth's mother Ann Boleyn, Catholics considered that the rightful line of succession had passed horizontally from Henry VIII to his deceased elder sister and then on to her descendants, the most senior of whom was Mary, Queen of Scotland.

   

Mary remarried in Scotland, but her husband was murdered, and she was forced to abdicate her throne in favour of their one year old baby. He would be brought up by protestant regents and advisors, and would reign Scotland as James VI. His protestant faith allowed the English crown to recognise the line's legitimate claims, and in 1603 James VI of Scotland became James I of England, the first monarch to govern both nations.

   

But that was all in the future. After her abdication, Mary fled south to seek the protection of her cousin Elizabeth. She spent most of the next 18 years in protective custody. A succession of plots and conspiracies implicated her, and finally on 8th February 1587, at the age of 44, Mary Queen of Scots was beheaded at Fotheringhay Castle.

   

One of her son James's first acts on ascending the English throne was to order that the castle where his mother had been shamefully imprisoned and executed be razed to the ground.

   

The chancel of Fotheringhay church and its College of Priests were already gone by then, demolished after the Reformation, leaving the York tombs exposed to the elements. it is said that Elizabeth herself, on a visit to Fotheringhay in 1566, insisted that they be brought back into the church.

   

Fotheringhay church settled back into obscurity. During the long 18th Century sleep of the Church of England it suffered neglect and disuse, but was restored well in the 19th Century. A chapel was designated for the memory of the York dynasty during the 20th Century, a sensitive issue for the Church of England which does not recognise prayers for the dead, but they can happen here in the Catholic tradition.

   

Today, the population of Fotheringhay cannot be much more than a hundred, an obscure backwater in remote north-east Northamptonshire, consisting of little more than its grand church set above the water meadows of the River Nene. But there was one more day in the public light to come.

   

In 2012, an archaeological dig in the centre of the city of Leicester, some 30 miles from here, uncovered a skeleton which had been buried in such a manner that it seemed it might be the dead King Richard III. Carbon dating and DNA matching proved that it was so. A controversy erupted about where the dead king might be reburied. Leicester Cathedral seemed the obvious place, although pompous claims were made by, among others, the MP for York, for him to be buried in York Minster. But there was also a case for the remains being returned here, to the quiet peace of Fotheringhay.

   

In the event reason held sway and Richard was reburied in Leicester, but Fotheringhay church, along with Leicester Cathedral, York Minster and Westminster Abbey, was one of four sites to host books of remembrance for Richard III.

   

In June 2015 I was surprised to find that the book here was still in use at the west end of the nave, and is still regularly signed by people. Perhaps they think it is the visitors book.

 

Simon Knott. June 2015.

 

www.flickr.com/photos/norfolkodyssey/19327047848/in/photo...

  

Viking from Starcraft 2.

 

It can be transformed from Air to Ground mode without adding or removing any parts - the legs and arms are articulated, and the wings, engines, and other parts are hinged to allow for the transformation.

 

The wings lock underneath the engines so everything is still quite stable when in air mode.

"arlshof (/ˈjɑːrlzhɒf/ YARLZ-hof)[1] is the best known prehistoric archaeological site in Shetland, Scotland. It lies near the southern tip of the Shetland Mainland and has been described as "one of the most remarkable archaeological sites ever excavated in the British Isles".[2] It contains remains dating from 2500 BC up to the 17th century AD.

The Bronze Age settlers left evidence of several small oval houses with thick stone walls and various artefacts including a decorated bone object. The Iron Age ruins include several different types of structures, including a broch and a defensive wall around the site. The Pictish period provides various works of art including a painted pebble and a symbol stone. The Viking age ruins make up the largest such site visible anywhere in Britain and include a longhouse; excavations provided numerous tools and a detailed insight into life in Shetland at this time. The most visible structures on the site are the walls of the Scottish period fortified manor house, which inspired the name "Jarlshof" that first appears in an 1821 novel by Walter Scott.

The site is in the care of Historic Scotland and is open from April to September.[3] In 2010 "The Crucible of Iron Age Shetland" including Mousa, Old Scatness and Jarlshof was added to those seeking to be on the "tentative list" of World Heritage Sites.[4]

Location and etymology[edit]

Jarlshof lies near the southern tip of the Shetland Mainland, close to the settlements of Sumburgh and Grutness and to the south end of Sumburgh Airport. The site overlooks an arm of the sea called the West Voe of Sumburgh and the nearby freshwater springs and building materials available on the beach will have added to the location's attraction as a settlement. The south Mainland also provides a favourable location for arable cultivation in a Shetland context and there is a high density of prehistoric settlement in the surrounding area.[5] Jarlshof is only one mile from Scatness where the remains of another broch and other ruins of a similar longevity were discovered in 1975. There is a small visitor centre at Jarlshof with displays and a collection of artefacts.[6][7][8]

The name Jarlshof meaning "Earl's Mansion" is a coinage of Walter Scott,[9][10] who visited the site in 1814 and based it on the Scottish period name of "the laird's house". It was more than a century later before excavations proved that there had actually been Viking Age settlement on the site,[8][11] although there is no evidence that a Norse jarl ever lived there.[12]

History[edit]

  

Jarlshof with West Voe of Sumburgh beyond

The remains at Jarlshof represent thousands of years of human occupation, and can be seen as a microcosm of Shetland history. Other than the Old House of Sumburgh (see below) the site remained largely hidden until a storm in the late 19th century washed away part of the shore, and revealed evidence of these ancient buildings. Formal archaeological excavation started in 1925 and Jarlshof was one of two broch sites which were the first to be excavated using modern scientific techniques between 1949–52.[9] Although the deposits within the broch had been badly disturbed by earlier attempts, this work revealed a complex sequence of construction from different periods.[13] Buildings on the site include the remains of a Bronze Age smithy, an Iron Age broch and roundhouses, a complex of Pictish wheelhouses, a Viking longhouse,[10][14] and a mediaeval farmhouse. No further excavations have been undertaken since the early 1950s and no radiocarbon dating has been attempted.[8]

Neolithic[edit]

The earliest finds are pottery from the Neolithic era, although the main settlement dates from the Bronze Age (see below). A site nearby has been dated to 3200 BC.[15]

Bronze Age[edit]

The Bronze Age in Scotland lasted from approximately 2000 BC to 800 BC.[16] The oldest known remains on the Jarlshof site date from this period, although there is evidence of inhabitation as far back as 2500 BC.[9][17] The remains of several small oval houses with thick stone walls date to the late Bronze Age and the structures show some similarity to Skara Brae on Mainland, Orkney, but are smaller and of a later date. These buildings may have been partly subterranean at the earliest period of inhabitation, a technique that provided both structural stability and insulation.[18]

There is also evidence of a cattle stall with a waste channel leading to a tank in a courtyard and a whale vertebra set into a wall that may have been used as a tethering post. Broken moulds from the smithy indicate that axes, knives, swords and pins were produced there and a bronze dagger was found at the site. The objects indicate the smith was trained in the Irish style of working.[19][20] Bone pins and awls also survive and an extraordinary bone "plaque". This latter object is 5 centimetres (2.0 in) long, has three holes bored into the ends and is decorated with various linear patterns. Its function is unknown.[21] The Bronze Age structures are overlain with sterile sand, suggesting a break in occupation prior to the next phase of building.[22]

Iron Age and Pictish period[edit]

  

The exterior of the wheelhouses at Jarlshof

The inhabitants of the Iron Age built part of their settlement on top of the Bronze Age one.[9] The structures include a complex roundhouse, replaced at a later stage by an "aisled roundhouse". Neither have been dated although artefacts found at this level include querns that suggest the latter may have been constructed prior to 200 BC.[23]

It is in this period that the broch was built. Part of the structure has been lost to coastal erosion, and modern sea defences have been erected. The tower was probably originally 13 metres (40 feet) or more high and as with many broch sites the position would have commanded fine views of the surrounding seas.[24] During this period archaeological sites in Shetland usually exhibit defensive fortifications of some kind, and Jarlshof is no exception.[25] An outer defensive wall associated with the broch contained a substantial (although rather poorly constructed) house and byre at one time.[26] This wall was utilised at a later stage to build a large roundhouse in the lee of the broch.[27]

  

The interior of a Jarlshof wheelhouse showing bays between the stone piers.

The earliest part of the wheelhouse complex has been dated to 200 BC, although other parts were built later, post-dating the 1st century BC–2nd century AD profusion of these structures in the Western Isles by several centuries.[28][29] Construction used the stones of the broch itself and two of the four main structures are amongst the best examples of their type.[27][30] Three successive periods of construction were undertaken, and the best preserved retains a significant proportion of the stone part of its roof and displays a series of corbelled bays.[31] One structure was built as a circular building and the radial piers were inserted afterwards. This may have been an earlier, less stable design. In one case the piers are alternately rectangular and V-shaped, in another all are to the latter design, again suggesting a developing style. Unlike many wheelhouses elsewhere in Scotland that are built into the earth, the Jarlshof structures seem to have been built from ground level upwards.[32]

Amongst the artefacts dated to the later Pictish period is a bone pin with a rounded head probably used as a hair or dress pin. It has been dated to AD 500–800.[33] "Painted pebbles" are associated with more than two dozen Pictish sites and one such stone was unearthed at Jarlshof. This rectangular slate fragment had a cross painted onto it and two small "S" shaped scrolls suggesting an association with Christian beliefs.[34] One of only two Pictish symbol stones found in Shetland was found here, exhibiting a double disc shape and a Z-rod.[35] Pottery finds include buff ware from the period after AD 10, including bowls with flat rims. The quality of the pots appears to decline in the period prior to Viking settlement, becoming thinner-walled and generally more crude in design.[36]

Norse period[edit]

Remains from this era used to cover most of the site, and it is believed the Norse inhabited the site continuously from the ninth to the 14th centuries.[37] Excavations in the 1930s by Alex Curle found the first confirmed Norse longhouse in the British Isles and later digs in the 1950s found evidence of fishing and farming activities.[38] Sheep, cattle, pigs and ponies were kept, Atlantic cod, saithe and ling were eaten, and whale and seal bones have also been found along with the remains of a single dog. Chicken bones are rare in the Norse levels.[39]

  

Re-creation of a Viking settlement in L'Anse-aux-Meadows, Newfoundland, Canada similar in scale to Jarlshof.

There are seven Norse-era houses at Jarlshof, although no more than two were in use at one time. There were several outbuildings, including a small square structure with a large hearth that may have been a sauna and which was later replaced by two separate outhouses.[8][40][41] The largest house from this period is a 20 metres (66 ft) by 5 metres (16 ft) rectangular chamber with opposing doors, timber benches along the long sides, and a hearth in the centre. Unlike the earlier structures that had conical thatched roofs, those of the Norse buildings had ridged timber frames. At a later period this large structure was also used to shelter domesticated animals (at which stage it had a paved centre and animal stalls along the sides) and later still may have become an outbuilding. The door to the byre puzzled archaeologists as it appeared to be too narrow to admit a cow. The mystery was solved when a byre door was excavated at Easting on Unst which had a narrow base similar to Jarlshof's but which widened out to become cow-shaped.[42][43] Another outbuilding has been interpreted as a corn-drying room.[41] Later houses were built at 90 degrees to the longhouse and these are of a type and size that is similar to croft houses that were common in Shetland until the mid-19th century.[44]

One hundred and fifty loom weights were found suggesting wool was an important aspect of Norse-era life. Line weights from the later Norse period and associated evidence from elsewhere in Shetland indicates that deep-water fishing was also a regular undertaking.[45] The Jarlshof site also produced ample evidence of the use of iron tools such as shears, scissors, sickles, and a fish-hook and knife. The ore was locally obtained bog iron.[46] Hazel, birch and willow grew in the area at this time but the pine and oak must have been driftwood or imported timber.[8]

Drawings scratched on slate have been found of dragon-prowed ships, portraits of an old man and of a young, bearded man and of a four-legged animal.[37] The drawings were found in the Viking levels but are Pictish in style and may either pre-date the arrival of the Norse or indicate a continuity of art and culture from one period to the next.[8][47] Similarly, although the rectangular shape of the Norse-era buildings are quite unlike the earlier rounded Pictish style, the basement courses of the two periods are constructed in the same way. The Viking-style loom weights, spindle whorls and other vessels were found with stone discs and other objects of a Pictish design.[48] A bronze–gilt harness mounting made in Ireland in the 8th or 9th centuries has also been found[8][49] and many items from this period are in the Shetland Museum.[38] Jarlshof contains the most extensive remains of a Viking site visible anywhere in Britain.[8]"

~Wikipedia

nrhp # 100000539- Medicine Rocks State Park is a park owned by the state of Montana in the United States. It is located about 25 miles (40 km) west-southwest of Baker, Montana, and 11 miles (18 km) north of Ekalaka, Montana. The park is named for the "Medicine Rocks," a series of sandstone pillars similar to hoodoos some 60 to 80 feet (18 to 24 m) high with eerie undulations, holes, and tunnels in them.[4][5] The rocks contain numerous examples of Native American rock art[6] and are considered a sacred place by Plains Indians.[7] As a young rancher, future president Theodore Roosevelt said Medicine Rocks was "as fantastically beautiful a place as I have ever seen."[2] The park is 330 acres (130 ha) in size, sits at 3,379 feet (1,030 m) in elevation, and is managed by the Montana Department of Fish, Wildlife and Parks.[2] It was listed on the National Register of Historic Places in 2017[8] and designated as a certified International Dark Sky Sanctuary in 2020.

 

Archaeological evidence indicates that there has been human habitation at or near Medicine Rocks for about 11,000 years.[14] Aside from the other-worldly nature of the rock formations, Native Americans were attracted to the site because of the many medicinal plants which grew there and the fossil seashells which could be gathered for decorations.[11] Many Plains Indian tribes resided here permanently or temporarily, including the A'aninin, Arikara, Assiniboine Sioux, Cheyenne, Crow, Mandan, and Sioux.[11][18] The Cheyenne stopped at Medicine Rocks on their way from the Yellowstone River Valley to the Black Hills each summer and early fall.[11] Sometime prior to the mid-17th century, the Hidatsa leader No-Vitals led a large number of Hidatsa out of what is now western North Dakota west into the Yellowstone River valley of south-central Montana, where the new tribe (the Crow) lived on the plains, by the river, and in the nearby Big Horn, Pryor, and Wolf Mountains.[19] On the move due to pressure from eastern and midwestern tribes moving west due to white encroachment, the Crow may have settled in the Yellowstone Valley only a few decades before the arrival of Lewis and Clark in 1804.[20] The Crow called the Medicine Rocks area Inyan-oka-lo-ka, or "rock with a hole in it."[4][21] Bone and stone tools, fire rings (circles of stones used to contain a bonfire), pottery, teepee rings (circles of stones used to hold down the edges of a teepee), and other artifacts have all been found at Medicine Rocks.[11][18]

 

All the tribes which stayed at Medicine Rocks considered the place holy.[11][7] Each year, the Crow made an offering to the "Little People" (a race of tiny, ferocious, spiritually powerful dwarves) at Medicine Rocks, where they believed some Little People lived.[22][23] Such gifts might include beads, paint, or tobacco.[24] The Crow also made "fasting beds" out of rocks, on which they would lay down while seeking visions and dreams.[24]

 

White settlers first moved into the area near Medicine Rocks in the 1880s. In 1888, the Standard Cattle Company established the "101 Ranch" in the area, which moved more than 30,000 head of cattle every year from Wyoming to Fallon County (Carter County then being part of Fallon County) and then to Wibaux (a cattle shipping hub for the Northern Pacific Railroad).[25] Hundreds of cowboys worked the ranch, and many stayed—helping to "settle" the country for whites. Many of the cowpunchers carved their names or graffiti into the sandstone of Medicine Rocks.[11] In the 1910s and 1920s, Medicine Rocks was a favorite picnic spot for local people, who often drove to the site every Sunday for feasting, entertainment, and conversation.

 

from Wikipedia

The Rollin' 70's! Sweet find at the thrift store! This 70's Barbie Country Camper! $2! It's in rough shape and missing the side door but it's quite loverly at two bucks! 😊 👏

 

See passenger's side here:

www.flickr.com/photos/paprihaven/50518817147/

Andrea del Sarto -

Virgin & Child between St Francis of Assisi & St John the Evangelist [1517]

Florence, Uffizi no.1577 - GAC; wm

*********************************************************************************

The so-called harpies are more like fallen angels or devilish angels.

 

The Virgin is standing on a pedestal which includes harpies sculpted in relief, from which the painting takes its name. At least, Vasari (and presumably his Florentine contemporaries) thought they were harpies; some modern art historians think that locusts are represented, in a reference to the Book of Revelation. Either way, they represent forces of evil being trampled on by the Virgin.[1]

 

It is a sacra conversazione showing the Virgin and Child flanked by putti and two saints (Saint Bonaventure or Francis and John the Evangelist). Compared to the stillness of earlier paintings of similar groups, here the "dynamism of the High Renaissance was inimical to the static quality of 15th-century art", so that "a composition of fundamentally classical purity is animated by a nervous energy in the figures to produce an unsettling impression of variety."[2]

 

It was completed in 1517 for the church of the convent and hospital of San Francesco dei Macci in Florence; this was run by the Poor Clares and is long closed, but the church building survives. The figures have a Leonardo-like aura, with a pyramid-shaped composition.[3] The harpies, figures from pagan mythology (or locusts), here represent temptation and sin, which the Virgin has conquered and stands upon.[4] The Christ child is shown as unusually old, and has an athletic contrapposto pose. He looks down to the putti, and all three have a "mischiefness" that contrasts with the serious, abstracted, air of the adults.[5]

 

Madonna of the Harpies (Italian: Madonna delle Arpie) is an altarpiece in oils by Andrea del Sarto, a major painter of the High Renaissance. It was commissioned in 1515 and was signed and dated by the artist in 1517 in the inscription on the pedestal; it is now in the Uffizi in Florence. It was praised by Giorgio Vasari, and is arguably the artist's best-known work.

 

Source: wikimedia

en.wikipedia.org/wiki/Madonna_of_the_Harpies

a little quilt (11 inches wide) for frank's teacher gift - mrs smith is having a baby in october and i found out what colours the nursery are by stealth. (and by asking miss roberts in year 2) it's a bit wobbly, but hopefully she'll like it. who wants straight walls in a house anyway, hey?

The Nikola Tesla Museum (Serbian: Музеј Николе Тесле / Muzej Nikole Tesle) is located in the central area of Belgrade. It holds more than 160,000 original documents, over 2,000 books and journals, over 1,200 historical technical exhibits, over 1,500 photographs and photo plates of original, technical objects, instruments and apparatus, and over 1,000 plans and drawings. The Nikola Tesla Archive was inscribed on UNESCO's Memory of the World Programme Register in 2003 due to its critical role regarding history of electrification of the world and, more importantly, future technological advancements in this area.

 

The Nikola Tesla Museum is housed in a residential villa built in 1927 according to project of Dragiša Brašovan, a distinguished Serbian architect. The building was used for various purposes until December 5, 1952, when Nikola Tesla Museum was founded in accordance with the decision of the Government of the Federal People's Republic of Yugoslavia. The material for the museum was taken from New York bound for Belgrade, Yugoslavia on September 7, 1951 as a result of efforts by Sava Kosanovic, Tesla's nephew and closest relative (KGB agent, codename "KOLO", see American Espionage and Project Venona) and his attorney Wittenberg. It has been said this was "Tesla's will." No legal instrument or documentation bearing Tesla's signature has ever been found to substantiate this claim, nor has the Museum allowed an independent, unbiased researcher to verify the existence of such records. It is believed that Tesla died in testate.[2]

 

It is a deviation from standard archival practice that Tesla's work is contained outside of the original geographical context in which his life occurred. Tesla was an American citizen, and considered his prize possession to be his naturalization papers. In contrast, he spent only 31 hours of his entire life in Serbia. Over the past 60 years, a number of his papers[3][4] have suffered water damage from neglect. This has led historians to consider it a disservice to Tesla that his trunks were removed from the United States of America in the first place. With renewed worldwide interest about Tesla's work in the areas of mechanical and electrical engineering, full and unhindered access is expected. However, it is certain that many original documents are uncataloged and have already been lost, stolen, censored or damaged.

 

en.wikipedia.org/wiki/Nikola_Tesla_Museum

 

Nikola Tesla (Serbian: Никола Тесла; 10 July 1856 – 7 January 1943) was an inventor, mechanical engineer, and electrical engineer. He was an important contributor to the birth of commercial electricity, and is best known for his many revolutionary developments in the field of electromagnetism in the late 19th and early 20th centuries. Tesla's patents and theoretical work formed the basis of modern alternating current (AC) electric power systems, including the polyphase system of electrical distribution and the AC motor. This work helped usher in the Second Industrial Revolution.

 

Born an ethnic Serb in the village of Smiljan (now part of Gospić), in the Croatian Military Frontier of the Austrian Empire (modern-day Croatia), Tesla was a subject of the Austrian Empire by birth and later became an American citizen. Because of his 1894 demonstration of wireless communication through radio and as the eventual victor in the "War of Currents", he was widely respected as one of the greatest electrical engineers who worked in America. He pioneered modern electrical engineering and many of his discoveries were of groundbreaking importance. In the United States during this time, Tesla's fame rivaled that of any other inventor or scientist in history or popular culture. Tesla demonstrated wireless energy transfer to power electronic devices as early as 1893, and aspired to intercontinental wireless transmission of industrial power in his unfinished Wardenclyffe Tower project.

 

Because of his eccentric personality and his seemingly unbelievable and sometimes bizarre claims about possible scientific and technological developments, Tesla was ultimately ostracized and regarded as a mad scientist by many late in his life.[5] Tesla died with little money at the age of 86 in a hotel suite in New York City.[6]

 

The SI unit measuring magnetic field B (also referred to as the magnetic flux density and magnetic induction), the tesla, was named in his honor (at the CGPM, Paris, 1960).

 

en.wikipedia.org/wiki/Nikola_Tesla

Heuchera Myrtle Goutweed Lamium Lily-of-the-Valley Cranesbill

 

From my set entitled “Heuchera”

www.flickr.com/photos/21861018@N00/sets/72157607185356154/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.

Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.

Though tangy and slightly astringent, the leaves may be used to liven up bland greens.

 

Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.

 

From my set entitled “Lily of the Valley”

www.flickr.com/photos/21861018@N00/sets/72157607213707592/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Convallaria

Convallaria majalis, commonly known as the Lily of the Valley or Lily-of-the-Valley, is the only species in the genus Convallaria in the flowering plant family Ruscaceae, formerly placed in the lily family Liliaceae or in its own family called Convallariaceae. This woodland plant is native throughout the cool temperate Northern Hemisphere in Asia and Europe and a limited native population in Eastern USA [1] (Convallaria majalis var. montana). There is, however, some debate as to the native status of the American species.[2] It is a herbaceous perennial plant that forms extensive colonies by spreading underground stems called rhizomes that send out stolons. These send up numerous stems each spring. The stems grow to 15-30 cm tall, with one or two leaves 10-25 cm long, flowering stems have two leaves and a raceme of 5-15 flowers on the stem apex. The flowers are white tepals (rarely pink), bell-shaped, 5-10 mm diameter, and sweetly scented; flowering is in late spring, in mild winters in early March. The fruit is a small orange-red berry 5-7 mm diameter that contains a few large whitish to brownish colored seeds that dry to a clear translucent round bead 1 to 3 mm wide. Plants are self-sterile, and colonies of one clone do not set seed.[3]

 

There are three subspecies [4] that have sometimes been separated out as distinct species by a few botanists.

