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Croome Court is a mid 18th century Neo-Palladian mansion surrounded by an extensive landscaped parkland at Croome D'Abitot, near Pershore in south Worcestershire. The mansion and park were designed by Lancelot "Capability" Brown for George Coventry, 6th Earl of Coventry, and was Brown's first landscape design and first major architectural project. Some of the internal rooms of the mansion were designed by Robert Adam.
The mansion house is owned by Croome Heritage Trust, and is leased to the National Trust who operate it, along with the surrounding parkland, as a tourist attraction. The National Trust own the surrounding parkland, which is also open to the public.
Location[edit]
Croome Court is located near to Croome D'Abitot, in Worcestershire,[1] near Pirton, Worcestershire.[2] The wider estate was established on lands that were once part of the royal forest of Horewell.[3] Traces of these older landscapes, such as unimproved commons and ancient woodlands, can be found across the former Croome Estate.[4]
House[edit]
Croome Court South Portico
History[edit]
The foundations and core of Croome Court, including the central chimney stack structure, date back to the early 1640s.[5] Substantial changes to this early house were made by Gilbert Coventry, 4th Earl of Coventry.[6]
In 1751, George Coventry, the 6th Earl, inherited the estate, along with the existing Jacobean house. He commissioned Lancelot "Capability" Brown, with the assistance of Sanderson Miller, to redesign the house and estate.[7][1] It was Brown's "first flight into the realms of architecture" and a "rare example of his architectural work",[8] and it is an important and seminal work.[9] It was built between 1751 and 1752, and it and Hagley Hall are considered to be the finest examples of Neo-Palladian architecture in Worcestershire. Notable Neo-Palladian features incorporated into Croome Court include the plain exterior and the corner towers with pyramidal roofs (a feature first used by Inigo Jones in the design of Wilton House in Wiltshire).[1] Robert Adam worked on the interior of the building from 1760 onwards.[10]
The house has been visited by George III,[2][11] as well as Queen Victoria[7] during summers when she was a child, and George V (then Duke of York).[11]
A jam factory was built by the 9th Earl of Coventry, near to Pershore railway station, in about 1880, to provide a market for Vale of Evesham fruit growers in times of surplus. Although the Croome connection with jam making had ceased, during the First World War, the building was leased by the Croome Estate Trust to the Huddersfield Fruit Preserving Company as a pulping station.[12]
The First World War deeply affected Croome, with many local casualties, although the house was not requisitioned for the war effort. This is possibly because it was the home of the Lord Lieutenant of the County, who needed a residence for his many official engagements.[13]
During the Second World War Croome Court was requisitioned by the Ministry of Works and leased for a year to the Dutch Government as a possible refuge for Queen Wilhelmina of the Netherlands; to escape the Nazi occupation of the Netherlands. However, evidence shows that they stayed two weeks at the most, perhaps because of the noise and fear created by the proximity of Defford Aerodrome. They later emigrated to Canada.[14]
In 1948 the Croome Estate Trust sold the Court, along with 38 acres (15 ha) of land, to the Roman Catholic Archdiocese of Birmingham, and the mansion became St Joseph's Special School, which was run by nuns[15] from 1950[11] until 1979.[15]
The house was listed on 11 August 1952; it is currently Grade I listed.[10]
In 1979 the hall was taken over by the International Society for Krishna Consciousness (Hare Krishna movement), who used it as their UK headquarters and a training college[16] called Chaitanya College,[15] run by 25 members of the movement.[16] During their tenure they repainted the Dining Room.[17] In 1984 they had to leave the estate for financial reasons. They held a festival at the hall in 2011.[16]
From 1984 onwards various owners tried to use the property as a training centre; apartments; a restaurant and conference centre; and a hotel and golf course,[15] before once more becoming a private family home,[2][15] with outbuildings converted to private houses.[15]
The house was purchased by the Croome Heritage Trust, a registered charity,[18] in October 2007,[19] and it is now managed by the National Trust as a tourist attraction. It opened to the public in September 2009, at which point six of the rooms had restored, costing £400,000, including the Saloon. It was estimated that another £4 million[2][20] to £4.8 million would be needed to restore the entire building. Fundraising activities for the restoration included a 2011 raffle for a Morgan sports car organised by Lord and Lady Flight. After the restoration is complete, a 999-year lease on the building will be granted to the National Trust.[21] An oral history project to record recollections about Croome was funded by the Heritage Lottery Fund.[15] As of 2009, the service wing was empty and in need of substantial repair.[22]
Exterior[edit]
The mansion is faced with Bath stone,[7] limestone ashlar, and has both north and south facing fronts. It has a basement and two stories, with three stories in the end pavilions. A slate roof, with pyramid roofs over the corner towers, tops the building, along with three pair-linked chimneys along the axis of the house.[10]
Both fronts have 11 bays, split into three central sets of three each, and one additional bay each side. The north face has a pedimented centre, with two balustraded staircases leading to a Roman Doric doorcase. The south face has a projecting Ionic tetrastyle portico and Venetian windows. It has a broad staircase, with cast stone sphinxes on each side, leading to a south door topped with a cornice on consoles. The wings have modillion cornice and balustrade.[10]
A two-story L-shaped service wing is attached to the east side of the mansion. It is made of red brick and stone, with slate roofs.[10] It was designed by Capability Brown in 1751-2.[22] On the far side of the service wing, a wall connects it to a stable court.[10]
Interior[edit]
The interior of the house was designed partially by Capability Brown, with plasterwork by G. Vassalli, and partially by Robert Adam, with plasterwork by J. Rose Jr. It has a central spine corridor. A stone staircase, with iron balusters, is at the east end.[10]
The entrance hall is on the north side of the building, and has four fluted Doric columns, along with moulded doorcases. To the east of the entrance hall is the dining room, which has a plaster ceiling and cornice, while to the west is a billiard room, featuring fielded panelling, a plaster cornice, and a rococo fireplace. The three rooms were probably decorated around 1758-59 by Capability Brown.[10] The dining room was vibrantly repainted by the Hare Krishnas in the 1970s-80s.[17]
The central room on the south side is a saloon, probably by Brown and Vassalli. It has an elaborate ceiling, with three panels, deep coving, and a cornice, along with two Ionic fireplaces, and Palladian doorcases.[10] George III was entertained by George Coventry, the 6th Earl, in the house's Saloon.[2] A drawing room is to the west of the saloon, and features rococo plasterwork and a marble fireplace.[10]
To the east of the saloon is the Tapestry Room.[10] This was designed in 1763-71, based on a design by Robert Adam, and contained tapestries and furniture covers possibly designed by Jacques Germain Soufflot, and made by Manufacture Nationale des Gobelins.[23] Around 1902 the ninth Earl sold the tapestries and seating to a Parisian dealer. In 1949 the Samuel H. Kress Foundation purchased the ceiling, floor, mantlepiece, chair rails, doors and the door surrounds, which were donated to the Metropolitan Museum of Art, New York, in 1958. In 1959 the Kress Foundation also helped the Metropolitan Museum acquire the chair and sofa frames, which they recovered using the original tapestry seats.[7][23] A copy of the ceiling was installed in place of the original.[10] As of 2016, the room is displayed as it would have looked after the tapestries had been sold, with a jug and ewer on display as the only original decoration of the room that remains in it. The adjacent library room is used to explain what happened to the tapestry room;[17] the former library was designed by Adam, and was dismantled except for the marble fireplace.[10]
At the west side of the building is a long gallery,[10] which was designed by Robert Adam and installed between 1761 and 1766. It is the best preserved of the original interior (little of the rest has survived in situ).[1] It has an octagonal panelled ceiling, and plaster reliefs of griffins. A half-hexagonal bay faces the garden. The room also contains a marble caryatid fireplace designed by J Wilton.[10] As of 2016, modern sculptures are displayed in empty niches along the Long Gallery
wikipedia
This poor stag lost his battle and was chased off by the dominate male.
The fallow deer (Dama dama) is a ruminant mammal belonging to the family Cervidae. This common species is native to western Eurasia, but has been introduced widely elsewhere. It often includes the rarer Persian fallow deer as a subspecies (D. d. mesopotamica), while others treat it as an entirely different species (D. mesopotamica).
Petworth House and Park in Petworth, West Sussex, England, has been a family home for over 800 years. The estate was a royal gift from the widow of Henry I to her brother Jocelin de Louvain, who soon after married into the renowned Percy family. As the Percy stronghold was in the north, Petworth was originally only intended for occasional use.
Petworth, formerly known as Leconfield, is a major country estate on the outskirts of Petworth, itself a town created to serve the house. Described by English Heritage as "the most important residence in the County of Sussex", there was a manorial house here from 1309, but the present buildings were built for the Dukes of Somerset from the late 17th century, the park being landscaped by "Capability" Brown. The house contains a fine collection of paintings and sculptures.
The house itself is grade I listed (List Entry Number 1225989) and the park as a historic park (1000162). Several individual features in the park are also listed.
It was in the late 1500s that Petworth became a permanent home to the Percys after Elizabeth I grew suspicious of their allegiance to Mary, Queen of Scots and confined the family to the south.
The 2nd Earl of Egremont commissioned Capability Brown to design and landscape the deer park. The park, one of Brownâs first commissions as an independent designer, consists of 700 acres of grassland and trees. It is inhabited by the largest herd of fallow deer in England. There is also a 12-hectare (30-acre) woodland garden, known as the Pleasure Ground.
Brown removed the formal garden and fishponds of the 1690âs and relocated 64,000 tons of soil, creating a serpentine lake. He bordered the lake with poplars, birches and willows to make the ânaturalâ view pleasing. A 1987 hurricane devastated the park, and 35,000 trees were planted to replace the losses. Gracing the 30 acres of gardens and pleasure grounds around the home are seasonal shrubs and bulbs that include lilies, primroses, and azaleas. A Doric temple and Ionic rotunda add interest in the grounds.
Petworth House is a late 17th-century mansion, rebuilt in 1688 by Charles Seymour, 6th Duke of Somerset, and altered in the 1870s by Anthony Salvin. The site was previously occupied by a fortified manor house founded by Henry de Percy, the 13th-century chapel and undercroft of which still survive.
Today's building houses an important collection of paintings and sculptures, including 19 oil paintings by J. M. W. Turner (some owned by the family, some by Tate Britain), who was a regular visitor to Petworth, paintings by Van Dyck, carvings by Grinling Gibbons and Ben Harms, classical and neoclassical sculptures (including ones by John Flaxman and John Edward Carew), and wall and ceiling paintings by Louis Laguerre. There is also a terrestrial globe by Emery Molyneux, believed to be the only one in the world in its original 1592 state.
For the past 250 years the house and the estate have been in the hands of the Wyndham family â currently Lord Egremont. He and his family live in the south wing, allowing much of the remainder to be open to the public.
The house and deer park were handed over to the nation in 1947 and are now managed by the National Trust under the name "Petworth House & Park". The Leconfield Estates continue to own much of Petworth and the surrounding area. As an insight into the lives of past estate workers the Petworth Cottage Museum has been established in High Street, Petworth, furnished as it would have been in about 1910.
Broadway Tower is a folly on Broadway Hill, near the village of Broadway, in the English county of Worcestershire, at the second-highest point of the Cotswolds (after Cleeve Hill). Broadway Tower's base is 1,024 feet (312 metres) above sea level. The tower itself stands 65 feet (20 metres) high.
The "Saxon" tower was the brainchild of Capability Brown and designed by James Wyatt in 1794 in the form of a castle, and built for Lady Coventry in 1798–99. The tower was built on a "beacon" hill, where beacons were lit on special occasions. Lady Coventry wondered whether a beacon on this hill could be seen from her house in Worcester — about 22 miles (35 km) away — and sponsored the construction of the folly to find out. Indeed, the beacon could be seen clearly.
Over the years, the tower was home to the printing press of Sir Thomas Phillipps, and served as a country retreat for artists including William Morris and Edward Burne-Jones who rented it together in the 1880s. William Morris was so inspired by Broadway Tower and other ancient buildings that he founded the Society for the Protection of Ancient Buildings in 1877.
Today, the tower is a tourist attraction and the centre of a country park with various exhibitions open to the public at a fee, as well as a gift shop and restaurant. The place is on the Cotswold Way and can be reached by following the Cotswold Way from the A44 road at Fish Hill, or by a steep climb out of Broadway village.
Near the tower is a memorial to the crew of an A.W.38 Whitley bomber that crashed there during a training mission in June 1943.
[1]
Broadway Tower was inspired by the famous Capability Brown and completed in 1799 from designs by the renowned architect James Wyatt. It was built for the Earl of Coventry as a folly to his Springhill Estate and dedicated to his wife Peggy.
Legend has it Broadway Tower was used as a signalling tower between Springhill Estate and Croome Court near Worcester, which can be seen from the roof platform.
Many famous people have had association with Broadway Tower, including Sir Thomas Phillips and the pre-Raphaelite artists William Morris, Edward Burne-Jones and Rosetti.
Broadway Tower is open to the public allowing you to travel into the past of this important building and visit the viewing platform constituting the highest point in the Cotswolds at 1089 feet or 331.6 metres altitude.
[2]
Broadway Tower is a folly located on Broadway Hill, near the village of Broadway, in the English county of Worcestershire, at the second highest point of the Cotswolds after Cleeve Hill. Broadway Tower's base is 1,024 feet (312 metres) above sea level. The tower itself stands 55 feet (17 metres) high.
The "Saxon" tower was designed by James Wyatt in 1794 to resemble a mock castle, and built for Lady Coventry in 1799. The tower was built on a "beacon" hill, where beacons were lit on special occasions. Lady Coventry wondered if a beacon on this hill could be seen from her house in Worcester - approximately 22 miles (35 km) away - and sponsored the construction of the folly to find out. The beacon could be seen clearly.
Over the years, the tower was home to the printing press of Sir Thomas Phillips, and served as a country retreat for artists including William Morris and Edward Burne-Jones who rented it together in the 1880s.
Today, the tower is a tourist attraction and the centre of a country park with various exhibitions open to the public at a fee as well as a gift shop. The place is on the Cotswold Way and can be reached by following the Cotswold Way from the A44 road at Fish Hill, or by a steep climb out of Broadway village. Near the tower is a memorial to the crew of an A.W.38 Whitley bomber that crashed there during a training mission in June 1943.
While the F-16A had proven a success, its lack of long-range missile and true all-weather capability hampered it, especially in projected combat against the Warsaw Pact over Central Europe. General Dynamics began work on the upgraded F-16C/D version, with the first Block 25 F-16C flying in June 1984 and entering USAF service that September.
Externally, the only ways to tell apart the F-16C from the F-16A is the slightly enlarged base of the tail and a UHF radio antenna at the base of the tail. The intake is also slightly larger, though later marks of the F-16A also have this feature. Internally, however, the F-16C is a significantly different aircraft. The earlier APG-66 radar was replaced by the APG-68 multimode radar used by the F/A-18, which gave the F-16C the same capability to switch between ground-attack and dogfight mode and vastly improved all-weather capability. Cockpit layout was also changed in response to pilots’ requests, with a larger Heads-Up Display and movement of the radar display to eye level rather than between the pilot’s legs on the F-16A. The F-16C would also have the capability to carry the AIM-120 AMRAAM, though it would not be until 1992 that the missile entered service. Other small upgrades were made throughout the design, including the engine.
