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FN7-1 Ronin
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[Information]
Equipped with stabilizers alongside boosters to account for different levels of gravity; the FN7-1 Ronin is well suited for combat in a variety of situations. An ideal pick for any ace pilot looking for a reliable war machine.
The Ronin was developed by REXCO as a flagship model for commercial distribution. The model proved popular among mercenaries and pilots, due to its speed and maneuverability, whether on the ground or in space. It has also proved itself popular among pirates too, as a handful of mechs are smuggled into the black market every so often.
Standard equipment for the Ronin includes the REXCO patented Plasma Cutter, an ideal tool for cutting open hatches and ships, in order to board or salvage the ship. Conveniently the Plasma Cutter also makes for a handy weapon as well, as it is capable of cutting up other mechs as well. On the frame itself it is equipped with boosters and additional foot grips, to make traversing in low gravity easier. Additionally the head is equipped with high quality long distance sensors, to give pilots an extra edge in battle.
The Ronin provides the means necessary for any pilot to pursue their own goals. Be it fortune, glory or anything else. The Ronin doesn’t judge.
Versatile. Agile. Deadly. A blade awaiting its master. The Ronin.
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[Build Notes]
My first completely new mech of 2021, complete with new color scheme and frame. Some time ago I had ordered the white face cover that you see here on the Ronin, however I never got to use it until now. I wanted to make a simple and defined design for the head, so the piece was chosen.
Most of the sand green pieces you see on the mech are from Lloyd’s mech from the Ninjago Movie set. So if you want to recreate this mech you can probably do it if you salvaged parts from that set.
Persistent URL: www.floridamemory.com/items/show/42036
Local call number: RC20914
Title: Southern Bell Telephone's mechanized accounting office - Orlando
Date: July 1959
Physical descrip: 1 photoprint - b&w - 8 x 10 in.
Series Title: Reference Collection
Repository: State Library and Archives of Florida, 500 S. Bronough St., Tallahassee, FL 32399-0250 USA. Contact: 850.245.6700. Archives@dos.myflorida.com
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In the middle of a faraway desert lies the ruins of some forgotten civilization. An ancient reminder that nothing lasts forever.
Available as a poster, on canvas and as an art print: artofwhere.com/account/collections/23704
Jonathan Haskel, Professor of Economics, Imperial College London, United Kingdom, speaking during the session Accounting for Human Capital at the World Economic Forum Annual Meeting 2020 in Davos-Klosters, Switzerland, 24th of January. Congress Centre - in Salon Copyright by World Economic Forum/Jakob Polacsek
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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.
You can save your Flickr account (and money!) if you switch from Yahoo.de to Yahoo.com using www.flickr.com/account/transfer/ ! More info here
This is hardly an original idea. A photo taken on a spinning merry-go-round. I've seen it several times elsewhere on Flickr. Still, it makes for an impressive shot.
Ooh, I've just noticed... this is photo #500 in my account here! Does it get a prize? How about another brief inclusion in Explore. Better than nothing.
Financial accounting is a significant branch of every company. It is responsible for the generation of financial statements that are required by external users such as governments, revenue authorities, shareholders, potential investors, debtors, creditors and general public. You can contact us through email at : INFO@GDFACCOUNTANTS.CO.UK or call us at 01325 520528 / 07817 355508 or www.gdfaccountants.co.uk
I have created a new flickr account! If you would like to continue to follow me please visit www.flickr.com/JWFphotography and follow my new photostream. Thanks again for all the support for these past few years!
You can also visit www.JWFrank.com for prints and travel blog updates. I am also on Instagram, Facebook, and Steller. Thank you for your interest in my photography!
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Hey guys! I lost access to my old account so I made a new one. I hope you enjoy the pictures as much as I do. Here's my newest additions the butterflix line. It's stunning in person and I reccommend them
Ancient accounts, which differ to some degree, describe the structure as being built around several stone columns (or towers of blocks) forming the interior of the structure, which stood on a fifteen-meter-high (fifty-foot) white marble pedestal near the Mandraki harbor entrance. Other sources place the Colossus on a breakwater in the harbor. The statue itself was 30 meters (100 feet) tall. Iron beams were embedded in the brick towers, and bronze plates attached to the bars formed the visible skin of the sculpture. Much of the iron and bronze was reforged from the various weapons Demetrius's army left behind, and the abandoned second siege tower was used for scaffolding around the lower levels during construction. Upper portions were built with the use of a large earthen ramp. During the building the builders would pile mounds of dirt on the sides of the colossus. To an observer it may have looked like a volcano-like sculpture. Upon completion all of the dirt was moved and the colossus was left to stand alone. After twelve years, in 280 BC, the statue was completed.
