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December 5 340/366
I had glitter all over my hair, face and shoulder area...but, when I processed it to its final form above...the glitter faded out with the exception of some in my hair and a few speckles in my eyebrows, which turned into faint bokeh. Maybe it will show up in another one when I try a different process.
Hope you all have a great Friday evening...thank you for stopping by...most appreciated!
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Thank you everyone...made EXPLORE!
I caught up on email this morning in the empty lobby bar here in Corpus Christi, Texas. Just me, WiFi, Starbucks, a raisin bran muffin, and semi-view of the Gulf of Mexico.
“It must be admitted that a very large fraction of our time was spent in dressing and undressing. We were forever changing our clothes, a custom that necessitated travelling with a mountain of luggage” – Lady Cynthia Asquith (English writer and socialite)
Wickham Place is the London home of Lord and Lady Southgate, their children and staff. Located in fashionable Belgravia it is a fine Georgian terrace house.
Today we are in Lady Southgate’s dressing room, which is adjunct to her bedroom, where poor Newman, Lady Southgate’s Lady’s Maid, is pulling out her hair with frustration. Lord and Lady Southgate have accepted the invitation to stay with friends at their country house in Worcestershire, and even though it is only a ‘Friday to Monday’ weekend party, there is a panoply of outfits and accountments that Newman must pack for Her Ladyship to wear across those three days.
“What’s the point of coming up to London for the Season if you are going to spend half of it visiting friends at their houses all over the English countryside?” Newman mutters as she looks about her despondently at the mounds of luggage that will need to be neatly filled with Her Ladyship’s clothes.
Lady Southgate’s dressing room is situated on the third floor of Wickham Place. It is light and airy with an east facing window, so it gets the morning sun whilst Newman sets her mistress’ hair each day, and Lady Southgate applies beauty products to maintain her creamy complexion. The dressing room is a feminine preserve and its décor reflects that along with the current fashion for whites and pastel colours in boudoirs. The wallpaper is a fashionable Edwardian pattern of birds, butterflies and pink camellias on a pale green background. Feminine Rococo paintings hang on the walls in antique gilt frames. The room contains light coloured furniture including wardrobes full of her ladyship’s clothes, full length mirrors, a white upholstered settee, several occasional tables, a Japanese floral painted screen, a Chippendale style salon chair upholstered in cream satin and a walnut Regency dressing table: a gift to Lady Southbank from her husband.
This year the FFF+ Group have decided to have a weekly challenge called “Snap Happy”. A different theme chosen by a member of the group each week, and the image is to be posted on the Monday of the week.
This week the theme, “fur and feathers” was chosen by Margaret, The Pocket Rocket.
Lady Southgate’s trunks ready to be packed with sable stoles and feather adorned picture hats seemed the perfect choice for the theme. However, this upper-class boudoir scene is different, for it is made up entirely of 1:12 size dollhouse miniatures. Some pieces come from my own childhood including the tallboy at the back of the room. Other items in this tableau I acquired as a teenager and as an adult through specialist doll shops, online dealers and artists who specialise in making 1:12 miniatures.
Fun things to look for in this tableaux include:
The three Edwardian picture hats (yes there are three) are what inspired me to photograph this scene for the “fur and feathers” theme. The black hat on the settee I have had since I was a teenager, and it was one of the first 1:12 artisan pieces I ever bought. The green and camel coloured hats in the foreground were a recent acquisition from an American miniatures collector who was divesting herself of some of her collection. All three hats are 1:12 artisan miniatures, are made just like real hats and are often far more expensive than real hats are. When you think that these would sit comfortably on your index finger, yet they could cost in excess of $150.00 or £100.00 each, they are an extravagance. American artists seem to have the monopoly on this skill and some of the hats that I have seen or acquired over the years are remarkable. The black hat is made of woven straw dyed black and decorated with stiffened fans of black lace, black ribbon and feathers. The camel and green hats are both made of braid trimmed felt and are decorated with imitation fruit and flowers and hand dyed and shaped feathers.
The thick sable stole draped across the far end of the tallboy, near the tallboy, is actually a tail attached to one of my own vintage sable collars. I have artfully (with quite some planning and difficulty), placed it so you can only see the single tail, which is just the right size to be a luxurious stole for Lady Southgate!
The blue travelling case in the background and its matching hatbox in the foreground on which the camel hat is sitting are 1:12 artisan miniatures and made of blue kid leather which is so soft to the touch, and small metal handles, clasps and ornamentation. They have been purposely worn around their edges to give them age. The brown leather hatbox in which the green hat sits is also a 1:12 artisan miniature and unlike the blue pieces, it is made to open and be fully functional and has a cream satin lining. All three pieces come from Doreen Jeffries’ Small Wonders Miniatures in England.
The four furled umbrellas are all 1:12 artisan pieces made of silk, satin and lace. Three have metal handles, whilst the yellow lace one is made from a toothpick with a tip affixed to its end. Three come from England whilst the salmon coloured one with the black pagoda top came from the same collection as the camel and green hats.
The grey pair of gloves on the metal inlaid box in the foreground was bought from the same London Doll House stockist that the black hat came from and they were bought at the same time. They are made of leather and are artisan pieces, cut and fashioned by hand with nail scissors. The canary yellow pair of gloves on top of the blue case in the background are also artisan pieces and are made of kid leather and are so light and soft. They come from Doreen Jeffries’ Small Wonders Miniatures in England.
The purple white polka dot mules are hand painted 1:12 lead miniatures that came from the same American collection as the green and camel coloured hats and the salmon parasol. The black Edwardian high boot in the bottom left hand corner is made of resin and comes from a specialist stockist of 1:12 miniatures in England.
On the right-hand side of the picture, sitting on the white Queen Anne style settee, is Lady Southgate’s glittering travelling jewellery case which is hinged, and is lined with black velvet. It contains a sparkling array of her jewels ready for the journey. Draped over the seat of the settee is a sparking “amethyst” necklace made of tiny strung faceted purple beads and a silver chain.
On top of a black portmanteau are two corset boxes: a Baleinine corset from Paris and a Warner Brothers Coraline Health Corset from New York. The corset was an essential beauty aide for any Victorian or Edwardian woman. It was only with the invention of the Flapper in the 1920s, that corsets fell out of fashion. In the late Nineteenth Century, Dr. Lucien Warner, a prominent American physician gave up his practice to begin a new career on the medical lecturing circuit, specializing in women’s health issues. Dr. Warner lectured about the effects of the corset. After seeing how little influence his lectures had on women’s attitudes, he returned to his New York home and began a different approach to fighting the ills caused by the corset. In 1873, he designed a corset that provided both the shape desired by women and the flexibility required to allow some movement and reduce injuries caused by previous designs. The next year, Lucien Warner and his brother Dr. Ira De Ver Warner gave up their medical practices and founded Warner Brothers Corset Manufacturers. Dr. Warner’s Coraline Health Corsets were made up of two pieces of cloth which were laced or clasped together. These revolutionary undergarments also featured shoulder straps and more flexible boning and lateral bust supports made of Coraline, a product of the fibers of the Mexican Ixtle plant. The success of the Warners’ designs had made the brothers millionaires and in 1894 they retired and turned control of the company over to De Ver’s son and the Warner Brothers partnership was changed to a corporation. Warner\'s business was still doing well under the management of Dr.De Var\'s son. He even added new types of corsets: a rust proof corset, a combination corset, and even a hose supporter. In 1913 the company made seven million US Dollars in sales. Then in 1913 Warner Brother\'s bought the patent for the brassier from Mary Phelps Jacobs, and they ended up making twelve point six million US Dollars by 1920.
The black portmanteau on which the two corset boxes sit is in fact a black leather ring box with gold tooling.
In the background is a Chinese screen dating from the 1930s featuring hand-painted soapstone panels of flowers. It is framed lacquered wood and is remarkably heavy for its size. The reverse features Chinese scenes with mountains and pagodas. Next to it stands a 1:12 Dutch tallboy which I bought from Hamley’s Toyshop in London when I was twelve years old. On the far right on a table stands a 1950s Limoges vase filled with pink hydrangeas. The vase is stamped with a small green Limoges mark to the bottom. This treasure I found in an overcrowded cabinet at the Mill Markets in Geelong.
There were a few cats the park near the Inage beach and she was the young, pale-complexioned and pretty.
稲毛海岸近くの公園にネコちゃんが数匹いました。
若くて色白でかわいいネコちゃんでした。
I was going to do some editing to change her eyes from brown to green (her color request) but with her complexion and hair color it was highly obvious it was not natural. I may use this image later in a collage I plan to do but for now I'll just post it for you folks.
Manuel de Falla y Matheu (Nacido en Cádiz, España el 23 de noviembre de 1876 y fallecido en Alta Gracia, Argentina, el 14 de noviembre de 1946).
Representante del nacionalismo musical, es uno de los compositores españoles más importantes de la primera mitad del siglo xx, junto a Isaac Albéniz, Enrique Granados, Joaquín Turina y Joaquín Rodrigo, y uno de los compositores españoles más importantes de todos los tiempos.