The Block 25 initial production was superseded by the Block 30 F-16C in 1987, which gave it better navigation systems, and the capability to carry the either the General Electric F110 or the Pratt and Whitney F100 turbofan. The Block 40/42 “Night Falcon” followed in 1988, equipped with LANTIRN night attack pods, followed by the Block 50/52, which was a dedicated Wild Weasel variant. In USAF service, the latter are semi-officially known as F-16CG and F-16CJ variants.
The F-16C had replaced the F-16A in nearly all overseas USAF units by the First Gulf War in 1991, and as a result, the aircraft was among the first deployed to the theater in August 1990. During the war, the F-16C was used mainly in ground attack and strike sorties, due to delays in the AIM-120, but it performed superbly in this role. USAF F-16s finally scored kills in the F-16C, beginning in 1992, when an Iraqi MiG-23 was shot down over the southern no-fly zone; the victory was also the first with the AMRAAM. Four Serbian G-4 Super Galebs were shot down over Bosnia in 1994. F-16Cs had replaced the F-16A entirely in regular and Reserve USAF service by 1997, and further service was seen over Kosovo, Iraq, Afghanistan, and Libya by 2012. Subsequent upgrades to USAF F-16Cs with GPS allow them to carry advanced precision weapons such as JSOW and JDAM.
Whatever the variant, the F-16 is today the most prolific combat aircraft in existence, with 28 nations operating the type (17 of which operate F-16Cs). Over 4450 have been built, with more in production; the F-16C is also license-produced by Turkey and South Korea. It also forms the basis for the Mitsubishi F-2 fighter for Japan, though the F-2 is significantly different, with a longer nose and larger wing. Though the USAF projects that the F-16C will be replaced by the F-35 beginning in 2020, it will likely remain in service for a very long time.
Having seen this aircraft on aviation websites and on decal sheets, it was a pleasant surprise to finally see it in person at the 122nd Fighter Wing's airpark at Fort Wayne, Indiana. This is 84-1264, a F-16C that joined the USAF in 1985, assigned to the 50th Tactical Fighter Wing based at Hahn, West Germany. When Hahn closed at the end of the Cold War, 84-1264 was transferred to the 122nd FW (Indiana ANG) at Fort Wayne. It would remain with the wing for nearly 20 years, and saw combat during the Second Gulf War (Operation Iraqi Freedom) in 2004.
In 2009, to honor the 122nd FW's predecessor, the 358th Fighter Group ("Orange Tails") of World War II fame, 84-1264 was painted in the same scheme as one of the 358th's P-47 Thunderbolts. The result was striking: an all-orange tail and ventral fins, invasion stripes on the rear fuselage and wings, and the group's orange-and-white nose marking. The wing did not stop there: the most famous P-47 of the 358th was "Tarheel Hal," which covered the nose with a starry field of blue; this was replicated on 84-1264. The 122nd kept its Indiana tail stripe and added "358th Fighter Group" to the base of the tail.
The scheme was kept for a year until the USAF decided to retire the earlier Block 25 F-16Cs, and 84-1264 was taken out of service. Thankfully, it was kept in its heritage scheme and placed on display in the airpark. As I said before, it was a rather neat surprise to see this one-of-a-kind F-16 on an overcast morning in May 2017.
Croome Court is a mid 18th century Neo-Palladian mansion surrounded by an extensive landscaped parkland at Croome D'Abitot, near Pershore in south Worcestershire. The mansion and park were designed by Lancelot "Capability" Brown for George Coventry, 6th Earl of Coventry, and was Brown's first landscape design and first major architectural project. Some of the internal rooms of the mansion were designed by Robert Adam.
The mansion house is owned by Croome Heritage Trust, and is leased to the National Trust who operate it, along with the surrounding parkland, as a tourist attraction. The National Trust own the surrounding parkland, which is also open to the public.
Location[edit]
Croome Court is located near to Croome D'Abitot, in Worcestershire,[1] near Pirton, Worcestershire.[2] The wider estate was established on lands that were once part of the royal forest of Horewell.[3] Traces of these older landscapes, such as unimproved commons and ancient woodlands, can be found across the former Croome Estate.[4]
House[edit]
Croome Court South Portico
History[edit]
The foundations and core of Croome Court, including the central chimney stack structure, date back to the early 1640s.[5] Substantial changes to this early house were made by Gilbert Coventry, 4th Earl of Coventry.[6]
In 1751, George Coventry, the 6th Earl, inherited the estate, along with the existing Jacobean house. He commissioned Lancelot "Capability" Brown, with the assistance of Sanderson Miller, to redesign the house and estate.[7][1] It was Brown's "first flight into the realms of architecture" and a "rare example of his architectural work",[8] and it is an important and seminal work.[9] It was built between 1751 and 1752, and it and Hagley Hall are considered to be the finest examples of Neo-Palladian architecture in Worcestershire. Notable Neo-Palladian features incorporated into Croome Court include the plain exterior and the corner towers with pyramidal roofs (a feature first used by Inigo Jones in the design of Wilton House in Wiltshire).[1] Robert Adam worked on the interior of the building from 1760 onwards.[10]
The house has been visited by George III,[2][11] as well as Queen Victoria[7] during summers when she was a child, and George V (then Duke of York).[11]
A jam factory was built by the 9th Earl of Coventry, near to Pershore railway station, in about 1880, to provide a market for Vale of Evesham fruit growers in times of surplus. Although the Croome connection with jam making had ceased, during the First World War, the building was leased by the Croome Estate Trust to the Huddersfield Fruit Preserving Company as a pulping station.[12]
The First World War deeply affected Croome, with many local casualties, although the house was not requisitioned for the war effort. This is possibly because it was the home of the Lord Lieutenant of the County, who needed a residence for his many official engagements.[13]
During the Second World War Croome Court was requisitioned by the Ministry of Works and leased for a year to the Dutch Government as a possible refuge for Queen Wilhelmina of the Netherlands; to escape the Nazi occupation of the Netherlands. However, evidence shows that they stayed two weeks at the most, perhaps because of the noise and fear created by the proximity of Defford Aerodrome. They later emigrated to Canada.[14]
In 1948 the Croome Estate Trust sold the Court, along with 38 acres (15 ha) of land, to the Roman Catholic Archdiocese of Birmingham, and the mansion became St Joseph's Special School, which was run by nuns[15] from 1950[11] until 1979.[15]
The house was listed on 11 August 1952; it is currently Grade I listed.[10]
In 1979 the hall was taken over by the International Society for Krishna Consciousness (Hare Krishna movement), who used it as their UK headquarters and a training college[16] called Chaitanya College,[15] run by 25 members of the movement.[16] During their tenure they repainted the Dining Room.[17] In 1984 they had to leave the estate for financial reasons. They held a festival at the hall in 2011.[16]
From 1984 onwards various owners tried to use the property as a training centre; apartments; a restaurant and conference centre; and a hotel and golf course,[15] before once more becoming a private family home,[2][15] with outbuildings converted to private houses.[15]
The house was purchased by the Croome Heritage Trust, a registered charity,[18] in October 2007,[19] and it is now managed by the National Trust as a tourist attraction. It opened to the public in September 2009, at which point six of the rooms had restored, costing £400,000, including the Saloon. It was estimated that another £4 million[2][20] to £4.8 million would be needed to restore the entire building. Fundraising activities for the restoration included a 2011 raffle for a Morgan sports car organised by Lord and Lady Flight. After the restoration is complete, a 999-year lease on the building will be granted to the National Trust.[21] An oral history project to record recollections about Croome was funded by the Heritage Lottery Fund.[15] As of 2009, the service wing was empty and in need of substantial repair.[22]
Exterior[edit]
The mansion is faced with Bath stone,[7] limestone ashlar, and has both north and south facing fronts. It has a basement and two stories, with three stories in the end pavilions. A slate roof, with pyramid roofs over the corner towers, tops the building, along with three pair-linked chimneys along the axis of the house.[10]
Both fronts have 11 bays, split into three central sets of three each, and one additional bay each side. The north face has a pedimented centre, with two balustraded staircases leading to a Roman Doric doorcase. The south face has a projecting Ionic tetrastyle portico and Venetian windows. It has a broad staircase, with cast stone sphinxes on each side, leading to a south door topped with a cornice on consoles. The wings have modillion cornice and balustrade.[10]
A two-story L-shaped service wing is attached to the east side of the mansion. It is made of red brick and stone, with slate roofs.[10] It was designed by Capability Brown in 1751-2.[22] On the far side of the service wing, a wall connects it to a stable court.[10]
Interior[edit]
The interior of the house was designed partially by Capability Brown, with plasterwork by G. Vassalli, and partially by Robert Adam, with plasterwork by J. Rose Jr. It has a central spine corridor. A stone staircase, with iron balusters, is at the east end.[10]
The entrance hall is on the north side of the building, and has four fluted Doric columns, along with moulded doorcases. To the east of the entrance hall is the dining room, which has a plaster ceiling and cornice, while to the west is a billiard room, featuring fielded panelling, a plaster cornice, and a rococo fireplace. The three rooms were probably decorated around 1758-59 by Capability Brown.[10] The dining room was vibrantly repainted by the Hare Krishnas in the 1970s-80s.[17]
The central room on the south side is a saloon, probably by Brown and Vassalli. It has an elaborate ceiling, with three panels, deep coving, and a cornice, along with two Ionic fireplaces, and Palladian doorcases.[10] George III was entertained by George Coventry, the 6th Earl, in the house's Saloon.[2] A drawing room is to the west of the saloon, and features rococo plasterwork and a marble fireplace.[10]
To the east of the saloon is the Tapestry Room.[10] This was designed in 1763-71, based on a design by Robert Adam, and contained tapestries and furniture covers possibly designed by Jacques Germain Soufflot, and made by Manufacture Nationale des Gobelins.[23] Around 1902 the ninth Earl sold the tapestries and seating to a Parisian dealer. In 1949 the Samuel H. Kress Foundation purchased the ceiling, floor, mantlepiece, chair rails, doors and the door surrounds, which were donated to the Metropolitan Museum of Art, New York, in 1958. In 1959 the Kress Foundation also helped the Metropolitan Museum acquire the chair and sofa frames, which they recovered using the original tapestry seats.[7][23] A copy of the ceiling was installed in place of the original.[10] As of 2016, the room is displayed as it would have looked after the tapestries had been sold, with a jug and ewer on display as the only original decoration of the room that remains in it. The adjacent library room is used to explain what happened to the tapestry room;[17] the former library was designed by Adam, and was dismantled except for the marble fireplace.[10]
At the west side of the building is a long gallery,[10] which was designed by Robert Adam and installed between 1761 and 1766. It is the best preserved of the original interior (little of the rest has survived in situ).[1] It has an octagonal panelled ceiling, and plaster reliefs of griffins. A half-hexagonal bay faces the garden. The room also contains a marble caryatid fireplace designed by J Wilton.[10] As of 2016, modern sculptures are displayed in empty niches along the Long Gallery
wikipedia
[1]
Broadway Tower was inspired by the famous Capability Brown and completed in 1799 from designs by the renowned architect James Wyatt. It was built for the Earl of Coventry as a folly to his Springhill Estate and dedicated to his wife Peggy.
Legend has it Broadway Tower was used as a signalling tower between Springhill Estate and Croome Court near Worcester, which can be seen from the roof platform.
Many famous people have had association with Broadway Tower, including Sir Thomas Phillips and the pre-Raphaelite artists William Morris, Edward Burne-Jones and Rosetti.
Broadway Tower is open to the public allowing you to travel into the past of this important building and visit the viewing platform constituting the highest point in the Cotswolds at 1089 feet or 331.6 metres altitude.
[2]
Broadway Tower is a folly located on Broadway Hill, near the village of Broadway, in the English county of Worcestershire, at the second highest point of the Cotswolds after Cleeve Hill. Broadway Tower's base is 1,024 feet (312 metres) above sea level. The tower itself stands 55 feet (17 metres) high.
The "Saxon" tower was designed by James Wyatt in 1794 to resemble a mock castle, and built for Lady Coventry in 1799. The tower was built on a "beacon" hill, where beacons were lit on special occasions. Lady Coventry wondered if a beacon on this hill could be seen from her house in Worcester - approximately 22 miles (35 km) away - and sponsored the construction of the folly to find out. The beacon could be seen clearly.
Over the years, the tower was home to the printing press of Sir Thomas Phillips, and served as a country retreat for artists including William Morris and Edward Burne-Jones who rented it together in the 1880s.
Today, the tower is a tourist attraction and the centre of a country park with various exhibitions open to the public at a fee as well as a gift shop. The place is on the Cotswold Way and can be reached by following the Cotswold Way from the A44 road at Fish Hill, or by a steep climb out of Broadway village. Near the tower is a memorial to the crew of an A.W.38 Whitley bomber that crashed there during a training mission in June 1943.
Croome Court is a mid 18th century Neo-Palladian mansion surrounded by an extensive landscaped parkland at Croome D'Abitot, near Pershore in south Worcestershire. The mansion and park were designed by Lancelot "Capability" Brown for George Coventry, 6th Earl of Coventry, and was Brown's first landscape design and first major architectural project. Some of the internal rooms of the mansion were designed by Robert Adam.
The mansion house is owned by Croome Heritage Trust, and is leased to the National Trust who operate it, along with the surrounding parkland, as a tourist attraction. The National Trust own the surrounding parkland, which is also open to the public.
