Better pictures of my flagship…

The fourth Ida Rentoul Outhwaite Children's Library Stained Glass Window features an excerpt from the poem "A Concert"; "Then clear on a flute of purest gold, a sweet little fairy played, and wonderful fairy tales she told, and marvellous music played". This is Ida Rentoul Outhwaite's most famous quotes, although it was actually written by her elder sister Annie Rattray Rentoul as the quote is taken from "Fairyland" published by A. and C. Black in 1926, for which Annie wrote poems and Ida's husband Arthur Grenbry Outhwaite wrote stories, all of which Ida illustrated. The original illustration was executed in pen and ink, so it is brought to colourful life in the pink, blue, brown and golden yellow stained glass panel. It features a little girl faerie with pink wings and a silvery dress atop a ragged toadstool playing her golden pipe to an assembled audience of six pixies, a koala and a little boy. The little boy (whose name is John) wears contemporary 1920s clothes, with button up short trousers, ankle socks, strap over shoes and a collared shirt. John's hair is also a modern 1920s pageboy cut. The faerie too has a contemporary pageboy cut, with a wreath of flowers about her crown. Her dress is typical of 1920s sundresses for little girls and on her feet she wears a pair of fashionable black Mary Janes. The audience sit beneath a row of spindly gum trees whilst about them through the grass sprout tiny white daisies such as are found in many an Australian lawn today. All the audience appear entranced except the brown koala who sits at the end and the pixie next to him. The pixie looks unimpressed as the koala's head lolls forward and his lids droop. This may be in reference to the remaining part of the poem's stanza which reads: "But Teddy Bear began to nod, and gave a very loud snore, and yet at the end - it's true, though odd -, he grunted out 'Encore!'"

 

In 1923 with Fitzroy still very much a working class area of Melbourne with pockets of poverty, the parish of St. Mark the Evangelist decided to address the need of the poor in the inner Melbourne suburb. Architects Gawler and Drummond were commissioned to design a two storey red brick Social Settlement Building. It was opened in 1926 by the Vicar of St. Mark the Evangelist, the Reverend Robert G. Nichols (known affectionately amongst the parish as Brother Bill). Known today as the Community Centre, the St. Mark the Evangelist Social Settlements Building looks out onto George Street and also across the St. Mark the Evangelist's forecourt. When it opened, the Social Settlement Building's facilities included a gymnasium, club rooms and children's library.

 

Opened in 1926, the children's library, which was situated in the corner room of the Social Settlements Building, is believed to be the first known free dedicated children's library in Victoria. The library was given to the children of Fitzroy by Mrs. T. Hackett, in memory of her late husband. The library contained over 3,000 books, as well as children's magazines and even comics. The Social Settlements Building was only erected because Brother Bill organised the commitment of £1,000.00 each from various wealthy businessmen and philanthropists around Melbourne. Mrs Hackett's contribution was the library of £1,000.00 worth of books. Another internationally famous resident of the neighbourhood, Australian children's book illustrator Ida Rentoul Outhwaite, then at the zenith of her career, was engaged by the relentless Brother Bill to create something for the library. Ida donated four stained glass windows each with a hand-painted panel executed by her, based upon illustrations from her books, most notably "Elves and Fairies" which was published to great acclaim in Australia and sold internationally in 1916 and "Fairyland" which had been published earlier that year. These four hand painted stained glass windows were equated to the value of £1,000.00, but are priceless today, as they are the only public works of Ida Rentoul Outhwaite ever commissioned that have been executed in this medium. Ida Rentoul Outhwaite was only ever commissioned to create one other public work; a series of four panels executed in watercolour with pencil underdrawing in 1910 for the Prince Henry Hospital's children's wards in Melbourne (now demolished). Of her panels, only two are believed still to be in existence, buried within the hospital archives. The four Ida Rentoul Outhwaite stained glass windows each depict faeries, pixies, Australian native animals and children, taken from her book illustrations. At the time of photographing, the windows - three overlooking George Street and one St. Mark the Evangelist's forecourt - were located in the community lounge, which served as a drop-in lounge and kitchen for Fitzroy's homeless and marginalised citizens. Today the space has been re-purposed as offices for the Anglicare staff who run the St. Mark's Community Centre, possibly as a way to protect the precious windows from coming to any harm. The only down-side to this is that they are not as easily accessed or viewed as when I photographed them, making my original visit to St. Mark the Evangalist in 2009 extremely fortuitous.

 

The Ida Rentoul Outhwaite Children's Library Stained Glass Windows are one of Australia's greatest hidden treasures, which seems apt when you consider that the pixies and faeries they depict are also often in hiding when we read about them in children's books and the faerie tales of our childhood. The fact that they are hidden, because it is necessary to enter a little-known and undistinguished building in order to see them, ensures their protection and survival. The windows are unique, not only because they are the only stained glass windows designed and hand-painted by Ida Rentoul Outhwaite, but because they are the earliest and only examples of stained glass art in Australia that deals with theme of childhood.

 

I am indebted to Peter Bourke who ran the St. Mark's Community Centre in 2009 for giving me the privilege of seeing these beautiful and rare windows created by one of my favourite children's book artists on a hot November afternoon, without me having made prior arrangements. I also appreciate him allowing me the opportunity to photograph them in great detail. I will always be grateful to him for such a wonderful and moving experience.

 

Ida Sherbourne Outhwaite (1888 - 1960) was an Australian children's book illustrator. She was born on the 9th of June 1888 in the inner Melbourne suburb of Carlton. She was the daughter of the of Presbyterian Reverend John Laurence Rentoul and his wife Annie Isobel. Her family was both literary and artistic, and as such, gifted Ida was encouraged from an early age to embrace her talent of drawing. Her elder sister, Annie Rattray Rentoul (1882 - 1978), was likewise encouraged to write, and both would later form a successful partnership. In 1903 six fairy stories written by Annie and illustrated by Ida were published in the ladies' journal "New Idea". The following year the Rentoul sisters collaborated on a book called "Mollie's Bunyip" which was received with instant success because it combined the idea of European faeries, witches and elves and the Australian bush. "Mollie's Staircase" followed in 1906. In 1908 the Rentoul sisters published their first substantial story book, "The Lady of the Blue Beads". On 9 December 1909 Ida married Arthur Grenbry Outhwaite (1875-1938), manager of the Perpetual Executors and Trustees Association of Australia Ltd. (Annie remained unmarried her entire life). After her marriage, Ida was known as Ida Rentoul Outhwaite, but did not publish anything substantial as she established her family and household until part way through the Great War. In 1916 she brought out her first coloured work; "Elves and Fairies", a de luxe edition produced entirely in Australia by Thomas Lothian. The success of the book, with its delicate watercolour plates, was due both to Ida's artistic talent and to the business acumen of her husband, who provided a £400.00 subsidy to ensure a high-quality production and consigned royalties to the Red Cross, thereby encouraging vice-regal patronage. "Elves and Fairies" is still her best known and loved work. Encouraged by her latest success, Ida travelled to Europe after hostilities ended and in 1920 exhibited in Paris and London. The critics compared her to other artists of the golden years of children's illustration such as Arthur Rackham and Edmund Dulac, thus sealing her international success. She signed a contract with British book publishers A. & C. Black who published five books for her over the next decade, including "The Enchanted Forest" (1921), with text by her husband, and, probably the most popular of all the Rentoul sisters' collaborations, "The Little Green Road to Fairyland" (1922). "The Fairyland of Ida Rentoul Outhwaite" (1926), another sumptuous volume, with text by her husband and sister, was less successful. A. & C. Black also produced a number of postcard series using her illustrations from "Elves and Fairies" as well as her other books published by them. In 1930 the last of her books published by A. & C. Black was released, but already times were changing, and the interest in Ida's work was rapidly fading. Angus & Robertson brought out two more books in 1933 and 1935 but they received relatively little attention. Her last two exhibitions, which between 1916 and 1928 were almost annual events, were held in 1933. The Second World War changed the world, and Ida and Annie's work was relegated to a bygone era, shunned and forgotten. Ida suffered the loss of both of her sons during the war, and she spent her last years sharing a flat in Caulfield with her sister, where, survived by her two daughters, she died on 25 June 1960. She did not live to see the resurgence of interest in her work some twenty-five years later, when in 1985, her picture of "The Little Witch" from "Elves and Fairies" was published on an Australian stamp, opening the fairy world of Ida Rentoul Outhwaite to a whole new generation of children and adults alike.

 

EXPLORED - 21 Aout 2012 - # 220

Thomas Pynchon - The Crying of Lot 49

Perennial Books, 1990

Cover Illustration © Mark Penberthy

 

"Oedipa Maas is made the executor of the estate of her late boyfriend, Pierce Inverarity. As she diligently carries out her duties, Oedipa is enmeshed in what would appear to be a worldwide conspiracy, meets some extremely interesting characters, and attains a not-inconsiderable amount of self-knowledge."

This two-storeyed timber residence with an attic was constructed by 1879, and possibly dates to the 1860s. It is located in the heart of Spring Hill in inner Brisbane, and is associated with the mid-19th century development of this area as one of the city's earliest dormitory suburbs.

 

Land in Spring Hill, much of it located within the original Brisbane town boundaries, was alienated in the 1850s and 1860s as large suburban allotments. Blocks along the ridge roads which became known as Wickham Terrace and Leichhardt Street, were the first to be taken up, followed by the area between Boundary Street (which formed the old northern limit to Brisbane Town) and Gregory Terrace. Subdivision of these allotments commenced from the 1850s, and Spring Hill, within easy walking distance of Queen Street, rapidly emerged as North Brisbane's first dormitory suburb, with little commercial or industrial base of its own. More affluent residents occupied the larger allotments and houses along the ridges, and the working classes occupied the valleys in between (Hanly's Valley and Spring Hollow).

 

Subdivision accelerated during the 1870s and 1880s, and by 1900 Spring Hill was Brisbane's most densely populated suburb. From the 1860s a row of small shops was established along Leichhardt Street between Fortescue and Rogers Streets, with other shops congregated around the hotels at the intersections of Leichhardt Street with Edward, Wharf, and Boundary Streets. In the 1870s and 1880s churches, schools, hospitals, a mechanics' institute, and a tram service were established along Leichhardt Street, which became the hub of Spring Hill.

 

Boundary Street, running from the river west to Gregory Terrace, attracted a mainly working class population, including artisans, trades persons and labourers, with middle class residents occupying the higher blocks near Leichhardt Street and Gregory Terrace.

 

Lonsdale House, fronting Boundary Street close to the intersection with Leichhardt Street, was erected on part of Northern Suburban Allotment 97, an area of just under 3 acres alienated in 1853 by pastoralist David Cannon McConnel, and subdivided the same year. In December 1853 subdivision 16 of NSA 97 (22.5 perches) was re-subdivided into two blocks, 283 Boundary Street (12.5 perches - site of Lonsdale House) and 277 Boundary Street (10 perches). An 1856 map of Brisbane shows two structures fronting Boundary Street, between what became Leichhardt and Phillips streets - the westernmost of these may have been located at 283 or 277 Boundary Street, but this is not clear.

 

In 1862 Robert Bourne of Brisbane acquired title to the 12.5 perches re-subdivision fronting Boundary Street, and to the adjacent 10 perches in 1864, by which time he was living in Spring Hill. Whether he erected Lonsdale House after obtaining title to the land, or whether it was already extant, is not known. Nor is it known whether he ever occupied the house. Robert Bourne and his wife Anne Butler were retired missionaries (associated with the London Missionary Society in Tahiti 1817 - 1827). They had business interests in Sydney and in Victoria in the 1830s and 1840s, and in 1852 moved to Brisbane following the move there from Sydney in 1851 of their daughter and son-in-law, Harriet and George Raff. Bourne acquired a number of Brisbane properties, including 1a 20p of NSA 97 between Leichhardt and Phillips streets from DC McConnel in February 1856, and portion 192 (1a 3r 36p) on the southern side of Boundary Street in November 1856. He was resident in Leichhardt Street, Spring Hill by 1868, possibly in the two-storeyed brick residence he appears to have erected on the land he purchased from McConnel in 1856, adjoining the northern boundary of Lonsdale House. Bourne was Secretary to the Queensland Board of General Education from June 1860 to January 1870. He died at his home in Leichhardt Street in 1871, aged 78. His death was certified by his son Joseph Bourne of Boundary Street, Brisbane.

 

Following Bourne's death his Spring Hill properties were transferred to executors (sons-in-law George Raff of Brisbane and Stewart Murray of Sydney), and after Anne's death in December 1878, Raff offered the Spring Hill properties for sale by auction in August 1879. By this date, 4 houses had been erected on the property: Lonsdale House (a two-storeyed timber building with verandah and balcony front and back, containing seven rooms, with detached kitchen); a four-roomed timber cottage adjacent; the two-storeyed brick house behind; and Strathmore Cottage fronting Boundary Street opposite Lonsdale House. They were located close to the heart of Brisbane, on a rise, with breezes and fine views over the town and river.

 

Lonsdale House on 14.2 perches (comprising the original 12.5 perches re-subdivision plus extended northern and eastern boundaries) was purchased by Henry Lander Pethebridge for £350, with title transferred in March 1880.

 

Pethebridge, a carpenter and joiner and government Inspector of Works in the Portmaster's Office, was resident in Brisbane from at least April 1860, when he married Elizabeth Mary Symons. The family lived at various addresses in Spring Hill until the mid-1870s, when they left Brisbane briefly, but had returned by May 1877. Pethebridge was employed in the Department of Harbours, Lighthouses and Pilots, and supervised construction of Cape Bowling Green Lighthouse in the early 1870s. In August 1874 he was appointed Inspector of Works (Class IV) in the Department, a position he held until 1900. The Pethebridges occupied Lonsdale House after their purchase of the property. Mrs Pethebridge died in 1894, but Henry remained at 283 Boundary Street until his death in 1910, after which the property passed to his son, Samuel Augustus Pethebridge of Melbourne, and son-in-law Edward J Atkinson of Brisbane, as trustees. Lonsdale House then was rented out to a series of tenants who used the place as a boarding house.

 

Sir Samuel Augustus Pethebridge died in January 1918 and in August that year, 283 Boundary Street was transferred to Bridget Kenny of Spring Hill. The property changed hands several times in the 1920s, and from 1934 was occupied by the Hough family. Herbert Hough obtained title to the property in 1946, ane retained this until 1956. From the 1950s, if not earlier, the house was utilised as a boarding house of 9 rooms, (1 room enclosed on the first floor rear verandah and 1 room in the kitchen wing, in addition to the 7 rooms in the core of the house), and a second ground-level kitchen was constructed at the rear, 1950s. Title was transferred to the present owners in 1966.

 

Lonsdale House is a rare surviving early inner-city residence and was identified in the Brisbane History Group's 1993 Spring Hill Heritage Tour as a place of cultural heritage interest.

 

Source: Queensland Heritage Register.

The third Ida Rentoul Outhwaite Children's Library Stained Glass Window features the excerpt from a poem; "While underneath in phantom shells, the fairy sailors go, and shining o'er the silent dells, the fairy beacons glow". It, and the painted panel above come from "Fairy Islands" from "Elves and Fairies" published by Thomas Lothian in Melbourne in 1910. The book illustration, much more Art Nouveau in influence than any of the others, is rich with night time blues. Yet the stained glass panel featuring six faeries riding down a river in nautilus shells beneath a silvery full moon, has highlights of pink and golden yellow. The girl faeries all wear Edwardian empire line dancing dresses, such as Isadora Duncan and Anna Pavlova wore, with belts of trailing yellow flowers. Whilst the water looks tranquil enough, the faeries are obviously moving swiftly down the river as their hair and dresses blow in the breeze, and the pink heath sprigs they carry all bend to the wind. The silhouettes of narrow gum trees stand against a full moon glimpsed between two steep banks.

 

In 1923 with Fitzroy still very much a working class area of Melbourne with pockets of poverty, the parish of St. Mark the Evangelist decided to address the need of the poor in the inner Melbourne suburb. Architects Gawler and Drummond were commissioned to design a two storey red brick Social Settlement Building. It was opened in 1926 by the Vicar of St. Mark the Evangelist, the Reverend Robert G. Nichols (known affectionately amongst the parish as Brother Bill). Known today as the Community Centre, the St. Mark the Evangelist Social Settlements Building looks out onto George Street and also across the St. Mark the Evangelist's forecourt. When it opened, the Social Settlement Building's facilities included a gymnasium, club rooms and children's library.

 

Opened in 1926, the children's library, which was situated in the corner room of the Social Settlements Building, is believed to be the first known free dedicated children's library in Victoria. The library was given to the children of Fitzroy by Mrs. T. Hackett, in memory of her late husband. The library contained over 3,000 books, as well as children's magazines and even comics. The Social Settlements Building was only erected because Brother Bill organised the commitment of £1,000.00 each from various wealthy businessmen and philanthropists around Melbourne. Mrs Hackett's contribution was the library of £1,000.00 worth of books. Another internationally famous resident of the neighbourhood, Australian children's book illustrator Ida Rentoul Outhwaite, then at the zenith of her career, was engaged by the relentless Brother Bill to create something for the library. Ida donated four stained glass windows each with a hand-painted panel executed by her, based upon illustrations from her books, most notably "Elves and Fairies" which was published to great acclaim in Australia and sold internationally in 1916 and "Fairyland" which had been published earlier that year. These four hand painted stained glass windows were equated to the value of £1,000.00, but are priceless today, as they are the only public works of Ida Rentoul Outhwaite ever commissioned that have been executed in this medium. Ida Rentoul Outhwaite was only ever commissioned to create one other public work; a series of four panels executed in watercolour with pencil underdrawing in 1910 for the Prince Henry Hospital's children's wards in Melbourne (now demolished). Of her panels, only two are believed still to be in existence, buried within the hospital archives. The four Ida Rentoul Outhwaite stained glass windows each depict faeries, pixies, Australian native animals and children, taken from her book illustrations. At the time of photographing, the windows - three overlooking George Street and one St. Mark the Evangelist's forecourt - were located in the community lounge, which served as a drop-in lounge and kitchen for Fitzroy's homeless and marginalised citizens. Today the space has been re-purposed as offices for the Anglicare staff who run the St. Mark's Community Centre, possibly as a way to protect the precious windows from coming to any harm. The only down-side to this is that they are not as easily accessed or viewed as when I photographed them, making my original visit to St. Mark the Evangalist in 2009 extremely fortuitous.

 

The Ida Rentoul Outhwaite Children's Library Stained Glass Windows are one of Australia's greatest hidden treasures, which seems apt when you consider that the pixies and faeries they depict are also often in hiding when we read about them in children's books and the faerie tales of our childhood. The fact that they are hidden, because it is necessary to enter a little-known and undistinguished building in order to see them, ensures their protection and survival. The windows are unique, not only because they are the only stained glass windows designed and hand-painted by Ida Rentoul Outhwaite, but because they are the earliest and only examples of stained glass art in Australia that deals with theme of childhood.

 

I am indebted to Peter Bourke who ran the St. Mark's Community Centre in 2009 for giving me the privilege of seeing these beautiful and rare windows created by one of my favourite children's book artists on a hot November afternoon, without me having made prior arrangements. I also appreciate him allowing me the opportunity to photograph them in great detail. I will always be grateful to him for such a wonderful and moving experience.

 

Ida Sherbourne Outhwaite (1888 - 1960) was an Australian children's book illustrator. She was born on the 9th of June 1888 in the inner Melbourne suburb of Carlton. She was the daughter of the of Presbyterian Reverend John Laurence Rentoul and his wife Annie Isobel. Her family was both literary and artistic, and as such, gifted Ida was encouraged from an early age to embrace her talent of drawing. Her elder sister, Annie Rattray Rentoul (1882 - 1978), was likewise encouraged to write, and both would later form a successful partnership. In 1903 six fairy stories written by Annie and illustrated by Ida were published in the ladies' journal "New Idea". The following year the Rentoul sisters collaborated on a book called "Mollie's Bunyip" which was received with instant success because it combined the idea of European faeries, witches and elves and the Australian bush. "Mollie's Staircase" followed in 1906. In 1908 the Rentoul sisters published their first substantial story book, "The Lady of the Blue Beads". On 9 December 1909 Ida married Arthur Grenbry Outhwaite (1875-1938), manager of the Perpetual Executors and Trustees Association of Australia Ltd. (Annie remained unmarried her entire life). After her marriage, Ida was known as Ida Rentoul Outhwaite, but did not publish anything substantial as she established her family and household until part way through the Great War. In 1916 she brought out her first coloured work; "Elves and Fairies", a de luxe edition produced entirely in Australia by Thomas Lothian. The success of the book, with its delicate watercolour plates, was due both to Ida's artistic talent and to the business acumen of her husband, who provided a £400.00 subsidy to ensure a high-quality production and consigned royalties to the Red Cross, thereby encouraging vice-regal patronage. "Elves and Fairies" is still her best known and loved work. Encouraged by her latest success, Ida travelled to Europe after hostilities ended and in 1920 exhibited in Paris and London. The critics compared her to other artists of the golden years of children's illustration such as Arthur Rackham and Edmund Dulac, thus sealing her international success. She signed a contract with British book publishers A. & C. Black who published five books for her over the next decade, including "The Enchanted Forest" (1921), with text by her husband, and, probably the most popular of all the Rentoul sisters' collaborations, "The Little Green Road to Fairyland" (1922). "The Fairyland of Ida Rentoul Outhwaite" (1926), another sumptuous volume, with text by her husband and sister, was less successful. A. & C. Black also produced a number of postcard series using her illustrations from "Elves and Fairies" as well as her other books published by them. In 1930 the last of her books published by A. & C. Black was released, but already times were changing, and the interest in Ida's work was rapidly fading. Angus & Robertson brought out two more books in 1933 and 1935 but they received relatively little attention. Her last two exhibitions, which between 1916 and 1928 were almost annual events, were held in 1933. The Second World War changed the world, and Ida and Annie's work was relegated to a bygone era, shunned and forgotten. Ida suffered the loss of both of her sons during the war, and she spent her last years sharing a flat in Caulfield with her sister, where, survived by her two daughters, she died on 25 June 1960. She did not live to see the resurgence of interest in her work some twenty-five years later, when in 1985, her picture of "The Little Witch" from "Elves and Fairies" was published on an Australian stamp, opening the fairy world of Ida Rentoul Outhwaite to a whole new generation of children and adults alike.

  

The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.

Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).

History

St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)

The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.

The 'old' Burgtheater at St. Michael's Square

The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.

In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her ​​royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .

On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.

1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.

On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.

The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.

However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced ​​Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.

The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.

The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.

1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.

The Burgtheater in time of National Socialism

The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.

For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble ​​between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.

The Burgtheater at the end of the war and after the Second World War

In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.

The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.

The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.

The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.

Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.

1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.

On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .

In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.

Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.

Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.

Directorate Claus Peymann 1986-1999

Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.

Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.

In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.

Directorate Klaus Bachler 1999-2009

Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.

Were among the unusual "events" of the directorate Bachler

* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )

* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)

* John Irving's reading from his book at the Burgtheater Until I find you (2006)

* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).

* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.

Jubilee Year 2005

In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.

Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."

The Burgtheater on the Mozart Year 2006

Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.

Directorate Matthias Hartmann since 2009

Since September 2009, Matthias Hartmann is Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .

 

So, this is the structure of the model, based on

Fabrice Neaud's midscale Executor experiment. To perfectly align the underside hull (which is 10 degree angled), the triangular shape of my structure had to be as close as possible as 13.85 degrees but not above (determined empirically using Stud.io):

- A wedge plate 1x4 makes a 14.05 degree angle (which is not narrow enough and result in almost a 1 stud gap between both underside hull parts, near the thrusters).

- This structure makes a narrower 13.57 degree angle.

- A mixed use of friction and standard pins will allow to compensate the 13.85-13.57 degree difference without stressing the parts.

 

The center of the structure is not attached to the angled sides due to the angle, but it is firmly held together using a simple trick: the angled sides have protruding plates above and below the center of the structure.

 

This is surprinsigly sturdy this way and does not bend, and I am using only 3 hinges 1x4 plates. This further reduced the gap between upper and lower hulls, now being at 16 LDU (2 plates thickness).

 

EDIT: the underside hull is attached and it's quite good. I lowered also the ventral bay by 8 LDU (1 plate) to add more details. What remains is all the boring stuff now: side greebles.

> Since I don't have much space I think I am just gonna align like 30 hinge brick top plates (3938).

 

Once done, one last bricklink order and I should be able to complete this.

The land on the corner of Gang Gang Street and Lurline Street which is occupied by the Metropole and its carpark, was first developed by the Rev. Charles Baber after the sub-division of the Neale estate in the 1880s. The original purchaser of lot 1 in 1883 was William Sharpe, who soon sold it to the rector of All Saints Anglican church at Petersham, an inner suburb of Sydney. Baber soon built a substantial single-storied cottage with verandahs on the Lurline Street frontage. The house had a cleared and levelled garden area, suitable for a croquet lawn, extending north to Gang Gang Street.

 

Baber’s country retreat was significantly lower than even the east end of the steeply inclined Gang Gang Street and there was almost certainly a retaining wall below the wooden fence on the unmade footpath of the street. All this is shown in some detail as an incidental feature of a photograph of the Carrington taken by Kitch about 1890.

 

Baber’s house was sold early in the twentieth century to Stephen Foster, whose executors leased it to Mrs A.J. Craig, the wife of a well-known real estate agent and local politician. In 1917 the house was purchased by Mr and Mrs Wootton, who had since 1903 operated the original Eldon guesthouse on the site of the present Allawah Flats, 123 Katoomba Street.

 

The Woottons named their Lurline Street home Chelvey: after they sold it in 1924 to Joynton Smith’s Katoomba Theatres it was renamed Cambridge. It is not clear why the former owners, the Woottons, gave to their new home in the 1930s, the former Rocks, the name not Chelvey but Cambridge, when they divided it into a duplex, calling the other half Oxford.

 

Baber’s cottage in Lurline Street had a valuable garden frontage onto Gang Gang Street. When Katoomba Theatres bought the house in 1924, the northern part of the garden was detached and sold separately. This land on Gang Gang Street was acquired by Mrs Godsell by 1932 and, despite the Depression, she soon built the Metropole on this frontage, defined as lots D and E in the Rate Books. The Depression relief work on the roadway and footpath of Gang Gang Street was to Mrs Godsell’s advantage.

 

Mrs Godsell had been running a guesthouse in Katoomba Street called Studleigh, next to St Canice’s Catholic church, since 1924. Studleigh accommodated sixty visitors; the Metropole, opened in 1933, had a similar capacity, but was expanded to house ninety in 1937 when Mrs Godsell bought the three adjacent lots to the west in Gang Gang Street. Lot C was a narrow piece of vacant land but lots A and B contained a garage in the 1920s and 1930s, and previously a plumber’s business and earlier still the local ambulance station.

 

Mrs Godsell had run the Metropole as a temperance hotel. After changing hands several times, it dramatically changed style and clientele in the 1980s: no accommodation was now offered, but several licensed bars were opened on two levels. The small bedrooms on the first floor were amalgamated into some of these bar areas by the removal of walls. By 1989 this usage was proving unsuccessful and the Metropole was bought by the Assanti family, who recreated a guesthouse.

 

The building to the west on lots A and B acquired in 1937 was sold by the Assantis to the community radio station and a Day and Evening College.

 

The site of Baber’s original cottage had been owned since 1924 by Katoomba Theatres, the proprietors of the casino and palais de danse now known as the Savoy. This was convenient, since part of the Savoy backs onto the cottage site. The cottage was not demolished until the 1930s. The vacant site was probably then used as parking for the Katoomba Street entertainment centre, which still owned the land in 1946.

 

At some subsequent date it was sold to the Metropole, which also uses it as a carpark. There are likely to be archaeological remains of Baber’s cottage under the tarmac, as the site has never been built upon since the cottage was removed.

 

The date of the stone walling for the carpark on Lurline Street is not known, but it almost certainly dates from the carpark period, from the 1930s onwards. The wall is quite different from the earlier walling further down Lurline Street which has been classified as a serial heritage item.

 

Source: New South Wales Heritage Register.

The most beautiful women in TV and Movie History now become Barbie Collector Dolls created by acclaimed re-paint Artist Donna Brinkley.

 

Farrah Leni Fawcett is known as the world's Sexiest Star of all time... she will forever be one of Hollywood's greatest Icons. She was born in Corpus Christi, Texas, the younger of two daughters.[3] Her mother, Pauline Alice January 30, 1914 – March 4, 2005), was a homemaker, and her father, James William Fawcett (October 14, 1917 – August 23, 2010), was an oil field contractor. Her sister was Diane Fawcett Walls (October 27, 1938 – October 16, 2001), a graphic artist. She was of Irish, French, English, and Choctaw Native American ancestry. Fawcett once said the name Ferrah was made up by her mother because it went well with their last name.

 

A Roman Catholic, Fawcett's early education was at the parish school of the church her family attended, St. Patrick's Roman Catholic Church in Corpus Christi. She graduated from W. B. Ray High School in Corpus Christi, where she was voted Most Beautiful by her classmates her Freshman, Sophomore, Junior and Senior years of High School. For three years, 1965–68, Fawcett attended the University of Texas at Austin, living one semester in Jester Center, and she became a sister of Delta Delta Delta Sorority. During her Freshman year, she was named one of the Ten Most Beautiful Coeds on Campus, the first time a Freshman had been chosen. Their photos were sent to various agencies in Hollywood. David Mirsch, a Hollywood agent called her and urged her to come to Los Angeles. She turned him down but he called her for the next two years. Finally, in 1968, the summer following her junior year, with her parents' permission to try her luck in Hollywood, Farrah moved to Hollywood. She did not return.

 

Upon arriving in Hollywood in 1968 she was signed to a $350 a week contract with Screen Gems. She began to appear in commercials for UltraBrite toothpaste, Noxema, Max Factor, Wella Balsam shampoo and conditioner, Mercury Cougar automobiles and Beauty Rest matresses. Fawcett's earliest acting appearances were guest spots on The Flying Nun and I Dream of Jeannie. She made numerous other TV appearances including Owen Marshall: Counselor at Law, [Mayberry RFD]] and The Partridge Family. She appeared in four episodes of The Six Million Dollar Man with husband Lee Majors, The Dating Game, S.W.A.T and a recurring role on Harry O alongside David Janssen. She also appeared in the Made for TV movies, The Feminist and the Fuzz, The Great American Beauty Contest, The Girl Who Came Giftwrapped, and Murder of Flight 502.

 

She had a sizable part in the 1969 French romantic-drama, Love Is a Funny Thing. She played opposite Raquel Welch and Mae West in the film version of, Myra Breckinridge (1970). The film earned negative reviews and was a box office flop. However, much has been written and said about the scene where Farrah and Raquel share a bed, and a near sexual experience. Fawcett co-starred with Michael York and Richard Jordan in the well-received science-fiction film, Logan's Run in 1976.

 

In 1976, Pro Arts Inc., pitched the idea of a poster of Fawcett to her agent, and a photo shoot was arranged with photographer Bruce McBroom, who was hired by the poster company. According to friend Nels Van Patten, Fawcett styled her own hair and did her make-up without the aid of a mirror. Her blonde highlights were further heightened by a squeeze of lemon juice. From 40 rolls of film, Fawcett herself selected her six favorite pictures, eventually narrowing her choice to the one that made her famous. The resulting poster, of Fawcett in a one-piece red bathing suit, was a best-seller; sales estimates ranged from over 5 million[12] to 8 million to as high as 12 million copies.

 

On March 21, 1976, the first appearance of Fawcett playing the character Jill Munroe in Charlie's Angels was aired as a movie of the week. Fawcett and her husband were frequent tennis partners of producer Aaron Spelling, and he and his producing partner thought of casting Fawcett as the golden girl Jill because of his friendship with the couple. The movie starred Kate Jackson, Jaclyn Smith and Fawcett (then billed as Farrah Fawcett-Majors) as private investigators for Townsend Associates, a detective agency run by a reclusive multi-millionaire whom the women had never met. Voiced by John Forsythe, the Charles Townsend character presented cases and dispensed advice via a speakerphone to his core team of three female employees, whom he referred to as Angels. They were aided in the office and occasionally in the field by two male associates, played by character actors David Doyle and David Ogden Stiers. The program quickly earned a huge following, leading the network to air it a second time and approve production for a series, with the pilot's principal cast except David Ogden Stiers.

Fawcett's record-breaking poster that sold 12 million copies.

 

The Charlie's Angels series formally debuted on September 22, 1976. Fawcett emerged as a fan favorite in the show, and the actress won a People's Choice Award for Favorite Performer in a New TV Program. In a 1977 interview with TV Guide, Fawcett said: When the show was number three, I thought it was our acting. When we got to be number one, I decided it could only be because none of us wears a bra.

 

Fawcett's appearance in the television show boosted sales of her poster, and she earned far more in royalties from poster sales than from her salary for appearing in Charlie's Angels. Her hairstyle went on to become an international trend, with women sporting a Farrah-do a Farrah-flip, or simply Farrah hair Iterations of her hair style predominated American women's hair styles well into the 1980s.

 

Fawcett left Charlie's Angels after only one season and Cheryl Ladd replaced her on the show, portraying Jill Munroe's younger sister Kris Munroe. Numerous explanations for Fawcett's precipitous withdrawal from the show were offered over the years. The strain on her marriage due to her long absences most days due to filming, as her then-husband Lee Majors was star of an established television show himself, was frequently cited, but Fawcett's ambitions to broaden her acting abilities with opportunities in films have also been given. Fawcett never officially signed her series contract with Spelling due to protracted negotiations over royalties from her image's use in peripheral products, which led to an even more protracted lawsuit filed by Spelling and his company when she quit the show.

 

The show was a major success throughout the world, maintaining its appeal in syndication, spawning a cottage industry of peripheral products, particularly in the show's first three seasons, including several series of bubble gum cards, two sets of fashion dolls, numerous posters, puzzles, and school supplies, novelizations of episodes, toy vans, and a board game, all featuring Fawcett's likeness. The Angels also appeared on the covers of magazines around the world, from countless fan magazines to TV Guide (four times) to Time Magazine.

 

The series ultimately ran for five seasons. As part of a settlement to a lawsuit over her early departure, Fawcett returned for six guest appearances over seasons three and four of the series.

 

In 2004, the television movie Behind the Camera: The Unauthorized Story of Charlie's Angels dramatized the events from the show with supermodel and actress Tricia Helfer portraying Fawcett and Ben Browder portraying Lee Majors, Fawcett's then-husband.

 

In 1983, Fawcett won critical acclaim for her role in the Off-Broadway stage production of the controversial play Extremities, written by William Mastrosimone. Replacing Susan Sarandon, she was a would-be rape victim who turns the tables on her attacker. She described the role as the most grueling, the most intense, the most physically demanding and emotionally exhausting of her career. During one performance, a stalker in the audience disrupted the show by asking Fawcett if she had received the photos and letters he had mailed her. Police removed the man and were able only to issue a summons for disorderly conduct.

