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Created in the mid-to-late Nineteenth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Saint Bartholomew stained glass window may be found in Lady Chapel in the eastern transept of Christ Church Brunswick.
Saint Bartholomew was one of the twelve apostles of Jesus. He is purported too have taken two missions; one to India and the other to Armenia. It was in the latter that Saint Bartholomew was executed. According to popular hagiography, the apostle was flayed alive and beheaded. According to other accounts he was crucified upside down with his head downward like Saint Peter. He is often depicted holding a knife, however it seems that Victorian middle-class morals stepped in when the window as made, and rather than holding something so gruesome, he is shown simply holding a partially opened book.
This window was erected by James Grice, eldest son of pastoralist, businessman, philanthropist and churchman Richard Grice. Richard was born on October the 30th 1813 in Cumberland, England. The son of William Grice and his wife Sarah, née Parke. he was born into a family who ran a private family bank in Cumberland, built on generations of his family who had begun as farmers in the area before becoming successful businessmen in Cumberland. Richard attended Walker's School in Whitehaven, and gained farming experience on one of his family's properties. However, in his mid twenties, Richard felt that his future did not lie in England, so he set sail to Australia in 1839. He arrived at Adelaide in September 1839 with shepherds and a business partner named Benjamin Heape. They did not stay in Adelaide, and journeyed east to Melbourne where Richard and Benjamin set up an importing and exporting business. Richard decided to explore the idea of pastoral opportunities in the Western District where he successfully raised and bred sheep, going on to become one of the most successful pastoralists in Australia. He expanded his pastoral holdings into Queensland. In 1844 Richard married the daughter of James Hibberson, Anne Lavinia. In 1847 they did a Grand Tour of Europe and then settled in the affluent Melbourne suburb of Fitzroy. They had twelve children. Benjamin returned to England in 1852, so Richard entered into a partnership with Mr. T. J. Sumner, who had worked as a clerk within the original firm. Mr. Sumner's eldest daughter married Richard's son James, and the firm became known as Grice, Sumner & Co. The business flourished and by the mid 1870s the firm held vast grazing properties in Victoria, New South Wales, South Australia and Queensland. Richard died at his home in Fitzroy on November the 4th 1882, survived by his wife and by three sons and four daughters.
Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.
Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.
Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.
Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.
Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was St. George's Presbyterian Church in East St Kilda between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and St, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.
The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.
A newly-created AQIM Touareg brigade aims to control a large area of the Sahel.
كتيبة الطوارق الجديدة التي شكلها تنظيم القاعدة في المغرب الإسلامي تهدف إلى السيطرة على منطقة الساحل.
Une nouvelle brigade d'AQMI, dirigée par des Touaregs, a pour ambition de contrôler un vaste secteur du Sahel.
Views of the spire of the ruined church of St Andrew off Deansway in Worcester
This is above a college in Worcester.
This is all that is left of the medieval church of St Andrew in Worcester. It was demolished in 1949 after decline, disuse and decay. All that remains is this 15th century tower with its vaulted ceiling and fine series of 32 carved stone bosses.
The spire was created by local mason Nathaniel Wilkinson. It went up in the 1750s, to replace the smaller, wooden one destroyed by lightning in c.1730.
It is a Grade II* listed building.
Also known as: St Andrew's Tower COPENHAGEN STREET. Also known as: St Andrew's Church Tower ST ANDREW'S GARDENS. Church tower. C15 with spire rebuilt in 1751 by Nathaniel Wilkinson, a journey-man of Worcester. Limestone ashlar. 3-stage Perpendicular tower with slim, recessed, octagonal Gothick spire. Chamfered plinth. Diagonal off-set buttresses to first and second stages, those to first stage have engaged columnettes, with clasping pilasters to third stage. Pointed arches to east, north and south with Perpendicular moulding. 5-light pointed west window. First-stage band. To second stage a 2-light pointed window with Perpendicular tracery to head; second stage band. Third stage has 2-light pointed belfry window. Spire has one level of 2-light, then single light lucarnes. Surmounted by Corinthian capital. INTERIOR: lierne-vault over lower stage, to the east the springers of the first bay of the arcades. To south-west angle a plank door in ogeed surround. HISTORICAL NOTE: the medieval, probably C12 church was demolished after war damage. It now stands in a public garden, opened 1953 to commemorate the coronation of Elizabeth II. The original top of the spire stands in the same garden. The spire is locally known as "The Glover's Needle" due to its shape and to Worcester's association with the glove-making industry. A significant streetscape feature, forming an important landmark. It forms part of the visual context for Worcester Cathedral (qv) from the River Severn, together with Worcester Bridge, Bridge Street (qv), Gascoyne House, Brown's Restaurant and Bond House, South Quay (qqv) and grouping with Merchant's House, Quay Street (qv). NMR photographs. (The Buildings of England: Pevsner: N: Worcestershire: Harmondsworth: 1968-1985: 317-8).