 

Convallaria majalis var. keiskei - from China and Japan with red fruit and bowl shaped flowers

 

Convallaria majalis var. majalis - from Eurasia with white midribs on the flowers.

Convallaria majalis var. montana - from the USA with green tinted midribs on the flowers.

 

All parts of the Lily of the Valley are highly poisonous, containing cardiac glycosides and saponins, although the plant has been used as a folk remedy in moderate amounts[5]. If the plant is touched or handled, hands should be washed before doing anything else.

Convallaria majalis is a popular garden plant, grown for the scented flowers. A number of different forms are grown including plants with double flowers, rose colored flowers, plants with variegated foliage and forms with larger size. Some consider it a weed, because it can spread over a wide area of gardens and other places where it is planted and can be difficult to contain or remove.

 

Lily of the Valley is used as a food plant by the larvae of some Lepidoptera species including Grey Chi.

 

The flower is also known as Our Lady's tears since, according to Christian legend, the tears Mary shed at the cross turned to Lilies of the Valley. According to another legend, Lilies of the Valley also sprang from the blood of St. George during his battle with the dragon. Other names include May Lily, May Bells, Lily Constancy, Ladder-to-Heaven, Male Lily and Muguet.

 

Traditionally, Lily of the Valley is sold in the streets of France on May 1. Lily of the Valley became the national flower of Finland in 1967. The Norwegian municipality Lunner has a Lily of the Valley in its coat-of-arms. It is the official flower of Alpha Delta Phi fraternity, Pi Kappa Alpha fraternity, Kappa Sigma fraternity, Delta Omicron fraternity, Alpha Epsilon Phi sorority, and Alpha Phi sorority.

 

The name "Lily of the Valley" is also used in some English translations of the Bible in Song of Songs 2:1, although whether or not the Hebrew word "shoshana" (usually denoting a rose) originally used there refers to this species is uncertain. The meaning of this flower is "You will find Happiness."

 

From my set entitled “Lamium”

www.flickr.com/photos/21861018@N00/sets/72157607217474399/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

 

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Deadnettle

Lamium (deadnettle) is a genus of about 40-50 species of flowering plants in the family Lamiaceae, of which family it is the type genus. They are all herbaceous plants native to Europe, Asia, and north Africa, but several have become very successful weeds of crop fields and are now widely naturalised across the temperate world.

The genus includes both annual and perennial species; they spread by both seeds and stems rooting as they grow along the ground.

 

The common name refers to their superficial resemblance to the unrelated stinging nettles, but unlike those, they do not have stinging hairs and so are harmless or apparently "dead".

 

Lamiums are frost hardy and grow well in most soils. Flower colour determines planting season and light requirement: white- and purple-coloured flowered species are planted in spring and prefer full sun. The yellow-flowered ones are planted in fall (autumn) and prefer shade. They often have invasive habits and need plenty of room. Propagate from seed or by division in early spring

   

NY COMIC CON DAY 2: It's so satisfying to know that fanboy geeks can find true love. And for all those "normies" out on the streets, bet you never get to make it with a green chick!

We had to cross airport property to reach this site!

"Jarlshof (/ˈjɑːrlzhɒf/ YARLZ-hof)[1] is the best known prehistoric archaeological site in Shetland, Scotland. It lies near the southern tip of the Shetland Mainland and has been described as "one of the most remarkable archaeological sites ever excavated in the British Isles".[2] It contains remains dating from 2500 BC up to the 17th century AD.

The Bronze Age settlers left evidence of several small oval houses with thick stone walls and various artefacts including a decorated bone object. The Iron Age ruins include several different types of structures, including a broch and a defensive wall around the site. The Pictish period provides various works of art including a painted pebble and a symbol stone. The Viking age ruins make up the largest such site visible anywhere in Britain and include a longhouse; excavations provided numerous tools and a detailed insight into life in Shetland at this time. The most visible structures on the site are the walls of the Scottish period fortified manor house, which inspired the name "Jarlshof" that first appears in an 1821 novel by Walter Scott.

The site is in the care of Historic Scotland and is open from April to September.[3] In 2010 "The Crucible of Iron Age Shetland" including Mousa, Old Scatness and Jarlshof was added to those seeking to be on the "tentative list" of World Heritage Sites.[4]

Contents [show]

Location and etymology[edit]

Jarlshof lies near the southern tip of the Shetland Mainland, close to the settlements of Sumburgh and Grutness and to the south end of Sumburgh Airport. The site overlooks an arm of the sea called the West Voe of Sumburgh and the nearby freshwater springs and building materials available on the beach will have added to the location's attraction as a settlement. The south Mainland also provides a favourable location for arable cultivation in a Shetland context and there is a high density of prehistoric settlement in the surrounding area.[5] Jarlshof is only one mile from Scatness where the remains of another broch and other ruins of a similar longevity were discovered in 1975. There is a small visitor centre at Jarlshof with displays and a collection of artefacts.[6][7][8]

The name Jarlshof meaning "Earl's Mansion" is a coinage of Walter Scott,[9][10] who visited the site in 1814 and based it on the Scottish period name of "the laird's house". It was more than a century later before excavations proved that there had actually been Viking Age settlement on the site,[8][11] although there is no evidence that a Norse jarl ever lived there.[12]

History[edit]

  

Jarlshof with West Voe of Sumburgh beyond

The remains at Jarlshof represent thousands of years of human occupation, and can be seen as a microcosm of Shetland history. Other than the Old House of Sumburgh (see below) the site remained largely hidden until a storm in the late 19th century washed away part of the shore, and revealed evidence of these ancient buildings. Formal archaeological excavation started in 1925 and Jarlshof was one of two broch sites which were the first to be excavated using modern scientific techniques between 1949–52.[9] Although the deposits within the broch had been badly disturbed by earlier attempts, this work revealed a complex sequence of construction from different periods.[13] Buildings on the site include the remains of a Bronze Age smithy, an Iron Age broch and roundhouses, a complex of Pictish wheelhouses, a Viking longhouse,[10][14] and a mediaeval farmhouse. No further excavations have been undertaken since the early 1950s and no radiocarbon dating has been attempted.[8]

Neolithic[edit]

The earliest finds are pottery from the Neolithic era, although the main settlement dates from the Bronze Age (see below). A site nearby has been dated to 3200 BC.[15]

Bronze Age[edit]

The Bronze Age in Scotland lasted from approximately 2000 BC to 800 BC.[16] The oldest known remains on the Jarlshof site date from this period, although there is evidence of inhabitation as far back as 2500 BC.[9][17] The remains of several small oval houses with thick stone walls date to the late Bronze Age and the structures show some similarity to Skara Brae on Mainland, Orkney, but are smaller and of a later date. These buildings may have been partly subterranean at the earliest period of inhabitation, a technique that provided both structural stability and insulation.[18]

There is also evidence of a cattle stall with a waste channel leading to a tank in a courtyard and a whale vertebra set into a wall that may have been used as a tethering post. Broken moulds from the smithy indicate that axes, knives, swords and pins were produced there and a bronze dagger was found at the site. The objects indicate the smith was trained in the Irish style of working.[19][20] Bone pins and awls also survive and an extraordinary bone "plaque". This latter object is 5 centimetres (2.0 in) long, has three holes bored into the ends and is decorated with various linear patterns. Its function is unknown.[21] The Bronze Age structures are overlain with sterile sand, suggesting a break in occupation prior to the next phase of building.[22]

Iron Age and Pictish period[edit]

  

The exterior of the wheelhouses at Jarlshof

The inhabitants of the Iron Age built part of their settlement on top of the Bronze Age one.[9] The structures include a complex roundhouse, replaced at a later stage by an "aisled roundhouse". Neither have been dated although artefacts found at this level include querns that suggest the latter may have been constructed prior to 200 BC.[23]

It is in this period that the broch was built. Part of the structure has been lost to coastal erosion, and modern sea defences have been erected. The tower was probably originally 13 metres (40 feet) or more high and as with many broch sites the position would have commanded fine views of the surrounding seas.[24] During this period archaeological sites in Shetland usually exhibit defensive fortifications of some kind, and Jarlshof is no exception.[25] An outer defensive wall associated with the broch contained a substantial (although rather poorly constructed) house and byre at one time.[26] This wall was utilised at a later stage to build a large roundhouse in the lee of the broch.[27]

  

The interior of a Jarlshof wheelhouse showing bays between the stone piers.

The earliest part of the wheelhouse complex has been dated to 200 BC, although other parts were built later, post-dating the 1st century BC–2nd century AD profusion of these structures in the Western Isles by several centuries.[28][29] Construction used the stones of the broch itself and two of the four main structures are amongst the best examples of their type.[27][30] Three successive periods of construction were undertaken, and the best preserved retains a significant proportion of the stone part of its roof and displays a series of corbelled bays.[31] One structure was built as a circular building and the radial piers were inserted afterwards. This may have been an earlier, less stable design. In one case the piers are alternately rectangular and V-shaped, in another all are to the latter design, again suggesting a developing style. Unlike many wheelhouses elsewhere in Scotland that are built into the earth, the Jarlshof structures seem to have been built from ground level upwards.[32]

Amongst the artefacts dated to the later Pictish period is a bone pin with a rounded head probably used as a hair or dress pin. It has been dated to AD 500–800.[33] "Painted pebbles" are associated with more than two dozen Pictish sites and one such stone was unearthed at Jarlshof. This rectangular slate fragment had a cross painted onto it and two small "S" shaped scrolls suggesting an association with Christian beliefs.[34] One of only two Pictish symbol stones found in Shetland was found here, exhibiting a double disc shape and a Z-rod.[35] Pottery finds include buff ware from the period after AD 10, including bowls with flat rims. The quality of the pots appears to decline in the period prior to Viking settlement, becoming thinner-walled and generally more crude in design.[36]

Norse period[edit]

Remains from this era used to cover most of the site, and it is believed the Norse inhabited the site continuously from the ninth to the 14th centuries.[37] Excavations in the 1930s by Alex Curle found the first confirmed Norse longhouse in the British Isles and later digs in the 1950s found evidence of fishing and farming activities.[38] Sheep, cattle, pigs and ponies were kept, Atlantic cod, saithe and ling were eaten, and whale and seal bones have also been found along with the remains of a single dog. Chicken bones are rare in the Norse levels.[39]

  

Re-creation of a Viking settlement in L'Anse-aux-Meadows, Newfoundland, Canada similar in scale to Jarlshof.

There are seven Norse-era houses at Jarlshof, although no more than two were in use at one time. There were several outbuildings, including a small square structure with a large hearth that may have been a sauna and which was later replaced by two separate outhouses.[8][40][41] The largest house from this period is a 20 metres (66 ft) by 5 metres (16 ft) rectangular chamber with opposing doors, timber benches along the long sides, and a hearth in the centre. Unlike the earlier structures that had conical thatched roofs, those of the Norse buildings had ridged timber frames. At a later period this large structure was also used to shelter domesticated animals (at which stage it had a paved centre and animal stalls along the sides) and later still may have become an outbuilding. The door to the byre puzzled archaeologists as it appeared to be too narrow to admit a cow. The mystery was solved when a byre door was excavated at Easting on Unst which had a narrow base similar to Jarlshof's but which widened out to become cow-shaped.[42][43] Another outbuilding has been interpreted as a corn-drying room.[41] Later houses were built at 90 degrees to the longhouse and these are of a type and size that is similar to croft houses that were common in Shetland until the mid-19th century.[44]

One hundred and fifty loom weights were found suggesting wool was an important aspect of Norse-era life. Line weights from the later Norse period and associated evidence from elsewhere in Shetland indicates that deep-water fishing was also a regular undertaking.[45] The Jarlshof site also produced ample evidence of the use of iron tools such as shears, scissors, sickles, and a fish-hook and knife. The ore was locally obtained bog iron.[46] Hazel, birch and willow grew in the area at this time but the pine and oak must have been driftwood or imported timber.[8]

Drawings scratched on slate have been found of dragon-prowed ships, portraits of an old man and of a young, bearded man and of a four-legged animal.[37] The drawings were found in the Viking levels but are Pictish in style and may either pre-date the arrival of the Norse or indicate a continuity of art and culture from one period to the next.[8][47] Similarly, although the rectangular shape of the Norse-era buildings are quite unlike the earlier rounded Pictish style, the basement courses of the two periods are constructed in the same way. The Viking-style loom weights, spindle whorls and other vessels were found with stone discs and other objects of a Pictish design.[48] A bronze–gilt harness mounting made in Ireland in the 8th or 9th centuries has also been found[8][49] and many items from this period are in the Shetland Museum.[38] Jarlshof contains the most extensive remains of a Viking site visible anywhere in Britain.[8] "

~Wikipedia

The Dark Enlightenment, also called the Neo-Reactionary movement (abbreviated to NRx), is an anti-democratic, anti-egalitarian,[1] and reactionary philosophical and political movement.[2] It can be understood as a reaction against values and ideologies associated with Enlightenment,[3][4][5] advocating for a return to traditional societal constructs and forms of government, such as absolute monarchism and cameralism.[3] The movement promotes the establishment of authoritarian capitalist city-states that compete for citizens. Neoreactionaries refer to contemporary liberal society and its institutions as "the Cathedral", associating them with the Puritan church, and their goals of egalitarianism and democracy as "the Synopsis". They say that the Cathedral influences public discourse to promote progressivism and political correctness,[6][7] which they view as a threat to Western civilization.[8][2] Additionally, the movement advocates for scientific racism, a view which they say is suppressed by the Cathedral.[6][7][9][10]

 

Curtis Yarvin began constructing the basis of the ideology in the late 2000s,[11][12] with Nick Land elaborating and coining the term "Dark Enlightenment". The movement has also received contributions from prominent figures, such as venture capitalist Peter Thiel.[13] Despite criticism, the movement has gained traction with parts of Silicon Valley, as well as with several political figures associated with United States President Donald Trump, including political strategist Steve Bannon, Vice President JD Vance, and Michael Anton.

 

The Dark Enlightenment has been described as part of the alt-right, as its theoretical branch,[14][15] and as neo-fascist.[14][16][17][18] It has been described as the most significant political theory within the alt-right,[2] as "key to understanding" the alt-right political ideology,[2] and as providing a philosophical basis for considerable amounts of alt-right political activity.[19] University of Chichester professor Benjamin Noys described it as "an acceleration of capitalism to a fascist point". Nick Land disputes the similarity between his ideas and fascism, saying that "Fascism is a mass anti-capitalist movement", whereas he prefers that "capitalist corporate power should become the organizing force in society".[14] Historians Angela Dimitrakaki and Harry Weeks link the Dark Enlightenment to neofascism via Land's "capitalist eschatology" which they argue is grounded in the supremacist theories of fascism.[20] Neoreactionary ideas have also been described as "feudalist"[6] and "techno-feudalist".[21][4]

 

History

 

Curtis Yarvin is one of the founders of the movement.

Neo-reactionaries are an informal community of bloggers and political theorists who have been active since the 2000s. Steve Sailer and Hans-Hermann Hoppe are contemporary forerunners of the ideology, which is also heavily influenced by the political thought of Thomas Hobbes, Thomas Carlyle, and Julius Evola.[21][7][22]: 1  In 2007 and 2008, software engineer Curtis Yarvin, writing under the pen name Mencius Moldbug, articulated what would develop into Dark Enlightenment thinking. Yarvin's theories were elaborated and expanded by philosopher Nick Land, who first coined the term "Dark Enlightenment" in his essay of the same name.[7][23][24][22]

 

By mid-2017, NRx had moved to forums such as the Social Matter online forum, the Hestia Society, and Thermidor Magazine. In 2021, Yarvin appeared on Fox News' Tucker Carlson Today, where he discussed the United States' withdrawal from Afghanistan and his concept of the 'Cathedral', which he says is the current aggregation of political power and influential institutions that is controlling the country.[25] Emerson Brooking, an expert in online extremism, said that "Yarvin escaped the fringe blogosphere because he wrapped deeply anti-American, totalitarian ideas in the language of U.S. start-up culture."[26]

 

Influence in government

Several prominent Silicon Valley investors and Republican politicians have been associated with the philosophy. Steve Bannon has read and admired Yarvin's work, and there have been allegations that he has communicated with Yarvin which Yarvin has denied.[27][6][9] Bannon would later consider Yarvin an enemy, which Yarvin did not reciprocate.[28] Michael Anton, the State Department Director of Policy Planning during Trump's second presidency, has also discussed Yarvin's ideas,[29] and Yarvin has claimed to have given staffing recommendations to him.[28] In January 2025, Yarvin attended a Trump inaugural gala in Washington; Politico reported he was "an informal guest of honor" due to his "outsize influence over the Trumpian right."[28] Marc Andreessen has quoted Yarvin and referred to him as a "friend",[4] also investing in his startup Tlon and urging people to read him.[5]

 

According to historian of conservatism Joshua Tait, "Moldbug's relationship with the investor-entrepreneur Thiel is his most important connection."[30] Max Chafkin described Yarvin as the "house political philosopher" for Thiel's circle of influence (or "Thielverse"),[31][32] including people such as Blake Masters, and Yarvin has referred to Thiel as "fully enlightened".[31][5] Vanity Fair noted that both have been influential in the New Right and the National Conservatism Conference.[31] Thiel had also invested in Yarvin's Tlon.[5]

 

U.S. Vice President JD Vance has cited Yarvin as an influence[33][34][35] and has connections to Thiel.[32][31] Prior to his election to the Vice Presidency, JD Vance cited in his 2022 Senate Campaign Yarvin's "strongman plan to 'retire all government employees,' which goes by the mnemonic 'RAGE.'"[36] In a 2021 interview, "Vance said Trump should 'fire every single midlevel bureaucrat, every civil servant in the administrative state, and replace them with our people. And when the courts stop you, stand before the country and say, "The chief justice has made his ruling. Now let him enforce it."'"[37] Yarvin has praised Vance, stating "in almost every way, JD is perfect", but also considered his relationship with Vance overstated by the media, as they've rarely communicated. He also praised Trump for breaking from Republican practices of trying to "play ball and help the system work" and instead "trying to move all of the levers of this machine that he can move", though also stating "what he’s doing is not at all what I would do with an opportunity like this. But I think that what I would do is probably not possible."[28]

 

It has been suggested that the Department of Government Efficiency, or DOGE, bears resemblance to RAGE, as advocated for by Yarvin.[37][4] Land, when asked by the Financial Times if he approved of DOGE, said "the answer is definitely yes", having also endorsed Steve Bannon's goal of "deconstruction of the administrative state".[38] In a report by The Washington Post, two DOGE advisors described Yarvin as an "intellectual beacon" for the department, with one saying, "It's an open secret that everyone in policymaking roles has read Yarvin."[26] The report said that Yarvin, initially approving of the Trump administration, had become critical of DOGE. He cited its handling of the National Science Foundation and National Institutes of Health, stating "Instead of fighting against these people because they’re an enemy class who votes for the Democrats, you [should be] saying, 'Oooh, we have cookies for you.'"[26] However, Tait said that Yarvin bears some responsibility for DOGE, saying, "It would have been created, probably, regardless. But he spent a good chunk of time creating a justifying framework for it."[26] Political philosopher Danielle Allen said that DOGE is clearly based on Yarvin's work, and the outcome was the natural result of the shortcomings in Yarvin's views.[26]

 

CNN notes that Thiel, Andreessen, Vance and Anton don't deny that they are listening to Yarvin, but they have indicated that they do not accept all of Yarvin's theories:

 

An advisor to Vance denied the vice president has a close relationship with Yarvin, saying the two have met 'like once.' Thiel, who did not respond to a request for comment, told The Atlantic in 2023 he didn't think Yarvin's ideas would 'work' but found him to be an 'interesting and powerful' historian. And earlier this year [2025], Andreessen, who also did not respond to a request for comment, posted on X that one can read 'Yarvin without becoming a monarchist.'[39]

 

Beliefs

Opposition to democracy

Central to neoreactionarism's ideas is a belief in freedom's incompatibility with democracy,[8] with Land having stated "Democracy tends to fascism".[6] Yarvin and Land drew inspiration from libertarians such as Thiel.[6][40][8] Thiel had stated that, "I no longer believe that freedom and democracy are compatible", although he opined that trying to radically alter the current U.S. government was unrealistic. He also suggested that Yarvin's methods would lead to Xi's China or Putin's Russia.[41] Yuk Hui notes that neoreactionaries consider the Enlightenment values of democracy and equality to be degenerative and limiting, respectively.[8] Tait considers Yarvin to have "a complex relationship" with Enlightenment values, as he adopts a secular and rationalist view of reality while rejecting its key political ideals of equality and democracy.[42] Sergio C. Fanjul contrasts the movement's far-right critique of the Enlightenment with the Frankfurt School's critique of the Enlightenment as a Eurocentric prelude to colonialism and war.[21]

 

Yarvin told Vanity Fair "The fundamental premise of liberalism is that there is this inexorable march toward progress. I disagree with that premise."[31] A 2016 article in New York magazine notes that "Neoreaction has a number of different strains, but perhaps the most important is a form of post-libertarian futurism that, realizing that libertarians aren't likely to win any elections, argues against democracy in favor of authoritarian forms of government."[19]

 

Journalist Andrew Sullivan writes that neoreaction's pessimistic appraisal of democracy dismisses many advances that have been made and that global manufacturing patterns also limit the economic independence that sovereign states can have from one another.[43]

 

Support for authoritarianism

Yarvin supports authoritarianism on right-libertarian grounds, saying that the division of political sovereignty expands the scope of the state, whereas strong governments with clear hierarchies remain minimal and narrowly focused.[44] Yarvin's "A Formalist Manifesto" advocates for a form of "neocameralism" in which small, authoritarian "gov-corps" coexist and compete with each other, an idea anticipated by Hans-Hermann Hoppe.[45][6][7][38] Academic Jonathan Ratcliffe describes the model as "a network of hyper-capitalist city states ruled by authoritarian CEO monarchs."[46] Yarvin claims freedom under the system, known as the "Patchwork",[47][32] would be guaranteed by the ability to "vote with your feet", whereby residents could leave for another gov-corp if they felt it would provide a higher quality of life, thus forcing competition. Land reiterates this with the political idea "No Voice, Free Exit", taken from Albert Hirschman's Exit, Voice, and Loyalty model in which voice is democratic and exit is departure to another society:[6][48]

 

"If gov-corp doesn’t deliver acceptable value for its taxes (sovereign rent), [citizens] can notify its customer service function, and if necessary take their custom elsewhere. Gov-corp would concentrate upon running an efficient, attractive, vital, clean, and secure country, of a kind that is able to draw customers."[40]

 

