The heart of the Piazza del Duomo is the Duomo, the medieval cathedral of the Archdiocese of Pisa, entitled to Santa Maria Assunta (St. Mary of the Assumption). This is a five-naved cathedral with a three-naved transept. The church is known also as the Primatial, the archbishop of Pisa being a Primate since 1092.

Its Construction began in 1064 by the architect Busketo, and set the model for the distinctive Pisan Romanesque style of architecture. The mosaics of the interior, as well as the pointed arches, show a strong Byzantine influence.

The façade, of grey marble and white stone set with discs of coloured marble, was built by a master named Rainaldo, as indicated by an inscription above the middle door: Rainaldus prudens operator.

The massive bronze main doors were made in the workshops of Giambologna, replacing the original doors destroyed in a fire in 1595. The original central door was in bronze and made around 1180 by Bonanno Pisano, while the other two were probably in wood. However worshippers never used the façade doors to enter, instead entering by way of the Porta di San Ranieri (St. Ranieri's Door), in front of the Leaning Tower, made in around 1180 by Bonanno Pisano.

Pisa Cathedral with the Leaning Tower of Pisa

Above the doors there are four rows of open galleries with, on top, statues of Madonna with Child and, on the corners, the Four evangelists.

Also in the façade we can find the tomb of Busketo (on the left side) and an inscription about the foundation of the Cathedral and the victorious battle against Saracens.

At the east end of the exterior, high on a column rising from the gable is a modern replica of the Pisa Griffin, the largest Islamic metal sculpture known, the original of which was placed there probably in the 11th or 12th century, and is now in the Cathedral Museum.

The interior is faced with black and white marble and has a gilded ceiling and a frescoed dome. It was largely redecorated after a fire in 1595, which destroyed most of the Renaissance art works.

Fortunately, the impressive mosaic, in the apse, of Christ in Majesty, flanked by the Blessed Virgin and St. John the Evangelist, survived the fire. It evokes the mosaics in the church of Monreale, Sicily. Although it is said that the mosaic was done by Cimabue, only the head of St. John was done by the artist in 1302 and was his last work, since he died in Pisa in the same year. The cupola, at the intersection of the nave and the transept, was decorated by Riminaldi showing the ascension of the Blessed Virgin.

Pisa Cathedral interior and Galileo's Lamp

Galileo is believed to have formulated his theory about the movement of a pendulum by watching the swinging of the incense lamp (not the present one) hanging from the ceiling of the nave. That lamp, smaller and simpler than the present one, it is now kept in the Camposanto, in the Aulla chapel.

The granite Corinthian columns between the nave and the aisle came originally from the mosque of Palermo, captured by the Pisans in 1063.

The coffer ceiling of the nave was replaced after the fire of 1595. The present gold-decorated ceiling carries the coat of arms of the Medici.

The elaborately carved pulpit (1302–1310), which also survived the fire, was made by Giovanni Pisano and is one the masterworks of medieval sculpture. It was packed away during the redecoration and was not rediscovered and re-erected until 1926. The pulpit is supported by plain columns (two of which mounted on lions sculptures) on one side and by caryatids and a telamon on the other: the latter represent St. Michael, the Evangelists, the four cardinal virtues flanking the Church, and a bold, naturalistic depiction of a naked Hercules. A central plinth with the liberal arts supports the four theological virtues.

Pulpit

The present day reconstruction of the pulpit is not the correct one. Now it lies not in the same original position, that was nearer the main altar, and the disposition of the columns and the panels are not the original ones. Also the original stairs (maybe in marble) were lost.

The upper part has nine panels dramatic showing scenes from the New Testament, carved in white marble with a chiaroscuro effect and separated by figures of prophets: Annunciation, Massacre of the Innocents, Nativity, Adoration of the Magi, Flight into Egypt, Crucifixion, and two panels of the Last Judgement.

The church also contains the bones of St Ranieri, Pisa's patron saint, and the tomb of the Holy Roman Emperor Henry VII, carved by Tino da Camaino in 1315. That tomb, originally in the apse just behind the main altar, was disassembled and changed position many times during the years for political reasons. At last the sarcophagus is still in the Cathedral, but some of the statues were put in the Camposanto or in the top of the façade of the church. The original statues now are in the Museum of the Opera del Duomo.

Pope Gregory VIII was also buried in the cathedral. The fire in 1595 destroyed his tomb.

The Cathedral has a prominent role in determining the beginning of the Pisan New Year. Between the tenth century and 1749, when the Tuscan calendar was reformed, Pisa used its own calendar, in which the first day of the year on March 25, which is the day of the Annunciation of the Virgin Mary. The Pisan New Year begins 9 months before the ordinary one. The exact moment is determined by a ray of sun that, through a window on the left side, hit an egg-shaped marble, just above the pulpit by Giovanni Pisano. This occurs at noon.

Some relics brought during the Crusades can also be found in the Cathedral: alleged remains of three Saints (Abibo, Gamaliel and Nicodemus) and a vase that is said to be one of the jars of Cana.

The building, as have several in Pisa, has tilted slightly since its construction, though not nearly to the extent of the nearby Tower.

IN CONGRESS, JULY 4, 1776

The unanimous Declaration of the thirteen united States of America

When in the Course of human events it becomes necessary for one people to dissolve the political bands which have connected them with another and to assume among the powers of the earth, the separate and equal station to which the Laws of Nature and of Nature's God entitle them, a decent respect to the opinions of mankind requires that they should declare the causes which impel them to the separation.

We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness. — That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed, — That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness. Prudence, indeed, will dictate that Governments long established should not be changed for light and transient causes; and accordingly all experience hath shewn that mankind are more disposed to suffer, while evils are sufferable than to right themselves by abolishing the forms to which they are accustomed. But when a long train of abuses and usurpations, pursuing invariably the same Object evinces a design to reduce them under absolute Despotism, it is their right, it is their duty, to throw off such Government, and to provide new Guards for their future security. — Such has been the patient sufferance of these Colonies; and such is now the necessity which constrains them to alter their former Systems of Government. The history of the present King of Great Britain is a history of repeated injuries and usurpations, all having in direct object the establishment of an absolute Tyranny over these States. To prove this, let Facts be submitted to a candid world.

He has refused his Assent to Laws, the most wholesome and necessary for the public good.

He has forbidden his Governors to pass Laws of immediate and pressing importance, unless suspended in their operation till his Assent should be obtained; and when so suspended, he has utterly neglected to attend to them.

He has refused to pass other Laws for the accommodation of large districts of people, unless those people would relinquish the right of Representation in the Legislature, a right inestimable to them and formidable to tyrants only.

He has called together legislative bodies at places unusual, uncomfortable, and distant from the depository of their Public Records, for the sole purpose of fatiguing them into compliance with his measures.

He has dissolved Representative Houses repeatedly, for opposing with manly firmness his invasions on the rights of the people.

He has refused for a long time, after such dissolutions, to cause others to be elected, whereby the Legislative Powers, incapable of Annihilation, have returned to the People at large for their exercise; the State remaining in the mean time exposed to all the dangers of invasion from without, and convulsions within.

He has endeavoured to prevent the population of these States; for that purpose obstructing the Laws for Naturalization of Foreigners; refusing to pass others to encourage their migrations hither, and raising the conditions of new Appropriations of Lands.

He has obstructed the Administration of Justice by refusing his Assent to Laws for establishing Judiciary Powers.

He has made Judges dependent on his Will alone for the tenure of their offices, and the amount and payment of their salaries.

He has erected a multitude of New Offices, and sent hither swarms of Officers to harass our people and eat out their substance.

He has kept among us, in times of peace, Standing Armies without the Consent of our legislatures.

He has affected to render the Military independent of and superior to the Civil Power.

He has combined with others to subject us to a jurisdiction foreign to our constitution, and unacknowledged by our laws; giving his Assent to their Acts of pretended Legislation:

For quartering large bodies of armed troops among us:

For protecting them, by a mock Trial from punishment for any Murders which they should commit on the Inhabitants of these States:

For cutting off our Trade with all parts of the world:

For imposing Taxes on us without our Consent:

For depriving us in many cases, of the benefit of Trial by Jury:

For transporting us beyond Seas to be tried for pretended offences:

For abolishing the free System of English Laws in a neighbouring Province, establishing therein an Arbitrary government, and enlarging its Boundaries so as to render it at once an example and fit instrument for introducing the same absolute rule into these Colonies

For taking away our Charters, abolishing our most valuable Laws and altering fundamentally the Forms of our Governments:

For suspending our own Legislatures, and declaring themselves invested with power to legislate for us in all cases whatsoever.

He has abdicated Government here, by declaring us out of his Protection and waging War against us.

He has plundered our seas, ravaged our coasts, burnt our towns, and destroyed the lives of our people.

He is at this time transporting large Armies of foreign Mercenaries to compleat the works of death, desolation, and tyranny, already begun with circumstances of Cruelty & Perfidy scarcely paralleled in the most barbarous ages, and totally unworthy the Head of a civilized nation.

He has constrained our fellow Citizens taken Captive on the high Seas to bear Arms against their Country, to become the executioners of their friends and Brethren, or to fall themselves by their Hands.

He has excited domestic insurrections amongst us, and has endeavoured to bring on the inhabitants of our frontiers, the merciless Indian Savages whose known rule of warfare, is an undistinguished destruction of all ages, sexes and conditions.

In every stage of these Oppressions We have Petitioned for Redress in the most humble terms: Our repeated Petitions have been answered only by repeated injury. A Prince, whose character is thus marked by every act which may define a Tyrant, is unfit to be the ruler of a free people.

Nor have We been wanting in attentions to our British brethren. We have warned them from time to time of attempts by their legislature to extend an unwarrantable jurisdiction over us. We have reminded them of the circumstances of our emigration and settlement here. We have appealed to their native justice and magnanimity, and we have conjured them by the ties of our common kindred to disavow these usurpations, which would inevitably interrupt our connections and correspondence. They too have been deaf to the voice of justice and of consanguinity. We must, therefore, acquiesce in the necessity, which denounces our Separation, and hold them, as we hold the rest of mankind, Enemies in War, in Peace Friends.

We, therefore, the Representatives of the united States of America, in General Congress, Assembled, appealing to the Supreme Judge of the world for the rectitude of our intentions, do, in the Name, and by Authority of the good People of these Colonies, solemnly publish and declare, That these united Colonies are, and of Right ought to be Free and Independent States, that they are Absolved from all Allegiance to the British Crown, and that all political connection between them and the State of Great Britain, is and ought to be totally dissolved; and that as Free and Independent States, they have full Power to levy War, conclude Peace, contract Alliances, establish Commerce, and to do all other Acts and Things which Independent States may of right do. — And for the support of this Declaration, with a firm reliance on the protection of Divine Providence, we mutually pledge to each other our Lives, our Fortunes, and our sacred Honor.

— John Hancock

New Hampshire:

Josiah Bartlett, William Whipple, Matthew Thornton

Massachusetts:

John Hancock, Samuel Adams, John Adams, Robert Treat Paine, Elbridge Gerry

Rhode Island:

Stephen Hopkins, William Ellery

Connecticut:

Roger Sherman, Samuel Huntington, William Williams, Oliver Wolcott

New York:

William Floyd, Philip Livingston, Francis Lewis, Lewis Morris

New Jersey:

Richard Stockton, John Witherspoon, Francis Hopkinson, John Hart, Abraham Clark

Pennsylvania:

Robert Morris, Benjamin Rush, Benjamin Franklin, John Morton, George Clymer, James Smith, George Taylor, James Wilson, George Ross

Delaware:

Caesar Rodney, George Read, Thomas McKean

Maryland:

Samuel Chase, William Paca, Thomas Stone, Charles Carroll of Carrollton

Virginia:

George Wythe, Richard Henry Lee, Thomas Jefferson, Benjamin Harrison, Thomas Nelson, Jr., Francis Lightfoot Lee, Carter Braxton

North Carolina:

William Hooper, Joseph Hewes, John Penn

South Carolina:

Edward Rutledge, Thomas Heyward, Jr., Thomas Lynch, Jr., Arthur Middleton

Georgia:

Button Gwinnett, Lyman Hall, George Walton

www.jsricephotography.com

this is the ninth and final image in a series entitled "the slow goodbye".

my wife and her sister are in the process of a slow goodbye -- their father is 90 years old, his health is beginning to fail, and the only place they ever knew as home is the farm their father now struggles to maintain. he can't maintain it for long, and so we all realize we are in the midst of the slow goodbye.

this series commemorates those special things about home that stick in your mind after home is gone -- the small details that seem inconsequential until you can no longer see them or touch them. all of us who remember our childhood home and long for one more look at it, one more familiar smell, one more chance to get back what we never will be able to recover, will perhaps relate to this series.

it won't just be the house, the barns, the tractors, the pond, and the other familiar things that we will miss, but it will be the man. his grace, his lack of grace, his humor, his lack of humor, his words, his loss for words, his smile, his frown. the two sides of the coin that were so much him, and when you flipped that coin you didn't know whether it would land heads or tails.

this is bob on a ride with me to survey his property. he's been on this same tract for 75 of his 90 years but his love for the ground is palpable. as we drive through the fields and spot daughter dona mowing, grandaughter jenny mowing, and jenny's husband david on the ford belly mower, bob breaks out in full laughter and looks at me and says "look at that ford cut that field". to see this man so filled with joy over something so mundane to us was a reminder of how important the little things in life should be -- and how much that changes when you get to be 90 years old and wonder where your next day is coming from.

we rode a little further, down to the cemetery next to his farm where his family is buried. we rode in silence for a while. "jean has really done well for herself, hasn't she?", he asked. jean is his oldest daughter. he said things to her that were like a knife in her heart when she was younger -- more than once. but now he wants me to reassure him she's done well for herself. i said "jean has done well for herself, bob". after a little more silence, he says "dona works so hard for me on this farm." dona is my wife and his youngest daughter. i said "she works very hard for you bob." he adds "and she's done well too, being a nurse." i said "yes, she's done well too, bob." we sit in the cemetery quietly and the breeze blows through the open windows of the cab of the pickup. we ride a bit more and we stop in the barnyard. he's staring straight ahead, silent. in a flash, i draw my camera to my eye, focus, and shoot. i start to take a second shot to be sure i get the moment but my eyes are already tearing up and i can't see clearly.

i know what we're doing. we're touching bases that he needs to touch, and i'm his sounding board. he wants to know the farm is okay and his girls are okay. he feels safe asking me when we're alone. i don't think he could ever ask them to their face.

this is why i did this series. and the tears are streaming down my face as i finish up with these words. it's been an honor for me to be that sounding board. to assure him all is well. and to assure him his girls are well.

no one knows the hour or the day, but each of us will reach our final breath at some point in time. as for this family, we will reach it with dignity, love, forgiveness, and joy. fences have been mended, love has been rekindled, and laughter will echo in our hearts whenever we remember bob.

until then, we'll ride with the windows open, touch all the bases, and let the silence and warm breezes say all that needs to be said.

I almost entitled this "Dirty Picture," as the surface of this reflection is filthy. The poster advertises a TV program about tattoos; careful, they're going mainstream! This was taken about a block north of Columbus Circle, part of which is reflected here. I LOVE the way the reflection alters (erases part of) the face of the tattooed man. There's a group here (which I don't belong to) called "self-portrait Tuesday;" that's when I took this, even though I'm posting on a Wednesday. Thankfully, I'm barely recognizable...

Anna de Noailles' critical biography is accompanied by quatations, iconography and an extensive bibliography. This is part of a new Anthology entitled:

"Blouse Roumaine - the Unsung Voices of Romanian Women"

Presented and Selected by Constantin ROMAN

Anthology E-BOOK (11BM)

DISTRIBUTION: Online with credit card

COST: $ 54.99, £34.99 (ca Euros 35.50)

LINK: www.blouseroumaine.com/orderthebook_p1.html

CONTENTS:

2,250,000 words,

over 1,000 pages,

ca 160 illustrations in text

160 critical biographies,

58 social categories/professions,

600 quotations (mostly translated into English for the first time),

circa 3,000 bibliographical references (including URLs and credits)

6 Indexes (alphabetical, by profession, timeline, quotation Index, place

index and name index)

AUTHOR: Constantin Roman is a Scholar with a Doctorate from Cambridge and a Member of the Society of Authors (London). He is an International Adviser, Guest Speaker, Professor Honoris Causa and Commander of the Order of Merit.

INDEX BY PROSFESSION: 58 CATEGORIES by Call, Profession or Social Status

Academics (22), Actresses (9), Anti-Communist Fighters (14), Architects/Interior Designers (2), Art Critics (9), Artist Book Binders (1), Ballerinas (6), Charity Workers/Benefactors (20), Communist Public Figures (2), Courtesans (3), Designers (2), Diplomats (4), Essayists (11), Ethnographers (6), Exiles & First-generation Romanians born abroad (87), Explorers (1), Feminists (12), Folk Singers (1), Gymnasts, Dressage Riders (2), Historians (5), Honorary Romanian Women (15), Illustrators (3), Journalists (13), Lawyers (4), Librarians (3), Linguists (2), Literary Critics (1), Media (15), Medical Doctors/Nurses (5), Memoir Writers (16), Missionaries and Nuns (4), Mountainéers (2), Museographers (1), Musical Instruments Makers (1), Novelists (24), Opera Singers (16), Painters (14), Peasant Farmers (6), Philosophers and Philosophy Graduates (4), Pianists (6), Pilots (4), Playwrights (5), Poets (29), Political Prisoners (30), Politicians (5), Revolutionaries (2), Royals and Aristocrats (34), Scientists (8), Sculptors (4), Slave (1), Socialites/Hostesses (20), Spouses/Relations of Public Figures (51), Spies (2), Tapestry Weavers (4), Translators (25), Unknown Illustrious (6), Violinists (4), Workers (3)

NOTE:

Most of the above 160 Romanian women, in the best tradition of versatility, are true polymaths and therefore nearly each one of them falls in more than just one category, often three or more. This explains why adding the numbers of the 57 individual categories bears no relation to the actual total of the above 160 women included in Blouse Roumaine.

-----------------------------------------------------------------------------------------------------------

LIST OF 160 CRITICAL BIOGRAPHIES (each supported by Quotations and Bibliography)

AA *Gabriela Adamesteanu *Florenta Albu *Nina Arbore *Elena Arnàutoiu *Ioana Raluca Voicu-Arnàutoiu, *Laurentia Arnàutoiu *Mariea Plop - Arnàutoiu *Ana Aslan *Lady Elizabeth Asquith Bibescu

BB *Lauren Bacall *Lady Florence Baker *Zoe Bàlàceanu *Ecaterina Bàlàcioiu-Lovinescu *Victorine de Bellio *Pss. Marta Bibescu *Adriana Bittel *Maria Prodan Bjørnson *Ana Blandiana *Yvonne Blondel *Lola Bobescu *Smaranda Bràescu *Elena Bràtianu *Élise Bràtianu *Ioana Bràtianu *Elena Bràtianu- Racottà *Letitzia Bucur

CC *Anne-Marie Callimachi *Georgeta Cancicov *Madeleine Cancicov *Pss. Alexandra Cantacuzino *Pss.Maria Cantacuzino (Madame Puvis de Chavannes) *Pss. Maruca Cantacuzino-Enesco* Pss. Catherine Caradja *Elena Caragiani-Stoenescu *Marta Caraion-Blanc, *Nina Cassian, *Otilia Cazimir *Elena Ceausescu *Maria Cebotari *Ioana Celibidache *Hélène Chrissoveloni (Mme Paul Morand)*Alice Cocea *Irina Codreanu *Lizica Codreanu *Alina Cojocaru *Nadia Comàneci *Denisa Comànescu *Lena Constante *Silvia Constantinescu *Doina Cornea *Hortense Cornu *Viorica Cortez*Otilia Cosmutzà *Sandra Cotovu *Ileana Cotrubas *Carmen-Daniela Cràsnaru *Mioara Cremene *Florica Cristoforeanu *Pss. Elena Cuza

DD *Hariclea Darclée *Cella Delavrancea *Alina Diaconú *Varinca Diaconú *Anca Diamandy *Marie Ana Dràgescu *Rodica Dràghincescu *Bucura Dumbravà *Natalia Dumitrescu

EE *Micaela Eleutheriade *Queen Elisabeth of Romania (‘Carmen Sylva’) *Alexandra Enescu *Mica Ertegün

FF *Lizi Florescu, *Maria Forescu *Nicoleta Franck *Aurora Fúlgida

GG *Angela Gheorghiu *Pss Grigore Ghica *Pss. Georges Ghika (Liane de Pougy) *Veturia Goga *Maria Golescu *Nadia Gray *Olga Greceanu *Pss. Helen of Greece *Nicole Valéry-Grossu *Carmen Groza

HH *Virginia Andreescu Haret *Clara Haskil *Lucia Hossu-Longin

II *Pss. Ileana of Romania *Ana Ipàtescu *Marie-France Ionesco *Dora d’Istria *Rodica Iulian

JJ *Doina Jela *Lucretia Jurj

KK *Mite Kremnitz

LL *Marie-Jeanne Lecca *Madeleine Lipatti *Monica Lovinescu *Elena Lupescu

MM *Maria Mailat *Ileana Màlàncioiu *Ionela Manolesco *Lilly Marcou *Silvia Marcovici *Queen Marie of Romania *Ioana A. Marin *Ioana Meitani *Gabriela Melinescu *Veronica Micle *Nelly Miricioiu *Herta Müller *Alina Mungiu-Pippidi *Agnes Kelly Murgoci

NN *Mabel Nandris *Anita Nandris-Cudla *Lucia Negoità *Mariana Nicolesco *Countess Anna de Noailles *Ana Novac

OO *Helen O’Brien *Oana Orlea

PP *Hortensia Papadat-Bengescu *Milita Pàtrascu *Ana Pauker *Marta Petreu *Cornelia Pillat *Magdalena Popa *Elvira Popescu

RR *Ruxandra Racovitzà *Elisabeta Rizea *Eugenia Roman *Stella Roman *Queen Ana de România, *Pss. Margarita de România *Maria Rosetti *Elisabeth Roudinesco

SS *Annie Samuelli *Sylvia Sidney *Henriette-Yvonne Stahl *Countess Leopold Starszensky *Elena Stefoi *Pss. Marina Stirbey *Sanda Stolojan *Cecilia Cutzescu-Storck

TT *Maria Tànase *Aretia Tàtàrescu *Monica Theodorescu *Elena Theodorini

UU *Viorica Ursuleac

VV *Elena Vàcàrescu *Leontina Vàduva *Ana Velescu *Marioara Ventura *Anca Visdei *Wanda Sachelarie Vladimirescu *Alice Steriade Voinescu

WW *Sabina Wurmbrand

ZZ *Virginia Zeani

A lot of weeds on the railways lands, but they provide a lot of great textures.

From my set entitled

www.flickr.com/photos/21861018@N00/sets/72157607213815438/

In my collection entitled “Goldenrod”

www.flickr.com/photos/21861018@N00/collections/7215760718...

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Goldenrod

The goldenrod is a yellow flowering plant in the Family Asteraceae.

About 100[1] perennial species make up the genus Solidago, most being found in the meadows and pastures, along roads, ditches and waste areas in North America. There are a handful of species from each of Mexico, South America, and Eurasia.[1] Some American species have also been introduced into Europe some 250 years ago.

Many species are difficult to distinguish. Probably due to their bright, golden yellow flower heads blooming in late summer, the goldenrod is often unfairly blamed for causing hay fever in humans. The pollen causing these allergy problems is mainly produced by Ragweed (Ambrosia sp.), blooming at the same time as the goldenrod, but is wind-pollinated. Goldenrod pollen is too heavy and sticky to be blown far from the flowers, and is thus mainly pollinated by insects.

Goldenrods are easily recognized by their golden inflorescence with hundreds of small capitula, but some are spike-like and other have auxiliary racemes.

They have slender stems, usually hairless but S. canadensis shows hairs on the upper stem. They can grow to a length between 60 cm and 1.5 m.

Their alternate leaves are linear to lanceolate. Their margins are usually finely to sharply serrated.

Propagation is by wind-disseminated seed or by underground rhizomes. They form patches that are actually vegetative clones of a single plant.

Goldenrod is used as a food plant by the larvae of some Lepidoptera species - see list of Lepidoptera that feed on goldenrods. The Goldenrod then forms a leathery bulb (called a gall) around the invading insect as a quarantine to keep it confined to a small part of the plant. Parasitoid wasps have learned to find these galls, and lay eggs in the insect after penetrating the bulb. Woodpeckers have learned to blast open the gall and eat the wasp-infested insect holed up in the center.[2]

Goldenrods can be used for decoration and making tea. Goldenrods are, in some places, held as a sign of good luck or good fortune; but they are considered weeds by some.

Goldenrods are mostly short-day plants and bloom in late summer and early fall and some species produce abundant nectar when moisture is plentiful before bloom, and the bloom period is relatively warm and sunny. Honey from goldenrods often is dark and strong due to admixtures of other nectars. However when there is a strong honey flow, a light (often water white), spicy-tasting honey is produced. While the bees are ripening the honey there is a rank odor and taste, but finished honey is much milder.

British gardeners adopted goldenrod long before Americans. Goldenrod only began to gain some acceptance in American gardening (other than wildflower gardening) during the 1980s. A hybrid with aster, known as x Solidaster is less unruly, with pale yellow flowers, equally suitable for dried arrangements.

Solidago canadensis was introduced as a garden plant in Central Europe, and is now common in the wild. In Germany, it is considered an invasive species that displaces native vegetation from its natural habitat.

Goldenrod is a companion plant, playing host to some beneficial insects, repelling some pests

Inventor Thomas Edison experimented with goldenrod to produce rubber, which it contains naturally.[3] Edison created a fertilization and cultivation process to maximize the rubber content in each plant. His experiments produced a 12 foot tall plant that yielded as much as 12 percent rubber. The rubber produced through Edison's process was resilient and long lasting. The tires on the Model T given to him by his friend Henry Ford were made from goldenrod. Examples of the rubber can still be found in his laboratory, elastic and rot free after more than 50 years. However, even though Edison turned his research over to the U.S. government a year before his death, goldenrod rubber never went beyond the experimental stage.

The variety Solidago virgaurea is a traditional kidney tonic. It has aquaretic, anti-inflammatory, antispasmodic and antiseptic action and seems to increase kidney output.[citation needed] This makes it useful as an agent to counter inflammation and irritation of the kidneys when bacterial infection or stones are present.[4] Such use is in combination with other herbs that create a synergistic therapeutic effect on the urinary system. As in other areas of herbalism, blending creates a therapy greater than the effect of a single herb alone. The aquaretic action is also useful in helping to dissolve kidney stones by diluting their components and preventing them from recurring. See herbal medicine. Goldenrod has also been used as part of a tincture to aid in cleansing of the kidney/bladder during a healing fast, in conjunction with Potassium broth and specific juices.[4] 'Solidago odora' is also sold as a medicinal, for these issues: mucus, kidney/bladder cleansing and stones, colds, digestion.

