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🎵 Like honey to a bee, your love will stick to me 🎵 🐝💛@charlescreaturecabinet CCC [BEE WITHME] Tiny BJD ~hand micro knits ArgenTTo | US #TinaB #LatinHipHop #Freestyle #latinfreestyle #electrofunk #ArthurBaker #JohnRobie
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CCC BEE WITHME | 9cm Tiny BJD | bee firefly faerie | Ball-Jointed Doll ~Vanilla Bee Yellow Glow-in-the-Dark
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CCC @charlescreaturecabinet Hachi/Hotaru shoes
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** CCC's Pre Spring Event Opening Soon! ** Latinas - Urban meets Fae - Very Limited OOAK soft pastel colored Firefly Faeries (Fidelina sized 9cm) ** "GhettoFae" Faja Fulai Faeries ** (Glow-in-the-Dark resin)
~ a tribute from Charles to the 80s era of breakdancing, ghettoblasters & Electronic Funk/Latin-Hiphop Freestyle Music
#Shannon #Safire #ChrisBarbosa #MarkLigget #ArthurBaker #planetpatrol #Freeez #JennyBurton #JayNovelle #TKA #Exposé #CoverGirls #SweetSensation #LisaLisaAndTheCultJam #JohnRocca #StevieB #Nocera #Mantronik #DeniseLopez #JimiTunnel #Monet #Noel #BrendaKStarr and many more wonderful artists
Please stay tuned here: www.charlescreaturecabinet.net/news.html
** CCC's Pre Spring Event ** Latinas - Urban meets Fae - Very Limited OOAK (only 2 of each color) soft pastel colored Firefly Faeries (Fidelina sized 9cm) ** "GhettoFae" Faja Fulai Faeries ** (Glow-in-the-Dark resin)
Fuugalina (pumpkin orange - Glow: orange)
Silmë (yellow - Glow: yellow)
Fidelina (pink - Glow: pink)
~ a tribute from Charles to the 80s era of breakdancing, ghettoblasters & Electronic Funk/Latin-Hiphop Freestyle Music
#Shannon #Safire #ChrisBarbosa #MarkLigget #ArthurBaker #planetpatrol #Freeez #JennyBurton #JayNovelle #TKA #Exposé #CoverGirls #SweetSensation #LisaLisaAndTheCultJam #JohnRocca #StevieB #Nocera #Mantronik #DeniseLopez #JimiTunnel #Monet #Noel #BrendaKStarr #NuShooz and many more wonderful artists
Please stay tuned here: www.charlescreaturecabinet.net/news.html
** CCC's Pre Spring Event ** Latinas - Urban meets Fae - Very Limited OOAK (only 2 of each color) soft pastel colored Firefly Faeries (Fidelina sized 9cm) ** "GhettoFae" Faja Fulai Faeries ** (Glow-in-the-Dark resin)
Fuugalina (pumpkin orange - Glow: orange)
Silmë (yellow - Glow: yellow)
Fidelina (pink - Glow: pink)
~ a tribute from Charles to the 80s era of breakdancing, ghettoblasters & Electronic Funk/Latin-Hiphop Freestyle Music
#Shannon #Safire #ChrisBarbosa #MarkLigget #ArthurBaker #planetpatrol #Freeez #JennyBurton #JayNovelle #TKA #Exposé #CoverGirls #SweetSensation #LisaLisaAndTheCultJam #JohnRocca #StevieB #Nocera #Mantronik #DeniseLopez #JimiTunnel #Monet #Noel #BrendaKStarr #NuShooz and many more wonderful artists
Please stay tuned here: www.charlescreaturecabinet.net/news.html
Setting a first-day orientation table for Type West at Letterform Archive. Baker’s grid is not a direct reference to Noordzij’s cube (it's more about variation in terminal shape and construction than weight and contrast), but I couldn’t help but sit them next to each other.
Setting a first-day orientation table for Type West at Letterform Archive. Baker’s grid is not a direct reference to Noordzij’s cube (it's more about variation in terminal shape and construction than weight and contrast), but I couldn’t help but sit them next to each other.