Manuel María de los Dolores Clemente Ramón del Sagrado Corazón de Jesús Falla y Matheu nació el 23 de noviembre de 1876 a las seis de la mañana en el domicilio familiar de la plaza de Mina n.º 3, en Cádiz (España). Fue el hijo mayor del matrimonio formado por José María Falla Franco, un acomodado comerciante de origen valenciano, y de María Jesús Matheu Zabala, proveniente de una adinerada familia industrial catalana, aunque ambos eran de Cádiz. Tuvo cuatro hermanos: José María «Pepito» (nacido 2 años después que Manuel), María del Carmen (seis años más joven), Servando y Germán, los dos últimos eran gemelos y 13 años menores que él. Lo bautizaron en la iglesia católica de Nuestra Señora del Rosario el 26 de noviembre. Los fallecimientos de su abuelo materno —en 1884—, su tía Magdalena —durante la epidemia de cólera de 1885—, y sus hermanos Pepito —en la misma época— y Servando —al poco de nacer en 1889—, lo impactaron enormemente. Se dice que Manuel contrajo tuberculosis en su infancia. Todo ello, unido a su débil complexión, hizo que desarrollara una obsesión por la limpieza y miedo a contagiarse y enfermar.
Manuel y sus hermanos recibieron una buena educación en casa. Recibió sus primeras lecciones de solfeo de su madre, intérprete de piano. Además su nodriza, «La Morilla», le enseñó canciones de cuna y populares que estimularon su imaginación y dejaron huella en él. A los nueve años de edad, su madre decidió que tenía que estudiar más formalmente, por lo que continuó sus estudios musicales con una profesora de piano amiga suya llamada Eloísa Galluzo y cuyos métodos de enseñanza eran «muy severos». Después, estudió sucesivamente solfeo y armonía con Alejandro Odero y armonía y contrapunto con Enrique Broca. También realizaba prácticas de piano a cuatro manos de obras de Richard Wagner y Wolfgang Amadeus Mozart con una amiga de la familia En esa época, Manuel asistía a las veladas vespertinas de música de cámara que se celebraban en casa de Salvador Viniegra, amigo de la familia, y tuvo acceso a la gran biblioteca musical que poseía. También asistía a otros eventos musicales en Cádiz, donde descubrió música como Fausto de Charles Gounod y obras de Mozart, Ludwig van Beethoven, Vincenzo Bellini y Edvard Grie, que estaba de moda. Su primera interpretación pública fue con su madre en el recital para piano de Las siete últimas palabras de Cristo en la cruz de Joseph Haydn en la iglesia de San Francisco. (Wikipedia.)
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During the food and drink festival, some people took a break from their stand to make a dance animation and this little girl was totally mesmerised.
Thanks to everyone who tagged me to play. I had to choose this Poppy for my favorite doll purchase. I love everything about her, she has a beautiful complexion and her fifites hairstyle is magnificent. I am planning on keeping her dressed in the style of the era, late fifites/early sixties. She is wearing a skirt I made from some vintage fabric. My favorite look from that era is the waisted dresses and big skirts. j
If you are viewing this photo and are inclined to play, please do! The doll you choose just had to be acquired in the year 2018. Come and play!
© 2016 Lyn Randle.
Please DO NOT USE, copy, sell, share or download this image. It is illegal to use someone else's images without their permission. My work is NOT for free.
A true image of me in as much as the lightning is natural and you can see every line and pore on the old boat. So my complexion isn't as perfect as it looks at time. Might post a filtered image next to show how easily the truth can be bent.
Garza real
Ardea cinerea
•Familia: Ardeidos – Ardeidae
•Aspecto: Garza grande, de complexión robusta, predominantemente de color gris, con un pico recto, fuerte, en forma de daga. Las garzas pueden diferenciarse de las grullas durante el vuelo, y a menudo también cuando están de pie, por la forma en que encorvan su cuello.
•Tamaño: Largo 84-102 cm, envergadura alar 155-175 cm, peso 930-1.150 g.
•Nido: Una gran pila desarreglada de ramas, generalmente construido muy alto en un abeto o pino. Las aves pueden usar el mismo nido durante muchos años.
•Reproducción: Pone 6 huevos en mayo, incubados de forma alternada por los padres, en 4 a 6 períodos, durante 25 a 28 días. Las aves jóvenes aprenden a volar aproximadamente a los 50 días. Muchas garzas reales anidan en colonias.
•Distribución: Ave migratoria de verano que se reproduce poco en Finlandia (solo hay alrededor de 100 parejas). En los últimos años, los avistamientos de invierno se han vuelto más comunes.
•Migración: Pasa el invierno en el oeste y sur de Europa. La migración de otoño puede tener lugar entre mediados de agosto y principios de noviembre, y las aves regresan de marzo a mayo.
•Alimentación: Acecha inmóvil a lo largo de costas, lista para emboscar, en espera de que peces y animales acuáticos pequeños estén a su alcance.
•Sonidos: Un chillido fuerte, molesto, similar al llamado de la pagaza piquirroja.
La garza real tiene partes superiores de color gris claro, y partes inferiores de color blanco grisáceo. Su cabeza es mayormente blanca, excepto por una raya negra que se extiende desde encima de sus ojos hasta la parte posterior de su cuello, donde algunas de sus plumas se alargan para formar una cresta. Los adultos con plumaje de apareamiento pueden tener un color rosáceo a los lados del cuello, y algunas filas de rayas oscuras en el cuello y el pecho. La garza real tiene el pico de color amarillo o naranja amarillento, patas de color marrón opaco e iris amarillo.
Las aves inmaduras generalmente se parecen a las adultas, pero su capuchón y su cuello son más grises (y el cuello no tiene color rosáceo). Su pico es más pardusco y el iris es blanco.
Long, most straight, dark red hair, blue-green eyes, pale complexion, but no freckles, big, dark nipples, flat tummy, muscular ass, a bit leggy, bare, smooth cunnie
“The only things one can admire at length are those one admires without knowing why.”
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+ Baby Components +
♦️ Shape:Kidorable– Personal *Not Sale*
♦️ Body: ToddleeDoo – Baby Fitted Body
♦️ Head:ToddleeDoo – Bento Head
♦️ Skin:BF.FACE CHICAGO 500 ( Purchased Body applier Separate: BF. BODY CHUBBY-BB) Available in 4 Complexions Don’t forget to Try demo.
+ Adult Components +
♦️Head: Letluka – Evolution Bento Head
♦️Body: Signature– Gianni v4.9
♦️Hair: Modulus – Asher Hairbase (BOM Layers)
————-————-————-——— —-————-———-————-———-
+Baby Details +
♦️ Outfit: :Papaya: JUJUBE Set ( Included V1 & V2 ( 2 tops & 2 Shorts) *GROUP GIFT
♦️ Shoes: Versov – Yunov_Limited2 ( 4 versions // Compatible with: BELLEZA M / MAITREYA / SIGNATURE GIANNI / LEGACY M&F / TD Baby / Bebe Youth) – Mancave
+Adult Details +
♦️ Top: FT – [GIanni} CT #4 – Epiphany
♦️ Bottom: FT – [GIanni} CT #10 – Epiphany
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+Decoration Details +
♦️ 8. Black . Sand Kids Toy Cart – Epiphany
♦️14. Black . Sand Kids Crib rare – Epiphany
♦️ 2. Black . Sand Octopus Toy Blue – Epiphany
♦️ Pose: (EEP) Mommy and I pose v2 – Thimble – a Kids Event
Alondra totovía
(Lullula arborea)
Aláudido rechoncho, de distribución restringida a Europa, Oriente Próximo y el noroeste de África. Está ampliamente repartido por toda la Península Ibérica, aunque escasea o falta en algunas zonas cantábricas, la depresión del Ebro y el sureste. Ocupa medios abiertos con árboles o arbustos dispersos, y posee buenas densidades en dehesas y bosques aclarados.
Descripción y Clasificación
Orden Passeriformes; familia Alaudidae
Longitud 15 cm. Envergadura 27-30 cm.
Identificación
Presenta un aspecto similar al de otros aláudidos, con una coloración de tonos pardos crípticos. De complexión rechoncha, tiene moño pequeño, cola corta y oscura, y rectrices externas blancas. Su diseño facial es muy contrastado (dibujo 1), y posee una característica mancha blanquinegra en el borde anterior del ala. Exhibe un vuelo rápido de fuertes batidos, con pronunciadas ascensiones y descensos.
Canto
Resulta muy característico y está constituido por una estrofa larga, que comienza de manera relativamente lenta, pero avanza con rapidez, acelerándose y haciéndose progresivamente más grave.
Todos los derechos reservados - All rights reserved
Para mi amiga Mónica, que ama a su mascota Nicanor.
Los Schnauzer miniatura son muy particulares en su apariencia. Compactos y musculosos, presentan una complexión cuadrada (su anchura y longitud miden casi lo mismo). Tienen barba larga, cejas pobladas y pelo largo en los pies. Las orejas y la cola, comúnmente, se les corta. En algunos países se ha prohibido el corte de estas extremediades pues se considera que los canes utilizan el movimiento de estas partes para expresar estados de ánimo y otras complicadas interacciones dentro de la manada.
