View allAll Photos Tagged EYECATCHING
I just love this tulip, the colour and markings are divine and it's elegance is beautifuly! Nature is so amazing!
The centerpiece of the fountain in the previous photograph is very eyecatching. It represents the moment when Samson tears open the jaws of a lion, representing Peter the Great's victory over Sweden at the Battle of Poltava (in present day Ukraine) in 1709. It is very symbolic as the lion is an element of the Swedish coat of arms. Furthermore, the battle was fought on June 27, St. Samson's Day. The statue itself is a replica installed in 1947 to replace the original by Mikhail Kozlovsky, which was looted by the Germans during WWII.
What I found really remarkable is the shinyness of this statue and of all of the garden sculptures at Peterhof. Obviously, they were regilded recently. But when? Peterhof Palace and everything in the gardens - statues, fountains, etc. - were badly damaged during WWII and everything had to be reconstructed, a project that began soon after the war and is still ongoing. So, most of what we see at Peterhof today is less than 50 or 60 years old (the original styles have been preserved, however). But the gilding is more recent. In 2003, they celebrated the 300th anniversary of St. Petersburg. Much restoration, including regilding, was done for that occasion. But the final shine, I believe, was given only a few weeks before these pictures were taken on August 31, 2013 as Peterhof was being prepared as one of the venues for the G-20 summit which was only a few days away (Sept. 5-6). Although the main venue of the G-20 was the Constantine Palace situated about halfway between Peterhof and St. Petersburg, a dinner for the heads of states followed by a lavish water, music and fireworks show was held here on Thursday, September 5. So, it's no surprise that Samson is so shiny in this photograph!
Im Auftrag von Kulturradio sollte ich einen "eyecatcher" für Hörspielproduktionen fotografieren.
Wie schön das es noch solche Aufträge gibt.
Links: Aktivist mit Eyecatcher Plastiktütenmantel
Mitte: Plastiksack mit Strandgut aus Oldenburg
"5 Minuten an 50 m Hunte" - ein kleine Wanderung und die Ausbeute!
An einem scheinbar sauberen Uferabschnitt der Hunte war schnell ein Sack voll. Eingesammelt 17.Mai 2013
Inhalt:
-Plastik-Badelatschen
-Zahnbürste
-Duschbad-Plastiktube
-Spritze
-Dessert-Schüssel
-Deckel vom Farbeimer
-Feuerzeug
-viele Softdrinkflaschen
-Styropor
-Plastikpartybecher
-Deckel
Fundort: Ufer an der Hunte, im Osten von Oldenburg www.flickr.com/photos/rimpl/8614500434/
Leggins, for as long as we can recollect, have never gone out of fashion. Here at FashionApparel we have searched the planet to deliver what we believe are some great individual designs for all to wear and enjoy with whatever you choose to match them with.
This is a straightforward article of...
Memories of former shop use on this building in Truro. With the cream brick and red terracotta it was certainly eyecatching.
Valença do Minho (Portugal)
Better seen in Fluidr.
Se ve mejor en Fluidr.
ENGLISH
Valença, also known as Valença do Minho, is a municipality and a town in Portugal with a total area of 117.1 km² and a total population of 14,324 inhabitants (2006).
Valença is a walled town located on the left bank of Minho River, approximately 25 km from the Atlantic Ocean. The municipality is limited to the north with Minho River establishing the border with Spain, to south-southeast with the municipality of Paredes de Coura, to southwest with Vila Nova de Cerveira and to the east with Monção. Linked to the wall rises the new quarter, where buildings such as social facilities, schools, the stadium and sports centre, the health care centre, the municipal market and the municipal swimming pools are located. Concerning cuisine, Valença offers genuine delicacies such as Lampreia à Minhota (lamprey), Cabrito à Sanfins (kid), Bacalhau à São Teotónio (dried codfish) and Empanada (meat or fish pie).
Valença origins date back from Roman times. The two existent roman roads are the proof (the Via IV of Antonine Itinerary XIX, of military use, and the designated per loca marítima - Itinerary XX -, of commercial use). Also inside the fortified walls a Roman milestone marks the XLII mile of the road connecting Braga to Tui. This stronghold was populated by order of King Sancho I during the 12th century. It was called Contrasta which means "village opposed to another", Tui (Spain) in this case. King Afonso III changed its name to Valença in the 13th century. Its historical importance is mainly due to military constraints. It had a decisive role for the defense and integrity of Portugal from the neighbouring Spain. Today the town is peacefully invaded by the Spanish that visits it with commercial and touristic purposes, the portugues still use the fortress.
More info: en.wikipedia.org/wiki/Valen%c3%a7a_Municipality,_Portugal
-----------------------------------------
CASTELLANO
Valença, comúnmente conocida como Valença do Minho, es una ciudad portuguesa situada en el Distrito de Viana do Castelo, región Norte y subregión del Minho-Lima, con aproximadamente 3.500 habitantes.
Es sede de municipio con 117,43 km² de área y 14 187 habitantes (2001), subdividido en 16 freguesías (parroquias). Limita al este con el municipio de Monção, al sur con Paredes de Coura, al oeste con Vila Nova de Cerveira y a noroeste y norte con España (municipio de Tuy).
Recibió un fuero de Sancho II de Portugal, siendo entonces bautizada como Contrasta. Recibió su nombre actual en 1262. El sobrenombre de do Minho le viene por el Río Miño.
Heading south, Great Barton is the last village before arriving at Bury St. Edmunds, and the village itself is divided by the busy road. I'm sure, once it was a lovely village, but now trucks and cars thunder past, mostly ignoring the speed limits.
As you leave the centre of the village, past the old village school, there is a sign pointing down a leafy lane directing the visitor to the church. I had seen that sign many times and almost tempted to go down to investigate.