 

The following year, her role as a battered wife in the fact-based television movie The Burning Bed (1984) earned her the first of her four Emmy Award nominations. The project is noted as being the first television movie to provide a nationwide 800 number that offered help for others in the situation, in this case victims of domestic abuse. It was the highest-rated television movie of the season.

 

In 1986, Fawcett appeared in the movie version of Extremities, which was also well received by critics, and for which she received a Golden Globe nomination for Best Performance by an Actress in a Motion Picture – Drama.

 

She appeared in Jon Avnet's Between Two Women with Colleen Dewhurst, and took several more dramatic roles as infamous or renowned women. She was nominated for Golden Globe awards for roles as Beate Klarsfeld in Nazi Hunter: The Beate Klarsfeld Story and troubled Woolworth heiress Barbara Hutton in Poor Little Rich Girl: The Barbara Hutton Story, and won a CableACE Award for her 1989 portrayal of groundbreaking LIFE magazine photojournalist Margaret Bourke-White in Double Exposure: The Story of Margaret Bourke-White. Her 1989 portrayal of convicted murderer Diane Downs in the miniseries Small Sacrifices earned her a second Emmy nomination[20] and her sixth Golden Globe Award nomination. The miniseries won a Peabody Award for excellence in television, with Fawcett's performance singled out by the organization, which stated Ms. Fawcett brings a sense of realism rarely seen in television miniseries (to) a drama of unusual power Art meets life.

 

Fawcett, who had steadfastly resisted appearing nude in magazines throughout the 1970s and 1980s (although she appeared topless in the 1980 film Saturn 3), caused a major stir by posing semi-nude in the December 1995 issue of Playboy.[citation needed] At the age of 50, she returned to Playboy with a pictorial for the July 1997 issue, which also became a top seller. The issue and its accompanying video featured Fawcett painting on canvas using her body, which had been an ambition of hers for years.

 

That same year, Fawcett was chosen by Robert Duvall to play his wife in an independent feature film he was producing, The Apostle. Fawcett received an Independent Spirit Award nomination as Best Actress for the film, which was highly critically acclaimed.

 

In 2000, she worked with director Robert Altman and an all-star cast in the feature film Dr. T the Women, playing the wife of Richard Gere (her character has a mental breakdown, leading to her first fully nude appearance). Also that year, Fawcett's collaboration with sculptor Keith Edmier was exhibited at the Los Angeles County Museum of Art, later traveling to The Andy Warhol Museum. The sculpture was also presented in a series of photographs and a book by Rizzoli.

 

In November 2003, Fawcett prepared for her return to Broadway in a production of Bobbi Boland, the tragicomic tale of a former Miss Florida. However, the show never officially opened, closing before preview performances. Fawcett was described as vibrating with frustration at the producer's extraordinary decision to cancel the production. Only days earlier the same producer closed an Off-Broadway show she had been backing.

 

Fawcett continued to work in television, with well-regarded appearances in made-for-television movies and on popular television series including Ally McBeal and four episodes each of Spin City and The Guardian, her work on the latter show earning her a third Emmy nomination in 2004.

 

Fawcett was married to Lee Majors, star of television's The Six Million Dollar Man, from 1973 to 1982, although the couple separated in 1979. During her marriage, she was known and credited in her roles as Farrah Fawcett-Majors.

 

From 1979 until 1997 Fawcett was involved romantically with actor Ryan O'Neal. The relationship produced a son, Redmond James Fawcett O'Neal, born January 30, 1985 in Los Angeles.[26] In April 2009, on probation for driving under the influence, Redmond was arrested for possession of narcotics while Fawcett was in the hospital.[citation needed] On June 22, 2009, The Los Angeles Times and Reuters reported that Ryan O'Neal had said that Fawcett had agreed to marry him as soon as she felt strong enough.

 

From 1997 to 1998, Fawcett had a relationship with Canadian filmmaker James Orr, writer and producer of the Disney feature film in which she co-starred with Chevy Chase and Jonathan Taylor Thomas, Man of the House. The relationship ended when Orr was charged with and later convicted of beating Fawcett during a 1998 fight between the two.

 

On June 5, 1997, Fawcett received negative commentary after giving a rambling interview and appearing distracted on Late Show with David Letterman. Months later, she told the host of The Howard Stern Show her behavior was just her way of joking around with the television host, partly in the guise of promoting her Playboy pictoral and video, explaining what appeared to be random looks across the theater was just her looking and reacting to fans in the audience. Though the Letterman appearance spawned speculation and several jokes at her expense, she returned to the show a week later, with success, and several years later, after Joaquin Phoenix's mumbling act on a February 2009 appearance on The Late Show, Letterman wrapped up the interview by saying, I'm sorry you couldn't be here tonight and recalled Fawcett's earlier appearance by noting we owe an apology to Farrah Fawcett.

 

Fawcett's elder sister, Diane Fawcett Walls, died from lung cancer just before her 63rd birthday, on October 16, 2001.[33] The fifth episode of her 2005 Chasing Farrah series followed the actress home to Texas to visit with her father, James, and mother, Pauline. Pauline Fawcett died soon after, on March 4, 2005, at the age of 91.

 

Fawcett was diagnosed with anal cancer in 2006, and began treatment, including chemotherapy and surgery. Four months later, on her 60th birthday, the Associated Press wire service reported that Fawcett was, at that point, cancer free.

 

Less than four months later, in May 2007, Fawcett brought a small digital video camera to document a doctor's office visit. There, she was told a malignant polyp was found where she had been treated for the initial cancer. Doctors contemplated whether to implant a radiation seeder (which differs from conventional radiation and is used to treat other types of cancer). Fawcett's U.S. doctors told her that she would require a colostomy. Instead, Fawcett traveled to Germany for treatments described variously in the press as holistic aggressive and alternative. There, Dr. Ursula Jacob prescribed a treatment including surgery to remove the anal tumor, and a course of perfusion and embolization for her liver cancer by Doctors Claus Kiehling and Thomas Vogl in Germany, and chemotherapy back in Fawcett's home town of Los Angeles. Although initially the tumors were regressing, their reappearance a few months later necessitated a new course, this time including laser ablation therapy and chemoembolization. Aided by friend Alana Stewart, Fawcett documented her battle with the disease.

 

In early April 2009, Fawcett, back in the United States, was hospitalized, with media reports declaring her unconscious and in critical condition, although subsequent reports indicated her condition was not so dire. On April 6, the Associated Press reported that her cancer had metastasized to her liver, a development Fawcett had learned of in May 2007 and which her subsequent treatments in Germany had targeted. The report denied that she was unconscious, and explained that the hospitalization was due not to her cancer but a painful abdominal hematoma that had been the result of a minor procedure. Her spokesperson emphasized she was not at death's door adding - She remains in good spirits with her usual sense of humor ... She's been in great shape her whole life and has an incredible resolve and an incredible resilience. Fawcett was released from the hospital on April 9, picked up by longtime companion O'Neal, and, according to her doctor, was walking and in great spirits and looking forward to celebrating Easter at home.

 

A month later, on May 7, Fawcett was reported as critically ill, with Ryan O'Neal quoted as saying she now spends her days at home, on an IV, often asleep. The Los Angeles Times reported Fawcett was in the last stages of her cancer and had the chance to see her son Redmond in April 2009, although shackled and under supervision, as he was then incarcerated. Her 91-year-old father, James Fawcett, flew out to Los Angeles to visit.

 

The cancer specialist that was treating Fawcett in L.A., Dr. Lawrence Piro, and Fawcett's friend and Angels co-star Kate Jackson – a breast cancer survivor – appeared together on The Today Show dispelling tabloid-fueled rumors, including suggestions Fawcett had ever been in a coma, had ever reached 86 pounds, and had ever given up her fight against the disease or lost the will to live. Jackson decried such fabrications, saying they really do hurt a human being and a person like Farrah. Piro recalled when it became necessary for Fawcett to undergo treatments that would cause her to lose her hair, acknowledging Farrah probably has the most famous hair in the world but also that it is not a trivial matter for any cancer patient, whose hair affects [one's] whole sense of who [they] are. Of the documentary, Jackson averred Fawcett didn't do this to show that 'she' is unique, she did it to show that we are all unique ... This was ... meant to be a gift to others to help and inspire them.

 

The two-hour documentary Farrah's Story, which was filmed by Fawcett and friend Alana Stewart, aired on NBC on May 15, 2009.[47] The documentary was watched by nearly nine million people at its premiere airing, and it was re-aired on the broadcast network's cable stations MSNBC, Bravo and Oxygen. Fawcett earned her fourth Emmy nomination posthumously on July 16, 2009, as producer of Farrah's Story.

 

Controversy surrounded the aired version of the documentary, with her initial producing partner, who had worked with her four years earlier on her reality series Chasing Farrah, alleging O'Neal's and Stewart's editing of the program was not in keeping with Fawcett's wishes to more thoroughly explore rare types of cancers such as her own and alternative methods of treatment. He was especially critical of scenes showing Fawcett's son visiting her for the last time, in shackles, while she was nearly unconscious in bed. Fawcett had generally kept her son out of the media, and his appearances were minimal in Chasing Farrah.

 

Fawcett died at approximately 9:28 am, PDT on June 25, 2009, in the intensive care unit of Saint John's Health Center in Santa Monica, California, with O'Neal and Stewart by her side. A private funeral was held in Los Angeles on June 30. Fawcett's son Redmond was permitted to leave his California detention center to attend his mother's funeral, where he gave the first reading.

 

The night of her death, ABC aired an hour-long special episode of 20/20 featuring clips from several of Barbara Walters' past interviews with Fawcett as well as new interviews with Ryan O'Neal, Jaclyn Smith, Alana Stewart, and Dr. Lawrence Piro. Walters followed up on the story on Friday's episode of 20/20. CNN's Larry King Live planned a show exclusively about Fawcett that evening until the death of Michael Jackson several hours later caused the program to shift to cover both stories. Cher, a longtime friend of Fawcett, and Suzanne de Passe, executive producer of Fawcett's Small Sacrifices mini-series, both paid tribute to Fawcett on the program. NBC aired a Dateline NBC special Farrah Fawcett: The Life and Death of an Angel; the following evening, June 26, preceded by a rebroadcast of Farrah's Story in prime time. That weekend and the following week, television tributes continued. MSNBC aired back-to-back episodes of its Headliners and Legends episodes featuring Fawcett and Jackson. TV Land aired a mini-marathon of Charlie's Angels and Chasing Farrah episodes. E! aired Michael and Farrah: Lost Icons and the The Biography Channel aired Bio Remembers: Farrah Fawcett. The documentary Farrah's Story re-aired on the Oxygen Network and MSNBC.

 

Larry King said of the Fawcett phenomenon,

TV had much more impact back in the '70s than it does today. Charlie's Angels got huge numbers every week – nothing really dominates the television landscape like that today. Maybe American Idol comes close, but now there are so many channels and so many more shows it's hard for anything to get the audience, or amount of attention, that Charlie's Angels got. Farrah was a major TV star when the medium was clearly dominant.

 

Playboy founder Hugh Hefner said Farrah was one of the iconic beauties of our time. Her girl-next-door charm combined with stunning looks made her a star on film, TV and the printed page.

 

Kate Jackson said,

She was a selfless person who loved her family and friends with all her heart, and what a big heart it was. Farrah showed immense courage and grace throughout her illness and was an inspiration to those around her... I will remember her kindness, her cutting dry wit and, of course, her beautiful smile...when you think of Farrah, remember her smiling because that is exactly how she wanted to be remembered: smiling.

 

She is buried at the Westwood Village Memorial Park in Los Angeles.

 

The red one-piece bathing suit worn by Farrah in her famous 1976 poster was donated to the Smithsonian's National Museum of American History (NMAH) on February 2, 2011.[65] Said to have been purchased at a Saks Fifth Avenue store, the red Lycra suit made by the leading Australian swimsuit company Speedo, was donated to the Smithsonian by her executors and was formally presented to NMAH in Washington D.C. by her longtime companion Ryan O'Neal.[66] The suit and the poster are expected to go on temporary display sometime in 2011–12. They will be made additions to the Smithsonian's popular culture department.

 

The famous poster of Farrah in a red swimsuit has been produced as a Barbie doll. The limited edition dolls, complete with a gold chain and the girl-next-door locks, have been snapped up by Barbie fans.

 

In 2011, Men's Health named her one of the 100 Hottest Women of All-Time ranking her at No. 31

Okay, I think I finally have a decent 2-inch Star Destroyer to go with my 22-inch Super Star Destroyer Executor! It's not the prettiest Star Destroyer in the world, but it's just the right size and the bow comes to a nice point.

Ancient Trees (11th Century) @ Ripley Castle,England,UK

 

THE DEER PARK CONTAINS SEVERAL MAGNIFICENT TREES. SOME HAVE PROBABLY BEEN HERE SINCE THE 11TH CENTURY. CERTAINLY THESE OAKTREES MUST BE VERY OLD TO ACHIEVE A GIRTH OF 28.5'.

 

The Ingilby family celebrates 700 years at Ripley CastleThe Ingleby family can trace its history back to 1090, when Sir Robert Ingleby owned land in the village of Ingleby, near Saxelby, Lincs. Another branch of the family had extensive lands in and around Ingleby Greenhow and Ingleby Mill in North Yorkshire. When Sir Thomas Ingleby (c1290-1352) married the heiress Edeline Thwenge in 1308/9 she came with a very substantial dowry: Ripley Castle and its surrounding estates. Like most wedding presents, it has taken the family several generations to work out what to do with it! Life was far from easy: in 1318 the Scots, under Sir James ‘Black’ Douglas, plundered the region mercilessly, destroying 140 of the 160 houses in nearby Knaresborough. In the following year a bovine plague killed almost all of the cattle in the region, leaving thousands destitute and milk in short supply. In 1349 the Black Death struck, wiping out almost half of the local population and leaving numerous hamlets bereft of people.

 

The old village of Ripley was abandoned and the survivors built a new settlement on the site of the current village, on the doorstep of the castle. Sir Thomas was in great favour at the king’s court in London and was appointed as an Advocate in 1347. In 1351 he was appointed as a Justice of Assize. He died the following year and a magnificent tombchest in All Saint’s Church, Ripley, has the figures of Thomas and Edeline lying recumbent on the top, he in his armour and chain mail, she in a long robe and head dress. His oldest son, also called Thomas (1310-1369) also married well: Katherine Mauleverer was descended from Aelfwine, an Anglian of proud descent and one of the largest landowners in the North of England. He followed his father into the royal court, and accompanied Edward III on a hunting trip to the royal hunting forest of Knaresborough in 1357. The king found a wild boar and threw his spear at it, but only injured it. The boar charged the king’s horse, and the king was thrown to the ground. Thomas killed the boar, saving the king’s life. He was knighted, granted the boar’s head emblem as his family crest, and granted the right to hold a weekly market and annual horse fair in Ripley – both continued to be held until the early 1900’s. He was appointed as a justice of the King’s Bench in 1361, the only judge to hold that position apart from the Chief Justice. He could claim £40 pa for expenses, and a further £20pa for holding assizes in different counties.

 

Thomas’s brother, Sir Henry Ingleby, enjoyed an equally notable career. Rector of several parishes, he was appointed Master of the Rolls and Keeper of the Writs, serving under the Lord Chancellor William Edington: he had an office in the Tower of London and paid 40 shillings a year for the privilege of collecting the wool tax from the monasteries. He also oversaw the network of royal horse dealers who bought horses for the royal household, then sold them at a profit: the proceeds were used to build Windsor Castle. He died in 1375 and was buried in York Minster.

 

Sir John Ingleby (1434-1499) inherited the estate from his father at the age of five: his trustees had to testify to his correct date of birth in order to get the estates out of trust when he came of age. Their testimony paints a remarkable picture of an average day in the life of 15th century England. ‘Ralph Acclom remembers John’s birth because he was staying with John, Abbot of Fountains Abbey and rode across with him to baptize the baby. Ralph Apilton remembered John’s birth because he killed a deer between Ripley and Hampsthwaite. Robert Atkinson remembered the date because he rode with John Slingsby from Ripley to Sherburn and was robbed and beaten up, losing 28s and 8d.’John built the castle gatehouse – still there today – and married a wealthy heiress, Margery Strangeways of Harlsey Castle. She bore him a son and heir, William. In 1457 John abandoned his wife, son estates and earthly possessions to become a monk at Mount Grace Priory a Carthusian charterhouse near Northallerton which had been founded by his great grandfather – and was the last resting place for his parents.

 

He was appointed prior of Sheen in 1477 and first visitor of the English province between 1478 and 1496. The royal family worshipped at Sheen and John became the first of three executors for Queen Elizabeth, wife of Edward IV, in 1492. He was Henry VII’s special ambassador to Pope Innocent VIII, the king describing him as ‘my captain and envoy’ in one of the letters that John delivered to the Pope. Henry appointed him to oversee the conversion of priory at Sheen into the royal palace of Richmond between 1495 and 1499, and the Pope appointed him bishop of Llandaff on 27th June, 1496. He was buried at the church of St Nicholas in Hertford. His luckless wife, Margery, effectively became a widow when he took holy orders: she spent eleven years raising her son before marrying Richard, Lord Welles. Her luck was no better second time round: Edward IV reneged on a promise of safe keeping and had her husband beheaded in 1469, less than a year after their marriage.Sir William Ingleby (1518-1578) married the staunchly Catholic Ann Mallory and lived through a period of profound religious turbulence. When Henry VIII suppressed the smaller monasteries in 1536, Yorkshire’s old established Catholic families rose in revolt: the Pilgrimage of Grace was a populist and peaceful revolt that received such widespread support throughout the North that the king, heavily outnumbered, was forced to sue for peace. Reneging on a promise of safe keeping, Henry had the organizer, Robert Aske, arrested and put to death: 200 of his fellow pilgrims shared his fate. William received a reward for his staunch loyalty to the crown: Queen Mary wrote ‘For the opinion I have conceived of Sir William Ingleby…I have appointed him Treasurer of Berwick’. The Rising of the North in 1568 was potentially even more serious. The rebels set out from nearby Markenfield Hall and mustered an army that far outnumbered the king’s resources. Sir William, as High Sheriff of York, was obliged to muster additional troops but while doing so was surrounded in Ripon market square, by a group of rebels amongst whom were two of his sons, David and Francis. He had to fight his way out and, deciding that Ripley Castle was too weak to defend, took refuge in the duchy of Lancaster’s Knaresborough Castle until the troops under his command were strong enough to defeat the rebels. The earl of Sussex wrote to

 

William Cecil ‘Sir William Ingleby has served the Queen as truly and as chargeably from the first suspicion of this rebellion, as any man of his rank has done. He has delivered to me, from time to time, better intelligence than I have received from any others. He be such that her majesty may rest assured of his honesty and loyalty’. The rebellion was crushed: David and Francis fled into exile but Sir William’s own son in law,

 

Thomas Markenfield, was executed. Francis Ingleby (1550-1586) studied at Brasenose College, Oxford and read law at the Inner Temple. In 1583, having received a heavenly visitation while staying at Ripley, he emigrated to Reims and became ordained a Catholic seminary priest, returning to England in 1585. There are remarkable parallels with today: a native Englishman, passionately supporting a minority religion, goes abroad to receive militant training in his faith. He returns intent on spreading the word and overthrowing the established religion and government.

 

Francis was hung, drawn and quartered on York Knavesmire in 1586 and beatified by the Pope in 1987. His brother David (1547-1600) became known as ‘the Fox’ for his ability to outrun his pursuers. He was the man who guided the seminary priests around the North of England, leading them from one safe house to another. He married Lady Ann Neville, daughter of the exiled earl of Westmoreland – and another staunch Catholic. David was heavily implicated as a co-conspirator of John Ballard in the Babington treason, a conspiracy to remove Elizabeth I from the throne and replace her with Mary, Queen of Scots. He and Francis were described as ‘the most dangerous papists in the North’. A huge manhunt was launched to find them: a secret priest’s hiding hole, built to conceal them and other visiting priests while they were at Ripley, was only discovered by accident in 1964. A set of instructions written out for a spy being sent to the royal court in Scotland listed numerous things that the spy should and should not do: it ended with a very simple warning ‘ beware of David Ingleby’. David died in exile in Belgium: Elizabeth I, taking pity on his by now

impoverished widow, awarded her a pension provided she behaved herself. Their cousin Mary Ward spent several of her formative years staying with the Inglebys. In 1609 she founded a Catholic Society for Women, modeled on the Society of Jesus. They founded schools and taught in them, and the nuns were strongly encouraged to work in the community. Pope Urban VIII suppressed the order and it wasn’t until 1877 that her society was fully restored with papal blessing. The Bar Convent in York – which she founded - was the first teaching convent in the world. Sir William Ingleby (1546 - 1618) hosted a visit by James VI of Scotland en route to the king’s coronation as James I of England in 1603. Within two years William was heavily implicated in a plot to kill the king his family and hundreds of MP’s. The Ingilbys were related to or closely associated with, nine of the eleven principal conspirators of the infamous Gunpowder Plot. The mother of Robert and Thomas Wyntour, two of the leading conspirators, was an Ingleby. They had spent the week before the plot was unearthed at Ripley, buying horses from the surrounding district. Sir William and his son were arrested and charged with treason, but were, surprisingly, acquitted of all the charges. The third charge was that of bribing witnesses.

 

Sir William Ingleby (1594-1652) supported Charles I throughout the civil war, raising a troop of horse to fight under the generalship of Prince Rupert of the Rhine. He fought at the battle of Marston Moor, alongside his redoubtable sister, ‘Trooper’ Jane Ingleby, and somehow managed to escape the bloody rout that saw the king’s northern armies defeated for good. He made the safety of Ripley, but was his arrival was followed almost immediately by that of the victorious rebel general, Oliver Cromwell. Sir William leapt into the priest’s secret hiding place, leaving his sister to look after Cromwell. She at first refused to let him into the castle, swearing that she would defend it against all comers. After some negotiation, he was allowed to enter and spend the night there, guarded at pistol point by Jane, to prevent him from searching the castle for her brother. Cromwell, stunned at being held at gunpoint by a woman having just won the greatest victory of his career, did nothing and she saw him off the premises the following morning.

 

Sir William’s son, also called William (1620-1682) was deeply religious – and a closet ‘rebel’. He managed to get the family’s entire fortune captured by the rebels and his father, believing him to have done it on purpose, wrote him a blistering letter, threatening to disinherit him. The letter, signed ‘your loving father’, can be seen at the castle today.

 

William junior was not good looking: his portraits confirm that. In 1659 he employed a dating agent, a Mr E Pitt, to find him a wife, and again we have the correspondence: the mission was successful.Sir John Ingilby (1757 – 1835) married Elizabeth Amcotts, a Lincolnshire heiress. His father in law promised him funds to help the young couple rebuild the castle. Sir John had a row with his father in law half way through the project, and ended up so heavily in debt that he had to flee the country for eleven years while his land agent sold timber to pay off his debts. While he and his wife were abroad their oldest son died at the age of 18, and they were hustled from one European city to another as the Napoleonic wars consumed the continent. A bundle of frequently harrowing letters, written to his agent while he was in exile, survives. By the time he returned, his marriage was over: having had 11 children by his wife, he had a further 5 by Martha Webster, daughter of a local tenant farmer.

 

One son, Edward Webster, had problems involving a gamekeeper’s daughter near Skipton and was placed on board the RM Reynolds at Ramsgate with £200 and a supply of clean shirts: his stepbrother was ordered to remain on the dockside to ensure that he didn’t leave the vessel before it set sail for Sydney. This proved to be a life-changing experience and he and his successors thrived Down Under: Robert Webster was the minister of state for the Olympics in the NSW state government when Sydney won the bid for the games.

 

Sir John’s son Sir William Amcotts Ingilby (1783-1854) was the product of a broken home, and a great eccentric. He was a drinker, gambler and general reprobate: he became an MP, as many such people do. He was a leading Whig, and an outspoken supporter of the reform Act of 1832. His dress sense was spectacularly awful ‘’As to your friend, Sir William Ingilby I am told by a lady who saw him and absolutely took fright at it, that this eccentric baronet walks about Ripley and Ripon too, in his dressing gown, without smalls or loincloth on. The absence of the former was luckily disguised by the wrap of the gown, and is alleged on hearsay: but the naked throat, shirt collar displayed a la Milord Byron, had a striking effect, and produced the scarecrow impression.’ Believing that his tenants and workforce should be well housed in this age of industrial revolution, Sir William demolished the entire village of Ripley and rebuilt it as a model estate village, copying an idea that he had observed in Alsace Lorraine. Instead of a Town Hall, Ripley has a magnificent ‘Hotel de Ville’ – certainly the only one of its kind in England! He died without heir and left the estate to his cousin Henry, telling him that he was doing so because ‘ I don’t believe that you are any longer the canting hypocrite I took you for’. Sir William Ingilby (1829-1918) was a somewhat dictatorial Landlord. He disapproved of alcoholic drink being served on the Sabbath day and closed down the three pubs in the village when the Landlords refused to close on Sundays. The village remained dry for 71 years until the Boar’s Head opened in 1989. When a child ran out of the front door of one of the village houses and startled his horse, causing him to be deposited on the ground in the middle of the Main Street, he prevented further embarrassment by imposing an edict that the villagers should not use their front doors.

 

Having survived several plagues, invasions, civil wars, wars, religious turbulence, a plot to commit regicide, numerous periods of deep recession and everything else that has befallen this country in the last seven hundred years, the Ingilbys can justifiably breathe a sigh of relief that they have arrived safely at this astonishing landmark. Theirs is a story of how one family has been tossed around in the choppy waters of England’s stormy history – and somehow survived, despite being on the losing side more often than not. The history of the Ingilbys is a microcosm of the history of England and features a cast of extraordinarily brave, foolish, eccentric and courageous characters, black sheep and white. They have gone from high office in the court of kings and queens to running a wedding and conference venue and hotel, but they are still at Ripley and the story continues as they steer their family and business through these challenging times. Sir Thomas and Lady Ingilby have four sons and a daughter. A more detailed history of the family, complete with family trees not just of the Ingilby family but various families that became related to the Ingilbys by marriage over the centuries

This property represents three eras of African American residence and commerce in Virginia City, from 1867 through 1931. Beginning with Minerva Coggswell and later her sister Parthenia Sneed, continuing with Jack Taylor’s tenure, and ending with Sarah Bickford’s ownership, the history of the property intertwines with not only the rise and fall of the mining town itself, but more particularly the legacy of the African American presence there. The histories of these owners provide a narrative of “personal achievements and social integration of this largely under-represented group of pioneers on Virginia City’s mining frontier.”

 

​Between 1870 and 1880, Virginia City’s African American population was small compared to other minorities such as the Chinese. African American freighter Jack “Jarrett” Taylor was in town as early as 1866, Sarah Bickford arrived in January 1871, and Minerva Coggswell came sometime in the 1870’s.

 

Born in the 1840’s in Kentucky, Jack or “Jarrett” Taylor resided in Virginia City from 1866 until his death in 1926. After serving as a Union Army stable hand, Taylor made his way to Virginia City by working for a freighting company. He continued freighting on the vital Virginia city-Fort Benton road for the F.R. Merk Company, formerly located in what is now the Pioneer Bar on Wallace Street. Taylor eventually became a successful real estate entrepreneur and by 1875, he owned 160 acres in the Madison Valley. In 1880 Taylor was boarding with African American sisters Minerva Coggswell and Parthenia Sneed. Shortly after Minerva’s death in 1894, Taylor purchased this house from her estate. Sarah Bickford, a prominent local African American businesswoman, cared for Taylor in his final years and served as the executor of his estate.

 

Sarah Bickford was born a slave in 1852 in North Carolina or Tennessee. Sarah made her way to Virginia City and in 1872 married John L. Brown whom she had three children with. In 1879, Brown abandoned Sarah and their only surviving child, Eva. Sarah soon filed for divorce, stating that John was physically abusive and unwilling to support his family. Bickford then started the New City Bakery & Restaurant in downtown Virginia City. In 1883, Sarah married Stephen Bickford, a white man originally from Maine, prior to Montana’s 1909 miscegenation law prohibiting interracial marriage. In 1888, Stephen purchased two-thirds of the Virginia City Water Company. Stephen died in 1900 from pneumonia leaving Sarah his shares of the water company in his $9,500 estate. In 1902, Sarah purchased the “Hangman’s Building” as the water company’s headquarters. She ultimately bought out her partner in the water company, running the business until her death in July 1931. Sarah Bickford would become an iconic Montana businesswoman for being the first and only African American woman in Montana to own a utility.

 

​The integration of Taylor, Bickford, and other African Americans in the community suggest better race relations in Virginia City than other parts of the country.

03JUN2023 update: new bridge design, final 3d prototype

 

Just adding some dark bluish grey so it's less monochrome, changed the side greebles to something less lazy (hoping that this will narrow slightly the gap between upper and lower hulls).

 

If it works well i'll release the new buildings instructions

Elvis Aaron Presley[a] (January 8, 1935 – August 16, 1977), often referred to mononymously as Elvis, was an American singer and actor. Dubbed the "King of Rock and Roll", he is regarded as one of the most significant cultural figures of the 20th century. His energized interpretations of songs and sexually provocative performance style, combined with a singularly potent mix of influences across color lines during a transformative era in race relations, led him to both great success and initial controversy.

 

Presley was born in Tupelo, Mississippi, and relocated to Memphis, Tennessee, with his family when he was 13 years old. His music career began there in 1954, recording at Sun Records with producer Sam Phillips, who wanted to bring the sound of African-American music to a wider audience. Presley, on rhythm acoustic guitar, and accompanied by lead guitarist Scotty Moore and bassist Bill Black, was a pioneer of rockabilly, an uptempo, backbeat-driven fusion of country music and rhythm and blues. In 1955, drummer D. J. Fontana joined to complete the lineup of Presley's classic quartet and RCA Victor acquired his contract in a deal arranged by Colonel Tom Parker, who would manage him for more than two decades. Presley's first RCA Victor single, "Heartbreak Hotel", was released in January 1956 and became a number-one hit in the United States. Within a year, RCA would sell ten million Presley singles. With a series of successful network television appearances and chart-topping records, Presley became the leading figure of the newly popular sound of rock and roll; though his performative style and promotion of the then-marginalized sound of African Americans[6] led to him being widely considered a threat to the moral well-being of the White American youth.

 

In November 1956, Presley made his film debut in Love Me Tender. Drafted into military service in 1958, Presley relaunched his recording career two years later with some of his most commercially successful work. He held few concerts, however, and guided by Parker, proceeded to devote much of the 1960s to making Hollywood films and soundtrack albums, most of them critically derided. Some of his most famous films included Jailhouse Rock (1957), Blue Hawaii (1961), and Viva Las Vegas (1964). In 1968, following a seven-year break from live performances, he returned to the stage in the acclaimed television comeback special Elvis, which led to an extended Las Vegas concert residency and a string of highly profitable tours. In 1973, Presley gave the first concert by a solo artist to be broadcast around the world, Aloha from Hawaii. Years of prescription drug abuse and unhealthy eating habits severely compromised his health, and he died suddenly in 1977 at his Graceland estate at the age of 42.

 

Having sold over 400 million records worldwide, Presley is recognized as the best-selling solo music artist of all time by Guinness World Records. He was commercially successful in many genres, including pop, country, rhythm & blues, adult contemporary, and gospel. Presley won three Grammy Awards, received the Grammy Lifetime Achievement Award at age 36, and has been inducted into multiple music halls of fame. He holds several records, including the most RIAA-certified gold and platinum albums, the most albums charted on the Billboard 200, the most number-one albums by a solo artist on the UK Albums Chart, and the most number-one singles by any act on the UK Singles Chart. In 2018, Presley was posthumously awarded the Presidential Medal of Freedom.

 

Elvis Aaron Presley was born on January 8, 1935, in Tupelo, Mississippi, to Vernon Elvis (April 10, 1916 – June 26, 1979) and Gladys Love (née Smith; April 25, 1912 – August 14, 1958) Presley in a two-room shotgun house that his father built for the occasion. Elvis's identical twin brother, Jesse Garon Presley, was delivered 35 minutes before him, stillborn. Presley became close to both parents and formed an especially close bond with his mother. The family attended an Assembly of God church, where he found his initial musical inspiration.

  

A photo of Elvis's parents at the Historic Blue Moon Museum in Verona, Mississippi

Presley's father Vernon was of German, Scottish and English origins. He was a descendant of the Harrison family of Virginia through his ancestor Tunis Hood. Presley's mother Gladys was Scots-Irish with some French Norman ancestry. His mother and the rest of the family believed that her great-great-grandmother, Morning Dove White, was Cherokee. This belief was restated by Elvis's granddaughter Riley Keough in 2017. Elaine Dundy, in her biography, supports the belief.

 

Vernon moved from one odd job to the next, showing little ambition. The family often relied on help from neighbors and government food assistance. In 1938, they lost their home after Vernon was found guilty of altering a check written by his landowner and sometime-employer. He was jailed for eight months, while Gladys and Elvis moved in with relatives.

 

In September 1941, Presley entered first grade at East Tupelo Consolidated, where his teachers regarded him as "average". He was encouraged to enter a singing contest after impressing his schoolteacher with a rendition of Red Foley's country song "Old Shep" during morning prayers. The contest, held at the Mississippi–Alabama Fair and Dairy Show on October 3, 1945, was his first public performance. The ten-year-old Presley stood on a chair to reach the microphone and sang "Old Shep". He recalled placing fifth. A few months later, Presley received his first guitar for his birthday; he had hoped for something else—by different accounts, either a bicycle or a rifle. Over the following year, he received basic guitar lessons from two of his uncles and the new pastor at the family's church. Presley recalled, "I took the guitar, and I watched people, and I learned to play a little bit. But I would never sing in public. I was very shy about it."

 

In September 1946, Presley entered a new school, Milam, for sixth grade; he was regarded as a loner. The following year, he began bringing his guitar to school on a daily basis. He played and sang during lunchtime and was often teased as a "trashy" kid who played hillbilly music. By then, the family was living in a largely black neighborhood. Presley was a devotee of Mississippi Slim's show on the Tupelo radio station WELO. He was described as "crazy about music" by Slim's younger brother, who was one of Presley's classmates and often took him into the station. Slim supplemented Presley's guitar instruction by demonstrating chord techniques. When his protégé was 12 years old, Slim scheduled him for two on-air performances. Presley was overcome by stage fright the first time, but succeeded in performing the following week.