The goldenrod is the state flower of the U.S. states of Kentucky (adopted March 16, 1926) and Nebraska (adopted April 4, 1895). It used to be the state flower of Alabama, being adopted as such on September 6, 1927, but was later rejected in favour of the camellia. Goldenrod was recently named the state wildflower for South Carolina.

In Midwestern states in the mid-twentieth century it was said that when the goldenrod bloomed, it would soon be time to go back to school--the blossoms appeared in mid- to late August, shortly before the traditional start of school on the day after Labor Day.[5]

In Sufjan Stevens' song, Casimir Pulaski Day, the narrator brings goldenrod to his girlfriend upon finding out that she has been diagnosed with bone cancer. Carrie Hamby's song, Solidago, tells the story of Thomas Edison's experiments with making goldenrod a domestic source of rubber during the 2nd world war.

The Sweet Goldenrod (Solidago odora) is also the state herb of Delaware as of June 24, 1996. [6]

The book is entitled, "Sunappu No Torikata" ("How to Take Snapshots"). This is a first edition copy, dating from July, 1939. It was published by ARS, in Tokyo. This was found last year on a Japanese used book website. My friend Kadoi Sachiko helped facilitate the purchase, and I received this from her yesterday (Japan Post reopened for mail to the USA on June 1st, after suspending service for nearly 10 months). This is not a particularly rare book, but it is difficult to find a first edition copy, especially with the original glassine dust cover. We also have Hamaya-san's second book from ARS, and you can see it in this post:

www.flickr.com/photos/littlefields_magazine/49732250558/i...

From my set entitled “Sweet Woodruff”

www.flickr.com/photos/21861018@N00/sets/72157607217333095/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Woodruff

Woodruff (Galium odoratum) is a herbaceous perennial plant in the family Rubiaceae, native to Europe, North Africa and western Asia. It grows to 30-50 cm (12-20 ins.) long, often lying flat on the ground or supported by other plants. The plant is also known in English as Sweet Woodruff or Wild Baby's Breath. "Master of the woods" is probably a translation of the German name Waldmeister. Names like "Sweetscented bedstraw", "Cudweed" and "Ladies' Bedstraw" should be avoided; the former two properly refer to Galium triflorum, the latter to Galium verum.

The leaves are simple, lanceolate, glabrous, 2-5 cm long, and borne in whorls of 6-9. The small (4-7 mm diameter) flowers are produced in cymes, each white with four petals joined together at the base. The seeds are 2-4 mm diameter, produced singly, and each seed is covered in tiny hooked bristles which help disperse the seed by sticking temporarily to clothing and animal fur.

This plant prefers partial to full shade in moist, rich soils. In dry summers it needs frequent irrigation. Propagation is by crown division, separation of the rooted stems, or digging up of the barely submerged perimeter stolons.

Woodruff, as the scientific name odoratum suggests, is a strongly scented plant, the sweet scent being derived from coumarin. This scent increases on wilting and then persists on drying, and woodruff is used in pot-pourri and as a moth deterrent. It is also used, mainly in Germany, to flavour May wine (called "Maiwein" or "Maibowle" in German), beer (Berliner Weisse), brandy, sausages, jelly, jam, a soft drink (Tarhun), ice cream, and an herbal tea with gentle sedative properties.

High doses can cause headaches, due to the toxity of coumarin. Very high doses of coumarin can cause vertigo, somnolence or even central paralysis and apnoea while in a coma. Since 1981, woodruff may no longer be used as an ingredient of industrially produced drinks and foodstuffs in Germany; it has been replaced by artificial aromas and

colorings.

From my set entitled “Hosta”

www.flickr.com/photos/21861018@N00/sets/72157607213588660/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Hosta

Hosta (syn.: Funkia) is a genus of about 23–40 species of lily-like plants native to northeast Asia. They were once classified in the family Liliaceae but are now included in the family Agavaceae by the Angiosperm Phylogeny Group. The scientific name is also used as the common name; in the past they were also sometimes called the Corfu Lily, the Day Lily, or the Plantain lily, but these terms are now obsolete. The name Hosta is in honor of the Austrian botanist Nicholas Thomas Host.[1]The Japanese name Giboshi is also used in English to a small extent. The rejected generic name Funkia, also used as a common name, can be found in some older literature.

Hostas are herbaceous perennial plants, growing from rhizomes or stolons, with broad lanceolate or ovate leaves varying widely in size by species from 1–15 in (3–40 cm) long and 0.75–12 in (2–30 cm) broad. Variation among the numerous cultivars is even greater, with clumps ranging from less than 4 in (10 cm) across to more than 6.5 ft (2 m) across. Leaf color in wild species is typically green, although some species (e.g., H. sieboldiana) are known for a glaucous waxy leaf coating that gives a blue appearance to the leaf. Some species have a glaucous white coating covering the underside of the leaves. Natural mutations of native species are known with yellow-green ("gold") colored leaves or with leaf variegation (either white/cream or yellowish edges or centers). Variegated plants very often give rise to "sports" that are the result of the reshuffling of cell layers during bud formation, producing foliage with mixed pigment sections. In seedlings variegation is generality maternally derived by chloroplast transfer and is not a genetically inheritable trait.

The flowers are produced on erect scapes up to 31 in (80 cm) tall that end in terminal racemes. The individual flowers are usually pendulous, 0.75–2 in (2–5 cm) long, with six tepals, white, lavender, or violet in color and usually scentless. The only strongly fragrant species is Hosta plantaginea, which is also unusual in that the flowers open in the evening and close by morning. This species blooms in late summer and is sometimes known as "August Lily".

Taxonomists differ on the number of species; as such, the list at the right may be taken loosely. The genus may be broadly divided into three subgenera. Interspecific hybridization is generally possible, as all species have the same chromosome number (2n = 2x = 60) with the exception of H. ventricosa, a natural tetraploid that sets seed through apomixis. Many varieties formerly described as species have been taxonomically reduced to cultivar status, while retaining Latin names resembling species (e.g., H. 'Fortunei').

Though Hosta plantaginea originates in China, most of the species that provide the modern shade garden plants were introduced from Japan to Europe by Philipp Franz von Siebold in the mid-19th century. Newer species have been discovered on the Korean peninsula as well.

Hostas are widely-cultivated ground cover plants, particularly useful in the garden as shade-tolerant plants. Hybridization within and among species and cultivars has produced numerous cultivars, with over 3000 registered and named varieties, and perhaps as many more that are not yet registered. Cultivars with golden- or white-variegated leaves are especially prized. Popular cultivars include 'Francee' (green leaves with white edges), 'Gold Standard' (yellow leaves with green edges was discovered by Pauline Banyai) 'Undulata' (green leaves with white centers), 'June' (blue-green leaves with creamy centers), and 'Sum and Substance' (a huge plant with chartreuse-yellow leaves). Newer, fragrant cultivars such as 'Guacamole' are also popular. Pictures of hosta species and cultivars, along with other information, may be found at www.hostalibrary.org.

The American Hosta Society and the British Hosta and Hemerocallis Society support Hosta Display Gardens, often within botanical gardens.

Hostas are notoriously a favourite food for deer, slugs and snails, which commonly cause extensive damage to hosta collections in gardens. Poisoned baits using either metaldehyde or the safer iron phosphate work well for the latter, but require repeated applications. Deer control tends to be variable, as anything other than fencing tends to work for a few years then cease to work as they become accustomed to it.

Foliar nematodes, which leave streaks of dead tissue between veins, have become an increasing problem since changes in attitudes about pesticides since the mid-1990s in many countries have caused a resurgence in this once-controlled pest. There are no effective means for eliminating nematodes in the garden, although they can be controlled to the point where little or no symptoms are seen.

A virus called Hosta Virus X has become common since 2004 and plants that are infected must be destroyed. It can take years for symptoms to show, so symptomless plants in infected batches should also be considered infected.

Otherwise they are generally easy and long-lived garden plants, relatively disease free, requiring little care other than watering and some fertilizer to enhance growth. Some varieties are more difficult to grow, as can be expected with 5,000+ cultivars, but most are easy enough for beginners.

From my set entitled “Cranesbill”

www.flickr.com/photos/21861018@N00/sets/72157607214202240/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Geranium

Geranium is a genus of 422 species of flowering annual, biennial, and perennial plants that are commonly known as the cranesbills. It is found throughout the temperate regions of the world and the mountains of the tropics, but mostly in the eastern part of the Mediterranean region. These attractive flowers will grow in any soil as long as it is not waterlogged. Propagation is by semi-ripe cuttings in summer, by seed or by division in autumn or spring.

The species Geranium viscosissimum is considered to be protocarnivorous.

The name "cranesbill" derives from the appearance of the seed-heads, which have the same shape as the bill of a crane. The genus name is derived from the Greek γέρανος, géranos, or γερανός, geranós, crane. The long, palmately cleft leaves are broadly circular in form. Their rose, pink to blue or white flowers have 5 petals.

Cranesbills are eaten by the larvae of some Lepidoptera species including Brown-tail and Mouse Moth.

Confusingly, "geranium" is also the common name of members of the genus Pelargonium, which were formerly classified in the cranesbill genus. In the United States, true Geraniums are frequently distinguished from the less hardy Pelargoniums as (rather redundantly) "hardy geraniums" by gardeners and in the horticultural trade. One can make the distinction between the two by looking at the flowers: Geranium has symmetrical flowers, while Pelargonium has irregular or maculate petals. Other former members of the genus are now classified in genus Erodium, including the plants known as filarees in North America.

Through this photographic portfolio entitled “LIQUID SUBURBS” we want to focus on the theme of suburbs understood as both physical spaces and metaphorical dimensions. In the peripheries, in modern times, we have associated in negative terms what Bauman defines as “forced individualism”, as the liberation from any possible social bond and consequent solitary management of “risk”, uncertainty and the fears that derive from it. In a “liquid” society, life, particularly in the suburbs, seems to settle down and flatten itself in an eternal arid present of future prospects, similar to quicksand, amidst increasingly heavy and immobilizing doubts and perplexities, anchored to certainties linked to a past that is not it exists more and instead persists with nostalgia in the memories of flexible men, weakening them transformative capacity of reality. To adapt to continuous change and the structural risks of the second modernity, man has preferred to abandon the thought of introspection by adopting a mentality of “survival” that feeds on a “fast” thought typical of machines. A thought that does not allow for any deep reflection of one's own experiences, which does not provide the possibility of authentically taking care of one's self and which is shown through the construction, reflected by the architecture of the suburbs (as highlighted in the portfolio), of a “patchwork” Composed of many small and fragile fragments, often devoid of ties and connections, which are unable to give meaning and significance to the existential path of the individual as well as of the family nucleus and consequently of the non-community itself.

entitled "Snow Crash" with Spector.

Visit this location at [ Elysion ] est. 2013 - UNDER CONSTRUCTION! in Second Life

Montblanc Elizabeth I writing instrument seriously tempted my pocket book. MAC nixed the purchase.

Limited Edition 4810 and Limited Edition 888

Montblanc's Patron of Art Edition has annually honoured a legendary benefactor of the arts and culture since this special writing instrument line was originally conceived in 1992. This year’s edition is dedicated to an all time great cultural force - Elizabeth I. Regarded the most successful monarch to ever ascend an English throne, under Elizabeth's astute and skillful rule, England "came of age" and, witnessing groundbreaking achievements, was transformed from a "remote backwater" to a globally dominant imperial power. Great battles were won. The New World - or the "Americas" - was discovered and the English Renaissance reached its zenith because of Elizabeth's artistic patronage.

Patron of Art Edition Elizabeth I - Limited Edition 888

Patron of Art Edition Elizabeth I - Limited Edition 4810

The "best educated woman of her generation..." Elizabeth was "passionately" interested in the arts and her "luminous" court stimulated some of the greatest artistic achievements of all time. William Shakespeare and Christopher Marlowe flourished during her reign as did the poet Edmund Spenser, the painter Nicholas Hillyard and the English composers William Byrd, John Dowland and Thomas Tallis.

Elizabeth I was also a gifted writer and the 2010 Montblanc Patron of Art Edition is therefore composed of two writing instruments conceived with sumptuously striking and clever adornments celebrating her intellect and inimitable regal flair. Patron of Art Edition Elizabeth I, limited to 4810 pieces and limited to 888 pieces, will debut in April 2010 and May 2010, respectively. And, as their presentation has always been associated with the Montblanc de la Culture Arts Patronage Award - which annually celebrates contemporary arts and cultural patrons - the Patron of Art Edition continues a story linking a historical figure with future talent.

Elizabeth I - A Legend in her Own Lifetime

Centuries after her death, Elizabeth I (1533 - 1603), is still considered as one of England's "most popular and influential rulers". She was born at Greenwich Palace on 7 September 1533 to Anne Boleyn, the second wife of Henry VIII, although her arrival was greeted with "surprise and displeasure", by the Court. The "failure" to produce a son for King Henry jeopardized Queen Anne’s life due to her husband's obsession with conceiving a male heir. Charged with adultery, she was beheaded in May 1536.

A retinue of governesses raised the young princess Elizabeth and though she was shunned by her father, Catherine Parr, the "remarkable" sixth and last wife of Henry VIII, oversaw the education which groomed the future queen for greatness and the Patron of Art Edition Elizabeth I will celebrate their special bond. Under the Cambridge scholar Roger Ascham, Elizabeth studied the classics, read history and theology and became fluent in six languages - Greek, Latin, French, Italian, Spanish and German. Her love of music and, skill as a musician, developed from the 60 instrumentalists who resided at Hatfield House, her childhood residence. From age 11, she composed prayers and poems and, when jailed for suspected treason against Mary I, her cousin in 1554, she etched onto a glass prison window a two-line verse with a diamond.

Upon ascending the throne on 15 January 1559, Elizabeth's writing focussed on government matters. She wrote powerful speeches, such as that which she delivered at Tilbury in Essex where English troops had gathered to prepare for Spanish invasion in 1588. Brandishing a silver breastplate over a flowing white velvet gown she arrived on horseback demonstrating the "courage and leadership the English expected" of a monarch - but had never been displayed by a female - and declared to the troops: “I have the body but of a weak and feeble woman but I have the heart and stomach of a king and of a King of England, too".

Nine days later, the defeat of the Spanish Armada proved England's "finest hour". Elizabeth's popularity reached a level no "English woman had enjoyed as a public figure" and she attained supreme power comparable to a "biblical and mythological figure". Her grand mode of dress overawed her subjects while the flourishing of her Renaissance court stimulated new literary, artistic and musical achievements. "Theatres thrived", and, as Shakespeare elevated the English language to its highest level of development, England’s literacy rate soared. Elizabeth attended the debut of Shakespeare's romantic comedy A Midsummer Night's Dream. Numerous works were dedicated to her including poet Edmund Spenser's masterpiece The Fairie Queen. Composers William Byrd, John Dowland and Thomas Tallis also toiled at her court.

The discoveries of adventurers Sir Francis Drake, who circumnavigated the world in 1580, Walter Raleigh's exploration of eastern Venezuela in 1594 and Humphrey Gilbert’s conquering of Newfoundland for the English throne in 1583, spearheaded a new age expansion by the end of Elizabeth's reign. Upon her passing on 24 March 1604, the pioneering monarch, it is said, "departed this life mildly like a lamb, easily like a ripe apple from the tree".

The Limited Edition Celebrating the Elizabethan Age

Patron of Art Edition Elizabeth I. 4810

The design and adornments of the Patron of Art Edition Elizabeth I 4810 reflects the life, reign and heraldic regalia of Elizabeth I. Hand engraved on the 18 K gold nib is a bejewelled gold crown which she brandished ascending the throne in 1559. Lacquer barrel and cap signify the spots which appear on an ermine cape, part of the traditional coronation attire which Elizabeth also flaunted. While an ivory coloured Montblanc emblem tops the cap, the clip descends from gold plated Tudor Rose. This "double rose" motif became England’s floral emblem after Henry VII, Elizabeth's grandfather, commandeered it as the symbol of the Tudor Dynasty upon taking the crown from Richard IIII in 1485. The green cabochon embellishing the gold-plated cross upon the clip also reflects the bejewelled cross upon Elizabeth's crown.

Encircling the gold plate band adorning the cap - as well as the cone - is an elegant interlaced pattern inspired by the pretty needlework sleeve Elizabeth conceived for a prayer book she created especially for her stepmother, Catherine Parr, as a New Year's gift in 1544. Entitled The Mirror of the Sinful Soul, it was Lady Elizabeth's own English translation of the French verse originally composed by Queen Margaret of Navarre. A friend of Anne Boleyn, the French Queen gave the original manuscript to her and the religious poem was also a favourite of Catherine Parr’s. Today, Elizabeth I’s handmade book is owned by the University of Oxford's Bodleian Library. Etched by gold plated cap ring is "Video et Taceo" - or "I see and I keep silent". This maxim of Elizabeth I signified her moderate political views and cautious approach to foreign affairs.

Patron of Art Edition Elizabeth I Limited Edition 888

This 750 solid gold fountain pen features a barrel and cap in precious lacquer. Hand engraved on its 18 K gold nib is a bejewelled gold crown in which Elizabeth I ascended the throne in 1559. Topping the cap is the Montblanc emblem rendered in shimmering mother-of-pearl. The clip descends from a solid gold Tudor Rose while its embellishment - a princess cut green garnet - reflects the bejewelled crown. The intricate interlaced motif, derived from the needlework cover of The Mirror of the Sinful Soul, beautifies the solid gold cap and barrel. Elizabeth I's "Video et Taceo" maxim is embossed upon the cap ring.

Montblanc de la Culture Arts Patronage Award

Celebrating Past and Present

The Montblanc de la Culture Arts Patronage Award is presented in 11 countries and represents an exemplary bond forged between past and present and, since its inception in 1992, this merit has been directly linked with the Patron of the Art Edition. The prize, therefore, combines a tribute to an historic patron of the arts while acknowledging a contemporary one. By recognizing the importance of private patronage, the award conveys to the public its crucial role in fostering the arts and culture.

Each recipient of the Montblanc de la Culture Arts Patronage Award is chosen by an international jury of artists and receives financial support of € 15.000 in each country for a cultural project of their own choice. Montblanc also presents the honoree and the jury members with the precious Patron of Art Edition. Sought after by collectors around the world, Montblanc's Patron of Art Edition are writing instruments that will last a lifetime. And like every Montblanc writing instrument, these exceptionally handcrafted fountain pens have been created with the highest demand of craftsmanship that has made Montblanc the benchmark for writing culture.

Prized by connoisseurs and avid collectors, the Montblanc Patron of the Art Edition is a commemorative keepsake meant to be passed down through generations. Manufacturing tools, specially developed for the making of every Montblanc Limited Edition, are destroyed at the end of each production run. As a consequence, these intricately handcrafted pens are collector’s items. Limited Editions produced between 1992 and 2000, for example, have sold at auction for sums greatly exceeding their original retail price, ranging from (US) $ 2,200 to (US) $35,000. And nine years after its 1992 debut, Montblanc Patron of the Art Lorenzo de Medici sold at Christie’s in New York for more than six times its initial cost of (US) $1292.00, ultimately fetching (US) $8225.00.

An exhibition entitled “Brazil – In the Footsteps of Innovation and Creativity”, co-organized by WIPO and Brazil, was held on the sidelines of the WIPO Assemblies, which met in Geneva from October 3 to 11, 2016.

The exhibition showcased some of Brazil’s well-known geographical indications, including alcoholic drinks, coffee and lace. It also featured notable Brazilian innovations and designs in the field of aviation (Embraer jets), as well as precision engineering, handicraft and clothing.

Delegates to the WIPO Assemblies were also treated to a musical performance of “Capoeira” – an Afro-Brazilian mix of martial art and dance that was recognized as an intangible cultural heritage by UNESCO in 2014.

Copyright: WIPO. Photo: Violaine Martin. This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License.

First, he leaned way left, his shoulder pushing me. I stayed firm (silent only due to silent venue, to avoid his LOUD protest--the one men often give no matter how we ask them to chg what they are doing.) Later, had my legs out in a lift. When I lowered them, he reacted per pic. I know MY theory for why many men treat women's bodies, possessions, and personal space as less significant than their own. What's yours?

And now for some shots with the 50mm, of the details and fittings of the church. More to follow.

----------------------------------------------------------------

Augustus Welby Northmore Pugin (1 March 1812 – 14 September 1852) was an English architect, designer, artist and critic, chiefly remembered for his pioneering role in the Gothic Revival style; his work culminated in the interior design of the Palace of Westminster. Pugin designed many churches in England, and some in Ireland and Australia.[1] Pugin was the son of Auguste Pugin, and the father of E.W. and Edmund Peter Paul Pugin, who continued his architectural firm as Pugin & Pugin.

Pugin was the son of a French draughtsman, Auguste Pugin, who had come to England as a result of the French Revolution and had married Catherine Welby of the Denton, Lincolnshire Welby family.[3] Augustus was born at his parents' house in Bloomsbury. Between 1821 and 1838 Pugin's father had published a series of volumes of architectural drawings, the first two entitled, Specimens of Gothic Architecture, and the following three, Examples of Gothic Architecture, that were to remain both in print and the standard references for Gothic architecture for at least the next century.

As a child he was taken each Sunday by his mother to the services of the fashionable Scottish presbyterian preacher Edward Irving (later founder of the Holy Catholic Apostolic Church), at his chapel in Cross Street, Hatton Garden.[4] He soon rebelled against this version of Christianity: according to Benjamin Ferrey, Pugin "always expressed unmitigated disgust at the cold and sterile forms of the Scotch church; and the moment he broke free from the trammels imposed on him by his mother, he rushed into the arms of a church which, pompous by its ceremonies, was attractive to his imaginative mind.

Pugin learned drawing from his father, and for a while attended Christ's Hospital. After leaving school he worked in his father's office, and in 1825 and 1827 accompanied him on visits to France.[6] His first commissions independent of his father were for designs for the goldsmiths Rundell and Bridge, and for designs for furniture at Windsor Castle, from the upholsterers Morrel and Seddon. Through a contact made while working at Windsor, he became interested in the design of theatre scenery, and in 1831 obtained a commission to design the sets for the production of a new opera called Kenilworth at Covent Garden.[7] He also developed an interest in sailing, and briefly commanded a small merchant schooner trading between Britain and Holland, which allowed him to import examples of furniture and carving from Flanders,with which he later furnished his house at Ramsgate.[8] During one voyage in 1830 he was wrecked on the Scottish coast near Leith,[9] as a result of which he came into contact with Edinburgh architect James Gillespie Graham, who advised him to abandon seafaring for architecture.[10] He then set up a business supplying historically accurate carved wood and stone details for the increasing number of buildings being constructed in the Gothic style, but the enterprise soon failed.

In 1831, aged nineteen, Pugin married the first of his three wives, Anne Garnet.[11] Anne died a few months later in childbirth, leaving him with a daughter. He had a further six children, including the architect Edward Pugin, with his second wife, Louisa Burton, who died in 1844. His third wife, Jane Knill, kept a journal of their married life together, between their marriage in 1848 and his death; it was later published.[12] Their son was Peter Paul Pugin.

Following his second marriage in 1833, Pugin moved to Salisbury with his wife,[13] and in 1835 bought half an acre of land, at Alderbury, about a mile-and-a-half outside the town, On this he built a medieval-inspired house for his family, called "St Marie's Grange".[14] Charles Locke Eastlake said of it "he had not yet learned the art of combining a picturesque exterior with the ordinary comforts of an English home".

In 1834, Pugin became a Roman Catholic convert,[16] and was received into the faith in the following year.[17] His conversion resulted in the loss of some commissions,[citation needed] but also brought him into contact with new patrons and employers. In 1832 he had made the acquaintance of John Talbot, 16th Earl of Shrewsbury, a Roman Catholic, sympathetic to his aesthetic views who employed him in alterations and additions to his residence Alton Towers, which subsequently led to many other commissions.[18] Shrewsbury commissioned him to build St. Giles' Catholic Church, Cheadle, completed in 1846, and Pugin was also responsible for designing the oldest Catholic church in Shropshire, St Peter and Paul at Newport,

n 1836, Pugin published Contrasts, a polemical book which argued for the revival of the medieval Gothic style, and also "a return to the faith and the social structures of the Middle Ages".[19] Each plate in the book selected a type of urban building and contrasted the 1830 example with its 15th-century equivalent. In one example, Pugin contrasted a medieval monastic foundation, where monks fed and clothed the needy, grew food in the gardens – and gave the dead a decent burial – with "a panopticon workhouse where the poor were beaten, half starved and sent off after death for dissection. Each structure was the built expression of a particular view of humanity: Christianity versus Utilitarianism."[19] Pugin's biographer, Rosemary Hill, wrote: "The drawings were all calculatedly unfair. King's College London was shown from an unflatteringly skewed angle, while Christ Church, Oxford, was edited to avoid showing its famous Tom Tower because that was by Christopher Wren and so not medieval. But the cumulative rhetorical force was tremendous."

In 1841 he left Salisbury,[20] finding it an inconvenient base for his growing architectural practice.[21] He sold St Marie's Grange at a considerable financial loss,[22] and moved temporarily to Cheyne Walk, Chelsea. He had however already purchased a piece of land at the West Cliff, Ramsgate, where he proceeded to build himself a large house and, at his own expense, a church on which he worked whenever funds allowed. His second wife died in 1844 and was buried at St. Chad's, Birmingham, a church which he had himself had designed.

Following the destruction by fire of the Palace of Westminster in 1834, Pugin was employed by Sir Charles Barry to supply interior designs for his entry to the architectural competition which would determine who would build the new Palace of Westminster. Pugin also supplied drawings for James Gillespie Graham's entry.[24] This followed a period of employment when Pugin had worked with Barry on the interior design of King Edward's School, Birmingham. Despite his conversion to Catholicism in 1834, Pugin designed and refurbished both Anglican and Catholic churches throughout the country.

Other works include St Chad's Cathedral, Erdington Abbey and Oscott College, all in Birmingham. He also designed the college buildings of St Patrick and St Mary in St. Patrick's College, Maynooth; though not the college chapel. His original plans included both a chapel and an aula maxima, neither of which were built because of financial constraints. The college chapel was designed by a follower of Pugin, the Irish architect J.J. McCarthy. Also in Ireland, Pugin designed St Mary's Cathedral in Killarney, St Aidan's Cathedral, Enniscorthy (renovated in 1996) and the Dominican church of the Holy Cross in Tralee. He revised the plans for St Michael's Church in Ballinasloe, Galway. Pugin was also invited by Bishop Wareing to design what eventually became Northampton Cathedral, a project that was completed in 1864 by Pugin's son Edward Welby Pugin.

Pugin visited Italy in 1847; his experience there confirmed his dislike of Renaissance and Baroque architecture, but he found much to admire in the medieval art of northern Italy.

