ENGLISH TEXT DOWN UNDER THE LINE

Foto presa amb una FED-2 fabricada el 1958 a la URSS; rodet Ilford Delta 100.

Aquesta església barroca aparentment anodina no tant sols és la catedral ortodoxa de Praga (ja explicaré perquè), sino que és un dels llocs més importants i dramatics de la historia txeca i eslovaca del s. XX, un veritable camp de batalla en miniatura. Es tracta de la catedral de St. Ciril i Metodi de Praga. El 27 de maig de 1942, paracaigudistes txecoslovacs emboscaren i feriren de mort al Reichprotektor de Bohemia i Moravia, el temudissim Reinhard Heydrich, organitzador de la Gestapo, del extermini dels jueus europeus i un dels 4 o 5 homes més importants del III Reich (el seu cotxe portava la matrícula SS-3, essent els altres dos primers per a Hitler i Himmler). Les repercussions mortals foren terribles, amb centenars de represaliats (en especial al poble de Lidice, on foren assassinats unes 340 persones), però no localitzaren els executors fins que un company seu els va trair, l’infame Karel Čurda.

Els paracaigudistes s’amagaven a la cripta de St. Ciril, montant guardia també a dalt del cor de l’església. El 18 de juny de 1942 de matinada, l’església fou encerclada per uns 800 soldats de les SS. Dins l’església hi havia 7 paracaigudistes, 3 dalt el cor i 4 dormint a la cripta. L’arribada sobtada dels alemanys impedí que els de la cripta poguessin sortir a ajudar als seus companys. Durant sis hores aguantaren els assalts de les SS, sobretot Jan Kubis, Adolf Opalka i Josef Bublik des de dalt del cor, on dominaven tot l’interior de l’església. Tots foren morts en combat, tot i que mataren a uns 14 alemans, i en feriren una trentena més. Un cop la nau de l’església estava en mans nazis, aquests localitzaren l’entrada a la cripta, però era massa petita per poder assaltar-la. Així que finalment inundaren el soterrani amb manegues dels bombers per l’única finestra de la cripta, previament ametrallada per a impedir que els paracaigudistes s’hi poguessin acostar. Aquests intentaren fugir excavant un forat fins les clavegueres, però el creixent nivell d’aigua i la voladura d’una segona entrada a la cripta acabà amb les seves opcions. Tots es suicidaren per no caure vius en mans dels nazis: Josef Gabzic, Josef Valcik, Jan Hruby i Jaroslav Sbarc.

Avui en dia, la cripta i tot l’edifici és un santuari molt emotiu, i de nou torna a ser catedral ortodoxa, també (per cert, originariament era una església catolica, però el 1930 fou venguda a l’exglésia ortodoxa, molt minoritaria a Txequia). Diverses pel·licules mostren el setge de St. Ciril i Metodi, notablement Operation Daylight (1975) i Anthropoid (2016).

ca.wikipedia.org/wiki/Operaci%C3%B3_Antropoide

www.prague.eu/en/object/places/442/cathedral-church-of-st...

www.katedrala.info/index.php/galerie-katedraly

www.army.cz/images/id_7001_8000/7419/assassination-en.pdf

Una escena del combat a Anthropoid (2016):

www.youtube.com/watch?v=_TLiRxwFCk0

I a Operation Daybreak (1975):

www.youtube.com/watch?v=mAWgbmluk34&t=194s

I crec que a la txecoslovaca Atentát (1965):

www.youtube.com/watch?v=ipoGy1XadYw

=========================================

Picture taken with a Soviet FED-2 rangefinder camera made in 1958; Ilford Delta 100.

This rather mundane baroque church in Prague is in fact a cathedral, an orthodox one, St. Cyril and Methodius. But it is what happened here in WW2 that makes this place one of the most important and dramatic places in czech and slovak XX Century. On May 27th, 1942, czechoslovak paras killed the Reichprotektor of Bohemia and Moravia, Reinhard Heydrich. He was one of the 4 or 5 top nazi leaders, organizer of the Gestapo and of the Holocaust. In fact, his car, where he was mortally wounded, had the SS-3 plate (the 1 was for Hitler and the 2 for Himmler). The nazi repprisal was terrible, with thousands of imprisoned people, hundreds murdered (notably in the razed to the ground Lidice, where 340 were murdered). But the nazis failed to locate the paras. Until a traitor told them a lead that ultimately gave the hidding place: St. Cyril and Methodius cathedral.

The paras were hidding in the cript, but also kept guard up in the choir, which dominated the nave of the church. On the early morning of June 18th, 1942, the building and several streets were surrounded by 800 German soldiers and SS. Seven paras were in the church, four sleeping in the cript and three, Jan Kubis, Adolf Opalka and Josef Bublik, guarding the choir. When the SS entered the nave, the battle began. The siege lasted 6 hours, and all the paras were killed or comited shoot themselves. But they killed at least 14 Germans, according to some sources, and wounded maybe 30. With the nave secured, the nazis located the entrance into the cript but was so small that was impossible to attack. So they put firemen hoses down the only tiny window of the cript and blown up a large stone leading to the cript. The paras tried to dig a hole into the sewers but was too late and finally commited suicide to avoid being captured alive: : Josef Gabzic, Josef Valcik, Jan Hruby and Jaroslav Sbarc.

Nowadays the cript and all the building is a national sanctuary, a quite moving place when you know the dramatic events that happened there. Several movies show in a quite spectacular way the siege and assault, most notably Operation Daylight (1975) and Anthropoid (2016).

en.wikipedia.org/wiki/Ss._Cyril_and_Methodius_Cathedral

www.prague.eu/en/object/places/442/cathedral-church-of-st...

www.katedrala.info/index.php/galerie-katedraly

www.army.cz/images/id_7001_8000/7419/assassination-en.pdf

Here are the scenes of Anthropoid (2016) and Operation Daybreak (1975):

www.youtube.com/watch?v=_TLiRxwFCk0

www.youtube.com/watch?v=mAWgbmluk34&t=194s

I presume this is the scene in the czechoslovak film Atentát (1965):

www.youtube.com/watch?v=ipoGy1XadYw

The World Press Photo exhibition is on for the next couple of months at the Mitchell Library, the big sandstone monolith at the corner of Sydney's Macquarie St and Sir John Young Crescent. This is the reading room!

The Mitchell Library takes its name from David Mitchell, a lifelong book collector, who in 1898 offered to bequeath his priceless collection of Australiana to the library trustees, which they received on his passing in 1907 with a £70,000 endowment for its maintenance.

Mitchell was one of the first undergraduates of the University of Sydney, winning scholarships in mathematics, and was admitted to the Bar in 1858 although he never practised. Money from his father's estate enabled him to buy a seven room house for £5,000 at 17 Darlinghurst Road (next to Llankelly Place in Kings Cross) in 1871, the same year as the death of his mother. Although considered a 'witty and wise' conversationalist he was unmarried and a voracious reader with an obsession to 'gather a copy of every document related to Australia'. This amassed '30,000 volumes, prints, engravings and pictures...to enable future historians to write the history of Australia in general, and New South Wales in particular.' The collection was his legacy.

He was a man of independent means as his father, James Mitchell, had been a surgeon who served in the Napoleonic wars before being posted to Sydney Hospital in 1823. Continuing to practice, he invested in Hunter Valley properties including the Burwood and Rothbury estates, operating small coal mines with James and Alexander Brown, among others, who he had brought with him to the colony. A respected businessman, he was a foundation member of the Sydney Banking Co., served in the 1840s as a director of the Hunter River Steam Navigation Co. and became chairman of the Australian Gaslight Co (AGL). He had a long association with the Australian Subscription Library, now the State Library of New South Wales, initially as a committeeman and later chairman, a position he held when he passed in 1869.

James Mitchell's will was contested by the family. In 1865 he had fallen under the influence of a confidence man, William Wolfskehl. Mitchell was Wolfskehl's guarantor for a smelting operation, but when the company failed Mitchell had to pay Wolfskehl's share. However, when Mitchell died in 1869, a will made just before his death named Wolfskehl sole executor of his estate. The Mitchell family contested the will in the Supreme Court claiming undue influence, eventually upheld in favour of an earlier will.

Get here a large view!

Mespelbrunn Castle is a medieval moated castle on the territory of the town of Mespelbrunn, between Frankfurt and Würzburg, built in a remote tributary valley of the Elsava valley, within the Spessart forest. One of the most visited water castles in Germany, it is frequently featured in tourist books.

The first precursor of Mespelbrunn Castle was a simple house. The owner was Hamann Echter, vizedom of Aschaffenburg, a title which means that he was the representant of the ruler the prince elector archbishop of Mainz Johann II of Nassau at the castle and town of Aschaffenburg. On May 1, 1412, the prince elector bestowed the „Place to the Espelborn" to Echter, who constructed a house without fortifications in the valley close to a pond. The Echter family originates from the Odenwald region. Their name presumably means "der die Acht vollstreckt", the executor of the ostracism. These times, the Spessart was a wild and unexploited virgin forest, used for hideout by bandits and Hussites, who spoiled the regions nearby. Therefore in 1427 Hamann Echter, the son of the first owner, began to rebuild his father's house to a fortified castle with walls, towers and a moat, therefore using the nearby pond.

Only the "Bergfried", the round tower is a reminiscent of that time. The following generations changed the defense structures to a representative manor-house, mainly build in the style of Renaissance. Today's appearance primary is the result of rebuildings, made between 1551 and 1569 by Peter Echter of Mespelbrunn and his wife Gertraud of Adelsheim.

Most famous member of the family was Julius Echter, prince bishop of Würzburg, who founded the Juliusspital, a hospital in Würzburg in 1576 and the university of Würzburg in 1583.

In 1648, the last member of the family, Maria Ottilia, Echterin of Mespelbrunn, married Philipp Ludwig, of Ingelheim, member of a family of barons, later arose to counts of Ingelheim. By permission of the emperor the name of the Echter family was saved, because they were allowed to merge their names to Counts of Ingelheim called Echter of and to Mespelbrunn.

From Wikipedia, the free encyclopedia

Excerpt from histoiresainteducanada.ca/en/le-sanctuaire-du-sacre-coeur...:

Father Joseph-Arthur Laporte was born in Saint-Paul de Joliette on August 15, 1857, the feast of the Assumption. He entered the community of the Clerics of Saint-Viateur on August 25, 1879. The members of this community have a great devotion to the Sacred Heart of Jesus, and it is through their contact that Father Laporte developed this devotion.

He left the community of the Clerics of Saint-Viateur on July 28, 1886 and requested his incardination to the Bishop of Sherbrooke. He was admitted to the number of priests of the diocese by Bishop Antoine Racine, and appointed pastor of the parish of Sainte-Praxède de Bromptonville (1891-1902) from where he discovered the “mountain” that he would later call “Beauvoir”.

Eight kilometers north of Sherbrooke, a small mountain of one hundred and fifteen meters, still unnamed, had long attracted the attention of this great lover of nature. After many approaches to Mr. Émile Lessard, a farmer, he bought two hectares of land from him in 1915. He gave the name “Beauvoir” (beautiful to see) to this corner of paradise whose panoramic view enchanted him. He decided to build a small cottage, a house of six meters on a side surrounded by a gallery. In 1916 and 1917, he bought more land to enlarge his small domain.

And in 1920, he founded the Sanctuary of the Sacred Heart of Beauvoir.

For years, Father Laporte has been fascinated by the devotion to the Sacred Heart of Jesus. He speaks of it tirelessly. So it is not surprising that the only decoration on the bare walls of his cottage is a lithograph, without much artistic pretension, of the Sacred Heart of Montmartre.

In 1916, Father Laporte still dreamed of making Beauvoir a place where people would come to pray and celebrate the Sacred Heart of Jesus, whose devotion was spreading more and more throughout the country. He therefore decided to erect, not far from his cottage, a statue of the Sacred Heart. Measuring two meters in height, this statue, with its arms wide open, stands on a pedestal of field stones that farmers have faithfully transported on their carts.

The parish priest now invites his parishioners to come and taste the happiness that is his at the Sacred Heart…

As early as 1918, pilgrims began “the ascent of the Rosary”, a devotional practice that would have its heyday in the 1930s. On Sunday afternoons, pilgrims, starting from the main road, climbed to Beauvoir while reciting the rosary.

In 1933, at the request of the pilgrims, Father Pierre-Achille Bégin had a cross erected in front of the road leading to the Shrine. It is from this cross, still visible, that the pilgrimages to Beauvoir started. Along the way, wooden boards were set up on which were written the fifteen mysteries of the rosary. For Beauvoir, the erection of this cross gives all its meaning to the ascent of the rosary: it is the beginning of the ascent, it is the cross of the rosary that the lips kiss before murmuring the “Aves”, the first links of this long chain that leads the pilgrims to the very Love that awaits them at the Shrine.