Spire of Saint Andrew's Church, Worcester - Heritage Gateway
The Glover's Needle (or St Andrews Spire) is a spire-carrying tower in the city of Worcester, England.
The tower is a prominent landmark of the city, from road, rail, or the River Severn, and can be seen for miles around. It is located in St Andrews Gardens close to Worcester College of Technology. The spire used to crown the church of St Andrew but this was demolished in the late 1940s. The Glover's Needle is seated on Deansway Road, Worcester Cathedral being very close to the south and All Saints Church to the north. On the western side of the spire the pedestrian can descend into gardens that lead onto the River Severn. Across the road from the Glover's Needle is a "House of Fraser" shop which stands on the site of the old graveyard of St Andrews. At night the spire is illuminated (but not the tower below) and a blue glow is projected from inside one of the windows. The blue represents St Andrew, the colour of the Scottish flag. The blue glow and night lighting were paid for by the Rotary Club of Worcester Severn, to commemorate the millennium in 2000.
In the 15th century, Saxons built a church (called St. Andrews Church) with a tall spire but this was destroyed in a great storm of 1733. Shortly after this disaster, the spire was rebuilt. It was constructed by using the ingenious method of kite flying to carry up the stones. Worcester people took the new masterpiece to their hearts and named it the 'Glover's Needle'. This name came from the industrial glove making that was executed in Worcester. The entire structure measures approximately 245 feet. It is the tallest spire in the country to have such a narrow angle of taper. In the 1920s the slum housing which crowded round the church was demolished. The congregation of the church was thus reduced by a large degree. The church fell into decay, had an overgrown churchyard, few parishioners and a tiny parish of five acres. In the 1940s, the council accepted the Bishop of Worcester's offer of the church. They decided to demolish the church and create a garden of remembrance to replace it. However the council decided to leave the tower and spire, freestanding. Thus St Andrew's church was demolished in 1949.
As a millennium project, a clock was installed in the tower and now the hours are struck on the council bell. A recently reinstated custom is to have the council bell strike from 18:45 to 18:50 before a full meeting of the council. In the early 2000s a fence was put around the base of the spire. A few years ago, the RSPB has taken the Glover's Needle into their own hands and the actual spire is now used for special birds of prey for roosting. Live web cams have been installed in the tower.
The Glover's Needle formerly housed a set of five bells.[citation needed] These were hung full circle for proper English style change ringing. In 1870, four of the bells were sold but the tenor (heaviest bell) was retained in the old bell frame. This bell weighs 20 CWT — 1 ton. This is the so-called council bell mentioned above. It is unlikely that the Glover's Needle could sustain a ring of bells today as there is no church to buttress the swaying tower.
"CREATE" (originally "CREATE HOPE") buffed over by the forces of anti-creativity. This is next to the park where fnnch did his first stenciling.
(This photo was very popular on the Hipstamatic site and made their "Top Nine" of the week.)
(for further pictures and information please go to the end of page and by clicking on the link my modest promises will be fulfilled!)