 

In November 1948, the family moved to Memphis, Tennessee. After residing for nearly a year in rooming houses, they were granted a two-bedroom apartment in the public housing complex known as the Lauderdale Courts. Enrolled at L. C. Humes High School, Presley received only a C in music in eighth grade. When his music teacher told him that he had no aptitude for singing, he brought in his guitar the next day and sang a recent hit, "Keep Them Cold Icy Fingers Off Me", to prove otherwise. A classmate later recalled that the teacher "agreed that Elvis was right when he said that she didn't appreciate his kind of singing". He was usually too shy to perform openly and was occasionally bullied by classmates who viewed him as a "mama's boy".

 

In 1950, he began practicing guitar regularly under the tutelage of Lee Denson, a neighbor two and a half years his senior. They and three other boys—including two future rockabilly pioneers, brothers Dorsey and Johnny Burnette—formed a loose musical collective that played frequently around the Courts. That September, he began working as an usher at Loew's State Theater. Other jobs followed at Precision Tool, Loew's again, and MARL Metal Products. Presley also helped Jewish neighbors, the Fruchters, by being their shabbos goy.

 

During his junior year, Presley began to stand out more among his classmates, largely because of his appearance: he grew his sideburns and styled his hair with rose oil and Vaseline. In his free time, he would head down to Beale Street, the heart of Memphis's thriving blues scene, and gaze longingly at the wild, flashy clothes in the windows of Lansky Brothers. By his senior year, he was wearing those clothes. Overcoming his reticence about performing outside the Lauderdale Courts, he competed in Humes' Annual "Minstrel" show in April 1953. Singing and playing guitar, he opened with "Till I Waltz Again with You", a recent hit for Teresa Brewer. Presley recalled that the performance did much for his reputation: "I wasn't popular in school ... I failed music—only thing I ever failed. And then they entered me in this talent show ... when I came onstage I heard people kind of rumbling and whispering and so forth, 'cause nobody knew I even sang. It was amazing how popular I became in school after that."

 

Presley, who received no formal music training and could not read music, studied and played by ear. He also frequented record stores that provided jukeboxes and listening booths to customers. He knew all of Hank Snow's songs, and he loved records by other country singers such as Roy Acuff, Ernest Tubb, Ted Daffan, Jimmie Rodgers, Jimmie Davis, and Bob Wills. The Southern gospel singer Jake Hess, one of his favorite performers, was a significant influence on his ballad-singing style. He was a regular audience member at the monthly All-Night Singings downtown, where many of the white gospel groups that performed reflected the influence of African-American spiritual music. He adored the music of black gospel singer Sister Rosetta Tharpe.

 

Like some of his peers, he may have attended blues venues—of necessity, in the segregated South—only on nights designated for exclusively white audiences. He certainly listened to the regional radio stations, such as WDIA-AM, that played "race records": spirituals, blues, and the modern, backbeat-heavy sound of rhythm and blues. Many of his future recordings were inspired by local African-American musicians such as Arthur Crudup and Rufus Thomas. B.B. King recalled that he had known Presley before he was popular when they both used to frequent Beale Street. By the time he graduated from high school in June 1953, Presley had already singled out music as his future.

 

Graceland is a mansion on a 13.8-acre (5.6-hectare) estate in Memphis, Tennessee, United States, which was once owned by the rock and roll singer Elvis Presley. His daughter, Lisa Marie Presley, inherited Graceland after his death in 1977. Following Lisa Marie Presley's death in 2023, the mansion is to be inherited by her daughters. In addition to being the final resting place of Elvis Presley himself, the property contains the graves of his parents, paternal grandmother and grandson, and contains a memorial to Presley's stillborn twin brother. In addition, Lisa Marie Presley will be buried there.

 

Graceland is located at 3764 Elvis Presley Boulevard in the Whitehaven neighborhood, about nine miles (14 kilometers) south of central Memphis and fewer than four miles (6.4 km) north of the Mississippi border.[5] It was opened to the public as a house museum on June 7, 1982. The site was listed in the National Register of Historic Places on November 7, 1991, becoming the first site recognized for significance related to rock music. Graceland was declared a National Historic Landmark on March 27, 2006, also a first for such a site. Graceland attracts more than 650,000 visitors annually.

 

Graceland Farms was originally owned by Stephen C. Toof, founder of S.C. Toof & Co., the oldest commercial printing firm in Memphis. He worked previously as the pressroom foreman of the Memphis newspaper, the Memphis Daily Appeal. The "grounds" (before the mansion was built in 1939) were named after Toof's daughter, Grace. She inherited the farm/property from her father in 1894. After her death, the property was passed to her niece Ruth Moore, a Memphis socialite. Together with her husband, Thomas Moore, Ruth Moore commissioned construction of a 10,266-square-foot (953.7 m2) Colonial Revival style mansion in 1939. The house was designed by architects Furbringer and Ehrman.

 

After Elvis Presley began his musical career, he purchased a $40,000 home for himself and his family at 1034 Audubon Drive in Memphis. As his success and fame grew, especially after his appearances on television, the number of fans who would congregate outside the house multiplied. Presley's neighbors, although happy to have a celebrity living nearby, soon concluded that the constant gathering of fans and journalists was a nuisance.

 

In early 1957, Presley gave his parents, Vernon and Gladys Presley, a budget of $100,000 and asked them to find a "farmhouse"-like property to purchase, with buffer space around it. At the time, Graceland was located in southern Shelby County, several miles south of Memphis' main urban area. In later years, Memphis would expand with residential developments, resulting in Graceland being surrounded by other properties. Presley purchased Graceland on March 19, 1957, for the amount of $102,500.

 

Later that year, Presley invited Richard Williams and singer Buzz Cason to the house. Cason said: "We proceeded to clown around on the front porch, striking our best rock 'n' roll poses and snapping pictures with the little camera. We peeked in the not-yet-curtained windows and got a kick out of the pastel colored walls in the front rooms with shades of bright reds and purples that Elvis most certainly had picked out." Presley was fond of claiming that the US government had mooted a visit to Graceland by Nikita Khrushchev of the Soviet Union, "to see how in America a fellow can start out with nothing and, you know, make good."

 

After Gladys died in 1958 aged 46, Presley's father Vernon remarried to Dee Stanley in 1960, and the couple lived at Graceland for a time. There was some discord between Presley and his stepmother Dee at Graceland, however. Elaine Dundy, who wrote about Presley and his mother, said that

 

"Vernon had settled down with Dee where Gladys had once reigned, while Dee herself – when Elvis was away – had taken over the role of mistress of Graceland so thoroughly as to rearrange the furniture and replace the very curtains that Gladys had approved of." This was too much for the singer, who still loved his late mother deeply. One afternoon, "a van arrived ... and all Dee's household's goods, clothes, 'improvements,' and her own menagerie of pets, were loaded on ... while Vernon, Dee and her three children went by car to a nearby house on Hermitage until they finally settled into a house on Dolan Drive which ran alongside Elvis' estate."

 

According to Mark Crispin Miller, Graceland became for Presley "the home of the organization that was himself, was tended by a large vague clan of Presleys and deputy Presleys, each squandering the vast gratuities which Elvis used to keep his whole world smiling." The author adds that Presley's father Vernon "had a swimming pool in his bedroom", that there "was a jukebox next to the swimming pool, containing Elvis' favorite records", and that the singer himself "would spend hours in his bedroom, watching his property on a closed-circuit television." According to the singer's cousin, Billy Smith, Presley spent the night at Graceland with Smith and his wife Jo many times: "we were all three there talking for hours about everything in the world! Sometimes he would have a bad dream and come looking for me to talk to, and he would actually fall asleep in our bed with us."

 

Priscilla Beaulieu lived at Graceland for five years before she and Presley wed in Las Vegas, Nevada, on May 1, 1967. Their daughter Lisa Marie Presley was born on February 1, 1968, and spent the first years of her life on the estate. After her parents divorced in 1972, her mother moved with the girl to California. Every year around Christmas, Lisa Marie Presley and all her family would go to Graceland to celebrate Christmas together. Lisa Marie often returned to Graceland for visits.

 

When Elvis would tour, staying in hotels, "the rooms would be remodeled in advance of his arrival, so as to make the same configurations of space as he had at home – the Graceland mansion. His furniture would arrive, and he could unwind after his performances in surroundings which were completely familiar and comforting." 'The Jungle Room' was described as being "an example of particularly lurid kitsch."[

 

On August 16, 1977, Presley died aged 42 at Graceland. The official cause of death was cardiac arrhythmia, although later toxicology reports strongly suggested that polypharmacy was the primary cause of death; "fourteen drugs were found in Elvis' system, with several drugs such as codeine in significant quantities. Presley lay in repose in a 900-pound (410 kg), copper-lined coffin just inside the foyer; more than 3,500 of his mourning fans passed by to pay their respects. A private funeral with 200 mourners was held on August 18, 1977, in the house, with the casket placed in front of the stained glass doorway of the music room. Graceland continued to be occupied by members of the family until the death of Presley's aunt Delta in 1993, who had moved in at Elvis's invitation after her husband's death. Elvis's daughter, Lisa Marie Presley, inherited the estate in 1993 when she turned 25.

 

Presley's tombstone, along with those of his parents Gladys and Vernon Presley, and his grandmother Minnie Mae Presley, are installed in the Meditation Garden next to the mansion. They can be visited during the mansion tours or for free before the mansion tours begin. A memorial gravestone for Presley's stillborn twin brother, Jesse Garon, is also at the site.

 

In 2019, the owners of Graceland threatened to leave Memphis unless the city provided tax incentives. The Memphis City Council subsequently voted on a deal to help fund a $100 million expansion of Graceland.

 

Constructed at the top of a hill and surrounded by rolling pastures and a grove of oak trees, Graceland is designed by the Memphis architectural firm, Furbringer and Erhmanis. It's a two-story, five-bay residence in the Colonial Revival style, with a side-facing gabled roof covered in asphalt shingles, a central two-story projecting pedimented portico, and two one-story wings on the north and south sides. Attached to the wing is an additional one-story stuccoed wing, which was originally a garage that houses up to four cars. The mansion has two chimneys; one on the north side's exterior wall, the second rising through the south side's roof ridge. The central block's front and side facades are veneered with tan Tishomingo limestone from Mississippi and its rear wall is stuccoed, as are the one-story wings. The front facade fenestration on the first floor includes 9x9 double-hung windows set in arched openings with wooden panels above, and 6x6 double-hung windows on the second floor.

 

Flanked by two marble lions, four stone steps ascend from the driveway to the two-story central projecting pedimented portico. The pediment has dentils and a small, leaded oval window in the center while the portico contains four Corinthian columns with capitals modeled after architect James Stuart's conjectural porticos for the "Tower of the Winds" in Athens, Greece. The portico's cornered columns are matched by pilasters on the front facade. The doorway has a broken arched pediment, full entablature, and engaged columns while its transom and sidelights contain elaborate and colorful stained glass. And above the main entrance is another rectangular window, completed with a shallow iron balcony.

 

Graceland is 17,552 square feet (1,630.6 m2) and has a total of 23 rooms, including eight bedrooms and bathrooms. To the right of the Entrance Hall, through an elliptical-arched opening with classical details, is the Living Room. The Living Room contains a 15-foot-long (4.6 m) white couch against the wall overlooking the front yard. To the left are two white sofas, a china cabinet and a fireplace with a mirrored wall. The painting that hangs in the room was Elvis' last Christmas present from his father, Vernon, and also displayed are photographs of Elvis' parents Vernon and Gladys, Elvis and Lisa Marie. Behind an adjoined doorway is the Music Room, framed by vivid large peacocks set in stained glass and contains a black baby grand piano and a 1950s style TV. And the third adjacent room is a bedroom that was occupied by Elvis' parents. The walls, carpet, dresser, and queen size bed are bright white with the bed draped in a velvet-looking dark purple bedspread along with an en-suite full bathroom done in pink.

 

To the left of the Entrance Hall, mirroring the Living Room, is the Dining Room, headlined by a massive crystal chandelier. It features six plush chairs in golden metal frames set around a marble table, all of which are placed on black marble flooring in the center with carpet around the perimeter. Connected to the Dining Room is the Kitchen, which was used by Elvis' aunt Delta until her death in 1993 before it was opened to the public two years later.

 

The original one-story wing on the north end of the residence includes a mechanical room, bedroom, and bath. In the mid-1960s, Presley enlarged the house to create a den known as the Jungle Room which features an indoor waterfall of cut field stone on the north wall. The room also contains items both related to and imported from the state of Hawaii because, after starring in the tropical film "Blue Hawaii" (1961), the musician wanted to bring some memorabilia from The Aloha State to his mansion, which gives visitors the same feeling. In 1976, the Jungle Room was converted into a recording studio, where he recorded the bulk of his final two albums, From Elvis Presley Boulevard, Memphis, Tennessee (1976) and Moody Blue (1977); these were his final known recordings in a studio setting.[27] During the mid-1960s expansion of the house, Presley constructed a large wing on the south side of the main house that was a sidewalk, between the music room in the original one-story wing and the swimming pool area, that connected to the house by a small enclosed gallery. The new wing initially housed a slot car track and to store his many items of appreciation, but was later remodeled to what is now known as the Trophy Building, which now features an exhibit about the Presley family, and includes Priscilla's wedding dress, Elvis' wedding tuxedo, Lisa Marie's toy chest and baby clothes and more.

 

The Entrance Hall contains a white staircase leading to the house's second floor with a wall of mirrors. However, the second floor is not open to visitors, out of respect for the Presley family, and partially to avoid any improper focus on the bathroom which was the site of his death. Still, it features Elvis' bedroom at the southwest corner that connects to his dressing room and bathroom in the northwest. His daughter Lisa Marie's bedroom is in the northeast corner, and in the southeast is a bedroom that served as a private personal office for the musician. The floor has been untouched since the day Elvis died and is rarely seen by non-family members.

 

Downstairs in the basement is the TV room, where Elvis often watched three television sets at once, and was within close reach of a wet bar. The three TV sets are built into the room's south wall and there's a stereo, and cabinets for Elvis' record collection. And painted on the west wall is The King's 1970s logo of a lightning bolt and cloud with the initials TCB, both of which represent 'taking care of business in a flash'. And the last room in the mansion opposite of the TV room is the billiard room; an avid billiards player, Elvis bought the pool table in 1960 and had the walls and ceiling covered with 350–400 yards of pleated cotton fabric after the two basement rooms were remodeled in 1974. The pool balls are arranged just the way they were in the musician's final days along with a strict warning sign to visitors that says "Please Do Not Touch! Thank You!" in capital letters. And in one corner of the pool table, there's a rip in the green felt, which was caused by one of Elvis' friends in a failed attempt of a trick shot.

 

Critics such as Albert Goldman write: "Though it cost a lot of money to fill up Graceland with the things that appealed to Elvis Presley, nothing in the house is worth a dime." In chapter 1 of his book, Elvis (1981), the author describes Graceland as looking like a brothel: "it appears to have been lifted from some turn-of-the-century bordello down in the French Quarter of New Orleans. Lulu White or the Countess Willie Piazza might have contrived this plushy parlor for the entertainment of Gyp the Blood. The room is a gaudy mélange of red velour and gilded tassels, Louis XV furniture and porcelain bric-a-brac..." And he dismisses the interior as "bizarre," "garish" and "phony," adding that "King Elvis's obsession with royal red reaches an intensity that makes you gag."

 

In similar terms, Greil Marcus writes that people who visited the inside of Graceland—"people who to a real degree shared Elvis Presley’s class background, and whose lives were formed by his music—have returned with one word to describe what they saw: ‘Tacky.’ Tacky, garish, tasteless—words others translated as white trash."

 

According to Karal Ann Marling, Graceland is "a Technicolor illusion. The façade is Gone With the Wind all the way. The den in the back is Mogambo with a hint of Blue Hawaii. Living in Graceland was like living on a Hollywood backlot, where patches of tropical scenery alternated with the blackened ruins of antebellum Atlanta. It was like living in a Memphis movie theater... Diehard fans are sometimes disappointed by the formal rooms along the highway side of Graceland. They’re beautiful, in a chilly blue-and-white way, but remote and overarranged." The Jungle Room's "overt bad taste" lets nonbelievers "recoil in horror and imagine themselves a notch or two higher than Elvis on the class scale."

 

After purchasing the property Presley spent in excess of $500,000 carrying out extensive modifications to suit his needs including a pink Alabama fieldstone wall surrounding the grounds that has several years' worth of graffiti (signatures and messages) from visitors, who simply refer to it as "the wall". Designed and built by Abe Sauer is the wrought-iron front gate shaped like a book of sheet music, along with green colored musical notes and two mirrored silhouettes of Elvis playing his guitar. Sauer also installed a kidney shaped swimming pool and a racquetball court, which is reminiscent of an old country club, furnished in dark leather and a functional bar. There is a sunken sitting area with the ever-present stereo system found throughout Graceland, as well as the dark brown upright piano upon which Elvis played for what were to be his last songs, Willie Nelson's "Blue Eyes Crying in the Rain" and "Unchained Melody".

 

However, reports conflict about which one was the last song. The sitting area has a floor-to-ceiling shatterproof window designed to watch the many racquetball games that took place there when Elvis was alive. In the early hours of the morning on which Elvis died, he played a game of racquetball with his girlfriend Ginger Alden, his first cousin Billy Smith and Billy's wife Jo before ending the game with the song on the piano before walking into the main house to wash his hair and go to bed. Today the two story court has been restored to the way it was when Elvis used the building.

 

Elsewhere on the estate is a small white building that served as an office for Vernon, along with an old smokehouse that housed a shooting range and a fully functional stable of horses.

 

One of Presley's better known modifications was the addition of the Meditation Garden, designed and built by architect Bernard Grenadier. It was used by the musician to reflect on any problems or situations that arose during his life. It is also where his entire family is buried: himself (1935–1977), his parents Gladys (1912–1958) and Vernon (1916–1979), and grandmother Minnie Mae Hood (1890–1980) while a small stone memorializes his twin brother Jesse Garon, who died at birth thirty minutes before Elvis was born on January 8, 1935. In late 2020, Lisa Marie's son Benjamin Keough was laid to rest on the opposite end of the Meditation Garden after his death from suicide in July of that year. Lisa Marie Presley died from sudden cardiac arrest in January 2023 and is buried next to her son.

 

After Elvis Presley's death in 1977, Vernon Presley served as executor of his estate. Upon his death in 1979, he chose Priscilla to serve as the estate executor for Elvis's only child, Lisa Marie, who was only 11. Graceland itself cost $500,000 a year in upkeep, and expenses had dwindled Elvis's and Priscilla's daughter Lisa Marie's inheritance to only $1 million. Taxes were due on the property; those and other expenses due came to over $500,000. Faced with having to sell Graceland, Priscilla examined other famous houses/museums, and hired a CEO, Jack Soden, to turn Graceland into a moneymaker. Graceland was opened to the public on June 7, 1982. Priscilla's gamble paid off; after only a month of opening Graceland's doors the estate made back all the money it had invested. Priscilla Presley became the chairwoman and president of Elvis Presley Enterprises, or EPE, stating at that time she would do so until Lisa Marie reached 21 years of age. The enterprise's fortunes soared and eventually the trust grew to be worth over $100 million.

 

An annual procession through the estate and past Elvis's grave is held on the anniversary of his death. Known as Elvis Week, it includes a full schedule of speakers and events, including the only Elvis Mass at St. Paul's Church, the highlight for many Elvis fans of all faiths. The 20th Anniversary in 1997 had several hundred media groups from around the world that were present resulting in the event gaining its greatest media publicity.

 

One of the largest gatherings assembled on the 25th anniversary in 2002 with one estimate of 40,000 people in attendance, despite the heavy rain. On the 38th anniversary of Elvis's death, an estimated 30,000 people attended the Candlelight Vigil during the night of August 15–16, 2015. On the 40th anniversary of Elvis's death, on August 15–16, 2017, at least 50,000 fans were expected to attend the Candlelight Vigil. No official figure seems to have been released, maybe because, for the first time, attendees had to pay at least the lowest tour fare, $28.75, to cover the extra security costs due to a larger than usual crowd.

 

For many of the hundreds of thousands of people who visit Graceland each year, the visit takes on a quasi-religious perspective. They may plan for years to journey to the home of the 'King' of rock and roll. On site, headphones narrate the salient events of Elvis's life and introduce the relics that adorn the rooms and corridors. The rhetorical mode is hagiographic, celebrating the life of an extraordinary man, emphasizing his generosity, his kindness and good fellowship, how he was at once a poor boy who made good, an extraordinary musical talent, a sinner and substance abuser, and a religious man devoted to the Gospel and its music. At the meditation garden, containing Elvis's grave, some visitors pray, kneel, or quietly sing one of Elvis's favorite hymns. The brick wall that encloses the mansion's grounds is covered with graffiti that express an admiration for Presley as well as petitions for help and thanks for favors granted.

 

The Graceland grounds include a new exhibit complex, Elvis Presley's Memphis, which includes a new car museum, Presley Motors, which houses Elvis's Pink Cadillac. The complex features new exhibits and museums, as well as a studio for Sirius Satellite Radio's all-Elvis Presley channel. The service's subscribers all over North America can hear Presley's music from Graceland around the clock. Not far away on display are his two aircraft including Lisa Marie (a Convair 880 jetliner) and Hound Dog II (a Lockheed JetStar business jet). The jets are owned by Graceland and are on permanent static display.

 

In early August 2005, Lisa Marie Presley sold 85% of the business side of her father's estate. She kept the Graceland property itself, as well as the bulk of the possessions found therein, and she turned over the management of Graceland to CKX, Inc., an entertainment company (on whose board of directors Priscilla Presley sat) that also owns 19 Entertainment, creator of the American Idol TV show.

 

Graceland Holdings LLC, led by managing partner Joel Weinshanker, is the majority owner of EPE. Lisa Marie Presley's estate retains a 15% ownership in the company.

 

In August 2018, Gladys Presley's headstone, which contained the Jewish star of David on one side and a cross on the other and was designed by Elvis himself, which become publicly displayed when it placed in Graceland's Mediation Garden after being stored for many years in the Graceland Archive.

 

Lisa Marie Presley's estate, which is being held in trust for her daughters Riley Keough and Harper and Finley Lockwood, retain 100% sole personal ownership of Graceland Mansion itself and its over 13-acre original grounds as well as Elvis Presley's personal effects – including costumes, wardrobe, awards, furniture, cars, etc. Prior to her death in 2023, Lisa Marie Presley had made the mansion property and her father's personal effects permanently available for tours of Graceland and for use in all of EPE's operations.

 

According to Elvis Presley's Enterprises, staff at Graceland informally kept a list of celebrities who had visited in the first years following Elvis's death. This practice was not formalized for a decade. Muhammad Ali was an early celebrity visitor in 1978, as was singer Paul Simon. He toured Graceland in the early 80s and afterward wrote a song of the same name; it was the title track of his Grammy-winning album Graceland.

 

During the Joshua Tree Tour in 1987, U2 toured Graceland. The footage was filmed for the film Rattle & Hum. During the visit, drummer, Larry Mullen Jr., sat on Elvis Presley's motorcycle -- against the rules for Graceland visitors.

 

On June 30, 2006, then US President George W. Bush hosted Japanese Prime Minister Junichiro Koizumi for a tour of the mansion. It was one of the few private residences on United States soil to have been the site of an official joint-visit by a sitting US president and a serving head of a foreign government. On August 6, 2010, Prince Albert II, Head of State of the Principality of Monaco, and his fiancée (now Princess of Monaco) Charlene Wittstock, toured Graceland while vacationing in the US. On May 26, 2013, Paul McCartney of The Beatles visited Graceland. Prince William and Prince Harry, while in Memphis for a friend's wedding, visited Graceland on May 2, 2014.

 

The home has also been visited by former US President Jimmy Carter; the late Duchess of Devonshire, the sitting ambassadors of India, France, China, Korea and Israel to the United States; as well as several US governors, members of the US Congress, and at least two Nobel Prize winners, namely singer-songwriter Bob Dylan, a Literature Prize laureate, and the former President of Costa Rica, Oscar Arias, a Peace Prize honoree, who visited it on October 10, 2001.

 

In May 2016, Graceland welcomed a newlywed couple as its 20 millionth visitor.

 

In June 2022, actors Austin Butler and Tom Hanks visited the mansion and were interviewed virtually by the Good Morning America news program from the Jungle Room to talk about their biographical film Elvis.

 

In popular culture

Paul Simon named an album Graceland, as well as its title track. The song won the Grammy Award for Record of the Year in 1987.

The song "Walking in Memphis" by Marc Cohn mentions Graceland; in the second verse, he refers to the mansion and the Jungle Room. This song was later covered by Cher and Lonestar, among others.

The film 3000 Miles to Graceland is about a group of criminals who plan to rob a casino during an international Elvis week, disguised as Elvis impersonators. No scenes take place at or near the estate.

The film Finding Graceland stars Harvey Keitel with Johnathon Schaech. Keitel is an impersonator who claims to be the real Elvis after Schaech picks him up as a hitch-hiker.

In the rock music "mockumentary" This Is Spinal Tap, band members gather around Presley's grave at Graceland and attempt to sing a verse of "Heartbreak Hotel".

Pop punk group Groovie Ghoulies have a song called "Graceland" on their 1997 album Re-Animation Festival.

In the movie Zombieland: Double Tap, the protagonists venture to Graceland in hopes of shelter during a zombie apocalypse, but are distressed to find it in a ruined state.

During the credits of Lilo & Stitch, there's a photograph of Lilo, Nani, David and Stitch visiting the front gates of Graceland. Almost 20 years later, the original painting of that shot was put on display as part of the traveling Walt Disney Archives exhibition at Graceland.

In the season three episode of American Dad “The Vacation Goo”, Steve Smith asks Stan Smith if they can go to Graceland for their next vacation and Stan says “Steve, if you want to pay your respects to a fat man who died on the toilet, we can visit your Aunt Mary’s grave.”

Phoebe Bridgers has a song "Graceland Too" on her second studio album Punisher.

In the third episode of National Treasure: Edge of History, "Graceland Gambit," the main protagonist, Jess (portrayed by Lisette Olivera) is on a treasure hunt that leads her and her friends to Graceland.

Florence + The Machine reference Graceland and Elvis in their song "Morning Elvis" on their 2022 album Dance Fever.

The third Ida Rentoul Outhwaite Children's Library Stained Glass Window features the excerpt from a poem; "While underneath in phantom shells, the fairy sailors go, and shining o'er the silent dells, the fairy beacons glow". It, and the painted panel above come from "Fairy Islands" from "Elves and Fairies" published by Thomas Lothian in Melbourne in 1910. The book illustration, much more Art Nouveau in influence than any of the others, is rich with night time blues. Yet the stained glass panel featuring six faeries riding down a river in nautilus shells beneath a silvery full moon, has highlights of pink and golden yellow. The girl faeries all wear Edwardian empire line dancing dresses, such as Isadora Duncan and Anna Pavlova wore, with belts of trailing yellow flowers. Whilst the water looks tranquil enough, the faeries are obviously moving swiftly down the river as their hair and dresses blow in the breeze, and the pink heath sprigs they carry all bend to the wind. The silhouettes of narrow gum trees stand against a full moon glimpsed between two steep banks.

 

In 1923 with Fitzroy still very much a working class area of Melbourne with pockets of poverty, the parish of St. Mark the Evangelist decided to address the need of the poor in the inner Melbourne suburb. Architects Gawler and Drummond were commissioned to design a two storey red brick Social Settlement Building. It was opened in 1926 by the Vicar of St. Mark the Evangelist, the Reverend Robert G. Nichols (known affectionately amongst the parish as Brother Bill). Known today as the Community Centre, the St. Mark the Evangelist Social Settlements Building looks out onto George Street and also across the St. Mark the Evangelist's forecourt. When it opened, the Social Settlement Building's facilities included a gymnasium, club rooms and children's library.

 

Opened in 1926, the children's library, which was situated in the corner room of the Social Settlements Building, is believed to be the first known free dedicated children's library in Victoria. The library was given to the children of Fitzroy by Mrs. T. Hackett, in memory of her late husband. The library contained over 3,000 books, as well as children's magazines and even comics. The Social Settlements Building was only erected because Brother Bill organised the commitment of £1,000.00 each from various wealthy businessmen and philanthropists around Melbourne. Mrs Hackett's contribution was the library of £1,000.00 worth of books. Another internationally famous resident of the neighbourhood, Australian children's book illustrator Ida Rentoul Outhwaite, then at the zenith of her career, was engaged by the relentless Brother Bill to create something for the library. Ida donated four stained glass windows each with a hand-painted panel executed by her, based upon illustrations from her books, most notably "Elves and Fairies" which was published to great acclaim in Australia and sold internationally in 1916 and "Fairyland" which had been published earlier that year. These four hand painted stained glass windows were equated to the value of £1,000.00, but are priceless today, as they are the only public works of Ida Rentoul Outhwaite ever commissioned that have been executed in this medium. Ida Rentoul Outhwaite was only ever commissioned to create one other public work; a series of four panels executed in watercolour with pencil underdrawing in 1910 for the Prince Henry Hospital's children's wards in Melbourne (now demolished). Of her panels, only two are believed still to be in existence, buried within the hospital archives. The four Ida Rentoul Outhwaite stained glass windows each depict faeries, pixies, Australian native animals and children, taken from her book illustrations. At the time of photographing, the windows - three overlooking George Street and one St. Mark the Evangelist's forecourt - were located in the community lounge, which served as a drop-in lounge and kitchen for Fitzroy's homeless and marginalised citizens. Today the space has been re-purposed as offices for the Anglicare staff who run the St. Mark's Community Centre, possibly as a way to protect the precious windows from coming to any harm. The only down-side to this is that they are not as easily accessed or viewed as when I photographed them, making my original visit to St. Mark the Evangalist in 2009 extremely fortuitous.

 

The Ida Rentoul Outhwaite Children's Library Stained Glass Windows are one of Australia's greatest hidden treasures, which seems apt when you consider that the pixies and faeries they depict are also often in hiding when we read about them in children's books and the faerie tales of our childhood. The fact that they are hidden, because it is necessary to enter a little-known and undistinguished building in order to see them, ensures their protection and survival. The windows are unique, not only because they are the only stained glass windows designed and hand-painted by Ida Rentoul Outhwaite, but because they are the earliest and only examples of stained glass art in Australia that deals with theme of childhood.

 

I am indebted to Peter Bourke who ran the St. Mark's Community Centre in 2009 for giving me the privilege of seeing these beautiful and rare windows created by one of my favourite children's book artists on a hot November afternoon, without me having made prior arrangements. I also appreciate him allowing me the opportunity to photograph them in great detail. I will always be grateful to him for such a wonderful and moving experience.

 

Ida Sherbourne Outhwaite (1888 - 1960) was an Australian children's book illustrator. She was born on the 9th of June 1888 in the inner Melbourne suburb of Carlton. She was the daughter of the of Presbyterian Reverend John Laurence Rentoul and his wife Annie Isobel. Her family was both literary and artistic, and as such, gifted Ida was encouraged from an early age to embrace her talent of drawing. Her elder sister, Annie Rattray Rentoul (1882 - 1978), was likewise encouraged to write, and both would later form a successful partnership. In 1903 six fairy stories written by Annie and illustrated by Ida were published in the ladies' journal "New Idea". The following year the Rentoul sisters collaborated on a book called "Mollie's Bunyip" which was received with instant success because it combined the idea of European faeries, witches and elves and the Australian bush. "Mollie's Staircase" followed in 1906. In 1908 the Rentoul sisters published their first substantial story book, "The Lady of the Blue Beads". On 9 December 1909 Ida married Arthur Grenbry Outhwaite (1875-1938), manager of the Perpetual Executors and Trustees Association of Australia Ltd. (Annie remained unmarried her entire life). After her marriage, Ida was known as Ida Rentoul Outhwaite, but did not publish anything substantial as she established her family and household until part way through the Great War. In 1916 she brought out her first coloured work; "Elves and Fairies", a de luxe edition produced entirely in Australia by Thomas Lothian. The success of the book, with its delicate watercolour plates, was due both to Ida's artistic talent and to the business acumen of her husband, who provided a £400.00 subsidy to ensure a high-quality production and consigned royalties to the Red Cross, thereby encouraging vice-regal patronage. "Elves and Fairies" is still her best known and loved work. Encouraged by her latest success, Ida travelled to Europe after hostilities ended and in 1920 exhibited in Paris and London. The critics compared her to other artists of the golden years of children's illustration such as Arthur Rackham and Edmund Dulac, thus sealing her international success. She signed a contract with British book publishers A. & C. Black who published five books for her over the next decade, including "The Enchanted Forest" (1921), with text by her husband, and, probably the most popular of all the Rentoul sisters' collaborations, "The Little Green Road to Fairyland" (1922). "The Fairyland of Ida Rentoul Outhwaite" (1926), another sumptuous volume, with text by her husband and sister, was less successful. A. & C. Black also produced a number of postcard series using her illustrations from "Elves and Fairies" as well as her other books published by them. In 1930 the last of her books published by A. & C. Black was released, but already times were changing, and the interest in Ida's work was rapidly fading. Angus & Robertson brought out two more books in 1933 and 1935 but they received relatively little attention. Her last two exhibitions, which between 1916 and 1928 were almost annual events, were held in 1933. The Second World War changed the world, and Ida and Annie's work was relegated to a bygone era, shunned and forgotten. Ida suffered the loss of both of her sons during the war, and she spent her last years sharing a flat in Caulfield with her sister, where, survived by her two daughters, she died on 25 June 1960. She did not live to see the resurgence of interest in her work some twenty-five years later, when in 1985, her picture of "The Little Witch" from "Elves and Fairies" was published on an Australian stamp, opening the fairy world of Ida Rentoul Outhwaite to a whole new generation of children and adults alike.

  

Some Taplin history.

 

Great great great grand father.

Charles James Blatch Taplin arrived in SA on 27 July 1849 on the Elizabeth which sailed from London. He was born in 1810 in Andover or elsewhere in Hampshire and his family came from the Guernsey Islands. He arrived with his wife Eliza( 1813- 1891). She was Eliza Lansley (Rixson) married on 27 Nov 1834 at St Bride's Church, Fleet St, London. Eliza was a spinster at time of marriage.

 

He opened his first private school at Brighton in 1850. In the mid-1850s he seems to have taken up a town block and built a residence in Salisbury. By 1856 he had a private school for boys in Salisbury. By 1857 he had 80 boys enrolled. This was St Johns Church of England School. His wife Eliza ran a school for girls from 1858 after continued this after he died in 1866. He was the first registered school teacher at Salisbury from 1855-1866 until he died in 1866. Charles James Blatch was Treasurer of the Anglican Church when the foundation stone of St John’s was laid in 1858 with architect Daniel Garlick being present. The church did not open for services until 1865 a year before he died. He was active in town affairs as well as the Anglican Church. Charles died 14 March 1866. Eliza taught from 1863-1867 at her girl’s school in Salisbury. Eliza died 23 May at her home in Woodville 1891, aged 78 and she was born in 1813 and was three years younger than Charles Taplin. Charles and Eliza are both buried in St John’s Anglican cemetery in Salisbury. When Charles Taplin died his son Charles Goodenough Taplin advertised both schools for sale but it is not clear if he got a buyer. Charles Goodenough Taplin in May 1866 applied to have the two schools registered to himself and this was approved by the central education board on 12 May 1866. C G Taplin appears to have been the Executor of Charles James Blatch Taplin’s will.

