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The new Ford GT is said to be the most advanced vehicle ever created by Ford. And it will have a limited production: only 250 units a year. This is the sort of car you do not choose to buy: you hope to be able to. Not only due to price, but also to exclusivity (being a Ford does not make it...
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I recognized that I had a lot of letters on my phone and thought that it would be cool to create a little alphabet chart based on the iPhone application icons.
Heidi Cody's 'American Alphabet' was a huge inspiration.
St Andrew, Westhall, Suffolk
I'm currently preparing a new page for Westhall at suffolkchurches.co.uk - I'm parking the old one here so it doesn't get lost forever.
Listen: come with me. We’ll set off from the Queen’s Head at Blyford, a fine and welcoming pub across the road from that village’s little church. Perhaps we’ll have just had lunch, and we’ll be sitting outside with a couple of pints of Adnams. You’d like to stay there in the sunshine for the rest of the afternoon, but I’m going to take you somewhere special, so stir yourself. You are probably thinking it is Holy Trinity at Blythburgh, Suffolk’s finest church a couple of miles away on the main A12. But it isn’t.
Nor is it St Andrew at Wenhaston, a mile away across the bridge, and home of the Doom, one of Suffolk’s greatest medieval art treasures. You’ve already seen that.
No. Within a few miles of the pub sign (notice that it features St Etheldreda, whose father King Anna was killed in battle on the Blyth marshes) there is a third of Suffolk’s finest churches. It is the least known of the three, partly because it is so carefully hidden, so secreted away, and partly because Simon Jenkins, inconceivably, unforgivably, missed it out of his book England’s Thousand Best Churches.This may yet have serious consequences, as we shall see.
Blyford is on the main road between Halesworth and Dunwich, but we are going to take a narrow lane that you might almost miss if you weren’t with me. It leads northwards, and is quickly enveloped by oak-buttressed hedgerows, beyond which thin fields spread. Pheasants scuttle across the road in front of us; a hare watches warily for a moment before kicking sulkily back into the ditch (we are on foot perhaps, or bicycle). Occasional lanes thread off towards the woods and the sea.
After a couple of miles, we reach the obscenity of a main road, and cross it quickly, leaving it behind us. Now, the lane narrows severely, the banks steepening, trees arching above us. They guard the silence, until our tunnel doglegs suddenly, and an obscure stream appears beyond the hedgerow. Once, on a late winter afternoon, my dream was disturbed here by a startled heron rising up, its bony legs clacking dryly as it took flight over my head. I felt the rush of its wings.
This road was not designed for cars. Instead, it traces the ancient field pattern, cutting across the ends of strips and then along the sides, connecting long-vanished settlements. The lane splits (we take the right fork) and splits again (the left) and suddenly we are descending steeply into a secret glade shrouded in ancient tree canopies. The lane curves, narrows and opens – and here we are. Still, you might not notice it, because the church is still camouflaged by the trees, and the absurdity of the neighbouring bungalow with its kitschy garden may distract you; but to your right, in a silent velvet graveyard sits St Andrew, Westhall. It has been described in one book as Suffolk’s best kept secret.
I hope that I can convey to you something of why this place is so special. Firstly, notice the unusual layout of the building as you walk around it. That fine late 13th century tower, not too high despite its post-Reformation bell-stage, organic and at one with the trees; the breathtaking little Norman church that spreads to the east of it. And then, to the north, a large 13th century nave, thatched and rustic. It was designed for this graveyard, for this glade. Neither has changed much. Beyond it, the grand 14th century chancel, rudely filling almost the entire east end of the graveyard. Perhaps as we step around to the north side the same thing will happen as happened to me one muggy Saturday afternoon in July 2003 – a tawny owl sat watching me on a headstone, and then threw itself furiously into the air and away.
Your first thought may be that here we have two churches joined together – and this is almost exactly right. You can see the same thing on a similar timescale at Ufford, although the development there is rather more subtle than it is here.
Here at Westhall, there was a Norman church – an early one. Several hundred years later a tower was built to the west of it, and then the vast new nave to the north. A hundred years later came the chancel. Perhaps the east end of the Norman church was rebuilt at this time. Mortlock thinks that there was once a Norman chancel, and this may be so. The old church became a south aisle, the particular preserve perhaps of the Bohun family. They married into the famous Coke family, who we have already met at nearby Bramfield.
