View allAll Photos Tagged Boldest
An F/A-18E Super Hornet from VFA-14 "Tophatters" rests at SFO. This was one of two Super Hornets to execute a flyover of AT&T Park prior to World Series Game Three.
VFA-14 is based at NAS Lemoore and is assigned to Carrier Air Wing Nine, attached to USS John C. Stennis (CVN 74). VFA-14 is the oldest active squadron in the Navy, tracing an uninterrupted lineage to 1919.
Victorieplein | Vrijheidslaan 19/05/2025 18h20
A new next level flagship gym club has reachted Amsterdam. In total Amsterdam has 4 of these gym centers throughout the city in De Pijp and Oud-Zuid, Oud-West and the city center.
At our 2500m² Flagship Club, Saints & Stars City, we launched our boldest new concepts: Holy Hyrox, the most intense workout you’ll ever do. And Holy Recovery, a wellness experience for a euphoric sense of rebirth. Welcome to the future.
Combino 2103 is bringing this challenge for body and soul to the attention of the people in Amsterdam. Here on tram line 12 on it's way to one of those next level gyms.
This 2103 was delivered to the GVB on 17/09/2003 and first seen on the streets of Amsterdam with passengers on 18/10/2003 on line 12.
More information:
Wikipedia - Tramlijn 12 (Dutch)
Amsterdamse Trams - Lijn 12 (Dutch - by Cor Fijma)
This was the boldest of all bears I saw. At one point he came very close to investigate me, however any movement that I did, was enough to make him look for an escape route, which eventually he did. This was a clear example of a bear that is just curious and misinterpreted by many people as a bear that has lost fear of people and now dangerous. Many of these bears are killed unjustifiably. I wish we could learn to coexist with this amazing creatures and leave our irrational fear of them behind us.
Done in Ai, Finalized in Photoshop.
Lady Nythera is the immortal Empress of the Obsidian Veil, a forgotten dominion that exists between realms—where shadow meets starlight and time flows like black water. Clad in enchanted armor forged from voidsteel and amethyst crystal, she commands both reverence and dread. Her presence is an embodiment of dark majesty: her every step resonates with arcane power, and her gaze alone can silence even the boldest warrior.
Her headdress, an obsidian crown of spiraling spikes and runes, is said to be carved from the bones of fallen gods, each violet gem within it containing a sealed memory of conquest. The armor she wears is not merely protective but alive—responding to her will, pulsing with energy, and warding off lesser magics. Every detail is inscribed with the language of ancient sorcery, long lost to the mortal world.
Once a celestial being of light, Nythera was betrayed by her own kind and cast into the Abyss. There, she did not perish — she transcended. From the darkness, she rose anew: more powerful, more merciless, and eternally sovereign. Her dominion now stretches across shattered realms, where only whispers of her name dare echo.
She is not a villain, nor a savior — she is inevitability, wrapped in elegance and armed with silence and storm.
E-P5 / Tamron 180mm F3.5 Macro
An olive backed oriole calling, boldest one of these I've encountered. Quite low in a tree and allowed me to get very close.
The most spectacular ritual of Vanuatu is probably the naghol or land diving practised in the southern part of Pentecost island. It has both an initiation and an agrarian significance as it takes place in April and May just after the first yams have been harvested. The men throw themselves from the top ofa tower built of branches that can be up to 30m high. Pieces of vine tied around their ankles prevent them from hitting the ground and killing themselves. Each man builds his own jumpingplatform a sort of diving board at his preferred height and cuts his own length of vine. The pieces of vine are carefully chosen: if they are too dry they will snap and if they are too long the man will hit the ground and kill himself. The ground around the tower is cleaned and softened because the divers' heads must lightly brush the ground. On the day of the dives the men and women of the village gather at the base of the tower. The men sing and sway in a hypnotic movement while the women merely dance with Croton leaves in their hands
Between 20 and 60 men will perform the land dives. The youngest go first. Their platform is set at a modest height. The most experienced and the boldest go last and dive from the top of the tower. The divers balance themselves on the edge of their platform concentrate and lift one or both arms to the sky. Some make short speeches to the spectators. Then they dive with their arms crossed over their chests and their knees bent. Somewhat groggy on their arrival on the ground they are helped to their feet and praised by the spectators who chop off the remaining vines from their ankles with a machete.
Le rituel le plus spectaculaire du Vanuatu est probablement le saut dans le vide, ou naghol, pratiqué dans le sud de l’île de Pentecôte. À la fois rite initiatique et agraire, il a lieu aux mois d’avril et de mai, peu après la récolte des premières ignames. Les hommes se jettent du haut d’une tour construite en branches, qui peut atteindre trente mètres. Ils sont attachés aux chevilles par des lianes qui leur évitent de s’écraser au sol. Chaque homme construit sa plate-forme, utilisée comme une sorte de plongeoir, à la hauteur de son choix. Il coupe à la longueur nécessaire ses lianes. Le choix de la liane est d’une importance critique : trop sèche elle peut se briser, trop longue elle peut entraîner la mort. Le terrain, au pied de la tour, est nettoyé et amolli car le crâne du participant doit effleurer le sol. Le jour du saut, hommes et femmes se réunissent au pied de la tour. Les hommes chantent en se balançant en un mouvement hypnotique tandis que les femmes, feuilles de croton à la main, se contentent de danser. Entre 20 et 60 hommes vont s’élancer dans le vide. Les plus jeunes débutent. Leur plate-forme est située à une hauteur modeste. Les plus expérimentés ou les plus audacieux passeront en dernier et se jetteront du sommet de la tour. Les sauteurs se tiennent en équilibre au bord de leur plate-forme. Ils se concentrent, lèvent un bras ou les deux vers le ciel. Ils peuvent aussi adresser un petit discours à l’assistance. Puis ils se jettent, les bras repliés sur la poitrine et les jambes fléchies. Légèrement groggy à son arrivée au sol, le sauteur est remis sur pied et fêté par des assistants qui coupent ses lianes à l’aide d’une machette.
SoulRider.222 / Eric Rider © 2012
VF-14 Tophatters AJ201
Fighter Squadron 14 (FITRON 14)
VF-14 ‘Tophatters’
F-14A Tomcat (VF-14 / CVW-3) USS John F. Kennedy (CV 67)
Grumman F-14A Tomcat (1974-2001)
Established as Pacific Fleet Air Detachment on September 1, 1919
redesignated Torped & Bombing Squadron VT-5 on September 7, 1920
redesignated Patrol Squadron VP-4-1 on September 7, 1921
redesignated Fighting Squadron VF-4 on September 23, 1921
redesignated VF-1 on July 1, 1922
redesignated VF-1B High Hatters on July 1, 1927
redesignated Bombing Squadron VB-2B on July 1, 1934
redesignated VB-3 on July 1, 1937
redesignated VB-4 on July 1, 1939
redesignated Scouting Squadron VS-41 on March 15, 1941
(renamed Tophatters in 1942)
redesignated VB-41 on March 1, 1943
redesignated VB-4 on August 4, 1943
redesignated Attack Squadron VA-1A on November 15, 1946
redesignated VA-14 on August 2, 1948
redesignated VF-14 on December 15, 1949
redesignated VFA-14 on December 1, 2001
Nickname: High Hatters (1927-42) / Tophatters (1942-2001)
Early years
The Tophatters began carrier operations on board the Navy's first aircraft carrier Langley in 1926. The squadron, then designated Fighter Plane Squadron One, set the record for carrier landings in a single day. Flying the TS-1, they logged 127 traps by the end of flight operations.
In 1929 the squadron was assigned to Saratoga, where it began as a fighter squadron and transitioned to a bomber squadron. Throughout the 1930s, the Tophatters flew the FB-5, F2B, F4B, F11C Goshawk, SBC Helldiver and the SB2U-1 Vindicator. In 1939, while flying the Vindicator, the Tophatters were transferred to the Atlantic Fleet and Ranger.
1940s
The Tophatters proved to be formidable foes during World War II. While on Ranger, the squadron provided air support for the invasion of North Africa in November 1942. During the four days of 8 November – November 11, the pilots destroyed 16 enemy aircraft. Flying the SBD Dauntless dive bomber, the squadron participated in the first American naval air strike against German forces in Norway's inner channel.
In November 1944, the squadron transferred to the Pacific Fleet, and participated in the Leyte Campaign while attached to Bunker Hill. After transferring to Essex, the squadron bombed fortifications on Formosa in January 1945, supported the assault on Iwo Jima in February, participated in the first naval carrier strike on Tokyo, and completed Pacific combat operations with strikes on Okinawa in early March 1945.
After the war's end VB-4 made four cruises aboard USS Tarawa (CV-40), including a world cruise between 28 September 1948 and 21 February 1949, after which the squadron was based on the U.S. East Coast. On 15 November 1946 VB-4 became Attack Squadron 1A (VA-1A), and in August 1948 the squadron was again redesignated Attack Squadron 14 (VA-14) and transitioned from the SB2C-5 to the Vought F4U-4 Corsair. In December 1949 VA-14 was redesignated Fighter Squadron 14 (VF-14).
1950s
In 1951 and 1952 VF-14 made two deployments to the Mediterranean Sea aboard the modernized USS Wasp (CV-18), still flying the F4U. In 1954 VF-14 took on the role of all-weather interceptor when they transitioned to the Douglas F3D-2 Skyknight, but only made a three-months deployment aboard USS Intrepid (CVA-11) in late 1954. As the F3D proved unsuitable for carrier operations, the squadron transitioned to the McDonnell F3H-2N Demon in 1955. VF-14 made two deployments aboard USS Forrestal (CVA-59) in 1957. The squadron was then re-equipped with F3H-2s. VF-14 and its parent CVG-1 were then re-assigned to the USS Franklin D. Roosevelt (CVA-42) and made eight deployments to the Mediterranean Sea up to 1969.
1960s
In May 1963, the Tophatters transitioned to the McDonnell F-4B Phantom II and on 23 January 1964 they became the first Phantom squadron to operate on board the FDR. In June 1966, after moving to NAS Oceana, the Tophatters deployed to the South China Sea to conduct air strikes and support missions against military targets in North Vietnam. During this combat deployment, the squadron flew 1,688 hours on 967 combat sorties and delivered 651,624 pounds of ordnance, in addition to flying its traditional combat air patrol and fighter escort missions. The squadron distinguished itself in Olongapo and stories are still told among jeepney drivers attesting to the group's prowess in downing Mojos and San Magoo. When the FDR entered the Norfolk Naval Shipyard for a modernization, CVW-1 and VF-14 were re-assigned to the USS John F. Kennedy (CVA-67) in 1969 and stayed with the JFK for nine deployments until 1982.
1970s
In January 1974, after four highly successful Mediterranean deployments, the squadron transitioned to the Navy's newest fighter, the Grumman F-14A Tomcat at NAS Miramar and was teamed with VF-32 as the first two Tomcat squadrons to arrive at NAS Oceana. In June 1975 the Tophatters became the first Atlantic squadron to deploy with the F-14A alongside VF-32 aboard John F. Kennedy. In October 1978, the Tophatter aircrew set an all-time F-14 flight hour record when they flew 977 hours in one month while deployed in the Mediterranean.