 

Charles and Eliza Taplin only appear to have had two sons: William Taplin born in 1835 and Charles Goodenough Taplin born in 1841. Therefore this is a little surprising that his younger son became the executor of his will. But William was the non-academic son who became a farmer and Charles Goodenough went on to train and become an Anglican minister by 1867. Charles G Taplin became the secretary of the Salisbury Institute in 1867. He was preaching at Auburn by 1866 in the Anglican Church. Charles Goodenough Taplin of Salisbury married Louisa Lambert on 18 sept 1867 in Auburn. A baby son born to the Taplins at Macclesfield in November 1868. He was the Reverend C G Taplin at Echunga in 1870 and he attended social functions at Government House as an Anglican minister. Another son born 24 January at Echunga in 1871 to the Taplins. In 1872 he is rector at Wallaroo and he stayed in the Cornish triangle for many years. On 7th April 1876 a daughter born at Wallaroo. Baby Mabel their only daughter died at Wallaroo in December 1877 at 20 months of age. On the 27th October of 1880 another daughter was born at Wallaroo but baby Gertrude also died early on Christmas Day 1882. She would have been 14 months old. By June 1885 Reverend Taplin is rector at St Margaret’s Church Woodville. Then on the 4th January 1886 another son born. A few months later the Charles Taplin family is moved to Port Lincoln and in June 1886 he is the Anglican minister at St Thomas Anglican Church Port Lincoln. Just over a year later Reverend Charles Taplin took on overdose of opium which he was taking to help him sleep and to calm his nerves. He

committed suicide on Saturday 24th July 1887 at Port Lincoln. He was 46 years old. Presumably his wife and four young sons returned to Adelaide and they would have been 19 years, 16 years, and just 19 months old.

 

Great great grandfather.

Charles and Eliza Taplin’s other son William Taplin born in 1835 is my great great grand father. There is a strong possibility that he fathered an illegitimate daughter around 1856 before his marriage to Harriet Winzor in 1860. The Winzors of Deal Court, a two storey significant house in the Salisbury area in the 1850s, arrived in SA with money and resources so William Taplin’s marriage to Harriet Winzor was a fortuitous step in his life. As early as 1863 his father-in-law John Winzor was advertising that he had money to lend over a seven year term from £1—to £2,000. This was a very large sum when an 80 acre farm could be purchased for less than £100. John Winzor (1807 to 1874) held land at Salisbury for his dairy and 1,160 acres at Grace Plains which he purchased for just under £1,200 in March 1857 which was next to Mallala when it developed.( sections 62,63,71,72,77,78 etc.

 

William Taplin and Harriet who married in St Johns Anglican Church Salisbury on 7th July 18690 had four children:

•Alice a daughter who only lived from 1863 to 1865. She is buried in her parents’ grave in Salisbury.

•Lillies Eliza Taplin born on the 29th June 1866 at Sheoak Log near Gawler. She is my great grandmother who died at Enfield on the 5th Feb 1956. I remember visiting her before her death with a grand piano and bookshelves of books in her living room. She was very petite. She married Robert Edwin Argent of Peachey Belt in Zoar Bible Christian Church on 23 March 1887.

•Charles James Blatch Taplin a son born 19 October 1868 at Grace Plains. This son of William and Harriet Taplin married at the Wesleyan Church in Redruth Burra Miss Edithe Thirza Rabbich of Scotland on the 27th July 1893. Charles James Blatch Taplin lived in Burra for most of his married life. He died at Westbourne Park on the 9th May 1940.

•John Winzor Taplin 29 December 1872 at Grace Plains. Lived to 10th January 1920, (a son of William) married Laura Skurray of Gawler/Williamstown 4 Sept 1897. He died just 23 years later and was buried next to his parents in St John’s cemetery Salisbury in 1920. J. W Taplin like his father was an excellent rifle shot and competed for many years firstly in Port Adelaide Rifle Club in 1911 and then East Torrens Rifle Club and eventually the Adelaide Rifle Club in 1917. He was born at Winzor Park Grace Plains. He was an engineer and lived in Harcourt Rd Payneham. This son William Arthur Taplin married Gladys Fielder of Torrensville on 11th November 1920 in the Holder Memorial Church Mile End. He died at Eton Park a district of Payneham.

•Harriet Ann Taplin born at Grace Plains in 11 August 1876. She married John Cook at St Columba Anglican Church Hawthorn in 1913 on 26th July. He was 56 years old on marriage. No children.

 

William Taplin was a farmer. Although he appears to have mainly lived in Salisbury and his wife no doubt would have wanted to be near her parents and siblings he took up land at Grace Plains. Land there was first offered for sale in 1856 but most farmers did not move into that district until 1865 or after. In August 1866 William Taplin of Salisbury advised he would prosecute people carting wood and carting it from sections 440 441 442 443 444 445 446 and 447. Cattle would be impounded. Contact W Taplin at the property or John Winzor in Angas Street Adelaide. The land was also available for lease. The nearest town Mallala was not established until 1872. William took up land near Barraba in the east of the Hundred not far from the Light River. When did William Taplin take up this land and where did he get the money? Was it from an inheritance from his father who died in 1866? William Taplin took up 1,080 acres which would have cost well over £1,000 in the mid 1860s. His sections were numbers 440,441,442,443,445,446,447 and 409 in the Hundred of Grace. In July 1871 Taplin advised section 313 and 314 for available for lease. He bought section 317 in 1874. He built an eight roomed house on the property for the family. Their only daughter to survive childhood was born there in 1876. William and the family returned to live in Salisbury in 1884 and he had a manager run Winzor Park. In 1892 when William was 57 years old he put the farm up for a seven year lease. He advertised this again in 1893 and in 1894. William died in 1904 aged 69 years. William’s son Charles J B Taplin was the executor of his will. Harriet Taplin died in 1909 and was buried next to William in the Salisbury Anglican cemetery.

  

He also had section 407 which he tried to lease in 1875. Contacts were to him at Winzor Park near Barraba or George Lovelock in Salisbury. William Taplin attended a meeting in Mallala in September 1875 urging a railway to Mallala. He moved the motion for it. William Taplin by 1876, once it was founded, was in the Mallala Gun Club. He competed and won a prize in 1876. He was also in the South Australian Rifle Club as a member from March 1877. He competed in their matches and won first prize in 200 yard live bird shoot in April 1877. He was the chair of the Mallala Gun Club match with Adelaide at Bolivar in September 1877. He chaired the dinner. William Taplin applied to get 31 members of the Mallala Gun Cub included as members of the South Australian Rifle Club also in September 1877. William Taplin led a deputation to obtain a policeman at Mallala in 1877. Taplin was vice president of the Mallala Gun Club and came first all three shoots in October 1877. He also played in the Mallala Cricket Club. In 1878 he was also a steward of the Mallala Horse Racing Club for their meetings. They held an annual race meeting. William Taplin was also a judge of vegetables submitted to the Port Gawler Show in 1879 at Two Wells. In 1880 he was President of the Mallala Agricultural Show Society. In the 1880 show he exhibited horses, wheat, turkeys, hens etc. He took the prize for the best wheat. He won similar prizes in the 1881 show including geese and 1882 and 1883 etc. By 1883 William Taplin was a JP and charged locals of Hamley Bridge for illegally selling alcohol. Culprits sentenced to two months jail by Taplin. He presided over other similar cases. He began selling his farm stock and animals in 1884. He was a judge of horses at the Virginia Show in 1884 and also Two Wells Show. He was made vice president of the Salisbury Cricket Club in 1884. By November 1884 he was the magistrate in the Salisbury Court as he was a JP. In 1885 he competed in the Virginia Show pigeon shooting match. He last sat on the bench of Salisbury Courthouse in 1899. He died after a long illness. In 1896 he was the referee for Salisbury Gun Club competitions.

 

The Taplin children of my great great grandfather.

1. Alice died as a child.

2. Lillies Eliza Taplin married Robert Edwin Argent of Penfield and had my grandmother Effie Leticia Argent and her brothers and sisters.

3. Charles James Blatch Taplin married in 1893 Edithe Rabbich. They had: Colin Quintrell Taplin born 25 June 1895 at Peterborough and died 6 June 1962 at Enfield; Lansley Eddison Rabbich Taplin on 16th January 1898 at Mount Gambier – he died 3 May 1945; Coralie Edyth Joan Taplin 24 November 1904 at Burra; Phyllis Agnus Taplin born 30th November 1906 at Burra; Joyce Taplin born 16 January 1898 in Mount Gambier; Colin Charles born 23 January 1920 in Peterborough; and Nancy Blatch Taplin.

4. John Winzor Taplin married Laura Skurray in 1897. Their children were: James Lance Taplin;

 

The children of my great great grandfather’s brother Charles Goodenough Taplin born 1841 and Louisa Lambert of Auburn.

1. Alfred Basil St John George Taplin born at Macclesfield 14 November 1868. Died 12 November 1934 at Stirling Hospital. He married twice and had John Blatch Taplin and Dawn Estelle Taplin. Was an engineer fitter with the SAR railways. A noted baritone singer, musician, concert performer, actor etc. For many years stationed at Gladstone which he left in 1930. His son was killed in 1942 on active service in World War Two.

2. Arthur Charles Goodenough Taplin born 24 January 1871 at Echunga. He too was a singer, actor and musician and involved in theatre, concerts etc. Also an engineer at the railway workshops at Islington. Started there in 1885. Moved to Petersburg in 1912, then Cockburn, then Mile End, then Port Pirie and then Cockburn again in 1923. He died in Broken Hill. 11 November 1925 as a bachelor.

3. Mabel Kate Taplin born 7 April 1876 at Wallaroo. Died 17 December 1877.

4. Gertrude Muriel Edith Emily Taplin born 27 October 1880 Wallaroo and died 25 December 1882 at Wallaroo.

5. Harry Walter Fred Lambert Taplin born 3 January 1886 at Woodville and died 24 August 1918 on active service in France during World War One.

 

Facing east in the south aisle chapel, stands the alabaster tomb chest with figures of Thomas Babington 1518 & wife Edith Firzherbert 1457-1511

The sides of the chest are decorated with crocketed ogee archways containing figures of saints, hospitallers , angels holding shields, and on one side their sons with their wives, the other with their daughters and their husbands who all married well because of their father's wealth. At the west end are the figures of Thomas & Edith again kneeling before St Catherine with her wheel (the family's patron saint) and a bishop, his hand raised in blessing. Prayer scrolls, now blank, issue over their heads. www.flickr.com/gp/52219527@N00/iD5m7N

 

The monument was erected by Thomas after the death of Edith . Thomas was eventually buried by the side of the tomb where his grandparents were buried, as he "didn't want the tomb opened on her account" - ‘I will not that the Tombe which I have made in the church of Ashover be broken of hurt for my carkas’. A brass inscription was placed over his gravestone with a skeleton figure, since lost, "Here lies Thomas Babyngton "of Dethic esquire son of John son and hyre to Thomas Babington & Isabel hys wyfe, daughter and heyr to Robert Dethick esquyer, the said Thomas decessed the 23rd day of March Anno Dm 1518 on whose soul may God be merciful Amen"

This brass had been recycled from one previously used 68 years previously to Robert Prykke 1450 Sergeant of the Pantry to Queen Margaret. www.flickr.com/gp/52219527@N00/83Kb70

 

Thomas was the son of Sir John Babington of Dethick (killed at Bosworth 1485) & Isabel daughter of Sir John Bradbourne 1488 & Anne Vernon 1499 flic.kr/p/dBvEm5 at Ashbourne , daughter of Sir Richard Vernon & Benedicta / Bennet de Ludlow of Tong flic.kr/p/4o9ULD

He was the grandson of Thomas Babington 1464 & Isabel heiress of Robert Dethyck of Dethick

His ancester another Thomas Babington commissioned the rebuilding of the church

His sister Anne m James Rolleston 1507 www.flickr.com/gp/52219527@N00/1F8YAb

 

Coming from a family with a distinguished legal background – his great-uncle, Sir William Babington being chief justice of the common pleas in 1423 - 1436 – he was educated at Inner Temple. He was Sheriff of Derbyshire & MP for Nottingham, also Recorder of Nottingham. His legal work was profitable, allowing him to make a spectacular marriage for his son and heir, Anthony, to one of the coheiresses of the great Nottinghamshire Chaworth family and to provide worthy spouses for his many other children.

 

Thomas m 1475 Edith daughter of Ralph FitzHerbert of Norbury & Elizabeth www.flickr.com/gp/52219527@N00/62Ah79 daughter of John Marshall & Elizabeth daughter of Leonard Creek

Edith was the grand daughter of Sir Nicholas FitzHerbert 1473 www.flickr.com/gp/52219527@N00/4vYb22

Children - 9 sons and 6 daughters:

1. Sir Anthony of Dethick & Kingston, co. Notts. (b. c. 1475 - 1536; m.1 Elizabeth flic.kr/p/dsNo54 co-heiress daughter of John Ormond of Alfreton by Joan www.flickr.com/gp/52219527@N00/66CiQ2 daughter of Sir William Chaworth: Widow of Sir Thomas Dynham c1520 & Sir Edward Greville 1528; (Elizabeth's sister Jane m (3rd wife) Sir William Fitzwilliam c1460-1534 of Martholm flic.kr/p/J3a7G7 ; m.2 Catherine 1537 daughter of Sir John Ferrers of Tamworth ; Widow of Thomas Cotton of Landwade

2. Sir John (d. by 1533), dedicated to Hospitaller Order. In 1509 he was preceptor of Yeaveley & Barrow and bef. 1522 he was Preceptor at Temple Bruer, later achieving the highest ranks of the Hospitallers.

3. Sir Ralph 1521 rector at Hickling. www.flickr.com/gp/52219527@N00/466fH7

4. Sir Roland 1477 - 1548 m. Jane Ridge of Kinver

5. Humphrey 1544 m. Eleanor Beaumont +++ (parents of Thomas Babington 1567www.flickr.com/gp/52219527@N00/3aS744 )

6. Thomas (d. aft. 1510), rector of Yelvertoft, Northants.

7. William b.1489 m.1 Jane Beaumont of Wednesbury 1536 sister of Humphrey's wife Eleanor +++ ; m2 Mary More

8. Robert, died & buried at Rothley Temple.

9. George died an infant

10. Elizabeth died an infant .

11. Anne (b. c. 1485 - 1538 m.1 George Leche / Leake of Chatsworth 1505; m2 Roger Greenhalgh 1562 of Teversal www.flickr.com/gp/52219527@N00/p5dN8r

12. Dorothy 1529 (bur. tomb in hospitaller preceptory at Temple Bruer ) m Robert son of John Rolleston of Swarkeston flic.kr/p/pZHRJA

13. Catherine 1478 - 1517 m George Chowarth 1521 of Langar flic.kr/p/fw7seY son of Thomas Chaworth of Cropwell Butler 1485 & Ankaret de Serleby.

14. Jane / Joan bc 1491 ? m George Merverell of Throwley, Staffs

15. Elizabeth m 1508 Philip son of Humphrey Okeover of Okeover Staffs & Isabella Aston

 

In his will he left money for masses and prayers to be said on the anniversary of his death, and for candles to be lit around his grave, All his goods not bequeathed be given to the poor, and that certain scholars he had helped with money at Oxford and Cambridge receive £1.6s.8d per year so long as they say prayers for his soul. He asked that his debts be paid and that if he had offended anyone that they should have restitution. Son Ralph, rector of Hickling was one of the executors

 

His son Anthony his heir built the church tower at Dethick. Of his grandchildren , another Anthony gave his name to the Babington Plot which saw him executed for treason in 1586. Another grandson Francis inherited Kingston-on-Soar but sold it to Gilbert Talbot, Earl of Shrewsbury , and another George sold the Manor of Dethick to the Blackwall family.

  

www.wikitree.com/wiki/Fitzherbert-14

Picture with thanks - © Copyright Michael Garlick www.geograph.org.uk/photo/4943061 en.wikipedia.org/wiki/John_Babington_(died_1485) www.wikitree.com/wiki/Fitzherbert-14

Two of 4 sons of Sir Humphrey Bradbourne 1513-1581 and wife Elizabeth Turville on the side of their tomb www.flickr.com/gp/52219527@N00/1aXCnH their hands resting on shields of arms

"Here lieth the bodies of Sir Humpry Bradburn Knight died the 17 of April in the year of our God 1581 and Dame Elizabeth his wife and daughter of Sir William Turville of Newhall in the county of Leicester Knight who died May the 28th 1598"

The tomb was moved into this chapel c1840 after originally being in the family mausoleum in the south transept

The guide says a Spanish connection is alluded to by the pomegranate decorating the hilt of his dagger. www.flickr.com/gp/52219527@N00/mGR6Ek

Humphrey was the son & heir of John Bradbourne 1523 of Bradbourne and Lea by Isabella daughter and coheir of Richard Cotton of Ridware.

On his paternal side he was the great grandson of Sir John Bradbourne 1488 and Anne Vernon 1499 whose monument is nearby www.flickr.com/gp/52219527@N00/L9fq7m

On his mother's side he was the great grandson of Nicholas Longford & Joan Warren (whose arms are in the stained glass here www.flickr.com/gp/52219527@N00/XEE1W3

 

A minor on the death of his father, Bradbourne succeeded to an inheritance consisting of the manor of Bradbourne and other property in the west of Derbyshire, as well as the manor of Hough and a small amount of other land in Staffordshire, the whole being valued at £99 a year. It is not known who purchased his wardship or when he had livery of these lands. His appointment in 1538 to the Derbyshire commission of the peace marks the beginning of his career in shire administration, and six years later he was called upon to supply 20 men for the Earl of Hertford’s expedition against Scotland. He himself served as a captain and was knighted by Hertford, being the only member of his family so honoured. In 1557 he was one of the Derbyshire gentlemen who certified to the 5th Earl of Shrewsbury the number of men each could supply for service on the borders, his own quota being 12 billmen and three bowmen.

 

He m Elizabeth daughter of Sir William Turville of Aston Flamville Leics & Newhall, by 2nd wife Jane Warburton www.flickr.com/gp/52219527@N00/1M08C3

Children - 9 sons (4 in armour holding shields, 2 in civilian robes, 3 infants) & 6 daughters (4 holding shields indicating their marriage)

1. William 1547 m1 Joan Fleetwood ; m2 Tabitha www.flickr.com/gp/52219527@N00/540jQa daughter of Thomas Cockayne 1592 & Dorothy Ferrers www.flickr.com/gp/52219527@N00/kD33tB : m3 Frances Priest

2. George Bradborne b 1530

3. Francis Bradburne b 1532

4. John Bradburne b 1534

5. Hugh Bradburne b 1536

6. Nicholas Bradburne 1540 - 1553

7. Humphrey Bradbourne b 1545

8. Edward b 1547

9. Anthony b 1551

1. Ann 1542 - 1599 m (1st wife) Sir Humphrey 1607 son of John Ferrers & Barbara daughter of Francis Cockayne 1536 & Dorothy Marrow flic.kr/p/dBpGjH ; Humphrey m2 Elizabeth Longford widow of Humphrey Dethick of Hartshorne www.flickr.com/gp/52219527@N00/EP590F ( dispositions of the property by Sir Humphrey Ferrers after his own death and that of his wife, Lady Elizabeth, and his brother, William Bradbourne. It is Sir Humphrey's intention that after his death his wife will have the lands for her jointure; after her death, his "daughter Ferrers" will have them for her jointure; subsequently the lands shall descend unto his next male heir or, in the case of lack of issue, unto his wife's heirs)

2. Elizabeth m Sir John Cotton of Landwade 1620 son of John Cotton 1593 flic.kr/p/9CZ6h6

3. Jane m Henry Sacheverell

www.flickr.com/gp/52219527@N00/4jV2Ew

 

Although he remained a justice of the peace for over 40 years, for most of this time Bradbourne was not of the quorum, probably because of his religion. In the report to the Privy Council on the justices of Derbyshire compiled in 1564, he was named as one of the two ‘adversaries to religion’ in the shire. His disaffection is more likely to have been of a Catholic than of a Puritan kind, since Henry Vernon, the other justice so described, was a Catholic whereas Richard Blackwell, whom the signatories recommended for dismissal, was seemingly a Puritan and was defended by the bishop. Bradbourne was an executor of Vernon’s will of 1568. Although his religion had not prevented him from serving two terms as sheriff, it was only in his later years that he was entrusted with such special commissions as the investigation of 1578 into local animosity towards (Sir) John Zouche II.4

 

It was with Sir Thomas Cokayne that Bradbourne had sat in his first Parliament, that of March 1553 called under the aegis of the Duke of Northumberland: a man of his conservative views can hardly have felt at home in such an assembly. He would have found more congenial his next and last Parliament, the fourth of Mary’s reign, although the manoeuvres of the opposition would probably have offended him and it is not surprising that his name is absent from the list of them. His fellow-knight in that Parliament, Vincent Mundy, was to be one of those commissioned in 1556 and 1557 to investigate a dispute, which had already reached the Star Chamber, between Bradbourne and his cousin Aden Beresford over a brook which ran through their adjacent properties. Bradbourne was involved in a number of other suits in both Chancery and Star Chamber, including one in the reign of Henry VIII when he was charged with enclosing common land. In February 1557 he appeared before the barons of the Exchequer to meet an accusation of maintaining retainers in blue livery who accompanied him to the local sessions of the peace and the assizes. The case was brought by Thomas Gravenor, a husbandman of Bentley: Bradbourne asked for trial by jury but no further process is recorded.5

 

Humphrey's death gave suspicion of foul play. Three days after his death the Privy Council ordered an investigation of a ‘dangerous practice taken in hand by certain lewd persons, whereby is intended the destruction of the person of Sir Humphrey Bradbourne and conveying away of his goods’. A charge of murder was made against a yeoman of Lea, Richard Haughton, for allegedly having smeared Bradbourne’s right leg with an ointment containing poison which, after a lapse of 3 years proved fatal. - the result of this charge is not known.

 

By his will of 8 Oct. 1580 Humphrey had appointed as sole executrix his wife Elizabeth and as overseer Sir John Manners of Bakewell www.flickr.com/gp/52219527@N00/E1w2d2

Humphrey asked for a tomb of alabaster with ‘pictures of myself, my wife and all my children ... set thereupon’, This was made by Richard and Gabriel Royley of Burton on Trent who were "popular and inexpensive"

- Church of St Oswald, Ashbourne Derbyshire

 

www.historyofparliamentonline.org/volume/1509-1558/member...

www.wikitree.com/wiki/Bradbourne-4 ancestors.familysearch.org/en/LZ1S-CBL/anne-bradbourne-15...

Okay, I think I finally have a decent 2-inch Star Destroyer to go with my 22-inch Super Star Destroyer Executor! It's not the prettiest Star Destroyer in the world, but it's just the right size and the bow comes to a nice point.

Better pictures of my flagship…

The most beautiful women in TV and Movie History now become Barbie Collector Dolls created by acclaimed re-paint Artist Donna Brinkley.

 

Farrah Leni Fawcett is known as the world's Sexiest Star of all time... she will forever be one of Hollywood's greatest Icons. She was born in Corpus Christi, Texas, the younger of two daughters.[3] Her mother, Pauline Alice January 30, 1914 – March 4, 2005), was a homemaker, and her father, James William Fawcett (October 14, 1917 – August 23, 2010), was an oil field contractor. Her sister was Diane Fawcett Walls (October 27, 1938 – October 16, 2001), a graphic artist. She was of Irish, French, English, and Choctaw Native American ancestry. Fawcett once said the name Ferrah was made up by her mother because it went well with their last name.

 

A Roman Catholic, Fawcett's early education was at the parish school of the church her family attended, St. Patrick's Roman Catholic Church in Corpus Christi. She graduated from W. B. Ray High School in Corpus Christi, where she was voted Most Beautiful by her classmates her Freshman, Sophomore, Junior and Senior years of High School. For three years, 1965–68, Fawcett attended the University of Texas at Austin, living one semester in Jester Center, and she became a sister of Delta Delta Delta Sorority. During her Freshman year, she was named one of the Ten Most Beautiful Coeds on Campus, the first time a Freshman had been chosen. Their photos were sent to various agencies in Hollywood. David Mirsch, a Hollywood agent called her and urged her to come to Los Angeles. She turned him down but he called her for the next two years. Finally, in 1968, the summer following her junior year, with her parents' permission to try her luck in Hollywood, Farrah moved to Hollywood. She did not return.

 

Upon arriving in Hollywood in 1968 she was signed to a $350 a week contract with Screen Gems. She began to appear in commercials for UltraBrite toothpaste, Noxema, Max Factor, Wella Balsam shampoo and conditioner, Mercury Cougar automobiles and Beauty Rest matresses. Fawcett's earliest acting appearances were guest spots on The Flying Nun and I Dream of Jeannie. She made numerous other TV appearances including Owen Marshall: Counselor at Law, [Mayberry RFD]] and The Partridge Family. She appeared in four episodes of The Six Million Dollar Man with husband Lee Majors, The Dating Game, S.W.A.T and a recurring role on Harry O alongside David Janssen. She also appeared in the Made for TV movies, The Feminist and the Fuzz, The Great American Beauty Contest, The Girl Who Came Giftwrapped, and Murder of Flight 502.

 

She had a sizable part in the 1969 French romantic-drama, Love Is a Funny Thing. She played opposite Raquel Welch and Mae West in the film version of, Myra Breckinridge (1970). The film earned negative reviews and was a box office flop. However, much has been written and said about the scene where Farrah and Raquel share a bed, and a near sexual experience. Fawcett co-starred with Michael York and Richard Jordan in the well-received science-fiction film, Logan's Run in 1976.

 

In 1976, Pro Arts Inc., pitched the idea of a poster of Fawcett to her agent, and a photo shoot was arranged with photographer Bruce McBroom, who was hired by the poster company. According to friend Nels Van Patten, Fawcett styled her own hair and did her make-up without the aid of a mirror. Her blonde highlights were further heightened by a squeeze of lemon juice. From 40 rolls of film, Fawcett herself selected her six favorite pictures, eventually narrowing her choice to the one that made her famous. The resulting poster, of Fawcett in a one-piece red bathing suit, was a best-seller; sales estimates ranged from over 5 million[12] to 8 million to as high as 12 million copies.

 

On March 21, 1976, the first appearance of Fawcett playing the character Jill Munroe in Charlie's Angels was aired as a movie of the week. Fawcett and her husband were frequent tennis partners of producer Aaron Spelling, and he and his producing partner thought of casting Fawcett as the golden girl Jill because of his friendship with the couple. The movie starred Kate Jackson, Jaclyn Smith and Fawcett (then billed as Farrah Fawcett-Majors) as private investigators for Townsend Associates, a detective agency run by a reclusive multi-millionaire whom the women had never met. Voiced by John Forsythe, the Charles Townsend character presented cases and dispensed advice via a speakerphone to his core team of three female employees, whom he referred to as Angels. They were aided in the office and occasionally in the field by two male associates, played by character actors David Doyle and David Ogden Stiers. The program quickly earned a huge following, leading the network to air it a second time and approve production for a series, with the pilot's principal cast except David Ogden Stiers.

Fawcett's record-breaking poster that sold 12 million copies.

 

The Charlie's Angels series formally debuted on September 22, 1976. Fawcett emerged as a fan favorite in the show, and the actress won a People's Choice Award for Favorite Performer in a New TV Program. In a 1977 interview with TV Guide, Fawcett said: When the show was number three, I thought it was our acting. When we got to be number one, I decided it could only be because none of us wears a bra.

 

Fawcett's appearance in the television show boosted sales of her poster, and she earned far more in royalties from poster sales than from her salary for appearing in Charlie's Angels. Her hairstyle went on to become an international trend, with women sporting a Farrah-do a Farrah-flip, or simply Farrah hair Iterations of her hair style predominated American women's hair styles well into the 1980s.

 

Fawcett left Charlie's Angels after only one season and Cheryl Ladd replaced her on the show, portraying Jill Munroe's younger sister Kris Munroe. Numerous explanations for Fawcett's precipitous withdrawal from the show were offered over the years. The strain on her marriage due to her long absences most days due to filming, as her then-husband Lee Majors was star of an established television show himself, was frequently cited, but Fawcett's ambitions to broaden her acting abilities with opportunities in films have also been given. Fawcett never officially signed her series contract with Spelling due to protracted negotiations over royalties from her image's use in peripheral products, which led to an even more protracted lawsuit filed by Spelling and his company when she quit the show.

 

The show was a major success throughout the world, maintaining its appeal in syndication, spawning a cottage industry of peripheral products, particularly in the show's first three seasons, including several series of bubble gum cards, two sets of fashion dolls, numerous posters, puzzles, and school supplies, novelizations of episodes, toy vans, and a board game, all featuring Fawcett's likeness. The Angels also appeared on the covers of magazines around the world, from countless fan magazines to TV Guide (four times) to Time Magazine.

 

The series ultimately ran for five seasons. As part of a settlement to a lawsuit over her early departure, Fawcett returned for six guest appearances over seasons three and four of the series.

 

In 2004, the television movie Behind the Camera: The Unauthorized Story of Charlie's Angels dramatized the events from the show with supermodel and actress Tricia Helfer portraying Fawcett and Ben Browder portraying Lee Majors, Fawcett's then-husband.

 

In 1983, Fawcett won critical acclaim for her role in the Off-Broadway stage production of the controversial play Extremities, written by William Mastrosimone. Replacing Susan Sarandon, she was a would-be rape victim who turns the tables on her attacker. She described the role as the most grueling, the most intense, the most physically demanding and emotionally exhausting of her career. During one performance, a stalker in the audience disrupted the show by asking Fawcett if she had received the photos and letters he had mailed her. Police removed the man and were able only to issue a summons for disorderly conduct.

 

The following year, her role as a battered wife in the fact-based television movie The Burning Bed (1984) earned her the first of her four Emmy Award nominations. The project is noted as being the first television movie to provide a nationwide 800 number that offered help for others in the situation, in this case victims of domestic abuse. It was the highest-rated television movie of the season.

 

In 1986, Fawcett appeared in the movie version of Extremities, which was also well received by critics, and for which she received a Golden Globe nomination for Best Performance by an Actress in a Motion Picture – Drama.

 

She appeared in Jon Avnet's Between Two Women with Colleen Dewhurst, and took several more dramatic roles as infamous or renowned women. She was nominated for Golden Globe awards for roles as Beate Klarsfeld in Nazi Hunter: The Beate Klarsfeld Story and troubled Woolworth heiress Barbara Hutton in Poor Little Rich Girl: The Barbara Hutton Story, and won a CableACE Award for her 1989 portrayal of groundbreaking LIFE magazine photojournalist Margaret Bourke-White in Double Exposure: The Story of Margaret Bourke-White. Her 1989 portrayal of convicted murderer Diane Downs in the miniseries Small Sacrifices earned her a second Emmy nomination[20] and her sixth Golden Globe Award nomination. The miniseries won a Peabody Award for excellence in television, with Fawcett's performance singled out by the organization, which stated Ms. Fawcett brings a sense of realism rarely seen in television miniseries (to) a drama of unusual power Art meets life.

 

Fawcett, who had steadfastly resisted appearing nude in magazines throughout the 1970s and 1980s (although she appeared topless in the 1980 film Saturn 3), caused a major stir by posing semi-nude in the December 1995 issue of Playboy.[citation needed] At the age of 50, she returned to Playboy with a pictorial for the July 1997 issue, which also became a top seller. The issue and its accompanying video featured Fawcett painting on canvas using her body, which had been an ambition of hers for years.

 

That same year, Fawcett was chosen by Robert Duvall to play his wife in an independent feature film he was producing, The Apostle. Fawcett received an Independent Spirit Award nomination as Best Actress for the film, which was highly critically acclaimed.

 

In 2000, she worked with director Robert Altman and an all-star cast in the feature film Dr. T the Women, playing the wife of Richard Gere (her character has a mental breakdown, leading to her first fully nude appearance). Also that year, Fawcett's collaboration with sculptor Keith Edmier was exhibited at the Los Angeles County Museum of Art, later traveling to The Andy Warhol Museum. The sculpture was also presented in a series of photographs and a book by Rizzoli.

 

In November 2003, Fawcett prepared for her return to Broadway in a production of Bobbi Boland, the tragicomic tale of a former Miss Florida. However, the show never officially opened, closing before preview performances. Fawcett was described as vibrating with frustration at the producer's extraordinary decision to cancel the production. Only days earlier the same producer closed an Off-Broadway show she had been backing.

 

Fawcett continued to work in television, with well-regarded appearances in made-for-television movies and on popular television series including Ally McBeal and four episodes each of Spin City and The Guardian, her work on the latter show earning her a third Emmy nomination in 2004.

 

Fawcett was married to Lee Majors, star of television's The Six Million Dollar Man, from 1973 to 1982, although the couple separated in 1979. During her marriage, she was known and credited in her roles as Farrah Fawcett-Majors.

 

From 1979 until 1997 Fawcett was involved romantically with actor Ryan O'Neal. The relationship produced a son, Redmond James Fawcett O'Neal, born January 30, 1985 in Los Angeles.[26] In April 2009, on probation for driving under the influence, Redmond was arrested for possession of narcotics while Fawcett was in the hospital.[citation needed] On June 22, 2009, The Los Angeles Times and Reuters reported that Ryan O'Neal had said that Fawcett had agreed to marry him as soon as she felt strong enough.

 

From 1997 to 1998, Fawcett had a relationship with Canadian filmmaker James Orr, writer and producer of the Disney feature film in which she co-starred with Chevy Chase and Jonathan Taylor Thomas, Man of the House. The relationship ended when Orr was charged with and later convicted of beating Fawcett during a 1998 fight between the two.

 

On June 5, 1997, Fawcett received negative commentary after giving a rambling interview and appearing distracted on Late Show with David Letterman. Months later, she told the host of The Howard Stern Show her behavior was just her way of joking around with the television host, partly in the guise of promoting her Playboy pictoral and video, explaining what appeared to be random looks across the theater was just her looking and reacting to fans in the audience. Though the Letterman appearance spawned speculation and several jokes at her expense, she returned to the show a week later, with success, and several years later, after Joaquin Phoenix's mumbling act on a February 2009 appearance on The Late Show, Letterman wrapped up the interview by saying, I'm sorry you couldn't be here tonight and recalled Fawcett's earlier appearance by noting we owe an apology to Farrah Fawcett.

