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Foliated Pipefish
The Captain has relaxed discipline on account
of a “pretty kind of hippocampus”. Two fishes
have been set aside for me to paint. They lie
fluting water from their tube-mouths, whilst
five others are passed around the quarterdeck,
and then, at a nod from Flinders, carried down
to the foremast hands. Men who can weather
the Cape, hold fast under fire, ram a gun
with powder and shot, board a deck and slit
a throat – now hold forth trembling hands
and breathe out gasps of awe as these weedy,
brittle treasures, fresh from dredge and trawl,
are handed round. Unbidden, they have formed
an orderly line, and the fishes go from hand
to calloused hand, finishing with the powder-boys
whose eyes grow wide with wonder. Only hours
ago, our redcoats were presenting arms before
a long line of natives, and the old man with his
wooden staff stood at attention and saluted,
compared his body-paint with our marines’
white straps and braids. Now, the captain sets
our course for open sea, and my eyeglass comes
to bear on these strange productions of weed
and brine, my hurried pencil catching all, before
their blush of colours begins to bleach and fade.
Poem by Giles Watson, 2014. Picture: ‘Sea Horse’, Arcana. What is now known as the Weedy Sea-Dragon (Phyllopteryx taeniolatus) was variously identified by explorers as a type of sea horse or pipefish (Foliated Pipefish was George Shaw’s name for it). Ferdinand Bauer is my narrator, recording events which were also recounted by Matthew Flinders in his journal for 3rd January 1802. Prior to departing from King George’s Sound, near present-day Albany, Flinders had ordered his marines to salute “our friends, the natives”. One old man, whom Flinders and his men had befriended some days before by shooting a parrot and giving it to him, “placed himself at the end of the rank, with a short staff in his hand, which he shouldered, presented, grounded, as did the marines with their muskets, without, I believe, knowing what he did. Before firing, the Indians were made acquainted with what was going to take place; so that the volleys did not excite much terror.” Contrary to the frightened reactions of some other indigenous Australians at the sight of the Marines, Flinders remarked that “The red coats and white crossed belts were greatly admired, having some resemblance to their own manner of ornamenting themselves; and the drum, but particularly the fife, excited their astonishment…” See Tim Flannery (Ed.), Terra Australis: Matthew Flinders’ Great Adventures in the Circumnavigation of Australia, Melbourne, 2000, pp. 54-55. Bauer painted two of the sea dragons, one carrying eggs beneath its tail, which were captured whilst Flinders trawled the Sound in the hope of catching fresh fish for eating. Bauer’s final version of the picture can be seen below.
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Dear Accounts Aspirants – Here is a wonderful opportunity for you to groom your skills in the domain of Accounts and become ‘job ready’ for the corporate sector, with the help of Floraison’s unique, Knowledge Fostering Program (KFP).
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oCorporate accounts & role of a corporate accountant
oFundamentals of accounting & bookkeeping
oChart of accounts, groups, profit & cost centers
oAccounting principles &Important accounting entries
oBasic accounting standards & practical application thereof
oRelevant provisions of the Indian companies act, 1952
oRelevant provisions of the Indian income tax act, 1961
oIntroduction to value added tax & central sales tax
oIntroduction to the provision of the service tax regulations
oCompensation & benefits including payroll
oBasic Labour Laws – PF, ESI, PT, Gratuity, Bonus act etc
oFundamentals of accounts payable & accounts receivables
oAll about preparation and filing of e-TDS
oSelf review & finalization of accounts
oCorporate MIS reporting – Internal reporting
oSchedule VI reporting – External reporting
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•Any curious layman who is enthusiastic and eager to know and understand the fundamentals of accounting domain!
Duration
Floraison’s Knowledge Fostering Program is spread over a period of 100 hours, spanning over 20 working days. The Program would be conducted in two batches which would each accommodate about 30 associates.
•Batch one: 7.30am to 12.30 pm
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*Conditions Apply
For further details: Contact - Mukinthan
Floraison India Strategic Consulting Pvt. Ltd.,
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P: +91 80 2653 8257/58/59.
Email: kfp@floraison.in / mukinthan.r@floraison.in
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© Diana Yakowitz 2013 All rights reserved
Funny that I forgot to post pictures from Biosphere Two inside and out except the one before going through the park entrance (Fool on the Hill, shown in the second comment). Not having internet at home right now, I forget a lot of things while at the library or Starbucks or other free WiFi places. So, I am posting a bunch of them in Medium format in the first comment. These were all taken on the visit that Vicky (manywinters) and I made here on her visit to Tucson.
This image is a view looking toward the foothills through the structure of the Biosphere Two wall. The University of Arizona now owns and manages this tremendous research structure and tours can now go inside. One of the interesting parts of the tour was seeing the inside of one of the two gigantic dome shaped Lungs. These structures allowed the air pressure inside Biosphere Two to remain constant even when the air was heated or cooled by the sun or lack of it by allowing the air to move into the Lung and raise a heavy layer of concrete and expandable bellows when the air pressure inside the Biosphere rises due to heating of the air. The lungs move air back into the structure as the air cools. It operated as a closed system. The original experiment with the eight Biospherians was considered a "failed" experiment because air had to be added to the closed system. The reason for this - the engineers forgot to take into account the massive amount of oxygen absorbed by the concrete used in the structure and the lungs.
This is only my Flickr sub account for Portrait/Cosplay/People photography. My main account has my best and broadest work.
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Copyright: Not for any commercial use, web sites or printing without my written consent. Any posting of this image on twitter, facebook or the like are to be a LINK/share to this Flickr page or the my corresponding Facebook image only. Image freely available for personal use only as electronic screen wallpaper or screensaver.
* Only the models pictured in this photo shoot have my permission to print or use this image for non commercial use.
* My models, Please link & share rather than download and repost to your Facebook or sites, thank you.
* Model Mayhem # 3763448
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This one is almost full, so I made a new one! For now, this one will be for doll photos, and the other for human/other photos. Please follow me on there for more photos!
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(c) Dr Stanislav Shmelev
Devil's den is an incredible ancient megalithic monument located not too far from Avebury circle. Some researchers think that it was marking a site of an ancient spring. It is part of a unique collection of prehistoric monuments in the ancient Kingdom of Wessex (currently the Wiltshire County).
Stonehenge is a prehistoric monument in Wiltshire, England, two miles (3 km) west of Amesbury. It consists of a ring of standing stones, each around 13 feet (4.0 m) high, seven feet (2.1 m) wide, and weighing around 25 tons. The stones are set within earthworks in the middle of the most dense complex of Neolithic and Bronze Age monuments in England, including several hundred tumuli (burial mounds).
Archaeologists believe it was constructed from 3000 BC to 2000 BC. The surrounding circular earth bank and ditch, which constitute the earliest phase of the monument, have been dated to about 3100 BC. Radiocarbon dating suggests that the first bluestones were raised between 2400 and 2200 BC, although they may have been at the site as early as 3000 BC.
One of the most famous landmarks in the United Kingdom, Stonehenge is regarded as a British cultural icon.[6] It has been a legally protected Scheduled Ancient Monument since 1882, when legislation to protect historic monuments was first successfully introduced in Britain. The site and its surroundings were added to UNESCO's list of World Heritage Sites in 1986. Stonehenge is owned by the Crown and managed by English Heritage; the surrounding land is owned by the National Trust.
I am absolutely delighted to let you know that my new album, 'ECOSYSTEMS' has just been published: stanislav.photography/ecosystems
It has been presented at the Club of Rome 50th Anniversary meeting, the United Nations COP24 conference on climate change, a large exhibition held at the Mathematical Institute of Oxford University and the Environment Europe Oxford Spring School in Ecological Economics and now at the United Nations World Urban Forum 2020. There are only 450 copies left so you will have to be quick: stanislav.photography/ecosystems
You are most welcome to explore my new website: stanislav.photography/ and a totally new blog: environmenteurope.wordpress.com/
#Neowise #Comet #Komet #Comete #комета #stars #sky #blue #galaxy #Solar #system #8600 years
#EnvironmentEurope #EcologicalEconomics #ECOSYSTEMS #sustainability #GreenEconomy #renewables #CircularEconomy #Anthropocene #ESG #cities #resources #values #governance #greenfinance #sustainablefinance #climate #climatechange #stonehenge #stone #monument #anceient #history #avebury #climateemergency #renewableenergy #planetaryboundaries #democracy #energy #accounting #tax #ecology #art #environment #SustainableDevelopment #contemporary #photography #nature #biodiversity #conservation #coronavirus #nature #protection #jungle #forest #palm #tree #Japan #Europe #USA #South #America #Colombia #Brazil #France #Denmark #Russia #Kazakhstan #Germany #Austria #Singapore #Albania #Italy #landscape #new #artwork #collect #follow #like #share #film #medium #format #Hasselblad #Nikon #CarlZeiss #lens #photography
The Ajanta Caves (Ajiṇṭhā leni; Marathi: अजिंठा लेणी) in Aurangabad district of Maharashtra, India are about 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and sculptures described by the government Archaeological Survey of India as "the finest surviving examples of Indian art, particularly painting", which are masterpieces of Buddhist religious art, with figures of the Buddha and depictions of the Jataka tales. The caves were built in two phases starting around the 2nd century BCE, with the second group of caves built around 400–650 CE according to older accounts, or all in a brief period of 460 to 480 according to the recent proposals of Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.