Sus características son similares a las de su "pariente" gigante. Su tamaño más pequeño, le confiere mayor apariencia de compacto y solidez. La cabeza es bastante larga, el tronco muy recogido, las extremidades son fuertes y potentes, tiene un aspecto general de gran vitalidad que denota inteligencia y atención. El pelo durísimo, que puede definirse como de "alambre", necesita de un adecuado stripping que consiste en arrancarlo a mano (en las épocas del año en que el pelo "está muerto") con la ayuda de un cuchillo especial. El esquilado efectuado con máquina, no sólo no está permitido en lo concerniente a las exposiciones, sino que provoca una degradación del pelo que con el pasar del tiempo pierde su dureza y aspereza.[1]
Su pelaje debe ser cortado cada mes, puesto que no lo mudan. Por eso, hay quienes recomiendan esta raza y otras razas como los caniches para las personas con asma y las que sufren de alguna alergia respiratoria porque no sueltan la cantidad de pelaje como otras razas.
A skin with intense, natural beauty, featuring a luminous complexion and realistic textures that enhance every facial detail. Soft skin highlights, a deep gaze, and delicate lips create a perfect balance between elegance and character, ideal for sophisticated, contemporary looks.
Marina Skin by [OTHER FACES] is available in Velour and Boataom tones. Worn on LeLUTKA Avalon Head, it works on all LeLUTKA Heads.
Inworld Store: maps.secondlife.com/.../Pleasant%20Harbor/60/214/872
Other outfit details on my BLOG:
www.suggestions-by-tilly-opaline.com/blog/2906739_other-f...
Hey glam guys! It’s been a while! Back with another bomb release for you guys
3 new lelutka male skins are avaliable @ Glamocracy Mainstore
Includes -
-eyebrow / no eyebrow
“TAE” Lelutka Skin is compatible to complexion body appliers avaliable in mocha & espresso
Includes
- eyebrow / no eyebrow
“ZAK” Lelutka Skin is compatible to complexion body appliers avaliable in mocha & espresso
“ROD” Lelutka Skin is compatible to complexion body appliers avaliable in mocha & espresso
Includes
- eyebrow / no eyebrow
en.wikipedia.org/wiki/Liverpool_Cathedral
Liverpool Cathedral is the Church of England Cathedral of the Diocese of Liverpool, built on St James's Mount in Liverpool and is the seat of the Bishop of Liverpool. It may be referred to as the Cathedral Church of Christ in Liverpool (as recorded in the Document of Consecration) or the Cathedral Church of the Risen Christ, Liverpool, being dedicated to Christ 'in especial remembrance of his most glorious Resurrection'.[1]
The cathedral is based on a design by Sir Giles Gilbert Scott. The total external length of the building, including the Lady Chapel (dedicated to the Blessed Virgin), is 207 yards (189 m) making it the longest cathedral in the world;[n 1] its internal length is 160 yards (150 m). In terms of overall volume, Liverpool Cathedral ranks as the fifth-largest cathedral in the world[2] and contests with the incomplete Cathedral of Saint John the Divine in New York City for the title of largest Anglican church building.[3] With a height of 331 feet (101 m) it is also one of the world's tallest non-spired church buildings and the third-tallest structure in the city of Liverpool. The cathedral is recorded in the National Heritage List for England as a designated Grade I listed building.[4]
The Anglican cathedral is one of two in the city. The other, the Roman Catholic Metropolitan Cathedral of Liverpool, is situated approximately half a mile to the north. The cathedrals are linked by Hope Street, which takes its name from William Hope, a local merchant whose house stood on the site now occupied by the Philharmonic Hall, and was named long before either cathedral was built.
Background
John Charles Ryle was installed as the first Bishop of Liverpool in 1880, but the new diocese had no cathedral, merely a "pro-cathedral", the parish church of St Peter's, Church Street. St Peter's was unsatisfactory; it was too small for major church events, and moreover was, in the words of the Rector of Liverpool, "ugly & hideous".[5] In 1885 an Act of Parliament authorised the building of a cathedral on the site of the existing St John's Church, adjacent to St George's Hall.[6] A competition was held for the design, and won by Sir William Emerson. The site proved unsuitable for the erection of a building on the scale proposed, and the scheme was abandoned.[6]
In 1900 Francis Chavasse succeeded Ryle as Bishop, and immediately revived the project to build a cathedral.[7] There was some opposition from among members of Chavasse's diocesan clergy, who maintained that there was no need for an expensive new cathedral. The architectural historian John Thomas argues that this reflected "a measure of factional strife between Liverpool Anglicanism's very Evangelical or Low Church tradition, and other forces detectable within the religious complexion of the new diocese."[8] Chavasse, though himself an Evangelical, regarded the building of a great church as "a visible witness to God in the midst of a great city".[8] He pressed ahead, and appointed a committee under Sir William Forwood to consider all possible sites. The St John's site being ruled out, Forwood's committee identified four locations: St Peter's and St Luke's, which were, like St John's, found to be too restricted; a triangular site at the junction of London Road and Monument Place;[n 2] and St James's Mount.[9] There was considerable debate about the competing merits of the two possible sites, and Forwood's committee was inclined to favour the London Road triangle. However, the cost of acquiring it was too great, and the St James's Mount site was recommended.[9] An historian of the cathedral, Vere Cotton, wrote in 1964:
Looking back after an interval of sixty years, it is difficult to realise that any other decision was even possible. With the exception of Durham, no English cathedral is so well placed to be seen to advantage both from a distance and from its immediate vicinity. That such a site, convenient to yet withdrawn from the centre of the city … dominating the city and clearly visible from the river, should have been available is not the least of the many strokes of good fortune which have marked the history of the cathedral.[9]
Fund-raising began, and new enabling legislation was passed by Parliament. The Liverpool Cathedral Act 1902 authorised the purchase of the site and the building of a cathedral, with the proviso that as soon as any part of it opened for public worship, St Peter's Church should be demolished and its site sold to provide the endowment of the new cathedral's chapter. St Peter's place as Parish Church of Liverpool would be taken by the existing church of St Nicholas near the Pier Head.[9] St Peter's Church closed in 1919, and was finally demolished in 1922.[10]
1901 competition
In late 1901, two well-known architects were appointed as assessors for an open competition for architects wishing to be considered for the design of the cathedral.[11] G. F. Bodley was a leading exponent of the Gothic revival style, and a former pupil and relative by marriage of Sir George Gilbert Scott.[12] R. Norman Shaw was an eclectic architect, having begun in the Gothic style, and later favouring what his biographer Andrew Saint calls "full-blooded classical or imperial architecture".[13]
Architects were invited by public advertisement to submit portfolios of their work for consideration by Bodley and Shaw. From these, the two assessors selected a first shortlist of architects to be invited to prepare drawings for the new building. It was stipulated that the designs were to be in the Gothic style.[14] Robert Gladstone, a member of the committee to which the assessors were to report said, "There could be no question that Gothic architecture produced a more devotional effect upon the mind than any other which human skill had invented."[15] This condition caused controversy. Reginald Blomfield and others protested at the insistence on a Gothic style, a "worn-out flirtation in antiquarianism, now relegated to the limbo of art delusions."[16] An editorial in The Times observed, "To impose a preliminary restriction is unwise and impolitic … the committee must not hamper itself at starting with a condition which is certain to exclude many of the best men."[17] Eventually it was agreed that the assessors would also consider "designs of a Renaissance or Classical character".[18]
For architects, the competition was an important event; not only was it for one of the largest building projects of its time, but it was only the third opportunity to build an Anglican cathedral in England since the Reformation in the 16th century (St Paul's Cathedral being the first, rebuilt from scratch after the Great Fire of London in 1666, and Truro Cathedral being the second, begun in the 19th century).[18] The competition attracted 103 entries,[18] from architects including Temple Moore, Charles Rennie Mackintosh,[19] Charles Reilly,[20] and Austin and Paley.[21]
In 1903, the assessors recommended a proposal submitted by the 22-year-old Giles Gilbert Scott, who was still an articled pupil working in Temple Moore's practice,[22] and had no existing buildings to his credit. He told the assessors that so far his only major work had been to design a pipe-rack.[23] The choice of winner was even more contentious with the Cathedral Committee when it was discovered that Scott was a Roman Catholic,[n 3] but the decision stood.[22]
Scott's first design
Although young, Scott was steeped in ecclesiastical design and well versed in the Gothic revival style, his grandfather, George Gilbert Scott, and father George Gilbert Scott, Jr. having designed numerous churches.[24] George Bradbury, the surveyor to the Cathedral Committee, reported, "Mr. Scott seems to have inherited the architectural genius so marked in the Scott family for the last three or four generations ... He is very pleasant, agreeable, enthusiastic, tall and looks considerably older than he actually is."[8] Appearances notwithstanding, Scott's inexperience prompted the Cathedral Committee to appoint Bodley to oversee the detailed architectural design and building work. Work began without delay. The foundation stone was laid by King Edward VII in 1904.[5]