Yarvin has advocated for a "dictator-president" or "national CEO".[49] He has described himself as a royalist, monarchist, and Jacobite;[6][46] and has praised cameralism, Frederick the Great,[9][8][3] and Thomas Carlyle.[21] He is also influenced by Austrian economics,[21][6][5] particularly Hoppe,[7][21][6] Ludwig von Mises, Murray Rothbard,[6] and Friedrich Hayek.[21] Ava Kofman credits Hoppe's Democracy: The God That Failed with pushing Yarvin away from standard libertarian thought, with authoritarianism scholar Julian Waller saying "it's not copy-and-pasted, but it is such a direct influence that it's kind of obscene".[5] Yarvin admires Chinese leader Deng Xiaoping for his pragmatic and market-oriented authoritarianism, and the city-state of Singapore as an example of a successful authoritarian regime. He sees the US as soft on crime, dominated by economic and democratic delusions.[44] He additionally cites Dubai and Hong Kong as providing a high quality of life without democracy, stating "as Dubai in particular shows, a government (like any corporation) can deliver excellent customer service without either owning or being owned by its customers."[47]

 

Andy Beckett stated that NRx supporters "believe in the replacement of modern nation-states, democracy and government bureaucracies by authoritarian city states, which on neoreaction blogs sound as much like idealised medieval kingdoms as they do modern enclaves such as Singapore."[50] Ana Teixeira Pinto describes the political ideology of the gov-corp model as a form of classical libertarianism, stating "they do not want to limit the power of the state, they want to privatise it."[51] According to criminal justice professor George Michael, neoreaction seeks to perform a "hard reset" or "reboot" on democracy rather than gradual reform.[52] Neoreactionary ideas have also been referred to as "feudalist"[6] and "techno-feudalist".[21][4] Yarvin's proposals are not fully detailed beyond philosophy and general principles,[46] and the economic ability to leave and the willingness of other locations to accept immigrants are not generally considered.[2] Andrew Jones criticized his arguments as "vaguely defined and often factually incorrect".[2]

 

The process of instituting authoritarianism

Yarvin describes his proposals as a modern version of monarchy[46] and advocates for an American monarch dissolving elite academic institutions and media outlets within the first few months of their reign,[53] stating "if Americans want to change their government, they're going to have to get over their dictator phobia."[32] Time notes that Yarvin's proposal for a "Butterfly Revolution" envisions an internal coup to replace democracy with a privatized executive authority, which includes his RAGE proposal to "retire all government employees" in favor of loyalists.[4] While conceding that it may not be possible, he stated that, were he in Trump's position, he would take executive control of government institutions such as the Federal Reserve, keeping those "that have a very clear role and are not politicized in any way" while disposing of others such as the State Department. He advocates constitutionally challenging laws such as impoundment control, birthright citizenship, and Marbury v. Madison, potentially defying the courts if it were necessary and "unifying". However, he also stated "if you’re doing that in a situation where the vibe is like, 'This is going to be the first shot in the civil war between red America and blue America' [...] I think it’s bad", considering Trump and America "unready for that level of change".[28]

 

He suggested in a January 2025 New York Times interview that there was historical precedent to support his reasoning, asserting that in his first inaugural address, Franklin Delano Roosevelt "essentially says, Hey, Congress, give me absolute power, or I'll take it anyway. So did FDR actually take that level of power? Yeah, he did." The interviewer, David Marchese, remarked that "Yarvin relies on what those sympathetic to his views might see as a helpful serving of historical references — and what others see as a highly distorting mix of gross oversimplification, cherry-picking and personal interpretation presented as fact."[54] Scholars have described Yarvin's arguments as misrepresenting the historical record, and said that the historical autocracies he praises were considered deeply oppressive by their subjects.[26]

 

The Cathedral

Neoreactionaries refer to contemporary liberal society and institutions which they oppose as the 'Cathedral', considering them the descendant of the Puritan church, and their goals of egalitarianism and democracy as "the Synopsis". They say that the Cathedral influences public discourse to promote progressivism and political correctness.[6][7] According to neoreactionaries, the Cathedral's adoption of liberal humanism is the primary reason for an alleged decline of Western civilization.[8][2] A neoreactionary online dictionary defines the Cathedral as "the self-organizing consensus of Progressives and Progressive ideology represented by the universities, the media, and the civil service", with an agenda that includes "women’s suffrage, prohibition, abolition, federal income tax, democratic election of senators, labor laws, desegregation, popularization of drugs, destruction of traditional sexual norms, ethnic studies courses in colleges, decolonization, and gay marriage."[55][6] Yarvin views it as an oligarchy of educated elites competing for status[31] and has accused Ivy League schools, The New York Times, and Hollywood of being members.[9][10]

 

Land and others argue that enforcement of political correctness by these institutions means that they are a religious entity, hence the term 'Cathedral'.[56] Yarvin, described by El País as a former progressive,[21] describes these institutions as a "twentieth-century version of the established church",[55] with the educational system as a method for indoctrinating people into the Cathedral, enforcing compliance with progressive ideology and preventing them from thinking for themselves.[55] Yarvin defines a church as "an organization or movement which tells people how to think", and includes schools as churches.[2]

 

The concept of the Cathedral has been described as "fundamental to the alt-right's understanding of the humanities".[2] Academic Andrew Woods describes the Cathedral as one of one of two central ideas that enable the alt-right to dismiss criticism, the other being cultural Marxism.[55] He writes that both ideas function to pre-emptively neutralize attempts at refutation, and that they are especially used to delegitimize critical theory. The Cathedral allegedly "seeks to delude the American public" while amassing power and influence, and critical theory is portrayed as the ideological justification for the pursuit of power. Progressive thought is seen as a disguise for power-seeking, and Woods says that Yarvin takes advantage of the inability to prove the unconscious desires of others to argue that "everyone's primary motivation in life is their craving for greater power."[55] El País compared the concept to QAnon and its claims of a deep state.[21]

 

Race

Neoreactionaries endorse scientific racism, a pseudoscientific view which they refer to as "human biodiversity". Land coined the term "hyperracism" to refer to his views on race; he believes that socioeconomic status is "a strong proxy for IQ" rather than race specifically (though he acknowledges a correlation between race and socioeconomic status), and that meritocracy, particularly space colonization, will "function as a highly-selective genetic filter" that propagates mostly (but not strictly) Whites and Asians.[6][7] Roger Burrows, writing for The Sociological Review, stated "In Land's schema, the consumers ‘exiting’ from competing gov-corps quickly form themselves into, often racially based, microstates. Capitalist deterritorialization combines with ongoing genetic separation between global elites and the rest of the population resulting in complex new forms of ‘Human Bio-diversity’. He described Land's views as eugenicist and compared them to those of The Bell Curve.[48]

 

According to Land, the concepts of hate speech and hate crimes are simply methods to suppress ideas that contradict the Cathedral's dogma. He says that statements described as "hate speech" are not related to hatred but are simply a type of defiance of the Cathedral's religious orthodoxy. The suppression is carried out by the "Media-Academic Complex" because the ideas are seen as reflecting a "heretical intention".[55]

 

Yarvin has stated "Although I am not a white nationalist, I am not exactly allergic to the stuff", believing it to simply be an ineffective tool for "the very real problems about which it complains."[57] Yarvin has endorsed arguments for black racial inferiority and says they are being suppressed by the Cathedral.[9][10] He has said that some races are more suited to slavery than others[58] and has been described as a modern-day supporter of slavery, a description he disputes.[59][58]

 

Accelerationism

One of Land's goals with neoreactionarism is to drive accelerationism, viewing capitalism and technology as a way to destabilize existing systems and create radical change. Roger Burrows stated of Land's interpretation of Yarvin, "The Dark Enlightenment itself might be best thought of as the application of Land’s accelerationist framework to Moldbug’s neocameralism."[48] Land views democratic and egalitarian policies as only slowing down acceleration and a technocapital singularity, stating "Beside the speed machine, or industrial capitalism, there is an ever more perfectly weighted decelerator [...] comically, the fabrication of this braking mechanism is proclaimed as progress. It is the Great Work of the Left."[10][6] Vincent Le states "If Land is attracted to Moldbug’s political system, it is because a neocameralist state would be free to pursue long-term technological innovation without the democratic politician’s need to appease short-sighted public opinion to be re-elected every few years."[60] Vox attributed such views to Land living in China's "techno-authoritarian political system" and his admiration for Deng Xiaoping and Singapore's Lee Kuan Yew.[10] Land has referred to Lee as an "autocratic enabler of freedom", and Yarvin has also praised Lee.[61] Yuk Hui considers sinofuturism to be a model for the movement's pursuit of technological progress which results from a perceived decline of the West. According to Hui, political fatigue leads people such as Land to look towards Asian cities such as Shanghai, Hong Kong, and Singapore as examples of "depoliticized techno-commercial utopia". China is viewed as smoothly importing Western science and technology while Western innovation is constantly limited by the progressivism of the Cathedral. Hui considers this to be "simply a detached observation of these places that projects onto them a common will to sacrifice politics for productivity".[8] Land has advocated for accelerationists to support the neoreactionary movement, though many have distanced themselves from him in response to his views on race.[50]

 

Formalism

In the inaugural article published on Unqualified Reservations in 2007, entitled "A Formalist Manifesto", Yarvin used the term "formalism" for his ideas, advocating for the formal recognition of the realities of existing power by aligning property rights with current political power as a solution to violence.[62][63] Courtney Hodrick, writing for Telos, stated "in his view, all politics are individual property relationships and the social contract is an agreement between citizen-consumers and governor-owners. Your consent to an agreement such as 'I won’t kill anyone on the street,' he explains, is 'just your agreement with whoever owns the street.' This agreement means that the owner of the street may use violence to enforce this agreement, just as individuals may use violence to defend their own property. His concern [...] is deciding who has the monopoly on the legitimate use of violence. But rather than concern himself with justifying legitimacy politically or metaphysically, Moldbug calls for a naturalization of existing property relations."[47] Yarvin describes the U.S. as "an big [sic] old company that holds a huge pile of assets, has no clear idea of what it’s trying to do with them, and is thrashing around like a ten-gallon shark in a five-gallon bucket",[46] advocating formalism as a solution:

 

"To a formalist, the way to fix the US is to dispense with the ancient mystical horseradish, the corporate prayers and war chants, figure out who owns this monstrosity, and let them decide what in the heck they are going to do with it. I don't think it's too crazy to say that all options—including restructuring and liquidation—should be on the table."[64]

 

He rejects democracy as "ineffective and destructive" and attributes the successes of the post-WWII democratic system to its actually being "a mediocre implementation of formalism". He describes democratic politics as "a sort of symbolic violence, like deciding who wins the battle by how many troops they brought".[64] Rejecting pacifism for what he perceives as a tendency to advocate for the rectification of injustices instead of seeking an end to armed conflict, Yarvin promotes the adoption of classical approaches to international law and the idea of "formalising the military status quo"[65] as the most direct path to peace. He identifies the form of pacifism which prioritises "righteousness" instead of peace with the Calvinist doctrine of providence, and "ultracalvinism" as the ideological/theological basis for contemporary American interventionism.[66][67]

 

Relation to other movements

Seasteading

Prominent figures in the neoreactionary movement have connections to seasteading, the creation of sovereign city-states in international waters, which has been characterized as a way to execute the movement's ideas. Yarvin has connections to Patri Friedman, founder of The Seasteading Institute and grandson of Milton Friedman, and Thiel was once its main investor.[6][21][48] Thiel has also advocated the use of cyberspace, outer space, and the oceans to outstrip traditional politics via capitalism in order to realize libertarianism.[8] Land has quoted Friedman in stating that "free exit is so important that…it [is] the only Universal Human Right".[48]

 

The Network State

See also: City of Starbase Incorporation election and Free State Project

Balaji Srinivasan has proposed the Network State, a plan for technology executives and investors to remove themselves from democracy and create their own sovereign states.[68] Journalists have noted similarities of the Network State to Yarvin's ideas,[69][31] describing Srinivasan as a leader of the neoreactionary movement[68] and a friend of Yarvin.[5] Srinivasan had also messaged Yarvin suggesting potentially using the Dark Enlightenment audience to dox reporters.[70][5] Comparisons have also been made to Galt's Gulch from Atlas Shrugged[69][71] and Donald Trump's proposed "Freedom Cities".[72][73] Supporters include Marc Andreessen,[68][71][74][75][69] Garry Tan,[68][74] Peter Thiel,[71][74][75][76] Michael Moritz,[74] Patrick Collison,[74] Patri Friedman,[75][76] Roger Ver,[75] Naval Ravikant,[75][69] Joe Lonsdale,[76] Bryan Johnson,[76] the Winklevoss twins,[75][76] Sam Bankman-Fried,[75] Sam Altman,[71][77] Shervin Pishevar,[69] Brian Armstrong,[69] and Vitalik Buterin.[69] Proposed cities alleged to be examples of the Network State include California Forever,[74] Praxis,[74][75] Telosa,[74] Neom,[76] Liberland,[71] and Elon Musk's Starbase City.[78] Established cities alleged to be part of the Network state include Próspera in Honduras[75] and Itana in Nigeria.[75] Other locations of interest include Greenland,[79] French Polynesia,[76] Palau,[76][69] South Asia,[76] Ghana,[80] the Marshall Islands,[80] Panama,[80] the Bahamas,[69] Montenegro,[69] Costa Rica,[69] and Rhode Island.[81]

 

Cryptocurrency and Web3 are central components of the project.[76] Its legal framework also involves special economic zones,[76] and foreign investors have used Investor–state dispute settlement (ISDS) in the case of Próspera.[82] The movement has been compared to Trumpism, with common ideologies including a belief in Strauss–Howe generational theory and hostility to left-wing politics, the news media and the administrative state.[76]

 

Critics have described these projects as a form of neocolonialism,[76][71][83] corporate monarchy[71] or white saviorism.[83]

 

The Highland Rim Project, located in Tennessee and Kentucky, is a Christian nationalist community influenced by the Network State and was proposed by New Founding, a Christian venture capital firm that received funding from Andreessen and is connected to the Network State venture capital firm Pronomos Capital.[84][85] The Guardian has noted the community's ties to far-right groups and white nationalism.[86]

 

Surveillance capitalism

See also: Surveillance capitalism

Mother Jones cites Clearview AI and its founder Hoan Ton-That (who were in connection with Thiel and Yarvin) as an example of the Dark Enlightenment or neoreactionary thinking's influence on the development of surveillance technology.[87] A 2025 anonymous letter of a group of self-described former followers of the neoreactionary movement warned that the movement advocated for "techno-monarchism" in which its ruler would use "data systems, artificial intelligence, and advanced algorithms to manage the state, monitor citizens, and implement policies." It further warned that Elon Musk, in the context of his actions at the Department of Government Efficiency, was working "for his own power and the broader neo-reactionary agenda."[88]

 

Yarvin has outlined a vision for San Francisco where public safety would be enforced by constant monitoring of residents and visitors via RFID, genotyping, iris scanning, security cameras, and transportation which would track its location and passengers, reporting all of it to the authorities. The New Republic described the proposed surveillance system as "Orwellian".[32]

 

The alt-right

The Dark Enlightenment has been described by journalists and commentators as part of the alt-right, specifically as its theoretical branch.[14][15] Journalist and pundit James Kirchick states that "although neo-reactionary thinkers disdain the masses and claim to despise populism and people more generally, what ties them to the rest of the alt-right is their unapologetically racist element, their shared misanthropy and their resentment of mismanagement by the ruling elites".[89]

 

Scholar Andrew Jones wrote in 2019 that the Dark Enlightenment is the most significant political theory within the alt-right, and that it is "key to understanding" the alt-right political ideology.[2] "The use of affect theory, postmodern critiques of modernity, and a fixation on critiquing regimes of truth", Jones remarked, "are fundamental to NeoReaction (NRx) and what separates it from other Far-Right theory".[2] Moreover, Jones argues that Dark Enlightenment's fixation on aesthetics, history, and philosophy, as opposed to the traditional empirical approach, distinguishes it from related far-right ideologies.[2]

 

Historian Joe Mulhall, writing for The Guardian, described Land as "propagating very far-right ideas."[90] Despite neoreaction's limited online audience, Mulhall considers the ideology to have "acted as both a tributary into the alt-right and as a key constituent part [of the alt-right]."[90] Journalist Park MacDougald described neoreactionarism as providing a philosophical basis for considerable amounts of alt-right political activity.[19][91]

 

The term "accelerationism", originally referring to Land's technocapitalist ideas, has been re-interpreted by some into the use of racial conflict to cause societal collapse and the building of white ethnostates, which has been linked to several white nationalist terrorist attacks such as the 2019 Christchurch mosque massacres. Vox described Land's shift towards neoreactionarism, along with neoreactionarism crossing paths with the alt-right as another fringe right wing internet movement, as the likely connection point between far-right racial accelerationism and the otherwise unrelated technocapitalist term. They cited a 2018 Southern Poverty Law Center investigation which found users on the neo-Nazi blog The Right Stuff who cited neoreactionarism as an influence.[10] Land himself has called the neoreactionary movement "a prophetic warning about the rise of the Alt-Right".[6]

 

Fascism

Journalists and academics have described the Dark Enlightenment as neo-fascist.[14][16][17][18] University of Chichester professor Benjamin Noys described it as "an acceleration of capitalism to a fascist point". Nick Land disputes the similarity between his ideas and fascism, saying that "Fascism is a mass anti-capitalist movement", whereas he prefers that "capitalist corporate power should become the organizing force in society".[14] Historians Angela Dimitrakaki and Harry Weeks tie the Dark Enlightenment to neofascism via Land's "capitalist eschatology" which they describe as supported by the supremacist theories of fascism. Dimitrakaki and Weeks say that Land's Dark Enlightenment was "infusing theoretical jargon into Yarvin/Moldbug's blog 'Unqualified Reservations'".[20]

 

In The Sociological Review, Roger Burrows examined neoreaction's core tenets and described the ideology as "hyper-neoliberal, technologically deterministic, anti-democratic, anti-egalitarian, pro-eugenicist, racist and, likely, fascist", and describes the entire accelerationist framework as a faulty attempt at "mainstreaming ... misogynist, racist and fascist discourses".[48] He criticizes neoreaction's racial principles and its brazen "disavowal of any discourses" advocating for socio-economic equality and, accordingly, considers it a "eugenic philosophy" in favor of what Nick Land deems "hyper-racism".[48] Graham B. Slater wrote that neoreaction "aim[s] to solve the problems purportedly created by democracy through what ultimately amount to neo-fascist solutions."[18]

 

Land himself became interested in the Atomwaffen-affiliated theistic Satanist organization Order of Nine Angles (ONA) which adheres to the ideology of Neo-Nazi terrorist accelerationism, describing the ONA's works as "highly-recommended" in a blog post.[92][93]

 

In the contemporary art world, art historian Sven Lütticken says that the popularity of Land's concepts has made certain art centers in New York and London hospitable to trendy fascism.[94]

 

See also

Libertarian authoritarianism – Political spectrum and theory

Intellectual dark web – Commentators opposed to identity politics and political correctness

Reactionary modernism – Political ideology characterized by embrace of technology and anti-Enlightenment thought

Social Darwinism – Group of pseudoscientific theories and societal practices

The Fourth Political Theory – 2009 book by Aleksandr Dugin

Exit, Voice, and Loyalty – Book on economic and political theory

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Moldbug, Mencius (22 November 2007). "Why I Am Not a White Nationalist". Unqualified Reservations. Retrieved 20 July 2025.

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Le, Vincent (2018). "THE DECLINE OF POLITICS IN THE NAME OF SCIENCE? CONSTELLATIONS AND COLLISIONS BETWEEN NICK LAND AND RAY BRASSIER". Cosmos & History. 14 (3): 31–50 – via EBSCO Information Services.

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Smith & Burrows (2021), p. 148

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Yarvin, Curtis (12 June 2007). "A short history of ultracalvinism". Unqualified Reservations. Retrieved 24 March 2025.

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vte

Alt-right

Categories: Dark EnlightenmentAlt-rightCriticism of democracyFar-right politicsNeo-fascismReactionaryTotalitarianism

 

Dark Enlightenment

 

The Dark Enlightenment or the neo-reactionary movement, sometimes abbreviated NRx, is an anti-democratic, anti-egalitarian, reactionary philosophy founded by Curtis Yarvin, an American software engineer and blogger under the pen name “Mencius Moldbug,” and developed further by English philosopher Nick Land. The ideology generally rejects Whig historiography, the concept that history shows an inevitable progression towards greater liberty and enlightenment, culminating in liberal democracy and constitutional monarchy. monarchism and other archaic forms of leadership such as cameralism.

 

In 2007 and 2008, Yarvin articulated what would develop into Dark Enlightenment thinking. Yarvin’s theories were elaborated and expanded by Land, who first coined the term Dark Enlightenment in his essay of the same name. Jessica Klein, who defines Dark Enlightenment as a disturbing philosophy in an article, states that it’s what would happen if more members of the alt-right read Nietzsche and H.P. Lovecraft instead of Donald Trump’s tweets. She reminded that “at its core, the Dark Enlightenment is a neo-reactionary philosophy started by Nick Land, a continental philosophy professor at the University of Warwick until the late 1990s. There, he cofounded the Cybernetic Culture Research Unit with colleague Sadie Plant, whose writing went on to influence cyberfeminism.”

 

In 2012, Land’s online manifesto condemns democracy and cites libertarians like Peter Thiel, quoting his belief that freedom and democracy are not “compatible.” It has ten parts, compares immigrants to zombies before you can scroll even a quarter of the way through, and quotes major political and cultural figures ranging from Alexander Hamilton to Winston Churchill, noting Hobbes, Marx, the Terminator, and, importantly, Mencius Moldbug.

 

Klein writes that Moldbug has endorsed slavery, noting that some races are “better suited” for it than others. He also believes that feudalism is superior to democracy. In his modern feudalism, kingdoms would instead look like corporations, with CEOs as sovereigns. Without those pesky chains of democracy holding him back, the CEO can make decisions that would be necessarily beneficial because they’d be financially profitable. The CEO would have a very high IQ, or would perhaps be a cyborg, exemplifying the crossroads where eugenics and the singularity merge in a horrific, sci-fi dystopia. Kind of like the 1997 movie Gattaca, except that some people actually want it to happen.

 

The Dark Enlightenment has been described by journalists and commentators as alt-right and neo-fascist. A 2016 article, written by Park MacDougald in New York magazine, notes that “Neoreaction has a number of different strains, but perhaps the most important is a form of post-libertarian futurism that, realizing that libertarians aren’t likely to win any elections, argues against democracy in favor of authoritarian forms of government. ”

 

Some consider the Dark Enlightenment part of the alt-right, its theoretical branch. The Dark Enlightenment has been labelled neo-fascist and “an acceleration of capitalism to a fascist point”. Land disputes this, claiming that “fascism is a mass anti-capitalist movement” a point of view that is not corroborated by historical knowledge about the economics of fascism. Journalist and pundit James Kirchick says in an article that “although neo-reactionary thinkers disdain the masses and claim to despise populism and people more generally, what ties them to the rest of the alt-right is their unapologetically racist element, their shared misanthropy and their resentment of mismanagement by the ruling elites.”