The caves are located in the Indian state of Maharashtra, near Jalgaon and just outside the village of Ajinṭhā 20°31′56″N 75°44′44″E), about 59 kilometres from Jalgaon railway station on the Delhi – Mumbai line and Howrah-Nagpur-Mumbai line of the Central Railway zone, and 104 kilometres from the city of Aurangabad. They are 100 kilometres from the Ellora Caves, which contain Hindu and Jain temples as well as Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on the small river Waghur, and although they are now along and above a modern pathway running across the cliff they were originally reached by individual stairs or ladders from the side of the river 35 to 110 feet below.
The area was previously heavily forested, and after the site ceased to be used the caves were covered by jungle until accidentally rediscovered in 1819 by a British officer on a hunting party. They are Buddhist monastic buildings, apparently representing a number of distinct "monasteries" or colleges. The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance. Several are unfinished and some barely begun and others are small shrines, included in the traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the numbering was done. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.
The caves form the largest corpus of early Indian wall-painting; other survivals from the area of modern India are very few, though they are related to 5th-century paintings at Sigiriya in Sri Lanka. The elaborate architectural carving in many caves is also very rare, and the style of the many figure sculptures is highly local, found only at a few nearby contemporary sites, although the Ajanta tradition can be related to the later Hindu Ellora Caves and other sites.
HISTORY
Like the other ancient Buddhist monasteries, Ajanta had a large emphasis on teaching, and was divided into several different caves for living, education and worship, under a central direction. Monks were probably assigned to specific caves for living. The layout reflects this organizational structure, with most of the caves only connected through the exterior. The 7th-century travelling Chinese scholar Xuanzang informs us that Dignaga, a celebrated Buddhist philosopher and controversialist, author of well-known books on logic, lived at Ajanta in the 5th century. In its prime the settlement would have accommodated several hundred teachers and pupils. Many monks who had finished their first training may have returned to Ajanta during the monsoon season from an itinerant lifestyle.
The caves are generally agreed to have been made in two distinct periods, separated by several centuries.
CAVES OF THE FIRST (SATAVAHANA) PERIOD
The earliest group of caves consists of caves 9, 10, 12, 13 and 15A. According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region. Other datings prefer the period 300 BCE to 100 BCE, though the grouping of the earlier caves is generally agreed. More early caves may have vanished through later excavations. Of these, caves 9 and 10 are stupa halls of chaitya-griha form, and caves 12, 13, and 15A are vihāras (see the architecture section below for descriptions of these types). The first phase is still often called the Hinayāna phase, as it originated when, using traditional terminology, the Hinayāna or Lesser Vehicle tradition of Buddhism was dominant, when the Buddha was revered symbolically. However the use of the term Hinayana for this period of Buddhism is now deprecated by historians; equally the caves of the second period are now mostly dated too early to be properly called Mahayana, and do not yet show the full expanded cast of supernatural beings characteristic of that phase of Buddhist art. The first Satavahana period caves lacked figurative sculpture, emphasizing the stupa instead, and in the caves of the second period the overwhelming majority of images represent the Buddha alone, or narrative scenes of his lives.
Spink believes that some time after the Satavahana period caves were made the site was abandoned for a considerable period until the mid-5th century, probably because the region had turned mainly Hindu
CAVES OF THE LATER OR VAKATAKA PERIOD
The second phase began in the 5th century. For a long time it was thought that the later caves were made over a long period from the 4th to the 7th centuries CE, but in recent decades a series of studies by the leading expert on the caves, Walter M. Spink, have argued that most of the work took place over the very brief period from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. This view has been criticized by some scholars, but is now broadly accepted by most authors of general books on Indian art, for example Huntington and Harle.
The second phase is still often called the Mahāyāna or Greater Vehicle phase, but scholars now tend to avoid this nomenclature because of the problems that have surfaced regarding our understanding of Mahāyāna.
Some 20 cave temples were simultaneously created, for the most part viharas with a sanctuary at the back. The most elaborate caves were produced in this period, which included some "modernization" of earlier caves. Spink claims that it is possible to establish dating for this period with a very high level of precision; a fuller account of his chronology is given below. Although debate continues, Spink's ideas are increasingly widely accepted, at least in their broad conclusions. The Archaeological Survey of India website still presents the traditional dating: "The second phase of paintings started around 5th – 6th centuries A.D. and continued for the next two centuries". Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. Caves 19, 26, and 29 are chaitya-grihas, the rest viharas.
According to Spink, the Ajanta Caves appear to have been abandoned by wealthy patrons shortly after the fall of Harishena, in about 480 CE. They were then gradually abandoned and forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed, although the local population were aware of at least some of them.
REDISCOVERY
On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to Cave No. 10 deep within the tangled undergrowth. There were local people already using the caves for prayers with a small fire, when he arrived. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other larger animals, Captain Smith vandalized the wall by scratching his name and the date, April 1819. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult today. A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822. Within a few decades, the caves became famous for their exotic setting, impressive architecture, and above all their exceptional, all but unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery, covered below. In 1848 the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson, as president. In 1861 this became the nucleus of the new Archaeological Survey of India. Until the Nizam of Hyderabad built the modern path between the caves, among other efforts to make the site easy to visit, a trip to Ajanta was a considerable adventure, and contemporary accounts dwell with relish on the dangers from falls off narrow ledges, animals and the Bhil people, who were armed with bows and arrows and had a fearsome reputation.
Today, fairly easily combined with Ellora in a single trip, the caves are the most popular tourist destination in Mahrashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. Figures for the year to March 2010 showed a total of 390,000 visitors to the site, divided into 362,000 domestic and 27,000 foreign. The trends over the previous few years show a considerable growth in domestic visitors, but a decline in foreign ones; the year to 2010 was the first in which foreign visitors to Ellora exceeded those to Ajanta.
PAINTINGS
Mural paintings survive from both the earlier and later groups of caves. Several fragments of murals preserved from the earlier caves (Caves 9 and 11) are effectively unique survivals of court-led painting in India from this period, and "show that by Sātavāhana times, if not earlier, the Indian painter had mastered an easy and fluent naturalistic style, dealing with large groups of people in a manner comparable to the reliefs of the Sāñcī toraņa crossbars".
Four of the later caves have large and relatively well-preserved mural paintings which "have come to represent Indian mural painting to the non-specialist", and fall into two stylistic groups, with the most famous in Caves 16 and 17, and apparently later paintings in Caves 1 and 2. The latter group were thought to be a century or more later than the others, but the revised chronology proposed by Spink would place them much closer to the earlier group, perhaps contemporary with it in a more progressive style, or one reflecting a team from a different region. The paintings are in "dry fresco", painted on top of a dry plaster surface rather than into wet plaster.
All the paintings appear to be the work of painters at least as used to decorating palaces as temples, and show a familiarity with and interest in details of the life of a wealthy court. We know from literary sources that painting was widely practised and appreciated in the courts of the Gupta period. Unlike much Indian painting, compositions are not laid out in horizontal compartments like a frieze, but show large scenes spreading in all directions from a single figure or group at the centre. The ceilings are also painted with sophisticated and elaborate decorative motifs, many derived from sculpture. The paintings in cave 1, which according to Spink was commissioned by Harisena himself, concentrate on those Jataka tales which show previous lives of the Buddha as a king, rather than as an animal or human commoner, and so show settings from contemporary palace life.
In general the later caves seem to have been painted on finished areas as excavating work continued elsewhere in the cave, as shown in caves 2 and 16 in particular. According to Spink's account of the chronology of the caves, the abandonment of work in 478 after a brief busy period accounts for the absence of painting in caves such as 4 and 17, the later being plastered in preparation for paintings that were never done.
COPIES
The paintings have deteriorated significantly since they were rediscovered, and a number of 19th-century copies and drawings are important for a complete understanding of the works. However, the earliest projects to copy the paintings were plagued by bad fortune. In 1846, Major Robert Gill, an Army officer from Madras presidency and a painter, was appointed by the Royal Asiatic Society to replicate the frescoes on the cave walls to exhibit these paintings in England. Gill worked on his painting at the site from 1844 to 1863 (though he continued to be based there until his death in 1875, writing books and photographing) and made 27 copies of large sections of murals, but all but four were destroyed in a fire at the Crystal Palace in London in 1866, where they were on display.
Another attempt was made in 1872 when the Bombay Presidency commissioned John Griffiths, then principal of the Bombay School of Art, to work with his students to make new copies, again for shipping to England. They worked on this for thirteen years and some 300 canvases were produced, many of which were displayed at the Imperial Institute on Exhibition Road in London, one of the forerunners of the Victoria and Albert Museum. But in 1885 another fire destroyed over a hundred paintings that were in storage. The V&A still has 166 paintings surviving from both sets, though none have been on permanent display since 1955. The largest are some 3 × 6 metres. A conservation project was undertaken on about half of them in 2006, also involving the University of Northumbria. Griffith and his students had unfortunately painted many of the paintings with "cheap varnish" in order to make them easier to see, which has added to the deterioration of the originals, as has, according to Spink and others, recent cleaning by the ASI.