Cotton observes that it was generous of Bodley to enter into a working relationship with a young and untried student.[25] Bodley had been a close friend of Scott's father, but his collaboration with the young Scott was fractious, especially after Bodley accepted commissions to design two cathedrals in the US,[n 4] necessitating frequent absences from Liverpool.[22] Scott complained that this "has made the working partnership agreement more of a farce than ever, and to tell the truth my patience with the existing state of affairs is about exhausted".[22] Scott was on the point of resigning when Bodley died suddenly in 1907, leaving him in charge.[26] The Cathedral Committee appointed Scott sole architect, and though it reserved the right to appoint another co-architect, it never seriously considered doing so.[8]
Scott's 1910 redesign
In 1909, free of Bodley and growing in confidence, Scott submitted an entirely new design for the main body of the cathedral.[27] His original design had two towers at the west end[n 5] and a single transept; the revised plan called for a single central tower 85.344 metres (280.00 ft) high, topped with a lantern and flanked by twin transepts.[29][n 6] The Cathedral Committee, shaken by such radical changes to the design they had approved, asked Scott to work his ideas out in fine detail and submit them for consideration.[27] He worked on the plans for more than a year, and in November 1910, the committee approved them.[27] In addition to the change in the exterior, Scott's new plans provided more interior space.[31] At the same time Scott modified the decorative style, losing much of the Gothic detailing and introducing a more modern, monumental style.[32]
The Lady Chapel (originally intended to be called the Morning Chapel),[8] the first part of the building to be completed, was consecrated in 1910 by Bishop Chavasse in the presence of two Archbishops and 24 other Bishops.[33] The date, 29 June – St Peter's Day, was chosen to honour the pro-cathedral, now due to be demolished.[34] The Manchester Guardian described the ceremony:
The Bishop of Liverpool knocked on the door with his pastoral staff, saying in a loud voice, "Open ye the gates." The doors having been flung open, the Earl of Derby, resplendent in the golden robes of the Chancellor of Liverpool University, presented Dr. Chavasse with the petition for consecration. … The Archbishop of York, whose cross was carried before him and who was followed by two train-bearers clad in scarlet cassocks, was conducted to the sedilla and the rest of the Bishops, with the exception of Dr. Chavasse, who knelt before his episcopal chair in the sanctuary, found accommodation in the choir stalls.[35]
The richness of the décor of the Lady Chapel may have dismayed some of Liverpool's Evangelical clergy. Thomas suggests that they were confronted with "a feminised building which lacked reference to the 'manly' and 'muscular Christian' thinking which had emerged in reaction to the earlier feminisation of religion."[8] He adds that the building would have seemed to many to be designed for Anglo-Catholic worship.[8]
Second phase
Work was severely limited during the First World War, with a shortage of manpower, materials and donations.[36] By 1920, the workforce had been brought back up to strength and the stone quarries at Woolton, source of the pinkish-red sandstone for most of the building, reopened.[36] The first section of the main body of the cathedral was complete by 1924. It comprised the chancel, an ambulatory, chapter house and vestries.[37] The section was closed with a temporary wall, and on 19 July 1924, the 20th anniversary of the laying of the foundation stone, the cathedral was consecrated in the presence of King George V and Queen Mary, and Bishops and Archbishops from around the globe.[36] Major works ceased for a year while Scott once again revised his plans for the next section of the building: the tower, the under-tower and the central transept.[38] The tower in his final design was higher and narrower than his 1910 conception.[39]
From July 1925 work continued steadily, and it was hoped to complete the whole section by 1940.[40] The outbreak of the Second World War in 1939 caused similar problems to those of the earlier war. The workforce dwindled from 266 to 35; moreover, the building was damaged by German bombs.[41] Despite these vicissitudes, the central section was complete enough by July 1941 to be handed over to the Dean and Chapter. Scott laid the last stone of the last pinnacle on the tower on 20 February 1942.[42] No further major works were undertaken during the rest of the war. Scott produced his plans for the nave in 1942, but work on it did not begin until 1948.[43] The bomb damage, particularly to the Lady Chapel, was not fully repaired until 1955.[44]
Completion
Scott died in 1960. The first bay of the nave was then nearly complete, and was handed over to the Dean and Chapter in April 1961. Scott was succeeded as architect by Frederick Thomas.[45] Thomas, who had worked with Scott for many years, drew up a new design for the west front of the cathedral. The Guardian commented, "It was an inflation beater, but totally in keeping with the spirit of the earlier work, and its crowning glory is the Benedicite Window designed by Carl Edwards and covering 1,600 sq. ft."[46]
The version recorded in Gavin Stamp`s obituary of Richard Gilbert Scott, which appeared in The Guardian 15 July 2017, differs slightly: " When his father died the following year (1960), Richard inherited the practice and was left to complete several jobs. He continued with the great work of building Liverpool Cathedral but, after adding two bays of the nave (using cheaper materials: concrete and fibreglass), he resigned when it was proposed drastically to alter his father’s design. The cathedral was eventually completed with a much simplified and diminished west end drawn out by his father’s former assistant, Roger Pinckney".[47]
The completion of the building was marked by a service of thanksgiving and dedication in October 1978, attended by Queen Elizabeth II. In the spirit of ecumenism that had been fostered in Liverpool, the Roman Catholic Archbishop Derek Worlock played a major part in the ceremony.
Dean and chapter
Dean – Vacant
Vice Dean and Canon Precentor – The Revd Canon Myles Davies (Canon since 2006; Precentor since 2008; Acting Dean, 2011–2012, then 2017-)
Canon for Mission and Evangelism – The Revd Canon Richard White (since 2009 installation)
Canon Chancellor – The Revd Canon Ellen Loudon (since 2016 installation)
Canon for Discipleship – The Revd Canon Paul Rattigan (since 2013 installation)
Completed building
The cathedral's west window by Carl Johannes Edwards.[49] The uppermost window is the Benedicite window. The pink neon sign by Tracey Emin reads "I felt you and I knew you loved me“ and was installed 2008 when Liverpool became European Capital of Culture.
The cathedral's official website gives the dimensions of the building as
Length: 188.7 metres (619 ft)
Area: 9,687.4 square metres (104,274 sq ft)
Height of tower: 100.8 metres (331 ft)
Choir vault: 35.3 metres (116 ft)
Nave vault: 36.5 metres (120 ft)
Under tower vault: 53.3 metres (175 ft)
Tower arches: 32.6 metres (107 ft)
The cathedral was built mainly of local sandstone quarried from the South Liverpool suburb of Woolton. The last sections (The Well of the Cathedral at the west end in the 1960s and 1970s) used the closest matching sandstone that could be found from other NW quarries once the supply from Woolton had been exhausted.
The belltower is the largest, and also one of the tallest, in the world (see List of tallest churches in the world). It houses the world's highest (67 m (220 ft)) and heaviest (16.5 long tons (16.8 tonnes)) ringing peal of bells, and the third-heaviest bourdon bell (14.5 long tons (14.7 tonnes)) in the United Kingdom.[50]
Services and other uses
The cathedral is open daily all year round from 8:00 am to 6:00 pm (except Christmas Day when it closes to the public at 3 pm), and regular services are held every day of the week at 8:30 am: Morning Prayer (Holy Communion on Sundays). 12:05 pm Monday-Saturday (Communion) and Monday–Friday at 5:30pm (Evensong or said Evening Prayer according to day and time of year). At the weekend, there is also a 3pm Evensong service on Saturdays and Sundays with a main Cathedral Eucharist at 10:30 am, which attracts a large core congregation each week. It also has a more intimate Communion on Sundays at 4 pm. Since early 2011, the cathedral has also offered a regular, more informal form of cafe-style worship called "Zone 2", running parallel to its main Sunday Eucharist each week and held in the lower rooms in the Sir Giles Gilbert Scott Function Suite (formerly the Western Rooms). The core services at 5:30pm on Mondays, Tuesdays, Thursdays and Fridays, 10:30am on Sundays and 3pm Saturdays and Sundays are supported on each occasion during term time by the cathedral choir.[51]
Following the closure of their building in Rodney Street in 1975, the Liverpool St. Andrew's congregation of the Church of Scotland used the Radcliffe Room of the cathedral for Sunday services. The congregation finally disbanded in November 2016.[citation needed]
Admission to the cathedral is free, but with a suggested donation of £3.[n 7] Car parking is available on site on a pay-on-exit basis. Parking is free for attendance at all services. Access to the main floor of the cathedral is restricted during services and some of the major events.[52]
The building also plays host to a wide range of events and special services including concerts, academic events involving local schools, graduations, exhibitions, family activities, seminars, conferences, corporate events, commemorative services, anniversary services and many more. Its maximum capacity for any major event including special services is 3,500 standing, or about 2,300 fully seated. The ground floor of the cathedral is fully accessible.
