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Our family friend, John, has what he calls his funeral suit. I suppose we are now reaching the point where I need one too. In fact, I have lost several friends, former colleagues from The Mob, something that will accelerate as the years pass.
Last week, I noticed that a friend of mine on Flickr, Günter, had not commented on any shots for a few weeks. He used to leave funny one sentence comments that almost always brought a smile.
The latest shot on his photostream was of a fresh grave.
His.
Sadly, Günter passed away on New Year's Day, and his family posted this last shot to let the world know. Or his friends, anyway.
We had visited his and his wife in Bonn, and he had come to stay with us too, we share interests in railways, photography and beer.
It came quite a shock I can tell you.
Online, people come and go, mostly without fanfare or announcement. One day they are there, and then they're not. Did they just get fed up, or something more terminal?
Most of the time, we'll never know.
I am lucky in that I have met many online friends in real life, sometimes here in Kent, but also in the US too, so know they are more than screen names and photos, but real people with lives, who are pretty much as wonderful as their online presence would have you believe.
Life goes on, of course, but I will miss Günter, and sad for the fact we will not raise beers in a friendly toast to each other.
We woke at half six, I went to the bathroom and looked out the window. Still too early for birds, but there wasn't a breath of wind either, nor any cars to be seen moving. So it looked like someone had paused time.
Cleo is perpetual motion, however, and coming downstairs revealed her to be always on the move until her food is placed just where she wants it.
I went to Tesco by myself, with a list as long as a long thing, while Jools stayed behind and fed the hungry washing machine two loads of dirty laundry. Good news is that Tesco was fully stocked with fresh produce, including raspberries from Spain. We like them for breakfast at weekends, its a hard habit to break.
Back home to unload and make breakfast; fruit and yogurt followed by warmed croissants.
Jools said she had been sitting all week, so would not come with me to go churchcrawling, so I go on me tod, driving up the M20 to Maidstone, to revisit All Saints church, where I had not been for over 12 years. I had checked Google, and it said the church would be open from 10:00.
I timed it to arrive dead on ten. I parked the car opposite, and dodged traffic to get over the main road, I went to the first door only to find it locked. But a sign suggested there were two more possible ways in, so walked round, checked the north door, and that was locked too. That only left the west door, under the tower, to try. That was ajar, so my hopes lifted. Only to find the inner door locked.
Maybe I was too early?
A lady came in, I asked about the church. She said she was a bellringer, and disappeared up the steps to the ringing loft, where sounds of poorly rung bells could be heard.
I went round the church one more time, ending back at the west door, and again all way in were locked.
Sigh.
But there was a runners up prize; a church on the edge of town, in what used to be a village, at Bearsted. THe sat nav told me it was just a ten minute drive away.
So, I drove across town, through the crazy one-ways system, out the other side and along to Bearsted, where there were ancient timber framed houses, so old they had settled over the centuries into strange angles, none of which were right ones.
I found church lane, which wound its way through a modern housing estate, parked outside the churchyard, and I could see a nice "church open" sign before I got out.
Although it looked splendid from the outside, inside it had been reordered at least twice, so that any ancient features were well hidden indeed. Even the glass, usually a rescuing act for over restored churches, were either just average or poor here. But it was my first visit here, so another tick in the box.
I now had to get home, as Jools is joining the speaking circuit, as a lady has asked Jools to lead classes in beaded jewellery making.
I hightailed it back to the motorway, and once on, settled down to cruise back down to Dover and home, getting back at half twelve, with an hour to spare before Jools had to leave for the class.
So, it was just me an the cats for a few hours. There was football to entertain me, so I sat beside Scully on the sofa and watched the Championship game while she dozed beside me.
At three, it was time to concentrate on Norwich away at Millwall, one of six teams above us, and a win here would put us back in the play-offs. It was an exciting game, Millwall took the lead, only for City to level before half time, and then score two more early in the 2nd half. Millwall pulled one back in the last ten minutes, but we hung on to win 3-2.
Not perfect, but a win at the New Den where they had been unbeaten since September. And then, along came Nodge.
Dinner was a rushed one of pizza and iced squash, as we were going out to a gig.
Lawrence was the singer in an indie band in the 80s called Felt. He then formed Denim, an ironic pop band for the 90s, which also stiffed. He now fronts Mozart Estate, which does a fine line in ironic pop. Still.
We drive over th Ramsgate, to a small venue called The Music Hall. We were early, but got in, and went to the bar where we chatted to a couple about our age about music. In fact, most folks were about "our age".
First up was a young female singer/songwriter, who strummed her guitar along to her 6th form poetry.
The hall, which was barley bigger than our living room was about 50% full, but comfortable. We went to find somewhere to sit, thinking that the bar would be empty, only to find it rammed with more people than when we left it half an hour before.
We went to get some air, and finding nowhere to sit, went to the car.
Jools was shattered and fell asleep, and I really did not feel like being rammed into that room unable to see the band, and not able to lean against a wall to rest my back.
I said we'd go home.
So we did.
I don't regret it.
We got back at ten, Jools went to bed, while I had a glass of sloe port.
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One of the widest churches in Kent, dating from the late fourteenth century when it was granted a College of Canons whose buildings still exist nearby. The tower, which stands to the south of the nave, originally had a tall spire, but this was struck by lightning in 1730 and not replaced. The breathtaking scale of the interior - an aisled nave of six bays, chancel and chapels, is somewhat compromised by the severe wooden roofs inserted by John Loughborough Pearson who restored the church in 1886. A good set of Victorian stained glass includes work by Clayton and Bell, Wailes (1861) and Capronnier (1872). The twenty stalls have excellent misericords, mostly showing coats of arms of those associated with the college. Archbishop William Courtenay (d. 1396) is possibly buried in the chancel, and a brass indent to him survives. Set into the fine sedilia is the tomb of John Wotton (d. 1417), the first master of the college. It incorporates a painting of Wotton being presented to Our Lady. Nearby are graffiti associated with the game of noughts and crosses! There are many other monuments including one to John Astley (d. 1639) by court sculptor Edward Marshall. It depicts two men and women in their shrouds. Astley was Master of the Revels to King James and King Charles. There is also a memorial to Sir Charles Booth (d. 1795) signed by Nollekens.
www.kentchurches.info/church.asp?p=Maidstone+1
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THE TOWN AND PARISH OF MAIDSTONE.
SOUTH-WESTWARD from Gillingham, the parish of Boxley only intervening, lies the parish and town of Maidstone, concerning the antient name which writers have greatly differed.
Nennius, in his catalogue of the cities of Britain, tells us, this place was called by the Britons, Caer Meguiad, or as others have it, Megwad, no doubt corruptly for Medwag. Camden, (fn. 1) Burton, (fn. 2) Gale, and some few other historians, have supposed it to have been the Roman station, called by Antonine in his Itinerary, Vagniacœ; a name taken from the river here, at that time called Vaga; for this purpose they read the distances of the second iter of Antonine A Vallo ad portum Ritupis, as follows: A Londinio, Noviomago, M. P. X. Vagniacis, M. P. XVIII. Durobrovi M. P. IX. If this place was the Vagniacæ of the Romans, and the above numbers are right, it is situated much about the above distance from Keston, and not quite so much from Crayford, both which have been conjectured to have been the antient Noviomagus; the distance of it from Durobrovis, or Rochester, will ansswer tolerably well. The word Vagniacœ, is supposed by a learned etymologist, (fn. 3) to have been corrupt written in the Itinerary for Maduicœ, which is the same as Med-wœge in the Saxon, and Madüogüiso, in the British tongue; hence in process of time it can to be called Madis and ad Madum, (fn. 4) the river being called Mada and Madus. The Saxons afterwards called led it Medwegston and Medweaggeston; i.e. Maduiacis oppidum, according to Baxter; in English, Medway's town, which name is written, by contraction, in Domesday, Meddestane, as it is at present Maidstone.
THE PARISH of Maidstone is most advantageously situated near the banks of the river Medway, which directs its course through it, being navigable by the contrivance of locks here and for many miles higher up, as far as Tunbridge town. Over the river here there is an unsightly ancient stone bridge of seven arches, supposed to have been first erected by some of the archbishops, lords of the manor. It was repaired in king James I.'s reign by an assessment on the town and parish, but it still remains both narrow and inconvenient. The town is built on the two opposite hills, rising immediately from the banks of the river, but the principal part is on the eastern one, beyond which the hill rises still further to Pinenden heath, part of which is within this parish, which there joins to those of Boxley and Detling. The soil is exceedingly fertile, being in general a loam, thinly spread over an entire bed of quarry stone, commonly called Kentish rag-stone, excepting towards the eastern parts of it, where it becomes a deep sand; in the south east part of it, about Sheppard's-street and Gould's, there is some coppice wood, beyond which are the hamlets of Broadway, Willington-street, and part of Maginford, within the bounds of this parish. The meadows, on the banks of the Medway, are much subject to be flooded by the sudden risings of it, after heavy rains, to the height of several feet perpendicular, but which as suddenly subside. Above the town the course of the river, though it narrows considerably above the lock, just above the bridge, is yet beautiful, and retains a depth of water of near from twelve to fourteen feet; about a mile above the town, near the hamlets of Upper and Lower Tovil, the stream, which rises at Langley, having supplied a chain of mills, flows into the Medway; the former hamlet is situated on an eminence, commanding a pleasing view; the Ana baptists have, in this romantic and rocky situation, made a burial place for their fraternity. At a small distance higher up the river, though on the opposite bank, is the hamlet of Fant, the principal house of which, called Fant house, is the property of Mr. Fowle, who resides in it; and near it a pleasant seat, close to the river, which belongs to Robert Salmon, esq. of Eyhorne-street. In all this vicinity the banks of the river continue highly ornamented with spread ing oaks, while the country round wears an appearance equal to that of a garden, in its highest state of cultivation. The soil, not only adjoining the town, but throughout the neighbourhood of it, is remarkably kind for hops, orchards of fruit, and plantations of filberds, consequently those, especially of the former round it, are very large, and the crops of them abundant, owing to the peculiar nourishment and warmth afforded to the roots of the plants, from the fibres of them penetrating the crevices of the rock. Great part of the wealth and prosperity of Maidstone has arisen from the hop trade, most of the inhabitants of every degree having some hop ground, and many estates have been raised by them from this commodity, which is supposed to have been planted here about the time of the Reformation; sooner than in any other part of this county.