Location[edit]
Croome Court is located near to Croome D'Abitot, in Worcestershire,[1] near Pirton, Worcestershire.[2] The wider estate was established on lands that were once part of the royal forest of Horewell.[3] Traces of these older landscapes, such as unimproved commons and ancient woodlands, can be found across the former Croome Estate.[4]
House[edit]
Croome Court South Portico
History[edit]
The foundations and core of Croome Court, including the central chimney stack structure, date back to the early 1640s.[5] Substantial changes to this early house were made by Gilbert Coventry, 4th Earl of Coventry.[6]
In 1751, George Coventry, the 6th Earl, inherited the estate, along with the existing Jacobean house. He commissioned Lancelot "Capability" Brown, with the assistance of Sanderson Miller, to redesign the house and estate.[7][1] It was Brown's "first flight into the realms of architecture" and a "rare example of his architectural work",[8] and it is an important and seminal work.[9] It was built between 1751 and 1752, and it and Hagley Hall are considered to be the finest examples of Neo-Palladian architecture in Worcestershire. Notable Neo-Palladian features incorporated into Croome Court include the plain exterior and the corner towers with pyramidal roofs (a feature first used by Inigo Jones in the design of Wilton House in Wiltshire).[1] Robert Adam worked on the interior of the building from 1760 onwards.[10]
The house has been visited by George III,[2][11] as well as Queen Victoria[7] during summers when she was a child, and George V (then Duke of York).[11]
A jam factory was built by the 9th Earl of Coventry, near to Pershore railway station, in about 1880, to provide a market for Vale of Evesham fruit growers in times of surplus. Although the Croome connection with jam making had ceased, during the First World War, the building was leased by the Croome Estate Trust to the Huddersfield Fruit Preserving Company as a pulping station.[12]
The First World War deeply affected Croome, with many local casualties, although the house was not requisitioned for the war effort. This is possibly because it was the home of the Lord Lieutenant of the County, who needed a residence for his many official engagements.[13]
During the Second World War Croome Court was requisitioned by the Ministry of Works and leased for a year to the Dutch Government as a possible refuge for Queen Wilhelmina of the Netherlands; to escape the Nazi occupation of the Netherlands. However, evidence shows that they stayed two weeks at the most, perhaps because of the noise and fear created by the proximity of Defford Aerodrome. They later emigrated to Canada.[14]
In 1948 the Croome Estate Trust sold the Court, along with 38 acres (15 ha) of land, to the Roman Catholic Archdiocese of Birmingham, and the mansion became St Joseph's Special School, which was run by nuns[15] from 1950[11] until 1979.[15]
The house was listed on 11 August 1952; it is currently Grade I listed.[10]
In 1979 the hall was taken over by the International Society for Krishna Consciousness (Hare Krishna movement), who used it as their UK headquarters and a training college[16] called Chaitanya College,[15] run by 25 members of the movement.[16] During their tenure they repainted the Dining Room.[17] In 1984 they had to leave the estate for financial reasons. They held a festival at the hall in 2011.[16]
From 1984 onwards various owners tried to use the property as a training centre; apartments; a restaurant and conference centre; and a hotel and golf course,[15] before once more becoming a private family home,[2][15] with outbuildings converted to private houses.[15]
The house was purchased by the Croome Heritage Trust, a registered charity,[18] in October 2007,[19] and it is now managed by the National Trust as a tourist attraction. It opened to the public in September 2009, at which point six of the rooms had restored, costing £400,000, including the Saloon. It was estimated that another £4 million[2][20] to £4.8 million would be needed to restore the entire building. Fundraising activities for the restoration included a 2011 raffle for a Morgan sports car organised by Lord and Lady Flight. After the restoration is complete, a 999-year lease on the building will be granted to the National Trust.[21] An oral history project to record recollections about Croome was funded by the Heritage Lottery Fund.[15] As of 2009, the service wing was empty and in need of substantial repair.[22]
Exterior[edit]
The mansion is faced with Bath stone,[7] limestone ashlar, and has both north and south facing fronts. It has a basement and two stories, with three stories in the end pavilions. A slate roof, with pyramid roofs over the corner towers, tops the building, along with three pair-linked chimneys along the axis of the house.[10]
Both fronts have 11 bays, split into three central sets of three each, and one additional bay each side. The north face has a pedimented centre, with two balustraded staircases leading to a Roman Doric doorcase. The south face has a projecting Ionic tetrastyle portico and Venetian windows. It has a broad staircase, with cast stone sphinxes on each side, leading to a south door topped with a cornice on consoles. The wings have modillion cornice and balustrade.[10]
A two-story L-shaped service wing is attached to the east side of the mansion. It is made of red brick and stone, with slate roofs.[10] It was designed by Capability Brown in 1751-2.[22] On the far side of the service wing, a wall connects it to a stable court.[10]
Interior[edit]
The interior of the house was designed partially by Capability Brown, with plasterwork by G. Vassalli, and partially by Robert Adam, with plasterwork by J. Rose Jr. It has a central spine corridor. A stone staircase, with iron balusters, is at the east end.[10]
The entrance hall is on the north side of the building, and has four fluted Doric columns, along with moulded doorcases. To the east of the entrance hall is the dining room, which has a plaster ceiling and cornice, while to the west is a billiard room, featuring fielded panelling, a plaster cornice, and a rococo fireplace. The three rooms were probably decorated around 1758-59 by Capability Brown.[10] The dining room was vibrantly repainted by the Hare Krishnas in the 1970s-80s.[17]
The central room on the south side is a saloon, probably by Brown and Vassalli. It has an elaborate ceiling, with three panels, deep coving, and a cornice, along with two Ionic fireplaces, and Palladian doorcases.[10] George III was entertained by George Coventry, the 6th Earl, in the house's Saloon.[2] A drawing room is to the west of the saloon, and features rococo plasterwork and a marble fireplace.[10]
To the east of the saloon is the Tapestry Room.[10] This was designed in 1763-71, based on a design by Robert Adam, and contained tapestries and furniture covers possibly designed by Jacques Germain Soufflot, and made by Manufacture Nationale des Gobelins.[23] Around 1902 the ninth Earl sold the tapestries and seating to a Parisian dealer. In 1949 the Samuel H. Kress Foundation purchased the ceiling, floor, mantlepiece, chair rails, doors and the door surrounds, which were donated to the Metropolitan Museum of Art, New York, in 1958. In 1959 the Kress Foundation also helped the Metropolitan Museum acquire the chair and sofa frames, which they recovered using the original tapestry seats.[7][23] A copy of the ceiling was installed in place of the original.[10] As of 2016, the room is displayed as it would have looked after the tapestries had been sold, with a jug and ewer on display as the only original decoration of the room that remains in it. The adjacent library room is used to explain what happened to the tapestry room;[17] the former library was designed by Adam, and was dismantled except for the marble fireplace.[10]
At the west side of the building is a long gallery,[10] which was designed by Robert Adam and installed between 1761 and 1766. It is the best preserved of the original interior (little of the rest has survived in situ).[1] It has an octagonal panelled ceiling, and plaster reliefs of griffins. A half-hexagonal bay faces the garden. The room also contains a marble caryatid fireplace designed by J Wilton.[10] As of 2016, modern sculptures are displayed in empty niches along the Long Gallery
wikipedia
The Lockheed C-5 Galaxy is a large military transport aircraft originally designed and built by Lockheed, and now maintained and upgraded by its successor, Lockheed Martin. It provides the United States Air Force (USAF) with a heavy intercontinental-range strategic airlift capability, one that can carry outsize and oversize loads, including all air-certifiable cargo. The Galaxy has many similarities to its smaller Lockheed C-141 Starlifter predecessor, and the later Boeing C-17 Globemaster III. The C-5 is among the largest military aircraft in the world.
The C-5 Galaxy's development was complicated, including significant cost overruns, and Lockheed suffered significant financial difficulties. Shortly after entering service, cracks in the wings of many aircraft were discovered and the C-5 fleet was restricted in capability until corrective work was completed. The C-5M Super Galaxy is an upgraded version with new engines and modernized avionics designed to extend its service life beyond 2040.
The USAF has operated the C-5 since 1969. In that time, the airlifter supported US military operations in all major conflicts including Vietnam, Iraq, Yugoslavia and Afghanistan, as well as allied support, such as Israel during the Yom Kippur War and operations in the Gulf War. The Galaxy has also been used to distribute humanitarian aid and disaster relief, and supported the US Space Shuttle program.
The-Lockheed-Martin-HC-130-P-Hercules-The-Combat-K.I.N.G-1-I-is an extended-range version of the C-130 Hercules transport. HC-130 crews provide expeditionary, all weather personnel recovery capabilities to our Combatant Commanders and Joint/Coalitions partners worldwide.
Mission
The mission of the HC-130P/N "King" is to rapidly deploy to austere airfields and denied territory in order to execute , all weather personnel recovery operations anytime...anywhere. King crews routinely perform high and low altitude personnel & equipment airdrops, infiltration/exfiltration of personnel, helicopter air-to-air refueling, and forward area refueling point missions.
When tasked, the aircraft also conducts humanitarian assistance operations, disaster response, security cooperation/aviation advisory, emergency aeromedical evacuation, casualty evacuation, noncombatant evacuation operations, and, during the Space Shuttle program, space flight support for NASA.
Features
Modifications to the HC-130P/N are improved navigation, threat detection and countermeasures systems. The aircraft fleet has a fully-integrated inertial navigation and global positioning systems, and night vision goggle, or NVG, compatible interior and exterior lighting. It also has forward-looking infrared, radar and missile warning receivers, chaff and flare dispensers, satellite and data-burst communications.
The HC-130 can fly in the day; however, crews normally fly night at low to medium altitude levels in contested or sensitive environments, both over land or overwater. Crews use NVGs for tactical flight profiles to avoid detection to accomplish covert infiltration/exfiltration and transload operations. To enhance the probability of mission success and survivability near populated areas, crews employ tactics that include incorporating no external lighting or communications, and avoiding radar and weapons detection.
Drop zone objectives are done via personnel drops and equipment drops. Rescue bundles include illumination flares, marker smokes and rescue kits. Helicopter air-to-air refueling can be conducted at night, with blacked out communication with up to two simultaneous helicopters. Additionally, forward area refueling point operations can be executed to support a variety of joint and coalition partners.
Background
The HC-130P/N is the only dedicated fixed-wing combat search and rescue platform in the Air Force inventory. The 71st and 79th Rescue Squadrons in Air Combat Command, the 550th Special Operations Squadron in Air Education and Training Command, the 920th Rescue Group in Air Force Reserve Command and the 106th Rescue Wing, 129th RQW and 176th Wing in the Air National Guard operate the aircraft.
First flown in 1964, the aircraft has served many roles and missions. It was initially modified to conduct search and rescue missions, provide a command and control platform, in-flight-refuel helicopters and carry supplemental fuel for extending range and increasing loiter time during search operations.
In April 2006, the continental U.S. search and rescue mission was transferred back to Air Combat Command at Langley AFB, Va. From 2003 to 2006, the mission was under the Air Force Special Operations Command at Hurlburt Field, Fla. Previously, HC-130s were assigned to ACC from 1992 to 2003. They were first assigned to the Air Rescue Service as part of Military Airlift Command.
They have been deployed to Italy, Kyrgyzstan, Kuwait, Pakistan, Saudi Arabia, and Turkey in support of operations Southern and Northern Watch, Allied Force, Iraqi Freedom and Enduring Freedom. HC-130s also support continuous alert commitments in Alaska and the Horn of Africa.
General Characteristics
Primary function: Rescue platform
Contractor: Lockheed Aircraft Corp.
Power Plant: Four Allison T56-A-15 turboprop engines
Thrust: 4,910 shaft horsepower, each engine
Wingspan: 132 feet, 7 inches (40.4 meters)
Length: 98 feet, 9 inches (30.09 meters)
Height: 38 feet, 6 inches (11.7 meters)
Weight: 83,000 pounds (37,648 kilograms)
Maximum Takeoff Weight: 155,000 pounds (69,750 kilograms)
Fuel Capacity: 73,000 pounds (10,724 gallons)
Payload: 30,000 pounds (13,608 kilograms)
Speed: 289 miles per hour (464 kilometers per hour) at sea level
Range: beyond 4,000 miles (3,478 nautical miles)
Ceiling: 33,000 feet (10,000 meters)
Armament: countermeasures/flares, chaff
Crew: Three officers (pilot, co-pilot, navigator) and four enlisted (flight engineer, airborne communications specialist, two loadmasters). Additional crewmembers include a Guardian Angel team consisting of one combat rescue officer and three pararescuemen
Unit Cost: $77 million (fiscal 2008 replacement cost)
Initial operating capability: 1964
Inventory: Active force, 13; ANG, 13; Reserve, 10
The Lockheed Martin HC-130J Hercules The Combat King II is the U.S. Air Force's only dedicated fixed-wing personnel recovery platform and is flown by the Air Education and Training Command (AETC) and Air Combat Command (ACC). This C-130J variation specializes in tactical profiles and avoiding detection and recovery operations in austere environments. The HC-130J replaces HC-130P/Ns as the only dedicated fixed-wing Personnel Recovery platform in the Air Force inventory. It is an extended-range version of the C-130J Hercules transport. Its mission is to rapidly deploy to execute combatant commander directed recovery operations to austere airfields and denied territory for expeditionary, all weather personnel recovery operations to include airdrop, airland, helicopter air-to-air refueling, and forward area ground refueling missions. When tasked, the aircraft also conducts humanitarian assistance operations, disaster response, security cooperation/aviation advisory, emergency aeromedical evacuation, and noncombatant evacuation operations.
Features
Modifications to the HC-130J have improved navigation, threat detection and countermeasures systems. The aircraft fleet has a fully-integrated inertial navigation and global positioning systems, and night vision goggle, or NVG, compatible interior and exterior lighting. It also has forward-looking infrared, radar and missile warning receivers, chaff and flare dispensers, satellite and data-burst communications, and the ability to receive fuel inflight via a Universal Aerial Refueling Receptacle Slipway Installation (UARRSI).
The HC-130J can fly in the day; however, crews normally fly night at low to medium altitude levels in contested or sensitive environments, both over land or overwater. Crews use NVGs for tactical flight profiles to avoid detection to accomplish covert infiltration/exfiltration and transload operations. To enhance the probability of mission success and survivability near populated areas, crews employ tactics that include incorporating no external lighting or communications, and avoiding radar and weapons detection.
Drop zone objectives are done via personnel drops and equipment drops. Rescue bundles include illumination flares, marker smokes and rescue kits. Helicopter air-to-air refueling can be conducted at night, with blacked out communication with up to two simultaneous helicopters. Additionally, forward area refueling point operations can be executed to support a variety of joint and coalition partners.
Background
The HC-130J is a result of the HC/MC-130 recapitalization program and replaces Air Combat Command's aging HC-130P/N fleet as the dedicated fixed-wing personnel recovery platform in the Air Force inventory. The 71st and 79th Rescue Squadrons in Air Combat Command, the 550th Special Operations Squadron in Air Education and Training Command, the 920th Rescue Group in Air Force Reserve Command and the 106th Rescue Wing, 129th RQW and 176th Wing in the Air National Guard will operate the aircraft.
First flight was 29 July 2010, and the aircraft will serve the many roles and missions of the HC-130P/Ns. It is a modified KC-130J aircraft designed to conduct personnel recovery missions, provide a command and control platform, in-flight-refuel helicopters and carry supplemental fuel for extending range or air refueling.
In April 2006, the personnel recovery mission was transferred back to Air Combat Command at Langley AFB, Va. From 2003 to 2006, the mission was under the Air Force Special Operations Command at Hurlburt Field, Fla. Previously, HC-130s were assigned to ACC from 1992 to 2003. They were first assigned to the Air Rescue Service as part of Military Airlift Command.
General Characteristics
Primary function: Fixed-wing Personnel Recovery platform
Contractor: Lockheed Aircraft Corp.
