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Earth Designs Garden Design and Build were asked to created a landscape and propose garden design in Shenfield, Chingford*. Here are the details of the project
The Family Garden in Shenfield, Chingford E4 6DB
This design seeks to improve the usability and appearance of this large family garden without fundamentally altering the layout of the space. Emphasis has been placed on entertaining opportunities, making use of terracing and platforms to combat the slope in the main section of the garden.
The existing paving on the upper terrace adjoining the house will be removed. To the right of the conservatory, and continuing along the sideway to the gate, the paving will be replaced with stylish and elegant Travertine tiles in a formal, ‘grid’ pattern.
This flooring will continue down the existing steps to the main garden and terminate in a small section of Travertine in front of the existing toilet building. The exposed face of the terrace front wall will be rendered and painted white.
To the left of the conservatory the paving will be replaced with a large decked patio, laid with attractive and durable Yellow Balau hardwood timber boards. This patio will extend out into the garden beyond the existing terrace and will feature two decorative inlays of Travertine paving.
Long, deep terraced steps will allow access to the lower garden, leading to a circular lawn in the centre of the space and a long Travertine pathway edged with decking running down the left-hand side of the garden.
The pathway will dog-leg to the right between two low rendered block raised beds and continue across the rear of the garden to terminate in a raised deck platform in the bottom right corner. This platform will be backed by a high L-shaped raised bed, constructed from concrete block, rendered and painted. The decked platform will benefit from an L-shaped ‘suspended’ bench seat, constructed from sturdy new railway sleepers and fixed to the front of the raised bed, plus a railway sleeper table and four railway sleeper cube stools. Terraced steps will lead from the platform to the lawn below. A second pathway, comprised of metre square decking ‘stepping stones’ set within a cobble path, will lead the user back up the right hand side of the garden to the paving adjoining the outside toilet block.
Planting will provide year-round interest with architectural evergreen shrubs and decorative perennial flowers to contrast with the green backdrop provided by the surrounding conifers. A bespoke trellis, constructed from a series of stainless steel tension wires installed vertically between timber posts on the boundary wall down the left hand sideway, will provide an anchor for a variety of climbers.
If you dig this and would like to find out more about this or any of other of our designs, please stop by our web-site and have a look at our work.
Earth Designs is a bespoke London Garden Design and build company specialising in classic, funky and urban contemporary garden design.
Our Landscape and Garden build teams cover London, Essex and parts of South East England, while garden designs are available nationwide.
Please visit www.earthdesigns.co.uk to see our full portfolio. If you would like a garden designer in London or have an idea of what you wan and are looking for a landscaper London to come and visit your garden, please get in touch.
Follow our Bespoke Garden Design and Build and Blog to see what we get up to week by week, our free design clinic as well as tips and products we recommend for your garden projects www.earthdesigns.co.uk/blog/.
Earth Designs is located in East London, but has built gardens in Essex, Hertfordshire and all over the South East. Earth Designs was formed by Katrina Wells in Spring 2003 and has since gone from strength to strength to develop a considerable portfolio of garden projects. Katrina, who is our Senior Garden Designer, has travelled all over the UK designing gardens. However we can design worldwide either through our postal garden design service or by consultation with our senior garden designer. Recent worldwide projects have included garden designs in Romania. Katrina’s husband. Matt, heads up the build side of the company, creating a unique service for all our clients.
If you a not a UK resident, but would like an Earth Designs garden, Earth Designs has a worldwide design service through our Garden Design Postal Design Vouchers. If you are looking for an unique birthday present or original anniversary present and would like to buy one of our Garden Design Gift Vouchers for yourself or as a present please our sister site www.gardenpresents.co.uk. We do also design outside of the UK, please contact us for details.
Once again, will try up photos w/ less known emphasis such as refs, back sides & things left out/uncommonly seen all from OUSA2013
Heres whats coming:
- Stuff I've folded there
US:
Paytons angry fish
Will's Wooly Mammoth (diagrammed in)
Michelle's Awareness Ribbon Angel (diagonal box pleated)
Seths hawk (2013 pattern buffet class)
Seths bear
ku's intemediate dragon
Kus bicycle ver 2013 pattern (partial diagram: future book/tant mag)
Chad's wolf mask
Sam's frog base crane
Matt Labone's chinese dragon (pattern inspired by ryu-zin ver 1)
Montrolls spider (2013) (in upcoming insects book)
Russels Kaleidoscopic Square
Tom Hulls Iso area thing 2013
Zingers octagonal tess
and updated my star tess
Japan
Erika's Ribbon cat (hello kitty head)
Morisue's boba fett (helmet)
storm trooper (pattern)
and just the ref for kei's kingfisher. Would guess its 250+ stepper (diagram likely in future tantedan bookmag)
Yada's samurai holding kitana (pattern)
Yadas napkin box (diagrammed in older tantedan)
would Yadas: Lynd Burm (european dragon) but too many missing crease;
his wizard/druid is nice but not up to doing 54th grid.
Other: Konrads hydrangea variation lecture
- In progress/to finish fold: Ku's Bike (diagrammed in tantedan)
- Few notes of Seth's crease pattern class and Konrad's hydangea lecture
- Photos 2013 less known emphasis such as OBC (young folders)/and models miss exhibit
Finally adding regular ousa2013 exhibit (+ backs & underneath):
One of the most revolutionary and popular Ferarri's of all time, the 355 was a force to be rekoned with in the sports world, and has often been credited as one of the best handling sports cars in the world.