** CCC's Pre Spring Event ** Latinas - Urban meets Fae - Very Limited OOAK (only 2 of each color) soft pastel colored Firefly Faeries (Fidelina sized 9cm) ** "GhettoFae" Faja Fulai Faeries ** (Glow-in-the-Dark resin)
Fuugalina (pumpkin orange - Glow: orange)
Silmë (yellow - Glow: yellow)
Fidelina (pink - Glow: pink)
~ a tribute from Charles to the 80s era of breakdancing, ghettoblasters & Electronic Funk/Latin-Hiphop Freestyle Music
#Shannon #Safire #ChrisBarbosa #MarkLigget #ArthurBaker #planetpatrol #Freeez #JennyBurton #JayNovelle #TKA #Exposé #CoverGirls #SweetSensation #LisaLisaAndTheCultJam #JohnRocca #StevieB #Nocera #Mantronik #DeniseLopez #JimiTunnel #Monet #Noel #BrendaKStarr #NuShooz and many more wonderful artists
Please stay tuned here: www.charlescreaturecabinet.net/news.html
Twice As Nice
CD :
Twice As Nice
Be Music I Dojo I Mark Kamins I Arthur Baker Productions
Les Temps Modernes
LTM2398
Design . Julien Potter
Be Music Logo . Peter Saville
Postcard :
Pantone 586
Sakura
Use Hearing Protection
GMA
A look at St Padarn Church near the High Street in Llanberis town / village centre. It is also visible from the other side of the lake Llyn Padarn if travelling on the Llanberis Lake Railway.
Grade II* Listed Building.
History
Built on virgin ground in 1884-5 by Arthur Baker, assisted by his young cousin Herbert Baker as clerk of works, the church was completed through the addition in 1914-15 of the lady chapel in complimentary style by Harold Hughes (later author of Churches of Old Snowdonia) for Trevor Hughes, squire of Glascoed.
Exterior
Parish church. Snecked rough-faced local rubblestone with pink sandstone ashlar dressings; slate roofs with stepped ashlar coping and foliated and Celtic crosses to gables; heavily buttressed throughout. Basic cruciform plan in a late Early English style. The church is dominated by its central tower, only the belfry stage of which is visible externally; 2 louvred pointed windows to each face linked by thin continuous string course with hollow-chamfered arches supported on 2 full shafts and one engaged shaft with capitals and bases. Plain moulded corbel table above; pyramidal slate roof with decorative wrought-iron weathervane behind embattled parapet. Entrance to nave on north side through gabled porch with a trefoil-headed arch set in a larger arch; the double doors have elaborate iron door furniture, including inward radiating strap hinges with fleur-de-lys points and Celtic motifs. The porch is within a larger partially hip-roofed structure projecting from the north wall of the nave. To the right in this wall is a circular window containing a cinquefoil within, with to the right of this 2 lancets. West wall of nave has a double-chamfered rounded arch and hoodmould over plain tympanum with joggled masonry and a heavily foliated cross; double doors with similar but plainer ironwork than to north doors; slate stone dated "1914" to right. Upper part of west wall slightly recessed and has 3 stepped broad lancets with quatrefoil above. South wall has 4 grouped quatrefoils in Caernarfon arches forming a horizontal run over part of the full-length lean-to aisle (the lady chapel) which has 4 paired small lancets to south wall; broad lancet to west wall with stone to right recording that the chapel was built by Trevor Hughes, Squire of Glascoed in 1914. North transept has full-width round-headed window with 7 stepped lancets within, below high-level string course, above which are 3 grouped lancets with continuous hoodmould; battlemented octagonal stair turret to north-east corner. West wall has a single lancet and there is another to east wall in angle with stair turret. Chancel has full-height lean-to organ chamber on north with a single lancet to the north wall and paired lancets beneath a quatrefoil to the east wall; small semi-circular projection with conical roof in angle with the eastward continuation of the north chancel wall which has a tall lancet to each side of a stepped buttress. 3 broad lancets to east wall above high string course, low down below which is a datestone of 1884; quatrefoil to gable. South wall of chancel largely obscured by lower parallel vestry which has 3 grouped lancets with cinquefoil above to east wall; ventilation slit to apex and narrow rectangular window to right of lancets. Entrance is through pointed doorway on south side in slightly projecting break with 3 grouped lancets to left. South wall of south transept has 4 stepped lancets with roundels containing trefoils and a quatrefoil window to the interstices; above is a high string course with 3 grouped lancets and a continuous hoodmould as on north transept; single small lancets to east and west walls.