In 1976, VF-14 launched the 100th AIM-54 Phoenix missiles against a simulated cruise missile at a range of 32 miles (51 km), killing it at a range of 65 miles (105 km) from John F. Kennedy. During the same cruise, VF-14 intercepted a Soviet Tu-95 on 21 July. VF-14 escorted the bomber for around 45 minutes, during which the Soviet bomber made two passes over the Kennedy.
1980s
In August 1980, the Tophatters deployed to the Mediterranean Sea on the Kennedy. During this deployment, VF-14 won the Silver Anchor Award and the Battle "E" Award for combat readiness, for the second year in a row. The achievements that contributed to the awards included 3 missile firing exercises with a 100% kill ratio, first East Coast TCS installations and 26.500 accident free flying hours over the space of 8 years.
In June 1982 VF-14 was re-assigned to Carrier Air Wing 6 aboard the USS Independence (CV-62), and in July was named the "Best Fighter Squadron" for superb performance in the Fleet Fighter Air Combat Readiness Program (FFARP).
October and early November 1983 found the Tophatters logging more combat time in support of Operation Urgent Fury in Grenada. After playing an integral part in the liberation of Grenada from Cuban insurgents, VF-14 proceeded east to the Mediterranean to participate in contingency operations off the coast of Lebanon. In early December 1983, the Tophatters were again called upon to provide combat air support for the elements of the multi-national forces in Beirut.
On 1 April 1985, the Tophatters returned to the Kennedy, where they spent the rest of the year on a turnaround-training schedule, which included eleven detachments to various parts of the United States and Canada. Although again aboard the JFK, VF-14 was now assigned to Carrier Air Wing 3.
On 18 April 1986, the Tophatters departed for the Mediterranean once again and were extended on deployment due to the Lebanese hostage crisis. Upon their return to the United States, the Tophatters were again proclaimed the "Best Fighter Squadron" by winning the 1987 FFARP award.
In 1989, VF-14 was presented with the "Grand Slam" award in recognition of their perfect missile firing record. The squadron entered 1990 conducting workups for deployment and making portcalls in Portland, Mayport, New York City and Boston. During exercises off Puerto Rico, the Tophatters operated against French Super Etendard and F-8 Crusaders from the French Aircraft Carrier Foch (R 99).
1990s
On 10 August 1990, eight days after the Iraqi invasion of Kuwait, the John F. Kennedy was ordered to emergency deploy to the Red Sea aboard the Kennedy to take part in Operation Desert Shield. During the months leading up to the war, the Tophatters played an integral role in enforcing the Iraqi embargo flying Combat Air Patrol and standing alert duty continuously. On the morning of 17 January 1991, the Tophatters once again flew into combat when they joined United Nations forces in the air assault on Iraq. VF-14 and VF-32 flew Combat Air Patrol and Fighter Escort missions for CVW-3 strike and support aircraft throughout Desert Storm operating in Western and Central Iraq initially and then conducting long range barrier CAP missions in eastern Iraq near the Iranian border with other Tomcat squadrons from the Red Sea and the Persian Gulf that lasted an unprecedented 7–8 hours. After combat operations ended, the Kennedy remained briefly in the Red Sea stopping off the coast of Egypt for a portcall before returning to NAS Oceana after eight months at sea.
In December 1991, VF-14 became one of the first squadrons to begin training for the Tomcat's new air-to-ground mission. After low altitude flight training and several strike-related schools, the Tophatters put their new skills to the test during Air Wing work-ups in Fallon, Nevada.
In October 1992, the Tophatters again headed east for a Mediterranean deployment. Once past the Rock of Gibraltar, VF-14 began flying air superiority and reconnaissance missions in the Adriatic Sea in support of UN policies in the former Yugoslavia. During this deployment, the Tophatters also participated in several highly successful exercises with Egypt, Morocco and Turkey, while continuing to support operations off the coast of the former Yugoslavia and Operation Provide Comfort in Iraq.
In 1995, the Tophatters were the test bed for the Tomcat air-to-ground rockets program. The Tophatters, which like to call themselves the "Oldest and the Boldest," were awarded the Fighter Fling Banner Blaster award for their superior performance in the air-to-air gunnery arena.
In late 1995, the squadron was detached from CVW-3 when the Navy began reducing the number of Tomcat squadrons to carrier air wings from two to one and retaining the TARPS capable squadrons. As a non-TARPS squadron, VF-14 was originally slated for disestablishment and temporarily assigned to Fighter Wing One at NAS Oceana. The following year saw much uncertainty for many Tomcat squadrons, but a grassroots campaign to continue the lineage of the Navy's oldest squadron was successful in saving the Tophatters from extinction and the squadron was assigned to Carrier Air Wing 8, which was losing VF-84, with sister squadron VF-41.
In January 1996, the Tophatters once again rejoined the John F. Kennedy. In March, the squadron deployed on the John C. Stennis. June took the Tophatters on a 40-day cruise aboard the Kennedy to Ireland and England. Next, VF-14 visited the Mediterranean and other areas.
During March 1998, VF-14 changed its home to the nuclear-powered aircraft carrier the Theodore Roosevelt. In 1999, the Tophatters were involved in NATO's Operation Allied Force and in Operation Southern Watch.
2000s
In April 2001, VF-14 embarked on their final F-14 cruise on board USS Enterprise (CVN-65), supporting Operation Southern Watch and Operation Enduring Freedom. As the carrier headed for home and on its way to South Africa they were given order to head to the North Persian Gulf after the September 11 attacks. The USS Enterprise/CVW-8 had been elected to be the night carrier during OEF and thus didn't see action until 8 October, VF-14 attacked a radar warning installation near Kabul during CVW-8's initial strike, which had been envisioned to have a section of F/A-18s, a section of F-14s from VF-14 and an EA-6B from VAQ-141, but due to insufficient fuel available for the Hornets, only the F-14s and the EA-6B pressed on. After their return to the US in November, VF-14 had dropped 173,324 lbs of ordnance (174 laser-guided bombs), VF-14 also buddy-lased 28 AGM-65 and 23 laser-guided bombs.
After their last F-14 cruise VF-14 and VF-41 relocated to NAS Lemoore and began the transition to the F/A-18 Super Hornet switching to CVW-11 and USS Nimitz (CVN-68).
Nana the Border Collie and Raven the rat share an unusual interspecies relationship. When I take the girls outside, Raven, the boldest of my five rats, attempts to engage in play with her big sister, Nana. She seems to perceive her as a huge rat play-mate and treats her as such, running circles around her and climbing up her back. The two are very entertaining to watch together.
Raven is a black variberk dumbo rat. Her unparalleled intelligence and audacious disposition fascinates me. She has taught herself several tricks just by intently observing training sessions with the other rats and trying the tricks out for herself to earn a reward. I have never met such a smart rat before in my life. I love her to bits. :)
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Amazing Animal Tricks
Our website: www.useyourclicker.com
Our YouTube: www.youtube.com/user/NanaBorderCollie
Our blog: nanabordercollie.blogspot.com
This was one of the parents of the swamphen family that adopted us yesterday afternoon. This one was the boldest of the lot.
Banksy stages surprise exhibition in Bristol
Jun 13 2009
GRAFFITI artist Banksy pulled off one of his boldest stunts to date to launch his biggest-ever exhibition yesterday.
The anonymous "guerrilla" artist has taken over Bristol's City Museum and Art Gallery.
It moves..filing her nails
Banksy stages surprise exhibition in Bristol
Jun 13 2009
GRAFFITI artist Banksy pulled off one of his boldest stunts to date to launch his biggest-ever exhibition yesterday.
The anonymous "guerrilla" artist has taken over Bristol's City Museum and Art Gallery.
This photo has a story. I was walking in Meiji Park when I had the sense that I was surrounded. Yee, I was in a ring of schoolgirls in uniform, maybe 14 years old.
A tall girl, probably the boldest one, came up to me and asked if she could talk with me. She spoke something like English, but I could not understand any of her sentences. I looked around and saw a young man, who appeared to be their teacher. He is at the right in this photo.
We tried to converse. That did not work, either. I took this photo of a few of the girls, and we went our separate ways.
Later, it occurred to me that they were speaking what you might look on as a dialect of English - one found in Japanese classrooms. They could understand each other in the classroom, but they had no contact with real English speakers. Some of them, like the young man, grew up to teach English to the next generation of students.
Remember, this was 1967. Knowledge of English has no doubt improved tremendously, mainly because students and teachers have more contact with native English speakers or others who speak the language well. This photo is "geotagged" with the approximate location.
The three squirrel kids all came out of their cozy little nest to play this afternoon. It was only 4 days ago that they were cautiously going in and out of the squirrel box, looking like they might fall. Today they started running up and down the trees, and hanging out on the end of the branches. The darker baby on the top of the box is the boldest and was the first to explore. The second one to come out was the one on the left, and the runt of the litter and the last to make an appearance, is the one in the doorway. It looks like we are going to need a lot of squirrel food this winter. *(This isn't a great shot - but I wanted to share the babies with my Flickr friends.)
This beauty is a re-photo of older post - this stone believe it or not was cut from a piece of reject material from an old Blue Hill dig long deserted. The cut from it is also deserving of a post. These are amongst the boldest of Agate Creek stones.
THE HOSPICE OUTLOOK
"Come to Me, all you who are weary and burdened, and I will give you rest."
"If I go and prepare a place for you, I will come again, and receive you unto Myself; that where I am, there you may be also." John 14:3
"Come unto Me" is now echoed in a voice from Heaven.
He who gave the invitation to the weary and heavy laden, in a world of unrest, issues the same under a different formula, regarding the world of everlasting rest. He will return to receive His people to Himself, pronouncing the promised beatitude, "Come, you blessed of My Father." No longer sin-laden, sorrow-laden pilgrims; but with every dimmed eye dried, every burden laid down, every foe conquered, He will conduct them to what the old writers call "the rest without a rest," the rest from sin and trial, the rest from the great fight of afflictions. The pilgrim lies down at night, weary and fatigued, in the earthly Hospice. When he awakes, he is in the heavenly one. His window looks no more out on cloud and storm and blackness. He is bathed in the light of Paradise. Yet he awakes not to dreamy inaction--rather will it be to participate in the unresting activities of the ransomed, "serving Him day and night in His temple." "They rest not" (Rev. 4:8).
What an elevating thought, that the divine Rest-Giver is now, in His unresting love, preparing a Home, rearing a Hospice for His pilgrims on the true Alps of God, the everlasting hills of glory, where tempests of affliction never brood, and wintry Death no longer sways his icy scepter; no baffled hopes or frustrated plans--"the rest that remains." When they leave the world, to use another metaphor, it is not to an unknown land they are sailing. They are going, as millions before them have gone, to colonize the better country.