THE TOWN of Maidstone is pleasantly situated, about the middle of the county, thirty-five miles from London, and somewhat more from Dover. It is happily screened by the surrounding hills, arising from the beautiful vale, through which the Medway runs beneath. It is justly noticed for the dryness of its soil and its excellent water, and consequently for its healthiness, its ascent keeping it continually clean and dry. The state of this town, in queen Elizabeth's reign, may be known by the return made to her in the 8th year of it, of the several places in this county where there were any boats, shipping, &c. by which it appears, that there were then here a mayor and aldermen, houses inhabited, 294; landing places, 4; ships and hoys, 5; one of 30 tons, one of 32, one of 40, and one of 50; and persons wholly occupied in the trade of merchandize, 22; since which this town has been continually increasing in size, inhabitants, and wealth, owing to the introduction of the hop-plant, as has been already noticed, the several charters which have been granted to it, and the navigation of the river Medway; insomuch that the houses are now computed to be in number fifteen hundred, and the population of it is said to have increased at this time to upwards of six thousand inhabitants, near one half of which are non-conformists to the established church, both Presbyterians and Anabaptists, each of whom have their respective meeting houses of worship in the town, which dissension in matters of religion unhappily extends to politics, and from the heat of parties, destroys much of that social intercourse and harmony which would otherwise unite the inhabitants of this flourishing town. The principal parts of it stand on the side of a hill, declining towards the west and south; it extends about a mile from north to south, and not quite three quarters from east to west. It was new paved, lighted, and otherwise improved in 1792, in consequence of an act passed the year before for that purpose; though the buildings in it are in general antient, yet there are several handsome modern ones, inhabited by genteel families; and the spacious breadth of the High-street carries with it a grand and at the same time a lightsome and cheerful appearance. The town consists of four principal streets, which intersect each other at the market cross, having several smaller ones leading out of them. The cross, on the top of this building, which is an octagon, though the name still remains, has been some time since taken down. It is now used for a fishmarket, and was formerly called the Corn cross, hav ing been made use of as a corn market till the upper court-house was built for that purpose about the year 1608, by an assessment on the town.
On account of its convenient situation for transacting the public business of the county, it has long been reputed the county or shire town. Near the upper end of the High-street, which is remarkably spacious, leading down to the bridge, besides the upper court hall above mentioned, is a more modern one, a handsome building of stone and brick, built not many years ago at the joint expence of the corporation and the justices of the western division of the county; the former making use of it to transact their public business in, as the latter do whenever the public business of the county requires the use of it. In it are likewise held the assizes for the county, the general quarter sessions for the western parts of Kent, the county meetings for the choice of candidates, to represent the county in parliament, and every other public business relating to it; which right of the justices and inhabitants of the county, to hold their meetings, &c. in it, was settled at the building of it, by an indenture made between them and the corporation. The street, leading towards Coxheath and the Weald of Kent, is called Stone-street, a name which sufficiently proves the antiquity of this town, and its consequence in the time of the Romans. There are three principal conduits, which are supplied with excellent water, conveyed in pipes from a place called Rocky-hill, in the West Borough, on the opposite side of the Medway, at the charge of the corporation. These are placed very conveniently for the service of the inhabitants, one at the upper end of the High-street, near the market cross; a second lower down, being a high octagon stone building with a clock and dial, having a turret at the top of it, and what is called a fish-bell, which is always rung when any fish is brought to market; the third is placed at the lower end of the town. At a small distance from the south side of this street, about the middle of it, on an eminence close to the Medway, stands the church, the antient archiepiscopal palace, and the remains of the college, each forming conspicuous objects to the neighbouring country westward.
Adjoining to the last mentioned court-hall is the prison belonging to the corporation, formerly called the Brambles. (fn. 5) This prison appears to have belonged antiently to the archbishops of Canterbury, and continued so till archbishop Cranmer, in the 29th year of king Henry VIII. exchanged the prison house of this town with that king. (fn. 6) In king Charles I.'s reign it remained in the king's hands; for by his letters patent, in 1631, he granted the office of keeper of it, and the custody of all prisoners there, to John Collins for his life; who, by his will, in 1644, gave his patent of the king's gaol in Maidstone, with all the irons, implements, fees, and appurtenances to his son of the same name.
The public gaol of the western division of the county of Kent was formerly placed most inconveniently in the very middle of the town, to its great annoyance, where it remained till 1736, when on a petition of its inconvenient situation, near the market place, of its being much decayed, and that there was no gaol for debtors, an act was obtained for erecting another in the room of it, together with a bridewell, in another part of the town. This, after some intermission, was accomplished, and a capacious strong building of stone, with large outlets and conveniences for this purpose, has been erected near the out parts of the town, in East-lane, which has been lately still further strengthened and enlarged at a large expence, at the charge of the western division of the county.
THE MARKET, which was first granted to archbibishop Boniface, by king Henry III. in his 45th year, to be held weekly at his manor here, has been confirmed by the several charters to this town, and is now held weekly on a Thursday, for the sale of all kind of provisions, corn, and hops, toll free, with which the town and its neighbourhood for miles round is most plentifully supplied at a very reasonable rate. The mayor is clerk of the market, and when admitted into his office, is sworn duly to execute that part of it. King George II. by letters patent in 1751, granted to the corporation a market, to be held the second Tuesday in every month yearly, for the buying and selling of all manner of sheep and other cattle whatsoever, which continues to be so held at this time; and there is another market held likewise for the sale of hops yearly, at the time of Michaelmas.
THE FAIRS of this town are held four times yearly, viz. Feb. 13, May 12, June 20, and Oct. 27, for horses, bullocks, and other cattle, as well as for wares, haberdashery, and pedlary; but the last is by far the greatest of them, being resorted to by the country for many miles round. The principal part of these fairs is held on a piece of ground, on the bank of the Medway, called the meadow, though the High-street is covered with them likewise. The above piece of ground formerly belonged to the abbot and convent of Boxley, and on the dissolution of that house, coming to the crown, was granted by king Henry VIII. to Sir Thomas Wyatt, who in a great exchange of land, made by him with that king, in his 32d year, sold to him, among other estates in this parish, the piece of land called Caring, containing sixteen acres, and the profits of the fair yearly there, for standing upon it, in Maidstone. In the parliament of the 11th of king Henry VII. the custody of weights and measures, which were then renewed and appointed according to the standard in the exchequer, was com mitted to this town for the county of Kent, and they have continued to be preserved here to the present time.
There are two considerable manufactories of linen thread carried on in this town, a trade introduced here by the Walloons in the 11th year of queen Elizabeth's reign, at the time they fled from the persecution of the duke d'Alva, and took refuge in England. The Walloon families here in 1634, were about fifty, they are now quite worn out, though there are some names remaining, which seem to have derived their origin from them, though the persons that bear them are ignorant whence they had them. The only remembrance of these Walloons now left is the term which the common people give to the flax spun for the threadmen, which at this day they call Dutch work.
Besides which there has been within these few years a Distillery, erected and carried on here to a very large extent, by Mr. George Bishop, from which is produced the well-known Maidstone Geneva, being of such a magnitude, that no less than seven hundred hogs are kept from the surplus of the grains from it.
There is a department of the customs and an office of excise in this town.
Besides the free grammar school, of which a particular account will be given hereafter, there are two boarding-schools for the education of young ladies, all of them of good repute.
¶The navigation of the river Medway is of the greatest advantage to this town, as a considerable traffic is carried on by it from hence to Rochester, Chatham, and so on to London, and from the several large cornmills here abundance of meal and flour is shipped off for the use of those towns, the dock and navy there, as well as great quantities sent weekly to London. The fulling and paper mills in and near this town, of the latter of which, late Mr. Whatman's, at Boxley, is perhaps equal to any in the kingdom, send all their manufacture hither to be transported from hence by water to London. The vast quantities of timber brought hither from the Weald of Kent and its neighbourhood, by land carriage, as well as water, are conveyed from hence by the navigation of the Medway to the dock at Chatham, and other more distant parts. Besides which there are several large hoys, of fifty tons burthen and upwards, which sail weekly to and from London, for the convenience of this town and the adjacent country.
MAIDSTONE is within the diocese of Canterbury and deanry of Sutton, and is exempt from the jurisdiction of the archdeacon.
The church stands at the western part of the town, on the bank of the river Medway. It was at first dedicated to the Virgin Mary, but when archbishop Courtney had rebuilt the chancel, and refitted the rest of it, on his having obtained a licence in the 19th year of king Richard II. to make it collegiate, he dedicated it anew to All Saints.
The stalls for the master and fellows of the college are still remaining in the chancel, in which the arms of archbishop Courtney appear in several places, but no where in the body of the church, which makes it probable the latter was part of the old parish church of St. Mary, and not rebuilt by the archbishop. The church is a large handsome building, consisting of a nave, great chancel, and two side isles; the roof is lofty, and is covered throughout with lead. At the west end it has a handsome well built tower, on which there was a spire covered with lead, near eighty feet high, which was burnt down by lightning, on Nov. 2, 1730. In the tower were eight bells, a clock, and chimes; the bells, in 1784, were new cast into ten, by Chapman and Mears of London.
In the year 1700, the body of the church was neatly and regularly pewed; on each side is a commodious gallery, one of which was built at the expence of Sir Robert Marsham, bart. then one of the repretatives for this town, and afterwards created lord Romney.
There were antiently in this church numbers of inscriptions on brass plates, as well on the monuments as grave stones, which are now almost torn away. In the middle of the great chancel there is a tomb-stone, raised a little above the pavement, with the marks of the portraiture of a bishop, in his mitre and robes, and of an inscription round it, but the brass of the whole is torn away. This is supposed to be the cenotaph of archbishop Courtney, the founder of this church, for it was the custom in those times for persons of eminent rank and quality to have tombs erected to their memory in more places than one.