Interior
Impressively large and spacious interior. Exposed stone rubble walls with banded stonework and pink sandstone ashlar to arches, windows and doorways. Panelled wagon roof with arch bracing and pendants to nave; similar roofs to transepts. Crossing and chancel roofs have cusping to archbraces, latter more heavily ribbed than others. Wood- block floor to nave and transepts; quarry tiles to raised chancel and encaustic tiles to sanctuary. Massive west crossing arch in 3 orders with 3 tiers of engaged shafts, from which also spring in turn the transept and chancel arches; moulded capitals and bases to each tier of shafts with shaft-rings to the upper tier. The transept arches are contained within wide strainer buttress arches encompassing smaller arches to east and west. Further buttress arches in east and west walls of transepts also incorporate pointed arches, that on east side of north transept enclosing the organ, that to east on south side mostly with solid masonry "infill" but also with 2 small pointed arches, the one to south blind, the one to north opening into the vestry. On the west side of the south transept the pointed arch leads to the lady chapel and the corresponding arch on the north gives access to the projection on the north side of the nave.
The late medieval font comes from the old church at Nant Peris (it was for a time in the Rectory garden); dark granite octagonal bowl on lighter-coloured octagonal pedestal. Pulpit and choir stalls are late C19; the altar rails and panelled reredos, continued to the side walls of the sanctuary, are a 1914-18 war memorial; stained glass in east window has Christ in Majesty, flanked by St Padarn to north and St Peris (Beris) to south. 1910 Llanberis Mothers' Union banner within sanctuary; present high altar (to west of chancel steps) is a panelled chest; 2 Romano-British bronze patellae in glass display chest in south transept. Plain wall tablet on east wall of north transept to Rev E B Thomas (d.1908) and brass plaque on south pier of west arch to south transept commemorates John Rowlands, who died of enteric fever at Durban, South Africa in 1900.
Reasons for Listing
Included at Grade II* as a very fine example of a high Victorian church in an inventive Early English style which is assured in its massing, its handling of the remarkably large internal spaces, and its decoration. Splendidly occupies its prominent townscape location.
Godskitchen Global Gathering 2004
THE 2004 Global Gathering will be the first ever UK dance festival to span across two days, with the 2005 event offering camping facilities on the Friday and Saturday nights.
The hottest line-up of DJs for the king of dance events.
Saturday, 31 Jul
Accelerated Culture
Fabio
Grooverider
Andy C
Diesel Boy
Killa Kella
Pendulum
Hype
Krust
Garry K
Mampi Swift
Zinc
Hazzard
The Ratpack
Bryan Gee
Dollar
Nicky Blackmarket
Twisted Individual
Air Arena
Plump DJ's
Adam Freeland
UNKLE Sounds
Hybrid
Stanton Warriors
Ali B
Krafty Kuts
Lee Coombs
Joe Ransom
Babooshka
Erick Morillo
X-Press 2
Steve Lawler
Junior Jack & Kid Creme
Jon Carter
Harry Romero
Wally Lopez
James Algate
.
Beach Arena
Paul Oakenfold
Roger Sanchez
Tim Deluxe (live)
Nic Fanciulli
Paul Thomas
Chris Turner
Bedrock Arena
John Digweed
Sasha
Danny Howells
Herman Cattaneo
James Zabiela
Chris Fortier
Nick Warren
Jimmy Van M
Phil Thompson
Jonathan Lisle
Global Arena
Carl Cox
Dave Clarke
Umek
Adam Beyer
Mistress Barbara
Trevor Rockcliffe
Christian Varela
Michel De Hey
Will Grant
.
Godskitchen Live Arena
Paul Van Dyck
Armin Van Buuren
Ferry Corsten
Judge Jules
Mauro Picotto & Richard Ferri (live)
Tall Paul
Gabriel & Dresden
M.I.K.E. (live)
John '00' Fleming
Jon O'Bir
MC's
Biggie
IC3
Presha
Five Alive
Navigator
Eksman
Dynamite
Spyda
Juiceman
Skibadee
Stamina
Messinian
GQ
Magika
Det
Fearless
Polysexual Arena
Lisa Lashes
Lab 4 (live)
Tidy Boys
Scot Project
Yoji Bioehanika
BK
Andy Farley
Rob Tissera
k90 (live)
Andy Savage
DJ Karim
Shan
Hinsley
Paul Maddox
.
The Strongbow Rooms
Arthur Baker
Glimmer Twins
Bugz in the Attic
Touche
Headman
Jo Jo De Freq
Medicine 8
.
A ride on the Llanberis Lake Railway. After the train had gone from Gilfach Ddu down to Llanberis Station, it returned in the other direction.
It wouldn't stop at Gilfach Ddu but would continue on to the end of the line as far as Penllyn. Then it would turn back and make a stop at Cei Llydan (a picnic stop - you can get off there if you want to, we didn't). Eventually after the break it would resume it's journey and we got off at Gilfach Ddu (where we started) after about an hour!