 

Klein asserts that though closely associated with the alt-right, the Dark Enlightenment is more elitist than populist. She writes “That ‘selective breeding’ Dark Enlightenment proponents are a fan of should be, in their eyes, between people with high IQs — white people with high IQs, or maybe East Asians, if you’re reading Land’s blog. Trump, in Land’s view, is indicative of democracy’s broken nature, not a cause for celebration — even though you’d think his xenophobic, white supremacist views would line up neatly with the Dark Enlightenment’s. Turns out Trump isn’t intellectually enlightened enough. ”

 

Meanwhile, according to an article by Olivia Goldhill, Benjamin Noys, who is a critical theory professor at the University of Chichester, claims that Dark Enlightenment proponents see themselves as “the philosophical masters” of the alt-right movement. “Land sees himself as above all that, as a Philosopher King of a movement that’s too populist and grubby for this liking,” says Noys. “He’s part of this continuum, that’s pretty clear. But he’s fighting to distinguish himself from the more populist end of things.”

 

Klein also says that there’s an overlap between the Dark Enlightenment and the white supremacist, anti-immigration groups, like the VDARE Foundation. According to her article, the Southern Poverty Law Center describes the VDARE site as “a place where relatively intellectually inclined leaders of the anti-immigrant movement share their opinions.” One of its biggest contributors is Peter Brimelow. Both he and Land have been connected to the LD50 art gallery in London, which has provided a platform for neo-reactionaries and neo-Nazis. The Shut Down LD50 Tumblr specifically points to Land promoting “racism, in its eugenic, ethnonationalist, and cultural varieties.”

 

Eliana Johnson and Eli Stokols reported that former Trump strategist Steve Bannon is a fan of Dark Enlightenment. They wrote that Moldbug has reportedly opened up a line to the White House, communicating with Bannon and his aides through an intermediary.

 

Related Articles:

Glossary: Alt-Right

From Populism to Fascism? Intellectual Responsibilities in Times of Democratic Backsliding

Related Terms:

Term: Dark Enlightenment

Term: Liberal Democracy

Term: Alt-Right

Term: Populism

 

www.populismstudies.org/Vocabulary/dark-enlightenment/

 

en.wikipedia.org/wiki/Dark_Enlightenment

Another car boot find, this one set me back all of £2. It takes medium format (120) film, but is a half frame camera so you get 24 shots from a roll instead of 12. I've got some film ready to go, but first I need to get some black masking tape as I strongly suspect that this is going to have all the light retention qualities of a sieve.

In case like me you're wondering as to the point of the sparkly rectangle to the right of the viewfinder, it isn't a built in flash, neither is it a selenium light meter. It is a piece of sparkly plastic to jazz up the camera - did I mention this is Italian made? Note also the reflective coating on the viewfinder so that your subjects can pose appropriately!

 

Another little quirk of this camera is that, because it's shooting half a frame at a time, when you hold the camera in the landscape position you are actually shooting portrait, and vice-versa, which is why the viewfinder is the shape it is. The more you know eh?

Brown-patched Kangaroo lizard (Otocryptis wiegmanni), also called Wiegmann's Agama or Sri Lankan Kangaroo Lizard, is a small, ground dwelling agamid lizard endemic to the wet zone forests and lower mountain forests (up to 1300 meters) of Sri Lanka. It is commonly seen in the leaf litter of shady rain forests. When perceiving danger, it spurts away quickly on its large hind legs and might eventually climb up a sapling or tree. It feeds on small insects, grubs and tender shoots.[1][2] It is closely related to the Indian Kangaroo Lizard (Otocryptis beddomii) of the rain forests of South India.

 

en.wikipedia.org/wiki/Otocryptis_wiegmanni

I'm ashamed to admit it, but I had one of my not-so-best gaming moments this past weekend during some public matches of Gears of War 2. It was the first time while playingGOW 2 that I frustratingly threw my controller, got up off the couch and abandoned my team (along with the game for the rest of the evening). Gears inconsistencies coupled with disconnections and round after round ofglitchers just got he best of me, and I completely gave in to the dark side.

 

When the playing field is level, I don't care whether I win or lose - I'm playing to have fun. When the playing field is distorted (as it can be at times with Gears) each ridiculous death I suffer raises my blood pressure higher and higher. This past Friday as my shotgun missed point blank targets, my lancer had the stopping power of aNerf gun, and my chainsaw revved with the ferocity of a Play School toy I finally reached my breaking point. I began a downward spiral of getting decimated round after round. It was as if I left for a war forgetting to bring bullets along with my guns. Blasting away at my opponents did little to their health and even less to my score as I ended round after round with zero points. Despite my screen showing fountains of blood flying off my targets as I emptied clip after clip my shots simply just did not register to the game's score keeper as if he was turning a blind eye to my best efforts.

 

As much as I love Gears of War I want to strangle the game for it's network code. GOW1 was a blight to play on-line at times, but Epic seemingly fixed those issues with GOW2. Now it appears that they've only masked those issues, and after nightly, lengthy play time with the game that mask is starting to fall off.

 

Match to match I have no idea what to expect from Gears of War 2. Will I be firing blanks during the round, or will I actually be able to damage my on-screen opponents? More often than not my attempts to keep my head attached to my body prove to be futile as theWMD's my enemies posses lay waste to my pee shooter. Sure, time after time I have the drop on them. I sneak up from behind, jam my shotgun into their backs and pulled the trigger repeatedly. This normally tried-and-true tactic is no match for their bullet dodging abilities and their Mike Tyson-like melee as they drop me to the ground in a supremeWTF moment. I change up my tactics to try and avoid repeating that scene. I keep my enemies at a distance only to see clip after clip of lancer fire do nothing to stop them as they run right up and obliterate me with the same one two punch shotgun melee.

 

This scenario repeated itself more times then I could bare that fate-full evening, until I reached my breaking point which caused the controller to fly from my hands.

 

While I know it's "only a game" my anger boiled down to the simple fact that: I really like Gears of War, I want to keep playing it - but I am not having fun, and why do I want to play a game that is not fun?

Ferstel

(Pictures you can see by clicking on the link at the end of page!)

Ferstel and Café Central, by Rudolf von Alt, left the men's alley (Herrengasse - Street of the Lords), right Strauchgasse

Danube mermaid fountain in a courtyard of the Palais Ferstel

Shopping arcade of the Freyung to Herrengasse

Entrance to Ferstel of the Freyung, right the Palais Harrach, left the palace Hardegg

The Ferstel is a building in the first district of Vienna, Inner City, with the addresses Strauchgasse 2-4, 14 Lord Street (Herrengasse) and Freyung 2. It was established as a national bank and stock exchange building, the denomination Palais is unhistoric.

History

In 1855, the entire estate between Freyung, Strauchgasse and Herrengasse was by Franz Xaver Imperial Count von Abensperg and Traun to the k.k. Privileged Austrian National Bank sold. This banking institution was previously domiciled in the Herrengasse 17/ Bankgasse. The progressive industrialization and the with it associated economic expansion also implied a rapid development of monetary transactions and banking, so that the current premises soon no longer have been sufficient. This problem could only be solved by a new building, in which also should be housed a stock exchange hall.

According to the desire of the then Governor of the National Bank, Franz von Pipitz, the new building was supposed to be carried out with strict observance of the economy and avoiding a worthless luxury with solidity and artistic as well as technical completion. The building should offer room for the National Bank, the stock market, a cafe and - a novel idea for Vienna - a bazaar.

The commissioned architect, Heinrich von Ferstel, demonstrated in the coping with the irregular surface area with highest conceivable effective use of space his state-of-the art talent. The practical requirements combine themselves with the actually artistic to a masterful composition. Ferstel has been able to lay out the rooms of the issuing bank, the two trading floors, the passage with the bazar and the coffee house in accordance with their intended purpose and at the same time to maintain a consistent style.

He was an advocate of the "Materialbaues" (material building) as it clearly is reflected in the ashlar building of the banking institution. Base, pillars and stairs were fashioned of Wöllersdorfer stone, façade elements such as balconies, cornices, structurings as well as stone banisters of the hard white stone of Emperor Kaiser quarry (Kaisersteinbruch), while the walls were made ​​of -Sankt Margarethen limestone. The inner rooms have been luxuriously formed, with wood paneling, leather wallpaper, Stuccolustro and rich ornamental painting.

The facade of the corner front Strauchgasse/Herrengasse received twelve sculptures by Hanns Gasser as decoration, they symbolized the peoples of the monarchy. The mighty round arch at the exit Freyung were closed with wrought-iron bare gates, because the first used locksmith could not meet the demands of Ferstel, the work was transferred to a silversmith.

1860 the National Bank and the stock exchange could move into the in 1859 completed construction. The following year was placed in the glass-covered passage the Danube mermaid fountain, whose design stems also of Ferstel. Anton von Fernkorn has created the sculptural decoration with an artistic sensitivity. Above the marble fountain basin rises a column crowned by a bronze statue, the Danube female with flowing hair, holding a fish in its hand. Below are arranged around the column three also in bronze cast figures: merchant, fisherman and shipbuilder, so those professions that have to do with the water. The total cost of the building, the interior included, amounted to the enormous sum of 1.897.600 guilders.

The originally planned use of the building remained only a few years preserved. The Stock Exchange with the premises no longer had sufficient space: in 1872 it moved to a provisional solution, 1877 at Schottenring a new Stock Exchange building opened. The National Bank moved 1925 into a yet 1913 planned, spacious new building.

The building was in Second World War battered gravely particularly on the main facade. In the 1960s was located in the former Stock Exchange a basketball training hall, the entire building appeared neglected.

1971 dealt the President of the Federal Monuments Office, Walter Frodl, with the severely war damaged banking and stock exchange building in Vienna. The Office for Technical Geology of Otto Casensky furnished an opinion on the stone facade. On the facade Freyung 2 a balcony was originally attached over the entire 15.4 m long front of hard Kaiserstein.

(Usage of Leith lime: Dependent from the consistence and structure of the Leitha lime the usage differed from „Reibsand“ till building material. The Leitha lime stone is a natural stone which can be formed easily and was desired als beautiful stone for buildings in Roman times. The usage of lime stone from Eggenburg in the Bronze age already was verified. This special attribute is the reason why the Leitha lime was taken from sculptors and masons.

The source of lime stone in the Leitha Mountains was important for Austria and especially for Vienna from the cultur historical point of view during the Renaissance and Baroque. At the 19th century the up to 150 stone quarries of the Leitha mountains got many orders form the construction work of the Vienna „Ring road“.

At many buildings of Graz, such as the castle at the Grazer castle hill, the old Joanneum and the Cottage, the Leitha lime stone was used.

Due to the fact that Leitha lime is bond on carbonate in the texture, the alteration through the actual sour rain is heavy. www.geocaching.com/geocache/GC2HKZ9_leithagebirge-leithak...)

This balcony was no longer present and only close to the facade were remnants of the tread plates and the supporting brackets recognizable. In July 1975, followed the reconstruction of the balcony and master stonemason Friedrich Opferkuh received the order to restore the old state am Leithagebirge received the order the old state - of Mannersdorfer stone, armoured concrete or artificial stone.

1975-1982, the building was renovated and re-opened the Café Central. Since then, the privately owned building is called Palais Ferstel. In the former stock exchange halls now meetings and presentations take place; the Café Central is utilizing one of the courtyards.

de.wikipedia.org/wiki/Palais_Ferstel

A real VIP (Very Important Population) event happened on Monday at River Woods Elementary, about everyone standing up to be counted, literally. There are no celebs when it comes to the census. Like the song sung at the assembly says, “Everyone Counts.”

 

River Woods wasn’t chosen as a site for a Census Day event because the mascot is an eagle, same as America. It’s the hub of a region the US Census Bureau determined was undercounted in 2010. When the school was first approached about hosting, principal Traci Shipley was excited.

 

Des Moines Mayor Frank Cownie was on hand to help census officials drive home three primary points about the 2020 headcount:

1.It’s easy (can be done online, by phone or by mail)

2.It’s safe (gathered information is confidential; by law, it cannot be shared)

3.It’s important (see allocation of finite federal resources based on population)

 

For more information about the importance of sharing your information, click here:

www.youtube.com/user/uscensusbureau.

 

Read the Way He Writes: A Festschrift for bpNichol.

 

edited by Paul Dutton & Steven Smith.

 

Toronto, summer/fall [ie 14 october] 1986.

 

5-3/4 x 8-11/16, 136 sheets ivory zephyr antique laid perfectbound into cream mayfair card wrappers, all except inside covers printed offset, black interiors in blue covers.

 

cover photograph by Michael Ondaatje.

53 contributors ID'd:

Margaret Avison, David Aylward, Douglas Barbour, Rafael Barreto-Rivera, Earle Birney, Bill Bissett, George Bowering, Giordano Bruno, Barbara Caruso, Thomas A.Clark, Bob Cobing, Victor Coleman, Margaret Coole, jwcurry, Frank Davey, Brian Dedora, Christopher Dewdney, David Donnell, Charles Doria, Louis Dudek, Paul Dutton, Glenn Goluska, Rosalind Goss, Brian Henderson, Dick Higgins, Roy Kiyooka, Robert Kroetsch, G.Lind, Daphne Marlatt, John Bentley Mays, Steve McCaffery, David McFadden, Avis Nichol, bpNichol, D.J.Nichol, Barb O'Connelly, Sean O'Huigin, Michael Ondaatje, Andy Phillips, John Riddell, Raquel Rivera, Joe Rosenblatt, R.Murray Schafer, Stephen Scobie, Gerry Shikatani, Steven Smith, Paul Soucy, Sharon Thesen, Lola Lemire Tostevin, Richard Truhlar, Jiri Valoch, Fred Wah, Marilyn Westlake.

 

Nichol inclusions:

i) "just another just another" (quoted in full in (xix-5) below; poem)

ii) [Aleph Unit Opened], redrawn by Barbara Caruso (p.36; visual poem; reduced)

iii) [Aleph Unit Distance], redrawn by Barbara Caruso (p.36; visual poem; reduced; (i) & (ii) under the heading from Aleph Unit (Seripress, 1973))

iv) H: a collaboration (quoted in full in (xxiv) below, pp.44-45; prose in 2 numbered parts:

–1. "H - the eighth letter of the Roman alphabet, ancient and modern. h comes,"

–2. (in 7 numbered parts:

––a. "Mostly white. A line that completes itself. An inside. An outside too. An image at"

––b. "Blue then in the midst of white. The shape of a feeling. A felt shape and a mood"

––c. "Two tall ones and a small one. A small one who is lost between two tall ones. It is"

––d. "Little i. Little me. Three versus two and a kind of joining. Five. A hand that does"

––e. "Broad strokes. An embrace. Absolutely equal space with something in between."

––f. "Everyone's small. What happens. Surely things are lighter. There is a sequence and"

––g. "It has disappeared. It is all gone. Among them all there is something lighter as if"))

v) "what happened" (quoted in full in (xlii1) below, p.115; poem)

vi) "pile up the movement the fingers" (quoted in full in (xlii1) below, p.117; poem)

vii) "it is the minute haunts you" (quoted in full in (xlii1) below, pp.118-119; poem)

viii) "wond'ring to wed them" (quoted in full in (xlvii5) below, p.139; an aria, possibly in full, from Space Opera)

ix) [DOORS 2] (visible reduced in full in (lxv7) below, p.167; visual poem)

x) [TU 4 (IKONIK)] (visible reduced in full in (lxv7)below, p.167; visual poem, center section only as on the cover of Transformational Unit)

xi) ["photobooth, Vancouver, 1950s?"] (p.182; photostrip in 4 parts, all face-on selfportraits:

–1. [expressionless]

–2. [slight smile]

–3. [slight smile turned slightly more to left]

–4. [smiling, left side of face shadowed])

xii) ["photobooth, Toronto, 1960s?"] (p.182; photostrip in 4 parts, all selfportraits:

–1. [face on]

–2. [looking right]

–3. [looking left]

–4. [looking rear])

xiii) "layers", photographed by Marilyn Westlake (p.214; concrete poem)

xiv) "from Nichol's Sea and Sky Series, watercolour on paper, 1977", photographed by Marilyn Westlake (p.214; graphic)

xv) "blue" (quoted in full in (lxxix6) below, p.22o; poem)

 

also includes:

xvi) "bpNichol", by Michael Ondaatje (front cover; cropped photograph, portrait at Coach House Press; see also (xci) below)

xvii) "Note" Special thanks to Ellie Nichol for the collusion in the purloining of", by [Paul Dutton?] (p.4; prose acknowledgement for photographs)

xviii) Foreword, by Paul Dutton & Steven Smith (pp.5-6; prose, with quote by David McFadden on Nichol (from an interview?))

xix) bpNichol On The Train, by George Bowering (pp.7-2o; prose in 9 parts:

–1. "A FEW YEARS BACK, SOME CANADIAN WRITERS - PIERRE BERTON AND OTHERS" (pp.7-8; no Nichol references)

–2. "It comes as no surprise that the leading train poet is bpNichol. His first" (pp.8-9; Nichol quotes from:

––a. "prairie, lakes, trees" (line 7)

––b. "rolling into night" (lines 6-7)

––c. "sun overhead" (lines 5-7)

––d. "father i have so much to say" (lines 14-15))

–3. "'Trans-Continental' is made of forty-nine short sections, and a trip from" (p.9; Nichol quotes from:

––a. "a drainage ditch" (lines 1-2)

––b. "a d in a cloudbank" (lines 1-2)

––c. "a longing for flesh" (line 5)

––d. "hornpayne to armstrong" (lines 1-2))

–4. " The brain of a poet like bpNichol is as much animated toward composition" (pp.1o-11; Nichol quotes from:

––a. "a drainage ditch" (lines 8, 9)

––b. "this many miles from home" (lines 1-2, 7-9)

––c. "ness" (lines 1-2, 5-6, part of 8)

––d. "up & down" (lines 14-16))

–5. "The same reader or any other can read each each speck of the poem over and" (pp.11-13; Nichol quotes from:

––a. "empty eyes" (lines 8-14)

––b. "father i have much to say" (lines 14-15)

––c. "just another just another" (see (i) above)

––d. "a longing for flesh" (lines 12-13)

––e. A Letter to Mary Ellen Solt

––f. "a trance state" (lines 1-2)

––g. "mist again at dawn" (lines 12-14)

––h. "a new beginning" (lines 1-2)

––i. "final finale" (lines 1, 12))

–6. "The journeying of 'Trans-Continental' is followed a decade later by the" (pp.14-16; Nichol quotes from:

––a. "minus the ALL ABOARD" (lines 1-5)

––b. "the old guy who spoke to the porter just now said:" (lines 1-1o (with quote by Agnes Workman), part of 16)

––c. "vanishing" (lines 13-14)

––d. "insistent instances" (line 17)

––e. "beginnings & endings" (lines 4-5)

––f. "because i was raised on trains" (lines 16-21)

––g. "blueberry bushes, fruit shrunken, dried," (part of line, 3 part of 5, 9-11)

––h. "mile what?" (lines 1o-11)

––i. "final finale" (lines 1-2))

–7. "That is perhaps the neatest irony of the contemporry long poem - that we" (pp.16-18; Nichol quotes from:

––a. "beginnings & endings" (lines 2-3, 8, part of 15)

––b. "insistent instances" (lines 1, 18 misquoted with added "can")

––c. "because i was raised on trains" (part of line 16)

––d. "the conductor takes our luncheon reservations" (line 7)

––e. "so there it is" (lines 3, 5)

––f. "the old guy who spoke to the porter just now said:" (part of line 8)

––g. "vanishing" (part of line 8, 19-21)

––h. "where is this poem going?" (parts of lines 1, 7)

––i. "mile what?" (part of line 11)

––j. "too much like a rock song" (lines 4-1o)

––k. "minus the ALL ABOARD" (part of line 1)

––l. "i don't like the "symbol"" (part of line 1, part of 2-3, 5-6, part of 8-9)

––m. "later" (lines 16, 17))

–8. "The saints, familiar to readers of The Martyrology, visit after a routing" (pp.18-2o; Nichol quotes from:

––a. "okay saints" (part of line 6, 1o-13)

––b. "this next bit doesn't quite cohere" (lines 5-16)

––c. "as night falls" (lines 11-14)

––d. "in Hornpayne" (parts of lines 2, 3, 7, 8; 12-16)

––e. "is this the poem i wanted to write?" (lines 4-6)

––f. "that's that tone" (lines 3, part of 8, 12-15))

–9. "The first stanza of Continental Trance tells of giving up a plan for the nar-" (p.2o; Nichol quotes from:

––a. "mist against dawn" (lines 11, 12-14)

––b. "too much like a rock song" (line 9)))

xx) METAMORPHOSIS A TRIBUTE TO B P NICHOL, by Bob Cobbing (pp.21-29, visual poetry in 8 parts with title page:

–1. [METAMORPHOSIS 1] (p.22; derived from 3 visual poems by Nichol from ABC The Aleph Beth Book:

––a. "DEAD. HAVING ACCEPTED THIS" (the "B" in ABC)

––b. "BETWEEN OURSELVES & THE POEM" (the "P" in ABC)

––c. "BEYOND OURSELVES BY" (the "N" in ABC))

–2. [METAMORPHOSIS 2] (p.23; derived from:

––a. "TTTT", by bpNichol (visual poem)

––b. "(Rubber stamps and letraset (sheets of cellophane printed with trans-", by John Robert Colombo (prose on Nichol's "TTTT"))

–3. [METAMORPHOSIS 3] (p.24; derived from 2 concrete poems by Nichol:

––a. "arrow worra worra arrow"

––b. Blues)

–4. [METAMORPHOSIS 4] (p.25; derived from:

––a. Historical Implications of Turnips, by bpNichol (concrete poem)

––b. "("Turnips are" is a permutational sound poem -- permutational in that", by John Robert Colombo (prose on Nichol's Historical Implications of Turnips))

–5. [METAMORPHOSIS 5] (p.26; derived from Nichol's mind trap)

–6. [METAMORPHOSIS 6] (p.27; derived from 2 visual poems by Nichol:

––a. Allegory 6

––b. Allegory 7)

–7. [METAMORPHOSIS 7] (p.28; derived from Nichol's Allegory 32)

–8. [METAMORPHOSIS 8] (p.29; derived from visual poems by Nichol:

––a. eyes 4

––b. eyes 5

––c. eyes 2

––d. eyes 3))

xxi) Henri Chopin, Sten Hanson, Lilly Greenham, Bob Cobbing, bpNichol. Tenth International Poetry Festival, Glasgow 1978, by Sean O'Huigin (p.3o; photograph, group portrait (note that "Lilly" should be "Lily" & it was at the 1oth International Sound Poetry Festival))

xxii) A Visit, by Robert Kroetsch (pp.31-35; poem in 5 numbered parts with epigraph by Nichol, lines 158-16o of IN THE PLUNKETT HOTEL:

–1. "I was going to Plunkett Saskatchewan" (pp.31-32; quotes part of line 85 of Nichol's IN THE PLUNKETT HOTEL in line 14)

–2. "and when the kid came by on his bike" (p.32; Nichol referenced line 12)

–3. "the continent is contained" (pp.32-33; Nichol referenced line 6)

–4. "when a stoutish gal in a half-ton roared" (pp.33-34; Nichol referenced line 25)

–5. "writing / riding" (pp.34-35; quotes lines 17-18 of Nichol's IN THE PLUNKETT HOTEL))

xxiii) "PLUNKETT GENERAL STORE", probably by Avis Nichol (p.36; photograph on baby bp on Glenn Nichol's knee)

xxiv) The Seripress Collaborations: Nichol & Caruso, by Barbara Caruso (pp.37-46; prose with quotes from:

–1. bpNichol (from conversations with Caruso)