In 1920, during a Holy Hour, he asked for a special favor from the Sacred Heart, with the promise of building a small chapel in Beauvoir if he was granted it. With the help of some local craftsmen, he had the promised little chapel built.

It is an architectural jewel that Abbé Laporte had built on the hill of Beauvoir.

But the Sacred Heart, never defeated in generosity, knows how to reward his servant by giving to vile materials a stamp of rustic elegance, to a humble and poor building, a beauty that escapes no one. And all those who come to pray in this rustic chapel find there a calm, a peace that penetrates deep into their souls and leaves them pacified. One can almost feel the loving presence of the Sacred Heart of Jesus, which bends down with tenderness over those who come to visit it.

The exterior of this chapel is reminiscent in many ways of some of the country chapels of France. The rustic walls, the rudimentary furnishings and the few decorations are not likely to satisfy the connoisseur of expensive works of art. It is poverty, destitution. The only decoration is a statue, a frame, two statuettes, a few ex-votos testifying to the goodness of the Sacred Heart, lanterns and old images of the Way of the Cross. But, near the tabernacle, how one can taste with love and peace the divine presence of the Eucharistic Heart of Jesus!

On October 24, 1920, Bishop Larocque came to bless the little chapel. The next day, Father Laporte celebrated the first mass on Mount Beauvoir.

In the spring of 1921, his health inexorably deteriorated. Even though he was ill, he was taken to Beauvoir four or five more times. Then he had to give up returning to Beauvoir. He was hospitalized at the Saint-Vincent-de-Paul Hospital at the beginning of August. And on August 20, Father Laporte was finally able to meet face to face with the one who was the great love of his life.

The body of Father Laporte now rests in the crypt of the church of Saint-Jean-Baptiste of which he was parish priest. However, on the west wall of the little chapel in Beauvoir, a commemorative plaque recalls the man who founded the Shrine and who continues to watch over its work from above.

Father Laporte had bequeathed the Beauvoir property to the diocese on the condition that he pay the remaining $3,500 debt. The diocese refused this bequest. Beauvoir thus reverted to the universal legatee, Miss Euphémie Charest, Father Laporte’s former housekeeper. She sold Beauvoir in 1923 to the executor of Father Laporte’s will, the notary Gédéon Bégin, for the price of the debt. This wealthy businessman used Beauvoir Hill as a summer vacation spot for his family.

From 1923 to 1929, Beauvoir fell into almost complete abandonment. Only a few lovers of the Sacred Heart would go up there privately to pray at the foot of the Sacred Heart statue. But at the end of July 1929, Father Pierre Achille Bégin, a retired priest and brother of the owner, accompanied by a few members of the family, came to visit Beauvoir. Although the buildings had been quite damaged by thieves and the weeds had invaded the area, the group was charmed by the landscape and decided to settle there for two weeks.

From then on, the Bégin family would come to spend a few weeks in Beauvoir during the summer vacations.

Without looking for signs, the good abbot knows how to recognize an invitation. First of all, together with his family members, he decided to restore the place and to revive the project of Father Laporte. Every year in June, he invites the people of the area for the triduum in preparation for the feast of the Sacred Heart. This is the highlight of the year.

Throughout the summer months, Father Bégin, surrounded by nephews and nieces, ensures for the pilgrims the mass every morning and the prayer at the Sacred Heart every evening as well as a Holy Hour every Thursday evening. Father Bégin, after Father Laporte, sought to spread devotion to the Sacred Heart. It is in the small stone chapel that he spends most of his time in prayer and in welcoming the small groups of pilgrims who continue to climb the mountain. “All my desire is that in Beauvoir the Sacred Heart be particularly honored, praised and prayed to, and that He spread His greatest graces there.”

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

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

I also added those 1x1 tiles around the city so that the upper hull is less boring, scale is too small to render accurately this texture but I can at least suggest it.

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

Inspired by the new official set, I designed my own version.

I wanted more accurate proportions, a bit wider angle,

and a more accurate underside.

O, and this was all done with remaining bricks from my previous projects.

Source:

www.reddit.com/r/StarWars/comments/uitqtq/if_you_had_an_e...

ENGLISH TEXT DOWN UNDER THE LINE

El cor domina la nau de la catedral de St. Ciril i Metodi, i fou una posició inexpugnable durant hores per a els tres paracaigudistes txecs que mataren a la majoria de SS que entraren a l'església.

Aquesta església barroca aparentment anodina no tant sols és la catedral ortodoxa de Praga (ja explicaré perquè), sino que és un dels llocs més importants i dramatics de la historia txeca i eslovaca del s. XX, un veritable camp de batalla en miniatura. Es tracta de la catedral de St. Ciril i Metodi de Praga. El 27 de maig de 1942, paracaigudistes txecoslovacs emboscaren i feriren de mort al Reichprotektor de Bohemia i Moravia, el temudissim Reinhard Heydrich, organitzador de la Gestapo, del extermini dels jueus europeus i un dels 4 o 5 homes més importants del III Reich (el seu cotxe portava la matrícula SS-3, essent els altres dos primers per a Hitler i Himmler). Les repercussions mortals foren terribles, amb centenars de represaliats (en especial al poble de Lidice, on foren assassinats unes 340 persones), però no localitzaren els executors fins que un company seu els va trair, l’infame Karel Čurda.

Els paracaigudistes s’amagaven a la cripta de St. Ciril, montant guardia també a dalt del cor de l’església. El 18 de juny de 1942 de matinada, l’església fou encerclada per uns 800 soldats de les SS. Dins l’església hi havia 7 paracaigudistes, 3 dalt el cor i 4 dormint a la cripta. L’arribada sobtada dels alemanys impedí que els de la cripta poguessin sortir a ajudar als seus companys. Durant sis hores aguantaren els assalts de les SS, sobretot Jan Kubis, Adolf Opalka i Josef Bublik des de dalt del cor, on dominaven tot l’interior de l’església. Tots foren morts en combat, tot i que mataren a uns 14 alemans, i en feriren una trentena més. Un cop la nau de l’església estava en mans nazis, aquests localitzaren l’entrada a la cripta, però era massa petita per poder assaltar-la. Així que finalment inundaren el soterrani amb manegues dels bombers per l’única finestra de la cripta, previament ametrallada per a impedir que els paracaigudistes s’hi poguessin acostar. Aquests intentaren fugir excavant un forat fins les clavegueres, però el creixent nivell d’aigua i la voladura d’una segona entrada a la cripta acabà amb les seves opcions. Tots es suicidaren per no caure vius en mans dels nazis: Josef Gabzic, Josef Valcik, Jan Hruby i Jaroslav Sbarc.

Avui en dia, la cripta i tot l’edifici és un santuari molt emotiu, i de nou torna a ser catedral ortodoxa, també (per cert, originariament era una església catolica, però el 1930 fou venguda a l’exglésia ortodoxa, molt minoritaria a Txequia). Diverses pel·licules mostren el setge de St. Ciril i Metodi, notablement Operation Daylight (1975) i Anthropoid (2016).

ca.wikipedia.org/wiki/Operaci%C3%B3_Antropoide

www.prague.eu/en/object/places/442/cathedral-church-of-st...

www.katedrala.info/index.php/galerie-katedraly

www.army.cz/images/id_7001_8000/7419/assassination-en.pdf

Una escena del combat a Anthropoid (2016):

www.youtube.com/watch?v=_TLiRxwFCk0

I a Operation Daybreak (1975):

www.youtube.com/watch?v=mAWgbmluk34&t=194s

I crec que a la txecoslovaca Atentát (1965):

www.youtube.com/watch?v=ipoGy1XadYw

=========================================

Most of the combat of that 18 of june, 1942, happened here in the nave of the church. Almost all the 14 German dead were killed here by the fire of the paras entrenched in the choir. As you can see, the choir it's a perfect fire position that dominates the nave. It took the Germans a lot of blood and deads to climb up to that position.

This rather mundane baroque church in Prague is in fact a cathedral, an orthodox one, St. Cyril and Methodius. But it is what happened here in WW2 that makes this place one of the most important and dramatic places in czech and slovak XX Century. On May 27th, 1942, czechoslovak paras killed the Reichprotektor of Bohemia and Moravia, Reinhard Heydrich. He was one of the 4 or 5 top nazi leaders, organizer of the Gestapo and of the Holocaust. In fact, his car, where he was mortally wounded, had the SS-3 plate (the 1 was for Hitler and the 2 for Himmler). The nazi repprisal was terrible, with thousands of imprisoned people, hundreds murdered (notably in the razed to the ground Lidice, where 340 were murdered). But the nazis failed to locate the paras. Until a traitor told them a lead that ultimately gave the hidding place: St. Cyril and Methodius cathedral.

The paras were hidding in the cript, but also kept guard up in the choir, which dominated the nave of the church. On the early morning of June 18th, 1942, the building and several streets were surrounded by 800 German soldiers and SS. Seven paras were in the church, four sleeping in the cript and three, Jan Kubis, Adolf Opalka and Josef Bublik, guarding the choir. When the SS entered the nave, the battle began. The siege lasted 6 hours, and all the paras were killed or comited shoot themselves. But they killed at least 14 Germans, according to some sources, and wounded maybe 30. With the nave secured, the nazis located the entrance into the cript but was so small that was impossible to attack. So they put firemen hoses down the only tiny window of the cript and blown up a large stone leading to the cript. The paras tried to dig a hole into the sewers but was too late and finally commited suicide to avoid being captured alive: : Josef Gabzic, Josef Valcik, Jan Hruby and Jaroslav Sbarc.

Nowadays the cript and all the building is a national sanctuary, a quite moving place when you know the dramatic events that happened there. Several movies show in a quite spectacular way the siege and assault, most notably Operation Daylight (1975) and Anthropoid (2016).

en.wikipedia.org/wiki/Ss._Cyril_and_Methodius_Cathedral

www.prague.eu/en/object/places/442/cathedral-church-of-st...

www.katedrala.info/index.php/galerie-katedraly

www.army.cz/images/id_7001_8000/7419/assassination-en.pdf

Here are the scenes of Anthropoid (2016) and Operation Daybreak (1975):

www.youtube.com/watch?v=_TLiRxwFCk0

www.youtube.com/watch?v=mAWgbmluk34&t=194s

North Chapel. Large Baroque Monument Reaching from Floor to Ceiling,

On a scale more fitting for Westminster Abbey! Probably by John Nost. Central Pedestal, surmounted by an Urn,Drapes held up by two Putti. Sir John Banks stands on the left , bewigged in a semi Roman costume, a pensive Lady Banks, opposite him, and son, Caleb lying between them, propped up on a cushion, also bewigged and in Roman costume.

THE BANKS MONUMENT IN THE NORTH CHAPEL, 1700

MEMORIAE SACRUM

HINC FELICEM EXPECTANT RESURRECTIOREM

JOHANNES BANKS DE AYLESFORD IN COMITATU CANTII BARONETT

UXOR ETIAM EJUS ELIZABETHA, JOHANNIS DETHICK MILITIS

COMITATU NORFOLCIAE OBIN PRAETORIS LONDINENSIS FILIA

NECON FILIUS UTRIUS QUE COMMUNIS CALEB BANKS

MARITUS QUIDEM SED LIBERIS ORBATUS

HIC PRAETEREA NATI SUNT LIBERI QUATUAR

MARTHA,ELIZABETHA ET MARIAM, MARTHA ET JOHANNES EXTINCTUS

QUORUM ALTERA NEMPE ELIZABETHA NUPTA FUIT

HENEAGIO FINCH, HENEAGII COMITIS NOTTINGHAMIAE

SUMUA ANGLIAE CONCELARII FILIO NATU SECUNDO

AUS PICIIS SERENISSIMAE REGINAE ANNAE BARONI DE GERNSEY

MARIA VERO JOHANI SAVILL, JOHANNIS DE METHLEY

IN COMITATU EBORACENSI ARMIGERI FILIO PRIMOGENITO

EXUVIAS DEPOSUERUNT

CALEB BANKS SEPBRIS 13 ANO 1696 AETATIS 37

ELIZABETHA OCTBRIS 21 ANO 1696 AETATUS 59

JOHANNES OCTBRIS 18 ANO 1699 AETATIS 72

Sir John Banks, Baronet, died 1699, born in Maidstone 1627, the son of a prosperous Woollen Draper and former Mayor, he was a Merchant and Financier, he was also a Member of Parliament.