A further set of copies were made between 1909 and 1911 by Christiana Herringham (Lady Herringham) and a group of students from the Calcutta School of Art that included the future Indian Modernist painter Nandalal Bose. The copies were published in full colour as the first publication of London's fledgling India Society. More than the earlier copies, these aimed to fill in holes and damage to recreate the original condition rather than record the state of the paintings as she was seeing them. According to one writer, unlike the paintings created by her predecessors Griffiths and Gill, whose copies were influenced by British Victorian styles of painting, those of the Herringham expedition preferred an 'Indian Renascence' aesthetic of the type pioneered by Abanindranath Tagore.
Early photographic surveys were made by Robert Gill, who learnt to use a camera from about 1856, and whose photos, including some using stereoscopy, were used in books by him and Fergusson (many are available online from the British Library), then Victor Goloubew in 1911 and E.L. Vassey, who took the photos in the four volume study of the caves by Ghulam Yazdani (published 1930–1955).
ARCHITECTURE
The monasteries mostly consist of vihara halls for prayer and living, which are typically rectangular with small square dormitory cells cut into the walls, and by the second period a shrine or sanctuary at the rear centred on a large statue of the Buddha, also carved from the living rock. This change reflects the movement from Hinayana to Mahāyāna Buddhism. The other type of main hall is the narrower and higher chaitya hall with a stupa as the focus at the far end, and a narrow aisle around the walls, behind a range of pillars placed close together. Other plainer rooms were for sleeping and other activities. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave.
The central square space of the interior of the viharas is defined by square columns forming a more or less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors. The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines. Spink in fact places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.
The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.
The four completed chaitya halls are caves 9 and 10 from the early period, and caves 19 and 26 from the later period of construction. All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). The later two have high ribbed roofs, which reflect timber forms, and the earlier two are thought to have used actual timber ribs, which have now perished. The two later halls have a rather unusual arrangement (also found in Cave 10 at Ellora) where the stupa is fronted by a large relief sculpture of the Buddha, standing in Cave 19 and seated in Cave 26. Cave 29 is a late and very incomplete chaitya hall.
The form of columns in the work of the first period is very plain and un-embellished, with both chaitya halls using simple octagonal columns, which were painted with figures. In the second period columns were far more varied and inventive, often changing profile over their height, and with elaborate carved capitals, often spreading wide. Many columns are carved over all their surface, some fluted and others carved with decoration all over, as in cave 1.
The flood basalt rock of the cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous, is layered horizontally, and somewhat variable in quality, so the excavators had to amend their plans in places, and in places there have been collapses in the intervening centuries, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; the half-built vihara cave 24 shows the method. Spink believes that for the first caves of the second period the excavators had to relearn skills and techniques that had been lost in the centuries since the first period, which were then transmitted to be used at later rock-cut sites in the region, such as Ellora, and the Elephanta, Bagh, Badami and Aurangabad Caves.
The caves from the first period seem to have been paid for by a number of different patrons, with several inscriptions recording the donation of particular portions of a single cave, but according to Spink the later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites. After the death of Harisena smaller donors got their chance to add small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.
A grand gateway to the site, at the apex of the gorge's horsehoe between caves 15 and 16, was approached from the river, and is decorated with elephants on either side and a nāga, or protective snake deity.
ICONOGRAPHY OF THE CAVES
In the pre-Christian era, the Buddha was represented symbolically, in the form of the stupa. Thus, halls were made with stupas to venerate the Buddha. In later periods the images of the Buddha started to be made in coins, relic caskets, relief or loose sculptural forms, etc. However, it took a while for the human representation of the Buddha to appear in Buddhist art. One of the earliest evidences of the Buddha's human representations are found at Buddhist archaeological sites, such as Goli, Nagarjunakonda, and Amaravati. The monasteries of those sites were built in less durable media, such as wood, brick, and stone. As far as the genre of rock-cut architecture is concerned it took many centuries for the Buddha image to be depicted. Nobody knows for sure at which rock-cut cave site the first image of the Buddha was depicted. Current research indicates that Buddha images in a portable form, made of wood or stone, were introduced, for the first time, at Kanheri, to be followed soon at Ajanta Cave 8 (Dhavalikar, Jadhav, Spink, Singh). While the Kanheri example dates to 4th or 5th century CE, the Ajanta example has been dated to c. 462–478 CE (Spink). None of the rock-cut monasteries prior to these dates, and other than these examples, show any Buddha image although hundreds of rock-cut caves were made throughout India during the first few centuries CE. And, in those caves, it is the stupa that is the object of veneration, not the image. Images of the Buddha are not found in Buddhist sailagrhas (rock-cut complexes) until the times of the Kanheri (4th–5th century CE) and Ajanta examples (c. 462–478 CE).
The caves of the second period, now all dated to the 5th century, were typically described as "Mahayana", but do not show the features associated with later Mahayana Buddhism. Although the beginnings of Mahāyāna teachings go back to the 1st century there is little art and archaeological evidence to suggest that it became a mainstream cult for several centuries. In Mahayana it is not Gautama Buddha but the Bodhisattva who is important, including "deity" Bodhisattva like Manjushri and Tara, as well as aspects of the Buddha such as Aksobhya, and Amitabha. Except for a few Bodhisattva, these are not depicted at Ajanta, where the Buddha remains the dominant figure. Even the Bodhisattva images of Ajanta are never central objects of worship, but are always shown as attendants of the Buddha in the shrine. If a Bodhisattva is shown in isolation, as in the Astabhaya scenes, these were done in the very last years of activities at Ajanta, and are mostly 'intrusive' in nature, meaning that they were not planned by the original patrons, and were added by new donors after the original patrons had suddenly abandoned the region in the wake of Emperor Harisena's death.
The contrast between iconic and aniconic representations, that is, the stupa on one hand and the image of the Buddha on the other, is now being seen as a construct of the modern scholar rather than a reality of the past. The second phase of Ajanta shows that the stupa and image coincided together. If the entire corpus of the art of Ajanta including sculpture, iconography, architecture, epigraphy, and painting are analysed afresh it will become clear that there was no duality between the symbolic and human forms of the Buddha, as far as the 5th-century phase of Ajanta is concerned. That is why most current scholars tend to avoid the terms 'Hinayana' and 'Mahayana' in the context of Ajanta. They now prefer to call the second phase by the ruling dynasty, as the Vākāţaka phase.
CAVES
CAVE 1
Cave 1 was built on the eastern end of the horse-shoe shaped scarp, and is now the first cave the visitor encounters. This would when first made have been a less prominent position, right at the end of the row. According to Spink, it is one of the latest caves to have been excavated, when the best sites had been taken, and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have been happened if the garland-hooks around the shrine had been in use for any period of time. Although there is no epigraphic evidence, Spink believes that the Vākāţaka Emperor Harishena was the benefactor of the work, and this is reflected in the emphasis on imagery of royalty in the cave, with those Jakata tales being selected that tell of those previous lives of the Buddha in which he was royal.
The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell down completely and the remains, despite containing fine carving, were carelessly thrown down the slope into the river, from where they have been lost, presumably carried away in monsoon torrents.
This cave has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.
Each wall of the hall inside is nearly 12 m long and 6.1 m high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls, though due to rock fault there are none at the ends of the rear aisle. The walls are covered with paintings in a fair state of preservation, though the full scheme was never completed. The scenes depicted are mostly didactic, devotional, and ornamental, with scenes from the Jataka stories of the Buddha's former existences as a bodhisattva), the life of the Gautama Buddha, and those of his veneration. The two most famous individual painted images at Ajanta are the two over-life size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above). According to Spink, the original dating of the paintings to about 625 arose largely or entirely because James Fegusson, a 19th-century architectural historian, had decided that a scene showing an ambassador being received, with figures in Persian dress, represented a recorded embassy to Persia (from a Hindu monarch at that) around that date.
CAVE 2
Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.
Cave 2 has a porch quite different from Cave one. Even the façade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously "wasted areas" were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty.
The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. Just as the stories illustrated in cave 1 emphasize kingship, those in cave 2 show many "noble and powerful" women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior.
The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms.
Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha's teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and 'read' the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site's rediscovery in 1819. Dieter Schlingloff's identifications have updated our knowledge on the subject.
CAVE 4
The Archeological Survey of India board outside the caves gives the following detail about cave 4: "This is the largest monastery planned on a grandiose scale but was never finished. An inscription on the pedestal of the buddha's image mentions that it was a gift from a person named Mathura and paleographically belongs to 6th century A.D. It consists of a verandah, a hypostylar hall, sanctum with an antechamber and a series of unfinished cells. The rear wall of the verandah contains the panel of Litany of Avalokiteśvara".
The sanctuary houses a colossal image of the Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above.
CAVES 9-10
Caves 9 and 10 are the two chaitya halls from the first period of construction, though both were also undergoing an uncompleted reworking at the end of the second period. Cave 10 was perhaps originally of the 1st century BCE, and cave 9 about a hundred years later. The small "shrinelets" called caves 9A to 9D and 10A also date from the second period, and were commissioned by individuals.
The paintings in cave 10 include some surviving from the early period, many from an incomplete programme of modernization in the second period, and a very large number of smaller late intrusive images, nearly all Buddhas and many with donor inscriptions from individuals. These mostly avoided over-painting the "official" programme and after the best positions were used up are tucked away in less prominent positions not yet painted; the total of these (including those now lost) was probably over 300, and the hands of many different artists are visible.