Power Plant: Four Rolls Royce AE2100D3 turboprop engines
Thrust: 4,591 Propeller Shaft Horsepower, each engine
Wingspan: 132 feet, 7 inches (40.4 meters)
Length: 97 feet, 9 inches (29.57 meters)
Height: 38 feet, 9 inches (11.58 meters)
Operating Weight: 89,000 pounds (40,369 kilograms)
Maximum Takeoff Weight: 164,000 pounds (74,389 kilograms)
Fuel Capacity: 61,360 pounds (9,024 gallons)
Payload: 35,000 pounds (15,875 kilograms)
Speed: 316 knots indicated air speed at sea level
Range: beyond 4,000 miles (3,478 nautical miles)
Ceiling: 33,000 feet (10,000 meters)
Armament: countermeasures/flares, chaff
Basic Crew: Three officers (pilot, co-pilot, combat system officer) and two enlisted loadmasters
Unit Cost: $66 million (fiscal 2010 replacement cost)
Initial operating capability: 2013
Left to right: Sébastien Lecornu (Minister Armed Forces, France); Christine Lambrecht (Minister of Defence, Germany); NATO Deputy Secretary General Mircea Geoană; Stacy A. Cummings (General Manager NSPA); Kajsa Ollengren (Minister of Defence, The Netherlands); Spiros Lambridis (NATO Permanent Representative, Greece); Francesco M. Talò (NATO Permanent Representative, Italy)
Pfc. Lance Gogue, left, and Pvt. Jeremy Cepeda of Delta Company, 1st Battalion, 294th Infantry Regiment, Guam Army National Guard, fire a M249 squad automatic weapon down range June 11 at Camp Roberts, California, during the Exportable Combat Training Capability. (U.S. Army National Guard photo/Staff Sgt. Eddie Siguenza)
170808-N-KB401-042 ATLANTIC OCEAN (Aug. 8, 2017) From left to right, the Royal Navy Duke-class frigate HMS Westminster (F 237), the Royal Navy Duke-class frigate HMS Iron Duke (F 234), the Royal Navy aircraft carrier HMS Queen Elizabeth (R08), the Royal Norwegian Navy frigate Helge Ingstad (F 313), the Nimitz-class aircraft carrier USS George H.W. Bush (CVN 77), the Arleigh Burke-class guided-missile destroyer USS Donald Cook (DDG 75), and the Ticonderoga-class guided-missile cruiser USS Philippine Sea (CG 58) sail in formation during exercise Saxon Warrior 2017, Aug. 8. Saxon Warrior is a United States and United Kingdom co-hosted carrier strike group exercise that demonstrates interoperability and capability to respond to crises and deter potential threats. (U.S. Navy photo by Mass Communication Specialist 2nd Class Michael B. Zingaro/Released)
Street Talks
Varous Artists
Wednesday 6 - Friday 8 November, Check listing for times
Various Locations
Various Locations
Street Talks is a series of quickfire public talks, part of the Re@ct: Social Change Art Technology Symposium. Rather than your typical poster session, these talks will take place on the streets of Dundee in various locations. Free speech is essential to political and social change – these artists are quite literally taking it to the streets to share their creative practices.
Luisa Charles & Elke Reinhuber –Wednesday 6th November, 2pm, Slessor Gardens
Luisa Charles – discusses the intersections of disability and design, and how novel bespoke design practices could offer a solution to designing for all needs, where universal design could not. These design ideologies, that include co-design, individual centred design, mass customisation, and mass personalisation, are exemplified by case studies from pop culture design media, such as the Fixperts and BBC’s Big Life Fix. She analyses the social, technological, and economical shifts that are required for these practices to become mainstream, and the capability of bespoke design to cause enough disruption within the design economy to create a shift in capitalism.
Elke Reinhuber – The Urban Beautician moved recently from the speckless city state of Singapore, where she already developed her retirement plans, across the South China Sea, to protest-ridden Hong Kong. There, she observed how much effort the cleaners put up to keep these megapolises scrubbed and tidy. As they are frequently overlooked, the Urban Beautician captured some of them during their relentless daily routine. While they have adapted themselves to their particular duties, their skills are hardly ever honoured or even acknowledged. Paying homage to their Sisyphean challenge, they can be positioned now anywhere through Augmented Reality and venerated as perpetualised sculptures of our everyday heroes.The Urban Beautician tries to improve neglected details in our urban environment with interventions in public space and performances to camera. Since more than a decade she cares for things most people are oblivious to.
Ibarieze Abani and Daisy Abbott & Anders Zanichkowsky – Thursday 7th November, 1:30pm, Albert Square, by McManus Gallery Steps
Ibarieze Abani and Daisy Abbott – Transmedia storytelling uses multiple delivery channels to convey a narrative in order to provide a more immersive entertainment experience (Jenkins, 2009). Transmedia activism can be very broadly defined as using storytelling to “effect social change by engaging multiple stakeholders on multiple platforms to collaborate toward appropriate, community-led social action” (Srivastava, 2009). Activism depends on participation and collaboration within a community to avoid unsustainable or inappropriate top-down interventions. A similar concept, transmedia mobilization, uses transmedia storytelling to engage “the social base of a movement in participatory media making practices across multiple platforms” (Constanza-Chock, 2013) and also requires interaction from diverse voices from within the community.
Anders Zanichkowsky –“I Am in Your Hands: Smartphones and the erotics of the future”Social media artist and queer anarchist Anders Zanichkowsky will present excerpts and reflections from his current Grindr project, “Queen of Hearts,” as well as other recent projects reading Tarot cards on hookup apps and go-go dancing for a remote audience on Instagram. During this talk, Anders will use the same social media platforms that are the subject of his presentation, inviting you into the theory behind the work, and into the work itself. Equal parts cultural criticism, performance art, and experimental public speaking, this street talk will level the hierarchy of physical presence over virtual appearance, and scandalously suggest how thirst traps and sexting with strangers can indeed point us towards a radical future of queer intimacy and counterculture.
Mohammad Namazi & Matteo Preabianca – Friday 8th November, 1:30pm, Wellgate Centre, Victoria Road entrance
Mohammad Namazi – An Archive of Audio Disobedience, intervenes into the public realm, and collaborates with individuals, to construct a live-event. The event manifests through utilising a net-based sound archive, capable of involving participants in a collective form of sound-action, -publication, -demonstration, -performance, and -play.
The archive comprises various audio effects, sound segments, words, and computer-generated speeches – to stage a critical symphony, rooted in and derived from, socio-political concerns.
Matteo Preabianca – Mantra Marx is the eighth album for the NonMiPiaceIlCirco! Project. NonMiPiaceIlCirco! is a musical project that has been on since 2004, the year of the first album. Since then, the line-up has been in a constant change, with Matteo Preabianca the only member from the beginning. So they took The Capital from the shelf to read again. But who remembers it, especially young people? Let’s get rid of guitars and songs to give a didactic approach to the music. 25 tracks, one for each of the First Book’s 25 chapters. They use the lyrics as Hinduist mantras, where repetition is the key for a deep understanding of our life, and Marx as well. Its music, besides being lo-fi and badly made, is just an excuse. The lyrics are a summarized version of the aforementioned book, spoken by 25 different Mandarin native voices, completely unaware of the reason behind the recording. Still time to die as a Marxist(?). Developed and recorded in China.
About the Artists
Daisy Abbott is an interdisciplinary researcher and research developer based in the School of Simulation and Visualisation at The Glasgow School of Art. Daisy’s current research focusses on game-based learning, 3D visualisation, and issues surrounding digital interaction, documentation, preservation, and interpretation in the arts and humanities. She also collaborates with artists on works aiming to explore the nature of digital interactivity and digital art.
Luisa Charles is an interaction designer, multidisciplinary artist, and filmmaker. Having been exhibited in the Science Museum, Science Gallery London, London Design Festival, and various film festivals, amongst others, her work spans many themes across science and technology, social politics, and personal narratives. She specialises in installation design and physical computing, experience design, fabrication, and videography, and her work often comes under the umbrella of speculative and critical design. Her work focuses heavily on research processes, and forms itself organically through investigation and experimentation.
Ibarieze Abani is a recent Masters graduate in Serious Games and Virtual Reality at the Glasgow School of Art, where she has carried out projects about cultural heritage, gender inequality, transmedia storytelling and climate policy. She is an advocate of the capabilities of interactive digital media as a tool for opening up dialogues surrounding large scale themes such as climate justice, social justice and intersectionality. She has a keen interest in working with people using digital media to make meaningful and tangible differences on a societal scale.
Mohammad Namazi (b. 1981. Tehran) is an artist, educator and researcher based in London. Mohammad works through means of de-construction, collaboration, process, unlearning, and telematics systems within social and cultural realms. The studio operates as a research-lab for inter-disciplinary projects that can span video, sound, liveevents, graphics, photography, sculptural structures, and internet-based projects. He received his doctorate from UAL research in 2019, and currently teaches as visiting lecturer at Wimbledon, and Chelsea College of Arts. Mohammad is a member of research cluster Critical Practice.
Matteo Preabianca- Music and Languages…Music and Languages? How come? Matteo starts playing violin when he was a child, but he did not like it, especially when he tried to beat it on the table. It did not make any good sound. So, better drumming, right? Meanwhile playing and spending a lot his mum’s money to buy records he realised even speaking other languages was not so bad. Especially when he invented his own. Step by step, he turned into a music and languages teacher.
Elke Reinhuber is not your average artist, because she became a specialist on choice, decision making and counterfactual thoughts in media arts. Currently, Reinhuber teaches and researches at the School of Creative Media, CityU Hing Kong and is affiliated with the School of Art, Design and Media at NTU in Singapore. In her artistic practice, she investigates on the correlation between decisions and emotions and explores different strategies of visualisation and presentation, working with immersive environments, mixed reality, imaging technologies and performance. In addition, her alter ego, the ‘Urban Beautician’ is pursuing a life which Elke didn’t follow.
Anders Zanickowsky is an American artist and activist who uses platforms like Grindr and Instagram as actual sites for performances about desire, uncertainty, and vulnerability. He is committed to José Esteban Muñoz’s concept of queer futurity in which artists refuse the oppressive confines of the present and reach instead towards what can only be imagined. He has an MFA from the University of Wisconsin-Madison (2019) and was a resident with The Arctic Circle program in Svalbard (2016). Since 2008 he has worked in movements for housing justice, prison abolition, and HIV/AIDS.
Photography Kathryn Rattray
DPAC & UK Uncut protest against benefit cuts at DWP - 31.08.2012
Following their earlier joint protest that morning at the Euston headquarters of ATOS Origin - the French IT company which has sponsored the paralympics, despite its role in forcing tens of thousands of severely sick and disabled people off their life-saving benefits after declaring them "Fit for Work" following the seriously flawed Work Capability Assessment stipulated by the Dept. fo0r Work and Pensions (DWP), DPAC and UK Uncut activists descended on the Westminster headquarters of the DWP and protested outside.
Several activists managed to get inside the entrance foyer of the government building, which was the trigger for a short-but-overly-aggressive encounter with a large number of Territorial Support Group police who waded into the disabled and able-bodied protesters to force them away from the front of the building which houses the offices of Secretary for State for Work and Pensions Ian Duncan Smith and Minister for Disabled People Maria Miller.
During the quite unnecessary action against the peaceful protesters - several in wheelchairs - one disabled man was thrown out of his wheelchair to the ground, breaking his shoulder. Another man's motorised wheelchair was broken in the fracas, and one man was arrested.
Some of the protesters managed to speak to Maria Miller, MP, and told her to her facve how much misery and human despair her department's policies of demonisation of the disabled - portraying them publicly as workshy scroungers and benefits cheats, even though Disability Benefit fraud is extremely small, only 0.4% of the overall benefits budget, despite frequent, outrageous lies peddled by the DWP and minister Ian Duncan Smith as it behaves no better than the German government in the years running up to World War II as they turn the public against the very weakest, most vulnerable members of the British population, blaming disabled people for the country's economic misery - cause by corrupt bankers.
All photos © 2012 Pete Riches
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Croome Court is a mid 18th century Neo-Palladian mansion surrounded by an extensive landscaped parkland at Croome D'Abitot, near Pershore in south Worcestershire. The mansion and park were designed by Lancelot "Capability" Brown for George Coventry, 6th Earl of Coventry, and was Brown's first landscape design and first major architectural project. Some of the internal rooms of the mansion were designed by Robert Adam.
The mansion house is owned by Croome Heritage Trust, and is leased to the National Trust who operate it, along with the surrounding parkland, as a tourist attraction. The National Trust own the surrounding parkland, which is also open to the public.