The archbishop was son of Hugh Courtney, earl of Devonshire, by Margaret, daughter of Humphry Bohun, earl of Essex and Hereford, accordingly the arms of Courtney and Bohun impaled, are in several parts of this chancel. The archbishop died at his palace in Maidstone, in 1396, and in the first part of his will directed his body to be buried in the cathedral church of Exeter, where he had formerly been a prebendary; afterwards, lying on his death bed, he changed his mind in this point, and holding his body unworthy of burial in his metropolitical, or any other cathedral or collegiate church, he wills to be buried in the church yard of his collegiate church at Maidstone, in the place designed for John Boteler, his esquire; but it appears by a leiger book of Christ church, Canterbury, that king Richard II. happening to be then at Canterbury, when the archbishop was to be buried, perhaps at the request of the monks, overruled the archbishops intention, and commanded his body to be there entombed, where he lies, under a fair monument of alabaster, with his portraiture on it, at the feet of the Black Prince. Thus Somner, Godwin, M. Parker, and Camden; but Weever thinks, notwithstanding the above, that he was buried under his tomb in this chancel of Maidstone.
The rectory of this church, with the chapels of Loose and Detling annexed, was appropriated by archbishop Courtney, by the bull of pope Boniface IX. (fn. 11) with the king's licence, in the 19th year of king Richard II. to his new founded college here, but the patronage of the advowson, it seems, he reserved to himself and his successors; in which state it remained till archbishop Cranmer, in the 29th year of king Henry VIII. exchanged the advowson and patronage of the college and church with the king. (fn. 12)
Upon the dissolution of the college, in the 1st year of king Edward VI. the rectory and advowson became both vested in the crown, and the church was left, through the king's favour, to the inhabitants of this town and parish, as it had been before it was made collegiate, the grant of it, together with the church yard being confirmed to them by the charter granted by king James I. in his 2d year, for their parish church and church yard, for the purpose of divine service, burying the dead, &c. as the same was then used.
Whilst the college remained, the parish found no ill effects from the appropriation of the rectory, as the master and fellows caused divine service to be constantly performed in the church, and the cure of the parish to be properly served; but when the college was dissolved, and the great and small tithes appropriated to it were granted away by the crown, the parishioners suffered much from the scantiness of the provision remaining for a person properly qualified to undertake the cure of so large and populous a parish, a small stipend only with the oblations, obventions, &c. being all that was left for the officiating minister, under the title of perpetual curate. King Edward VI. in his 4th year, granted to Sir Thomas Wyatt, among other premises, this rectory of Maidstone, to (fn. 13) hold in capite by knight's service; but he engaging in a rebellion in the 1st year of queen Mary, forfeited it, with the rest of his estates, to the crown, whence the patronage of the curacy was granted by that queen, in her 6th year, to archbishop cardinal Pool, and she demised the rectory of this church for a term of years to Christopher Roper, esq. (fn. 14) the same being then of the value of 81l. (fn. 15)
Queen Elizabeth, in her 3d year, granted the reversion of this rectory in exchange, among other premises, to Matthew, archbishop of Canterbury, at which time it was valued as follows:
The rectory of Maidstone, with the tenths of the chapels of Loose and Detling, the tenths of Loddington and in Estrey were worth yearly 74l. out of which there was paid to the chief priest of Maidstone, 20l. to his two assistants each, 6l. 13s. 4d. to the curates of Loose and Detling each, 2l. 13s. 4d. in all, 38l. 14s. 4d. notwithstanding these deductions, it does not appear that there was after this more than one appointed to officiate here, to whom the archbishop paid a salary of 10l. per annum.
Archbishop Whitgift, in 1583, augmented the curate's salary 10l. per annum. (fn. 16) Archbishop Juxon, in obedience to the directions of king Charles II. in 1660, for augmenting the maintenance of vicars and curates, made an addition of 37l. 6s. 8d. per annum. (fn. 17) Archbishop Sancroft, among other acts of pious beneficence, granted by lease, in 1677, to Humphry Lynd, curate and preacher of Maidstone, for augmentation of his maintenance, all the small tithes of the borough of Week (fn. 18) and Stone within this parish, the commodities of the church-yard, and one moiety of all the small tithes within the town and borough of Maidstone;h notwithstanding which he has a maintenance by no means proportionable to the greatness of his cure and labour.
Upon a trial in the exchequer in 1707, concerning the curate's right to the vicarage tithes of Lodington, it was suggested, that this curacy was worth three hundred pounds per annum; to which it was replied, that the legal dues were not more than one hundred and sixty pounds per ann. (fn. 19) Lodington is situated between three and four miles from Maidstone, and separated by other parishes intervening; it is said, there was once a chapel in it, situated in a spot now called Glover's garden, where of late years some stones and foundations have been dug up. I believe the curates have not enjoyed these tithes for some time.
The rectory is still part of the revenues of the archbishop, who nominates the perpetual curate of this town and parish.
The curacy is not in charge in the king's books.
In the 37th year of queen Elizabeth, Levin Bufkin was farmer of the rectory, under the archbishop. In 1643, Sir Edward Henden, one of the barons of the exchequer, was lessee of it. In 1741, Thomas Bliss, esq. held the lease of it of the archbishop. It afterwards came into the possession of William Horsmonden Turner, by virtue of the limitation of whose will his interest in it is now vested in William Baldwin, esq. of Harrietsham.
THERE WAS ANOTHER CHURCH, or rather a FREE CHAPEL, dedicated to St. Faith, situated in the northernmost part of the town from that above mentioned, being most probably erected for the use of those inhabitants of this parish, who lived at too great a distance to frequent the other. It seems to have been surrendered up into the king's hands, in conformity to the act of the 1st year of king Edward VI. and, with the church-yard, to have been purchased of the crown afterwards by the inhabitants; but whether then used for religious worship does not appear. Some time afterwards it became part of the estate of the Maplesdens, of whom it was purchased in the reign of king James I. by Arthur Barham, esq. who possessed the manor of Chillington, at which time he acknowledged the right of the corporation to use the chapel of St. Faith for divine service, and the chapelyard for burials, if they thought fit; at present only the chancel is standing, which for many years was used for a place of public worship by the Walloons: upon the dispersing of this congregation, by archbishop Laud in 1634, this chapel was shut up for some small time, when it was again made use of by a congregation of Presbyterians, who continued to meet there till about 1735, when they built themselves a meeting house elsewhere. Part of it is now a dwelling house, and the rest of it was some years converted into an assembly room; it is now made use of as a boarding school for young ladies.
The scite and what remains of this fabric was lately the property of the heirs of Sir Tho. Taylor, bart. of the Park-house. It was afterwards purchased by Mr. Samuel Fullager, gent. the heir of whose son, Mr. Christopher Fullager, of this town, is proprietor of it.
THERE were TWO CHANTRIES founded in this church, one by Robert Vinter, in the reign of king Edward III. who gave two estates in this parish, called Goulds and Shepway, for the support of a priest performing certain divine offices in the church of Maidstone, whence it acquired the name of GOULD'S CHANTRY, a full account of which, and of the possessors of those estates, after its suppression to the present owner of them, the Rt. Hon. Charles lord Romney, has already been given in the description of them.
¶The other chantry was founded by Thomas Arundell, archbishop of Canterbury, in the year 1405, be ing the 7th of king Henry IV. who that year granted his licence to the archbishop, to found two chantries; one of which, of one chaplain, was in this collegiate church, at the altar of St. Thomas the Martyr, to celebrate daily service for his soul, &c. for which the archbishop granted, that he should have a yearly stipend of ten marcs out of Northfleet parsonage. The advowson or donation remained with the several archbishops of Canterbury till archbishop Cranmer, in the 29th year of king Henry VIII. conveyed his right in it to the king, in exchange for other premises. This chantry was dissolved by the act of the 1st year of king Edward VI. at the same time the college itself was suppressed.
St Mary, Narford, Norfolk
The church of a village which has disappeared, begins Pevsner, but of course there are dozens of churches in a similar situation, many of them in Norfolk. There seems to have been no great disaster, no mass clearance by a landowner. Narford was big enough in the 14th Century to be granted the status of a market. But then the village quietly and simply got smaller, a process accelerated after the start of the 18th Century when the entire estate was purchased by the Fountaine family, for whom agriculture does not seem to have been a priority. By 1851, when the population of rural East Anglia was reaching a peak, there were barely a hundred inhabitants, and there are probably no more than twenty today.
When Munro Cautley visited in the 1930s, he found this little church in the park in a very neglected state. The church has had its ups and downs since, falling into disuse after a post-war restoration, but it is now in the care of the Norfolk Churches Trust, and as part of the combined parish of Narborough and Narford still holds regular services. However, anyone visiting today will, I'm afraid, still feel it is a woefully neglected place. The floors are green, the walls are black and running with water. But in fact this is the result of a series of lead thefts over the last couple of years. Anyone coming here can see very clearly the enormous damage that the current wave of lead thefts is doing to the heritage of England. Quite simply, one of the most significant manifestations of our way of life as a nation over the last thousand years is being very quickly destroyed. It is a disaster.
To get to the church you have to use a dedicated church way across private land. By law, there has to be reasonable access to a parish church even if it is not directly accessible by normal means. However, this is slightly complicated at Narford because the church was declared redundant. As recently as the first years of the 21st Century, a friend of mine had to be escorted to the church by the Rector of Narborough, because of the hostility of the landowners to visitors. When Pevsner's revising editor Bill Wilson came this way in the late 1980s, he was forbidden access to the church. But now some agreement has been reached, and you can walk, though not drive, to the church. It is not far, about a quarter of a mile. The church sits in an idyllic setting between the great ornamental lake and the even greater and more impressive pile of Narford Hall.
Narford Hall is famous for all sorts of reasons. When the Fountaine family bought the estate in the early 18th Century, they built one of the great houses of the age, furnished and decorated inside by the likes of Giovanni Pelligrini. Successive Fountaines were antiquarians and collectors, devoting their time and money to bringing together great art treasures from around the world and furnishing the house in an outstanding fashion.
What makes it all the more fascinating is that, since the mid-20th Century, very few people have been allowed in to see it. Pevsner's revising editor certainly wasn't. However, Pevsner was, albeit briefly, and we know this because of John Harris's wonderful and funny book No Voice From The Hall: Early Memories of a Country House Snooper. After years of trying to see inside, Harris was finally granted permission in 1960 on the condition to which all visitors had to agree, no photography. He describes the eccentric Louisa Constance Catherine Fountaine, in an ostrich-feather dress and an ostrich-feather hat which covered her face, and the great Pelligrini painted hall, piled high to the ceiling with what appeared to be mostly unopened copies of the Times, the later ones just thrown to the top of the heap. In fact, Harris and Mrs Fountaine got on very well, and she proved very knowledgeable, but during their tour there was another knock at the door.