 

Fawcett's elder sister, Diane Fawcett Walls, died from lung cancer just before her 63rd birthday, on October 16, 2001.[33] The fifth episode of her 2005 Chasing Farrah series followed the actress home to Texas to visit with her father, James, and mother, Pauline. Pauline Fawcett died soon after, on March 4, 2005, at the age of 91.

 

Fawcett was diagnosed with anal cancer in 2006, and began treatment, including chemotherapy and surgery. Four months later, on her 60th birthday, the Associated Press wire service reported that Fawcett was, at that point, cancer free.

 

Less than four months later, in May 2007, Fawcett brought a small digital video camera to document a doctor's office visit. There, she was told a malignant polyp was found where she had been treated for the initial cancer. Doctors contemplated whether to implant a radiation seeder (which differs from conventional radiation and is used to treat other types of cancer). Fawcett's U.S. doctors told her that she would require a colostomy. Instead, Fawcett traveled to Germany for treatments described variously in the press as holistic aggressive and alternative. There, Dr. Ursula Jacob prescribed a treatment including surgery to remove the anal tumor, and a course of perfusion and embolization for her liver cancer by Doctors Claus Kiehling and Thomas Vogl in Germany, and chemotherapy back in Fawcett's home town of Los Angeles. Although initially the tumors were regressing, their reappearance a few months later necessitated a new course, this time including laser ablation therapy and chemoembolization. Aided by friend Alana Stewart, Fawcett documented her battle with the disease.

 

In early April 2009, Fawcett, back in the United States, was hospitalized, with media reports declaring her unconscious and in critical condition, although subsequent reports indicated her condition was not so dire. On April 6, the Associated Press reported that her cancer had metastasized to her liver, a development Fawcett had learned of in May 2007 and which her subsequent treatments in Germany had targeted. The report denied that she was unconscious, and explained that the hospitalization was due not to her cancer but a painful abdominal hematoma that had been the result of a minor procedure. Her spokesperson emphasized she was not at death's door adding - She remains in good spirits with her usual sense of humor ... She's been in great shape her whole life and has an incredible resolve and an incredible resilience. Fawcett was released from the hospital on April 9, picked up by longtime companion O'Neal, and, according to her doctor, was walking and in great spirits and looking forward to celebrating Easter at home.

 

A month later, on May 7, Fawcett was reported as critically ill, with Ryan O'Neal quoted as saying she now spends her days at home, on an IV, often asleep. The Los Angeles Times reported Fawcett was in the last stages of her cancer and had the chance to see her son Redmond in April 2009, although shackled and under supervision, as he was then incarcerated. Her 91-year-old father, James Fawcett, flew out to Los Angeles to visit.

 

The cancer specialist that was treating Fawcett in L.A., Dr. Lawrence Piro, and Fawcett's friend and Angels co-star Kate Jackson – a breast cancer survivor – appeared together on The Today Show dispelling tabloid-fueled rumors, including suggestions Fawcett had ever been in a coma, had ever reached 86 pounds, and had ever given up her fight against the disease or lost the will to live. Jackson decried such fabrications, saying they really do hurt a human being and a person like Farrah. Piro recalled when it became necessary for Fawcett to undergo treatments that would cause her to lose her hair, acknowledging Farrah probably has the most famous hair in the world but also that it is not a trivial matter for any cancer patient, whose hair affects [one's] whole sense of who [they] are. Of the documentary, Jackson averred Fawcett didn't do this to show that 'she' is unique, she did it to show that we are all unique ... This was ... meant to be a gift to others to help and inspire them.

 

The two-hour documentary Farrah's Story, which was filmed by Fawcett and friend Alana Stewart, aired on NBC on May 15, 2009.[47] The documentary was watched by nearly nine million people at its premiere airing, and it was re-aired on the broadcast network's cable stations MSNBC, Bravo and Oxygen. Fawcett earned her fourth Emmy nomination posthumously on July 16, 2009, as producer of Farrah's Story.

 

Controversy surrounded the aired version of the documentary, with her initial producing partner, who had worked with her four years earlier on her reality series Chasing Farrah, alleging O'Neal's and Stewart's editing of the program was not in keeping with Fawcett's wishes to more thoroughly explore rare types of cancers such as her own and alternative methods of treatment. He was especially critical of scenes showing Fawcett's son visiting her for the last time, in shackles, while she was nearly unconscious in bed. Fawcett had generally kept her son out of the media, and his appearances were minimal in Chasing Farrah.

 

Fawcett died at approximately 9:28 am, PDT on June 25, 2009, in the intensive care unit of Saint John's Health Center in Santa Monica, California, with O'Neal and Stewart by her side. A private funeral was held in Los Angeles on June 30. Fawcett's son Redmond was permitted to leave his California detention center to attend his mother's funeral, where he gave the first reading.

 

The night of her death, ABC aired an hour-long special episode of 20/20 featuring clips from several of Barbara Walters' past interviews with Fawcett as well as new interviews with Ryan O'Neal, Jaclyn Smith, Alana Stewart, and Dr. Lawrence Piro. Walters followed up on the story on Friday's episode of 20/20. CNN's Larry King Live planned a show exclusively about Fawcett that evening until the death of Michael Jackson several hours later caused the program to shift to cover both stories. Cher, a longtime friend of Fawcett, and Suzanne de Passe, executive producer of Fawcett's Small Sacrifices mini-series, both paid tribute to Fawcett on the program. NBC aired a Dateline NBC special Farrah Fawcett: The Life and Death of an Angel; the following evening, June 26, preceded by a rebroadcast of Farrah's Story in prime time. That weekend and the following week, television tributes continued. MSNBC aired back-to-back episodes of its Headliners and Legends episodes featuring Fawcett and Jackson. TV Land aired a mini-marathon of Charlie's Angels and Chasing Farrah episodes. E! aired Michael and Farrah: Lost Icons and the The Biography Channel aired Bio Remembers: Farrah Fawcett. The documentary Farrah's Story re-aired on the Oxygen Network and MSNBC.

 

Larry King said of the Fawcett phenomenon,

TV had much more impact back in the '70s than it does today. Charlie's Angels got huge numbers every week – nothing really dominates the television landscape like that today. Maybe American Idol comes close, but now there are so many channels and so many more shows it's hard for anything to get the audience, or amount of attention, that Charlie's Angels got. Farrah was a major TV star when the medium was clearly dominant.

 

Playboy founder Hugh Hefner said Farrah was one of the iconic beauties of our time. Her girl-next-door charm combined with stunning looks made her a star on film, TV and the printed page.

 

Kate Jackson said,

She was a selfless person who loved her family and friends with all her heart, and what a big heart it was. Farrah showed immense courage and grace throughout her illness and was an inspiration to those around her... I will remember her kindness, her cutting dry wit and, of course, her beautiful smile...when you think of Farrah, remember her smiling because that is exactly how she wanted to be remembered: smiling.

 

She is buried at the Westwood Village Memorial Park in Los Angeles.

 

The red one-piece bathing suit worn by Farrah in her famous 1976 poster was donated to the Smithsonian's National Museum of American History (NMAH) on February 2, 2011.[65] Said to have been purchased at a Saks Fifth Avenue store, the red Lycra suit made by the leading Australian swimsuit company Speedo, was donated to the Smithsonian by her executors and was formally presented to NMAH in Washington D.C. by her longtime companion Ryan O'Neal.[66] The suit and the poster are expected to go on temporary display sometime in 2011–12. They will be made additions to the Smithsonian's popular culture department.

 

The famous poster of Farrah in a red swimsuit has been produced as a Barbie doll. The limited edition dolls, complete with a gold chain and the girl-next-door locks, have been snapped up by Barbie fans.

 

In 2011, Men's Health named her one of the 100 Hottest Women of All-Time ranking her at No. 31

The most beautiful women in TV and Movie History now become Barbie Collector Dolls created by acclaimed re-paint Artist Donna Brinkley.

 

Farrah Leni Fawcett is known as the world's Sexiest Star of all time... she will forever be one of Hollywood's greatest Icons. She was born in Corpus Christi, Texas, the younger of two daughters.[3] Her mother, Pauline Alice January 30, 1914 – March 4, 2005), was a homemaker, and her father, James William Fawcett (October 14, 1917 – August 23, 2010), was an oil field contractor. Her sister was Diane Fawcett Walls (October 27, 1938 – October 16, 2001), a graphic artist. She was of Irish, French, English, and Choctaw Native American ancestry. Fawcett once said the name Ferrah was made up by her mother because it went well with their last name.

 

A Roman Catholic, Fawcett's early education was at the parish school of the church her family attended, St. Patrick's Roman Catholic Church in Corpus Christi. She graduated from W. B. Ray High School in Corpus Christi, where she was voted Most Beautiful by her classmates her Freshman, Sophomore, Junior and Senior years of High School. For three years, 1965–68, Fawcett attended the University of Texas at Austin, living one semester in Jester Center, and she became a sister of Delta Delta Delta Sorority. During her Freshman year, she was named one of the Ten Most Beautiful Coeds on Campus, the first time a Freshman had been chosen. Their photos were sent to various agencies in Hollywood. David Mirsch, a Hollywood agent called her and urged her to come to Los Angeles. She turned him down but he called her for the next two years. Finally, in 1968, the summer following her junior year, with her parents' permission to try her luck in Hollywood, Farrah moved to Hollywood. She did not return.

 

Upon arriving in Hollywood in 1968 she was signed to a $350 a week contract with Screen Gems. She began to appear in commercials for UltraBrite toothpaste, Noxema, Max Factor, Wella Balsam shampoo and conditioner, Mercury Cougar automobiles and Beauty Rest matresses. Fawcett's earliest acting appearances were guest spots on The Flying Nun and I Dream of Jeannie. She made numerous other TV appearances including Owen Marshall: Counselor at Law, [Mayberry RFD]] and The Partridge Family. She appeared in four episodes of The Six Million Dollar Man with husband Lee Majors, The Dating Game, S.W.A.T and a recurring role on Harry O alongside David Janssen. She also appeared in the Made for TV movies, The Feminist and the Fuzz, The Great American Beauty Contest, The Girl Who Came Giftwrapped, and Murder of Flight 502.

 

She had a sizable part in the 1969 French romantic-drama, Love Is a Funny Thing. She played opposite Raquel Welch and Mae West in the film version of, Myra Breckinridge (1970). The film earned negative reviews and was a box office flop. However, much has been written and said about the scene where Farrah and Raquel share a bed, and a near sexual experience. Fawcett co-starred with Michael York and Richard Jordan in the well-received science-fiction film, Logan's Run in 1976.

 

In 1976, Pro Arts Inc., pitched the idea of a poster of Fawcett to her agent, and a photo shoot was arranged with photographer Bruce McBroom, who was hired by the poster company. According to friend Nels Van Patten, Fawcett styled her own hair and did her make-up without the aid of a mirror. Her blonde highlights were further heightened by a squeeze of lemon juice. From 40 rolls of film, Fawcett herself selected her six favorite pictures, eventually narrowing her choice to the one that made her famous. The resulting poster, of Fawcett in a one-piece red bathing suit, was a best-seller; sales estimates ranged from over 5 million[12] to 8 million to as high as 12 million copies.

 

On March 21, 1976, the first appearance of Fawcett playing the character Jill Munroe in Charlie's Angels was aired as a movie of the week. Fawcett and her husband were frequent tennis partners of producer Aaron Spelling, and he and his producing partner thought of casting Fawcett as the golden girl Jill because of his friendship with the couple. The movie starred Kate Jackson, Jaclyn Smith and Fawcett (then billed as Farrah Fawcett-Majors) as private investigators for Townsend Associates, a detective agency run by a reclusive multi-millionaire whom the women had never met. Voiced by John Forsythe, the Charles Townsend character presented cases and dispensed advice via a speakerphone to his core team of three female employees, whom he referred to as Angels. They were aided in the office and occasionally in the field by two male associates, played by character actors David Doyle and David Ogden Stiers. The program quickly earned a huge following, leading the network to air it a second time and approve production for a series, with the pilot's principal cast except David Ogden Stiers.

Fawcett's record-breaking poster that sold 12 million copies.

 

The Charlie's Angels series formally debuted on September 22, 1976. Fawcett emerged as a fan favorite in the show, and the actress won a People's Choice Award for Favorite Performer in a New TV Program. In a 1977 interview with TV Guide, Fawcett said: When the show was number three, I thought it was our acting. When we got to be number one, I decided it could only be because none of us wears a bra.

 

Fawcett's appearance in the television show boosted sales of her poster, and she earned far more in royalties from poster sales than from her salary for appearing in Charlie's Angels. Her hairstyle went on to become an international trend, with women sporting a Farrah-do a Farrah-flip, or simply Farrah hair Iterations of her hair style predominated American women's hair styles well into the 1980s.

 

Fawcett left Charlie's Angels after only one season and Cheryl Ladd replaced her on the show, portraying Jill Munroe's younger sister Kris Munroe. Numerous explanations for Fawcett's precipitous withdrawal from the show were offered over the years. The strain on her marriage due to her long absences most days due to filming, as her then-husband Lee Majors was star of an established television show himself, was frequently cited, but Fawcett's ambitions to broaden her acting abilities with opportunities in films have also been given. Fawcett never officially signed her series contract with Spelling due to protracted negotiations over royalties from her image's use in peripheral products, which led to an even more protracted lawsuit filed by Spelling and his company when she quit the show.

 

The show was a major success throughout the world, maintaining its appeal in syndication, spawning a cottage industry of peripheral products, particularly in the show's first three seasons, including several series of bubble gum cards, two sets of fashion dolls, numerous posters, puzzles, and school supplies, novelizations of episodes, toy vans, and a board game, all featuring Fawcett's likeness. The Angels also appeared on the covers of magazines around the world, from countless fan magazines to TV Guide (four times) to Time Magazine.

 

The series ultimately ran for five seasons. As part of a settlement to a lawsuit over her early departure, Fawcett returned for six guest appearances over seasons three and four of the series.

 

In 2004, the television movie Behind the Camera: The Unauthorized Story of Charlie's Angels dramatized the events from the show with supermodel and actress Tricia Helfer portraying Fawcett and Ben Browder portraying Lee Majors, Fawcett's then-husband.

 

In 1983, Fawcett won critical acclaim for her role in the Off-Broadway stage production of the controversial play Extremities, written by William Mastrosimone. Replacing Susan Sarandon, she was a would-be rape victim who turns the tables on her attacker. She described the role as the most grueling, the most intense, the most physically demanding and emotionally exhausting of her career. During one performance, a stalker in the audience disrupted the show by asking Fawcett if she had received the photos and letters he had mailed her. Police removed the man and were able only to issue a summons for disorderly conduct.

 

The following year, her role as a battered wife in the fact-based television movie The Burning Bed (1984) earned her the first of her four Emmy Award nominations. The project is noted as being the first television movie to provide a nationwide 800 number that offered help for others in the situation, in this case victims of domestic abuse. It was the highest-rated television movie of the season.

 

In 1986, Fawcett appeared in the movie version of Extremities, which was also well received by critics, and for which she received a Golden Globe nomination for Best Performance by an Actress in a Motion Picture – Drama.

 

She appeared in Jon Avnet's Between Two Women with Colleen Dewhurst, and took several more dramatic roles as infamous or renowned women. She was nominated for Golden Globe awards for roles as Beate Klarsfeld in Nazi Hunter: The Beate Klarsfeld Story and troubled Woolworth heiress Barbara Hutton in Poor Little Rich Girl: The Barbara Hutton Story, and won a CableACE Award for her 1989 portrayal of groundbreaking LIFE magazine photojournalist Margaret Bourke-White in Double Exposure: The Story of Margaret Bourke-White. Her 1989 portrayal of convicted murderer Diane Downs in the miniseries Small Sacrifices earned her a second Emmy nomination[20] and her sixth Golden Globe Award nomination. The miniseries won a Peabody Award for excellence in television, with Fawcett's performance singled out by the organization, which stated Ms. Fawcett brings a sense of realism rarely seen in television miniseries (to) a drama of unusual power Art meets life.

 

Fawcett, who had steadfastly resisted appearing nude in magazines throughout the 1970s and 1980s (although she appeared topless in the 1980 film Saturn 3), caused a major stir by posing semi-nude in the December 1995 issue of Playboy.[citation needed] At the age of 50, she returned to Playboy with a pictorial for the July 1997 issue, which also became a top seller. The issue and its accompanying video featured Fawcett painting on canvas using her body, which had been an ambition of hers for years.

 

That same year, Fawcett was chosen by Robert Duvall to play his wife in an independent feature film he was producing, The Apostle. Fawcett received an Independent Spirit Award nomination as Best Actress for the film, which was highly critically acclaimed.

 

In 2000, she worked with director Robert Altman and an all-star cast in the feature film Dr. T the Women, playing the wife of Richard Gere (her character has a mental breakdown, leading to her first fully nude appearance). Also that year, Fawcett's collaboration with sculptor Keith Edmier was exhibited at the Los Angeles County Museum of Art, later traveling to The Andy Warhol Museum. The sculpture was also presented in a series of photographs and a book by Rizzoli.

 

In November 2003, Fawcett prepared for her return to Broadway in a production of Bobbi Boland, the tragicomic tale of a former Miss Florida. However, the show never officially opened, closing before preview performances. Fawcett was described as vibrating with frustration at the producer's extraordinary decision to cancel the production. Only days earlier the same producer closed an Off-Broadway show she had been backing.

 

Fawcett continued to work in television, with well-regarded appearances in made-for-television movies and on popular television series including Ally McBeal and four episodes each of Spin City and The Guardian, her work on the latter show earning her a third Emmy nomination in 2004.

 

Fawcett was married to Lee Majors, star of television's The Six Million Dollar Man, from 1973 to 1982, although the couple separated in 1979. During her marriage, she was known and credited in her roles as Farrah Fawcett-Majors.

 

From 1979 until 1997 Fawcett was involved romantically with actor Ryan O'Neal. The relationship produced a son, Redmond James Fawcett O'Neal, born January 30, 1985 in Los Angeles.[26] In April 2009, on probation for driving under the influence, Redmond was arrested for possession of narcotics while Fawcett was in the hospital.[citation needed] On June 22, 2009, The Los Angeles Times and Reuters reported that Ryan O'Neal had said that Fawcett had agreed to marry him as soon as she felt strong enough.

 

From 1997 to 1998, Fawcett had a relationship with Canadian filmmaker James Orr, writer and producer of the Disney feature film in which she co-starred with Chevy Chase and Jonathan Taylor Thomas, Man of the House. The relationship ended when Orr was charged with and later convicted of beating Fawcett during a 1998 fight between the two.

 

On June 5, 1997, Fawcett received negative commentary after giving a rambling interview and appearing distracted on Late Show with David Letterman. Months later, she told the host of The Howard Stern Show her behavior was just her way of joking around with the television host, partly in the guise of promoting her Playboy pictoral and video, explaining what appeared to be random looks across the theater was just her looking and reacting to fans in the audience. Though the Letterman appearance spawned speculation and several jokes at her expense, she returned to the show a week later, with success, and several years later, after Joaquin Phoenix's mumbling act on a February 2009 appearance on The Late Show, Letterman wrapped up the interview by saying, I'm sorry you couldn't be here tonight and recalled Fawcett's earlier appearance by noting we owe an apology to Farrah Fawcett.

 

Fawcett's elder sister, Diane Fawcett Walls, died from lung cancer just before her 63rd birthday, on October 16, 2001.[33] The fifth episode of her 2005 Chasing Farrah series followed the actress home to Texas to visit with her father, James, and mother, Pauline. Pauline Fawcett died soon after, on March 4, 2005, at the age of 91.

 

Fawcett was diagnosed with anal cancer in 2006, and began treatment, including chemotherapy and surgery. Four months later, on her 60th birthday, the Associated Press wire service reported that Fawcett was, at that point, cancer free.

 

Less than four months later, in May 2007, Fawcett brought a small digital video camera to document a doctor's office visit. There, she was told a malignant polyp was found where she had been treated for the initial cancer. Doctors contemplated whether to implant a radiation seeder (which differs from conventional radiation and is used to treat other types of cancer). Fawcett's U.S. doctors told her that she would require a colostomy. Instead, Fawcett traveled to Germany for treatments described variously in the press as holistic aggressive and alternative. There, Dr. Ursula Jacob prescribed a treatment including surgery to remove the anal tumor, and a course of perfusion and embolization for her liver cancer by Doctors Claus Kiehling and Thomas Vogl in Germany, and chemotherapy back in Fawcett's home town of Los Angeles. Although initially the tumors were regressing, their reappearance a few months later necessitated a new course, this time including laser ablation therapy and chemoembolization. Aided by friend Alana Stewart, Fawcett documented her battle with the disease.

 

In early April 2009, Fawcett, back in the United States, was hospitalized, with media reports declaring her unconscious and in critical condition, although subsequent reports indicated her condition was not so dire. On April 6, the Associated Press reported that her cancer had metastasized to her liver, a development Fawcett had learned of in May 2007 and which her subsequent treatments in Germany had targeted. The report denied that she was unconscious, and explained that the hospitalization was due not to her cancer but a painful abdominal hematoma that had been the result of a minor procedure. Her spokesperson emphasized she was not at death's door adding - She remains in good spirits with her usual sense of humor ... She's been in great shape her whole life and has an incredible resolve and an incredible resilience. Fawcett was released from the hospital on April 9, picked up by longtime companion O'Neal, and, according to her doctor, was walking and in great spirits and looking forward to celebrating Easter at home.

 

A month later, on May 7, Fawcett was reported as critically ill, with Ryan O'Neal quoted as saying she now spends her days at home, on an IV, often asleep. The Los Angeles Times reported Fawcett was in the last stages of her cancer and had the chance to see her son Redmond in April 2009, although shackled and under supervision, as he was then incarcerated. Her 91-year-old father, James Fawcett, flew out to Los Angeles to visit.

 

The cancer specialist that was treating Fawcett in L.A., Dr. Lawrence Piro, and Fawcett's friend and Angels co-star Kate Jackson – a breast cancer survivor – appeared together on The Today Show dispelling tabloid-fueled rumors, including suggestions Fawcett had ever been in a coma, had ever reached 86 pounds, and had ever given up her fight against the disease or lost the will to live. Jackson decried such fabrications, saying they really do hurt a human being and a person like Farrah. Piro recalled when it became necessary for Fawcett to undergo treatments that would cause her to lose her hair, acknowledging Farrah probably has the most famous hair in the world but also that it is not a trivial matter for any cancer patient, whose hair affects [one's] whole sense of who [they] are. Of the documentary, Jackson averred Fawcett didn't do this to show that 'she' is unique, she did it to show that we are all unique ... This was ... meant to be a gift to others to help and inspire them.

 

The two-hour documentary Farrah's Story, which was filmed by Fawcett and friend Alana Stewart, aired on NBC on May 15, 2009.[47] The documentary was watched by nearly nine million people at its premiere airing, and it was re-aired on the broadcast network's cable stations MSNBC, Bravo and Oxygen. Fawcett earned her fourth Emmy nomination posthumously on July 16, 2009, as producer of Farrah's Story.

 

Controversy surrounded the aired version of the documentary, with her initial producing partner, who had worked with her four years earlier on her reality series Chasing Farrah, alleging O'Neal's and Stewart's editing of the program was not in keeping with Fawcett's wishes to more thoroughly explore rare types of cancers such as her own and alternative methods of treatment. He was especially critical of scenes showing Fawcett's son visiting her for the last time, in shackles, while she was nearly unconscious in bed. Fawcett had generally kept her son out of the media, and his appearances were minimal in Chasing Farrah.

 

Fawcett died at approximately 9:28 am, PDT on June 25, 2009, in the intensive care unit of Saint John's Health Center in Santa Monica, California, with O'Neal and Stewart by her side. A private funeral was held in Los Angeles on June 30. Fawcett's son Redmond was permitted to leave his California detention center to attend his mother's funeral, where he gave the first reading.

 

The night of her death, ABC aired an hour-long special episode of 20/20 featuring clips from several of Barbara Walters' past interviews with Fawcett as well as new interviews with Ryan O'Neal, Jaclyn Smith, Alana Stewart, and Dr. Lawrence Piro. Walters followed up on the story on Friday's episode of 20/20. CNN's Larry King Live planned a show exclusively about Fawcett that evening until the death of Michael Jackson several hours later caused the program to shift to cover both stories. Cher, a longtime friend of Fawcett, and Suzanne de Passe, executive producer of Fawcett's Small Sacrifices mini-series, both paid tribute to Fawcett on the program. NBC aired a Dateline NBC special Farrah Fawcett: The Life and Death of an Angel; the following evening, June 26, preceded by a rebroadcast of Farrah's Story in prime time. That weekend and the following week, television tributes continued. MSNBC aired back-to-back episodes of its Headliners and Legends episodes featuring Fawcett and Jackson. TV Land aired a mini-marathon of Charlie's Angels and Chasing Farrah episodes. E! aired Michael and Farrah: Lost Icons and the The Biography Channel aired Bio Remembers: Farrah Fawcett. The documentary Farrah's Story re-aired on the Oxygen Network and MSNBC.

 

Larry King said of the Fawcett phenomenon,

TV had much more impact back in the '70s than it does today. Charlie's Angels got huge numbers every week – nothing really dominates the television landscape like that today. Maybe American Idol comes close, but now there are so many channels and so many more shows it's hard for anything to get the audience, or amount of attention, that Charlie's Angels got. Farrah was a major TV star when the medium was clearly dominant.

 

Playboy founder Hugh Hefner said Farrah was one of the iconic beauties of our time. Her girl-next-door charm combined with stunning looks made her a star on film, TV and the printed page.

 

Kate Jackson said,

She was a selfless person who loved her family and friends with all her heart, and what a big heart it was. Farrah showed immense courage and grace throughout her illness and was an inspiration to those around her... I will remember her kindness, her cutting dry wit and, of course, her beautiful smile...when you think of Farrah, remember her smiling because that is exactly how she wanted to be remembered: smiling.

 

She is buried at the Westwood Village Memorial Park in Los Angeles.

 

The red one-piece bathing suit worn by Farrah in her famous 1976 poster was donated to the Smithsonian's National Museum of American History (NMAH) on February 2, 2011.[65] Said to have been purchased at a Saks Fifth Avenue store, the red Lycra suit made by the leading Australian swimsuit company Speedo, was donated to the Smithsonian by her executors and was formally presented to NMAH in Washington D.C. by her longtime companion Ryan O'Neal.[66] The suit and the poster are expected to go on temporary display sometime in 2011–12. They will be made additions to the Smithsonian's popular culture department.

 

The famous poster of Farrah in a red swimsuit has been produced as a Barbie doll. The limited edition dolls, complete with a gold chain and the girl-next-door locks, have been snapped up by Barbie fans.

 

In 2011, Men's Health named her one of the 100 Hottest Women of All-Time ranking her at No. 31

The third Ida Rentoul Outhwaite Children's Library Stained Glass Window features the excerpt from a poem; "While underneath in phantom shells, the fairy sailors go, and shining o'er the silent dells, the fairy beacons glow". It, and the painted panel above come from "Fairy Islands" from "Elves and Fairies" published by Thomas Lothian in Melbourne in 1910. The book illustration, much more Art Nouveau in influence than any of the others, is rich with night time blues. Yet the stained glass panel featuring six faeries riding down a river in nautilus shells beneath a silvery full moon, has highlights of pink and golden yellow. The girl faeries all wear Edwardian empire line dancing dresses, such as Isadora Duncan and Anna Pavlova wore, with belts of trailing yellow flowers. Whilst the water looks tranquil enough, the faeries are obviously moving swiftly down the river as their hair and dresses blow in the breeze, and the pink heath sprigs they carry all bend to the wind. The silhouettes of narrow gum trees stand against a full moon glimpsed between two steep banks.

 

In 1923 with Fitzroy still very much a working class area of Melbourne with pockets of poverty, the parish of St. Mark the Evangelist decided to address the need of the poor in the inner Melbourne suburb. Architects Gawler and Drummond were commissioned to design a two storey red brick Social Settlement Building. It was opened in 1926 by the Vicar of St. Mark the Evangelist, the Reverend Robert G. Nichols (known affectionately amongst the parish as Brother Bill). Known today as the Community Centre, the St. Mark the Evangelist Social Settlements Building looks out onto George Street and also across the St. Mark the Evangelist's forecourt. When it opened, the Social Settlement Building's facilities included a gymnasium, club rooms and children's library.

 

Opened in 1926, the children's library, which was situated in the corner room of the Social Settlements Building, is believed to be the first known free dedicated children's library in Victoria. The library was given to the children of Fitzroy by Mrs. T. Hackett, in memory of her late husband. The library contained over 3,000 books, as well as children's magazines and even comics. The Social Settlements Building was only erected because Brother Bill organised the commitment of £1,000.00 each from various wealthy businessmen and philanthropists around Melbourne. Mrs Hackett's contribution was the library of £1,000.00 worth of books. Another internationally famous resident of the neighbourhood, Australian children's book illustrator Ida Rentoul Outhwaite, then at the zenith of her career, was engaged by the relentless Brother Bill to create something for the library. Ida donated four stained glass windows each with a hand-painted panel executed by her, based upon illustrations from her books, most notably "Elves and Fairies" which was published to great acclaim in Australia and sold internationally in 1916 and "Fairyland" which had been published earlier that year. These four hand painted stained glass windows were equated to the value of £1,000.00, but are priceless today, as they are the only public works of Ida Rentoul Outhwaite ever commissioned that have been executed in this medium. Ida Rentoul Outhwaite was only ever commissioned to create one other public work; a series of four panels executed in watercolour with pencil underdrawing in 1910 for the Prince Henry Hospital's children's wards in Melbourne (now demolished). Of her panels, only two are believed still to be in existence, buried within the hospital archives. The four Ida Rentoul Outhwaite stained glass windows each depict faeries, pixies, Australian native animals and children, taken from her book illustrations. At the time of photographing, the windows - three overlooking George Street and one St. Mark the Evangelist's forecourt - were located in the community lounge, which served as a drop-in lounge and kitchen for Fitzroy's homeless and marginalised citizens. Today the space has been re-purposed as offices for the Anglicare staff who run the St. Mark's Community Centre, possibly as a way to protect the precious windows from coming to any harm. The only down-side to this is that they are not as easily accessed or viewed as when I photographed them, making my original visit to St. Mark the Evangalist in 2009 extremely fortuitous.

 

The Ida Rentoul Outhwaite Children's Library Stained Glass Windows are one of Australia's greatest hidden treasures, which seems apt when you consider that the pixies and faeries they depict are also often in hiding when we read about them in children's books and the faerie tales of our childhood. The fact that they are hidden, because it is necessary to enter a little-known and undistinguished building in order to see them, ensures their protection and survival. The windows are unique, not only because they are the only stained glass windows designed and hand-painted by Ida Rentoul Outhwaite, but because they are the earliest and only examples of stained glass art in Australia that deals with theme of childhood.

 

I am indebted to Peter Bourke who ran the St. Mark's Community Centre in 2009 for giving me the privilege of seeing these beautiful and rare windows created by one of my favourite children's book artists on a hot November afternoon, without me having made prior arrangements. I also appreciate him allowing me the opportunity to photograph them in great detail. I will always be grateful to him for such a wonderful and moving experience.

 

Ida Sherbourne Outhwaite (1888 - 1960) was an Australian children's book illustrator. She was born on the 9th of June 1888 in the inner Melbourne suburb of Carlton. She was the daughter of the of Presbyterian Reverend John Laurence Rentoul and his wife Annie Isobel. Her family was both literary and artistic, and as such, gifted Ida was encouraged from an early age to embrace her talent of drawing. Her elder sister, Annie Rattray Rentoul (1882 - 1978), was likewise encouraged to write, and both would later form a successful partnership. In 1903 six fairy stories written by Annie and illustrated by Ida were published in the ladies' journal "New Idea". The following year the Rentoul sisters collaborated on a book called "Mollie's Bunyip" which was received with instant success because it combined the idea of European faeries, witches and elves and the Australian bush. "Mollie's Staircase" followed in 1906. In 1908 the Rentoul sisters published their first substantial story book, "The Lady of the Blue Beads". On 9 December 1909 Ida married Arthur Grenbry Outhwaite (1875-1938), manager of the Perpetual Executors and Trustees Association of Australia Ltd. (Annie remained unmarried her entire life). After her marriage, Ida was known as Ida Rentoul Outhwaite, but did not publish anything substantial as she established her family and household until part way through the Great War. In 1916 she brought out her first coloured work; "Elves and Fairies", a de luxe edition produced entirely in Australia by Thomas Lothian. The success of the book, with its delicate watercolour plates, was due both to Ida's artistic talent and to the business acumen of her husband, who provided a £400.00 subsidy to ensure a high-quality production and consigned royalties to the Red Cross, thereby encouraging vice-regal patronage. "Elves and Fairies" is still her best known and loved work. Encouraged by her latest success, Ida travelled to Europe after hostilities ended and in 1920 exhibited in Paris and London. The critics compared her to other artists of the golden years of children's illustration such as Arthur Rackham and Edmund Dulac, thus sealing her international success. She signed a contract with British book publishers A. & C. Black who published five books for her over the next decade, including "The Enchanted Forest" (1921), with text by her husband, and, probably the most popular of all the Rentoul sisters' collaborations, "The Little Green Road to Fairyland" (1922). "The Fairyland of Ida Rentoul Outhwaite" (1926), another sumptuous volume, with text by her husband and sister, was less successful. A. & C. Black also produced a number of postcard series using her illustrations from "Elves and Fairies" as well as her other books published by them. In 1930 the last of her books published by A. & C. Black was released, but already times were changing, and the interest in Ida's work was rapidly fading. Angus & Robertson brought out two more books in 1933 and 1935 but they received relatively little attention. Her last two exhibitions, which between 1916 and 1928 were almost annual events, were held in 1933. The Second World War changed the world, and Ida and Annie's work was relegated to a bygone era, shunned and forgotten. Ida suffered the loss of both of her sons during the war, and she spent her last years sharing a flat in Caulfield with her sister, where, survived by her two daughters, she died on 25 June 1960. She did not live to see the resurgence of interest in her work some twenty-five years later, when in 1985, her picture of "The Little Witch" from "Elves and Fairies" was published on an Australian stamp, opening the fairy world of Ida Rentoul Outhwaite to a whole new generation of children and adults alike.

  

1987 Ford Capri 280.

 

Previously registered E98 DEV.

Anglia Car Auctions, King's Lynn -

 

"Offered on behalf of the Executors. We have been advised that this Brooklands was extensively restored in 2002. Treasured by it's deceased keeper who had owned it since 1998, it has been described as in excellent condition. Benefits from a new speedo head and Turbo Technics upgrade. Six registered owners. The history file contains the original service book with eight stamps between 1987 and 1989, MoT's from 1998 to 2002 and from 2006 to 2017, invoices and tax discs dating from 1998 to 2006. The current MoT expired on the 5th March 2018. Mileage recorded at 24,320.

