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Freguesia: Horta das Figueiras;
Concelho: Évora;
Distrito: Évora
A Ermida de São Brás, situada extra-muros no Rossio de São Brás, foi mandada construir por D. João II, no local onde já existiria uma pequena gafaria provisória em madeira, erguida para tratar dos doentes afectados pela peste que assolou o país em 1479-80. O povo de Évora, o rei e o bispo executor da obra, D. Garcia de Meneses, mostravam assim a sua devoção por São Brás, a quem se rezava habitualmente aquando de uma epidemia. A obra, cuja licença eclesiástica data de 7 de Setembro de 1480, terá começado em 1482, e a ermida já estava aberta ao culto em 1490 (ESPANCA, Túlio, 1966). O monumento, projectado por mestre desconhecido, é particularmente inovador na utilização de um estilo manuelino-mudéjar tipicamente alentejano, com sucessão de volumes escalonados, robustos e coroados por merlões, e inaugura na cidade a utilização, depois largamente divulgada em monumentos de todo o Alentejo, de elementos arquitectónicos como os contrafortes cilíndricos com coruchéus cónicos (PEREZ EMBID, Florentino, 1955, p.134). Juntamente com as igrejas dos Lóios e S. Francisco, este templo marca a introdução do tardo-gótico em Évora. Erguida sobre uma plataforma destinada a vencer um desnível do terreno, a ermida tem fachada principal com nártex aberto em três grandes arcos ogivais apoiados em meias colunas de alvenaria com capitéis vegetalistas, enquadrados por poderosos torreões cilíndricos ameiados. Neste pórtico terá existido uma decoração mural com as armas e o pelicano de D. João II, possivelmente perdida nas obras suecssivas que o templo sofreu (ESPANCA, Túlio, 1966). O corpo da igreja, todo caiado, possui catorze contrafortes cilíndricos, com os torreões do pórtico, terminados num friso de merlões chanfrados, e todos coroados por coruchéus cónicos. A cabeceira é um corpo cúbico, alargado lateralmente pelos volumes mais baixos e muito estreitos das sacristias, também ameiadas, onde se rasgam frestas ogivais. Sobre a capela-mor ergue-se o lanternim hexagonal, e no topo norte, deitando para a sacristia, destaca-se o campanário. De salientar ainda a sucessão de interessantes gárgulas de granito, de temática zoomórfica, ao longo do edifício. No interior de nave única, coberta por abóbada de volta perfeita, existem vários painéis de azulejo de padrão geométrico, em verde e branco, ainda quinhentistas e de ressonâncias mudéjares; os altares de talha dourada setecentista, um de cada lado da nave, são dedicados a São Romão e a Nossa Senhora das Candeias. Na capela-mor, o retábulo também em talha dourada enquadra uma escultura de madeira do santo padroeiro do templo, em edícula central. As pinturas são no geral arcaizantes, de nítida influência flamenga e interesse apenas regional, datáveis da segunda metade de quinhentos, embora respeitem a duas empreitadas distintas Guarda-se no Museu Regional de Évora parte do importante recheio de ourivesaria sacra, de prata dourada, da extinta Confraria de São Brás. Existe ainda algum mobiliário setecentista nas dependências da igreja, bem como uma pia de água benta, renascentista, em mármore.O templo sofreu beneficiações em 1573, custeadas pelo Cardeal-Infante D. Henrique, e constando basicamente de decorações murais nas paredes e abóbadas da nave e execução do retábulo de talha, mas as pinturas (e vários altares) ficaram destruídos em 1663, por ocasião dos bombardeamentos da cidade pelas tropas castelhanas, particularmente desastroso por a ermida se encontrar na cintura defensiva do Rossio de São Brás. Embora os trabalhos de restauro tenham começado imediatamente, os últimos vestígios das pinturas murais desapareceram nas reformas camarárias de finais do século XIX e início do século XX. Ainda hoje são visíveis alguns vestígios de um friso de esgrafitos, incluíndo emblemas manuelinos e temas geométricos, ao longo do remate superior da fachada, agora restaurada e pintada de novo.
Fonte: www.ippar.pt
encantosdanossaterra.blogspot.com/2009/10/ermida-de-sao-b...
c1517-c1573 Nicholas Powtrell second son of John Powtrell of West Hallam by Margaret co-heiress daughter of John Strelley of Strelley (and younger brother of Thomas www.historyofparliamentonline.org/volume/1509-1558/member... )
m1 Anne daughter of Walter Rodney of Stoke Rodney by Elizabeth daughter of Edward Compton (Elizabeth m2 Sir John Chaworth www.flickr.com/photos/52219527@N00/9518954070/ )
(her sister Elizabeth m his brother Thomas ) (her brother Maurice aged 9 at his father's death was "carelessly brought up by his guardian Sei'jeant Powtrell", married while under age a blacksmith's daughter, after divorce from whom he re-married Joan, daughter of Sir Thomas Dyer of Somerford )
Children
1. Nicholas dsp
m2 ?
Pre 1554 Nicholas bought part of the manor here from Sir Edward Stanhope and built the hall.
In 1546 he was appointed to the recordership of Nottingham and also MP for Nottingham 3 times. In November 1554 he was one of a number of MPs prosecuted in the King’s bench for absenting themselves without licence. In 1557 he was fined 53s.4d and his absence was held to be deliberate and inexcusable: His public career showed no advancement during the remainder of Mary’s reign, but evidence against him coincided with his leaving the recordership
At the beginning of the reign of Elizabeth he was made serjeant-at-law and a judge at Lancaster, and for several years he was busy on commissions in his home county and further north until ending abruptly c1565 and thereafter he disappeared almost completely from public life. He was not yet an old man, but he could have been an ailing one, or perhaps he paid the penalty for recusancy, not on his own account but on his family’s, - in 1564 the archbishop of York omitted to categorize him—but his nephew’s house at West Hallam had become a refuge for Catholic priests:
During his earlier career Powtrell was associated with the Willoughbys of Wollaton from whom he received an annuity and although not one of his servants he performed services for the Manners Earls of Rutland.
In 1573 he bought land from William Thornehill, gent in the manors of Cassalls and Claworth, 25 messuages, 12 cottages, etc. there and in Heyton, Clarebrough, Wheatley, Wieston Gringley super montem, Saunby, Dole and Deckingham, Nottinghamshire, for £220.
Having no issue, In his will of Sept. 1579 he recited an indenture drawn up in the previous year leasing the manor of Egmanton and lands in Laxton, Tuxford and Weston to his niece Julian and her husband William Mason, two of his executors; he had afterwards granted these properties to a group of feoffees, including his cousin Thomas Markham, to his own use and on his death to that of Markham and his heirs. He had made a similar arrangement for the disposal of other lands in north Nottinghamshire, intending at that time to disinherit his nephew Walter Powtrell, because of "the untrue and slanderous reports and of the unnatural dealing that he and his wife have and do daily use towards me". In his will, however, Powtrell declared his ‘"readiness ... to die in charity towards them and all the world", and in the hope that his nephew’s son would prove "more wise, honest ... and of better judgment"’ he granted these lands to Thomas Markham to the use of Walter and his heirs. His household goods, articles of silver and other valuables Powtrell left to relatives, including his nephews the Masons and the Stringers, and he made several monetary bequests to his servants. William Dabridgecourt and Thomas Markham were appointed supervisors.
After his death his attempt to disinherit his nephew in favour of his couisin Thomas Markham of Ollerton provoked a dispute between Walter Powtrell and the executors; In June 1584 the administration of the will was granted to Walter Powtrell as next of kin, but in March 1587 this was revoked and probate was granted to the executors - Church of St Mary Egmanton Nottinghamshire
www.historyofparliamentonline.org/volume/1509-1558/member...
The only R&R featuring Ava, sort of my alter-ego. It had to be her this time. You’ll possibly understand when you read this review.
Paul Auster
The New York Trilogy
First published in: “City of Glass” (1985), “Ghosts” (1986) and “The Locked Room” (1986).
This edition (as a trilogy): Penguin Books 1990.
Cover design by Greg Mollica
One morning last February, I was standing right outside a Starbucks in New York City and for some reason decided to look down. And there they were. Three twenty dollar bills. I planted my foot down immediately – because it was windy there, around the Empire State Building. Then of course I looked around and waited for a couple of minutes, to see if anyone was groping their pockets or frantically looking for something. I could have yelled “Yo, who lost 60 dollars?” but we all know people aren’t that honest. Anyway, there was no one. So I kindly thanked New York, promised to give back to the city by visiting again soon and then I took Wil to The Strand to spend the money on a just cause. Books.
One of the books I decided on was Auster’s “New York Trilogy”, partly as a nod to the city, which serves as the atmospheric backdrop to most of Auster’s novels.
“The New York Trilogy” is in intricate work consisting of three detective novella’s, seemingly stand-alone. Each novella has its own storyline, all with common themes and elements.
“City of Ghosts” begins with a phonecall to Daniel Quinn, a writer, who is mistaken for ‘Paul Auster’ (yes, Auster features himself in the book), whose services are requested to help search for a young man’s father, one Peter Stillman. Bored with his life and lacking inspiration for his writing, Quinn decides to pose as ‘Paul Auster’ and takes on the job to find Stillman. Instead of finding much of an answer, Quinn instead slowly loses something... his grip on himself.
“Ghosts” is an interesting take on the detective novel, reminiscent of film noir (or a graphic novel). Blue is hired by White to spy on Black... but what if the spy becomes the one spied on?