And so, we step inside. We may do so through the fine north porch; it is a wide, open one, clearly intended for the carrying out of parish business. It was probably the last substantial part of the church to be built, on the eve of the Reformation. The door appears contemporary. Or, I might send you round to step in through the Norman doorway on the south side, into the body of the original church.
You expect dust and decay, perhaps, in such a remote place. But this is a well-kept church, lovingly maintained and well-used. Although there are a couple of old benches scattered about, most of the seating is early 19th century, with that delightful cinema curve to the western row which was fashionable immediately before the Oxford Movement and the Camden Society sent out their great resacramentalising waves, and English churches were never the same again.
If you step in from the south, then you are immediately confronted with something so stunning, so utterly wonderful, that we are going to pretend you cannot believe your eyes, and you pass it by. Instead, draw back the curtain, and step into the space beneath the tower. Walk to the western wall, and turn back.
You are confronted with the main entrance of a grand post-conquest church, probably about 1100. Surviving faces in the unfinished ranges look like something out of Wallace and Grommit. Above, an arcade of windows, the central one open. Almost a thousand years ago, it would have thrown summer evening light on the altar.
As you step back into the aisle, it is now easy to see it as the nave it once was. The northern wall has now gone, replaced by a low arcade, and you step through into the wideness of the modern (it is only 600 years old!) nave.
Here, then, let us at last allow ourselves an exploration of Suffolk’s other great medieval art survival. This is Westhall’s famous font, one of the seven sacrament series, but more haunting than all the others because it still retains almost all its original colour.
The Mass panel is the most familiar, because it is the cover of Eamonn Duffy’s majestic The Stripping of the Altars. The other panels, anti-clockwise from this, are Last Rites, Reconciliation, Matrimony, Confirmation, Baptism, Ordination, and the odd panel out, the Baptism of Christ.
The font asks more questions than it answers. How did it survive? Suffolk has 13 Seven Sacrament fonts in various states of repair. Those nearby at Blythburgh, Wenhaston and Southwold are clearly from the same group as this one, but have been completely effaced. Other good ones survive nearby at Weston and Great Glemham, at Monk Soham, at neighbours Woodbridge and Melton, neighbours Cratfield and Laxfield, at Denston in the south west and at Badingham. We don’t know how many others there might have been; probably not many, for most East Anglian churches have a surviving medieval font of another design. The surviving panels were probably plastered over during the long puritan night (the damage to the figures is probably a result of making the faces flush rather than any attempt at iconoclasm) but they were also all probably once coloured. So why has only this one survived in that state?
The other feature of the font that is quite, quite extraordinary is the application of gessowork for the tabernacled figures between the faces. This is plaster of Paris which is moulded on and allowed to dry – it can then be carved. It is sometimes used on wood to achieve fine details, but rarely on stone. Was it once found widely elsewhere? How has it survived here?
If it was just for the font, then St Andrew would still be an essential destination for anyone interested in medieval churches. But there are several other features that, in any other church, would be considered equally essential.
There is the screen. It is a bit of a curiosity. Firstly, the two painted ranges are clearly the work of different artists. On the south side are female Saints, very similar in style to those on the screen at Ufford. The artists helpfully labelled them, and they are St Etheldreda (the panel bearing her left half has been lost) St Sitha, St Agnes, St Bridget, St Catherine, St Dorothy, St Margaret of Aleppo and finally one of the most essential Saints in the medieval economy of grace, St Apollonia - she it was who could be asked to intercede against toothache. With the possible exception of St Margaret, modern Anglicans would think of all of these as peculiarly Catholic Saints, a reminder that St Andrew was built, after all, as a Catholic church.
The depictions on the northern part of the screen are much simpler (Pevsner thought them crude) and are probably painted by a local artist. Note the dedicatory inscription along the top on this side; it is barely legible, but the names Margarete and Tome Felton and Richard Lore and Margaret Alen are still discernible. I think the figures on this screen are equally fascinating, if not more so. They are all easily recognisable, and are fondly rendered. With one remarkable exception, they are familiar to us from many popular images.