You have to travel about a mile down the lane, past an old manor house now a business centre, until you come to Holy Innocents on the right, a wonderful knapped flint church, glistening in the weak autumn sunshine.
First thing I noticed was the white stone used for the structure between flints, created a chequerboard pattern, which was very impressive. But when I mentioned this to the warden who was inside, she said she had never noticed, but after leaving came back to tell me she could see the pattern now.
Most eyecatching for me were the multitude of payer-kneelers on the shelves of the pews, creating a colourful display, contrasting with the austere structure of the church. Light streamed through the vibrant Victorian windows, which to my eye are of a very good standard indeed.
Holy Innocents seems to be open every day.
------------------------------------------
It had been so long since I last visited Great Barton that I really did not remember the village at all. It is a large place, a bit of Bury St Edmunds broken off really, only the railway line separating it from the Moreton Hall Estate. The church sits a good half mile from the village, down a narrow dusty lane. A large hare sat on the road in front of me as I left the village, and loped along just ahead in no particular hurry until we reached the church gates, where he turned and looked at me, and then preceded me into the graveyard. It was hard not to imagine that he was an omen of some kind.
Holy Innocents is one of those spectacular 15th Century rebuilds that East Anglia did so well, and is all the more so for being so remote. Mortlock calls it 'handsome', which is about right. The big tower rides high above the clerestory and aisles, the long, earlier chancel extending beyond. It has much in common with Rougham, just across the A14. Windows to aisle and clerestory create something of the wall of glass effect so beloved of the later Middle Ages. Unusually, there is a tomb recess in the outside of the south wall of the chancel which was possibly for the donor of the chancel.
The 15th Century south porch carries a later sun dial with the inscription periunt et imputantor, which means something like 'they perish and are judged'.
You step inside to a big church. Despite the windows of the south aisle being filled with coloured glass, the church is full of airy light and space. This is accentuated by the hugeness of the chancel arch, which goes with the 13th Century chancel - that is to say, nave and aisles were built to scale with it as a starting point. In such a great space the furnishings do not intrude, and they are pretty much all the work of the 19th Century restoration here. They are a good counterpoint to the spectacular glass of the south aisle. The first window is by the William Morris workshop, with the figures by Edward Burne-Jones of Faith Hope and Charity. All three are shown, unusually, as men. Faith is the Roman centurion at the foot of the cross, Hope is Joshua and Charity is the Good Samaritan.
Beside it is a window which is somewhat bizarre. A number of Suffolk churches have windows to commemorate the Golden Jubilee of Queen Victoria in 1887, but none, I think, are quite like this one. The stately queen sits with a look of indigestion upon her face among angels carrying her crown and the Bible. She is flanked by two rather unlikely fellow monarchs, the Queen of Sheba with a snake of temptation and her motto Wisdom is better than rubies and a positively louche Queen Esther with If I perish, I perish. Above Victoria's head in a scroll is inscribed In her tongue is the Law of Kindness from the Book of Proverbs. All in all, a remarkable piece.
Ther other window in the aisle depicts the Ascension flanked by the Nativity and the Resurrection. The Nativity scene is particularly good. It is unsigned, but I wondered if it was by AK Nicholson.
But for the oddest window of all, you have to step up into the chancel. Here, on the south side, is another depiction of the Resurrection and the Ascension. These appear in the upper part, and in the lower part are the Disciples watching the Ascension and the Roman soldiers asleep at the Resurrection. However, these lower parts have been put under the wrong upper parts, and the sleeping soldiers are missing the Ascension and the Disciples are watching the Resurrection! Such a blunder can only have happened in the studio, when the cartoons were being laid out before the glass was made.
Holy Innocents is an interesting dedication, and an unusual one for an Anglican church, especially a medieval one. Bear in mind that, in the Middle Ages, churches were dedicated to feast days, especially of Saints, and not the Saints themselves. Holy Innocents is celebrated on December 28th, and remembers Herod's massacre of the babies of Bethlehem. It would have been a more common dedication in medieval times. Here, it is probably a relic of Anglo-catholic days, and the 19th century revival of church dedications; but it may also be the original dedication of the church. It is quite clear that this church enjoys a High Church character this day, and is one of the few village churches in the Bury area where you can light a candle when you say a prayer.
Like all good High Church parishes, Great Barton keeps Holy Innocents open every day, and there is even a Fair Trade shop where you can make your purchases and perform a work of mercy at the same time, a fine opportunity.
Back outside, the churchyard is one of the best in Suffolk to potter about in. It is vast, with a good 300 years-worth of headstones. While exploring, you might notice that the very north-east corner of the churchyard is cordoned off by a low brick wall, and contains but a small number of graves. They are to the Bunbury family, who are also remembered with mural monuments in the chancel of the church. The Bunburys had lived at Barton Hall, but it was destroyed by fire in 1914. Sir Henry Bunbury achieved a place in popular history in the early 19th century when he was the foreign office official who had the job of breaking the news to Napoleon that he was to be exiled to St Helena. The school history books that speak of the defeat of Napoleon have long since been consigned to the skips. Now, all that remains is the light summer breeze in the corner of a Suffolk churchyard.
Simon Knott, May 2013
www.suffolkchurches.co.uk/gbarton.htm
----------------------------------------
The Church is dedicated to the Holy Innocents. These were the Jewish boys under the age of two who were massacred by King Herod. This was after the visit from the wise men in search of the king of the Jews. These children are probably the first martyrs to suffer for our Lord. All Christian churches are built to oppose this injustice. Holy Innocents Great Barton is one of only five churches in the country dedicated to the Holy Innocents. It is most unusual for a mediaeval church.
