View allAll Photos Tagged Combing
Yellow and red cocks-comb flower carpet. Taken at Shikisai-no-Oka, Biei, Hokkaido, Japan.
Shikisai-no-Oka (四季彩の丘) HP [JP]
IMG_23665
*Explored on Sep. 11, 2007, #478. Thank you!
St Mary, Combs, Suffolk
Combs is a large parish, and although there is a remote, pretty village that takes its name up in the hills, the bulk of the population of the parish is down in the housing estate of Combs Ford in suburban Stowmarket. Consequently, this church is often busy with baptisms and weddings, and can reckon on a goodly number of the faithful on a Sunday morning.
St Mary is on the edge of the housing estate, but the setting is otherwise profoundly rural: you reach it along a doglegging lane from the top of Poplar Hill, and the last few hundred yards is along a narrow track which ends in the wide graveyard. The church is set on low ground, hills rising away to north and south, and the effect, on looking down at it, is of a great ship at rest in harbour.
With its grand tower, aisles and clerestories this is a perfect example of a 15th Century Suffolk church in all its glory. In the 1930s, Cautley found the main entrance through the south porch, a grand red brick affair of the late 15th century. It has since been bricked up, and entrance is through the smaller north porch, which faces the estate. The gloom of the north porch leads you into a tall, wide open space, full of light, as if the morning had followed you in from outside. If you had been here ten years ago, the first striking sight would have been the three great bells on the floor at the west end. They represented the late medieval and early modern work of three of East Anglia's great bell-founding families, the Brayers of Norwich and the Graye and Darbie families of Ipswich. The largest dates from the mid-15th century, and was cast by Richard Brayser. Its inscription invokes the prayers of St John the Baptist. The other two come from either side of the 17th century Commonwealth; that by Miles Graye would have been a sonorous accompaniement to Laudian piety, while John Darbie's would have rung in the Restoration. It was fascinating to be able to see them at such close quarters, but they have now been rehung in the tower.
Stretching eastwards is the range of 15th century benches with their predominantly animal bench ends, some medieval and some clever Victorian copies, probably by the great Henry Ringham. The effect is similar to that at Woolpit a few miles to the west. The hares are my favourites. One is medieval, the other Ringham's work. They seems alert and wary, as though they might bolt at any moment. Clearly, the medieval artist had seen a hare, but lions were creatures of his imagination.
The great glory of this church, however, is the range of 15th century glass towards the east end of the south aisle. It was collected together in this corner of the church after the factory explosion that wrecked most of Stowmarket and killed 28 people in August 1871. The east window and most easterly south window contain figures from a Tree of Jesse, a family tree of Christ. Old Testament prophets and patriarchs mix with kings, most of them clearly labelled: Abraham and his son Isaac wait patiently near the top, and Solomon and David are also close companions.
This second window also contains two surviving scenes from the Seven Works of Mercy, 'give food to the hungry' and 'give water to the thirsty'. But the most remarkable glass here consists of scenes from the life and martyrdom of St Margaret. We see her receiving God's blessing as she tends her sheep (who graze on, apparently unconcerned). We see her tortured while chained to the castle wall. We see her about to be boiled in oil, and most effectively in a composite scene at once being eaten by a dragon and escaping from it.
Under the vast chancel arch is the surviving dado of the late 14th/early 15th Century roodscreen, a substantial structure carved and studded with ogee arches beneath trefoiled tracery, the carvings in the spandrels gilded. At the other end of the church, the font is imposing in the cleared space of the west end. It is contemporary with the roodscreen, and the suggestion is that we are seeing a building that is not far off being all of a piece: the fixtures and fittings of a new building roughly a century before the Reformation.
A period of history not otherwise much represented here is that of the early Stuarts, but a brass inscription of 1624 reset on a wall had echoes of Shakespeare: Fare well, deare wife, since thou art now absent from mortalls sight. One of those moments when the human experience transcends the religious tussles of those days.
Outside in the graveyard, two other memorials caught my eye. One dates from 1931, and remembers My Beloved Sweetheart Stan... who died in Aden aged 22 years. Not far off, a small headstone of the late 17th Century records that Here Restesth ye body of Mary, ye wife of Tho. Love Coroner with two still born Children. I stood in the quiet of the graveyard, looking across to the suburbs of the busy town of Stowmarket, and I felt the heartbeat, the connection down the long Combs Ford centuries.