Finally, “The Locked Room” is the one connecting the trilogy as a whole. A mediocre writer (the narrator of this third novella) becomes the literary executor for an old friend, who has mysteriously vanished. What happened, and why is it so hard to let go?
To me personally, this quote found in “The Locked Room” is a perfect way to begin explaining what Auster is trying to do: “The story is not in the words. It’s in the struggle.” (p.346 of my edition.)
In this trilogy, which is a wonderful example of meta-fiction, Auster is exploring the techniques used in the writing of detective novels. He’s looking beneath the surface of the novels in the detective genre. Identity is a big factor; each ‘detective’ in this trilogy is trying to find someone else, but obsession forces him to be confronted with his own self.
Introspection is another theme, which is evident from the fact that Auster has incorporated a lot of himself in this book, not only by introducing the character ‘Paul Auster’ but also by using the names of various loved ones for his characters (one character is named Sophie, also the name of his daughter. Another is named Daniel, the name of his son, and so on). Details such as these makes me value the idea that perhaps Auster writes to also explore himself as a writer and individual.
What Auster has accomplished is that the reader, initially a bystander, becomes a ‘detective’ too. Reading the trilogy is thrilling, adventurous even; I found myself on the look-out for underlying connections and patterns throughout the book. Trying to find clues, searching for possible predictions and what ties these three novellas together. The ‘detectives’ in the novellas become the watched; the readers are the ones observing them, trying to find anwers.
Are there any answers? There is some form of a conclusion, yes, but much is left unresolved. But that isn’t necessarily what makes a book great. “Oracle Night”, another one of Auster’s meta-fiction novels, was quite unresolved in many ways as well, but I learned to be more aware of the reading and writing process, not just to focus my attention on a satisfying conclusion.
What I gained from “The New York Trilogy” is to actually get a real kick out of the reading experience. I am a bit of a ‘detective’ now no matter what book I read.
4.5/5
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10221 Super Star Destroyer (Star Wars)
Ages 16+. 3,152 pieces.
US $399.99 CA $499.99 DE 399.99 € UK 349.99 £
The Super Star Destroyer Executor has arrived! This jaw-dropping vessel served as command ship at the Battle of Endor and as the personal flagship of Darth Vader in the classic Star Wars movies. With its classic dagger-shaped design, the Executor is among the largest and most powerful vessels in the Star Wars galaxy. With over 3,000 pieces, measuring nearly 50" (124.5 cm) long and weighing nearly 8 pounds (3.5 kg), every aspect of this fantastic LEGO® Star Wars™ model impresses. Includes 4 minifigures: Darth Vader, Admiral Piett, Dengar, Bossk and IG-88.
Includes 4 minifigures: Darth Vader, Admiral Piett, Dengar and Bossk!
Also includes IG-88 figure!
Features over 3,000 pieces!
Measures nearly 50 inches (124.5 cm) long and weighs nearly 8 pounds (3.5kg)!
Includes display stand and data sheet label!
Center section lifts off to reveal command center!
The Super Star Destroyer is on sale from September 1, 2011
R101 HUA
Mercedes-Benz O1120L/Ferqui Solera C35F
Cooper's Coaches, Rothwell
Rothwell, 25 August 2005
New as an Optare demonstrator
This marked the start of the tie-up between Optare and Ferqui, being the original demonstrator for the Solera launched in 1998. Following Mr Cooper's sudden death his executor sold the business to Minesh Uka (Hamiltons Coaches), who already operated the Plaxton coach in the garage behind.
"Near heer lieth ye body of Thomas Anguish late citizen & alderman of Norwich & sometimes mayor of this city who deceased the 26th January AD 1617 aged 79, who had to wife Elizabeth daughter of Edmund Thurston and had issue by her 9 sonnes and 3 daughters, where of at his death their were living 5 sonnes only"
"William Anguish, +++ gent, dyed the 6th day of July 1668 to whose memorie John Anguish esq, his nephew and executor dedicated this inscription"
Now crammed behind the organ, monument to Thomas Anguish (1536 - 1617) www.flickr.com/gp/52219527@N00/0BX434 in the robes of an alderman, who kneels with his wife & family. Placed here at his request above his "seat where he usually sat" and is by Nicholas Stone costing £20 double the amount he had left in his will for this purpose.
Thomas was the youngest of 3 sons of Thomas Anguish of Foulsham by Anne Thimblethorp
He m Elizabeth c 1619 daughter of grocer Edmund Thurston ++ to whom Thomas was apprenticed . Their house and shop was in Tombland (on the corner of Tombland and Wensum Street, now part of the Maid’s Head Hotel)
He took over his father in law's grocery business and prospered, becoming a freeman of Norwich in 1573. and took an active role in city life, serving as Sheriff, Mayor and Speaker of the Council. He was elected mayor in 1611, and as was usual there was a pageant and firework display. Sadly the cord suspended with fireworks collapsed causing the deaths of 33 bystanders. The occasion was described by a local catholic commentator as "a scourge to that wicked citie and puritan mayor .. being Anguish did portend anguish and sorrow to the people" Thereafter fireworks were banned from Guildhall feasts
Children 9 sons & 3 daughters (5 sons survived their father)
1. John 1569-1571
2. Alexander 1577-1579
3. John 1578-1643, alderman m Mary Aldrich d1640 grand daughter of alderman John Aldrich father in law of Edmund Thurston ++)
4. Edmund 1574-1657 of Great Melton m1 Dorothy Marsham
d1604 in childbirth with her baby m2 Alice d1642 daughter of John Drake of Herringfleet (their grand daughter Anne Wodehouse is at Kimberley flic.kr/p/CdKoLk whose son inherited Great Melton)
5. Alexander 1579-1581
6. Richard 1581- 1616 Fellow of protestant college Corpus Christi
7. Alexander 1582-1654 alderman of St Peter Mancroft m Catherine Barrett
8.. Cicely 1583-1584
9. Hester 1585-1617 m Richard son of John Mann
10, Margaret 1587-1588
11. Thomas 1590-1622 m Anne daughter of Francis Smallpiece & Anne daughter of John Aldrich, who m2 John Dethick
12. William 1593-1668
A patron of the cathedral who with his son Edmund, bequeathed a new organ for the choir and had a standing order for repairs from 1607 to 1609
Thomas also bequeathed a property in Fishergate to the Corporation to be used as a hostel "for the keeping and bringing up and teaching of very poor children" which was opened in 1621 - Boys were first to be admitted, with girls following some years later. It still survives www.anguishseducationalfoundation.org.uk/about-us/ There was also a foundling hospital begun in 1618 where annual sermon was to be preached on its founders day.
Thomas was certainly a Calvinist if not a puritan - The fireworks episode must have preyed on his mind as his will states he died in the assurance that Christ "hath of his own free will and greate mean fully paide and satisfied the wrath of God the Father due unto me for my synne. And that through his blessed merit, death and passion I shall have and enjoy the fruition and benefit of everlasting life to joyn with Him in eternall joy and happiness among the elect children of God for ever"
+++ Will of William Anguish of Norwich, gentleman. To be buried in St. George Tombland parish, where I was born. ;£10 to the parish for his burying-place in that church, near my father; poor at death, £20, to be sent for distribution to Court of Aldermen ; all my tenants in St. Tedmond's a quarter's rent ; Goody Dix, widow, " that have my ground," £2 ; cousin Ann
James, widow; cousin Edmund Anguish of Great Melton, £10; cousin Ann Blackborne, wife of Henry, ;{£10 ; cousin Elizabeth Cassell, widow, £10; cousin Ester Bayfield, £10; cousin
Mary Browne, wife of Miles Browne, ^10 ; cousin Ann Rix, dau. of my sister, dec. long ago ; William Anguish, godson; son of cousin Richard, a clerk; Mr. Richard Wenman of Norwich,
alderman ; Edward Lome of Cawston ; Mr. Thomas Stoughton of Hockering, clerk ; cousin Ester Clark, widow ; cousin William Anguish, godson, of London, son of cousin Edmund of Great Melton; cousin Mr. John Anguish of Great Melton, now of Lynn, son of bro. Edmund, deceased ; to said John, garden, &c., bought of Alderman Rose and Abraham Leman, now
occupied by widow Dix, gardener; houses, &c., in St. Tedmond to cousin John Anguish of Great Melton, which my father, Mr. Thomas Anguish of Norwich, alderman, dec, gave me. Residue to said cousin John, sole executor. Witnesses, Thomas and William Gorie. Dated 13 July, 1666; proved g July, 1668. - Church of St George Tombland Norwich , Norfolk
ON 21 April 1963 I spent one of my few nights away from home whilst on a weekend tour of the Yorkshire area railway sheds with a Bristol Railway Touring club. The night was spent in central Leeds, and a short walk away from the hotel was one of the central area bus stations. The only Ledgard ( to be precise, the Executors of Samuel Ledgard) bus to be seen during the time I was there was MUA860, a 1949 Leyland bodied Leyland PD2/1, bought new by the company. How strange to think that the photograph may well taken using an external flash gun with disposable bulbs that crunched satisfyingly beneath one's shoes when used!