Location[edit]
Croome Court is located near to Croome D'Abitot, in Worcestershire,[1] near Pirton, Worcestershire.[2] The wider estate was established on lands that were once part of the royal forest of Horewell.[3] Traces of these older landscapes, such as unimproved commons and ancient woodlands, can be found across the former Croome Estate.[4]
House[edit]
Croome Court South Portico
History[edit]
The foundations and core of Croome Court, including the central chimney stack structure, date back to the early 1640s.[5] Substantial changes to this early house were made by Gilbert Coventry, 4th Earl of Coventry.[6]
In 1751, George Coventry, the 6th Earl, inherited the estate, along with the existing Jacobean house. He commissioned Lancelot "Capability" Brown, with the assistance of Sanderson Miller, to redesign the house and estate.[7][1] It was Brown's "first flight into the realms of architecture" and a "rare example of his architectural work",[8] and it is an important and seminal work.[9] It was built between 1751 and 1752, and it and Hagley Hall are considered to be the finest examples of Neo-Palladian architecture in Worcestershire. Notable Neo-Palladian features incorporated into Croome Court include the plain exterior and the corner towers with pyramidal roofs (a feature first used by Inigo Jones in the design of Wilton House in Wiltshire).[1] Robert Adam worked on the interior of the building from 1760 onwards.[10]
The house has been visited by George III,[2][11] as well as Queen Victoria[7] during summers when she was a child, and George V (then Duke of York).[11]
A jam factory was built by the 9th Earl of Coventry, near to Pershore railway station, in about 1880, to provide a market for Vale of Evesham fruit growers in times of surplus. Although the Croome connection with jam making had ceased, during the First World War, the building was leased by the Croome Estate Trust to the Huddersfield Fruit Preserving Company as a pulping station.[12]
The First World War deeply affected Croome, with many local casualties, although the house was not requisitioned for the war effort. This is possibly because it was the home of the Lord Lieutenant of the County, who needed a residence for his many official engagements.[13]
During the Second World War Croome Court was requisitioned by the Ministry of Works and leased for a year to the Dutch Government as a possible refuge for Queen Wilhelmina of the Netherlands; to escape the Nazi occupation of the Netherlands. However, evidence shows that they stayed two weeks at the most, perhaps because of the noise and fear created by the proximity of Defford Aerodrome. They later emigrated to Canada.[14]
In 1948 the Croome Estate Trust sold the Court, along with 38 acres (15 ha) of land, to the Roman Catholic Archdiocese of Birmingham, and the mansion became St Joseph's Special School, which was run by nuns[15] from 1950[11] until 1979.[15]
The house was listed on 11 August 1952; it is currently Grade I listed.[10]
In 1979 the hall was taken over by the International Society for Krishna Consciousness (Hare Krishna movement), who used it as their UK headquarters and a training college[16] called Chaitanya College,[15] run by 25 members of the movement.[16] During their tenure they repainted the Dining Room.[17] In 1984 they had to leave the estate for financial reasons. They held a festival at the hall in 2011.[16]
From 1984 onwards various owners tried to use the property as a training centre; apartments; a restaurant and conference centre; and a hotel and golf course,[15] before once more becoming a private family home,[2][15] with outbuildings converted to private houses.[15]
The house was purchased by the Croome Heritage Trust, a registered charity,[18] in October 2007,[19] and it is now managed by the National Trust as a tourist attraction. It opened to the public in September 2009, at which point six of the rooms had restored, costing £400,000, including the Saloon. It was estimated that another £4 million[2][20] to £4.8 million would be needed to restore the entire building. Fundraising activities for the restoration included a 2011 raffle for a Morgan sports car organised by Lord and Lady Flight. After the restoration is complete, a 999-year lease on the building will be granted to the National Trust.[21] An oral history project to record recollections about Croome was funded by the Heritage Lottery Fund.[15] As of 2009, the service wing was empty and in need of substantial repair.[22]
Exterior[edit]
The mansion is faced with Bath stone,[7] limestone ashlar, and has both north and south facing fronts. It has a basement and two stories, with three stories in the end pavilions. A slate roof, with pyramid roofs over the corner towers, tops the building, along with three pair-linked chimneys along the axis of the house.[10]
Both fronts have 11 bays, split into three central sets of three each, and one additional bay each side. The north face has a pedimented centre, with two balustraded staircases leading to a Roman Doric doorcase. The south face has a projecting Ionic tetrastyle portico and Venetian windows. It has a broad staircase, with cast stone sphinxes on each side, leading to a south door topped with a cornice on consoles. The wings have modillion cornice and balustrade.[10]
A two-story L-shaped service wing is attached to the east side of the mansion. It is made of red brick and stone, with slate roofs.[10] It was designed by Capability Brown in 1751-2.[22] On the far side of the service wing, a wall connects it to a stable court.[10]
Interior[edit]
The interior of the house was designed partially by Capability Brown, with plasterwork by G. Vassalli, and partially by Robert Adam, with plasterwork by J. Rose Jr. It has a central spine corridor. A stone staircase, with iron balusters, is at the east end.[10]
The entrance hall is on the north side of the building, and has four fluted Doric columns, along with moulded doorcases. To the east of the entrance hall is the dining room, which has a plaster ceiling and cornice, while to the west is a billiard room, featuring fielded panelling, a plaster cornice, and a rococo fireplace. The three rooms were probably decorated around 1758-59 by Capability Brown.[10] The dining room was vibrantly repainted by the Hare Krishnas in the 1970s-80s.[17]
The central room on the south side is a saloon, probably by Brown and Vassalli. It has an elaborate ceiling, with three panels, deep coving, and a cornice, along with two Ionic fireplaces, and Palladian doorcases.[10] George III was entertained by George Coventry, the 6th Earl, in the house's Saloon.[2] A drawing room is to the west of the saloon, and features rococo plasterwork and a marble fireplace.[10]
To the east of the saloon is the Tapestry Room.[10] This was designed in 1763-71, based on a design by Robert Adam, and contained tapestries and furniture covers possibly designed by Jacques Germain Soufflot, and made by Manufacture Nationale des Gobelins.[23] Around 1902 the ninth Earl sold the tapestries and seating to a Parisian dealer. In 1949 the Samuel H. Kress Foundation purchased the ceiling, floor, mantlepiece, chair rails, doors and the door surrounds, which were donated to the Metropolitan Museum of Art, New York, in 1958. In 1959 the Kress Foundation also helped the Metropolitan Museum acquire the chair and sofa frames, which they recovered using the original tapestry seats.[7][23] A copy of the ceiling was installed in place of the original.[10] As of 2016, the room is displayed as it would have looked after the tapestries had been sold, with a jug and ewer on display as the only original decoration of the room that remains in it. The adjacent library room is used to explain what happened to the tapestry room;[17] the former library was designed by Adam, and was dismantled except for the marble fireplace.[10]
At the west side of the building is a long gallery,[10] which was designed by Robert Adam and installed between 1761 and 1766. It is the best preserved of the original interior (little of the rest has survived in situ).[1] It has an octagonal panelled ceiling, and plaster reliefs of griffins. A half-hexagonal bay faces the garden. The room also contains a marble caryatid fireplace designed by J Wilton.[10] As of 2016, modern sculptures are displayed in empty niches along the Long Gallery
wikipedia
Croome Court is a mid 18th century Neo-Palladian mansion surrounded by an extensive landscaped parkland at Croome D'Abitot, near Pershore in south Worcestershire. The mansion and park were designed by Lancelot "Capability" Brown for George Coventry, 6th Earl of Coventry, and was Brown's first landscape design and first major architectural project. Some of the internal rooms of the mansion were designed by Robert Adam.
The mansion house is owned by Croome Heritage Trust, and is leased to the National Trust who operate it, along with the surrounding parkland, as a tourist attraction. The National Trust own the surrounding parkland, which is also open to the public.
Croome Court is a mid 18th century Neo-Palladian mansion surrounded by an extensive landscaped parkland at Croome D'Abitot, near Pershore in south Worcestershire. The mansion and park were designed by Lancelot "Capability" Brown for George Coventry, 6th Earl of Coventry, and was Brown's first landscape design and first major architectural project. Some of the internal rooms of the mansion were designed by Robert Adam.
The mansion house is owned by Croome Heritage Trust, and is leased to the National Trust who operate it, along with the surrounding parkland, as a tourist attraction. The National Trust own the surrounding parkland, which is also open to the public.
Croome Court is a mid 18th century Neo-Palladian mansion surrounded by an extensive landscaped parkland at Croome D'Abitot, near Pershore in south Worcestershire. The mansion and park were designed by Lancelot "Capability" Brown for George Coventry, 6th Earl of Coventry, and was Brown's first landscape design and first major architectural project. Some of the internal rooms of the mansion were designed by Robert Adam.
The mansion house is owned by Croome Heritage Trust, and is leased to the National Trust who operate it, along with the surrounding parkland, as a tourist attraction. The National Trust own the surrounding parkland, which is also open to the public.
Location[edit]
Croome Court is located near to Croome D'Abitot, in Worcestershire,[1] near Pirton, Worcestershire.[2] The wider estate was established on lands that were once part of the royal forest of Horewell.[3] Traces of these older landscapes, such as unimproved commons and ancient woodlands, can be found across the former Croome Estate.[4]
House[edit]
Croome Court South Portico
History[edit]
The foundations and core of Croome Court, including the central chimney stack structure, date back to the early 1640s.[5] Substantial changes to this early house were made by Gilbert Coventry, 4th Earl of Coventry.[6]
In 1751, George Coventry, the 6th Earl, inherited the estate, along with the existing Jacobean house. He commissioned Lancelot "Capability" Brown, with the assistance of Sanderson Miller, to redesign the house and estate.[7][1] It was Brown's "first flight into the realms of architecture" and a "rare example of his architectural work",[8] and it is an important and seminal work.[9] It was built between 1751 and 1752, and it and Hagley Hall are considered to be the finest examples of Neo-Palladian architecture in Worcestershire. Notable Neo-Palladian features incorporated into Croome Court include the plain exterior and the corner towers with pyramidal roofs (a feature first used by Inigo Jones in the design of Wilton House in Wiltshire).[1] Robert Adam worked on the interior of the building from 1760 onwards.[10]
The house has been visited by George III,[2][11] as well as Queen Victoria[7] during summers when she was a child, and George V (then Duke of York).[11]
A jam factory was built by the 9th Earl of Coventry, near to Pershore railway station, in about 1880, to provide a market for Vale of Evesham fruit growers in times of surplus. Although the Croome connection with jam making had ceased, during the First World War, the building was leased by the Croome Estate Trust to the Huddersfield Fruit Preserving Company as a pulping station.[12]
The First World War deeply affected Croome, with many local casualties, although the house was not requisitioned for the war effort. This is possibly because it was the home of the Lord Lieutenant of the County, who needed a residence for his many official engagements.[13]
During the Second World War Croome Court was requisitioned by the Ministry of Works and leased for a year to the Dutch Government as a possible refuge for Queen Wilhelmina of the Netherlands; to escape the Nazi occupation of the Netherlands. However, evidence shows that they stayed two weeks at the most, perhaps because of the noise and fear created by the proximity of Defford Aerodrome. They later emigrated to Canada.[14]
In 1948 the Croome Estate Trust sold the Court, along with 38 acres (15 ha) of land, to the Roman Catholic Archdiocese of Birmingham, and the mansion became St Joseph's Special School, which was run by nuns[15] from 1950[11] until 1979.[15]
The house was listed on 11 August 1952; it is currently Grade I listed.[10]
In 1979 the hall was taken over by the International Society for Krishna Consciousness (Hare Krishna movement), who used it as their UK headquarters and a training college[16] called Chaitanya College,[15] run by 25 members of the movement.[16] During their tenure they repainted the Dining Room.[17] In 1984 they had to leave the estate for financial reasons. They held a festival at the hall in 2011.[16]
From 1984 onwards various owners tried to use the property as a training centre; apartments; a restaurant and conference centre; and a hotel and golf course,[15] before once more becoming a private family home,[2][15] with outbuildings converted to private houses.[15]
The house was purchased by the Croome Heritage Trust, a registered charity,[18] in October 2007,[19] and it is now managed by the National Trust as a tourist attraction. It opened to the public in September 2009, at which point six of the rooms had restored, costing £400,000, including the Saloon. It was estimated that another £4 million[2][20] to £4.8 million would be needed to restore the entire building. Fundraising activities for the restoration included a 2011 raffle for a Morgan sports car organised by Lord and Lady Flight. After the restoration is complete, a 999-year lease on the building will be granted to the National Trust.[21] An oral history project to record recollections about Croome was funded by the Heritage Lottery Fund.[15] As of 2009, the service wing was empty and in need of substantial repair.[22]
Exterior[edit]
The mansion is faced with Bath stone,[7] limestone ashlar, and has both north and south facing fronts. It has a basement and two stories, with three stories in the end pavilions. A slate roof, with pyramid roofs over the corner towers, tops the building, along with three pair-linked chimneys along the axis of the house.[10]
Both fronts have 11 bays, split into three central sets of three each, and one additional bay each side. The north face has a pedimented centre, with two balustraded staircases leading to a Roman Doric doorcase. The south face has a projecting Ionic tetrastyle portico and Venetian windows. It has a broad staircase, with cast stone sphinxes on each side, leading to a south door topped with a cornice on consoles. The wings have modillion cornice and balustrade.[10]
A two-story L-shaped service wing is attached to the east side of the mansion. It is made of red brick and stone, with slate roofs.[10] It was designed by Capability Brown in 1751-2.[22] On the far side of the service wing, a wall connects it to a stable court.[10]
Interior[edit]
The interior of the house was designed partially by Capability Brown, with plasterwork by G. Vassalli, and partially by Robert Adam, with plasterwork by J. Rose Jr. It has a central spine corridor. A stone staircase, with iron balusters, is at the east end.[10]
The entrance hall is on the north side of the building, and has four fluted Doric columns, along with moulded doorcases. To the east of the entrance hall is the dining room, which has a plaster ceiling and cornice, while to the west is a billiard room, featuring fielded panelling, a plaster cornice, and a rococo fireplace. The three rooms were probably decorated around 1758-59 by Capability Brown.[10] The dining room was vibrantly repainted by the Hare Krishnas in the 1970s-80s.[17]
The central room on the south side is a saloon, probably by Brown and Vassalli. It has an elaborate ceiling, with three panels, deep coving, and a cornice, along with two Ionic fireplaces, and Palladian doorcases.[10] George III was entertained by George Coventry, the 6th Earl, in the house's Saloon.[2] A drawing room is to the west of the saloon, and features rococo plasterwork and a marble fireplace.[10]
To the east of the saloon is the Tapestry Room.[10] This was designed in 1763-71, based on a design by Robert Adam, and contained tapestries and furniture covers possibly designed by Jacques Germain Soufflot, and made by Manufacture Nationale des Gobelins.[23] Around 1902 the ninth Earl sold the tapestries and seating to a Parisian dealer. In 1949 the Samuel H. Kress Foundation purchased the ceiling, floor, mantlepiece, chair rails, doors and the door surrounds, which were donated to the Metropolitan Museum of Art, New York, in 1958. In 1959 the Kress Foundation also helped the Metropolitan Museum acquire the chair and sofa frames, which they recovered using the original tapestry seats.[7][23] A copy of the ceiling was installed in place of the original.[10] As of 2016, the room is displayed as it would have looked after the tapestries had been sold, with a jug and ewer on display as the only original decoration of the room that remains in it. The adjacent library room is used to explain what happened to the tapestry room;[17] the former library was designed by Adam, and was dismantled except for the marble fireplace.[10]
At the west side of the building is a long gallery,[10] which was designed by Robert Adam and installed between 1761 and 1766. It is the best preserved of the original interior (little of the rest has survived in situ).[1] It has an octagonal panelled ceiling, and plaster reliefs of griffins. A half-hexagonal bay faces the garden. The room also contains a marble caryatid fireplace designed by J Wilton.[10] As of 2016, modern sculptures are displayed in empty niches along the Long Gallery
wikipedia
Location: Sherborne, Dorset, England.
Sherborne Lodge, as it was originally called, was built by Sir Walter Raleigh in 1594, after the land had been leased to him in 1592 by Queen Elizabeth. There was already an old castle in the grounds but Raleigh elected to build a new property as a temporary home, to entertain his wealthy chums, rather than refurbish the old castle, which is now a ruin.
Raleigh later fell out of favour with the Royals and was carted off to the Tower of London. During Raleigh's imprisonment in the Tower, King James leased the estate to Robert Carr and then sold it to Sir John Digby, 1st Earl of Bristol in 1617.
Digby set about landscaping the gardens and had 'Capability' Brown design and create the lake. The castle has been the Digby family home ever since.
As for Walt, sadly he got the chop in 1618. Allegedly, his last words , whilst his head was on the block, were "strike man strike". However, he has recently been voted into the top 100 'Great Britons'
To view more popular, interesting places and subjects, please click the link below:-
The report "National Power Grid Simulation Capability: Needs and Issues" examines shortcomings in the nation's current capabilities for simulating the national power grid. The report details findings of a December 2008 conference, hosted at the U.S. Depaertment of Energy's Argonne National Laboratory and sponsored by the U.S. Department of Homeland Security's Science and Technology Directorate. Read the full story.
A walk around Minterne Gardens in Dorset.
The garden walk is about 1 mile in a horseshoe shape.
You can take different paths on the last leg of the walk, we went on the upper path.
Various paths.
Information below from leaflet from Minterne Gardens:
The Minterne Valley, landscapped in the manner of Capability Brown in the 18th century, has been the home of the Churchill and Digby families for 350 years. The gardens are laid out in a horseshoe below Minterne House, with a chain of small lakes, waterfalls and streams. They contain an important collection of Himalayan Rhodocdendrons and Azaleas, with Spring bulbs, Cherries, Maples and many fine and rare trees; the garden is noted for its Autumn colouring.
Of particular note are the large plants of Magnolia Campbellii which flower in March and April, together with a profusion of spring bulbs. Many flowering cherries were brought from Japan in 1920 and the Pieris Forrestii with their brilliant scarlet shoots, originally came from Wakehurst. A very fine collection of Davidia Involucrata (the pocket handkerchief tree) produce striking bracts in late May and early June, when the streams are lined with primulas, astilbes and other water plants.