OTHER CAVES
Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. Caves 5 and 6 are viharas, the latter on two floors, that were late works of which only the lower floor of cave 6 was ever finished. The upper floor of cave 6 has many private votive sculptures, and a shrine Buddha, but is otherwise unfinished. Cave 7 has a grand facade with two porticos but, perhaps because of faults in the rock, which posed problems in many caves, was never taken very deep into the cliff, and consists only of the two porticos and a shrine room with antechamber, with no central hall. Some cells were fitted in.
Cave 8 was long thought to date to the first period of construction, but Spink sees it as perhaps the earliest cave from the second period, its shrine an "afterthought". The statue may have been loose rather than carved from the living rock, as it has now vanished. The cave was painted, but only traces remain.
SPINK´S DETAILED CHRONOLOGY
Walter M. Spink has over recent decades developed a very precise and circumstantial chronology for the second period of work on the site, which unlike earlier scholars, he places entirely in the 5th century. This is based on evidence such as the inscriptions and artistic style, combined with the many uncompleted elements of the caves. He believes the earlier group of caves, which like other scholars he dates only approximately, to the period "between 100 BCE – 100 CE", were at some later point completely abandoned and remained so "for over three centuries", as the local population had turned mainly Hindu. This changed with the accession of the Emperor Harishena of the Vakataka Dynasty, who reigned from 460 to his death in 477. Harisena extended the Central Indian Vakataka Empire to include a stretch of the east coast of India; the Gupta Empire ruled northern India at the same period, and the Pallava dynasty much of the south.
According to Spink, Harisena encouraged a group of associates, including his prime minister Varahadeva and Upendragupta, the sub-king in whose territory Ajanta was, to dig out new caves, which were individually commissioned, some containing inscriptions recording the donation. This activity began in 462 but was mostly suspended in 468 because of threats from the neighbouring Asmaka kings. Work continued on only caves 1, Harisena's own commission, and 17–20, commissioned by Upendragupta. In 472 the situation was such that work was suspended completely, in a period that Spink calls "the Hiatus", which lasted until about 475, by which time the Asmakas had replaced Upendragupta as the local rulers.
Work was then resumed, but again disrupted by Harisena's death in 477, soon after which major excavation ceased, except at cave 26, which the Asmakas were sponsoring themselves. The Asmakas launched a revolt against Harisena's son, which brought about the end of the Vakataka Dynasty. In the years 478–480 major excavation by important patrons was replaced by a rash of "intrusions" – statues added to existing caves, and small shrines dotted about where there was space between them. These were commissioned by less powerful individuals, some monks, who had not previously been able to make additions to the large excavations of the rulers and courtiers. They were added to the facades, the return sides of the entrances, and to walls inside the caves. According to Spink, "After 480, not a single image was ever made again at the site", and as Hinduism again dominated the region, the site was again abandoned, this time for over a millennium.
Spink does not use "circa" in his dates, but says that "one should allow a margin of error of one year or perhaps even two in all cases".
IMPACT ON MODERN INDIAN PAINTINGS
The Ajanta paintings, or more likely the general style they come from, influenced painting in Tibet and Sri Lanka.
The rediscovery of ancient Indian paintings at Ajanta provided Indian artists examples from ancient India to follow. Nandlal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore also used the Ajanta paintings for inspiration.
WIKIPEDIA
My wife gave me a pro account for my birthday yesterday. Since I've been extra busy this month and haven't had much time to spend on Flickr or photography, I thought I should do something before the month is gone with this new gift.
This is a macro shot with my Canon S5 and a Raynox DCR-250 of the Flickr "Pro" gif as displayed by Firefox 3.05 running on Windows Vista Ultimate SP1 on the LCD of a HP Pavilion dv9000 at 1440 x 900 resolution. You can see every pixel is make up of a red, green and blue "light". It's interesting how your eyes fool you into thinking these red, green and blue lights are white!
This picture is an attempt to combine my birthday present (Pro Account) with my Christmas present (Raynox DCR-250).
And for those reading this that own an HP Pavilion dv9000, yes, my left screen hinge is broken too, just like every other one.
accounting on board. You are allowed to use this image on your website. If you do, please link back to my site as the source: creditscoregeek.com/
Example: Photo by Credit Score Blog
Thank you!
Mike Cohen
account on board. You are allowed to use this image on your website. If you do, please link back to my site as the source: creditscoregeek.com/
Example: Photo by CreditScoreGeek.com
Thank you!
Mike Cohen
There's no accounting or apologizing for taste! To me, Crimewave and Joe's Apartment are two off-beat gems and true cult classics of the highest order. That said, I appreciate I'm . . well, let's say I'm in the minority with that opinion! Ok, so neither is likely to be added to the Criterion Collection anytime soon, but I'd argue if you start from the right frame of mind, Crimewave and Joe's Apartment are delightful fun.
What's it about
Crimewave is the movie Sam Raimi made right after the success of the original Evil Dead. While that film was his spin on horror, Crimewave was to be his ode to slapstick comedy.
Joe's Apartment reminds us of the bygones days when New York City was renown as an uncaring cesspool of crime and blight and Jerry O'Connell was famous enough to headline a movie. Oh, and cockroaches could sing and dance insanely catchy numbers while counting the days until humanity falls and they can finally take their place as the dominate lifeform on earth. Think of like a raunchy, disease-ridden Chimpmonks without the music management. Really the opening number lays it all out pretty well: www.youtube.com/watch?v=RFkMkcQwog4
Why it's great
Crimewave: = The Three Stooges + Blood Simple. Seriously, it was written by the Coen brothers! It was directed by Sam Raimi! It co-stars Bruce Campbell! We're talking the folks behind Evil Dead II, Spider-Man, The Big Lebowski, Raising Arizona, etc, etc, etc; how could it not be completely awesome?!
Well, it is (to me). Trick is that the tone (silly slapstick with a dark edge and a VERY vaudevillian flair) has to be something you're in the mood for, and the lead character is an irritatingly nebbish, naive, and clueless clod with a good heart . . . who pretty much stays that through the whole film as part of the grand meta-joke on those types of characters. Don't like him and sort of want to strangle him half the time? THAT'S THE POINT! Still, that's an understandably tough sell for many.
Joe's Apartment has a similar problem. Joe (O'Connell) isn't much a protagonist, never growing much beyond the "gee, shucks" Midwest-schtick as a newly-arrived Iowan in NYC. His only friends: the talking (singing, dancing) cockroaches who share Joe's dilapidated apartment with him and try to "help" Joe with his career and lovelife . . . usually to Joe's detriment.
Also a plus: both films are loaded with great character actors and personalities: Brion James! Paul L. Smith! Louise Lasser! Billy West! Robert Vaughn! Don Ho! David Huddleston!
All Nite Picture Marathon
To expand the fun, add in the Coen Bros classic (but slightly less seen these days) Raisin Arizona for more crazy slapstick fun and Nicholas Cage action.
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In the midst of accounting for the nationalisation of the Scottish bus companies under the wing of the SMT Group there seems to be an issue as to the value of certain second hand vehicles that has caught the attention of the formidable James Amos, who having started his own bus company in the Borders in the 1920s worked his way up to Chairman of the Scottish Bus Group by the 1960s. Mr Dick was similarly of a bus family who worked their way up. The 'Mr Durrant' referred to is the Chief Mechanical Engineer of Lonodn Transport, similarly nationalised in 1948, and who appears to have been brought north of the border to ascertain the value of buses and stock with regard to compensation as part of the takeover.
I saw Holy Trinity come up on the Heritage Weekend website, so I thought a nice Sunday afternoon out, a drive, an ice cream, and visit a new church.
But turns out that Holy Trinity is the Victorian church the other end of the High Street, and I came to the much older one, which happened to be open, but also explains the rest of the account below......
The passing of HM the Queen changed plans somewhat, but I didn't know that.
Sittingbourne is not a pretty town. It has a main road driven through the middle of it, and the area around the church, not pretty either. Four Ne'er-do-wells were drinking and smoking in the churchyard, and in time would attract the attention of two PCOs.
The blurb talked about visiting the crypt and so on, so I was looking forward to the visit. And upon entering, I was pretty much the only one looking round, in the south aisle a coffee shop had been set up.
A woman came up to me and asked:
"Are you SFM?", which I assume to be Swale FM, the local radio station.
I told her I wasn't. But then I did have my new Tron t shirt on, and and looked like a nerd. The actual nerd came out from behind the organ carrying leads and mics. He was SFM.
I introduced the woman to the guy and got on with my shots.
A voice behind me asked:
"Are you SFM?"
Again, I said I wasn't, but there was a guy around who was.
It seems a service was being broadcast, and they were setting up equipment, and in time members of the choir arrived and people carrying instruments. Either that or it was the mafia.
By then I had my shots, and so we made to leave, as yet more people came into the church, while outside people waited for the service to start.
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SITTINGBORNE.
THE next parish westward from Murston is Sittingborne, antiently written Sedingbourne, in Saxon, sœdingburna, i. e. the hamlet by the bourne, or small stream.
