🎵 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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Hand micro knits @argenTTo

CCC @charlescreaturecabinet Hachi/Hotaru shoes

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Photo: Resinbambola Flickr | US

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BJD Sculpt ™️ Copyright ©️ 2008 | Charles Grimberg-Stephan | Charles' Creature Cabinet | All Rights Reserved.

Arthur Baker, Calligraphy, 1973

These five CDV’s are of graduates of the Rensselaer Polytechnic Institute (RPI) in Troy, New York. Each is signed on the back with the year of graduation noted. From left to right:

 

1) Arthur Geils Baker was born 22 February 1853 in Bareilly, Uttar Pradesh, India, the son of Lt. Colonel William Baker (1824-1900) and Elizabeth Vincent (born 1820). The couple was married in India. Lt. Col. Baker held a number of commands, including commander of the 4th Gurkha Regiment in 1858. On a visit to Decorah, Iowa to visit his brother, William Baker decided after leaving the service circa 1864 to seek his fortunes in Iowa. William and Elizabeth brought five children with them, all born in India. In 1870, the family was living in West Decorah, and had real estate valued at $7,000 and a personal estate of $2,000. Arthur G. Baker attended RPI in Troy, New York, graduating as a civil engineer in 1876. His first job was as assistant engineer for the Chicago, St. Paul, Milwaukee Railroad, stationed at various locations, including Iowa, Minnesota, and the Dakota Territory. In 1880, Arthur was included in the census as living with his parents in West Decorah. On 9 October 1889, Arthur married Mary S. (last name unknown, born circa 1867 in Wisconsin). Arthur and Mary ended up in Los Angeles, California, where he continued to work as an engineer. Arthur Geils Baker passed away on 14 September 1933.

 

(CDV by Van Wyck Horton, 15 & 17 North Pearl Street, Albany, New York. Bio details on Horton attached to other pictures that I uploaded.)

 

2) Daniel McLaren was born 22 April 1855 in Cincinnati, Ohio, the son of Daniel McLaren Sr.(born circa 1821) and Amelia M. Jenkins (born circa 1822). Daniel McLaren Sr. was very successfully involved in railroads, and was superintendent of the Cincinnati, Hamilton, & Dayton Railroad. In 1870, the family was living in Springfield, Ohio, and had real estate worth $75,000 and a personal estate of $80,000. Daniel Jr. prepared to attend RPI at the Chickering Institute and then gained some practical experience as a machinist and later as a locomotive engineer. He entered RPI in 1874 and graduated in 1878. Daniel married Lucy G. Cunningham on 11 July 1878. His first job was as inspector of machinery of the Cincinnati, New Orleans, & Texas railroad company. In 1882, he served as general superintendent of the Cincinnati, Selma, and Mobile Railroad, and oversaw the construction of a 17.5 mile stretch of track between Selma and Akron. In 1900, Daniel, his wife and a daughter, were living in Delhi, Ohio, where he was manager of the Addyston Pipe and Foundry Company. By the time of the 1910 census, he did not list an occupation. Daniel McLaren Jr. passed away on 21 March 1919 in Cincinnati.

 

(CDV by C.R. Clark, Marble Building, 338 River Street, Troy New York. Charles R. Clark was born circa 1829 in New York. In 1855, he was a daguerreotype artist in Troy, New York with Henry Holmes; the partnership lasted until circa 1861. In 1862, Clark paid $25.00 for a Class B license as a photographer in Troy. From 1870 to 1877, his studio was located at 338 King Street. He was married to Sarah E. (last name unknown, born circa 1841) and the couple had at least one child, Charles. It seems likely that Charles Clark passed away sometime in 1877 or 1878, as his wife is listed in Troy directories in 1878, and he disappears from census records and directories.)

 

3) George Thomas Nelles was born on 15 April 1856 in Muscatine, Iowa, the son of George W. Nelles (born circa 1831) and Virginia Hobbs (born circa 1833). George W. Nelles was a railroad agent in Leavenworth, Kansas from at least 1865 through 1880. George Thomas Nelles attended public and private schools in Leavenworth, and entered RPI in 1873, graduating in 1877. In August 1877, George was assistant engineer on the Kansas City, St. Joseph, and Council Bluff Railroad, working in St. Joseph, Missouri. From 1878 to 1881, he was connected with the U.S. Government improvement on the Missouri River, with his focus at Leavenworth and Atchison City, Kansas. George was married on 15 February 1881 to Jessie Lena Ralston (born August 1856). In 1884, George was city engineer in Leavenworth, Kansas. He later joined the U.S. Corps of Engineers, and was working in Chattanooga, Tennessee in 1900 on a river improvement project. George T. Nelles passed away on 15 November 1907.