Liverpool Cathedral has its own specialist constabulary to keep watch on an all-year 24-hour basis. The Liverpool Cathedral Constables together with the York Minster Police and several other cathedrals' constable units are members of the Cathedral Constables' Association.[53]
Bells
At 67 m (220 ft) above floor level, the bells of Liverpool Cathedral are the highest and heaviest ringing peal in the world. [n 8] Two lifts are provided for the use of the bellringers and other visitors to the tower. The peal proper (hung for full-circle change ringing) consists of thirteen bells weighing a total of 16.5 long tons (16.8 tonnes), which are named the Bartlett Bells after Thomas Bartlett (died 4 September 1912), a native of Liverpool who bequeathed the funding.[54] The bells vary in size and note from the comparatively light 10 long cwt (510 kilograms) treble to the tenor weighing 4 long tons (4.1 tonnes). The 13th bell (sharp 2nd) is extra to the main 12-bell peal, and its purpose is to make possible ringing in a correct octave on lighter bells.[55] All thirteen bells were cast by Mears & Stainbank of Whitechapel in London.[56] The initial letters of the inscriptions on the thirteen bells spell out the name "Thomas Bartlett" (from tenor to treble).[57]
The Bartlett bells are hung in a circle around the bourdon bell "Great George".[n 9] At 14.5 long tons (14.7 tonnes), Great George is the third most massive bell in the British Isles. (Only the 16.5 long tons (16.8 tonnes) "Great Paul" of St Paul's Cathedral in London, and the 2012 Olympic Bell (22.91 tonnes) are heavier.) Great George, cast by Taylors of Loughborough and named in memory of King George V, is hung in a pendant position and is sounded by means of a counterbalanced clapper.[59]
Music
Organ
The organ, built by Henry Willis & Sons, is the largest pipe organ in the UK with two five-manual consoles, 10,268 pipes and a trompette militaire.[60] There is an annual anniversary recital on the Saturday nearest to 18 October, the date of the organ's consecration. There is a two-manual Willis organ in the Lady Chapel.[61][62]
Organists and directors of music
1880- 1916 – Frederick Hampton Burstall (died 1916)
1915–1955 – Walter Henry Goss-Custard
1931–1982 – Ronald Woan (director of music)
1955–1980 – Noel Rawsthorne
1980 – Ian Tracey (later organist titulaire)
2008 – David Poulter (director of music)
Assistant organists
This list is incomplete; you can help by expanding it.
Noel Rawsthorne 1949–1955 (afterwards organist)
Lewis Rust (part-time) student at Liverpool Institute and ex-chorister
Ian Tracey 1976–1980 (afterwards organist)
Ian Wells 1980–2007
Daniel Bishop 2010–present
Organ scholars
Lewis Rust (approx dates 1960–70)
Ian Tracey (organist) (later organiste titulaire)
Ian Wells (later, Holy Trinity, Southport)
Geoff Williams 1983-85 (now Director of Music, St Anne's Stanley)
Stephen Disley (now assistant organist and director of the girls' choir, Southwark Cathedral)
Paul Daggett
Martin Payne 1994–95
David Leahey 1995–97
Keith Hearnshaw 1997–98
Michael Wynne
Gerrard Callacher
Daniel Bishop (later associate organist)
Shean Bowers 2004–06 (later assistant director of music at Bath Abbey)
Samuel Austin 2007–08 (later assistant director of music at Aldenham School)
Martyn Noble (2009–11)
James Speakman (2011-12)
Daniel Mansfield (2014 - 17)
Artists and sculptors
The high altar
In 1931, Scott asked Edward Carter Preston to produce a series of sculptures for Liverpool Cathedral. The project was an immense undertaking which occupied the artist for the next thirty years. The work for the cathedral included fifty sculptures, ten memorials and several reliefs. Many inscriptions in the cathedral were jointly written by Dean Dwelly and the sculptor who subsequently carved them.
In 1993 "The Welcoming Christ", a large bronze sculpture by Dame Elisabeth Frink, was installed over the outside of the west door of the cathedral.[63] This was one of her last completed works, installed within days of her death.[64]
In 2003 the Liverpool artist, Don McKinlay, who knew Carter Preston from his youth, was commissioned by the cathedral to model an infant Christ to accompany the 15th century Madonna by Giovanni della Robbia Madonna now situated in the Lady Chapel.[65]
In 2008 a work entitled "For You" by Tracey Emin was installed at the west end of cathedral the below the Benedicite window. The pink neon sign reads "I felt you and I knew you loved me", and was installed when Liverpool became European Capital of Culture. The work was originally intended to be a temporary installation for one month as part of the Capital of Culture programme, but is now a permanent feature.[63]
Another work by Emin, "The Roman Standard" takes the form of a small bronze sparrow on a metal pole, and was installed in 2005 outside the Oratory Chapel close to the west end of the cathedral.[66] The sparrow was stolen (twice) in 2008, but on both occasions was returned and replaced.[67]
Stained glass
The firm of James Powell and Sons (Whitefriars), Ltd., of London, provided most of the stained glass designs. John William Brown (1842–1928) designed the Te Deum window in the east end of the cathedral, as well as the original windows for the Lady Chapel, which was heavily damaged during German bombing raids in 1940. The glass in the Lady Chapel was replaced with designs, based on the originals, by James Humphries Hogan (1883–1948). He was one of the most prolific of the Powell and Sons designers; his designs can also be seen in the large north and south windows in the central space of the cathedral (each 100 feet tall). Later artists include William Wilson (1905–1972), who began his work at Liverpool Cathedral after the death of Hogan, Herbert Hendrie (1887–1946), and Carl Edwards (1914–1985), who designed the Benedicite window in the west front. The cathedral has approximately 1,700 m² of stained glass.[68]
Burials
Chavasse and Scott are buried in the precinct of the cathedral, the former in Founder's Plot, and the latter at the west end of the site.[69] Clergy buried within the cathedral include the bishops Albert David and David Sheppard. Among the benefactors whose remains are buried in the cathedral are William and Edmund Vestey and Frederick Radcliffe. The ashes of the donor of the cathedral bells, Thomas Bartlett are interred in a casket in the ringing room.[69] At the rear of the memorial to the 55th (West Lancashire) Infantry Division rest the ashes of Lieutenant-General Sir Hugh Jeudwine, who commanded the division from its formation in 1916 until the end of the First World War.[70]
(After Taste Venue Pictured)
On a serene Friday evening with not much happening in the real world, I decided to immerse myself in Second Life for some fashion-forward exploration. White often poses a challenge for me in photos, tending to blend a bit too much with my complexion. Yet, the latest outfit from Hilly Haalan was a splendid exception. This chic pant suit, tailored to accentuate my curves precisely, delivered a look that was both enticing and elegantly sophisticated. The fabric's graceful flow and the outfit's thoughtful design transformed it from mere attire into a bold fashion statement.
I decided to pair it with my favorite piece from Kunglers and this elegant cuff set from Yummy because there is no greater crime than failing to accessorize.
What's worse is that I was all dolled up with no place to go. Fortunately, a friend recommended a house music venue called After-Taste Spa. The place exudes chic sophistication, and the vibe shifts depending on the time you visit. Its decor brings to mind the stylish venues I've experienced in Miami, adorned with tropical foliage, brass accents, and eclectic pieces. The residents tend toward the naughtier side, so be forewarned—it's a space where private chats blend with spicy areas for random encounters. While that's not my usual scene, I found the people-watching absolutely enthralling.
Read more on my blog: deepdishdivasofsl.blogspot.com/
✨🌿 Details 🌿✨
White Pant Suit: (Hilly Haalan - Didi Set)
maps.secondlife.com/secondlife/Hillywood/125/157/26
Necklace: (Kunglers - Stella Necklace )
maps.secondlife.com/secondlife/Accidentally%20Inlove/165/...
Bracelet and Cuff Set: (Yummy - Evelyn set)
maps.secondlife.com/secondlife/Tableau/165/108/23
Check out After-Taste Spa:
As the camera was playing nicely yesterday I thought I would post a close up just so as you know how unperfect the old complexion is although considering age lifestyle and all its not too bad :-)
so enjoying this look because it feels so real but then it is I suppose. so where will the tumble down the rabbit take me next? only time knows the answer but you are welcome to hazard a guess.
Fabes 3.0! She's my #40 custom from last year. I invited Fabes back for a redo. She's already been redone twice due to problems with MSC. I used the wrong kind of MSC before (I was using flat instead of UV cut) UV cut is much better for tanned girls btw, much better in general actually. now it's all I use! Her complexion is perfect now :)
William Shakespeare
Shall I compare thee to a summer's day?
Thou art more lovely and more temperate:
Rough winds do shake the darling buds of May,
And summer's lease hath all too short a date:
Sometime too hot the eye of heaven shines,
And often is his gold complexion dimmed,
And every fair from fair sometime declines,
By chance, or nature's changing course untrimmed:
But thy eternal summer shall not fade,
Nor lose possession of that fair thou ow'st,
Nor shall death brag thou wander'st in his shade,
When in eternal lines to time thou grow'st,
So long as men can breathe, or eyes can see,
So long lives this, and this gives life to thee.
Soll ich denn einen Sommertag dich nennen,
dich, der an Herrlichkeit ihn überglänzt?
Dem Mai will Sturm die Blütenpracht nicht gönnen,
und Sommers Herrschaft ist so eng begrenzt.
Oft leuchten seines Blickes Feuerfarben,
doch bald auch hört das goldne Glänzen auf,
bis seine allerletzten Spuren starben
in Wechsel und natürlichem Verlauf.
Dir aber soll der Sommer niemals scheiden,
die Zeit sei fern, daß Schönheit dir verdirbt.