The first is Saint James in his pilgrim's garb, as if about to set out for Santiago de Compostella. The power of such an image to medieval people in a backwater like north-east Suffolk should not be underestimated. Next comes St Leonard, associated with the Christian duty of visiting prisoners - perhaps this had a local resonance. Thirdly, there is a triumphant St Michael, one of the major Saints of the late medieval panoply, and then St Clement, the patron Saint of seafarers. This is interesting, because although Westhall is a good six miles from the sea, it is much closer to the Blyth river, which was probably much wider and faster in medieval times. It seems strange to think of Westhall as having a relationship with the sea, but it probably did.
Next comes the remarkable exception. The next three panels represent between them the Transfiguration; Christ on a mountain top between the two figures of Moses and Elijah. It is the only surviving medieval screen representation of the Transfiguration in England. Eamonn Duffy, in The Stripping of the Altars, argues that here at Westhall is priceless evidence of the emergence of a new cult on the eve of the Reformation, which would snuff it out. Another representation survived in a wall painting at Hawkedon, but has faded away during the last half century.
The last panel is St Anthony of Egypt, recognisable from the dear little pig at his feet. I wonder if it was painted from the life.
There is a fascinating wall painting against the north wall. It shows St Christopher, as you might expect. St Christopher was a special devotion in the hearts of medieval churchgoers, and usually sits opposite the main entrance so that they could look in at the start of the day and receive his blessing. As a surviving inscription at Creeting St Peter reminds us, anyone who looks on the image in the morning would be spared a sudden death that day. It is the other figures in the illustration that are remarkable, though, for one of them is clearly Moses, wearing his ‘horns of light’ (an early medieval mistranslation of ‘halo’).
There are a couple of other wall-paintings, including a beautiful flower-surrounded consecration cross beside the south door, and a painted image niche alcove in the eastern splay of a window in the south wall. This is odd; it should have a figure in it, but none appears to have been painted there. Perhaps it was intended to have a statue placed in front of it, but the window sill is very steep, and it is hard to see how a statue could have been positioned there. DD surmised that there had once been a stand, the base of which was canted in some manner, and that the sill had once been less steep (the base of the painting seems to suggest this). Whatever, it is very odd.
Between the painted niche and consecration cross there are surviving traces of a large painting; it seems to consist of the leafy surrounds of seven large roundels. Mortlock wondered if it might have been a sequence of the Seven Works of Mercy as at Trotton in Sussex, but there is insufficient remaining to tell.
Nicholas Bohun's tomb, in very poor repair, sits in the south-east corner; an associated brass gives you rather more information than you might think you need. A George III royal arms hangs above.
If you haven't lost your appetite for the extraordinary, come back up into the apparently completely Victorianised chancel. Chalice brasses are incredibly rare, because of their Catholic imagery. Westhall had two of them, although unfortunately only the matrices survive. Then, look up; on one of the roof beams is an image of the Holy Trinity, with God the Father holding the Crucified Christ between his knees. There is probably a dove as well, although that is not visible from the ground. Indeed, the whole thing is too small, as if the artist hadn't really thought about the scale needed for it to be seen from the chancel floor.
So there we are, I've let you in on Suffolk's best-kept secret. But I said earlier that I was afraid Simon Jenkins’s omission of this church might have serious consequences. Here is why: there is an ongoing programme of essential repairs, and the church has had to raise tens of thousands of pounds at fairly short notice. The parish has less than a hundred people living in it, and the congregation is barely in double figures. The church is clearly a national treasure, and its continued survival is essential; but it is difficult to convince people of this, because it has been missed out of what is increasingly being treated as a heritage wish-list. It was bad enough that Pevsner’s books were used as arbiters of what should survive when redundancies loomed in the 1970s; it would be appalling if the Jenkins book was used in the same way now.
Hello, Application for Blogger are open!!!
Now till 15 february
INfos about the Shop:
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Apologies for the lateness of this post. Believe me, it's not for lack of being ecstatic, just manic busy-ness and more recently mild sickness.
But I am most certainly overwhelmingly appreciative.
On Tuesday this week, I reached 100% of the goal of my project interior / exterior (in fact, 102%) and since then have exceeded that again!