Designed by Robert Adam for Capability Brown's landscape garden at Croome Park, the Panorama Tower now stands derelict in a field full of sheep. It is cut off from the rest of the estate by the M5, and can be seen clearly seen from the motorway a few miles south of junction 7. Standing on Knight's Hill, it commands magnificent views of the Malvern Hills to the west, and Bredon Hill and the Cotswolds to the east.
Knight's Hill, Worcestershire. [?]
See more in this set here
This image is excerpted from a U.S. GAO report:
www.gao.gov/products/GAO-17-331
SOUTHWEST BORDER SECURITY: Additional Actions Needed to Better Assess Fencing's Contributions to Operations and Provide Guidance for Identifying Capability Gaps
From the sand dunes of Essaouira to the peaks of the Atlas Mountains, the all-new Range Rover demonstrates its full breadth of capability in Morocco.
Built between 1754 and 1760, Croome Park is a National Trust property set perfectly in Capability Brown's very first landscape and is the site of a secret Second World War air base.
The Rook was an experimental rail vessel created to assess the capability of switching tracks at right-angle crossings. In the scouting role the Rook typically served, its unique maneuverability proved highly advantageous by both providing additional routes of exploration and permitting easy avenues of flight from pursuers. The Rook was poorly armored for its size owing to the weight allocated to its retractable wheel mechanism, but had suitable speed and sported a rapid-fire cannon to dissuade attackers.
The Rook’s asymmetrical design gave its dedicated pilot clear view of all four possible directions of travel. Couplers and buffers would be used when operating as part of a train but would be detached when operating alone, as these projecting features would exceed the standard loading gauge when attached crosswise.
Play Features:
-Two hinged wheel sets
-Fits three minifigures
-Pilot may sit facing any side
-Opening pilot’s hatch
-Opening engine hatch and engine details
-Opening turret hatch and commander’s seat
DPAC & UK Uncut protest against benefit cuts at DWP - 31.08.2012
Following their earlier joint protest that morning at the Euston headquarters of ATOS Origin - the French IT company which has sponsored the paralympics, despite its role in forcing tens of thousands of severely sick and disabled people off their life-saving benefits after declaring them "Fit for Work" following the seriously flawed Work Capability Assessment stipulated by the Dept. fo0r Work and Pensions (DWP), DPAC and UK Uncut activists descended on the Westminster headquarters of the DWP and protested outside.
Several activists managed to get inside the entrance foyer of the government building, which was the trigger for a short-but-overly-aggressive encounter with a large number of Territorial Support Group police who waded into the disabled and able-bodied protesters to force them away from the front of the building which houses the offices of Secretary for State for Work and Pensions Ian Duncan Smith and Minister for Disabled People Maria Miller.
During the quite unnecessary action against the peaceful protesters - several in wheelchairs - one disabled man was thrown out of his wheelchair to the ground, breaking his shoulder. Another man's motorised wheelchair was broken in the fracas, and one man was arrested.
Some of the protesters managed to speak to Maria Miller, MP, and told her to her facve how much misery and human despair her department's policies of demonisation of the disabled - portraying them publicly as workshy scroungers and benefits cheats, even though Disability Benefit fraud is extremely small, only 0.4% of the overall benefits budget, despite frequent, outrageous lies peddled by the DWP and minister Ian Duncan Smith as it behaves no better than the German government in the years running up to World War II as they turn the public against the very weakest, most vulnerable members of the British population, blaming disabled people for the country's economic misery - cause by corrupt bankers.
All photos © 2012 Pete Riches
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[1]
Broadway Tower was inspired by the famous Capability Brown and completed in 1799 from designs by the renowned architect James Wyatt. It was built for the Earl of Coventry as a folly to his Springhill Estate and dedicated to his wife Peggy.
Legend has it Broadway Tower was used as a signalling tower between Springhill Estate and Croome Court near Worcester, which can be seen from the roof platform.
Many famous people have had association with Broadway Tower, including Sir Thomas Phillips and the pre-Raphaelite artists William Morris, Edward Burne-Jones and Rosetti.
Broadway Tower is open to the public allowing you to travel into the past of this important building and visit the viewing platform constituting the highest point in the Cotswolds at 1089 feet or 331.6 metres altitude.
[2]
Broadway Tower is a folly located on Broadway Hill, near the village of Broadway, in the English county of Worcestershire, at the second highest point of the Cotswolds after Cleeve Hill. Broadway Tower's base is 1,024 feet (312 metres) above sea level. The tower itself stands 55 feet (17 metres) high.
The "Saxon" tower was designed by James Wyatt in 1794 to resemble a mock castle, and built for Lady Coventry in 1799. The tower was built on a "beacon" hill, where beacons were lit on special occasions. Lady Coventry wondered if a beacon on this hill could be seen from her house in Worcester - approximately 22 miles (35 km) away - and sponsored the construction of the folly to find out. The beacon could be seen clearly.
Over the years, the tower was home to the printing press of Sir Thomas Phillips, and served as a country retreat for artists including William Morris and Edward Burne-Jones who rented it together in the 1880s.
Today, the tower is a tourist attraction and the centre of a country park with various exhibitions open to the public at a fee as well as a gift shop. The place is on the Cotswold Way and can be reached by following the Cotswold Way from the A44 road at Fish Hill, or by a steep climb out of Broadway village. Near the tower is a memorial to the crew of an A.W.38 Whitley bomber that crashed there during a training mission in June 1943.
The Blackburn Buccaneer was a British low-level strike aircraft with nuclear weapon delivery capability serving with the Royal Navy and the Royal Air Force between 1962 and 1994, including service in the 1991 Gulf War. Designed and initially produced by Blackburn Aircraft at Brough it was later known as the Hawker Siddeley Buccaneer when Blackburn became a part of the Hawker Siddeley group.
In the early 1950s the Russian Navy introduced the Sverdlov class cruiser into service. Light cruisers by Second World War measure, they were fast, effectively armed, and numerous. They presented a serious threat to the merchant fleets in the Atlantic, as the German "pocket battleships" of the war did, but in far greater numbers and over 25% faster. To counter this threat the Royal Navy decided not to use a new ship class of its own, but a new specialised strike aircraft employing conventional or nuclear weapons instead. Operating from its fleet carriers and attacking at high-speed and low-level, it would offer a solution to the Sverdlov problem.
Fleet Air Arm
The Buccaneer entered service in 1962. In addition to conventional ordnance, in 1965 the Buccaneer was type-approved for nuclear weapons delivery i.e. the Red Beard and WE177 bombs. All nuclear weapons were carried internally in a rotating bomb-bay.
A total of six FAA squadrons were equipped with the Buccaneer: 700B/700Z (Intensive Flying Trials Unit), 736 (training), 800, 801, 803 and 809 Naval Air Squadrons. Buccaneers were embarked on HMS Victorious, Eagle, Ark Royal and Hermes.
On 28 March 1967, Buccaneers from RNAS Lossiemouth bombed the shipwrecked supertanker Torrey Canyon off the western coast of Cornwall to make the oil blaze and to avoid an environmental disaster. The Buccaneers aboard HMS Ark Royal took part in a mission over British Honduras shortly before its independence to deter a possible Guatemalan invasion. They also took part in several exercises in the North Sea, "taking out" ground and naval targets, while always ready to respond to any Soviet interference.
The Buccaneer left Fleet Air Arm service with the decommissioning of the Ark Royal in 1978.
Royal Air Force
The first RAF unit to receive the Buccaneer S.2B was 12 Squadron at RAF Honington in 1969. This was to remain a key station for the type as 15 Squadron equipped with the Buccaneer the following year, before moving to RAF Laarbruch in 1971.
With the phased withdrawal of the Royal Navy's carrier fleet during the 1970s, Fleet Air Arm Buccaneers were transferred to the RAF, which had taken over the maritime strike role. 62 of the 84 S.2 aircraft were eventually transferred, redesignated S.2A. Some of these were later upgraded to S.2B standard.
Ex-FAA aircraft equipped 16 Squadron, joining 15 Squadron at RAF Laarbruch, and 208 Squadron at Honington. The last FAA aircraft went to 216 Squadron.
From 1970 with 12 Squadron initially, followed by 15, 16, 237 OCU, 208 and 216, the RAF Buccaneer force re-equipped with WE.177 nuclear weaponsAt peak strength Buccaneers equipped six RAF squadrons, although for one year only. A more sustained strength of five squadrons was made up of three squadrons (15, 16, 208) plus 237 OCU (a war reserve or 'Shadow Squadron') all assigned to SACEUR for land strike duties in support of land forces opposing Warsaw Pact land forces on the Continent, plus one squadron (12 Squadron) assigned to SACLANT for maritime strike duties. After 1983 the land strike duties were mostly re-assigned to the Tornado aircraft then entering service, and two Buccaneer squadrons remaining (12, and 208) were then assigned to SACLANT for maritime strike duties. Only the 'Shadow Squadron' 237 OCU remained assigned to a war role of land strike assigned to SACEUR until it stood down from its war reserve nuclear delivery role in 1991.
After a Buccaneer suffered a structural failure in mid-air during a Red Flag exercise, the entire RAF Buccaneer fleet was grounded in February 1980. Investigation discovered serious metal fatigue problems. 60 aircraft were selected to receive new spar rings and the nascent 216 Squadron was subsequently disbanded. Later the same year, the UK-based Buccaneer squadrons moved to RAF Lossiemouth.
The Buccaneer saw war service during the 1991 Gulf War when twelve examples were rushed to the area to provide a laser designation capability for British aircraft. They flew 218 missions, both designating for other aircraft and dropping 48 laser-guided bombs themselves. The last Buccaneers were withdrawn in March 1994 when 208 Squadron disbanded.
South African Air Force
South Africa was the only country other than the UK to operate the Buccaneer, where it was in service with the South African Air Force from 1965 to 1991. Of the 16 aircraft ordered, one was lost on its delivery flight, and 15 entered service. SAAF Buccaneers saw active service during the Border War in South West Africa, notably at Cassinga in 1981.
Movie Cameras at Armley Mills.
The high ISO capability of the 60D and the f/2.8 lens did very will inside the sheds, though I totally forgot that I have a stabiliser on the lens!
Canon EOS 60D and Sigma 17-50mm f/2.8 EX OS.
Raw Conversion Adobe Camera Raw 6.5
Postprocessing Photoshop Elements 9.0
Ugbrooke House
Ugbrooke House is a stately home in the parish of Chudleigh, Devon, England, situated in a valley between Exeter and Newton Abbot.
It dates back over 900 years, having featured in the Domesday Book. Before the Reformation the land belonged to the Church and the house was occupied by Precentors to the Bishop of Exeter. It has been the seat of the Clifford family for over four hundred years, and the owners have held the title Baron Clifford of Chudleigh since 1672.
The 9th Baron Clifford was an aide-de-camp to Edward VII and entertained royalty, both Edward VII and George V, at Ugbrooke Park.
The house, now a Grade I listed building, was remodelled by Robert Adam, while the grounds were redesigned by Capability Brown in 1761.The grounds featured what were possibly the earliest plantings of the European White Elm Ulmus laevis in the UK.The gardens are now Grade II* listed in the National Register of Historic Parks and Gardens.[4] The house and gardens are open to the public for a limited number of days each summer.
Baron Clifford of Chudleigh
Baron Clifford of Chudleigh, of Chudleigh in the County of Devon, is a title in the Peerage of England. It was created in 1672 for Thomas Clifford. The title was created as "Clifford of Chudleigh" rather than simply "Clifford" to differentiate it from several other Clifford Baronies previously created for members of this ancient family, including the Barony of de Clifford (1299), which is extant but now held by a branch line of the Russell family, having inherited through several female lines.
Baron Clifford of Chudleigh is the major surviving male representative of the ancient Norman family which later took the name de Clifford which arrived in England during the Norman Conquest of 1066, feudal barons of Clifford, first seated in England at Clifford Castle in Herefordshire, created Baron de Clifford by writ in 1299. The family seat is Ugbrooke Park, near Chudleigh, Devon.
Notable members of this branch of the Clifford family include antiquarian Arthur Clifford (grandson of the 3rd Baron), Victoria Cross recipient Sir Henry Hugh Clifford (son of the 7th Baron), Catholic clergyman William Clifford (son of the 7th Baron) and colonial administrators Sir Bede Clifford (son of the 10th Baron) and Sir Hugh Clifford (grandson of the 7th Baron). The family is also related to the notable recusant Weld family, of Lulworth Castle, through the 7th Baron's marriage to the daughter of Cardinal Thomas Weld.
Barons Clifford of Chudleigh (1672)
Thomas Clifford, 1st Baron Clifford of Chudleigh (1630–1673)
Hugh Clifford, 2nd Baron Clifford of Chudleigh (1663–1730)
Hugh Clifford, 3rd Baron Clifford of Chudleigh (1700–1732)
Hugh Clifford, 4th Baron Clifford of Chudleigh (1726–1783)
Hugh Edward Henry Clifford, 5th Baron Clifford of Chudleigh (1756–1793)
Charles Clifford, 6th Baron Clifford of Chudleigh (1759–1831)
Hugh Charles Clifford, 7th Baron Clifford of Chudleigh (1790–1858)
Charles Hugh Clifford, 8th Baron Clifford of Chudleigh (1819–1880)
Lewis Henry Hugh Clifford, 9th Baron Clifford of Chudleigh (1851–1916)
William Hugh Clifford, 10th Baron Clifford of Chudleigh (1858–1943)
Charles Oswald Hugh Clifford, 11th Baron Clifford of Chudleigh (1887–1962)
Lewis Joseph Hugh Clifford, 12th Baron Clifford of Chudleigh (1889–1964)
Lewis Hugh Clifford, 13th Baron Clifford of Chudleigh (1916–1988)
Thomas Hugh Clifford, 14th Baron Clifford of Chudleigh (b. 1948)
The heir apparent is the present holder's son Hon. Alexander Thomas Hugh Clifford (b. 1985)
From Wikipedia, the free encyclopedia
This is a view of Frampton Court, Dorset from the north (just south of St Mary’s Church) across the parkland. The east garden front ‘portico-room’ to the left is obscured by an extension to the lower and upper ground levels. This had extensive views across the parkland.
John Browne acquired the ‘manor’ of Frampton in 1572 and he or a descendant built a house on the site of a Priory dating back to before 1077, founded by William the Conqueror. Following the dissolution of the monasteries from 1536 it was not uncommon for building materials and old foundations to be reused in domestic dwellings. The River Frome and nearby woodland were also valuable resources, ideal for the new estate in Frampton.
John’s descendant, Robert Browne built Frampton Court in 1704 and is recorded as using Portland stone which was quarried just over 10 miles away. This modern structure may have incorporated elements of the manor but was soon to expand in size itself to include service wings and 40 bedrooms. By 1790 the house enlargement scheme continued with new Portland stone facing and a park designed by Lancelot ‘Capability’ Brown. By now all the wings were completed to make the house the largest size it would be. Around 1840 after the family name had changed through marriage to Sheridan, the main front of the house was swapped from east to west and a pillared portico added to the new main entrance. The wings may have been rebuilt in the next century as one is currently dated as early C19th now surviving and converted into two private residences.