The Ferrari F355 (Type F129) began production in 1994 as an ongoing development of the Ferrari 348 it replaced. The car is mid-engined for ideal weight distribution with rear wheel drive transmission. The 5V DOHC Tipo F129B & Tipo F129C V8-powered car came with the option of either a two-seat coupe, a targa, or a convertible Spider. Design emphasis for the F355 was placed on significantly improved performance, as well as drivability across a wider range of speeds and in different environments, primarily low-speed, stop/start city traffic.
Apart from the displacement increase from 3.4 to 3.5 L, the major difference between the V8 engine in the 348 and F355 is the introduction of a 5-valve cylinder head. This new head design allowed for better intake permeability and resulted in an engine that was considerably more powerful, producing 375hp.
The car is built on a steel frame monocoque with tubular steel rear sub-frame, with front and rear suspensions using independent, unequal-length wishbones, coil springs over gas-filled telescopic shock absorbers with electronic control servos and anti-roll bars. The car allows selection between two damper settings, "Comfort" and "Sport". Ferrari fitted all road-going F355 models with Pirelli tires, size 225/40ZR 18 in front and 265/40 ZR 18 in the rear.
Although the F355 was equipped with power-assisted steering for the purpose of improving city and low speed driving in relation to the previous 348, which could optionally be replaced with a manual steering rack setup by special order.
Aerodynamic designs for the car included over 1,300 hours of wind tunnel analysis. The car incorporates a Nolder profile on the upper portion of the tail, and a fairing on the underbody that generates negative lift when the car is at speed.
The car's standard seats are upholstered with hides from Connolly Leather, and are fitted asymmetrically in the car; this results in the driver being slightly closer to the car's center line than the passenger.
At launch, two models were available: the coupe Berlinetta priced at £78,000, and the targa topped GTS. The Spider version, priced at £82,500, was introduced in 1995, with cars taking around 3 months to build. In 1997 the Formula One style paddle gear shift electrohydraulic manual transmission was introduced with the Ferrari 355 F1, which added £6,000 to the dealer asking price. The F355 was the last in the series of mid-engined Ferraris with the Flying Buttress rear window, with lineage going back to the 1965 Dino 206 GT, unveiled at the Paris Auto Show.
This particular model is one of the earliest of the Berlinetta versions, introduced in May 1994 as the first in a successful series of F355 models. Initially, the 6-speed manual was the only transmission available. However, in 1997, the Berlinetta was the first ever road car to be equipped with the innovative F1-style gearbox management system. Derived directly from Formula 1, where it made its début in 1989 winning the Brazilian Grand Prix, the electro-hydraulic system was operated by paddles behind the steering wheel using the F355’s conventional 6-speed manual gearbox. The new transmission guaranteed faster gear changes, with the additional advantage that both the driver’s hands could stay on the wheel at all times.
Ferrari produced 4,871 road-going Berlinetta models during the entire production run, of which 3,829 were 6-speed and 1,042 were F1 transmissions.
Eventually the car was replaced by the Ferrari 360 in 1999, taking the design and making it generally more rounded like many manufacturers were doing at the time in the run up to the Millennium. In total, 11,273 F355's were produced, and are amongst the most common Ferrari's on the road today, with some making notable appearances in both films and celebrity ownership.
One of these cars appears in the 1995 James Bond film Goldeneye, challenging 007's Aston Martin DB5 to a skirmish race down the winding Monte Carlo roads (although the more eagle-eye car critic viewer types like myself would be quick to point out that the comparatively slow and lumbering DB5 would be less than a match against the F355 and it's world renowned handling. Sort of like putting a Gee-Whizz up against and F1 Car, it's just not going to happen!)
One of the more notable owners however is the continually controversial Jeremy Clarkson, who bought a new F355 F1 series in 1997 and then proceeded to laud the car on Top Gear and on his own series of shows, later dubbing it the 'Greatest Car ever made ever', before turning that around a few years later and saying the Jaguar E-Type was the best car ever made ever...
I took this shot in a dark room with a narrow flash hovering over my toy. I had to shoot on manual and use a 30 second shutter speed to avoid using the flash and over exposing my photo. Fortunately, because of the lighting and the drastic effect that the light already creates, no editing had to be done. The flash had no cover and was triggered by my camera.
©Jeremy Photography 2013
Single RAW Exposure
Taken with Olympus E-PL 6
Artist: Ju Ming
Patron: funded by TIBS, for Singapore National Museum centennial celebrations
'With the growing emphasis on the arts and culture in Singapore, TIBS decided to take on a project that would promote appreciation of the arts. In 1987, it helped the National Museum acquire the sculpture, 'The Living World' by Ju Ming, in conjunction with the Museum's centennial celebrations.
A fund-raising campaign with the theme, 'Trans-Island and Supporters of the Arts' was drawn up to encourage mass participation. TIBS subsequently received the PRISM award (Public Relations in the Service of Mankind) for this contribution to the community.'
The history of Allinson
The story begins with a Victorian doctor named Thomas Richard Allinson. Born in 1858 near Manchester, he qualified in medicine at the age of just 21.
From the start he took a keen interest in nutrition and, only a few years into his career, adopted Naturopathy. This form of medicine avoids drugs and encourages the consumption of natural foods. His ideas also became known as ‘hygienic’ or ‘Allinsonian’ medicine.
Dr Allinson went on to establish a practice in London, through which he promoted healthy eating. He placed particular emphasis on vegetarianism and the benefits of wholemeal flour in bread.
However, in those days such views were extremely radical and were to set him on a collision course with the medical establishment. The Royal College of Physicians doubted his theories and resented his publicising them. In 1892 matters came to a head and he was struck off the medical register. But he wouldn’t let that stop him pursuing his interest. After all, he didn’t need to be a doctor to make bread.