Behind me, there was something rather curious. Although this is a big graveyard, the church is set hard against the western edge of it. Because of this, a processional way was built through the base of the tower by the original builders, as at Ipswich St Lawrence and Stanton St John. This would have allowed medieval processions to circumnavigate the church on consecrated ground. The way here has since been blocked in, and is used as storage space. A surviving stoup inside shows that, through this processional way, the west door was the main entrance to the church in medieval times, when this building was the still point of the people's turning world.
PG Puzzles
Code A3099
© Malcolm Root 2003
plywood
300 pieces, used and complete
275x398mm
10¾x15½in
2023 piece count: 23,630
puzzle no: 34
I spotted this British birch plywood jigsaw on eBay and, having never heard of the maker, PG Puzzles, was intrigued enough to make an offer for it. It seems that PG Puzzles was a shortlived venture from Gee Graphite Ltd, a water jet cutting business who still operate from the same address.
Similar packaging to earlier Wentworths, a similar cutting style, whimsies and a cotton drawstring bag; the only obvious difference is the use of water jet technology and thus the lack of burn marks. I found the glossy surface image has a tendency to lift a little at the cut edges so I may have to do a few running repairs in future. Pleasingly snug-fitting pieces - something Wentworth would do well to take note of!
The enclosed leaflet promised more designs in future but they must be thin on the ground as I've never seen any - yet.
Comb
Now the comb is jagged-toothed
As stalagmites, and the rivets
Leach haloes of rust into the bone.
She held it, whorled and white
And beautiful, and stripped
Her glorious hair of lice, shook
It like a mane, transfixed
A flea between her fingernails,
And flirted. Earth piled in
On it, compacted over centuries.
Fleas and lice died in soil.
Time knocked out the teeth.
Poem by Giles Watson, 2012. Inspired by an Anglo Saxon comb (6th Century, from Wallingford), fashioned out of bone, now on display in the Vale and Downland Museum, Wantage.
Jessi Combs at the Lincoln Welder booth in Las Vegas.
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Pencil on paper. Original 15"x11".
Part of a project inspired by fairy tales, vanity sets, and magical escapes.
While I was pulling frames from the beehives I felt compelled to stop for a minute and take a few photos. I removed about a hundred frames over the last two weekends. Most will be spun in the extractor to produce liquid honey but some will be cut into squares for comb honey and others will be cut and placed in pint size wide mouth jars and then filled with honey to produce what's called chunk honey. A little something for everyone who loves 100% pure natural honey.
The knob-billed duck (Sarkidiornis melanotos), or comb duck, is an unusual, pan-tropical duck, found in Africa, Madagascar and south Asia from Pakistan to Laos and extreme southern China. tropical wetlands in sub-Saharan Africa, Madagascar and south Asia from Pakistan to Laos and extreme southern China.
The third odd duck is Northern Pintail (Anas acuta) female.
St Mary, Combs, Suffolk
Combs is a large parish, and although there is a remote, pretty village that takes its name up in the hills, the bulk of the population of the parish is down in the housing estate of Combs Ford in suburban Stowmarket. Consequently, this church is often busy with baptisms and weddings, and can reckon on a goodly number of the faithful on a Sunday morning.
St Mary is on the edge of the housing estate, but the setting is otherwise profoundly rural: you reach it along a doglegging lane from the top of Poplar Hill, and the last few hundred yards is along a narrow track which ends in the wide graveyard. The church is set on low ground, hills rising away to north and south, and the effect, on looking down at it, is of a great ship at rest in harbour.
