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Marrakech, Morocco
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Churchyard cross in St Mary's churchyard,Church Rd, Yatton, Bristol BS49 4HH
Overview
Heritage Category: Scheduled Monument
List Entry Number: 1015508
Date first listed: 09-Nov-1974
Heritage Category: Listed Building
Grade: II
List Entry Number: 1312313
Date first listed:
11-Oct-1961
District: North Somerset (Unitary Authority)
Parish: Yatton
The Diocese of Bath and Wells
National Grid Reference: ST 43128 65396
Reasons for Designation
A standing cross is a free standing upright structure, usually of stone, mostly erected during the medieval period (mid 10th to mid 16th centuries AD). Standing crosses served a variety of functions. In churchyards they served as stations for outdoor processions, particularly in the observance of Palm Sunday. Elsewhere, standing crosses were used within settlements as places for preaching, public proclamation and penance, as well as defining rights of sanctuary. Standing crosses were also employed to mark boundaries between parishes, property, or settlements. A few crosses were erected to commemorate battles. Some crosses were linked to particular saints, whose support and protection their presence would have helped to invoke. Crosses in market places may have helped to validate transactions. After the Reformation, some crosses continued in use as foci for municipal or borough ceremonies, for example as places for official proclamations and announcements; some were the scenes of games or recreational activity. Standing crosses were distributed throughout England and are thought to have numbered in excess of 12,000. However, their survival since the Reformation has been variable, being much affected by local conditions, attitudes and religious sentiment. In particular, many cross-heads were destroyed by iconoclasts during the 16th and 17th centuries. Less than 2,000 medieval standing crosses, with or without cross-heads, are now thought to exist. The oldest and most basic form of standing cross is the monolith, a stone shaft often set directly in the ground without a base. The most common form is the stepped cross, in which the shaft is set in a socket stone and raised upon a flight of steps; this type of cross remained current from the 11th to 12th centuries until after the Reformation. Where the cross-head survives it may take a variety of forms, from a lantern-like structure to a crucifix; the more elaborate examples date from the 15th century. Much less common than stepped crosses are spire-shaped crosses, often composed of three or four receding stages with elaborate architectural decoration and/or sculptured figures; the most famous of these include the Eleanor crosses, erected by Edward I at the stopping places of the funeral cortege of his wife, who died in 1290. Also uncommon are the preaching crosses which were built in public places from the 13th century, typically in the cemeteries of religious communities and cathedrals, market places and wide thoroughfares; they include a stepped base, buttresses supporting a vaulted canopy, in turn carrying either a shaft and head or a pinnacled spire. Standing crosses contribute significantly to our understanding of medieval customs, both secular and religious, and to our knowledge of medieval parishes and settlement patterns. All crosses which survive as standing monuments, especially those which stand in or near their original location, are considered worthy of protection.
Although the shaft and cross head has been replaced, the standing cross in the churchyard at Yatton survives well as a visually impressive monument of the medieval period in what is likely to be its original location. Its massive structure and style of ornamentation qualifies it as an outstanding example of its class. Records of the church date the erection of the cross and its cost. The late 15th century cross relates to the construction of the south porch and the Newton Chapel in the Church of St Mary, the building work being attributed to Isabel de Chedder.
Details
The monument includes a restored cross situated in the churchyard at Yatton c.6m SSE of the church porch. The cross, which is Listed Grade II, has a five step octagonal calvary, plinth, a socket stone and shaft with a decorated terminal surmounted by a lantern cross head. The first step of the calvary is 0.5m high, and the second, third, fourth and fifth steps are 0.4m, 0.35m, 0.32m and 0.3m high. The first step is 5.1m in diameter with mortared flagstones on its upper surface forming an overhanging drip, and each side of its octagon is 2.1m long. The width of the octagonal sides of the second, third, fourth and fifth steps are 1.8m, 1.5m, 1.2m and 1m respectively. Above the fifth step of the calvary is the plinth which is cut with triangular decoration at its angles. The plinth is 1.7m wide and 0.3m high with each side of its octagon being 0.7m long. The socket stone, which sits on the plinth, has a square base and convex broaches at its angles forming an octagonal top. It is 1.07m wide and 0.84m high with a central socket 0.4m square. On each face of the socket stone is the figure of an angel. The shaft is c.2.5m high, square at its base, but then stopped and continuing in octagonal form as it tapers to an ornamental terminal and cross head. The cross head has four recessed faces formed by moulded spires at its angles. On the west side is the Crucifixion, on the east the figure of Jesus, King Alfred is on the south side, and an ecclesiastical figure or saint on the north side. The lantern head is surmounted by a moulded spire. The calvary is constructed from stone blocks and mortared flagstones, and the socket stone is hewn from one piece of stone. Investigation by probing around the base of the cross at the time of the field visit showed that there appears to be a platform of stones around the cross and beneath the surface of the grass at a depth of c.0.2m and to a width of 0.45m from the edges of the calvary. These remains are included in the scheduling. In the mid-19th century the cross had no shaft and head. The shaft and lantern head is a replacement erected in 1919 when the cross was refurbished in commemoration of the men of Yatton who died in the First World War. Records of the church show that the cross was erected in 1499 and cost 18 pounds.