Link: en.wikipedia.org/wiki/
historia.abril.com.br/2006/infohistoria/info_ocolossodero...
An account of Indian serpents, collected on the coast of Coromandel
London :Printed by W. Bulmer and Co. Shakespeare-Press; for G. Nicol,1796-1801 [i.e. 1796-1809?]
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Designer unknown (佚名)
1949
Settle accounts resolutely
Qingsuan gu (清算固)
Call nr.: PC-1949-s-004 (Private collection)
More? See: chineseposters.net/themes/land-reform
Those who do not live in Scotland may be unaware that this YES sign indicates an affirmative response to the question "Should Scotland be an independent country?".
In a referendum to be held on 18 September 2014 this issue will be decided by those who are registered to vote in Scotland.
In my view, the underlying belief of those on the YES side is that it is right and proper for a nation to aspire to govern itself, that it may experience difficulties in doing so but in working through those difficulties it will develop the maturity required to hold its head high in the community of nations. The YES side believes that now is the time to "grasp the thistle".
The NO side appears to hold the view either (i) that a 'mature nation' status is not worth working for or (ii) that, while it might be desirable to become a mature nation, the inevitable difficulties could not be overcome.
I listened live to the 2 hours and 40 minutes of this parliamentary debate and thought that Mike Russell's ten minute winding-up speech (transcript below) characterised by its positive approach, exemplified that contrast with the negative approach of his opponents during that debate.
THE PARLIAMENT OF SCOTS (12 AUGUST 2014)
DEBATE ON THE ECONOMIC OPPORTUNITIES OF INDEPENDENCE
WINDING UP SPEECH FROM MIKE RUSSELL
Official report:-
The Deputy Presiding Officer:
Thank you. I call Michael Russell to wind up the debate. Cabinet secretary, you have until 5 o’clock.
16:49
The Cabinet Secretary for Education and Lifelong Learning (Michael Russell):
Let me give the chamber a revelation: I think that on the evidence of this afternoon’s debate there are no votes in this chamber that are up for grabs in the referendum and that it is pretty clear that there are no undecideds on these benches.
However, there might be some undecideds watching at home. I suspect that they might well have turned off by now, particularly after Jenny Marra’s speech, but if they are still watching I suggest to them that, if they are trying to come to a judgment on the basis of this debate—there are people in the gallery who might want to make such a judgment—they should do so on the basis of what has been the positive view and what has been the negative view.
Look at the positive view that all my colleagues in the chamber have expressed and at the endless, destructive negativity that we have heard from Labour, the Liberals and the Tories.
I will start with the clearest view of the currency issue. As ever, the First Minister got it right in the chamber last week. I will repeat his exact words. He said:
“It is our pound, and we are keeping it.”
There are no ifs and no buts. That is the guarantee. That is plan A to Z. For the benefit of those who are still trying to frighten people out of what is theirs—people such as Mr Henry, who asserted that Scots will not be able to buy food or go on holiday after independence, and Mr Fraser, who tellingly referred—
Hugh Henry:
Will the cabinet secretary take an intervention?
Michael Russell:
No, I will not. I am sorry; one contribution from Mr Henry in an afternoon is more than enough.
Mr Fraser referred to the currency belonging to someone else, which was very interesting. I will repeat what the First Minister said so that there can be no doubt. He said:
“It is our pound, and we are keeping it.”—[Official Report, 7 August 2014; c 33159.]
Hugh Henry:
On a point of order, Presiding Officer. Mr Russell has just made a statement in which he attributed words to me that I did not say. Is it in order for members to fabricate words that were not said during the debate and attribute them to other members? [Interruption.]
The Deputy Presiding Officer:
Order, please. What members say in their speeches is entirely up to them. It is not for me to decide what they should and should not say. However, the Official Report undoubtedly shows every word that has been said in the chamber.
Michael Russell:
I am sure that Mr Henry will reflect on that when he looks at what he has said about me and my writings. I am sure that he will think about that carefully. Mr Henry’s words speak for themselves, as does his depressing demeanour.