Be it specially noted, too, He is "preparing a place" for His redeemed. It is true, most true, in a conventional phrase, that heaven's main characteristic is "not locality, but character." The pure in heart shall see God. The righteous shall shine forth as the sun in the kingdom of their Father. But neither must we dispense with the literal comfort of our Lord's words, that He has gone to make ready some special dwelling-place, where He will receive His people to Himself. What or where is the favored spot in the realms of space we cannot, by the boldest flight of a sanctified imagination, tell. For His risen saints, in their glorified resurrection-bodies, and for His own glorified Self, the center of their adoring homage, there must be some thing more than an ethereal, unmaterialistic heaven--a mere spirit-world. "In my Father's house are many mansions"--mansions suited and adapted for the tastes, capacities, idiosyncrasies of His vast family; the unreached ideals of earth fully attained in the perfected household above.
Lord Jesus, prepare me for the place which You have gone to prepare for me. Amid the often fretful calls of existence, let me catch the joyous chimes wafted from the bells of glory. There may be, and will be, tearful partings here. There are angel-welcomes and saint-welcomes there, and His own welcome best of all. "I will come again!" Let me have my heart's best chambers meanwhile lustrated and plenished for the advent of the Elder Brother. Let no discordant note mar the joy of that welcome. "A little while, and you shall not see me--and again, a little while, and you shall see me!" The first little while is now running its course in the sand-glass; its hours and moments may soon, and must, sooner or later, be numbered and completed. May I be ready, always ready, for the "again, a little while, and you shall see Me,"--when the advent morn shall dawn, and the gates of the heavenly hospice be thrown open for waiting pilgrims.
"Rest comes at length; though life be long and dreary,
The day must dawn, and darksome night be past;
Faith's journey ends in welcome to the weary,
And heaven, the heart's true home, is ours at last!"
"Make haste, my Beloved, and be like to a roe or to a young deer upon the mountains of spices."
"This is the resting place, let the weary rest. This is the place of repose." Isaiah 28:12
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Built in 1938-1940, this Modern International-style concert hall was designed by Eliel Saarinen and Eero Saarinen to house performance spaces for the Buffalo Philharmonic Orchestra and other local musical organizations. Named by Edward L. Kleinhans, whom donated the money for the building’s construction in 1934, the building was named in the memory of his wife, Mary Seaton Kleinhans, and his mother, Mary Livingston Kleinhans. The performance hall was partially funded with money from the New Deal-era Public Works Administration (PWA), with local architects F. J. and W. A. Kidd assisting with the building’s design and construction, with lighting consultant Stanley McCandless and acoustical consultant Charles C. Potwin assisting with the design of the building’s performance spaces. The building was opened on October 19, 1940 with a concert by the Buffalo Philharmonic Orchestra. In 1964, the concert hall was the site of a speech by Robert F. Kennedy, whom was running to be elected as a Democratic Senator representing New York, which he gave in front of an audience of 6,000 people, and in 1967, Dr. Martin Luther King, Jr. gave a speech in the building’s main auditorium titled “The Future of Integration.”
The footprint of the building features two opposing parabolic curves, which make up the walls at the rear of the larger main auditorium and the smaller Mary Seaton Room, with the main auditorium being shaped like a triangle with curved sides and a curved vertex at the rear of the building, with a low one-story wing framing the main auditorium, consisting of offices and support spaces, as well as slender canopies and entrance vestibules. On the sides of the exterior of the main auditorium are stair-stepping walls that contain stairways to the upper balcony inside the auditorium, and a lobby cuts through the building between the two auditoriums, connecting the entrance vestibules on either side of the building, which contains open stairways to an upper level that provides access to the balcony of the main auditorium. The building’s exterior is clad in buff brick with limestone trim panels on the canopies, framing the entrance doors, the Mary Seaton Room, and on the walls framing the front reflecting pool, with an aluminum curtain wall containing exit doors and glazing on either side of the rear portion of the Mary Seaton Room, providing a visual break in the building’s exterior between the main volume of the performance hall and the larger adjacent structure that houses the lobby and main auditorium. The building’s interior is relatively simple with unadorned walls, clean lines, wood paneling and doors, ceilings in the auditoriums with ceilings featuring multiple bulkheads that conceal lightings and vents, as well as improve the acoustics of the performance spaces, and cantilevered stairways in the lobby.
The Kleinhans Music Hall is a notable early example of Modernism and the International Style in the United States, and is also notable for being one of the boldest early designs by Eliel and Eero Saarinen, the latter going on to design the Gateway Arch in St. Louis, Dulles Airport Terminal in Virginia near Washington, DC, and the TWA Terminal at New York City’s John F. Kennedy Airport during the 1960s, with the parabolic curves utilized in this building being more heavily emphasized in those later structures. The building was listed on the National Register of Historic Places and designated as a National Historic Landmark in 1989. Today, the building remains a major concert hall in the city of Buffalo, and still houses the Buffalo Philharmonic Orchestra and Buffalo Chamber Music Society, with the building’s various performance, lobby, and rehearsal spaces being rented out for local performing arts groups and events.
Overview
Heritage Category: Listed Building
Grade: I
List Entry Number: 1340467
Date first listed: 28-Jun-1960
Location
Statutory Address: Holy Trinity, Minchinhampton, Bell Lane, Minchinhampton, Stroud GL6 9BP
County: Gloucestershire
District: Stroud (District Authority)
Parish: Minchinhampton
National Grid Reference: SO 87219 00814
Details
Parish church. C14 tower and transepts. Remainder of church rebuilt 1842 by Thomas Foster of Bristol; chancel altered 1869-71 by William Burges. Porch room by Peter Falconer added in 1973. Ashlar and random rubble limestone; stone and Welsh slate roofs. Nave with aisles, north and south transepts, central tower and chancel. West entrance lobby addition and parish room. C14 tower and transepts, tower having tall deeply splayed 2-light pointed belfry openings with Decorated tracery; broach spire with narrow lucarnes to cardinal faces; upper part removed 1563 and replaced by crenellated coronet with crocketed pinnacles. Octagonal north east stair turret entered by pointed arched doorway in angle between chancel and north transept. Very fine south transept has large 5-light rose window, diagonal corner buttresses and row of closely-spaced side wall buttresses with 2-light pointed windows between. Plainer north transept with 3-light north and similar east window with reticulated tracery, north having circular Cl9 restored window above with quatrefoil tracery. Moulded pointed arched doorway on east side with hoodmould. C19 buttressed chancel has large 5-light geometrical traceried east window with double tracery in Burges's typical bold style; empty hooded image niche above. Perpendicular Gothic nave by Foster appears bulky against medieval crossing. Five Perpendicular aisle windows and one bay at west end with smaller window; 2-light clerestory windows with 4-centred pointed heads separated by gabled buttresses. Crenellated parapets with tall crocketed pinnacles at west end above angle buttresses. Four-light Perpendicular west window. Flat-roofed lobby obscures west doorway, links with hexagonal church room having sprocketed pyramidal roof with ball finial and stone cross windows. Interior: broad nave with panelled roof having gilt bosses and painted decoration to ribbing. Four-bay arcades with octagonal columns. C14 crossing arches die into responds of piers. Tierceron vaulting beneath tower taken off slender corner shafts with foliage capitals. Some medieval painting survives on nave arch. Timber boarded barrel vault to chancel with 1931 painted decoration by F.C. Eden. Highly polished encaustic tile to stepped chancel floor. Most remarkable part of interior is south transept, dominated by rose window and with pitched stone slab roof supported on stone cross-arches with scissor bracing, these set closely together relating to the external buttressing. Two ogee-arched Decorated mortuary tomb recesses below south transept window have rich crocket decoration and pinnacles, also retaining effigy of Knight in contemporary armour and his Lady, each on chest with quatrefoil front panelling. Similar tomb recess in north transept now obscured by organ. Many other fine memorials including brasses at west end of nave. Good segmental pedimented memorial in south transept to IEREMIE BVCKE, a Parliamentary officer, appears undated; oval brass plate below to Jacobus Bradley, S.T.P., died 1762 aged 70 has latin inscription - this formerly being attached to Bradley's monument in the churchyard (q.v.). Several good monuments reset high in nave between clerestory windows. All are fine, many of cadaver type, mostly to Sheppard family of Gatcombe Park. Especially good is one on south side by Ricketts of Gloucester to SAMUEL SHEPPARD, died 1770. Boldest on north side is pedimented plaque to JOSEPH ILES, died 1749, by Robert Chambers. Remainder of fittings mostly date from re-seating of church in 1875. Timber rood screen by F.C. Eden of 1920 was intended to be painted. Very complete stained glass: east window and south rose window by Hardman. West window and most aisles windows are by Herbert Bryans, a pupil of Kempe, installed 1899-1922. One window in north aisle by Edward Payne. Church at Minchinhampton originally given by William the Conqueror to the Abbaye aux Dames, Caen, passing to the nuns of Syon Abbey in 1415. A major rebuilding occurred in C12 but no trace of this survives. (J. Mordant Crook, William Burges and the High Victorian Dream, 1981; N.M. Herbert, 'Minchinhampton' in V.C.H. Glos. xi 1976, pp 184-207; A.T. Playne, Minchinhampton and Avening, 1915; and D. Verey, Cotswold Churches, 1976 and Gloucestershire: The Cotswolds, 1979)
© Historic England 2021
Overview
Heritage Category: Listed Building
Grade: I
List Entry Number: 1340467
Date first listed: 28-Jun-1960
Location
Statutory Address: Holy Trinity, Minchinhampton, Bell Lane, Minchinhampton, Stroud GL6 9BP
County: Gloucestershire
District: Stroud (District Authority)
Parish: Minchinhampton
National Grid Reference: SO 87219 00814
Details
Parish church. C14 tower and transepts. Remainder of church rebuilt 1842 by Thomas Foster of Bristol; chancel altered 1869-71 by William Burges. Porch room by Peter Falconer added in 1973. Ashlar and random rubble limestone; stone and Welsh slate roofs. Nave with aisles, north and south transepts, central tower and chancel. West entrance lobby addition and parish room. C14 tower and transepts, tower having tall deeply splayed 2-light pointed belfry openings with Decorated tracery; broach spire with narrow lucarnes to cardinal faces; upper part removed 1563 and replaced by crenellated coronet with crocketed pinnacles. Octagonal north east stair turret entered by pointed arched doorway in angle between chancel and north transept. Very fine south transept has large 5-light rose window, diagonal corner buttresses and row of closely-spaced side wall buttresses with 2-light pointed windows between. Plainer north transept with 3-light north and similar east window with reticulated tracery, north having circular Cl9 restored window above with quatrefoil tracery. Moulded pointed arched doorway on east side with hoodmould. C19 buttressed chancel has large 5-light geometrical traceried east window with double tracery in Burges's typical bold style; empty hooded image niche above. Perpendicular Gothic nave by Foster appears bulky against medieval crossing. Five Perpendicular aisle windows and one bay at west end with smaller window; 2-light clerestory windows with 4-centred pointed heads separated by gabled buttresses. Crenellated parapets with tall crocketed pinnacles at west end above angle buttresses. Four-light Perpendicular west window. Flat-roofed lobby obscures west doorway, links with hexagonal church room having sprocketed pyramidal roof with ball finial and stone cross windows. Interior: broad nave with panelled roof having gilt bosses and painted decoration to ribbing. Four-bay arcades with octagonal columns. C14 crossing arches die into responds of piers. Tierceron vaulting beneath tower taken off slender corner shafts with foliage capitals. Some medieval painting survives on nave arch. Timber boarded barrel vault to chancel with 1931 painted decoration by F.C. Eden. Highly polished encaustic tile to stepped chancel floor. Most remarkable part of interior is south transept, dominated by rose window and with pitched stone slab roof supported on stone cross-arches with scissor bracing, these set closely together relating to the external buttressing. Two ogee-arched Decorated mortuary tomb recesses below south transept window have rich crocket decoration and pinnacles, also retaining effigy of Knight in contemporary armour and his Lady, each on chest with quatrefoil front panelling. Similar tomb recess in north transept now obscured by organ. Many other fine memorials including brasses at west end of nave. Good segmental pedimented memorial in south transept to IEREMIE BVCKE, a Parliamentary officer, appears undated; oval brass plate below to Jacobus Bradley, S.T.P., died 1762 aged 70 has latin inscription - this formerly being attached to Bradley's monument in the churchyard (q.v.). Several good monuments reset high in nave between clerestory windows. All are fine, many of cadaver type, mostly to Sheppard family of Gatcombe Park. Especially good is one on south side by Ricketts of Gloucester to SAMUEL SHEPPARD, died 1770. Boldest on north side is pedimented plaque to JOSEPH ILES, died 1749, by Robert Chambers. Remainder of fittings mostly date from re-seating of church in 1875. Timber rood screen by F.C. Eden of 1920 was intended to be painted. Very complete stained glass: east window and south rose window by Hardman. West window and most aisles windows are by Herbert Bryans, a pupil of Kempe, installed 1899-1922. One window in north aisle by Edward Payne. Church at Minchinhampton originally given by William the Conqueror to the Abbaye aux Dames, Caen, passing to the nuns of Syon Abbey in 1415. A major rebuilding occurred in C12 but no trace of this survives. (J. Mordant Crook, William Burges and the High Victorian Dream, 1981; N.M. Herbert, 'Minchinhampton' in V.C.H. Glos. xi 1976, pp 184-207; A.T. Playne, Minchinhampton and Avening, 1915; and D. Verey, Cotswold Churches, 1976 and Gloucestershire: The Cotswolds, 1979)
© Historic England 2021
The Tarn (small lake) is on the roadside from Cockermouth to Lamplugh. It`s extent
is about a dozen acres ; and it is said to occupy the site of the ancient village
of Mockerkin. -
Sir Mochar, the dwarf, was a valiant knight,
And he dwelt in a noble old hall ;
He had forty stout yeomen well arm'd for the fight,
All ready to answer his call.