In February 1852, while travelling with his son Edward by train, Pugin suffered a total breakdown and arrived in London unable to recognise anyone or speak coherently. For four months he was confined to a private asylum, Kensington House. In June, he was transferred to the Royal Bethlem Hospital, popularly known as Bedlam.[26] At that time, Bethlem Hospital was opposite St George's Cathedral, Southwark, one of Pugin's major buildings, where he had married his third wife, Jane, in 1848. Jane and a doctor removed Pugin from Bedlam and took him to a private house in Hammersmith where they attempted therapy, and he recovered sufficiently to recognise his wife.[26] In September, Jane took her husband back to The Grange in Ramsgate, where he died on 14 September 1852.[26]

On Pugin's death certificate, the cause listed was "convulsions followed by coma". Pugin's biographer, Rosemary Hill, suggests that, in the last year of his life, he was suffering from hyperthyroidism which would account for his symptoms of exaggerated appetite, perspiration, and restlessness. Hill writes that Pugin's medical history, including eye problems and recurrent illness from his early twenties, suggests that he contracted syphilis in his late teens, and this may have been the cause of his death at the age of 40.

In 1844, having won the architectural competition to design the new Palace of Westminster, Sir Charles Barry, asked Pugin to supply detailed designs for the interior of the new building, including stained glass, metalwork, wood carving, upholstery, furniture and a royal throne. Pugin's biographer, Rosemary Hill, shows that Barry designed the Palace as a whole, and only he could coordinate such a large project and deal with its difficult paymasters, but he relied entirely on Pugin for its Gothic interiors, wallpapers and furnishings.[28]

At the end of Pugin's life, in February 1852, Barry visited him in Ramsgate and Pugin supplied a detailed design for the iconic Palace clock tower, officially dubbed the Elizabeth Tower, but more popularly known as Big Ben. The design is very close to earlier designs by Pugin, including an unbuilt scheme for Scarisbrick Hall, Lancashire. The tower was Pugin's last design before descending into madness. In her biography, Hill quotes Pugin as writing of what is probably his best known building: "I never worked so hard in my life [as] for Mr Barry for tomorrow I render all the designs for finishing his bell tower & it is beautiful & I am the whole machinery of the clock."[29] Hill writes that Barry omitted to give any credit to Pugin for his huge contribution to the design of the new Houses of Parliament.[30] In 1867, after the deaths of both Pugin and Barry, Pugin's son Edward published a pamphlet, Who Was the Art Architect of the Houses of Parliament, a statement of facts, in which he asserted that his father was the "true" architect of the building, and not Barry.

en.wikipedia.org/wiki/Augustus_Welby_Northmore_Pugin

Entitled “All That Glitters Is Not Gold”, Ronedelivers one of his signature portraits combined with text that was scratched out of the old moss and grim using a wire brush.

For more information, references refer to - streetartnews.net/2012/09/rone-new-mural-in-queenstown-ne...

And so to the weekend again. And what might be the last orchid-free weekend until well into June or even August.

So, enjoy the churches while you can.

Saturday, and not much really planned. We get up at half six with it fully light outside. The cloud and drizzle had not arrived, instead it was pretty clear and sunny.

No time for thinking about going out to take shots, as we had hunter-gathering to do.

In fact, we didn't need much, just the usual stuff to keep us going. That and the car was running on fumes. So we will that up first, and then into Tesco and round and round we go, fully the trolley up. It being Mother's Day on Saturday, we were having Jen round on Sunday, we were to have steak, so I get mushrooms.

And once back, we have breakfast then go to Preston for the actual steak, three ribeyes, all cut from the same stip. Jools had gone to look at the garden centre for ideas as we're going to dig up the raspberries, so just wondering what to put in their place.

By then the rain had come, and so we dashed back to the car, and on the way home called in at two churches.

First off was Goodnestone, just the other side of Wingham.

Its a fine estate church, covered in wonderfully knapped bricks, giving it an East Anglian feel. Before we went in, we sheltered under a tree to much on a sausage roll I had bought at the butcher, that done, we go to the church, which is open.

I have been here quite recently, five years back, and in truth no much glass to record, but I do my best, leave a fiver of the weekly collection and we drove over the fields to Eastry.

St Mary is an impressive church, with carved and decorated west face of the Norman tower, at its base an odd lean-to porch has been created, leading into the church, which does have interest other than the 35 painted medallions high in the Chancel Arch, once the backdrop to the Rood.

I snap them with the big lens, and the windows too. A warden points out what looks like a very much older painted window high among the roof timbers in the east wall of the Chancel.

I get a shot, which is good enough, but even with a 400mm lens, is some crop.

I finish up and we go home, taking it carefully along nearly flooded roads.

Being a Saturday, there is football, though nothing much of interest until three when Norwich kick off against Stoke: could they kick it on a wet Saturday afternoon in the Potteries?

No. No, they couldn't.

Ended 0-0, City second best, barely laid a glove on the Stoke goal.

And then spots galore: Ireland v England in the egg-chasing, Citeh v Burnley in the Cup and Chelsea v Everton in the league, all live on various TV channels.

I watch the first half of the rugby, then switch over when England were reduced to 14, so did enjoy the lad Haarland score another hat-trick in a 6-0 demolition.

And that was that, another day over with.....

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A large and eminently satisfying village church. The old part - north aisle of fourteenth-century date and tower of the fifteenth century - was enlarged in 1839 by a rebuilt nave and chancel. The architects were Rickman and Hussey, pioneers of the nineteenth-century Gothic Revival. The exterior is of knapped flints with stone dressings. Inside all is light and of a piece with an elaborate and dignified chancel. In the north aisle is the monument by Scheemakers to Sir Brook Bridges (d. 1717) who built Goodnestone Park, the gardens of which abut the churchyard. There are small pieces of medieval glass, but by far the most impressive window is at the east end of the north aisle, dated and signed E.S. 1899, showing the story of St Gregory and the Slave Boys.

www.kentchurches.info/church.asp?p=Goodnestone+2

------------------------------------------

GOODNESTON,

GENERALLY called, and known by the name of GUNSTON, lies the next parish south-eastward from Wingham. It is usually written in antient records, Godwineston, which name it took from earl Godwine, once owner of it.

GUNSTON is situated exceedingly healthy and pleasant, in a fine dry and open champaign country, of upland hill and dale. The soil is fertile, though in general inclined to chalk; the lands are mostly arable, open and uninclosed, having a few small inclosures scattered among them, especially about Gunston house, and the village, where it is well cloathed with elms. The village, which contains about thirty houses, stands, with the church, in the southern part of it, having Gunston-house and park adjoining to it, which, though small in extent, and commanding but little, if any prospect beyond the bounds of it, is a beautiful and elegant situation. At the northern boundary of the parish is the hamlet of Twitham, part only of which is in it; beyond which, at Brook, (the parish of Wingham intervening) is a small district of land within this parish. At the eastern boundary of it is the hamlet and street of Rolling, in which is a small seat, belonging to Sir Brook William Bridges, which a few years ago was in the occupation of Thomas Knight, esq. of Godmersham, and afterwards of Edward Austen, esq. It is now the residence of George Dering, esq. At some distance still further eastward from which there is another small district of land in it, entirely surrounded by the parish of Norborne.

A fair is held here for cattle and pedlary, on the 25th of September, yearly.

The MANOR OF WINGHAM claims paramount over this parish, in which there is one borough, viz. of Rolling, which claims over it.

The MANOR OF GOODNESTON, which before the Norman conquest, was part of the possessions of Godwine, earl of Kent, at whose death it probably came to his son king Harold, and after the battle of Hastings, to the Conqueror; after which it appears to have been held by a family who took their surname from it, one of whom, Thomas de Goodwyneston, held it of the archbishop in king Henry III.'s reign, and in this family, (who bore for their arms, Sable, three martlets, between seven cross-croslets, argent; as they were formerly painted in the windows of this church) it continued down to William de Goodneston, who did homage for it to archbishop Warham at the beginning of king Henry VIII.'s reign. After which it seems to have been divided, and the manor itself, with part of the demesne lands, to have passed into the name of Henecre; and the mansion, with the rest of the demesne lands, by Edith, daughter and heir of William Goodneston, in marriage to Vincent Engeham, who afterwards resided here. The antient residence of this family of Edingham, called Engeham by contraction, was at Engeham, in Woodchurch. They divided into three branches, settled at Woodchurch, Great Chart, and Goodneston. They bore for their arms, Argent, a chevron, sable, between three pellets, on a chief, gules, a lion passant-guardant, or. (fn. 1) John Henecre, of Good neston, as appears by his will, died possessed of this manor in 1559, and gave it to William, son of his brother Nicholas, who sold it to Sir Thomas Engeham, grandson of Vincent before-mentioned, and possessor of the mansion, and other part of the lands of it, so that he then became possessed of the whole of it, (fn. 2) held in capite, and it continued in his descendants down to Sir Thomas Engeham, of Goodneston, who about the reign of queen Anne, alienated it, with the appropriation, to Brook Bridges, esq. descended from John Bridges, who was of Worcestershire, at the latter end of queen Elizabeth's reign, whose great-grandson Col. John Bridges, of Warwickshire, left two sons, John, and Brook, the former of whom was of Barton Seagrave, in Northamptonshire, esq. the eldest of whose sons, John Bridges, esq. of that place, wrote the history of that county; Brook Bridges, esq. the second son of Col. John Bridges, was of Grove, in Middlesex, auditor of the imprest in king Charles II.'s reign, and purchaser of Goodnestone, which seat he rebuilt, and dying in 1717, was buried in the chancel of this church, bearing for his arms, Azure, three water bougets, or, within a bordure, ermine. Brook Bridges, esq. his eldest son, succeeded him at Goodneston, and was created a baronet on April 19, 1718, anno 4 George I. and was for many years one of the auditors of the imprest of the treasury, and was twice married, first to Margaret, daughter of Robert, lord Romney, by whom he had no issue; but by his second wife Mary, second daughter of Sir Thomas Hales, bart. of Bekesborne, he left a son Brook, and a daughter Margaret, married to John Plumptree, esq. He died in 1728, and was succeeded by his only son Sir Brook Bridges, bart of Goodneston, sheriff in 1733, in which year he died, having married Elizabeth, eldest surviving daughter and coheir of Sir Thomas Palmer, bart. of Wingham, (who afterwards remarried Charles Fielding, esq. brother to the earl of Denbigh, by whom she had a son Charles). At the death of Sir Brook she was pregnant, and was some months afterwards delivered of a son, the late Sir Brook Bridges, bart. who represented this county in two successive parliaments. He rebuilt this seat, and new laid out the park in the improved modern taste, having married Fanny, only daughter and heir of Edmund Fowler, esq. of Danbury, in Essex, by whom he had five sons and six daughters, of whom, Brook the eldest son, died at Eton school in 1781; William, the second son, after his brother's death, by the archbishop's licence, took the Christian name of Brook likewise, and Brook Henry, the third son, is rector of Danbury, in Essex; of the daughters, Fanny, the eldest, married Lewis Cage, esq. Sophia, the second, married William Deedes, esq. and Elizabeth, the third, married Edward Austen, esq. of Godmersham. Sir Brook Bridges died in 1791, and was succeeded by his eldest surviving son the present Sir Brook Wm. Bridges, bart. who is the possessor of this manor, with the seat, park, and appropriation of the church of Goodneston. A court baron is held for this manor.

ROLLING, usually called Rowling, is a manor and hamlet, in the eastern part of this parish, which takes its name from the borough in which it is situated. The manor, now obselete, was antiently the residence of a family who took their name from it. In an old leiger book of Davington priory, beginning at king Henry III.'s reign, there is mention of several of this family among its principal benefactors. How it passed after they were become extinct here, which was not till after king Henry IV.'s reign, I have not found; but in the latter end of king Henry VIII.'s reign, John Adams was become possessed of it, and he sold it to John Idley, gent. who resided here, and dying in 1568, was buried in this church. He left it to John his se cond son, who alienated it to Thomas Butler, a younger son of Richard, of Heronden, in Eastry, esq. and he soon afterwards sold it to Sir Roger Manwood, chief baron, whose son Sir Peter Manwood, K. B. alienated it to Dickenson, who parted with it to John Richards, gent. afterwards of Rowling, and in whose descendants, who bore for their arms, Sable, a chevron, between three fleurs de lis, argent, and lie buried in this church, it continued down to John Richards, gent. who died in 1661, (fn. 3) and by will gave it to William Hammond, esq. of St. Albans, and his son, of the same name, in 1696, an act having passed for that purpose, sold it to Sir John Narborough, bart. whose only sister and heir Elizabeth entitled her husband Sir Thomas D' Aeth, bart. of Knolton, to the possession of it, and his grandson Sir Narborough D'Aeth, bart. now of Knolton, is the present owner of this manor, called Rowling-court, for which there has not been any court held for many years past.

The HOSPITALS OF HARBLEDOWN, and of ST. JOHN, near Canterbury, are jointly possessed of a farm and lands at Rowling, which is demised by them to Sir Narborough D'Aeth, bart.

BONNINGTON, in the south-east part of this parish, was in early times the property and residence of a family of the same name, who appear to have been possessed of it so late as the latter end of the reign of king Edward I. but it became of much more eminent note afterwards, from being the antient seat from whence the numerous and knightly family of Bois branched out, as from their original stock, and spread with distinguished reputation through the eastern parts of this county, deriving their descent from R. de Boys, or de Bosco, who is mentioned in the Battle abbey roil of those who accompanied the Conqueror into England, and were amply rewarded by him with the possessions of the conquered Saxons. From R. de Boys, or de Bosco, before-mentioned, descended John Boys, who was of Bonnington in the 30th year of king Edward III. but his descendant William Boys having purchased Fredville, in the adjoining parish of Nonington, removed thither, though some time before his death he returned to Bonnington, where he died in 1507, and was buried in this church. He left five sons and three daughters. To his eldest son John, he gave Fredville; and to the second, Thomas, he gave Bonnington; giving, as Philipott says, the fairest estate to the former, and the antient family seat to the latter; and from the descendants of John Boys, the eldest son, of Fredville, sprang those of Fredville, Hode, Holt-street, Betshanger, Challock, Deal, Sandwich, St. Gregory's, in Canterbury, Denton, and of Surry; and from the descendants of Thomas Boys, esq. of Bonnington, sprang those of Bonnington, Hith, Mersham, Wilsborough, Sevington, and Uffington, all which are now extinct in the male line, excepting those of Sandwich and Wilsborough, a more particular account of all which may be seen under those several places. In the descendants of Thomas Boys, esq. the second son above-mentioned, of Bonnington, resident here, it continued down to Sir John Boys, to whose coat armour king Charles I. gave the augmentation of a crown imperial, or, on a canton, azure; for his loyalty and valour at Donington castle, in Berkshire, of which he was governor, where being summoned by the parliament forces, to surrender the place under peril of being put to the sword, he stoutly answered, that he would never quit the castle without the king's order, nor take nor give quarter. He died in 1664, and was buried at Goodneston, leaving three daughters his coheirs, and they, in 1666, joined in the sale of it to Thomas Brome, esq. sergeant at-law, whose son William Brome, esq. of Farnborough, alienated it in 1710 to Brook Bridges, esq. Whose descendant Sir Brook William Bridges, bart. of Goodneston, is the present owner of it.

ARCHBISHOP PECKHAM, on the foundation of the college of Wingham in 1286, endowed the second prebend of it with the tithes of the lands of Thomas de Bonyngton and others, in the hamlet of Bonnyngton, in this parish. (fn. 4)

UFFINGTION, in the south-west part of this parish, was another seat of the family of Boys, being purchased by William Boys, esq. (son of Vincent Boys, esq. of Bonnington) for his residence, and he died possessed of it in 1629, in whose descendants it continued till it was at length sold to Oxenden, in which family it has remained ever since, being now the property of Sir Henry Oxenden, bart. of Brome.

Charities.

THOMAS APPLETON, yeoman, of Eastry, by his will in 1593, gave to the poor of this parish, 5l. yearly, to be distributed to the poor people, inhabitants here, fourteen days before Christmas-day; to be paid out of lands belonging to him, called Hardiles, in Woodnesborough.

GABRIEL RICHARDS, gent. by will in 1671, gave a house, barn, stable, and twenty-six acres of land, in this parish, for the support and maintenance of four aged, decayed gentlemen or gentlewomen, single men or single women, born in Kent; with four lodging-rooms for them, with preference to such persons as should be his relations, now vested in feoffees, and worth about 20l. per annum.

The poor constantly relieved are about eighteen, casually thirteen.

GOODNESTON, or Gunston, is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Bridge.

The church, which is dedicated to the Holy Cross, consists of two isles and two chancels, having a beacon tower at the west end, in which are four bells. This church seems to have been erected in great measure by the assistance of the family of Boys, of Bonnington, about the time of king Edward III. for on one side of the west door, under the steeple, is carved in the stone work, Orate p T. boye adjutor isti op. On each side a shield of arms, one a cross, the other a saltier; and at top three more shields, the first of which is that of Langley, and the third of Oxenden; and over a window of the south isle (now stopped up) the centre stone has carved on it, Willyam boyes, and at each corner are carved the singular emblematical figures of a sow with a litter of pigs, and of a sow sitting upright, a chain about its neck, fastened to a rock behind, and an infant child in swaddling clothes in its lap. In the south isle is a stone, with figures in brass, and inscription for William Boys and Isabell his wife. He died anno 1507. In the north isle are monuments for the Richards's, of Rowling, in this parish. In the north window, at the east end, is the figure of a saint, holding in his left hand a shield of arms, Argent, a cross, gules; in his right, a staff, with a cross at top, the lower end in a dragon's mouth, which lies on its back under his feet; and in the same window, the figure of an archbishop, mitre, and pall, his left hand lifted up, as blessing; in his right hand, a staff, with a cross pomelle at top. The pillars between the isles are remarkably large and clumsy, and by their capitals appear antient. In the north chancel, belonging to the estate of Bonnington, are interred the family of Boys, of that seat, though the brasses of most of their stones are lost. A stone, with brasses, and inscription for William Goodneston, gent. obt. 1423; arms, Three martlets, between seven cross-croslets. A stone, with figures in brass, and inscription for Thomas Engeham, esq. and Elizabeth his wife, obt. 1558, both the same year. A monument, with the figures kneeling, for Sir Edward Engeham and his lady; he died in 1636. Another for W. Wood, A. M. minister here, and rector of St. Mary Bredman and St. Andrew, Canterbury, obt. 1735. In the south or high chancel, is a monument for Sir Thomas Engeham, descended from those of Woodchurch; he married Priscilla Honywood, daughter of Mrs. Anne Honywood, who hardly escaping martyrdom in queen Mary's reign, lived to see about four hundred descended from her, obt. 1621. A neat monument for Brook Bridges, esq. (second son of John, of Harcourt-hall, in Worcestershire, esq.) auditor of imprests. He repaired and adorned the church, and built a mansion here on the estate which he had purchased, obt. 1717. In the church-yard is a stone, on which were once figures in brass, long since gone, for Thomas Boys, of Bonnington, and Edith his wife. He died in 1479.

¶The church of Goodneston was antiently a chapel of ease to that of Wingham, and was at the time of the foundation of the college there by archbishop Peckham, in 1286, separated from it, and made a distinct parish of itself, (fn. 5) and then given to the college; and becoming thus appropriated to the college, continued with it till its suppression in king Edward VI.'s reign, when this parsonage appropriate, with the advowson or patronage of the vicarage or curacy of it, came into the hands of the crown, where, though in the intermediate time it had been granted in lease for a term of years, yet the fee of it remained in the crown till the 43d year of queen Elizabeth, who granted it that year to Nicholas Fortescue, esq. and John Shelbury, in fee, to hold in socage, by a yearly rent, and a payment to the vicar yearly of 13l. 6s. 8d. and they passed away their interest in it to Sir Edward Engeham, of Canterbury, who in the beginning of king James I.'s reign, alienated this rectory, and the vicarage-house of Goodneston, with the vicarage, tithes, and profits belonging to it, and the donation of the curacy, to Henry Vanner, alderman of Canterbury, who by will in 1630, augmented the curate's salary, to be paid out of this parsonage, with the further yearly sum of 6l. 13s. 4d. His heirs quickly afterwards passed it away to William Prude, alias Proude, jun. esq. of Canterbury, who died in 1632, in whose descendants it remained till it was sold to one of the family of Engeham, owners of the manor of Goodneston, and continued so till Sir Thomas Engeham alienated it, with that manor, to Brook Bridges, esq. in whose descendants, baronets, of this place, it has continued down to Sir Brook William Bridges, bart. of Goodnestone, the present impropriator and patron of the curacy of this church.

This church is now esteemed as a donative, the value of which has not been certified. In 1640 here were communicants one hundred and seventy.

Gabriel Richards, gent. of Rowling, by his will in 1672, gave to the use of the minister of this parish, a house and orchard, valued at 6l. IOS. per annum.

www.british-history.ac.uk/survey-kent/vol9/pp241-250

Heuchera Myrtle Goutweed Lamium Lily-of-the-Valley Cranesbill

From my set entitled “Heuchera”

www.flickr.com/photos/21861018@N00/sets/72157607185356154/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/HeucheraThe genus Heuchera includes at least 50 species of herbaceous perennial plants in the family Saxifragaceae, all native to North America. Common names include alumroot and coral bells. They have palmately lobed leaves on long petioles, and a thick, woody rootstock. The genus was named after Johann Heinrich von Heucher (1677–1746), an 18th century German physician.

Alumroot species grow in varied habitats, so some species look quite different from one another, and have varying preferences regarding temperature, soil, and other natural factors. H. maxima is found on the Channel Islands of California, where it grows on rocky, windy, saline-washed ocean shores. H. sanguinea, called coral bells because of its terra cotta-colored flowers, can be found in the warm, dry canyons of Arizona. Gardeners and horticulturists have developed a multitude of hybrids between various Heuchera species. There is an extensive array of blossom sizes, shapes, and colors, foliage types, and geographic tolerances.

Though tangy and slightly astringent, the leaves may be used to liven up bland greens.

Natives of the Northwest U.S. have used tonic derived of Alumroot roots to aid digestive difficulties, but extractions from the root can also be used to stop minor bleeding, reduce inflammation, and otherwise shrink moist tissues after swelling.

From my set entitled “Lily of the Valley”

www.flickr.com/photos/21861018@N00/sets/72157607213707592/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Convallaria

Convallaria majalis, commonly known as the Lily of the Valley or Lily-of-the-Valley, is the only species in the genus Convallaria in the flowering plant family Ruscaceae, formerly placed in the lily family Liliaceae or in its own family called Convallariaceae. This woodland plant is native throughout the cool temperate Northern Hemisphere in Asia and Europe and a limited native population in Eastern USA [1] (Convallaria majalis var. montana). There is, however, some debate as to the native status of the American species.[2] It is a herbaceous perennial plant that forms extensive colonies by spreading underground stems called rhizomes that send out stolons. These send up numerous stems each spring. The stems grow to 15-30 cm tall, with one or two leaves 10-25 cm long, flowering stems have two leaves and a raceme of 5-15 flowers on the stem apex. The flowers are white tepals (rarely pink), bell-shaped, 5-10 mm diameter, and sweetly scented; flowering is in late spring, in mild winters in early March. The fruit is a small orange-red berry 5-7 mm diameter that contains a few large whitish to brownish colored seeds that dry to a clear translucent round bead 1 to 3 mm wide. Plants are self-sterile, and colonies of one clone do not set seed.[3]

There are three subspecies [4] that have sometimes been separated out as distinct species by a few botanists.

Convallaria majalis var. keiskei - from China and Japan with red fruit and bowl shaped flowers

Convallaria majalis var. majalis - from Eurasia with white midribs on the flowers.

Convallaria majalis var. montana - from the USA with green tinted midribs on the flowers.

All parts of the Lily of the Valley are highly poisonous, containing cardiac glycosides and saponins, although the plant has been used as a folk remedy in moderate amounts[5]. If the plant is touched or handled, hands should be washed before doing anything else.

Convallaria majalis is a popular garden plant, grown for the scented flowers. A number of different forms are grown including plants with double flowers, rose colored flowers, plants with variegated foliage and forms with larger size. Some consider it a weed, because it can spread over a wide area of gardens and other places where it is planted and can be difficult to contain or remove.

Lily of the Valley is used as a food plant by the larvae of some Lepidoptera species including Grey Chi.

The flower is also known as Our Lady's tears since, according to Christian legend, the tears Mary shed at the cross turned to Lilies of the Valley. According to another legend, Lilies of the Valley also sprang from the blood of St. George during his battle with the dragon. Other names include May Lily, May Bells, Lily Constancy, Ladder-to-Heaven, Male Lily and Muguet.

Traditionally, Lily of the Valley is sold in the streets of France on May 1. Lily of the Valley became the national flower of Finland in 1967. The Norwegian municipality Lunner has a Lily of the Valley in its coat-of-arms. It is the official flower of Alpha Delta Phi fraternity, Pi Kappa Alpha fraternity, Kappa Sigma fraternity, Delta Omicron fraternity, Alpha Epsilon Phi sorority, and Alpha Phi sorority.

The name "Lily of the Valley" is also used in some English translations of the Bible in Song of Songs 2:1, although whether or not the Hebrew word "shoshana" (usually denoting a rose) originally used there refers to this species is uncertain. The meaning of this flower is "You will find Happiness."

From my set entitled “Lamium”

www.flickr.com/photos/21861018@N00/sets/72157607217474399/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Deadnettle

Lamium (deadnettle) is a genus of about 40-50 species of flowering plants in the family Lamiaceae, of which family it is the type genus. They are all herbaceous plants native to Europe, Asia, and north Africa, but several have become very successful weeds of crop fields and are now widely naturalised across the temperate world.

The genus includes both annual and perennial species; they spread by both seeds and stems rooting as they grow along the ground.

The common name refers to their superficial resemblance to the unrelated stinging nettles, but unlike those, they do not have stinging hairs and so are harmless or apparently "dead".

Lamiums are frost hardy and grow well in most soils. Flower colour determines planting season and light requirement: white- and purple-coloured flowered species are planted in spring and prefer full sun. The yellow-flowered ones are planted in fall (autumn) and prefer shade. They often have invasive habits and need plenty of room. Propagate from seed or by division in early spring

If you are new to this series of chapters from my book, you might want to look up the Set entitled "Chicago Cop: Tales from the Street" and read the chapters in the proper order.

For my loyal readers, it's been a while since I've been able to add chapter to this series, simply because it's becoming increasingly difficult to find appropriate photos, so bear with me, it's a work in progress.

In this case - describing an incident that took place in August of 1993 - I've had to resort to a slight deception. The actual building has been demolished during the past 20 years and replaced with a row of townhouses. I've had to use a similar establishment in place of the original.

* * * * * * * * * * * * *

I'm working solo today, in plain clothes, and I'm driving a so-called unmarked car. I got me a special mission as "Community Policing Liason to the 10th District. So I get to come out and play on the West Side, far from the office-politicking and backstabbing at the Training Academy where I've been stationed for the past four months, as part of the Community Policing implementation team.