Ever since the industrial revolution nearly all flour was produced using roller mills. This refined the flour to such a degree that valuable nutrients and fibre were lost. Convinced of the value of whole wheat, Allinson purchased his own stone-grinding flour mill in Bethnal Green, London. He then set up The Natural Food Company under the slogan ‘Health without medicine’, and began baking bread his way.
The Allinson brand
The nutritional value of wholemeal bread was finally accepted by the Government during the First World War, when Allinson was in his 50s. He was even offered reinstatement to the General Medical Council. However he turned it down. After all, he’d found a new outlet for his ideas on nutrition.
With official acceptance that wholemeal was good for the nation’s health, demand for Allinson’s flours increased dramatically, and his company continued to expand after his death in 1918. Further Allinson flour mills were soon opened in Newport, Monmouthshire and Castleford, Yorkshire.
His legacy, the Allinson brand, became a byword for wholesome high-quality flour, which in turn produces wholesome, tasty and nutritious bread. This still remains so to this day.From The Times
August 2, 2008
Kevin McCloud’s big town plan for Castleford
Kevin McCloud’s latest grand design is to inject new life into the town of Castleford. Our correspondents assesses the results
Tom Dyckhoff
We thought ’old on, they’ll come with their TV cameras and MDF messing the place up. Well no, you’re not, and that’s that.” Rheta Davison wasn’t, at first, looking forward to the arrival of Kevin McCloud. Reality TV hasn’t had the best press, so when Channel 4 and Talkback, the makers of McCloud’s hit TV series Grand Designs, turned up in 2003 to film the regeneration of Davison’s home town of Castleford, West Yorkshire, a run-down former coal-mining town, you could forgive locals for being a tad sceptical.
Davison, a no-nonsense, call-a-spade-a-spade lady of the kind only Yorkshire produces, has lived here all her life. She now runs her estate’s community group. “You’ve got to remember Cas has been promised things time and again,” she explains. “We’ve all been through times. My husband was made redundant, which is why we ended up here [on the council estate] with four kids to bring up. The place is full of scars, bad scars an’ all. We all just thought they’d do some cheap makeover, make us northerners out to be idiots and disappear and that would be that.”
How wrong she was. This was no instant makeover. “The Castleford Project” became a joke in TV circles. Heard the one about the channel that thought it could film eight building projects from scratch in, er, two years? Have they never watched Grand Designs?
“I think I was the only one to say, you know it takes two years just to design and build a house,” says McCloud. “And you want to regenerate a town? Mad, just mad. TV people think that if they say two years real life will just fit in.”
Five years on, though, and the project is not only finished but ready for broadcast. The idea is simple, says McCloud: “Can design save a failing town?” Talkback “interviewed” many contenders left behind by Britain’s so-called urban renaissance, but selected Castleford for its community spirit. The town may have above-average stats for teenage pregnancy and below-average ones for educational attainment, but, says McCloud “the locals really had drive”.
“There is a version of events that nothing was happening here till Channel 4 turned up with their magic dust,” says Wakefield Council’s leader, Peter Box, “but that’s nonsense.” Two decades on, Glasshoughton colliery has been replaced by the giant Xscape indoor dry ski slope, employing more people than the pit – many of them new arrivals, mind you – and surrounded by retail sheds, a multiplex, a new Asda and rising new suburban homes. At the junction of the M62 and M1, Castleford is rebranding itself as a commuter ’burb for émigrés from Leeds. But its existing residents weren’t without ideas either.
All Davison and her community group wanted was a play area. “Children have a right to be heard in a community,” she says. “They’re no less clever here than anywhere else. It’s just that they’ve got no aspirations. They’re born into families with no jobs.” Talkback selected Cutsyke’s “playforest”, and seven other projects, large and small: a new underpass to the town centre replacing a grotty alley beneath the railway; a new “village green” in the former pit village of New Fryston; a newly landscaped market area; a new town centre gallery; a new pedestrian bridge across the Aire, and improvements such as new bollards and traffic calming around Wilson Street. These were partnered with eight teams of designers, with all decisions to be made by the locals and community champions, and let the cameras roll.
Five years later, the physical results are impressive. Talkback attracted serious talent. On the steering committees are leading lights such as Roger Zogolovitch, one of Britain’s most influential, design-led developers, and Peter Rogers, brother of Richard and the founding CEO of developers Stanhope. Architects included rising stars such as DSDHA and Hudson Architects, plus international luminaries including Martha Schwartz.
Schwartz’s new village green gleams – even if its avant-garde angles and artfully rusted bollards by Antony Gormley seem grandiose for the edge of town. Renato Benedetti’s £4.8 million footbridge is an astonishing tour de force, its steel, serpentine curves daintily tiptoeing across the torrent of the Aire. Locals swarm across day and night, says its community champion, Wendy Rayner. “When you get to the middle of the bridge, you’re not in Castleford, you are somewhere else. You meet your friends. They’ve started having picnics on it. Nobody ever had picnics here before. We’ve got kingfishers, cormorants, mallard ducks and water-hens. They’re pulling pike out the river. It’s a living museum. Kids his age,” she nods to her grandson, Thomas, “they don’t even know what a lump of coal is.”
The smaller projects are just as influential. The new underpass beneath Tickle Cott Bridge cost only a couple of hundred thousand pounds, but for that, DSDHA delivered a piece of sophisticated concrete geometry, which, says the architect Deborah Saunt, “is about cheering up those spots planning usually forgets about”. And the impact on all participants is palpable. But there are, of course, naysayers. As I gawp at Benedetti’s bridge, a man comes up and literally spits on it – “Bloody waste of money” – before hurtling off. “Ah, you always get ’em. Bloody moaners,” Davison says. “Don’t put the effort in. Where would you rather the money went? Wakefield?”