Wool was a very important industry in East Anglia. Woolpit and Lavenham are local churches built from the proceeds of the trade. Gt. Barton was on the edge of the wool producing area. 'Dog Pews' were put in the Church in honour of the dogs who helped the shepherds during the years when wool was a very important product of the county. The shepherd's dogs were very important to them, and far too valuable to leave outside while the shepherds were in church. The Dog Pews were situated in the back of the church, and the shepherds were encouraged to bring their dogs in with them. The shepherds were also allowed to sleep (with their dogs) in the porch. These pews can now be found at the front of the church and are one of the many items around Holy Innocents that tell a fascinating story of the church's history.
Great Barton is believed to have been a settlement of the Iceni tribe before the Roman occupation of England. It is believed that Barton mere was occupied by early lake-dwellers. Records mention the parish in the time of Edward the Confessor, however it was not until about 950 AD that the parish was given into the care of the abbey of Bury St Edmunds. The abbey held it until the monastery was dissolved in 1539. It is almost certain that a Saxon Church existed here- it is probable that this was a simple wooden building rebuilt in stone by the Normans. In 1086, the Domesday Book states that the church possessed 50 acres of land, valued at £20. The chancel was erected and the font was installed in the late 13th century. These are the earliest parts of the present church. Over the centuries, various additions were made to the church when funds became available. It was the job of the Rector to maintain the chancel, whereas other parts were maintained by the parishioners. In the 15th century they erected the aisles, clerestory and tower. Much money was left to the church for restoration in the 15th century, including from the Rector of that time, William Howerdly. The following two centuries saw the destruction of many parts of the church due to the Reformation and Puritan purge. At this time the majority of the angels in the roof were destroyed. Their remains can still be seen today. Little work was done on the church until the Victorian era when major restoration work began.
The list of incumbents goes back to 1320 when the parish was in the diocese of Norwich. In 1823 it was in the Diocese of Ely, and in 1914 it became a member of the newly formed Diocese of St. Edmundsbury and Ipswich.
An eyecatching street performer in the Main Market Square (Rynek Główny) in the Old Town of Kraków.
Krakow's Historic Centre is a UNESCO World Heritage site: whc.unesco.org/en/list/29
29 September 2011
SLR2_100-0572
Here at the base of a hillside "moon village" (slum), the housing gets nicer but the overall cityscape is still quite drab and dreary. The fallen leaves - and the passerby to the right maybe - give the area a nice pop of color, though. Little splashes of color in an otherwise bland landscape - a running theme in the ROK! (Forget the DPRK, though...)
This is a snack aisle in a typical 'commoners' (Gangbuk Style all the way, baby) supermarket. There are plenty of sweets, snacks, and crushable 'Busha Busha' instant noodles. 'Busha' sounds like a term of endearment for a kindly old Croatian auntie, but it's actually the Korean 'sound' word for 'crushing' in this context. Crushed noodles and spicy hot power - yum yum yum!
Heading south, Great Barton is the last village before arriving at Bury St. Edmunds, and the village itself is divided by the busy road. I'm sure, once it was a lovely village, but now trucks and cars thunder past, mostly ignoring the speed limits.
As you leave the centre of the village, past the old village school, there is a sign pointing down a leafy lane directing the visitor to the church. I had seen that sign many times and almost tempted to go down to investigate.
You have to travel about a mile down the lane, past an old manor house now a business centre, until you come to Holy Innocents on the right, a wonderful knapped flint church, glistening in the weak autumn sunshine.
First thing I noticed was the white stone used for the structure between flints, created a chequerboard pattern, which was very impressive. But when I mentioned this to the warden who was inside, she said she had never noticed, but after leaving came back to tell me she could see the pattern now.
Most eyecatching for me were the multitude of payer-kneelers on the shelves of the pews, creating a colourful display, contrasting with the austere structure of the church. Light streamed through the vibrant Victorian windows, which to my eye are of a very good standard indeed.
Holy Innocents seems to be open every day.
------------------------------------------
It had been so long since I last visited Great Barton that I really did not remember the village at all. It is a large place, a bit of Bury St Edmunds broken off really, only the railway line separating it from the Moreton Hall Estate. The church sits a good half mile from the village, down a narrow dusty lane. A large hare sat on the road in front of me as I left the village, and loped along just ahead in no particular hurry until we reached the church gates, where he turned and looked at me, and then preceded me into the graveyard. It was hard not to imagine that he was an omen of some kind.
Holy Innocents is one of those spectacular 15th Century rebuilds that East Anglia did so well, and is all the more so for being so remote. Mortlock calls it 'handsome', which is about right. The big tower rides high above the clerestory and aisles, the long, earlier chancel extending beyond. It has much in common with Rougham, just across the A14. Windows to aisle and clerestory create something of the wall of glass effect so beloved of the later Middle Ages. Unusually, there is a tomb recess in the outside of the south wall of the chancel which was possibly for the donor of the chancel.
The 15th Century south porch carries a later sun dial with the inscription periunt et imputantor, which means something like 'they perish and are judged'.
You step inside to a big church. Despite the windows of the south aisle being filled with coloured glass, the church is full of airy light and space. This is accentuated by the hugeness of the chancel arch, which goes with the 13th Century chancel - that is to say, nave and aisles were built to scale with it as a starting point. In such a great space the furnishings do not intrude, and they are pretty much all the work of the 19th Century restoration here. They are a good counterpoint to the spectacular glass of the south aisle. The first window is by the William Morris workshop, with the figures by Edward Burne-Jones of Faith Hope and Charity. All three are shown, unusually, as men. Faith is the Roman centurion at the foot of the cross, Hope is Joshua and Charity is the Good Samaritan.