Parliament building
The original intention was to build two separate buildings for the Imperial Council and the House of Representatives of the by the February Patent 1861 established Reichsrat (Imperial Council). After the Compromise with Hungary, however, this plan was dropped and in the year 1869 the architect Theophil von Hansen by the Ministry of the Interior entrusted with the elaboration of the monumental project for a large parliament building. The first cut of the spade followed in June 1874, the foundation stone bears the date "2nd September 1874". At the same time was worked on the erection of the imperial museums, the Town Hall and the University. Theophil Hansen took - as already mentioned - well thought out and in a very meaningful way the style of the Viennese parliament building from ancient Greece; stem important constitutional terms but also from the Greek antiquity - such as "politics", "democracy" and others. Symbolic meaning had also that from nearly all crown lands of the monarchy materials have been used for the construction of the parliament building. Thus, the structure should symbolize the confluence of all the forces "of the in the in the Reichsrat represented kingdoms and countries" in the Vienna parliament building. With the downfall of the Austro-Hungarian monarchy ended the era of the multinational Parliament in Vienna.
Since November 1918, the building is the seat of the parliamentary bodies of the Republic of Austria, first the National Assembly and later the National Council in the until its destruction in 1945 remained unchanged session hall of the former Imperial Council holding meetings. During the Second World War, the parliament building was severely affected, about half of the building fabric were destroyed. On 7th February 1945 the portico by bombing suffered serious damage. Two columns were totally destroyed, the edge ceiling construction with the richly gilded coffered ceiling and a magnificent frieze painting, which was 121 meters long and 2 meters high and the most ideal and economic roles of the Parliament representing allegorically, were seriously damaged. During reconstruction, the rebuilding did not occur in the originally from Hansen originating features: instead of Pavonazzo marble for the wall plate cover Salzburg marble was used. The frieze painting initially not could be recovered, only in the 90s it should be possible to restore single surviving parts. In addition to destructions in the Chancellery Wing at the Ring Road as well as in the portico especially the Imperial Council tract was severely affected by the effects of war. The meeting room of the Imperial Council was completely burned out, in particular the figural jewelry as well as the ruined marble statues of Lycurgus, Solon, Themistocles, Aristides, Sophocles, Socrates, Pericles and Demosthenes appearing hardly recoverable. In this circumstances, it was decided not to reconstruct the old Imperial Council hall, but a new hall with a businesslike but refined and convenient furnishing for the National Council of the Republic of Austria to build. During the reconstruction of the building in the years 1945 to 1956 efforts were also made the yet by Hansen envisaged technical independence further to develop and to perfect. Thus the parliament building now has an emergency generator, which ensures, any time, adequate electricity supply of the house in case of failure of the city network, and a variety of other technical facilities, which guarantee a high supply autonomy. Not only from basic considerations in the sense of seperation of powers but also from the possibility of an extraordinary emergency, is this a compelling need. National Council and the Federal Council as the elected representative bodies of the Austrian people must at all times - especially in case of disaster - the material conditions for their activity have guaranteed. This purpose serve the mentioned facilities and many others, sometimes very complicated ones and the persons entrusted with their maintenance. To the staff of the Parliamentary Administration therefore belong not only academics, stenographers, administrators, secretaries and officials of the room service as in each parliament, but also the with the maintenance of the infrastructure of the parliament building entrusted technicians and skilled workers.
Analogous to other parliaments was for years, even decades tried to acquire or to rent one or the other object near the Parliament building. Finally one was able in 1981 to start with a basic conversion or expansion of the house Reichsratsstrasse 9 under planning by the architect Prof. Dr. Sepp Stein, in this connection was given the order the parliament building through a tunnel with the house in the Reichsratsstrasse to connect. With this tunnel not only a connection for pedestrians should be established, but also a technical integration of the two houses. In the basement of the building in which in early 1985 could be moved in, confluences the road tunnel; furthermore it serves the accommodation of technical rooms as well as of the storage, preparation and staff rooms for a restauration, a main kitchen and a restaurant for about 130 people are housed on the ground floor. On the first floor are located dining rooms for about 110 people; workrooms for MPs are in the second, offices in the third to the sixth floor housed. Ten years after the house Reichsratsstrasse 9 another building could be purchased, the house Reichsratsstrasse 1, and, again under the planning leadership of architect Prof. Dr. Sepp Stein, adapted for the purposes of the Parliament. This house also through an in the basement joining under road tunnel with the Parliament building was connected. The basement houses storage rooms, the ground floor next to an "info-shop" where information materials concerning the Austrian Parlament can be obtained, the Parliament Post Office and the printery. In the six upper floors are offices and other work spaces for different departments of the Parliamentary Administration. The previously by these departments used rooms in the Parliament building were, after it was moved into the house Reichsratsstrasse in 1994, mostly the parliamentary clubs made available. Already in 1992 by the rental of rooms in a building in the Schenkenstraße for the parliamentary staff of the deputies office premises had been created.