With its grand tower, aisles and clerestories this is a perfect example of a 15th Century Suffolk church in all its glory. In the 1930s, Cautley found the main entrance through the south porch, a grand red brick affair of the late 15th century. It has since been bricked up, and entrance is through the smaller north porch, which faces the estate. The gloom of the north porch leads you into a tall, wide open space, full of light, as if the morning had followed you in from outside. If you had been here ten years ago, the first striking sight would have been the three great bells on the floor at the west end. They represented the late medieval and early modern work of three of East Anglia's great bell-founding families, the Brayers of Norwich and the Graye and Darbie families of Ipswich. The largest dates from the mid-15th century, and was cast by Richard Brayser. Its inscription invokes the prayers of St John the Baptist. The other two come from either side of the 17th century Commonwealth; that by Miles Graye would have been a sonorous accompaniement to Laudian piety, while John Darbie's would have rung in the Restoration. It was fascinating to be able to see them at such close quarters, but they have now been rehung in the tower.
Stretching eastwards is the range of 15th century benches with their predominantly animal bench ends, some medieval and some clever Victorian copies, probably by the great Henry Ringham. The effect is similar to that at Woolpit a few miles to the west. The hares are my favourites. One is medieval, the other Ringham's work. They seems alert and wary, as though they might bolt at any moment. Clearly, the medieval artist had seen a hare, but lions were creatures of his imagination.
The great glory of this church, however, is the range of 15th century glass towards the east end of the south aisle. It was collected together in this corner of the church after the factory explosion that wrecked most of Stowmarket and killed 28 people in August 1871. The east window and most easterly south window contain figures from a Tree of Jesse, a family tree of Christ. Old Testament prophets and patriarchs mix with kings, most of them clearly labelled: Abraham and his son Isaac wait patiently near the top, and Solomon and David are also close companions.
This second window also contains two surviving scenes from the Seven Works of Mercy, 'give food to the hungry' and 'give water to the thirsty'. But the most remarkable glass here consists of scenes from the life and martyrdom of St Margaret. We see her receiving God's blessing as she tends her sheep (who graze on, apparently unconcerned). We see her tortured while chained to the castle wall. We see her about to be boiled in oil, and most effectively in a composite scene at once being eaten by a dragon and escaping from it.
Under the vast chancel arch is the surviving dado of the late 14th/early 15th Century roodscreen, a substantial structure carved and studded with ogee arches beneath trefoiled tracery, the carvings in the spandrels gilded. At the other end of the church, the font is imposing in the cleared space of the west end. It is contemporary with the roodscreen, and the suggestion is that we are seeing a building that is not far off being all of a piece: the fixtures and fittings of a new building roughly a century before the Reformation.
A period of history not otherwise much represented here is that of the early Stuarts, but a brass inscription of 1624 reset on a wall had echoes of Shakespeare: Fare well, deare wife, since thou art now absent from mortalls sight. One of those moments when the human experience transcends the religious tussles of those days.
Outside in the graveyard, two other memorials caught my eye. One dates from 1931, and remembers My Beloved Sweetheart Stan... who died in Aden aged 22 years. Not far off, a small headstone of the late 17th Century records that Here Restesth ye body of Mary, ye wife of Tho. Love Coroner with two still born Children. I stood in the quiet of the graveyard, looking across to the suburbs of the busy town of Stowmarket, and I felt the heartbeat, the connection down the long Combs Ford centuries.
Behind me, there was something rather curious. Although this is a big graveyard, the church is set hard against the western edge of it. Because of this, a processional way was built through the base of the tower by the original builders, as at Ipswich St Lawrence and Stanton St John. This would have allowed medieval processions to circumnavigate the church on consecrated ground. The way here has since been blocked in, and is used as storage space. A surviving stoup inside shows that, through this processional way, the west door was the main entrance to the church in medieval times, when this building was the still point of the people's turning world.
Prayers
for the dead are on the
same footing as gifts for the living.
The angel goes in to the dead with a tray of light,
bearing a cloth of light, and says, “This is a gift for you
from your brother so-and-so, from your relative
so-and-so.” And he delights in it just as
a living man rejoices
in a gift.