On the return journey back to Gilfach Ddu saw St Padarn Church for the first time. Would later see it close up on walk around the village / town centre.
The Llanberis Lake Railway (Welsh: Rheilffordd Llyn Padarn) is a 1 ft 11 1⁄2 in (597 mm) narrow gauge heritage railway that runs for 2.5 miles (4 km) along the northern shore of Llyn Padarn in north Wales in the Snowdonia National Park. The starting point is the town of Llanberis at the eastern end of the lake (53.1175°N 4.1193°W), with the western terminus at Pen Llyn in the Padarn Country Park (53.1370°N 4.1495°W). The return journey takes around 60 minutes.
Grade II* Listed Building.
History
Built on virgin ground in 1884-5 by Arthur Baker, assisted by his young cousin Herbert Baker as clerk of works, the church was completed through the addition in 1914-15 of the lady chapel in complimentary style by Harold Hughes (later author of Churches of Old Snowdonia) for Trevor Hughes, squire of Glascoed.
Exterior
Parish church. Snecked rough-faced local rubblestone with pink sandstone ashlar dressings; slate roofs with stepped ashlar coping and foliated and Celtic crosses to gables; heavily buttressed throughout. Basic cruciform plan in a late Early English style. The church is dominated by its central tower, only the belfry stage of which is visible externally; 2 louvred pointed windows to each face linked by thin continuous string course with hollow-chamfered arches supported on 2 full shafts and one engaged shaft with capitals and bases. Plain moulded corbel table above; pyramidal slate roof with decorative wrought-iron weathervane behind embattled parapet. Entrance to nave on north side through gabled porch with a trefoil-headed arch set in a larger arch; the double doors have elaborate iron door furniture, including inward radiating strap hinges with fleur-de-lys points and Celtic motifs. The porch is within a larger partially hip-roofed structure projecting from the north wall of the nave. To the right in this wall is a circular window containing a cinquefoil within, with to the right of this 2 lancets. West wall of nave has a double-chamfered rounded arch and hoodmould over plain tympanum with joggled masonry and a heavily foliated cross; double doors with similar but plainer ironwork than to north doors; slate stone dated "1914" to right. Upper part of west wall slightly recessed and has 3 stepped broad lancets with quatrefoil above. South wall has 4 grouped quatrefoils in Caernarfon arches forming a horizontal run over part of the full-length lean-to aisle (the lady chapel) which has 4 paired small lancets to south wall; broad lancet to west wall with stone to right recording that the chapel was built by Trevor Hughes, Squire of Glascoed in 1914. North transept has full-width round-headed window with 7 stepped lancets within, below high-level string course, above which are 3 grouped lancets with continuous hoodmould; battlemented octagonal stair turret to north-east corner. West wall has a single lancet and there is another to east wall in angle with stair turret. Chancel has full-height lean-to organ chamber on north with a single lancet to the north wall and paired lancets beneath a quatrefoil to the east wall; small semi-circular projection with conical roof in angle with the eastward continuation of the north chancel wall which has a tall lancet to each side of a stepped buttress. 3 broad lancets to east wall above high string course, low down below which is a datestone of 1884; quatrefoil to gable. South wall of chancel largely obscured by lower parallel vestry which has 3 grouped lancets with cinquefoil above to east wall; ventilation slit to apex and narrow rectangular window to right of lancets. Entrance is through pointed doorway on south side in slightly projecting break with 3 grouped lancets to left. South wall of south transept has 4 stepped lancets with roundels containing trefoils and a quatrefoil window to the interstices; above is a high string course with 3 grouped lancets and a continuous hoodmould as on north transept; single small lancets to east and west walls.
Interior
Impressively large and spacious interior. Exposed stone rubble walls with banded stonework and pink sandstone ashlar to arches, windows and doorways. Panelled wagon roof with arch bracing and pendants to nave; similar roofs to transepts. Crossing and chancel roofs have cusping to archbraces, latter more heavily ribbed than others. Wood- block floor to nave and transepts; quarry tiles to raised chancel and encaustic tiles to sanctuary. Massive west crossing arch in 3 orders with 3 tiers of engaged shafts, from which also spring in turn the transept and chancel arches; moulded capitals and bases to each tier of shafts with shaft-rings to the upper tier. The transept arches are contained within wide strainer buttress arches encompassing smaller arches to east and west. Further buttress arches in east and west walls of transepts also incorporate pointed arches, that on east side of north transept enclosing the organ, that to east on south side mostly with solid masonry "infill" but also with 2 small pointed arches, the one to south blind, the one to north opening into the vestry. On the west side of the south transept the pointed arch leads to the lady chapel and the corresponding arch on the north gives access to the projection on the north side of the nave.