Pallas Athene
Parliament Vienna
The 5.5 meter high monumental statue of Pallas Athena in front of the parliament building in Vienna gives not only the outside appearance of this building a striking sculptural accent, but has almost become a symbolic figure of the Austrian parliamentarism. The Danish architect Theophil Hansen, according to which draft in the years 1874-1884 the parliament building has been built, has designed this as a "work of art (Gesamtkunstwerk)"; thus, his planning also including the figural decoration of the building. The in front of the Parliament ramp to be built monumental fountain should according to Hansen's original planning be crowned of an allegoric representation of the Austria, that is, a symbolization of Austria. In the definitive, in 1878 by Hansen submitted figure program took its place Pallas Athena, the Greek goddess of wisdom. The monumental statue was realized only after Hansen's death, but according to his design by sculptor Carl Kundmann in 1902.
Meeting room of the former House of Representatives
The meeting room of the former House of Representatives is largely preserved faithfully and now serves the meetings of the Federal Assembly as well as ceremonies and commemorative meetings of the National Council and the Federal Council. Architecturally, the hall is modeled on a Greek theater. Before the end wall is the presidium with the lectern and the Government Bench, in the semicircle the seats of the deputies are arranged. The from Carrara marble carved statues on the front wall - between the of Unterberger marble manufactured columns and pilasters - represent Roman statesmen, the by Friedrich Eisenmenger realised frieze painting depicts the emergence of political life, and the pediment group above it should symbolize the daily routine.
Portico
The large portico, in its proportions recreating the Parthenon of the Acropolis of Athens, forms the central chamber of the parliament building and should according to the original intention serve as a meeting place between members of the House of Representatives and of the Imperial Council. Today it functions as a venue, such as for the annual reception of the President of the National Council and the President of the Federal Council for the Diplomatic Corps. When choosing materials for the parliament building, Theophil Hansen strove to use marbles and stones from the crown lands of the monarchy, thus expressing their attachment to their Parliament. For example, consist the 24 monolithic, that is, produced from one-piece, columns, each more than 16 tons of weight, of the great hypostyle hall of Adnet marble, the floor panels of Istrian karst marble. When in the last months of the Second World War the Parliament building was severely affected by bomb hits, also the portico suffered severe damage, and the two columns in the north-west corner of the hall were destroyed, the edge ceiling construction with the richly gilded coffered ceiling and below the ceiling running frieze painting by Eduard Lebiedzki have been severely damaged. The two destroyed columns in 1950 were replaced by two new ones, broken from the same quarry as the originals, but not exhibiting the same pattern. The parts of the Lebiedzki frieze which have been restorable only in the 90s could be restored.
20 satin or silk or cotton double layer open front smocked with hand embroidery on the 2nd layer frame with lace on outer layer
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Zoos create so many mixed emotions. For some, the idea of caging animals is barbaric. For others, it allows people to get close to animals and develop a great love and appreciation of animals, which should carry on in creating a better world for nature to thrive.
This baboon is one of the residents of the Killman Zoo in Caledon Ontario. The animals are well cared for and inquisitive. This one kept a close watch on the old guy trying out his new Tamron 150-600mm lens.
I posted a different version of this back in the summer. I pulled it into Lightroom 5 to tweak things a bit, and am much happier with the result.