THE PARISH and town of Sittingborne is situated about forty miles from London, the high road from thence to Dover leading through it. The parish, though rather above the level of the marshes, which bound the northern side of it, from which the ground rises to the town, is still a damp situation, and both from the air and water is not accounted a healthy one, though much more so than several of the neighbouring parishes equally northward, than which it has a more chearful and populous aspect; from the town the ground still keeps rising southward till it joins Tunstall, in the road to which about a quarter of a mile from the town is a good modern house called Glovers, which lately belonged to Thomas Bannister, esq. who resided in it, and died in 1791, and his widow, Mrs. Bannister, now owns it; eastward from which, at about the same distance, are the estates of Chilston and Fulston, and Hysted Forstall, with Golden-wood at the boundary of the parish, part of which is within it, adjoining to Bapchild and Rodmersham. The parish, which is but small, contains little more than eight hundred acres of land, consisting of arable, pasture, orchards, hop ground, and woods. In the upper and western parts it is much inclined to chalk and thin land, but the rest of it is in general a fertile loam, especially about the town, which was formerly surrounded by orchards of apples and cherries, but many of them have been destroyed to make room for plantations of hops, which, however, are not so numerous as formerly, and several of those which remain are kept up only as nurseries for young plantations of fruit trees, to which they must soon in their turn give place. Northward from the town the grounds are entirely pasture and orchards, lying on a descent to the town of Milton and the creek, both about half a mile distant from it; on the latter is a key called Crown key, of great use to this part of the country for the exporting of corn and wood, and relanding the several commodities from London and elsewhere. At a small distance north-west from the town is Bayford-court.
It appears by a survey made in the 8th year of queen Elizabeth, that there was then in this parish houses inhabited eighty-eight; lacking inhabitants five; keys two, Crown key and Holdredge key; ships and boats three, two of one ton, and one of twenty-four tons.
THE town of Sittingborne is built on each side of the high road at the fortieth mile-stone from London, and stands on a descent towards the east. It is a wide, long street unpaved, the houses of which are mostly modern, being well built of brick, and sashed, the whole having a chearful aspect. The principal support of it has always been from the inns, and houses of reception in it for travellers, of which there are several.
The inhabitants boast much of John Northwood, esq. of Northwood, having entertained king Henry V. on his triumphant return from France, at the Red Lion inn, in this town; and though the entertainment was plentiful, and befitting the royalty of his guest, yet such was the difference of the times, that the whole expence of it amounted to no more than 9s. 9d. wine being then sold at two-pence a pint, and other articles in proportion. The principal inn now in it, called the Rose, is perhaps the most superb of any throughout the kingdom, and the entertainment afforded in it equally so, though the traveller probably will not find his reckoning near so moderate as that of John Northwood before-mentioned. About the middle of the opposite side of the town there is a good family seat, which was once the residence of the Tomlyn's, and then for many years of the Lushingtons, several of whom lie buried in this church, of whom a further mention has already been made under Rodmersham manor, which they possessed. At length Thomas Godfrey Lushington left it to reside at Canterbury, and his second son the Rev. James-Stephen Lushington, becoming possessed of it afterwards, sold it to Mr. John May, who resided in it for some time. Since which it has been converted into an inn. At this house, whilst in the possession of the Lushingtons, king George the 1st. and 11d. constantly lodged, whenever they travelled through this town, both in their way to, and return from visiting their German dominions.
The church and vicarage stand almost at the east end of the town, near which there rises a clear spring of water in the high road, which flows from thence northward into Milton creek.
Queen Elizabeth, by her charter, in her 16th year, incorporated the town of Sittingborne, by the name of a guardian and free tenants thereof; and granted to it a market weekly on a Wednesday, and two fairs yearly, the one at Whitsuntide, and the other at Michaelmas, with many other privileges: which charter was used for several years, and until the queen was pleased, through further favor to grant to it another more ample charter, in her 41st year, by which she incorporated this place, by the name of a mayor and jurats, and regranted the market and fairs, with the addition of a great number of privileges, and among others, of returning two members to parliament.
This charter does not appear ever to have been used, or the privileges in it exercised. The market, after having been used for several years, was dropped, and only the two yearly fairs have been kept up, which are still held on Whit-Monday and the two following days, for linen and toys, and on October 10, and the four following days, for linen, woollen, cloaths, hardward, &c. and on the second day of it, for the hiring of servants, both in the town, and in a field, called the Butts, at the back of it.
Lewis Theobald, the poet, made famous by Mr. Pope, in his Dunciad, was born at Sittingborne, his father being an attorney at this place.
SOME FEW of our antiquarians have been inclined to six the Roman station, called, in the second iter of Antonine, Durolevum, at or near Sittingborne; among which are Mr. Talbot, Dr. Horsley, Baxter, and Dr. Stukeley in his comment upon his favorite Richard of Cirencester; (fn. 1) but they have but little to offer in support of their conjecture, except the distances made use of in one or two copies, which are so different in many of them, that there is no trusting to any one in particular; consequently each alters them as it suits his own hypothesis best. The reader will find more of this subject under the description of both Lenham and Newington.
In the year 893, the Danes having fitted out a great number of ships, with an intention of ravaging the coasts of this kingdom, divided them into two fleets; with one of which they failed up the river Limene, or Rother, and with the other, under the command of Hastings, their captain, they entered the mouth of the river Thames, and landed at the neighbouring town of Milton. Near Milton they built a castle, at a place called Kemsley-down, about a quarter of a mile north-east from where the church of Milton now stands, which being overgrown with bushes, acquired the name of Castle rough. King Alfred, on receiving intelligence of these depredations, marched his forces towards Kent, and in order to flop their incursions, some time afterwards built on the opposite or eastern side of the creek, about a mile from the Danish intrenchments, a fortification, part of the ditches of which, and a small part of the stone-work, is still to be seen at Bayford-castle, in this parish.
Gerarde, the herbalist, found on the high road near this place,
Tragoriganum Dodonæi, goats marjorum of Dodo- næus.
Ruta muraria sive salvia vitæ, wall rue, or rue maidenhair; upon the walls of the church-yard here.
Colutea minima five coronilla, the smallest bastard sena; on the chalky barren grounds near Sittingborne, (fn. 2) and lately likewise by Mr. Jacob.
Hieracium maximum chondrillæ folio asperum; observed by Mr. John Sherard, very plentisully in the road from this place to Rochester.
Lychnis saponaria dicta, common sopewort; by him on the same road.
Tithymalus Hybernicus, Irish Spurge; between this place and Faversham.
Erysimum sophia dictum; found by Mr. Jacob, on the road sides near Sittingborne, and on the Standard Key.
Oenanthe cicutæ facie Lobellii, hemlock dropwort, found by him in the water lane between Sittingborne and Milton. (fn. 3)
THE MANOR OF MILTON is paramount over this parish, subordinate to which is
THE MANOR OF GOODNESTON, perhaps so called from its having been the property of Goodwyne, earl of Kent, who might have secured himself here at Bayford castle, in the year 1052, when having taken up arms against king Edward the Consessor, he raised an army, and ravaged the king's possessions, and among them the town of Milton, which he burnt to the ground.
On his death it most probably came to his son king Harold, and after the battle of Hastings into the hands of the crown, whence it seems to have been granted to the eminent family of Leyborne, of Leyborne, in this county. William, son of Roger de Leyborne, died possessed of it in the 3d year of king Edward II.
His grand-daughter Juliana, daughter of Thomas de Leyborne, who died in his life-time, became her grandfather's heir, and succeeded in this manor, to which she entitled her several husbands successively, all of whom she survived, and died S. P. in the 41st year of king Edward III. when no one being found, who could make claim to any of her estates, this manor, among the rest of them, escheated to the crown.
After which this manor of Goodneston, as it was then called, seems to have been granted by the crown to Robert de Nottingham, who resided at a seat adjoining to this manor, called
BAYFORD-CASTLE, where his ancestors had resided for several generations. Robert de Nottingham lived here in the reign of king Edward I. and dates several of his deeds apud castellum suum de Bayford, apud Goodneston. Robert de Nottingham, his successor, who became possessed of the manor of Goodneston as beforementioned, was sheriff in the 48th year of king Edward III. and kept his shrievalty at Bayford, bearing for his arms, Paly, wavy of two pieces, gules and argent, in which year he died, and was found by the inquisition to die possessed of lands at Sharsted, Pedding in Tenham, Newland, La Hirst, Higham in Milsted, Bixle, now called Bix, in Tong, and lastly, Goodneston, with Bayford, in Sittingborne; all which descended to his only son John Nottingham, who died without issue male, leaving Eleanor his daughter his sole heir, who marrying Simon Cheney, of Crall, in Sussex, second son of Sir Richard Cheney, of Shurland, he became, in her right, entitled to it. His grandson Humphry Cheney alienated both Goodneston and Bayford, at the latter end of king Henry VI.'s reign, to Mr. Richard Lovelace, of Queenhyth, in London.