The most recent contributors to my cause were two Divine Sisters, Michelle McRae and Sarah Mercer, and both Kyle Warren and Adam Meyer showed further support!
I am unbelievably thankful to everyone who has shown their support for my residency at Hospitalfield in Arbroath, Scotland, in April next year, and once the deadline has passed will be in contact with those who have shown their support to follow up about addresses and such for rewards where relevant.
If you haven't had a chance yet and would still like to be involved, any additional funds raised over the goal of AUD1,550 will go toward my flight to the UK, and all rewards are still valid until midday on the 8th of December, Australian Daylight Savings Time.
I am so excited about this residency and, internet permitting, will be blogging about my experiences there as it happens. I hope to bring you some wonderful photographs and carry those over into a self-published collection of images and an exhibition to complete my interior / exterior series.
I'm also excited about two upcoming collaborations. One with Simon Groth, a Brisbane author, to take the form of a published collection of short stories / prose and images; the other, a second collaboration with Nick Kind, ex-pat Brit based in Melbourne, a potential "letters from home" blog in the form of images exchanged between us of each other's place of origin.
The residency will go ahead irrespective of the UK Home Office, but my move to the UK is still dependent on my application for a UK Ancestry Visa, which I posted off last Wednesday after having my biometric data taken. I can't see any reason why it would be declined, but don't want to assume anything.
Should all go to plan though, I will be in London for the long haul by the 18th of January next year, and I am unbelievably excited at that prospect. And daunted. But mostly excited.
This new app is so silly I had to share!
Sandro Stefanelli is one of the guys behind it and a friend, the same crew behind Talking Carl!
Enjoy my sillyness!
I'm only having two pockets - that looks better on my rather short waisted, d-cup figure.
They are sewn on by hand taking tiny blind hemming stitches, being careful not to catch the lining.
Kim Berry, DEVELOP Fellow, Wise County (Virginia), left and NASA Langley Research Center DEVELOP Center Lead Emily Gotschalk speak during the 2016 Annual Earth Science Applications Showcase, Wednesday, Aug. 10, 2016, at NASA Headquarters in Washington. Every summer students and young professionals from NASA’s Applied Sciences’ DEVELOP National Program come to NASA Headquarters and present their research projects. DEVELOP is a training and development program where students work on Earth science research projects, mentored by science advisers from NASA and partner agencies, and extend research results to local communities. Photo Credit: (NASA/Bill Ingalls)
Spent all day creating a physical portfolio along with a DVD (which is not yet done) for grad program application. Happy with the results!
Please don't post your photos here nor GLITTERY IMAGES. They will be removed. Don't invite me to any group. I will not accept ;-)
Shot with three large Neewer LED panels, nothing else, no light formers .... seems like I start to like LED light (never would have guessed that).
LIGHT
www.amazon.de/gp/product/B00O8NKQ9K/ref=oh_aui_search_det...
1st LED panel: mainlight, from the left
2nd LED panel: kicker, from the opposite side
3rd LED panel: directed against the background
EXIF
5d3 with EF 70-200 f/2.8 II at f/3.5 and at 80 mm,, ISO 320, Av-Mode, Raw., WB on flash.
2007
Development application 12 April 2007 – demolition of dwelling
Maitland City Library collection
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Blogger applications are open for the month of April. We are searching for a handful of dedicated bloggers to join the elemenopee team. If you are interested please join via this link
"Maximize Mortgage Applications with Women Clients - t.co/9rf0qBiIJN (press release)" t.co/4FsmXc6hpE (via Twitter twitter.com/downpaymentaz/status/816578044433494016)
👑✨ MISS SECOND LIFE UNIVERSE 2025 – APPLICATIONS NOW OPEN! ✨👑
🌟 The most prestigious pageant in Second Life has returned! 🌟
Celebrate diversity, individuality, and confidence as women from across the grid step into the spotlight to represent their style, culture, and country.
📅 Applications: September 1st – September 21st
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✨ Dare to dream. Dare to shine. Dare to be YOU.
📍 Apply In-World (Landmark):
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Hi! In the spirit of concentrating the public's attention in our stores and keeping the fees low and affordable to everyone, Mainstore Releases is ready propose to you a brand new store-related initiave: the Mainstore Madness! As for the Annoying Hunt, this a project that I have been doing for a while now and I think could be a great project that we can all share together!