Created in 1863 as a memorial to Edmund William Johnson Bardin by Melbourne stained glass manufacturer Ferguson and Urie, the Holy Family stained glass window may be found at the north end of the nave, to the right of the ornate baptismal font. The window has a pair on the left. The window depicts the Holy Family. In the foreground, Mary holds Jesus in her lap. To the right stands Mary's pot with the letter M monogrammed upon it, from which springs the Annunciation lily, which represents Mary's purity. Behind them in the mid ground, Joseph sits in prayer looking sombre, perhaps as a result of his dream where an angel told him to flee to Egypt with his family to protect Jesus from King Herod's murderous plans.
Edmund William Johnson Bardin died on the 17th of August 1863 according to the beautiful brass plaque below the Holy Family window dedicated to him. Interestingly enough, whilst he died in Brunswick, he appears not to have been a member of the congregation. Records from the Londonderry Sentinel indicate that he was from Emerald Downs in Queenland. Edmund Bardin was the youngest son of the Reverend Charles Bardin (who was for many years the Rector of Derryloran, Cookstown, Diocese of Armagh in Ireland) and his wife Julia Helena Hodgkinson. His brother Alfred Thackeray Purdon Bardin has a memorial window next to him of the presentation of Jesus at the Temple on the opposite side of the baptismal font in Christ Church, Brunswick.
Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.
Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.
Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.
Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.
Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was St. George's Presbyterian Church in East St Kilda between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and St, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.
The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.
Created a couple of drawings of ladies with scarves to see how my new seamless pattern style will look on fabricwith my vector seamless pattern ... What do you think? :)
Read more on my blog!
Historical figures created by artist/historian George S. Stuart displayed at the Ojai Valley Museum in Ojai, California.
Gamma Phi Beta of University of Rochester NY; Team Building & Leadership day.
•Supply Sisters with tools and techniques for problem solving on the individual level and team level.
•Supply Sisters with tools and techniques for working with and leading a team of peers.
•Allow for new sisters and existing sisters to create new friendships
•Strengthen the Gamma Phi Beta community
•Supply all Sisters feeling of belonging and shared memories
Chesterfield County Science Teacher and High Bridge Trail State Park volunteer, Michael Stange explains plant life along the trail
jlw
Michael spent the day with University of Rochester. Outcomes from our time
• Increased team work
• Developed a process to strengthen communication within and between departments
• Developed a process to strengthen collaboration (information sharing, best practices) within and between departments.
• Respect for the experience, diversity and talents of team members and departments
• Fun and build the team.
Looking for team building & Leadership? Contact mike@create-learning.com - Call 1.716.629.3678
Created in the mid-to-late Nineteenth Century by Melbourne stained glass manufacturer Ferguson and Urie, the Saint Barnabas stained glass window may be found in the western transept of Christ Church Brunswick above the 1972 Roger H. Pogson organ built of cedar with tin piping. It is the most inaccessible window in the church proper, and can only be seen from the Lady Chapel in the eastern transept.
Saint Barnabas was an early convert to Christianity and is known as one of the more prominent disciples of Christianity in Jerusalem. Saint Barnabas was purportedly martyred either by stoning or less probably was bound with a rope by the neck, and then dragged only to the site where he was burned to death. Regardless of the form of his martyrdom, it is agreed that happened in Salamis in Cyprus. In Saint Barnabas' left hand he holds a scroll on which is written words from the Gospel of Matthew in Greek.
This window was erected by James Grice, eldest son of pastoralist, businessman, philanthropist and churchman Richard Grice. Richard was born on October the 30th 1813 in Cumberland, England. The son of William Grice and his wife Sarah, née Parke. he was born into a family who ran a private family bank in Cumberland, built on generations of his family who had begun as farmers in the area before becoming successful businessmen in Cumberland. Richard attended Walker's School in Whitehaven, and gained farming experience on one of his family's properties. However, in his mid twenties, Richard felt that his future did not lie in England, so he set sail to Australia in 1839. He arrived at Adelaide in September 1839 with shepherds and a business partner named Benjamin Heape. They did not stay in Adelaide, and journeyed east to Melbourne where Richard and Benjamin set up an importing and exporting business. Richard decided to explore the idea of pastoral opportunities in the Western District where he successfully raised and bred sheep, going on to become one of the most successful pastoralists in Australia. He expanded his pastoral holdings into Queensland. In 1844 Richard married the daughter of James Hibberson, Anne Lavinia. In 1847 they did a Grand Tour of Europe and then settled in the affluent Melbourne suburb of Fitzroy. They had twelve children. Benjamin returned to England in 1852, so Richard entered into a partnership with Mr. T. J. Sumner, who had worked as a clerk within the original firm. Mr. Sumner's eldest daughter married Richard's son James, and the firm became known as Grice, Sumner & Co. The business flourished and by the mid 1870s the firm held vast grazing properties in Victoria, New South Wales, South Australia and Queensland. Richard died at his home in Fitzroy on November the 4th 1882, survived by his wife and by three sons and four daughters.