Beside it is a window which is somewhat bizarre. A number of Suffolk churches have windows to commemorate the Golden Jubilee of Queen Victoria in 1887, but none, I think, are quite like this one. The stately queen sits with a look of indigestion upon her face among angels carrying her crown and the Bible. She is flanked by two rather unlikely fellow monarchs, the Queen of Sheba with a snake of temptation and her motto Wisdom is better than rubies and a positively louche Queen Esther with If I perish, I perish. Above Victoria's head in a scroll is inscribed In her tongue is the Law of Kindness from the Book of Proverbs. All in all, a remarkable piece.
Ther other window in the aisle depicts the Ascension flanked by the Nativity and the Resurrection. The Nativity scene is particularly good. It is unsigned, but I wondered if it was by AK Nicholson.
But for the oddest window of all, you have to step up into the chancel. Here, on the south side, is another depiction of the Resurrection and the Ascension. These appear in the upper part, and in the lower part are the Disciples watching the Ascension and the Roman soldiers asleep at the Resurrection. However, these lower parts have been put under the wrong upper parts, and the sleeping soldiers are missing the Ascension and the Disciples are watching the Resurrection! Such a blunder can only have happened in the studio, when the cartoons were being laid out before the glass was made.
Holy Innocents is an interesting dedication, and an unusual one for an Anglican church, especially a medieval one. Bear in mind that, in the Middle Ages, churches were dedicated to feast days, especially of Saints, and not the Saints themselves. Holy Innocents is celebrated on December 28th, and remembers Herod's massacre of the babies of Bethlehem. It would have been a more common dedication in medieval times. Here, it is probably a relic of Anglo-catholic days, and the 19th century revival of church dedications; but it may also be the original dedication of the church. It is quite clear that this church enjoys a High Church character this day, and is one of the few village churches in the Bury area where you can light a candle when you say a prayer.
Like all good High Church parishes, Great Barton keeps Holy Innocents open every day, and there is even a Fair Trade shop where you can make your purchases and perform a work of mercy at the same time, a fine opportunity.
Back outside, the churchyard is one of the best in Suffolk to potter about in. It is vast, with a good 300 years-worth of headstones. While exploring, you might notice that the very north-east corner of the churchyard is cordoned off by a low brick wall, and contains but a small number of graves. They are to the Bunbury family, who are also remembered with mural monuments in the chancel of the church. The Bunburys had lived at Barton Hall, but it was destroyed by fire in 1914. Sir Henry Bunbury achieved a place in popular history in the early 19th century when he was the foreign office official who had the job of breaking the news to Napoleon that he was to be exiled to St Helena. The school history books that speak of the defeat of Napoleon have long since been consigned to the skips. Now, all that remains is the light summer breeze in the corner of a Suffolk churchyard.
Simon Knott, May 2013
www.suffolkchurches.co.uk/gbarton.htm
----------------------------------------
The Church is dedicated to the Holy Innocents. These were the Jewish boys under the age of two who were massacred by King Herod. This was after the visit from the wise men in search of the king of the Jews. These children are probably the first martyrs to suffer for our Lord. All Christian churches are built to oppose this injustice. Holy Innocents Great Barton is one of only five churches in the country dedicated to the Holy Innocents. It is most unusual for a mediaeval church.
Wool was a very important industry in East Anglia. Woolpit and Lavenham are local churches built from the proceeds of the trade. Gt. Barton was on the edge of the wool producing area. 'Dog Pews' were put in the Church in honour of the dogs who helped the shepherds during the years when wool was a very important product of the county. The shepherd's dogs were very important to them, and far too valuable to leave outside while the shepherds were in church. The Dog Pews were situated in the back of the church, and the shepherds were encouraged to bring their dogs in with them. The shepherds were also allowed to sleep (with their dogs) in the porch. These pews can now be found at the front of the church and are one of the many items around Holy Innocents that tell a fascinating story of the church's history.
Great Barton is believed to have been a settlement of the Iceni tribe before the Roman occupation of England. It is believed that Barton mere was occupied by early lake-dwellers. Records mention the parish in the time of Edward the Confessor, however it was not until about 950 AD that the parish was given into the care of the abbey of Bury St Edmunds. The abbey held it until the monastery was dissolved in 1539. It is almost certain that a Saxon Church existed here- it is probable that this was a simple wooden building rebuilt in stone by the Normans. In 1086, the Domesday Book states that the church possessed 50 acres of land, valued at £20. The chancel was erected and the font was installed in the late 13th century. These are the earliest parts of the present church. Over the centuries, various additions were made to the church when funds became available. It was the job of the Rector to maintain the chancel, whereas other parts were maintained by the parishioners. In the 15th century they erected the aisles, clerestory and tower. Much money was left to the church for restoration in the 15th century, including from the Rector of that time, William Howerdly. The following two centuries saw the destruction of many parts of the church due to the Reformation and Puritan purge. At this time the majority of the angels in the roof were destroyed. Their remains can still be seen today. Little work was done on the church until the Victorian era when major restoration work began.
The list of incumbents goes back to 1320 when the parish was in the diocese of Norwich. In 1823 it was in the Diocese of Ely, and in 1914 it became a member of the newly formed Diocese of St. Edmundsbury and Ipswich.
Heading south, Great Barton is the last village before arriving at Bury St. Edmunds, and the village itself is divided by the busy road. I'm sure, once it was a lovely village, but now trucks and cars thunder past, mostly ignoring the speed limits.
As you leave the centre of the village, past the old village school, there is a sign pointing down a leafy lane directing the visitor to the church. I had seen that sign many times and almost tempted to go down to investigate.
You have to travel about a mile down the lane, past an old manor house now a business centre, until you come to Holy Innocents on the right, a wonderful knapped flint church, glistening in the weak autumn sunshine.
First thing I noticed was the white stone used for the structure between flints, created a chequerboard pattern, which was very impressive. But when I mentioned this to the warden who was inside, she said she had never noticed, but after leaving came back to tell me she could see the pattern now.