The debate has been one of great contrasts. I go back to positivity and negativity. My friend Mr Swinney talked about ambition, achievement, resources, potential and raising the eyes of Scotland to what can be achieved. In my area of special interest, he talked about the need for transformative childcare and the world-leading position of Scottish higher education. What was the result? [Interruption.]
The Deputy Presiding Officer:
Order, please.
Michael Russell:
The result was that, 10 minutes in, Mr Rennie gave the knee-jerk plan B its first outing. Mr Brown then leapt back in. Project fear was in there working hard.
The other side of the unionist coin then showed itself. It was quite stunning. Alex Johnstone chuntered on from a sedentary position about the fact that everything that was mentioned was a product of the wonderful union, but he was interrupted by Jenny Marra, who said that everything was the result of the failed SNP. There we have it: that is a contrast. Labour hates the SNP more than anybody else, and the Tories love the union more than anything else. Neither of those is a prescription for a safe future.
Believing that a Labour Government will remove weapons of mass destruction is also not a prescription for a safe future. There is no evidence for that whatsoever. How else are we to get rid of weapons of mass destruction, except by independence? That is the reality.
It was telling that, when Mr Swinney mentioned Trident and what we need to do, the reaction from Labour and the Tories and even from the sole Lib Dem who was there was derision. They want to put bombs before bairns and Trident before teachers. That is their shame.
Let me carry on.
Neil Bibby (West Scotland) (Lab):
Will the cabinet secretary take an intervention?
Michael Russell:
No, I will not take an intervention. I am sorry.
The reality of the debate was shown clearly. It was about that negative view. Nothing could be done. We had to ask what that was about. Maureen Watt got it 100 per cent right. She analysed the debate early on. The great fear that exists in project fear is the could-should-must progression. If any member on the Labour benches could admit that Scotland could be independent—I will come to Elaine Murray in a moment, as she did that momentarily—the whole fantasy will collapse.
The reason why it collapses is that that leads to the argument that Scotland should be independent, which is the argument that my colleagues made this afternoon. It goes a step further to the argument that Scotland must be independent.
The biggest illustration of that was given by Malcolm Chisholm. Yet again, I was saddened by a speech by Malcolm Chisholm. I have admiration and time for Malcolm Chisholm; he is laughing, but I do. I do not think that he and I differ very much in some of the things that we want to see, but here is the difference. [Interruption.]
The Presiding Officer (Tricia Marwick):
Order.
Michael Russell:
Labour members want to laugh at this, because it is beginning to strike home.
The difference is that I and my colleagues have a plan for how to achieve those things. We know how poverty can be eliminated in Scotland. We know—
Iain Gray:
Will the minister give way?
Michael Russell:
No—I want to finish my point.
I know that it is annoying to Iain Gray, but the truth of the matter is that it is possible to have a plan to change Scotland and to do those things. We can set out with those intentions and we can work hard to meet them, or we can—as Labour members would have us do—simply keep our fingers crossed that we get a Labour Government that could possibly pursue the things that they want to see in Scotland rather than the things that Ed Balls and Miliband want to see south of the border. I say to Malcolm Chisholm that that is not a plan: that is keeping your fingers crossed and putting party before principle.
Malcolm Chisholm:
The cabinet secretary may have a plan, but the whole point of all the Labour speeches has been to point out that it is not a plan that can be delivered without an economic foundation. Before he gives us any more claptrap about the negativity of Labour members, will he reflect on the fact that by far the biggest and most disgraceful scare of the referendum campaign is what the yes side is saying about the NHS? [Interruption.]
The Presiding Officer:
Order! Order!
Michael Russell:
How interesting. Mr Chisholm is being wildly applauded by Jackson Carlaw, who—
The Presiding Officer:
Sit down, Mr Russell.
That is quite enough. There is far too much heckling and far too much noise. The minister is speaking, so allow him to do so. This is a Parliament; it is not a public meeting or a hustings. There are people in Scotland who are listening to the debate. Make it worthy of them.
Michael Russell:
Why was Jackson Carlaw—the person who got so agitated about the issue of the NHS last week—applauding so much? Because we have hit the nail on the head. If the financial power lies outside Scotland, the decision on the priorities of Scotland and how to deliver those priorities will always lie outside Scotland, too. For every £100 by which expenditure is reduced south of the border through privatisation of the health service—privatisation that was started by Labour—£10 is lost from the Scottish budget.
Neil Findlay:
Will the cabinet secretary give way?
Michael Russell:
No.