© Historic England 2020
Brick Covered Entry. Tuscany, Italy. Color photography by Donna Corless.
Prints and notecards are available for purchase from my site at PhotosAndArt.com from the Italy in Color Gallery.
This is my entry to the MOCOlympics contest at Mocpages. More pics here: www.mocpages.com/moc.php/286545
EDIT: This year was, just like last year, a fiasco! I lost in the first round for the second time.
Who here likes consistency? You know, that warm, familiar feeling every time you go to Taco Bell (going down or out.. up to you)... very consistent? You've been there enough times and you've generally had all their menu items and your opinion is that "it's alright". Then there's that one time out of the blue, you decide to try something vegetarian off the Fresco menu, only to realize it was a horrible, horrible mistake? Well, that's kind of like what happened with this particular entry: Figma Megumin from Kono Sabarashii Sekai ni Shyukufuku wo!.. however you pronounce that.
As with 99% of the magical girl entries on my list, I know nothing about the actual character. Couple of Wiki pages presents a personality that, as expected, fits the way she looks. As taken from a Fandom page:
"Megumin is a straightforward girl, who speaks in an old-style Japanese dialect. She can be very hyper and lively at times and has chuunibyou tendencies like the rest of the Crimson Demon villagers. She is very intelligent, but has very little self-control, especially when it comes to using Explosion magic. She has no problem wasting her spell on empty plains or abandoned castles, as long as she can use Explosion once a day."
There seemed to be quite a bit of excitement when the figure was announced a while back, so as I always do, I found a decent deal on one that had a few issues while out and about, figuring "it's a Figma, it'll be alright" and away I went. The issues being that this was an Amazon Warehouse deal, so it wasn't complete, though the only thing that was missing was the instruction manual. The peg holding her cape in place had snapped off, and her head wasn't in place, of which the latter I figure I could just go home and pop that sucker right back in because, well, wouldn't be the first time a head came off a Figma after being jostled.
Well, jokes on me. After trying with no success, I took to the Internet, and read a crap ton of negative reviews on this figure, ranging from poor QC to horrible design. The head thing? Wasn't the only one; several complaints on Amazon said the same thing, with most not even bothering to try to attach the head. I had to grind the hole to widen it before the neck joint would actually fit, and now it's a bit loose and prone to falling off. I read stories of the staff showing up broken. Seems overall, these Konosuba girls (as they are called) have been plagued with QC issues.. I'm glad I didn't pay MSRP on this figure, let me tell you.
Megumin comes with a typical payload when it comes to Figma. There's the figure, three total face plates (slight smile, attacking, scared), her hat, her cape, alternate hair with eye patch, energy effect for eye, staff, purple orb for staff, spell effect with staff end for attaching said effect, her Familiar Chomosuke, six additional hands plus one dedicated spell casting hand, and the usual Figma stand.
Based on the screen caps I've seen, it appears that overall, Max Factory has captured the overall silhouette of Megumin herself, and her look when equipped with her gear. Of course, she's a lanky Japanese school girl, so not exactly hard for Figma to replicate. Chomosuke is freakin' adorable.. not quite Kirby adorable, but pretty damn close. Sculpting details are up to snuff, with clean fingers, good texture detailing on the outfit, and some minor muscle definition on her bare back. Face plates look spot on.
Articulation is pretty typical for a Figma.. when she doesn't have her cape on. You have full motion ankles, single jointed knees, full motion hips, waist, mid torso movement, full motion shoulders combined with bicep swivel, standard elbows, wrists, and head articulation. Mid torso movement is limited due to the joint being embedded inside her outfit, which is a soft rubber material. I'm not sure if it's like this for all the recent Figma (I'm kind of behind schedule), but Megumin features this hinged joint which allows for a deeper range of motion when it comes to head tilt, while at the same time offering the same ball jointed base base of head joint that permits the standard range of motion there. The cape itself has two points of articulation, allowing for a simulated flow look which is great, but putting the cape on also limits the range of motion when it comes to raise the arms up into an overhead position. Her skirt also limits the movement of the upper legs, which in turn limits the number of stances you can have her in. Because of this, I found it very difficult to balance Megumin on her tiny feet, and as such a stand is pretty much needed for everything.
Paint work is, as expected, solid across the board. Even the yellows appear to be well applied, with no significant overspray or lumpy paint residue. The only ugly paint spot are the silver on her buckle and her necklace, which are relatively ugly, but not "gouge my eyes out" level. Decal work is at its usual level of excellence.