1644 He entered Emmanuel College, Cambridge.

1652 Was part of a business supplying the Navy. This activity brought him into contact with Samuel Pepys, who became a friend.

1654 Married Elizabeth Dethick, daughter of John Dethick, a wealthy London Merchant, who was Lord Mayor in 1655, and knighted by Cromwell in 1656. Soon after, Banks became involved in the East India Company and the Levant Company.

1654 – 59 M. P. for Maidstone

1662 Made a Baronet by Charles 11

In the 1660's Banks prospered supplying the Navy, particularly during the Anglo – Dutch wars.

1668 Elected a Fellow of the Royal Society

1669 Became a Director of the East India Company, and was Governor of the Company in 1672 – 4, and in 1683. He was also involved in the Royal African Company, of which he was a deputy Governor in 1674 – 6.

1670's bought a large, new house in Lincoln's Inn Fields, and carried out much rebuilding on Aylesford Friary, which he had bought earlier.

1679 – 1690 M. P. for Rochester

1690 – 1694 M. P. for Queenborough

1695 – 1698 M. P. for Maidstone.

Banks seemed very skilled at smoothly adjusting to changing political fortunes, from Republic to Restoration and the changes after the Glorious Revolution of 1688, lending money regardless of political colour.

His income during the latter part of his life was about £5,000 per annum; his estate was worth about £180,000. He was the first and last Baronet. Most of his wealth passed to daughter Elizabeth and her husband Heneage Finch, who became the first Earl of Aylesford in 1714.

Sir John Banks long P.C.C. Will is dated 22nd November 1697

There is an Indenture, dated 22nd June 1680, between John Banks of the 1st part, Henry Thornhill of the 2nd part, John Knatchbull and Edward Rudge of the 3rd part, concerning his real and personal estate, the Rectory and Parsonage of Northfleet, the glebeland, houses, barns, buildings and tithes of the said Rectory, purchased from Sir John Sydley of St. Cleere, this property to his cousin John Banks for life.

His Mansion in Aylesford (Friars) and lands called Great Buckland, North Buckland, and properties in Westbere in Maidstone, Hartlip, Burham. Bredhurst, Mears Court, and properties in Aylesford, Ditton, Newhithe, Burham, Maidstone, Boxley, Detling, Bearsted, Rainham, Bredhurst, Borden, Newington, Bobbing, Milton , Rodmersham, Kingsdown, Milsted, Newenden, Hunton, Linton, Farleigh, Marden, Headcorn, , and 2 houses called Homeplace and Ouldhouse, with land in Minster and Borough of Ossenden in Kent, houses and land in Iwade, and other land and property on the Isle of Sheppey; including those held on lease from the Hospital of St. Katherine; also the Advowson of the Rectory of Ditton and fee farm rents, all this to daughter Elizabeth and her husband Heneage Finch, for ever; in default of heirs, then to to his daughter Mary and her husband John Savile, in default of heirs, to his "own right heirs".

If Elizabeth dies in Banks lifetime, above to Heneage Finch, for life, after Finch dies to Elizabeth's children in specified order. If Mary dies as above, then legacy passes in same manner.

The Fleet and Fishery at Newenden, held on lease from the Crown, to daughter and son in law Elizabeth and John, also leaseholds held of Dean and Chapter of Rochester, at Marden. Out of latter an annuities of £300 to daughter Elizabeth,

and £100 to cousin John Banks, £10 to cousin Mary Hunt, to cousin Elizabeth Bishopp, £10 to cousin Stephen Grigby, £10 to cousin Thomas Grigby, £10 to Samuel Read, £10 to Rebecca Mee.

His house in Lincoln s Inn Fields, and properties in the Isle of Thanet, in New and Old Romney, Lydd and elsewhere in Romney Marsh; his farm rents in Essex, Stafford and Derby to the Saviles, same terms as earlier legacy.

Live and dead stock to the Finches and Saviles.

Personal estate, in Aylesford house to the Finches, in Lincolns Inn Fields to the Saviles.

East India stock, silver plate, money, debts shared equally between Finches and Saviles.

Property in Hinxhill, former inheritance of uncle John Banks, father of cousin John, to the Finches and Saviles, equally.

His executors are to build 6 houses near his mansion in Maidstone for 6 poor parishioners of Maidstone. Each to have ground room with chimney, and a "little buttery", and one upper room with chimney, also a small individual plot behind each house. The cost from personal estate; also £60 per annum towards maintenance of the poor people and repairs, equally dived among the 6. Residents who are not "orderly and sober" can be removed; the Saviles are to make rules and give preference to his former servants.

Lands in Isle of Thanet, leased from Dean and Chapter of Canterbury, and from Queen's College, Cambridge,to cousins, John Rudge and Samuel Read, in trust, rents to be distributed as Mary Savile directs. If Mary dies in Banks lifetime then to John Savile, for life; after he dies to his 1st son to reach 21 years, if no son then to daughter.

Desires to be buried at Aylesford, with wife, son and other children. If he does not make vault in his lifetime in chancel, where wife and son are buried, executors to make one on same ground and lay him with his wife and children, and repair that end of chancel, if needed for the security of the vault. Executors to put up monument, cost not to exceed £400.

To his sister -------- ? £50. To late servant, James Sherbourne and to each servant in family at time of his death, £50.

£50 to put out apprentice 6 poor children living in Aylesford. £40 paid to Mayor of Maidstone to distribute to poor of the town.

The Manor of Rushenden and land near Queenborough, on lease from St. Katherine's Hospital, to the Finches, they to keep lease going for their eldest son, then to his male issue.

Land and property in Bonnington near Romney Marsh to the Saviles, same condition as above.

Land in Isle of Sheppey called South Marsh to the Finches.

Finches and Saviles are joint executors.

Witnesses: Richard Hoare, John Lily and Henry Hoare

Codicil dated 7th October 1699

To the Finches Manor of Wormseale? in parishes of Bobbing and Newington, purchased from Henry Eve, and land in Maidstone, purchased from Thomas Selby.

To the Saviles all land in Romney Marsh near Lydd, purchased from -------- Lee.

Witnesses: John Rudge, James Sherbourne and Martin Tomkins

Proved 11th December 1699

The Eva van Hoogeveen almshouse has the entrance at the Doelensteeg. Eva van Hoogeveen came from a wealthy family. She was unmarried, daughter of Albert (Aelbrecht), Heere van Hoogeveen and a very chaste and praiseworthy virgin. In 1650, she testified that she wanted to use her money to buy Houses in honor of God for Chaste Virgins and Honorable Widows. After her death, in 1652, the executors (her brother and a cousin) bought a number of building plots to build this almshouse.

The houses are currently occupied by one-person households. Given the historical background of the almshouse, the houses are preferably rented to single middle-aged ladies.

The almshouse is a national monument

Duneira house and gardens at Mount Macedon.

(Extract from Macedon Ranges cultural heritage and landscape study/Trevor Budge and Associates. 4 v. 1994.).

Henry Suetonius Officer reputedly aquired the Duneira site from

1872-1877 (Blocks 4,5,10,11,14) paying some £84 for 38 acres but

rate listings give Robert Officer as the owner. .

.

Suetonius Henry Officer (1830-1883).

Officer was born in Hullgreen, New Norfolk, Tasmania 1830, the

son of Sir Robert & Lady Officer. He was educated in Edinburgh

with his brother, Charles, and returned to the colonies, seeking

gold in Victoria but eventually settling for pastoralism in

company with his brothers and Charles Miles{ ibid.}. They managed

stations in the Wimmera and the Riverina, James marrying in 1866

and commencing construction of a 20 room homestead at Murray

Downs & Willakool, two adjoining properties fronting the Murray

River. After experimentation with irrigation, via steam pumps and

windmills, he was able to develop extensive orchards and crops. He was also, like his brother, interested in

acclimatisation, having developed an ostrich farm on his property

(Charles was a council member of the Zoological & Acclimatisation

Society for 10 years, president in 1887). .

.

Blighted by illness, Suetonius reputedly moved to Leighwood,

Toorak (Melbourne) in 1881, having erected the first stage of

Duneira at Mount Macedon, but died two years later. However his son, Henry jnr. was

born at South Yarra in 1869 and his next child, Jessie, was born

at Macedon in 1877, indicating that he was in residence at both

places prior to the dates previously supposed..

.

Suetonius probably commissioned the first stage of Duneira to be

erected as a summer house between c1874-6. The architect Levi

Powell is thought to have designed a house for him there around

that date. The first improvements listed on the site were

stables in 1874 when Robert Officer was rated as owning the site. The house was reputedly not occupied regularly

until c1881 when Suetonius moved to Toorak.

However it appears he and his family were in residence at Duneira

by 1877..

.

When Suetonius died in 1883 his wife, Mary Lillias Rigg Officer

(nee Cairns), of Glenbervie, Glenferrie Road, Toorak was the

co-executor of the estate, with merchant Robert Harper; she is

the rate occupier in 1888. Mrs Officer was the

sister of Mrs Robert Harper (Huntly Burn) and Mrs John C lloyd

(Montpelier, later Timsbury): all three houses were reputedly

built in the same period... .

.

The house bricks for the first stage were said to have come from

the Macedon Brick Kiln (once near the Macedon railway station,

set up in c1888-9?) with external walls built in 14" Flemish bond

from slop-moulded bricks (9 inch by 2.1/2). The bricks were reputedly carted

from Macedon by Cogger. The footings were of bluestone

and reputedly dressed sandstone blocks also survive, suggesting

that the first stage was face brick with stone quoins and the

next renovation c1888 added wings and a cement coating to the

whole complex. Floor frames were reputedly supported on stone

dwarf walls and joists were 6x2.1/2 inch jarrah, with flooring

being 6 inch pine}. Seaweed was apparently used for

ceiling insulation..

.

The servants' wing verandah was skillion in form with timber

posts with classical capitals. The main verandah had coupled

posts (rebuilt with single posts) a panelled frieze and slimmer

capitals set just under the frieze rail}. The

balustrade may have been of single cast-iron balusters..

.

Just prior to the sale to the speculator, James Smith Reid in

1890, and during the occupation of Edward Dyer, major additions

were made to the house complex and a reputedly a caretaker's

lodge was placed at the gate (survives, altered c1920s) but this

appears to have been added by Reid in the early 1890s. .

.

The added rooms were reputedly: billiard (32'x24') and dining

rooms, kitchen, servants bathroom, service block with 5 rooms

(engine room, dairy, pantry, store, boiler room, built of

Northcote machine made 9" brickwork). Damp proof coursing was

used in these additions compared to the slate of the first stage

and acetylene gas (engine room) was thought used for lighting

from this period, as reticulated in 1.1.2" mains and 1/2 inch

branches to internal and some external verandah lights.

Cast-iron elaborately detailed water radiators were also used,

with hot water pumped from the boiler room, and later a duplicate

boiler allowed hot water to be reticulated taps in the house{

ibid.}..

.

The description in rate books expands to villa and cottages (on

37 acres) for the first time under Reid in c1893 but the annual

valuation had already peeked in 1888 at £200 in the occupation of

Edward Dyer. An Edward Dyer was listed at that time as a fruiterer in

Burwood Road, Hawthorn..

.

The water supply is from a concrete tank fed by a spring.

Outbuildings include timber clad stables, storerooms,

blacksmith's shop, coachman's room, milking bails, hay shed and a

green house. The stables (extended) were described as having had

a shingled gabled roof (rear skillion) with loft entered via an

external stair at the north end. It had a blacksmith's

shop (altered for garage c1941), carriage and coachman's rooms,

two stores and vertically boarded main doors{ ibid.,p24}. The

milking and hay sheds had hipped roof forms and timber cladding

and frame. The interior was white-washed. The greenhouse

in the secret hedged garden is of a later date, with a timber

frame built up on 11" cavity brickwork walls, with a brick floor

and heated water pipes under each shelf. The boiler is near the

entry..

.

The `Gisborne Gazette' reported on Duneira in 1903 under the

heading of `A Popular Health Resort':.

`Duneira certainly merits a few remarks though beautiful

residences and grounds are by no means rare in that locality..

(when Reid purchased it, it was `little better than a wilderness'

and he had spared no expense to restore it).. After passing the

lodge at the main entrance, a broad serpentine drive leads up to

the house and from there the grounds are laid out in broad

sloping lawns surmounted with choice borders and fringed with

trees which however do not interfere to any great extent with the

view. There is of course no lack of flowers which grow

luxuriantly on the mount but the great feature of Duneira is the

lawns, those open green expanses which delight the eye at all

times of the year. the secret of this perennial verdure is to be

found in the copious water supply with which Macedon is blessed

(spring at rear of house, tapped by tunnelling 40m into the hill,

ie. grass grows up to base of Monterey pines)..