Most eyecatching for me were the multitude of payer-kneelers on the shelves of the pews, creating a colourful display, contrasting with the austere structure of the church. Light streamed through the vibrant Victorian windows, which to my eye are of a very good standard indeed.
Holy Innocents seems to be open every day.
------------------------------------------
It had been so long since I last visited Great Barton that I really did not remember the village at all. It is a large place, a bit of Bury St Edmunds broken off really, only the railway line separating it from the Moreton Hall Estate. The church sits a good half mile from the village, down a narrow dusty lane. A large hare sat on the road in front of me as I left the village, and loped along just ahead in no particular hurry until we reached the church gates, where he turned and looked at me, and then preceded me into the graveyard. It was hard not to imagine that he was an omen of some kind.
Holy Innocents is one of those spectacular 15th Century rebuilds that East Anglia did so well, and is all the more so for being so remote. Mortlock calls it 'handsome', which is about right. The big tower rides high above the clerestory and aisles, the long, earlier chancel extending beyond. It has much in common with Rougham, just across the A14. Windows to aisle and clerestory create something of the wall of glass effect so beloved of the later Middle Ages. Unusually, there is a tomb recess in the outside of the south wall of the chancel which was possibly for the donor of the chancel.
The 15th Century south porch carries a later sun dial with the inscription periunt et imputantor, which means something like 'they perish and are judged'.
You step inside to a big church. Despite the windows of the south aisle being filled with coloured glass, the church is full of airy light and space. This is accentuated by the hugeness of the chancel arch, which goes with the 13th Century chancel - that is to say, nave and aisles were built to scale with it as a starting point. In such a great space the furnishings do not intrude, and they are pretty much all the work of the 19th Century restoration here. They are a good counterpoint to the spectacular glass of the south aisle. The first window is by the William Morris workshop, with the figures by Edward Burne-Jones of Faith Hope and Charity. All three are shown, unusually, as men. Faith is the Roman centurion at the foot of the cross, Hope is Joshua and Charity is the Good Samaritan.
Beside it is a window which is somewhat bizarre. A number of Suffolk churches have windows to commemorate the Golden Jubilee of Queen Victoria in 1887, but none, I think, are quite like this one. The stately queen sits with a look of indigestion upon her face among angels carrying her crown and the Bible. She is flanked by two rather unlikely fellow monarchs, the Queen of Sheba with a snake of temptation and her motto Wisdom is better than rubies and a positively louche Queen Esther with If I perish, I perish. Above Victoria's head in a scroll is inscribed In her tongue is the Law of Kindness from the Book of Proverbs. All in all, a remarkable piece.
Ther other window in the aisle depicts the Ascension flanked by the Nativity and the Resurrection. The Nativity scene is particularly good. It is unsigned, but I wondered if it was by AK Nicholson.
But for the oddest window of all, you have to step up into the chancel. Here, on the south side, is another depiction of the Resurrection and the Ascension. These appear in the upper part, and in the lower part are the Disciples watching the Ascension and the Roman soldiers asleep at the Resurrection. However, these lower parts have been put under the wrong upper parts, and the sleeping soldiers are missing the Ascension and the Disciples are watching the Resurrection! Such a blunder can only have happened in the studio, when the cartoons were being laid out before the glass was made.
Holy Innocents is an interesting dedication, and an unusual one for an Anglican church, especially a medieval one. Bear in mind that, in the Middle Ages, churches were dedicated to feast days, especially of Saints, and not the Saints themselves. Holy Innocents is celebrated on December 28th, and remembers Herod's massacre of the babies of Bethlehem. It would have been a more common dedication in medieval times. Here, it is probably a relic of Anglo-catholic days, and the 19th century revival of church dedications; but it may also be the original dedication of the church. It is quite clear that this church enjoys a High Church character this day, and is one of the few village churches in the Bury area where you can light a candle when you say a prayer.
Like all good High Church parishes, Great Barton keeps Holy Innocents open every day, and there is even a Fair Trade shop where you can make your purchases and perform a work of mercy at the same time, a fine opportunity.
Back outside, the churchyard is one of the best in Suffolk to potter about in. It is vast, with a good 300 years-worth of headstones. While exploring, you might notice that the very north-east corner of the churchyard is cordoned off by a low brick wall, and contains but a small number of graves. They are to the Bunbury family, who are also remembered with mural monuments in the chancel of the church. The Bunburys had lived at Barton Hall, but it was destroyed by fire in 1914. Sir Henry Bunbury achieved a place in popular history in the early 19th century when he was the foreign office official who had the job of breaking the news to Napoleon that he was to be exiled to St Helena. The school history books that speak of the defeat of Napoleon have long since been consigned to the skips. Now, all that remains is the light summer breeze in the corner of a Suffolk churchyard.
Simon Knott, May 2013
www.suffolkchurches.co.uk/gbarton.htm
----------------------------------------
The Church is dedicated to the Holy Innocents. These were the Jewish boys under the age of two who were massacred by King Herod. This was after the visit from the wise men in search of the king of the Jews. These children are probably the first martyrs to suffer for our Lord. All Christian churches are built to oppose this injustice. Holy Innocents Great Barton is one of only five churches in the country dedicated to the Holy Innocents. It is most unusual for a mediaeval church.
Wool was a very important industry in East Anglia. Woolpit and Lavenham are local churches built from the proceeds of the trade. Gt. Barton was on the edge of the wool producing area. 'Dog Pews' were put in the Church in honour of the dogs who helped the shepherds during the years when wool was a very important product of the county. The shepherd's dogs were very important to them, and far too valuable to leave outside while the shepherds were in church. The Dog Pews were situated in the back of the church, and the shepherds were encouraged to bring their dogs in with them. The shepherds were also allowed to sleep (with their dogs) in the porch. These pews can now be found at the front of the church and are one of the many items around Holy Innocents that tell a fascinating story of the church's history.