"I am not expecting anyone," said Mrs Fountaine. The maid returned to report. "A man and a woman with a clipboard, Mum. Maybe from the Council, perhaps to read the meter." "I'd better see them," said Mrs Fountaine. "I didn't think they worked on Saturdays.' There is a ripple of amusement on our part when the maid announces "it's a Dr and Mrs Pevsner asking to see the house. From the Buildings Council.' In come Nikolaus and Lola, she indeed with a clipboard in hand. I wondered if there could be anything more off-putting to the landed classes than to arrive at the front door looking as though you'd come to read the meter.
Mrs Fountaine's husband Vice-Admiral Charles Fountaine had been a Naval ADC to King George V, and their son Andrew was probably the most infamous of the 20th Century Fountaine eccentrics. Born in 1918, he had fought as a teenager on the side of Franco in the Spanish Civil War, before signing up as an ordinary seaman in the Second World War. Before the end of the War he had been appointed a lieutenant-commander. After achieving a First in Chemistry at Cambridge, he became an active member of the Conservative Party, the ordinary route into politics for a member of the East Anglian landowning class, and even stood for parliament, but was eventually disowned by the party for his increasingly bizarre and anti-Semitic speeches. In 1960 he became a founder member of the British National Party, a far more radical party than the one with the same name today. Its paramilitary wing, Spearhead, used the Narford Hall estate for training with guns and for its annual British Aryan camp which attracted followers from all over western Europe.
The original British National Party was one of the groups which came together to form the National Front, of which Fountaine was a leading member. He stood as candidate for Norwich South in 1979, but increasingly became disillusioned by the bitter infighting between the old guard, of whom he was one, and the increasing number of younger populist neo-Nazis who would eventually split to form the British Movement. After getting just 0.7% of the vote in Norwich South, Fountaine retired from politics, to concentrate on growing trees, as his wikipedia entry quaintly puts it.
This, then, is the background against which you approach Narford church. The churchyard is bounded by new metal railings, but it is very easy to see into the park and ornamental gardens beyond. The church rides the churchyard like a ship in a storm, because the great mound that covers the Fountaine mausoleum swells against the north side of the chancel. The tower was rebuilt in 1857 in memory of Charlotte Fountaine, who had died young. The inscription around the top records her husband's fondness for her in a pleasing manner.
You step inside to a scene of near-dereliction. The walls are black with water, and the stone floor green. The large memorials in the north aisle are covered in plastic sheeting to protect them until such a time as the roofs can be replaced. There are just four benches in the short nave, facing each other in college chapel fashion. The chancel beyond is raised.
It is a haunting place. It would be hard to stand in here and not be affected by it. The two grand memorials at either end of the south aisle recall the wealth and influence of the 18th Century Fountaines. Sandwiched between the traumas of the 17th Century and the energy of the 19th Century, it was the landowners of the 18th Century who had every reason to think that their world was permanent and unchanging, that the world would always be as they knew it. Collecting art, tinkering with primitive science and technology, dispensing benevolent largesse to the poor on their estate - it is a world that is at once attractive and appalling.
At the east end of the north aisle, something has happened. The bricks that filled the entrance to the Fountaine crypt have come loose and fallen away, possibly because of the water ingress. You can see down the stairway into the vault, the wooden Fountaine coffins set in the alcoves. One facing the stairway has a coffin plate which reads CF died Aug 9th 1857. This, then, is the Charlotte Fountaine who died young, and for whom the tower was rebuilt.
Outside to the north of the church overlooking the ornamental lake and the gardens are the memorials to the 20th Century Fountaines, among them Andrew Fountaine, who died in 1997. And beyond the lake, the wind ripples thousands of young birch trees in the new plantation.
Harald Hirschhofer, Senior Advisor, TCX Investment Management Company, speaks at the press conference "Accelerating Energy Decarbonization." The World Economic Forum holds the Sustainable Development Impact Summit 2017 in New York, NY USA. Copyright by World Economic Forum / Ben Hider
Preserved WMPTE Volvo Ailsa 4738 -JOV738P shows who's boss on the roads of Dunfermline.
I travelled back to the SVBM at Lathalmond on this fine machine and a most enjoyable ride it was too.
Group Portrait of Bronwyn Nielsen, Chief Editor, Africa CNBC; African Development Bank President, Akinwumi Adesina; Omar Alghabra, Parliamentary Secretary, The Minister of International Trader; Daphne Mashile Nkosi, Executive Chairperson, Kalagadi Manganese; Ibukun Awosika, Chairman, First Bank of Nigeria and Hayat Sindi, Chief Advisor, President, Science-Technology Innovation during Africa Investment Forum 2018 - Investing In Women For Accelerated Growth in November 2018, at Sandton Convention Centre, Johannesburg, South Africa.
مرحباً بكم احبابي
تجربة جديدة لـفـن
الـتـصـوير البطـيئ
مـــن هـــذا الــنــوع
اتــــمـنــى ان يـنــال
العمل على اعجابكم
انصـح الجــميع مشاهدة
العمل بالدقة الكاملة هنا
Canon Eos 550D | f/10 | (1/5) | ISO 100 | 18 mm |
(All rights reserved)
يمنع استخدام الصورة بدون اذن مني
☆ Favorite لاتنسون تضغطون على
I hope to add to Favorites ☆
508117 & 507023 were accelerating away from Formby with the 12.27 Southport to Hunts Cross Northern Line service (2U21) on December 31st 2021. An image taken over the low fence in a trackside car park.
Sermon Graphic for new "Accelerate" series at Daystar Church.
Purpose was to illustrate recent momentum and growth in our church.
Resources include stock photo from Pexels, stock speedometer image and League Gothic font.
This is Zhah-DarrrLaaahh. She's trained for an Off-World kick murder squad. Talk about Beauty and the Beast - she's both.
After a brief slow order by a work zone, PT-98 notches it up as it approaches the Main St. crossing in Gouldsboro.
Accelerated Transmission is a farm to glass beer that celebrates everything about the hop from its farm fresh origins to its amazing flavour profiles to its greatest fans out there sharing this beer with friends. It has a light citrus, lemongrass and grassy hop aroma showcasing the fresh (wet) local Centennial, Cascade and Chinook hops that were sourced from the BC Hop Company. The beer has a subtle biscuity malt character that allows the hops to be the star.
Henry van de Velde (1863-1957)
Writing Desk Presented at the XIVth Secession Exhibition, 1900
Brussels, 1898
Execution: unknown
Solid ash; brass
Henry van de Velde (1863-1957)
Schreibtisch, präsentiert auf der XIV. Secessionsausstellung 1900
Brüssel, 1898
Ausführung: unbekannt
Eschenholz: massiv; Messing
H 2039/1954, Widmung zum Andenken an den Präsidenten des Vereines der Museumsfreunde
dedication in memory of the president of the Association of Friends of the Museum, Dr. Felix Freiherr von Oppenheimer
The history of the Austrian Museum of Applied Art/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.
1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.
1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.
1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.
1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director.
1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag concludes his directorate.
1932 / Richard Ernst is new director.
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the directorate of Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.
1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director.
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria
1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.
2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.
2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.
2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /
Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.
2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.
2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein
2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.
2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.
The common crane (Grus grus), also known as the Eurasian crane, is a bird of the family Gruidae, the cranes. A medium-sized species, it is the only crane commonly found in Europe besides the demoiselle crane (Grus virgo) and the Siberian crane (Leucogeranus leucogeranus) that only are regular in the far eastern part of the continent. Along with the sandhill crane (Antigone canadensis), demoiselle crane and the brolga (Antigone rubicunda), it is one of only four crane species not currently classified as threatened with extinction or conservation dependent on the species level. Despite the species' large numbers, local extinctions and extirpations have taken place in part of its range, and an ongoing reintroduction project is underway in the United Kingdom.
Taxonomy
The first formal description of the common crane was by the Swedish naturalist Carl Linnaeus in 1758 in the tenth edition of his Systema Naturae under the binomial name Ardea grus. The current genus Grus was erected by the French zoologist Mathurin Jacques Brisson in 1760. Grus is the Latin word for a "crane".
Description
The common crane is a large, stately bird and a medium-sized crane. It is 100–130 cm (39–51 in) long with a 180–240 cm (71–94 in) wingspan. The body weight can range from 3 to 6.1 kg (6.6 to 13.4 lb), with the nominate subspecies averaging around 5.4 kg (12 lb) and the eastern subspecies (G. g. lilfordi) averaging 4.6 kg (10 lb). Among standard measurements, the wing chord is 50.7–60.8 cm (20.0–23.9 in) long, the tarsus is 20.1–25.2 cm (7.9–9.9 in) and the exposed culmen is 9.5–11.6 cm (3.7–4.6 in).
Males are slightly heavier and larger than females, with weight showing the largest sexual size dimorphism, followed by wing, central toe, and head length in adults and juveniles.
This species is slate-grey overall. The forehead and lores are blackish with a bare red crown and a white streak extending from behind the eyes to the upper back. The overall colour is darkest on the back and rump and palest on the breast and wings. The primaries, the tips of secondaries, the alula, the tip of the tail, and the edges of upper tail coverts are all black and the greater coverts droop into explosive plumes. This combination of colouration ultimately distinguishes it from similar species in Asia, like the hooded (G. monacha) and black-necked cranes (G. nigricollis). The juvenile has yellowish-brown tips to its body feathers and lacks the drooping wing feathers and the bright neck pattern of the adult, and has a fully feathered crown. Every two years, before migration, the adult common crane undergoes a complete moult, remaining flightless for six weeks, until the new feathers grow.
It has a loud trumpeting call, given in flight and display. The call is piercing and can be heard from a considerable distance. It has a dancing display, leaping with wings uplifted, described in detail below.