Richard Gerald Balls ,born Wisbech 1887. Cinema manager, Chelmsford (hence the reference to the film business - showing them,not making them) Now, which Cinema would that be? Married Beatrice L Wright in Downham Market. in 1914. An internet reference gives his executors as his wife and his brother, Francis Barron Balls [b. Wisbech 1893], formerly of the Downham Motor Company, and his widow. Ref:: Richard Gerald Balls, late of Phoenix House Chelmsford in the county of Essex Cinema Proprietor and Manager deceased, who died on the 16th day of December 1936 and of whose estate letters of administration were granted by the Principal Probate Registry on the 1st day of April 1937 to Beatrice Louisa Balls of Bexwell House Downham Market Norfolk Widow and Francis Barren Balls of Bexwell House Downham Market ***aforesaid Cinema manager. [*** I think brother of the has been accidentally omitted there. Otherwise it makes no sense]
And which cinema? Bexwell House was a signficant address in Downham. It may have been demolished.
A contemporary copy of the Essex Chronicle in the Essex records office one day will answer these mysteries.
Update: Phoenix House was situated in the affluent Upper Moulsham Street/Elm Road/New London Road area, as per this document. with large estate. 204b New London Road is known as Phoenix House which in the 1950s was a hostel for Crompton Parkinson Ltd (204) I think this is Phoenix House
Beatrice L Balls died in Downham Market in 1962. His daughter may have been Marjorie, who married Charles G Haddon in Downham in 1963.
In the 1901 census, other children were Walter Wilfrid b 1899 and Archibald James b 1894, sister Eva b 1889. The parents appear to be Henry or Harry Richard Balls, a post office clerk, born Lowestoft, and Annie Haddon.....see how the name reappears in 1963...married in 1886,
1885 Abstract of Title 38 Belle View Road under Will of Stephen Cockburn, Ironmonger, Ramsgate, Kent.
23 August 1866 Conveyance between Revd.’ James Gillman of 14 Wimbledon Park Road, Wandsworth, Surrey and Stephen Cockburn of Ramsgate, Ironmonger. Stephen Cockburn was married to his wife, Sarah. (Note seems a bit of confusion in marriage dates… 5th July 1836 is the correct date of Stephen Cockburn’s marriage to Sarah Herridge at St. George's Church, Ramsgate, Kent) to sell 38 Belle View Road, formerly known as 2 Arklow Square.
17th January 1845 Indenture between, Elizabeth Hutchinson, Widow, John Hake, Grocer, Revd.’ James Gillman (then of the Parish of Barfreystone, Kent) Thomas Hodges Grove Snowden to sell to Stephen Cockburn.
List of previous occupants is given:
Thomas Grundy, James Craven, Louisa Holman.
2nd May 1873 Will of Stephen Cockburn known as the elder. Executors were wife, Sarah Cockburn, daughter Sarah Cockburn and Son Edward Cockburn. Who along with his other two sons Stephen Cockburn and George Cockburn were beneficiaries under the Will.
10th July 1877 Stephen Cockburn known as the elder died.
5th December 1884 his wife Sarah Cockburn died
Church of St. Mary,
Monument to Mrs Everilda Thornhill †1743, and members of her family. Marble, above north arcading of central aisle. Commissioned by the executors of her will on her orders.
The inscription is illegible, but clarified in the photographs. Everilda Thornhill was a spinster from Burnham, who died aged 44. The other members of her family included in the inscription, and buried in a vault nearby, were: her mother, Ann Thornhill †1724; her uncle Thomas Harris †1726; and her brother John Thornhill †1741.
The inscription, under an angel head is set under a broken pediment, with (presumably) the now illegible family coat of arms. It is framed by dark, doubled, Corinthian piers, above gadrooning and a double curved apron. The elegant monument is not signed (or if it had been the signature is now lost) but close to, but more complex than, contemporary monuments by Norwich sculptors, notably John Ivory’s monument to Mary Slater †1748 at Hingham.
detail of the top of the monument with angel head
Postcards from and to my piano teacher, [1903-1986] dated 1933 and 1950, who had a fascinating colonial stamp collection, and coffee table books on cats and Valladollid in Spain, which made pianoforte lessons tolerable. I guess these came to a junk shop following her house clearance, being a single woman. Actually, I think I bought these for 5p or 10p in Broomfield Road circa 1976. Anyway...
She had appropriate brown fingers from smoking Players Navy Cut. A fortunate fall at the Grade IV exam hurdle, held as usual at Watchhouse Farm, was my lucky escape from the keyboard.
Sent from Hope, Sheffield and Broughton-in-Furness
Her probate related to 27 Maltese Road, not 22 since the road, originally consecutively numbered, was renumbered into odds and evens when a development of more houses was built circa 1960. Belvoir house was sold in 1929, the sales catalogue survives.
seax.essexcc.gov.uk/Result_Details.aspx?DocID=401373
Walter Brown [1863-1949] was the borough Sanitary Officer, originally from the West Midlands, the family having moved from Erdington, originally living in Hill Road, Chelmsford. One of his executors was the Cheif sanitary officer of the Chelmsford Rural District council, Albert Denton Ogden, who retired back to his native Keighley.
Fancy signing off to your rather as "FM Brown"....
Her Grace, The tenth Duchess of Manchester married to the Tenth Duke of Manchester for 50 years until her death in 1966.
They Married at Kimbolton Castle had children there and traveled abroad.
San Francisco, Kenya and Pebble Beach California were special to them.
At Nells death she was buried at Kimbolton Castle family Crypt. As are the other family.
HER GRACE,
THE MOST NOBEL NELL VERE STEAD, The tenth Duchess of Manchester.
Notice is hereby given pursuant to section 29
Of the trustee act. (Cap 167). That any person having claim or a interest in THE ESTATE OF THE MOST NOBEL NELL VERE STEAD. DUCHESS OF MANCHESTER, of Kapasrwa Estate. Hoey's bridge and of Hillsborough California United States of America, who died on September 2nd 1966, Is Hereby required to send particulars in writing of his claim in writing to Messers. Shaw and Carruthers advocates of PO BOX 112, Eldoret on or the 31st Day of March 1967, after which date the executors will distribute the Estate among the persons entitled. Thereto having reguard only to the claims and interest of which it has had notice and will not as respects the property so be distributed be liable to any person of Claim it shall not have notice.
Eldoret January, 1967
SHAW AND CRUTHERS Advocates for the Executors PO BOX 112, Eldoret.
The Duke of Manchester,Kapsimotwa Estate, P.O. Box 9, HoeysBridge ; Trans Nzoia District.
The tomb with modern glass barrier
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[3] 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).[4] This was only Epstein's second commission, his first being the sculpture for the 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 would create 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. 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 the 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.[11] 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".[9] Upon the headress 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 headress 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 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. Once the bill was paid (it has been suggested that Robert Ross had borrowed the funds from Ada Leverson), the monument was covered with tarpaulin due to the Parisian officials' reaction to the monument's nakedness. 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 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. 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.[22] In 2000, Leon Johnson, a multimedia artist, installed a silver prosthesis to replace them.
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. 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. In 2011, a glass barrier was erected to make the monument 'kiss-proof'. However, the barrier 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.
1885 Abstract of Title 38 Belle View Road under Will of Stephen Cockburn, Ironmonger, Ramsgate, Kent.
23 August 1866 Conveyance between Revd.’ James Gillman of 14 Wimbledon Park Road, Wandsworth, Surrey and Stephen Cockburn of Ramsgate, Ironmonger. Stephen Cockburn was married to his wife, Sarah. (Note seems a bit of confusion in marriage dates… 5th July 1836 is the correct date of Stephen Cockburn’s marriage to Sarah Herridge at St. George's Church, Ramsgate, Kent) to sell 38 Belle View Road, formerly known as 2 Arklow Square.
17th January 1845 Indenture between, Elizabeth Hutchinson, Widow, John Hake, Grocer, Revd.’ James Gillman (then of the Parish of Barfreystone, Kent) Thomas Hodges Grove Snowden to sell to Stephen Cockburn.
List of previous occupants is given:
Thomas Grundy, James Craven, Louisa Holman.
2nd May 1873 Will of Stephen Cockburn known as the elder. Executors were wife, Sarah Cockburn, daughter Sarah Cockburn and Son Edward Cockburn. Who along with his other two sons Stephen Cockburn and George Cockburn were beneficiaries under the Will.
10th July 1877 Stephen Cockburn known as the elder died.
5th December 1884 his wife Sarah Cockburn died
The Shipley Art Gallery is an art gallery in Gateshead, Tyne and Wear, England, located at the south end of Prince Consort Road. It has a Designated Collection of national importance.
Origins
The Shipley Art Gallery opened to the public in 1917. This was made possible by a bequest from wealthy local solicitor and art collector, Joseph Ainsley Davidson Shipley (1822–1909).
Shipley was a rather enigmatic person about whom little is known. He was born in Gateshead, near High Street. He was a solicitor in the Newcastle firm of Hoyle, Shipley and Hoyle. From 1884 until his death, he leased Saltwell Park House, now known as Saltwell Towers. Shipley's main passion was art and collecting paintings. He bought his first painting when he was sixteen and by the time he died he had amassed a collection of some 2,500 paintings.
On his death, Shipley left £30,000 and all his pictures to the City of Newcastle, which was to build a new gallery to house the collection. This was to be known as "The Shipley Bequest". Current belief within local history circles is that Shipley’s will expressly banned Newcastle’s art gallery as a recipient of the bequest, but this assertion must be dismissed: since the foundation stone of the Laing Art Gallery was laid only in August 1901 and the gallery opened in October 1904, the institution did not yet exist in 1900, when Shipley’s will was compiled. Shipley’s will did, in fact, declare that ‘the Art Gallery to be erected in Higham Place will not be and shall not be regarded as an Art Gallery within this trust’, owing to its being ‘too small’, but he conceded that if it ‘shall be capable of being enlarged so as to render it capable of holding all, then I direct my Trustees to raise the sum of £30,000 out of my residuary estate and pay the same to the treasurer of the gallery to be applied in or toward such enlargement as aforesaid’. It was only following a lengthy process that Gateshead Municipal Council was offered the collection. As it was impossible to house all of the paintings, 359 of the pictures recommended by the executors of Shipley's will were selected. A further group was then added by the Gateshead Committee, bringing the total to 504.