For every £100 that is removed from public expenditure through privatisation of higher education south of the border, we lose £10. That is the reality. That is the nub of the debate. We can choose to make our decisions in Scotland, to take our responsibilities in Scotland and to have opportunities in Scotland, or we can always dance to someone else’s tune.
Malcolm Chisholm wants to see the progress in Scotland that I want to see. I repeat what I said earlier: the SNP has the plan to do that. It puts its confidence—[Interruption.] We can hear the Tories laughing; we can always hear the Tories laughing when the people of Scotland want to progress.
Here is the choice: we can say to the people of Scotland, “Take responsibility, and then you will have the opportunity to change this country for the better”; or we can tell them to listen to those who will not accept the reality and who will always keep their fingers crossed that England votes the same way that they do. Those voices will always disappoint and let down the people of Scotland. That has got to stop.
The lesson this afternoon is entirely clear: there is a jobs plan for an independent Scotland, there is a finance plan for an independent Scotland, there is a currency plan for an independent Scotland and there is a plan to make an independent Scotland the country that it could and should be. The people who stand in the way of that are this unholy alliance between Labour and the Tories.
The Presiding Officer:
You need to finish, cabinet secretary.
Michael Russell:
They are the people who have plenty of ambition for their political parties and none for their country. [Applause.]
The Presiding Officer:
Order.
That concludes the debate on the economic opportunities of independence.
----------------------------------------------------------------------------------------------------
SUNDAY TIMES - 21st September 2014
Michael Russell
In a sense I have been campaigning for independence across Scotland not just in the last four weeks but for forty years. But I don't think I have ever had such an emotional political experience as last Saturday standing in the Station Square in Oban listening to Dougie Maclean sing his anthem of Scottishness, Caledonia.
It didn't matter that someone had forgotten to bring an extension lead, so there was no power for the microphone. It was irrelevant that an early sea mist, now burning off, had prevented the First Minister from making a helicopter campaign stop and equally irrelevant was the stretch limo with a huge "NO thanks" logo tied round it ( one of the bizzarest sights of the campaign) that kept cruising past. Dougie sang and 250 people - young and old, from all parties but mostly none, sang along with a quiet intensity that brought tears to my eyes and to eyes of many others.
That event started a whole day of remarkable activities - a car cavalcade of more than sixty vehicles that wound its way across Mid Argyll with so many participants that a church hall in Lochgilphead had to be commandeered to feed them, a flash mob of dancers and musicians on a green beside the sea and finally a laser show lighting up a huge YES sign on the island of Kerrera in the bay facing the town.
This was politics, but not as I have known it. YES Scotland started out as an umbrella organisation and ended up as a mass movement . It's creativity and energy was replicated not just across my constituency - in Dunoon, in Campbeltown, in Rothesay, in Lochgoilhead, on Islay and on Mull - but across the whole of Scotland in a diverse, multi layered movement that demanded and will go on demanding not only attention but also real change.
Although Thursday night delivered a bitter blow to many of those who had invested so much of themselves in that movement I do not think it will go away. Indeed it must not go away. It's commitment, enthusiasm and vigour are needed as never before if Scotland is to move forward united.
It is this movement that can really test the will of politicians to deliver the new dispensation that the Westminster parties promised in the final days of the campaign and it is this movement that can press an agenda that is focussed on outcomes which benefit and empower real people not just the political classes.
As Alex Salmond said on Friday in his moving resignation statement, holding Westminster to account for the delivery of its new promises has to be done by the whole of Scotland and that process needs to be lead by citizens themselves. If it changes and benefits all the parts of the present UK so much the better as long as that not an excuse for endless delay.
I have undertaken more than sixty public meetings in Argyll & Bute over the past nine months. One of the biggest took place on Ardrishaig the night before the Dougie MacLean event at which I shared a platform with Professor Allan MacInnes and Lesley Riddoch, both longstanding friends. Lesley spoke about this new politics too and was given a standing ovation by the over capacity crowd jammed into a tiny church hall. That enthusiasm reflected growing demand for a different set of priorities and a changed way of doing things - bottom up not top down.
That is what independence is but it's core values - fairness, equity, hope, opportunity, equality, justice - go well beyond the the 1.6 million who chose that option. Lots of voters on both sides were sending a message about the need for those things that cannot now be ignored.
That is why the "faster, safer and better" change offered in the 3 UK leaders Daily Record "Vow" was in the end persuasive for so many. They disagreed on the means but not on the ends.