Distribution
The common crane breeds in Europe and across the Palearctic to Siberia. By far the largest breeding populations can be found in Russia, Finland and Sweden. It is a rare breeder in southern and western Europe, with larger numbers breeding in the central and eastern parts of the continent. It has reappeared in several western European countries where it had been extirpated as a breeding bird decades or even centuries ago, including the United Kingdom and, since 2021, the Republic of Ireland. In Russia, it breeds as far east at the Chukchi Peninsula. In Asia, the breeding range of the common crane extends as far south as northern China, Turkey and the Caucasus region.
The species is a migrant and common cranes that breed in Europe predominantly winter in Portugal, Spain and northern Africa. Autumn migration is from August to October in the breeding areas, but from late October to early December at the wintering sites. Spring migration starts in February at wintering sites up to early March, but from March through May at the breeding areas. Migration phenology of common cranes is changing due to climate change. Important staging areas occur anywhere from Sweden, the Netherlands and Germany to China (with a large one around the Caspian Sea) and many thousand cranes can be seen in one day in the Autumn. Some birds winter elsewhere in southern Europe, including Portugal and France. During mild winters, some may stay near their breeding locations year-round, even in northwestern Europe. Common cranes that breed in far eastern Europe, including European Russia, winter in the river valleys of Sudan, Ethiopia, Tunisia and Eritrea with smaller numbers in Turkey, northern Israel, Iraq and parts of Iran. The third major wintering region, primarily used by those breeding in central Russia, is in the northern half of the Indian subcontinent, including Pakistan. Minimal wintering also occurs in Burma, Vietnam and Thailand. Lastly, the easternmost breeders winter in eastern China, where they are often the most common crane. Migrating flocks fly in a "V" formation.
It is a rare visitor to Japan and Korea, mostly blown over from the Chinese wintering population, and is a rare vagrant to western North America, where birds are occasionally seen with flocks of migrating sandhill cranes.
Habitat
In Europe, the common crane predominantly breeds in boreal and taiga forest and mixed forests, from an elevation of sea-level to 2,200 m (7,200 ft). In northern climes, it breeds in treeless moors, on bogs, or on dwarf heather habitats, usually where small lakes or pools are also found. In Sweden, breeders are usually found in small, swampy openings amongst pine forests, while in Germany, marshy wetlands are used. Breeding habitat used in Russia are similar, though they can be found nesting in less likely habitat such as steppe and even semi-desert, so long as water is near. Primarily, the largest number of common cranes are found breeding in wooded swamps, bogs and wetlands and seem to require quiet, peaceful environs with minimal human interference. They occur at low density as breeders even where common, typically ranging from 1 to 5 pairs per 100 km2 (39 sq mi).
In winter, this species moves to flooded areas, shallow sheltered bays, and swampy meadows. During the flightless moulting period there is a need for shallow waters or high reed cover for concealment. Later, after the migration period, the birds winter regularly in open country, often on cultivated lands and sometimes also in savanna-like areas, for example on the Iberian Peninsula.
Behaviour
Diet
The common crane is omnivorous, as are all cranes. It largely eats plant matter, including roots, rhizomes, tubers, stems, leaves, fruits and seeds. They also commonly eat, when available, pond-weeds, heath berries, peas, potatoes, olives, acorns, cedar nuts and pods of peanuts. Notably amongst the berries consumed, the cranberry, is possibly named after the species.
Animal foods become more important during the summer breeding season and may be the primary food source at that time of year, especially while regurgitating to young. Their animal foods are insects, especially dragonflies, and also snails, earthworms, crabs, spiders, millipedes, woodlice, amphibians, rodents, and small birds.
Common cranes may either forage on land or in shallow water, probing around with their bills for any edible organism. Although crops may locally be damaged by the species, they mostly consume waste grain in winter from previously harvested fields and so actually benefit farmers by cleaning fields for use in the following year. As with other cranes, all foraging (as well as drinking and roosting) is done in small groups, which may variously consist of pairs, family groups or winter flocks.
Breeding
This species usually lays eggs in May, though seldom will do so earlier or later. Like most cranes, this species displays indefinite monogamous pair bonds. If one mate dies, a crane may attempt to court a new mate the following year. Although a pair may be together for many years, the courtship rituals of the species are enacted by every pair each spring. The dancing of common cranes has complex, social meanings and may occur at almost any time of year. Dancing may include bobs, bows, pirouettes, and stops, as in various crane species. Aggressive displays may include ruffled wing feathers, throwing vegetation in the air and pointing the bare red patch on their heads at each other. Courtship displays begin with a male following the female in a stately, march-like walk. The unison call, consists of the female holding her head up and gradually lowering down as she calls out. The female calls out a high note and then the male follows with a longer scream in a similar posture. Copulation consists of a similar, dramatic display.
The nesting territory of common cranes is variable and is based on the local habitat. It can range in size from variously 2 to 500 ha (4.9 to 1,235.5 acres). In common with sandhill cranes (and no other crane species), common cranes "paint" their bodies with mud or decaying vegetation, apparently in order to blend into their nesting environment. The nest is either in or very near shallow water, often with dense shore vegetation nearby, and may be used over several years. The size and placement of the nest varies considerably over the range, with Arctic birds building relatively small nests. In Sweden, an average nest is around 90 cm (35 in) across.
The clutch of the common crane usually contains two eggs, with seldom one laid and, even more rarely, 3 or 4. If a clutch is lost early in incubation, the cranes may be able to lay another one within a couple of weeks. The incubation period is around 30 days and is done primarily by the female but occasionally by both sexes. If humans approach the nest both parents may engage in a distraction display but known ground predators (including domestic dogs (Canis lupus familiaris)) are physically attacked almost immediately.
New hatchlings are generally quite helpless but are able to crawl away from danger within a few hours, can swim soon after hatching and can run with their parents at 24 hours old. Chicks respond to danger by freezing, using their camouflaged brownish down to defend them beyond their fierce parents. Young chicks use their wings to stabilise them while running, while by 9 weeks of age they can fly short distances. The adult birds go through their postbreeding moult while caring for their young, rendering them flightless for about 5 to 6 weeks around the time the young also can't fly yet. According to figures of cranes wintering in Spain, around 48% birds have surviving young by the time they winter and around 18% are leading two young by winter. By the next breeding season, the previous years young often flock together. The age of sexual maturity in wild birds has been estimated at variously from 3 to 6 years of age.
Longevity
This species could live up to 30 or 40 years of age. But the data on longevity (43 years) and life expectancy (12 years, N=7 cranes) were published with captive cranes. Common cranes living in the wild must show shorter lives. Successful breeders, the best subjects in the population, are guessed to live on average 12 years. Unsuccessful breeding cranes, therefore, may have shorter lives. Elementary survival analysis with the Euring database reports a life expectancy at birth (LEB) of c. 5 years. This LEB of 5 years was similar to that estimated for other crane species, as for example the Florida sandhill cranes (G. canadensis) (LEB = 7 years). Reports of tagged common cranes have increased rapidly in the last decades. Therefore, longevity and life expectancy at birth of wild common cranes will be updated.
Sociality
The common crane is a fairly social bird while not breeding. Flocks of up to 400 birds may be seen flying together during migration. Staging sites, where migrating birds gather to rest and feed in the middle of their migration, may witness thousands of cranes gathering at once. However, the flocks of the species are not stable social units but rather groups that ensure greater safety in numbers and collectively draw each other's attention to ideal foraging and roosting sites. Possibly due to a longer molt, younger and non-breeding cranes are usually the earliest fall migrants and may band together at that time of year. During these migratory flights, common cranes have been known to fly at altitudes of up to 33,000 ft (10,000 m), one of the highest of any species of bird, second only to the Ruppell's Griffin Vulture.
Cranes use a kleptoparasitic strategy to recover from temporary reductions in feeding rate, particularly when the rate is below the threshold of intake necessary for survival. Accumulated intake of common cranes during daytime at a site of stopover and wintering shows a typical anti-sigmoid shape, with greatest increases of intake after dawn and before dusk.
Interspecies interactions
There are few natural predators of adult cranes, although white-tailed eagle (Haliaeetus albicilla), Bonelli's eagles (Aquila fasciata), eastern imperial eagles (Aquila heliaca} and golden eagles (Aquila chrysaetos) are a potential predatory threat to common cranes of all ages. The crane has been known to counterattack eagles both on the land and in mid-flight, using their bill as a weapon and kicking with their feet. Common cranes were additionally recorded as prey for Eurasian eagle-owls (Bubo bubo) in the Ukok Plateau of Russia. Mammals such as wild boar (Sus scrofa), wolverine (Gulo gulo) and red foxes (Vulpes vulpes) are attacked at the nest, as they are potential predators. When facing off against mammals, cranes jab with their bill, hit with their wings and kick with their feet. The cranes nimbly avoid strikes against themselves by jumping into the air. It is probable that they are threatened by a wider range of large mammalian predators as is the black-necked crane but these have not yet been recorded. Herbivorous mammals such as red deer (Cervus elaphus) may also be attacked at the nest, indicating the high aggressiveness of the birds while nesting. The determined attack of a parent crane often assures safety from predators, but occasional losses to predation are inevitable. The carrion crow (Corvus corone) is locally a successful predator of common cranes' eggs, trickily using distraction displays to steal them. Other species of Corvus may also cause some loss of eggs, with common ravens (Corvus corax) also taking some small chicks. Common cranes may loosely associate with any other crane in the genus Grus in migration or winter as well as greater white-fronted geese and bean geese.
Population and conservation
In 2015, the global population was estimated to be about 500,000 individuals. The vast majority of pairs nest in Russia, Finland (30-40,000 pairs in 2009) and Sweden (c. 30,000 pairs in 2012). On the fringes of its range, it has often become rare or even been extirpated, but in several European countries this trend has been reversed and overall the European population is increasing.