–2. Introduction, by Caruso & Nichol (to The Adventures Of Milt The Morph In Colour)

–3. "our next approach", by Caruso (from notes toward H An Excursion)

–4. a possibility for bp, by Caruso (from further notes toward H An Excursion)

–5. Barbara Caruso (from journal notes for april 1976)

–6. H: a collaboration, by Nichol (in full; see (iv) above))

xxv) From A Commonplace Book (for bpNichol), by Thomas A.Clark (p.47; a collection of quotes by William Blake, Maurice Denis, Gertrude Jeckyll, Hugh Macdiarmid, Vladimir Mayakovsky, Gertrude Stein, Ludwig Wittgenstein)

xxvi) Nichol in performance at Harbourfront, Toronto, 1984, by Marilyn Westlake (p.48; photograph)

xxvii) Surviving the Paraph-raise, by Stephen Scobie (pp.49-68; prose in 7 numbered parts & footnotes (no direct Nichol references in pts.1, 2, 4, 5:

–1. "FIRST THEN, BY WAY OF EXPLANATION, A NOTE ON THE TITLE. SURVIVING THE" (pp.49-5o)

–2. "Leonard Cohen's poem 'The Cuckold's Song,' included in his 1961 volume" (pp.5o-53)

–3. "The signature is one of those forms of utterance, much beloved by Derrida," (pp.53-58; with quote by Nichol (lines 93-95 of Hour 18, p.54) & reference to McCaffery/Nichol p.56)

–4. "The paraph was originally intended, you will recall, 'as a kind of precau-" (pp.58-62)

–5. "But she's not doing too badly herself. 'Phyllis' – 'a generic name in pastoral" (pp.63-64)

–6. "Writing about Nietzsche, Derrida sums up what is involved in an author's" (pp.64-66; with quotes by Nichol from:

––a. "orange" (lines 1-12)

––b. STATEMENT)

–7. "What remains to be said: the raising of the paraph into the text, as rare an" (pp.66-67; passing reference to Nichol)

–[8. footnotes, pp.67-68])

xxviii) bpNichol: Sonic Snapshots. Fragmentary Movements, by Steven Smith (pp.69-72; prose with quotes from:

–1. Mayakovsky, by Four Horsemen

–2. BEAST, by bpNichol

–3. "stear clear", by bpNichol)

xxix) bpNichol, Rafael Barreto-Rivera, Steve MCaffery, Paul Dutton – The Four Horsemen performing Mayakovsky, Erindale College, 1974, by Frank Davey (p.72; photograph)

xxx) Wizard Oil and Indian Sagwa, by R.Murray Schafer (pp.73-75; prose, preceded by Note, p.73, on collaborations with Nichol & his part in as Johnny Mailloux in Wizard Oil)

xxxi) Johnny Mailloux, selling, by Marilyn Westlake (p.75; photograph, portrait of Nichol)

xxxii) Nichol, around 1966, by Andy Phillips (p.76; photograph

xxxiii) Paternal Body as Outlaw, by Lola Lemire Tostevin (pp.77-8o; prose in 3 numbered parts & notes:

–1. "MUCH HAS BEEN WRITTEN, IS BEING WRITTEN, ON THE MATERIAL BODY," (p.77; with quote by Nichol, lines 1-4 of "so many bad beginnings")

–2. "Since many women are now rethinking the maternal at the level of" (pp.78-79; Nichol quotes from:

––a. "SAINT REAT" (line 4)

––b. "the girl approaced me when the reading ended" (lines 1o, 24-25)

––c. "sleepless night nothing takes shape" (line 17)

––d. "ah reason there is only feeling (part of line 1-3)

––e. EPILOGUE: (line 31)

––f. the quote "intellect or emotions" does not appear anywhere in the martyrology as a phrase

––g. the martyrology book 4 (lines 11o1, 11o5)

––h. Hour 11 (line 19)

––i. Hour 13 (lines 1-2))

–3. "The son's voice has come through loud and clear. There is no need for a" (pp.79-8o; quote by Nichol, lines 41-51 (without spaces) of Hour 26)

–[4]. NOTES(p.8o))

xxxiii) St. Rum (for bp), by Victor Coleman (p.81; poem, 22 lines)

xxxiv) Victor Coleman, Steve McCaffery, Ellen Tallman, Nichol, Roy Kiyooka, bill bissett, 'Writing In Our Time' panel discussion, Vancouver, 1979, by an uncredited photographer (p.82; group portrait)

xxxv) Nichol, McCaffery, Tenth International Sound Poetry Festival, Glasgow, 1978, by Douglas Barbour (p.82; photograph)

xxxvi) Book bells, slowly moving (for bpNichol), by Dick Higgins (pp.83-99; prose in 5 parts:

–1. Note (p.83)

–2. Book Three, Chapter Four The numerator of the third seal (pp.83-87)

–3. Book Head, Chapter Slide The slip of the third crown (pp87-91)

–4. Book Jordan, Chapter Tip The working of the heavenly splendor (pp.91-95)

–5. Book Tip, Song Barrie The waking up of the dragons (pp.95-99))

xxxvii) "Photo", by Andy Phillips (p.1oo; portrait of Nichol at lower right on a sand road walking away from beach, hat in right hand, teees at left, bush at right)

xxxviii) Random Walking The Martyrology's Book V, by Rafael Barreto-Rivera (pp.1o1-1o7; prose essay wth quotes by Nichol from

–1. The Martyrology Book V:Chain 3 (lines 4o5-411 (p.1o1), 12o9-121o, 471-473 (p.1o2), 492-493, 118o (p.1o3), 1182-1184 (pp.1o3-1o4), 534-548 (p.1o5), 8o7 (p.1o6), part of 8o9, 416-418 (p.1o6), 1192-1195, 1197-1212 (p.1o7), 125o-1252 (relineated as 4 lines, p.1o7))

–2. The Martyrology Book V:Chain 1 (lines 2o5-2o6 (p.1o1), 269-271 (pp.1o1-1o2), 118o (p.1o2), 643-644 (p.1o3), 768-771 (p.1o4), part of 161-164, 724-727 (p.1o6))

–3. A Note on Reading The Martyrology Book V (p.1o2)

–4. The Martyrology Book V:Chain 2 (lines 77-9o (misspaced pp.1o2-1o3))

–5. The Martyrology Book V:Chain 9 (part of line 179-181, 134-138 (p.1o4), 217 (misquoted p.1o7), 224-225 (p.1o7))

–6. The Martyrolgy Book V:Chain 5 (line 24 (p.1o4), 136 (misquoting "illusions" for "delusions", p.1o6))

–7. "blue" (ie "...bluer / bloor"; in full unlineated p.1o6)

–8. "blue" (ie "...bluer / blur"; in full unlineated p.1o6)

––note that the quotes "in a throw of the cosmic dice" (p.1o2) & "valley of the shadow" (p.1o6) are not in The Martyrology Book V)

ixl) Nichol in performance, 1972, by Paul Soucy (p.1o8; photograph)

xl) for bpn, by Margaret Avison (p.1o9; poem)

xli) Griffin Ondaatje, Ellie Hiebert, Quintin Ondaatje, bpNichol, Michael Ondaatje, 1971, by Roy Kiyooka (p.11o; photograph)

xlii) Soul Rising out of the Body of Language: Presence, Process and Faith in The Martyrology, by Brian Henderson (pp.111-128; prose in 2 numbered parts & notes with epigraph by Nichol, lines 1275-1276 from the martyrology book 4:

–1. "IN ITS CONCERN WITH THE 'ACTIVE PRESENT,' THE PROCESS WRITING OF" (pp.111-12o; with quotes by Nichol from

––a. the martyrology book 4 (part of line 1276 (p.111), 781-783 (pp.111-112), 915-92o (p.112), 892-9o3 (pp.112-113), 437-444, 1275-1276, 362-365, part of 136 misquoted (p.113), 622-624, 258-262 (p.114), 137-14o, 1o97-11oo (p.116), 23o-236 (p.117), 8o-82 (p.118), 1358-1368 (p.119), 1144-115o, 329-33o (p.12o))

––b. "there must be a beginning made" (lines 4-5, p.113)

––c. "we gather round to talk at night" (part of line 66 (p.114), 45, 8-9 (p.119))

––d. "make the setting here" (lines 1-7 misspaced, p.114)

––e. "saint orm" (ie "...i throw up"; lines 2-4, p.114)

––f. "opened & told them" (line 8-part of 9, 12, p.115)

––g. "saint of no-names" (line 1o, p.115)

––* [see (v) above]

––h. "ah reason there is only feeling" (lines 4-1o misquoting "absence" for "presence" (p.116), 18-19 (p.118)

––* [see (vi) above]

––i. "the window reverses itself" (parts of line 19, 5-6 misquoted (p.117)

––j. "a frog drops in the pond" (lines 58-59, p.118)

––k. "one woman who was all women to me" (lines 12-14, p.118)

––• [see (vi) above]

––l. "hot night" (part of line 9, p.119)

––m. "early morning victria's streets" (line 6, p.119)

––n. "looking out the window at the snow" (lines 29-3o, p.119)

––o. "sleepless night nothing takes shape" (lines 1o-16, p.119)

––p. "out of the side of the buddha's mother" (lines 43-45, p.12o)

––q. "a thing without eyes or lips" (part of line 9, p.12o))

–2. "It is not by accident that Nichol has alluded throughout much of his long" (pp.12o-127; with quotes by Nichol from

––a. "i wanted an image or a metaphor" (lines 14-16, p.12o)

––b. "where is my place in this world father" (lines 61-62 (p.12o), 66-69 (p.121))

––c. the martyrology book 4 (part of line 1222-1226, part of 138, part of 9 (p.121), 244-245 misquoted (p.127))

––d. "ellie & me" (line 28, p.121)

––e. "'older than adam's' older than me i am old" (lines 1-5, p.121)

––f. "gazing into the sky" (lines 47-51 (p.122), 4-9 (p.123))

––g. "from the lake's edge" (part of line 29, p.122)

––h. "how it is done how it is said the head sheds the lies its lived by" (part of line 18, p.124)

––i. "moving down to where the farmhouse stood" (line 14, p.124)

––j. "bushes" (lines 1-13, p.126)

––k. "you walk thru the door into the room filling the mind with (quaint" (part of line 3, p.126)

––l. "there are many roads to that centre" (lines 17-18, p.127)

––m. ""in the midst of life we are in death" draco" (lines 13-16, p.127)

––n. "one woman who was all women to me" (lines 12-14, p.127)

––o. "the sky is as this word is" (lines 1o-12, p.127)

––p. "driving west thru albion's hills adjala climbing" (lines 49-51, p.127))

–3. NOTES (p.128))

xliii) Nichol and dsh (Dom Sylvester Houedard), Glasgow, 1978, by Sean O'Huigin (p.128; photograph)

xliv) bpNichol: The Movies, by Michael Ondaatje (pp.129-13o; prose with quotes by Ondaatje from

–1. sons of captain poetry)

xlv) [untitled photograph], by David McFadden (p.13o; group portrait of Nichol & Michael Ondaatje)

xlvi) "Here's an old snap of bp along with Michael Ondaatje. A couple of springtime", by David McFadden (p.13o; prose caption to (xlv) above)

xlvii) Confronting Conventions The Musical / Dramatic Works of bpNichol, by Paul Dutton (pp.131-14o; prose in 5 numbered parts:

–1. "WITH THE EXCEPTION OF 'THE BROWN BOOK: A PLAY,' WHICH APPEARED IN" (p.131)

–2. "In his early thirties, possessed of encyclopedic knowledge of the musical" (pp.131-133; with quotes by Nichol from

––a. I Can't Talk (line numbers unknown (not in revised Group), p.132)

––b. We're In The Group (lines 1-5 version 1, p.132)

––c. Ordinary Man (lines 1-2, 13-14, p.132)

––d. If It Wasn't For You (lines 2, 6-7, p.132)

––e. I Am Obsessed (line 2, p.132))

–3. "But first, let us treat briefly of Tracks, a two-act musical drama, co-written (pp.133-135)

–4. "While researching material for Tracks, Nichol came upon a bit of local lore" (pp.135-137; with quotes y Nichol from

––a. Cross-Purposes (excerpts of 13 lines, p.136)

––b. Dreams (4 lines, p.136)

––c. "What is this curse" (8 lines, p.137)

––d. Faces (6 lines, p.137))

–5. "While Space Opera is, in sequence of composition, the second of Nichol's" (pp.137-14o; with quotes by Nichol from

––a. Space Opera (dialogue, 4 quotes p.138, 2 p.14o)

––* [see (viii) above]))

xlviii) On Toronto Island, around 1966, by Andy Phillips (p.141; 2 photographs:

–1. [untitled, Nichol on beach with hat in right hand, tree top left, sky top right, beach bottom left, water bttom right]

–2. [untitled, Nichol looking to left close-up at left from below, no background])

il) On Toronto Island, around 1966, by Andy Phillips (p.142; 2 photographs:

–1. [untitled, Nichol at left from crotch up with hat on, tree & sky background]

–2. [untitled, Nichol at right full figure silhouette with hat on, on beach with water about to wash over his feet])

l) "around 1966", by --?-- (p.143; photograph, potrait of Nichol seated lower left in front of painting by --?--)

li) "with brothers Bob and Don (a.k.a. dj)", probably by [Avis Nichol] (p.143; group portrait of 3 Nichol brothers)

lii) With Steve McCaffery, somewhere over Manitoba, 1974, by Paul Dutton (p.145; photograph, portrait of Nichol & McCaffery in airplane)

liii) With Sten Hanson, Glasgow, 1978, by Sean O'Huigin (p.145; photograph, portrait of Nichol & Sten Hanson)

liv) Michel Dean receives a sprinkling of 'Plaster de Paris' (the user can look just like Alfred Jarry, come from his low-ceilinged garret) from the proprietor of The ''Pataphysical Hardware Co. at 'L'Affaire ''Pataphysique', Toronto, 1985, by Marilyn Westlake (p.146; photograph; also visible are copies of

–1. Plaster de Paris (object in Nichol's hand)

–2. '' (T-shirt designed by Nichol & jwcurry, pink on tan variant worn by Michel Dean)

–3. '' (T-shirt designed by Nichol & jwcurry, white on black variant worn by Nichol))

lv) With Steve McCaffery, Harbourfront, Toronto, 1985, by Marilyn Westlake (p.147; photograph of reading with text by McCaffery & Nichol visible,

–1. "DENTA")

lvi) bpNichol, Steve McCaffery, Paul Dutton, Rafael Barreto-Rivera. The Four Horsemen performing Mixed Metaphors, Toronto, 1981, by Marilyn Westlake (p.147; photograph)

lvii) Johnny Mailloux takes a shot of Wizard Oil and Indian Sagwa (see pp.73-75), Toronto, 1981, by Marilyn Westlake (p.148, photograph, portrait of Nichol performing work by R.Murray Schafer)

lviii) St. Riking (a pose, with arms outstretched), by Marilyn Westlake (p.149; photograph, portrait of Nichol)

lix) Nichol, around 1966, by Andy Phillips (p.15o; photograph)

lx) Project For An Opera Of The Twentieth Century G. S.: something tht happened once and it is very interesting, by John Bentley Mays (pp.151-153; script, act 2 scene 3 (2nd version) dedicated "for bpNichol, who introduced me to G.S.")

lxi) Outside 27 Rue-de-Fleurus, Gertrude Stein's Paris home, 1985: Steve McCaffery, Paul Dutton, Stephen Scobie, bpNichol, Margo Barreto-Rivera, Gerry Shikatani, by Raquel Rivera (p.154; photograph, group portrait)

lxii) Addition to the Great Canadian Dictionary, by Earle Birney (p.155; poem, 23 lines)

lxiii) "Photos", by Marilyn Westlake (p.156; 4 untitled portraits of Nichol:

–1. [looking down to left holding microphone] (top left)

–2. [looking to left eyes closed holding microphone & stand] (top right)

–3. [straight on looking down at microphone & beating chest] (bottom left)

–4. [leaning into frame top left looking down with hands over mouth] (bottom right))

lxiv) bpNichol: A Sonography, by Richard Truhlar (pp.157-16o; list in 5 parts:

–1. RECORDS (p.157)

–2. CASSETTES (pp.157-158)

–3. ANTHOLOGIES (p.158)

–4. COLLABORATIONS (pp.158-159)

–5. NOTES (pp.159-16o; prose with quote by Nichol from

––a. Ear Rational • Sound Poems 1970-80))

lxv) letters for NICHOL, by John Riddell (pp.161-167; concrete poetry in 7 parts:

–1. "book book book book book book book" (ie "N", p.161)

–2. "writing a reading of a writing being written/having been read reading that" (ie "I", p.162)

–3. "of a reader to feel pleasure" (ie "C", p.163)

–4. "location" (ie "H", p.164)

–5. "poem sound poem sound poem" (ie "O", p.165)

–6. "L" (p.166)

–7. "UR" (p.167; collage of covers to Nichol's

––a. A Draft Of Book IV Of The Martyrology (top half of David Aylward's graphic St. Reat?)

––b. Familiar (much reduced anonymous cover photograph, "DRINK CocoCola", group portrait with Nichol 5th from left)

––c. Journal (Glenn Goluska's cover typography)

––*. Doors: To Oz & Other Landscapes (see (ix) above)

––d. The Captain Poetry Poems (part of D.J.Nichols rear cover graphic)

––e. Ballads Of The Restless Are (Barb O'Connelly's cover lettering)

––*. Transformational Unit (see (x) above)

––f. The Teaching Of Aress Kinken (most of Gareth Lind's cover graphic Tales Of The Myth Collector By Rawl Castz)

––g. Konfessions Of An Elizabethan Fan Dancer (Barbara Caruso's cover typography for the 3rd edition))

lxvi) humble people, by Rosalind Goss (p.168; graphic dedicated "for bp")

lxvii) Exegesis / Eggs à Jesus The Martyrology as a Text in Crisis, by Frank Davey (pp.169-181; prose essay in 13 parts:

–1. "ANYONE WHO HAS ATTEMPTED TO HELP STUDENTS IN A READING OF ALL OR PART" (pp.169-17o, with quotes from

––a. Douglas Barbour, This courageous poet stalks the trails of saints

––b. Frank Davey, bpNichol

––c. bpNichol, the martyrology book 4, lines 348-357)

–2. "Such praise reflects one of the difficult problems The Martyrology raises:" (pp.17o-171, with Nichol quotes from

––a. "i wished i has a ship", lines 36-41

––b. the martyrology book 4, lins 124-136)

–3. "Another serious probem that a reader encounters in The Martyrology is" (pp.171-172, with quote by Nichol from

––a. "i wished i has a ship", lines 13-2o)

–4. "A third problem created by The Martyrology lies in the distinction" (pp.172-173, with quote by Nichol from

––a. "orange", lines 2-13)

–5. "The structure of this essay appears to promise some answers to these ques-" (pp.173-174)

–6. "Another awkward feature of The Martyrology that impedes this essay from" (pp.174-175, wit quote by Nichol from

––a. the martyrology book 4, lines 1233-1239)

–7. "A third element that complicates this essay is the increasingly exegetical" (pp.175-177, with quotes by Nichol from

––a. the martyrology book 4, lines 81-82, 265-285, 497-515, 521-534, 576-589, 1246-13o1)

–8. "Yet Nichol might well in response to this essay point to various other passages in" (pp.177-178, with quote by Nichol from

––a. the martyrology book 4, lines 1o43-1o5o)

–9. "Further complicating any attempt to deal with these various puzzles is the" (p.178, with quote from

––a. Frank Davey, bpNichol)

–1o. "The most recent of the published volumes of The Martyrology, Book 5," (pp.178-18o, with quotes by Nichol from

––a. the martyrology book 5:chain 1, lines 424-435

––b. the martyrology book 5:chain 2, line 22o

––a. the martyrology book 5:chain 3, lines 397-412, part of 775, 777, 778-78o)

–11. "Book 5 also contains didactic passages which appear, much ike those in" (p.18o, with quotes from

––a. bpNichol, the martyrology book5:chain 5, lines 93-1o1

––b. Stephen Scobie, "The Martyrology is the culmination...")