Des Todes gier’ger Blick weiß dich zu meiden:
mein Wort verhütet, daß dein Wesen stirbt.
Solange Ohren hören, Augen sehn,
besteht mein Lied, wirst du im Lied bestehn!
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Alondra totovía
(Lullula arborea)
Aláudido rechoncho, de distribución restringida a Europa, Oriente Próximo y el noroeste de África. Está ampliamente repartido por toda la Península Ibérica, aunque escasea o falta en algunas zonas cantábricas, la depresión del Ebro y el sureste. Ocupa medios abiertos con árboles o arbustos dispersos, y posee buenas densidades en dehesas y bosques aclarados.
Descripción y Clasificación
Orden Passeriformes; familia Alaudidae
Longitud 15 cm. Envergadura 27-30 cm.
Identificación
Presenta un aspecto similar al de otros aláudidos, con una coloración de tonos pardos crípticos. De complexión rechoncha, tiene moño pequeño, cola corta y oscura, y rectrices externas blancas. Su diseño facial es muy contrastado, y posee una característica mancha blanquinegra en el borde anterior del ala. Exhibe un vuelo rápido de fuertes batidos, con pronunciadas ascensiones y descensos.
Canto
Resulta muy característico y está constituido por una estrofa larga, que comienza de manera relativamente lenta, pero avanza con rapidez, acelerándose y haciéndose progresivamente más grave.
I found this young woman absolutely elegant with a complexion like bone china. So much so that without a tad of processing she was so pale in comparison to her surroundings she looked ill.
I took several pix of her in her group, and she will pop up again in my photostream. In this shot, which was my last of 3, the fellow off to the right gave me the evil eye. He had yelled, and I told him not to flatter himself.
He was quite befuddled . . . that was just fine.
After I had the shots up on the monitor, I had wished I got her name. I would like to do a location series with her, and I'm hoping my LGBTQ go-to guru might be able to find someone who knows her.
Minneapolis/St. Paul are the biggest smalltowns I've ever lived in. I'm always running into people I know, met, or have photographed.
I think she's enchanting.
Peter Paul Rubens’ painting depicts the scene when the Christ is lowered into his tomb prior to his later Resurrection. Ruben seems to draw contrast between the dead and the living; the lifeless pallor of the Body of Christ and the ruddy complexion of the two men lowering him.
At the Courtauld Gallery, Somerset House.
London, July 2005
en.wikipedia.org/wiki/Liverpool_Cathedral
Liverpool Cathedral is the Church of England Cathedral of the Diocese of Liverpool, built on St James's Mount in Liverpool and is the seat of the Bishop of Liverpool. It may be referred to as the Cathedral Church of Christ in Liverpool (as recorded in the Document of Consecration) or the Cathedral Church of the Risen Christ, Liverpool, being dedicated to Christ 'in especial remembrance of his most glorious Resurrection'.[1]
The cathedral is based on a design by Sir Giles Gilbert Scott. The total external length of the building, including the Lady Chapel (dedicated to the Blessed Virgin), is 207 yards (189 m) making it the longest cathedral in the world;[n 1] its internal length is 160 yards (150 m). In terms of overall volume, Liverpool Cathedral ranks as the fifth-largest cathedral in the world[2] and contests with the incomplete Cathedral of Saint John the Divine in New York City for the title of largest Anglican church building.[3] With a height of 331 feet (101 m) it is also one of the world's tallest non-spired church buildings and the third-tallest structure in the city of Liverpool. The cathedral is recorded in the National Heritage List for England as a designated Grade I listed building.[4]
The Anglican cathedral is one of two in the city. The other, the Roman Catholic Metropolitan Cathedral of Liverpool, is situated approximately half a mile to the north. The cathedrals are linked by Hope Street, which takes its name from William Hope, a local merchant whose house stood on the site now occupied by the Philharmonic Hall, and was named long before either cathedral was built.
Background
John Charles Ryle was installed as the first Bishop of Liverpool in 1880, but the new diocese had no cathedral, merely a "pro-cathedral", the parish church of St Peter's, Church Street. St Peter's was unsatisfactory; it was too small for major church events, and moreover was, in the words of the Rector of Liverpool, "ugly & hideous".[5] In 1885 an Act of Parliament authorised the building of a cathedral on the site of the existing St John's Church, adjacent to St George's Hall.[6] A competition was held for the design, and won by Sir William Emerson. The site proved unsuitable for the erection of a building on the scale proposed, and the scheme was abandoned.[6]
In 1900 Francis Chavasse succeeded Ryle as Bishop, and immediately revived the project to build a cathedral.[7] There was some opposition from among members of Chavasse's diocesan clergy, who maintained that there was no need for an expensive new cathedral. The architectural historian John Thomas argues that this reflected "a measure of factional strife between Liverpool Anglicanism's very Evangelical or Low Church tradition, and other forces detectable within the religious complexion of the new diocese."[8] Chavasse, though himself an Evangelical, regarded the building of a great church as "a visible witness to God in the midst of a great city".[8] He pressed ahead, and appointed a committee under Sir William Forwood to consider all possible sites. The St John's site being ruled out, Forwood's committee identified four locations: St Peter's and St Luke's, which were, like St John's, found to be too restricted; a triangular site at the junction of London Road and Monument Place;[n 2] and St James's Mount.[9] There was considerable debate about the competing merits of the two possible sites, and Forwood's committee was inclined to favour the London Road triangle. However, the cost of acquiring it was too great, and the St James's Mount site was recommended.[9] An historian of the cathedral, Vere Cotton, wrote in 1964:
Looking back after an interval of sixty years, it is difficult to realise that any other decision was even possible. With the exception of Durham, no English cathedral is so well placed to be seen to advantage both from a distance and from its immediate vicinity. That such a site, convenient to yet withdrawn from the centre of the city … dominating the city and clearly visible from the river, should have been available is not the least of the many strokes of good fortune which have marked the history of the cathedral.[9]
Fund-raising began, and new enabling legislation was passed by Parliament. The Liverpool Cathedral Act 1902 authorised the purchase of the site and the building of a cathedral, with the proviso that as soon as any part of it opened for public worship, St Peter's Church should be demolished and its site sold to provide the endowment of the new cathedral's chapter. St Peter's place as Parish Church of Liverpool would be taken by the existing church of St Nicholas near the Pier Head.[9] St Peter's Church closed in 1919, and was finally demolished in 1922.[10]
1901 competition
In late 1901, two well-known architects were appointed as assessors for an open competition for architects wishing to be considered for the design of the cathedral.[11] G. F. Bodley was a leading exponent of the Gothic revival style, and a former pupil and relative by marriage of Sir George Gilbert Scott.[12] R. Norman Shaw was an eclectic architect, having begun in the Gothic style, and later favouring what his biographer Andrew Saint calls "full-blooded classical or imperial architecture".[13]
Architects were invited by public advertisement to submit portfolios of their work for consideration by Bodley and Shaw. From these, the two assessors selected a first shortlist of architects to be invited to prepare drawings for the new building. It was stipulated that the designs were to be in the Gothic style.[14] Robert Gladstone, a member of the committee to which the assessors were to report said, "There could be no question that Gothic architecture produced a more devotional effect upon the mind than any other which human skill had invented."[15] This condition caused controversy. Reginald Blomfield and others protested at the insistence on a Gothic style, a "worn-out flirtation in antiquarianism, now relegated to the limbo of art delusions."[16] An editorial in The Times observed, "To impose a preliminary restriction is unwise and impolitic … the committee must not hamper itself at starting with a condition which is certain to exclude many of the best men."[17] Eventually it was agreed that the assessors would also consider "designs of a Renaissance or Classical character".[18]
For architects, the competition was an important event; not only was it for one of the largest building projects of its time, but it was only the third opportunity to build an Anglican cathedral in England since the Reformation in the 16th century (St Paul's Cathedral being the first, rebuilt from scratch after the Great Fire of London in 1666, and Truro Cathedral being the second, begun in the 19th century).[18] The competition attracted 103 entries,[18] from architects including Temple Moore, Charles Rennie Mackintosh,[19] Charles Reilly,[20] and Austin and Paley.[21]
In 1903, the assessors recommended a proposal submitted by the 22-year-old Giles Gilbert Scott, who was still an articled pupil working in Temple Moore's practice,[22] and had no existing buildings to his credit. He told the assessors that so far his only major work had been to design a pipe-rack.[23] The choice of winner was even more contentious with the Cathedral Committee when it was discovered that Scott was a Roman Catholic,[n 3] but the decision stood.[22]
Scott's first design
Although young, Scott was steeped in ecclesiastical design and well versed in the Gothic revival style, his grandfather, George Gilbert Scott, and father George Gilbert Scott, Jr. having designed numerous churches.[24] George Bradbury, the surveyor to the Cathedral Committee, reported, "Mr. Scott seems to have inherited the architectural genius so marked in the Scott family for the last three or four generations ... He is very pleasant, agreeable, enthusiastic, tall and looks considerably older than he actually is."[8] Appearances notwithstanding, Scott's inexperience prompted the Cathedral Committee to appoint Bodley to oversee the detailed architectural design and building work. Work began without delay. The foundation stone was laid by King Edward VII in 1904.[5]