 

V5 Present

Chassis number: WF0CXXGAECGG11553

 

Result inc Premium: £21,200."

Ightham Mote (/ˈaɪtəm ˈmoʊt/), Ightham, Kent is a medieval moated manor house. The architectural writer John Newman describes it as "the most complete small medieval manor house in the county". Ightham Mote and its gardens are owned by the National Trust and are open to the public. The house is a Grade I listed building, and parts of it are a Scheduled Ancient Monument.

 

The origins of the house date from circa 1340-1360. The earliest recorded owner is Sir Thomas Cawne, who was resident towards the middle of the 14th century. The house passed by the marriage of his daughter Alice to Nicholas Haute and their descendants, their grandson Richard Haute being Sheriff of Kent in the late 15th century. It was then purchased by Sir Richard Clement in 1521. In 1591, Sir William Selby bought the estate.

 

The house remained in the Selby family for nearly 300 years. Sir William was succeeded by his nephew, also Sir William, who is notable for handing over the keys of Berwick-upon-Tweed to James I on his way south to succeed to the throne. He married Dorothy Bonham of West Malling but had no children. The Selbys continued until the mid-19th century when the line faltered with Elizabeth Selby, the widow of a Thomas who disinherited his only son. During her reclusive tenure, Joseph Nash drew the house for his multi-volume illustrated history Mansions of England in the Olden Time, published in the 1840s. The house passed to a cousin, Prideaux John Selby, a distinguished naturalist, sportsman and scientist. On his death in 1867, he left Ightham Mote to a daughter, Mrs Lewis Marianne Bigge. Her second husband, Robert Luard, changed his name to Luard-Selby. Ightham Mote was rented-out in 1887 to American Railroad magnate William Jackson Palmer and his family. For three years Ightham Mote became a centre for the artists and writers of the Aesthetic Movement with visitors including John Singer Sargent, Henry James, and Ellen Terry. When Mrs Bigge died in 1889, the executors of her son Charles Selby-Bigge, a Shropshire land agent, put the house up for sale in July 1889.

 

The Mote was purchased by Thomas Colyer-Fergusson. He and his wife brought up their six children at the Mote. In 1890-1891, he carried out much repair and restoration, which allowed the survival of the house after centuries of neglect. Ightham Mote was opened to the public one afternoon a week in the early 20th century.

 

Sir Thomas Colyer-Fergusson's third son, Riversdale, died aged 21 in 1917 in the Third Battle of Ypres, and won a posthumous Victoria Cross. A wooden cross in the New Chapel is in his memory. The oldest brother, Max, was killed at the age of 49 in a bombing raid on an army driving school near Tidworth in 1940 during World War II. One of the three daughters, Mary (called Polly) married Walter Monckton.

 

On Sir Thomas's death in 1951, the property and the baronetcy passed to Max's son, James. The high costs of upkeep and repair of the house led him to sell the house and auction most of the contents. The sale took place in October 1951 and lasted three days. It was suggested that the house be demolished to harvest the lead on the roofs, or that it be divided into flats. Three local men purchased the house: William Durling, John Goodwin and John Baldock. They paid £5,500 for the freehold, in the hope of being able to secure the future of the house.

 

In 1953, Ightham Mote was purchased by Charles Henry Robinson, an American of Portland, Maine, United States. He had known the property when stationed nearby during the Second World War. He lived there for only fourteen weeks a year for tax reasons. He made many urgent repairs, and partly refurnished the house with 17th-century English pieces. In 1965, he announced that he would give Ightham Mote and its contents to the National Trust. He died in 1985 and his ashes were immured just outside the crypt. The National Trust took possession in that year.

 

In 1989, the National Trust began an ambitious conservation project that involved dismantling much of the building and recording its construction methods before rebuilding it. During this process, the effects of centuries of ageing, weathering, and the destructive effect of the deathwatch beetle were highlighted. The project ended in 2004 after revealing numerous examples of structural and ornamental features which had been covered up by later additions. The final year of construction was followed by the television series Time Team.

 

Originally dating to around 1320, the building is important because it has most of its original features; successive owners effected relatively few changes to the main structure, after the completion of the quadrangle with a new chapel in the 16th century. Pevsner described it as "the most complete small medieval manor house in the county", and it remains an example that shows how such houses would have looked in the Middle Ages. Unlike most courtyard houses of its type, which have had a range demolished, so that the house looks outward, Nicholas Cooper observes that Ightham Mote wholly surrounds its courtyard and looks inward, into it, offering little information externally. The construction is of "Kentish ragstone and dull red brick," the buildings of the courtyard having originally been built of timber and subsequently rebuilt in stone.

 

The house has more than 70 rooms, all arranged around a central courtyard, "the confines circumscribed by the moat." The house is surrounded on all sides by a square moat, crossed by three bridges. The earliest surviving evidence is for a house of the early 14th century, with the Great Hall, to which were attached, at the high, or dais end, the Chapel, Crypt and two Solars. The courtyard was completely enclosed by increments on its restricted moated site, and the battlemented tower was constructed in the 15th century. Very little of the 14th century survives on the exterior behind rebuilding and refacing of the 15th and 16th centuries.

 

The structures include unusual and distinctive elements, such as the porter's squint, a narrow slit in the wall designed to enable a gatekeeper to examine a visitor's credentials before opening the gate. An open loccia with a fifteenth-century gallery above, connects the main accommodations with the gatehouse range. The courtyard contains a large, 19th century dog kennel. The house contains two chapels; the New Chapel, of c.1520, having a barrel roof decorated with Tudor roses. Parts of the interior were remodelled by Richard Norman Shaw.

 

(Wikipedia)

 

Ightham Mote (sprich wie "item moot") ist ein mittelalterliches Herrenhaus mit Wassergraben in der Nähe des Dorfes Ightham bei Sevenoaks in der englischen Grafschaft Kent.

 

Ightham Mote und die umgebenden Gärten werden heute vom National Trust verwaltet und sind öffentlich zugänglich. English Heritage hat das Herrenhaus als historisches Gebäude I. Grades gelistet und Teile davon gelten als Scheduled Monument.

 

Die eigentliche Bedeutung des ursprünglich um 1320 entstandenen Gebäudes liegt in der Geringfügigkeit der Änderungen, die nachfolgende Besitzer nach der Fertigstellung des Vierseitgebäudes mit einer neuen Kapelle im 16. Jahrhundert an der Grundstruktur vornehmen ließen. Nikolaus Pevsner nannte es „(...) das kompletteste kleine mittelalterliche Herrenhaus auf dem Land.“ Es zeigt heute noch, wie solche Häuser im Mittelalter ausgesehen haben. Anders als die meisten anderen Hofhäuser dieses Typs, von denen jeweils Teile im Laufe der Zeit abgerissen wurde, sodass das Haus sich nach außen orientiert, besitzt Ightham Mote noch alle vier Gebäudeseiten um den Hof und orientiert sich so nach innen. Nach außen zeigt es wenig Details und Informationen.

 

Es gibt mehr als 70 Räume in dem Haus, alle arrangiert um den Hof in der Mitte. Auf allen Seiten umgibt ein Graben mit quadratischem Querschnitt das Gebäude. Drei Brücken überqueren ihn. Die früheste urkundliche Erwähnung eines Hauses an dieser Stelle datiert auf den Anfang des 14. Jahrhunderts. Es hatte einen Rittersaal, an dessen oberes Ende eine Kapelle, eine Krypta und zwei Solare angeschlossen waren. Der Hof wurde dann durch Zubauten in seiner begrenzten, grabenbewehrten Lage und den zinnenbewehrten Turm im 15. Jahrhundert vollständig umschlossen. Außen ist nach den Umbauten im 15. und 16. Jahrhundert nur wenig vom 14. Jahrhundert bis heute erhalten geblieben.

 

Das Grundgerüst enthält unübliche und einzigartige Elemente, wie z. B. der Portiersspion, ein schmaler Schlitz in der Mauer, der es dem Torwächter ermöglichte, das Beglaubigungsschreiben eines Besuchers zu prüfen, bevor er ihn einließ. Eine offene Loggia mit einer Galerie aus dem 15. Jahrhundert darüber verbindet die Hauptwohnräume mit dem Torhaustrakt. Eine große Hundehütte aus dem Ende des 19. Jahrhunderts für einen Bernhardiner namens Dido ist die einzige, die als historisches Gebäude I. Grades gelistet ist.

 

Man erzählt sich, dass im 19. Jahrhundert ein weibliches Skelett eingemauert hinter einer nicht benutzten Seitentüre gefunden wurde. Diese Türe in der Spezialsendung Nr. 21 der archäologischen Fernsehserie ‚‘Time Team‘‘ zu sehen. Tatsächlich handelt es sich dabei um einen Abstellraum. Es gibt keine Aufzeichnungen über den Fund eines Skeletts und so nahm man das Gerücht nicht in den 2004 verlegten Führer auf.

 

In der historischen Novelle A Rose for the Crown von Anne Easter Smith, die im 15. Jahrhundert spielt, ist Ightham Mote häufig erwähnt. Die Novelle Green Darkness von Anya Seton spielt auch hauptsächlich in Ightham Mote. Die Legende vom eingemauerten Skelett spielt darin eine wesentliche Rolle.

 

Das Haus blieb fast 300 Jahre lang in den Händen der Familie Selby. Sir William Selby kaufte es 1591 von Charles Allen. Ihm folgte sein Neffe, ebenfalls William Selby, nach, der bekanntermaßen die Stadtschlüssel von Berwick-upon-Tweed an Jakob I. übergab, als dieser auf dem Weg nach Süden war, um den Thron zu übernehmen. Dieser William Selby heiratete Dorothy Bonham aus West Malling, aber das Paar blieb kinderlos. Dennoch verblieb das Anwesen in den Händen der Familie, bis diese Linie Mitte des 19. Jahrhunderts mit Elizabeth Selby, der Witwe eines Thomas Selby, der seinen einzigen Sohn enterbte, endete. Das Anwesen ging an einen Vetter, Prideaux John Selby, einen ausgewiesenen Naturalisten, Sportler und Wissenschaftler, über. Nach dessen Tod 1867 vererbte er Ightham House an seine Tochter, Mrs Lewis Marianne Bigge. Deren zweiter Mann, Robert Luard, änderte seinen Namen in Luard-Selby. Sie starb 1889 und die Nachlassverwalter ihres Sohnes Charles Selby-Bigge, einem Makler aus Shropshire, boten das Anwesen im Juli 1889 zum Verkauf an.

 

Ightham Mote wurde von Thomas Colyer-Fergusson erworben, der seine sechs Kinder in dem Herrenhaus aufzog. In den Jahren 1890–1891 ließ er umfangreiche Reparatur- und Restaurierungsarbeiten ausführen und so ist das Haus trotz jahrhundertelanger Vernachlässigung bis heute erhalten. Er ließ die Rumpelkammer in ein Billiardzimmer umbauen, Badezimmer und Zentralheizung einbauen, arrangierte die Küche und das Speisezimmer neu und ließ ungezählte Reparaturen durchführen. Anfang des 20. Jahrhunderts wurde Ightham Mote einen Nachmittag pro Woche der Öffentlichkeit zugänglich gemacht.

 

Sir Thomas Colyer-Fergussons dritter Sohn, Riversdale, fiel 1917 im Alter von 21 Jahren in der dritten Flandernschlacht. Ihm wurde posthum ein Victoria Cross verliehen. In der neuen Kapelle erinnert ein Holzkreuz an ihn. Der älteste Bruder, Max, starb 1940 im Alter von 49 Jahren bei einem Bombenangriff auf eine Armeefahrschule bei Tidworth. Eine der drei Töchter, Mary (auch „Polly“ genannt), heiratete Walter Monckton.

 

Im Zweiten Weltkrieg schlief die dezimierte Dienerschaft in der Krypta, die Schutz vor Fliegerangriffen bot. Ein deutscher Pilot, der mit dem Fallschirm auf dem Anwesen landete, nachdem sein Flugzeug abgeschossen worden war, wurde eine Nacht dort eingesperrt.

 

Nach dem Tod von Sir Thomas 1951 fielen das Anwesen und der Titel eine Barons an Maxs Sohn James, der nie heiratete. Die Kosten für die Erhaltung und Reparatur des Herrenhauses zwangen ihn, das Haus zu verkaufen und den größten Teil des Inventars versteigern zu lassen. Die Versteigerung fand im Oktober 1951 statt und dauerte drei Tage. Man schlug vor, das Haus abzureißen und das Blei auf dem Dach wiederzuverwerten oder das Haus in Wohnungen aufzuteilen. Drei Männer aus der Gegend taten sich zusammen, um das Herrenhaus zu retten, weil es ihnen so gefiel: William Durling, John Goodwin und John Baldock. Sie zahlten £ 5500 für die Grundstücksrechte und hofften, dass sich weiterer, reicherer Wohltäter anschließen würde.

 

1953 kaufte der unverheiratete Charles Henry Robinson aus Portland in Maine das Haus. Aus steuerlichen Gründen konnte er das Haus nur 14 Wochen im Jahr bewohnen. Er ließ viele dringende Reparaturen durchführen und möblierte die Innenräume teilweise mit englischen Stücken aus dem 17. Jahrhundert. 1965 kündigte er an, dass er Ightham Mote und seinen Inhalt dem National Trust überlassen wollte. Er starb 1985 und seine Asche wurde außen an der Krypta eingemauert. Im selben Jahr übernahm der National Trust das Anwesen.

 

1989 begann der National Trust ein ambitioniertes Erhaltungsprojekt, das auch eine weitgehende Demontage der Gebäude umfasste, um deren Konstruktionsprinzip aufzunehmen. Danach wurden sie wiederhergestellt. Das Projekt endete 2004 nach der Entdeckung zahlreicher struktureller und ornamentaler Details, die von späteren Umbauten verdeckt waren. Die Kosten dieser Arbeiten werden auf mehr als £ 10 Mio. geschätzt.

 

(Wikipedia)

The registration number (B99 GGR) is on a red 1986 Mercedes 190 last taxed June 1999.

 

Anglia Car Auctions, King's Lynn -

 

"V5 Present

MoT Jan 2019

Chassis number: SAJJAALP3CC393374

 

Part of a small collection, this car is being offered on behalf of the executor's. The original registration will be re‑instated, B99 GGR, following a cherished transfer. Four keepers from new, the vendor has owned this car since 1990. It was used during the early years of his ownership, placed into storage in 2005 and has had very little use since before being placed into storage again in 2016. It comes with the original service book with main dealer stamps between 1984 and 1990, various MoT's dating from the 1990's, early 2000's and then 2009 onwards, a few invoices, handbooks and wallet. Mileage recorded at 135,197."

 

Sold for £3074 including premium.

Murtsnom was created by the Order of Mata Nui for the purpose of keeping Daxia safe form intruders. Later they did give him the order to keep guarding the "Chamber of the Lost Heroes" where the Order keeps the fallen Toa inprisoned in their own masks! Murtsnom took the change and accepted the order. Now he has to keep safe Daxia form 2 side!

But Murtsnom did made his job easier, by taking the "Amulet of Containtment", and used the powers of it to take ALL of the powers form the imprisoned Toa's!

He gives back the powers to the Toa, who have been relased form the chamber, but Murtsnom likes to longer some Toa's punishment to let himself use the powers of them for his own sake!

He did become the executor of the Admin in the "Bionicle the Lost Chronicles Roke Play Group" in Facebook after he did see the Pandemonium there! (Wink! ;) )

He now have to take time to be in 3 places in the same time!

The tomb of Oscar Wilde is located in Père Lachaise Cemetery, Paris, France. It took nine to ten months to complete by the sculptor Jacob Epstein, with an accompanying plinth by Charles Holden and an inscription carved by Joseph Cribb. In 1908, Oscar Wilde's literary executor Robert Ross chose Jacob Epstein for the commission of the tomb at a cost of two thousand pounds, which had been anonymously donated for this purpose. Later, in a publication of letters between Ada Leverson and Ross in 1930, Letters to the Sphinx, the anonymous donor was revealed to be Helen Carew, with financial assistance from novelist Stephen Hudson (Sydney Schiff). This was only Epstein's second commission, his first being the sculpture for the Holden-designed British Medical Association building in The Strand; these had been severely criticised for being too sexualised for public consumption. However, Epstein retained some noteworthy supporters within the Wilde circle such as William Rothenstein. The choice of Oscar Wilde's monument created controversy. Wilde's supporters would have liked for the monument to derive in some way from Wilde's works, such as "The Young King", by invoking homoerotica with figures of forlorn Greek youths, whereas Wilde's detractors believed he was deserving of no monument at all.[6] One can see the influences of Wilde's works in Epstein's original sketches for the tomb, which feature two young men, heads downcast in an image of grief and sorrow upon an empty stone stele. However, Epstein has said of his sketches of the tomb that he "was dissatisfied and scrapped quite completed work". It has been suggested that the change in design plans are due to Epstein's new focus on Wilde's poem "The Sphinx". However, a number of influences began to play on Epstein around this period, including that of fellow sculptor Eric Gill. The two artists were deeply interested in what they saw as the more primal sexuality of Indian and Egyptian art, as opposed to British art. Pennington refers to this period in Epstein's work as the Sun Temple period and claims that, having been unable to follow this path with some of his works in Britain, Epstein transferred his new passion onto the Wilde tomb. The monument began as a 20-tonne block of Hopton Wood stone in Derbyshire, England, unveiled to the London press in June 1912. Epstein devised a vast winged figure, a messenger swiftly moving with vertical wings, giving the feeling of forward flight; the conception was purely symbolical, the conception of a poet as a messenger, but many people tried to read into it a portrait of Oscar Wilde. In the original sketches, the influences have been linked to the winged Assyrian bulls in the British Museum. The small angel figure behind the ear of the Sphinx may have been a deliberate reference by Epstein to the verse in Wilde's poem The Sphinx: "sing me all your memories". Upon the headdress there are five figures, one with a crucifix, perhaps symbolising the martyrdom of Oscar Wilde; this may be a recurring theme—Epstein may have chosen the Sphinx with a crucified figure upon the headdress in reference to the sensual life choice of Wilde thinly veiled by his Catholicism. In Epstein's original sketchings there is a list of ten sins, however none are recognisable clearly on the final monument apart from the Egyptian-like helmet haircuts on the women. On the finished stone monument the small angel behind the ear has been removed and replaced by an elaborate headdress, the crucified figure and the phallic sphinx have been removed, and in their place is a personification of fame being trumpeted. This may have been Epstein landing on a less sentimental, carved and angular alternative. Whilst transporting the monument to the cemetery in France from his Cheyne Walk studios in London, Epstein ran into trouble with the police—having rejected its status as a work of art, French customs placed a punishing import duty of £120 on the monument for the value of the stone.[15] Once the bill was paid (it has been suggested that Robert Ross had borrowed the funds from Ada Leverson),[16] the monument was covered with tarpaulin due to the Parisian officials' reaction to the monument's nudity. Epstein returned to the cemetery one evening and found that the testicles on the statue had been covered by plaster, as the size of the testicles was considered unusual. The monument was under police surveillance and Epstein found he could only continue his work upon it after bribing a police officer to look away, but the work was sporadic and the tarpaulin was replaced at night. Eventually, as compromise, under Robert Ross' instruction, a bronze plaque similar to the shape of a butterfly was placed upon the testicles of the monument and it was unveiled in early August 1914 by the occultist and poet Aleister Crowley. Epstein was furious that his work had been altered without his consent and refused to attend the unveiling.[18] A few weeks later Aleister Crowley approached Epstein in a café in Paris, and around his neck was a bronze butterfly—he informed Epstein that his work was now on display as he intended. The testicles were removed in an act of vandalism in 1961. It is said that the cemetery manager used them as a paperweight. They are now missing. In 2000, Leon Johnson, a multimedia artist, installed a silver prosthesis to replace them.

  

The tomb with modern glass barrier

The epitaph is a verse from The Ballad of Reading Gaol:

And alien tears will fill for him

Pity's long-broken urn,

For his mourners will be outcast men,

And outcasts always mourn.

 

Today, the monument is viewed by thousands of visitors every year. A tradition developed whereby visitors would kiss the tomb after applying lipstick to their mouth, thereby leaving a "print" of their kiss.[21] The stone has also been covered in graffiti, almost exclusively letters of love to the author, but this is not as damaging as the lipstick kisses. Lipstick contains animal fat, which sinks into the stone and causes permanent damage.[25] Cleaning operations to remove the lipstick grease have caused the stone to become more porous. It is therefore even harder to clean in subsequent attempts, necessitating more drastic and surface-damaging procedures.[26] A fine of 9,000 euros was created to deter fans, but as many of them were tourists who could leave before being brought to court this did little to stop the practice.[27] In 2011, the creation of a glass barrier to make the monument 'kiss-proof' was begun.[28][29] They completed the barrier in 2014.[30] However, it only covers the lower half of the tomb. As Ireland's Office of Public Works considers the tomb an Irish monument overseas, it has paid for the cleaning and the barrier.[26]

 

The act of kissing the tomb has inspired a varied response from Oscar Wilde's supporters. Wilde's grandson Merlin Holland, who is partially responsible for the tomb's upkeep, has said on the subject that "Unthinking vulgar people have defaced the tomb forever." The producer Marc Overton, who views Wilde as a personal hero, has been quoted saying he found the lipstick kisses disgusting. On the other side of this discussion, the architectural historian Lisa Marie has called this an act of devotion and a "fitting monument to a great decadent and aesthete." Two years after the barrier was erected Stephen Fry mentioned the practice of kissing Oscar Wilde's tomb in a speech on Wilde given at the Jaipur Literature Festival; "Here's this man who believed when he died that his name would be toxic for generations to come. For hundreds of years his work wouldn't be read. He would stand for nothing but perversion. Utter disgust of a society that couldn't bear people like him.....His tomb in Père Lachaise Cemetery, in Paris. It had to be restored because the polished stone of its surface had corroded through kissing. Thousand and thousands. .... Wouldn't it be allowed once to just wake him up for five minutes just to tell him that, then he can go back to sleep again?"

 

en.wikipedia.org/wiki/Oscar_Wilde%27s_tomb

 

Killing the New Woman – Defining “Self” in Wilde’s “The Sphinx Without a Secret”

Discussions of Oscar Wilde and the New Woman rightfully focus on his time editing Women’s World. But Wilde’s short story “A Sphinx Without a Secret” is another work ready to be read as a New Woman text.[1] The New Woman, a symbol of the shifting aspirations of late-Victorian women, underwent scrutiny over her desires for life outside of the pre-established roles that nineteenth-century English society set for her. According to Talia Schaffer, “As a mythic icon, the New Woman evokes an extraordinary range of emotional associations, a flood of feelings which can powerfully support whatever goal the [contemporary] writer has channeled it towards” (45). From Ouida to Sarah Grand, the New Woman was both dragged through the metaphorical mud and praised from the rooftops. Late-Victorian English society fought over definitions for the New Woman, perhaps to limit her power to define herself.[2] Oscar Wilde’s short story “A Sphinx Without a Secret” embodies the New Woman’s struggle for independence and self-definition. The narrator calls Lady Alroy a woman with a “mania for mystery . . . imagining she was a herione,” but this is the definition he imposes on her. Lady Alroy is, in fact, using mystery as a means of self-definition. She creates a space where she has the power to define herself, especially important when considering that the Victorian stereotypes of wife and mother cannot apply to the childless and widowed Lady Alroy. Furthermore, Gerald’s distrust of Lady Alroy reveals late-Victorian skepticism toward the burgeoning movement for women’s independence, and by using a framed narrative, the story ultimately alludes to the effects society’s disapprobation will have not just on the movement but on women as a whole: metaphorical death.

 

Despite her physical and financial freedom, Lady Alroy feels a need to rent a secret parlor and act clandestinely in her movements; this shows she desires a freedom outside of what wealth can provide. Such a desire can be translated into the goals of many late-nineteenth century women. As Alys Pearsall Smith notes in 1894 her essay, “She [the late-Victorian woman] asks simply and only for freedom to make out her own life the highest that can be made, and to develop her own individuality as seems to her the wisest and the best” (qtd. in Ardis 18). Ann Ardis shows how the New Woman laid “claim to the right of self-definition” and developed a “program of self-actualization” (27). Wilde’s New Woman story shows that even financial independence is not sufficient to guarantee “her own individuality.” Lady Alroy has enough income to maintain an affluent life in high society; her title makes her part of the aristocracy; she thus has freedom over the direction her life assumes. Nonetheless, she is not independent of society’s values and judgments.

 

Is it in order to pursue self-definition that Lady Alroy creates another space—a second life of rented rooms and secret letters—where she can pursue her own individuality. The secret life, though lived alone, precariously empowers Lady Alroy, because it gives her the power to shape the public’s perception and her identity. Lady Alroy’s “mania” is not that of an unstable woman, but of a woman desiring the freedom to shape herself instead of having her self shaped by society. Lady Alroy shrouds herself in mystery, yes, but she creates power, she creates an unknown, unfathomable element about herself that cannot be pigeonholed by Gerald, or other Victorian men who see in every good woman the Angel in the House. This unfathomable element is what unsettles Gerald’s perception of Lady Alroy and leads him to state he never understood women. It also explains what is so limiting about the stereotyped roles women were expected to inhabit: Gerald thinks that understanding one woman is equivalent to understanding all women. Readers must decide for themselves how best to understand women when they are left to answer Gerald’s final question: “I wonder.”

 

As is clear from Mona Caird’s 1899 essay “Does Marriage Hinder a Woman’s Self-development,” a woman needs time to herself, a space belonging to her alone, and the freedom to pursue her interests, whether they be varied or singular, in order to grow into her best self.[3] Lady Alroy, sans husband, would seem to have already accomplished these aims, these essential needs. Yet after hearing Gerald mention seeing her in Bond Street, Lady Alroy “grew very pale . . . and said, ‘Pray do not talk so loud; you may be overheard’” (Wilde). Because Bond Street, both then and now, is a popular street for high-end shopping, there should be no reason for a sudden start. Lady Alroy’s reaction is a means of testing the power she has in her second life. She is willing to bring in another person to increase the mystery surrounding herself and thus increase her power over others’ perceptions of herself. Bringing Gerald ever so slightly into the mystery means she may extend her definition of self to others, seeing if she can exist as she desires outside of her personal knowledge of this identity. Gerald is later directed to write Lady Alroy at a secret address, further implying she may be willing to let him into a sense of who she is outside of society’s dictates. But when Gerald later discovers Lady Alroy secretly rents a room, he treats Lady Alroy like yet another Victorian stereotype: the fallen woman. Gerald distrusts her morality; his imagination cannot extend beyond what his culture has already dictated. Even though Lady Alroy is honest—she meets no one in her secret rooms, a fact later verified by her landlady—Gerald cannot trust the individual when she does not accord with his pre-conceptions of the group. Even after her landlady confirms Lady Alroy’s story, Gerald persists in his distrust of his would-be fiancée.

 

Gerald’s skepticism of Lady Alroy’s honesty and motives shows the patriarchal fear of losing power. Gerald has encountered a woman who does not fit within his comprehension of womanhood, a woman who has taken the power wealth gives her to create a second life independent of anyone’s dictates. She has created a space where his definitions of womanhood are not reflected. While he might believe that his incomprehension of women began with Lady Alroy—his “belle inconnue[4],” his “Giocanda in sables” (Wilde)—the story suggests that all women are a mystery to him. She is not a woman who fits the mold of the “frail, delicate, ethereal” women whom a Victorian man might expect to wed (Gibbs)—but the ordinariness of the “secret life” Lady Alroy leads suggests that every woman escapes the understanding of Victorian men. Because no woman will perfectly fit the social ideal, every woman will “mysteriously” act in ways contrary to it. Significantly, the entire story is introduced by his statement to the frame narrator that he might never marry because he “does not understand women well enough” (Wilde); to him, one woman equates to all women.

 

The seriousness of this misapplication of a single standard to all women is apparent in Gerald’s behavior when he refuses her claim to truth: he became “mad, frantic; . . . [and] said terrible things to her” (Wilde). She now receives the full judgment of Gerald’s patriarchal perspective and feels force of his biting scorn. Lady Alroy has been a problem for him to solve, and when the solution does not meet his expectations, he allows his fear of inferiority to result in verbal abuse of Lady Alroy. She was not a neat package for him to master, as one masters a crossword puzzle. While he initially believes his love came “in spite of the mystery,” he grudgingly admits that his feelings were aroused because of it: “I fell madly in love, and I was excited by the mystery that seemed to surround her” (Wilde). This playing out of the angel-whore dichotomy is compounded by the double-bind that the New Woman finds herself in: her “newness” makes her attractive, but this is the very quality that will cause the traditional man to fear and reject her. When he cannot overpower the riddle of Lady Alroy’s harmless second life, he rejects her. Her “beauty molded out of many mysteries” attract him, but because he does not have social stereotypes on which to base his judgments, he cannot decide if these mysteries are “for good or evil” (Wilde). Wilde shows a society curious and tempted to see women in varying roles, but ultimately distrustful of women’s desires. In New Women, New Novels, Ann Ardis notes how traditional Victorian men viewed the New Woman’s desire for freedom as a threat to their current standing of society, as a reborn Eve waiting to bring about a second fall of man. The New Woman threatens the social order – she desires a place in the workforce, she desires a higher level of education, and she seeks a means of providing for herself without the aid of a husband or father or wealthy brother. While Lady Alroy never seeks any such thing, her simple desire for a private space of self-definition—a need Caird defines for the New Woman—appears just as threatening.

 

Gerald’s paranoia provides insight into the ideas of sexual promiscuity that became attached to the New Woman; it became a rationale for denying women new freedoms in their personal lives, marriages, and the workforce.[5] Ann Ardis states, “The moral agency of a Victorian ‘lady’ is predicated upon the denial of her sexual appetite,” because the cultural imperative to imagine her as Eve makes her desires, sexual or otherwise, means destroying the Victorian home and the downfall of men and mankind (14). So, when a Victorian woman desires her own space, her motives are scrutinized. The mere desire for a room of her own means that Lady Alroy is somehow sexually tainted. If a man cannot understand the ways in which even a woman’s relatively free existence is constrained by social censure, he cannot see what she could need with a separate, small, and secret space outside of her own home.

 

Gerald’s reaction even suggests the New Woman, because of her desires, is a fallen woman. Note, while Gerald makes it clear he wishes to marry Lady Alroy, he never asks for her hand in marriage. Instead, he uses his desire to marry her as leverage for knowing how Lady Alroy spends her private time. He wants and needs to know all about her, but when he begins to know, he cannot trust this new version of Lady Alroy, precisely because she is formed outside of society’s eyes. He states his right to question her comes from “‘The right of a man who loves you . . . I came here to ask you to be my wife’” (Wilde). The Victorian moral system tells Gerald that he has the right to know Lady Alroy’s secrets—but they also “require” him to reject her when her secret desires cannot be made to fit with his preconceived notions of what a woman ought to desire. For a woman to desire a break from her position of moral guidepost, would be to lose “both gender and class status” (Ardis 26), and Gerald, as representative of Victorian patriarchal ideals, captures this sentiment with his treatment of Lady Alroy.

 

The frame narrative, however, allows Wilde to cast doubt on Gerald’s point of view. Within the framed narrative, Gerald—and not Lady Alroy—tells the story, which shows the dominant ideology of late-Victorian society. The voice of the New Woman had to struggle against the dominant patriarchal ideals.[6] Lady Alroy hardly speaks, and the scanty dialogue provided, coupled with no provision of her inner thoughts, registers the way that Gerald is unable to “hear” Lady Alroy’s self-definition; and Gerald is a mirror of his larger culture, for whom the New Woman remains an alluring but ultimately dangerous mystery. This narrative choice reveals Wilde’s clear understanding that women’s voices did not receive equal representation in his culture. The frame narrator is not much better than Gerald, who believes he does not know Lady Alroy and cannot know women, because the frame narrator easily dismisses Lady Alroy as merely a “woman with a mania for mystery . . . imagining she was a heroine” (Wilde). This label trivializes her motives, labeling them as either childish or unreasonable. But the ease and confidence with which he dismisses her shows another patriarchal view: women are like as children. Wilde’s story shows how even generous-minded stereotypes fail and demonstrates the true limitations of placing specific groups of people into neatly defined boxes. But the frame narrative opens up a space where Lady Alroy’s self-definition might find expression. Gerald’s final words are “I wonder” (Wilde) and these words invite the reader to evaluate the words of the two men in light of what they know of Lady Alroy and come to alternate conclusions about Lady Alroy’s and the New Woman’s character.

 

Ultimately, Lady Alroy’s death is the metaphorical death of the New Woman caused by a society interpreting her desires as immoral. While Lady Alroy’s death appears to be from natural causes (the official word is that she “died in five days of congestion of the lungs”), her death can be seen as the natural outcome of her rejection by Gerald. But she did not die of a broker heart; she died as a result of realizing, on evidence of Gerald’s treatment, that she cannot be accepted by society is she tries to dictate her own life. When Lady Alroy lose her sense of agency, she loses her life. Her death does not imply a weakness in the New Woman movement. Her death does not imply the New Woman is the “frail and ethereal” woman of the gothic romance novel (Gibbs). No, Lady Alroy’s death becomes the result of crushing her independence, of treated her as an outcast. Her inability to live under those circumstances is the metaphorical death of her New Woman desires.

 

The initial narrator chalks Lady Alroy’s actions up to “mania.” But the reader cannot help thinking maniac in the story is Gerald. His paranoia about Lady Alroy destroys his own desires for marriage to a woman he claims to “ha[ve] loved . . . so madly” (Wilde). When the frame narrator first spies Gerald, he is “anxious and puzzled, and seemed to be in doubt about something” (Wilde). So perhaps the final conclusion to be drawn about “The Sphinx Without a Secret” is that distrusting the New Woman will only weaken the foundation of society. If Gerald is the voice of the patriarchy, it is of a weakened patriarchy—one that has harmed itself through debilitating distrust. Gerald is not weakened by Lady Alroy’s secret life; he is weakened by distrusting her. He is weakened by her loss. He is weakened by obsessively trying to define her, when she was already attempting to reveal her definition. Thus, society will be weakened by not allowing the New Woman to thrive. In the twentieth century, nations needed to call on their women to perform “men’s work” during the two World Wars. Women worked in armament factories, as mechanics, and in all of the occupations men vacated to fight on the front lines. Wilde’s short story can be looked at as prophetic, a message to the nations to affirm the ways that women can live outside of the normalized spaces that societies make for them, to celebrate rather than demonize the New Woman’s broader horizens.

 

- Calabria Turner

 

editions.covecollective.org/edition/lord-arthur-saviles-c...

The internet has this to say about the theater seen here:

 

The Raymond Theater is a testament to survival and an historical gem gracing this rural community at the mouth of the Willapa River

 

When Asef G. Basil arrived in Raymond with a new bride, he joined his mother in the operation of the town's only dry goods store.