The late medieval font comes from the old church at Nant Peris (it was for a time in the Rectory garden); dark granite octagonal bowl on lighter-coloured octagonal pedestal. Pulpit and choir stalls are late C19; the altar rails and panelled reredos, continued to the side walls of the sanctuary, are a 1914-18 war memorial; stained glass in east window has Christ in Majesty, flanked by St Padarn to north and St Peris (Beris) to south. 1910 Llanberis Mothers' Union banner within sanctuary; present high altar (to west of chancel steps) is a panelled chest; 2 Romano-British bronze patellae in glass display chest in south transept. Plain wall tablet on east wall of north transept to Rev E B Thomas (d.1908) and brass plaque on south pier of west arch to south transept commemorates John Rowlands, who died of enteric fever at Durban, South Africa in 1900.
Reasons for Listing
Included at Grade II* as a very fine example of a high Victorian church in an inventive Early English style which is assured in its massing, its handling of the remarkably large internal spaces, and its decoration. Splendidly occupies its prominent townscape location.
A look at St Padarn Church near the High Street in Llanberis town / village centre. It is also visible from the other side of the lake Llyn Padarn if travelling on the Llanberis Lake Railway.
Grade II* Listed Building.
History
Built on virgin ground in 1884-5 by Arthur Baker, assisted by his young cousin Herbert Baker as clerk of works, the church was completed through the addition in 1914-15 of the lady chapel in complimentary style by Harold Hughes (later author of Churches of Old Snowdonia) for Trevor Hughes, squire of Glascoed.
Exterior
Parish church. Snecked rough-faced local rubblestone with pink sandstone ashlar dressings; slate roofs with stepped ashlar coping and foliated and Celtic crosses to gables; heavily buttressed throughout. Basic cruciform plan in a late Early English style. The church is dominated by its central tower, only the belfry stage of which is visible externally; 2 louvred pointed windows to each face linked by thin continuous string course with hollow-chamfered arches supported on 2 full shafts and one engaged shaft with capitals and bases. Plain moulded corbel table above; pyramidal slate roof with decorative wrought-iron weathervane behind embattled parapet. Entrance to nave on north side through gabled porch with a trefoil-headed arch set in a larger arch; the double doors have elaborate iron door furniture, including inward radiating strap hinges with fleur-de-lys points and Celtic motifs. The porch is within a larger partially hip-roofed structure projecting from the north wall of the nave. To the right in this wall is a circular window containing a cinquefoil within, with to the right of this 2 lancets. West wall of nave has a double-chamfered rounded arch and hoodmould over plain tympanum with joggled masonry and a heavily foliated cross; double doors with similar but plainer ironwork than to north doors; slate stone dated "1914" to right. Upper part of west wall slightly recessed and has 3 stepped broad lancets with quatrefoil above. South wall has 4 grouped quatrefoils in Caernarfon arches forming a horizontal run over part of the full-length lean-to aisle (the lady chapel) which has 4 paired small lancets to south wall; broad lancet to west wall with stone to right recording that the chapel was built by Trevor Hughes, Squire of Glascoed in 1914. North transept has full-width round-headed window with 7 stepped lancets within, below high-level string course, above which are 3 grouped lancets with continuous hoodmould; battlemented octagonal stair turret to north-east corner. West wall has a single lancet and there is another to east wall in angle with stair turret. Chancel has full-height lean-to organ chamber on north with a single lancet to the north wall and paired lancets beneath a quatrefoil to the east wall; small semi-circular projection with conical roof in angle with the eastward continuation of the north chancel wall which has a tall lancet to each side of a stepped buttress. 3 broad lancets to east wall above high string course, low down below which is a datestone of 1884; quatrefoil to gable. South wall of chancel largely obscured by lower parallel vestry which has 3 grouped lancets with cinquefoil above to east wall; ventilation slit to apex and narrow rectangular window to right of lancets. Entrance is through pointed doorway on south side in slightly projecting break with 3 grouped lancets to left. South wall of south transept has 4 stepped lancets with roundels containing trefoils and a quatrefoil window to the interstices; above is a high string course with 3 grouped lancets and a continuous hoodmould as on north transept; single small lancets to east and west walls.