So that is also why the SNP as the Scottish Government has to be an active part of the process now being outlined by the UK Government. We must heed the urgings of those we have worked with and take part in a constructive, urgent and focussed process to decide on the range of powers required and accelerate their introduction whilst ensuring that they are devolved further into communities and made capable of adaptation to local need and local direction.
That will not be easy for anyone but it is the essential next step - a step demanded by Thursday's result and which can also act as a unifying mechanism. We can help make a new Team Scotland and learn from it though it will be a Team Scotland weakened when not led by Alex Salmond, to whom the whole country owes an enormous political debt.
I am undoubtedly still a nationalist and I want to see independence. But this referendum campaign, undertaken in an Indian summer of warm sunshine amongst the most beautiful scenery in the world, criss crossing sea lochs, sailing to islands and motoring amongst mountains, has taught me a great deal.
A passionate desire for a better country is shared by many of our fellow citizens, young and old inside and outside conventional politics. A different set of priorities and policies - some already introduced by an SNP Government over the past 7 years - is possible. Alienation from politics and society isn't inevitable because inspiration casts out indifference. Decisions are better when made with people, not for them.
I have had the great pleasure of an invigorating campaign in Dalmally and Dunoon, on Luing and Lismore, through Glendaruel (where I live) and Glen Barr and by the shores of Loch Etive and Loch Riddon. The conclusion of those journeys was not the one I hoped for a month ago when the Sunday Times asked me to contribute at the end of the campaign. But the people have spoken and when that happens politicians have to listen - wherever they are.
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هذي وحده مسويه اكاونت بالفيسبوك ومتقمصه شخصيتي وفلكري وصوري وكل شي حتى اسلوبي فا اهيا مسكينه مريضه
ماعندها حياة ولا هدف فا قالت اخذ حياة ناس ثانيه عندها هدف وعندها هوايه جاهزه يعني من غير لا تعب نفسها
فا لوسمحتو الي يشوفها بالفيسبوك هذي مو انا
راح احط لكم لنكها
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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.
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We were in Essex for a few hours, on a top secret mission that I can't divulge at the moment, that is embargoed for a few more weeks.
But we did also have time, thanks to my insistence on an early start, to do some churchcrawling.
On the way into Great Braxted, we noticed the road, chuch drive I think it was, but being a private road belonging to the estate, we were past it before I had the chance to slow down.
We then went to the village, but could find no church there, so back on the main road, where in the meantime some white balloons had been hung from the arch marking the start of the drive.
We went down, at the prescribed 10mph, and found preparations in full swing for a wedding. Three stressed people were putting up an arch of white flowers over the entrance to the porch, guests were arriving, and parents were running around, headless. Or I assume they were parents of the two to be wed.
I hung around outside, trying to see a gap in the flower arranger's activities to get in the church, and when I did I found that even with an hour to go, some guests were already sitting and waiting.
I rush round and rattle a few shots off, not nearly enough to do the building justice, but after reading Simon's account of the church, being problematic to get in, I should have took more, but there really wasn't time.
A warden did show me round outside, and pointed to a slit underneath a window in the south aisle, which he said was where communion wafers were passed out to lepers. I took a picture, I have no idea if true, but the listing in its listed building status does not mention this.
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"Forgive me, aren't we talking rather loud?
I think I see a woman praying over there."
" Praying? The service is all over now
And here's the verger waiting to turn out
The lights and lock the church up. She cannot
Be Loyal Church of England. "
- John Betjeman, from Bristol and Clifton
Braxted Hall is a vast 18th Century estate whose village is Great Braxted, smaller than its Little namesake and a good three miles from it.Climbing up the hill I came to a pair of gates, recently unlocked but with a lock and chain at the ready, and a driveway which led after about a quarter of a mile to the church. I followed a car up the drive, assuming they had just unlocked the gates for the day, and I had arrived at a good time. But by the time I got to the end of the long drive, they had locked themselves into the church and were playing the organ!
This is a fine looking church, a massive restoration of the 1890s under Ernest Geldart, obviously designed as a view from the Hall. It probably doesn't function as much more than that today, set as it is in its humped churchyard, a fenced enclave in the Park above the ornamental lake with the woods beyond. I dare say it is a nice place to have a wedding. The driver had left their car parked beside the tower, ruining my view, Geldart's tower being its best feature, which obviously made me even grumpier. I rattled the door loudly, but they didn't hear me, or chose to ignore me.