In the early 20th century, it was considered rare in Poland, but gradually began to increase and this has accelerated since the 1980s. In 2010-2012, the Polish population was estimated to number 20-22,000 pairs. Norway had 3-5,000 pairs in 2015 and Estonia had 5,800 pairs in 1999, with both increasing. The German breeding population increased from 700 pairs in 1978 to more than 10,000 pairs in 2017, which is still a fraction of the size of the numbers that once bred in the country. After having disappeared as a breeding bird decades earlier, the species began breeding again in France in 2000 and in 2017 there were more than 20 pairs. In Denmark, the common crane returned as a breeder in 1953, about a century after it had disappeared. Numbers remained extremely low, less than 5 pairs, until the 1990s when a rapid increase began; in 2022 there were at least 750 pairs in Denmark. In the Netherlands, the species disappeared as a breeding bird centuries ago, but it returned in 2001 and by 2020 there were about 40 pairs in the country. The common crane returned to the Czech Republic as a breeder in 1981 and by 2004 it had increased to 35 pairs. In 2009, the species again began to breed in Slovakia, and in Austria it returned as a breeding bird in 2018 after having disappeared in 1885. Although large numbers winter in Spain, the last breeding in the country had been in 1954. In 2017, a pair that had been released after being rehabilitated bred in Spain. It was extirpated as a breeder from Italy around 1920 and Hungary by 1952, and it also used to breed in the Balkans; significant numbers still pass through these countries during migration.
In the United Kingdom, the common crane became extirpated in the 17th century, but a small and increasing population now breeds again in the Norfolk Broads and a reintroduction began in 2010 in the Somerset levels. A total of 93 birds were released between 2010 and 2014 as part of the reintroduction effort, and there are now 180 resident birds in the UK. In 2016, a wild crane was born in Wales for the first time in over 400 years. In 2021, the British population had increased to 72 pairs. In the Republic of Ireland, several visiting flocks were observed in the 2000s and in 2021 a pair managed to breed for the first time on the island in 300 years.
The main threat to the species and the primary reason for its decline comes from habitat loss and degradation, as a result of dam construction, urbanisation, agricultural expansion, and drainage of wetlands. Although it has adapted to human settlement in many areas, nest disturbance, continuing changes in land use, and collision with utility lines are still potential problems. Further threats may include persecution due to crop damage, pesticide poisoning, egg collection, and hunting. The common crane is one of the species to which the Agreement on the Conservation of African-Eurasian Migratory Waterbirds (AEWA) applies.
Culture
In 1870 Józef Chełmoński painted a picture: "Departure of Cranes" (National Museum in Cracow)
In Ireland, despite being extinct for over 200 years, the common crane plays a very important part in Irish culture and folklore and so thus recent efforts to encourage it back to Ireland are received with much enthusiasm.
The Kranich Museum in Hessenburg, Mecklenburg-Vorpommern, Germany, is dedicated to art and folklore related to the common crane.
The common crane is the sacred bird of the god Hephaestus, and it features heavily in the god's iconography. In Indian states of Rajsthan and Gujarat this crane is described in lots of folk songs. For example: a newly married woman (whose husband has gone to a far away place for earning) will sing a song to crane to take a message to her husband and request to tell him to come home early.
To think – the notion that life be tallied and tabulated and ticked off by something as ludicrous as seconds...!
Nikon D700 | Cosina-Voigtlander Ultron 40mm f/2 lens
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GBRf Class 60 no. 60047 'Scafell Pike' is seen on-hire to DCR, accelerating through Shippea Hill station following a signal check. The still Colas liveried 'Tug' was leading 6L82 the 04:23 Peak Forest to Eccles Road (Johnston's Sidings) loaded aggregates working.
Accelerate a charge and you'll get electromagnetic radiation: light. But accelerate any mass and you'll get gravitational radiation. Light is seen all the time, but, so far, a confirmed direct detection of gravitational radiation has been elusive. When absorbed, gravitational waves create a tiny symmetric jiggle similar to squashing a rubber ball and letting go quickly. Separated detectors can be used to discern gravitational waves from everyday bumps. Powerful astronomical sources of gravitational radiation would coincidentally jiggle even detectors on opposite ends of the Earth. Pictured here are the four-kilometer-long arms of one such detector: the LIGO Hanford Observatory in Washington state, USA. Together with its sister interferometer in Louisiana, these gravitational wave detectors continue to be upgraded and are now more sensitive than ever. via NASA go.nasa.gov/20QpRJ4
Accelerating Net-Zero Carbon Markets
Tim Christophersen, Vice-President, Climate Action, Salesforce, USA; Antonia Gawel, Head, Climate Action; Deputy Head, Platform for Public Goods, World Economic Forum
Copyright: World Economic Forum/Jeffery Jones
Sustainable Development Impact Meetings, New York, USA 19 - 23 September
The history of the Austrian Museum of Applied Art/Contemporary Art
1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.
1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.
1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .
1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.
1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.
1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.
1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.
1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.
1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.
1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.
1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.
1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.
1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.
1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.
1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.
1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.
1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.
1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.
1900 / The administration of Museum and Arts and Crafts School is disconnected.
1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.
1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .
1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.
1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.
1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.
1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.
1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.
1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.
1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.
1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.
1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.
1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.
1927 / August Schestag succeeds Hermann Trenkwald as director.
1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.
1931 / August Schestag concludes his directorate.
1932 / Richard Ernst is new director.
1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.
1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.
1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".
1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.
1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.
1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.
1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".
1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.
1949 / The Museum is reopened after repair of the war damages.
1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).
1951 / Ignaz Schlosser is appointed manager.
1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.
1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.
1955-1985 / The Museum publishes the periodical ancient and modern art .
1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.
1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.
1958 / End of the directorate of Ignaz Schlosser
1959 / Viktor Griesmaier is appointed as new director.
1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.
1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.
1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.
1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.
1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.
1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.
1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.
1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.
1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.
1979 / Gerhart Egger is appointed director.
1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.
1981 / Herbert Fux follows Gerhart Egger as director.
1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria
1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.
1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.
1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.
1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.
1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.
1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.
1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).
1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.
1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).
1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.
1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.
1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.
1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.
2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.
2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.
2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.
2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.
2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.
2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.
2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.
2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.
2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.
2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.
2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.
2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /
Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.
2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.
2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein
2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.
2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.
Accelerating south through Peterborough with the 1E15 Aberdeen to London King's Cross are Virgin Trains East Coast Class 43's, 43310 and 43277.
The InterCity 125's were first introduced on the East Coast Mainline in Summer 1978 as the second region to receive HST behind the original Western Region. Services operated from London King's Cross initially to Newcastle, York, Darlington, Leeds, Hull and Edinburgh, taking charge of the famous Flying Scotsman service, doing the run in 4 and a half hours compared to that of the previous Class 55 Deltic locomotives and their time of 5 hours and 55 minutes. Very soon the HST sets, then designated under TOPS as Class 254 Diesel Multiple Units, took charge of all premier services on the Eastern Region out of King's Cross, displacing the Deltic's to semi-fast and slower operations before full withdrawal of the class in 1982. The removal of the Class 55's coincided with the final production of the Class 43's, which were now heavily operated across the UK network, with primary praise for their speed and efficiency on the East Coast Mainline, a route that continued to maintain its reputation as one of the fastest railways in Britain.
This was further added to by the opening of the Selby Diversion, a re-routing of the traditional East Coast Mainline to the west of a notable bottleneck at Selby, where the Swing-Bridge on the River Ouse would cause major delays, especially in the event a ship struck the structure. As such, between 1976 and 1983, a new route built primarily for the 125mph HST sets was opened across the former Selby Coalfields between Doncaster and York, bringing this slow section of the mainline up to a consistent speed of 125mph. The InterCity 125's benefited heavily from this new route, and reductions in journey time came down to just under 4 hours between Edinburgh and London. Full HST distribution on the Eastern Region was completed in 1979, with sets working one of the longest single journeys in the UK between London and Inverness on the 8 hour 'Highland Chieftain' and the 7 hour 'Aberdonian' to Aberdeen, now known as the 'Northern Lights'.
HST's however have not constantly dominated the East Coast, as between 1986 and 1990 the route was electrified from King's Cross to Edinburgh and Leeds as part of a major modernisation plan. As such, following the widespread introduction of the Class 91 InterCity 225 sets from 1988 onwards, the HST's began to be redistributed elsewhere, primarily to the Midland Region and the Cross Country network. Upon privatization in 1996, GNER, or Great North Eastern Railway, inherited a fleet of 21 Power-Cars from InterCity, used primarily for long-distance trains to Aberdeen and Inverness, but would occasionally cover for Class 91's on intermediate services on the East Coast. Trains were outshopped in GNER's striking Midnight Blue with orange waistband livery and continued to provide a valuable part of the ECML network. Between 2002 and 2007, GNER carried out a major refurbishment of its fleet called 'Project Mallard', including new carriage interiors, updated mechanics and lighting such as LED headlights, and, for the HST's, replacement of their original Paxman Valenta engines to the newly developed MTU engines trialed by First Great Western. Sadly, GNER would not see out the end of the Project as in 2007 it's ownership of the route was removed due to financial instability with regard to its parent company Sea Containers. The franchise was eventually won by National Express, which set up National Express East Coast and continued to update the fleet to MTU power. The final powercars updated to MTU engines were 43110 'Stirlingshire' and 43108, which lost their Valenta's in mid-2008.
Since then, in spite of the various franchise changes that have taken place on the East Coast Mainline, from National Express to the government owned East Coast Trains in 2009 and finally to Virgin Trains East Coast in 2015, the fleet has remained largely the same. The fleet has been largely expanded through the inheritance of ex-Virgin Trains Class 43's, as well as several former Midland Mainline and East Midlands Trains sets. Networks for the HST's have been expanded to services to Hull and Lincoln, and occasionally sees the hiring of extra HST sets from other operators, including Arriva Cross Country, East Midlands Trains, and, in some rare instances, First Great Western. Sadly though, the HST's days may be numbered as the development of the Class 800 IEP (Intercity Express Project) sets gathers pace, with bi-mode diesel/electric units being proposed to replace the HST's on their long-distance trains to Inverness and Aberdeen. But until then, the mighty HST is expected to remain a vital part of the operations up and down the East Coast of Britain.