Great Barton is believed to have been a settlement of the Iceni tribe before the Roman occupation of England. It is believed that Barton mere was occupied by early lake-dwellers. Records mention the parish in the time of Edward the Confessor, however it was not until about 950 AD that the parish was given into the care of the abbey of Bury St Edmunds. The abbey held it until the monastery was dissolved in 1539. It is almost certain that a Saxon Church existed here- it is probable that this was a simple wooden building rebuilt in stone by the Normans. In 1086, the Domesday Book states that the church possessed 50 acres of land, valued at £20. The chancel was erected and the font was installed in the late 13th century. These are the earliest parts of the present church. Over the centuries, various additions were made to the church when funds became available. It was the job of the Rector to maintain the chancel, whereas other parts were maintained by the parishioners. In the 15th century they erected the aisles, clerestory and tower. Much money was left to the church for restoration in the 15th century, including from the Rector of that time, William Howerdly. The following two centuries saw the destruction of many parts of the church due to the Reformation and Puritan purge. At this time the majority of the angels in the roof were destroyed. Their remains can still be seen today. Little work was done on the church until the Victorian era when major restoration work began.
The list of incumbents goes back to 1320 when the parish was in the diocese of Norwich. In 1823 it was in the Diocese of Ely, and in 1914 it became a member of the newly formed Diocese of St. Edmundsbury and Ipswich.
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Entered into the Award Tree "Textuals" contest:
Colorful flowers found in my neighborhood on the Big Island of Hawaii.
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Setcases, Girona (Spain).
Better seen in Fluidr.
Se ve mejor en Fluidr.
ENGLISH
Setcases historical origins begin in 965, when the Count Sunifred of Besalú, mentions the village in some donations made to the monastery of Sant Pere of Camprodon. (A folk tale, based on the picturesque name of the village, talks about a shepherd and his seven sons from the low lands going up the mountain to feed their sheep, surprised by the first snow, they built seven houses in the most secluded part of the valley). In 1017 the name of the village is mentioned again in connection with a special permission from the pope Benet VIII to the monastery of Camprodon, with the definite name of Septem Casis, confirming the monastery's right to fish in the river Ter from Setcases to Calquers However, the most important historical event was the donation by Count Ramon Berenguer III of Barcelona to the Monastery of Ripoll, in 1118, of the vast allodium that he had in the parish of Setcases "Sant Miquel" and which covered most of the whole area. From then on, the monastery was allodial master and the rents of Setcases were assigned to the monk-waiter; in spite of Ripoll's feudal domain, the boundary jurisdiction was carried out from the XVII century by the magistrate of Camprodon. In a survey made around the year 1380, Setcases had 31 families, number that decreased in the following centuries until reaching 17 families in 1553. Population recuperates during the XVII and XVIII centuries, reaching 552 inhabitants in 1787; it was a time of splendour for forging, mining and coal. It kept stable until 1860, having still 545 inhabitants, and then started an important decrease (146 inhabitants in 1975).
Setcases is situated in the south of its boundaries, right of the river Ter, in the concourse of the Vall-llobre stream. The restoration of old houses as part time residences and the construction of new houses, together with a number of establishments (hotels, hostels, and restaurants) with view to tourism attracted by winter sports and summer trekking holidays, has given the village a new character, maintaining its rural and traditional feeling.
Setcases, is presided by the parish church of Sant Miquel, original of the XII century but reconstructed in the XV century, an later reconstructed again in 1729, due to a fire, repairing the roof and arches. It has a baroque altar from 1754, the only one saved from the destructions of 1936 in this part of the Pyrenees. In the Diocesan Museum of Girona, there is a chasuble of Setcases from the end of the XVII century.
Source: www.setcases.info/ing/index.html
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CASTELLANO
Los orígenes históricos de Setcases se remontan al 965, cuando el conde Sunifred de Besalú menciona el lugar en unas donaciones hechas al monasterio de Sant Pere de Camprodon (una leyenda popular, basándose en el nombre pintoresco del pueblo, habla de un padre y siete hijos que subieron de la tierra baja a apacentar los rebaños y, sorprendidos por las primeras nevadas, construyeron siete casas en el lugar más resguardado del valle). En 1017 una bula papal de Benito VIII al monasterio de Camprodon vuelve a citar el lugar, con el nombre definitivo de Septem Casis, confirmando al cenobio el derecho de pesca en el Ter desde Setcases a los Calquers. Pero el hecho histórico más importante fue la donación, por parte del conde Ramon Berenguer III de Barcelona, al monasterio de Ripoll, en 1118, del extenso alodio que poseía en la parroquia de Sant Miquel de Setcases y que debía comprender la mayor parte del término. Desde entonces el monasterio fue señor alodial, y las rentas de Setcases fueron asignadas al monje camarero, a pesar del dominio señorial de Ripoll, la jurisdicción del término fue ejercida desde el siglo XVII por el veguer de Camprodon. En un fogaje realizado hacia el 1380, Setcases tenía 31 fuegos o familias, cifra que bajó en los siglos siguientes, hasta llegar a 17 familias en 1553. La población se recuperó durante los siglos XVII y XVIII, hasta llegar a 552 h en 1787, momento de máximo esplendor de las forjas, las minas y el carboneo. Se mantuvo estable hasta 1860, todavía con 545 h, y comenzó entonces un inexorable bajón (146 h en 1975).