Cotton observes that it was generous of Bodley to enter into a working relationship with a young and untried student.[25] Bodley had been a close friend of Scott's father, but his collaboration with the young Scott was fractious, especially after Bodley accepted commissions to design two cathedrals in the US,[n 4] necessitating frequent absences from Liverpool.[22] Scott complained that this "has made the working partnership agreement more of a farce than ever, and to tell the truth my patience with the existing state of affairs is about exhausted".[22] Scott was on the point of resigning when Bodley died suddenly in 1907, leaving him in charge.[26] The Cathedral Committee appointed Scott sole architect, and though it reserved the right to appoint another co-architect, it never seriously considered doing so.[8]
Scott's 1910 redesign
In 1909, free of Bodley and growing in confidence, Scott submitted an entirely new design for the main body of the cathedral.[27] His original design had two towers at the west end[n 5] and a single transept; the revised plan called for a single central tower 85.344 metres (280.00 ft) high, topped with a lantern and flanked by twin transepts.[29][n 6] The Cathedral Committee, shaken by such radical changes to the design they had approved, asked Scott to work his ideas out in fine detail and submit them for consideration.[27] He worked on the plans for more than a year, and in November 1910, the committee approved them.[27] In addition to the change in the exterior, Scott's new plans provided more interior space.[31] At the same time Scott modified the decorative style, losing much of the Gothic detailing and introducing a more modern, monumental style.[32]
The Lady Chapel (originally intended to be called the Morning Chapel),[8] the first part of the building to be completed, was consecrated in 1910 by Bishop Chavasse in the presence of two Archbishops and 24 other Bishops.[33] The date, 29 June – St Peter's Day, was chosen to honour the pro-cathedral, now due to be demolished.[34] The Manchester Guardian described the ceremony:
The Bishop of Liverpool knocked on the door with his pastoral staff, saying in a loud voice, "Open ye the gates." The doors having been flung open, the Earl of Derby, resplendent in the golden robes of the Chancellor of Liverpool University, presented Dr. Chavasse with the petition for consecration. … The Archbishop of York, whose cross was carried before him and who was followed by two train-bearers clad in scarlet cassocks, was conducted to the sedilla and the rest of the Bishops, with the exception of Dr. Chavasse, who knelt before his episcopal chair in the sanctuary, found accommodation in the choir stalls.[35]
The richness of the décor of the Lady Chapel may have dismayed some of Liverpool's Evangelical clergy. Thomas suggests that they were confronted with "a feminised building which lacked reference to the 'manly' and 'muscular Christian' thinking which had emerged in reaction to the earlier feminisation of religion."[8] He adds that the building would have seemed to many to be designed for Anglo-Catholic worship.[8]
Second phase
Work was severely limited during the First World War, with a shortage of manpower, materials and donations.[36] By 1920, the workforce had been brought back up to strength and the stone quarries at Woolton, source of the pinkish-red sandstone for most of the building, reopened.[36] The first section of the main body of the cathedral was complete by 1924. It comprised the chancel, an ambulatory, chapter house and vestries.[37] The section was closed with a temporary wall, and on 19 July 1924, the 20th anniversary of the laying of the foundation stone, the cathedral was consecrated in the presence of King George V and Queen Mary, and Bishops and Archbishops from around the globe.[36] Major works ceased for a year while Scott once again revised his plans for the next section of the building: the tower, the under-tower and the central transept.[38] The tower in his final design was higher and narrower than his 1910 conception.[39]
From July 1925 work continued steadily, and it was hoped to complete the whole section by 1940.[40] The outbreak of the Second World War in 1939 caused similar problems to those of the earlier war. The workforce dwindled from 266 to 35; moreover, the building was damaged by German bombs.[41] Despite these vicissitudes, the central section was complete enough by July 1941 to be handed over to the Dean and Chapter. Scott laid the last stone of the last pinnacle on the tower on 20 February 1942.[42] No further major works were undertaken during the rest of the war. Scott produced his plans for the nave in 1942, but work on it did not begin until 1948.[43] The bomb damage, particularly to the Lady Chapel, was not fully repaired until 1955.[44]
Completion
Scott died in 1960. The first bay of the nave was then nearly complete, and was handed over to the Dean and Chapter in April 1961. Scott was succeeded as architect by Frederick Thomas.[45] Thomas, who had worked with Scott for many years, drew up a new design for the west front of the cathedral. The Guardian commented, "It was an inflation beater, but totally in keeping with the spirit of the earlier work, and its crowning glory is the Benedicite Window designed by Carl Edwards and covering 1,600 sq. ft."[46]
The version recorded in Gavin Stamp`s obituary of Richard Gilbert Scott, which appeared in The Guardian 15 July 2017, differs slightly: " When his father died the following year (1960), Richard inherited the practice and was left to complete several jobs. He continued with the great work of building Liverpool Cathedral but, after adding two bays of the nave (using cheaper materials: concrete and fibreglass), he resigned when it was proposed drastically to alter his father’s design. The cathedral was eventually completed with a much simplified and diminished west end drawn out by his father’s former assistant, Roger Pinckney".[47]
The completion of the building was marked by a service of thanksgiving and dedication in October 1978, attended by Queen Elizabeth II. In the spirit of ecumenism that had been fostered in Liverpool, the Roman Catholic Archbishop Derek Worlock played a major part in the ceremony.
Dean and chapter
Dean – Vacant
Vice Dean and Canon Precentor – The Revd Canon Myles Davies (Canon since 2006; Precentor since 2008; Acting Dean, 2011–2012, then 2017-)
Canon for Mission and Evangelism – The Revd Canon Richard White (since 2009 installation)
Canon Chancellor – The Revd Canon Ellen Loudon (since 2016 installation)
Canon for Discipleship – The Revd Canon Paul Rattigan (since 2013 installation)
Completed building
The cathedral's west window by Carl Johannes Edwards.[49] The uppermost window is the Benedicite window. The pink neon sign by Tracey Emin reads "I felt you and I knew you loved me“ and was installed 2008 when Liverpool became European Capital of Culture.
The cathedral's official website gives the dimensions of the building as
Length: 188.7 metres (619 ft)
Area: 9,687.4 square metres (104,274 sq ft)
Height of tower: 100.8 metres (331 ft)
Choir vault: 35.3 metres (116 ft)
Nave vault: 36.5 metres (120 ft)
Under tower vault: 53.3 metres (175 ft)
Tower arches: 32.6 metres (107 ft)
The cathedral was built mainly of local sandstone quarried from the South Liverpool suburb of Woolton. The last sections (The Well of the Cathedral at the west end in the 1960s and 1970s) used the closest matching sandstone that could be found from other NW quarries once the supply from Woolton had been exhausted.
The belltower is the largest, and also one of the tallest, in the world (see List of tallest churches in the world). It houses the world's highest (67 m (220 ft)) and heaviest (16.5 long tons (16.8 tonnes)) ringing peal of bells, and the third-heaviest bourdon bell (14.5 long tons (14.7 tonnes)) in the United Kingdom.[50]
Services and other uses
The cathedral is open daily all year round from 8:00 am to 6:00 pm (except Christmas Day when it closes to the public at 3 pm), and regular services are held every day of the week at 8:30 am: Morning Prayer (Holy Communion on Sundays). 12:05 pm Monday-Saturday (Communion) and Monday–Friday at 5:30pm (Evensong or said Evening Prayer according to day and time of year). At the weekend, there is also a 3pm Evensong service on Saturdays and Sundays with a main Cathedral Eucharist at 10:30 am, which attracts a large core congregation each week. It also has a more intimate Communion on Sundays at 4 pm. Since early 2011, the cathedral has also offered a regular, more informal form of cafe-style worship called "Zone 2", running parallel to its main Sunday Eucharist each week and held in the lower rooms in the Sir Giles Gilbert Scott Function Suite (formerly the Western Rooms). The core services at 5:30pm on Mondays, Tuesdays, Thursdays and Fridays, 10:30am on Sundays and 3pm Saturdays and Sundays are supported on each occasion during term time by the cathedral choir.[51]
Following the closure of their building in Rodney Street in 1975, the Liverpool St. Andrew's congregation of the Church of Scotland used the Radcliffe Room of the cathedral for Sunday services. The congregation finally disbanded in November 2016.[citation needed]
Admission to the cathedral is free, but with a suggested donation of £3.[n 7] Car parking is available on site on a pay-on-exit basis. Parking is free for attendance at all services. Access to the main floor of the cathedral is restricted during services and some of the major events.[52]
The building also plays host to a wide range of events and special services including concerts, academic events involving local schools, graduations, exhibitions, family activities, seminars, conferences, corporate events, commemorative services, anniversary services and many more. Its maximum capacity for any major event including special services is 3,500 standing, or about 2,300 fully seated. The ground floor of the cathedral is fully accessible.