Interior
Impressively large and spacious interior. Exposed stone rubble walls with banded stonework and pink sandstone ashlar to arches, windows and doorways. Panelled wagon roof with arch bracing and pendants to nave; similar roofs to transepts. Crossing and chancel roofs have cusping to archbraces, latter more heavily ribbed than others. Wood- block floor to nave and transepts; quarry tiles to raised chancel and encaustic tiles to sanctuary. Massive west crossing arch in 3 orders with 3 tiers of engaged shafts, from which also spring in turn the transept and chancel arches; moulded capitals and bases to each tier of shafts with shaft-rings to the upper tier. The transept arches are contained within wide strainer buttress arches encompassing smaller arches to east and west. Further buttress arches in east and west walls of transepts also incorporate pointed arches, that on east side of north transept enclosing the organ, that to east on south side mostly with solid masonry "infill" but also with 2 small pointed arches, the one to south blind, the one to north opening into the vestry. On the west side of the south transept the pointed arch leads to the lady chapel and the corresponding arch on the north gives access to the projection on the north side of the nave.
The late medieval font comes from the old church at Nant Peris (it was for a time in the Rectory garden); dark granite octagonal bowl on lighter-coloured octagonal pedestal. Pulpit and choir stalls are late C19; the altar rails and panelled reredos, continued to the side walls of the sanctuary, are a 1914-18 war memorial; stained glass in east window has Christ in Majesty, flanked by St Padarn to north and St Peris (Beris) to south. 1910 Llanberis Mothers' Union banner within sanctuary; present high altar (to west of chancel steps) is a panelled chest; 2 Romano-British bronze patellae in glass display chest in south transept. Plain wall tablet on east wall of north transept to Rev E B Thomas (d.1908) and brass plaque on south pier of west arch to south transept commemorates John Rowlands, who died of enteric fever at Durban, South Africa in 1900.
Reasons for Listing
Included at Grade II* as a very fine example of a high Victorian church in an inventive Early English style which is assured in its massing, its handling of the remarkably large internal spaces, and its decoration. Splendidly occupies its prominent townscape location.
"A Hundred Merry Tales", modernized from Shakespeare by Franklin S. Klaf and Bernhardt J. Hurwood. Cover designed by Arthur Baker, who created of a distinctive and dramatic style of brush and pen calligraphy.
Published 1964 by Citadel Press in New York .
A look at St Padarn Church near the High Street in Llanberis town / village centre. It is also visible from the other side of the lake Llyn Padarn if travelling on the Llanberis Lake Railway.
Grade II* Listed Building.
History
Built on virgin ground in 1884-5 by Arthur Baker, assisted by his young cousin Herbert Baker as clerk of works, the church was completed through the addition in 1914-15 of the lady chapel in complimentary style by Harold Hughes (later author of Churches of Old Snowdonia) for Trevor Hughes, squire of Glascoed.
Exterior
Parish church. Snecked rough-faced local rubblestone with pink sandstone ashlar dressings; slate roofs with stepped ashlar coping and foliated and Celtic crosses to gables; heavily buttressed throughout. Basic cruciform plan in a late Early English style. The church is dominated by its central tower, only the belfry stage of which is visible externally; 2 louvred pointed windows to each face linked by thin continuous string course with hollow-chamfered arches supported on 2 full shafts and one engaged shaft with capitals and bases. Plain moulded corbel table above; pyramidal slate roof with decorative wrought-iron weathervane behind embattled parapet. Entrance to nave on north side through gabled porch with a trefoil-headed arch set in a larger arch; the double doors have elaborate iron door furniture, including inward radiating strap hinges with fleur-de-lys points and Celtic motifs. The porch is within a larger partially hip-roofed structure projecting from the north wall of the nave. To the right in this wall is a circular window containing a cinquefoil within, with to the right of this 2 lancets. West wall of nave has a double-chamfered rounded arch and hoodmould over plain tympanum with joggled masonry and a heavily foliated cross; double doors with similar but plainer ironwork than to north doors; slate stone dated "1914" to right. Upper part of west wall slightly recessed and has 3 stepped broad lancets with quatrefoil above. South wall has 4 grouped quatrefoils in Caernarfon arches forming a horizontal run over part of the full-length lean-to aisle (the lady chapel) which has 4 paired small lancets to south wall; broad lancet to west wall with stone to right recording that the chapel was built by Trevor Hughes, Squire of Glascoed in 1914. North transept has full-width round-headed window with 7 stepped lancets within, below high-level string course, above which are 3 grouped lancets with continuous hoodmould; battlemented octagonal stair turret to north-east corner. West wall has a single lancet and there is another to east wall in angle with stair turret. Chancel has full-height lean-to organ chamber on north with a single lancet to the north wall and paired lancets beneath a quatrefoil to the east wall; small semi-circular projection with conical roof in angle with the eastward continuation of the north chancel wall which has a tall lancet to each side of a stepped buttress. 3 broad lancets to east wall above high string course, low down below which is a datestone of 1884; quatrefoil to gable. South wall of chancel largely obscured by lower parallel vestry which has 3 grouped lancets with cinquefoil above to east wall; ventilation slit to apex and narrow rectangular window to right of lancets. Entrance is through pointed doorway on south side in slightly projecting break with 3 grouped lancets to left. South wall of south transept has 4 stepped lancets with roundels containing trefoils and a quatrefoil window to the interstices; above is a high string course with 3 grouped lancets and a continuous hoodmould as on north transept; single small lancets to east and west walls.