UNFPA, the United Nations Population Fund, jointly with UNICEF, lead the largest global programme to accelerate the abandonment of Female Genital Mutilation (FGM). In line with Zero Tolerance Day for FGM on 6 February 2017, UNFPA lead a mission to Kenya's Narok County to document UNFPA’s active participation to encourage the abandonment of the practice. Female Genital Mutilation, FGM, involves altering or injuring the female genitalia for non-medical reasons. It negatively impacts a girl’s psychological, emotional and physical well-being, education, health and gender equality rights, and is internationally recognized as a human rights violation. Maasai culture, often praised and used as a tourist attraction, encourages FGM which is views as the key to success in all aspects of life. Many Maasai families cannot afford to give their children formal schooling, so to protect their daughters from lives of poverty, they choose to marry them off at a young age. Because Maasai girls are traditionally considered children until they are circumcised, it is seen as imperative for a Maasai girl to undergo the circumcision rite before she is married making FGM a precursor to child marriage. This strongly ingrained cultural belief propels families to go to great lengths to complete the circumcision. Both FGM and child marriage negatively impact long-term poverty reduction and development outcomes. In collaboration with World Vision Kenya as an implementing partner UNFPA identify Narok County in Maasailand as one of eight targeted counties in Kenya where UNFPA-supported interventions are transforming and saving lives of women and girls in the county.
All of sudden she felt the need to accelerate.
Copenhagenize - Copenhagen Bike Culture Blog
After the crews of the two trains exchange greetings, the engineer of the coal train hits the throttle and accelerates out of Fairbury, Illinois on August 11, 1988.
Great night spent with Klockwork1 this was our first attempts of this type of photography.
This is one of a set of shots taken during a creative evening with in Rainham in Kent. The location is Bloors Wharf. Many old maps of this area show that a small wharf has always been here. Originally a place where fishermen put to sea, it was recently a scrap yard that specialised in breaking up fishing boats. Today it has been cleared of buildings, leaving a large area of concrete with a steel fence along the waterfront.
Please view my photo stream and leave a comment of the suite of images.
As 37218 accelerates under the Carberry Road bridge in Inveresk Village, we see the rear loco 66432 on the end of 6M50. This is the weekly Torness - Sellafield Flask train. Seen on an overcast 28th March 2017 at 1541
Accelerating Innovation - Empowering Women and Girls
Finland, Tanzania, UNICEF and UN Women
Opening Remarks and High Level Speakers:
Kai Mykkanen, Minister of Foreign Trade and Development, Finland; Augstine Mahiga, Minister of Foreign Affairs and East African Cooperation, Tanzania; Phumzile Mlambo-Ngcuka, Executive Director, UN Women; Omar Abdi, Deputy Executive Director, UNICEF
Interactive Panel Discussion:
Njideka Harry, President and CEO, Youth for Technology Foundation; Doreen Kessy, COO, Ubongo Kids; Marianne Vikkula, CEO, SLUSH; Wanjiru Waweru Waithaka, Founder and CEO, Funkidz
Moderated by Chris Fabian, UNICEF
High level side event during the 71st Session of the United Nations General Assembly. 21 September 2016.
Photo: UN Women/Ryan Brown
Our family friend, John, has what he calls his funeral suit. I suppose we are now reaching the point where I need one too. In fact, I have lost several friends, former colleagues from The Mob, something that will accelerate as the years pass.
Last week, I noticed that a friend of mine on Flickr, Günter, had not commented on any shots for a few weeks. He used to leave funny one sentence comments that almost always brought a smile.
The lastest shot on his photostream was of a fresh grave.
His.
Sadly, Günter passed away on New Year's Day, and his family posted this last shot to let the world know. Or his friends, anyway.
We had visited his and his wife in Bonn, and he had come to stay with us too, we share interests in railways, photography and beer.
It came quite a shock I can tell you.
Online, people come and go, mostly without fanfare or announcement. One day they are there, and then they're not. Did they just get fed up, or something more terminal?
Most of the time, we'll never know.
I am lucky in that I have met many online friends in real life, sometimes here in Kent, but also in the US too, so know they are more than screen names and photos, but real people with lives, who are pretty much as wonderful as thei online presence would have you believe.
Life goes on, of course, but I will miss Günter, and sad for the fact we will not raise beers in a friendly toast to each other.
We woke at half six, I went to the bathroom and looked out the window. Still too early for birds, but there wasn't a breath of wind either, nor any cars to be seen moving. So it looked like someone had paused time.
Cleo is perpetual motion, however, and coming downstairs revealed her to be always on the move until her food is placed just where she wants it.
I went to Tesco by myself, with a list as long as a long thing, while Jools stayed behind and fed the hungry washing machine two loads of dirty laundry. Good news is that Tesco was fully stocked with fresh produce, including rapsberries from Spain. We like them for breakfast at weekends, its a hard habit to break.
Back home to unload and makaid breakfast; fruit and yogurt followed by warmed croissants.
Jools said she had been sitting all week, so would not come with me to go churchcrawling, so I go on me tood, driving up the M20 to Maidstone, to revisit All Saints church, where I had not been for over 12 years. I had checked Google, and it said the church would be open from 10:00.
I timed it to arrive dead on ten. I parked the car opposite, and didged traffic to get over the main road, I went to the first door only to find it locked. But a sign suggested there were two more possible ways in, so walked round, checked the north door, and that was locked too. That only left the west door, under the tower, to try. That was ajar, so my hopes lifted. Only to find the inner door locked.
Maybe I was too early?
A lady came in, I asked about the church. She said she was a bellringer, and disappeared up the steps to the ringing loft, where sounds of poorly rung bells could be heard.
I went round the church one more time, ending back at the west door, and again all way in were locked.
Sigh.
But there was a runners up prize; a church on the edge of town, in what used to be a village, at Bearsted. THe sat nav told me it was just a ten minute drive away.
So, I drove across town, through the crazy one-ways system, out the other side and along to Bearsted, where there were ancient timber framed houses, so old they had settled over the centuries into strange angles, none of which were right ones.
I found church lane, which wound its way through a modern housing estate, parked outside the chuchyard, and I could see a nice "church open" sign before I got out.
Although it looked spendid from the outside, inside it had been reordered at least twice, so that any ancient features were well hidden indeed. Even the glass, usually a rescuing act for over restored churches, were either just average or poor here. But it was my first visit here, so another tick in the box.
I now had to get home, as Jools is joining the speaking ciruit, as a lady has asked Jools to lead classes in beaded jewellery making.
I hightailed it back to the motorway, and once on, settled down to cruise back down to Dover and home, getting back at half twelve, with an hour to spare before Jools had to leave for the class.
So, it was just me an the cats for a few hours. There was football to entertain me, so I sat beside Scully on the sofa and watched the Championship game while she dozed beside me.
At three, it was time to concentrate on Norwich away at Millwall, one of six teams above us, and a win here would put us back in the play-offs. It was an exciting game, Millwall took the lead, only for City to level before half time, and then score two more early in the 2nd half. Millwall plled one back in the last ten minutes, but we hung on to win 3-2.
Not perfect, but a win at the New Den where they had been unbeated since September. And then, along came Nodge.
Dinner was a rushed one of pizza and iced squash, as we were going out to a gig.
Lawrence was the singer in an indie band in the 80s called Felt. He then formed Denim, an ironic pop band for the 90s, which also stiffed. He now fronts Mozart Estate, which does a fine line in ironic pop. Still.
We drive over th Ramsgate, to a small venue called The Music Hall. We were early, but got in, and went to the bar where we chatted to a couple about our age about music. In fact, most folks were about "our age".
First up was a young female singer/songwriter, who strummed her guitar along to her 6th form poetry.
The hall, which was barley bigger than our living room was about 50% full, but comfortable. We went to find somewhere to sit, thinking that the bar would be empty, only to find it rammed with more people than when we left it half an hour before.
We went to get some air, and finding nowhere to sit, went to the car.
Jools was shattered and fell asleep, and I really did not feel like being rammed into that room unable to see the band, and not able to lean against a wall to rest my back.
I said we'd go home.
So we did.
I don't regret it.
We got back at ten, Jools went to bed, while I had a glass of sloe port.
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Holy Cross church stands to the south of the village green at the end of a cul de sac. Its noble tower is crowned with queer sculptures, slightly reminiscent of Alnwick Castle. The exterior has a nicely textured effect, but this leads to an unexpectedly clean interior - the result of much care and attention and recent reordering. Whilst it cannot pretend to be in the top league of Kent churches it offers a fine selection of 19th and 20th century glass and some fine wall tablets. West tower, nave, chancel, north aisle and chapel, south porch.
www.kentchurches.info/church.asp?p=Bearsted
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BERSTED.
BERSTED lies the next parish north-westward from Leeds. It was antiently written Bergestede, and most probably took its name from its situation, Berg, in Saxon, signifying a hill, and stede, a place or village.
THE PARISH lies mostly on what may be called high ground, a pleasant, and the greatest part of it a dry situation; the soil is in general a deep sand, though towards the south-west part it partakes of the quarry rock, and on the south side of the Lenham river a black moorish soil of fertile meadow ground. This river parts it towards the south from Osham, another smaller stream, which rises near Boxley, separates it on the western side from that parish and Maidstone, leaving within the bounds of it a part of the hamlet of Maginford. Besides the above, this parish is watered by two or three other smaller rivulets, which rise northward, and run here into the Lenham river, the easternmost of them separating it from Hollingborne and Leeds. The high road from Ashford and Lenham towards Maidstone, runs along the northern boundaries of it, passing over Bersted-green, the houses round which form the parish village, near it stands the church; besides this there are two other hamlets, called Ware and Roseacre-streets. In the south-east part of the parish is the seat of Milgate, pleasantly situated and wellcloathed with trees, at the back of which the ground descends to the river, and at a small distance that of Lower Milgate, so called from its lower situation still nearer the river.
A fair used to be held here on Holy Cross day, September 14, now by the alteration of the style, changed to Sept. 25, for pedlary, toys, &c.
The noble family of Bertie own this parish to have been their most antient habitation in this kingdom, for they are said to have possessed lands in it near the parsonage, at Strutton-street, and elsewhere in this neighbourhood, as early as the reign of king Henry II. and among the Harleian MSS. there is a grant of arms, anno 2 Henry VI. to Bartie, of Berested, in Kent; they continued here in king Henry the VIIth.'s reign, as appears by an antient rental of that time, and there are still lands, called Barty lands, in this parish and Thurnham; and from those of this name settled here, in a direct line was descended the dukes of Ancaster, now extinct, and from them the lady Willbughbye, of Eresbye; the earls of Abingdon, and other distinguished branches of this family claim their descent.
The manors of Leeds, Moathall, and Thurnham, extend over this parish, in which there is an estate belonging to the former of them, which has constantly passed through the same succession of owners, from the family of Crevequer, who were proprietors of it in the reign of William the Conqueror, to the Rev. Dr. Denny Martin Fairfax, of Leeds-castle, who is at present in the possession of it.