His hall was a castlet o'er top't by a tower.
Around it a moat wide and deep ;
A drawbridge and gateway evinced his power,
With dungeon below, and strong keep.
A sturdy old knight was Sir Mochar the dwarf.
Both active and self-willed was he ;
Courageous and fierce too as ever donn'd scarf.
Or hung up poor carle on tree.
With features sun-stained, and countenance grim.
His teeth all uneven and yellow ;
His hair and his beard all grizzled — not prim,
Himself a repulsive old fellow.
His shoulders were broad and his frame so strong.
His stature but four feet three ;
His legs were sliort, and his arms were long,
And he sat on his horse like a flea.
The long-handled axe was his favourite brand,
He could chop off a limb like a woodman ;
The stroke of his weapon came easy to hand.
Oh ! he was a fierce — not a good man.
His coal-black charger shone bright as his axe,
And of courage as high as his own ;
A pair so determined could seldom be match'd,
They could daunt nigh to death with their frown.
And all that Sir Mochar the dwarf undertook,
In battle, in foray, or chase ;
It was done in the saddle. His charger black Rook,
With Sir Mochar was still in his place.
The dark deeds of evil were Mochar's delight,
His horse could enjoy them as well ;
Whatever deed crossed the mind of the knight,
By instinct his horse it could tell.
And when he was called to the war by the king,
With his battle axe slung by his side ;
His forty bold yeomen with axe, bow, and sling.
And Rook in the height of his pride.
With the pageant of war so delighted was he,
At the prospect to kill and to slay ;
His heart v/ould beat quick, and he'd chuckle with
glee.
And Rook would like feeling display.
None knew where black Rook was bought, neither yet
where
He was bred, nor his pedigree told ;
Some said and believed he had dropt from the air,
And all wonder'd he did not wax old.
The knight had lost teeth — his hair iron-grey.
And he grew more morose as he ag'd ;
Whatever he said he would never unsay.
Right or wrong if he once it engag'd.
Black Rook shone like jet, and was active and strong.
Without a grey hair on his hide ;
He was swift as the wind, and endured it long,
When his Master appointed to ride.
And when in pursuit of the boar or the deer,
With twenty fierce hounds in full cry.
Black Rook he woald yell and Sir Mochar would cheer.
Their delight in the chase was so high.
No boar, neither deer, could escape the fleet pack,
With Rook and Sir Mochar in chase ;
For Rook never tired with Mochar on back,
And each always kept in his place.
No distance annoy'd them, nor speed cut their wind.
Nor up-hill nor down-hill flagg'd they ;
Nor halted nor swerv'd in the course from the find,
Till boar or stag turned at bay.
And then would Sir Mochar alight from his steed.
With bright hunting blade in his hand ;
And would strike with such nerve that he never had
need,
The stroke to repeat with his brand.
And then the strong Dwarf to Hall Mochar would
wend,
On the saddle before him his prey ;
But how it got there, or who did help lend,
No man but Sir Mochar could say.
Some thought he was wizard enough in himself,
Some thought his horse Rook would lie down;
Till the carcase was slung by the aid of an elf,
Or by strong gust of wind it was blown
To the front of the rider and there placed sure,
And some thought black Rook it could swing
From the ground with his teeth, and make it secure.
As if it were bound with a string.
How^ever 'twas done, it was always done well,
And quickly to homeward they'd veer ;
The huntsmen and yeomen seem'd under a spell.
So far they'd been left in the rear.
He had followers many, but friends he had few.
Neither wife nor yet children had he ;
His men were sent out their ofc search to renew.
Till they brought him fair damsels in — three.
From hearth-stones of comfort these fair ones were
torn.
And consenting or not 'twas the same ;
For he was their thane ; on his lands they were born,
They must go at the sound of his name.
And home they were brought him, as others before,
Unhappy and sorrowful all ;
To 'scape in his absence determined full sore.
Whenever that time should befal.
Aware of his doings in times not remote,
They dread his intentions of harm ;
The sorrow to others he'd formerly wrought.
Was sufficient to cause them alarm.
Of wrong he'd no thought, no compunction had he,
No regrets ever crossed his mind j
That his deeds were of evil he never could see,
Nor thought his base actions unkind.
To his sins quite oblivious ; to errors so blind ;
Unknown to all virtues or grace ;
No enjoyments had he of a praiseworthy kind,
Except in the wars or the chase.
He delighted in rapine, in plunder, in blood,
In revel and riot as well ;
And oft when the larder grew bare to the wood,*
His yeomen to horse would compel.
Then up mounted he, and away went the band.
Determined to harry the North ;
The best sheep or kine they could find on the land,
To homeward they'd hurry them forth.
Enwrapt in goat skins were hard bannocks — (their fare
During forays) and strapt on the back.
And oftentimes meagre and small was their share,
— In meal-ark f at home not a snack.
No eye had Sir Mochar nor yet had his men.
For aught save the plunder in view ;
The beauties of nature were outside the ken
Of both he and his hard-hearted crew.
The small crops of bigg and oats found on their route,
Served their horses for food as they went ;
The owners they thought would not find the thieves out,
Nor look to the reivers for rent.
In one of these raids, so successful were they
In lifting a score of good kine ;
And in getting them safely and quickly away.
Before the day on them did shine
And over the Border, and round Solway moss,
Over which not the boldest durst ride ;
Lest his horse and he sink — irretrievable loss,
As sure as if drowned in the tide.
And over the moors, and through the fierce streams,
Where bridges or roads were not found ;
And through the foul swamp where the wild-fire
gleams,
And o'er many an old battle-ground.
Escaping pursuit to Hall Mochar they wend,
All hungry and tired, man and beast \
Quick orders are issued that first they intend.
To slay and make ready a feast.
The fleshers are summoned the fattest to slay,
Ever ready to come at his call ;
The long oaken table must make its display,
Green rushes must carpet the hall.
Strong ale from the cellars was soon in request,
Sir Mochar ordained it to be;
The maidens were ordered to don in their best,
That night he would spend in high glee.
He'd accomplished his object, replenished his store.
Had harried the fair glen of Nith ;
He spoiled the Scots, whom no goodwill he bore,
To them, or their kin, or their kith.
They had forded the Annan and fierce rolling Esk.
The deep winding Eden they swam ;
They had crossed the Derwent in glen picturesque,
And all came in safely but Sam.
Now, Sam was a henchman, with countenance bright.
Of merry good nature and free ;
Sir Mochar had eyed him at morn and at night,
With jealousy fired was he.
The maidens encaged in that gloomy old hall,
Some innocent smiles would bestow ;
On the well-favoured youth, who was also in thrall,
So Sir Mochar resolved he should go.
Then mounted behind a stout yeoman was he,
And off to the raid he was sent ;
He was neither forewarned of what was to be,
Nor aware of Sir Mochar's intent.
The yeoman had orders — (forgot is his name,)
To unhorse the poor youth in the flood ;
And in crossing the Eden, that river of fame.
With the yeoman 'twas well understood,
That his horse was to curvette, and caper, and rear,
That the youth might be slipt off behind ;
So when the mid stream they had swam to or near,
All the Dwarf said was done to his mind.
For this yeoman got into the midst of the troop,
The cattle all swimming before ;
When his horse 'gan to plunge, and the yeoman to stoop.
As if he would help the lad more.
But he seized the youth's ankle with vigour replete,
And swinging him quickly around ;
Hitched him into the stream, and beneath the horse-feet
He Was kicked, and trampled, and drowned.
Sir Mochar grew merry and so did his men,
And fast flew the gibe and the joke ;
And round went the can and the drinking horn — then
Sir Mochar attention bespoke.
He told of his deeds in the chase and the wars,
Of the numbers he'd struck to the earth ;
He boasted his misdeeds and showed his scars,
Then made them his subjects of mirth.
He told what he had done, and what yet he would do,
When the beeves he had stolen were eat ;
He'd again cross the Border to shew what he could do,
And never would dream of being beat.
He dwelt on his deeds and more boisterous grew,
He thumpt with his fist on the table ;
And swore at his yeomen their horns to renew,
For drinking would no man disable.
And still as he spoke he took time to refresh.