I had been told that this church is always kept locked against pilgrims and strangers. Following the car up the drive, I had decided not to believe this, but it appeared to be true. I made a decision then and there to protest about every grant application that this church puts in from now on. They shouldn't receive any public money at all for what is basically a posh venue for their Sunday club, and a cash cow for weddings. Let it fall!
I waited in the porch in case they should emerge, but time was ticking on, and when they embarked upon a 30th hesitant stroll through Sheep May Safely Graze I decided that enough was enough. The best thing about this church was probably its exterior, so I left a rude note under the car windscreen wipers (I didn't really) and carried on northwards.
Simon Knott, April 2013
www.simonknott.co.uk/essexchurches/gbraxted.htm
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Name: CHURCH OF ALL SAINTS
List entry Number: 1165777
Location
CHURCH OF ALL SAINTS, BRAXTED PARK ROAD
The building may lie within the boundary of more than one authority.
County: Essex
District: Maldon
District Type: District Authority
Parish: Great Braxted
National Park: Not applicable to this List entry.
Grade: II*
Date first listed: 30-Dec-1959
Date of most recent amendment: Not applicable to this List entry.
Legacy System Information
The contents of this record have been generated from a legacy data system.
Legacy System: LBS
UID: 118889
Asset Groupings
This list entry does not comprise part of an Asset Grouping. Asset Groupings are not part of the official record but are added later for information.
List entry Description
Summary of Building
Legacy Record - This information may be included in the List Entry Details.
Reasons for Designation
Legacy Record - This information may be included in the List Entry Details.
History
Legacy Record - This information may be included in the List Entry Details.
Details
TL 81 NE GREAT BRAXTED BRAXTED PARK ROAD
2/45 Church of All Saints 30.12.59 GV II*
Church. C12 Nave and west end of Chancel. C13 restored West Tower and extension to Chancel. C15 south porch. C19 North Chapel, Vestry, rebuilt Chancel arch, Belfry, Spire and restorations. Of flint rubble, clunch tufa, septaria and Roman tile. Quoins and dressings of clunch and Roman brick. C19 crenellated chapel, and vestry of red brick with stone dressings. Red plain tiled roofs. Weatherboarded belfry with shingle spire. Chancel. East wall 3 restored lancet windows. North and south walls show the junction between C12 and C13 work suggesting a former apse. C12 north wall with regular courses of Tufa and Roman tiles. There are 2 courses of herringbone tiling. 3 windows to north wall, the 2 eastern restored lancets, the western C12 round headed. South wall 3 eastern windows restored lancets, the western in 2 parts, the upper lancet, the lower a square headed 'low-side' window. Red brick quoins. Brick plinth. Nave. South wall has 3 restored windows and 2 cusped roundels above the porch. Eastern window 2 cusped lights with 3 lights over, second window of 3 lights with reticulated tracery over, 2 centred head and label. West window, 2 cusped lights, 2 centred head with label. Beneath the eastern window are 2 slab monuments, the eastern with achievement to Sir William Ayloff, the other with 2 upper achievements and no inscriptions. North wall has a single light window with a 2 centred arch and moulded label and a C12, widened C18, window above the north vestry. C14 south doorway has jambs and a 2 centred moulded arch. The west tower rises to the height of the nave and is surmounted by a weatherboarded bell tower with 2 light sounding louvres and shingle spire. A tiled and weatherboarded structure attaches the spire base to the west face. C13 lancet windows to north and south wall, Roman brick and clunch quoins. C19 buttressed west face. The full height buttresses stone dressed with ornamental flint panels are surmounted by cusped 2 light sounding louvre in a gabled head. Band and flush work panels below louvre and 2 vertical slits under. West window of 3 lights with tracery over in pointed head. Above this window is a chamfered arch, possibly C13. C19 north chapel of red brick, crenellated with moulded band under, this rising to point over north window of 3 cusped lights with tracery over and moulded label. To east of this chapel is the small red brick and tiled chapel with cusped single light window to the west. South porch. C15 outer arch, 2 centred of 2 moulded orders, the inner resting on shafts with moulded capitals and bases, moulded label over. Side walls each have a C15 2 light window in square head with label over. The roof has moulded and crenellated tie beams with braces forming 4 centred arches. Moulded and crenellated wall plates. Moulded wall posts on carved stone corbels, 2 with angels holding shields, one grotesque head and one head and foliage. Crown posts with moulded capitals and bases. Benches to side walls. Black and white tiled floor. Interior. Chancel. Roof plastered of 7 cants. Moulded wall plates to west. C17 panelled dado to walls from elsewhere. Large locker to north wall with rebated jambs and 2 centred head. Cusped heads to sedile and piscina, the latter with round drain and shelf in east jamb. Crenellated beam over small niche in north wall. Slabs to Richard Milward D.D. 1680 Canon of Windsor. Anthony Carew 1705. C19 2 centred chancel arch with moulded capitals and bases to jambs. Nave C15/C16 roof of 7 cants with moulded principal rafters and centre purlin. Moulded and crenellated wall plates and tie beams. Traceried spandrels to braces and carved half angels above stone corbel heads. 