.

During Reid's time there, the valuation increased marginally in

1899-1900 and again soon after, with Reid's address being given

as care of Rosstrevor Magill, South Australia, in c1909-10. JS Reid died in 1922, leaving

the property to the management of JS Reid jun..

.

The main garden elements are: sweeping lawns, box hedges, weeping beech and cherry, extensive hedges (holly, laurel), a hedged

`secret garden' with green house, mature firs, elm and chestnut ì

avenues. There is also a fountain and a wide spreading weeping elm to the rear of the house, near the tennis court..

.

Significant Trees:.

`Ulmus x hollandica'.

`Prunus' "shirotae".

`Albies procera'.

`Ilex kingiana'.

Custom Designed Lego Executor Super Star Destroyer 2018.

Brick Count 7400.

Well, not exactly "hired" if that implies payment, more like coerced volunteers. Either way, getting the house ready for selling.... in this Covid environment. (not my house, I'm an executor of a will).

Listed Building Grade I

List Entry Number : 1283015

Date First Listed : 25 February 1952

College of the Collegiate Parish Church of Manchester, now music school. Established 1422 by Thomas de la Warre; converted after Dissolution in 1547 for use as town house by Earl of Derby; sequestrated during Commonwealth, purchased in 1654 by Humphrey Chetham's executors for adaptation as charity school ("hospital") and library; restored and enlarged 1883-95 by Oliver Heywood and Charles James Heywood.

The GATEHOUSE is 2-storeyed, steeply gabled, and has a moulded 4-centred archway through the ground floor, a small inserted or altered window above and a 4-centred arched doorway to the left of this; and its outer face, an early C19 rebuild, has an oriel window at 1st floor. The rear of the east wing has (inter alia) a massive external chimney stack to the kitchen (with inscription "Rebuilt 1902"), a corbelled garderobe, and a stone platform to the rear of the through-passage. INTERIOR: cavetto-moulded beams, and collar-rafter roofs with arch-braced principals and super-imposed collar purlins, throughout; hall has very large dais canopy at south end with brattished cornice, massive inglenook fireplace in west wall (altered), and tripartite oak screens at north end with moulded rails and brattished tops; screens passage has coupled 2-centred arched service doorways; cloisters have similar doorways to former Fellows' sets, some coupled; stair-turret off north cloister has splat-baluster staircase; Audit Room has muntin-and-rail panelling, moulded plaster floriated frieze, and beams with carved bosses; Reading Room has similar panelling, cavetto moulded wall-plate with portcullis and eagle's claw emblems of Derby family, and very large elaborate tympanum including carved cartouche with helm and mantling, cockerell, etc.; and segmental-vaulted ceiling (inserted before 1654). Kitchen (now Music Library) has fireplace approx. 7m wide with horizontal lintel of joggled blocks under segmental arch approx. 4m high, and in east wall a smaller opening with similar joggled lintel under 2-centred arch (probably also a fireplace); rooms to east of passage have low 2-centred arches in transverse walls.

en.wikipedia.org/wiki/Listed_buildings_in_Manchester_M3

historicengland.org.uk/listing/the-list/list-entry/1283015

DIGITAL BUILD (not tested IRL)

This thing is like 10 ft wide. Built to scale with my Executor class and a number of my other ships.

I streamed almost the whole process on Twitch and will upload the vods to my YouTube. Built entirely within the month of September 2024.

Width: 362.2 Studs (114.1 In or 289.7 Cm)

Length: 81 Studs (25.5 In or 64.8 Cm)

Height: 23.3 Studs (7.3 In or 18.6 Cm)

Weight: 634.9 Oz or 17,998.6 G

Partscount: 21,259

Time Streamed: 107h:27m:20s+

Executor and Monarch

携帯型心理診断鎮圧執行システム・ドミネーター

Hughenden Manor, Hughenden, Buckinghamshire, England, is a Victorian mansion, with earlier origins, that served as the country house of the Prime Minister, Benjamin Disraeli, 1st Earl of Beaconsfield. It is now owned by the National Trust and open to the public. It sits on the brow of the hill to the west of the main A4128 road that links Hughenden to High Wycombe.

History

The manor of Hughenden is first recorded in 1086, as part of Queen Edith's lands, and held by William, son of Oger the Bishop of Bayeux, and was assessed for tax at 10 hides. After his forfeiture, the lands were held by the Crown, until King Henry I of England gave the lands to his chamberlain and treasurer, Geoffrey de Clinton.[1] Clinton, whose main home was in Kenilworth, Warwickshire, had the lands tenanted by Geoffrey de Sancto Roerio, who resultantly changed his surname to the Anglicised Hughenden.[1] After passing through that family, with successive Kings having to confirm the gift of the lands, the manor returned to the Crown in the 14th century.[1] In 1539, the Crown granted the manor and lands to Sir Robert Dormer, and it passed through his family until 1737 when it was sold by the 4th Earl of Chesterfield to Charles Savage.[1]

After passing through his extended family following a series of deaths and resultant devises by will, by 1816 the manor and lands were owned by John Norris, a distinguished antiquary and scholar.[1] Isaac D'Israeli, the father of Benjamin Disraeli, Prime Minister of the United Kingdom (1868 and 1874–1880, and Earl of Beaconsfield 1876), had for some time rented the nearby Bradenham Manor and, following Norris's death in 1845, bought the manor and lands from his executors in 1847.[1] The purchase was supported with the help of a loan of £25,000 (equivalent to almost £1,500,000 today) from Lord Henry Bentinck and Lord Titchfield. This was because at the time, as Disraeli was the leader of the Conservative Party, "it was essential to represent a county," and county members had to be landowners.[2] Taking ownership of the manor on the death of his father in 1848, Disraeli and his wife Mary Anne, alternated between Hughenden and several homes in London.

en.wikipedia.org/wiki/Ightham_Mote

Ightham Mote (pronounced "item moat"), Ightham, Kent is a medieval moated manor house. The architectural writer John Newman describes it as "the most complete small medieval manor house in the county."[1] Ightham Mote and its gardens are owned by the National Trust and are open to the public. The house is a Grade I listed building, and parts of it are a Scheduled Ancient Monument.

History

12th century-16th century

The origins of the house date from circa 1340-1360.[2] The earliest recorded owner is Sir Thomas Cawne, who was resident towards the middle of the 14th century.[1] The house passed by marriage to the Haut(e)s, Richard Haut being Sheriff of Kent in the late 15th century.[1] It was then purchased by Sir Richard Clement in 1521.[1] In 1591, Sir William Selby bought the estate.[1]

16th century-late 19th century

The house remained in the Selby family for nearly 300 years.[3] Sir William was succeeded by his nephew, also Sir William, who is notable for handing over the keys of Berwick-upon-Tweed to James I on his way south to succeed to the throne.[4] He married Dorothy Bonham of West Malling but had no children. The Selbys continued until the mid-19th century when the line faltered with Elizabeth Selby, the widow of a Thomas who disinherited his only son.[5] During her reclusive tenure, Joseph Nash drew the house for his multi-volume illustrated history Mansions of England in the Olden Time, published in the 1840s.[6] The house passed to a cousin, Prideaux John Selby, a distinguished naturalist, sportsman and scientist. On his death in 1867, he left Ightham to a daughter, Mrs Lewis Marianne Bigge. Her second husband, Robert Luard, changed his name to Luard-Selby. She died in 1889. The executors of her son Charles Selby-Bigge, a Shropshire land agent, put the house up for sale in July 1889.[6]

Late 19th century-21st century

The Mote was purchased by Thomas Colyer-Fergusson.[6] He and his wife brought up their six children at the Mote. In 1890-1891, he carried out much repair and restoration, which allowed the survival of the house after centuries of neglect.[7] Ightham Mote was opened to the public one afternoon a week in the early 20th century.[7]

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

On Sir Thomas's death in 1951, the property and the baronetcy passed to Max's son, James. The high costs of upkeep and repair of the house led him to sell the house and auction most of the contents. The sale took place in October 1951 and lasted three days. It was suggested that the house be demolished to harvest the lead on the roofs, or that it be divided into flats. Three local men purchased the house: William Durling, John Goodwin and John Baldock. They paid £5,500 for the freehold, in the hope of being able to secure the future of the house.[8]

In 1953, Ightham Mote was purchased by Charles Henry Robinson, an American of Portland, Maine, United States. He had known the property when stationed nearby during the Second World War. He lived there for only fourteen weeks a year for tax reasons. He made many urgent repairs, and partly refurnished the house with 17th-century English pieces. In 1965, he announced that he would give Ightham Mote and its contents to the National Trust. He died in 1985 and his ashes were immured just outside the crypt. The National Trust took possession in that year.[8]

In 1989, the National Trust began an ambitious conservation project that involved dismantling much of the building and recording its construction methods before rebuilding it. During this process, the effects of centuries of ageing, weathering, and the destructive effect of the deathwatch beetle were highlighted. The project ended in 2004 after revealing numerous examples of structural and ornamental features which had been covered up by later additions.[1]

Architecture and description

Originally dating to around 1320, the building is important because it has most of its original features; successive owners effected relatively few changes to the main structure, after the completion of the quadrangle with a new chapel in the 16th century. Nikolaus Pevsner described it as "the most complete small medieval manor house in the country", and it remains an example that shows how such houses would have looked in the Middle Ages. Unlike most courtyard houses of its type, which have had a range demolished, so that the house looks outward, Nicholas Cooper observes that Ightham wholly surrounds its courtyard and looks inward, into it, offering little information externally.[9] The construction is of "Kentish ragstone and dull red brick,"[10] the buildings of the courtyard having originally been built of timber and subsequently rebuilt in stone.[11]

The house has more than 70 rooms, all arranged around a central courtyard, "the confines circumscribed by the moat."[10] The house is surrounded on all sides by a square moat, crossed by three bridges. The earliest surviving evidence is for a house of the early 14th century, with the Great Hall, to which were attached, at the high, or dais end, the Chapel, Crypt and two Solars. The courtyard was completely enclosed by increments on its restricted moated site, and the battlemented tower was constructed in the 15th century. Very little of the 14th century survives on the exterior behind rebuilding and refacing of the 15th and 16th centuries.

The structures include unusual and distinctive elements, such as the porter's squint, a narrow slit in the wall designed to enable a gatekeeper to examine a visitor's credentials before opening the gate. An open loccia with a fifteenth-century gallery above, connects the main accommodations with the gatehouse range. The courtyard contains a large, 19th century dog kennel.[12] The house contains two chapels; the New Chapel, of c.1520, having a barrel roof decorated with Tudor roses. [13] Parts of the interior were remodelled by Richard Norman Shaw.

Harley Wayne (b. April 30, 1823) married Ellen Deitz (b. February 24, 1823) in Marengo, Illinois on April 30, 1848. They had two children, a daughter, Ida, who died just before her third birthday and a son, Charles, who was born in Union, Illinois. When Charles was six years old, his father was killed at the Battle of Shiloh in Pittsburgh Landing, Tennessee (April 6, 1862). He served as a Captain in the 15th Illinois Volunteer Infantry Company D during the Civil War.

After her husband's death, Ellen continued to live in Union, Illinois until her son, Charles, completed his education at the University of Chicago in 1880, where he was President of his class. Charles entered the law office of A. B. Coon, a prominent Illinois attorney practicing in Marengo and by 1882, Charles passed the state bar examination. By 1883, Charles, along with his mother, Ellen, moved to Elgin where the bought the house at 433 Division Street from William H. Bullard, who was a builder in Elgin.

After Charles and Ellen moved to Elgin, Charles entered into a partnership with Attorney, John A. Russell. Later that partnership was dissolved and Mr. Wayne entered into the partnership of Botsford, Wayne and Botsford. According to newspaper articles collected and organized into a scrape book by his wife, Mary, Charles became a prominent northern Illinois trial lawyer. Charles entered local politics and soon became Mayor of Elgin from 1895-1896. He declined to run another term and returned to practicing law.

Mary Smith was the daughter of Leonidas and Sarah J. Steward Smith and was born in Nashville, Tennessee. She moved to Elgin with her sister Sarah when their brother Steward received a position as a priest at the Episcopal Church in Elgin. Charles married Mary Carmichael Smith on January 17, 1888. Charles and Mary continued to live at 433 Division Street upon Charles' mother's death in 1900. Charles unexpectedly passed away in 1909 after slipping on ice on a business trip in Chicago. Mary continued to live in the home until her death in 1940.