 

With a vision for the future, Basil enthusiastically entered into the community's activities. In 1928, he built the beautiful terra-cotta and concrete theater which currently shows feature films and presents live performances.

 

The theater opened on October 11, 1928. Opening night featured the silent movie The Jazz Singer accompanied by Miss Lavern Little of Seattle on a Hope-Jones Wurlitzer organ.

 

History has it that someone unknown removed the organ from the premises with out the Basil family's permission, eventually selling it to Alden Bice, an organist who toured the country billed as The Ol' Jazz Tuner.

 

When Bice died in 1987, the executors of his estate returned the organ to its original home.

 

February 12, 1994, marked the triumphant rededication of this grand organ with Andy Crow of Olympia presiding at the keyboard as a silent movie rolled across the screen.

 

The historic theater has been completely restored to its former state of elegance along with improvements including a Dolby sound system, a wide screen and new, comfortable seats.

 

Today, the Raymond Theater is a popular movie house and performing arts venue in north Pacific County. It is home to Sunday Afternoon Live, which sponsors live performances during the fall and winter.

 

Under the direction of Rick Gauger, the 50-plus voice Willapa Harbor Chorale performs a Christmas concert and a spring concert at the theater.

 

Be sure to check our Events Listings for a complete schedule of upcoming events. If you're interested in renting the venue for a private or public event, please give us a call or visit the Contact Page and send an e-mail.

www.cranberrycoast.net/raymondtheater/about.php

Building instructions and .ldr file available freely here. I strongly advise to have a look at it before doing anything.

 

Credits inside the building instructions. Enjoy!

 

Minor design changes may occur during the life of the MOC. When implemented, I make a new post in the album as soon as the building instructions are updated and available (the .zip file will indicate the date of the revision)

Stephen Gardiner (27 July 1483 – 12 November 1555)

Gardiner was a conservative and an opponent of Anne Boleyn, Cranmer, Cromwell and of any innovation in the Church, although he acquiesced grudgingly in the steadily increasing influence of the Reformation on the royal counsels. A description of his character from George Cavendish declared him "a swarthy complexion, hooked nose, deep-set eyes, a permanent frown, huge hands and a vengeful wit. He was ambitious, sure of himself, irascible, astute, and worldly."

 

In early August 1529 he was appointed the king's secretary. He had already been archdeacon of Taunton for several years. The archdeaconries of Worcester and of Norfolk were also added to a list of pluralities before November 1529 and in March 1530 respectively; in April 1531 he resigned all three for that of Leicester. In 1530 the King demanded a precedent from Cambridge to procure the decision of the university as to the unlawfulness of marriage with a deceased brother's wife: in accordance with the new plan devised for settling the question without the pope's intervention. In this Gardiner succeeded. In November 1531 the king rewarded him with the bishopric of Winchester, vacant since Wolsey's death.

 

During the reign of Edward VI Lord Seymour, Jane Seymour’s brother, appointed himself Lord Protector to advise and to act for the King in his minority. At this time several prominent statesmen were incarcerated in the Tower of London.

 

At the accession of Queen Mary I, the Duke of Norfolk and other state prisoners of high rank were in the Tower along with Gardiner; but the Queen, on her first entry into London, set them all free. After recanting his work regarding her mother’s divorce and her bastardy and restoring the ‘Old Faith’, Mary restored Gardiner to his Bishopric and appointed him Lord Chancellor. It was he who placed the crown on the Queen's head at her coronation. He also opened her first parliament and for some time was her leading councillor. As chancellor he had the onerous task of negotiating the Queen's marriage treaty with Philip II of Spain, for which he shared a general repugnance. In executing it, he took care to make the terms as advantageous for England as possible, with express provision that the Spaniards should in nowise be allowed to interfere in the government of the country. He officiated at their wedding in Winchester Cathedral in 1554. After the appointment of Cardinal Pole, and the reconciliation of the realm to the see of Rome, he still remained in high favour. How far he was responsible for the persecutions which afterwards arose is open to debate. He no doubt approved of the act, which passed the House of Lords while he presided there as chancellor, for the revival of the heresy laws.

 

Bishop Gardiner died at Westminster on 12 November 1555. He was temporarily buried in a vault at the church of St Mary Overie, and in February 1556 his body was conveyed to Winchester Cathedral, where, after a number of ceremonies, a final funeral service was conducted on 28 February 1556, at which time it was recorded that he had not been buried and that no ground was broken, in the expectation that in due course his executors would build a chapel within the cathedral for his incarceration. Abridged from Wikipedia: en.wikipedia.org/wiki/Stephen_Gardiner His chantry chapel, built in 1556, is situated in the south presbytery aisle.

brick count 7400

Children detail ; www.flickr.com/gp/52219527@N00/a531w7

 

"Here lyeth the bodies of Francis Rame esqr and Helen his wife; Francis departed March 19th 1617 of the age of 80 yeares, and Helen departed July 11 1613 of the age of 58. They lived together i holy matrimony 40 yeares, havinge lX sonnes and one daughter.

Their godly life and godly end

assured us that Gods their frend

They died in Christ to rise againe

Death is not losse to them, but gaine

Their faith was strong, their hope was sure

Their Charitie doth still induer

Here and in heaven, even after death

For love ends not with mortall breath.

Their pilgrimage beinge passd well

Christ calleth them now in heaven to dwell"

 

Francis Rame was Steward to Sir Anthony Cook of Gidea Park who had been tutor to the young Edward Vl, son of Henry Vlll.. Sir Anthony's son Wiliam 1589 brother in law of Lord Burghley , in his will asked his "loving friend Francis Rame of Hornchurch, gentleman, my father's old and trusty servant" to be executor, bequeathing him "twenty pounds towards his pains" and "most heartily praying him not to refuse to administer for the natural love and goodwill that he bear to me and mine more than for so simple a recompense "

A learned lawyer, he was Clerk of the Peace for Essex in 1572

In 1616 he gave evidence against Susan Barker in the Chelmsford Assizes who was accused of witchcraft against 3 Hornchurch locals, two of whom died. She was found guilty and hanged

 

Children

1. (?) Francis Rame admitted to Grays Inn in 1605 - m Elizabeth, daughter of William Gerard of Flambards, Harrow-on-the-Hill & Dorothy Radliffe; who m2 c1616 William Mewys (c.1579-1638 ) eldest son of Sir John Meux of Kingston and Cicely daughter of Sir William Button 1590 www.flickr.com/gp/52219527@N00/06kqA4

- Church of St Andrew, Hornchurch Essex

www.historyofparliamentonline.org/volume/1604-1629/member...

www.oxford-shakespeare.com/Probate/PROB_11-74_ff_362-7.pdf

Picture with thanks - copyright www.speel.me.uk/essex/hornchurch.htm

  

I have always thought that Elmstone was the only Kent church without dedication to a Saint/King or Martyr, but it seems East Farleigh has has St Mary foisted upon it.

 

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Many churches that one spends years trying to see inside of, turn out to be disappointments.

 

But not so of the Farleighs, East and West.

 

With West being open and being a delight, what then of East, hidden as it is behind the village hall and old schoolhouse?

 

I went down the alleyway, round the corner and through the gate and saw that the porch was open, and in the inner door was too.

 

Again, I was greeted warmly, and once inside I saw a large and impressive church that stay almost hidden from the road above it.

 

I have always arrived at East Farleigh from West Farleigh, meaning that I arrive at the car park, and then go through the narrow passage way between the old school and village hall.

 

But looking on GSV, there are fine views from the crossroads opposite the Bull Inn, through the lych gave and down the sunken path to the church.

 

I am usually speeding away to my next destination at this point, so don't look in my rear view mirror.

 

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Who would have thought that 150 years ago the picturesque church perched high above the River Medway was the scene of fierce dissent over ritualistic practices? The church was one of the first in the country to have a robed choir. The sunken path from the south shows how much the ground level has risen over the centuries and leads to a porch with a fine parvise. Although the church has been rather heavily restored it contains much of interest. Of special note is the Tudor font cover which sits on a fourteenth century font. The chancel and south chapel were both embellished by the firm of Powell's and much glass and wall decoration is by them. They created a rich focus for Eucharistic worship as a contrast to the rather plain nave and aisles. The south chancel window, with WW1 scenes is a fine example of their work.

 

www.kentchurches.info/church.asp?p=East+Farleigh

 

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EAST FARLEIGH.

NORTH-WESTWARD from Linton, on the opposite side of Cocks-heath, and on the southern bank of the river Medway lies the parish of East Farleigh, so called to distinguish it from the adjoining parish of West Farleigh, in Twyford hundred. It is called by Leland, in his Itinerary, Great Farleigh.

 

In the record of Domesday it is written Ferlaga, and in the Textus Roffensis, FEARNLEGA, and most probably took its name, as well as the parish of West Farleigh, from the passage over the river Medway at one or both of these places, fare in Saxon signifying a journey or passage, and lega, a place, i. e. the place of the way or passage.

 

THE PARISH of East Farleigh is situated about two miles from Maidstone, it lies on high ground, the soil a loam, covering but very slightly a bed of quarry stone. It is exceeding fertile, especially for fruit trees and the hop-plant, of which, especially about the village, there are many plantations. Its extent is about two miles each way; the river Medway is its northern boundary, over which here is an old gothic stone bridge of five arches, which is repaired at the county charge. The tide, in memory of some now living, flowed up as high as this bridge, but since the locks have been erected on this river to promote the navi gation, it has stopped from flowing higher than that just above Maidstone bridge. From the river the ground rises suddenly and steep southward, forming a beautiful combination of objects to the sight, having the village and church on the height, intersected with large spreading oaks and plantations of fruit, and the luxuriant hop, whilst the river Medway gliding its silver stream below, reflects the varied landscape. The village, through which the road leads from Tovill to West Farleigh, stands on the knole of the hill, about a quarter of a mile from the river, having the church and vicarage in it; eastward lies the hamlet of Danestreet, and further on Pimpes-court, at the extremity of this parish next to Loose, in which part of the lands belonging to it lie. At a small distance westward of the village of East Farleigh, is a genteel house, formerly belonging to a family of the name of Darby, some of whom are mentioned in the parish register as inhabitants of it, as far back as the year 1653. Mr. John Darby, the last of them, died in 1755, and by will gave this house to his widow, (Mary, daughter of Captain Elmstone, of Egerton) who re-married Mr. James Drury, of Maidstone, by whom she had one daughter, Mary. Since his death in 1764, she again became possessed of it, and resides in it; from hence the ground keeps still rising southward to Cocksheath, between which and the village is the manor of Gallants, part of the heath is within this parish, which reaches within a quarter of a mile of the house called Boughton Cock, part of Loose parish intervening, and separating the eastern extremity of it entirely from the rest. In this part of the parish are some quarries of Kentish rag stone, commonly called the Boughton quarries, from their lying mostly in that parish, and on the banks of the Medway there are more of the same fort, wholly in this of Farleigh.

 

A younger branch of the clerks of Ford, in Wrotham, resided here in the reigns of queen Elizabeth and king James I. as appears by the parish register. Dr. Plot mentions in his natural history of Oxfordshire, some large teeth having been dug up here, one of which was seven inches round, and weighed five ounces and an eighth, but I can gain no further information of them.

 

THIS PLACE was given by queen Ediva, or as she is called by some Edgiva, the mother of king Edmund and Eadred, in the year 961, to Christ-church, in Canterbury, free from all secular service, excepting the repairing of bridges, and the building of castles; (fn. 1) and it continued in the possession of that church at the time of the taking the general survey of Domesday, in the year 1080, being the 15th of the Conqueror's reign, in which it is thus described, under the general title of Terra Monachorum Archiepi, or lands of Christ-church, in Canterbury.

 

The archbishop himself holds Ferlaga. It was taxed at six sulings. The arable land is 26 carucates. In demesne there are four, and 35 villeins, with 56 borderers, having 30 carucates. There is a church and three mills of twenty-seven shillings and eight pence. There are 8 servants, and 6 fisheries, of one thousand two hundred eels. There are 12 acres of pasture. Wood for the pannage of 115 hogs.

 

Of the land of this manor Godefrid held in fee half a suling, and has there two carucates, and seven villeins with 10 borderers having three carucates, and four servants, and one mill of twenty pence, and four acres of meadow, and wood for the pannage of 30 hogs.

 

The whole manor, in the time of king Edward the Confessor was worth sixteen pounds, and afterwards as much, and now twenty-two pounds. What Abel now holds is worth six pounds, what Godefrid nine pounds, what Richard in his lowy, four pounds.

 

In the time of king Edward I. the manor of East Farleigh, together with the estate belonging to Christchurch, in the neighbouring parish of Hunton, was valued at forty-two pounds per annum.

 

King Edward II. in his 10th year, confirmed to the prior of Christ-church free warren, in all the demesne lands which he possessed here in the time of his grandfather, or at any time since. (fn. 2) This manor continued part of the possessions of the priory, till its dissolution in the 31st year of king Henry VIII. when it was surrendered into the king's hands, who that year granted it, among other premises, to Sir Thomas Wyatt, and his heirs male, to hold in capite by knight's service, but his son, Sir Thomas Wyatt, having raised a rebellion in the 1st year of queen Mary was attainted, and his estates became forfeited to the crown, and were together with the reversion of them, assured to the queen and her heirs, by an act passed for that purpose. After which, though the queen made a grant of the scite and capital messuage of this manor, to Sir John Baker, as will be further mentioned hereafter, yet the manor itself continued in the crown, and remained so at the death of king Charles I. in 1648. After which the powers then in being, passed an ordinance to vest the royal estates in trustees, in order for sale, to supply the necessities of the state, when on a survey taken of this manor it appeared, that there were quit-rents due to the lord from freeholders, in free socage tenure in this parish, and within the townships of Linton and East Peckham, and from several dens in the Weald; that there were common fines from the borsholders of Stokenburie, in East Peckham, and of Badmonden, Stoberfield and Rocden, the produce of all which yearly, with the fines, profits, &c. of courts, coibus annis, amounted in the total to 56l. 7s. 7½d. That there was a court ba ron and court leet; that the freeholders paid a heriot on demise, or death of the best living thing of any such tenant, or in want of it, 3s. 4d. (fn. 3)

 

Soon after which this manor was sold by the state to colonel Robert Gibbon, with whom it continued till the restoration of king Charles II. when it again became part of the revenues of the crown.

 

The grant of it has been many years in the family of his Grace the duke of Leeds, who now holds it at the yearly fee farm rent of ten shillings.

 

BUT THE SCITE and capital messuage of the manor of East Farleigh, now called the COURT LODGE, with all the demesne lands of the manor, about two hundred acres, in East Farleigh and Linton, was granted, anno 1st and 2d Philip and Mary, to Sir John Baker, one of the queen's privy council, (fn. 4) to hold in capite by knights service. (fn. 5) He died in the 5th and 6th years of that reign, and by will devised it to his second son, Mr. John Baker, of London; whose son, Sir Richard Baker, the chronicler, about the latter end of queen Elizabeth's reign, alienated it to Sir Thomas Fane, of Burston, in Hunton; who died in 1606, without issue, and bequeathed this among the rest of his estates to Sir George Fane, second son of Sir Thomas Fane, of Badsell, by Mary his wife, baroness le Despenser; he was succeeded in 1640, by his eldest son, colonel Thomas Fane, of Burston, who in the reign of king Charles II. alienated it to Mr. John Amhurst, who then resided at the court lodge as tenant under him.

 

He was the grandson of Nicholas Amerst, for so he spelt his name, who was of East Farleigh, in 1616, to whom William Camden, clarencieux, in 1607, assigned this coat of arms, Gules, three tilting spears, two and one, erected in pale or, headed argent, who dying in 1692, was buried in this church, as were his several descendants. His eldest son, Nicholas Amherst, for so he wrote his name, became his heir, and resided as tenant at the Court lodge, and died in 1679.

 

John Amhurst, gent. his eldest son, resided at the Court lodge, which he afterwards purchased of Col. Fane above mentioned; he served the office of sheriff in 1699, and kept his shrievalty here; though married, he died in 1711, s. p. and by will gave this estate to his brother, captain Nicholas Amhurst, of Barnjet, who died in 1715.

 

He married Susannah Evering, by whom he had issue fifteen children; John, who resided at the Court lodge, and died in his life time, whose grandson, John Amhurst, esq. is now of Boxley abbey; and George, the second son, who was twice married, but left issue only by his second wife, Susan, the eldest of whose sons was John Amhurst, esq. late of Rochester. Nicholas, the next son, died in 1736, unmarried. Stephen, another of the sons, was of West Farleigh, and dying in 1760, was buried at West Farleigh, leaving three sons; John Amhurst, esq. now of Barnjet; Edward, who was of Barnjet, and died in 1762, aged 20, and was buried near his father; and Stephen Amhurst, esq. now of West Farleigh, and four daughters. Edward, another son, was of Barnjet, and died in 1756, without issue, and was buried at Barming.

 

Of the daughters, Susan married Edward Walsingham, of Callis court, in Ryarsh, who left by her two daughters; Susan, married to Sir Edw. Austen, bart. of Boxley abbey; and Mary, married to John Miller. Jane, married to James Allen, by whom she had two sons, James, now deceased; and William, devisees in the will of Sir Edward Austen; and a daughter, married to Nicholas Amhurst, father of John, of Boxley abbey.

 

George Amhurst, gent. above mentioned, the second but eldest surviving son of Nicholas, by Susan nah Evering, had the Court lodge by his father's will, who having neglected to cut off an entail of it, his three other sons, Nicholas, Stephen, and Edward, claimed their respective shares in it; the entire fee of which, after much dispute, partly by purchase, and partly by agreement, became vested in Edward Amhurst, gent. the youngest son, who died, s. p. in 1756, and devised it by will to his next elder brother, Stephen Amhurst, esq. gent. of West Farleigh; who, at his death, in 1760, gave it to his eldest son, John Amhurst, esq. now of Barnjet, the present possessor of the Court lodge, and the estate belonging to it.

 

The mansion of the court lodge is situated adjoining to the west side of the church yard; it has not been inhabited but by cottagers for many years; great part of it seems to have been pulled down, and the remains make but a very mean appearance.

 

GALLANT'S is a manor in this parish, which seems to have been in early times the estate of a branch of the eminent family of Colepeper, whose arms yet remain in the windows of this church, and in which there is an ancient arched tomb, under which one of them was buried.

 

By inquisition, taken after the death of Walter Colepeper, at Tunbridge, anno 1 Edward III. it was found that he held in gavelkind in fee, certain tenements in East Farleigh, of the prior of Christ church, by service, and making suit at the court of the prior of East Farleigh, that there were there one capital messuage, with lands, and rents in money and in hens, by which it appears to have been a manor, and that his sons, Thomas, Jeffry, and John, were his next heirs. The above premises seem very probably to have been what is now called the manor of Gallant's, which afterwards passed into the family of Roper, who held it for some length of time, this branch of them, who possessed this manor, being created by king James I. barons of Teynham, one of whom, John Roper, the third lord Teynham, died possessed of it in 1627, as appears by the inquisition then taken. His grandson, Christopher lord Teynham, gave it in marriage with his daughter Catharine, to Wm. Sheldon, esq. whose descendant, Richard Sheldon, esq. of Aldington, in Thurnham, gave it by will to his widow, who soon afterwards, in 1738, carried it in marriage to Wm. Jones, M. D. who died in 1780, leaving his two daughters his coheirs; Mary, married to Lock Rollinson, esq. of Oxfordshire, and Anne to Tho. Russel, esq. and they, in right of their wives, are at this time respectively entitled to this manor.

 

The manor house has an antient appearance, both within and without, the doors being arched, and as well as the windows, cased with ashlar stone, and much of the walls built with flint.

 

PIMPE'S-COURT is a manor and antient seat in this parish, the mansion of which is situated at the southern extremity of it next to Loose. It was formerly part of the possessions of the family of Pimpe, being one of the seats of their residence, whence it acquired their name in process of time, among other of their possessions in this neighbourhood and else where in this county. It appears to have been antiently held of the family of Clare, earls of Gloucester; of whom, as chief lords of the fee, it was again held by this eminent family of Pimpe, from whom though it acquired its name of Pimpe'scourt, yet their principal habitation seems to have been in the parish of Nettlested, not far distant. Rich. de Pimpe of Nettlested held it in the reigns of Edward I. and III. as did his descendant, Sir Philip de Pimpe, in the begining of that of Edward I. being at that time a man of great repute. His widow, Joane, married John de Coloigne, who together with her son, Thomas de Pimpe, paid aid for this manor in the 20th year of king Edward III. Philipott says, Margaret de Cobham, wife of Sir William de Pimpe, died in 1337, and was buried in this church. Her tomb is yet remaining, but the inscription, then visible, is gone. Wil liam, son of Thomas de Pimpe, of Nettlested, died in the time of his shrievalty, anno 49 Edward III. and his son, Reginald, who then resided here at East Farleigh, served out the remainder of the year. His descendant of the same name resided here at the time of his shrievalty, in the 10th year of king Henry IV. to whose son, John, two years afterwards, John de Fremingham, of Loose, gave by will his estate there and elsewhere, in this county, in tail mail, remainder to Roger Isle, as being of the nearest blood to him. His descendant, John Pimpe, esq. kept his shrievalty here in the 2d year of king Henry VII. whose only daughter and heir, Winifrid, carried this seat in marriage to Sir John Rainsford, who passed it away to Sir Henry Isley, who by the act of the 2d and 3d of king Edward VI. procured his lands in this county to be disgavelled.

 

Soon after which he seems to have settled this manor on his son, William Isley, esq. but being both concerned in the rebellion raised by Sir Thomas Wyatt, in the 1st year of queen Mary, they were then attainted, and Sir Henry was executed at Sevenoke, and the lands of both became forfeited to the crown; after which, queen Mary that year granted this manor, by the name of Lose, alias Pimpe's court, with its appurtenances, in Lose, East Farleigh, Linton, &c. to Sir John Baker, her attorney general, to hold in capite by knights service. (fn. 6) In his descendants the manor of Pimpe's court continued till Sir John Baker, bart, about of the end of king Charles I.'s reign, alienated it to Thomas Fsloyd, esq. of Gore court in Otham; one of whose descendants alienated it to Browne, in which name it remained till, by the daughter and heir of Tho. Browne, esq. it went in marriage to Holden; and their son, Richard Holden, of Coptford hall, in Essex, died without issue, in 1772, and by will gave it to his widow, whose maiden name was Anne Blackenbury; and after her decease, to his sister's daughter's son, a minor, by Mr. William Vechell, of Cambridgeshire.

 

The present house of this manor is a modern building; the ruins of the antient mansion are still to be seen about the present house; the south-west end is still remaining, and by tradition was called the Old chapel. Further towards the north is a room with a very large chimney, and an oven in it, no doubt the old kitchen. The gateway, with a room over it, was taken down within memory; by the remains, it seems as if the house and offices belonging to it, when intire, formed a quadrangle. There is a court baron held for this manor.

 

CHARITIES.

JOHN FRANCKELDEN, citizen of London, in 1610, left 100l. to build six cottages for poor people to live in, rent free, vested in the parish officers.

 

THE REV. ARTHUR HARRIS gave, by will, in 1727, 2l. 10s. per annum for ever, to be paid out of Half Yoke farm, to be distributed in linen.

 

THOMAS HARRIS, esq. who died in 1769, left 5l. per ann. for fifty years, to be given to the poor in bread, 2s. every Sunday, excepting Easter and Whitsunday, vested in the executors of John Mumford, esq.

 

Mr. THOMAS FOSTER, in 1776, gave by will 130l. the interest of it to be laid out in linen and woollen, and to be given to the poor who do not receive alms at Christmas; from which money, 225l. confol. 3 per cent. Bank ann. was bought in the name of trustees, now of the annual produce of 6l. 15s.

 

EAST FARLEIGH is within the ECCLESTASTICAL JURISDICTION of the diocese of Rochester, and being a peculiar of the archbishop, is as such within the deanry of Shoreham.

 

The church, which is a handsome building, with a spire steeple at the west end, stands at the east end of the village, and consists of two isles and two chancels; that on the south side belongs to Pimpe's-court. It was repaired in 1704, by Dr. Griffith Hatley, who had married the widow of Mr. Browne, and possessed that estate in her right. The whole was, through the laudable care of the late vicar, Mr. De la Douespe, new pewed and handsomely ornamented.

 

In the rector's chancel are several memorials of the family of Amhurst, and within the altar rails two of Goldsmith. On the north side of this chancel is a very antient altar tomb for one of the family of Colepeper, having their shield, a bend engrailed, at one corner of it, most probably for Sir T. Colepeper, who lived in the reign of king Edward III. and is reputed to have been the founder of this church. His arms, quartered with those of Joane Hadrreshull, his mother, Argent, a chevron gules between nine martlets, are still remaining in the east window of the south chancel, called Pimpe's chancel, in which is an antient plain altar tomb, probably for one of either that or of the Pimpe family. There seems once to have been a chapel dependent on this church, called in the Textus Roffensis, Liuituna capella Anfridi.

 

The patronage of the church of East Farleigh was part of the antient possessions of the crown, and remained so till it was given to the college or hospital for poor travellers, in Maidstone, founded by archbishop Boniface. Archbishop Walter Reynolds, about 1314, appropriated this church to the use and support of the hospital. In the 19th year of king Richard II. archbishop Courtney, on his making the church of Maidstone collegiate, obtained the king's licence to give and assign that hospital and its revenues, among which was the advowson and patronage of the church of Farleigh, among others appropriated to it, and then of the king's patronage, and held of the king in capite, to the master and chaplains of his new collegiate church, to hold in free, pure, and perpetual alms for ever, for their better maintenance; (fn. 7) to which appropriation Adam Mottrum, archdeacon of Canbury, gave his consent.

 

¶The collegiate church of Maidstone was dissolved by the act of the 1st of king Edward VI. anno 1546, and was surrendered into the king's hand accordingly with all its lands, possessions, &c. Since which the patronage and advowson of the vicarage of East Farleigh has remained in the hands of the crown; but the parsonage or great tithes was granted to one of the family of Vane, or Fane, in whom it continued down to John Fane, earl of Westmoreland, who at his death, in 1762, gave it by will, among the rest of his Kentish estates, to his nephew, Sir Francis Dashwood, lord Despencer; since which it has passed, in like manner as Mereworth and his other estates in this county, by the entail of the earl of Westmoreland's will, to Thomas Stapleton, lord Despencer, the present owner of it.

 

In the 15th year of king Edward I. the vicarage was valued at ten marcs; in the year 1589, it was estimated at 16l. 8s. yearly income. In the reign of king Richard II. the church of Ferleghe was valued at 13l. 16s. 8d. This vicarage is valued in the king's books at 6l. 16s. 8d. and the yearly tenths at 13s. 8d.

 

John, son of Sir Ralph de Fremingham, of Lose, 12 Henry IV. by his will gave certain lands therein mentioned to John Pympe, and his heirs male, to find a chaplain in this church, in the chapel of the Blessed Mary, newly built, to celebrate there, for twenty-four years, for the souls of himself, his wife, &c. and all of whom he then held lands, the said John Pympe, paying to the above chaplain the salary of ten marcs yearly, &c.

 

The vicar of East Farleigh is endowed with the tithes of corn growing on the lands belonging to the parsonage of East Farleigh, and of certain pieces of land, called garden spots, which lie dispersed in this parish. It is now of the clear yearly value of about one hundred and thirty guineas.

 

www.british-history.ac.uk/survey-kent/vol4/pp371-383

940 PDF pages of professional instruction manual. contact namaskaar@naver.com for purchase.

The "Mission Executor" coming in at 106 Studs and around 2800 pieces. An updated version of the great classic set "Mission Commander," 6986.

It’s been since 2018 when I first built the Simplethinker Desk-Scale Millennium Falcon.

 

Just like last year with LEGO’s Executor and mine, when they released the Starship Collection Millennium Falcon, I decided mine needed some TLC, including borrowing some parts and techniques from the official one. I’m keeping it the same style so it’s different than most Falcons, but I’m still really proud of how it looks.

 

What do you think?

So I was wandering on AliExpress and your first question might be: why?

 

Well of course to find my own models! What a disappointing outcome to see they are nowhere to be found, damn. Hopefully this will happen some day.

 

But heh, this is the opportunity to ask: Would you still buy onecase's executor after wiewing this ridiculous web page? I mean, look at the thug-like dude holding the model, does he inspire trust?

 

This is not the only funny detail about this web page, I highlighted some others:

- Moronic grammar.

- Generic shop name with of course 100% positive evaluations

- Expensive price. geez, when I want to buy chinese crap this cannot cost more than 3€.

- Irrelevant non-sensical keywords. Seriously, there is a fucking mussel king keyword (in french) in the list. What the hell can that mean?

 

Some people are annoyed by all those counterfeited LEGO MOCs around the web (well, Chinese/American big online marketplaces you-know-what-I-mean). But personally I laught at how ridiculous and amateurish this still looks like in 2020.

 

The second Ida Rentoul Outhwaite Children's Library Stained Glass Window features the excerpt from a poem; "When the children go away, leaving earth's gray lonely places, God I know has room for play, in his gracious starry spaces". The hand-painted panel features three Australian native koalas in natty moss green sporting tweeds and red checks playing a round of golf (most fashionable in the 1920s) with three cheeky pixies as their caddies. One of the green tweed koalas smokes a pipe. The red check koala appears not only to have nearly hit one of his companion koalas with his club, but has sent his ball flying right into the nose of a pixie spectator. A rabbit, two laughing kookaburras and a goanna watch the scene with amusement; the kookaburras especially! Peeping from over the ridge, a Metroland 1920s clubhouse with a red tile roof, white walls and dormer windows can just be seen. Executed with a muted palate of mossy greens, reddish browns, pink and golden yellow, the colours of the Australian bush in summertime are truly captured in this pane. All the characters come from the book "Fairyland", published by A. and C. Black in London in 1926.

 

In 1923 with Fitzroy still very much a working class area of Melbourne with pockets of poverty, the parish of St. Mark the Evangelist decided to address the need of the poor in the inner Melbourne suburb. Architects Gawler and Drummond were commissioned to design a two storey red brick Social Settlement Building. It was opened in 1926 by the Vicar of St. Mark the Evangelist, the Reverend Robert G. Nichols (known affectionately amongst the parish as Brother Bill). Known today as the Community Centre, the St. Mark the Evangelist Social Settlements Building looks out onto George Street and also across the St. Mark the Evangelist's forecourt. When it opened, the Social Settlement Building's facilities included a gymnasium, club rooms and children's library.

 

Opened in 1926, the children's library, which was situated in the corner room of the Social Settlements Building, is believed to be the first known free dedicated children's library in Victoria. The library was given to the children of Fitzroy by Mrs. T. Hackett, in memory of her late husband. The library contained over 3,000 books, as well as children's magazines and even comics. The Social Settlements Building was only erected because Brother Bill organised the commitment of £1,000.00 each from various wealthy businessmen and philanthropists around Melbourne. Mrs Hackett's contribution was the library of £1,000.00 worth of books. Another internationally famous resident of the neighbourhood, Australian children's book illustrator Ida Rentoul Outhwaite, then at the zenith of her career, was engaged by the relentless Brother Bill to create something for the library. Ida donated four stained glass windows each with a hand-painted panel executed by her, based upon illustrations from her books, most notably "Elves and Fairies" which was published to great acclaim in Australia and sold internationally in 1916 and "Fairyland" which had been published earlier that year. These four hand painted stained glass windows were equated to the value of £1,000.00, but are priceless today, as they are the only public works of Ida Rentoul Outhwaite ever commissioned that have been executed in this medium. Ida Rentoul Outhwaite was only ever commissioned to create one other public work; a series of four panels executed in watercolour with pencil underdrawing in 1910 for the Prince Henry Hospital's children's wards in Melbourne (now demolished). Of her panels, only two are believed still to be in existence, buried within the hospital archives. The four Ida Rentoul Outhwaite stained glass windows each depict faeries, pixies, Australian native animals and children, taken from her book illustrations. At the time of photographing, the windows - three overlooking George Street and one St. Mark the Evangelist's forecourt - were located in the community lounge, which served as a drop-in lounge and kitchen for Fitzroy's homeless and marginalised citizens. Today the space has been re-purposed as offices for the Anglicare staff who run the St. Mark's Community Centre, possibly as a way to protect the precious windows from coming to any harm. The only down-side to this is that they are not as easily accessed or viewed as when I photographed them, making my original visit to St. Mark the Evangalist in 2009 extremely fortuitous.

 

The Ida Rentoul Outhwaite Children's Library Stained Glass Windows are one of Australia's greatest hidden treasures, which seems apt when you consider that the pixies and faeries they depict are also often in hiding when we read about them in children's books and the faerie tales of our childhood. The fact that they are hidden, because it is necessary to enter a little-known and undistinguished building in order to see them, ensures their protection and survival. The windows are unique, not only because they are the only stained glass windows designed and hand-painted by Ida Rentoul Outhwaite, but because they are the earliest and only examples of stained glass art in Australia that deals with theme of childhood.

 

I am indebted to Peter Bourke who ran the St. Mark's Community Centre in 2009 for giving me the privilege of seeing these beautiful and rare windows created by one of my favourite children's book artists on a hot November afternoon, without me having made prior arrangements. I also appreciate him allowing me the opportunity to photograph them in great detail. I will always be grateful to him for such a wonderful and moving experience.