In 1914, after the sale of the remaining paintings, work began on the new art gallery. The building, which was designed by Arthur Stockwell, M.S.A. of Newcastle, opened on 29 November 1917. The stone entrance portico is distyle in antis – four Corinthian-style stone columns flanked by solid pilasters. These are surmounted by two sculptured figures, one representing the Arts and the other Industry and Learning, by W. Birnie Rhind, RSA. of Edinburgh.
Pevsner described the art gallery as a "bold arrangement of a brick central block and lower wings containing galleries". The building was designated as Grade II listed in 1982.
Present gallery
The original 504 paintings represented all the main European schools from the sixteenth to the nineteenth centuries. Since 1917, the collection has been added to, and now comprises some 10,000 items.
The gallery holds a strong collection of 16th and 17th century Dutch and Flemish paintings, as well as 19th century British works, watercolours, prints, drawings and sculpture. Also featured are items of local interest, which include the popular painting by William C. Irving ((1866–1943) of "Blaydon Races" (1903) and a 1970 street scene of Redheugh Crossroads by Gateshead-born Charlie Rogers.
Since 1977 the gallery has become established as a national centre for contemporary craftwork. It has built up one of the best collections outside London, which includes ceramics, wood, metal, glass, textiles and furniture. The Shipley is home to the Henry Rothschild collection of studio ceramics. In 2008, the Shipley opened its Designs for Life gallery which showcases the gallery's collections of contemporary craft and design. The Gallery also hosts a varied programme of temporary exhibitions and has a strong partnership with the V&A Museum in London.
The Shipley Art Gallery is managed by Tyne & Wear Archives & Museums on behalf of Gateshead Council.
Gateshead is a town in the Gateshead Metropolitan Borough of Tyne and Wear, England. It is on the River Tyne's southern bank. The town's attractions include the twenty metre tall Angel of the North sculpture on the town's southern outskirts, The Glasshouse International Centre for Music and the Baltic Centre for Contemporary Art. The town shares the Millennium Bridge, Tyne Bridge and multiple other bridges with Newcastle upon Tyne.
Historically part of County Durham, under the Local Government Act 1888 the town was made a county borough, meaning it was administered independently of the county council.
In the 2011 Census, the town had a population of 120,046 while the wider borough had 200,214.
History
Gateshead is first mentioned in Latin translation in Bede's Ecclesiastical History of the English People as ad caput caprae ("at the goat's head"). This interpretation is consistent with the later English attestations of the name, among them Gatesheued (c. 1190), literally "goat's head" but in the context of a place-name meaning 'headland or hill frequented by (wild) goats'. Although other derivations have been mooted, it is this that is given by the standard authorities.
A Brittonic predecessor, named with the element *gabro-, 'goat' (c.f. Welsh gafr), may underlie the name. Gateshead might have been the Roman-British fort of Gabrosentum.
Early
There has been a settlement on the Gateshead side of the River Tyne, around the old river crossing where the Swing Bridge now stands, since Roman times.
The first recorded mention of Gateshead is in the writings of the Venerable Bede who referred to an Abbot of Gateshead called Utta in 623. In 1068 William the Conqueror defeated the forces of Edgar the Ætheling and Malcolm king of Scotland (Shakespeare's Malcolm) on Gateshead Fell (now Low Fell and Sheriff Hill).
During medieval times Gateshead was under the jurisdiction of the Bishop of Durham. At this time the area was largely forest with some agricultural land. The forest was the subject of Gateshead's first charter, granted in the 12th century by Hugh du Puiset, Bishop of Durham. An alternative spelling may be "Gatishevede", as seen in a legal record, dated 1430.
Industrial revolution
Throughout the Industrial Revolution the population of Gateshead expanded rapidly; between 1801 and 1901 the increase was over 100,000. This expansion resulted in the spread southwards of the town.
In 1854, a catastrophic explosion on the quayside destroyed most of Gateshead's medieval heritage, and caused widespread damage on the Newcastle side of the river.
Sir Joseph Swan lived at Underhill, Low Fell, Gateshead from 1869 to 1883, where his experiments led to the invention of the electric light bulb. The house was the first in the world to be wired for domestic electric light.
In the 1889 one of the largest employers (Hawks, Crawshay and Company) closed down and unemployment has since been a burden. Up to the Second World War there were repeated newspaper reports of the unemployed sending deputations to the council to provide work. The depression years of the 1920s and 1930s created even more joblessness and the Team Valley Trading Estate was built in the mid-1930s to alleviate the situation.
Regeneration
In the late noughties, Gateshead Council started to regenerate the town, with the long-term aim of making Gateshead a city. The most extensive transformation occurred in the Quayside, with almost all the structures there being constructed or refurbished in this time.
In the early 2010s, regeneration refocused on the town centre. The £150 million Trinity Square development opened in May 2013, it incorporates student accommodation, a cinema, health centre and shops. It was nominated for the Carbuncle Cup in September 2014. The cup was however awarded to another development which involved Tesco, Woolwich Central.
Governance
In 1835, Gateshead was established as a municipal borough and in 1889 it was made a county borough, independent from Durham County Council.
In 1870, the Old Town Hall was built, designed by John Johnstone who also designed the previously built Newcastle Town Hall. The ornamental clock in front of the old town hall was presented to Gateshead in 1892 by the mayor, Walter de Lancey Willson, on the occasion of him being elected for a third time. He was also one of the founders of Walter Willson's, a chain of grocers in the North East and Cumbria. The old town hall also served as a magistrate's court and one of Gateshead's police stations.
Current
In 1974, following the Local Government Act 1972, the County Borough of Gateshead was merged with the urban districts of Felling, Whickham, Blaydon and Ryton and part of the rural district of Chester-le-Street to create the much larger Metropolitan Borough of Gateshead.
Geography
The town of Gateshead is in the North East of England in the ceremonial county of Tyne and Wear, and within the historic boundaries of County Durham. It is located on the southern bank of the River Tyne at a latitude of 54.57° N and a longitude of 1.35° W. Gateshead experiences a temperate climate which is considerably warmer than some other locations at similar latitudes as a result of the warming influence of the Gulf Stream (via the North Atlantic drift). It is located in the rain shadow of the North Pennines and is therefore in one of the driest regions of the United Kingdom.
One of the most distinguishing features of Gateshead is its topography. The land rises 230 feet from Gateshead Quays to the town centre and continues rising to a height of 525 feet at Queen Elizabeth Hospital in Sheriff Hill. This is in contrast to the flat and low lying Team Valley located on the western edges of town. The high elevations allow for impressive views over the Tyne valley into Newcastle and across Tyneside to Sunderland and the North Sea from lookouts in Windmill Hills and Windy Nook respectively.
The Office for National Statistics defines the town as an urban sub-division. The latest (2011) ONS urban sub-division of Gateshead contains the historical County Borough together with areas that the town has absorbed, including Dunston, Felling, Heworth, Pelaw and Bill Quay.
Given the proximity of Gateshead to Newcastle, just south of the River Tyne from the city centre, it is sometimes incorrectly referred to as being a part of Newcastle. Gateshead Council and Newcastle City Council teamed up in 2000 to create a unified marketing brand name, NewcastleGateshead, to better promote the whole of the Tyneside conurbation.
Economy
Gateshead is home to the MetroCentre, the largest shopping mall in the UK until 2008; and the Team Valley Trading Estate, once the largest and still one of the larger purpose-built commercial estates in the UK.
Arts
The Baltic Centre for Contemporary Art has been established in a converted flour mill. The Glasshouse International Centre for Music, previously The Sage, a Norman Foster-designed venue for music and the performing arts opened on 17 December 2004. Gateshead also hosted the Gateshead Garden Festival in 1990, rejuvenating 200 acres (0.81 km2) of derelict land (now mostly replaced with housing). The Angel of the North, a famous sculpture in nearby Lamesley, is visible from the A1 to the south of Gateshead, as well as from the East Coast Main Line. Other public art include works by Richard Deacon, Colin Rose, Sally Matthews, Andy Goldsworthy, Gordon Young and Michael Winstone.
Traditional and former
The earliest recorded coal mining in the Gateshead area is dated to 1344. As trade on the Tyne prospered there were several attempts by the burghers of Newcastle to annex Gateshead. In 1576 a small group of Newcastle merchants acquired the 'Grand Lease' of the manors of Gateshead and Whickham. In the hundred years from 1574 coal shipments from Newcastle increased elevenfold while the population of Gateshead doubled to approximately 5,500. However, the lease and the abundant coal supplies ended in 1680. The pits were shallow as problems of ventilation and flooding defeated attempts to mine coal from the deeper seams.
'William Cotesworth (1668-1726) was a prominent merchant based in Gateshead, where he was a leader in coal and international trade. Cotesworth began as the son of a yeoman and apprentice to a tallow - candler. He ended as an esquire, having been mayor, Justice of the Peace and sheriff of Northumberland. He collected tallow from all over England and sold it across the globe. He imported dyes from the Indies, as well as flax, wine, and grain. He sold tea, sugar, chocolate, and tobacco. He operated the largest coal mines in the area, and was a leading salt producer. As the government's principal agent in the North country, he was in contact with leading ministers.