El pueblo de Setcases se encuentra en el sector sur del término, a la derecha del Ter, en la confluencia con el torrente de Vall-llobre. La restauración de casas antiguas para residencia temporal y la construcción de nuevas casas, con un buen número de establecimientos (hoteles, hostales, restaurantes), de cara al turismo atraído por los deportes de invierno y el senderismo durante la temporada de verano, ha dado un nuevo carácter a la población, conservando el aire rural y tradicional Setcases está presidida por la iglesia parroquial de Sant Miquel que, a pesar de tener su origen en el siglo XII, no conserva ahora ningún elemento anterior al siglo XV, cuando fue reconstruida; posteriormente volvió a ser reformada, en 1729, después de un incendio que obligó a reparar las arcadas y el tejado. Guarda un altar barroco de 1754, el único que se salvó de las destrucciones de 1936 en este sector de los Pirineos. Se conserva, en el Museu Diocesà de Girona, una casulla de finales del siglo XVII, procedente de Setcases.
Fuente: www.setcases.info/esp/index.html
Heading south, Great Barton is the last village before arriving at Bury St. Edmunds, and the village itself is divided by the busy road. I'm sure, once it was a lovely village, but now trucks and cars thunder past, mostly ignoring the speed limits.
As you leave the centre of the village, past the old village school, there is a sign pointing down a leafy lane directing the visitor to the church. I had seen that sign many times and almost tempted to go down to investigate.
You have to travel about a mile down the lane, past an old manor house now a business centre, until you come to Holy Innocents on the right, a wonderful knapped flint church, glistening in the weak autumn sunshine.
First thing I noticed was the white stone used for the structure between flints, created a chequerboard pattern, which was very impressive. But when I mentioned this to the warden who was inside, she said she had never noticed, but after leaving came back to tell me she could see the pattern now.
Most eyecatching for me were the multitude of payer-kneelers on the shelves of the pews, creating a colourful display, contrasting with the austere structure of the church. Light streamed through the vibrant Victorian windows, which to my eye are of a very good standard indeed.
Holy Innocents seems to be open every day.
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It had been so long since I last visited Great Barton that I really did not remember the village at all. It is a large place, a bit of Bury St Edmunds broken off really, only the railway line separating it from the Moreton Hall Estate. The church sits a good half mile from the village, down a narrow dusty lane. A large hare sat on the road in front of me as I left the village, and loped along just ahead in no particular hurry until we reached the church gates, where he turned and looked at me, and then preceded me into the graveyard. It was hard not to imagine that he was an omen of some kind.
Holy Innocents is one of those spectacular 15th Century rebuilds that East Anglia did so well, and is all the more so for being so remote. Mortlock calls it 'handsome', which is about right. The big tower rides high above the clerestory and aisles, the long, earlier chancel extending beyond. It has much in common with Rougham, just across the A14. Windows to aisle and clerestory create something of the wall of glass effect so beloved of the later Middle Ages. Unusually, there is a tomb recess in the outside of the south wall of the chancel which was possibly for the donor of the chancel.
The 15th Century south porch carries a later sun dial with the inscription periunt et imputantor, which means something like 'they perish and are judged'.
You step inside to a big church. Despite the windows of the south aisle being filled with coloured glass, the church is full of airy light and space. This is accentuated by the hugeness of the chancel arch, which goes with the 13th Century chancel - that is to say, nave and aisles were built to scale with it as a starting point. In such a great space the furnishings do not intrude, and they are pretty much all the work of the 19th Century restoration here. They are a good counterpoint to the spectacular glass of the south aisle. The first window is by the William Morris workshop, with the figures by Edward Burne-Jones of Faith Hope and Charity. All three are shown, unusually, as men. Faith is the Roman centurion at the foot of the cross, Hope is Joshua and Charity is the Good Samaritan.
Beside it is a window which is somewhat bizarre. A number of Suffolk churches have windows to commemorate the Golden Jubilee of Queen Victoria in 1887, but none, I think, are quite like this one. The stately queen sits with a look of indigestion upon her face among angels carrying her crown and the Bible. She is flanked by two rather unlikely fellow monarchs, the Queen of Sheba with a snake of temptation and her motto Wisdom is better than rubies and a positively louche Queen Esther with If I perish, I perish. Above Victoria's head in a scroll is inscribed In her tongue is the Law of Kindness from the Book of Proverbs. All in all, a remarkable piece.
Ther other window in the aisle depicts the Ascension flanked by the Nativity and the Resurrection. The Nativity scene is particularly good. It is unsigned, but I wondered if it was by AK Nicholson.
But for the oddest window of all, you have to step up into the chancel. Here, on the south side, is another depiction of the Resurrection and the Ascension. These appear in the upper part, and in the lower part are the Disciples watching the Ascension and the Roman soldiers asleep at the Resurrection. However, these lower parts have been put under the wrong upper parts, and the sleeping soldiers are missing the Ascension and the Disciples are watching the Resurrection! Such a blunder can only have happened in the studio, when the cartoons were being laid out before the glass was made.
Holy Innocents is an interesting dedication, and an unusual one for an Anglican church, especially a medieval one. Bear in mind that, in the Middle Ages, churches were dedicated to feast days, especially of Saints, and not the Saints themselves. Holy Innocents is celebrated on December 28th, and remembers Herod's massacre of the babies of Bethlehem. It would have been a more common dedication in medieval times. Here, it is probably a relic of Anglo-catholic days, and the 19th century revival of church dedications; but it may also be the original dedication of the church. It is quite clear that this church enjoys a High Church character this day, and is one of the few village churches in the Bury area where you can light a candle when you say a prayer.
Like all good High Church parishes, Great Barton keeps Holy Innocents open every day, and there is even a Fair Trade shop where you can make your purchases and perform a work of mercy at the same time, a fine opportunity.
Back outside, the churchyard is one of the best in Suffolk to potter about in. It is vast, with a good 300 years-worth of headstones. While exploring, you might notice that the very north-east corner of the churchyard is cordoned off by a low brick wall, and contains but a small number of graves. They are to the Bunbury family, who are also remembered with mural monuments in the chancel of the church. The Bunburys had lived at Barton Hall, but it was destroyed by fire in 1914. Sir Henry Bunbury achieved a place in popular history in the early 19th century when he was the foreign office official who had the job of breaking the news to Napoleon that he was to be exiled to St Helena. The school history books that speak of the defeat of Napoleon have long since been consigned to the skips. Now, all that remains is the light summer breeze in the corner of a Suffolk churchyard.