It's a hot, late-summer's day in the Ghetto, and a lot of people are just hanging around, trying to stay cool, and maybe sell a few bags of Crack on the side.

I come up on this one corner with three guys out on the front stoop of this Mom & Pop grocery store. They can see me coming from a mile away, and I can tell they're talking a lot of shit about the police in general and me in particular.

There's one fat kid and two skinny ones, all in their late teens. Fat Boy is wearing only a pair of cut-offs, and he looks like a pyramid, with each layer of blubber cascading down over the next, and the bottom layer drooping down over the waistband of his shorts.

He's sweating buckets, wiping his brow with a washcloth every so often, but the heat doesn't seem to dampen his spirit. Far from it, I can see he's the leader of the pack, the spokesman for the whole trio. I just give them a casual glance as I coast on by, before circling the block one more time.

The second time around, I stop the car right in front of them. They're still chucking among themselves, when I call out to the ringleader:

"Hey man, better put a bra on them titties or I'll have to lock you up for indecent exposure the next time I come around."

The smirk disappears from Fat Boy's face that very instant and his buddies stare at me in disbelief, their mouths falling open for a second or two, before they burst out laughing hysterically.

"Gotcha, motherfucker."

I ease up on the brake-pedal and coast on down the block, as nonchalantly as the first time. I feel pretty good right now, definitely ahead on points, and I'm determined to kep it that way.

I have no intention of going around that block for a third time: there's no way I can possibly increase my score, and I have no intention of making good on my promise of locking that fat fuck up on some trumped-up bullshit. If I did, those titties might make it all the way to the Supreme Court, and I'm sure they're not eager to look at them either.

Virginai Zeani's critical biography together with discography, opera credits, bibnbliography and quotations are presented in a new Antholgy entitled:

"Blouse Roumaine - the Unsung Voices of Romanian Women"

Presented and Selected by Constantin ROMAN

Anthology E-BOOK (11BM)

DISTRIBUTION: Online with credit card

COST: $ 54.99, £34.99 (ca Euros 35.50)

LINK: www.blouseroumaine.com/orderthebook_p1.html

CONTENTS:

2,250,000 words,

over 1,000 pages,

ca 160 illustrations in text

160 critical biographies,

58 social categories/professions,

600 quotations (mostly translated into English for the first time),

circa 3,000 bibliographical references (including URLs and credits)

6 Indexes (alphabetical, by profession, timeline, quotation Index, place

index and name index)

AUTHOR: Constantin Roman is a Scholar with a Doctorate from Cambridge and a Member of the Society of Authors (London). He is an International Adviser, Guest Speaker, Professor Honoris Causa and Commander of the Order of Merit.

INDEX BY PROSFESSION: 58 CATEGORIES by Call, Profession or Social Status

Academics (22), Actresses (9), Anti-Communist Fighters (14), Architects/Interior Designers (2), Art Critics (9), Artist Book Binders (1), Ballerinas (6), Charity Workers/Benefactors (20), Communist Public Figures (2), Courtesans (3), Designers (2), Diplomats (4), Essayists (11), Ethnographers (6), Exiles & First-generation Romanians born abroad (87), Explorers (1), Feminists (12), Folk Singers (1), Gymnasts, Dressage Riders (2), Historians (5), Honorary Romanian Women (15), Illustrators (3), Journalists (13), Lawyers (4), Librarians (3), Linguists (2), Literary Critics (1), Media (15), Medical Doctors/Nurses (5), Memoir Writers (16), Missionaries and Nuns (4), Mountainéers (2), Museographers (1), Musical Instruments Makers (1), Novelists (24), Opera Singers (16), Painters (14), Peasant Farmers (6), Philosophers and Philosophy Graduates (4), Pianists (6), Pilots (4), Playwrights (5), Poets (29), Political Prisoners (30), Politicians (5), Revolutionaries (2), Royals and Aristocrats (34), Scientists (8), Sculptors (4), Slave (1), Socialites/Hostesses (20), Spouses/Relations of Public Figures (51), Spies (2), Tapestry Weavers (4), Translators (25), Unknown Illustrious (6), Violinists (4), Workers (3)

NOTE:

Most of the above 160 Romanian women, in the best tradition of versatility, are true polymaths and therefore nearly each one of them falls in more than just one category, often three or more. This explains why adding the numbers of the 57 individual categories bears no relation to the actual total of the above 160 women included in Blouse Roumaine.

-----------------------------------------------------------------------------------------------------------

LIST OF 160 CRITICAL BIOGRAPHIES (each supported by Quotations and Bibliography)

AA *Gabriela Adamesteanu *Florenta Albu *Nina Arbore *Elena Arnàutoiu *Ioana Raluca Voicu-Arnàutoiu, *Laurentia Arnàutoiu *Mariea Plop - Arnàutoiu *Ana Aslan *Lady Elizabeth Asquith Bibescu

BB *Lauren Bacall *Lady Florence Baker *Zoe Bàlàceanu *Ecaterina Bàlàcioiu-Lovinescu *Victorine de Bellio *Pss. Marta Bibescu *Adriana Bittel *Maria Prodan Bjørnson *Ana Blandiana *Yvonne Blondel *Lola Bobescu *Smaranda Bràescu *Elena Bràtianu *Élise Bràtianu *Ioana Bràtianu *Elena Bràtianu- Racottà *Letitzia Bucur

CC *Anne-Marie Callimachi *Georgeta Cancicov *Madeleine Cancicov *Pss. Alexandra Cantacuzino *Pss.Maria Cantacuzino (Madame Puvis de Chavannes) *Pss. Maruca Cantacuzino-Enesco* Pss. Catherine Caradja *Elena Caragiani-Stoenescu *Marta Caraion-Blanc, *Nina Cassian, *Otilia Cazimir *Elena Ceausescu *Maria Cebotari *Ioana Celibidache *Hélène Chrissoveloni (Mme Paul Morand)*Alice Cocea *Irina Codreanu *Lizica Codreanu *Alina Cojocaru *Nadia Comàneci *Denisa Comànescu *Lena Constante *Silvia Constantinescu *Doina Cornea *Hortense Cornu *Viorica Cortez*Otilia Cosmutzà *Sandra Cotovu *Ileana Cotrubas *Carmen-Daniela Cràsnaru *Mioara Cremene *Florica Cristoforeanu *Pss. Elena Cuza

DD *Hariclea Darclée *Cella Delavrancea *Alina Diaconú *Varinca Diaconú *Anca Diamandy *Marie Ana Dràgescu *Rodica Dràghincescu *Bucura Dumbravà *Natalia Dumitrescu

EE *Micaela Eleutheriade *Queen Elisabeth of Romania (‘Carmen Sylva’) *Alexandra Enescu *Mica Ertegün

FF *Lizi Florescu, *Maria Forescu *Nicoleta Franck *Aurora Fúlgida

GG *Angela Gheorghiu *Pss Grigore Ghica *Pss. Georges Ghika (Liane de Pougy) *Veturia Goga *Maria Golescu *Nadia Gray *Olga Greceanu *Pss. Helen of Greece *Nicole Valéry-Grossu *Carmen Groza

HH *Virginia Andreescu Haret *Clara Haskil *Lucia Hossu-Longin

II *Pss. Ileana of Romania *Ana Ipàtescu *Marie-France Ionesco *Dora d’Istria *Rodica Iulian

JJ *Doina Jela *Lucretia Jurj

KK *Mite Kremnitz

LL *Marie-Jeanne Lecca *Madeleine Lipatti *Monica Lovinescu *Elena Lupescu

MM *Maria Mailat *Ileana Màlàncioiu *Ionela Manolesco *Lilly Marcou *Silvia Marcovici *Queen Marie of Romania *Ioana A. Marin *Ioana Meitani *Gabriela Melinescu *Veronica Micle *Nelly Miricioiu *Herta Müller *Alina Mungiu-Pippidi *Agnes Kelly Murgoci

NN *Mabel Nandris *Anita Nandris-Cudla *Lucia Negoità *Mariana Nicolesco *Countess Anna de Noailles *Ana Novac

OO *Helen O’Brien *Oana Orlea

PP *Hortensia Papadat-Bengescu *Milita Pàtrascu *Ana Pauker *Marta Petreu *Cornelia Pillat *Magdalena Popa *Elvira Popescu

RR *Ruxandra Racovitzà *Elisabeta Rizea *Eugenia Roman *Stella Roman *Queen Ana de România, *Pss. Margarita de România *Maria Rosetti *Elisabeth Roudinesco

SS *Annie Samuelli *Sylvia Sidney *Henriette-Yvonne Stahl *Countess Leopold Starszensky *Elena Stefoi *Pss. Marina Stirbey *Sanda Stolojan *Cecilia Cutzescu-Storck

TT *Maria Tànase *Aretia Tàtàrescu *Monica Theodorescu *Elena Theodorini

UU *Viorica Ursuleac

VV *Elena Vàcàrescu *Leontina Vàduva *Ana Velescu *Marioara Ventura *Anca Visdei *Wanda Sachelarie Vladimirescu *Alice Steriade Voinescu

WW *Sabina Wurmbrand

ZZ *Virginia Zeani

entitled..."she loves to sew"

Countess Anna de Noailles' critical biography is accompanied by Quotations, Iconography and a substantial bibliography which are presented in a new Anthology entitled;

"Blouse Roumaine - the Unsung Voices of Romanian Women"

Presented and Selected by Constantin ROMAN

Anthology E-BOOK (11BM)

DISTRIBUTION: Online with credit card

COST: $ 54.99, £34.99 (ca Euros 35.50)

LINK: www.blouseroumaine.com/orderthebook_p1.html

CONTENTS:

2,250,000 words,

over 1,000 pages,

ca 160 illustrations in text

160 critical biographies,

58 social categories/professions,

600 quotations (mostly translated into English for the first time),

circa 3,000 bibliographical references (including URLs and credits)

6 Indexes (alphabetical, by profession, timeline, quotation Index, place

index and name index)

AUTHOR: Constantin Roman is a Scholar with a Doctorate from Cambridge and a Member of the Society of Authors (London). He is an International Adviser, Guest Speaker, Professor Honoris Causa and Commander of the Order of Merit.

INDEX BY PROSFESSION: 58 CATEGORIES by Call, Profession or Social Status

Academics (22), Actresses (9), Anti-Communist Fighters (14), Architects/Interior Designers (2), Art Critics (9), Artist Book Binders (1), Ballerinas (6), Charity Workers/Benefactors (20), Communist Public Figures (2), Courtesans (3), Designers (2), Diplomats (4), Essayists (11), Ethnographers (6), Exiles & First-generation Romanians born abroad (87), Explorers (1), Feminists (12), Folk Singers (1), Gymnasts, Dressage Riders (2), Historians (5), Honorary Romanian Women (15), Illustrators (3), Journalists (13), Lawyers (4), Librarians (3), Linguists (2), Literary Critics (1), Media (15), Medical Doctors/Nurses (5), Memoir Writers (16), Missionaries and Nuns (4), Mountainéers (2), Museographers (1), Musical Instruments Makers (1), Novelists (24), Opera Singers (16), Painters (14), Peasant Farmers (6), Philosophers and Philosophy Graduates (4), Pianists (6), Pilots (4), Playwrights (5), Poets (29), Political Prisoners (30), Politicians (5), Revolutionaries (2), Royals and Aristocrats (34), Scientists (8), Sculptors (4), Slave (1), Socialites/Hostesses (20), Spouses/Relations of Public Figures (51), Spies (2), Tapestry Weavers (4), Translators (25), Unknown Illustrious (6), Violinists (4), Workers (3)

NOTE:

Most of the above 160 Romanian women, in the best tradition of versatility, are true polymaths and therefore nearly each one of them falls in more than just one category, often three or more. This explains why adding the numbers of the 57 individual categories bears no relation to the actual total of the above 160 women included in Blouse Roumaine.

-----------------------------------------------------------------------------------------------------------

LIST OF 160 CRITICAL BIOGRAPHIES (each supported by Quotations and Bibliography)

AA *Gabriela Adamesteanu *Florenta Albu *Nina Arbore *Elena Arnàutoiu *Ioana Raluca Voicu-Arnàutoiu, *Laurentia Arnàutoiu *Mariea Plop - Arnàutoiu *Ana Aslan *Lady Elizabeth Asquith Bibescu

BB *Lauren Bacall *Lady Florence Baker *Zoe Bàlàceanu *Ecaterina Bàlàcioiu-Lovinescu *Victorine de Bellio *Pss. Marta Bibescu *Adriana Bittel *Maria Prodan Bjørnson *Ana Blandiana *Yvonne Blondel *Lola Bobescu *Smaranda Bràescu *Elena Bràtianu *Élise Bràtianu *Ioana Bràtianu *Elena Bràtianu- Racottà *Letitzia Bucur

CC *Anne-Marie Callimachi *Georgeta Cancicov *Madeleine Cancicov *Pss. Alexandra Cantacuzino *Pss.Maria Cantacuzino (Madame Puvis de Chavannes) *Pss. Maruca Cantacuzino-Enesco* Pss. Catherine Caradja *Elena Caragiani-Stoenescu *Marta Caraion-Blanc, *Nina Cassian, *Otilia Cazimir *Elena Ceausescu *Maria Cebotari *Ioana Celibidache *Hélène Chrissoveloni (Mme Paul Morand)*Alice Cocea *Irina Codreanu *Lizica Codreanu *Alina Cojocaru *Nadia Comàneci *Denisa Comànescu *Lena Constante *Silvia Constantinescu *Doina Cornea *Hortense Cornu *Viorica Cortez*Otilia Cosmutzà *Sandra Cotovu *Ileana Cotrubas *Carmen-Daniela Cràsnaru *Mioara Cremene *Florica Cristoforeanu *Pss. Elena Cuza

DD *Hariclea Darclée *Cella Delavrancea *Alina Diaconú *Varinca Diaconú *Anca Diamandy *Marie Ana Dràgescu *Rodica Dràghincescu *Bucura Dumbravà *Natalia Dumitrescu

EE *Micaela Eleutheriade *Queen Elisabeth of Romania (‘Carmen Sylva’) *Alexandra Enescu *Mica Ertegün

FF *Lizi Florescu, *Maria Forescu *Nicoleta Franck *Aurora Fúlgida

GG *Angela Gheorghiu *Pss Grigore Ghica *Pss. Georges Ghika (Liane de Pougy) *Veturia Goga *Maria Golescu *Nadia Gray *Olga Greceanu *Pss. Helen of Greece *Nicole Valéry-Grossu *Carmen Groza

HH *Virginia Andreescu Haret *Clara Haskil *Lucia Hossu-Longin

II *Pss. Ileana of Romania *Ana Ipàtescu *Marie-France Ionesco *Dora d’Istria *Rodica Iulian

JJ *Doina Jela *Lucretia Jurj

KK *Mite Kremnitz

LL *Marie-Jeanne Lecca *Madeleine Lipatti *Monica Lovinescu *Elena Lupescu

MM *Maria Mailat *Ileana Màlàncioiu *Ionela Manolesco *Lilly Marcou *Silvia Marcovici *Queen Marie of Romania *Ioana A. Marin *Ioana Meitani *Gabriela Melinescu *Veronica Micle *Nelly Miricioiu *Herta Müller *Alina Mungiu-Pippidi *Agnes Kelly Murgoci

NN *Mabel Nandris *Anita Nandris-Cudla *Lucia Negoità *Mariana Nicolesco *Countess Anna de Noailles *Ana Novac

OO *Helen O’Brien *Oana Orlea

PP *Hortensia Papadat-Bengescu *Milita Pàtrascu *Ana Pauker *Marta Petreu *Cornelia Pillat *Magdalena Popa *Elvira Popescu

RR *Ruxandra Racovitzà *Elisabeta Rizea *Eugenia Roman *Stella Roman *Queen Ana de România, *Pss. Margarita de România *Maria Rosetti *Elisabeth Roudinesco

SS *Annie Samuelli *Sylvia Sidney *Henriette-Yvonne Stahl *Countess Leopold Starszensky *Elena Stefoi *Pss. Marina Stirbey *Sanda Stolojan *Cecilia Cutzescu-Storck

TT *Maria Tànase *Aretia Tàtàrescu *Monica Theodorescu *Elena Theodorini

UU *Viorica Ursuleac

VV *Elena Vàcàrescu *Leontina Vàduva *Ana Velescu *Marioara Ventura *Anca Visdei *Wanda Sachelarie Vladimirescu *Alice Steriade Voinescu

WW *Sabina Wurmbrand

ZZ *Virginia Zeani

In memory of

Annie Maria

The beloved wife of

Noah WOOD

Who died April….

Aged 45 years

Also

Noah WOOD

Beloved husband of the above

Died 11th Sept. 1920

Aged 80 years

“A good name rather to be …

Than great riches…

According to Auckland Council libraries site, Annie died 4 April 1890 and is buried here also with her sons George Herbert WOOD died 23 December 1870 aged 11 months and Harold Shanott [sic] WOOD died 6 January 1874 aged 10 months

Other information on the grave physically is also mentioned.[4]

Noah arrived in Auckland 1 December 1863 on board The Green Jacket [24]

Married Annie Maria SHARROTT c1865 [5]

Daily Southern Cross, Volume XXI, Issue 2557, 28 September 1865, Page 4

On September 26, by the Rev A. Macdonald, at Mr Jeffcoat’s, Clyde street, Noah, second son of Mr Thomas WOOD of Grendon, to Annie Maria, youngest daughter of Mr Joseph SHARROTT, of Polesworth, both of Warwickshire, England – Home papers please copy [23]

They had issue:

Charlotte Annie bc1867

Married c1891 to Herbert Frames KNIGHT [see family info below]

George Herbert bc1869 died 1879

Auckland Star, Volume I, Issue 299, 24 December 1870, Page 2

WOOD on 23rd December, George Herbert, son of Noah WOOD, aged 14 months[8]

The funeral will take place on Friday, 28th inst., at 2 p.m.[1]

Mary Ethel bc1871

Married John Houghton GARLICK December 18 1895 at her fathers house “Grendon”, Mt Albert.[27]

Percy Hindostan bc1875

Born after their return to NZ. Died aged 13 months. His middle name after the boat his parents left NZ on earlier. He would have been conceived around the time they left NZ, approximately April 1874].

Daily Southern Cross, Volume XXXI, Issue 5541, 27 May 1875, Page 2

WOOD on May 26, at Ponsonby, Percy Hindostan, only son of Noah Wood; aged 13 months.

Albert Henry bc1877

Frederick bc1879

Thomas Joseph bc1881

Lawrence Edwin bc1884

Violet Nora bc1887

Noah married secondly Laura CAPPER c1894 [6]

A newspaper articles states he was Superintendent of Congregational Sabbath School, Newton from March 1866[3] however another newspaper reports this as Enoch WOOD but also mentions Noah Wood in other capacities [7]

1872 article states Noah is Secretary of the Newton Congregational School [10]

Occupation December 1865: Clerk in Messrs. Thornton, Smith and Firth[2]

Occupation June 1876: Butcher [19]

Occupation March 1877: Butcher [20] Was this occupation for years.

Daily Southern Cross, Volume XXVII, Issue 4180, 6 January 1871, Page 7

The Domain on January 2 was the scene of a most pleasant gathering, no less than 1,200 children, attenders at the various Sabbath schools, having assembled within its precincts to spend the day in amusement. Swings, French tig [sic], buns, milk, tea, lollies, merry-go-round, &c., afforded endless sources of gratification…. Newton School (Independent), 140 scholars, Mr. Noah Wood, manager for the day. [9]

1871 Noah and Enoch WOOD mentioned in the drinking reform issues

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

New Zealand Herald, Volume X, Issue 2868, 8 April 1873, Page 2

“A musical and literary entertainment, in connection with the Newton Band of Hope was held in the Newton Congregational School-room last evening. The room was comfortably filled by an attentive and appreciative audience. The Rev. G. H. Turner presided. The first portion of the musical entertainment was sacred the second secular. Mr. Noah Wood gave an original reading entitled, "Auckland in 1883," in which he showed what a great amount of good the passing of the Permissive Bill had done for this province after it had been in operation for five years. At the conclusion of the reading Mr. Wood was greeted with continued applause.” (I wonder how close to the truth his vision of the effects of drink on society in 1883 were?!) [11]

Noah decided to leave NZ and return to England as an advert appears for the whole of his household furniture for sale at his residence, Collingwood Street on 31 March 1874 [12]

Auckland Star, Volume V, Issue 1292, 28 March 1874, Page 2

We observe that Mr Noah Wood and family will be among the passengers homeward bound by the good ship Hindostan, commanded by Captain Robert Peek. Mr Wood leaves on account of ill health, thinking that the colder climate of his native land may possibly improve his physical constitution. It is due to Mr Noah Wood to say that he has been most assiduous while in Auckland in his endeavours to advance the public good by advocating the principles of sobriety and imparting religious instruction in Sunday schools. It is meet, therefore, that his friends should publicly recognise his labours previous to his departure from these shores.[13]

Auckland Star, Volume V, Issue 1293, 30 March 1874, Page 2

We understand that yesterday afternoon the teachers and children of the Newton Congregational Sunday School presented Mr Noah Wood (who is leaving for England) with a beautiful and valuable collection of New Zealand ferns in a handsomely carved case of mottled kauri, as a token of their respect, and as a recognition of his services in connection with the school, and more especially for the part he took in the erection of their present comfortable schoolroom in Edinburgh-street. The young men's class also presented him with an album bound in morocco, and containing their portraits. Mr Wood has for many years past been secretary of the school, and also teacher of the Young Men's class. We are sure Mr Wood must feel an inward satisfaction that his past efforts have been successful in no small degree. He carries with him not only any special tokens of appreciation, but from everyone who has come in contact with him, expressed or unexpressed regret at his removal. Not only has the church in Newton lost an eminent worker, but in many other matters in the city, which bore in a christian direction in which he was specially useful, must lose considerably. He leaves in a few days for England, and we hope the result of his labours in Auckland will bear much fruit.[14]

Also sold “a superior riding mare 12 years old, bred by R. Gaham, Esq. She is very quiet, ad broken to carry a Lady.[15]

New Zealand Herald, Volume XI, Issue 3866, 3 April 1874, Page 2

Shipping

Weather, April 2: Fine

Wind, April 2: Calm

Hindostan passenger list…Mr and Mrs Noah Wood, Charlotte and Ethel Wood. [16]

Noted as leaving on 4 April and travelling in the second cabin [17]

He was obviously back in to airing his views on the abolition of alcohol. He is mentioned in this article as a rate payer of Auckland:

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

Auckland Star, Volume VI, Issue 1803, 25 November 1875, Page 3

PONSONBY FAMILY MEAT DEPOT

In thanking my customers, and the residents of Ponsonby and neighbourhood generally, for the encouragement given me during the past six months, beg to assure them that, in the future, no effort will be spared to make my establishment second to none in Auckland, for quality, cleanliness, attention, and cheapness.

The quality hitherto supplied will be continued.

New residents on leaving their orders, will receive prompt attention.

NOAH WOOD

November 25, 1875 [18]

(This indicates that Noah and family were back in NZ at least by May 1875, therefore only out of NZ for approximately a year). He further places an advert in April 1877 stating he had been in business in Ponsonby for 2 years [21]

March 1878 signed a public notice along with others, agreeing to use a slaughterhouse contemplated to erect on a Western Springs property provided accommodation afforded is sufficient and the fees to be charged do not exceed any that are current.[22]

Noah wood and the Newton Band of Hope:

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

and a long letter to the Editor, 1872

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

1896 Noah built a house on what is now 20 Alexis Avenue, Mt Eden[25]

Noah’s probate is available. He is described as a retired tradesman:

archway.archives.govt.nz/ViewFullItem.do?code=21457089

Family information:

Knight, Herbert Frames, Dental Surgeon, Bank of New Zealand Buildings, Queen Street, Auckland. Telephone 1038. Mr. Knight was born at Tewkesbury, England, in 1864. He arrived in Auckland with his parents in 1881, when he commenced to study for his profession, and, having passed the necessary examinations, he was registered on the 30th of October, 1890. Mr. Knight practised in New Plymouth till 1897, when he left on a tour of the American and English colleges for further study and information in the arts of dentistry. He returned about the end of 1898, and established his present practice. As a Freemason he is attached to Lodge Ara, No. 1. Mr. Knight is a brother of Dr. Knight, of Auckland. He was married, in 1891, to a daughter of Mr. Noah Wood, of Mount Albert, and has one son and one daughter.

SOURCES:

[1]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

[2]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

[3]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

[4]

www.aucklandcity.govt.nz/dbtw-wpd/exec/dbtwpub.dll?AC=QBE...

[5]

NZ Dept Internal Affairs Historic BDM Indexes: marriage registration 1865/3962

[6]

NZ Dept Internal Affairs Historic BDM Indexes: marriage registration 1894/1285

[7]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

[8]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

[9]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

[10]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

[11]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

[12]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

[13]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

[14]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

[15]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

[16]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

[17]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

[18]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

[19]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

[20]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

[21]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

[22]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

[23]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

[24]

nzetc.victoria.ac.nz/tm/scholarly/tei-Bre01Whit-t1-body-d...

[25]

mtalberthistoricalsociety.org.nz/media/MAHS%20Newsletter%...

[26]

nzetc.victoria.ac.nz/tm/scholarly/tei-Cyc02Cycl-t1-body1-...

[27]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&d=NZ...

Entitled 新潟を訪ねて 情緒の都 Niigata: a visit to the emotional heart of the city.

To the right can be seen the doll-sculpture entitled "apples in snow" for the hair and cloths of the dolls Alexandra has used wool, mink, even lama hair for one piece that had very straight hair.

Porcelain doll-sculpture exhibition ”HARVEST” by Doll artist Alexandra Petrova with associated photo-exhibition showing the Dolls in various fantastic settings by photo/artist Yuliya Osina-Fridman (both from Moscow, Russia)held in the Doll Museum, Riga, Latvia. The Elefant hotel is proud to have such wonder artists staying with us.

These are the first pictures from the opening of the exhibition held in the museum on the 30th of October. At the very sweet Riga Doll Musuem (http://www.dollart.lv/index_eng.html) which is located very close to the central market in Riga. The Elefant Hotel is happy to be hosting Alexandra and Yuliya during there stay here in Early October.

The dolls are made from porcelain (some with wire made moveable arms) and have incredible detail, including composite materials for such things as cloths and hair. They are in the “glamour” style and most interestingly many of the full sized female figures are modeled from the physical form and slightly changed facial features of the artist.

www.elefanthotel.lv

Become a Facebook fan of this great hospitality venu The Elefant Hotel. plz follow the link : www.facebook.com/home.php?#/pages/Riga/Elefant-Hotel/7508...

Photo : Francis Millers (http://gallery.fotofrancis.lv)

Entitled as a Sturdy Star, probably for 4-5 ton loads back in the 50's.

performance event entitled “Climate Crisis Car Wash,” co-conceived by Canadian artist Celeste Pimm.