Christ Church, built almost on the corner of Glenlyon Road and Brunswick Street in Brunswick, is a picturesque slice of Italy in inner city Melbourne. With its elegant proportions, warm yellow stuccoed facade and stylish Romanesque campanile, the church would not look out of place sitting atop a rise in Tuscany, or being the centre of an old walled town. This idea is further enhanced when the single bell rings from the campanile, calling worshipers to prayer.
Christ Church has been constructed in a cruciform plan with a detached campanile. Although not originally intended as such, at its completion, the church became an excellent example of "Villa Rustica" architecture in Australia. Like other churches around the inner city during the boom and bust eras of the mid Nineteenth Century as Melbourne became an established city, the building was built in stages between 1857 and 1875 as money became available to extend and better what was already in existence. Christ Church was dedicated in 1857 when the nave, designed by architects Purchas and Swyer, was completed. The transepts, chancel and vestry were completed between 1863 and 1864 to the designs created by the architects' firm Smith and Watts. The Romanesque style campanile was also designed by Smith and Watts and it completed between 1870 and 1871. A third architect, Frederick Wyatt, was employed to design the apse which was completed in 1875.
Built in Italianate style with overture characteristics of classical Italian country house designs, Christ Church is one of the few examples of what has been coined "Villa Rustica" architecture in Victoria.
Slipping through the front door at the bottom of the campanile, the rich smell of incense from mass envelops visitors. As soon as the double doors which lead into the church proper close behind you, the church provides a quiet refuge from the busy intersection of Glenlyon Road and Brunswick Street outside, and it is quite easy to forget that cars and trams pass by just a few metres away. Walking up the aisle of the nave of Christ Church, light pours over the original wooden pews with their hand embroidered cushions through sets of luminescent stained glass windows by Melbourne manufacturers, Ferguson and Urie, Mathieson and Gibson and Brooks Robinson and Company. A set of fourteen windows from the mid-to-late Nineteenth Century by Ferguson and Urie depicting different saints are especially beautiful, filled with painted glass panes which are as vivid now as when they were created more than one hundred years ago. The floors are still the original dark, richly polished boards that generations of worshipers have walked over since they were first laid. The east transept houses the Lady Chapel, whilst the west transept is consumed by the magnificent 1972 Roger H. Pogson organ built of cedar with tin piping. This replaced the original 1889 Alfred Fuller organ. Beautifully executed carved rood figures watch over the chancel from high, perhaps admiring the marble altar.
Albert Purchas, born in 1825 in Chepstow, Monmouthshire, Wales, was a prominent Nineteenth Century architect who achieved great success for himself in Melbourne. Born to parents Robert Whittlesey Purchas and Marianne Guyon, he migrated to Australia in 1851 to establish himself in the then quickly expanding city of Melbourne, where he set up a small architect's firm in Little Collins Street. He also offered surveying services. His first major building was constructing the mansion "Berkeley Hall" in St Kilda on Princes Street in 1854. The house still exists today. Two years after migrating, Albert designed the layout of the Melbourne General Cemetery in Carlton. It was the first "garden cemetery" in Victoria, and his curvilinear design is still in existence, unaltered, today. In 1854, Albert married Eliza Anne Sawyer (1825 - 1869) in St Kilda. The couple had ten children over their marriage, including a son, Robert, who followed in his father's footsteps as an architect. Albert's brother-in-law, Charles Sawyer joined him in the partnership of Purchas and Sawyer, which existed from 1856 until 1862 in Queens Street. The firm produced more than 140 houses, churches, offices and cemetery buildings including: the nave and transepts of Christ Church St Kilda between 1854 and 1857, "Glenara Homestead"in Bulla in 1857, the Melbourne Savings Bank on the corner of Flinders Lane and Market Street (now demolished) between 1857 and 1858, the Geelong branch of the Bank of Australasia in Malop Street between 1859 and 1860, and Beck's Imperial Hotel in Castlemaine in 1861. When the firm broke up, Albert returned to Little Collins Street, and the best known building he designed during this period was St. George's Presbyterian Church in East St Kilda between 1877 and 1880. The church's tall polychomatic brick bell tower is still a local landmark, even in the times of high rise architecture and development, and St, George's itself is said to be one of his most striking church designs. Socially, Albert was vice president of the Royal Victorian Institute of Architects for many years, before becoming president in 1887. He was also an inventor and philanthropist. Albert died in 1909 at his home in Kew, a wealthy widower and much loved father.