And direct can and horn to go round ;
He'd never be baulked, he swore by all flesh
He'd have all he wished above ground.
And quick went the horn, and fresh orders sent out.
For the maidens to bring in more ale —
Three cans at a time, capacious and stout,
And they to appear without fail.
He had wine in his cellars and brandy from France,
And the maids should all drink of the best ;
They should sing of his deeds, with his yeomen should
If only they came fitly drest.
"So call in the maidens and bring up the wine,"
"And haste ye, I'll brook no delay"
"To revel in freedom let all now incline,"
"Or else, like the dogs, slink away."
"And hark ye, make room for the maidens I say,"
A woodcutter came to report ;
He had seen the three wenches steal softly away,
In the dark, while the rest were at sport.
Then up rose Sir Mochar in fury and rage —
Struck his silver cup flat on the board ;
He cursed the maidens and bann'd the dead page.
And roared in vengeful discord.
Some minutes before and the hall had resounded
With jollity, drunkenness, mirth ;
It now rang with vile imprecations unbounded,
To all which Sir Mochar gave birth.
He shouted — "To horse ye dark villains and ride "
"Take the pack and divide it in three "
"Scour the country at speed, and if the maids hide,''
"Bring them hither. I'll teach them to flee ! "
They saddled their horses, all tired as they were.
And rode on the search in the dark ;
The dogs were unkennelled and snufted the air.
Where the maidens had not left their mark.
They scoured the woods, and they skirted the mire,
They beat round the bush and the tree ;
They durst not delay nor too often enquire.
Though they wished the maidens were free.
Sir Mochar had thoughts that his men might neglect
To do his commands — or allow
The maids to escape ; or in some way protect,
Or show favour he did not know how.
So he mounted black Rook and rode furiously forth,
His axe slung his shoulders behind ;
Determined to ransack east, west, south, and north.
Resolved his maidens to find.
He heard the dogs bay in three separate arts,
As each maiden to homeward was aiming,
And fleeing in terror to different parts,
And aid from above ail were claiming.
The dogs Avere too true, and stuck close to their trail,.
The men were obliged to hark forward ;
For fear their stern master should suddenly hail
In the rear of them, southward or norward.
He did, and o'ertook them in Hodyoad ghyl,
As one man was clutching the victim ;
When up rode Sir Mochar and swore he would kill
Any one who dared thwart or restrict him.
And up went his axe to the stretch of his arm,
And down quick as thought on the maid ;
Her blood spirted up in his face, red and warm.
And a corse she was instantly laid.
A grey-headed man looked up at Sir Mochar,
And said, " Sir, you'll rue this when sober,"
He then in his arms attempted to lock her,
When Mochar, as sure as October,
Laid him dead at his feet. The maid was his daughter,
And both in grim death were now laid ;
The father had hopes if he join'd them and sought her,
He might save her from harm — so he prayed.
Sir Mochar enraged at himself for this deed,
Made Lamplugh echo his dread curses ;
He vow'd lie would save the fled twain if the speed
Of black Rook would but make him their nurses.
So homeward he rode in his fury ; a hound
Was again fiercely laid on the scent ;
The trail of the hunt the dog readily found,
He furiously following, went.
Crossing Black-beck with speed — over Pardshaw-crag
Heard the dogs in the dark keenly cry ; [dash'd —
Through the edge of MossRinghe flounder'd and splash'd,
Then found the ^Miite Causeway's path dry.
Then onward he hurried to Eaglesfield crag,
But there he arriv'd too late \
For the ban-dogs had seized the maiden, to drag
Her down to the earth to her fate.
And just as Sir Mochar rode up to the scene,
Her short dying shriek rent the air ;
The dogs had her throttled, with savageness keen,
Before he could bid them beware.
One moment he looked at his dogs as they tore
At the throat of the victim, her hair
Was unloosed and lay spreading and drinking her gore,
As it reeked from the throat of the fair.
Then up went his axe and with unfailing stroke
He clave a dog's skull — 'twas his best ;
He mangled and mauled some others, and broke
The ribs and the backs of the rest.
And there they lay howling and writhing in pain,
And rolling the victim upon ;
While he 'gan to curse and to blaspheme again,
For success on that night he had none.
He turned black Rook to homeward once more,
And bitterly spmTcd his flanks ;
Rook bounded and snorted, and swiftly he bore
Sir Mochar to other vile pranks.
Rook swift and untiring, soon brought him to home,
Where he learn'd the course of the third
Of his maidens, whose aim to the east was to roam,
And to flee his foul house like a bird.
To the eastward he followed in bitter remorse,
The fugitive hoping to save ;
But four of his yeomen approach'd with the corse
Of the maid from a watery grave.
She had heard the deep bay of the dogs on her track,
And she fled in all haste in the dark ;
The briers and thorns tore her dress from her back.
And on her fair skin left their mark.
Towards Loweswater lake she fled bleeding and sore.
Rushing fast down the hill in her fear ;
The dogs close behind when she stept on the shore —
The horsemen alarmingly near.
She stood for a moment — turned round on her foes —
Gave a shriek that echoed o'er the lake ;
Then headlong she plunged — brought her life to aclose,
And baulk'd the fell hounds of their take.
For a moment he thought o'er the ills of that day.
And the evils befaUing the night ;
And saw that in all he had made the chief play,
And that all had been done by his might.
Disappointed he swore that none of their kin,
Or his yeomen, should ever again
Break bread or tak^ shelter, his castle within,
While it on the earth should remain.
Now frantic with rage he spurr'd home with a will,
And finding his warder asleep ;
Blaspheming he swore every man he would kill,
If his castle sank twenty miles deep.
No sooner he said than a terrific peal
Of thunder the foundations shook ;
The lightnings gleam'd, and the turrets did reel,
And the knight and his steed black Rook,
With castle and all sank fearfully deep,
The waters rush'd up and around ;
And closed above them and laid them to sleep —
No more were they seen on the ground.
Thus perish'd Sir Mochar the dwarf in his sins —
A forfeit his lands to the crown ;
And thence the possession of Multon begins.
And Percies of ancient renown.
The stones of the tower may still be discerned,
When the tarn is tranquil and clear ;
About twenty feet deep, by those who are learned.
And have eyes of the wizard or seer.
On Michaelmas night if the stars are not brigiU,
Nor the mist on the water too dense —
No matter how windy or stormy that night
If th' observer possess a due sense
Of the power of his sight, and put faith in it all,
He may catch a mysterious sight
Of a something slow-floating, emerge from the tall
Reeds and rushes, jnore dark than the night.
And slowly and softly the tarn three times
So quietly voyaging round ;
And then with a sough of the wind's soft chimes.
Disappear with a lurch and a bound.
This phantom is thought to resemble black Rook,
On Avhom his grim master bestrides 3
And all may pronounce, who on it may look,
It's like nought in this world besides.
On fine Sunday mornings in summer they say.
Church bells may be heard ringing clear ;
By all who believe in this legend and lay.
And the sound always thrills them with fear.
And those whom the sins of Sir Mochar dragg'd down
(Who not of his sinning partook ;)
Wear each a white robe and a golden crown,
With a bishop's pastoral crook.
They dwell in a palace of crystal below,
Of hundreds of fathoms so deep ;
And this is the whole that we mortals may know
Till we rise from our last long sleep.
Fredric Brown was an American science fiction and mystery writer. He was one of the boldest early writers in genre fiction in his use of narrative experimentation. While never in the front rank of popularity in his lifetime, Brown has developed a considerable cult following in the almost half century since he last wrote. His works have been periodically reprinted and he has a worldwide fan base, most notably in the U.S. and Europe, and especially in France, where there have been several recent movie adaptations of his work. He also remains popular in Japan.
Never financially secure, Brown - like many other pulp writers - often wrote at a furious pace in order to pay bills. This accounts, at least in part, for the uneven quality of his work. A newspaperman by profession, Brown was only able to devote 14 years of his life as a full-time fiction writer. Brown was also a heavy drinker, and this at times doubtless affected his productivity. A cultured man and omnivorous reader whose interests ranged far beyond those of most pulp writers, Brown had a lifelong interest in the flute, chess, poker, and the works of Lewis Carroll. Brown married twice and was the father of two sons.
[Source: Goodreads website at www.goodreads.com/author/show/51503.Fredric_Brown
Banksy stages surprise exhibition in Bristol
Jun 13 2009
GRAFFITI artist Banksy pulled off one of his boldest stunts to date to launch his biggest-ever exhibition yesterday.
The anonymous "guerrilla" artist has taken over Bristol's City Museum and Art Gallery.
The most spectacular ritual of Vanuatu is probably the naghol or land diving practised in the southern part of Pentecost island. It has both an initiation and an agrarian significance as it takes place in April and May just after the first yams have been harvested. The men throw themselves from the top ofa tower built of branches that can be up to 30m high. Pieces of vine tied around their ankles prevent them from hitting the ground and killing themselves. Each man builds his own jumpingplatform a sort of diving board at his preferred height and cuts his own length of vine. The pieces of vine are carefully chosen: if they are too dry they will snap and if they are too long the man will hit the ground and kill himself. The ground around the tower is cleaned and softened because the divers' heads must lightly brush the ground. On the day of the dives the men and women of the village gather at the base of the tower. The men sing and sway in a hypnotic movement while the women merely dance with Croton leaves in their hands
Between 20 and 60 men will perform the land dives. The youngest go first. Their platform is set at a modest height. The most experienced and the boldest go last and dive from the top of the tower. The divers balance themselves on the edge of their platform concentrate and lift one or both arms to the sky. Some make short speeches to the spectators. Then they dive with their arms crossed over their chests and their knees bent. Somewhat groggy on their arrival on the ground they are helped to their feet and praised by the spectators who chop off the remaining vines from their ankles with a machete.
Le rituel le plus spectaculaire du Vanuatu est probablement le saut dans le vide, ou naghol, pratiqué dans le sud de l’île de Pentecôte. À la fois rite initiatique et agraire, il a lieu aux mois d’avril et de mai, peu après la récolte des premières ignames. Les hommes se jettent du haut d’une tour construite en branches, qui peut atteindre trente mètres. Ils sont attachés aux chevilles par des lianes qui leur évitent de s’écraser au sol. Chaque homme construit sa plate-forme, utilisée comme une sorte de plongeoir, à la hauteur de son choix. Il coupe à la longueur nécessaire ses lianes. Le choix de la liane est d’une importance critique : trop sèche elle peut se briser, trop longue elle peut entraîner la mort. Le terrain, au pied de la tour, est nettoyé et amolli car le crâne du participant doit effleurer le sol. Le jour du saut, hommes et femmes se réunissent au pied de la tour. Les hommes chantent en se balançant en un mouvement hypnotique tandis que les femmes, feuilles de croton à la main, se contentent de danser. Entre 20 et 60 hommes vont s’élancer dans le vide. Les plus jeunes débutent. Leur plate-forme est située à une hauteur modeste. Les plus expérimentés ou les plus audacieux passeront en dernier et se jetteront du sommet de la tour. Les sauteurs se tiennent en équilibre au bord de leur plate-forme. Ils se concentrent, lèvent un bras ou les deux vers le ciel. Ils peuvent aussi adresser un petit discours à l’assistance. Puis ils se jettent, les bras repliés sur la poitrine et les jambes fléchies. Légèrement groggy à son arrivée au sol, le sauteur est remis sur pied et fêté par des assistants qui coupent ses lianes à l’aide d’une machette.