The Ajanta Caves (Ajiṇṭhā leni; Marathi: अजिंठा लेणी) in Aurangabad district of Maharashtra, India are about 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and sculptures described by the government Archaeological Survey of India as "the finest surviving examples of Indian art, particularly painting", which are masterpieces of Buddhist religious art, with figures of the Buddha and depictions of the Jataka tales. The caves were built in two phases starting around the 2nd century BCE, with the second group of caves built around 400–650 CE according to older accounts, or all in a brief period of 460 to 480 according to the recent proposals of Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.
The caves are located in the Indian state of Maharashtra, near Jalgaon and just outside the village of Ajinṭhā 20°31′56″N 75°44′44″E), about 59 kilometres from Jalgaon railway station on the Delhi – Mumbai line and Howrah-Nagpur-Mumbai line of the Central Railway zone, and 104 kilometres from the city of Aurangabad. They are 100 kilometres from the Ellora Caves, which contain Hindu and Jain temples as well as Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on the small river Waghur, and although they are now along and above a modern pathway running across the cliff they were originally reached by individual stairs or ladders from the side of the river 35 to 110 feet below.
The area was previously heavily forested, and after the site ceased to be used the caves were covered by jungle until accidentally rediscovered in 1819 by a British officer on a hunting party. They are Buddhist monastic buildings, apparently representing a number of distinct "monasteries" or colleges. The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance. Several are unfinished and some barely begun and others are small shrines, included in the traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the numbering was done. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.
The caves form the largest corpus of early Indian wall-painting; other survivals from the area of modern India are very few, though they are related to 5th-century paintings at Sigiriya in Sri Lanka. The elaborate architectural carving in many caves is also very rare, and the style of the many figure sculptures is highly local, found only at a few nearby contemporary sites, although the Ajanta tradition can be related to the later Hindu Ellora Caves and other sites.
HISTORY
Like the other ancient Buddhist monasteries, Ajanta had a large emphasis on teaching, and was divided into several different caves for living, education and worship, under a central direction. Monks were probably assigned to specific caves for living. The layout reflects this organizational structure, with most of the caves only connected through the exterior. The 7th-century travelling Chinese scholar Xuanzang informs us that Dignaga, a celebrated Buddhist philosopher and controversialist, author of well-known books on logic, lived at Ajanta in the 5th century. In its prime the settlement would have accommodated several hundred teachers and pupils. Many monks who had finished their first training may have returned to Ajanta during the monsoon season from an itinerant lifestyle.
The caves are generally agreed to have been made in two distinct periods, separated by several centuries.
CAVES OF THE FIRST (SATAVAHANA) PERIOD
The earliest group of caves consists of caves 9, 10, 12, 13 and 15A. According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region. Other datings prefer the period 300 BCE to 100 BCE, though the grouping of the earlier caves is generally agreed. More early caves may have vanished through later excavations. Of these, caves 9 and 10 are stupa halls of chaitya-griha form, and caves 12, 13, and 15A are vihāras (see the architecture section below for descriptions of these types). The first phase is still often called the Hinayāna phase, as it originated when, using traditional terminology, the Hinayāna or Lesser Vehicle tradition of Buddhism was dominant, when the Buddha was revered symbolically. However the use of the term Hinayana for this period of Buddhism is now deprecated by historians; equally the caves of the second period are now mostly dated too early to be properly called Mahayana, and do not yet show the full expanded cast of supernatural beings characteristic of that phase of Buddhist art. The first Satavahana period caves lacked figurative sculpture, emphasizing the stupa instead, and in the caves of the second period the overwhelming majority of images represent the Buddha alone, or narrative scenes of his lives.
Spink believes that some time after the Satavahana period caves were made the site was abandoned for a considerable period until the mid-5th century, probably because the region had turned mainly Hindu
CAVES OF THE LATER OR VAKATAKA PERIOD
The second phase began in the 5th century. For a long time it was thought that the later caves were made over a long period from the 4th to the 7th centuries CE, but in recent decades a series of studies by the leading expert on the caves, Walter M. Spink, have argued that most of the work took place over the very brief period from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. This view has been criticized by some scholars, but is now broadly accepted by most authors of general books on Indian art, for example Huntington and Harle.
The second phase is still often called the Mahāyāna or Greater Vehicle phase, but scholars now tend to avoid this nomenclature because of the problems that have surfaced regarding our understanding of Mahāyāna.
Some 20 cave temples were simultaneously created, for the most part viharas with a sanctuary at the back. The most elaborate caves were produced in this period, which included some "modernization" of earlier caves. Spink claims that it is possible to establish dating for this period with a very high level of precision; a fuller account of his chronology is given below. Although debate continues, Spink's ideas are increasingly widely accepted, at least in their broad conclusions. The Archaeological Survey of India website still presents the traditional dating: "The second phase of paintings started around 5th – 6th centuries A.D. and continued for the next two centuries". Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. Caves 19, 26, and 29 are chaitya-grihas, the rest viharas.
According to Spink, the Ajanta Caves appear to have been abandoned by wealthy patrons shortly after the fall of Harishena, in about 480 CE. They were then gradually abandoned and forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed, although the local population were aware of at least some of them.
REDISCOVERY
On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to Cave No. 10 deep within the tangled undergrowth. There were local people already using the caves for prayers with a small fire, when he arrived. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other larger animals, Captain Smith vandalized the wall by scratching his name and the date, April 1819. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult today. A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822. Within a few decades, the caves became famous for their exotic setting, impressive architecture, and above all their exceptional, all but unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery, covered below. In 1848 the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson, as president. In 1861 this became the nucleus of the new Archaeological Survey of India. Until the Nizam of Hyderabad built the modern path between the caves, among other efforts to make the site easy to visit, a trip to Ajanta was a considerable adventure, and contemporary accounts dwell with relish on the dangers from falls off narrow ledges, animals and the Bhil people, who were armed with bows and arrows and had a fearsome reputation.