The stained glass firm of Ferguson and Urie was established by Scots James Ferguson (1818 – 1894), James Urie (1828 – 1890) and John Lamb Lyon (1836 – 1916). They were the first known makers of stained glass in Australia. Until the early 1860s, window glass in Melbourne had been clear or plain coloured, and nearly all was imported, but new churches and elaborate buildings created a demand for pictorial windows. The three Scotsmen set up Ferguson and Urie in 1862 and the business thrived until 1899, when it ceased operation, with only John Lamb Lyon left alive. Ferguson and Urie was the most successful Nineteenth Century Australian stained glass window making company. Among their earliest works were a Shakespeare window for the Haymarket Theatre in Bourke Street, a memorial window to Prince Albert in Holy Trinity, Kew, and a set of Apostles for the West Melbourne Presbyterian Church. Their palatial Gothic Revival office building stood at 283 Collins Street from 1875. Ironically, their last major commission, a window depicting “labour”, was installed in the old Melbourne Stock Exchange in Collins Street in 1893 on the eve of the bank crash. Their windows can be found throughout the older suburbs of Melbourne and across provincial Victoria.
Created by Ama Ryllis of Ohoh Blog.
Blogged: www.allthingspaper.net/2013/10/diy-paper-lighting-ohoh-bl...
I'm holding one of the amazing figures created by Nele Azevedo as part of the Minimum Monumnet art installation Custom House steps, Belfast - 20 Oct 2012 as I place it it begins to melt and part of the water dripping down the steps making this art installation purely transitory as it brings ot mind the victims of Titanic who died after the ship hit an ice berg !
Falmouth is a town, civil parish and port on the River Fal on the south coast of Cornwall, England, United Kingdom.
Falmouth was the site where Henry VIII built Pendennis Castle to defend Carrick Roads, in 1540. The main town of the district was then at Penryn. Sir John Killigrew created the town of Falmouth shortly after 1613.
While Falmouth's maritime activity has much declined from its heyday, the docks are still a major contributor to the town's economy. It is the largest port in Cornwall. Falmouth is still a cargo port and the bunkering of vessels and the transfer of cargoes also keep the port's facilities busy. The port is also popular with cruise ship operators.
I recommend not using the green 12-AA battery pack it ships with. Get a standard yellow Roomba battery pack and a standard Roomba charger to go with it.
If you're going to use the 12 AA battery holder, use high capacity AA cells. Something with at least 2000 mAh. The Create is not a walkman, it draws a lot of power. The Create manual suggests using alkaline batteries, but that's pretty wasteful because they're not rechargeable. The standard yellow pack uses 12 3000mAh subC NiMH cells, which means you should be able to use NiMh AA cells (like the ones from SparkFun). You shouldn't use the Create to charge them though, because the green battery pack is missing the temperature sensor lead needed to properly charge the pack. Instead get a separate AA charger like this one.
Of course, at $2 per AA cell and $20 for a charger, you still need to invest $2*12 + $20 = $44 more in the Create to get it running in a sustainable way. It is cheaper than a Roomba yellow battery pack ($60) and its accompanying charger ($40) but it's much more of a hassle to shuffle around AAs.