His son Launcelot Lovelace was of Bayford, and purchased the manor of Hever in Kingsdown, near Farningham, under which a more ample account of him and his descendants may be seen. His second son William, heir to his eldest brother Sir Richard, who died S. P. at length became possessed of Goodneston, with Bayford, at which he resided, and dying anno 17 king Henry VII. left two sons, John and William Lovelace, esqrs. who possessed this manor and seat between them; the former of whom resided at Bayford, where he died in the 2d year of Edward VI. holding the moiety of this manor in capite, by knight's service, and leaving seven sons, of whom Thomas Lovelace, esq. his eldest son, inherited his interest in this manor and seat. He procured his lands to be disgavelled, by the act passed anno 2 and 3 Edward VI. and afterwards in the 10th year of queen Elizabeth, together with his cousin William Lovelace, by a joint conveyance, alienated Goodneston, with Bayford, to Mr. Ralph Finch, of Kingsdown, in this neighbourhood, whose son Mr. Thomas Finch, of that place, passed it away by sale to Sir William Garrard, who had been lord mayor in 1555, whose ancestors had been of this parish for several generations before, and perhaps were seated at Fulston in it, as many of them lie buried, in the chancel belonging to that seat, in this church. (fn. 4)
He died in 1571, and was buried in St. Magnus's church, in London, bearing for his arms, Argent, on a fess sable, a lion passant of the field; which arms, borne by his ancestors, are carved on the roof of the cloysters at Canterbury. After which it descended down to his grandson Sir John Garrard, or Gerrard, as this family now began to spell their name, who was of Whethamsted, in Hertfordshire, and was created a baronet in 1621. He was succeeded in it by his eldest son of the same name (at which time Bayford was become no more than a farm-house, being called Bayford-court farm). He died in 1700, leaving an only daughter and heir Mary, who carried the manor of Goodneston, with Bayford, among the rest of her inheritance, in marriage to Montague Drake, esq. of Shardeloes, in Agmondesham, in Buckinghamshire, who bore for his arms, Argent, a wivern, with wings displayed, and tail moved, gules. In whose descendants it continued down to William Drake, esq. M. P. for the borough of Agmondesham, as his ancestors had been, some few intermissions only excepted, ever since its being restored to its privilege of sending members to parliament, as a borough, anno 21 James I. He died possessed of this estate in 1796, and his heirs are at this time possessed of it.
A court baron is held for the manor of Goodneston, with Bayford.
CHILTON is a manor situated in the south-east part of this parish, which was formerly accounted a manor, and had owners of that furname, who held the manor of Chilton in Ash, near Sandwich, both which William de Chilton held at his death in the 31st year of king Edward I. one of whose descendants, in the beginning of king Edward III.'s reign, passed it away to Corbie, whose descendant Robert Corbie, of Boughton Malherb, died possessed of this manor of Chilton, alias Childeston, in the 39th year of that reign. (fn. 5) After which it passed by a female heir of this name in like manner as Boughton Malherb, to the family of Wotton, and from them again to the Stanhopes, (fn. 6) in which it continued till Philip, earl of Chesterfield, about the year 1725, alienated it to Richard Harvey, esq. of Dane-court, whose grandson, the Rev. Richard Harvey, died possessed of it in 1772, leaving his widow surviving, since which it has been sold to Balduck, and by him again to Mr. George Morrison, who now owns it, and resides in it.
FULSTON, called antiently Fogylston, was a large mansion, situated at a small distance southward from Chilton last-described, which, from the burials of the Garrards in the chancel belonging to this estate in Sittingborne church, seems to have been the early residence of that family in this parish. However that be, in the reign of Henry VIII. it was become the estate and residence of John Cromer, esq. the third son of Sir James Cromer, of Tunstall, who died in 1539, and was buried in this church, leaving his three daughters his coheirs; and in one of the windows of this church were the arms of John Cromer, esq. of Fulston, and his two wives, Guldeford and Grove, and their several quarterings.
Probably, by his will, or by a former entail, on his dying without male issue, this seat descended to his nephew Sir James Cromer, of Tunstall, whose grandson, of the same name, dying without male issue in 1613, Christian, one of his daughters and coheirs carried it in marriage to John Hales, esq. eldest son of Sir Edward Hales, of Tenterden, knight and baronet, as has been already more fully mentioned before under Tunstall, and in his descendants it has continued down to Sir Edward Hales, bart. of St. Stephen's, near Canterbury, the present owner of it. The greatest part of this mansion has been pulled down within memory, and a neat farm-house has been erected on the ruins of it.
Charities.
JOHN ALLEN, of Sittingborne, by his will in 1615, gave 40s. per annum for repairing the alms-houses in Crown-key-lane, and firing for the poor in them, to be paid out of Glovers, now Mrs. Bannister's.
ROBERT HODSOLE, by will in 1684, gave 10s. per annum to the poor, payable every Christmas-day yearly, out of Mrs. Rondeau's land.
JOHN GRANT, by will in 1689, gave 20s. per annum, to be paid in corn and bread on January 1, out of Mrs. Trott's farm.
FIVE SEAMS of boiling peas are yearly paid from the parsonage, to be distributed to the poor on every Christmas-day yearly.
KATHERINE DICKS, by her will, left the sum of 25l. to be put out on land security, the interest of it to be said out for ever in six two-penny loaves, to be given to six poor widows &c. who attend divine service, beginning every year on the first Sunday after Christmas-day, of the annual produce of 1l.
The poor annually relieved are about forty; casually eight hundred and fifty.
SITTINGBORNE is within the ECCLESIASTICAL JU RISDICTION of the diocese of Canterbury, and deany of Sittingborne
The church, which is dedicated to St. Michael, is a large, handsome building, of three isles and two chancels, and two cross ones; at the west end is a tower beacon steeple, in which is a clock, a set of chimes, and six bells.
On the stone font, which is an octagon, are the arms of archbishop Arundel, a shield, having on it a cross story; and another with the emblems of Christ's crucifixion on it.
On the 17th of July, 1762, the wind being exceeding high, a fire broke out on the roof of this church, occasioned by the plumbers, who were repairing the leads, having left their fire burning during their absence at dinner, which consumed the whole of it, except the bare walls and the tower. Next year a brief passed for rebuilding of it, which with the contribution of the inhabitants, and a gift of fifty pounds from archbishop Secker, they were enabled to set about.
This was stopped for some little time by the owners of the three chancels, belonging to the Bayford, Chilton, and Fulston estates, refusing to contribute to the rebuilding of them, and they were at length rebuilt at the same cost with the rest of the church; and the whole of it was afterwards completed and fitted up in a very handsome manner. By the fire the monuments against the walls were destroyed, and most of the gravestones broken by the falling of the timbers. The latter, in the rebuilding of the church, have, the greatest part of them, been most absurdly removed from the graves over which they lay, to other parts of the church, and some even from the church-yard, as it suited to make the pavement complete; so that there is now hardly a guess to be made, where the bodies lie, that the inscriptions commemorate, but the gravestones of the Lushingtons, I believe, were none of them removed. In the south cross chancel belonging to the estate of Fulston, is a monument for Thos. Bannister, gent. obt. 1750, arms, Argent, a cross story, sable. The brass plate, on which the inscription was, for John Crowmer, of Fulston, and his two wives, in this chancel, being loose, there was found on the under side of it one in Latin, for Robert Rokele, esq. once dwelling with the most revered lady, the lady Joane de Bohun, countess of Hereford, Essex, and Northton, who died in 1421, an instance of œconomy which has been discovered at times in other churches.
The south-east chancel belonged to the Chilton estate; there are many gravestones of the family of Lushington in it. Dr. Lushington's monument was entirely destroyed at the time of the fire. In the upper part of this chancel is a vault, belonging to the Chilton estate, in which is only one coffin, of Mr. Harvey, who died in 1751, and a great quantity of bonespiled up at one end of it.
The archdeacon's court, in which he holds his visitation, is at the upper end of this chancel.
The coats of arms in the windows of the church, which were many, were entirely destroyed, and they have been since entirely resitted with modern glass.
The middle chancel is the archbishop's, and belongs to the parsonage; in which there is a memorial for Mathew, son of Sir John, and grandson of archbishop Parker, who died in 1645. The north chancel is made use of now as a vestry. The north cross chancel belongs to the Bayford estate. In the north wall of it there is the effigies of a woman, lying at length, in the hollow of the wall, with an arch, carved and ornamented, over her, and midway between the arch and figure, a flat table stone of Bethersden marble: the whole of it seems very antient.
In this church there was, before the reformation, a chantry, called Busherb's chantry.
The church of Sittingborne belonged to the Benedictine nunnery of Clerkenwell, to which it was appropriated before the 8th year of king Richard II. and it remained part of the revenues of it till its dissolution, in the 31st year of king Henry VIII.'s reign.
¶This church thus coming into the king's hands, seems to have remained part of the revenues of the crown till queen Elizabeth, in her 3d year, granted the parsonage of it, with the advowson of the vicarage, the former being then valued at 13l. 6s. 8d. to archbishop Parker. Since which they have continued parcel of the possessions of the archbishopric, and remain so at this time.
The parsonage has been from time to time leased out on a benesicial lease, at the yearly rent of 13l. 6s. 8d. In 1643 John Olebury, gent. was lessee; in later times, Cockin Sole, esq. of Bobbing, whose son John Cockin Sole, esq. died possessed of it in 1790, since which this lease has been sold under the directions of his will.
In the 8th year of king Richard II. this parsonage was valued at 23l. 6s. 8d.
In 1578, on a survey of the diocese of Canterbury, it was returned, that this parsonage was impropriate to the queen's majesty; the vicarage also in her gift; dwelling-houses eighty; communicants three hundred; the tenths twenty shillings.
The vicarage is valued in the king's books at ten pounds, the yearly tenths being one pound. In 1640, it was valued at fifty-six pounds. Communicants three hundred and eighty.
The vicarage is situated not far from the north side of the church-yard, adjoining to which is the only piece of glebe land belonging to it.
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The distress in Lancashire: Distributing Bread at the Crooked Lane Depot, Preston.
The following description of the distress in Preston was written by Edwin Waugh. The full account entitled "HOME-LIFE OF THE LANCASHIRE FACTORY FOLK DURING THE COTTON FAMINE" can be accessed Here
AMONG THE PRESTON OPERATIVES.