-------------------

academy-emergency-art.blogspot.dk/2014/05/why-should-berl...

-----

Biennalist @ Berlin Biennale . Should we debate global warming NOW or promote it ?

ARE BIENNALES DANGEROUS ?

Art Formats : ( including Emergency Art )

www.emergencyrooms.org/formats.html

Biennalist:

www.emergencyrooms.org/biennalist.html

www.colonel.dk

THE EMERGENCY WILL REPLACE THE CONTEMPORARY

-------

----more about Berlin Biennale ---#BB8

Juan A. Gaitán appointed curator of the 8th Berlin Biennale for Contemporary Art

KW Institute for Contemporary Art in Berlin is delighted to announce the appointment of Juan A. Gaitán as curator of the 8th Berlin Biennale for Contemporary Art. The 8th Berlin Biennale will take place in spring 2014.

Juan A. Gaitán (Canada/Colombia) is an independent writer and curator, currently based in Mexico City and Berlin. He is trained as an artist and art historian at University of British Columbia and Emily Carr Institute of Art and Design in Vancouver (Canada). Between January 2009 and December 2011, he was curator at Witte de With Center for Contemporary Art in Rotterdam (The Netherlands), and between September 2011 and June 2012 adjunct professor in the Curatorial Practice Program at the California College of the Arts in San Francisco (USA). During the 2006 – 2008 period, he was on the Board of Directors of the Western Front Society, and worked as external curator at the Morris and Helen Belkin Art Gallery in Vancouver. His writings have been published in several journals, including Afterall, The Exhibitionist, Fillip, and Mousse. His most recent exhibition, Material Information, spans three venues in Bergen (Norway), and looks for a renewed critical approach to the contemporary global distribution of labor from the perspective of arts and crafts. He is presently member of the acquisitions committee at FRAC Nord-Pas de Calais in Dunquerke (France).

The Berlin Biennale for Contemporary Art is since its fourth edition one of the institutions supported by the German Federal Cultural Foundation as „outstanding cultural event“. The support of 2.5 Million Euros per edition ensures planning stability, enabling the organizers to address issues of content in an experimental way.

Since the first edition in 1998, the Berlin Biennale has become a major international event for contemporary art. Located in the midst of Berlin’s vibrant cultural scene in the fast-changing capital of Germany, the Berlin Biennale has received an enthusiastic response from the audience as an experimental, forward-looking and contextual show. The previous seven editions of the Berlin Biennale explored a variety of exhibition formats and involved diverse curatorial agendas.

Curators have been:

1st Berlin Biennale (1998): Klaus Biesenbach with Nancy Spector, and Hans Ulrich Obrist

2nd Berlin Biennale (2001): Saskia Bos

3rd Berlin Biennale (2004): Ute Meta Bauer

4th Berlin Biennale (2006): Maurizio Cattelan, Massimiliano Gioni, and Ali Subotnick

5th Berlin Biennale (2008): Adam Szymczyk and Elena Filipovic

6th Berlin Biennale (2010): Kathrin Rhomberg

7th Berlin Biennale (2012): Artur Żmijewski together with associate curators Voina and Joanna Warsza

The selection committee for the curatorship of the 8th Berlin Biennale consisted of Sergio Edelsztein (Director and Chief Curator, The Centre for Contemporary Art, Tel Aviv); Cao Fei (Artist, Bejing), Susanne Gaensheimer (Director, MMK Museum für Moderne Kunst, Frankfurt a. M.), Koyo Kouoh (Founding Director and Artistic Director, Raw Material Company - Center for Art, Knowledge and Society, Dakar), Matthias Mühling (Head of Department, Curator, Städtische Galerie im Lenbachhaus, Munich), Bisi Silva (Director and Founder, Centre for Contemporary Art, Lagos), and Patricia Sloane (Associate Curator, MUAC Museo Universitario Arte Contemporáneo and advisor to the Head of Visual Arts, UNAM Universidad Nacional Autónoma de México, Mexico City).

The Berlin Biennale is realized by KW Institute for Contemporary Art and funded by the German Federal Cultural Foundation.

KW Institute for Contemporary Art

Berlin Biennale für zeitgenössische Kunst

Auguststraße 69

#BB8

---artists participating ---

52 Künstler stehen auf der am gestrigen Sonntag veröffentlichten Künstlerliste der 8. Berlin Biennale: Zarouhie Abdalian, Bani Abidi, Mathieu Kleyebe Abonnenc, Saâdane Afif, David Chalmers Alesworth, Carlos Amorales, Andreas Angelidakis, Leonor Antunes, Julieta Aranda , Tarek Atoui, Nairy Baghramian, Bianca Baldi, Patrick Alan Banfield, Alberto Baraya , Rosa Barba, Gordon Bennett, Zachary Cahill, Mariana Castillo Deball, Carolina Caycedo, Tacita Dean, Mario García Torres, Beatriz González, Agatha Gothe-Snape, Shilpa Gupta, Cynthia Gutiérrez, Ganesh Haloi, Carsten Höller, Iman Issa, Irene Kopelman, Kemang Wa Lehulere, Matts Leiderstam, Li Xiaofei, Glenn Ligon, Goshka Macuga, Santu Mofokeng, Shahryar Nashat, Olaf Nicolai, Otobong Nkanga, Christodoulos Panayiotou, Judy Radul, Jimmy Robert, Anri Sala, Slavs and Tatars, Michael Stevenson, Mariam Suhail, Vivan Sundaram, Gaganendranath Tagore, Wolfgang Tillmans, Tonel, Danh Vo & Xiu Xiu, David Zink Yi, Carla Zaccagnini und das Center for Historical Reenactments.

Die 8. Berlin Biennale für zeitgenössische Kunst findet vom 29. Mai bis 3. August 2014 im Haus am Waldsee, den Museen Dahlem - Staatliche Museen zu Berlin, den KW Institute for Contemporary Art und dem "Crash Pad" in den KW statt.

Our panel was entitled "Man, Machines and How the Future Works" and I joined, to the right, Jessica Rosenworcel of the FCC, Ken Washington, VP Research at Ford and Philip Zelikow of the Markle Foundation. John Markoff, of The New York Times, was our moderator on the left. From minute 17:00 of the panel video.

And here is another interesting video on the end of employment. The horse analogy is interesting. And Baxter features prominently. I was the first purchaser of one.

small business / local search panel entitled: Little is the New Big! Local & HyperLocal Search Marketing, including presentations from:

Mary Bowling - Optimizing for Local Search Success

Matt McGee - Hyperlocal Blogging

Greg Hartnett

moderated by David Mihm

copyright © 2009 sean dreilinger

follow me! FB / twitter / G+

view matt mcgee - small business / local search panel - sempdx searchfest 2009 - _MG_9205 on a black background.

And now for some shots with the 50mm, of the details and fittings of the church. More to follow.

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Augustus Welby Northmore Pugin (1 March 1812 – 14 September 1852) was an English architect, designer, artist and critic, chiefly remembered for his pioneering role in the Gothic Revival style; his work culminated in the interior design of the Palace of Westminster. Pugin designed many churches in England, and some in Ireland and Australia.[1] Pugin was the son of Auguste Pugin, and the father of E.W. and Edmund Peter Paul Pugin, who continued his architectural firm as Pugin & Pugin.

Pugin was the son of a French draughtsman, Auguste Pugin, who had come to England as a result of the French Revolution and had married Catherine Welby of the Denton, Lincolnshire Welby family.[3] Augustus was born at his parents' house in Bloomsbury. Between 1821 and 1838 Pugin's father had published a series of volumes of architectural drawings, the first two entitled, Specimens of Gothic Architecture, and the following three, Examples of Gothic Architecture, that were to remain both in print and the standard references for Gothic architecture for at least the next century.

As a child he was taken each Sunday by his mother to the services of the fashionable Scottish presbyterian preacher Edward Irving (later founder of the Holy Catholic Apostolic Church), at his chapel in Cross Street, Hatton Garden.[4] He soon rebelled against this version of Christianity: according to Benjamin Ferrey, Pugin "always expressed unmitigated disgust at the cold and sterile forms of the Scotch church; and the moment he broke free from the trammels imposed on him by his mother, he rushed into the arms of a church which, pompous by its ceremonies, was attractive to his imaginative mind.

Pugin learned drawing from his father, and for a while attended Christ's Hospital. After leaving school he worked in his father's office, and in 1825 and 1827 accompanied him on visits to France.[6] His first commissions independent of his father were for designs for the goldsmiths Rundell and Bridge, and for designs for furniture at Windsor Castle, from the upholsterers Morrel and Seddon. Through a contact made while working at Windsor, he became interested in the design of theatre scenery, and in 1831 obtained a commission to design the sets for the production of a new opera called Kenilworth at Covent Garden.[7] He also developed an interest in sailing, and briefly commanded a small merchant schooner trading between Britain and Holland, which allowed him to import examples of furniture and carving from Flanders,with which he later furnished his house at Ramsgate.[8] During one voyage in 1830 he was wrecked on the Scottish coast near Leith,[9] as a result of which he came into contact with Edinburgh architect James Gillespie Graham, who advised him to abandon seafaring for architecture.[10] He then set up a business supplying historically accurate carved wood and stone details for the increasing number of buildings being constructed in the Gothic style, but the enterprise soon failed.

In 1831, aged nineteen, Pugin married the first of his three wives, Anne Garnet.[11] Anne died a few months later in childbirth, leaving him with a daughter. He had a further six children, including the architect Edward Pugin, with his second wife, Louisa Burton, who died in 1844. His third wife, Jane Knill, kept a journal of their married life together, between their marriage in 1848 and his death; it was later published.[12] Their son was Peter Paul Pugin.

Following his second marriage in 1833, Pugin moved to Salisbury with his wife,[13] and in 1835 bought half an acre of land, at Alderbury, about a mile-and-a-half outside the town, On this he built a medieval-inspired house for his family, called "St Marie's Grange".[14] Charles Locke Eastlake said of it "he had not yet learned the art of combining a picturesque exterior with the ordinary comforts of an English home".

In 1834, Pugin became a Roman Catholic convert,[16] and was received into the faith in the following year.[17] His conversion resulted in the loss of some commissions,[citation needed] but also brought him into contact with new patrons and employers. In 1832 he had made the acquaintance of John Talbot, 16th Earl of Shrewsbury, a Roman Catholic, sympathetic to his aesthetic views who employed him in alterations and additions to his residence Alton Towers, which subsequently led to many other commissions.[18] Shrewsbury commissioned him to build St. Giles' Catholic Church, Cheadle, completed in 1846, and Pugin was also responsible for designing the oldest Catholic church in Shropshire, St Peter and Paul at Newport,

n 1836, Pugin published Contrasts, a polemical book which argued for the revival of the medieval Gothic style, and also "a return to the faith and the social structures of the Middle Ages".[19] Each plate in the book selected a type of urban building and contrasted the 1830 example with its 15th-century equivalent. In one example, Pugin contrasted a medieval monastic foundation, where monks fed and clothed the needy, grew food in the gardens – and gave the dead a decent burial – with "a panopticon workhouse where the poor were beaten, half starved and sent off after death for dissection. Each structure was the built expression of a particular view of humanity: Christianity versus Utilitarianism."[19] Pugin's biographer, Rosemary Hill, wrote: "The drawings were all calculatedly unfair. King's College London was shown from an unflatteringly skewed angle, while Christ Church, Oxford, was edited to avoid showing its famous Tom Tower because that was by Christopher Wren and so not medieval. But the cumulative rhetorical force was tremendous."

In 1841 he left Salisbury,[20] finding it an inconvenient base for his growing architectural practice.[21] He sold St Marie's Grange at a considerable financial loss,[22] and moved temporarily to Cheyne Walk, Chelsea. He had however already purchased a piece of land at the West Cliff, Ramsgate, where he proceeded to build himself a large house and, at his own expense, a church on which he worked whenever funds allowed. His second wife died in 1844 and was buried at St. Chad's, Birmingham, a church which he had himself had designed.

Following the destruction by fire of the Palace of Westminster in 1834, Pugin was employed by Sir Charles Barry to supply interior designs for his entry to the architectural competition which would determine who would build the new Palace of Westminster. Pugin also supplied drawings for James Gillespie Graham's entry.[24] This followed a period of employment when Pugin had worked with Barry on the interior design of King Edward's School, Birmingham. Despite his conversion to Catholicism in 1834, Pugin designed and refurbished both Anglican and Catholic churches throughout the country.

Other works include St Chad's Cathedral, Erdington Abbey and Oscott College, all in Birmingham. He also designed the college buildings of St Patrick and St Mary in St. Patrick's College, Maynooth; though not the college chapel. His original plans included both a chapel and an aula maxima, neither of which were built because of financial constraints. The college chapel was designed by a follower of Pugin, the Irish architect J.J. McCarthy. Also in Ireland, Pugin designed St Mary's Cathedral in Killarney, St Aidan's Cathedral, Enniscorthy (renovated in 1996) and the Dominican church of the Holy Cross in Tralee. He revised the plans for St Michael's Church in Ballinasloe, Galway. Pugin was also invited by Bishop Wareing to design what eventually became Northampton Cathedral, a project that was completed in 1864 by Pugin's son Edward Welby Pugin.

Pugin visited Italy in 1847; his experience there confirmed his dislike of Renaissance and Baroque architecture, but he found much to admire in the medieval art of northern Italy.

In February 1852, while travelling with his son Edward by train, Pugin suffered a total breakdown and arrived in London unable to recognise anyone or speak coherently. For four months he was confined to a private asylum, Kensington House. In June, he was transferred to the Royal Bethlem Hospital, popularly known as Bedlam.[26] At that time, Bethlem Hospital was opposite St George's Cathedral, Southwark, one of Pugin's major buildings, where he had married his third wife, Jane, in 1848. Jane and a doctor removed Pugin from Bedlam and took him to a private house in Hammersmith where they attempted therapy, and he recovered sufficiently to recognise his wife.[26] In September, Jane took her husband back to The Grange in Ramsgate, where he died on 14 September 1852.[26]

On Pugin's death certificate, the cause listed was "convulsions followed by coma". Pugin's biographer, Rosemary Hill, suggests that, in the last year of his life, he was suffering from hyperthyroidism which would account for his symptoms of exaggerated appetite, perspiration, and restlessness. Hill writes that Pugin's medical history, including eye problems and recurrent illness from his early twenties, suggests that he contracted syphilis in his late teens, and this may have been the cause of his death at the age of 40.

In 1844, having won the architectural competition to design the new Palace of Westminster, Sir Charles Barry, asked Pugin to supply detailed designs for the interior of the new building, including stained glass, metalwork, wood carving, upholstery, furniture and a royal throne. Pugin's biographer, Rosemary Hill, shows that Barry designed the Palace as a whole, and only he could coordinate such a large project and deal with its difficult paymasters, but he relied entirely on Pugin for its Gothic interiors, wallpapers and furnishings.[28]

At the end of Pugin's life, in February 1852, Barry visited him in Ramsgate and Pugin supplied a detailed design for the iconic Palace clock tower, officially dubbed the Elizabeth Tower, but more popularly known as Big Ben. The design is very close to earlier designs by Pugin, including an unbuilt scheme for Scarisbrick Hall, Lancashire. The tower was Pugin's last design before descending into madness. In her biography, Hill quotes Pugin as writing of what is probably his best known building: "I never worked so hard in my life [as] for Mr Barry for tomorrow I render all the designs for finishing his bell tower & it is beautiful & I am the whole machinery of the clock."[29] Hill writes that Barry omitted to give any credit to Pugin for his huge contribution to the design of the new Houses of Parliament.[30] In 1867, after the deaths of both Pugin and Barry, Pugin's son Edward published a pamphlet, Who Was the Art Architect of the Houses of Parliament, a statement of facts, in which he asserted that his father was the "true" architect of the building, and not Barry.

en.wikipedia.org/wiki/Augustus_Welby_Northmore_Pugin

entitled "godspeed" the story is about a car crash in which an ambulance is involved. with apologies to Ballard's Crash and Connelly's Bringing Out the Dead

The 2010 Championship production was entitled: It's a secret!

This time Tijuca's brilliant Carnavelesco Paulo Barros would not be denied what the people had said too often about his past highs on Sambódromo da Marquês de Sapucaí in the past. Breaking a fast of 74 years without the title Tijuca is the champion of Rio's carnival for the second time. They carry the banner of Gold as the best Samba School in the World with much deserved pride. In a parade full of highlights the amazing magic trick of the comissão de frente will hold up as one of Carioca Carnival's most memorable moments of all time.

The Carnavalesco in Rio Carnaval is the person responsible for the artistic work of designing, producing and directing the school's parade which may include choosing the schools' theme as well.

With the arrival in 2004 of the carnavalesco Paulo Barros , the school surprised many more than just the spectators and won runner-up or vice-championship with an enredo plot that spoke of the advances of science, has revolutionized the aesthetics of the parades to show human allegories such as the now classic car DNA

Unidos da Tijuca was always a school that was guided by boldness and innovation. The “blue & gold” samba-school, is the third oldest in Brazil. In recent years the school has evolved a much admired signature float that presented performers in choreography mounted in floats or “human sculptures” who transform themselves into an object of beauty such as a peacock, the symbol of the samba school. The first float in this series was DNA in 2004.

Unidos da Tijuca won the Top Carnival Championship in 1936 although the leading paper publishes a critic's choice list known as "Estandarte de Ouro" where Tijuca has been recognized 19 times.

In 2005 Barros again brought vice champion or 2nd place finish to Tijuca with an enredo or a plot that spoke of cities and realms of human imagination. Many thought the championship belonged to Tijuca ahead of the winner Beija-Flor.

Following a 6th place finish with Tijuca in 2006 performing "Listening to everything I see, I see all I hear" Barros moved on to other opportunities, but much of the distinctive style Barros introduced remained with the school.

As the artistic director with Viradouro in 2007 he put the drum bateria on top of a float for the first time. In 2008 he caused his greatest controversy with a float of the Holocaust, one part of a theme or enredo dedicated to "Shockers" and included floats depicting the shock of birth, the shock of horror and the shock of cold.The courts prevented the float to appear on the Marques de Sapucai.

"The float is extremely respectful, it's a warning, it's something shocking that we don't want to happen ever again," said Paulo Barros, Viradouro's artistic director. The float would be the only one without dancers on top. "If we had people dancing on top of dead bodies that would indeed be disrespectful," he told Reuters.

For the 2010 Rio Carnaval, Mr. Barros returned to Unidos da Tijuca , a school established long established as one of the most creative in Brazil, and has now gone on to win his first championship title of the special group of Rio de Janeiro. It was a remarkable parade that began with an idea sent to him by a 15 year-old boy through google's ORKUT.com social network.

Paulo Barros, with this first title, becomes one of the most important innovative influences on Rio carnival moving forward into the 21st century. A hard reputation to live up to in the creative business of Carnaval where every Carnaval is expected to be your best ever.

For the 2011 Carnaval he returns with Unidos da Tijuca and a theme titled "This night will lift your soul" [Esta noite levarei sua alma] which will explore fear in the movies. The theme will look at the fear caused by horror, suspense in films and feature some of the biggest names in Brazilian film production. Tijuca also plans to show the spirit with which Brazilians overcome their fears. . "we will show the strength of a people which ..... isn't frightened to be happy" says Paulo Barros.

More Rio Carnaval News at www.carnaval.com/rio/carnaval/

There is a book entitled On Killing: The Psychological Cost of Learning to Kill in War and Society by Lt. Col. Dave Grossman. Our military now understands that we, as a species, are hard-wired not to kill each other. And if you kill another person at close range so that you see/hear/smell their suffering, most of us will have lasting negative emotions tied to our indelible memory of the act. Most killers experience flashbacks of fear, guilt, self-loathing and horror for the rest of their days. Guys that firebomb entire cities can sleep like babies. But, guys who kill up close can’t. Such emotions are now referred to as a form of Post-Traumatic Stress Disorder (PTSD).

I’m guessing it was the summer of 1965. My Dad, Neil A. Kelley, was sitting on his big chair watching a baseball game on TV. His teeth were clinched as he stared at the screen. For no good reason, I popped an impertinent question, “Dad… How many Japs did you kill?”. He didn’t look at me. He just said flatly, “Eight.”

After much reading and talking to two WWII Marine Raider 2nd Battalion veterans that fought in the same battles on Bougainville, Guam and Okinawa where Neil’s Company F was deployed, I have concluded that he was only referring to the eight he knew about. Having been attached to a Mortar Squad in a Weapons Platoon, he must of killed plenty of guys that he never saw. But, on Bougainville and Guam he had to get down and dirty. On Bougainville in Nov 1943, he fought in the Battle of Piva Forks through dense swampy jungle where every company took its turn at the front. On Guam in July 1944, they had to dig in on the beach the first night because they were pinned down and landed up against a cliff. The Japanese staged a bonsai charge that night and hundreds of them had to be slain at close range.

While we were growing up, Neil exhibited many of the symptoms of PTSD sufferers: emotionally and socially withdrawn, sudden bursts of anger and had trouble falling asleep. On many occasions, I stayed up late doing homework and saw him lying in bed reading political magazines. I could see eyestrain tears on the side of his face. PTSD sufferers try to avoid being reminded of their trauma. He only discussed two of his war experiences with his wife during 20 years of marriage. Here are the only two experiences that Grandma Kelley can recall:

1.Neil said that one of his buddies was captured by the Japanese and that he wanted to rescue him. But, his commanding officer told him to stay put. Neil had to listen to his buddy screaming as the Japs tortured their prisoner. David Hamm, a veteran of F Company on Bougainville told me that after a skirmish on the Piva Trail, a Marine was found with his genitals stuffed in his own mouth. Perhaps this was the guy that Neil wanted to rescue.

(I’m guessing that this happened on Bougainville where the dense undergrowth would explain their proximity to the enemy.)

2.He was with Carol Peake(sp?) on Okinawa when he was wounded by shrapnel on 22 May 1945 as a member of the 4th Marines Regimental Weapons Company. Right after his back was laid open his stood up and declared to his buddies, “I got mine!” in reference to his million-dollar wound.

In the early sixties, he visited his sister, Dorothy Watts, in Redondo Beach. Herb, Dorothy’s son, recounted these experiences that Neil told him:

•One day they were on patrol and a Jap jumped out and threatened a BAR man with a bayonet. A Browning Automatic Rifle is a big powerful weapon. The BAR man was so startled that he started to fire at the ground between them. The recoil of the BAR was so strong that the rifle barrel was automatically elevated and the bullets, Neil’s own words, “zippered the guy”.

•Neil explained that you could tell whether the shells were coming or going by their sound. Most guys wouldn’t duck for shells coming from behind because the shrapnel usually travelled forward after the explosion. Neil always ducked regardless. One time, the shrapnel from one of our short rounds did blow backwards and a Marine nearby did not duck and was killed. Neil said, “That made a believer out of me.”

Herb also relayed a story his mother, Neil’s sister, told him:

•Neil was climbing down the netting on the side of an LST into a landing craft. A guy stepped on Neil’s head or shoulder on the way down. He was knocked off the netting into the landing craft below onto his back. The resulting injury caused him back pain for the rest of his days.

Tom Morres, a veteran of Bougainville in Neil’s Company, wrote in his memoire that the seas were rough that morning: “We got to the debarking stations about 5:30am and were climbing down the nets by 6:00am. Each ramp boat held a platoon of troops and as they became loaded they would pull away and stand by until all the first wave troops had been loaded. It was kind of tricky getting from the cargo net to the ramp boat because the wave action would raise and lower the boat as much as five to ten feet so that when you were at the bottom of the net you had to time it just right so that you would only drop three or four feet instead of ten feet and maybe bang yourself up a bit.”

Neil took his own life on Saturday, 2 Dec 1967, with a combination of booze and the barbiturates he had been taking for back pain. During the Summer of Love, he had been reading “How to Avoid Probate”. If you are contemplating suicide and don’t want to leave a legal mess, this is a must read. When he failed to come home from work, my mother became increasingly concerned. But, she only showed it once that I noticed. After she put us to bed one evening, I overheard her whispering anxiously into the telephone about his absence until she broke down sobbing. A few days later, the County Coroner arrived at our door to tell us that they had found his body at the Kokomo Motel.

Looking back, I have the impression that Neil wanted to return to the South Pacific, probably New Caledonia. Growing up in Michigan, we had water colors of tropical islands hanging in our living room. He used to shout the chorus to song recorded in 1945 called: “Caledonia! Caledonia!”. After we moved to Sacramento, he ordered me plant six palm trees in our front yard in two groups of three for stability. Coincidentally, there were three girls and three guys in our family. Today, those palm trees are over 80 feet tall.

The following information is from an article entitled 'Canadian Feminists in the International Arena' by Philippa Schmiegelow. The full article can be seen here: pi.library.yorku.ca/ojs/index.php/cws/article/viewFile/89...

In 1941, Muriel Goggin Denison, Flora MacDonald's daughter-in-law and gifted singer, manager and mainstay of the Bon Echo Inn for 8 years, became Canadian women's representative at the United Nations Information Office in New York. From 1942-46, as a member of the Women's Advisory Committee, Muriel worked with representative women from 11 allied nations - China, Australia, Canada, Czechoslovakia, Denmark, France, Greece, Luxenbourg, Netherlands, Norway and the Union of South Africa - preparing a report on the role of women with the newly formed United Nations Organization (UNO) (Women's Advisory Committee).

The report was presented to the primary session of the General Assembly in February 1946. The opening paragraph is blunt. It reads:

1) the support of the women of the world is essential to the permanent success of the UNO;

2) in order best to gain that support UNO must assign to women a basic functional role.

The recommendations of the report are wide-sweeping, integrating women into every aspect of the UNO body and calling for women's greater participation in policy making. The 1946 report is a daring document in light of the industrialized world's post war frenzy to re-domesticate women.

Muriel Denison forwarded a copy of the report to Eleanor Roosevelt - the longest serving First Lady of the United States (March 1933-April 1945). Muriel received a letter of thanks dated October 21,1946 and an invitation to meet Roosevelt.

Presumably, the photo above depicts that meeting however it is unknown the exact date and which woman on the left or right (if any) is Muriel Goggin Denison. Muriel may have captured the photograph?