–12. "By Book 5, The Martyrology can be read as a writing looking for language," (p.181, with Nichol quotes from

––a. "nights that run together on the bed", lines 1-3 misquoting "myths" in place of "nights"

––b. "open your heart", lines 5-9)

–13. NOTES)

lxviii) 2 (for bp Nichol), by Jiri Valoch (p.183; poem, 2 lines)

lxix) three exercises (for bp Nichol), by Jiri Valoch (p.183; poem, 3 lines)

lxx) Around a pillar, around 1970, by Andy Phillips (p.184; photograph, portrait of Nichol)

lxxi) B. P. Specific Writing, by Christopher Dewdney (pp.185-187; prose in 2 parts:

–1. B. P. Specific Writing (pp.185-186)

–2. Abstract (pp.186-187))

lxxii) Nichol with sister Deanna, brothers Don and Bob, parents Avis and Glenn, 1966, [possibly by Avis Workman?] (p.19o; photograph, group portrait)

lxxiii) With his niece, Avis, 1966, [possibly by Avis Nichol?] (p.19o; photograph, group portrait)

lxxiv) The Martyrology as Paragram, by Steve McCaffery (pp.191-2o6; prose essay in introduction, 5 numbered parts & notes:

–o. "WE WILL FOCUS ON THE LUDIC FEATURES OF 'THE MARTYROLOGY,' THOSE" (pp.191-192)

–1. The Scene of Witz (pp.192-195, with quotes by Nichol from

––a. the martyrology book 5:chain 1 (lines 566-567 as epigraph)

––b. the martyrology book 5:chain 3 (lines 35-37, 44-45, 49-5o, 51-52, 2o4-2o7))

–2. The Paragram (pp.195-197; with quotes by Nichol from

––a. the martyrology book 4 (lines 273-282)

––b. "last note" (lines 5-12))

–3. The Unconscious as a Lettered Production (pp.197-199; with quotes by Nichol from

––a. the martyrology book 4 (ines 72-77, 348-365, 1155-1157)

––b. the martyrology book 5:chain 1 (lines 787-788)

––c. the martyrology book 5:chain 3 (lines 1o61-1o66, 1o79-1o81))

–4. Cratylean Linguistics Through Ramus (pp.199-2o2; with quotes by Nichol from

––a. the martyrology book 5:chain 1 (lines 46-61)

––b. the martyrology book 4 (lines 124-125, 1217-1221, 1228-1236)

––c. "bushes" (lines 6-1o)

––d. "within the difference" (lines 7-9)

––e. "'dogma i am god'" (part of line 6-28)

––f. the martyrology book 5:chain 3 (lines 778-78o, 962-965))

–5. Mikhail Bakhtin: the Dialogic Utterance (p.2o3)

–6. NOTES (pp.2o3-2o6))

lxxv) UR L: on the autobiography of you, by Daphne Marlatt (pp.2o7-2o9; prose with quotes by Nichol from sections of Journal:

–1. "how can i write with nothing in my head no pressure" (x4)

–2. "as these things are they are only dreams as i have told" (x3)

–3. "maybe there are stories make sense maybe theres a"

–4. "i have said everything i can say having started ot so" (x2))

lxxvi) Sixteenth (?) birthday,\, [likely by Avis Nichol] (p.2o9; photograph)

lxxvii) bp (front) with brother Don, Sister Deanna, about 1946, [likely by Avis Nichol] (p.21o; photograph, group portrait)

lxxviii) The Child in Him, by Sean O'Huigin (pp.211-213; prose essay with quote by Nichol from

–a. The Child in Me)

lxxix) Some Notes in Progress about a Work in Process: bpNichol's The Martyrology, by Douglas Barbour (pp.215-224; prose essay in 8 parts:

–1. "NOW I CAN NEVER FLY WITHOUT IT HAPPENING. SUDDENLY I'M UP THERE" (p.215)

–2. "Cloudtown" (p.215)

–3. "Part of what I seek to do in these notes is to register, through a reference to" (pp.215-216, with quote by Robert Kroetsch on Nichol from

––a. The Continuing Poem)

–4. "Although neither T.S. Eliot's poetry nor his criticism springs immediately" (pp.216-217; with quote by Al Purdy on Nichol from

––b. A.W.Purdy: An Interview, by Gary Geddes & Al Purdy)

–5. "In Poetry as Discourse, Anthony Easthope argues a lengthy and interesting" (pp.217-22o; with quotes by Nichol from

––a. the martyrology book 5:chain 2 (lines 69-71 (69 including quote from

–––1. the martyrology book 4, line 9))

––b. A Note on Reading The Martyrology book V)

–6. "Book 5 opens with a map of one part of downtown Toronto – a closed" (p22o; with quotes by Nichol from

––* [see (xv) above)

––a. the martyrology book 5:chain 1, line 12o1)

–7. "Much of what I have written so far takes its bearings from recent post-" (pp.22o-223; with quotes by Nichol from

––a. Statement

––b. the martyrology book 4 (lines 1o97-1o99))

–8. NOTES (pp.223-224))

lxxx) now they found th wagon cat in human body, by Bill Bissett (p.225; poem, with dedication "for bp")

lxxxi) "as always ths pome first apeerd in we sleep inside each othr all wch", by Bill Bissett (pp.225-226; prose with quotes by Nichol from

–1. Cycle No. 22 ("drum and a wheel")

–2. Lament ("for dalevy"))

lxxxii) Briefly, To Martyr and Suffer, by Gerry Shikatani (pp.227-236; prose with quotes by Nichol from

–1. "hot night" lines 27-28 (p.227)

–2. the martyrolgy book 4 lines 82o-836 (pp.227-228), 1o49-1o5o (p.228), 1358-1364 (pp.228-229), 348-365 (pp.229-23o), 1-12 (pp.234-235), 1322-1331 (pp.235-236)

–3. "horrendous degree of personl reference" (from an unID'd interview, p.228)

–4. "this morning there are no clouds anywhere", part of line 3 (p.23o)

–5. Hour 11, part of line 3, 5-8 (p.23o), 2o, 21-23, 82 misquoted, 83, 112-115, 38-39 (all p.231)

–6. Hour 13 lines 3-9, 38-41, 38-39 misspaced (all p.232)

–7. Hour 14 parts of line 1o, 11-12 misquoted (p.232), 42, 57 misquoted, 64 misquoted, 65-67 misquoted (all p.233)

–8. the martyrology book 5:chain 1 lines 1o-31 (p.233)

–9. "there are many rods to that centre" lines 1-5 (p.234)

–1o. the martyrology book 5:chain 9 lines 184, 217-223, 256 misquoted (all p.235))

lxxxii) Receiving the Governor General's Award from Governor General Roland Michener, 1971, by --?-- (p.236; photograph, group portrait of Nichol, Michener & othrs unID'd)

lxxxiii) The Mutual Friend, by Brian Dedora (pp.237-238; prose)

lxxxiv) Music at the Heart of Thinking Journeying & the Returns, by Fred Wah (pp.239-242; prose in 11 parts:

–1. "This series of MHT is written in the development of a critical poetic that sees" (p.239)

–2. music at the heart of thinking, no. 21 (p.239)

–3. music at the heart of thinking, no. 22 (p.239, with quotes by Nichol from

––a. "the woods", lines 1o-11

––b. .End, lines 11-13

––c. "nothing will have taken place but the place", source unID'd)

–4. music at the heart of thinking, no. 23 (p.24o, with quotes by Nichol from

––a. "the woods", line 5

––b. "(putting a match to paper", lines 1o-11)

–5. music at the heart of thinking, no. 24 (p.24o, with quotes by Nichol from

––a. "prairie, lkes, trees,", part of line 9

––b. "rolling into night", line 8

––c. "always, lines 1-2 misquoted)

–6. music at the heart of thinking, no. 25 (p.24o, with quotes by Nichol from

––a. "always", lines 16-17

––b. "looking out", line 9)

–7. music at the heart of thinking, no. 26 (pp.24o-241, with quotes by Nichol from

––a. "eyes close, line 14

––b. Prologue: 1335 Comox Avenue, line 14)

–8. music at the heart of thinking, no. 27 (p.241, with quote by Nichol from

––a. Prologue: 1335 Comox Avenue, line 41)

–9. music at the heart of thinking, no. 28 (p.241, with quotes from

––a. Margaret Avison, A Letter from Margaret Avison (to Nichol)

––b. bpNichol, "the circle", line 12

––c. ____ "always", lines 18-2o)

–1o. music at the heart of thinking, no. 29 (pp.241-242, with quotes by Nichol from

––a. "such", lines 37-38

––b. "the sun", line 2o)

–11. music at the heart of thinking, no. 30 (p.242, with quotes by Nichol from

––a. "if to explain", lines 4-5

––b. . And ., lines 13-14, 32-33, 38-42

––c. "covered with patches cut from its own cloth", source unID'd)

lxxxv) bpNichol: Some Notes on Myth, by David Donnell (pp.242-245; prose in 12 numbered parts:

–1. "I THOUGHT OF BARRIE AS A SOUND POET AT FIRST. I HEARD HIM READ AT A" (p.243; with quote by Nichol from

––a. the martyrology book 5:chain 1, lines 1-9)

–2. "But it was only some time later that I started reading a number of the" (p.243)

–3. "Maybe it's tempting to think of the longer text poems or The Martyrology" (p.244)

–4. "Barrie has a very compelling voice. Physically, sort of country, but with a" (p.244)

–5. "The completeness of a complex transition slowly becomes a frame" (p.244)

–6. "This concern with consciousness is a concern with how we become what" (p.244)

–7. "Barrie talks about the world constantly by putting himself at the centre of" (p.244)

–8. "The body (Organ Music), which is the body of us all, is always his first" (p.244)

–9. "Barrie has a remarkable ability for utilizing small-town histories as exam-" (p.244)

–1o. (p.245; in 3 lettered parts:

––a. "Barrie's myth isn't anecdotal, but it subsumes anecdote."

––b. "One difference between The Martyrology and Olson's The Maximus"

––c. "A lot of he individual concentrations in the longer text poems or the")

–11. "A lot of the Toronto or New York writers I've been reading lately seem to" (p.245)

–12. "The most important single thing about a text is the frame. The frame is" (p.245))

lxxxvi) bpNichol as John of Patmos, Paul Duton as Michael the Archangel, in R.Murray Schafer's Apocalypsis, London, Ontario, 1980, by Margaret Coole (p.246; photograph, group portrait)

lxxxvii) Could've Been, by Sharon Thesen (pp.247-248; poetry)

lxxxviii) Nichol (second from right) with friends in the mid-60s, when he administered psychological tests and 'felt people weren't getting their money's worth unless I wore a jacket and tie.', by --?-- (p.248; photograph with quote by Nichol in caption (source unID'd))

ixc) Notes toward a beepliography, by jwcurry (pp.249-27o; in 2 parts:

–1. Notes toward a beepliography (pp.249-27o; list with quote by Nichol:

––a. "love (ie "...dove / above", in full unlineated in text))

–2. NOTE (p.27o; prose))

xc) "H", by --?-- (p.271; photograph, portrait of Nichol)

xci) [untitled photograph], by Michael Ondaatje (rear cover; photograph, reduced larger crop of front cover portrait with graphic (by --?--) of Milt The Morph superimposed)

___________________________

 

• also includes:

– 2 peripherally-related photographs of Plunkett, Saskatchewan (p.144)

– Joe Rosenblatt's Poems – Nocturnes, with no discernible Nichol-specificity (p.188)

– Louis Dudek's Poetry, likewise with no discernible Nichol-specificity (p.189)

nrhp # 90001619- Nicholas Johnson Mill, also known as Schollenberger Mill, is a historic grist mill located in Colebrookdale Township, Berks County, Pennsylvania. The mill was built in 1861, and is a 2+1⁄2-story, plus basement, brick building on a stone foundation. It measures 36 feet by 40 feet and is three bays wide and four bays deep. Also on the property are a 2+1⁄2-story, brick farmhouse built in 1838; a Switzer bank barn built about 1850; stone and log tenant house from the early 1800s; and some elements of the water power system.[2]

 

It was listed on the National Register of Historic Places in 1990.

 

from Wikipedia

30 years ago on Bacup Road, Rawtenstall and this December 1988 shot of Rossendale Leopard / East Lancs 2 on the Bacup service contrasts with the corresponding view on offer today. Approximately half of the Town Hall buildings have been demolished as part of the new Bus Station and Town Centre redevelopment. The part to the centre and right of the bus remains and has been refurbished to await a new occupier. As for Number 2, it was withdrawn just under 6 months later, in May 1989.

 

This image is copyright and must not be reproduced or downloaded without the permission of the photographer.

  

nrhp # 71000392- The Calumet Theatre is a historic theatre located at 340 Sixth Street in the town of Calumet, Michigan. It is also known as the Calumet Opera House or the Calumet Civic Auditorium. It is integral to, but a separate unit of, the Calumet municipal building.[2] The structure was designated a Michigan State Historic Site in 1971[2] and added to the National Register of Historic Places in 1971.[1] It is one of the 21 Heritage Sites which partners with the Keweenaw National Historical Park. The theatre is home to The Red Jacket Jamboree, an old-time radio variety show. The show is performed/recorded in front of a live audience at the theatre for later broadcasts on public radio stations. [3] [4] [5]

 

Contents

1

History

2

Description

3

Ghost stories

4

References

5

External links

History[edit]

  

Calumet Theatre, c. 1911

The village of Calumet was a prosperous community at the close of the nineteenth century, primarily due to the rich vein of copper mined by the Calumet and Hecla Mining Company, located just south and east of the village. In 1898, the community decided that an opera house was required to serve the people of Calumet.[6] Local architect Charles K. Shand was chosen to design the building, and Chicago interior designer William Eckert developed a crimson, gold, and ivory color scheme for the interior.[2]

The theatre opened on March 20, 1900,[2] with the operetta The Highwayman, by Reginald De Koven and Harry B. Smith, on tour from Broadway.[6] The theatre was one of the first municipal theatres in the country.[2] It soon attracted attention from America's finest actors, actresses, and other theatre greats, such as Frank Morgan (later famous for his roles in The Wizard of Oz), Douglas Fairbanks, Sr., Lon Chaney, Sr., John Philip Sousa, Sarah Bernhardt, and Madame Helena Modjeska among others.[6]

As time wore on, the theatre began to lose popularity, due mostly to the decline of the local economy and the increasing popularity of movies.[6] In the late 1920s, the theatre was converted to a motion-picture house,[2] serving in this medium until the 1950s.[6] Summer stock theatre was brought back to the Calumet Theater in 1958, and performed there every summer until 1968, and returned in 1972.[6]

In 1975, the auditorium was restored for the centennial of Calumet.[6] In 1988-89, the exterior of the theatre was restored.[6]

In 1983, the Calumet Theatre Company was incorporated as a non-profit organization.[7] In 2013, the theater began working on adding an elevator to improve accessibility for the second floor and balcony. The elevator was installed in 2018.[8][9][10]

Five staff members and several volunteers help to operate the Theatre.[7] Today, the Calumet Theatre is home to as many as 60 theatre-related events a year, with an estimated 18,000 people attending.

 

from Wikipedia

From Wikipedia, the free encyclopedia

 

Chicago, Rock Island & Pacific

Railroad Depot

U.S. National Register of Historic Places

 

Chicago, Rock Island & Pacific Railroad Depot (Atlantic, Iowa) is located in Iowa Chicago, Rock Island & Pacific Railroad Depot (Atlantic, Iowa)

 

LocationJunction of 1st and Chesnut Sts., Atlantic, Iowa

Coordinates41°24′36″N 95°0′46″WCoordinates: 41°24′36″N 95°0′46″W

Built1898

Built byChicago, Rock Island & Pacific Railroad

Architectural styleRenaissance Revival

MPSAdvent & Development of Railroads in Iowa MPS

NRHP reference #94000087[1]

Added to NRHPFebruary 23, 1994

The Chicago, Rock Island & Pacific Railroad Depot, also known as the Rock Island Depot, is an historic building located in Atlantic, Iowa, United States. The Chicago, Rock Island & Pacific Railroad built the first tracks through the area in 1868. The city of Atlantic was founded at the time of the railroad construction. It grew to become the largest and the most significant community along the Rock Island lines between Des Moines and Council Bluffs.[2] The present depot dates from 1898, and it is not a standard-plan depot for the railroad. The unusual design suggests it is the work of an architect, possibly from Chicago.[2] It was built during a prosperous period for the railroad when it was able to replace its facilities along its mainline. The express freight and baggage building attached to the depot was built at the same time. The passenger depot replaced a frame combination passenger and freight depot a block away. After its use as a depot, the building fell into disrepair before it was restored. It now houses the local chamber of commerce. The building was listed on the National Register of Historic Places in 1994.[1]

Pamukkale, meaning "cotton castle" in Turkish, is a natural site in Denizli Province in southwestern Turkey. The area is famous for a carbonate mineral left by the flowing of thermal spring water.[1][2] It is located in Turkeys Inner Aegean region, in the River Menderes valley, which has a temperate climate for most of the year.

 

The ancient Greek city of Hierapolis was built on top of the travertine formation which is in total about 2,700 metres (8,860 ft) long, 600 m (1,970 ft) wide and 160 m (525 ft) high. It can be seen from the hills on the opposite side of the valley in the town of Denizli, 20 km away. This area has been drawing visitors to its thermal springs since the time of classical antiquity.[1] The Turkish name refers to the surface of the shimmering, snow-white limestone, shaped over millennia by calcite-rich springs.[2] Dripping slowly down the mountainside, mineral-rich waters collect in and cascade down the mineral terraces, into pools below.

 

Pamukkale sinter terraces

It was added as a UNESCO World Heritage Site in 1988 along with Hierapolis.

 

Geology

 

Travertine terrace formations

Pamukkale's terraces are made of travertine, a sedimentary rock deposited by mineral water from the hot springs.[1] In this area, there are 17 hot springs with temperatures ranging from 35 °C (95 °F) to 100 °C (212 °F). The water that emerges from the spring is transported 320 metres (1,050 ft) to the head of the travertine terraces and deposits calcium carbonate on a section 60 to 70 metres (200 to 230 ft) long covering an expanse of 24 metres (79 ft) to 30 metres (98 ft). When the water, supersaturated with calcium carbonate, reaches the surface, carbon dioxide de-gasses from it, and calcium carbonate is deposited. Calcium carbonate is deposited by the water as a soft gel which eventually crystallizes into travertine.

 

Archaeology

Travertine terraces at a hot spring at Pamukkale

There are only a few historical facts known about the origin of the city. No traces of the presence of Hittites or Persians have been found. The Phrygians built a temple, probably in the first half of the 7th century BC. This temple, originally used by the citizens of the nearby town of Laodicea, would later form the centre of Hierapolis.

 

Pools inside the archeological site

Hierapolis was founded as a thermal spa early in the 2nd century BC within the sphere of the Seleucid Empire. Antiochus the Great sent 2,000 Jewish families to Lydia and Phrygia from Babylon and Mesopotamia, later joined by more from Judea. The Jewish congregation grew in Hierapolis and has been estimated as high as 50,000 in 62 BC.[3] Hierapolis became a healing centre where doctors used the thermal springs as a treatment for their patients. The city began minting bronze coins in the 2nd century BC. These coins give the name Hieropolis. It remains unclear whether this name referred to the original temple (ἱερόν, hieron) or honoured Hiera, the wife of Telephus, son of Heracles and the Mysian princess Auge. This name eventually changed into Hierapolis ("holy city").[4] In 133 BC, when Attalus III died, he bequeathed his kingdom to Rome. Hierapolis thus became part of the Roman province of Asia. In AD 17, during the rule of Emperor Tiberius, a major earthquake destroyed the city.

 

Through the influence of the Christian Apostle Paul, a church was founded here while he was at Ephesus.[5] The Christian Apostle Philip spent the last years of his life here.[6] The town's Martyrium was alleged to have been built upon the spot where Philip was crucified in AD 80. His daughters were also said to have acted as prophetesses in the region.[7][8] During the 4th century, the Christians filled Pluto's Gate (a ploutonion) with stones, suggesting that Christianity had become the dominant religion and had begun displacing other faiths in the area. Originally a see of Phrygia Pacatiana,[9] the Byzantine Emperor Justinian raised the bishop of Hierapolis to the rank of metropolitan in 531. The Roman baths were transformed to a Christian basilica. During the Byzantine period, the city continued to flourish and also remained an important centre for Christianity. Wikipedia

Nestled below Seaton Viaduct on the the Manton Junction to Corby line the one time LNWR branch from Seaton Junction to Uppingham once passed beneath the viaduct. Recent vegetation clearance in association with bridge abutment work on the closed line has exposed the old branch line gradient post. The 3¾ mile single track line appeared to dropped at 1/100 towards the junction and rose beyond the viaduct at 1/80 towards the terminus. This closed line even had new DfT infrastructure register numbers painted on the new brickwork where the bridge over a tributary of the River Welland has been removed. It had recently been recorded as structure no. DfT SE-U 2. It is the first time I have seen Department for Transport replace the old BRB lettering on redundant railway infrastructure.

The Uppingham branch never lived up to expectation it opened for traffic in September 1894 hoping to cash in on the local ironstone trade and patronage from Uppingham School. The renowned school entered into a contract with the LNWR and ran some specials but the locals did what they had always done and used the much better Midland Railway service from nearby Manton station. In the end the school blocked expansion of the ironstone quarries nearby in 1918 and the branch finally lost its passenger service on 13th June 1960 with freight ceasing on 1st June 1964 after which the line was closed and lifted.

Clandon Park House is an early 18th-century grade I listed Palladian mansion in West Clandon, near Guildford in Surrey.[2]

 

It stands in the south east corner of Clandon Park, a 220-hectare (540-acre) agricultural parkland estate which has been the seat of the Earls of Onslow for over two centuries. The house and gardens were gifted to the National Trust in 1956,[3] but the rest of the park remains in private ownership.[4] Some of the house's contents have also been acquired by the Trust in lieu of estate duty.[5]

 

Construction of the house, designed by Italian architect Giacomo Leoni, began about 1730, and the interiors were finished by continental sculptors and plasterers in the 1740s. It replaced an Elizabethan house. The park was landscaped by Lancelot 'Capability' Brown in 1781, and there are two formal gardens on either side of the house. Nearby is a Māori meeting house, one of only three outside New Zealand, that was brought to England in the late 19th century. After being transferred to the National Trust, the house underwent restoration before it was opened to the public, and later became a wedding venue and filming location for period dramas.

 

The house was badly damaged by fire in April 2015, probably caused by an electrical fault in the basement, leaving it "essentially a shell". Thousands of historic artefacts, paintings, and items of furniture were lost in what has been described as a national tragedy. In January 2016, the National Trust announced that some of the principal rooms on the ground floor would be fully restored to the original 18th-century designs, and upper floors will be used for exhibitions and events.

 

History[edit]

The estate and Elizabethan house, together with Temple Court Farm at Merrow, was purchased in 1641 from Sir Richard Weston of nearby Sutton Place,[6] by Sir Richard Onslow, MP for Surrey in the Long Parliament and great-grandfather of Thomas Onslow, 2nd Baron Onslow, who rebuilt it. Many members of the Onslow family followed political careers; three of them, including Arthur Onslow, were Speakers of the House of Commons. Their portraits would later hang in the Speaker's Parlour at Clandon House.[7]

  

Engraving of the house, showing the west front and deer park, c. 1824

The house was built, or perhaps thoroughly rebuilt, in about 1730–33 (the latter date is on rainwater heads) by Thomas Onslow, 2nd Baron Onslow to the design of the Venetian architect Giacomo Leoni. It is a rectangular building of red brick and stone dressings. Clandon House interiors, completed in the 1740s, featured a two-storey Marble Hall, containing marble chimney pieces by the Flemish sculptor Michael Rysbrack, and a rococo plasterwork ceiling by Italian-Swiss artists Giuseppe Artari and Bagutti.[8]

 

Clandon Park was landscaped by Lancelot 'Capability' Brown in 1776–81, replacing a French garden and transforming part of a disused canal into an ornamental lake.[9] A porte-cochère was added to the principal facade in 1876. A sunken Dutch garden was created by Frances, Countess of Onslow at the north front of the house in the late 19th century. In 1895, the house was investigated for paranormal activity by the Marquess of Bute and Ada Goodrich Freer on behalf of the Society for Psychical Research. During World War I, the Onslow family created and managed a hospital in Clandon House for the war injured.

en.wikipedia.org/wiki/Clandon_Park_House

When it opened in November 2003, the mall had over 200 specialty shops and 8 anchor stores.[2] It was a venture investment by developer and former owner Mills Corporation that offered many retail stores and entertainment attractions. In October 2012, Simon Property Group, into which Mills Corporation had merged, and it became a bank owned asset thus and was renamed to St. Louis Outlet Mall. As of 2019, there was a sale of the bank asset to new undisclosed owners.[3] On May 24, 2019, Namdar Realty Group announced the closing of the mall and gave the tenants 30 days to vacate the building.[4] The mall will be redeveloped into a sports complex called POWERplex STL.[5] As of 2021, the Cabella's is still operating independently of the mall.

Argentinische Ruderenten erreichen eine Körperlänge von etwa 35 bis 40 Zentimetern und ein Gewicht von etwa 640 Gramm. Weibchen und Männchen im Ruhekleid sind rußig-braun bis schwärzlich mit gelbbrauner bis rötlicher Wellenzeichnung. Unter dem Auge verläuft von der Basis des dunkelgrauen Schnabels bis zum Nacken ein gelbbrauner bis weißlicher Streifen unter dem ein leicht gesprenkeltes dunkles Band liegt. Der Hals ist weißlich, häufig mit dunkler gesprenkeltem oder geflecktem Nacken. Die Bauchseite ist silbrig-weiß mit braunen Flecken, Beine und Füße sind dunkelgrau.