 

Ida Sherbourne Outhwaite (1888 - 1960) was an Australian children's book illustrator. She was born on the 9th of June 1888 in the inner Melbourne suburb of Carlton. She was the daughter of the of Presbyterian Reverend John Laurence Rentoul and his wife Annie Isobel. Her family was both literary and artistic, and as such, gifted Ida was encouraged from an early age to embrace her talent of drawing. Her elder sister, Annie Rattray Rentoul (1882 - 1978), was likewise encouraged to write, and both would later form a successful partnership. In 1903 six fairy stories written by Annie and illustrated by Ida were published in the ladies' journal "New Idea". The following year the Rentoul sisters collaborated on a book called "Mollie's Bunyip" which was received with instant success because it combined the idea of European faeries, witches and elves and the Australian bush. "Mollie's Staircase" followed in 1906. In 1908 the Rentoul sisters published their first substantial story book, "The Lady of the Blue Beads". On 9 December 1909 Ida married Arthur Grenbry Outhwaite (1875-1938), manager of the Perpetual Executors and Trustees Association of Australia Ltd. (Annie remained unmarried her entire life). After her marriage, Ida was known as Ida Rentoul Outhwaite, but did not publish anything substantial as she established her family and household until part way through the Great War. In 1916 she brought out her first coloured work; "Elves and Fairies", a de luxe edition produced entirely in Australia by Thomas Lothian. The success of the book, with its delicate watercolour plates, was due both to Ida's artistic talent and to the business acumen of her husband, who provided a £400.00 subsidy to ensure a high-quality production and consigned royalties to the Red Cross, thereby encouraging vice-regal patronage. "Elves and Fairies" is still her best known and loved work. Encouraged by her latest success, Ida travelled to Europe after hostilities ended and in 1920 exhibited in Paris and London. The critics compared her to other artists of the golden years of children's illustration such as Arthur Rackham and Edmund Dulac, thus sealing her international success. She signed a contract with British book publishers A. & C. Black who published five books for her over the next decade, including "The Enchanted Forest" (1921), with text by her husband, and, probably the most popular of all the Rentoul sisters' collaborations, "The Little Green Road to Fairyland" (1922). "The Fairyland of Ida Rentoul Outhwaite" (1926), another sumptuous volume, with text by her husband and sister, was less successful. A. & C. Black also produced a number of postcard series using her illustrations from "Elves and Fairies" as well as her other books published by them. In 1930 the last of her books published by A. & C. Black was released, but already times were changing, and the interest in Ida's work was rapidly fading. Angus & Robertson brought out two more books in 1933 and 1935 but they received relatively little attention. Her last two exhibitions, which between 1916 and 1928 were almost annual events, were held in 1933. The Second World War changed the world, and Ida and Annie's work was relegated to a bygone era, shunned and forgotten. Ida suffered the loss of both of her sons during the war, and she spent her last years sharing a flat in Caulfield with her sister, where, survived by her two daughters, she died on 25 June 1960. She did not live to see the resurgence of interest in her work some twenty-five years later, when in 1985, her picture of "The Little Witch" from "Elves and Fairies" was published on an Australian stamp, opening the fairy world of Ida Rentoul Outhwaite to a whole new generation of children and adults alike.

 

The Burgtheater on the Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European, as well as the largest German speaking theater. The original 'old' Burgtheater on Michaelerplatz was recorded from 1748 until the opening of the new building at the ring in October, 1888. The new house was completely on fire in 1945 as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher as temporary quarters. The Burgtheater is considered Austrian National Theatre.

Throughout its history, the theater was wearing different names, first kk Theater next to the castle, then to 1918 K.K. Court-Burgtheater and since then Burgtheater. Especially in Vienna it is often referred to as "The Castle (Die Burg)" , the ensemble members are known as Castle actors (Burgschauspieler).

History

St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)

The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.

The 'old' Burgtheater at St. Michael's Square

The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, who after the death of her father ruled a general theater lock order, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor, Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.

In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her ​​royal box directly from the imperial quarters with them the Burgtheater was structurally connected. At the old venue at Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer were premiered .

On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the pieces should not treat sad events to bring the imperial audience in a bad mood. Many pieces had changed and therefore a Vienna Final (Happy End) is provided, such as Romeo and Juliet or Hamlet. From 1794, the theater was bearing the name K.K. Court Theatre next to the castle.

1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.

On 12 In October 1888 the last performance in the old house took place. The Burgtheater ensemble moved to the new venue on the ring. The Old Burgtheater had to give way to the completion of Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.

The "new" K.K. Court Theatre (as the inscription reads today) on the ring opposite the Town Hall, opened on 14th in October 1888 with Esther of Grillparzer and Schiller's Wallenstein's Camp, it was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.

However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task order for similar work in the city of Fiume theaters and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase at the café Landtmann side facing the Burgtheater (Archduke stairs) reproduced ​​Gustav Klimt the artists of ancient theater in Taormina in Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor), the London Globe Theatre and the final scene from William Shakespeare's " Romeo and Juliet" . Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.

The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus on the Isar. Above the middle section, a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Across the center house is decorated with a statue of Apollo, the facade, the towers between the Muses of drama and tragedy. Over the main entrances are located friezes with Bacchus and Ariadne. On the exterior round busts can be seen the poet Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel. The masks are also to be seen here, indicating the ancient theater, also adorn the side wings allegories: love, hate, humility, lust, selfishness, and heroism. Although since 1919, the theater was named the Burgtheater, the old saying KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits having been hung in the new building are still visible today - but these images were originally small, they had to be "extended" to make them work better in high space. The locations of these "supplements" are visible as fine lines on the canvas.

The Burgtheater was initially well received due to its magnificent appearance and technical innovations such as electric lighting of the Viennese, but soon criticism of the poor acoustics was loud. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon counted among the "sanctuaries" of the Viennese. In November 1918, the supervision on the theater was transferred from the High Steward of the emperor to the new state of German Austria.

1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. 8th May 1925 was the Burgtheater in Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza .

The Burgtheater in time of National Socialism

The National Socialist ideas also left traces in the history of the Burgtheater. Appeared in 1939 in Adolf Luser Verlag the strongly anti-Semitic embossed book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was the 50th anniversary of the opening of Burgtheater a production of Don Carlos of Karl-Heinz Stroux shown that served the Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who 'railed in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the set direction of Joseph Goebbels box: "Enter the freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 Merchant of Venice, in which Werner Kraus Shylock the Jew clearlyanti-Semitic represented. The same director staged after the war Lessing 's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused out of fear of an assassination.

For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jewis ", were quickly imposed banned from performing, they were on leave, fired or arrested within days. The Burgtheater ensemble made ​​between 1938 and 1945 no significant resistance against the Nazi ideology, the game plan was heavily censored, actively just joined the Resistance, as Judith Holzmeister (then also at the National Theatre committed ) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.

The Burgtheater end of the war and after the Second World War

In summer 1944, the Burgtheater had to be closed because of the general arranged theater lock. From 1 April 1945 as the Red Army approached Vienna, outsourced a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned on 12th April 1945 it burned completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.

The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to bring Vienna 's cultural life as soon as possible again. The council called for 23 April (a state government did not yet exist), a meeting of all Viennese cultural workers into the town hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This Venue chose the newly appointed director Raoul Aslan, who championed particularly active.

The first performance after the Second World War was on 30 April 1945 by Franz Grillparzer, Sappho, directed by Adolf Rott from 1943 with Maria Eis in the title role. Other productions from the Nazi era were resumed. With Paul Hoerbiger, a Nazi prisoner a few days ago still in mortal danger, was shown the piece of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre was recorded (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott in 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took performances place. Aslan had the Ronacher rebuilt in the summer because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the larger stage.

The first new productions are associated with the name of Lothar Müthel: Anyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel to Nazi times seemed to be forgotten.

Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years of exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations of the 175th anniversary of the theater took place.

1948, a competition was announced for the reconstruction: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, after which the house into a modern theater rank should be rebuilt. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative, but also cost effective. The character of the lodges theater was largely taken into account and maintaining the central royal box has been replaced by two ranks, and with a new slanted ceiling construction in the audience was the acoustics, the weakness of the home, improved significantly.

On 14 October 1955 was happening under Adolf Rott the reopening of the restored house on the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 In October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this piece, which explores the beginning of Habsburg rule in Austria and Ottokar of Hornecks eulogy on Austria (... it's a good country / Well worth that a prince among thread! / where have you already seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .

In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.

Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts by Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard Klingenberg's successor was talking, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.

Benning, the first ensemble representative of the Burgtheater, was appointed Director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel in the then politically separated East and took more account of the public taste .

Directorate Claus Peymann 1986-1999

Under the from short-term Minister of Education Helmut Zilk to Vienna fetched Claus Peymann, director from 1986 to 1999, there was further modernization of the match schedule and staging styles. Moreover Peymann was never at a loss for words for critical messages to the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program met with sections of the audience's rejection. The largest theater in Vienna scandal since 1945, this when in 1988 conservative politicians and zealots fiercely fought the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama. The play deals with the past and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard raised after the premiere to a challenge on the stage to applause and boos .

Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann , to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his pieces precisely in his home not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the Schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard piece Before retirement by the opening night director Peymann. The pieces by Bernhard are since continued on the board of the Burgtheater and they are regularly re-released.

In 1993, the sample stage of the castle theater was opened in the arsenal (architect Gustav Peichl) . Since 1999, the castle theater has been run as a limited liability.

Directorate Klaus Bachler 1999-2009

On Peymann followed in 1999 as director Klaus Bachler. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.

Were among the unusual "events" of the Directorate Bachler

* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )

* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available only to visit )

* John Irving's reading from his book at the Burgtheater Until I find you (2006)

* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of it under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).

* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat ( December 2008). Outpatient care is enough.

Jubilee Year 2005

In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg ) received the Nestroy Theatre Award for Best Actor for his role in this piece. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.

Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves as a natural expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto this season was a quotation from Lessing's Minna von Barn-helm: "It's so sad to be happy alone."

The Burgtheater to the Mozart Year 2006

Also the Mozart Year 2006 was thought at the Burgtheater. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera, the Vienna Festival in May 2006, a new production (directed by Karin Beier ) of this opera to the stage.

Directorate Matthias Hartmann since 2009

Since September 2009, Matthias Hartmann is Artistic Director of the Burgtheater. A native of Osnabrück, he directed the playhouses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Boesch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer and actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came firmly to the castle. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over ", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the castle, the New York group Nature Theater of Oklahoma show their great episode drama live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .

www.mariachiproductions.org/basel2012/index.php/tournamen...

Alabaster effigy of Sir William 6th Baron de Ros / Roos 1368-1414 Lord Treasurer of England, round his next the SS Lancastrian collar & on his left knee the Garter Badge. His head lies on a tilting helmet surmounted by a peacock. His armour is a mixture of mail and plate. His conical bascinet helmet has a jewelled margin inscribed IHC NASARE (Jesus of Nazareth).. .

He was born in Stoke Albany, Northamptonshire the 2nd son of Thomas de Ros, 4th Baron and Beatrice widow of Maurice FitzMaurice 2nd Earl of Desmond, daughter of Ralph de Stafford 1st Earl of Stafford 1372 & Margaret De Audley (Beatrice m3 Sir Richard Burley, her sister Elizabeth is a Lingfield www.flickr.com/photos/52219527@N00/748149805/

He was the grandson of Margaret / Margery Badlesmere 1363 of Orston flic.kr/p/dZoizs

He was the great grandson of Maud Vaux www.flickr.com/gp/52219527@N00/aV8EK7 & William de Roos 1st Baron 1255 – August 1316 and great great grandson of Robert de Roos / Ros Baron of Hamlake 1285 www.flickr.com/gp/52219527@N00/Hm42d3

 

He m 1394 Margaret Fitzalan (d. 3 July 1438 at Newstead) daughter of John FitzAlan, 1st Baron Arundel, Marshall of England, by Eleanor 2nd Baroness Maltravers 1405 co-heiress of Sir John Maltravers : : Sister of Joan Etchingham flic.kr/p/pZvUU4

Children - 5 sons & 4 daughters

1. John 7th Baron de Ros dsp 1421 www.flickr.com/gp/52219527@N00/h3vD5D (killed at the battle of Beauge) m Margery heiress of Philip 1st Baron le Despencer. who m2 Roger Wentworth esquire d1452 younger son of John Wentworth of Elmsall, Yorks by whom she had issue, but was fined £1000 for having contracted a dishonourable marriage far beneath her station.

2. William 1421 (killed at the battle of Beauge)

3. Thomas 8th Baron de Ros 1406 – 18 August 1430 +++ m Eleanor daughter of Richard de Beauchamp, 13th Earl of Warwick flic.kr/p/BMPsZ and 1st wife Elizabeth daughter of Thomas Lord Berkeley 1417 & Margaret Baroness Lisle flic.kr/p/65jHgJ , (parents of Lord Thomas de Ros 9th Baron of Hamlake of Helmsley flic.kr/p/7az3uh ) Eleanor m2 Edmund Beaufort, 2nd Duke of Somerset m3 Walter Rokesley esquire).

4. Sir Robert 1448 m Anne daughter of Sir John Halsham and Maud Mawle.

5. Sir Richard

1. Alice .

2. Margaret m James Tuchet, 5th Baron Audley son of John Touchet of Heleigh Castle near Madeley Staffs & Isabell Audley

3. Beatrice (a nun).

4. Elizabeth m Robert Morley 6th Baron son of Thomas Morley, 5th Baron by Isabel daughter of Michael de la Pole, 2nd Earl of Suffolk 1415 & Katherine Stafford flic.kr/p/hTQzYf of Wingfield

 

He was buried at Belvoir Priory ==== his tomb being removed to Bottesford church by Thomas Manners 1st Earl of Rutland , following the Dissolution.

+++ Eleanor the heiress great grand daughter of Thomas 8th Baron m Sir Robert Manners , their son George becoming 11th Baron flic.kr/p/ebUaDY and father of the 1st Earl of Rutland of Bottesford www.flickr.com/gp/52219527@N00/g4x5HN

==== In his will of February 1412 he asked "to be buried in Canterbury Cathedral near the chantry of my Lord Thomas Arundell if I die in or near London ; but in the Priory of Belvoir, if I die within the dioceseof Lincoln; and in the Priory of Rievaulx, if 1 die within the diocese of York. 400" for ten honest chaplains to pray for my soul, and the souls of my parents, brethren and sisters, friends and benefactors, and especially for the soul of my brother Thomas, within my chapel of Belvoir Castle for 8 years. To my mother, Lady Beatrice de Roos, a guilt cup, with a white knob on it. My eldest son and heir John, all my armour, et gladium meum de atiro ; also an

annuity of xl marcs which I had by grant of Sir Philip le Despenser in Gedney. xls. each to 20 houses of Mendicant Friars, my poor tenants within the Lordships of Brenn' Orston, and Uffyngton. To Margaret my wife, a third part of my goods. To Johan, my illegitimate daughter, xl"- My son, William to be enfeoffed of half the manors which I acquired of Lady de Norford in County Norfolk, the manor of Ravensthorp in County York, the Barony of Thorton in Craven, lands which I purchased of William Danby in County Northants, and the reversions of lands granted to others for life ; to hold to my said son William for life, with remainder to my heirs male, unless my eldest son and heir shall grant the same to heirs according to their true value ; Thomas Gower my esquire, to be enfeoffed of lands in Uffyngton, called Map'stillse ; William Heton of my manor of Waterfulford, near York, and John Croxton of my lands in But'wyke, near ffrceston, to hold to them for their lives ; William Mabbe to be enfeoffed of my lands in Helmlesley, which I purchased of the wife of John Whytsyde of Helmesley ; Gilbert Baker, of lands which I purchased of John Staynworth in Benn, and Geoffrey Massey of lands which I purchased of Hamon Ethynvyke, of Bottesford, to hold to them for their lives ; a third part of my goods for the maintenance and bringing up of my sons, Thomas, Robert, and Richard, who are to be under my executor's governance, until Thomas is promoted to fitting benefices, and Robert and Richard are befittingly married, or attain their full age. If William Hamsterley who is in my custody during his minority, shall be unmarried at my decease, Executors : Simon de Leke, William Heton, and John de Roos domestici mei, and Thomas Clyff, Rector of Bottesford. Supervisors : Thomas Arundell, Archbishop of Canterbury, John Neuton, treasurer of York, and Mgr. Henry Herburgh. Proved at Lidyngton, 15th September, 1414.

  

- Church of St Mary the Virgin Bottesford Leicestershire

First and foremost, I can now officially announce the release of Enigma 1.1 to the Lifehacking community. :)

 

As I described in the preview, I've added:

-RSS reader.

-Gmail notifier.

-Calendar by ~limpet.

- System/battery graphics using ecqlipse 2 icons.

- Tray clock replacement.

- Quick-edit button for Notes.

- Application launcher. Useless to anyone with Launchy or StandaloneStack, but it's pretty, and way too much fun to play with. (You can see what it looks like in the deviantArt screenshot.)

- Assorted doodads and revisions.

- Fixed the Location bug plaguing Enigma and HUD.Vision.

 

As for this shot, it's nothing dramatically different from my Leaf, so I'll redirect you there for all software/themes. My new toy of the week is the aforementioned StandaloneStack, courtesy of skarhead187. I loves them, precious. Right now, I've added a bunch of them to my Launchy directory, but my real plan is to assign some keyboard shortcuts to them using Authotkey - I'm thinking Win+F1, F2, etc. The creators of Enso once mentioned that the one shortcoming of active-input app launchers like Launchy, Executor and Enso is that you can't effectively browse your options. The Start Menu, quite frankly, is an effective tool for that, and I still use it for that purpose regularly. But I think a method using StandaloneStack may eliminate even that need. I already categorize the programs in my start menu (Accessories, Programs, Media, etc.), so it's a natural progression to assign a hotkey/stack combo to each one.

 

And after that? They're shortcuts. You can do anything with shortcuts and batch files. You can nest them, for heaven's sake! You could design an interface that used literally nothing but these stacks.

 

Sadly, classes are starting up again, and I have some other non-Desktop-y projects to work on, so God knows when I'll get to that.

 

Wallpaper: Runner's high by ~Angelus-Hellion.

Ancient Trees (11th Century) @ Ripley Castle,England,UK

 

THE DEER PARK CONTAINS SEVERAL MAGNIFICENT TREES. SOME HAVE PROBABLY BEEN HERE SINCE THE 11TH CENTURY. CERTAINLY THESE OAKTREES MUST BE VERY OLD TO ACHIEVE A GIRTH OF 28.5'.

 

The Ingilby family celebrates 700 years at Ripley CastleThe Ingleby family can trace its history back to 1090, when Sir Robert Ingleby owned land in the village of Ingleby, near Saxelby, Lincs. Another branch of the family had extensive lands in and around Ingleby Greenhow and Ingleby Mill in North Yorkshire. When Sir Thomas Ingleby (c1290-1352) married the heiress Edeline Thwenge in 1308/9 she came with a very substantial dowry: Ripley Castle and its surrounding estates. Like most wedding presents, it has taken the family several generations to work out what to do with it! Life was far from easy: in 1318 the Scots, under Sir James ‘Black’ Douglas, plundered the region mercilessly, destroying 140 of the 160 houses in nearby Knaresborough. In the following year a bovine plague killed almost all of the cattle in the region, leaving thousands destitute and milk in short supply. In 1349 the Black Death struck, wiping out almost half of the local population and leaving numerous hamlets bereft of people.

 

The old village of Ripley was abandoned and the survivors built a new settlement on the site of the current village, on the doorstep of the castle. Sir Thomas was in great favour at the king’s court in London and was appointed as an Advocate in 1347. In 1351 he was appointed as a Justice of Assize. He died the following year and a magnificent tombchest in All Saint’s Church, Ripley, has the figures of Thomas and Edeline lying recumbent on the top, he in his armour and chain mail, she in a long robe and head dress. His oldest son, also called Thomas (1310-1369) also married well: Katherine Mauleverer was descended from Aelfwine, an Anglian of proud descent and one of the largest landowners in the North of England. He followed his father into the royal court, and accompanied Edward III on a hunting trip to the royal hunting forest of Knaresborough in 1357. The king found a wild boar and threw his spear at it, but only injured it. The boar charged the king’s horse, and the king was thrown to the ground. Thomas killed the boar, saving the king’s life. He was knighted, granted the boar’s head emblem as his family crest, and granted the right to hold a weekly market and annual horse fair in Ripley – both continued to be held until the early 1900’s. He was appointed as a justice of the King’s Bench in 1361, the only judge to hold that position apart from the Chief Justice. He could claim £40 pa for expenses, and a further £20pa for holding assizes in different counties.

 

Thomas’s brother, Sir Henry Ingleby, enjoyed an equally notable career. Rector of several parishes, he was appointed Master of the Rolls and Keeper of the Writs, serving under the Lord Chancellor William Edington: he had an office in the Tower of London and paid 40 shillings a year for the privilege of collecting the wool tax from the monasteries. He also oversaw the network of royal horse dealers who bought horses for the royal household, then sold them at a profit: the proceeds were used to build Windsor Castle. He died in 1375 and was buried in York Minster.

 

Sir John Ingleby (1434-1499) inherited the estate from his father at the age of five: his trustees had to testify to his correct date of birth in order to get the estates out of trust when he came of age. Their testimony paints a remarkable picture of an average day in the life of 15th century England. ‘Ralph Acclom remembers John’s birth because he was staying with John, Abbot of Fountains Abbey and rode across with him to baptize the baby. Ralph Apilton remembered John’s birth because he killed a deer between Ripley and Hampsthwaite. Robert Atkinson remembered the date because he rode with John Slingsby from Ripley to Sherburn and was robbed and beaten up, losing 28s and 8d.’John built the castle gatehouse – still there today – and married a wealthy heiress, Margery Strangeways of Harlsey Castle. She bore him a son and heir, William. In 1457 John abandoned his wife, son estates and earthly possessions to become a monk at Mount Grace Priory a Carthusian charterhouse near Northallerton which had been founded by his great grandfather – and was the last resting place for his parents.

 

He was appointed prior of Sheen in 1477 and first visitor of the English province between 1478 and 1496. The royal family worshipped at Sheen and John became the first of three executors for Queen Elizabeth, wife of Edward IV, in 1492. He was Henry VII’s special ambassador to Pope Innocent VIII, the king describing him as ‘my captain and envoy’ in one of the letters that John delivered to the Pope. Henry appointed him to oversee the conversion of priory at Sheen into the royal palace of Richmond between 1495 and 1499, and the Pope appointed him bishop of Llandaff on 27th June, 1496. He was buried at the church of St Nicholas in Hertford. His luckless wife, Margery, effectively became a widow when he took holy orders: she spent eleven years raising her son before marrying Richard, Lord Welles. Her luck was no better second time round: Edward IV reneged on a promise of safe keeping and had her husband beheaded in 1469, less than a year after their marriage.Sir William Ingleby (1518-1578) married the staunchly Catholic Ann Mallory and lived through a period of profound religious turbulence. When Henry VIII suppressed the smaller monasteries in 1536, Yorkshire’s old established Catholic families rose in revolt: the Pilgrimage of Grace was a populist and peaceful revolt that received such widespread support throughout the North that the king, heavily outnumbered, was forced to sue for peace. Reneging on a promise of safe keeping, Henry had the organizer, Robert Aske, arrested and put to death: 200 of his fellow pilgrims shared his fate. William received a reward for his staunch loyalty to the crown: Queen Mary wrote ‘For the opinion I have conceived of Sir William Ingleby…I have appointed him Treasurer of Berwick’. The Rising of the North in 1568 was potentially even more serious. The rebels set out from nearby Markenfield Hall and mustered an army that far outnumbered the king’s resources. Sir William, as High Sheriff of York, was obliged to muster additional troops but while doing so was surrounded in Ripon market square, by a group of rebels amongst whom were two of his sons, David and Francis. He had to fight his way out and, deciding that Ripley Castle was too weak to defend, took refuge in the duchy of Lancaster’s Knaresborough Castle until the troops under his command were strong enough to defeat the rebels. The earl of Sussex wrote to

 

William Cecil ‘Sir William Ingleby has served the Queen as truly and as chargeably from the first suspicion of this rebellion, as any man of his rank has done. He has delivered to me, from time to time, better intelligence than I have received from any others. He be such that her majesty may rest assured of his honesty and loyalty’. The rebellion was crushed: David and Francis fled into exile but Sir William’s own son in law,

 

Thomas Markenfield, was executed. Francis Ingleby (1550-1586) studied at Brasenose College, Oxford and read law at the Inner Temple. In 1583, having received a heavenly visitation while staying at Ripley, he emigrated to Reims and became ordained a Catholic seminary priest, returning to England in 1585. There are remarkable parallels with today: a native Englishman, passionately supporting a minority religion, goes abroad to receive militant training in his faith. He returns intent on spreading the word and overthrowing the established religion and government.

 

Francis was hung, drawn and quartered on York Knavesmire in 1586 and beatified by the Pope in 1987. His brother David (1547-1600) became known as ‘the Fox’ for his ability to outrun his pursuers. He was the man who guided the seminary priests around the North of England, leading them from one safe house to another. He married Lady Ann Neville, daughter of the exiled earl of Westmoreland – and another staunch Catholic. David was heavily implicated as a co-conspirator of John Ballard in the Babington treason, a conspiracy to remove Elizabeth I from the throne and replace her with Mary, Queen of Scots. He and Francis were described as ‘the most dangerous papists in the North’. A huge manhunt was launched to find them: a secret priest’s hiding hole, built to conceal them and other visiting priests while they were at Ripley, was only discovered by accident in 1964. A set of instructions written out for a spy being sent to the royal court in Scotland listed numerous things that the spy should and should not do: it ended with a very simple warning ‘ beware of David Ingleby’. David died in exile in Belgium: Elizabeth I, taking pity on his by now

impoverished widow, awarded her a pension provided she behaved herself. Their cousin Mary Ward spent several of her formative years staying with the Inglebys. In 1609 she founded a Catholic Society for Women, modeled on the Society of Jesus. They founded schools and taught in them, and the nuns were strongly encouraged to work in the community. Pope Urban VIII suppressed the order and it wasn’t until 1877 that her society was fully restored with papal blessing. The Bar Convent in York – which she founded - was the first teaching convent in the world. Sir William Ingleby (1546 - 1618) hosted a visit by James VI of Scotland en route to the king’s coronation as James I of England in 1603. Within two years William was heavily implicated in a plot to kill the king his family and hundreds of MP’s. The Ingilbys were related to or closely associated with, nine of the eleven principal conspirators of the infamous Gunpowder Plot. The mother of Robert and Thomas Wyntour, two of the leading conspirators, was an Ingleby. They had spent the week before the plot was unearthed at Ripley, buying horses from the surrounding district. Sir William and his son were arrested and charged with treason, but were, surprisingly, acquitted of all the charges. The third charge was that of bribing witnesses.

 

Sir William Ingleby (1594-1652) supported Charles I throughout the civil war, raising a troop of horse to fight under the generalship of Prince Rupert of the Rhine. He fought at the battle of Marston Moor, alongside his redoubtable sister, ‘Trooper’ Jane Ingleby, and somehow managed to escape the bloody rout that saw the king’s northern armies defeated for good. He made the safety of Ripley, but was his arrival was followed almost immediately by that of the victorious rebel general, Oliver Cromwell. Sir William leapt into the priest’s secret hiding place, leaving his sister to look after Cromwell. She at first refused to let him into the castle, swearing that she would defend it against all comers. After some negotiation, he was allowed to enter and spend the night there, guarded at pistol point by Jane, to prevent him from searching the castle for her brother. Cromwell, stunned at being held at gunpoint by a woman having just won the greatest victory of his career, did nothing and she saw him off the premises the following morning.

 

Sir William’s son, also called William (1620-1682) was deeply religious – and a closet ‘rebel’. He managed to get the family’s entire fortune captured by the rebels and his father, believing him to have done it on purpose, wrote him a blistering letter, threatening to disinherit him. The letter, signed ‘your loving father’, can be seen at the castle today.

 

William junior was not good looking: his portraits confirm that. In 1659 he employed a dating agent, a Mr E Pitt, to find him a wife, and again we have the correspondence: the mission was successful.Sir John Ingilby (1757 – 1835) married Elizabeth Amcotts, a Lincolnshire heiress. His father in law promised him funds to help the young couple rebuild the castle. Sir John had a row with his father in law half way through the project, and ended up so heavily in debt that he had to flee the country for eleven years while his land agent sold timber to pay off his debts. While he and his wife were abroad their oldest son died at the age of 18, and they were hustled from one European city to another as the Napoleonic wars consumed the continent. A bundle of frequently harrowing letters, written to his agent while he was in exile, survives. By the time he returned, his marriage was over: having had 11 children by his wife, he had a further 5 by Martha Webster, daughter of a local tenant farmer.

 

One son, Edward Webster, had problems involving a gamekeeper’s daughter near Skipton and was placed on board the RM Reynolds at Ramsgate with £200 and a supply of clean shirts: his stepbrother was ordered to remain on the dockside to ensure that he didn’t leave the vessel before it set sail for Sydney. This proved to be a life-changing experience and he and his successors thrived Down Under: Robert Webster was the minister of state for the Olympics in the NSW state government when Sydney won the bid for the games.

 

Sir John’s son Sir William Amcotts Ingilby (1783-1854) was the product of a broken home, and a great eccentric. He was a drinker, gambler and general reprobate: he became an MP, as many such people do. He was a leading Whig, and an outspoken supporter of the reform Act of 1832. His dress sense was spectacularly awful ‘’As to your friend, Sir William Ingilby I am told by a lady who saw him and absolutely took fright at it, that this eccentric baronet walks about Ripley and Ripon too, in his dressing gown, without smalls or loincloth on. The absence of the former was luckily disguised by the wrap of the gown, and is alleged on hearsay: but the naked throat, shirt collar displayed a la Milord Byron, had a striking effect, and produced the scarecrow impression.’ Believing that his tenants and workforce should be well housed in this age of industrial revolution, Sir William demolished the entire village of Ripley and rebuilt it as a model estate village, copying an idea that he had observed in Alsace Lorraine. Instead of a Town Hall, Ripley has a magnificent ‘Hotel de Ville’ – certainly the only one of its kind in England! He died without heir and left the estate to his cousin Henry, telling him that he was doing so because ‘ I don’t believe that you are any longer the canting hypocrite I took you for’. Sir William Ingilby (1829-1918) was a somewhat dictatorial Landlord. He disapproved of alcoholic drink being served on the Sabbath day and closed down the three pubs in the village when the Landlords refused to close on Sundays. The village remained dry for 71 years until the Boar’s Head opened in 1989. When a child ran out of the front door of one of the village houses and startled his horse, causing him to be deposited on the ground in the middle of the Main Street, he prevented further embarrassment by imposing an edict that the villagers should not use their front doors.

 

Having survived several plagues, invasions, civil wars, wars, religious turbulence, a plot to commit regicide, numerous periods of deep recession and everything else that has befallen this country in the last seven hundred years, the Ingilbys can justifiably breathe a sigh of relief that they have arrived safely at this astonishing landmark. Theirs is a story of how one family has been tossed around in the choppy waters of England’s stormy history – and somehow survived, despite being on the losing side more often than not. The history of the Ingilbys is a microcosm of the history of England and features a cast of extraordinarily brave, foolish, eccentric and courageous characters, black sheep and white. They have gone from high office in the court of kings and queens to running a wedding and conference venue and hotel, but they are still at Ripley and the story continues as they steer their family and business through these challenging times. Sir Thomas and Lady Ingilby have four sons and a daughter. A more detailed history of the family, complete with family trees not just of the Ingilby family but various families that became related to the Ingilbys by marriage over the centuries

My Husband's Uncle died recently and he is the executor of the estate. We had to take a trip to secure the house and do a preliminary inventory prior to probate. This was his Grandfather's house.

The Flying Angel statue (2000) by Maurice Harron (1946-), a prolific executor of contemporary public sculpture in Ireland, is outside the chapel and mission centre of the Missions to Seafarers in Belfast’s Sailortown area.

 

The symbolism of the flying angel is derived from Revelation 14:6, “And I saw another angel fly in the midst of heaven, having the everlasting gospel to preach unto them that dwell on the earth, and to every nation, and kindred, and tongue, and people”. This text can be seen next to the angel’s left foot. The angel is shown here as a protective force, flying above and in the act of calming the waves.

 

The Flying Angel is the worldwide symbol of the Mission to Seafarers, an Anglican charity which has for over 150 years sought to provide support, shelter and comfort for sailors of all religions and none, especially those struck by personal or family crisis while far from home, or those denied dignity or a fair wage at work. MtS’ Flying Angel centres offer food and drink, television and free WiFi, books and a place to relax away from ship on every continent, as well as a listening ear.

The village of Mavis Enderby in East Lindsey, Lincolnshire.

 

An alternative spelling for the town may be "Malvyssh Enderby", as seen in a legal record in 1430, where the plaintiffs are the executors of a man whose surname is Enderby, and the defendant lives in Malvyssh Enderby.

 

Mavis Enderby had a peal of bells named after it, called The Brides of Enderby, which is mentioned in Jean Ingelow's poem The High Tide on the Coast of Lincolnshire 1571: in the poem the ringing of the Enderby bells is the generally recognised signal of approaching danger to the neighbouring countryside: "Came down that kindly message free, the Brides of Mavis Enderby". An extract from the poem is at the head of Rudyard Kipling's short story, At the Pit's Mouth.

 

Douglas Adams used the name "Mavis Enderby" in his spoof The Meaning of Liff dictionary "of things that there aren't any words for yet". Adams assigned meanings to place names based on what he imagined them to mean, Mavis Enderby becoming "The almost-completely-forgotten girlfriend from your distant past for whom your wife has a completely irrational jealousy and hatred".

 

Information sources:

en.wikipedia.org/wiki/Mavis_Enderby

 

TDC203X was a Ford R1114 / Plaxton Supreme C53F purchased new by Ellerman-Beeline of Middlesbrough in April 1982. Bee-Line was founded in West Hartlepool in 1934. The company provided holiday tours to resorts around the UK, later into Europe and was actually owned the Royal York Hotel on the Isle of Wight. They were also known for day trips, mystery tours and were hired for private tours, as well as running bus services for the local corporation. The company had large garage premises in Oxford Road until closure in 1986. Control passed to Glasgow based Ellerman Travel, before passing to Cotter's Tours, also based in the city.

Ellerman Lines was incorporated in 1892, by the businessmen John Ellerman, Christopher Furness and Henry O'Hagan, who bought the assets of the Liverpool based shipping firm Frederick Leyland and Co Ltd. The company started with an initial capital of £800,000 to buy the fleet of 22 vessels from the executors of Frederick Leyland, the former head of Frederick Leyland and Co. Ellerman was initially the managing director, and Furness the chairman, but Ellerman had taken on the role of chairman himself by 1893. By 1939 and the outbreak of the Second World War the fleet had been successfully rebuilt and expanded, to the extent that the Ellerman groups owned a total 105 ships with a combined capacity of 920,000 tons. This made Ellerman's one of the biggest shipping fleets in the world. Trading was however becoming more difficult with newly independent nations, such as India, setting up their own shipping companies. The nature of shipping was also changing, with the advent of containerisation. In 1966 Ellerman Lines joined the Associated Container Transportation (ACT) Group consortium and started the successful containerisation of its Mediterranean services. By the early 1970s the Ellerman group had expanded its commercial interests into other areas, including hotels, brewing, printing and coach tours. In 1973 it merged all its shipping companies into one division.

 

Ten years later its profitability had plummeted and it was making heavy losses. The whole business was then sold to the Barclay brothers. In 1985 the shipping business was bought by its management, then sold to the Trafalgar House conglomerate, which merged it with its ownership of the Cunard Line to form Cunard-Ellerman in 1987. In 1991 they passed it to the Andrew Weir Shipping Group, who sold it to Hamburg Süd in 2003. In 2004 the name was dropped and Ellerman Lines ceased to exist.

Watson's Tours was originally a family business who built up a good coach tours operation based on Dundee. The fleet usually numbered around nine vehicles at any time. The company was taken over in 1973 by Thomas Meadows and Co. Ltd of London. They continued to operate as Watson's Tours and the fleet was increased to a dozen coaches at any time with Bedford as the chosen supplier.

The business was purchased by Cotter's Tours of Glasgow in the 1980's.