Built in 1938-1940, this Modern International-style concert hall was designed by Eliel Saarinen and Eero Saarinen to house performance spaces for the Buffalo Philharmonic Orchestra and other local musical organizations. Named by Edward L. Kleinhans, whom donated the money for the building’s construction in 1934, the building was named in the memory of his wife, Mary Seaton Kleinhans, and his mother, Mary Livingston Kleinhans. The performance hall was partially funded with money from the New Deal-era Public Works Administration (PWA), with local architects F. J. and W. A. Kidd assisting with the building’s design and construction, with lighting consultant Stanley McCandless and acoustical consultant Charles C. Potwin assisting with the design of the building’s performance spaces. The building was opened on October 19, 1940 with a concert by the Buffalo Philharmonic Orchestra. In 1964, the concert hall was the site of a speech by Robert F. Kennedy, whom was running to be elected as a Democratic Senator representing New York, which he gave in front of an audience of 6,000 people, and in 1967, Dr. Martin Luther King, Jr. gave a speech in the building’s main auditorium titled “The Future of Integration.”
The footprint of the building features two opposing parabolic curves, which make up the walls at the rear of the larger main auditorium and the smaller Mary Seaton Room, with the main auditorium being shaped like a triangle with curved sides and a curved vertex at the rear of the building, with a low one-story wing framing the main auditorium, consisting of offices and support spaces, as well as slender canopies and entrance vestibules. On the sides of the exterior of the main auditorium are stair-stepping walls that contain stairways to the upper balcony inside the auditorium, and a lobby cuts through the building between the two auditoriums, connecting the entrance vestibules on either side of the building, which contains open stairways to an upper level that provides access to the balcony of the main auditorium. The building’s exterior is clad in buff brick with limestone trim panels on the canopies, framing the entrance doors, the Mary Seaton Room, and on the walls framing the front reflecting pool, with an aluminum curtain wall containing exit doors and glazing on either side of the rear portion of the Mary Seaton Room, providing a visual break in the building’s exterior between the main volume of the performance hall and the larger adjacent structure that houses the lobby and main auditorium. The building’s interior is relatively simple with unadorned walls, clean lines, wood paneling and doors, ceilings in the auditoriums with ceilings featuring multiple bulkheads that conceal lightings and vents, as well as improve the acoustics of the performance spaces, and cantilevered stairways in the lobby.
The Kleinhans Music Hall is a notable early example of Modernism and the International Style in the United States, and is also notable for being one of the boldest early designs by Eliel and Eero Saarinen, the latter going on to design the Gateway Arch in St. Louis, Dulles Airport Terminal in Virginia near Washington, DC, and the TWA Terminal at New York City’s John F. Kennedy Airport during the 1960s, with the parabolic curves utilized in this building being more heavily emphasized in those later structures. The building was listed on the National Register of Historic Places and designated as a National Historic Landmark in 1989. Today, the building remains a major concert hall in the city of Buffalo, and still houses the Buffalo Philharmonic Orchestra and Buffalo Chamber Music Society, with the building’s various performance, lobby, and rehearsal spaces being rented out for local performing arts groups and events.
Merida Classic Doll with Bear Cub Figure - 12''
US Disney Store
Released online 2016-06-20
$16.95
Aim for fun
Revisit the epic story of Brave with our boldest princess. This Merida Classic Doll, looking regal in her signature green gown alongside brotherly Bear Cub figurine, is ready for adventure wherever your imagination leads.
Magic in the details...
• Deluxe satin costume with sparkling organza trims
• Comes with brotherly Bear Cub figurine
• Fully poseable
• Part of the Disney Princess Classic Doll Collection
The bare necessities
• Ages 3+
• Plastic / polyester
• Doll: 12'' H
• Bear Cub: 2 1/2'' H
• Imported
Safety
WARNING: CHOKING HAZARD - Small Parts. Not for children under 3 years.
Overview
Heritage Category: Listed Building
Grade: I
List Entry Number: 1340467
Date first listed: 28-Jun-1960
Location
Statutory Address: Holy Trinity, Minchinhampton, Bell Lane, Minchinhampton, Stroud GL6 9BP
County: Gloucestershire
District: Stroud (District Authority)
Parish: Minchinhampton
National Grid Reference: SO 87219 00814
Details
Parish church. C14 tower and transepts. Remainder of church rebuilt 1842 by Thomas Foster of Bristol; chancel altered 1869-71 by William Burges. Porch room by Peter Falconer added in 1973. Ashlar and random rubble limestone; stone and Welsh slate roofs. Nave with aisles, north and south transepts, central tower and chancel. West entrance lobby addition and parish room. C14 tower and transepts, tower having tall deeply splayed 2-light pointed belfry openings with Decorated tracery; broach spire with narrow lucarnes to cardinal faces; upper part removed 1563 and replaced by crenellated coronet with crocketed pinnacles. Octagonal north east stair turret entered by pointed arched doorway in angle between chancel and north transept. Very fine south transept has large 5-light rose window, diagonal corner buttresses and row of closely-spaced side wall buttresses with 2-light pointed windows between. Plainer north transept with 3-light north and similar east window with reticulated tracery, north having circular Cl9 restored window above with quatrefoil tracery. Moulded pointed arched doorway on east side with hoodmould. C19 buttressed chancel has large 5-light geometrical traceried east window with double tracery in Burges's typical bold style; empty hooded image niche above. Perpendicular Gothic nave by Foster appears bulky against medieval crossing. Five Perpendicular aisle windows and one bay at west end with smaller window; 2-light clerestory windows with 4-centred pointed heads separated by gabled buttresses. Crenellated parapets with tall crocketed pinnacles at west end above angle buttresses. Four-light Perpendicular west window. Flat-roofed lobby obscures west doorway, links with hexagonal church room having sprocketed pyramidal roof with ball finial and stone cross windows. Interior: broad nave with panelled roof having gilt bosses and painted decoration to ribbing. Four-bay arcades with octagonal columns. C14 crossing arches die into responds of piers. Tierceron vaulting beneath tower taken off slender corner shafts with foliage capitals. Some medieval painting survives on nave arch. Timber boarded barrel vault to chancel with 1931 painted decoration by F.C. Eden. Highly polished encaustic tile to stepped chancel floor. Most remarkable part of interior is south transept, dominated by rose window and with pitched stone slab roof supported on stone cross-arches with scissor bracing, these set closely together relating to the external buttressing. Two ogee-arched Decorated mortuary tomb recesses below south transept window have rich crocket decoration and pinnacles, also retaining effigy of Knight in contemporary armour and his Lady, each on chest with quatrefoil front panelling. Similar tomb recess in north transept now obscured by organ. Many other fine memorials including brasses at west end of nave. Good segmental pedimented memorial in south transept to IEREMIE BVCKE, a Parliamentary officer, appears undated; oval brass plate below to Jacobus Bradley, S.T.P., died 1762 aged 70 has latin inscription - this formerly being attached to Bradley's monument in the churchyard (q.v.). Several good monuments reset high in nave between clerestory windows. All are fine, many of cadaver type, mostly to Sheppard family of Gatcombe Park. Especially good is one on south side by Ricketts of Gloucester to SAMUEL SHEPPARD, died 1770. Boldest on north side is pedimented plaque to JOSEPH ILES, died 1749, by Robert Chambers. Remainder of fittings mostly date from re-seating of church in 1875. Timber rood screen by F.C. Eden of 1920 was intended to be painted. Very complete stained glass: east window and south rose window by Hardman. West window and most aisles windows are by Herbert Bryans, a pupil of Kempe, installed 1899-1922. One window in north aisle by Edward Payne. Church at Minchinhampton originally given by William the Conqueror to the Abbaye aux Dames, Caen, passing to the nuns of Syon Abbey in 1415. A major rebuilding occurred in C12 but no trace of this survives. (J. Mordant Crook, William Burges and the High Victorian Dream, 1981; N.M. Herbert, 'Minchinhampton' in V.C.H. Glos. xi 1976, pp 184-207; A.T. Playne, Minchinhampton and Avening, 1915; and D. Verey, Cotswold Churches, 1976 and Gloucestershire: The Cotswolds, 1979)
© Historic England 2021
The most spectacular ritual of Vanuatu is probably the naghol or land diving practised in the southern part of Pentecost island. It has both an initiation and an agrarian significance as it takes place in April and May just after the first yams have been harvested. The men throw themselves from the top ofa tower built of branches that can be up to 30m high. Pieces of vine tied around their ankles prevent them from hitting the ground and killing themselves. Each man builds his own jumpingplatform a sort of diving board at his preferred height and cuts his own length of vine. The pieces of vine are carefully chosen: if they are too dry they will snap and if they are too long the man will hit the ground and kill himself. The ground around the tower is cleaned and softened because the divers' heads must lightly brush the ground. On the day of the dives the men and women of the village gather at the base of the tower. The men sing and sway in a hypnotic movement while the women merely dance with Croton leaves in their hands
Between 20 and 60 men will perform the land dives. The youngest go first. Their platform is set at a modest height. The most experienced and the boldest go last and dive from the top of the tower. The divers balance themselves on the edge of their platform concentrate and lift one or both arms to the sky. Some make short speeches to the spectators. Then they dive with their arms crossed over their chests and their knees bent. Somewhat groggy on their arrival on the ground they are helped to their feet and praised by the spectators who chop off the remaining vines from their ankles with a machete.
Le rituel le plus spectaculaire du Vanuatu est probablement le saut dans le vide, ou naghol, pratiqué dans le sud de l’île de Pentecôte. À la fois rite initiatique et agraire, il a lieu aux mois d’avril et de mai, peu après la récolte des premières ignames. Les hommes se jettent du haut d’une tour construite en branches, qui peut atteindre trente mètres. Ils sont attachés aux chevilles par des lianes qui leur évitent de s’écraser au sol. Chaque homme construit sa plate-forme, utilisée comme une sorte de plongeoir, à la hauteur de son choix. Il coupe à la longueur nécessaire ses lianes. Le choix de la liane est d’une importance critique : trop sèche elle peut se briser, trop longue elle peut entraîner la mort. Le terrain, au pied de la tour, est nettoyé et amolli car le crâne du participant doit effleurer le sol. Le jour du saut, hommes et femmes se réunissent au pied de la tour. Les hommes chantent en se balançant en un mouvement hypnotique tandis que les femmes, feuilles de croton à la main, se contentent de danser. Entre 20 et 60 hommes vont s’élancer dans le vide. Les plus jeunes débutent. Leur plate-forme est située à une hauteur modeste. Les plus expérimentés ou les plus audacieux passeront en dernier et se jetteront du sommet de la tour. Les sauteurs se tiennent en équilibre au bord de leur plate-forme. Ils se concentrent, lèvent un bras ou les deux vers le ciel. Ils peuvent aussi adresser un petit discours à l’assistance. Puis ils se jettent, les bras repliés sur la poitrine et les jambes fléchies. Légèrement groggy à son arrivée au sol, le sauteur est remis sur pied et fêté par des assistants qui coupent ses lianes à l’aide d’une machette.