3 octagonal crown posts. Vertically boarded dado to pew walls. C19 stone octagonal font, 2 centred arches and buttresses to stem. Shields and inscription to side panels. Painted board relating to the will of John Freze 1663. 1960 Royal Hatchment. West Tower. C13 2 centred chamfered arch. Stone wall slab under west window to Robert Aylett LL.D., 1654-1656, Emblems of mortality and 2 shields of arms to right and left. C19 north chapel - known as the Du Cane Chapel. C19 moulded segmental pointed chapel arch. Moulded wall plates each with 6 curved angels. North window stained glass 1844 by Warrington. Monuments to the Du Cane family. Some to east and west walls with traceried canopies over. Central monument to west wall of grey marble with white marble urn to Peter DuCane aged 90 years B. 1803, Mary his wife and Richard his son. RCHM I.
Listing NGR: TL8509415439
Selected Sources
Legacy Record - This information may be included in the List Entry Details
National Grid Reference: TL 85094 15439
historicengland.org.uk/listing/the-list/list-entry/1165777
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The church is a listed building of grade II*. It was constructed, it is believed, in 1115,
in all probability by William de Sackville, then Lord of the Manor.
It is situated within the grounds of Braxted Park and the village, which was close to it,
was moved by Peter Du Cane in the 18th century to outside the boundary of his land,
which is surrounded by what is believed to be the longest brick wall in Essex. Du
Cane was a director of the Bank of England and the East India Company.
The walls are of septaria mixed with flint, free-stone and Roman bricks, the dressings
are of clunch and Roman brick, while the roof is tiled. It is possible that the Roman
bricks came from the Roman site at Rivenhall but there may have been a Roman settlement
where the church now stands, as oyster shells have been found there.
The nave and western half of the chancel are early twelfth century when the church
ended eastwards in an apse. The apse was removed and the chancel extended to its
present length early in the 13th century, possibly by the Lord of the Manor, Nicholas de
Anesty. Shortly after this, the west tower was added but never finished at the time.
The south porch, added in the 15th century, has moulded and embattled tie-beams with
curved braces forming four-centred arches, king posts, wall-posts, moulded brackets
and carved stone corbels, two with angels and two with faces. The wall plates are
moulded and embattled.
The chancel has three 13th century lancet windows in the east wall which are almost
modern externally. The stained glass in these was inserted in 1889 by Percy Bacon and
Bros at the behest of Sir
Charles Du Cane. They were
probably designed by the
eminent architect and pastor,
the Reverend Ernest Geldart
who, as will be seen below, has
had a major influence on the
building. The break in the
north and south walls defines
the junction of the 12th and 13th
century work. The 12th century
part shows signs of an inward
curvature suggesting the spring
of the former apse. In the north
wall, the two eastern windows
are thirteenth century lancets
and the westernmost early 12th
century, with a round head of tufa. In the south wall the three eastern windows are 13th
century lancets, restored internally, while the westernmost is in two parts, the upper a
lancet light and the lower a square-headed “low-side” window, restored externally,
probably 13th century. This last was used by the deacon or sub-deacon to ring the
sacring bell. The aumbry in the north wall is 13th century, as is the piscina in the south
wall, but this was enlarged in the 16th century and has a corbelled head, a shelf in the
east jamb and a round drain. Five feet from the east wall there are traces of an altar
beam of the 13th century on which
images and reliquaries were placed. This
example of an altar beam is unique in the
diocese. On the outside of the south wall
is a scratch dial, used for telling the time
for obits and masses and also evidence of
a leper squint, which enabled them to
receive the host during communion. The
roof of the chancel is probably 17th
century towards the east and 15th century
towards the west, while the chancel arch
was rebuilt at the same time as the spire
and other restoration in 1883. The choir
stalls and north transept pews were
designed by the Rev. Ernest Geldart, in
1893. The reredos was constructed in 1919, again designed by Geldart and executed
by Samuel Marshall of Coggeshall with figures by Nathaniel Hitch, whose work is
found in cathedrals in Britain and abroad.