Interior
Impressively large and spacious interior. Exposed stone rubble walls with banded stonework and pink sandstone ashlar to arches, windows and doorways. Panelled wagon roof with arch bracing and pendants to nave; similar roofs to transepts. Crossing and chancel roofs have cusping to archbraces, latter more heavily ribbed than others. Wood- block floor to nave and transepts; quarry tiles to raised chancel and encaustic tiles to sanctuary. Massive west crossing arch in 3 orders with 3 tiers of engaged shafts, from which also spring in turn the transept and chancel arches; moulded capitals and bases to each tier of shafts with shaft-rings to the upper tier. The transept arches are contained within wide strainer buttress arches encompassing smaller arches to east and west. Further buttress arches in east and west walls of transepts also incorporate pointed arches, that on east side of north transept enclosing the organ, that to east on south side mostly with solid masonry "infill" but also with 2 small pointed arches, the one to south blind, the one to north opening into the vestry. On the west side of the south transept the pointed arch leads to the lady chapel and the corresponding arch on the north gives access to the projection on the north side of the nave.
The late medieval font comes from the old church at Nant Peris (it was for a time in the Rectory garden); dark granite octagonal bowl on lighter-coloured octagonal pedestal. Pulpit and choir stalls are late C19; the altar rails and panelled reredos, continued to the side walls of the sanctuary, are a 1914-18 war memorial; stained glass in east window has Christ in Majesty, flanked by St Padarn to north and St Peris (Beris) to south. 1910 Llanberis Mothers' Union banner within sanctuary; present high altar (to west of chancel steps) is a panelled chest; 2 Romano-British bronze patellae in glass display chest in south transept. Plain wall tablet on east wall of north transept to Rev E B Thomas (d.1908) and brass plaque on south pier of west arch to south transept commemorates John Rowlands, who died of enteric fever at Durban, South Africa in 1900.
Reasons for Listing
Included at Grade II* as a very fine example of a high Victorian church in an inventive Early English style which is assured in its massing, its handling of the remarkably large internal spaces, and its decoration. Splendidly occupies its prominent townscape location.
This view from the A4086 road.
Arthur Baker, second son of Issac & Lizzie Baker of The Street, Upchurch 29th January 1932. DO NOT COPY PLEASE!!!
Ronald Charles Abbs
Kenneth Arthur Balls
Arthur Edward Barker
Anthony Leonard Brett
Brian S Todd Brookes
Geoffrey Suffling Cross
John David Edwards
Frank Robert Gray
Reginald Gray
James Rushmer Lake
Ronald James Lusher
Hugh Collington Matthews
Lawrence Herbert Trumay
Douglas Arthur Shales
Gilbert Roland Spinks
Edward Knyvet Steward
Queensland Fruitgrowers Cooperative Society (QFS) received and loaded the fruit and vegetables destined for the Brisbane market from this large goods shed by the Amiens Branch Line. Arthur Baker was one of their managers. He was responsible for the operation of their agricultural supplies shop here. This platform and shed was one of his daughter's favourite places to play for she was near her dad and home was just across the line.
Seventy years on, she returned for a nostalgic visit, recalling moments and the joy of a simple family life among this orcharding area. Apples, apricots, peaches, nectarines, pears, and plums (especially Wilson Plums) were grown on diversified farms all along this branch line. This area of the Queensland Granite Belt was opened up to closer settlement by the government and allocated to soldiers returning from the First World War. The stations or sidings, like this one, were named after World War battlefields: Fleurbaix, Poziers, Bullecourt, Passchendaele, Bapaume, Messines, and Amiens was the terminus. [It is not a surprise surely, that when Arthur Baker's daughter was in France, she visited each of these First World War sites and villes.]