Simon Knott, May 2013
www.suffolkchurches.co.uk/gbarton.htm
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The Church is dedicated to the Holy Innocents. These were the Jewish boys under the age of two who were massacred by King Herod. This was after the visit from the wise men in search of the king of the Jews. These children are probably the first martyrs to suffer for our Lord. All Christian churches are built to oppose this injustice. Holy Innocents Great Barton is one of only five churches in the country dedicated to the Holy Innocents. It is most unusual for a mediaeval church.
Wool was a very important industry in East Anglia. Woolpit and Lavenham are local churches built from the proceeds of the trade. Gt. Barton was on the edge of the wool producing area. 'Dog Pews' were put in the Church in honour of the dogs who helped the shepherds during the years when wool was a very important product of the county. The shepherd's dogs were very important to them, and far too valuable to leave outside while the shepherds were in church. The Dog Pews were situated in the back of the church, and the shepherds were encouraged to bring their dogs in with them. The shepherds were also allowed to sleep (with their dogs) in the porch. These pews can now be found at the front of the church and are one of the many items around Holy Innocents that tell a fascinating story of the church's history.
Great Barton is believed to have been a settlement of the Iceni tribe before the Roman occupation of England. It is believed that Barton mere was occupied by early lake-dwellers. Records mention the parish in the time of Edward the Confessor, however it was not until about 950 AD that the parish was given into the care of the abbey of Bury St Edmunds. The abbey held it until the monastery was dissolved in 1539. It is almost certain that a Saxon Church existed here- it is probable that this was a simple wooden building rebuilt in stone by the Normans. In 1086, the Domesday Book states that the church possessed 50 acres of land, valued at £20. The chancel was erected and the font was installed in the late 13th century. These are the earliest parts of the present church. Over the centuries, various additions were made to the church when funds became available. It was the job of the Rector to maintain the chancel, whereas other parts were maintained by the parishioners. In the 15th century they erected the aisles, clerestory and tower. Much money was left to the church for restoration in the 15th century, including from the Rector of that time, William Howerdly. The following two centuries saw the destruction of many parts of the church due to the Reformation and Puritan purge. At this time the majority of the angels in the roof were destroyed. Their remains can still be seen today. Little work was done on the church until the Victorian era when major restoration work began.
The list of incumbents goes back to 1320 when the parish was in the diocese of Norwich. In 1823 it was in the Diocese of Ely, and in 1914 it became a member of the newly formed Diocese of St. Edmundsbury and Ipswich.
Japan is most likely home to the world's best claw machines, and there are plenty of UFO catchers to choose from. Pringles - yum!
We're all locked down but the charity shop window is full of sequins and sparkle as if expressing the national desire to party
This shop is in Kirkwall's "Broad Street" across from the St. Magnus Cathedral. It is crammed full of a huge range of second-hand items and is very interesting inside.
If anyone has suggestions of other appropriate Groups to post this one to I would be delighted!
Santiago de Compostela, A Coruña (Spain).
MiniKDD del grupo Tecendo_redes del 18/08/2009.
ENGLISH
Santiago de Compostela (also Saint James of Compostela) is the capital of the autonomous community of Galicia and a UNESCO World Heritage Site. Located in the north west of Spain in the Province of A Coruña, it was a "European City of Culture" for the year 2000. The city's Cathedral is the destination today, as it has been throughout history, of the important 9th century medieval pilgrimage route, the Way of St. James (Galician: Camiño de Santiago, Spanish: Camino de Santiago). The Archdiocese of Santiago de Compostela hosted one of the Catholic World Youth Day gatherings.
Folk etymology for the name "Compostela" is that it comes from the Latin "Campus Stellae" (i.e. Stars Field), but it is unlikely such a phonetic evolution takes account of normal evolution from Latin to Galician-Portuguese. A more probable etymology relates the word with Latin "compositum", and local Vulgar Latin "Composita Tella", meaning "burial ground" as a euphemism. Many other places through Galicia share this toponym (with identical sense) and there even exists a "Compostilla" in the León province.
More info: en.wikipedia.org/wiki/Santiago_de_Compostela
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CASTELLANO
Santiago de Compostela es una ciudad y municipio de España, situada en la provincia de La Coruña, siendo la capital de la Comunidad Autónoma de Galicia desde 1982.
Está situada a 65 kilómetros al sur de La Coruña y a 62 kilómetros al norte de Pontevedra. Incluye los antiguos municipios de Conxo (incorporado en 1925) y Enfesta (alrededor de 1970). La ciudad antigua es Patrimonio de la Humanidad por la Unesco desde 1985.
En ella tiene su sede el gobierno autónomo gallego (Junta de Galicia) y el Parlamento. Destaca por ser un importante núcleo de peregrinación cristiana, tras Jerusalén y Roma, debido a la creencia de que allí se dio sepultura al Apóstol Santiago el Mayor. De especial importancia artística es su Catedral dedicada precisamente al Apóstol Santiago el Mayor. Es también relevante su Universidad, de más de 500 años de historia, la cual concede a la ciudad un agradable ambiente estudiantil, con 30.000 alumnos matriculados cada curso. Además es el fin de la vía originariamente construida por el Imperio Romano del Camino de Santiago, privilegio que otros conceden a Finisterre. En 2007, Santiago de Compostela fue la quinta ciudad menos soleada de España, con 1.958 horas de sol, según se desprende de los datos de los que dispone el Instituto Nacional de Estadística, recogidos en su anuario estadístico.