Today, fairly easily combined with Ellora in a single trip, the caves are the most popular tourist destination in Mahrashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. Figures for the year to March 2010 showed a total of 390,000 visitors to the site, divided into 362,000 domestic and 27,000 foreign. The trends over the previous few years show a considerable growth in domestic visitors, but a decline in foreign ones; the year to 2010 was the first in which foreign visitors to Ellora exceeded those to Ajanta.
PAINTINGS
Mural paintings survive from both the earlier and later groups of caves. Several fragments of murals preserved from the earlier caves (Caves 9 and 11) are effectively unique survivals of court-led painting in India from this period, and "show that by Sātavāhana times, if not earlier, the Indian painter had mastered an easy and fluent naturalistic style, dealing with large groups of people in a manner comparable to the reliefs of the Sāñcī toraņa crossbars".
Four of the later caves have large and relatively well-preserved mural paintings which "have come to represent Indian mural painting to the non-specialist", and fall into two stylistic groups, with the most famous in Caves 16 and 17, and apparently later paintings in Caves 1 and 2. The latter group were thought to be a century or more later than the others, but the revised chronology proposed by Spink would place them much closer to the earlier group, perhaps contemporary with it in a more progressive style, or one reflecting a team from a different region. The paintings are in "dry fresco", painted on top of a dry plaster surface rather than into wet plaster.
All the paintings appear to be the work of painters at least as used to decorating palaces as temples, and show a familiarity with and interest in details of the life of a wealthy court. We know from literary sources that painting was widely practised and appreciated in the courts of the Gupta period. Unlike much Indian painting, compositions are not laid out in horizontal compartments like a frieze, but show large scenes spreading in all directions from a single figure or group at the centre. The ceilings are also painted with sophisticated and elaborate decorative motifs, many derived from sculpture. The paintings in cave 1, which according to Spink was commissioned by Harisena himself, concentrate on those Jataka tales which show previous lives of the Buddha as a king, rather than as an animal or human commoner, and so show settings from contemporary palace life.
In general the later caves seem to have been painted on finished areas as excavating work continued elsewhere in the cave, as shown in caves 2 and 16 in particular. According to Spink's account of the chronology of the caves, the abandonment of work in 478 after a brief busy period accounts for the absence of painting in caves such as 4 and 17, the later being plastered in preparation for paintings that were never done.
COPIES
The paintings have deteriorated significantly since they were rediscovered, and a number of 19th-century copies and drawings are important for a complete understanding of the works. However, the earliest projects to copy the paintings were plagued by bad fortune. In 1846, Major Robert Gill, an Army officer from Madras presidency and a painter, was appointed by the Royal Asiatic Society to replicate the frescoes on the cave walls to exhibit these paintings in England. Gill worked on his painting at the site from 1844 to 1863 (though he continued to be based there until his death in 1875, writing books and photographing) and made 27 copies of large sections of murals, but all but four were destroyed in a fire at the Crystal Palace in London in 1866, where they were on display.
Another attempt was made in 1872 when the Bombay Presidency commissioned John Griffiths, then principal of the Bombay School of Art, to work with his students to make new copies, again for shipping to England. They worked on this for thirteen years and some 300 canvases were produced, many of which were displayed at the Imperial Institute on Exhibition Road in London, one of the forerunners of the Victoria and Albert Museum. But in 1885 another fire destroyed over a hundred paintings that were in storage. The V&A still has 166 paintings surviving from both sets, though none have been on permanent display since 1955. The largest are some 3 × 6 metres. A conservation project was undertaken on about half of them in 2006, also involving the University of Northumbria. Griffith and his students had unfortunately painted many of the paintings with "cheap varnish" in order to make them easier to see, which has added to the deterioration of the originals, as has, according to Spink and others, recent cleaning by the ASI.
A further set of copies were made between 1909 and 1911 by Christiana Herringham (Lady Herringham) and a group of students from the Calcutta School of Art that included the future Indian Modernist painter Nandalal Bose. The copies were published in full colour as the first publication of London's fledgling India Society. More than the earlier copies, these aimed to fill in holes and damage to recreate the original condition rather than record the state of the paintings as she was seeing them. According to one writer, unlike the paintings created by her predecessors Griffiths and Gill, whose copies were influenced by British Victorian styles of painting, those of the Herringham expedition preferred an 'Indian Renascence' aesthetic of the type pioneered by Abanindranath Tagore.
Early photographic surveys were made by Robert Gill, who learnt to use a camera from about 1856, and whose photos, including some using stereoscopy, were used in books by him and Fergusson (many are available online from the British Library), then Victor Goloubew in 1911 and E.L. Vassey, who took the photos in the four volume study of the caves by Ghulam Yazdani (published 1930–1955).
ARCHITECTURE
The monasteries mostly consist of vihara halls for prayer and living, which are typically rectangular with small square dormitory cells cut into the walls, and by the second period a shrine or sanctuary at the rear centred on a large statue of the Buddha, also carved from the living rock. This change reflects the movement from Hinayana to Mahāyāna Buddhism. The other type of main hall is the narrower and higher chaitya hall with a stupa as the focus at the far end, and a narrow aisle around the walls, behind a range of pillars placed close together. Other plainer rooms were for sleeping and other activities. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave.
The central square space of the interior of the viharas is defined by square columns forming a more or less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors. The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines. Spink in fact places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.
The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.