The middle of the road is more than just yellow lines and roadkill. It's where the boldest of people go.
My first ever shot using a tripod - just haven't worked out yet how to see what you are taking in the dim digital display - I would have centered this better if I could have seen what I was taking. This was where we stayed in Maastricht last week; it was amazing; food was great and apparently GW Bush stayed there.
Run to Death
A True Incident of Pre-Revolutionary French History.
Now the lovely autumn morning breathes its freshness in earth's face,
In the crowned castle courtyard the blithe horn proclaims the chase;
And the ladies on the terrace smile adieux with rosy lips
To the huntsmen disappearing down the cedar-shaded groves,
Wafting delicate aromas from their scented finger tips,
And the gallants wave in answer, with their gold-embroidered gloves.
On they rode, past bush and bramble, on they rode, past elm and oak;
And the hounds, with anxious nostril, sniffed the heather-scented air,
Till at last, within his stirrups, up Lord Gaston rose, and spoke--
He, the boldest and the bravest of the wealthy nobles there :
'Friends,' quoth he, 'the time hangs heavy, for it is not as we thought,
And these woods, tho' fair and shady, will afford, I fear, no sport.
Shall we hence, then, worthy kinsmen, and desert the hunter's track
For the chateau, where the wine cup and the dice cup tempt us back?'
'Ay,' the nobles shout in chorus ; 'Ay,' the powder'd lacquey cries;
Then they stop with eager movement, reining in quite suddenly;
Peering down with half contemptuous, half with wonder-opened eyes
At a 'something' which is crawling, with slow step, from tree to tree.
Is't some shadow phantom ghastly ? No, a woman and a child,
Swarthy woman, with the 'gipsy' written clear upon her face;
Gazing round her with her wide eyes dark, and shadow-fringed, and wild,
With the cowed suspicious glances of a persecuted race.
Then they all, with unasked question, in each other's faces peer,
For a common thought has struck them, one their lips dare scarcely say,--
Till Lord Gaston cries, impatient, 'Why regret the stately deer
When such sport as yonder offers? quick ! unleash the dogs--away!'
Then they breath'd a shout of cheering, grey-haired man and stripling boy,
And the gipsy, roused to terror, stayed her step, and turned her head--
Saw the faces of those huntsmen, lit with keenest cruel joy--
Sent a cry of grief to Heaven, closer clasped her child, and fled!
* * * * * * *
O ye nobles of the palace! O ye gallant-hearted lords!
Who would stoop for Leila's kerchief, or for Clementina's gloves,
Who would rise up all indignant, with your shining sheathless swords,
At the breathing of dishonour to your languid lady loves!
O, I tell you, daring nobles, with your beauty-loving stare,
Who ne'er long the coy coquetting of the courtly dames withstood,
Tho' a woman be the lowest, and the basest, and least fair,
In your manliness forget not to respect her womanhood,
And thou, gipsy, that hast often the pursuer fled before,
That hast felt ere this the shadow of dark death upon thy brow,
That hast hid among the mountains, that hast roamed the forest o'er,
Bred to hiding, watching, fleeing, may thy speed avail thee now!
* * * * * * *
Still she flees, and ever fiercer tear the hungry hounds behind,
Still she flees, and ever faster follow there the huntsmen on,
Still she flees, her black hair streaming in a fury to the wind,
Still she flees, tho' all the glimmer of a happy hope is gone.
'Eh? what? baffled by a woman! Ah, sapristi! she can run!
Should she 'scape us, it would crown us with dishonour and disgrace;
It is time' (Lord Gaston shouted) 'such a paltry chase were done!'
And the fleeter grew her footsteps, so the hotter grew the chase--
Ha! at last! the dogs are on her! will she struggle ere she dies?
See! she holds her child above her, all forgetful of her pain,
While a hundred thousand curses shoot out darkly from her eyes,
And a hundred thousand glances of the bitterest disdain.
Ha! the dogs are pressing closer! they have flung her to the ground;
Yet her proud lips never open with the dying sinner's cry--
Till at last, unto the Heavens, just two fearful shrieks resound,
When the soul is all forgotten in the body's agony!
Let them rest there, child and mother, in the shadow of the oak,
On the tender mother-bosom of that earth from which they came.
As they slow rode back those huntsmen neither laughed, nor sang, nor spoke,
Hap, there lurked unowned within them throbbings of a secret shame.
But before the flow'ry terrace, where the ladies smiling sat,
With their graceful nothings trifling all the weary time away,
Low Lord Gaston bowed, and raising high his richly 'broider'd hat,
'Fairest ladies, give us welcome! 'Twas a famous hunt to-day.'
~ Amy Levy, 1861 - 1889 ~
From Wikipedia
:https://en.wikipedia.org/wiki/Piasa
THE MURALS
The original mural was created prior to the arrival of any European explorers in the region. The location of the image was at a river-bluff terminus of the American Bottom floodplain. It may have been an older iconograph from the large Mississippian culture city of Cahokia, which began developing about 900 CE. Cahokia was at its peak about 1200 CE, with 20,000 to 30,000 residents. It was the largest prehistoric city north of Mexico and a major chiefdom. Icons and animal pictographs such as falcons, thunderbirds, bird men, and monstrous snakes were common motifs of the Cahokia culture.
An Alton Evening Telegraph newspaper article of May 27, 1921 stated that seven smaller painted images, carved and painted in rocks, believed to be of archaic American Indian origin, were found in the early 20th century about 1.5 miles upriver from the ancient Piasa creature's location. These pictures were authenticated in the Levis Bluffs area by George Dickson and William Turk in 1905. According to the article, four of these paintings were of "an owl, a sun circle, a squirrel, and a piece showing two birds or some kind of animals in a contest", the other three paintings were of "a great animal, perhaps a lion, and another an animal about as large as a coyote". These paintings were photographed by Professor William McAdams and were to be placed in his book Records of Ancient Races in the Mississippi Valley. These seven archaic American Indian paintings were lost in transit to the Missouri Historical Society c. 1922. Other Native American carved petroglyphs of a similar time period and region as the Piasa monster are carved into the rocks at Washington State Park in Missouri about 60 miles southwest of the current Piasa image.
The 1797-8 map of French explorer Nicolas De Finiels' shows the cliffs above the Piasa labeled as Hauteurs De Paillisa.
An earlier 1778 map titled "A new map of the western parts of Virginia, Pennsylvania, Maryland and North Carolina; comprehending the river Ohio, and all the rivers, which fall into it; part of the river Mississippi, the whole of the Illinois River, ... Author Hutchins, Thomas, 1730-1789" clearly shows the place name "PIASAS" where the present day City of Alton is located and bounded by the Wood River to the east. This map is one of the earliest documented references for the word Piasa.
DISCOVERY
In 1673, Father Jacques Marquette saw the painting on a limestone bluff overlooking the Mississippi River while exploring the area. He recorded the following description:
"While skirting some rocks, which by their height and length inspired awe, we saw upon one of them two painted monsters which at first made us afraid, and upon which the boldest savages dare not long rest their eyes. they are as large as a calf; they have horns on their heads like those of a deer, a horrible look, red eyes, a beard like a tiger's, a face somewhat like a man's, a body covered with scales, and so long a tail that it winds all around the body, passing above the head and going back between the legs, ending in a fish's tail. green, red, and black are the three colors composing the picture. Moreover, these two monsters are so well painted that we cannot believe that any savage is their author; for good painters in France would find it difficult to reach that place conveniently to paint them. Here is approximately the shape of these monsters, as we have faithfully copied it."
The French cartographer Jean-Baptiste-Louis Franquelin compiled a map titled ″The Mississippi″ in about the year 1682, from Louis Jolliet′s description of his 1673 journey with Father Marquette. A creature similar to the underwater panther is sketched on the map east of the Missouri River and south of the Illinois River. As in Marquette′s description the animal is wingless with no resemblance to a bird.
Later French explorers, like St. Cosme, reported that by 1699 the series of images were badly worn due to the habits of the local Indians to "discharge their weapons" at the images as they passed. Author A. D. Jones, in his book "Illinois and the West" c. 1838, also describes the ravages of weapons (firearms) upon the images, and further refers to the paintings as being named "Piasua".
The original image was the largest Native American painting ever found in North America
JOHN RUSSELL ACCOUNT
The monster depicted in the mural was first referred to as the "Piasa Bird" in an article published c. 1836 by John Russell of Bluffdale, Illinois. John Russell was a professor of Greek and Latin at Shurtleff College, Upper Alton, Illinois. The article was entitled "The Tradition of The Piasa" and Russell claimed the origin of the word to be from a nearby stream: "This stream is the Piasa. Its name is Indian, and signifies, in the Illini, "The Bird That Devours Men." The original Piasa Creek ran through the main ravine in downtown Alton, and was completely covered by huge drainage pipes around 1912. According to the story published by Russell, the creature depicted by the painting was a huge bird that lived in the cliffs. Russell claimed that this creature attacked and devoured people in nearby Indian villages shortly after the corpses of a war gave it a taste for human flesh. The legend claims that a local Indian chief, named Chief Ouatoga, managed to slay the monster using a plan given to him in a dream from the Great Spirit. The chief ordered his bravest warriors to hide near the entrance of the Piasa Bird's cave, which Russell also claimed to have explored. Ouatoga then acted as bait to lure the creature out into the open. As the monster flew down toward the Indian chief, his warriors slew it with a volley of poisoned arrows. Russell claimed that the mural was painted by the Indians as a commemoration of this heroic event.
Some sources report that this account was simply a story created by John Russell. In the book Records of Ancient Races in the Mississippi Valley ... Chapter 2, 1887 by W. McAdams, the author says he contacted John Russell, who admitted the story was fabricated.
The bird imagery is not reported in Father Marquette's description, which makes no mention of wings. It is also possible that Marquette's description and Russell's account were both accurate for their respective times. The image may have been repainted at some point between 1673 and 1836 to revise its appearance.
When contemporary historians, folklorists, and tourism promoters are looking for a narrative description of the story behind the Piasa "Bird", they often rely on Russell's account.
ORIGIN STORY
Esarey, Costa, Wood, et al now link the Underwater Panther to the Piasa both iconographically and phonetically to proper legend. "Payiihsa" is a "small supernatural being" and "pai'ssa" was referenced in an early explorer's list of supernatural beings. The "Payiihsa" often bear large feet with 4 or 6 toes and are referenced frequently in pottery and rock art symbolism along with the symbolism of the underwater panther. (To complicate matters, the term "Piasa" was applied in the 1970's to any symbolism matching the "protean super theme" of underwater panthers.) Costa's research in 2005 led to a Miami-Illinois Indian's tale of the malevolent twin dwarves (the "Payiihsaki"), the underwater panther, and the supernatural culture hero known as the Illinois Trickster, "Wissa Katch Akwa" who encounter a French trader. This legend of the Payiihsaki and the cliff art of underwater panther, as misinterpreted by Russell and others, is now believed by Esarey to be the origin of Russell's story of the Piasa.