 

Im Prachtkleid weist das Männchen einen komplett schwarz gefärbten Kopf auf. Der Körper ist rötlich-kastanienbraun, die Schwungfedern, der Schwanz und die Region zwischen den Schultern sind rußig-braun bis schwärzlich gefärbt. Die Bauchseite ist gesprenkelt schmutzig-weiß wobei die kastanienbraune Rückenfärbung manchmal deutlich in die Bauchfärbung einfließt. Der Schnabel ist kräftig blau gefärbt, die Iris des Auges ist rötlichbraun. Beine und Füße sind blaugrau. [1]

 

Die Männchen der Argentinische Ruderente besitzen einen außergewöhnlich großen Penis, der im Ruhezustand korkenzieherartig aufgerollt in der Kloake liegt und eine durchschnittliche Länge von etwas über 20 Zentimetern erreicht. Bei einem Exemplar wurden im voll ausgestreckten Zustand sogar 42,5 Zentimeter gemessen[2]. Der auch im ausgefahrenen Zustand gewundene Penis ist fleckig grau und trägt an der Basis eine Reihe von groben Stacheln während das Ende weich und bürstenartig ist. Wie genau das Organ während der Paarung eingesetzt wird, ist unbekannt. Es wurde spekuliert, dass es eine Schaufunktion erfüllt oder, da Ruderenten ausgeprägte Promiskuität zeigen, zum Entfernen von bei vorhergehenden Paarungen im weiblichen Genitaltrakt deponiertem Sperma dient.

 

Die Argentinische Ruderente besiedelt Tümpel und Seen mit reichem Wasserpflanzenbewuchs im Flachland des gemäßigten Südamerika. Sie brütet in Chile von der Atacamawüste bis Feuerland sowie in Argentinien und überwintert in Paraguay, Uruguay und Südbrasilien.

 

(Wikipedia)

 

- - -

 

The Argentine Blue-bill or Argentine Lake Duck or Argentine Ruddy duck (Oxyura vittata) is a small South American stiff-tailed duck.

 

Range: Chile and Argentina, sometimes migrating in winter to southern Brazil and Paraguay. Clumsy on land since their legs are set unusually far back. They spend most of their time in water where they feed by diving, and rarely fly.[1]

 

Lake ducks are small, around 640 grams (23 oz), and about 40 cm (16 inches) in length. The male duck (or drake) has a black head, reddish-brown body, and blue bill. The female is less colorful, with a brown body, white throat, and a white horizontal stripe on the side of the head below the eyes.[2]

 

It is notable for possessing, in relation to body length, the longest penis of all vertebrates; the penis, which is coiled up in flaccid state, can reach about the same length as the animal itself when fully erect, but more commonly is about half the bird's length.[2][3] It is theorized that the remarkable size of the spiny penis with its bristled tip may have evolved in response to competitive pressure in these highly promiscuous birds, removing sperm from previous matings in the manner of a bottle brush.

 

Although most male birds have no penis[3], ducks have a long corkscrew penis, and the females have a long corkscrew vagina, which spirals in the opposite direction.[4] The males often try to force copulation, but the complex mating geometry allows the females to retain control—most of the forced copulations do not result in successful fertilisation.[5]

 

(Wikipedia)

the week after newyears...

2. It's a good idea to pull off some wool tops/roving first while your hands are dry. Spray the ball with soapy water.

Discovered an odd combination Mamiya 50mm f/2. It has the machined focus ring of the old AUTO, but the rest of the lens is SX, but the extra pin is missing and the SX label is omitted. It's also lighter, like the SX model. Who manufactured this lens? Tomioka? Mamiya? It's neither lens model. What glass is used? An interesting find.

“…You know the rules? Burglary to be carried out within three days and the loot to be worn for at least an hour in a public place……”

 

Noreen rose suddenly, her gown swirling to her heels, the diamonds encircling her neck and swaying from her ears rippled into blazing life. She pulled her wonderfully embroidered shawl round her, looking hungrily into his eyes. “Drive me somewhere in the car. Down to the docks. Somewhere horrible and exciting. Wait a minute….” She reached up an unclasped the diamonds from around her neck. “You’d better take these again. I don’t want to be murdered for them!”

 

,,,,,from The Manhood of Edward Robinson

 

A butler who isn’t a butler…. A duchess who isn’t a duchess…A madman who isn’t a madman….. A corpse that is not a corpse...A thief who isn’t a thief…..Agatha Christie turns her talents to mischief, mayhem, and murder. Her gallery of rogues, rascals, and evildoers don the most outlandish disguises in this outstanding collection of clever crimes and ingenious intrigue.

 

The Golden Ball and Other Stories

 

by Agatha Christie

 

3.68 • rating details • 685 ratings • 48 reviews

 

Is it a gesture of good will or a sinister trap that lures Rupert St. Vincent and his family to magnificent estate? How desperate is Joyce Lambert, a destitute young widow whose only recourse is to marry a man she despises? What unexpected circumstance stirs old loyalties in Theodora Darrell, and unfaithful wife about to run away with her lover? In this collection of short stories, the answers are as unexpected as they are satisfying. The Queen of Crime takes bizarre romantic entanglements, supernatural visitations, and classic murder to inventive new heights.

 

The Golden Ball and Other Stories is a short story collection written by Agatha Christie and first published in the US by Dodd, Mead and Company in 1971[1][2] in an edition priced at $5.95[2]. It contains fifteen short stories.

Containing Thirteen of the famous mystery writer's earliest short works including the lighthearted and suspenseful ""The Listerdale Mystery,"" the supernatural ""The Hound of Death,"" and the romantic ""Magnolia Blossom.""

********************************************

The Listerdale Mystery

The Girl in the Train

The Manhood of Edward Robinson

Jane in Search of a Job

A Fruitful Sunday

The Golden Ball

The Rajah's Emerald

Swan Song

The Hound of Death

The Gypsy

The Lamp

The Strange Case of Sir Arthur Carmichael

The Call of Wings

Magnolia Blossom

Next to a Dog

****************************************************************

 

This is motif#2 : it is composed of 2 rows: first row is executed with 3 shuttles to obtain red cluny leaves (in progress in the upper left picture); second row is with 2 shuttle, joining at the connecting point between cluny leaves (in the bottom left picture there's a detail of the back side). Thread is DMC 80, pattern is original.

Distribution and habitat

 

The geographical range of the European plaice is off all coasts from the Barents Sea to the Mediterranean, also in the Northeast Atlantic and along Greenland. In some locales such as the Irish Sea this species is considered fully exploited by commercial fishing.[2]

 

It is a common flatfish, occurring on the sandy and muddy bottoms of the European shelf, usually at depths between 10 and 50 m, where they tend to burrow in sediment during day time and remain stationary for long periods. They can be found at depths up to approximately 200 m. Young fish in particular come right inshore in very shallow water.

 

They are able to survive low salt concentrations and may occur in some cases in brackish water or even in freshwater.

 

Description

 

The European plaice is characterised above by their darkgreen to darkbrown skin, blotched with conspicuous, but irregularly distributed, orange spots. The underside is pearly white. The skin is smooth with small scales. They are able to adapt their colour somewhat to match that of their surroundings but the orange spots always remain visible [3] The skin lacks any prickles.

 

Its maximum length is about 1 m but the plaice, but adults, caught in fishing nets, are usually between 50 and 60 cm in length. Its maximum published weight is 7 kg [4] and its maximum recorded age is 50 years [4]

 

The outline of adults is oval. The head is rather small and is less than 25 % of the total length. The pointed mouth is terminal and fairly small with its maxilla reaching just below the right eye. Both eyes are located at the right hand side of the body. The bony ridge behind the eyes is another characteristic for this species. The lateral line curves slightly above the pectoral fin. The dorsal fin reaches the eye. The dorsal and anal fin are distant from the caudal fin. The anal fin contains 48 to 59 soft rays and is preceded by a spine. The dorsal fin has 65-79 soft rays, the pectoral fin 10 to 11 and the ventral fin 6.[5]

 

Food

 

It is active at night and feeds on polychaetes, crustaceans and bivalves. Young plaices (between 1 and 2 years old) tend to consume mainly shrimps.

 

Life cycle

 

The main spawning grounds in the North Sea are located in the Southern Bight and in the eastern English Channel. Plaice are determinate spawners in which fecundity is determined before the onset of spawning. Females mature, i.e. are able to spawn, at ages from 3 to 7 years old. However, in the North Sea, most females mature at 3 years. Ovary development begins around late August to September with the spawning being from December to May. Each female releases eggs in batches every 3 to 5 days for approximately 1 month.

 

The eggs hatch after approximately two weeks and drift passively in the plankton. The larvae drift in the plankton and metamorphose after about 8 to 10 weeks, dependent on temperature, at which time they settle in the intertidal zone of sandy beaches. The larvae exhibit what is sometimes called semi-active tidal transport. As the larvae cannot swim against the prevailing currents, they make use of their ability to alter their vertical position in the water column to ensure they are transported to suitable habitat. On incoming or flood tides (water level is rising) the larvae move up into the water column and are thus transported towards land. On the outgoing or ebb tides (water level is falling), the larvae move down the water column and are not transported away from the intertidal by the tidal currents.

 

When the larvae have reached a suitable site for settlement, the metamorphosis to the asymmetric body shape takes place. This can take up to 10 days.

 

Recently transformed juveniles settle onto shallow intertidal beaches. The very youngest juveniles will, for a period of up to a week, strand themselves in very shallow pools on the intertidal once the tide has receded. The reasons for this behaviour are not clear. During the first year of life (when the fish are called 0+ group), the juveniles will stay in these shallow intertidal habitats for up to 7 months (depending on latitude and/or temperature), before migrating to deeper waters. Some of these fish will return the next year (when they are I+ group) and even fewer when they are II+ group, however, the majority of juveniles do not return after they have migrated during their first year.

 

Plaice as a food

 

Plaice is sometimes used as the fish in fish and chips, in countries where the dish is popular.[6]

 

In North German and Danish cuisine plaice is one of the most commonly eaten fishes. Filleted, battered and pan-fried plaice is popular hot or cold as an open sandwich topping together with remoulade sauce and lemon slices. Battered plaice can also be served hot with french fries and remoulade sauce as a main dish; this fish and chips variant is commonly available as a children's special in Danish restaurants. Breaded frozen plaice, ready to be baked or fried at home, are readily available in supermarkets. Fresh plaice is also oven-baked.

 

Threats

 

Plaice, along with the other major demersal fish in the North Sea such as cod, monkfish and sole, is listed by the ICES as "outside safe biological limits." Moreover, they are growing less quickly now and are rarely older than six years, whereas they can reach forty.[7] The World Wildlife Fund says that in 2006 that "of the eight plaice stocks recognised by ICES, only one is considered to be harvested sustainably while three are overexploited. Data is insufficient to assess the remaining stocks; however, landings for all stocks are at or near historical lows."

 

In 2010, Greenpeace International has added the European plaice to its seafood red list. "The Greenpeace International seafood red list is a list of fish that are commonly sold in supermarkets around the world, and which have a very high risk of being sourced from unsustainable fisheries

  

www.sealsanctuary.co.uk/visitorso.html

I bought this sewing box at the thrift store a couple of months ago for $2. It is 8.5" square, lightly padded, covered with an interesting patterned fabric on the outside and lined with a faded red fabric on the inside. It has a fabric hinge and ribbon "stops". It is just the right size for me. I use it all the time. Inside it has a million needles, a small box of pins, basic threads and half a dozen pair of scissors. (I know I know). After discovering last week how helpful it was to have a place to anchor the needle when making French Knots etc., and since this box fits nicely on my lap, I decided to pad the top of it with a piece of embroidery. I again prepared a felted surface, embroidered it and then turned it into a sort of Bean Bag and added some beads. As you can see, it is pinned to the top. I will try to get a better photo of the embroidery tomorrow. It is just too bright out there right now!

I've been tagged by josh'n to do the 16 things. so here goes :)

 

1. My biggest fear is demons. Like, real demons. I'm terrified of demon possession.

2. It's very rare that I'm seen in something other than a white t-shirt and pajama pants.

3. I can't find one thing about me that I love at all times. Something is always wrong.

4. I'm not very smart, I don't think I'm very attractive, and I lack in other superficial, materialistic things.. but I've got a good heart and I love harder than anyone should be allowed to.

5. From kindergarten up to 3rd grade, I cried every morning when my mom took me to school. She actually had to take me to my classroom because I would cry and scream. I hated not being with her. I'm still that way, minus the crying and screaming. But I think I love her more than anyone in my life, as wrong as that is.

6. I had to get glasses in the 4th grade, and my teacher would always get me in trouble because I wouldn't wear them. I'd squint all the time, and eventually she started making me sign the book (that was our punishment) if she saw me without them on.

7. I'm a virgin by choice. I'm 18 (19 in May) and I have chosen to practice abstinence until my wedding night. It's just something I've always known I wanted to do. When I found out about sex, I knew I didn't want to do it with just anyone. I'm saving myself for my soul mate and I don't care if people criticize me or call me a prude. It's my choice, just like it's your choice to practice sex.

7. For the past 4 days, I've had Jonas Brothers on repeat on my mp3 player.

8. I can't tell you how many times a day people tell me I look just like my mom. Even though I got my dad's hair color, eye color, and his tanned skin.

9. I'm in the process of trying to lose weight. I've always been kind of chubby, and I'm trying so hard to change that. It's not because I'm afraid people think I'm fat, it's just me. I don't want to keep letting myself go and die of heart disease at age 50.

10. When I'm older and I live alone (because I'm sure I will at some point) I'm going to get a Great Dane. A Harlequin one, and I'll name her Maggie.

11. When I was around age 8-9, I had a Christmas concert at my church. Well, everyone was leaving and I decided that I really had to tinkle. So, my dad said he'd wait for me, because they were turning off lights and stuff.. when I came out of the bathroom, I walked into a pitch black church and I immediately started screaming. Not only was I terrified of the dark, but I was really upset that my dad didn't wait for me like he said he would. I continued to scream at the top of my lungs and I finally found the front doors. The pastor opened them and I ran straight to my dad. He apologized and stuff.. but that's still one of my worst memories. I have never been so scared in my life. And the funny thing is.. I was in a church. As if God would let the dark get me. Pfft. :)

12. I taught my mom how to put on eyeshadow today. She used to know how, but times have changed and we don't wear dark blue anymore. It was fun to be able to do that for her.

13. I've never broken a bone.

14. I cry at any sign of dogs being abused. Or any animal for that matter. But dogs hold a special place in my heart.

15. I am a complete sucker for guys with nice butts and curly hair. Like Nick Jonas. Haha :D

16. I dislike all 4 of the boys I've kissed in my life and deeply regret kissing them.

   

that was hard, btw.

I took the Sigma 35 F1.2 out for an official spin at my local park, with my lovely wife and daughter whom is always gracious enough to pose for me.

 

My quick thoughts, coming from the Sony Camp and using the Zeiss 35mm F1.4za, the Sigma is more sharper, even at 1.2, The Zeiss may have just a bit more punch of color, but the Sigma isn't far off. The build goes to Sigma, so does the heft. You can get very creative with the F1.2, it's fun. AF is actually pretty good, S and C, the Eye focus was good as well. The MFD is very good, I can get pretty close.

 

For me it is worth the price tag. How tack sharp this lens is wide open is unbelievable. My favorite lens in my bag was the 50 S Pro and followed by the Sigma Art 85, the Sigma Art 85 has been bumped to 3rd place by the Sigma 35mm F1.2. The Panny 50 S Pro is still a special lens and my favorite and it does surpass the Sigma 35 1.2, but not by much. However, if I had to take one lens, it would be the Sigma 35 F1.2 because of it's versatility.

 

I am not a professional, just a highly enthusiastic photographer who loves everything photography.

 

Most are shot wide open and very little post, if any.

Ferstel

(Pictures you can see by clicking on the link at the end of page!)

Ferstel and Café Central, by Rudolf von Alt, left the men's alley (Herrengasse - Street of the Lords), right Strauchgasse

Danube mermaid fountain in a courtyard of the Palais Ferstel

Shopping arcade of the Freyung to Herrengasse

Entrance to Ferstel of the Freyung, right the Palais Harrach, left the palace Hardegg

The Ferstel is a building in the first district of Vienna, Inner City, with the addresses Strauchgasse 2-4, 14 Lord Street (Herrengasse) and Freyung 2. It was established as a national bank and stock exchange building, the denomination Palais is unhistoric.

History

In 1855, the entire estate between Freyung, Strauchgasse and Herrengasse was by Franz Xaver Imperial Count von Abensperg and Traun to the k.k. Privileged Austrian National Bank sold. This banking institution was previously domiciled in the Herrengasse 17/ Bankgasse. The progressive industrialization and the with it associated economic expansion also implied a rapid development of monetary transactions and banking, so that the current premises soon no longer have been sufficient. This problem could only be solved by a new building, in which also should be housed a stock exchange hall.

According to the desire of the then Governor of the National Bank, Franz von Pipitz, the new building was supposed to be carried out with strict observance of the economy and avoiding a worthless luxury with solidity and artistic as well as technical completion. The building should offer room for the National Bank, the stock market, a cafe and - a novel idea for Vienna - a bazaar.

The commissioned architect, Heinrich von Ferstel, demonstrated in the coping with the irregular surface area with highest conceivable effective use of space his state-of-the art talent. The practical requirements combine themselves with the actually artistic to a masterful composition. Ferstel has been able to lay out the rooms of the issuing bank, the two trading floors, the passage with the bazar and the coffee house in accordance with their intended purpose and at the same time to maintain a consistent style.

He was an advocate of the "Materialbaues" (material building) as it clearly is reflected in the ashlar building of the banking institution. Base, pillars and stairs were fashioned of Wöllersdorfer stone, façade elements such as balconies, cornices, structurings as well as stone banisters of the hard white stone of Emperor Kaiser quarry (Kaisersteinbruch), while the walls were made ​​of -Sankt Margarethen limestone. The inner rooms have been luxuriously formed, with wood paneling, leather wallpaper, Stuccolustro and rich ornamental painting.

The facade of the corner front Strauchgasse/Herrengasse received twelve sculptures by Hanns Gasser as decoration, they symbolized the peoples of the monarchy. The mighty round arch at the exit Freyung were closed with wrought-iron bare gates, because the first used locksmith could not meet the demands of Ferstel, the work was transferred to a silversmith.

1860 the National Bank and the stock exchange could move into the in 1859 completed construction. The following year was placed in the glass-covered passage the Danube mermaid fountain, whose design stems also of Ferstel. Anton von Fernkorn has created the sculptural decoration with an artistic sensitivity. Above the marble fountain basin rises a column crowned by a bronze statue, the Danube female with flowing hair, holding a fish in its hand. Below are arranged around the column three also in bronze cast figures: merchant, fisherman and shipbuilder, so those professions that have to do with the water. The total cost of the building, the interior included, amounted to the enormous sum of 1.897.600 guilders.

The originally planned use of the building remained only a few years preserved. The Stock Exchange with the premises no longer had sufficient space: in 1872 it moved to a provisional solution, 1877 at Schottenring a new Stock Exchange building opened. The National Bank moved 1925 into a yet 1913 planned, spacious new building.

The building was in Second World War battered gravely particularly on the main facade. In the 1960s was located in the former Stock Exchange a basketball training hall, the entire building appeared neglected.

1971 dealt the President of the Federal Monuments Office, Walter Frodl, with the severely war damaged banking and stock exchange building in Vienna. The Office for Technical Geology of Otto Casensky furnished an opinion on the stone facade. On the facade Freyung 2 a balcony was originally attached over the entire 15.4 m long front of hard Kaiserstein.

(Usage of Leith lime: Dependent from the consistence and structure of the Leitha lime the usage differed from „Reibsand“ till building material. The Leitha lime stone is a natural stone which can be formed easily and was desired als beautiful stone for buildings in Roman times. The usage of lime stone from Eggenburg in the Bronze age already was verified. This special attribute is the reason why the Leitha lime was taken from sculptors and masons.

The source of lime stone in the Leitha Mountains was important for Austria and especially for Vienna from the cultur historical point of view during the Renaissance and Baroque. At the 19th century the up to 150 stone quarries of the Leitha mountains got many orders form the construction work of the Vienna „Ring road“.

At many buildings of Graz, such as the castle at the Grazer castle hill, the old Joanneum and the Cottage, the Leitha lime stone was used.

Due to the fact that Leitha lime is bond on carbonate in the texture, the alteration through the actual sour rain is heavy. www.geocaching.com/geocache/GC2HKZ9_leithagebirge-leithak...)

This balcony was no longer present and only close to the facade were remnants of the tread plates and the supporting brackets recognizable. In July 1975, followed the reconstruction of the balcony and master stonemason Friedrich Opferkuh received the order to restore the old state am Leithagebirge received the order the old state - of Mannersdorfer stone, armoured concrete or artificial stone.

1975-1982, the building was renovated and re-opened the Café Central. Since then, the privately owned building is called Palais Ferstel. In the former stock exchange halls now meetings and presentations take place; the Café Central is utilizing one of the courtyards.

de.wikipedia.org/wiki/Palais_Ferstel

green and tan #2

 

it has more green than the other one and its a mirror as well

 

a cool fountain pen swirl on the side

 

Markings:

3001

10 223

 

pretty neat to have sequential bricks, 9 and 10, maybe they were made at the same time? with how similar they are to each other in terms of color ratio also

 

frosted lines and walls, modern mould

The McDonnell Douglas F-4 Phantom II[N 1] is a tandem two-seat, twin-engine, all-weather, long-range supersonic jet interceptor aircraft/fighter-bomber originally developed for the United States Navy by McDonnell Aircraft. It first entered service in 1960 with the U.S. Navy. Proving highly adaptable, it was also adopted by the U.S. Marine Corps and the U.S. Air Force, and by the mid-1960s had become a major part of their respective air wings.

 

The Phantom is a large fighter with a top speed of over Mach 2.2. It can carry more than 18,000 pounds (8,400 kg) of weapons on nine external hardpoints, including air-to-air missiles, air-to-ground missiles, and various bombs. The F-4, like other interceptors of its time, was designed without an internal cannon. Later models incorporated an M61 Vulcan rotary cannon. Beginning in 1959, it set 15 world records for in-flight performance, including an absolute speed record, and an absolute altitude record.

 

(Text Wikipedia)

A rainy morning in London, and there is only so much coffee one can have before the pubs open.

 

I get out of the train at Farringdon, walk along side the station in the shelter of an overhanging building, and at the junction I see a square. And on the other side, a church.

 

It seemed to be open.

 

A late 18th century church, very much after Wren, but pleasant inside, with some nice windows, a fine gallery, and I received a warm welcome.

 

People tapped away in laptops on the aisles, a working space for weekdays, and no one seemed to mind me taking snaps.

 

-----------------------------------------

 

The parish of St James, Clerkenwell, has had a long and sometimes lively history. The springs which give Clerkenwell its name are mentioned during the reign of Henry II. The parish clerks of London used to perform their mystery plays, plays based on Biblical themes, in the neighbourhood, sometimes in the presence of royalty. In approximately 1100 a Norman baron named Jordan Briset founded an Augustine nunnery dedicated to St Mary, which became wealthy and influential.[2] It had a place of pilgrimage at Muswell Hill, and the parish kept an outlying tract of territory there until the nineteenth century.

 

At the dissolution of the nunnery under Henry VIII its church, which by then seems to have acquired a second dedication to St James, was taken into use by its parishioners who had already been using a part of it for some considerable time. The site of the nunnery was granted to Thomas Howard, 3rd Duke of Norfolk, in 1540 but the freehold of the church passed through various hands until it was conveyed in 1656 to trustees on behalf of the parishioners, who at the same time obtained the right to appoint the vicar. Unlike other parishes, they retained it after the Restoration of 1660. Elections of vicars were held, with all the excitement and paraphernalia of parliamentary elections, right down to the early years of the twentieth century, and a distinctly Low Church tradition was thereby established. This did not prevent a long struggle in the latter years of the eighteenth century with Selina, Countess of Huntingdon. This strong-minded and evangelical lady had taken over a building in the parish called Spa Fields Chapel, and insisted on appointing her own chaplains to preach there. The vicar was furious, and his action against her in the ecclesiastical courts was the cause of her secession from the Church of England.