William Hawks originally a blacksmith, started business in Gateshead in 1747, working with the iron brought to the Tyne as ballast by the Tyne colliers. Hawks and Co. eventually became one of the biggest iron businesses in the North, producing anchors, chains and so on to meet a growing demand. There was keen contemporary rivalry between 'Hawks' Blacks' and 'Crowley's Crew'. The famous 'Hawks' men' including Ned White, went on to be celebrated in Geordie song and story.
In 1831 a locomotive works was established by the Newcastle and Darlington Railway, later part of the York, Newcastle and Berwick Railway. In 1854 the works moved to the Greenesfield site and became the manufacturing headquarters of North Eastern Railway. In 1909, locomotive construction was moved to Darlington and the rest of the works were closed in 1932.
Robert Stirling Newall took out a patent on the manufacture of wire ropes in 1840 and in partnership with Messrs. Liddell and Gordon, set up his headquarters at Gateshead. A worldwide industry of wire-drawing resulted. The submarine telegraph cable received its definitive form through Newall's initiative, involving the use of gutta-percha surrounded by strong wires. The first successful Dover–Calais cable on 25 September 1851, was made in Newall's works. In 1853, he invented the brake-drum and cone for laying cable in deep seas. Half of the first Atlantic cable was manufactured in Gateshead. Newall was interested in astronomy, and his giant 25-inch (640 mm) telescope was set up in the garden at Ferndene, his Gateshead residence, in 1871.
Architecture
JB Priestley, writing of Gateshead in his 1934 travelogue English Journey, said that "no true civilisation could have produced such a town", adding that it appeared to have been designed "by an enemy of the human race".
Victorian
William Wailes the celebrated stained-glass maker, lived at South Dene from 1853 to 1860. In 1860, he designed Saltwell Towers as a fairy-tale palace for himself. It is an imposing Victorian mansion in its own park with a romantic skyline of turrets and battlements. It was originally furnished sumptuously by Gerrard Robinson. Some of the panelling installed by Robinson was later moved to the Shipley Art gallery. Wailes sold Saltwell Towers to the corporation in 1876 for use as a public park, provided he could use the house for the rest of his life. For many years the structure was essentially an empty shell but following a restoration programme it was reopened to the public in 2004.
Post millennium
The council sponsored the development of a Gateshead Quays cultural quarter. The development includes the Gateshead Millennium Bridge, erected in 2001, which won the prestigious Stirling Prize for Architecture in 2002.
Former brutalism
The brutalist Trinity Centre Car Park, which was designed by Owen Luder, dominated the town centre for many years until its demolition in 2010. A product of attempts to regenerate the area in the 1960s, the car park gained an iconic status due to its appearance in the 1971 film Get Carter, starring Michael Caine. An unsuccessful campaign to have the structure listed was backed by Sylvester Stallone, who played the main role in the 2000 remake of the film. The car park was scheduled for demolition in 2009, but this was delayed as a result of a disagreement between Tesco, who re-developed the site, and Gateshead Council. The council had not been given firm assurances that Tesco would build the previously envisioned town centre development which was to include a Tesco mega-store as well as shops, restaurants, cafes, bars, offices and student accommodation. The council effectively used the car park as a bargaining tool to ensure that the company adhered to the original proposals and blocked its demolition until they submitted a suitable planning application. Demolition finally took place in July–August 2010.
The Derwent Tower, another well known example of brutalist architecture, was also designed by Owen Luder and stood in the neighbourhood of Dunston. Like the Trinity Car Park it also failed in its bid to become a listed building and was demolished in 2012. Also located in this area are the Grade II listed Dunston Staithes which were built in 1890. Following the award of a Heritage Lottery Fund grant of almost £420,000 restoration of the structure is expected to begin in April 2014.
Sport
Gateshead International Stadium regularly holds international athletics meetings over the summer months, and is home of the Gateshead Harriers athletics club. It is also host to rugby league fixtures, and the home ground of Gateshead Football Club. Gateshead Thunder Rugby League Football Club played at Gateshead International Stadium until its purchase by Newcastle Rugby Limited and the subsequent rebranding as Newcastle Thunder. Both clubs have had their problems: Gateshead A.F.C. were controversially voted out of the Football League in 1960 in favour of Peterborough United, whilst Gateshead Thunder lost their place in Super League as a result of a takeover (officially termed a merger) by Hull F.C. Both Gateshead clubs continue to ply their trade at lower levels in their respective sports, thanks mainly to the efforts of their supporters. The Gateshead Senators American Football team also use the International Stadium, as well as this it was used in the 2006 Northern Conference champions in the British American Football League.
Gateshead Leisure Centre is home to the Gateshead Phoenix Basketball Team. The team currently plays in EBL League Division 4. Home games are usually on a Sunday afternoon during the season, which runs from September to March. The team was formed in 2013 and ended their initial season well placed to progress after defeating local rivals Newcastle Eagles II and promotion chasing Kingston Panthers.
In Low Fell there is a cricket club and a rugby club adjacent to each other on Eastwood Gardens. These are Gateshead Fell Cricket Club and Gateshead Rugby Club. Gateshead Rugby Club was formed in 1998 following the merger of Gateshead Fell Rugby Club and North Durham Rugby Club.
Transport
Gateshead is served by the following rail transport stations with some being operated by National Rail and some being Tyne & Wear Metro stations: Dunston, Felling, Gateshead Interchange, Gateshead Stadium, Heworth Interchange, MetroCentre and Pelaw.
Tyne & Wear Metro stations at Gateshead Interchange and Gateshead Stadium provide direct light-rail access to Newcastle Central, Newcastle Airport , Sunderland, Tynemouth and South Shields Interchange.
National Rail services are provided by Northern at Dunston and MetroCentre stations. The East Coast Main Line, which runs from London Kings Cross to Edinburgh Waverley, cuts directly through the town on its way between Newcastle Central and Chester-le-Street stations. There are presently no stations on this line within Gateshead, as Low Fell, Bensham and Gateshead West stations were closed in 1952, 1954 and 1965 respectively.
Road
Several major road links pass through Gateshead, including the A1 which links London to Edinburgh and the A184 which connects the town to Sunderland.
Gateshead Interchange is the busiest bus station in Tyne & Wear and was used by 3.9 million bus passengers in 2008.
Cycle routes
Various bicycle trails traverse the town; most notably is the recreational Keelmans Way (National Cycle Route 14), which is located on the south bank of the Tyne and takes riders along the entire Gateshead foreshore. Other prominent routes include the East Gateshead Cycleway, which connects to Felling, the West Gateshead Cycleway, which links the town centre to Dunston and the MetroCentre, and routes along both the old and new Durham roads, which take cyclists to Birtley, Wrekenton and the Angel of the North.
Religion
Christianity has been present in the town since at least the 7th century, when Bede mentioned a monastery in Gateshead. A church in the town was burned down in 1080 with the Bishop of Durham inside.[citation needed] St Mary's Church was built near to the site of that building, and was the only church in the town until the 1820s. Undoubtedly the oldest building on the Quayside, St Mary's has now re-opened to the public as the town's first heritage centre.
Many of the Anglican churches in the town date from the 19th century, when the population of the town grew dramatically and expanded into new areas. The town presently has a number of notable and large churches of many denominations.
Judaism
The Bensham district is home to a community of hundreds of Jewish families and used to be known as "Little Jerusalem". Within the community is the Gateshead Yeshiva, founded in 1929, and other Jewish educational institutions with international enrolments. These include two seminaries: Beis Medrash L'Morot and Beis Chaya Rochel seminary, colloquially known together as Gateshead "old" and "new" seminaries.
Many yeshivot and kollels also are active. Yeshivat Beer Hatorah, Sunderland Yeshiva, Nesivos Hatorah, Nezer Hatorah and Yeshiva Ketana make up some of the list.
Islam
Islam is practised by a large community of people in Gateshead and there are 2 mosques located in the Bensham area (in Ely Street and Villa Place).
Twinning
Gateshead is twinned with the town of Saint-Étienne-du-Rouvray near Rouen in France, and the city of Komatsu in Japan.