The nave has, on the south, quoins of
Roman brick and a plastered north wall. In
the north wall, the eastern window is
twelfth century but was widened and
altered in the seventeenth or eighteenth
century. High in the north wall is a round
patch, which probably indicates a former
round window like those in the south wall.
In the south wall are three completely
restored windows in the lower range,
except the 14th century splays and rear arch
of the middle window. In the upper range
are two round and sexfoiled windows,
probably of the 14th century but with
modern jambs. Above the second window
of the lower range is the Roman brick head
of another 12th century window. The late
15th or early 16th century roof of the nave is
much restored and has three king post
trusses with curved braces, traceried
spandrels and half-angels at the point of
junction; the curved principals and central
purlin are moulded.
The tower is 13th century except for the west
buttresses and west windows, which are
modern. It is surmounted by a timber belfry and
a spire with a shingled roof which was restored
in 1883 by the Rev. Ernest Geldart.
A faculty was granted to Peter Du Cane in 1761
to erect the north transept with a family pew and
vault beneath. The present stained glass
window, designed by Warrington, was erected
in 1844.
There is a monument to Robert Aylett LL.D in the West Tower dated 1654 with
symbols of mortality – skulls, bones an hourglass and a shovel. In the North transept
are Du Cane family monuments including Peter (1803 by J. Moore) and Sir Charles
(1889 by Cox and Buckley). In the chancel there are floor slabs to Richard Millward
D.D. 1680 and to Anthony Carew, 1705, now covered by the pulpit. The Vestry was
added in the 19th century and was modernised in 2004, providing a kitchen and toilet
facilities.
www.tk-tiptree-braxted-benefice.org.uk/All%20Saints%20Chu...
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My favorite floor is the second floor, on account of the comical windowlessness of its expansive grid of rectangles, and the comically uneven application of its dark red paint.
My second favorite floor is the third floor, on account of its lozenge-shaped design of dark brown brickwork, set within a field of dark brown bricks.
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In downtown McKeesport, Pennsylvania, on July 1st, 2019, a building on the north side of 5th Avenue, east of Sinclair Street.
-----------------------
Getty Thesaurus of Geographic Names terms:
• Allegheny (county) (7013272)
• McKeesport (2090470)
Art & Architecture Thesaurus terms:
• abandoned buildings (300008055)
• brick (clay material) (300010463)
• brickwork (works by material) (300015333)
• casement windows (300002998)
• commercial buildings (300005147)
• cream (color) (300266242)
• dark brown (300127526)
• dark red (300126317)
• lozenges (300009791)
• paint (coating) (300015029)
• step pattern (300010229)
• three-story (300163795)
Wikidata items:
• 1 July 2019 (Q57350260)
• July 1 (Q2700)
• July 2019 (Q47087600)
• Pittsburgh metropolitan area (Q7199458)
• Rust Belt (Q781973)
• Treaty of Fort Stanwix (Q246501)
• vacant building (Q56056305)
• Western Pennsylvania (Q7988152)
Library of Congress Subject Headings:
• Buildings—Pennsylvania (sh85017803)
• Grids (Crisscross patterns) (sh2006005408)
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In this (what all accounts point to as being) fall 1992 ad for Pillsbury products, their signature Doughboy spokesman, Poppin' Fresh, chases a flying leaf with a rake, while kindly including three easy, breezy ideas for some quick snacks to be made with some of their baked delicacies. Unfortunately for some very distressed bakers I found on internet question websites, I believe those first two recipes aren't quite as easy to make anymore, since for all intents and purposes both the breadsticks and cornbread twists have been discontinued within the past decade (within the past six months if the comments on the official product page are to be believed). Pillsbury crescents are still around, however, as is, of course, the Pillsbury Doughboy, although his family – detailed here, on Wikipedia – doughn't appear to be around any longer.
(c) 2015 Retail Retell
By uploading these cookbook ads, published in the 1990s, I'm meaning to showcase the past – nothing else. No copyright infringement, however old, is intended. And as always, if you share or use my photos, I'd appreciate if you gave me credit. :)