The four completed chaitya halls are caves 9 and 10 from the early period, and caves 19 and 26 from the later period of construction. All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). The later two have high ribbed roofs, which reflect timber forms, and the earlier two are thought to have used actual timber ribs, which have now perished. The two later halls have a rather unusual arrangement (also found in Cave 10 at Ellora) where the stupa is fronted by a large relief sculpture of the Buddha, standing in Cave 19 and seated in Cave 26. Cave 29 is a late and very incomplete chaitya hall.
The form of columns in the work of the first period is very plain and un-embellished, with both chaitya halls using simple octagonal columns, which were painted with figures. In the second period columns were far more varied and inventive, often changing profile over their height, and with elaborate carved capitals, often spreading wide. Many columns are carved over all their surface, some fluted and others carved with decoration all over, as in cave 1.
The flood basalt rock of the cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous, is layered horizontally, and somewhat variable in quality, so the excavators had to amend their plans in places, and in places there have been collapses in the intervening centuries, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; the half-built vihara cave 24 shows the method. Spink believes that for the first caves of the second period the excavators had to relearn skills and techniques that had been lost in the centuries since the first period, which were then transmitted to be used at later rock-cut sites in the region, such as Ellora, and the Elephanta, Bagh, Badami and Aurangabad Caves.
The caves from the first period seem to have been paid for by a number of different patrons, with several inscriptions recording the donation of particular portions of a single cave, but according to Spink the later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites. After the death of Harisena smaller donors got their chance to add small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.
A grand gateway to the site, at the apex of the gorge's horsehoe between caves 15 and 16, was approached from the river, and is decorated with elephants on either side and a nāga, or protective snake deity.
ICONOGRAPHY OF THE CAVES
In the pre-Christian era, the Buddha was represented symbolically, in the form of the stupa. Thus, halls were made with stupas to venerate the Buddha. In later periods the images of the Buddha started to be made in coins, relic caskets, relief or loose sculptural forms, etc. However, it took a while for the human representation of the Buddha to appear in Buddhist art. One of the earliest evidences of the Buddha's human representations are found at Buddhist archaeological sites, such as Goli, Nagarjunakonda, and Amaravati. The monasteries of those sites were built in less durable media, such as wood, brick, and stone. As far as the genre of rock-cut architecture is concerned it took many centuries for the Buddha image to be depicted. Nobody knows for sure at which rock-cut cave site the first image of the Buddha was depicted. Current research indicates that Buddha images in a portable form, made of wood or stone, were introduced, for the first time, at Kanheri, to be followed soon at Ajanta Cave 8 (Dhavalikar, Jadhav, Spink, Singh). While the Kanheri example dates to 4th or 5th century CE, the Ajanta example has been dated to c. 462–478 CE (Spink). None of the rock-cut monasteries prior to these dates, and other than these examples, show any Buddha image although hundreds of rock-cut caves were made throughout India during the first few centuries CE. And, in those caves, it is the stupa that is the object of veneration, not the image. Images of the Buddha are not found in Buddhist sailagrhas (rock-cut complexes) until the times of the Kanheri (4th–5th century CE) and Ajanta examples (c. 462–478 CE).
The caves of the second period, now all dated to the 5th century, were typically described as "Mahayana", but do not show the features associated with later Mahayana Buddhism. Although the beginnings of Mahāyāna teachings go back to the 1st century there is little art and archaeological evidence to suggest that it became a mainstream cult for several centuries. In Mahayana it is not Gautama Buddha but the Bodhisattva who is important, including "deity" Bodhisattva like Manjushri and Tara, as well as aspects of the Buddha such as Aksobhya, and Amitabha. Except for a few Bodhisattva, these are not depicted at Ajanta, where the Buddha remains the dominant figure. Even the Bodhisattva images of Ajanta are never central objects of worship, but are always shown as attendants of the Buddha in the shrine. If a Bodhisattva is shown in isolation, as in the Astabhaya scenes, these were done in the very last years of activities at Ajanta, and are mostly 'intrusive' in nature, meaning that they were not planned by the original patrons, and were added by new donors after the original patrons had suddenly abandoned the region in the wake of Emperor Harisena's death.
The contrast between iconic and aniconic representations, that is, the stupa on one hand and the image of the Buddha on the other, is now being seen as a construct of the modern scholar rather than a reality of the past. The second phase of Ajanta shows that the stupa and image coincided together. If the entire corpus of the art of Ajanta including sculpture, iconography, architecture, epigraphy, and painting are analysed afresh it will become clear that there was no duality between the symbolic and human forms of the Buddha, as far as the 5th-century phase of Ajanta is concerned. That is why most current scholars tend to avoid the terms 'Hinayana' and 'Mahayana' in the context of Ajanta. They now prefer to call the second phase by the ruling dynasty, as the Vākāţaka phase.
CAVES
CAVE 1
Cave 1 was built on the eastern end of the horse-shoe shaped scarp, and is now the first cave the visitor encounters. This would when first made have been a less prominent position, right at the end of the row. According to Spink, it is one of the latest caves to have been excavated, when the best sites had been taken, and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have been happened if the garland-hooks around the shrine had been in use for any period of time. Although there is no epigraphic evidence, Spink believes that the Vākāţaka Emperor Harishena was the benefactor of the work, and this is reflected in the emphasis on imagery of royalty in the cave, with those Jakata tales being selected that tell of those previous lives of the Buddha in which he was royal.
The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell down completely and the remains, despite containing fine carving, were carelessly thrown down the slope into the river, from where they have been lost, presumably carried away in monsoon torrents.
This cave has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.