 

In 1596, the playwright George Peele was buried in the church.

 

In 1623 the steeple fell down twice but was eventually successfully rebuilt. Pocahontas and John Rolfe's son, Thomas Rolfe, married Elizabeth Washington here in September 1632. They had a daughter named Anne a year later. Elizabeth died shortly after Anne’s birth. Two years later, he returned to Jamestown, Virginia, leaving his daughter with his cousin, Anthony Rolfe.

 

It is believed that, in 1632, the playwright Thomas Dekker was buried in the church.

 

In 1641, the playwright Thomas Heywood was buried in the church.

 

In 1737, Matthew King, accomplice of Dick Turpin, was buried at St James, aged 25, after he was allegedly accidentally shot by Turpin during a robbery.

 

By 1788 the old church, which was a medley of seventeenth and eighteenth century sections in various styles grafted onto the remains of the mediaeval nunnery church, presented an appearance of picturesque and dilapidated muddle. In that year an act of parliament was passed for the rebuilding of the church, the money to be provided by the sale of annuities. The architect was a local man, James Carr, and he produced a building which is pre-eminently a preaching-house but with carefully planned and harmonious detail clearly influenced by Wren and Gibbs. The new church was dedicated by Bishop Beilby Porteus in 1792. The upper galleries were added in 1822 for the children of the Sunday-School, founded in 1807 and still flourishing; the back parts of the upper galleries were for the use of the poor. The tower and spire were restored in 1849 by W. P. Griffith, and Sir Arthur Blomfield restored the church and rearranged the ground floor in 1882; both works were done very well. Inside, a noteworthy feature is the curved acoustic wall at the west end. The wall at the east end originally had painted panels in the Venetian window frame; the stained glass in the east windows is by Heaton, Butler and Bayne, 1863.

 

The organ was built in 1792 by George Pike England to replace the one by Richard Bridge, which he took in part exchange. The new organ had three manuals, toe pedals and a Spanish mahogany case. This, together with much of England's pipe work, still survives. The rococo detail is noteworthy, especially the carved drapery over the pipes. The organ was rebuilt by Noel Mander of Mander Organs in 1978, returning to the original style after some drastic alterations made in 1928. It now has 2 manuals and pedals and 22 speaking stops.

 

There is a fine peal of eight bells in the tower, dating from 1791, though all the bells were recast in 1928.

 

The most noteworthy vicar of the nineteenth century was the Rev. Robert Maguire, a prolific writer of Protestant pamphlets, who had enjoyed a peculiarly stormy and exciting election. He was responsible for much work on the fabric of the church and some rearrangement of the interior.

 

The crypt was used for burials, but early in the twentieth century 300 coffins were moved and stored under the main West entrance. The crypt was then excavated and equipped to form a large hall. The new hall was opened by the Princess Marie Louise of Schleswig-Holstein in 1912. It was later remodelled and opened by the Rt Revd Richard Chartres, Bishop of Stepney, on 18 June 1994. The latest work created a dedicated youth space in part of the crypt and was opened by Rt Rev John Sentamu, Bishop of Stepney, on 19 December 1999.

 

During the 20th century, the parish of St John, which had been carved out of St James's in 1721, was reunited with it, as was the parish of St Peter. The latter had been established in 1869 for the Smithfield Martyrs Memorial Church of that name; the present church contains a memorial to the Martyrs as a commemoration of St Peter's, which suffered heavy war damage in 1941 and was finally demolished in 1955. The parish church of St John was a remnant of the priory of St John, which is now the headquarters of the Order of the Hospital of St John of Jerusalem, and the church became the chapel of the Order.

 

en.wikipedia.org/wiki/St_James%27s_Church,_Clerkenwell

Samphire Hoe Country Park is a country park situated 3 km (2 miles) west of Dover in Kent in southeast England. The park was created by using 4.9 million cubic metres of chalk marl from the Channel Tunnel excavations and is found at the bottom of a section of the White Cliffs of Dover.[1] The site is owned by Eurotunnel Ltd., and managed by the White Cliffs Countryside Project.[2]

It is accessible by the public via a single-track tunnel controlled by traffic lights, which crosses over the Kent Coast railway line. Visitor facilities are provided, including car parking, toilets and a tea kiosk.

This motel is just on the edge of the ghost town of Galata, MT--it sits just off highway 2. It is still open which is quite commendable along this desolate, empty stretch of highway. I wonder who stays here? Every time I have been by it there are never any cars there. The sign kind of scares me off.

 

Galata, Montana is almost a complete ghost town. There really are no more businesses open. Only a few homes are still lived in. This town has an interesting history and there are so many abandoned buildings that I would love to know the story behind.

 

Here is a video from when I drove through this great ghost town:

 

www.youtube.com/watch?v=_0R55_f-ndA

 

"Galata, east of Shelby, is near Willow Creek, one of the streams that flows into the reservoir created by Tiber Dam. It was a trading point and cattle shipping station on the Great Northern’s High Line. In 1901 David R. McGinnis, first immigration agent of the Great Northern Railroad, was so impressed by the beauty of the spot that he filed a claim for the land near the railroad where it crossed dry Galata Creek. McGinnis hired a surveyor to lay out a town and the following year brought carpenters and lumber from Kalispell to build a two-room house.

 

Cattlemen from the Marias River ranges brought their cattle to Galata for shipment to eastern markets. On cold winter days they were glad to have the protection of the two little rooms in the only building in “town.” The house burned down in 1904, but in 1905 McGinnis began rebuilding Galata. He built a two-room real estate office and an eight-room hotel, and eventually induced a storekeeper to set up shop in one of the rooms of the real estate office. Ranches would drive in with a chuckwagon and load up on $500—sometimes even $1,000—worth of supplies, pay in cash and return home for the long winter. After a few years, Galata’s only merchant closed shop and the hotel was abandoned; McGinnis gave up his dream of a town and moved to Kalispell.

 

One day he was surprised to receive a check in the mail. It was marked “back rent,” and was from a cowhand who had moved into the deserted Galata store and had done a good business with dryland farmers who were then settling on the old-time open range. By 1910 Galata had four lumberyards and five store. (from Cheney’s Names on the Face of Montana, Mountain Press Publishing Company)

 

Near Galata, residents and visitors can enjoy one of the most versatile recreational areas in Montana, Tiber Dam-Lake Elwell. The lake provides excellent year-round angling for Walleye, Northern and Sauger Pike, native trout, Ling, Perch and others. Some may want to try their hand at bow fishing for carp that often exceed 20 pounds. For boaters and swimmers the area boasts over 50 miles of shoreline, a marina, and four well-maintained boat ramps located strategically around the lake. There are also numerous campground areas.

 

While you're at Tiber you'll observe spectacular windblown sandstone formations, Indian rings, and one of the largest earthen dikes in the world! The area surrounding Tiber contains excellent hunting, and a unique birdwatching area is located along the Marias River below Tiber Dam." -Montana's Russell Country Website

 

This is a great article, just scroll town to the one titled “Caught between two worlds, one dead, the other struggling to be born.”

 

www.montanaheritageproject.org/index.php/fieldnotes/C77/

 

This is a link to a neat photo taken near Galata many, many years ago:

 

www.smokstak.com/gallery/showimage.php?i=1330&catid=m...

This Martello style tower, which is still standing, bears the date of 1835 and has Lewis's Tower carved on it. It was named in honour of Colonel G G Lewis, who was the commanding officer of the Royal Engineers in Jersey at the time. His successor, Colonel Harry Jones, complained about the damp state of several towers, including Lewis, in a letter on 31 July 1839 and was allowed to cement or stucco them the following year. This tower was also known as St Ouen No 1, although it was completed after No 2. It is more usually known as Lewis Tower today.

 

Jersey Heritage history

The States of Jersey ordered that work commence on the construction of new coastal defences on 3 March 1832 and a series of towers of the English Martello pattern was built. Jean Gruchy was awarded the contract for Lewis Tower and foundations were laid in May 1835.

 

In June Philippe du Heaume, Seigneur of the Fief de Morville and Robilliard, raised the Clameur de Haro on the site. The Jersey workmen involved in the construction downed tools and Col Lewis ordered the Royal Engineers back to barracks until the matter was settled in Court.

 

The Bailiff, Sir John de Veulle, called a meeting of the States on 9 June 'to consider ways and means to continue the erection of a fortification at St Ouen's Bay'. Mr du Heaume was paid 50 francs per square perch in compensation (the tower took up 12 square perches) and the States also compensated farmers who had right of common on the site.

 

Work resumed in July and was completed later in the year at a cost of £798. As part of the western coastal defences, Lewis Tower housed one heavy gun, an officer and 18 men with a magazine capable of containing 90 barrels of powder. In 1839 the outisde of the Tower was coated in cement following a a report stating that it was considered damp and needed to be made weather tight.

 

But, the risk of invasion having receded, this tower and its neighbours were neglected for many years. By 1922 Lewis Tower was sold by the War Department to the States. During the German Occupation of Jersey the tower was requisitioned. A concrete housing was added to the base of the tower for a mobile 3.7cm anti-tank gun and a new entrance door created at ground level.

 

The tower was opened as a self-catering let in 2007.

 

The Battle of Jersey was fought on 6 January 1781, after a successful landing of a French force attempting to remove the threat the island posed to shipping during the American Revolutionary War

 

France had sided with America during the War of Independence and Jersey was used as a base for privateering by the British. The French invasion ultimately failed, and its commander, Baron Phillipe de Rullecourt, died of wounds sustained in the fighting.

 

This was the last time the French invaded Jersey after numerous attacks over the centuries after the island ceased to be part of the Duchy of Normandy in 1204. Perhaps because it was the last, and also because the battle in which the French were defeated was named Battle of Jersey, this invasion has been given undue historical importance, because it was actually one of the least severe ever suffered by islanders.

 

And although some apparently very detailed reports of the events of 6 January 1781 have been written, what actually happened on the day, and when, and how many people took part, is clouded in mystery. This article is based on a variety of sources (see below) and attempts to unravel some of the mystery.

 

Only 25 km off the coast of France, and placed on the principal supply route to the French naval base at Brest, Jersey was a location of strategic importance during any war between Britain and France. Large numbers of privateers operated out of the island, causing chaos among French mercantile shipping. Jersey privateers were even operating in support of the Royal Navy off the coast of America. The French government were determined to neutralise this threat. Furthermore, at the time of the Great Siege of Gibraltar, contemporary British newspapers reported that the attack on Jersey was an attempt to distract British attention from Gibraltar and divert military resources away from the siege.

 

Over 50 plans of invasion were drawn up over a short period, only to be shelved. England had command of the seas in the area and France was weak internally during the earlier part of the 18th century. In 1779 Louis XVI sided with the American colonies in the War of Independence and in April of that year a semi-official expedition, commanded by the Prince of Nassau, made an entirely unsuccessful attempt to land in St Ouen's Bay. Not a single man was embarked in adverse weather conditions, as defence forces guarded the shoreline in case any of the French should land.

 

Despite the misgivings of the French military, who believed that an attack on Jersey would be a futile waste of resources, with any success being short-lived, the government approved a plan put forward by Baron de Rullecourt. He was a 36-year-old adventurer and a colonel in the French Army. King Louis XVI had promised de Rullecourt the rank of General and the Cordon rouge as soon as he had control of Saint Helier, the island's capital. The second Commander was an Indian, named Prince Emire, who had been taken by England in wars in India, had been sent to France with other French prisoners and whom the French had since retained in their service. A member of the British force wrote of him: "He looked quite barbarian, as much as his discourse; if our fate has depended on him, it would not have been of the most pleasant; he advised the French General to ransack everything and to put the town to fire and to blood."

 

But, aware of the military importance of Jersey, the British government had ordered the island to be heavily fortified. Gun batteries, forts and redoubts had been constructed around the coast. The Militia had some 3,000 men in five regiments, including artillery and dragoons. They were supplemented by regular army units: the 95th (Yorkshire) Regiment of Foot, five companies each of the 83rd Regiment of Foot (Royal Glasgow Volunteers) and 78th Highlanders, and around 700 'Invalids' (semi-retired reservists) — the total amounting to about 9,250 troops of all types. A naval force, the 'Jersey Squadron' was also based in the Island but was on a cruise against the Dutch at the time of the invasion.

 

Although the chain of defensive towers, the building of which had already been commissioned, had only just begun, there were many other fortifications. After 1779 guard houses had been built at various strategic points.

 

De Rullecourt probably knew the strength of the opposition he would face. There was good intelligence in France of Jersey's defences and it is believed that de Rullecourt had himself visited Jersey the previous summer, disguised as a contraband dealer. But his force was to prove far from adequate for the job.

 

Officially the expedition was a private affair; however, funding, equipment, transport and troops were provided by the government. In order to conceal their involvement, the government went so far as to order the 'desertion' of several hundred regular troops to De Rullecourt's forces. They assembled in Le Havre towards the end of 1780 and began their march to Granville on 19 December, stealing livestock en route and arriving on the 27th.

 

A fleet of about 30 small boats, ranging from three to 70 tons, had been assembled in Granville by Regnier. De Rullecourt embarked his troops immediately but the fleet was becalmed for two days and then had to take shelter off Chausey as a storm hit the area. It sailed again on 1 January and got within 12 miles of Jersey before being forced back to Chausey by another gale. The troops disembarked and took two days to recover before setting off for Jersey again on the 5th.

 

Reports vary, but the total force may have consisted of some 2,000 soldiers in four divisions. But it seems that fewer than half of these landed. Even had all of them landed, they were poorly equipped, hungry, short of ammunition and ill-equipped to fight in an island with a much larger garrison and militia force.

 

However, timing was in de Rullecourt's favour: All the commanding officers of the garrison regiments were in England on extended Christmas leave and the senior regular officer was the young Major Francis Peirson, only 24. In addition, 6 January was still celebrated as 'Old Christmas Night' in Jersey. Few would have expected an invasion either at this time or in the place chosen, but de Rullecourt has a further ace up his sleeve, having recruited a fugitive Jerseyman, Pierre Journeaux, as his pilot. Journeaux had fled to France some years earlier after being involved in a murder.

 

He brought the invasion fleet through a narrow, winding channel close to the shore and the French were able to land undetected. The first 800 men landed at La Rocque, and passed a guardhouse without being noticed. The guards were subsequently put on trial, and it was found they had abandoned their post to go drinking. The first division of the French stayed there most of the night. The second division of 400 men, was entirely lost in the rocks. The boats that contained the third division, consisting of 600 men, were separated from the rest of the fleet and were unable to join it. They may never have joined up with the main fleet because after the earlier abortive attempt to reach Jersey, some vessels appear to have returned to Granville while others sheltered at Chausey. The fourth division, consisting of 200 men, landed early the next morning at La Rocque. The total of the French troops unloaded was, therefore, possibly 1,000, half the number of soldiers that France had expected to take into battle. Other reports suggest that only 800 actually made it ashore.

 

By 5 o'clock in the morning de Rullecourt was ready to move off. He expected the disembarkation of troops to continue, but some of his men and artillery never made it before the tide fell. He marched to St Helier leaving sufficient troops to guard the boats and passed through St Clement without raising an alarm.

 

Between six and seven in the morning, about 500 men set up camp in the market while most of the town was asleep. About seven o'clock a French patrol detained the island's Governor, Moyse Corbet, in Government House (then situated at Le Manoir de La Motte). De Rullecourt convinced Corbet that thousands of French troops had already overwhelmed Jersey and threatened to burn the town and slaughter the inhabitants if the garrison did not capitulate. Corbet, unable to ascertain the true situation, surrendered. He was taken to the Royal Court building in the Royal Square and was persuaded to order Elizabeth Castle and 24-year-old Major Francis Peirson's troops at Saint Peter's Barracks to surrender as well.

 

Major Corbet sent orders to all the troops in the island to bring in their arms and "lay them down" at the Court House, and at the same time sent word of the capitulation to Captain Alyward, who commanded the forces at Elizabeth Castle. The French left the town intending to take possession of that stronghold, Baron de Rullecourt, advancing at the head of the column, holding Major Corbet by the arm.

 

But they were no sooner on the beach, than the castle troops fired at them. Captain Alyward refused to listen to any suggestion of surrender and sent word to Rullecourt that if the French advanced they must take the consequences. The Baron continued to advance, and immediately met with a well-directed shot that wounded one of his officers and killed a good many privates.

 

After this Rullecourt sounded a halt and sent his aide-de-camp with another message, which was received by Captain Mulcaster, chief engineer, who blindfolded the aide-de-camp, took him to the top of the castle, and showed him the strength of the fortress, then dismissed him with words to the effect that the greater the force brought in opposition the greater would be the slaughter of the French.

 

De Rullecourt, in a rage, returned to the town. Meanwhile events were unfolding elsewhere. Major Peirson of the 95th, who, young though he was, took charge of affairs. He refused entirely to acknowledge the surrender, remarking, so it is said, that if he lost his commission for seeming disobedience ha would soon gain for himself another.

 

The British troops and Militia assembled on Mont ès Pendus (now called Westmount) and Major Peirson soon had 2,000 men at his disposal, with which he resolved to descend the hill and attack. The French, who were camping in the market, had seized the town's cannons and had placed them at the different openings of the market, to stop the British troops from forcing them. However, the French did not find the howitzers. The British learned through different people who had been to observe the French troops that their number did not exceed 800 or 900 men.

 

The 78th Regiment of Foot was detached and sent to take possession of Mont de la Ville (now the site of Fort Regent), from where the British could stop a retreat of the French. Once Major Peirson believed that the 78th had reached their destination, he gave the orders to his troops to descend to the plain and attack the French. However, the British were stopped at the plain, where de Rullecourt sent Corbet to offer capitulation terms and to tell the British that if they did not sign, the French would ransack the town within half an hour. Given their superiority in numbers, the British there refused, as did the 83rd Regiment of Foot, and the part of the East Regiment in Grouville. When de Rullecourt received their answer he was heard to remark: "Since they do not want to surrender, I have come to die."

 

The attack began. The British forces in the Grande Rue included the 78th Regiment, the Battalion of Saint Lawrence, the South-East Regiment and the Compagnies de Saint-Jean. The 95th Regiment of Foot with the rest of the militia advanced down the other avenues. The British had too many troops for the battle, a British soldier later saying that a third of the number would have been more than enough to destroy the French army. Many British soldiers, confused and having nothing to shoot at, unloaded most of their shots in the air.

 

The French resistance was of short duration, most of the action lasting a quarter of an hour. The French only fired once or twice with the cannons that they had at their disposal. The British had a howitzer placed directly opposite the market in the Grande Rue, which at each shot "cleaned all the surroundings of French" according to a member of the British service. Major Peirson and the 95th Regiment advanced towards the Avenue du Marché; just as the British were about to win Major Peirson was killed by a musket ball in the heart, but his saddened troops continued to fight. When de Rullecourt fell wounded, many French soldiers gave up the fight, throwing their weapons and fleeing; however, others reached the market houses, from where they continued to fire.

 

De Rullecourt, through Corbet, told the British that the French had two battalions and an artillery company at La Rocque, which could be at the town within a quarter of an hour. The British were not intimidated, knowing that the number of French troops there was less than 200. The remaining French soldiers dispersed themselves throughout the countryside to reach their boats, though several were caught doing so. The British took 600 prisoners on that day, who were subsequently sent to England. The British losses were around 30 dead. De Rullecourt was wounded and died the next day.

 

It became notorious that there were traitors among the British. De Rullecourt possessed a plan of the fortifications, the towers, the cannons and so on, saying that without good friends in Jersey, he would not have come. The French knew the exact number of British troops and militia, the names of the officers commanding them, and more. In the papers found in the General's trunk was the name of one Mr Le Geyt, a Jerseyman who was later seized, as was another suspect.

 

There was a second battle at Platte Rocque where de Rullecourt had left the rearguard to protect his landing place and allow for a retreat if things went badly. This rearguard was attacked and routed by local troops.

 

Lieut-Governor Moyse Corbet immediately came under sustained criticism for his actions during the French invasion. The island's Attorney-General Thomas Pipon wrote to the Governor two days after the Battle complaining about the behaviour of the Major Corbet and advising him that the island had lost confidence in its Commander.

 

Corbet himself wrote to his counterpart in Guernsey with an immediate report for onward transmission to London giving his version of events. He then exacerbated the situation still further by ordering that the island's Militia should be placed under the control of the officers of the Regular Garrison. This caused all the Militia colonels to resign, threatening the collapse of the Militia itself, and Moyse was forced to reverse his decision.

 

Corbet was arrested and sent to London, where he faced a court martial, was convicted and sacked. He retired on pension and probably never returned to Jersey, the island of his birth.

 

Some of the earliest, and probably most reliable, accounts of the Battle are contained in letters written immediately after by members of the English garrison and the Militia, who fought in it. Two members of the garrison forces who participated in the Battle wrote detailed accounts, as did the sons of Lieut-Bailiff Charles Lempriere, one of whom was wounded in the Battle.

 

A detailed account was written by Charles Poingdestre, an Advocate of the Royal Court and attorney of Charles de Carteret, Seigneur of Trinity, who was living in Southampton at the time.

 

In February 1781 the States wrote a letter of appreciation of the father of Major Francis Peirson.

 

After the battle, thirty coastal round towers were built to improve the defence system of the island.

 

On 6 January 1831 on the 50th Anniversary of the Battle of Jersey the island Militia was granted the 'Royal' prefix by King William IV, becoming the Royal Militia, Island of Jersey.

Continuing my Southern Arizona Adventure 2024 and continuing my visit to Bisbee Arizona. This is stage 7 of 9.

I took the tour of the Copper Queen Mine. I should have taken a flash or light with me into the Mine. It was too dark to get decent hand held photos. Lesson learned. I hope to go back next year.

This was special for me since my GreatGrandfather, Grandfather, and many Uncles, worked in underground copper mines in Arizona from the 1890's through the 1950's.

 

en.wikipedia.org/wiki/Copper_Queen_Mine

The Copper Queen Mine was a copper mine in Cochise County, Arizona, United States. Its development led to the growth of the surrounding town of Bisbee in the 1880s. Its orebody ran 23% copper, an extraordinarily high grade.[2] It was acquired by Phelps Dodge in 1885.

In the early 1900s, this was the most productive copper mine in Arizona.[3] While copper mining declined in the area in the 1930s and 1940s, the Copper Queen continued to be mined by the open-pit process during the years following World War II. With decreasing returns, Phelps Dodge closed it in 1985.

The surface pockets of cerussite were soon exhausted, but the owners found that the orebody ran 23% copper, with silver and gold as byproducts. Most mines of that era could profitably mine ore containing 8% to 10% copper, so the Copper Queen orebody was considered extraordinarily high grade. The surface oxide ore was exhausted after three or four years, but miners explored deeper and eventually found even larger orebodies.[2]

 

Haiku thoughts:

Deep in Bisbee's rock,

Copper veins weave stories old—

Queen's treasure revealed.

 

Southern Arizona Adventure 2024