MILGATE is an eminent seat, situated in the southeast part of this parish, which was formerly esteemed a manor, though it has long since lost the reputation of ever having been one.
The family of Coloigne antiently possessed this estate; one of whom, Robert de Coloigne, died possessed of it in the 35th year of king Edward III. In process of time, his descendants came to be called Coluney; one of whom, Thomas Coluney, as appears by an old survey of Bersted, possessed it in the 14th year of Edward IV. Soon after which, that is, in the beginning of king Henry VII.'s reign, it was become the property of the family of Stonehouse, whose antient seat was at Haslewood, in Boughton Malherbe.
Robert Stonehouse, esq. was of Bersted, at the latter end of king Henry VIII.'s reign. His son, George Stonehouse, esq. was clerk of the green cloth to queen Elizabeth, and resided at West Peckham, where he died in 1575, whose eldest son William was created a baronet anno 4 Charles I. and Nicholas, the second, was of Boxley, in this county. He bore for his arms, Argent, on a fess sable, between three hawks volant, azure, a leopard's face, between two mullets, or. (fn. 1) In the beginning of the reign of queen Elizabeth he alienated this seat to Thomas Fludd, esq. afterwards knighted, who was son of John Fludd, esq. of Morton, in Shropshire, and bore for his arms, Vert, a chevron between three wolves heads, erased, argent; which coat, with his quarterings, was confirmed to him by Robert Cook, clarencieux, in 1572. He resided at Milgate, where he died in 1607, and was buried in this church, having considerably improved and augmented this seat. His son Thomas Fludd, esq. afterwards of Otham, succeeded him in this estate, which he alienated in 1624, to William Cage, of Farringdon, in Hampshire, barrister-at law, who resided here. He was bred at Lincoln's-inn, an utter barrister, and was descended from Richard Cage, of Packenham, in Suffolk. He bore for his arms, Per pale, gules and azure, a saltier, or, and a chief, ermine, which was an alteration from the antient arms of this family, viz. Azure and gules, over all a saltier, or; and, together with an addition to the crest, was granted to him by St. George, clarencieux, in 1624, (fn. 2) and in his descendants it continued down to Wm. Cage, esq. who was likewise of Milgate, and was sheriff in 1695, and represented the city of Rochester in several parliaments during queen Anne's reign. Of his sons, William died s. p. Lewis will be mentioned hereafter; and John was of Lower Milgate, esq. Lewis Cage, the second son, became at length possessed of Milgate, where he resided, and left one son Lewis, and a daughter Catherine, who married first, Mr. George Eastchurch, of Maidstone; and secondly Christopher Hull, esq. but died s. p. On his death, Lewis Cage, esq. his son, succeeded him in this seat, where he now resides.
He married Annetta, second daughter and coheir of Edward Coke, esq. of the White Friars, in Canterbury, by whom he had four sons; Lewis Cage, esq. of Lower Milgate, who married Fanny, eldest daughter of Sir Brook Bridges, bart. the Rev. Edward Cage, rector of Easling, who married Jane, second daughter of Charles Van, esq. of Monmouthshire; John, who died in the West-Indies unmarried in 1789, and the Rev. Charles Cage, of Cristmell, vicar of Bersted, who married Elizabeth, daughter of colonel Graham, and one daughter Catherine, as yet unmarried.
AT A SMALL DISTANCE westward from Milgate, there is a good house, called COMBES, alias LOWER MILGATE, which on the death of William Cage, esq. came to his youngest son John Cage, as before-mentioned, who died s. p. It is now the property of Mrs. Brander, the widow of Gustavus Brander, esq. and daughter of Francis Gulston, esq. by a daughter of William Cage, esq. Lewis Cage, esq. junior, at present resides in it.
MOAT-HALL is a manor in this parish, the mansion of which, from the materials with which it was built, was called Stonehouse. It antiently belonged to the neighbouring priory of Leeds, as appears by several old boundaries and papers, and was most probably part of those demesnes given to it at its first foundation, by Robert de Crevequer, in the reign of king Henry I. These demesnes appear by a rental of the time of king Henry VII. to have been held of the manor of Leeds, though they have been long since accounted parcel of this manor of Moat-hall.
On the dissolution of the priory in the reign of king Henry VIII. this manor, among the rest of the possessions of it, was surrendered into the king's hands, who afterwards, by his dotation-charter, in his 33d year, settled this manor, among other premises, on his new founded dean and chapter of Rochester, with whom it remains at this time.
The present lessee of it, under the dean and chapter, is Mr. William Usborne. There is a court baron held for this manor.
AT A SMALL DISTANCE southward from the church lies an estate called OTTERIDGE, formerly Oterashe, which in the reign of king Henry VIII. belonged to Simon Bertyn, one of the brethren of St. Bartholomew's hospital, beside Sandwich, who by will in 1530, devised it to Jeffry Merchant, of Rainham.
It afterwards came into the possession of the family of Munns, who continued possessors of it for several generations, till at length one of them sold it, with Aldington, in the adjoining parish of Thurnham, to William Sheldon, esq. whose descendant Richard Sheldon, esq. at his death, bequeathed it to his widow, and she re-marrying with William Jones, M. D. entitled him to it. He died in 1780, leaving by her two daughters; Mary, married to Lock Rollinson, esq. of Oxfordshire, and Anne, to Thomas Russell, esq. and they in right of their wives, are respectively entitled to it.
Charities.
SIMON BERTYN, one of the brethren of St. Bartholomew's hospital, near Sandwich, owner of Otteridge, in this parish, which he devised, together with his messuage called Buds, with its lands and appurtenances, in Allyngton, beside Thurnham, by his will in 1530, to Jeffry Marchant, ordered that the said Jeffry and his heirs male, should for ever yearly distribute, on the first Sunday of Lent, in the church of Berghsted, to the parish clerk there, and to other poor people, four bushels of green peas; that is to say, to every one of them, one peck.
EDWARD GODFREY, gent. of Thurnham, gave by his will in 1709, thirty shillings yearly out of lands in this parish, called Crouch field, for the schooling of poor children; half of them to be of this parish, and half of that of Thurnham. And he left 30s. yearly for the same use, to be paid out of an house called Rose acre, in this parish; the payment of which has been constantly refused, upon pretence, that he had no right to devise that charge on it.
The poor constantly relieved are about forty-five; casually twenty five.
BERSTED is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester, and deanry of Sutton.
The church is situated on high ground, at a small distance southward of Bersted-green. It is dedicated to the Holy Cross, and is a handsome building, consisting of two isles and two chancels, with a square beacon tower at the west end of it. On three corners of the summit of the tower, are the figures of three dogs, or bears sejant, for they are so defaced by great length of time, that they can but be guessed at. If they represent the latter, they might have been placed there in allusion to the name of this parish: if not, these figures might perhaps be the crest of the founder of the church. In this church in the Milgate chancel, are monuments for the Cage family, and for Robert Fludd, M. D. A memorial for William Godfrey, jun. in 1690; and for Elizabeth, daughter of Henry Bosvile, esq. of Bradburne, justice and clerk of the court of wards, married first to Edward Mabb, gent. of this parish; and secondly, to William Godfrey, of Bersted, yeoman, obt. 1614. In the porch, against the east wall, is a small monument for Stephen Mason, of Boxley, citizen and vintner of London, obt. 1560, arms, A thevron, between three tuns, or barrels.
There were some lands and tenements in this parish, given by several persons, who stiled themselves the fraternity of the Holy Cross of Bersted, for a priest to sing mass yearly for one quarter of a year, in this church.
The church of Bergnestede, with all its rights and appurtenances, was given in the reign of Henry I. by Robert de Crevequer, son of Hamo de Crevequer, junior, to the priory of Leeds, then founded by him; which gift was confirmed by Baldwin, archbishop of Canterbury, in the reign of Henry II. who then appropriated this church to the canons there, towards the finding of lights and ornaments in their church. Archbishops Theobald and Hubert confirmed it likewise, as did John, prior, and the convent of Christ-church, in 1278, by the description of the church of Berghestede, with the tithes of Strutton. King Edward III. likewise confirmed it by his charter of inspeximus in his 41st year.
This church, together with the advowson of the vicarage, remained part of the possessions of the priory of Leeds till the dissolution of it, in the reign of king Henry VIII. when it was surrendered up into the king's hands, among other estates belonging to it.
After which, the king, by his dotation charter, in his 33d year, settled both the parsonage and advowson of the vicarage of this church on his new-founded dean and chapter of Rochester, with whom they now remain.
¶On the intended dissolution of deans and chapters, after the death of king Charles I. the possessions of the dean and chapter of Rochester, in this parish, were surveyed in 1649, by order of the state; when it was returned, that the parsonage or rectory of Bersted consisted of a messuage, barns, &c. which, with the tithes and glebe land of forty acres, were of the improved rent of 46l. 8s. per annum, which were let anno 13 Charles I. at the yearly rent of 9l. 13s. 4d. and four bushels of malt, for the term of twenty-one years; and the lessee covenanted to discharge the pension of forty shillings to the vicar, and to repair the chancel of the church. Out of which lease was excepted, the advowson of the vicarage, and the portion of tithes called Vintners Portion.
The vicarage is a discharged living in the king's books, of the clear yearly certified value of thirty pounds, the yearly tenths of which are 12s. 9d.
In 1649, the vicarage was valued in the abovementioned survey at twenty pounds per annum.
The parsonage is leased out by the dean and chapter to Mr. John Packman, but the advowson of the vicarage they reserve in their own hands.
The vicarage is endowed with all manner of tithes, except grain, and the vicar now enjoys the abovementioned pension of forty shillings from the lessee of the dean and chapter.
Same picture as yesterday's image but this time without the motion blur photoshop effect, no postprocessing at all in fact except my name tag and the white border.
Peter Moons immediately saw it...there was no movement in the wheels (you can almost read the text) and the shutter time was way too short. He commented on my image...and then withdrew his comment...he did not want to spoil the fun I was having.
Nice guy...it seems to me!
Check out his photostream www.flickr.com/photos/petermoons/ or his website www.petermoons.com
Great and special images...that I like!