Proud Preston, or Priest-town, on the banks of the beautiful Ribble, is a place of many quaint customs, and of great historic fame. Its character for pride is said to come from the fact of its having been, in the old time, a favourite residence of the local nobles and gentry, and of many penniless folk with long pedigrees. It was here that Richard Arkwright shaved chins at a halfpenny each, in the meantime working out his bold and ingenious schemes, with patient faith in their ultimate success. It was here, too, that the teetotal movement first began, with Anderson for its rhyme-smith. Preston has had its full share of the changeful fortunes of England, and, like our motherland, it has risen strongly out of them all. War's mad havoc has swept over it in many a troubled period of our history. Plague, pestilence, and famine have afflicted it sorely; and it has suffered from trade riots, "plug-drawings," panics, and strikes of most disastrous kinds. Proud Preston—the town of the Stanleys and the Hoghtons, and of "many a crest that is famous in story"—the town where silly King Jamie disported himself a little, with his knights and nobles, during the time of his ruinous visit to Hoghton Tower,—Proud Preston has seen many a black day. But, from the time when Roman sentinels kept watch and ward in their old camp at Walton, down by the Ribble side, it has never seen so much wealth and so much bitter poverty together as now. The streets do not show this poverty; but it is there. Looking from Avenham Walks, that glorious landscape smiles in all the splendour of a rich spring-tide. In those walks the nursemaids and children, and dainty folk, are wandering as usual airing their curls in the fresh breeze; and only now and then a workless operative trails by with chastened look. The wail of sorrow is not heard in Preston market-place; but destitution may be found almost anywhere there just now, cowering in squalid corners, within a few yards of plenty—as I have seen it many a time this week. The courts and alleys behind even some of the main streets swarm with people who have hardly a whole nail left to scratch themselves with.
Before attempting to tell something of what I saw whilst wandering amongst the poor operatives of Preston, I will say at once, that I do not intend to meddle with statistics. They have been carefully gathered, and often given elsewhere, and there is no need for me to repeat them. But, apart from these, the theme is endless, and full of painful interest. I hear on all hands that there is hardly any town in Lancashire suffering so much as Preston. The reason why the stroke has fallen so heavily here, lies in the nature of the trade. In the first place, Preston is almost purely a cotton town. There are two or three flax mills, and two or three ironworks, of no great extent; but, upon the whole, there is hardly any variety of employment there to lighten the disaster which has befallen its one absorbing occupation. There is comparatively little weaving in Preston; it is a town mostly engaged in spinning. The cotton used there is nearly all what is called "Middling American," the very kind which is now most scarce and dear. The yarns of Preston are known by the name of "Blackburn Counts." They range from 28's up to 60's, and they enter largely into the manufacture of goods for the India market. These things partly explain why Preston is more deeply overshadowed by the particular gloom of the times than many other places in Lancashire. About half-past nine on Tuesday morning last, I set out with an old acquaintance to call upon a certain member of the Relief Committee, in George's Ward. He is the manager of a cotton mill in that quarter, and he is well known and much respected among the working people. When we entered the mill-yard, all was quiet there, and the factory was still and silent. But through the office window we could see the man we wanted. He was accompanied by one of the proprietors of the mill, turning over the relief books of the ward. I soon found that he had a strong sense of humour, as well as a heart welling over with tenderness. He pointed to some of the cases in his books. The first was that of an old man, an overlooker of a cotton mill. His family was thirteen in number; three of the children were under ten years of age; seven of the rest were factory operatives; but the whole family had been out of work for several months. When in full employment the joint earnings of the family amounted to 80s. a week; but, after struggling on in the hope of better times, and exhausting the savings of past labour, they had been brought down to the receipt of charity at last, and for sixteen weeks gone by the whole thirteen had been living upon 6s. a week from the relief fund. They had no other resource. I went to see them at their own house afterwards, and it certainly was a pattern of cleanliness, with the little household gods there still. Seeing that house, a stranger would never dream that the family was living on an average income of less than sixpence a head per week. But I know how hard some decent folk will struggle with the bitterest poverty before they will give in to it. The old man came in whilst I was there. He sat down in one corner, quietly tinkering away at something he had in his hands. His old corduroy trousers were well patched, and just new washed. He had very little to say to us, except that "He could like to get summat to do; for he wur tired o' walkin' abeawt." Another case was that of a poor widow woman, with five young children. This family had been driven from house to house, by increasing necessity, till they had sunk at last into a dingy little hovel, up a dark court, in one of the poorest parts of the town, where they huddled together about a fireless grate to keep one another warm. They had nothing left of the wreck of their home but two rickety chairs, and a little deal table reared against the wall, because one of the legs was gone. In this miserable hole—which I saw afterwards—her husband died of sheer starvation, as was declared by the jury on the inquest. The dark, damp hovel where they had crept to was scarcely four yards square; and the poor woman pointed to one corner of the floor, saying, "He dee'd i' that nook." He died there, with nothing to lie upon but the ground, and nothing to cover him, in that fireless hovel. His wife and children crept about him, there, to watch him die; and to keep him as warm as they could. When the relief committee first found this family out, the entire clothing of the family of seven persons weighed eight pounds, and sold for fivepence, as rags. I saw the family afterwards, at their poor place; and will say more about them hereafter. He told me of many other cases of a similar kind. But, after agreeing to a time when we should visit them personally, we set out together to see the "Stone Yard," where there are many factory hands at work under the Board of Guardians.
The "Stone Yard" is close by the Preston and Lancaster Canal. Here there are from one hundred and seventy to one hundred and eighty, principally young men, employed in breaking, weighing, and wheeling stone, for road mending. The stones are of a hard kind of blue boulder, gathered from the land between Kendal and Lancaster. The "Labour Master" told me that there were thousands of tons of these boulders upon the land between Kendal and Lancaster. A great deal of them are brought from a place called "Tewhitt Field," about seven mile on "t' other side o' Lancaster." At the "Stone Yard" it is all piece-work, and the men can come and go when they like. As one of the Guardians told me, "They can oather sit an' break 'em, or kneel an' break 'em, or lie deawn to it, iv they'n a mind." The men can choose whether they will fill three tons of the broken stone, and wheel it to the central heap, for a shilling, or break one ton for a shilling. The persons employed here are mostly "lads an' leet-timber't chaps." The stronger men are sent to work upon Preston Moor. There are great varieties of health and strength amongst them. "Beside," as the Labour Master said, "yo'd hardly believe what a difference there it i'th wark o' two men wortchin' at the same heap, sometimes. There's a great deal i'th breaker, neaw; some on 'em's more artful nor others. They finden out that they can break 'em as fast again at after they'n getten to th' wick i'th inside. I have known an' odd un or two, here, that could break four ton a day,—an' many that couldn't break one,—but then, yo' know, th' men can only do accordin' to their ability. There is these differences, and there always will be." As we stood talking together, one of my friends said that he wished "Radical Jack" had been there. The latter gentleman is one of the guardians of the poor, and superintendent of the "Stone Yard." The men are naturally jealous of misrepresentation; and, the other day, as "Radical Jack" was describing the working of the yard to a gentleman who had come to look at the scene, some of the men overheard his words, and, misconceiving their meaning, gathered around the superintendent, clamorously protesting against what he had been saying. "He's lying!" said one. "Look at these honds!" cried another; "Wi'n they ever be fit to go to th' factory wi' again?"
Others turned up the soles of their battered shoon, to show their cut and stockingless feet. They were pacified at last; but, after the superintendent had gone away, some of the men said much and more, and "if ever he towd ony moor lies abeawt 'em, they'd fling him into th' cut." The "Labour Master" told me there was a large wood shed for the men to shelter in when rain came on. As we were conversing, one of my friends exclaimed, "He's here now!" "Who's here?" "Radical Jack." The superintendent was coming down the road. He told me some interesting things, which I will return to on another occasion. But our time was up. We had other places to see. As we came away, three old Irishwomen leaned against the wall at the corner of the yard, watching the men at work inside. One of them was saying, "Thim guardians is the awfullest set o' min in the world! A man had better be transpoorted than come under 'em. An' thin, they'll try you, an' try you, as if you was goin' to be hanged." The poor old soul had evidently only a narrow view of the necessities and difficulties which beset the labours of the Board of Guardians at a time like this. On our way back to town one of my friends told me that he "had met a sexton the day before, and had asked him how trade was with him. The sexton replied that it was "Varra bad—nowt doin', hardly." "Well, how's that?" asked the other. "Well, thae sees," answered the sexton, "Poverty seldom dees. There's far more kilt wi' o'er-heytin' an' o'er-drinkin' nor there is wi' bein' pinched."
Christmas and the Distress
Christmas which is just upon us, will necessarily be a cold one for the operatives, the resources of the past are not forthcoming; money is terribly scare, and many a one, who, in former years, have been jubilant at this season, will now have to be content with less than a ‘tithe’ of that cheer which is indissolubly associated with the good old-fashioned carnival of Christmas. Preparations are being made in many quarters for giving treats to the distressed operatives; the ordinary paupers will receive their Christmas dinner, in accordance with custom, and all those in receipt of relief from the charitable committee will, if they get nothing else, have eightpence each to fall back upon from the Mansion House fund. The kitchen in Crooked-lane appears to be as busy a place as ever. The following boilers of soup – each containing 175 gallons, have been made during the week :- Saturday, 4 boilers of meat and 1 and a half of sweet soup, Monday, 4 meat and 1 sweet, Tuesday, 5 meat and 1 sweet, Wednesday, 4 meat 4 scouse, Thursday 6 meat, yesterday 6 meat and half a boiler of sweet meat. The meat soup contained upwards of 4,850lbs beef, mutton, &c., of first-rate quality. During the week, 23,853 loaves of bread have been given out weighing 42 tons 12 cwt; 35,741 quarts of soup, and 9,057 quarts of scouse have been served at the Walker-street and the Crooked-lane establishments. The whole expense of the week, including bedding and clothing will exceed £3,000.