The estate was eventually split up and sold off in 1932 and the house demolished for building materials by 1935.
PictionID:41567040 - Title:Republic P-47D Thunderbolt This is a P-47D-4-RA, 42-22794. All early Thunderbolts used the R-2800-21 engine. Water injection capability was added to this engine beginning with the D-4-RA and D-5-RE production blocks. - Catalog:15_002926 - Filename:15_002926.TIF - Image from the Charles Daniels Photo Collection album "Seversky, Republic and P-47"----PLEASE TAG this image with any information you know about it, so that we can permanently store this data with the original image file in our Digital Asset Management System.----SOURCE INSTITUTION: San Diego Air and Space Museum Archive
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Broadway Tower was inspired by the famous Capability Brown and completed in 1799 from designs by the renowned architect James Wyatt. It was built for the Earl of Coventry as a folly to his Springhill Estate and dedicated to his wife Peggy.
Legend has it Broadway Tower was used as a signalling tower between Springhill Estate and Croome Court near Worcester, which can be seen from the roof platform.
Many famous people have had association with Broadway Tower, including Sir Thomas Phillips and the pre-Raphaelite artists William Morris, Edward Burne-Jones and Rosetti.
Broadway Tower is open to the public allowing you to travel into the past of this important building and visit the viewing platform constituting the highest point in the Cotswolds at 1089 feet or 331.6 metres altitude.
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Broadway Tower is a folly located on Broadway Hill, near the village of Broadway, in the English county of Worcestershire, at the second highest point of the Cotswolds after Cleeve Hill. Broadway Tower's base is 1,024 feet (312 metres) above sea level. The tower itself stands 55 feet (17 metres) high.
The "Saxon" tower was designed by James Wyatt in 1794 to resemble a mock castle, and built for Lady Coventry in 1799. The tower was built on a "beacon" hill, where beacons were lit on special occasions. Lady Coventry wondered if a beacon on this hill could be seen from her house in Worcester - approximately 22 miles (35 km) away - and sponsored the construction of the folly to find out. The beacon could be seen clearly.
Over the years, the tower was home to the printing press of Sir Thomas Phillips, and served as a country retreat for artists including William Morris and Edward Burne-Jones who rented it together in the 1880s.
Today, the tower is a tourist attraction and the centre of a country park with various exhibitions open to the public at a fee as well as a gift shop. The place is on the Cotswold Way and can be reached by following the Cotswold Way from the A44 road at Fish Hill, or by a steep climb out of Broadway village. Near the tower is a memorial to the crew of an A.W.38 Whitley bomber that crashed there during a training mission in June 1943.
The Orangery, to the right, is accessed up stairs from a courtyard or at the end of the house tour. It dates from 1756 - 63 and was designed by Capability Brown. It now contains the restaurant. .
Claire Glasman from WinVisible sits in her wheelchair, draped in large placards condemning government benefit cuts to people with disabilities.
DPAC, Mental Health Resistance Network & WinVisible vigil at High Court supporting judicial review of Work Capability Assessment (WCA) London - 08.07.2014
Disabled activists representing Disabled People Against Cuts (DPAC), the Mental Health Resistance Network (MHRN) and WinVisible (Women With Invisible Disabilities held a dignified vigil on the steps of the Royal Courts of Justice to show support for the judicial review taking place this week intended to make the Dept. for Work and Pensions (DWP) prove to the court that they are abiding by a previous court order that they make reasonable adjustments to the Work Capability Assessment testing process to make it fit for purpose and to abide by the Equalities Act 2010.
A previous judicial review had ruled that the WCA was clearly biased against people with mental health disabilities, and great harm has been done to many people as the DWP has refused to take into consideration any medical evidence or evidence crucial to any understanding of how a claimant's mental illness affects their daily lives and their ability to work. This cruel process has put people with mental health problems at a substantial disadvantage. The testing process has caused a great deal of distress, anxiety and fear, and there is clear evidence that there has been a significant number of suicides by claimants going through the Work Capability Assessment process, run up till now by disgraced French IT firm ATOS.
This photo © Pete Riches
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Harcourt Arboretum
The University of Oxford Arboretum
Acquired by the University in 1947 from the Harcourt family. It is now an integral part of the tree and plant collection of the University of Oxford Botanic Garden.
The original Pinetum, which forms the core of the arboretum, was laid out by William Sawrey Gilpin in the 1830s. Gilpin was a leading promoter of the picturesque style of planting and advised the Harcourt family on the establishment and layout of the arboretum. The trees are now mature, with Giant Redwoods and Monkey-Puzzle trees in the collection.
The arboretum also contains some of the finest conifer collections in the UK all set within 130 acres of historic Capability Brown landscape. The grounds include a 10-acre typical English woodland and a 37-acre summer flowering meadow.
The Royal Air Force Museum Cosford - 13th March 2015.
Mikoyan-Gurevich MiG 21PF No. 7105.
The MiG-21 was the first Soviet fighter capable of flying faster than twice the speed of sound and is an iconic aircraft of the Cold War years. MiG-21s saw extensive combat action in such diverse conflicts as Vietnam, the Arab-Israeli Wars, the Iran-Iraq War, Afghanistan and Desert Storm.
This aircraft is typical of the early 'First Generation' variants of the MiG-21 'Fishbed' which was first designed as a simple, lightweight jet fighter, first flown as a pre-production prototype in 1957.
Following on from the initial MiG-21F 'Fishbed-C' production variant, in 1960 the new MiG-21P variant (NATO reporting name 'Fishbed-D') dispensed with the original internal cannon armament completely in favour of air-air missiles or rocket pods and introduced a modified fuselage with a longer nose, and modified canopy and spine with a distinctive bulge immediately aft of the cockpit. This was followed in production from 1962 to 1964 by the MiG-21PF, as seen here, with updated afterburning engine and the pitot probe relocated to the top of the nose. This variant also introduced a new system for controlling the variable intake centrebody at the nose, whose larger intake accommodated new RP-21 search/track radar, giving all-weather capability. The MiG-21 PFM for the Soviet Air Force was produced between 1964 and 1965, and the Mig-21 PFS version was produced for export from 1966-68.
Four DPAC protest groups converge on DWP - London 04.09.2013
As a conclusion to Disabled People Against Cuts (DPAC) "Reclaiming Our Futures" national week of action which saw disabled people from all over the UK publicly protesting against the devastating damage done by the Conservatives in the name of so-called 'austerity', a disabled activists from all over the UK came to London and protested at the four government departments which have had the most severe impact on their lives - Energy, Transport, Education and Health - and then later converged the Department for Work and Pensions (DWP) for their final protest of this campaign.
The protesters at the DWP were joined by comedy actor Jolyon Rubinstein from BBC 3's "The Revolution Will Be Televised", who appeared as "The ATOS Miracle Healer" and, with his three-part gospel choir proceeded to go through the bemused protesters, invoking the name of DWP minister (and architect of the punitive policies against disabled people) Iain Duncan Smith and promising people that by simply attending an ATOS Work Capability Assessment or by filling in an ATOS assessment form, they would be miraculously cured of their life-long disabilities and would become 'fit for work' - stacking shelves in a supermarket as Workfare slaves for no wages.
All photos © 2013 Pete Riches
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A visit to Charlecote Park for an afternoon visit to this National Trust property in Warwickshire. Near Stratford-upon-Avon. A deer park with a country house in the middle of it.
Charlecote Park (grid reference SP263564) is a grand 16th-century country house, surrounded by its own deer park, on the banks of the River Avon near Wellesbourne, about 4 miles (6 km) east of Stratford-upon-Avon and 5.5 miles (9 km) south of Warwick, Warwickshire, England. It has been administered by the National Trust since 1946 and is open to the public. It is a Grade I listed building.
The Lucy family owned the land since 1247. Charlecote Park was built in 1558 by Sir Thomas Lucy, and Queen Elizabeth I stayed in the room that is now the drawing room. Although the general outline of the Elizabethan house remains, nowadays it is in fact mostly Victorian. Successive generations of the Lucy family had modified Charlecote Park over the centuries, but in 1823, George Hammond Lucy (High Sheriff of Warwickshire in 1831) inherited the house and set about recreating the house in its original style.
Charlecote Park covers 185 acres (75 ha), backing on to the River Avon. William Shakespeare has been alleged to have poached rabbits and deer in the park as a young man and been brought before magistrates as a result.
From 1605 to 1640 the house was organised by Sir Thomas Lucy. He had twelve children with Lady Alice Lucy who ran the house after he died. She was known for her piety and distributing alms to the poor each Christmas. Her eldest three sons inherited the house in turn and it then fell to her grandchild Sir Davenport Lucy.
In the Tudor great hall, the 1680 painting Charlecote Park by Sir Godfrey Kneller, is said to be one of the earliest depictions of a black presence in the West Midlands (excluding Roman legionnaires). The painting, of Captain Thomas Lucy, shows a black boy in the background dressed in a blue livery coat and red stockings and wearing a gleaming, metal collar around his neck. The National Trust's Charlecote brochure describes the boy as a "black page boy". In 1735 a black child called Philip Lucy was baptised at Charlecote.
The lands immediately adjoining the house were further landscaped by Capability Brown in about 1760. This resulted in Charlecote becoming a hostelry destination for notable tourists to Stratford from the late 17th to mid-18th century, including Washington Irving (1818), Sir Walter Scott (1828) and Nathaniel Hawthorn (c 1850).
Charlecote was inherited in 1823 by George Hammond Lucy (d 1845), who married Mary Elizabeth Williams of Bodelwyddan Castle, from who's extensive diaries the current "behind the scenes of Victorian Charlecote" are based upon. GH Lucy's second son Henry inherited the estate from his elder brother in 1847. After the deaths of both Mary Elizabeth and Henry in 1890, the house was rented out by Henry's eldest daughter and heiress, Ada Christina (d 1943). She had married Sir Henry Ramsay-Fairfax, (d 1944), a line of the Fairfax Baronets, who on marriage assumed the name Fairfax-Lucy.
From this point onwards, the family began selling off parts of the outlying estate to fund their extensive lifestyle, and post-World War II in 1946, Sir Montgomerie Fairfax-Lucy, who had inherited the residual estate from his mother Ada, presented Charlecote to the National Trust in-lieu of death duties. Sir Montgomerie was succeeded in 1965 by his brother, Sir Brian, whose wife, Lady Alice, researched the history of Charlecote, and assisted the National Trust with the restoration of the house.
I think this was a swan. Seen in the courtyard between the house and the gatehouse.
A walk around Minterne Gardens in Dorset.
The garden walk is about 1 mile in a horseshoe shape.
You can take different paths on the last leg of the walk, we went on the upper path.
Various paths.
Trees
Information below from leaflet from Minterne Gardens:
The Minterne Valley, landscapped in the manner of Capability Brown in the 18th century, has been the home of the Churchill and Digby families for 350 years. The gardens are laid out in a horseshoe below Minterne House, with a chain of small lakes, waterfalls and streams. They contain an important collection of Himalayan Rhodocdendrons and Azaleas, with Spring bulbs, Cherries, Maples and many fine and rare trees; the garden is noted for its Autumn colouring.
Of particular note are the large plants of Magnolia Campbellii which flower in March and April, together with a profusion of spring bulbs. Many flowering cherries were brought from Japan in 1920 and the Pieris Forrestii with their brilliant scarlet shoots, originally came from Wakehurst. A very fine collection of Davidia Involucrata (the pocket handkerchief tree) produce striking bracts in late May and early June, when the streams are lined with primulas, astilbes and other water plants.
Miami Beach Patrol currently stations 29 lifeguard stands from South Point Park up to 85th Street. These stations are supported by lifeguard personnel in four-wheel drive vehicles. Additional support is provided by all-terrain cycles, a twenty-seven foot rescue vessel, and other smaller jet-driven watercraft. All personnel are in contact with each other by radio transmitters which have the capability of communicating with the City's Police and Fire/Rescue departments.
Statewide beach warning flag system
No, the lifeguards aren’t just being festive. The colors tell beachgoers about the surf conditions. Green means the conditions are safe; yellow signifies a moderate danger, and red warns you that there are strong, dangerous currents and/or high surf. Purple means dangerous marine life. Most of the time, when the purple flags are out, it means jellyfish are in the water. There is also another flag with a “man of war” jellyfish emblem on it, as they’re particularly annoying. Sharks, however, aren’t a major problem in the waters off Miami Beach. In fact, the last fatal shark attack in Miami-Dade County was in 1961!
Think you’ve got what it takes to keep the waters safe? You can apply as a Miami-Dade lifeguard here --> web.miamibeachfl.gov/hr/recruitment/list.aspx (click on “Lifeguard 1”). These are the job requirements and pay for the position of “lifeguard 1”:
Salary: minimum of $15.44 per hour; maximum of $20.74 per hour.
Nature of Work: General lifesaving work in the preservation of safety and order at an assigned station on a public beach.
ILLUSTRATIVE EXAMPLES OF ESSENTIAL DUTIES
* Stands watch in a designated section of the public beaches
* Patrols assigned areas for compliance with state and local laws
* Effects water rescue on public beach areas and other waterways within the city limits
* Sets up lifeguard stands and emergency equipment at headquarter areas
* Renders first aid
* Assists in and maintains rescue and safety equipment including lifeline and buoy installations
* Keeps abreast of latest developments in water safety and rescue methods
* Answers questions of beach patrons
* Answers questions of beach visitors
* Takes beach attendance counts
* Participates in training and drill programs
* Operates emergency vehicles when assigned
* Assists in and maintains necessary safety and rescue equipment to do related work as required
KNOWLEDGE, SKILLS AND ABILITIES
* Some knowledge of first aid and lifesaving techniques
* Considerable skill as swimmer
* Ability to swim long distances under adverse conditions
* Ability to learn lifesaving and water safety procedures
* Ability to learn to operate a rescue paddle boat in rough turf
* Ability to establish and maintain effective working relationships with beach patrons
* Ability to understand and carry out written and oral instructions
* Ability to perform effectively In emergency situations
* Requirements as may be prescribed by the Personnel Board
* Ability to obtain certification in Red Cross Senior Lifesaving and advanced first aid
* Willingness to participate in a training program in order to maintain proper physical fitness
MINIMUM REQUIREMENTS
* Current Certification in Red Cross Standard First Aid
* Current Certification in Red Cross Lifeguard Training
* Current Certification in American Heart or Red Cross Basic Life Support
* Obtain and maintain Certifications as required by the Division
* Driver’s License
PHYSICAL REQUIREMENTS
* Must have interpersonal skills to effectively communicate and interact with other employees
* Significant standing, walking, moving, climbing, carrying, bending, or kneeling
* Some crawling, reaching, handling, sitting, standing, pushing, and pulling
* Ability to pass the Beach Patrol’s physical requirements test (e.g., prolonged running in ankle deep sand,swimming through “crashing surf,” pulling, lifting and carrying unconscious victims, etc.)