Part of the Bon Echo Provincial Park Album

Note: Commercial use of this image is prohibited without CDHS permission. All CDHS Flickr content is available for personal use providing our Rights Statement is followed:

pioneer.mazinaw.on.ca/flickr_statement.php

THE BEAUTY AND THE BEAST

Eco Art Project by Nataly Cnyrim-Kimmel

for the Eco Art Parade International of Monte Carlo 2009

Benefitting the Prince Albert II of Monaco Foundation &

Under the Haute Patronage of

His Serene Highness Prince Albert II of Monaco

Contact Info :

E mail : nataly.kimmel@yahoo.de

Skype : natalykimmel

Webpage : www.natalykimmel.com

THE V.I.P. Feathers

( already signed )

by

Bill Clinton

Sharon Stone

Sir Cliff Richard

Claudia Schiiffer

Donatella Versace

Zucchero

Christopher Lee

Anastacia

Hans Juergen Baeumler

Elle MACPHERSON

Marianne Faithfull

Marylin Carlson Nelson

Gery Keszler

Danielle Thoma

Regine Sixt

Hans Mahr

Ester

Dr.Mario Theissen

Josef Bulva

President Barack Obama

Hillary Rodham Clinton

Mikhael Gorbachev

Nelson Mandela

Claudia Cardinale

Kofi Annan

Felipe, Prince of Asturias

Britney Spears

George Clooney

Ted Turner

Catherine Zeta-Jones

Al Gore

Madonna

Queen Sirikit of Thailand

Carmen Electra

Hugh Grant

Kylie Minogue

Liv Tyler

Esther MUJAWAYO-KEINER

Vivienne Westwood

CINDY CRAWFORD

Queen Noor of Jordan

PRESENTATION

www.authorstream.com/Presentation/natalykimmel-148327-bea...

To honor the beauty and the rights of the Bonelli Eagles, Nataly Cnyrim-Kimmel has conceived an art project entitled “The Beauty and The Beast. Self-Destruction”. While the sculptural project is clearly making reference to the famous fairy tale, it is also offering a new version of the story, with an eco-reading to it. In this interpretation, Beauty lies in the animal world and Man is revealed to be the Beast, endangering all living beings and as a consequence its own human world. The cycle of life must be preserved, the Beauty can be saved, and the Beast be tamed again. Adorned like a totemic animal by the many colors of a joyful palette, the Bonelli Eagle is presented in a thorn cage, fractured by the power of the Beauty taking off. Despite the thrust, the flight does not take place, hands seize his legs and the bird looses many of his feathers as he struggles to break free. His plumage gets hurt, scattered about in the cage, suspended in the air. The statement is clear: our planet has become a thorny environment, uncomfortable and unwelcoming, in which life can only damage itself.

Despite our love of Beauty, our square rational human logic is not always serving the spirit and dignity of all the living beings it shares the planet with. It is time for Humans to question the logic that has driven them. The Bonelli Eagle becomes in this project the symbol of the Natural Beauty in this world. The Eagle is loosing its mean to fly, its identity and life force. But there is a chance to change: the process can be reversed. Preservation and measures can be put into place to act now. Helping the Bonelli Eagles to survive is a meaningful gesture. To signify this crucial opportunity, Nataly Cnyrim-Kimmel has conceived the feathers as multicolored rubber modules. As a suggestion for the end of the ECO ART PARADE : The first symbolical step could be to reversing the dreadful prospect of the extinction of this specie would be to put back the feathers on. The second step would be to be to bring back peacefully the eagle into our world, changing the logic of our actions. So that by protecting him, we will protect our planet, we will protect ourselves.

To sensitize the public to the Eagle’s cause, the artist would like to propose to the Eco-Art Parade a few events around the production of multicolored feathers, the creation of a The feathers would become the ambassadors of the Eagle’s cause. They would be sent around the world to be signed by VIPs and celebrities of the art and environmental world present in Monaco would be gathered for a signing event. Moreover an edition of the feathers as pen, pencils or more complex objects could be made for the general public. Sotheby’s International could in addition to the sale of the Eagle, auction some of the special signed feathers conceived as collectibles. Multiple forms of events and production of secondary products to mark the importance of the Eco-Parade and the Bonelli Eagles could be imagined on the basis of this sculptural project. All proceeds of the sales via auctions or shops, online or on site, of the signed and unsigned feathers and feather-objects would benefit the Prince Albert II of Monaco Foundation.

Feather - Mania !!!

An educational program involving the schools of the Principality would be designed for children to learn about the environment and the Bonelli Eagles. Special Arts and crafts workshops would be lead by the artist, as she feels very committed to youth and the role of the arts in contributing to better the world. During one of the workshops, the children could participate in a determinant action to gather the feathers scattered in the exhibited cage and put them back on the sculpture. The artist and a young aware generation would join in this gesture full of hope for the future. To seal the Parade in a poetic and concrete manner, a couple of Bonelli Eagles (Male & Female) equipped with a tracking system could be released and their flight toward a safe new life could be monitored on a giant public screen as well as on the web. The movement from Art to Life would thus be accomplished, and the Bonelli Eagles, all plumage on being a reality to the people of the Eco Art Parade. Please see the technical documents and portfolio of sketches accompanying this text to have a visual idea of the proposal. The studio is at your entire disposition should you need more information!

Material Description

Feather : The feathers will be conceived as a decorative modular system. Made out of rubber they can fit together like a puzzle to create many different patterns and designs. The individual pieces come in 8 different forms, 8 standard colors, 3 metallic colors and 3 velvet colors. The size of each piece is customizable. The feathers will be water resistant and can be created in different materials in order to fit specific needs. They can be used as interior and/or exterior decorations, shower mats, lampshade, floors and wall coverings. They could be turned easily into pencils or ball pen holders

Panels :

Size: 270x270x3,7mm Weight-Piece: 98g Material: Erbit C-Hooks : 2g

Eagle Cage :

Cube Acrylic frame / cube shape Size 2100 x 2100 x 2100 mm Square acrylic tube 25 x 25 mm Three way junction at each corner

One of the essential parts of my project is the uniquely conceived, colorful feathers, which I will place on and around the Bonelli Eagle sculpture symbolizing the disappearance of animal life from our natural environment. The feathers that are attached to the Eagle will contain the signatures of various celebrities, dignitaries and supporters like you. I have already received signatures from Bill Clinton , Queen Noor of Jordan, Anastacia, etc.

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Projet de Nataly Cnyrim-Kimmel

Afin d’honorer la beauté et les droits des Aigles Bonelli, Nataly Cnyrim-Kimmel a conçu un projet intitulé “ La Belle et la Bête. Auto-Destruction”. Tout en faisant référence au conte de fée, ce projet propose une lecture écologique du conte. Dans cette nouvelle interprétation, la Belle est l’oiseau et c’est à l’homme que revient le rôle de la Bête, mettant en danger tous les êtres du monde et en conséquence l’humanité. Le cycle de vie doit être préservé, la Belle peut être sauvée, et la Bête apprivoisée.

Paré de couleurs joyeuses tel un animal totémique, l’Aigle Bonelli est enfermé dans une cage épineuse qu’il brise en prenant son envol. Malgré son élan vers le ciel, l’échappée n’a pas lieu, des mains se saisissent de lui et luttant pour s’envoler l’oiseau perds ses plumes. Son plumage est endommagé, les plumes sont éparpillées dans la cage, suspendues dans les airs.

Le propos est clair: la planète est devenue un environnement hardu, inhospitalié, même dangeureux, où il ne fait plus bon vivre. Malgré notre amour de la Beauté, notre raison cartésienne qui appréhende la vie de facon peut être un peu trop mathématique, ne prends pas toujours en consideration l’esprit et la dignité des êtres qui partagent cette planète avec nous. Il est temps pour les humains de remettre en question leur logique de vie sur terre.

Pour ce projet, l’Aigle Bonelli est devenu le symbole de la Beauté Naturelle dans ce monde. L’aigle a perdu les moyens de voler, son identité, sa force de vie. Mais il est possible de changer: le processus peut être inversé. Des mesures de préservations peuvent être implémentées pour agir rapidement. Protéger l’Aigle Bonelli est un geste exemplaire. Pour souligner ce fait, Nataly Cnyrim-Kimmel a conçu le plumage multicolore de sa sculpture de telle facon que les plumes soient des modules légers facilement détachables et ratachables au modèle de l’oiseau. Le premier geste symbolique pour protéger cette espèce en voie de disparition serait de remettre sur l’oiseau les plumes éparpillées et suspendues dans la cage. Le second plus concret serait de réintégrer et de sauvegarder l’Aigle Bonelli dans nos environs, nous changerions ainsi la logique de nos actions. En le protegeant nous protégeons notre planète et nous nous protégeons nous-même.

Pour sensibiliser le public à la cause de l’Aigle Bonelli, l’artiste voudrait proposer quelques évènements et la production de plumes de couleurs, la création d’une Plume Mania ! Les plumes deviendraient les ambassadeurs de l’Aigle Bonelli. Elles seraient envoyées autour du monde à des VIP, et les célébrités de l’art et de l’environnement présents à Monaco seraient invités à une signature de plume ! De plus les plumes pourraient être offertes au grand public sous forme de stylots, crayons mais aussi sous la forme d’autres objets un peu plus développés.

Tout comme la sculpture de l’aigle, une edition limitée de plumes signées pourraient être vendue aux enchères par Sothebys International en clôture de Parade. Plusieurs formes d’évènements et de produits dérivés pourraient être imaginés sur la base de ce projet. Tous les bénéfices des ventes en magasins ou en salles des ventes, en ligne ou sur place reviendraient à la Fondation Prince Albert II de Monaco.

Un programme éducatif établi en collaboration avec les écoles de la Principauté aurait pour but de sensibiliser les enfants à la cause de l’Aigle Bonelli et plus généralement aux problèmes de l’environnement. L’artiste dirigerait elle-même les ateliers d’art plastiques. Nataly Cnyrim-Kimmel tient beaucoup à assurer ce role de liaison avec la jeunesse et à utiliser l’art comme véhicule de sensibilisation pour une cause importante. Lors du dernier atelier, les enfants pourraient participer avec elle à une action déterminante pour le projet : rassembler les plumes éparpillées dans la cage exposée et de les rattacher à la sculpture. L’artiste et une jeune génération alerte feraient ensemble ce geste qui porte en lui un espoir pour le futur.

Pour clôre la Parade de façon poétique et concrète, un couple d’Aigle Bonelli pourrait être relaché en liberté équipé d’un système de surveillance électronique. Leurs vols pourraient être diffusé sur des écrans géants et sur un site internet. L’art nous renvérait ainsi vers la vie et l’Aigle Bonelli tout plumage lissé serait une realité pour les spectateurs de L’Eco Art Parade de Monaco.

Pour voir les esquisses pour le projet vous pouvez vous référer aux fiches techniques et au portfolio qui accompagnent ce texte. Le studio est à votre entière disposition si vous avez besoin de plus d’information!

From my set entitled “Lilac”

www.flickr.com/photos/21861018@N00/sets/72157607217561277/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Lilac

Syringa (Lilac) is a genus of about 20–25 species of flowering plants in the olive family (Oleaceae), native to Europe and Asia.[1][2][3][4]

They are deciduous shrubs or small trees, ranging in size from 2–10 m tall, with stems up to 20–30 cm diameter. The leaves are opposite (occasionally in whorls of three) in arrangement, and their shape is simple and heart-shaped to broad lanceolate in most species, but pinnate in a few species (e.g. S. protolaciniata, S. pinnatifolia). The flowers are produced in spring, each flower being 5–10 mm in diameter with a four-lobed corolla, the corolla tube narrow, 5–20 mm long; they are asexual, with fertile stamens and stigma in each flower. The usual flower colour is a shade of purple (often a light purple or lilac), but white and pale pink are also found. The flowers grow in large panicles, and in several species have a strong fragrance. Flowering varies between mid spring to early summer, depending on the species. The fruit is a dry, brown capsule, splitting in two at maturity to release the two winged seeds.[2][3][4][5]

The genus is most closely related to Ligustrum (privet), classified with it in Oleaceae tribus Oleeae subtribus Ligustrinae.[6]

Lilacs are used as food plants by the larvae of some Lepidoptera species including Copper Underwing, Scalloped Oak and Svensson's Copper Underwing.

Lilacs are popular shrubs in parks and gardens throughout the temperate zone. In addition to the species listed above, several hybrids and numerous cultivars have been developed. The term French lilac is often used to refer to modern double-flowered cultivars, thanks to the work of prolific breeder Victor Lemoine.

Lilacs flower on old wood, and produce more flowers if unpruned. If pruned, the plant responds by producing fast-growing young vegetative growth with no flowers, in an attempt to restore the removed branches; a pruned lilac often produces few or no flowers for one to five or more years, before the new growth matures sufficiently to start flowering. Unpruned lilacs flower reliably every year. Despite this, a common fallacy holds that lilacs should be pruned regularly. If pruning is required, it should be done right after flowering is finished, before next year's flower buds are formed. Lilacs generally grow better in slightly alkaline soil.

Lilac bushes can be prone to powdery mildew disease, which is caused by poor air circulation.

The wood of lilac is close-grained, diffuse-porous, extremely hard and one of the densest in Europe. The sapwood is typically cream-coloured and the heartwood has various shades of brown and purple. Lilac wood has traditionally been used for engraving, musical instruments, knife handles etc. When drying, the wood has a tendency to be encurved as a twisted material, and to split into narrow sticks. The wood of Common Lilac is even harder than for example that of Syringa josikaea.

The genus name Syringa is derived from syrinx meaning a hollow tube or pipe, and refers to the broad pith in the shoots in some species, easily hollowed out to make reed pipes and flutes in early history.[5][7]

A pale purple colour is generally known as lilac after the flower.

Purple lilacs symbolize first love and white lilacs youthful innocence (see Language of flowers). In Greece, Lebanon, and Cyprus, the lilac is strongly associated with Eastertime because it flowers around that time; it is consequently called paschalia.

Syringa vulgaris is the state flower of New Hampshire, because it "is symbolic of that hardy character of the men and women of the Granite State" (New Hampshire Revised Statute Annotated (RSA) 3:5).

Numerous locations around North America hold yearly Lilac Festivals, the longest-running of which is the one in Rochester, New York. Rochester's Lilac Festival held at Highland Park has the most varieties of lilacs at any single place and many of the lilacs were developed in Rochester. Spokane Washington is known as the lilac city, and holds a lilac festival every year, complete with a lilac parade.

Professor Sudharshan Seneviratne, Senior Adviser (Culture) to the Ministry of Foreign Affairs, Sri Lanka, was Head of the Department of Archaeology at the University of Peradeniya and holds the only Chair in Archaeology within the university system of that country. He is also Co-director, Citadel Archaeology Project, Anuradhapura.

After completing his education at Ananda College, Colombo, Seneviratne went on to do his masters and Ph.D from Jawaharlal Nehru University, New Delhi. His doctoral thesis entitled "The Social Base of Early Buddhism in South-east India (Andhra Pradesh and Tamil Nadu) and Sri Lanka, 3rd century B.C. to 3rd century A.C." was researched under Prof. Romila Thapar.

Seneviratne's current research includes topics such as environmental sustainability and archaeology, heritage management and tourism in South Asia, nationalism-multiculturalism and archaeology and a book commissioned by the India-Sri Lanka Foundation titled The Maurya Empire in South India. He was twice Fulbright Professor. The Government of India awarded him the status of Distinguished Visitor to India in 2003-2004.

Seneviratne was in Chennai to attend the "Indo-Sri Lankan Seminar on Social Sciences and Humanities: Sharing and Learning for a Better Future" on March 20 and 21 organised by the Department of Anthropology, University of Madras, and the Anthropological Survey of India, Kolkata.

According to Dr. V. Sudarsen, Professor and Head, Department of Anthropology, Madras University, although southern India and Sri Lanka constituted a common geographical and agro-climactical zone, formal interaction of academics and intellectuals from the two countries was marginal. The Department of Anthropology, therefore, "decided to explore the areas of common interest, areas of convergence and areas of contradiction in which the academics and intellectuals from both the countries could work together," Sudarsen said. The seminar tried to consolidate the work that had already been done and drew up plans for future collaboration.

Excerpts from an interview Seneviratne gave T.S. Subramanian on the sidelines of the seminar:

Can you explain the significance of the "Indo-Sri Lankan Seminar on Social Sciences and Humanities?"

Years of planning, vision and writing efforts of several individuals have gone into it - individuals who wanted to see this as a concerted action for greater understanding and celebrating Asia's culture. This is not a new concept. This one specifically came about because several factors came together.

The first thing is that the time now is right. In the 1980s, I along with some historians and archaeologists from south India spoke about forming a consortium of academic activities in specialised areas. But we were caught up with the problems in southern Sri Lanka, various inhibitions on both the sides of the Palk Strait, and so on.

We have now come a full circle. Both the governments are keen about interactive processes. More and more joint ventures are taking place in various fields. Also, there is a sensitivity on both sides to reach out in order to understand each other. This is because everyone is tired (of the war) and we share the grief of war. We are looking at ways and means to establish greater understanding and how we relate to another country and culture. The catalyst, of course, has been some discussions and the critical role played by Sumith Nakandala, Sri Lanka's Deputy High Commissioner in Chennai. Nakandala and I have been working together in a progressive way for the past few years to realise this dream. He has done yeoman service in getting Sri Lankan academics and cultural activists here. I gave the first Buddha Purnima commemoration lecture here two years ago. Last year, my colleague, Dr. S. U. Deraniyagala delivered it. Nakandala has established a solid basis for networking in this part of the world.

A four-member team came from Sri Lanka to attend this programme: Prof. Kalinga Tudor Silva, Prof. Vijitha Nanayakkara, Sarath Surasena and myself. It was graced by Thomas Abraham, former High Commissioner of India in Sri Lanka, and Prof. R. Champakalakshmi. We were pleased to have one of our former Ministers and present Member of Parliament Rauf Hakeem at the meeting. A Sri Lankan parliamentary delegation was invited. We had a galaxy of people from India. Prof. B.C. Upreti, University of Rajasthan, Jaipur, and other Indian colleagues spoke on a variety of subjects.

Everybody was positive about this event. It is not going to be ad hoc. We are trying to look at it as a self-sustaining process, which will go beyond the narrow realm of compartmentalised academic exercise. We are looking at the final stakeholders. We have professionals and students to develop short-, medium- and long-term processes of interaction for sharing information, resources, knowledge and resource-persons for the development of intellect and human understanding.

For too long, we have looked at each other's region as the other region, the other language and the other religion. We have been busy for rather unfortunate historical reasons and political expediency imagining parochial images and situations about the other region. I am not specifically talking about South India because I don't want to make this south India per se. But this is a larger issue. Especially in South India, due to the ethnic [problem], and historical reasons and the attempt to see each other in different cultural categories, we have not tried to reach out or relate to each other.

We have come to realise that, as both the processes of globalisation and historical conditions demand, we cannot live in watertight compartments any more. We have to think beyond political boundaries. We have to think not only in terms of the South Asian region but the Indian Ocean Rim. We have to look at the best of human aspirations, and intellectual and cultural elements, and how we can draw upon those human achievements, celebrating both diversity and humanity. Looked at from that point of view, the entire purpose of this gathering is to organise a focal point for coming together.

The other point is that [so far] we have not looked at the commonalities and the shared culture we have. We have been re-looking at the whole region. The area south of the Deccan is so much part of the Sri Lankan history as it is north of the Vindhya region. Buddhism and Jainism came to Sri Lanka from north of the Vindhya region. Various cultural elements from the Gangetic plains came to Sri Lanka. An entire spectrum of technological, spiritual, cultural and linguistic aspects came from South India, including the States of Orissa, Andhra Pradesh, Maharashtra, Kerala and Tamil Nadu.

If you take the collated historical legacy of these areas, it is amazing how much Sri Lanka is a stakeholder in it. When you talk of Sri Lanka's history, you cannot disjunct it at all from the peninsular Indian history. It is these insights that were discussed. This is what we consider coming together because it is a historical juncture.

How is it a historical juncture for India and Sri Lanka?

There has been a coming together of the corporate sector. We are exchanging students. We have been talking about defence pacts. Corporate leaders visit India regularly. Due to economic reasons, they get back-up from the government. But why is it important to revive social sciences and humanities? We have to work on them for obvious reasons. For we are talking about improvement in the quality of life of people... . They are the stakeholders... . Very often, I am sorry to say, there is a slight forgetfulness on both the sides of the shore, about the need to improve the intellectual outlook and aesthetics.

Who forgets this?

The planners, because economics and politics are so important now. There is a kind of precedence given to economics and politics than to the development of cultural values, aesthetics and intellectual attainment. This is the reality... . To improve the quality of life, appreciation of arts, aesthetics and intellectual attainment must fall in place. You can earn all the money in the world but if you do not know how to appreciate arts, what kind of interests do you have?

That is why we say that there should be some kind of forum to bring people together and have them express their ideas. Secondly, this is a forum that will bring people together in a dispassionate, unbiased, unprejudiced manner to have a discourse on problem-oriented, issue-oriented processes that are going on in our countries - about ethnicity, racism, gender issues, environmental disasters, multi-cultural situations, diversity, educational policy and planning. These are the real issues. All these are crises points in both the countries. So we have come together from various areas of social sciences and humanities. But there is a great synthesis of sciences as well.

Synthesis of sciences?

You can see the research done on genomic diversity by Prof. R.M. Pitchappan, Professor of Immunology, Madurai Kamaraj University. In any society, the basis is culture, education and health care. If these are not cared for, any society will decline. There will be no social progress unless you nurture them. You can build skyscrapers, Information Technology parks and so on, but if the quality of life of people is not taken care of, what is the use? What matters is health, intellectual development, appreciation of arts and aesthetics, human value system and ethical behaviour system. Unless these are in place, there will be an anarchic system. We should have a balance of these in total development.

What we are trying to do is to look at issues that are creating social tension. What is creating mythification? Why are some communities antagonistic to others, hanging on to certain imagined histories? These need a study, re-looking, sharing of information and development of independent intellectual ethos that do not belong to a particular political category. If the exercise is a success, then we are talking about a neo-intellectual culture that has been subverted for political expediency, for individual agendas and petty market values. We are, therefore, talking about reviving and re-asserting the right of intellectuals, academics and liberal thinking people. These are in danger in most societies in South Asia.

Will this forum go to both the Government of India and the Government of Sri Lanka and present its viewpoints to make them understand the reality of the situation and contribute to the resolution of the Sri Lankan Tamil problem?

We used the phrase, "This forum will be a point of reference".... If it develops, if we are doing good, honest, intellectual work, any government will be happy to take these things in its policy planning. This is what we would like to happen. Rather than our going to them, it is the governments which have to use this forum as a point of reference. That is why we are trying to look at them at two levels. For years, the academics have been talking and trying to advise the governments and it is up to them to take it.

In policy planning, some of the academics have been involved. But both India and Sri Lanka have to realise that the sensitive points in their relationship have emerged in the south; the sooner they recognise the importance of nurturing programmes such as this and turn towards encouraging peninsular India-Sri Lanka interaction, the better for them.

If you take the problems that have been dominant in Sri Lankan politics in colonial and post-colonial periods and even in the pre-colonial period, the baggage of labels - our history has always been about South Indian invasions; then you have the estate Tamils' situation; then the emergence of the Tamil problem, which is connected to South India. We have historical evidence that throughout history, small groups of people, communities and culture have come to Sri Lanka from peninsular India. There has been close cultural interaction between Orissa and Sri Lanka, including a lot of art forms from Orissa, and the Mahayana Tantric situations.

There was close interaction between Andhra Pradesh and Sri Lanka both in terms of philosophy and the movement of people from Andhra Pradesh to Sri Lanka. Then we have Tamil Nadu: movement of people, culture, political campaigns, and so on. Also Kerala. This whole composite region has had both positive and negative relationships, which have been recognised by the respective governments [in New Delhi and Colombo] as a vital factor in the relationship between the two countries. As such, there is now an overt feeling that we must have closer working relationship and greater understanding. Into that agenda, you have to write in the peninsular India-Sri Lankan greater understanding process as a critical factor. It does not get filled in merely by students from Sri Lanka to India, occasional researches, cultural troupes coming and going. This has to be a sustained, self-perpetuating programme. At the end of the sessions, the agreement was that this cannot be an ad hoc programme and it has to be recognised by policymakers in both the countries. Sometimes I feel sad that I have to come from Sri Lanka and talk about these things.

Will you bring other South Asian countries such as Nepal, Pakistan and Bangladesh into this programme's ambit?

No.

It is about Sri Lanka and India only.

It is all about India and Sri Lanka. The title of the seminar was "Indo-Sri Lankan Seminar on Social Sciences and Humanities: Sharing and Learning for a Better Future." In other words, it is all about shared cultures. Although I emphasised the peninsular Indian-Sri Lankan relationship, it is an all-India situation we are looking at. I was in New Delhi from March 17 to 19, attending an international seminar on marine archaeology. A factor that I included in my paper there was that marine archaeology should be taken into security concerns. `Various groups from the international community operate [officially and unofficially] in the maritime boundary areas of the SAARC region... . There is little monitoring and control over such activities.

We reliably understand that some international groups who request permission to carry out archaeological activities are nothing but antique pirates for the international market. There are others who had even mapped particular coastal and lagoon areas that coincidentally have become some of the strongest LTTE naval bases or hit-and-run coves in their escape routes. Marine archaeologists working with geologists could assist in mapping out mineral resources in coastal and oceanic depths, thereby the data bank remains with legitimate authorities. External agencies that had come in marine archaeology activities are reported to have carried out their (clandestine) mineral resource mapping in this region... . Marine archaeology is very much within the scope of shared cultures of South Asian and Indian Ocean Rim countries.'

Whatever work we do here, we have to recognise both the national and international political realities... That is why I was so pleased about the nature of the papers presented in the Chennai seminar. They were of extremely high quality. It showed how much we do not know each other. It is tragic but it is heartening that we have come to realise this. We are just 22 miles across the shore. How much we do not know - whether it was in anthropology, caste system, ethnic settlements, genomic diversity, linguistic and cultural linkages, and even the Tamil writing in Sri Lankan plantations - was revealed. That is a whole area unheard of. It is so rich.

Similarly, Dalit literature is coming up in Tamil Nadu.

We have actually started an ethnographic museum at Gampola, near Kandy, for collecting and preserving the heritage of the Tamil estate workers because it is getting wiped away. This is to keep the culture alive. Our target is the next generation in all this. They are the main stakeholders. This generation is suffering because of the mistakes made by past generations. We have to rectify them at some point. It is incumbent upon us to nurture the heritage and pass on the traditional and collective wisdom to the next generation in a non-parochial and unbiased manner.

Nakandala and I have been looking at the way we can initiate some process of re-absorption of the next generation of the Sri Lankan Tamil refugee community here, especially the younger graduates who want to come back to Sri Lanka and gainfully employ themselves in the national effort. Discussions are under way to initiate some programme.

You mentioned that archaeology as a subject is becoming popular among students, especially at the post-graduate level, in Sri Lanka.

The Department of Archaeology in the University of Peradeniya has one of the strongest programmes on Indian archaeology. It can be a model for others. You cannot study the history of a country in isolation. Without taking into account the people's history, technological history and so on, you cannot discuss even the smallest piece of sculpture in isolation. With that in mind, we teach in our Department back-to-back South Asian history. The training for our doctoral fellows has been mostly in India. I am sending nine of my post-graduate students with a senior faculty member to Chennai with funds provided by the Ford Foundation for an interactive process of shared cultures. They will come in a group, tour Tamil Nadu, Andhra Pradesh and Karnataka for three weeks, visit heritage sites, ongoing excavations and hold discussions.