Hailstorms were a fact of life in the early summer in this high altitude area with consequential destruction of fruit, so the diversification of crops were essential to ensure each farmer survived, as each different variety matured at different rates. When one crop was wiped out by hail, other trees yielded a harvest. Hail damaged fruit became food for animals while some became the basis for preserves and jams prepared by the farmer's wife.
Arthur Baker had migrated from North Yorkshire as an 18 year old, dreaming to become a "sheep farmer in Victoria". But instead he was drafted to serve as a farm labourer on a new orchard owned by Walter H Bell at Bapaume. When Arthur married an Australian girl, they bought a small farm and laboured through the wiles of the elements (hailstorms, late frosts when trees were flowering, droughts, and occasional tornadoes). Eventually, Arthur sold his farm, when he had the opportunity to become QFS manager first at Bapaume and later in the main regional town of Stanthorpe on the Southern Line.
Pity the old farm...for years idle and over grown... no longer in production.
Pity the old railway...for years now defunct....replaced by refrigerated road transport to multiple markets.
1888-89 by Arthur Baker, a chapel of ease to St Mary Abbots Parish Church. It was quite a large red brick lancet church and replaced a temporary tin church. The church was destroyed in World War Two bombing, like its parent church, but unlike St Mary Abbots it was not rebuilt and the ruins were cleared away.
Born in Tokyo, Canadian singer-songwriter-instrumentalist Anna Domino (born Anne Taylor) moved to Belgium in the early 1980s, where she began a long association with Les Disques du Crepuscule. As a result she also released a few records on Factory, of which this 7-inch is the first.
The flip of the self-penned A-side is a cover of the old Marvelettes hit "The Hunter Gets Captured By The Game", written by Smokey Robinson. Production was by the Associates' Alan Rankine with remixing duties handled by Arthur Baker.
Both the A and B-sides of this 7-inch are a couple of minutes shorter than their corresponding 12" versions.
Read James Nice's short AD biography here: www.ltmrecordings.com/annadbio.html
Imagen de nuestro paso fugaz por el festival de graffiti y otras cosas MadGraff, en La Traba. Gracias por la invitación al Sfir y por su apoyo a Ler y Yavik. Y gracias a quien pueda pasarnos una foto sin el reflejo del foco :-)
Born in Tokyo, Canadian singer-songwriter-instrumentalist Anna Domino (born Anne Taylor) moved to Belgium in the early 1980s, where she began a long association with Les Disques du Crepuscule. As a result she also released a few records on Factory, of which this 7-inch is the first.
The flip of the self-penned A-side is a cover of the old Marvelettes hit "The Hunter Gets Captured By The Game", written by Smokey Robinson. Production was by the Associates' Alan Rankine with remixing duties handled by Arthur Baker.
Both the A and B-sides of this 7-inch are a couple of minutes shorter than their corresponding 12" versions.
You can read more about Anna Domino in James Nice's piece here: www.ltmrecordings.com/annadbio.html
Ooooh what do we have here...
Yes I think this is what was known as an audiotape....from around 1984.
A rather primitive means of storing and playing music.
I don't recognise the artist or style of music - some sort of specialist stuff.
I myself was listening to Bon Jovi at the time...
Born in Tokyo, Canadian singer-songwriter-instrumentalist Anna Domino (born Anne Taylor) moved to Belgium in the early 1980s, where she began a long association with Les Disques du Crepuscule. As a result she also released a few records on Factory, of which this 7-inch is the first.
This flip of the self-penned A-side is a cover of the old Marvelettes hit "The Hunter Gets Captured By The Game", written by Smokey Robinson. Production was by the Associates' Alan Rankine with remixing duties handled by Arthur Baker.
Both the A and B-sides of this 7-inch are a couple of minutes shorter than their corresponding 12" versions.
You can read more about Anna Domino in James Nice's biography here: www.ltmrecordings.com/annadbio.html
Born in Tokyo, Canadian singer-songwriter-instrumentalist Anna Domino (born Anne Taylor) moved to Belgium in the early 1980s, where she began a long association with Les Disques du Crepuscule. As a result she also released a few records on Factory, of which this 7-inch is the first.
Production was by the Associates' Alan Rankine with remixing duties handled by Arthur Baker.
Both the A and B-sides of this 7-inch are a couple of minutes shorter than their corresponding 12" versions.
You can read more about Anna Domino in James Nice's biography here: www.ltmrecordings.com/annadbio.html