Notable people
Eliezer Adler – founder of Jewish Community
Marcus Bentley – narrator of Big Brother
Catherine Booth – wife of William Booth, known as the Mother of The Salvation Army
William Booth – founder of the Salvation Army
Mary Bowes – the Unhappy Countess, author and celebrity
Ian Branfoot – footballer and manager (Sheffield Wednesday and Southampton)
Andy Carroll – footballer (Newcastle United, Liverpool and West Ham United)
Frank Clark – footballer and manager (Newcastle United and Nottingham Forest)
David Clelland – Labour politician and MP
Derek Conway – former Conservative politician and MP
Joseph Cowen – Radical politician
Steve Cram – athlete (middle-distance runner)
Emily Davies – educational reformer and feminist, founder of Girton College, Cambridge
Daniel Defoe – writer and government agent
Ruth Dodds – politician, writer and co-founder of the Little Theatre
Jonathan Edwards – athlete (triple jumper) and television presenter
Sammy Johnson – actor (Spender)
George Elliot – industrialist and MP
Paul Gascoigne – footballer (Newcastle United, Tottenham Hotspur, Lazio, Rangers and Middlesbrough)
Alex Glasgow – singer/songwriter
Avrohom Gurwicz – rabbi, Dean of Gateshead Yeshiva
Leib Gurwicz – rabbi, Dean of Gateshead Yeshiva
Jill Halfpenny – actress (Coronation Street and EastEnders)
Chelsea Halfpenny – actress (Emmerdale)
David Hodgson – footballer and manager (Middlesbrough, Liverpool and Sunderland)
Sharon Hodgson – Labour politician and MP
Norman Hunter – footballer (Leeds United and member of 1966 World Cup-winning England squad)
Don Hutchison – footballer (Liverpool, West Ham United, Everton and Sunderland)
Brian Johnson – AC/DC frontman
Tommy Johnson – footballer (Aston Villa and Celtic)
Riley Jones - actor
Howard Kendall – footballer and manager (Preston North End and Everton)
J. Thomas Looney – Shakespeare scholar
Gary Madine – footballer (Sheffield Wednesday)
Justin McDonald – actor (Distant Shores)
Lawrie McMenemy – football manager (Southampton and Northern Ireland) and pundit
Thomas Mein – professional cyclist (Canyon DHB p/b Soreen)
Robert Stirling Newall – industrialist
Bezalel Rakow – communal rabbi
John William Rayner – flying ace and war hero
James Renforth – oarsman
Mariam Rezaei – musician and artist
Sir Tom Shakespeare - baronet, sociologist and disability rights campaigner
William Shield – Master of the King's Musick
Christina Stead – Australian novelist
John Steel – drummer (The Animals)
Henry Spencer Stephenson – chaplain to King George VI and Queen Elizabeth II
Steve Stone – footballer (Nottingham Forest, Aston Villa and Portsmouth)
Chris Swailes – footballer (Ipswich Town)
Sir Joseph Swan – inventor of the incandescent light bulb
Nicholas Trainor – cricketer (Gloucestershire)
Chris Waddle – footballer (Newcastle United, Tottenham Hotspur and Sheffield Wednesday)
William Wailes – stained glass maker
Taylor Wane – adult entertainer
Robert Spence Watson – public benefactor
Sylvia Waugh – author of The Mennyms series for children
Chris Wilkie – guitarist (Dubstar)
John Wilson - orchestral conductor
Peter Wilson – footballer (Gateshead, captain of Australia)
Thomas Wilson – poet/school founder
Robert Wood – Australian politician
Strobist info:
- Nikon SB-25 at 1/4 power high camera right with shoot-through umbrella,
- Nikon SB-600 at 1/4 power behind model as rim light, both fired with Blazzeo (PT-04) wireless flash trigger.
The Nathaniel Russell House, at 51 Meeting Street, was built by Nathaniel Russell, a wealthy Rhode Island merchant, from 1908-1911. He and his wife, Sarah Russell, lived in the Adamesque building during the early 19th century. Russell's heirs sold the house to Gov. Robert Francis Withers Allston, who lived here while governor. ln 1870, his executors sold it to the Sisters of Our Lady of Mercy. In 1905 it was purchased by the Pelzer family and converted back to a private residence. The Historic Charleston Foundation bought it in 1955 and has restored it as a house museum and the foundation's headquarters
The rectangular three story brick mansion with an octagonal wing on the south side is built of brick with white stone and wood trim. lt has a transomed entrance with an elliptical fanlight, a wrought iron balcony with the monogram of Russell, and a balustraded parapet. It famously boasts a free flying staircase rising three floors without visible support.
National Register #71000750
Alexander Justice. A general treatise of the dominion of the sea: and a compleat body of the sea-laws. London: Printed for the executors of J. Nicholson, J. and B. Sprint ... and R. Smith ..., [1710?].
Sorry – neigh, neigh – I can’t stop to talk! I’m in a rush. I’m the lead sea horse pulling Poseidon through the waters of the deep. That’s his son Triton swimming alongside us, blowing his conch shell. This book was published in the early eighteenth century, when the British navy was the master of the seas – which meant that many readers were interested in knowing about the law governing the seas. You won’t learn my name, and you’ll never catch me! We’re on our way to Mystic Seaport!
Folio from Quran, 750-800 AD (2nd century AH) (Syria?)
Black, red and green ink on vellum
33.3 x 400 mm (leaf)
267 x 320 mm (text block)
A QUR'AN FOLIO, NORTH AFRICA OR THE NEAR EAST, LATE 8TH CENTURY
Qur'an manuscript leaf on vellum, with 16ll. of elegant black kufic with pronounced circular letters, diacritics indicated with black lines, vocalization of red and occasional green dots, verse endings marked with groups of three diagonal lines.
Roundel 10-verse marker on obverse, line 8
Alif 5-verse marker on reverse, line 8
According to a friend, the entire folio is from Surah 5: al-Ma'ida: The Table Spread With Food and starts with the last part of Verse 101 and runs through the first part of verse 106. Verses 101-105 address faith, with Allah (the Beneficent and Merciful) demanding believers give up their other faiths they've held onto out of tradition, but also forgives them for having done so. Verse 103 alludes to some of those traditions, which are similar to the Hindu practice of letting cows loose to wander freely. Verse 106 addresses appointing two good and pious men as executors of one's dying will.
Condition: Well.... Top and bottom halves are completely separated horizontally and there's a vertical crease in the middle, suggesting the leaf was folded into quarters. Numerous other signs of wear. Text on both sides is complete but barely legible on obverse (pages are turned left to right). Tear and repairs (obverse) affect all of line 9 and the 10-verse marker, and some of lines 7 and 9. Remnants on obverse of tape used to hold top and bottom together at one time. The only mitigating factors are that descriptions of other leaves suggest similar horizontal tears, and even a leaf missing its last three lines was desirable, though that came from a famous collection.
Provenance: Acquired in 2018 from an Amsterdam antiques dealer retiring and selling off his eclectic stock (viz. paintings, prints, glass, nautical antiques, etc.). I had known him several years. When I asked him where he'd gotten this manuscript, he couldn't recall, but he had had it in storage since the 1980s.
As about 90 leaves appear extant, out of a conjectured 500-600 in the total text, my leaf has at least a 1 in 6 or 7 chance of following or preceding a known page.
Similar folios:
Two at LACMA - "Abbasid Caliphate, late 8th century"
(M.73.5.508) - collections.lacma.org/node/240038
(M.2002.1.383) - collections.lacma.org/node/204570 (white and green alif every 5 verses, roundel every 10)
One at Brooklyn Museum - Abbasid / 8th-9th century (same white and green alif every 5 verses, roundel every 10, as LACMA)
(1995.186 ) www.brooklynmuseum.org/opencollection/objects/154555
One at Bonhams - Sale 25 April 2017, 11:00 BST - late 8th century - early 9th century AD (Syria?)
www.bonhams.com/auctions/24197/lot/3/?category=list - (Roundel, no alif)
One at Ashmolean - late 8th century - early 9th century AD - Roundel, no alif
jameelcentre.ashmolean.org/collection/8/per_page/25/offse...
Three individual leaves and an incredible bonanza of 76 leaves, at Christies:
Art of the Islamic and Indian Worlds Including Oriental Rugs and Carpets, 2019 (76 leaves)
A SUBSTANTIAL GROUP OF LARGE KUFIC QUR’AN LEAVES
LATE UMAYYAD OR EARLY ABBASID, PROBABLY DAMASCUS OR JERUSALEM, MID-8TH CENTURY
www.christies.com/en/lot/lot-6229646
The Saeed Motamed Collection - Part I, London, South Kensington, 22 April 2013
Lot 38 - A LARGE KUFIC QUR'AN FOLIO - NEAR EAST OR NORTH AFRICA, LATE 8TH CENTURY (Roundel, no alif)
www.christies.com/lotfinder/books-manuscripts/a-large-kuf...
Art of the Islamic and Indian Worlds, London, 5 October 2010
Lot 53 - A KUFIC QUR'AN FOLIO - NEAR EAST OR NORTH AFRICA, END OF THE 8TH CENTURY (Roundel, no alif)
www.christies.com/lotfinder/lot/a-kufic-quran-folio-near-...
Indian & Islamic Works of Art, London, South Kensington, 26 October 2007
Lot 257 - A QUR'AN FOLIO, NORTH AFRICA OR THE NEAR EAST, LATE 8TH CENTURY (Dire condition, missing top line and most of bottom line; roundel, no alif)
www.christies.com/lotfinder/lot/a-quran-folio-north-afric...
Two lots (1 & 5) at Sothebys London, in 2019: THE SHAKERINE COLLECTION: Calligraphy in Qur’ans and other Manuscripts, 23 October 2019:
www.sothebys.com/en/buy/auction/2019/the-shakerine-collec...
All of these match this item in the Khalili Collection, in page size, text size, style, number of lines, and ornamentation:
Francois Deroche, The Abbasid Tradition: Qurans in the 8th to 10th cCenturies the Nasser D. Khalili Collection of Islamic Art, London 1992, pp. 120-123, no. 66.
Folio from Quran, 750-800 AD (2nd century AH) (Syria? Yemen?)
Black, red and green ink on vellum
33.3 x 400 mm (leaf)
267 x 320 mm (text block)
A QUR'AN FOLIO, NORTH AFRICA OR THE NEAR EAST, LATE 8TH CENTURY
Qur'an manuscript leaf on vellum, with 16ll. of elegant black kufic with pronounced circular letters, diacritics indicated with black lines, vocalization of red and occasional green dots, verse endings marked with groups of three diagonal lines.