Liverpool Cathedral has its own specialist constabulary to keep watch on an all-year 24-hour basis. The Liverpool Cathedral Constables together with the York Minster Police and several other cathedrals' constable units are members of the Cathedral Constables' Association.[53]
Bells
At 67 m (220 ft) above floor level, the bells of Liverpool Cathedral are the highest and heaviest ringing peal in the world. [n 8] Two lifts are provided for the use of the bellringers and other visitors to the tower. The peal proper (hung for full-circle change ringing) consists of thirteen bells weighing a total of 16.5 long tons (16.8 tonnes), which are named the Bartlett Bells after Thomas Bartlett (died 4 September 1912), a native of Liverpool who bequeathed the funding.[54] The bells vary in size and note from the comparatively light 10 long cwt (510 kilograms) treble to the tenor weighing 4 long tons (4.1 tonnes). The 13th bell (sharp 2nd) is extra to the main 12-bell peal, and its purpose is to make possible ringing in a correct octave on lighter bells.[55] All thirteen bells were cast by Mears & Stainbank of Whitechapel in London.[56] The initial letters of the inscriptions on the thirteen bells spell out the name "Thomas Bartlett" (from tenor to treble).[57]
The Bartlett bells are hung in a circle around the bourdon bell "Great George".[n 9] At 14.5 long tons (14.7 tonnes), Great George is the third most massive bell in the British Isles. (Only the 16.5 long tons (16.8 tonnes) "Great Paul" of St Paul's Cathedral in London, and the 2012 Olympic Bell (22.91 tonnes) are heavier.) Great George, cast by Taylors of Loughborough and named in memory of King George V, is hung in a pendant position and is sounded by means of a counterbalanced clapper.[59]
Music
Organ
The organ, built by Henry Willis & Sons, is the largest pipe organ in the UK with two five-manual consoles, 10,268 pipes and a trompette militaire.[60] There is an annual anniversary recital on the Saturday nearest to 18 October, the date of the organ's consecration. There is a two-manual Willis organ in the Lady Chapel.[61][62]
Organists and directors of music
1880- 1916 – Frederick Hampton Burstall (died 1916)
1915–1955 – Walter Henry Goss-Custard
1931–1982 – Ronald Woan (director of music)
1955–1980 – Noel Rawsthorne
1980 – Ian Tracey (later organist titulaire)
2008 – David Poulter (director of music)
Assistant organists
This list is incomplete; you can help by expanding it.
Noel Rawsthorne 1949–1955 (afterwards organist)
Lewis Rust (part-time) student at Liverpool Institute and ex-chorister
Ian Tracey 1976–1980 (afterwards organist)
Ian Wells 1980–2007
Daniel Bishop 2010–present
Organ scholars
Lewis Rust (approx dates 1960–70)
Ian Tracey (organist) (later organiste titulaire)
Ian Wells (later, Holy Trinity, Southport)
Geoff Williams 1983-85 (now Director of Music, St Anne's Stanley)
Stephen Disley (now assistant organist and director of the girls' choir, Southwark Cathedral)
Paul Daggett
Martin Payne 1994–95
David Leahey 1995–97
Keith Hearnshaw 1997–98
Michael Wynne
Gerrard Callacher
Daniel Bishop (later associate organist)
Shean Bowers 2004–06 (later assistant director of music at Bath Abbey)
Samuel Austin 2007–08 (later assistant director of music at Aldenham School)
Martyn Noble (2009–11)
James Speakman (2011-12)
Daniel Mansfield (2014 - 17)
Artists and sculptors
The high altar
In 1931, Scott asked Edward Carter Preston to produce a series of sculptures for Liverpool Cathedral. The project was an immense undertaking which occupied the artist for the next thirty years. The work for the cathedral included fifty sculptures, ten memorials and several reliefs. Many inscriptions in the cathedral were jointly written by Dean Dwelly and the sculptor who subsequently carved them.
In 1993 "The Welcoming Christ", a large bronze sculpture by Dame Elisabeth Frink, was installed over the outside of the west door of the cathedral.[63] This was one of her last completed works, installed within days of her death.[64]
In 2003 the Liverpool artist, Don McKinlay, who knew Carter Preston from his youth, was commissioned by the cathedral to model an infant Christ to accompany the 15th century Madonna by Giovanni della Robbia Madonna now situated in the Lady Chapel.[65]
In 2008 a work entitled "For You" by Tracey Emin was installed at the west end of cathedral the below the Benedicite window. The pink neon sign reads "I felt you and I knew you loved me", and was installed when Liverpool became European Capital of Culture. The work was originally intended to be a temporary installation for one month as part of the Capital of Culture programme, but is now a permanent feature.[63]
Another work by Emin, "The Roman Standard" takes the form of a small bronze sparrow on a metal pole, and was installed in 2005 outside the Oratory Chapel close to the west end of the cathedral.[66] The sparrow was stolen (twice) in 2008, but on both occasions was returned and replaced.[67]
Stained glass
The firm of James Powell and Sons (Whitefriars), Ltd., of London, provided most of the stained glass designs. John William Brown (1842–1928) designed the Te Deum window in the east end of the cathedral, as well as the original windows for the Lady Chapel, which was heavily damaged during German bombing raids in 1940. The glass in the Lady Chapel was replaced with designs, based on the originals, by James Humphries Hogan (1883–1948). He was one of the most prolific of the Powell and Sons designers; his designs can also be seen in the large north and south windows in the central space of the cathedral (each 100 feet tall). Later artists include William Wilson (1905–1972), who began his work at Liverpool Cathedral after the death of Hogan, Herbert Hendrie (1887–1946), and Carl Edwards (1914–1985), who designed the Benedicite window in the west front. The cathedral has approximately 1,700 m² of stained glass.[68]
Burials
Chavasse and Scott are buried in the precinct of the cathedral, the former in Founder's Plot, and the latter at the west end of the site.[69] Clergy buried within the cathedral include the bishops Albert David and David Sheppard. Among the benefactors whose remains are buried in the cathedral are William and Edmund Vestey and Frederick Radcliffe. The ashes of the donor of the cathedral bells, Thomas Bartlett are interred in a casket in the ringing room.[69] At the rear of the memorial to the 55th (West Lancashire) Infantry Division rest the ashes of Lieutenant-General Sir Hugh Jeudwine, who commanded the division from its formation in 1916 until the end of the First World War.[70]
All original. She was found in a closet in New England still in her Barbie box and had never been played with. Her hair is very shiny with her original ponytail curl still intact. These are her original earrings. Her body is numbered 44. She still has retained her peachy complexion.
Halle was my #6 custom way back from 2009. I gave her complete new makeover.
She's modeling a beautiful gift her mum gave mee!! <333
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Can anyone guess what this photo is inspired by? :)
Hello friends! Today I only have the time to upload the new series but I will return soon on your photo stream to see all the news! She is Ariel,a former ae Kogumaza Princess Queen of Cat and Deer. I like her crazy original hairstyle, but I think the golden blonde does not suit his complexion too much. Her face is amazing and i wanted to enhance her palette as much as possible,so i bought a wonderful wig for her from Margarita and I'm so happy about the result!! Thank you a lot again,Ri!!! <3<3<3
It is said that long ago the Greeks associated a green complexion with sickness, fear, jealousy and an overproduction of bile in stomach, which gives a clear image of the origination of the idiom "green with envy."
It is believed that William Shakespeare made this association popular in Othello: "Beware, my lord, of jealousy; it is the green-eyed monster which doth mock the meat it feeds on ..."
(Source: theidioms.com)
_FX65009fx
All Rights Reserved © 2020 Frederick Roll ~ fjroll.com
Please do not use this image without prior permission
for Robyn
Request for peachy complexion, eyeshadow that goes well with blue eyes and not to emphasize her teeth.
Theme: www.youtube.com/watch?v=P2PvzbFj2A8&index=15&list...
'Dottinous Foul, unlike previous years, donned an iridescent hair wave, and her complexion was fair, in her own gaunt way. She had grown in height, and learned a thing or two about life, it seemed, over those warm summer weeks, and in true loyal form stood the anxious and familiar mouse upon her shoulder, who all knew as Mold. It was Creepy Dot's last year at Hogwarts, where all things were going to change'
I thought I'd do a look of the day, so here's what Dot is wearing:
Blouse & Skirt: Mikunch
Cloak: Fateplay
Tie: Fateplay
Tights: *318*
Cases: Meli Imako
Hair: AD (Gardenia)
Eyebrows: Bossie. & Fruk Face Fuzz
Eyes: AG. (Blissful Sapphire)
A close-up look...The light blue color of this dress seemed to bring out my blue eyes and worked well with my complexion.
Shakespeare's sonnet 18
This dandelion shot is a reverse free lens capture taken on my old EOS M camera with a 15-45mm kit lens. Reversing it gives a macro capability.
My sonnet 18 album: flic.kr/s/aHsmWh2P5u
Like many before him Mr Panda as I call him hails from East London in the Eastern Cape province of South Africa.Many others from that area continue to arrive in Cape Town in a mostly futile search for work.
He lives under a bridge not far from the center of town.
This is what he told me.
The animals own the earth and god made him a beast.
When the bird comes to me he said,"I am a bird.
When the cat comes to me I am a cat and when the dog comes to me I am a dog.'
He also told me that he used to bathe in and drink the water in the moat around the old castle in the city center.All this time he didn't know that there was a fish who lived in the water.
He said he used to be much lighter of complexion but the fish made him a lot darker.
All in all a very interesting man.