Co. H, 62nd OH. Infantry
History Of Hickory, Polk, Cedar, Dade And Barton Counties,
Missouri, 1889. Published by Goodspeed. Pages 872, 873
Thomas H. Combs is a native of Perry County, Ohio, where he was born on
the 6th of May, 1839, his parents being James and Mary A. (Stoker) Combs,
the former a native of Maryland, and the latter of Pennsylvania. The
grandfather, John Combs, came from England, and was one of the early
settlers of Hagerstown, Md. In the early history of the State he moved
to Perry County, Ohio. Grandfather Stoker was a German, who first
settled in Pennsylvania after coming to America, and late moved to
Fairfield County, Ohio. The parents of our subject spent the most of
their lives in Perry County, Ohio, and the father was an extensive
farmer. He was a drummer in the Black Hawk War, and his drum is still
in possession of the family. He was a Whig in politics, then a Republican,
and for many years of his life was a member of the regular Baptist Church.
He died at the age of fifty-seven years. His wife was a Methodist, and
died when seventy-four years old. Thomas H. Combs is the fifth of their
nine children, and attended the common schools in his youth. When his
father died he left his property to his two eldest sons, with the
understanding that they should educate and support the younger children
and their mother, but the boys forgot their promise, and at the early
age of thirteen years, Thomas H. began earning his own living, working
on a farm. In 1858 he emigrated to Knox County, Mo., and the following
year to Sangamon County, Ill. He then returned to Ohio, and October 11,
1861, enlisted in Company D, Sixty-second Ohio Volunteer Infantry,
U. S. A., and served a little over three years, and rose from a private
to captain of his company. He was soon after transferred to Company H
of the same regiment, and took part in the battles of Winchester, Port [sic]
Republic and Fort Wagner. In the last named battle a charge was made after
night, and all the officers of his regiment were either killed or wounded.
He, as second sergeant, ordered his regiment across the ditch onto the fort,
and he and another man, in the dead of night, carried the wounded of the
regiment to a place of safety. In recognition of his meritorious conduct
he was commissioned captain. After this he was in the battle of Deep
Bottom, Va., and many minor engagements. Early in the service, while
unloading goods, he injured himself for life. After receiving his
discharge in Virginia he returned home, and was married, on the 28th
of February, 1865, to Miss Hattie N. Shaw, who was born in Fairfield
County, Ohio, and by her became the father of these children: Tonah A.,
Dora B., Orpha O., Orrin P., Mary A. and Elmer C. Mr. and Mrs. Combs
are members of the Methodist Church, and in his political views he is a
Republican, and cast his first presidential vote for Abraham Lincoln.
He is a member of the Masonic fraternity. In 1865 he moved from his
native State to Shelby County, Ill., from there to Kansas in 1867, and
to Barton County, Mo., in 1869. Although he received very poor
educational advantages, he has taken great interest in education his
children, two of whom are successful teachers.
Most frames have a comb foundation inserted before the bees move in even though they can make their own. This is what natural comb looks like. Perhaps they were inspired by the arts.
No comb. Just the package.
Of course, I would buy the package only.
Is there an organization out there for estate sale junkies?
Scientific Name: Russula sororia
Common Name: Comb Russula
Certainty: positive (notes)
Location: Southern Appalachians; Smokies; CabinCove
Date: 20060706
Ornamental Comb
Predynastic, Late Naqada III, ca. 3200–3100 B.C., Egypt
Ivory
Finely carved ivory combs and knife handles produced toward the end of Egypt's prehistory demonstrate the high standards Egyptian artists had achieved, even before the Old Kingdom. This comb may have been part of the funeral equipment of an elite person who lived about 5,200 years ago. Parts of the comb's teeth, now missing, can be seen along the bottom edge. The detailed decoration suggests that it was a ceremonial object, not just an instrument for arranging the hair. On both sides are figures of animals in horizontal rows, a spatial organization familiar from later Egyptian art. The animals include elephants and snakes; wading birds and a giraffe; hyenas; cattle; and perhaps boars. Similar arrangements of these creatures on other carved ivory implements suggest that the arrangement and choice of animals were not haphazard. Elephants treading on snakes suggest that this part of the scene was symbolic. The mythologies of many African peoples associate elephants and serpents with the creation of the universe. The uppermost row of this comb may symbolize a creative deity to whom the rest of the animals owe their existence.
Once the largest marshalling yard in Europe, Healey Mill goods yard is now possibly weeks away from closure. Much of the track has gone, and locomotives sit silently on rusting track, awaiting their last journey to the breakers at Rotherham.