Prior to Charles' death, Charles and Mary invited his cousin, Esther Bishop, to live with them. Esther became a nurse and married Claude Britton. They moved to Freeport, Illinois shortly after their marriage. Esther eventually came back to Elgin and took care of Mary until Mary's death. Esther became the executor of Mary's estate and inherited the house. She and her husband converted the house to a two flat and later shared the house with their daughter, Mary, and two grandchildren, while their daughter's husband, Mike Farroh, fought in the war. Eventually Mary and Mike Farroh built their own house in Elgin. Esther died in 1949 and Claude continued to live in the house until his death in 1967. At that time, the house was sold.

ARCHITECTURAL SIGNIFICANCE

433 Division is a significant structure in the Elgin Historic District and an excellent example of the Italianate style. This home has an asymmetrical plan with a prominent square tower that has a steep mansard roof and narrow pitched gable roof. The windows are tall and narrow in the classic, Italianate style. The bay window and its detailing suggest a Second Empire influence. The house has many little details added including its dentils, brackets, piazza porch and window surrounds.

Source: Historic Elgin

en.wikipedia.org/wiki/Ightham_Mote

Ightham Mote (pronounced "item moat"), Ightham, Kent is a medieval moated manor house. The architectural writer John Newman describes it as "the most complete small medieval manor house in the county."[1] Ightham Mote and its gardens are owned by the National Trust and are open to the public. The house is a Grade I listed building, and parts of it are a Scheduled Ancient Monument.

History

12th century-16th century

The origins of the house date from circa 1340-1360.[2] The earliest recorded owner is Sir Thomas Cawne, who was resident towards the middle of the 14th century.[1] The house passed by marriage to the Haut(e)s, Richard Haut being Sheriff of Kent in the late 15th century.[1] It was then purchased by Sir Richard Clement in 1521.[1] In 1591, Sir William Selby bought the estate.[1]

16th century-late 19th century

The house remained in the Selby family for nearly 300 years.[3] Sir William was succeeded by his nephew, also Sir William, who is notable for handing over the keys of Berwick-upon-Tweed to James I on his way south to succeed to the throne.[4] He married Dorothy Bonham of West Malling but had no children. The Selbys continued until the mid-19th century when the line faltered with Elizabeth Selby, the widow of a Thomas who disinherited his only son.[5] During her reclusive tenure, Joseph Nash drew the house for his multi-volume illustrated history Mansions of England in the Olden Time, published in the 1840s.[6] The house passed to a cousin, Prideaux John Selby, a distinguished naturalist, sportsman and scientist. On his death in 1867, he left Ightham to a daughter, Mrs Lewis Marianne Bigge. Her second husband, Robert Luard, changed his name to Luard-Selby. She died in 1889. The executors of her son Charles Selby-Bigge, a Shropshire land agent, put the house up for sale in July 1889.[6]

Late 19th century-21st century

The Mote was purchased by Thomas Colyer-Fergusson.[6] He and his wife brought up their six children at the Mote. In 1890-1891, he carried out much repair and restoration, which allowed the survival of the house after centuries of neglect.[7] Ightham Mote was opened to the public one afternoon a week in the early 20th century.[7]

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

On Sir Thomas's death in 1951, the property and the baronetcy passed to Max's son, James. The high costs of upkeep and repair of the house led him to sell the house and auction most of the contents. The sale took place in October 1951 and lasted three days. It was suggested that the house be demolished to harvest the lead on the roofs, or that it be divided into flats. Three local men purchased the house: William Durling, John Goodwin and John Baldock. They paid £5,500 for the freehold, in the hope of being able to secure the future of the house.[8]

In 1953, Ightham Mote was purchased by Charles Henry Robinson, an American of Portland, Maine, United States. He had known the property when stationed nearby during the Second World War. He lived there for only fourteen weeks a year for tax reasons. He made many urgent repairs, and partly refurnished the house with 17th-century English pieces. In 1965, he announced that he would give Ightham Mote and its contents to the National Trust. He died in 1985 and his ashes were immured just outside the crypt. The National Trust took possession in that year.[8]

In 1989, the National Trust began an ambitious conservation project that involved dismantling much of the building and recording its construction methods before rebuilding it. During this process, the effects of centuries of ageing, weathering, and the destructive effect of the deathwatch beetle were highlighted. The project ended in 2004 after revealing numerous examples of structural and ornamental features which had been covered up by later additions.[1]

Architecture and description

Originally dating to around 1320, the building is important because it has most of its original features; successive owners effected relatively few changes to the main structure, after the completion of the quadrangle with a new chapel in the 16th century. Nikolaus Pevsner described it as "the most complete small medieval manor house in the country", and it remains an example that shows how such houses would have looked in the Middle Ages. Unlike most courtyard houses of its type, which have had a range demolished, so that the house looks outward, Nicholas Cooper observes that Ightham wholly surrounds its courtyard and looks inward, into it, offering little information externally.[9] The construction is of "Kentish ragstone and dull red brick,"[10] the buildings of the courtyard having originally been built of timber and subsequently rebuilt in stone.[11]

The house has more than 70 rooms, all arranged around a central courtyard, "the confines circumscribed by the moat."[10] The house is surrounded on all sides by a square moat, crossed by three bridges. The earliest surviving evidence is for a house of the early 14th century, with the Great Hall, to which were attached, at the high, or dais end, the Chapel, Crypt and two Solars. The courtyard was completely enclosed by increments on its restricted moated site, and the battlemented tower was constructed in the 15th century. Very little of the 14th century survives on the exterior behind rebuilding and refacing of the 15th and 16th centuries.

The structures include unusual and distinctive elements, such as the porter's squint, a narrow slit in the wall designed to enable a gatekeeper to examine a visitor's credentials before opening the gate. An open loccia with a fifteenth-century gallery above, connects the main accommodations with the gatehouse range. The courtyard contains a large, 19th century dog kennel.[12] The house contains two chapels; the New Chapel, of c.1520, having a barrel roof decorated with Tudor roses. [13] Parts of the interior were remodelled by Richard Norman Shaw.

Credits :

Dura : Hairstyles , Hairspieces

TREVOR / TANAKA : EXECUTOR BLADE (my weapon)

TREVOR / TANAKA - MORI SCYTHE ( Denji Weapon)

TVR LM : maps.secondlife.com/secondlife/ALEGRIA/59/128/630

TNK : maps.secondlife.com/secondlife/TOKYO%20ZERO/225/46/3305

Fate. Simple as that. It was such a ridiculous way to die. We had already finished our objective - Checkers had killed the biker in a swift shot. Done deal. But it had all happened so suddenly.

We were hit. No, not by hostile blaster fire. By hordes of debris and fragments from our cruisers above. They were being hit pretty hard up there, but it's obvious that the officers above our frigates could have known that they were taking lives on the surface as well. Nonetheless, that didn't matter. All that mattered was that we lost a man. Neel. He had almost been crushed by a portion of one of the engines, and it had broken his legs as well as flattened half of his body. He was dying. We all knew that he wouldn't make it back to the Executor. Poor soldier. He didn't deserve this. None of us deserved this. We couldn't do anything to help him, but at least we could stay with him for his last minutes.

With that he died. He was the last man who I had served with on Bakura.

_____

Made for Mission 4.3 in the 457th Corps.

Darth Vader on the Imperial Super Star Destroyer Executor.

RebelLUG Collab Video here.

Beyond the Brick Video here.

More pictures here.

brick count 7312

From Moon Sha Executor Gacha. www.flickr.com/groups/2779873@N20/

In The Fantasy Gacha.

Taxi: maps.secondlife.com/secondlife/Acerbus%20Silva/29/144/24/...

brick count 7312, 132cm long, 47cm wide.

Paris - Antonio Canova.

Antonio Canova (1 November 1757 – 13 October 1822) was an Italian sculptor who became famous for his marble sculptures that delicately rendered nude flesh. The epitome of the neoclassical style, his work marked a return to classical refinement after the theatrical excesses of Baroque sculpture.

Antonio Canova was born in Possagno, a village of the Republic of Venice situated amid the recesses of the hills of Asolo, where these form the last undulations of the Venetian Alps, as they subside into the plains of Treviso. At three years of age Canova was deprived of both parents, his father dying and his mother remarrying. Their loss, however, was compensated by the tender solicitude and care of his paternal grandfather and grandmother, the latter of whom lived to experience in her turn the kindest personal attention from her grandson, who, when he had the means, gave her an asylum in his house at Rome.

His father and grandfather followed the occupation of stone-cutters or minor statuaries; and it is said that their family had for several ages supplied Possagno with members of that calling. As soon as Canova's hand could hold a pencil, he was initiated into the principles of drawing by his grandfather Pasino. The latter possessed some knowledge both of drawing and of architecture, designed well, and showed considerable taste in the execution of ornamental works. He was greatly attached to his art; and upon his young charge he looked as one who was to perpetuate, not only the family name, but also the family profession.

The early years of Canova were passed in study. The bias of his mind was to sculpture, and the facilities afforded for the gratification of this predilection in the workshop of his grandfather were eagerly improved. In his ninth year he executed two small shrines of Carrara marble, which are still extant. Soon after this period he appears to have been constantly employed under his grandfather. Amongst those who patronized the old man was the patrician family Falier of Venice, and by this means young Canova was first introduced to the senator of that name, who afterwards became his most zealous patron.

Between the younger son, Giuseppe Falier, and the artist a friendship commenced which terminated only with life. The senator Falier was induced to receive him under his immediate protection. It has been related by an Italian writer and since repeated by several biographers, that Canova was indebted to a trivial circumstance - the moulding of a lion in butter - for the warm interest which Falier took in his welfare. The anecdote may or may not be true. By his patron Canova was placed under Bernardi, or, as he is generally called by filiation, Giuseppe Torretto, a sculptor of considerable eminence, who had taken up a temporary residence at Pagnano, one of Asolo's boroughs in the vicinity of the senator's mansion.

This took place whilst Canova was in his thirteenth year; and with Torretto he continued about two years, making in many respects considerable progress. This master returned to Venice, where he soon afterwards died; but by the high terms in which he spoke of his pupil to Falier, the latter was induced to bring the young artist to Venice, whither he accordingly went, and was placed under a nephew of Torretto. With this instructor he continued about a year, studying with the utmost assiduity.

After the termination of this engagement he began to work on his own account, and received from his patron an order for a group, Orpheus and Eurydice. The first figure, which represents Eurydice in flames and smoke, in the act of leaving Hades, was completed towards the close of his sixteenth year. It was highly esteemed by his patron and friends, and the artist was now considered qualified to appear before a public tribunal.

The kindness of some monks supplied him with his first workshop, which was the vacant cell of a monastery. Here for nearly four years he labored with the greatest perseverance and industry. He was also regular in his attendance at the academy, where he carried off several prizes. But he relied far more on the study and imitation of nature. A large portion of his time was also devoted to anatomy, which science was regarded by him as the secret of the art. He likewise frequented places of public amusement, where he carefully studied the expressions and attitudes of the performers. He formed a resolution, which was faithfully adhered to for several years, never to close his eyes at night without having produced some design. Whatever was likely to forward his advancement in sculpture he studied with ardour. On archaeological pursuits he bestowed considerable attention. With ancient and modern history he rendered himself well acquainted and he also began to acquire some of the continental languages.

Three years had now elapsed without any production coming from his chisel. He began, however, to complete the group for his patron, and the Orpheus which followed evinced the great advance he had made. The work was universally applauded, and laid the foundation of his fame. Several groups succeeded this performance, amongst which was that of Daedalus and Icarus, the most celebrated work of his noviciate. The terseness of style and the faithful imitation of nature which characterized them called forth the warmest admiration. His merits and reputation being now generally recognized, his thoughts began to turn from the shores of the Adriatic to the banks of the Tiber, for which he set out at the commencement of his twenty-fourth year.

Before his departure for Rome, his friends had applied to the Venetian senate for a pension, to enable him to pursue his studies without embarrassment. The application was ultimately successful. The stipend amounted to three hundred ducats (about 60 pounds per annum), and was limited to three years. Canova had obtained letters of introduction to the Venetian ambassador, the Cavaliere Zulian, and enlightened and generous protector of the arts, and was received in the most hospitable manner.

His arrival in Rome, on 28 December 1780, marks a new era in his life. It was here he was to perfect himself by a study of the most splendid relics of antiquity, and to put his talents to the severest test by a competition with the living masters of the art. The result was equal to the highest hopes cherished either by himself or by his friends. The work which first established his fame at Rome was Theseus Vanquishing the Minotaur, now in the collections of the Victoria & Albert Museum, in London. The figures are of the heroic size. The victorious Theseus is represented as seated on the lifeless body of the monster. The exhaustion which visibly pervades his whole frame proves the terrible nature of the conflict in which he has been engaged. Simplicity and natural expression had hitherto characterized Canova's style; with these were now united more exalted conceptions of grandeur and of truth. The Theseus was regarded with fervent admiration.