Each wall of the hall inside is nearly 12 m long and 6.1 m high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls, though due to rock fault there are none at the ends of the rear aisle. The walls are covered with paintings in a fair state of preservation, though the full scheme was never completed. The scenes depicted are mostly didactic, devotional, and ornamental, with scenes from the Jataka stories of the Buddha's former existences as a bodhisattva), the life of the Gautama Buddha, and those of his veneration. The two most famous individual painted images at Ajanta are the two over-life size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above). According to Spink, the original dating of the paintings to about 625 arose largely or entirely because James Fegusson, a 19th-century architectural historian, had decided that a scene showing an ambassador being received, with figures in Persian dress, represented a recorded embassy to Persia (from a Hindu monarch at that) around that date.
CAVE 2
Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.
Cave 2 has a porch quite different from Cave one. Even the façade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously "wasted areas" were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty.
The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. Just as the stories illustrated in cave 1 emphasize kingship, those in cave 2 show many "noble and powerful" women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior.
The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms.
Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha's teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and 'read' the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site's rediscovery in 1819. Dieter Schlingloff's identifications have updated our knowledge on the subject.
CAVE 4
The Archeological Survey of India board outside the caves gives the following detail about cave 4: "This is the largest monastery planned on a grandiose scale but was never finished. An inscription on the pedestal of the buddha's image mentions that it was a gift from a person named Mathura and paleographically belongs to 6th century A.D. It consists of a verandah, a hypostylar hall, sanctum with an antechamber and a series of unfinished cells. The rear wall of the verandah contains the panel of Litany of Avalokiteśvara".
The sanctuary houses a colossal image of the Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above.
CAVES 9-10
Caves 9 and 10 are the two chaitya halls from the first period of construction, though both were also undergoing an uncompleted reworking at the end of the second period. Cave 10 was perhaps originally of the 1st century BCE, and cave 9 about a hundred years later. The small "shrinelets" called caves 9A to 9D and 10A also date from the second period, and were commissioned by individuals.
The paintings in cave 10 include some surviving from the early period, many from an incomplete programme of modernization in the second period, and a very large number of smaller late intrusive images, nearly all Buddhas and many with donor inscriptions from individuals. These mostly avoided over-painting the "official" programme and after the best positions were used up are tucked away in less prominent positions not yet painted; the total of these (including those now lost) was probably over 300, and the hands of many different artists are visible.
OTHER CAVES
Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. Caves 5 and 6 are viharas, the latter on two floors, that were late works of which only the lower floor of cave 6 was ever finished. The upper floor of cave 6 has many private votive sculptures, and a shrine Buddha, but is otherwise unfinished. Cave 7 has a grand facade with two porticos but, perhaps because of faults in the rock, which posed problems in many caves, was never taken very deep into the cliff, and consists only of the two porticos and a shrine room with antechamber, with no central hall. Some cells were fitted in.
Cave 8 was long thought to date to the first period of construction, but Spink sees it as perhaps the earliest cave from the second period, its shrine an "afterthought". The statue may have been loose rather than carved from the living rock, as it has now vanished. The cave was painted, but only traces remain.
SPINK´S DETAILED CHRONOLOGY
Walter M. Spink has over recent decades developed a very precise and circumstantial chronology for the second period of work on the site, which unlike earlier scholars, he places entirely in the 5th century. This is based on evidence such as the inscriptions and artistic style, combined with the many uncompleted elements of the caves. He believes the earlier group of caves, which like other scholars he dates only approximately, to the period "between 100 BCE – 100 CE", were at some later point completely abandoned and remained so "for over three centuries", as the local population had turned mainly Hindu. This changed with the accession of the Emperor Harishena of the Vakataka Dynasty, who reigned from 460 to his death in 477. Harisena extended the Central Indian Vakataka Empire to include a stretch of the east coast of India; the Gupta Empire ruled northern India at the same period, and the Pallava dynasty much of the south.
According to Spink, Harisena encouraged a group of associates, including his prime minister Varahadeva and Upendragupta, the sub-king in whose territory Ajanta was, to dig out new caves, which were individually commissioned, some containing inscriptions recording the donation. This activity began in 462 but was mostly suspended in 468 because of threats from the neighbouring Asmaka kings. Work continued on only caves 1, Harisena's own commission, and 17–20, commissioned by Upendragupta. In 472 the situation was such that work was suspended completely, in a period that Spink calls "the Hiatus", which lasted until about 475, by which time the Asmakas had replaced Upendragupta as the local rulers.
Work was then resumed, but again disrupted by Harisena's death in 477, soon after which major excavation ceased, except at cave 26, which the Asmakas were sponsoring themselves. The Asmakas launched a revolt against Harisena's son, which brought about the end of the Vakataka Dynasty. In the years 478–480 major excavation by important patrons was replaced by a rash of "intrusions" – statues added to existing caves, and small shrines dotted about where there was space between them. These were commissioned by less powerful individuals, some monks, who had not previously been able to make additions to the large excavations of the rulers and courtiers. They were added to the facades, the return sides of the entrances, and to walls inside the caves. According to Spink, "After 480, not a single image was ever made again at the site", and as Hinduism again dominated the region, the site was again abandoned, this time for over a millennium.
Spink does not use "circa" in his dates, but says that "one should allow a margin of error of one year or perhaps even two in all cases".
IMPACT ON MODERN INDIAN PAINTINGS
The Ajanta paintings, or more likely the general style they come from, influenced painting in Tibet and Sri Lanka.
The rediscovery of ancient Indian paintings at Ajanta provided Indian artists examples from ancient India to follow. Nandlal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore also used the Ajanta paintings for inspiration.
WIKIPEDIA
"Emphais is created from this huge circular structure in uptown Charlotte that creates a focal point in the middle of the square.Burrell Cynthia
Really like putting emphasis on the aircrew! Part of my ongoing Bright Winged Light series!