The following presents have been received during the week, for which the committee begs to offer its thanks.
A parcel of clothing from Mrs Foster, Whitehaven.
A parcel of grey flannel from Mrs Tollemache, Portland-terrace, Richmond, Surrey.
A crate of hats from L. Frayne, Bromsgrove.
Two bales and one hamper of clothing from E. Hallett and friends.
A bale of clothing from E.H. Sangley, Chudleign, Devon.
A large bale of clothing from C.S. Bromsgrove.
Three bales of clothing from H. Bell and Sons, Mickelgate, York.
A large bale of clothing from Lady Park, ‘very valuable’.
A truss of clothing from the Ladies Committee, Leeds.
Fifty sacks of rice chaff from W. Williams, Birkenhead.
A bale of clothing from friends at Castle Bromwick, per the Misses Kempson.
Ten bales of clothing from J. W. M’Clure, Manchester.
A sack of flour, one barrel of beef, twenty small barrels of herring, a barrel of fish, J.W. M’Clure, Manchester.
A bag of rice, a barrel of flour from Mr Baxter, Liverpool.
Two hundred plum puddings from the Lord Mayor’s Committee, London.
A quarter of the famous bull ‘Skyrocket’ weighing 419 lbs from Lord Feversham.
A parcel of clothing from Mr Burnett, Liverpool, per Mr Livesey, Preston.
Two carcasses of venison, used in the soup from Cartechy Castle, Scotland.
A box of clothing, tea, sugar &c., from Mrs Reyner, Waterloo.
A parcel of quilting, worsted, &c., from Mrs Jacson, Barton Lodge.
A sack of clothing from H. Rose Clark, Etwall, Derby.
A bale of clothing from George Earle, Hull.
One hamper of clothing from Thomas Cooper, Ulverstone.
3 boxes of clothing from Rossall College
87 lbs of venison from Messrs. Boulours, Marylebone.
A 2nd parcel clothing from United Sunday Scholars of Longsutton, per Rev. J. Nuller.
A case of caps and hats and a parcel of clothing from Penrim.
Preston Chronicle Dec 20th, 1862
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Floraison India Strategic Consulting Pvt. Ltd. is a Bangalore-based strategic and business consulting organization. As a company which provides integrated consulting services, we partner with our clients, from the stage of inception to assist them in successfully commencing their operations and further hand-hold them to run their company efficiently. Our focus areas are India Entry Strategies and New-Age Entrepreneur Support.
Floraison’s Knowledge Fostering Program (KFP) is a product of its several years of experience and accumulated expertise in the accounting and compliances industry.
Our USP: Our comprehension and familiarity with our continuing consulting experience which equips us with the right knowledge and an in-depth understanding of the dynamics of various industries, from an accounting and compliance perspective. Both these factors, together, facilitate us with an accurate insight into the requirements of the intellectual capital of the sector.
The end-result is a hands-on course which caters to the needs of all its stakeholders: be it the corporate world- full of opportunities for ‘employable’ freshers, or, the associates wanting to carve a niche for themselves, by exploiting these opportunities to the fullest extent possible.
Program’s curriculum
oCorporate accounts & role of a corporate accountant
oFundamentals of accounting & bookkeeping
oChart of accounts, groups, profit & cost centers
oAccounting principles &Important accounting entries
oBasic accounting standards & practical application thereof
oRelevant provisions of the Indian companies act, 1952
oRelevant provisions of the Indian income tax act, 1961
oIntroduction to value added tax & central sales tax
oIntroduction to the provision of the service tax regulations
oCompensation & benefits including payroll
oBasic Labour Laws – PF, ESI, PT, Gratuity, Bonus act etc
oFundamentals of accounts payable & accounts receivables
oAll about preparation and filing of e-TDS
oSelf review & finalization of accounts
oCorporate MIS reporting – Internal reporting
oSchedule VI reporting – External reporting
oPreparation for statutory audit & CARO
oIntroduction to tax audit & tax returns
Eligibility
Just about any person wanting to build or hone basics of the accounting and compliances domain and obtain firsthand experience of corporate must-knows can enroll for Floraison’s Knowledge Fostering Program. More specifically, the following sets of persons will benefit optimally by enrolling for this Program:
•Students, eager to learn practical fundamentals of the accounting domain while still pursuing their academic courses.
•Fresher’s (Graduates/ Post-graduates), looking for employment opportunities in the accounting domains.
•Freshly employed professionals, keen on refreshing their existing basic skills in the accounting domain, to enhance their career prospects,
•A professional wanting to make a transition from BPO/ Call centers to core accounting profiles
•Any curious layman who is enthusiastic and eager to know and understand the fundamentals of accounting domain!
Duration
Floraison’s Knowledge Fostering Program is spread over a period of 100 hours, spanning over 20 working days. The Program would be conducted in two batches which would each accommodate about 30 associates.
•Batch one: 7.30am to 12.30 pm
•Batch two: 2.30 pm to 7.30 pm.
*Conditions Apply
For further details: Contact - Mukinthan
Floraison India Strategic Consulting Pvt. Ltd.,
#185/7, 2nd Floor, “Chandra Plaza”,
8th F Main, 3rd Block,
Jayanagar, Bangalore 560011.
P: +91 80 2653 8257/58/59.
Email: kfp@floraison.in / mukinthan.r@floraison.in
Website: www.floraison.in/KPF
Dear Accounts Aspirants – Here is a wonderful opportunity for you to groom your skills in the domain of Accounts and become ‘job ready’ for the corporate sector, with the help of Floraison’s unique, Knowledge Fostering Program (KFP).
Floraison India Strategic Consulting Pvt. Ltd. is a Bangalore-based strategic and business consulting organization. As a company which provides integrated consulting services, we partner with our clients, from the stage of inception to assist them in successfully commencing their operations and further hand-hold them to run their company efficiently. Our focus areas are India Entry Strategies and New-Age Entrepreneur Support.
Floraison’s Knowledge Fostering Program (KFP) is a product of its several years of experience and accumulated expertise in the accounting and compliances industry.
Our USP: Our comprehension and familiarity with our continuing consulting experience which equips us with the right knowledge and an in-depth understanding of the dynamics of various industries, from an accounting and compliance perspective. Both these factors, together, facilitate us with an accurate insight into the requirements of the intellectual capital of the sector.
The end-result is a hands-on course which caters to the needs of all its stakeholders: be it the corporate world- full of opportunities for ‘employable’ freshers, or, the associates wanting to carve a niche for themselves, by exploiting these opportunities to the fullest extent possible.
Program’s curriculum
oCorporate accounts & role of a corporate accountant
oFundamentals of accounting & bookkeeping
oChart of accounts, groups, profit & cost centers
oAccounting principles &Important accounting entries
oBasic accounting standards & practical application thereof
oRelevant provisions of the Indian companies act, 1952
oRelevant provisions of the Indian income tax act, 1961
oIntroduction to value added tax & central sales tax
oIntroduction to the provision of the service tax regulations
oCompensation & benefits including payroll
oBasic Labour Laws – PF, ESI, PT, Gratuity, Bonus act etc
oFundamentals of accounts payable & accounts receivables
oAll about preparation and filing of e-TDS
oSelf review & finalization of accounts
oCorporate MIS reporting – Internal reporting
oSchedule VI reporting – External reporting
oPreparation for statutory audit & CARO
oIntroduction to tax audit & tax returns
Eligibility
Just about any person wanting to build or hone basics of the accounting and compliances domain and obtain firsthand experience of corporate must-knows can enroll for Floraison’s Knowledge Fostering Program. More specifically, the following sets of persons will benefit optimally by enrolling for this Program:
•Students, eager to learn practical fundamentals of the accounting domain while still pursuing their academic courses.
•Fresher’s (Graduates/ Post-graduates), looking for employment opportunities in the accounting domains.
•Freshly employed professionals, keen on refreshing their existing basic skills in the accounting domain, to enhance their career prospects,
•A professional wanting to make a transition from BPO/ Call centers to core accounting profiles
•Any curious layman who is enthusiastic and eager to know and understand the fundamentals of accounting domain!
Duration
Floraison’s Knowledge Fostering Program is spread over a period of 100 hours, spanning over 20 working days. The Program would be conducted in two batches which would each accommodate about 30 associates.
•Batch one: 7.30am to 12.30 pm
•Batch two: 2.30 pm to 7.30 pm.
*Conditions Apply
For further details: Contact - Mukinthan
Floraison India Strategic Consulting Pvt. Ltd.,
#185/7, 2nd Floor, “Chandra Plaza”,
8th F Main, 3rd Block,
Jayanagar, Bangalore 560011.
P: +91 80 2653 8257/58/59.
Email: kfp@floraison.in / mukinthan.r@floraison.in
Website: www.floraison.in/KPF
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