Canova's next undertaking was a monument in honor of Clement XIV; but before he proceeded with it he deemed it necessary to request permission from the Venetian senate, whose servant he considered himself to be, in consideration of the pension. This he solicited, in person, and it was granted. He returned immediately to Rome, and opened his celebrated studio close to the Via del Babuino. He spent about two years of unremitting toil in arranging the design and composing the models for the tomb of the pontiff. After these were completed, other two years were employed in finishing the monument, and it was finally opened to public inspection in 1787. The work, in the opinion of enthusiastic dilettanti, stamped the author as the first artist of modern times.

After five years of incessant labor, he completed another cenotaph, to the memory of Clement XIII, which raised his fame still higher. Works now came rapidly from his chisel. Amongst these is Psyche, with a butterfly, which is placed on the left hand, and held by the wings with the right. This figure, which is intended as a personification of man's immaterial part, is considered as in almost every respect the most faultless and classical of Canova's works. In two different groups, and with opposite expression, the sculptor has represented Cupid with his bride; in the one they are standing, in the other recumbent. These and other works raised his reputation so high that the most flattering offers were sent to him from the Russian court to induce him to remove to St Petersburg, but these were declined, although many of his finest works made their way to the Hermitage Museum. "Italy", says he, in writing of the occurrence to a friend, "Italy is my country - is the country and native soil of the arts. I cannot leave her; my infancy was nurtured here. If my poor talents can be useful in any other land, they must be of some utility to Italy; and ought not her claim to be preferred to all others?"

Numerous works were produced in the years 1795-1797, of which several were repetitions of previous productions. One was the celebrated group representing the Parting of Venus and Adonis. This famous production was sent to Naples. The French Revolution was now extending its shocks over Italy; and Canova sought obscurity and repose in his native Possagno. Thither he retired in 1798, and there he continued for about a year, principally employed in painting, of which art also he had some knowledge. Events in the political world having come to a temporary lull, he returned to Rome; but his health being impaired from arduous application, he took a journey through a part of Germany, in company with his friend Prince Rezzonico. He returned from his travels much improved, and again commenced his labors with vigour and enthusiasm.

The events which marked the life of the artist during the first fifteen years of the period in which he was engaged on the above-mentioned works scarcely merit notice. His mind was entirely absorbed in the labors of his studio, and, with the exception of his journeys to Paris, one to Vienna, and a few short intervals of absence in Florence and other parts of Italy, he never quit Rome. In his own words, "his statues were the sole proofs of his civil existence."

There was, however, another proof, which modesty forbade him to mention, an ever-active benevolence, especially towards artists. In 1815 he was commissioned by the Pope to superintend the transmission from Paris of those works of art which had formerly been conveyed thither under the direction of Napoleon. By his zeal and exertions - for there were many conflicting interests to reconcile - he adjusted the affair in a manner at once creditable to his judgment and fortunate for his country.

In the autumn of this year he gratified a wish he had long entertained of visiting London, where he received the highest tokens of esteem. The artist for whom he showed particular sympathy and regard in London was Benjamin Haydon, who might at the time be counted the sole representative of historical painting there, and whom he especially honored for his championship of the Elgin marbles, then recently transported to England, and ignorantly depreciated by polite connoisseurs. Among Canova's English pupils were sculptors Sir Richard Westmacott and John Gibson.

Canova returned to Rome in the beginning of 1816, with the ransomed spoils of his country's genius. Immediately after, he received several marks of distinction: he was made President of the Accademia di San Luca, the main artistic institution in Rome, and by the hand of the Pope himself his name was inscribed in "the Golden Volume of the Capitol", and he received the title of Marquis of Ischia, with an annual pension of 3000 crowns.

He now contemplated a great work, a colossal statue of Religion. The model filled Italy with admiration; the marble was procured, and the chisel of the sculptor ready to be applied to it, when the jealousy of churchmen as to the site, or some other cause, deprived the country of the projected work. The mind of Canova was inspired with the warmest sense of devotion, and though foiled in this instance he resolved to consecrate a shrine to the cause. In his native village he began to make preparations for erecting a temple which was to contain, not only the above statue, but other works of his own; within its precincts were to repose also the ashes of the founder. Accordingly he repaired to Possagno in 1819. After the foundation-stone of this edifice had been laid, Canova returned to Rome; but every succeeding autumn he continued to visit Possagno, in order to direct the workmen, and encourage them with pecuniary rewards and medals.

In the meantime the vast expenditure exhausted his resources, and compelled him to labor with unceasing assiduity notwithstanding age and disease. During the period which intervened between commencing operations at Possagno and his decease, he executed or finished some of his most striking works. Amongst these were the group Mars and Venus, the colossal figure of Pius VI, the Pietà, the St John, the recumbent Magdalen. The last performance which issued from his hand was a colossal bust of his friend, the Count Cicognara.

In May 1822 he paid a visit to Naples, to superintend the construction of wax moulds for an equestrian statue of the perjured Bourbon king Ferdinand VII. This journey materially injured his health, but he rallied again on his return to Rome. Towards the latter end of the year he paid his annual visit to the place of his birth, when he experienced a relapse. He proceeded to Venice, and expired there at the age of nearly sixty-five. His disease was one which had affected him from an early age, caused by the continual use of carving-tools, producing a depression of the ribs. The most distinguished funeral honors were paid to his remains, which were deposited in the temple at Possagno on 25 October 1822. His heart was interred in a marble pyramid he designed as a mausoleum for the painter Titian in the church of Santa Maria Gloriosa dei Frari in Venice, now a monument to the sculptor.

Among Canova's heroic compositions, his Perseus with the Head of Medusa (photo, right) appeared soon after his return from Germany. The moment of representation is when the hero, flushed with conquest, displays the head of the "snaky Gorgon", whilst the right hand grasps a sword of singular device. By a public decree, this fine work was placed in one of the stanze of the Vatican hitherto reserved for the most precious works of antiquity.

In 1802, at the personal request of Napoleon, Canova returned to Paris to model a bust of the first consul. The artist was entertained with munificence, and various honors were conferred upon him. The statue, which is colossal and entitled Napoleon as Mars the Peacemaker, was not finished till four years after. On the fall of the great emperor, Louis XVIII presented this statue to the British government, by whom it was afterwards given to the Duke of Wellington.

Palamedes, Creugas and Damoxenus, the Combat of Theseus and the Centaur, and Hercules and Lichas may close the class of heroic compositions, although the catalogue might be swelled by the enumeration of various others, such as Hector and Ajax, and the statues of George Washington (commissioned by the State of North Carolina to be displayed in its Capitol Building), King Ferdinand of Naples, and others.

Under the head of compositions of grace and elegance, the statue of Hebe takes the first place in point of date. Four times has the artist embodied in stone the goddess of youth, and each time with some variation. The last one is in the Museum of Forlì, in Italy. The only material improvement, however, is the substitution of a support more suitable to the simplicity of the art. Each of the statues is, in all its details, in expression, attitude and delicacy of finish, strikingly elegant.

The Dancing Nymphs maintain a character similar to that of the Hebe. The Three Graces and the Venus are more elevated. The Awakened Nymph is another work of uncommon beauty. The mother of Napoleon, his consort Maria Louise (as Concord), to model whom the author made a further journey to Paris in 1810, the princess Esterhazy and the muse Polymnia (Elisa Bonaparte) take their place in this class, as do the ideal heads, comprising Corinna, Sappho, Laura, Beatrice and Helen of Troy.

Of the cenotaphs and funeral monuments the most splendid is the monument to the archduchess Archduchess Maria Christina, Duchess of Teschen, consisting of nine figures.

Besides the two for the Roman Pontiffs already mentioned, there is one for Alfieri, another for Emo, a Venetian admiral, and a small model of a cenotaph for Horatio Nelson, besides a great variety of monumental relieves.

A BRIEF HISTORY OF THE MUSEUM

The Metropolitan Museum of Art was founded in 1870 by a group of American citizens – businessmen and financiers as well as leading arists and thinkers of the day – who wanted to create a museum to bring art and art education to the American people.

The Metropolitan's paintings collection also began in 1870, when three private European collections, 174 paintings in all, came to the Museum. A variety of excellent Dutch and Flemish paintings, including works by such artists as Hals and Van Dyck, was supplemented with works by such great European artists as Poussin, Tiepolo, and Guardi.

The collections continued to grow for the rest of the 19th century – upon the death of John Kensett, for example, 38 of his canvases came to the Museum. But it is the 20th century that has seen the Museum's rise to the position of one of the world's great art centers. Some highlights: a work by Renoir entered the Museum as early as 1907 (today the Museum has become one of the world's great repositories of Impressionist and Post-Impressionist art)...in 1910 the Metropolitan was the first public institution to accept works of art by Matisse...by 1979 the Museum owned five of the fewer than 40 known Vermeers...the Department of Greek and Roman Art now oversees thousands of objects, including one of the finest collections in glass and silver in the world...The American Wing holds the most comprehensive collection of American art, sculpture, and decorative arts in the world...the Egyptian art collection is the finest outside Cairo...the Islamic art collection is without peer...and so on, through many of the 17 curatorial departments.

In 1880, the Metropolitan Museum moved to its current site in Central Park. The original Gothic-Revival-style building has been greatly expanded in size since then, and the various additions (built as early as 1888) now completely surround the original structure. The present facade and entrance structure along Fifth Avenue were completed in 1926.

A comprehensive architectural plan for the Museum approved in 1971 was completed in 1991. The architects for the project were Kevin Roche John Dinkeloo and Associates, and the overall aim was to make the Museum's collections more accessible to the public, more useful to the scholars and, in general, more interesting and informative to all visitors.

Among the additions to the Museum as part of the master plan are: the Robert Lehman Wing (1975), which houses an extraordinary collection of Old Masters, as well as Impressionist and Post-Impressionist art; the installation in The Sackler Wing of the Temple of Dendur (1978), an Egyptian monument (ca. 15 B.C.) that was given to the United States by Egypt; The American Wing (1980), whose magnificent collection also includes 24 period rooms offering an unparalleled view of American art history and domestic life; The Michael C. Rockefeller Wing (1982) for the display of the arts of Africa, Oceania, and the Americas; the Lila Acheson Wallace Wing (1987), which houses modern art; and the Henry R. Kravis Wing, devoted to European sculpture and decorative arts from the Renaissance to the beginning of the 20th century.

With the building now complete, the Metropolitan Museum continues to refine and reorganize the collections in its existing spaces. In June 1998, the Arts of Korea gallery opened to the public, completing a major suite of galleries – a "museum within the Museum" – devoted to the arts of Asia. In October 1999 the renovated Ancient Near Eastern Galleries reopened. And a complete renovation and reinstallation of the Greek and Roman Galleries is underway: the first phase, The Robert and Renée Belfer Court for early Greek art, opened in June 1996; the New Greek Galleries premiered in April 1999; and in April 2000 the Cypriot Galleries will open to the public.