* Physical capability to effectively use and operate various items of office related equipment, such as, but not limited to, word processor, calculator, copier, and fax machine.
Hurricane Andrew all but leveled the former stands when it passed through in 1992, and the city of Miami Beach desperately needed some replacements. Even as the Art Deco district was blossoming anew under the renovations led by Barbara Capitman, the city also felt the need to bring a little artistic flair to the beach itself, and so began a project that would redefine beach rescue architecture as we know it.
Artists were called in, including the notable Brooklyn-based painter Kenny Scharf, and the Property Management Department set up shop on the then-abandoned basketball courts of Flamingo Park. Scharf, a star player in the East Village art scene of the 1980’s, was well-known for his pop-culture inspired motifs, creations with scientific themes and imagery appropriated from 60s cartoons such as The Jetsons and The Flintsones.
Beginning in the early 1960s, the USAF sought a replacement for the F-105 Thunderchief: while the F-105 was a good aircraft, it needed long runways that would be vulnerable in wartime and was not as long-ranged as the USAF might like. Simultaneously, the US Navy noticed that Soviet antiship missiles were becoming more advanced and longer-ranged, which would put their current fleet defense aircraft, the F-4 Phantom II, at a disadvantage. The Navy was especially interested in the AIM-54 Phoenix that provided very long-range capability. Though the two services wanted vastly different aircraft, Secretary of Defense Robert McNamara ordered that both seek a common aircraft to save money and development time, as had been done with the F-4; McNamara’s order came over the objections of both USAF and Navy researchers. Nonetheless, the Tactical Fighter Experimental (TFX) project began work in 1961.
Immediately, TFX ran into trouble. The Navy wanted side-by-side seating with a maximum speed of Mach 2 and a fuselage length adequate for carrier operations; the USAF wanted tandem seating with a maximum speed of Mach 2.5 and a long fuselage for better performance. About the only things the two services could agree on was the need for two engines and variable sweep wings, which would satisfy both services’ need for shorter distance takeoffs and landings. Only Boeing and General Dynamics’ proposals reached mockup stage, and McNamara personally ordered the General Dynamics design based on its better commonality of parts, despite the services preference for the Boeing version and the fact that General Dynamics had never built a naval fighter before. The new aircraft was designated F-111, in theory making it the last of the Century Series.
The problems with the F-111 now compounded. The F-111B carrier defense fighter was inadequate in every way, lacked the performance the Navy wanted, and it was too heavy for carrier operations. The F-111B was cancelled in 1967—though its AWG-9 fire control system and the Phoenix missile would live on in the F-14 Tomcat. The USAF’s F-111A had somewhat easier development, flying first in December 1964. Wing cracks and intake issues were addressed, and the F-111A entered USAF service in July 1967, then deployed to Vietnam under Project Combat Lancer in 1968.
Combat Lancer was a miserable failure: of six F-111As sent to Vietnam, three were lost in a month. The F-111 was grounded and in danger of cancellation until the USAF discovered the problem: the “box” that contained the wing sweep mechanism was flawed, as were the tailplanes, which could lock downwards without warning. The latter was traced to a glitch in the terrain-following computer, but the wing box problems were known by General Dynamics before delivery—and ignored to meet contract requirements. The troubles of the F-111 led to derisive nicknames from its crews, such as the “Supersonic Edsel,” “McNamara’s Folly,” and “Aardvark,” due to its long nose and propensity to stick it into the ground. The latter nickname stuck and became the informal name for the aircraft, though it would not be until 1995 that the USAF officially named the F-111 Aardvark.
Following personnel changes at General Dynamics and yet more rework to the design, F-111s returned to Vietnam in September 1972, with some trepidation. This time, however, the F-111 finally proved itself: operating without tanker or jamming support, F-111s would attack North Vietnamese targets alone, at night and often in bad weather, moving so quickly and so low that North Vietnamese air defense could not react in time. Though clearly the Aardvark was no fighter, as a strike aircraft it had few peers. Its terrain-following radar was the best in the world, and it combined high speed penetration with a good bombload.
The USAF began subsequent improvement of the design. The F-111D had an even more advanced fire control system, the first USAF aircraft to use a microprocessor computer, and better Triple Plow II intakes, which spared the Aardvark the catastrophic engine failure that plagued the other user of the TF30 engine, the F-14 Tomcat. The F-111D’s computer was plagued with trouble, so the USAF then fielded the F-111E/F variants, which had simpler fire control but better avionics; the F-111F was optimized for precision attack, equipped with the radar of the FB-111 and the AVQ-26 Pave Tack laser designator.
While the early F-111As were converted to EF-111A Raven ECM aircraft and the F-111D ended up being simply retired rather than fixed, the “simple” F-111E/Fs proved to be superb in USAF service. Australia was the only export customer for the Aardvark, flying F-111Cs from 1973; the United Kingdom cancelled its order of F-111Ks in 1968.
In 1986, F-111s spearheaded Operation Eldorado Canyon, which crippled the regime of Moammar Qaddafi in Libya, while during the First Gulf War of 1991, Aardvarks completely destroyed oil facilities at Kirkuk, used laser-guided bombs to destroy over 1500 Iraqi tanks, and completed nearly 80 percent of all precision attack sorties of the war—ahead of the newer and more advanced F-15E Strike Eagle and Tornado IDS.
This impressive effort was to be the Aardvark’s last. Though it remained in service until 1996, when it was retired from the USAF, it did not participate in any further combat operations. Replaced by the F-15E Strike Eagle, the F-111 left its mark on history and the USAF. A few ex-USAF F-111Gs were passed on to Australia, who continued to operate the Aardvark until finally it was retired for good in 2010. 563 were built, and 57 have been preserved in museums.
Delivered as 68-0020, this F-111E was one of the first E models produced and initially served with the 27th Tactical Fighter Wing at Cannon AFB, New Mexico. Following a stint with the 474th TFW at Nellis AFB, Nevada, it joined the rest of the USAF's F-111Es with the 20th TFW at RAF Upper Heyford, UK.
Because 68-0020's tail number ended in "20," it was selected as the wing's "boss bird," and given a special tail flash that incorporated the colors of all of the 20th's squadrons. It also got the name "The Chief" and appropriate nose art. "The Chief" flew combat missions during Operation Desert Storm, and was retired in 1993. Its last flight was from Upper Heyford to the Hill AFB Museum.
Like all Cold War-era F-111s, "The Chief" wears Southeast Asia camouflage with black undersides for night operations, and retains its "boss bird" markings. The glossy finish of 68-0020 is interesting, because F-111s usually lacked that; it may be just for display.
Interesting that I saw three F-111s in three weeks; all of them were E models, and all of them from the 20th TFW!
So hard that we only got as far as this first corner when both our waterproofs gave out and we decided to squelch our way back to the car.
Both literally soaked to the skin. Can’t describe the pleasure of getting home, into dry clothes and now drinking strong hot coffee with hot cross buns.
Designed by Capability Brown, one of my favourite places to go. Weather permitting 🤔
DPAC and TUC Disabled Workers block Tottenham Court Road - London 22.05.2013
Activists from DPAC and disabled workers attending the TUC Disabled Workers Conference blocked Tottenham Court Road in Central London for an hour and a half as they protested loudly against punitive government cuts to disability benefits and services which is impacting disastrously - and already fatally - on our most vulnerable citizens.
**From the DPAC website **
On the day of the success of the High Court ruling ruling against the Work Capability Assessment, activists from Disabled People Against Cuts (DPAC) and disabled workers attending the Trades Union Congress (TUC) Disabled Workers Conference blocked Tottenham Court Road in an unprecedented act of solidarity.
This Government has repeatedly used the language of division, trying to divide workers and claimants, public and private sectors workers, non-disabled and disabled people. Today we strike back as one, united voice.
The Cuts imposed by the ConDem Government under the cloak of ‘Austerity’ impact on disabled people in every area of life. The scrapping of Disability Living Allowance (DLA) and the Independent Living Fund (ILF) will tens of thousands of disabled workers, and will force many of them out of their jobs. Hundreds of thousands of disabled people both receive and deliver public services as workers in Public Service Departments, Local Authorities and the Voluntary Sector. ILF and DLA play critical roles in maintaining people in these jobs. The 1% uplift limit on Benefits, Universal Credit and the Bedroom Tax will impact on many disabled people both in and out of work.
The removal of many of our basic rights affect not just disabled people, but all of us. For example, the removal of Legal Aid for medical negligence claims comes at the same time as every single contract within the Health Service is open to tender by private companies. This has serious and significant implications for each and every one of us who make up the 99%.
But not everyone is being hit by austerity. While multi-nationals like Atos and Capita make fortunes, tax avoidance and evasion to the tune of tens of billions goes uncollected. The wealthiest 1000 UK residents increased their wealth by some 35 billion last year while disabled people and the poorest members of society were pushed into poverty and despair as the targets of brutal cuts.
Disabled activists have led the fightback against this Government since the beginning, and today disabled activists and workers lead the way again in the first joint, co-ordinated direct action by campaigners and unions on the streets of the U.K.
Shabnam O Saughnessy from DPAC said: "We are delighted to be joined on the streets today by our union comrades. This represents the first steps towards uniting resistance from communities and workplaces. It dispels the myth of disabled people as scroungers and workshy. We are not some separate group of others, we are your friends and neighbours, we work alongside you. Many millions of disabled people are being affected by cuts, and today is about getting our voices heard."
Mandy Hudson, co-chair of the TUC disabled workers committee said: "Trade unionists would like to send a clear message to this government that trade unions, workers and grass roots disabled groups stand together against the onslaught of vicious cuts rained down upon us by the Condems."
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All photos © 2013 Pete Riches
Do not reproduce, alter, re-transmit or blog my images without my written permission. I remain at all times the copyright owner of this image.
Hi-Res, un-watermarked versions of these files are available on application solely at my discretion
If you want to use any image found in my Flickr Photostream, please Email me directly.
Media buyers and publications can access this story on Demotix
Standard industry rates apply.
A visit to Charlecote Park for an afternoon visit to this National Trust property in Warwickshire. Near Stratford-upon-Avon. A deer park with a country house in the middle of it.
Charlecote Park (grid reference SP263564) is a grand 16th-century country house, surrounded by its own deer park, on the banks of the River Avon near Wellesbourne, about 4 miles (6 km) east of Stratford-upon-Avon and 5.5 miles (9 km) south of Warwick, Warwickshire, England. It has been administered by the National Trust since 1946 and is open to the public. It is a Grade I listed building.
The Lucy family owned the land since 1247. Charlecote Park was built in 1558 by Sir Thomas Lucy, and Queen Elizabeth I stayed in the room that is now the drawing room. Although the general outline of the Elizabethan house remains, nowadays it is in fact mostly Victorian. Successive generations of the Lucy family had modified Charlecote Park over the centuries, but in 1823, George Hammond Lucy (High Sheriff of Warwickshire in 1831) inherited the house and set about recreating the house in its original style.
Charlecote Park covers 185 acres (75 ha), backing on to the River Avon. William Shakespeare has been alleged to have poached rabbits and deer in the park as a young man and been brought before magistrates as a result.
From 1605 to 1640 the house was organised by Sir Thomas Lucy. He had twelve children with Lady Alice Lucy who ran the house after he died. She was known for her piety and distributing alms to the poor each Christmas. Her eldest three sons inherited the house in turn and it then fell to her grandchild Sir Davenport Lucy.
In the Tudor great hall, the 1680 painting Charlecote Park by Sir Godfrey Kneller, is said to be one of the earliest depictions of a black presence in the West Midlands (excluding Roman legionnaires). The painting, of Captain Thomas Lucy, shows a black boy in the background dressed in a blue livery coat and red stockings and wearing a gleaming, metal collar around his neck. The National Trust's Charlecote brochure describes the boy as a "black page boy". In 1735 a black child called Philip Lucy was baptised at Charlecote.
The lands immediately adjoining the house were further landscaped by Capability Brown in about 1760. This resulted in Charlecote becoming a hostelry destination for notable tourists to Stratford from the late 17th to mid-18th century, including Washington Irving (1818), Sir Walter Scott (1828) and Nathaniel Hawthorn (c 1850).
Charlecote was inherited in 1823 by George Hammond Lucy (d 1845), who married Mary Elizabeth Williams of Bodelwyddan Castle, from who's extensive diaries the current "behind the scenes of Victorian Charlecote" are based upon. GH Lucy's second son Henry inherited the estate from his elder brother in 1847. After the deaths of both Mary Elizabeth and Henry in 1890, the house was rented out by Henry's eldest daughter and heiress, Ada Christina (d 1943). She had married Sir Henry Ramsay-Fairfax, (d 1944), a line of the Fairfax Baronets, who on marriage assumed the name Fairfax-Lucy.
From this point onwards, the family began selling off parts of the outlying estate to fund their extensive lifestyle, and post-World War II in 1946, Sir Montgomerie Fairfax-Lucy, who had inherited the residual estate from his mother Ada, presented Charlecote to the National Trust in-lieu of death duties. Sir Montgomerie was succeeded in 1965 by his brother, Sir Brian, whose wife, Lady Alice, researched the history of Charlecote, and assisted the National Trust with the restoration of the house.
Parterre - the garden at the back of the house near the River Avon.
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Broadway Tower was inspired by the famous Capability Brown and completed in 1799 from designs by the renowned architect James Wyatt. It was built for the Earl of Coventry as a folly to his Springhill Estate and dedicated to his wife Peggy.
Legend has it Broadway Tower was used as a signalling tower between Springhill Estate and Croome Court near Worcester, which can be seen from the roof platform.
Many famous people have had association with Broadway Tower, including Sir Thomas Phillips and the pre-Raphaelite artists William Morris, Edward Burne-Jones and Rosetti.
Broadway Tower is open to the public allowing you to travel into the past of this important building and visit the viewing platform constituting the highest point in the Cotswolds at 1089 feet or 331.6 metres altitude.
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Broadway Tower is a folly located on Broadway Hill, near the village of Broadway, in the English county of Worcestershire, at the second highest point of the Cotswolds after Cleeve Hill. Broadway Tower's base is 1,024 feet (312 metres) above sea level. The tower itself stands 55 feet (17 metres) high.
The "Saxon" tower was designed by James Wyatt in 1794 to resemble a mock castle, and built for Lady Coventry in 1799. The tower was built on a "beacon" hill, where beacons were lit on special occasions. Lady Coventry wondered if a beacon on this hill could be seen from her house in Worcester - approximately 22 miles (35 km) away - and sponsored the construction of the folly to find out. The beacon could be seen clearly.
Over the years, the tower was home to the printing press of Sir Thomas Phillips, and served as a country retreat for artists including William Morris and Edward Burne-Jones who rented it together in the 1880s.
Today, the tower is a tourist attraction and the centre of a country park with various exhibitions open to the public at a fee as well as a gift shop. The place is on the Cotswold Way and can be reached by following the Cotswold Way from the A44 road at Fish Hill, or by a steep climb out of Broadway village. Near the tower is a memorial to the crew of an A.W.38 Whitley bomber that crashed there during a training mission in June 1943.