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Here's a photo from my album of the 13 September 2014 FHC Fly Day events for your personal enjoyment. Please share!
just a shot from opening day at the track in del mar california. if you like this please comment and check out my photostream. more pics from that day.
My favorite part of the LA Grand Park "writing system totem" (although not in my favorite font).
Awesome to see the Armenian floating emphasis mark deployed as well.
I was emphasizing the focus on this handle, I also focused on the open circle and placed it upon the left rule of thirds line
The Growing Importance of Institutional Investors in Transition Economies
Banks across the globe are facing increasing capital constraints, resulting in shifting an emphasis on certain activities and a reduced appetite for long-term lending to the corporate and infrastructure sectors.
As the non-banking financial sector continues to expand, this discussion focused on the growing importance of institutional investors in the development of capital markets in transition economies. Investors such as pension funds, sovereign wealth funds, insurance companies and asset managers have the ability to exert a significant influence on capital flows in the EBRD’s region.
This panel also explored the challenges and opportunities faced by the institutional investment community and how these investors can mobilise funds in support of economic development.
Moderator
Ralph Atkins
Capital Markets Editor, Financial Times Ltd.
Speakers
Klemens Breuer
Member of the Managing Board, Markets, Raiffeisen Bank International AG
Gianni Franco Papa
Head of CEE Division, UniCredit
Manfred Schepers
Vice President and CFO, EBRD
Paweł Tamborski
Under-Secretary of State, Ministry of the Treasury, Poland
Danny Truell
Chief Investment Officer, The Wellcome Trust
Deborah Zurkow
CIO and Head of Infrastructure Debt, Allianz Global Investors
This is a photograph from the Clane and Rathcoffey Parishes annual 10KM and 5KM Road Races and Fun Runs which were held in Clane village, Co. Kildare, Ireland on Sunday 19th of October at 14:30. This year's event follows on from the very successful staging last year (see link to photographs below). The organisers offer both a 5km and 10km race and the event provides an opportunity for runners, joggers, and walkers of all abilities to take part in the event. The 5KM has a particular emphasis on family entrants. There was a wonderful atmosphere around the Village as both races started and finished on the main street outside the parish hall. The directly out-and-back routes provided an opportunity for a fast time on a good course and made for a great finish line atmosphere as runners, joggers, and walkers crossed the line. Great praise must be extended to the whole organising committee who organised a very efficiently run event. The events provide some runners with an opportunity to have a final race effort session in the week leading up to the Dublin City Marathon.
Event Management and Electronic Timing was provided by Irish company Precision Timing. Their website is here with links to results from the race www.precisiontiming.net/result/racetimer
This photograph is part of a larger set of photographs taken at today's event. Photographs were taken at the start, 400 meters gone, 400 meters to go, 1km gone, and at the 9KM/4KM mark. The URL of the full set of photographs is www.flickr.com/photos/peterm7/sets/72157636717081724/
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Overall Race Summary and Logistics
Participants: There were about 200 competitors combined in the two events.
Weather: The weather was very changeable for all of the events. During the 10KM race there was a heavy rain shower around the area of the 6KM mark but this didn't actually fall in the town. There was a strong headwind against competitors in the 10KM on the return part of the course between 6KM and 8KM.
Race Course:
This summary includes information on both the 5KM and 10KM races.
Both races start in the same place - just outside the Race HQ on the main street of the town. The races then proceed north eastwards out the Dublin Road towards Straffan and Celbridge. Just after 400 meters the races take a left up a small local road and proceeds along this road until it takes a tight left hand turn at the end of the lane at Capdoo goo.gl/maps/aPo26 (Google Streetview). The route proceeds until it shortly meets the Clane-Kilcock Road - College Road R407 goo.gl/maps/SGcPa. Both races will divert into Clane Business and Industrial Park goo.gl/maps/EQMf0 . The 5KM turns around and returns on the same route to the finish. However the 10KM race continues (taking a left) back onto College Road. Soon afterwards it passes the famous entrance to Clongowes Wood College on the right the race takes the next left (goo.gl/maps/zUhrJ) and brings runners onto the road known locally as the 'Long Road' (R408 Between Rathcoffey and Prosperous) at this point goo.gl/maps/fHKr2. The race proceeds northward until runners meet the Clane Kilcock Road once again. With the exception of the partial run into the Industrial Estate the race returns to the finish on the main street in Clane via the same route as the outward part of the route.
Location Map:
Clane Parish Hall (Race HQ) goo.gl/maps/MgakJ
Start and Finish Location of both races goo.gl/maps/0wiZp
Refreshments:
There was a really wonderful array of refreshments provided in the parish hall after the race for all participants.
Some Useful Links Associated with this Race Event
Facebook Page of the Clane and Rathcoffey Parish: www.facebook.com/ParishOfClaneRathcoffey (May require Facebook login)
Homepage of the Parish of Clane and Rathcoffey: www.claneparish.com/2013/09/parish-run-sunday-20th-octobe...
Garmin Connect GPS Trace of the 2013 Clane 10KM Race: connect.garmin.com/activity/391624847
Garmin Connect GPS Trace of the 2013 Clane 5KM Race: connect.garmin.com/activity/381169067
Boards.ie Athletics Forum Discussion on the 2013 Race: www.boards.ie/vbulletin/showthread.php?t=2057062190
Our Flickr Set of Photographs from the 2012 Clane 5KM and 10KM Races: www.flickr.com/photos/peterm7/sets/72157631820732362/
Please note: These links are provided for information purposes. Some of these links might become obselete or dead links as time passess. We cannot be responsible for the content on these external websites. All websites were checked before posting here to ensure that they 'did what they said on the tin'.
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I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
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I want to tell people about these great photographs!
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