Antonio Canova (Possagno, 1 de Novembro de 1757 — Veneza, 13 de Outubro de 1822) foi um desenhista, pintor, antiquário e arquiteto italiano, mas é mais lembrado como escultor, desenvolvendo uma carreira longa e produtiva. Seu estilo foi fortemente inspirado na arte da Grécia Antiga, suas obras foram comparadas por seus contemporâneos com a melhor produção da Antiguidade, e foi tido como o maior escultor europeu desde Bernini, sendo celebrado por toda parte. Sua contribuição para a consolidação da arte neoclássica só se compara à do teórico Johann Joachim Winckelmann e à do pintor Jacques-Louis David, mas não foi insensível à influência do Romantismo. Não teve discípulos regulares, mas influenciou a escultura de toda a Europa em sua geração, atraindo inclusive artistas dos Estados Unidos, permanecendo como uma referência ao longo de todo o século XIX especialmente entre os escultores do Academismo. Com a ascensão da estética modernista caiu no esquecimento, mas sua posição prestigiosa foi restabelecida a partir de meados do século XX. Também manteve um continuado interesse na pesquisa arqueológica, foi um colecionador de antiguidades e esforçou-se por evitar que o acervo de arte italiana, antiga ou moderna, fosse disperso por outras coleções do mundo. Considerado por seus contemporâneos um modelo tanto de excelência artística como de conduta pessoal, desenvolveu importante atividade beneficente e de apoio aos jovens artistas. Foi Diretor da Accademia di San Luca em Roma e Inspetor-Geral de Antiguidades e Belas Artes dos estados papais, recebeu diversas condecorações e foi nobilitado pelo papa Pio VII com a outorga do título de Marquês de Ischia.[1][2][3]

ntonio Canova era filho de um escultor de algum mérito, Pietro Canova, que faleceu quando o filho tinha cerca de três anos. Um ano depois sua mãe, Angela Zardo, também o deixou, casando com Francesco Sartori e entregando o menino aos cuidados de seu avô paterno, Passino Canova, também escultor, e de sua tia Caterina Ceccato. Teve um meio-irmão das segundas núpcias de sua mãe, o abade Giovanni Battista Sartori, de quem se tornou amigo íntimo, e que foi seu secretário e executor testamentário. Aparentemente seu avô foi o primeiro a notar seu talento, e assim que Canova pôde segurar um lápis foi iniciado nos segredos do desenho. Sua juventude foi passada em estudos artísticos, mostrando desde cedo predileção pela escultura. Com nove anos já foi capaz de produzir dois pequenos relicários em mármore, que ainda existem, e desde então seu avô o empregou para diversos trabalhos. O avô era patrocinado pela rica família Falier de Veneza, e através dele Canova foi apresentado ao senador Giovanni Falier, que se tornou seu assíduo protetor, e cujo filho Giuseppe se tornou um dos seus mais constantes amigos. Através de Falier, Canova, com cerca de 13 anos, foi colocado sob a orientação de Giuseppe Torretto, um dos mais notáveis escultores do Vêneto em sua geração. Seu estudo foi facilitado pelo acesso que teve a importantes coleções de estatuária antiga, como as mantidas pela Academia de Veneza e pelo colecionador Filippo Farsetti, que foi-lhe útil estabelecendo novos contatos com ricos patronos. Logo suas obras foram elogiadas pela precoce virtuosidade, capacitando-o a receber suas primeiras encomendas, entre elas duas cestas de frutas em mármore para o próprio Farsetti, muito admiradas. A cópia que fez em terracota dos célebres Lutadores Uffizi valeu-lhe o segundo prêmio na Academia.[4][5]

Com a morte de Torretto a continuidade da instrução de Canova foi confiada a Giovanni Ferrari, sobrinho do outro, mas permaneceu com ele apenas um ano. Então, com apenas dezesseis anos, decidiu iniciar o trabalho por conta própria, e logo recebeu de Falier a encomenda para estátuas representando Orfeu e Eurídice. O conjunto, acabado entre 1776-77, resultou tão bem e atraiu tanto aplauso que seus amigos já previam para ele um futuro brilhante.[5] Nele, e em outro grupo importante, representando Dédalo e Ícaro (1778-79), o escultor já mostrava grande maturidade. Seu estilo nessa fase, se tinha um caráter ornamental típico do Rococó, era também vigoroso, e ao mesmo tempo se distinguia da tradição naturalista da arte veneziana e evidenciava uma tendência à idealização que adquirira com seus estudos dos clássicos.[4]

O grande progresso de Canova levou Falier a organizar sua ida para Roma, a fim de que se aperfeiçoasse. Roma nessa época era o mais importante centro de peregrinação cultural da Europa e uma meta obrigatória para qualquer artista que aspirasse à fama. Com sua pletora de monumentos antigos e grandes coleções, numa fase em que estava em pleno andamento a formação do Neoclassicismo, a cidade era toda um grande museu, e oferecia inúmeros exemplares autênticos para estudo em primeira mão da grande produção artística do passado clássico. [4] Antes de sua partida seus amigos conseguiram-lhe uma pensão de 300 ducados anuais, que se manteria por três anos. Também obteve cartas de apresentação para o embaixador veneziano na cidade, o Cavalier Girolamo Zulian, um ilustrado patrono das artes, que o recebeu com grande hospitalidade quando o artista chegou ali em torno de 1779 (Cf. nota: [6]), e providenciou a primeira exibição pública, em sua própria casa, de um trabalho do artista, uma cópia do grupo de Dédalo e Ícaro que mandou vir de Veneza e que suscitou a admiração de quantos a viram. Segundo o relato do conde Leopoldo Cicognara, um de seus primeiros biógrafos, apesar da aprovação unânime da obra Canova sentiu enorme embaraço naquele momento, falando muitas vezes dele anos mais tarde como um dos episódios mais tensos de sua vida. Através de Zulian Canova foi assim introduzido, com um sucesso imediato, na populosa comunidade local de intelectuais, onde brilhavam o arqueólogo Gavin Hamilton, os colecionadores sir William Hamilton e o cardeal Alessandro Albani, e o antiquário e historiador Johann Joachim Winckelmann, o principal mentor do Neoclassicismo, entre tantos outros que partilhavam de seu amor aos clássicos.[5][7]

Em Roma Canova pôde aprofundar o estudo das mais importantes relíquias da Antigüidade, completar sua educação literária, aperfeiçoar sua fluência no francês e colocar-se na competição com os melhores mestres da época.[8] O resultado ficou além de suas próprias expectativas. Sua primeira obra produzida em Roma, patrocinada por Zulian, foi Teseu vencendo o Minotauro (1781), que foi recebida com grande entusiasmo, a ponto de ser declarada como o marco inaugural de uma nova era para as artes. Em seguida esculpiu um pequeno Apolo em ato de coroar a si mesmo (1781-82), para o senador Abondio Rezzonico, uma estátua de Psiquê (1793) para Zulian, e passou a contar com o apoio de Giovanni Volpato, que abriu-lhe outras portas, entre elas a do Vaticano. Nesse período estabeleceu uma ligação tumultuada com a filha de Volpato, Domenica.[9][7]

Sua próxima encomenda, acertada por intermédio de Volpato, foi um monumento fúnebre ao papa Clemente XIV, mas para aceitá-la decidiu pedir permissão ao Senado de Veneza, em consideração à pensão que lhe haviam conseguido. Sendo concedida, fechou sua oficina em Veneza e voltou imediatamente para Roma, onde abriu um novo atelier nas imediações da Via del Babuino, onde os dois anos seguintes foram passados para a conclusão do modelo, e outros dois gastos na realização da obra, que foi finalmente inaugurada em 1787, atraindo o elogio dos maiores críticos da cidade. Durante esse período se engajou paralelamente em projetos menores, alguns baixos-relevos em terracota e uma estátua de Psique. Mais cinco anos foram despendidos na elaboração de um cenotáfio para Clemente XIII, entregue em 1792, que levou sua fama a alturas ainda maiores.[9]

Nos anos seguintes, até o encerramento do século, Canova se aplicou com ingente empenho em produzir um significativo conjunto de novas obras, entre elas vários grupos de Eros e Psiquê, em atitudes diferentes, que lhe valeram um convite para que se instalasse na corte russa, mas declarando sua íntima ligação com a Itália, declinou. Outras foram a Despedida de Vênus e Adônis, o grupo Hércules furioso lançando Licas ao mar, uma estátua de Hebe, e uma primeira versão da Madalena penitente. Mas o esforço foi excessivo para sua saúde, e o uso continuado de um apetrecho de escultura chamado trapano, que comprime o peito, provocou o afundamento de seu esterno. Sentindo-se exausto após tantos anos de atividades intensas e ininterruptas, e em vista da ocupação francesa de Roma em 1798, retirou-se para Possagno, onde aplicou-se à pintura, e logo seguiu em uma excursão de recreio pela Alemanha em companhia de seu amigo o Príncipe Rezzonico. Também passou pela Áustria, onde recebeu a encomenda de um cenotáfio para a arquiduquesa Maria Cristina, filha de Francisco I, que resultou anos mais tarde em uma obra majestosa, a melhor que produziu nesse gênero. Nessa mesma ocasião foi induzido a enviar para a capital austríaca o grupo de Teseu matando o centauro, que havia sido destinado para Milão, e que foi instalado em um templo em estilo grego construído especialmente para esse fim nos jardins do Palácio de Schönbrunn.[9]

Em sua volta a Roma em 1800, revigorado, produziu em poucos meses uma das suas composições mais aclamadas, o Perseu com a cabeça da Medusa (1800-01), inspirado livremente no Apolo Belvedere e julgado digno de ombrear com ele, e que lhe valeu o título de Cavalier, concedido pelo papa. Em 1802 foi convidado por Napoleão Bonaparte para visitar Paris e criar uma estátua sua, e segundo o testemunho de seu irmão, que o acompanhara, o escultor e o estadista mantiveram conversações em um nível de grande franqueza e familiaridade. Também encontrou o pintor Jacques-Louis David, o mais importante dos neoclássicos franceses.[10]

Em 10 de agosto de 1802 o papa Pio VII indicou o artista como Inspetor-Geral das Antiguidades e Belas Artes do Vaticano, posto que conservou até sua morte. Além de ser um reconhecimento de sua obra escultórica, a indicação implicava que ele também era considerado um conhecedor, com a capacidade de julgar a qualidade das obras de arte e um interesse em preservar as coleções papais. Entre as atribuições do cargo estavam a responsabilidade pela emissão de autorizações para escavações arqueológicas e a supervisão dos trabalhos de restauro, aquisição e exportação de antiguidades, além da supervisão sobre a instalação e organização de novos museus nos estados papais. Ele inclusive comprou 80 peças antigas com seus próprios recursos e as doou para os Museus Vaticanos. Entre 1805 e 1814 foi quem decidiu sobre a vinda de todos os artistas bolsistas italianos para aperfeiçoamento em Roma. Em 1810 foi indicado para a presidência da Accademia di San Luca, a mais importante instituição artística da Itália em sua época, e permaneceu como um baluarte de estabilidade na esfera cultural romana ao longo do turbulento período da ocupação francesa, sendo confirmado em suas posições por Napoleão. Sua missão administrativa culminou com a incumbência de resgatar, em 1815, o espólio artístico arrebatado da Itália pelo imperador francês, e por seu zelo e esforço conseguiu resolver o difícil trabalho de acomodar interesses internacionais divergentes e recuperar diversos tesouros para sua pátria, entre eles obras de Rafael Sanzio, o Apolo Belvedere, a Vênus Medici e o Laocoonte.[11][12]

No outono deste ano pôde realizar o sonho há muito acalentado de viajar a Londres, onde foi recebido com grande consideração. Sua viagem tinha dois propósitos primários: agradecer a ajuda que o governo britânico lhe dera da recuperação do acervo italiano confiscado, e conhecer os Mármores de Elgin, um grande conjunto de peças removidas do Partenon de Atenas, criadas por Fídias e seus assistentes, conhecimento que para ele foi uma revelação, contribuindo para confirmar sua impressão de que a arte grega era superior pela qualidade de seu acabamento e pela sua atenção à natureza. Ele também foi solicitado a dar seu parecer de perito sobre a importância do conjunto, que estava sendo posto à venda por Lord Elgin para a Coroa, e expressou-se nos termos mais elogiosos, mas recusou-se a restaurá-las, conforme foi convidado a fazê-lo, considerando que deviam permanecer como testemunhos autênticos da grande arte grega.[13] Voltando a Roma em 1816 com as obras devolvidas pela França, foi recebido em triunfo e recebeu do papa uma pensão de 3 mil escudos, tendo seu nome inscrito no Livro de Ouro do Capitólio com o título de Marquês de Ischia.[3][14]

Então Canova começou a elaborar o projeto para uma outra estátua, monumental, representando a Religião. Não por servilismo, uma vez que era um devoto ardente, mas sua idéia de instalá-la em Roma acabou frustrado mesmo sendo financiado por ele mesmo e estando pronto o modelo em seu tamanho definitivo, que entretanto acabou sendo executado em mármore em tamanho muito reduzido por ordem Lord Brownlow e levado para Londres. Mesmo assim ele decidiu erguer um templo em sua vila natal que conteria aquela escultura conforme seu plano original e outras peças de sua autoria, e nele deveriam, no tempo, repousar suas cinzas. Em 1819 foi lançada a pedra fundamental, e em seguida Canova retornou a Roma, mas a cada outono voltava às obras para acompanhar o seu progresso e instruir os empregados, encorajando-os com recompensas financeiras e medalhas. Mas o empreendimento se revelou excessivamente custoso, e o artista teve de voltar ao trabalho com renovado empenho a despeito de sua idade e doenças. Desta fase são algumas de suas peças mais significativas, como o grupo de Marte e Vênus para a Coroa Inglesa, a estátua colossal de Pio VI, uma Pietà (somente o modelo), outra versão da Madalena penitente. Sua última obra acabada foi um enorme busto de seu amigo o Conde Cicognara.[15]