Roundel 10-verse marker on obverse, line 8
Alif 5-verse marker on reverse, line 8
According to a friend, the entire folio is from Surah 5: al-Ma'ida: The Table Spread With Food and starts with the last part of Verse 101 and runs through the first part of verse 106. Verses 101-105 address faith, with Allah (the Beneficent and Merciful) demanding believers give up their other faiths they've held onto out of tradition, but also forgives them for having done so. Verse 103 alludes to some of those traditions, which are similar to the Hindu practice of letting cows loose to wander freely. Verse 106 addresses appointing two good and pious men as executors of one's dying will.
Condition: Well... Top and bottom halves are completely separated horizontally and there's a vertical crease in the middle, suggesting the leaf was folded into quarters. Numerous other signs of wear. Text on both sides is complete but barely legible on obverse (pages are turned left to right). Tear and repairs (obverse) affect all of line 9 and the 10-verse marker, and some of lines 7 and 9. Remnants on obverse of tape used to hold top and bottom together at one time. The only mitigating factors are that descriptions of other leaves suggest similar horizontal tears, and even a leaf missing its last three lines was desirable, though that came from a famous collection.
Provenance: Acquired in 2018 from an Amsterdam antiques dealer retiring and selling off his eclectic stock (viz. paintings, prints, glass, nautical antiques, etc.). I had known him several years. When I asked him where he'd gotten this manuscript, he couldn't recall, but he had had it in storage since the 1980s.
As about 90 leaves appear extant, out of a conjectured 500-600 in the total text, my leaf has at least a 1 in 6 or 7 chance of following or preceding a known page.
Similar folios I have found online:
Two at LACMA - "Abbasid Caliphate, late 8th century"
(M.73.5.508) - collections.lacma.org/node/240038
(M.2002.1.383) - collections.lacma.org/node/204570 (white and green alif every 5 verses, roundel every 10)
One at Brooklyn Museum - Abbasid / 8th-9th century (same white and green alif every 5 verses, roundel every 10, as LACMA)
(1995.186 ) www.brooklynmuseum.org/opencollection/objects/154555
One at Bonhams - Sale 25 April 2017, 11:00 BST - late 8th century - early 9th century AD (Syria?)
www.bonhams.com/auctions/24197/lot/3/?category=list - (Roundel, no alif)
One at Ashmolean - late 8th century - early 9th century AD - Roundel, no alif
jameelcentre.ashmolean.org/collection/8/per_page/25/offse...
Three individual leaves and an incredible bonanza of 76 leaves, at Christies:
Art of the Islamic and Indian Worlds Including Oriental Rugs and Carpets, 2019 (76 leaves)
A SUBSTANTIAL GROUP OF LARGE KUFIC QUR’AN LEAVES
LATE UMAYYAD OR EARLY ABBASID, PROBABLY DAMASCUS OR JERUSALEM, MID-8TH CENTURY
www.christies.com/en/lot/lot-6229646
The Saeed Motamed Collection - Part I, London, South Kensington, 22 April 2013
Lot 38 - A LARGE KUFIC QUR'AN FOLIO - NEAR EAST OR NORTH AFRICA, LATE 8TH CENTURY (Roundel, no alif)
www.christies.com/lotfinder/books-manuscripts/a-large-kuf...
Art of the Islamic and Indian Worlds, London, 5 October 2010
Lot 53 - A KUFIC QUR'AN FOLIO - NEAR EAST OR NORTH AFRICA, END OF THE 8TH CENTURY (Roundel, no alif)
www.christies.com/lotfinder/lot/a-kufic-quran-folio-near-...
Indian & Islamic Works of Art, London, South Kensington, 26 October 2007
Lot 257 - A QUR'AN FOLIO, NORTH AFRICA OR THE NEAR EAST, LATE 8TH CENTURY (Dire condition, missing top line and most of bottom line; roundel, no alif)
www.christies.com/lotfinder/lot/a-quran-folio-north-afric...
Two lots (1 & 5) at Sothebys London, in 2019: THE SHAKERINE COLLECTION: Calligraphy in Qur’ans and other Manuscripts, 23 October 2019:
www.sothebys.com/en/buy/auction/2019/the-shakerine-collec...
All of these match this item in the Khalili Collection, in page size, text size, style, number of lines, and ornamentation:
Francois Deroche, The Abbasid Tradition: Qurans in the 8th to 10th Centuries - The Nasser D. Khalili Collection of Islamic Art, London 1992, pp. 120-123, no. 66.
not every home you get to photograph is a mansion or beautifully designed. This could be a really nice place but it is tired, built in the 60's the house is now being sold by the executors of a will. The agent who I did this for gets me to shoot almost all his listings no mater what condition they are in.
George Frederic Handel, the famous composer, is buried in the south transept of Westminster Abbey. He was born at Halle in Saxony in 1685, son of Georg and Dorothea, and died in London in 1759. He worked first at the opera house in Hamburg and spent several years in Italy before making his first visit to London in 1710. By 1717 he had settled permanently in England and in February 1727 was naturalized as an Englishman by Act of Parliament.
...Three days before his death in 1759 Handel signed a codicil to his will saying he hoped he might be buried in the Abbey and desired that his executor erect a monument for him.
...[The monument is] by the sculptor Louis Francois Roubiliac (with the same inscription as on the stone but with the dates in Roman numerals). The life-size statue, unveiled in 1762, is said to be an exact likeness as the face was modelled from a death mask. Behind the figure, among clouds, is an organ with an angel playing a harp. On the left of the statue is a group of musical instruments and an open score of his most well-known oratorio Messiah, composed in 1741. Directly in front of him is the musical score I know that my Redeemer liveth.
[Westminster Abbey]
At Poets Corner, Westminster Abbey
The first poet to be buried here, in 1400, was Geoffrey Chaucer, author of 'The Canterbury Tales'. Not because he was a poet but because he was Clerk of the King's Works. Nearly 200 years later, Edmund Spenser (1553-1598) who wrote 'The Faerie Queene' for Elizabeth I, one of the longest poems in the English language, asked to be buried near Chaucer – perhaps with an eye on his own literary reputation.
And, so began a tradition of burials and memorials which continues to this day. The Deans of Westminster decide who receives a place based on merit though they consult widely. Poets' Corner proper is in the eastern aisle, the 'corner', of the south transept, though over time graves and memorials have spread across the whole transept. There are also several clergymen and actors buried in this transept and musician George Frederic Handel.
[Westminster Abbey]
Taken inside Westminster Abbey
Westminster Abbey (The Collegiate Church of St Peter)
In the 1040s King Edward (later St Edward the Confessor) established his royal palace by the banks of the river Thames on land known as Thorney Island. Close by was a small Benedictine monastery founded under the patronage of King Edgar and St Dunstan around 960A.D. This monastery Edward chose to re-endow and greatly enlarge, building a large stone church in honour of St Peter the Apostle. This church became known as the "west minster" to distinguish it from St Paul's Cathedral (the east minster) in the City of London. Unfortunately, when the new church was consecrated on 28th December 1065 the King was too ill to attend and died a few days later. His mortal remains were entombed in front of the High Altar.
The only traces of Edward's monastery to be seen today are in the round arches and massive supporting columns of the undercroft and the Pyx Chamber in the cloisters. The undercroft was originally part of the domestic quarters of the monks. Among the most significant ceremonies that occurred in the Abbey at this period was the coronation of William the Conqueror on Christmas day 1066, and the "translation" or moving of King Edward's body to a new tomb a few years after his canonisation in 1161.
Edward's Abbey survived for two centuries until the middle of the 13th century when King Henry III decided to rebuild it in the new Gothic style of architecture. It was a great age for cathedrals: in France it saw the construction of Amiens, Evreux and Chartres and in England Canterbury, Winchester and Salisbury, to mention a few. Under the decree of the King of England, Westminster Abbey was designed to be not only a great monastery and place of worship, but also a place for the coronation and burial of monarchs. This church was consecrated on 13th October 1269. Unfortunately the king died before the nave could be completed so the older structure stood attached to the Gothic building for many years.
Every monarch since William the Conqueror has been crowned in the Abbey, with the exception of Edward V and Edward VIII (who abdicated) who were never crowned. The ancient Coronation Chair can still be seen in the church.
It was natural that Henry III should wish to translate the body of the saintly Edward the Confessor into a more magnificent tomb behind the High Altar in his new church. This shrine survives and around it are buried a cluster of medieval kings and their consorts including Henry III, Edward I and Eleanor of Castile, Edward III and Philippa of Hainault, Richard II and Anne of Bohemia and Henry V.
There are around 3,300 burials in the church and cloisters and many more memorials. The Abbey also contains over 600 monuments, and wall tablets – the most important collection of monumental sculpture anywhere in the country. Notable among the burials is the Unknown Warrior, whose grave, close to the west door, has become a place of pilgrimage. Heads of State who are visiting the country invariably come to lay a wreath at this grave.
A remarkable new addition to the Abbey was the glorious Lady chapel built by King Henry VII, first of the Tudor monarchs, which now bears his name. This has a spectacular fan-vaulted roof and the craftsmanship of Italian sculptor Pietro Torrigiano can be seen in Henry's fine tomb. The chapel was consecrated on 19th February 1516. Since 1725 it has been associated with the Most Honourable Order of the Bath and the banners of the current Knights Grand Cross surround the walls. The Battle of Britain memorial window by Hugh Easton can be seen at the east end in the Royal Air Force chapel. A new stained glass window above this, by Alan Younger, and two flanking windows with a design in blue by Hughie O'Donoghue, give colour to this chapel.