 

(CDV by Clark, Troy, NY)

 

4) Morris Scott Verner was born on 8 March 1855 in Pennsylvania, the son of James Verner (1818-1901) and Anna Montgomery Murray (1824-1881); he was one of 10 chilren born to the couple. James Verner was a successful railroad executive who specialized in passenger railrods in urban areas. The family was living in Pittsburgh, Pennsylvania for the 1860 census and had $51,400 in real estate and a personal estate of $14,800. By 1870, that had grown to real estate worth $150,000 and a personal estate of $50,000. Morris Verner entered RPI in September 1872 and graduated in 1876. He worked first for the Pennsylvania Railroad until 1882. He was married to Norwegian immigrant Anna Elisabeth Melson (1867-1946) and the couple would have at least six children. By 1900, Morris was apprently retired and living with his family in Oakmont, Pennsylvania; in 1920, still in Oakmont, his income came from real estate. Morris Verner passed away on 5 March 1929.

 

(CDV by Horton, Albany, NY)

 

5) Horace G. Young was born 26 January 1854 in Honesdale, Pennsyslvania, the son of Coe Finch Young (1824-1889) and Mary Amelia Cornell. Horace married Cornelia Lawrence Hasey (1860-1942) on 12 October 1881; the couple would have at least two children. Coe F. Young was a successful engineer and in 1870, the family had real estate valued at $75,000 and a personal estate of $150,000. Horace Young attended school in Stockbridge, Massachusetts before entering RPI in 1873; he graduated in 1877. His first job was milling in Southern Colorado, but in 1879, he entered the service of the Delaware & Hudson Canal Company. He was assistant general manger in 1883 and later moved up to general manager. In the mid-to-late 1880‘s, Horace and his family relocated to Albany, New York, and in 1887 he was vice president of the canal company. Sometime between 1900 and 1910, he entered the banking business and by 1912 was chairman of the board of directors of the Albany Trust Company and Vice President of the First National Bank. In the 1920 and 1930 censuses, the family was still in Albany, and in the 1930 census, had five servants; Horace did not list an occupation. Horace G. Young passed away on 13 October 1937.

 

(CDV by Leo Daft, Troy, NY. Photographer Leo Daft was born 23 November 1843 in Birmingham, England, the son of Thomas B. Daft (1816-1878) and Emma Matilda Sturges (1814-1863). Thomas Daft was a civil engineer who worked for Daft & Company, which designed and built hothouses, conservatories, etc. In 1858, Leo was a draftsman for the company; in his spare time, he developed a keen interest in electricity and electrical devices, and took advantage of the company’s standing to be tutored by experts in the field. He decided to look for other opportunities in the United States and came to New York City in May 1866. In 1867 he was in Philadelphia; after a few not very successful business interests, Leo Daft took up photoraphy, which he had studied as an amateur. He opened a studio in New York City in 1869, but moved it to Saratoga Springs, New York in 1871. On 11 March 1871, he married Catherine Anna Flansbaugh (1843-1917); the couple would have at least five children. He eventually relocated his studio to Troy, New York, where he worked as a photographer. In 1875, “The Photographic News” noted that Daft had submitted to “Scientific American” several photographs of electrical discharges between the terminals of the Holtz static electrical machine. Daft indicated that he would continue his photo-electrical experiments. Following the death of his father in 1878, Leo Daft left photography and pursued a highly successful career in electric light and power generation in New York City, Seattle, San Francisco, and New Jersey. He also built one of the first, if not the first, electric locomotives. His career in the field of electricity is well covered on the internet. Leo Daft passed away on 28 March 1922.)

** 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

Arthur Baker Designd

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.

 

Church of St Padarn

  

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 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.

 

Church of St Padarn

  

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.

  

1983. Purple, yellow, red, blue, lime green, green. LC 5661

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.

 

Church of St Padarn

  

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.

 

Church of St Padarn

  

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

 

new order

touched by the hand of god / touched by the hand of god dub

factory records (1987)

fac193/7

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.

 

New Order

 

⚫️

 

CD :

 

New Order

Confusion

Factory

FAC93

 

Of Factory 9

 

Design . Peter Saville Associates

 

Postcard :

 

Pantone 93

▪︎

 

Use Hearing Protection

 

GMA

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 :-)

 

www.youtube.com/watch?v=y-lOidslwSA&feature=relmfu

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.

 

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

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

Photography by Tia Grazette