This is a good experiment because these are students working at Sri Lanka's heritage sites, who day in and day out see and touch materials such as imported ceramics and beads, sculpture motifs and coins that have come from outside. For the students to come here and see where they came from, it is a hands-on experience. We hope to do this as an annual exercise. We hope this will be reciprocated by the Madras University, whose students can visit Sri Lanka.

The future planning of the programme includes joint research, joint publications, student exchanges, sharing of information and holding the next gathering in Sri Lanka. We are also looking at credible funding sources.

A dialogue has been initiated by the Ministry of Foreign Affairs on the process of a greater understanding on conflict resolution.

We are hoping to hold two conferences - one in Colombo and another at Kandy in the course of this year. All these are required for a greater understanding of the ground realities in the subcontinent and Sri Lanka, and how

Front Line (08/03/2005)

This sculpture, consisting of 10- foot-high metal scales is entitled Quo vadis?, a Latin phrase meaning, "Where are you going?"

According to Chris Wesley, "Especially now, in a time of war, people take justice for granted as something that comes from revenge, but justice comes through peace."

webcache.googleusercontent.com/search?hl=en&rlz=1T4AD...

en.wikipedia.org/wiki/Quo_vadis%3F

Quo vadis? is a Latin phrase meaning "Where are you going?" or "Whither goest thou?" The modern usage of the phrase refers to Christian tradition, related in the apocryphal Acts of Peter (Vercelli Acts XXXV), in which Saint Peter meets Jesus as Peter is fleeing from likely crucifixion in Rome. Peter asks Jesus the question "Quo vadis?" Jesus's answer, "I am going to Rome to be crucified again" (Romam vado iterum crucifigi.), prompts Peter to gain the courage to continue his ministry and eventually become a martyr.

Taken for The "I Have to Shoot What?!" 52-Week Challenge - Week 38: BALANCE

Morning Glories should be emerging from it momentarily

From my set entitled “Morning Glory”

www.flickr.com/photos/21861018@N00/sets/72157607213945288/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Morning_glory

Morning glory is a common name for over 1,000 species of flowering plants in the family Convolvulaceae, belonging to the following genera:

Calystegia

Convolvulus

Ipomoea

Merremia

Rivea

As the name implies, morning glory flowers, which are funnel-shaped, open in the morning, allowing them to be pollinated by Hummingbirds, butterflies, bees, and other daytime insects and birds as well as Hawkmoth at dusk for longer blooming variants. The flower typically lasts for a single morning and dies in the afternoon. New flowers bloom each day. The flowers usually start to fade a couple of hours before the petals start showing visible curling. They prefer full sun throughout the day and mesic soils. In cultivation, most are treated as perennial plants in tropical areas and as annual plants in colder climates, but some species tolerate winter cold. Some moonflowers, which flower at night, are also in the morning glory family.

Morning glory is also called asagao (in Japanese, a compound of 朝 asa "morning" and 顔 kao "face"). A rare brownish-coloured variant known as Danjuro is very popular. It was first known in China for its medicinal uses, due to the laxative properties of its seeds. It was introduced to the Japanese in the 9th century, and they were first to cultivate it as an ornament. During the Edo Period, it became a very popular ornamental flower. Aztec priests in Mexico were also known to use the plant's hallucinogenic properties. (see Rivea corymbosa).

Ancient Mesoamerican civilizations used the morning glory species Ipomoea alba to convert the latex from the Castilla elastica tree and also the guayule plant to produce bouncing rubber balls. The sulfur in the morning glory's juice served to vulcanize the rubber, a process pre-dating Charles Goodyear's discovery by at least 3,000 years.[1]

Because of their fast growth, twining habit, attractive flowers, and tolerance for poor, dry soils, some morning glories are excellent vines for creating summer shade on building walls when trellised, thus keeping the building cooler and reducing heating and cooling costs.

Popular varieties in contemporary western cultivation include the Morning Glory "Sunspots" "Heavenly Blue", the moonflower, the cypress vine, and the cardinal climber. The cypress vine is a hybrid, with the cardinal climber as one parent.

In some places such as Australian bushland morning glories develop thick roots and tend to grow in dense thickets. They can quickly spread by way of long creeping stems. By crowding out, blanketing and smothering other plants, morning glory has turned into a serious invasive weed problem.

Ipomoea aquatica, known as water spinach, water morning-glory, water convolvulus, Ong-Choy, Kang-kung, or swamp cabbage, is popularly used as a green vegetable especially in East and Southeast Asian cuisines. It is a Federal Noxious Weed, however, and technically it is illegal to grow, import, possess, or sell. See: USDA weed factsheet. As of 2005, the state of Texas has acknowledged that water spinach is a highly prized vegetable in many cultures and has allowed water spinach to be grown for personal consumption. This is in part because water spinach is known to have been grown in Texas for more than fifteen years and has not yet escaped cultivation.[2] The fact that it goes by so many names means that it easily slips through import inspections, and it is often available in Asian or specialty produce markets.

The seeds of many species of morning glory contain ergot alkaloids such as the hallucinogenic ergonovine and ergine (LSA). Seeds of I. tricolor and I. corymbosa (syn. R. corymbosa) are used as hallucinogens. The seeds can produce similar effect to LSD when taken in the hundreds. Though the chemical LSA is illegal to possess in pure form, the seeds are found in many gardening stores, however, the seeds from gardening stores may be coated in some form of mild poison in order to prevent ingestion or methylmercury to retard spoilage.[3] They should not be taken by people with a history of liver disorders or hepatitis. They should not be taken by pregnant women as they can cause uterine contraction which can lead to miscarriage. Individuals with a history of cardiovascular disease (Heart attack, blood clot, and stroke) or a family history of such problems, and the elderly should avoid consuming these seeds due to their vasoconstrictive effects.[4][5][6]

Note that the plant known as Korean morning glory, Datura stramonium, is of a different species, is poisonous, and also produces hallucinogenic effects.

Sergeant, Co. I, 75th IND. Infantry

JOHN H. SPERRY. Among the men who have contributed to the upbuilding and development of Neosho County, and particularly of the City of Thayer, few are entitled to a greater degree of credit than John H. Sperry, ex-president of the Thayer State Bank, veteran of the Civil war, farmer and stockman, and a citizen who has always been representative of the best type of progressive citizenship. While he is now retired from active labors, Mr. Sperry continues to take a keen interest in the community in which he has resided for forty-eight years, and through his influence and example continues to be a force in promoting the things that make for advancement and progress.

On both the paternal and maternal sides of the family Mr. Sperry comes from sturdy German ancestry. He was born November 18, 1841, at Cambridge City, Wayne County, Indiana, his parents being George and Catherine (Delano) Sperry. His father was born in 1804, near the Rhine, Alsace-Lorraine, Germany, and as a youth learned the trade of cabinet maker, which he followed in his native land. There he was married to Catherine Delano, who was born in the same year and in the same locality, and in 1833, with one son, came to the United States and located at Dayton, Ohio. There he continued to work as a cabinet maker and followed that vocation for a time after he had removed to Cambridge City, Indiana, but eventually turned his attention to farming near Strawtown, Indiana, where his death occurred in 1853. He was a republican in politics, and both he and his wife were faithful members of the Evangelical Church. Mrs. Sperry survived her husband for many years and passed away on the farm of her son, near Thayer, in 1885. They were the parents of the following children: George, who fought through the Civil war as a Union soldier, subsequently took up milling at Noblesville, Indiana, and died there as the result of an accident; Samuel Alexander, who was a farmer and merchant and died at Strawtown, Indiana; Catherine, who married Anton McGassi, one of the great "Seven McGassi Brothers," theatrical performers, now deceased, and died in 1915, at Rigsby, Oklahoma; John H., of this notice; Mary E., who married first Amos Cooper, deceased, a farmer, and married second Mr. Crooks, and died on a farm near Cicero, Indiana, where Mr. Crooks still resides; David, who enlisted in the Thirty-ninth Regiment, Indiana Volunteer Infantry, which was later mounted and became the Eighth Indiana Cavalry, and was killed during the McCook raid in the rear of Atlanta, while fighting with the forces of General Sherman; Jacob, who is farming four miles east of Cicero, Indiana; and Charles, who died on his farm near Dennis, Kansas. Rear Admiral Charles S. Sperry belonged to the same branch of the family.

John H. Sperry received his education in the district schools of Hamilton County, Indiana, and the public schools of Cambridge City, but at the age of sixteen years gave up his studies and learned the carpenter's trade, at which he was working when the Civil war came on. He had not yet reached his majority when, in the fall of 1862, he enlisted as John Sperry in Company I, Seventy-fifth Regiment, Indiana Volunteer Infantry, with which organization he served until the close of the war, rising from private to corporal and later to sergeant. This regiment was organized at Wabash, Indiana, and was mustered into the United States service August 19, 1862, and two days later left the state for Lebanon, Kentucky, but retired to Louisville at the time of Bragg's advance. It then moved to Frankfort, Scottsville, Gallatin and Cave City, in pursuit of Morgan, and was in camp near Gallatin during December, moving in January, 1863, to Murfreesboro, being engaged in scouting and brief expeditions with the Second Brigade, Third Division, Fourteenth Army Corps. On June 24th it started for Tullahoma and participated in the Battle of Hoover's Gap, being the first regiment to enter the enemy's works at Tullahoma. Moving then towards Chattanooga, it was engaged at Chickamauga, and remained near Chattanooga during the fall and winter, taking part in the Battle of Missionary Ridge. It moved to Ringgold, Georgia, in the spring of 1864, joined the campaign to Atlanta, and was engaged at Dalton, Dallas, Kenesaw Mountain, Peach Tree Creek, in front of Atlanta and at Jonesboro. At Atlanta Mr. Sperry was severely wounded, when part of his shoulder-blade was shot off by a shell. He was subsequently detained in a hospital for several months, but rejoined his regiment as soon as he was able for service. On October 4 the Seventy-fifth removed with its corps to Pine Mountain and arrived in time to threaten the rear of French's Division of Hood's army, which was investing the garrison at Allatoona, where he was acting captain. The regiment returned in time to join the march upon Savannah and the march through the Carolinas, participating en route in the battles of Fayetteville and Bentonville, and then moved with the advance of the army to Raleigh, thence to Richmond, and finally on to Washington, D. C., where it was mustered out of the service, June 8, 1865, having participated in thirty-seven engagements.

At the close of his military service, Mr. Sperry returned to his Indiana home, and there, in 1866 was married. For one and one-half years he was engaged in the mercantile business there, but in 1869 came to Kansas and pre-empted 160 acres of land eight miles south of Thayer, a farm on which he resided for twenty-seven years, and to which he greatly added. He also accumulated other farms, which he rented, but at the time of his retirement to Thayer, in 1897, disposed of his holdings to a large extent. Soon after coming to Kansas, Mr. Sperry embarked in the stock business, in which he gained a very edifying success. He frequently fed and shipped as many as sixty carloads of cattle during a year, and in the last year that he was actively engaged in that business shipped sixty-four carloads in four months. He was also in the lumber business for several years and at one time had the exclusive grain business of the section in his control. During the twelve years that he acted in the capacity of president of the Thayer State Bank that institution grew and prospered and held a reputation second to no state bank in the county. He was urged to retain the presidency, but with increasing years resolved to transfer the responsibilities to younger shoulders. As a builder of Thayer, Mr. Sperry erected a large proportion of the business section of the city, as well as the first brick house in the community. He is still the owner of much property here, including several business structures, the postoffice building and his own residence on Neosho Street, in addition to which he has two farms in Labette County, comprising 320 acres, and one farm in Wilson County. Fraternally, he is connected with Thayer Lodge No. 339, Ancient Free and Accepted Masons; Parsons Chapter, Royal Arch Masons, and Parsons Commandery, Knights Templar. During his long and active life, Mr. Sperry has lived close to high ideals, and his citizenship has imparted strength and substantiality to all undertakings with which he has been associated. He splendidly stood the tests which the frontier imposed upon those who invaded its remoteness and the new order of things found him in accord with its aims, purposes and inexhaustible opportunities. His career has been an inspiring one, worthy of emulation by any youth who is entering life with his own way to make.

In 1866, on a farm near Strawtown, Indiana, Mr. Sperry was united in marriage with Miss Mary E. Dietrick, a daughter of Mrs. Susan Dietrick, now deceased. Mrs. Sperry died in 1909, the mother of six children, namely: Minnie A., who is the wife of Joseph Horr, of Thayer, a successful farmer and the owner of several farms; Dora E., who is the wife of Charles F. Petri, and lives on a farm near Dennis, Kansas; Pearl D., who is the wife of William Southwick, who has an insurance business at Parsons, Kansas; John F., who is the owner of the telephone exchange at Ness City, Kansas; Albert O., who is identified with the Pryor Bank, at Pryor, Oklahoma; and R. E., who is the owner of the telephone exchange at Fairfax, Oklahoma.

On October 8, 1884, President Grover Cleveland signed the document which entitled Francis St. Peter to 160 acres of land on the western edge of Rooks County for the consideration of $4.00.Francis St. Peter had hauled ammunition during the Civil War and, like so many other veterans, was lured to seek the free land made available by the Homestead Act. Almost immediately, other French-Canadian Catholics followed. They came west looking for cheap land and a new home. Among the first arrivals were the following family names: St. Peter, Simoneau, Manny, Plante, Hebert, Noel, Morin, Kerouac, Beamu, Dussault, Sennesac, Desbien, Saindon, Morel and Berland. The community became so solidly French in character that it was referred to as the “Acadia of the West.” It has retained much of its original tradition to this day. The first church services were held in the home of Ezra St. Peter in 1887. Mr. St. Peter then donated three acres for a cemetery and two acres for a church to the east of his home. The new community was first known as St. Petersville. However, the first post office located about two miles to the northeast was named Ainsworth. When the Union Pacific Railroad passed nearby, the first small frame church was moved to the site of the present church. The post office moved also, to the railroad station. It was at this time that the new town became known as Damar.

From my set entitled “Monarda”

www.flickr.com/photos/21861018@N00/sets/72157607217954847/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Bee_balm

Monarda (bee balm, horsemint, oswego tea, or bergamot) is a genus consisting of roughly 16 species of erect, herbaceous annual or perennial plants in the Lamiaceae, indigenous to North America. Ranging in height from 1 to 3 feet (0.2 to 0.9 m), the plants have an equal spread, with slender and long-tapering (lanceolate) leaves; the leaves are opposite on stem, smooth to nearly hairy, lightly serrated margins, and range from 3 to 6 inches (7 to 14 cm) long. In all species, the leaves, when crushed, exude a spicy, highly fragrant oil. Of the species listed, M. didyma (Oswego Tea) contains the highest concentration of this oil.[1]

The genus was named for Nicolás Monardes who wrote a book in 1574 describing plants found in the New World.

Several Bee Balm species (Monarda fistulosa and Monarda didyma) have a long history of use as a medicinal plants by many Native Americans including the Blackfeet, Menominee, Objibwe, Winnebago and others. The Blackfeet Indians recognized the strong antiseptic action of these plants, and used poultices of the plant for skin infections and minor wounds. A tea made from the plant was also used to treat mouth and throat infections caused by dental caries and gingivitis. Bee Balm is the natural source of the antiseptic Thymol, the primary active ingredient in modern commercial mouthwash formulas. The Winnebago used a tea made from bee Balm as a general stimulant. Bee Balm was also used as a carminative herb by Native Americans to treat excessive flatulence. [2][3]

Although somewhat bitter due to the thymol content in the plants leaves and buds, the plant has a very similar flavor to oregano, to which it is closely related. Bee Balm was traditionally used by Native Americans as a seasoning for wild game, particularly birds. The plants are widespread across North America and can be found in moist meadows, hillsides, and forest clearings up to 5,000 feet in elevation. [2]

Monarda species include annual and perennial upright growing herbaceous plants with lanceolate to ovate shaped leaves. The flowers are tubular with bilateral symmetry and bilabiate; with upper lips narrow and the lower ones broader and spreading or deflexed. The flowers are single or in some cultivated forms double, generally hermaphroditic with 2 stamens. Plant bloom in mid to late-summer and the flowers are produced in dense profusion at the ends of the stem and/or in the stem axils, the flowers typically are in crowded into head-like clusters with leafy bracts. Flower colors vary, with wild forms of the plant having crimson-red to red, pink and light purple. M. didyma has bright, carmine red blossoms; M. fistulosa -- the "true" wild bergamot -- has smokey pink flowers. M. citriodora and M. pectinata have light lavender to lilac-colored blooms and have slightly decreased flower quantities. Both species are commonly referred to as "Lemon Mint." There are over 50 commercial cultivars and hybrids, ranging in color from candy-apple red to pure white to deep blue, but these plants tend to be smaller than wild species, and often developed to combat climatic or pest conditions. "M.didyma" species can grow up to 6 feet tall. Seed collected from hybrids — as with most hybridized plants — does not produce identical plants to the parent.

The Monarda plants prefer full sun and moist yet well-drained soil. Plants established in partial shade or filtered sun have higher incidences of rapid horizontal spread and flower less. An aggressive plant in the South-eastern United States, Bergamots can grow in a wide variety of soil conditions. Powdery mildew, rust, and (rarely) tobacco mosaic viruses disrupt established plants on occasion, but the plants are in general highly resistant to most wilts and viruses and are not easily damaged. Used most frequently in areas in need of naturalization, Monarda is often used in beds and borders to encourage and increase the appearance of hummingbirds, pollinating insects, and because of oils present in its roots is sometimes used to companion plant around small vegetable crops susceptible to subterranean pests. While seed should be stratified briefly before starting, seed may be cast directly or started in coldframes or greenhouses at soil temperatures approaching 70° Fahrenheit. Generally, propagation occurs by hardwood and softwood cuttings, root cuttings, layering, and division; the latter, quite frequently, is the most popular method out of necessity: the plant should be divided every 3 to 5 years to reduce spread, keep the central core of the plant healthy, preclude root rot, and improve air circulation about the foliage.

Bee balm is considered a good plant to grow with tomatoes, ostensibly improving both health and flavor. It also is a good companion plant in general, attracting pollinators and some predatory/parasitic insects that hunt garden pests.

Monarda species are used as food plants by the larvae of some Lepidoptera species including case-bearers of the genus Coleophora including C. heinrichella (feeds exclusively on M. fistulosa), C. monardae (feeds exclusively on Monarda spp) and C. monardella (feeds exclusively on M. fistulosa).

The Bergamot of the Monarda species should not be confused with the popular flavoring used in Earl Grey tea. Dried leaves may be used for teas or aromatherapies, but the odor is subtly different from Citrus bergamia, the Earl Grey flavoring. For medicinal usage, Monarda has been known to treat headaches and fevers by infusing crushed leaves in boiling water.

From my set entitled “Juniper”

www.flickr.com/photos/21861018@N00/sets/72157607213867132/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

From Wikipedia, the free encyclopedia’

en.wikipedia.org/wiki/Juniper

Junipers are coniferous plants in the genus Juniperus of the cypress family Cupressaceae. Depending on taxonomic viewpoint, there are between 50-67 species of juniper, widely distributed throughout the northern hemisphere, from the Arctic, south to tropical Africa in the Old World, and to the mountains of Central America.

Junipers vary in size and shape from tall trees, 20-40 m tall, to columnar or low spreading shrubs with long trailing branches. They are evergreen with needle-like and/or scale-like leaves. They can be either monoecious or dioecious. The female seed cones are very distinctive, with fleshy, fruit-like coalescing scales which fuse together to form a "berry"-like structure, 4-27 mm long, with 1-12 unwinged, hard-shelled seeds. In some species these "berries" are red-brown or orange but in most they are blue; they are often aromatic (for their use as a spice, see juniper berry). The seed maturation time varies between species from 6-18 months after pollination. The male cones are similar to those of other Cupressaceae, with 6-20 scales; most shed their pollen in early spring, but some species pollinate in the autumn.

Detail of Juniperus chinensis shoots, with juvenile (needle-like) leaves (left), and adult scale leaves and immature male cones (right)

Many junipers (e.g. J. chinensis, J. virginiana) have two types of leaves: seedlings and some twigs of older trees have needle-like leaves 5-25 mm long; and the leaves on mature plants are (mostly) tiny (2-4 mm long), overlapping and scale-like. When juvenile foliage occurs on mature plants, it is most often found on shaded shoots, with adult foliage in full sunlight. Leaves on fast-growing 'whip' shoots are often intermediate between juvenile and adult.

In some species (e.g. J. communis, J. squamata), all the foliage is of the juvenile needle-like type, with no scale leaves. In some of these (e.g. J. communis), the needles are jointed at the base, in others (e.g. J. squamata), the needles merge smoothly with the stem, not jointed.

The needle-leaves of junipers are hard and sharp, making the juvenile foliage very prickly to handle. This can be a valuable identification feature in seedlings, as the otherwise very similar juvenile foliage of cypresses (Cupressus, Chamaecyparis) and other related genera is soft and not prickly.

Juniper is the exclusive food plant of the larvae of some Lepidoptera species including Bucculatrix inusitata and Juniper Carpet and is also eaten by the larvae of other Lepidoptera species such as Chionodes electella, Chionodes viduella, Juniper Pug and Pine Beauty.

Juniper berries are a spice used in a wide variety of culinary dishes and best known for the primary flavoring in gin (and responsible for gin's name, which is a shortening of the Dutch word for Juniper: genever). Juniper berries are also used as the primary flavor in the liquor Jenever and sahti-style of beers. Juniper berry sauce is often a popular flavoring choice for quail, pheasant, veal, rabbit, venison and other meat dishes.

Many of the earliest prehistoric people lived in or near juniper forests which furnished them food, fuel, and wood for shelter or utensils. Many species, such as J. chinensis (Chinese Juniper) from eastern Asia, are extensively used in landscaping and horticulture, and as one of the most popular species for use in bonsai. It is also a symbol of longevity, strength, athleticism, and fertility.

Some junipers are susceptible to Gymnosporangium rust disease, and can be a serious problem for those people growing apple trees, the alternate host of the disease.

Some juniper trees are misleadingly given the common name "cedar"-- including the "red cedar" that is used widely in cedar drawers. True cedars are those tree species in the genus Cedrus, family Pinaceae.

Juniper berries have long been used as medicine by many cultures. Juniper berries act as a strong urinary tract disinfectant if consumed and were used by American Indians as a herbal remedy for urinary tract infections. Western tribes combined the berries of juniperus communis with Berberis root bark in a herbal tea to treat diabetes. Clinical studies have verified the effectiveness of this treatment in insulin-dependent diabetes. Compounds in these plants when combined and ingested have been shown to trigger insulin production in the body's fat cells, as well as stabilize blood sugar levels. Native Americans also used juniper berries as a female contraceptive. [1] The 17th Century herbalist physician Nicholas Culpeper recommended the ripened berries for conditions such as asthma and sciatica, as well as to speed childbirth. [2]

www.jsricephotography.com

this is the seventh image in a series entitled "the slow goodbye".

my wife and her sister are in the process of a slow goodbye -- their father is 90 years old, his health is beginning to fail, and the only place they ever knew as home is the farm their father now struggles to maintain. he can't maintain it for long, and so we all realize we are in the midst of the slow goodbye.

this series commemorates those special things about home that stick in your mind after home is gone -- the small details that seem inconsequential until you can no longer see them or touch them. all of us who remember our childhood home and long for one more look at it, one more familiar smell, one more chance to get back what we never will be able to recover, will perhaps relate to this series.

the man does have his vices. and this is his biggest one. ;--)

when the girls were growing up, bob always wanted them to accompany him to his workshop. "hold this, hold that, do this, do that...." it drove the girls nuts. how boring is that for a kid?

and guess what? he hasn't changed much now that he's 90. in many ways, it's all about bob. his list of to-do's is long and he still relies on his girls to look after such things.

after hearing them talk about this whole aspect of their father, i suggested they might consider what is behind the behavior. as i have previously mentioned in this series, bob isn't so good with words. i suggested to dona and jean that perhaps this lifelong "neediness" is really his way of saying "i want you around and i love you".

isn't it true that we all measure others pretty much by the standards we have adopted and rationalized as "the rules"? it's hard for most people to put themselves in someone else's shoes. which is another way to say, "we've all got our vices".

and this is our biggest one.

Diverse City Theater Company (DCT) presents it’s inaugural series entitled THE GREEN ROOM: a festival of staged readings featuring original plays that portray social diversity from various cultural perspectives. DCT will present the works throughout August and September, 2005 at Ensemble Studio Theatre.

This year's crop includes:

ONE-ACT PLAYS:

* Susan Tammany's monologue ARIA I, a confessional portrait of a wheelchair-bound woman who refuses to be defined by her disability; directed by Triangle Theater’s Nancy Rogers and featuring Deepti Gupta.

* Stuart Harris's COLLEEN IRELAND, a gentle comedy about being old and Irish; directed by Lee Errickson and featuring Shirley Bodtke and Danielle Savin.

* Jorshinelle Taleon-Sonza's HOW TO COOK ADOBO, a cultural comedy about being young and Filipino; directed by Victor Lirio and featuring Liz Casasola, Lydia Gaston, Bing Magtoto and Benjamin Schmoll.

* Joe Byers’ aptly called I AM JOE'S PROSTATE, an edgy comedy about two young men talking about their prostates; directed by The Working Theater’s Mark Plesent and featuring Nicholas Blue and Randy Falcon.

* Lee Errickson's FINDING THE MANGO, a quirky piece about a struggling gallery owner and her savior Mexican employee; directed by KEF Productions’ Adam Fitzgerald and featuring Allison Easter and Andrew Eisenman.

* Linda Faigao-Hall’s THE A-WORD, an abstract play about abortion; directed by Lee Errickson and featuring Victor Lirio and Kathryn Rossetter.

FULL LENGTH PLAYS:

* Linda Faigao-Hall’s WALKING IRON, which explores homophobia in a working class setting; directed by Jamie Richards and featuring Tim Davis, Andrew Eisenman, Ernest Mingione, David Newer, Dean Stapleton, Rodney To, and Anne Winkles.

* Michael Gurr’s multi-award winning play SEX DIARY OF AN INFIDEL, a complex story of lies, fantasies and shifting realities, the play presents a prize-winning journalist pursuing a story about Australia's involvement in the lucrative and booming sex tours trade in Manila; directed by Obie Award winner Ching Valdes-Aran and featuring Denny Bess, Alexis Camins, Randy Falcon, Suzanne Lynch, Natasha Marco, and David Stott.

* Warren Bodow's HARRY THE HUNK ON HIS WAY OUT, set in a workingman's bar in Ohio where amiable Harry, a 64-year old factory foreman, and three friends gather to celebrate his imminent retirement into a life of leisure, comfort and contentment; directed by The Working Theater’s Mark Plesent and featuring Paul O'Brien, Nelson Adams, Randy Falcon, Fulani Hart, Desiree Maumus, Kathryn Rossetter and Dean Stapleton.