Two centuries later a further addition was made to the Abbey when the western towers (left unfinished from medieval times) were completed in 1745, to a design by Nicholas Hawksmoor.
Little remains of the original medieval stained glass, once one of the Abbey's chief glories. Some 13th century panels can be seen in the Queen's Diamond Jubilee Galleries. The great west window and the rose window in the north transept date from the early 18th century but the remainder of the glass is from the 19th century onwards. The newest stained glass is in The Queen Elizabeth II window, designed by David Hockney.
History did not cease with the dissolution of the medieval monastery on 16th January 1540. The same year Henry VIII erected Westminster into a cathedral church with a bishop (Thomas Thirlby), a dean and twelve prebendaries (now known as Canons). The bishopric was surrendered on 29th March 1550 and the diocese was re-united with London, Westminster being made by Act of Parliament a cathedral church in the diocese of London. Mary I restored the Benedictine monastery in 1556 under Abbot John Feckenham.
But on the accession of Elizabeth I the religious houses revived by Mary were given by Parliament to the Crown and the Abbot and monks were removed in July 1559. Queen Elizabeth I, buried in the north aisle of Henry VII's chapel, refounded the Abbey by a charter dated 21 May 1560 as a Collegiate Church exempt from the jurisdiction of archbishops and bishops and with the Sovereign as its Visitor. Its Royal Peculiar status from 1534 was re-affirmed by the Queen and In place of the monastic community a collegiate body of a dean and prebendaries, minor canons and a lay staff was established and charged with the task of continuing the tradition of daily worship (for which a musical foundation of choristers, singing men and organist was provided) and with the education of forty Scholars who formed the nucleus of what is now Westminster School (one of the country's leading independent schools). In addition the Dean and Chapter were responsible for much of the civil government of Westminster, a role which was only fully relinquished in the early 20th century.
[Westminster Abbey]
William Browne c1410 - 1489 and wife Margaret 1489 lye on the south chapel floor in their original place where he asked in his will of 17th February 1489 to be buried . General wool merchant, Mayor, Justice of the Peace, Sherriff, Benefactor. Acquired during his lifetime around 200 properties and 10,000 acres of land including the Manor of Lilford He and his brother John 1475 www.flickr.com/gp/52219527@N00/B6W946 restored, embellished and enlarged the 13c church of All Saints c1475 after major damage by lancastrians during the Wars of the Roses..
Browne's hospital www.flickr.com/gp/52219527@N00/N8Uh6c , an almshouse in Broad Street adjacent to where he lived and which is still in use today was founded in November 1493 on his instructions after his death by his widow Margaret, Thomas Stokke, clerk, her brother and other executors which was dedicated to pray their souls and also for the Queen, Sir Reynold Bray and wife Katherine, Thomas Stokke and William Elmes,
William who died on 14th April 1489 stands on 2 woolsacks, over his head is his motto "X me spede" (Christ speed me) and at his feet the family crest of a stork on a woolsack. Over Margaret are the words "Dere Lady help at need"
A long inscription translates -
"Since Thou alone art King of kings, Lord of lords
All that is and will be shall be subjected to Thy will
My body entered the earth, but my spirit to Thee
hastens to run. Thou God, accept me,
Who put my hope in Thee, Son of God, gentle Father
and Holy Ghost thundering from on high - accept and receive me, I have sinned, I have done much evil, and rue this
Thou God accept and receive me who is calling out to Thee !
Enter not, Lord, in judgement, unless beforehand
Thou deignest to give me of Thy redeeming grace, which is enough and since for the sake of the salvation of our souls
Thou, King, wast on earth, receive me, my God! "
William was the son of John Browne 1442, wool merchant, and wife Margery / Margaret 1460 www.flickr.com/gp/52219527@N00/z1Zb1N
He m Margaret 1489 heiress daughter of Agnes 1465 & John Stock / Stokke / Stokes of Warmington
Children
1. Elizabeth c1441-1511 m John Elmes 1497 of Henley-on-Thames, merchant of the Staple of Calais (parents of Margaret Elmes 1571 www.flickr.com/gp/52219527@N00/30591z )
2. Agnes died young
Elizabeth inherited the majority of his wealth and land, estimated to be around 6,000 acres in total and 50 houses (at today’s value worth around £50 million), the balance of land having been endowed to the Alms houses / Hospital. One of the manors inherited by Elizabeth was the Manor of Lilford, which the Elmes family owned until 1711. The wealth of William Browne was thus the basis on which Lilford Hall was built by his grandson and executor William Elmes in 1495, and indeed its' extension in 1635.
www.pegasus-onlinezeitschrift.de/2010_1/erga_1_2010_lamp-...
www.lilfordhall.com/ElmesFamily/William-Browne.asp - Church of All Saints, Stamford Lincolnshire
- Photographer / Fotograf: Thomas "Wollbinho" Wollbeck
- Camera / Kamera: Canon EOS 1000D
- Lens / Objektiv: Tamron 18-270 F/3.5-6.3 Di II VC
- Creation Software / Erstellungssoftware: Adobe Photoshop 7.0
- Date (Original) / Datum (Original): 06.03.2011
- Place / Ort: Mannheim (Germany)
- Description / Beschreibung: Die Fassade eines Wohnhochhauses im Stadtteil Vogelstang / The facade of an apartment building in the district Vogelstang
This work of Thomas Wollbeck is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Germany License.
ANNAPOLIS, Md. (Jan. 17, 2023) Fabien Cousteau, executor and founder of the Proteus Ocean Group (POG), and members of his team take a tour of various departments during a visit to the U.S. Naval Academy. Proteus is the world’s most advanced underwater research station, a collaborative global platform for researchers, academics, government agencies, and corporations to advance ocean science. U.S. Naval Academy midshipmen are working with Proteus as part of their final capstone project.(U.S. Navy photo by Mass Communication Specialist 1st Class Jordyn Diomede)
Underneath the arch between the north chapel and chancel, tomb of Sir David Phillip / Phelip 1450- 1506 and wife Anne Seymark 1533-1510 www.flickr.com/gp/52219527@N00/VG480o who is buried Chenies manor Bucks which she inherited ++
This was the site of a chantry set up after his death, licenced in November 1506 to David Cecille one of his executors "to fund a chantry of 2 chaplins or 1 chaplin perpetual for the good estate of the King while he lives and for his soul afterwards and for the soul of Elizabeth his late consort and the soul of the said David and of his father and mother and Anne his wife (when she dies) and all faithful with licence for the said chaplin to acquire in mortmoin lands to the value of 9l a year".
Anne was the co-heiress daughter of Thomas Seymark / Semark of Thornhaugh by Alice daughter of William Lexham
and Margaret Oldhall. She was the ward of Sir Richard Sapcote of Elton Hunts and later firstly married to his 2nd son William Sapcote having a son Guy Sapcote m Margaret daughter of Guy Wolston
Sir David & Anne m c1485 but had no children,
.Coming from a lowly welsh family Sir David served Henry Tudor (late Henry Vll) in France and fought at the Battle of Bosworth. He became a squire to the body and gentleman usher at court and steward to the kings mother Margaret Beaufort at Colley Weston palace near Stamford living nearby at Thornhaugh, He also held the office of Keeper of the Kings Swans in the waters of Lincolnshire, Northamptonshire, Cambridgeshire and Huntingdonshire and was also keeper of the royal forest of Kings Cliffe which bounded his estates and Windsor Park. .In 1499 he was sheriff of Bedford and Buckingham and a benefactor to the church of Holme in Hunts where there was a window inscription "Of your chartie pray for Sir Davy Phelip and my lady his wife, and for all benefactors of this windowe".
His nephew by marriage Richard Cecil www.flickr.com/gp/52219527@N00/z8mxo3 , father of William Cecil, Lord Burghley joined him having married advantageously Alice daughter of John Dicons alderman of Stamford by Margaret Seymark sister of his wife Anne Seymark ++
On the monument is the Dragon of Wales together with crowned Tudor Roses, and the Portcullis emblem of the Beauforts
The Semarks were out of favour after Bosworth and Annes marriage to David Phelip favoured by the Tudors and Ann's inheritance of the Cheyne fortune resulted into a family of position within the Court of Henry VIII.
www.cb5.co.uk/davidphelip.htm - Church of St Mary Stamford Lincolnshire
The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, 2013, 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
From September 2009 to 2014, Matthias Hartmann was 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 .
Since 2014, Karin Bergmann is the commander in chief.
Imperial Fleet
By: Nathan Schwabe & Shawn Kelly
With help from:
Phoebe Schwabe (brick wrangler)
Ken Gray (illegal building technique consultant)
Created for:
Star Wars Build Contest at Lego Land Discovery Center (Kansas City, Crown Center)
Star Wars themed adult only night 9/24/2012.
Awarded Second Prize Trophy
"Death Star under constuction"
ANNAPOLIS, Md. (Jan. 17, 2023) Fabien Cousteau, executor and founder of the Proteus Ocean Group (POG), and members of his team take a tour of various departments during a visit to the U.S. Naval Academy. Proteus is the world’s most advanced underwater research station, a collaborative global platform for researchers, academics, government agencies, and corporations to advance ocean science. U.S. Naval Academy midshipmen are working with Proteus as part of their final capstone project.(U.S. Navy photo by Mass Communication Specialist 1st Class Jordyn Diomede)