Building quality and design is where things kind of went South. I've already talked about my problems out the box above, but there's more to discuss. First and foremost, that stupid, stupid hat. So, someone, in their infinite wisdom, decided that rather than have the hat attach via a peg or something like that, decided the best way to have the hat sit on her head is the put a really thin piece of plastic on the inside of the hat, and have that clip between the two hair pieces.. sounds alright in theory until you realize actually getting the thing to fit in their is a nightmare because there really isn't enough clearance to slide the front hair piece in place should you try to get the hat in place first. So instead you end up leaving a slight gap, and cramming the hat on her head, hoping for the best. The eye effect is a separate piece, and it is up to the owner to use their hamburger finger to squeeze this tiny plastic piece, probably the size of a syringe needle, into place so it doesn't fall out of the hair. I found that the joints on the figure, while fine by themselves, aren't really meant to carry the weight of the staff, particularly if it has the energy effect attached on the end of it. The body itself is pretty typical build, so no too many complaints here.
So in the end, we had the potential for an outstanding Figma, one having vibrant colour and personality., only to have a multitude of QC issues and crappy design choices knock it down a few pegs. Without her hat and cape, Megumin is honestly average at best, as she really can't do much other than sligh variations of standing up. I guess if the cape wasn't broken on mine, at least I would keep the cape on constantly as it does add to the character. But that hat.. it's such a hassle to put it on you either never take it off or you just give up. The best parts of this set are the scared face and of course, Chomosuke.
Better luck next time, I suppose.
47/365
The defacing of this sign reminded me of Barcelona, which has some great and very inventive stickers all over their no entry signs
And always been a big fan of this operator and the livery is one of my all time favourites. Driver of the year Darryl with BIB4844 a daf powered Vanhool TX15Alicron C53FT. Well done Darryl. Photo taken 01/04/23
The entry hall with the door to the main tunnel. It is possible to drive in here even with larger vehicles. Switzerland, Oct 16, 2014. (16/35)
Interested to have an extraordinary bridal entry on your wedding day? Check out Sarva Weddings for fresh and amazing bridal entry ideas in Coimbatore. sarvaweddings.com/bride-entry.php
A. eya, mun dc gan a.Du trog suy ngj~ a nhu the nao` coi e la 1 con ngoc (ok) ko sao a a`. E van vui vi moi ngay dc thay a cuoi.Ai hoi e la wen a ha~? E tl ko ngi seo zay chi koi a la a thoi.Noi thy de lam con trog log e thy lai ngi khac. A a` du e zoi a chua bek nhau dc lau nhg lan di choi dau tien e rat vui.Ngoai mieng thy e keu a kim ghe de lo cho mih di nhg... cam jac noi cau do kho chiu lam.Du sao neu a wen ng` khac, ng`lam cho a hp, cham soc cho a nhiu hon.E cg ko pun` dau. Vi` ''niem vui of a la niem vui of e, hp of a la hp of e''. E bek e zoi a ko hop nhau, a chi~ coi e nhu la ban 1 dua e. Dung 1 ng nhu a se ko wen 1 dua nhu e dau. E ko bek mih rong luong hay la e so gi nua. Nhg a a` e so neu noi ra thy tih ban of e zoi a cg mat ko con thoai mai nhu trc nua.Nen nhg~ dieu nay chy mih` e bek thoi nha a.Do la nhg suy ngj~ of e.Ngu 1 giac sag mai thuc dzay thy nhg~ dieu nay ko con nua~ nu cuoi of a, hp of e zoi a chy~ la trog mo* no se tan bien khi e thuc dzay. E ko mun thuc dzay de lam giac mo* tan bien nhg do la su that a ko faj la of e. Hp nay du chi mih e ma` thoi. Nhg e rat vui vi` da dc gap a..!!
- A mai~ la ng hp nha'...!!
-----Og Troi Con----
(of e)
EYA
We used a sheet of grass-impregnated Lumicor as the divider between the entry and the living room. The idea was to create a sense of separation while allowing light to freely move about. Steel and walnut ribs hold the entire assembly solidly together.
Was from the Goodwins stable and it was wearing Maynes livery RE23CUV an Iveco Daily / Islebus I - City DP29F. Photo taken 01/04/23
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A large red deer stag calling to the hinds in the bracken one misty autumn morning.
Entry gate for the Faculty of Architecture, Venice
Campo di Tolentino, 1966, 1969, 1972, 1985
Carlo Scarpa, architect
It was a nice challenge trying to figure out where to stand with all of those diagonals being offered for the composition.
Wall Color: SW "Frosty White" (standard)
Bench & Hooks Cabinet: Brellin "White" (level 3) (bench and hooks only offered in certain plans)
Floor: LVP - Augusta "Grey Chestnut" (level 1)
Foyer Light: Moffet Street 3 Light "Satin Bronze"
Front Door Style: 3/4 Light Clear Glass
Interior Door Style: Arched 2 Panel (currently unavailable)
Trim: 3 1/4" Baseboard, 2 1/4" Door & Window Casing