Website:

www.diversecitytheater.org

Press:

www.diversecitytheater.org/pressandnews/20050715.htm

www.diversecitytheater.org/pressandnews/20050801.htm

www.diversecitytheater.org/pressandnews/20050809.htm

www.diversecitytheater.org/pressandnews/20050907.htm

www.diversecitytheater.org/pressandnews/20050922.htm

From my set entitled “Morning Glory”

www.flickr.com/photos/21861018@N00/sets/72157607213945288/

In my collection entitled “The Garden”

www.flickr.com/photos/21861018@N00/collections/7215760718...

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Morning_glory

Morning glory is a common name for over 1,000 species of flowering plants in the family Convolvulaceae, belonging to the following genera:

Calystegia

Convolvulus

Ipomoea

Merremia

Rivea

As the name implies, morning glory flowers, which are funnel-shaped, open in the morning, allowing them to be pollinated by Hummingbirds, butterflies, bees, and other daytime insects and birds as well as Hawkmoth at dusk for longer blooming variants. The flower typically lasts for a single morning and dies in the afternoon. New flowers bloom each day. The flowers usually start to fade a couple of hours before the petals start showing visible curling. They prefer full sun throughout the day and mesic soils. In cultivation, most are treated as perennial plants in tropical areas and as annual plants in colder climates, but some species tolerate winter cold. Some moonflowers, which flower at night, are also in the morning glory family.

Morning glory is also called asagao (in Japanese, a compound of 朝 asa "morning" and 顔 kao "face"). A rare brownish-coloured variant known as Danjuro is very popular. It was first known in China for its medicinal uses, due to the laxative properties of its seeds. It was introduced to the Japanese in the 9th century, and they were first to cultivate it as an ornament. During the Edo Period, it became a very popular ornamental flower. Aztec priests in Mexico were also known to use the plant's hallucinogenic properties. (see Rivea corymbosa).

Ancient Mesoamerican civilizations used the morning glory species Ipomoea alba to convert the latex from the Castilla elastica tree and also the guayule plant to produce bouncing rubber balls. The sulfur in the morning glory's juice served to vulcanize the rubber, a process pre-dating Charles Goodyear's discovery by at least 3,000 years.[1]

Because of their fast growth, twining habit, attractive flowers, and tolerance for poor, dry soils, some morning glories are excellent vines for creating summer shade on building walls when trellised, thus keeping the building cooler and reducing heating and cooling costs.

Popular varieties in contemporary western cultivation include the Morning Glory "Sunspots" "Heavenly Blue", the moonflower, the cypress vine, and the cardinal climber. The cypress vine is a hybrid, with the cardinal climber as one parent.

In some places such as Australian bushland morning glories develop thick roots and tend to grow in dense thickets. They can quickly spread by way of long creeping stems. By crowding out, blanketing and smothering other plants, morning glory has turned into a serious invasive weed problem.

Ipomoea aquatica, known as water spinach, water morning-glory, water convolvulus, Ong-Choy, Kang-kung, or swamp cabbage, is popularly used as a green vegetable especially in East and Southeast Asian cuisines. It is a Federal Noxious Weed, however, and technically it is illegal to grow, import, possess, or sell. See: USDA weed factsheet. As of 2005, the state of Texas has acknowledged that water spinach is a highly prized vegetable in many cultures and has allowed water spinach to be grown for personal consumption. This is in part because water spinach is known to have been grown in Texas for more than fifteen years and has not yet escaped cultivation.[2] The fact that it goes by so many names means that it easily slips through import inspections, and it is often available in Asian or specialty produce markets.

The seeds of many species of morning glory contain ergot alkaloids such as the hallucinogenic ergonovine and ergine (LSA). Seeds of I. tricolor and I. corymbosa (syn. R. corymbosa) are used as hallucinogens. The seeds can produce similar effect to LSD when taken in the hundreds. Though the chemical LSA is illegal to possess in pure form, the seeds are found in many gardening stores, however, the seeds from gardening stores may be coated in some form of mild poison in order to prevent ingestion or methylmercury to retard spoilage.[3] They should not be taken by people with a history of liver disorders or hepatitis. They should not be taken by pregnant women as they can cause uterine contraction which can lead to miscarriage. Individuals with a history of cardiovascular disease (Heart attack, blood clot, and stroke) or a family history of such problems, and the elderly should avoid consuming these seeds due to their vasoconstrictive effects.[4][5][6]

Note that the plant known as Korean morning glory, Datura stramonium, is of a different species, is poisonous, and also produces hallucinogenic effects.

The Piazza del Duomo ("Cathedral Square") is a wide, walled area at the heart of the city of Pisa, Tuscany, Italy, recognized as one of the main centers for medieval art in the world. Partly paved and partly grassed, it is dominated by four great religious edifices: the Duomo, the Leaning Tower (the cathedral's campanile), the Baptistry and the Camposanto.In 1987 the whole square was declared a UNESCO World Heritage Site.The heart of the Piazza del Duomo is, obviously, the Duomo, the medieval cathedral, entitled to Santa Maria Assunta (St. Mary of the Assumption). This is a five-naved cathedral with a three-naved transept. The church is known also as the Primatial, the archbishop of Pisa being a Primate since 1092.Construction was begun in 1064 by the architect Busketo, and set the model for the distinctive Pisan Romanesque style of architecture. The mosaics of the interior, as well as the pointed arches, show a strong Byzantine influence.The façade, of grey marble and white stone set with discs of coloured marble, was built by a master named Rainaldo, as indicated by an inscription above the middle door: Rainaldus prudens operator.The massive bronze main doors were made in the workshops of Giambologna, replacing the original doors destroyed in a fire in 1595. The central door was in bronze and made around 1180 by Bonanno Pisano, while the other two were probably in wood. However worshippers never used the façade doors to enter, instead entering by way of the Porta di San Ranieri (St. Ranieri's Door), in front of the Leaning Tower, made in around 1180 by Bonanno Pisano.Above the doors there are four rows of open galleries with, on top, statues of Madonna with Child and, on the corners, the Four evangelists.Also in the façade we can find the tomb of Busketo (on the left side) and an inscription about the foundation of the Cathedral and the victorious battle against Saracens.The interior is faced with black and white marble and has a gilded ceiling and a frescoed dome. It was largely redecorated after a fire in 1595, which destroyed most of the medieval art works.Fortunately, the impressive mosaic, in the apse, of Christ in Majesty, flanked by the Blessed Virgin and St. John the Evangelist, survived the fire. It evokes the mosaics in the church of Monreale, Sicily. Although it is said that the mosaic was done by Cimabue, only the head of St. John was done by the artist in 1302 and was his last work, since he died in Pisa in the same year. The cupola, at the intersection of the nave and the transept, was decorated by Riminaldi showing the ascension of the Blessed Virgin.The impressive granite Corinthian columns between the nave and the aisle came originally from the mosque of Palermo, captured by the Pisans in 1063.The coffer ceiling of the nave was replaced after the fire of 1595. The present gold-decorated ceiling carries the coat of arms of the Medici.The elaborately carved pulpit (1302-1310), which also survived the fire, was made by Giovanni Pisano and is one the masterworks of medieval sculpture. It was packed away during the redecoration and was not rediscovered and re-erected until 1926. The pulpit is supported by plain columns (two of which mounted on lions sculptures) on one side and by caryatids and a telamon on the other: the latter represent St. Michael, the Evangelists, the four cardinal virtues flanking the Church, and a bold, naturalistic depiction of a naked Hercules. A central plinth with the liberal arts supports the four theological virtues. The present day reconstruction of the pulpit is not the correct one. Now it lies not in the same original position, that was nearer the main altar, and the disposition of the columns and the panels are not the original ones. Also the original stairs (maybe in marble) were lost.The upper part has nine panels dramatic showing scenes from the New Testament, carved in white marble with a chiaroscuro effect and separated by figures of prophets: Annunciation, Massacre of the Innocents, Nativity, Adoration of the Magi, Flight into Egypt, Crucifixion, and two panels of the Last Judgement.The church also contains the bones of St Ranieri, Pisa's patron saint, and the tomb of the Holy Roman Emperor Henry VII, carved by Tino da Camaino in 1315. That tomb, originally in the apse just behind the main altar, was disassembled and changed position many times during the years for political reasons. At last the sarcophagus is still in the Cathedral, but some of the statues were put in the Camposanto or in the top of the façade of the church. The original statues now are in the Museum of the Opera del Duomo.The Cathedral has a prominent role in determining the beginning of the Pisan New Year. Between the tenth century and 1749, when the Tuscan calendar was reformed, Pisa used its own calendar, in which the first day of the year on March 25, which is the day of the Annunciation of the Virgin Mary. The Pisan New Year begins 9 months before the ordinary one. The exact moment is determined by a ray of sun that, through a window on the left side, hit a shelf egg-shaped on the right side, just above the pulpit by Giovanni Pisano. This occurs at noon.In the Cathedral also can be found some relics brought during the Crusades: the remains of three Saints (Abibo, Gamaliel and Nicodemus) and a vase that it is said to be one of the jars of Cana.The building, as have several in Pisa, has tilted slightly since its construction.

Il Duomo di Santa Maria Assunta è la cattedrale medievale di Pisa.Capolavoro assoluto del romanico, in particolare del romanico pisano, rappresenta la testimonianza tangibile del prestigio e della ricchezza raggiunti dalla Repubblica marinara di Pisa nel momento del suo massimo splendoreL'aspetto attuale del complesso edificio è il risultato di ripetute campagne di restauro succedutesi in diverse epoche. I primi radicali interventi seguirono il disastroso incendio del 1595, a seguito del quale fu rifatto il tetto e furono eseguite le tre porte bronzee della facciata,a partire dal Settecento iniziò il progressivo rivestimento delle pareti interne con grandi dipinti su tela.Gli interventi successivi si ebbero nel corso dell'Ottocento ed interessarono sia le decorazioni interne sia quelle esterne.La ricchissima decorazione comprende marmi multicolori, mosaici e numerosi oggetti di bronzo L'interno è rivestito di marmi bianchi e neri, con colonne monolitiche di marmo grigio e capitelli di ordine corinzio. Ha un soffitto a cassettoni dorati seicenteschi, in legno dorato.Le impressionanti colonne granitiche in stile corinzio fra la navata e l'abside provengono dalla moschea di Palermo, bottino della battaglia nella Cala dai Pisani nel 1063.La chiesa conserva inoltre le reliquie di San Ranieri, patrono di Pisa, e la frammentaria tomba di Arrigo VII di Lussemburgo, imperatore del Sacro Romano Impero, morto a Buonconvento mentre assediava invano Firenze.L'edificio, come la torre campanaria, è sprofondato percettibilmente nel suolo, e alcuni dissesti nella costruzione sono ben visibili, come le differenze di livello tra la navata di Buscheto e il prolungamento ad opera di Rainaldo (le campate verso ovest e la facciata).

Font : Wikipedia

billbarber.blogspot.com/

From my set entitled “Boats and Ships”

www.flickr.com/photos/21861018@N00/3206986832/in/set-7215...

In my collection entitled “Transportation”

www.flickr.com/photos/21861018@N00/collections/7215761271...

Jamestown (originally also called "James Towne" or "Jamestowne") is located on the James River in what is currently James City County in the Commonwealth of Virginia. The site is about 40 miles (62 km) inland from the Atlantic Ocean and the entrance to the Chesapeake Bay and about 45 miles (70 km) downstream and southeast of the current state capital city of Richmond. Both the river and the settlement were named for King James I of England, who was on the throne at the time, granted the private proprietorship to the Virginia Company of London's enterprise.

The location at Jamestown Island was selected primarily because it offered a favorable strategic defensive position against other European forces which might approach by water. However, the colonists soon discovered that the swampy and isolated site was plagued by mosquitoes and tidal river water unsuitable for drinking, and offered limited opportunities for hunting and little space for farming. The area was also inhabited by Native Americans (American Indians).

The 3 points of Colonial Virginia's Historic Triangle, Jamestown, Williamsburg, and Yorktown are linked by the National Park Service's scenic Colonial Parkway.

The 3 points of Colonial Virginia's Historic Triangle, Jamestown, Williamsburg, and Yorktown are linked by the National Park Service's scenic Colonial Parkway.

Despite inspired leadership of John Smith, chaplain Robert Hunt and others, starvation, hostile relations with the Indians, and lack of profitable exports all threatened the survival of the Colony in the early years as the settlers and the Virginia Company of London each struggled. However, colonist John Rolfe introduced a strain of tobacco which was successfully exported in 1612, and the financial outlook for the colony became more favorable. Two years later, Rolfe married the young Indian woman Pocahontas, daughter of Wahunsunacock, Chief of the Powhatan Confederacy, and a period of relative peace with the Natives followed. In 1616, the Rolfes made a public relations trip to England, where Pocahontas was received as visiting royalty. Changes by the Virginia Company which became effective in 1619 attracted additional investments, also sowing the first seeds of democracy in the process with a locally-elected body which became the House of Burgesses, the first such representative legislative body in the New World.

Throughout the 17th century, Jamestown was the capital of the Virginia Colony. Several times during emergencies, the seat of government for the colony was shifted temporarily to nearby Middle Plantation, a fortified location on the high ridge approximately equidistant from the James and York Rivers on the Virginia Peninsula. Shortly after the Colony was finally granted a long-desired charter and established the new College of William and Mary at Middle Plantation, the capital of the Colony was permanently relocated nearby. In 1699, the new capital town was renamed Williamsburg, in honor of the current British king, William III.

After the capital was relocated, Jamestown began a gradual loss of prominence and eventually reverted to a few large farms. It again became a significant point for control of the James River during the American Civil War (1861–1865), and then slid back into seeming oblivion. Even the Jamestown Exposition of 1907 was held elsewhere, at a more accessible location at Sewell's Point, on Hampton Roads near Norfolk.

Queen Elizabeth II of the United Kingdom and her consort Prince Phillip inspect replica of Susan Constant at Jamestown Festival Park in Virginia on October 16, 1957

Queen Elizabeth II of the United Kingdom and her consort Prince Phillip inspect replica of Susan Constant at Jamestown Festival Park in Virginia on October 16, 1957

Beginning in 1893, 22.5 acres of the Jamestown site were acquired by the Association for the Preservation of Virginia Antiquities. A crucial sea wall was built in 1900 to protect the shoreline near the site of James Fort from further erosion. In the 1930s, the Colonial National Historical Park was established to protect and administer Jamestown, which was designated a National Historic Site. The U.S. National Park Service acquired the remaining 1,500 acres (6.1 km²) of Jamestown Island through eminent domain in 1934.

For the 350th anniversary in 1957, Jamestown itself was the site of renewed interest and a huge celebration. The National Park Service provided new access with the completion of the Colonial Parkway which led to Williamsburg, home of the restored capital of Colonial Williamsburg, and then on to Yorktown, the other two portions of Colonial Virginia's Historic Triangle. Major projects such as the Jamestown Festival Park were developed by non-profit, state and federal agencies. Queen Elizabeth II of Great Britain and Prince Philip attended. The 1957 event was a great success. Tourism became continuous with attractions regularly updated and enhanced.

The two major attractions at Jamestown are separate, but complementary to each other. The state-sponsored Jamestown Settlement near the entrance to Jamestown Island includes a recreated English Fort and Native American Village, extensive indoor and outdoor displays, and features the three popular replica ships. On Jamestown Island itself, the National Park Service operates Historic Jamestowne. Over a million artifacts have been recovered by the Jamestown Rediscovery project with ongoing archaeological work, including a number of exciting recent discoveries.

Early in the 21st century, in preparation for the Jamestown 2007 event commemorating America's 400th Anniversary, new accommodations, transportation facilities and attractions were planned. The celebration began in the Spring of 2006 with the sailing of a new replica Godspeed to six major East Coast U.S. cities, where several hundred thousand people viewed it. Queen Elizabeth II and Prince Phillip joined America's festivities on an official state visit to Jamestown in May 2007.

en.wikipedia.org/wiki/Jamestown,_Virginia

performance event entitled “Climate Crisis Car Wash,” co-conceived by Canadian artist Celeste Pimm.

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academy-emergency-art.blogspot.dk/2014/05/why-should-berl...

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Biennalist @ Berlin Biennale . Should we debate global warming NOW or promote it ?

ARE BIENNALES DANGEROUS ?

Art Formats : ( including Emergency Art )

www.emergencyrooms.org/formats.html

Biennalist:

www.emergencyrooms.org/biennalist.html

www.colonel.dk

THE EMERGENCY WILL REPLACE THE CONTEMPORARY

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----more about Berlin Biennale ---#BB8

Juan A. Gaitán appointed curator of the 8th Berlin Biennale for Contemporary Art

KW Institute for Contemporary Art in Berlin is delighted to announce the appointment of Juan A. Gaitán as curator of the 8th Berlin Biennale for Contemporary Art. The 8th Berlin Biennale will take place in spring 2014.

Juan A. Gaitán (Canada/Colombia) is an independent writer and curator, currently based in Mexico City and Berlin. He is trained as an artist and art historian at University of British Columbia and Emily Carr Institute of Art and Design in Vancouver (Canada). Between January 2009 and December 2011, he was curator at Witte de With Center for Contemporary Art in Rotterdam (The Netherlands), and between September 2011 and June 2012 adjunct professor in the Curatorial Practice Program at the California College of the Arts in San Francisco (USA). During the 2006 – 2008 period, he was on the Board of Directors of the Western Front Society, and worked as external curator at the Morris and Helen Belkin Art Gallery in Vancouver. His writings have been published in several journals, including Afterall, The Exhibitionist, Fillip, and Mousse. His most recent exhibition, Material Information, spans three venues in Bergen (Norway), and looks for a renewed critical approach to the contemporary global distribution of labor from the perspective of arts and crafts. He is presently member of the acquisitions committee at FRAC Nord-Pas de Calais in Dunquerke (France).

The Berlin Biennale for Contemporary Art is since its fourth edition one of the institutions supported by the German Federal Cultural Foundation as „outstanding cultural event“. The support of 2.5 Million Euros per edition ensures planning stability, enabling the organizers to address issues of content in an experimental way.

Since the first edition in 1998, the Berlin Biennale has become a major international event for contemporary art. Located in the midst of Berlin’s vibrant cultural scene in the fast-changing capital of Germany, the Berlin Biennale has received an enthusiastic response from the audience as an experimental, forward-looking and contextual show. The previous seven editions of the Berlin Biennale explored a variety of exhibition formats and involved diverse curatorial agendas.

Curators have been:

1st Berlin Biennale (1998): Klaus Biesenbach with Nancy Spector, and Hans Ulrich Obrist

2nd Berlin Biennale (2001): Saskia Bos

3rd Berlin Biennale (2004): Ute Meta Bauer

4th Berlin Biennale (2006): Maurizio Cattelan, Massimiliano Gioni, and Ali Subotnick

5th Berlin Biennale (2008): Adam Szymczyk and Elena Filipovic

6th Berlin Biennale (2010): Kathrin Rhomberg

7th Berlin Biennale (2012): Artur Żmijewski together with associate curators Voina and Joanna Warsza

The selection committee for the curatorship of the 8th Berlin Biennale consisted of Sergio Edelsztein (Director and Chief Curator, The Centre for Contemporary Art, Tel Aviv); Cao Fei (Artist, Bejing), Susanne Gaensheimer (Director, MMK Museum für Moderne Kunst, Frankfurt a. M.), Koyo Kouoh (Founding Director and Artistic Director, Raw Material Company - Center for Art, Knowledge and Society, Dakar), Matthias Mühling (Head of Department, Curator, Städtische Galerie im Lenbachhaus, Munich), Bisi Silva (Director and Founder, Centre for Contemporary Art, Lagos), and Patricia Sloane (Associate Curator, MUAC Museo Universitario Arte Contemporáneo and advisor to the Head of Visual Arts, UNAM Universidad Nacional Autónoma de México, Mexico City).

The Berlin Biennale is realized by KW Institute for Contemporary Art and funded by the German Federal Cultural Foundation.

KW Institute for Contemporary Art

Berlin Biennale für zeitgenössische Kunst

Auguststraße 69

#BB8

---artists participating ---

52 Künstler stehen auf der am gestrigen Sonntag veröffentlichten Künstlerliste der 8. Berlin Biennale: Zarouhie Abdalian, Bani Abidi, Mathieu Kleyebe Abonnenc, Saâdane Afif, David Chalmers Alesworth, Carlos Amorales, Andreas Angelidakis, Leonor Antunes, Julieta Aranda , Tarek Atoui, Nairy Baghramian, Bianca Baldi, Patrick Alan Banfield, Alberto Baraya , Rosa Barba, Gordon Bennett, Zachary Cahill, Mariana Castillo Deball, Carolina Caycedo, Tacita Dean, Mario García Torres, Beatriz González, Agatha Gothe-Snape, Shilpa Gupta, Cynthia Gutiérrez, Ganesh Haloi, Carsten Höller, Iman Issa, Irene Kopelman, Kemang Wa Lehulere, Matts Leiderstam, Li Xiaofei, Glenn Ligon, Goshka Macuga, Santu Mofokeng, Shahryar Nashat, Olaf Nicolai, Otobong Nkanga, Christodoulos Panayiotou, Judy Radul, Jimmy Robert, Anri Sala, Slavs and Tatars, Michael Stevenson, Mariam Suhail, Vivan Sundaram, Gaganendranath Tagore, Wolfgang Tillmans, Tonel, Danh Vo & Xiu Xiu, David Zink Yi, Carla Zaccagnini und das Center for Historical Reenactments.

Die 8. Berlin Biennale für zeitgenössische Kunst findet vom 29. Mai bis 3. August 2014 im Haus am Waldsee, den Museen Dahlem - Staatliche Museen zu Berlin, den KW Institute for Contemporary Art und dem "Crash Pad" in den KW statt.

A lot of weeds on the railways lands, but they provide a lot of great textures.

From my set entitled

www.flickr.com/photos/21861018@N00/sets/72157607213815438/

In my collection entitled “Goldenrod”

www.flickr.com/photos/21861018@N00/collections/7215760718...

From Wikipedia, the free encyclopedia

en.wikipedia.org/wiki/Goldenrod

The goldenrod is a yellow flowering plant in the Family Asteraceae.

About 100[1] perennial species make up the genus Solidago, most being found in the meadows and pastures, along roads, ditches and waste areas in North America. There are a handful of species from each of Mexico, South America, and Eurasia.[1] Some American species have also been introduced into Europe some 250 years ago.

Many species are difficult to distinguish. Probably due to their bright, golden yellow flower heads blooming in late summer, the goldenrod is often unfairly blamed for causing hay fever in humans. The pollen causing these allergy problems is mainly produced by Ragweed (Ambrosia sp.), blooming at the same time as the goldenrod, but is wind-pollinated. Goldenrod pollen is too heavy and sticky to be blown far from the flowers, and is thus mainly pollinated by insects.

Goldenrods are easily recognized by their golden inflorescence with hundreds of small capitula, but some are spike-like and other have auxiliary racemes.

They have slender stems, usually hairless but S. canadensis shows hairs on the upper stem. They can grow to a length between 60 cm and 1.5 m.

Their alternate leaves are linear to lanceolate. Their margins are usually finely to sharply serrated.

Propagation is by wind-disseminated seed or by underground rhizomes. They form patches that are actually vegetative clones of a single plant.

Goldenrod is used as a food plant by the larvae of some Lepidoptera species - see list of Lepidoptera that feed on goldenrods. The Goldenrod then forms a leathery bulb (called a gall) around the invading insect as a quarantine to keep it confined to a small part of the plant. Parasitoid wasps have learned to find these galls, and lay eggs in the insect after penetrating the bulb. Woodpeckers have learned to blast open the gall and eat the wasp-infested insect holed up in the center.[2]

Goldenrods can be used for decoration and making tea. Goldenrods are, in some places, held as a sign of good luck or good fortune; but they are considered weeds by some.

Goldenrods are mostly short-day plants and bloom in late summer and early fall and some species produce abundant nectar when moisture is plentiful before bloom, and the bloom period is relatively warm and sunny. Honey from goldenrods often is dark and strong due to admixtures of other nectars. However when there is a strong honey flow, a light (often water white), spicy-tasting honey is produced. While the bees are ripening the honey there is a rank odor and taste, but finished honey is much milder.

British gardeners adopted goldenrod long before Americans. Goldenrod only began to gain some acceptance in American gardening (other than wildflower gardening) during the 1980s. A hybrid with aster, known as x Solidaster is less unruly, with pale yellow flowers, equally suitable for dried arrangements.

Solidago canadensis was introduced as a garden plant in Central Europe, and is now common in the wild. In Germany, it is considered an invasive species that displaces native vegetation from its natural habitat.

Goldenrod is a companion plant, playing host to some beneficial insects, repelling some pests

Inventor Thomas Edison experimented with goldenrod to produce rubber, which it contains naturally.[3] Edison created a fertilization and cultivation process to maximize the rubber content in each plant. His experiments produced a 12 foot tall plant that yielded as much as 12 percent rubber. The rubber produced through Edison's process was resilient and long lasting. The tires on the Model T given to him by his friend Henry Ford were made from goldenrod. Examples of the rubber can still be found in his laboratory, elastic and rot free after more than 50 years. However, even though Edison turned his research over to the U.S. government a year before his death, goldenrod rubber never went beyond the experimental stage.

The variety Solidago virgaurea is a traditional kidney tonic. It has aquaretic, anti-inflammatory, antispasmodic and antiseptic action and seems to increase kidney output.[citation needed] This makes it useful as an agent to counter inflammation and irritation of the kidneys when bacterial infection or stones are present.[4] Such use is in combination with other herbs that create a synergistic therapeutic effect on the urinary system. As in other areas of herbalism, blending creates a therapy greater than the effect of a single herb alone. The aquaretic action is also useful in helping to dissolve kidney stones by diluting their components and preventing them from recurring. See herbal medicine. Goldenrod has also been used as part of a tincture to aid in cleansing of the kidney/bladder during a healing fast, in conjunction with Potassium broth and specific juices.[4] 'Solidago odora' is also sold as a medicinal, for these issues: mucus, kidney/bladder cleansing and stones, colds, digestion.

The goldenrod is the state flower of the U.S. states of Kentucky (adopted March 16, 1926) and Nebraska (adopted April 4, 1895). It used to be the state flower of Alabama, being adopted as such on September 6, 1927, but was later rejected in favour of the camellia. Goldenrod was recently named the state wildflower for South Carolina.

In Midwestern states in the mid-twentieth century it was said that when the goldenrod bloomed, it would soon be time to go back to school--the blossoms appeared in mid- to late August, shortly before the traditional start of school on the day after Labor Day.[5]

In Sufjan Stevens' song, Casimir Pulaski Day, the narrator brings goldenrod to his girlfriend upon finding out that she has been diagnosed with bone cancer. Carrie Hamby's song, Solidago, tells the story of Thomas Edison's experiments with making goldenrod a domestic source of rubber during the 2nd world war.

The Sweet Goldenrod (Solidago odora) is also the state herb of Delaware as of June 24, 1996. [6]

Well, I liked the greens together.