What is Mainstore Madness?
Once a month we ask you to make a new mainstore release, no dates, no deadlines, just when you feel you can do it. The new release will stay up at your store for 48 hours with a 40% discount. We encourage you to have a countdown timer in order to show customers the remaining time they have. After that you can put the full price and keep it at your store. The responsability of your product/timing/discount etc is up to you cause I don't have a team of people that can check, so please follow the rules or the customers will skip your store and it's a pity!
Why to join?
This project is made for designers that cannot afford/are not invited to events, but also for designers that join events but want to focus the attention in their mainstores too.
The initiative will start in March.
Info and rules
- You must have an inworld store.
- You must join once a month, any day it's more comfortable to you.
- The fee is 1000L per month.
- You can share your discounted new mainstore release anytime in our Discord server (in the proper channel) and, of course, in your social media in order to promote them.
- You must rez at your store the Mainstore Madness poster that will show the discounted product(s) of the day of all stores joining so we can promote each others I will personally change the image in the poster every time you will release a new product! This is the key to this project, the mainstore community promotion!
- You can choose if you want to set the product for your group, for Mainstore Releases group or for everybody.
- Vendor images must be sent 2 days before the release of the new product via a provided form, so I have the time to create the poster.
- Once accepted you will receive a designer kit with the poster, info and a Mainstore Madness logo to add to your mainstore release.
Fill the form if you are interested: forms.gle/bCSoLxau4K8t1dYw8
Love, Eva
Discord server: discord.gg/RgsPZNEadX
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Use of my photos requires credit in the form of a link back to the original photo. Please visit my photo permissions page for full details.
Business Application | LB Bookkeeping & Payroll Services, Inc.
7955 E. Arapahoe Court #1250,
Centennial, CO 80112
(303)347-1442
Briefcase with job application in it
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Oh my, I am so nervous. My application is leaving in mail for Florida tomorrow. Oh man, oh man, oh man.
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Masks have always been a central feature of the Venetian carnival; traditionally people were allowed to wear them between the festival of Santo Stefano (St. Stephen's Day, December 26) and the start of the carnival season and midnight of Shrove Tuesday. They have always been around Venice. As masks were also allowed on Ascension and from October 5 to Christmas, people could spend a large proportion of the year in disguise . Maskmakers (mascherari) enjoyed a special position in society, with their own laws and their own. It is celebrating the death of there ancesters --98.145.92.214 (talk) 03:58, 29 February 2012 (UTC)--98.145.92.214 (talk) 03:58, 29 February 2012 (UTC)'Bold text' guild.
Venetian masks can be made in leather or with the original glass technique. The original masks were rather simple in design,decoration, often had a symbolic, and practical function. Nowadays, most of them are made with the application of gesso and gold leaf and are all hand-painted using natural feathers and gems to decorate.
NDT is a non-invasive technique that assesses the structural integrity of a material, component or structure without destroying its shape, size, chemical or physical properties.
X-ray of the engine of an Airbus A320 of the Austrian Airline Fleet at the Vienna International Airport. This type of NDT method is conducted to check if there is any internal damage. 21 July 2015
Louise Potterton/ IAEA
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This guy was applying an unknown herbicide to a neighboring commercial property during moderate, sustained winds. The stink of the chemicals wafted into my yard. He refused when I asked him nicely to stop spraying until the wind died down, so I took his picture.
Object that have been treated with gamma irradiation. Museum of Brazilian and African Art, Sao Paulo, Brazil.
Photo Credit: Louise Potterton / IAEA
Africa Flores, Land Cover and Land Use Change Theme Lead for SERVIR, speaks during the 2018 Annual Earth Science Applications Showcase, Wednesday, Aug. 1, 2018 at NASA Headquarters in Washington. Every summer students and young professionals from NASA’s Applied Sciences’ DEVELOP National Program come to NASA Headquarters and present their research projects. DEVELOP is a training and development program where students work on Earth science research projects, mentored by science advisers from NASA and partner agencies, and extend research results to local communities. Photo Credit: (NASA/Joel Kowsky)