The Underwater Panther origin is supported by research by Dr. Mark J. Wagner, Director, Center for Archaeological Investigations and Professor, Department of Anthropology, Southern Illinois University at Carbondale.
A fascinating limited palette work from Edgar Degas. Women combing their hair, or having it combed, often appear in Degas’s work, and this painting is one of his boldest treatments of the subject. A maid, wearing her servant’s uniform, combs the hair of her seated mistress, who is not yet fully dressed. Pulled back by the force of the strokes, the mistress raises her right hand to her head as if to steady herself or hold her hair in place.
The composition is sketched in with bold sweeps of the brush, and Degas mainly limits the colours to variations of a fiery orange-red painted over a creamy white ground, which is still visible on the left of the canvas. Some areas are more defined than others – the objects on the table, for example, look unfinished. Degas probably planned to work further on the painting, but it was never completed and remained in his studio. After his death, it was bought by Henri Matisse.
Hilaire-Germain-Edgar Degas, abt. 1896
Oil on canvas
National Gallery, London (NG4865)
The 'west' window by Carl Edwards dates from the late 1970s and represents the Benedicite, the psalm calling on all elements of creation to sing a hymn of praise. It is the most compelling of the cathedral's windows, making the richest use of colour and boldest contemporary statement amongst it's rather more conservative brethren here.
Liverpool Cathedral is Britain's largest church and the biggest Anglican cathedral in the World, one of the most enormous Gothic style edifices ever built. It is a magnificent structure that dominates the skyline of the city with a brooding presence, seemingly part church, part skyscraper and part power station. It was built between 1904-78 to the designs of Giles Gilbert Scott in a monumental reinterpretation of the Gothic style and dwarfs all around it.
Scott's design was the winner of a competition in 1901 when he was only 22 years old. As a result of his youth a senior architect, G.F.Bodley was appointed to guide the young architect's work and his influence is clear in the Lady Chapel, the first part to be completed. It wasn't an easy relationship, however Bodley died in 1907, leaving Scott free to modify and realise the plans as he wished. The original design changed beyond all recognition as building gradually progressed (from liturgical east to west), with the original two-towered composition making way for the single vast central tower sitting between two pairs of transepts, creating an unprecedentedly massive space between the nave and choir. The 'west' front (the cathedral is actually orientated with the altar facing south) was the final part to be built and slightly deviates from Scott's intentions as the architect had died in 1960 and his concept was considered too costly. New architect Frederick Thomas finished the work with a deeply recessed window filling most of the wall (Scott actually wanted a virtually blank wall) which sits perfectly with the rest of the building.
The cathedral's interior is vast and cavernous, spanned by one of the largest vaulted ceilings ever built. It is somewhat dark owing to the red sandstone finish and the glowing stained glass (mostly by Powell's, more conservative in the choir and transepts, richer and more colourful in the later nave) which culminates in the huge windows at either end, the superb west window being the richest in the building.
The overall impression of Liverpool Cathedral is one of huge size and dizzying heights, and yet there are more intimate spaces to be found, such as the beautiful Lady Chapel (an almost separate building and itself bigger than most churches) which is more richly ornamented as a result of Bodley's influence.
The central tower can be ascended (mostly by lift, then via stairs in the final belfry chamber to the roof) giving sweeping views over the city.
Bonhams : the Zoute Sale
Estimated : € 15.000 - 25.000
Sold for € 20.700
Zoute Grand Prix 2019
Knokke - Zoute
België - Belgium
October 2019
"What BMC created with the Moke was, to put it mildly, uncharacteristic of that organisation. If the Mini was arresting and advanced, the Moke was off-the-wall and utterly out-of-place." – Chris Rees, Complete Classic Mini.
Like that other great cult car of the post-WW2 era - the Volkswagen 'Beetle' - the Mini proved amenable to all manner of imaginative interpretations by devotees, though its boldest reinvention - the Jeep-like Moke - came from BMC itself.
Conceived as a military vehicle but rejected by the Army, the Moke was redeveloped for the civilian market, deliveries commencing in 1964. The car's open design meant that it was not the ideal vehicle for the British climate and the vast majority ended up overseas. Sold overseas as a utility vehicle but in Britain viewed more as a fashion accessory, the Moke captured the 1960s' spirit of freedom and self-expression more effectively than any other car. The Moke's prominent role in Patrick McGoohan's cult TV series The Prisoner has only served to maintain its popularity and today this quirky Mini variant remains highly sought after.
Strikingly finished in black with matching leather interior, this charming Mini Moke was restored in 2017 and is described by the vendor as in very good condition throughout. Affording the convenience of automatic transmission – rare in a Moke – it is ideal for having fun on the beach or cruising stylishly around the resorts of the Côte d'Azur and the top list of holiday destinations. Petrol-engined Mini Mokes becoming rare in the street view, this example is offered with Belgian 'oldtimer' registration papers.
The most spectacular ritual of Vanuatu is probably the naghol or land diving practised in the southern part of Pentecost island. It has both an initiation and an agrarian significance as it takes place in April and May just after the first yams have been harvested. The men throw themselves from the top ofa tower built of branches that can be up to 30m high. Pieces of vine tied around their ankles prevent them from hitting the ground and killing themselves. Each man builds his own jumpingplatform a sort of diving board at his preferred height and cuts his own length of vine. The pieces of vine are carefully chosen: if they are too dry they will snap and if they are too long the man will hit the ground and kill himself. The ground around the tower is cleaned and softened because the divers' heads must lightly brush the ground. On the day of the dives the men and women of the village gather at the base of the tower. The men sing and sway in a hypnotic movement while the women merely dance with Croton leaves in their hands
Between 20 and 60 men will perform the land dives. The youngest go first. Their platform is set at a modest height. The most experienced and the boldest go last and dive from the top of the tower. The divers balance themselves on the edge of their platform concentrate and lift one or both arms to the sky. Some make short speeches to the spectators. Then they dive with their arms crossed over their chests and their knees bent. Somewhat groggy on their arrival on the ground they are helped to their feet and praised by the spectators who chop off the remaining vines from their ankles with a machete.
Le rituel le plus spectaculaire du Vanuatu est probablement le saut dans le vide, ou naghol, pratiqué dans le sud de l’île de Pentecôte. À la fois rite initiatique et agraire, il a lieu aux mois d’avril et de mai, peu après la récolte des premières ignames. Les hommes se jettent du haut d’une tour construite en branches, qui peut atteindre trente mètres. Ils sont attachés aux chevilles par des lianes qui leur évitent de s’écraser au sol. Chaque homme construit sa plate-forme, utilisée comme une sorte de plongeoir, à la hauteur de son choix. Il coupe à la longueur nécessaire ses lianes. Le choix de la liane est d’une importance critique : trop sèche elle peut se briser, trop longue elle peut entraîner la mort. Le terrain, au pied de la tour, est nettoyé et amolli car le crâne du participant doit effleurer le sol. Le jour du saut, hommes et femmes se réunissent au pied de la tour. Les hommes chantent en se balançant en un mouvement hypnotique tandis que les femmes, feuilles de croton à la main, se contentent de danser. Entre 20 et 60 hommes vont s’élancer dans le vide. Les plus jeunes débutent. Leur plate-forme est située à une hauteur modeste. Les plus expérimentés ou les plus audacieux passeront en dernier et se jetteront du sommet de la tour. Les sauteurs se tiennent en équilibre au bord de leur plate-forme. Ils se concentrent, lèvent un bras ou les deux vers le ciel. Ils peuvent aussi adresser un petit discours à l’assistance. Puis ils se jettent, les bras repliés sur la poitrine et les jambes fléchies. Légèrement groggy à son arrivée au sol, le sauteur est remis sur pied et fêté par des assistants qui coupent ses lianes à l’aide d’une machette.
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The most spectacular ritual of Vanuatu is probably the naghol or land diving practised in the southern part of Pentecost island. It has both an initiation and an agrarian significance as it takes place in April and May just after the first yams have been harvested. The men throw themselves from the top ofa tower built of branches that can be up to 30m high. Pieces of vine tied around their ankles prevent them from hitting the ground and killing themselves. Each man builds his own jumpingplatform a sort of diving board at his preferred height and cuts his own length of vine. The pieces of vine are carefully chosen: if they are too dry they will snap and if they are too long the man will hit the ground and kill himself. The ground around the tower is cleaned and softened because the divers' heads must lightly brush the ground. On the day of the dives the men and women of the village gather at the base of the tower. The men sing and sway in a hypnotic movement while the women merely dance with Croton leaves in their hands
Between 20 and 60 men will perform the land dives. The youngest go first. Their platform is set at a modest height. The most experienced and the boldest go last and dive from the top of the tower. The divers balance themselves on the edge of their platform concentrate and lift one or both arms to the sky. Some make short speeches to the spectators. Then they dive with their arms crossed over their chests and their knees bent. Somewhat groggy on their arrival on the ground they are helped to their feet and praised by the spectators who chop off the remaining vines from their ankles with a machete.
Le rituel le plus spectaculaire du Vanuatu est probablement le saut dans le vide, ou naghol, pratiqué dans le sud de l’île de Pentecôte. À la fois rite initiatique et agraire, il a lieu aux mois d’avril et de mai, peu après la récolte des premières ignames. Les hommes se jettent du haut d’une tour construite en branches, qui peut atteindre trente mètres. Ils sont attachés aux chevilles par des lianes qui leur évitent de s’écraser au sol. Chaque homme construit sa plate-forme, utilisée comme une sorte de plongeoir, à la hauteur de son choix. Il coupe à la longueur nécessaire ses lianes. Le choix de la liane est d’une importance critique : trop sèche elle peut se briser, trop longue elle peut entraîner la mort. Le terrain, au pied de la tour, est nettoyé et amolli car le crâne du participant doit effleurer le sol. Le jour du saut, hommes et femmes se réunissent au pied de la tour. Les hommes chantent en se balançant en un mouvement hypnotique tandis que les femmes, feuilles de croton à la main, se contentent de danser. Entre 20 et 60 hommes vont s’élancer dans le vide. Les plus jeunes débutent. Leur plate-forme est située à une hauteur modeste. Les plus expérimentés ou les plus audacieux passeront en dernier et se jetteront du sommet de la tour. Les sauteurs se tiennent en équilibre au bord de leur plate-forme. Ils se concentrent, lèvent un bras ou les deux vers le ciel. Ils peuvent aussi adresser un petit discours à l’assistance. Puis ils se jettent, les bras repliés sur la poitrine et les jambes fléchies. Légèrement groggy à son arrivée au sol, le sauteur est remis sur pied et fêté par des assistants qui coupent ses lianes à l’aide d’une machette.