Em maio de 1822 visitou Nápoles para superintender a construção do modelo para uma estátua eqüestre do Rei Fernando IV de Nápoles, mas o trajeto cobrou caro de sua saúde. Voltando a Roma, recuperou-se, mas em sua visita anual a Possagno já chegou lá doente, e recusando o repouso seu estado piorou. Então foi levado a Veneza, onde faleceu lúcido e serenamente. Suas últimas palavras foram "Anima bella e pura" (alma bela e pura), que pronunciou várias vezes antes de expirar. Testemunhos de amigos presentes em seu transpasse dizem que seu semblante foi adquirindo uma crescente radiância e expressividade, como se estivesse absorvido em uma contemplação extática. A autópsia realizada em seguida revelou uma obstrução do intestino por uma necrose na altura do piloro. Seu funeral, realizado em 25 de outubro de 1822, foi cercado das mais altas honras, entre a comoção de toda a cidade, e os acadêmicos disputaram para carregar seu caixão. Seu corpo foi em seguida sepultado em Possagno e seu coração foi depositado em uma urna de pórfiro mantida na Academia de Veneza. Sua morte gerou luto em toda a Itália, e as homenagens fúnebres ordenadas pelo papa em Roma foram assistidas por representantes de várias casas reais da Europa. No ano seguinte começou a ser erguido um cenotáfio para ele, a partir de um modelo que havia sido criado pelo próprio Canova em 1792 por encomenda de Zulian, originalmente para celebrar o pintor Ticiano, mas que não havia sido realizado. Hoje o monumento pode ser visitado na Basílica de Santa Maria Gloriosa dei Frari, em Veneza.[15]

Segundo a Memória Biográfica sobre o artista deixada pelo seu amigo íntimo o Conde Cicognara, Canova manteve ao longo de toda sua vida hábitos frugais e uma rotina regular. Acordava cedo e imediatamente começava a trabalhar. Após o almoço costumava retirar-se para um breve repouso. Teve uma doença crônica de estômago que permanece não identificada, que causava dores severas em ataques que se sucederam ao longo de toda sua vida. Parece ter nutrido uma fé religiosa profunda e sincera. Não manteve uma vida social especialmente brilhante, embora fosse constantemente solicitado para frequentar os círculos de personalidades ilustres que o admiravam, mas era comum que recebesse amigos em sua própria casa após sua jornada de trabalho, à noite, quando se revelava um anfitrião de modos finos, inteligente, afável e caloroso. Segundo suas próprias palavras, suas esculturas eram a única prova de sua existência civil. Parece que em duas ocasiões esteve perto de contrair matrimônio, mas permaneceu solteiro por toda a vida. Seu grupo de amigos, porém, era grande e a eles dedicava um afeto intenso e elevado. Não manteve discípulos regulares, mas se notava talento superior em algum artista iniciante não poupava bons conselhos e encorajamento. Muitas vezes apoiou financeiramente jovens promissores e buscou-lhes encomendas. Mesmo sempre às voltas com muito trabalho, não hesitava em abandonar seu atelier assim que fosse chamado por outro artista para dar sua opinião sobre assuntos de arte ou oferecer conselhos técnicos.[16]

Alimentou um perene entusiasmo pelo estudo da arte antiga e pela arqueologia. Gostava da literatura clássica e fazia frequentes leituras, mas de hábito alguém lia para ele enquanto trabalhava. Considerava a leitura de bons autores um recurso indispensável para aperfeiçoamento pessoal e de sua arte. Não foi um escritor, mas manteve profusa correspondência com amigos e intelectuais, onde se evidencia um estilo de escrita claro, simples e vívido, que foi-se refinando ao longo dos anos sem perder sua força e espontaneidade. Uma de suas cartas de 1812 atesta que chegou a pensar em publicar algo sobre sua arte em seus princípios gerais, mas não o concretizou. Contudo, em segredo muitas de suas observações e idéias foram registradas por seu círculo de associados e tornadas públicas mais tarde. Parecia ser imune à inveja, à crítica e à bajulação, e nunca se afligiu com o sucesso alheio; ao contrário, não economizava elogios quando percebia grandeza na obra de seus colegas de ofício, e manifestava gratidão por conselhos ou reparos que julgava justos e apropriados. Quando uma crítica contundente apareceu publicada em um jornal de Nápoles, dissuadiu seus amigos que queriam prover uma réplica, dizendo que seu trabalho se encarregaria de dar a resposta adequada.[17] As relações de Canova com a política de seu tempo são exemplificadas nas obras que criou para a Casa da Áustria e a Casa de Bonaparte, onde os desejos de legitimação e glorificação dos governantes entraram em conflito com a postura politicamente neutra que o escultor desejava manter. Teve obras recusadas ou severamente criticadas por ambas por não se enquadrarem naqueles desejos, como o grupo de Hércules furioso que lança Licas ao mar (1795), rejeitado pelo imperador austríaco, e o mesmo acontecendo com o retrato alegórico que fez para Napoleão como Marte pacificador.[18] Sua opinião a respeito de Napoleão tem sido descrita como ambígua, sendo ao mesmo tempo um admirador, aceitando da sua família várias encomendas, e um crítico, especialmente pela sua invasão da Itália e o confisco de um grande acervo de obras de arte italianas.[19]

Apreciava o sucesso de suas obras e era vivamente grato por isso, mas nunca evidenciou que um desejo de glória pessoal fosse seu objetivo primário, apesar de ter sido um dos artistas de seu tempo mais expostos aos perigos da celebridade, pois recebeu diversas condecorações e a proteção de muitos nobres importantes, foi ele mesmo nobilitado em vários Estados da Europa, incumbido de altos cargos públicos e incluído como membro em muitas academias de arte mesmo sem jamais tê-lo solicitado. Gastou boa parte da fortuna que veio a acumular em obras de caridade, no fomento de associações de classe e no apoio aos jovens artistas. Em várias ocasiões adquiriu com recursos próprios obras de arte para museus públicos e coleções de livros para bibliotecas, não raro fazendo suas doações anonimamente. Também em vários momentos precisou ser alertado para não dissipar seus rendimentos com os problemas alheios.[20][8]

Seu permanente fascínio pela antiguidade clássica fez com que ele acumulasse uma significativa coleção de peças arqueológicas de mármore e terracota. Sua coleção de placas de terracota da Campania era especialmente interessante, embora nunca citada nas suas primeiras biografias. As peças eram em sua maioria fragmentárias, mas muitas estavam íntegras e eram de alta qualidade, e as tipologias que ele preferiu reunir evidenciam que ele estava à frente das tendências museológicas e colecionistas de seu tempo. O seu interesse pelo material estava ligado ao uso da argila para criar os modelos de suas obras em mármore, e ele a preferia antes do que o gesso por ser mais fácil de trabalhar, e a empregava também para a elaboração dos relevos que ele chamava "de recreação privada", onde representava cenas que encontrava em suas leituras de Homero, Virgílio e Platão.[21]

1993 Daimler Double Six auto.

Anglia Car Auctions, King's Lynn -

"V5 Present

Chassis number: SAJDKALS3AR676746

Part of a small collection, this car is being offered on behalf of the executor's. Acquired by the vendor in 2015. It comes with MoT's from 1998 to 2017, a file of service and parts invoices dating between 1998 and 2017, a copy of the original service book with nine stamps from 1994 to 2001, a Jaguar issued 1997 warranty and handbook (poor condition). The registration number is L357 RVC. Mileage recorded at 93,185."

Sold for £1300 including premium.

A scene from "The Empire strikes back" in "Klotzkopf-Style". A diaorama created for the book "Build your own galaxy": www.amazon.de/Build-Your-Own-Galaxy-Unofficial/dp/3868527...

Leith Hill was owned by the Evelyn family of Wotton House from the 17th to the early 20th centuries. On the death of Lt. John Evelyn in 1922, the executors of his will were required to raise money to pay death duties and they therefore offered the Tower and the surrounding five acres of Leith Hill for sale. After a campaign, organised in part by the Commons and Footpath Preservation Society, the land was bought by Wilfred James MacAndrew (a resident of Reigate and former co-owner of the shipping company MacAndrew & Co) and donated to the National Trust.

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► Instructions for the model available on thecreatorrmocs.com

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My new Star Destroyer Command Bridge diorama featuring the iconic bounty hunter briefing by Darth Vader from Star Wars: The Empire Strikes Back.

The model is built of 1175 pieces and includes one crew pit with printed control consoles and seats for 3x minifigures, a side viewport, and more. An all-black frame makes for a premium display.

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Reedham is a village and parish in Norfolk. It is on the north bank of the River Yare, 12 miles (19 km) east of Norwich, and 7.5 miles (12.1 km) south-west of Great Yarmouth. The parish includes a significant area of nearby marshland, together with the famously isolated settlement of Berney Arms.

The village's name means 'reedy homestead/village' or 'reedy hemmed-in land'.

Before the draining of the marshes towards Great Yarmouth, Reedham was a coastal village, which in Roman times was said to included a lighthouse. Fragments of Roman brick and stone can be found in the north wall of the parish church of St. John the Baptist. The church was constructed around 1100, and the tower was added in the mid 15th century, the result of bequests. A fire in 1981 gutted the church, which has been restored. Reedham is one of the oldest recorded religious establishments in Norfolk. Records show that a church, founded by Bishop Felix of Dunwich, stood on the site present church in the 7th. century.

As a seat of the kings of East Anglia, King Edmund is said to have lived in Reedham. Ledend says that the Danish prince, Ragnor Lothbroc, landed in the village during a storm. He was murdered by one of Edmunds servants, and this led to the 20,000 strong Danish Viking invasion of England and the martyrdom of Edmund in 870.

The Fastolf family, whose most celebrated member was Sir John Fastolf, are recorded at Reedham from the 13th. century. During the last decade of his life Fastolf was a close political ally and friend of John Paston. Fastolf's deathbed testament naming Paston as his executor and heir led to many years of litigation. Paston's wife Margaret (c.1421 to 1484), was the writer of 104 of the 'Paston Letters', Most of the Paston letters and associated documents are now in the British Library, but some are in Oxford and Cambridge. Margaret gave money, along with Thomas Berney, for the building of the church tower. She is said to have lived in Reedham, but this may not be true.

Reedham Ferry, a chain ferry to the west of the village, is the only road crossing point on the River Yare between Norwich and Great Yarmouth. There has been a crossing at Reedham since the early 17th. century.

This metal sign is on the quay beside the River Yare. There is an older wooden sign with the same design close to the village school.

The sign shows a woman with the church of St. John the Baptist in the background. Some say the woman is Margaret Paston but it could also be a member of the Berney family, who have a much stronger link to Reedham than the Pastons.

On the woman's left is a Viking longship and on her right a Norfolk Wherry with Polkey's Mill in the background. On the spandrels are the crests of the Hatton family, left, and the Berney Family, right.

The two birds represent wildlife often seen on the marshes. The brickworks and feathers may represent industries or occupations from Reedham's past.

Whilst coal mining at Fox Clough, Colne, dates back as far as the 17th century, the Engine Pit was developed in 1832 by the executors of John Hargreaves. A large pumping engine was erected in this stone building and the colliery worked the Lower Mountain and Union seams at a depth of 183 feet. The pit was abandoned in 1872 and the enginehouse has slowly deteriorated since then. It has probably survived due to its hidden and inaccessible location.

Any visit to Dorset would be incomplete without mention of Thomas Hardy – so here’s his statue in Dorchester. It was sculpted in 1931 by Eric Kennington.

Undoubtedly one of Britain’s greatest writers, Hardy's work still endures, not only in print but also through radio and television adaptations. Yet at the height of his career, he was heavily criticised by outraged Victorian society for his realistic depiction of education, fate, religion, sex and marriage – and the voices of disapproval reached such a pitch that he gave up prose writing and concentrated instead on his poetry.

Hardy (1840-1928) declined a knighthood but was awarded the Order of Merit, which recognises distinguished service in science, art, literature, the armed forces, or for the promotion of culture.

And here comes the gruesome bit, worthy of any novel: he wanted to be buried in his beloved Dorset, but his executor decided his remains should be interred in Westminster Abbey. So his heart was removed from his body and buried in St Michael’s churchyard in the village of Stinsford; the rest of his remains were cremated and his ashes placed in the abbey’s Poets Corner, next to Charles Dickens.

Originally dating to around 1320, the building is important because it has most of its original features; successive owners effected relatively few changes to the main structure, after the completion of the quadrangle with a new chapel in the 16th century. Pevsner described it as "the most complete small medieval manor house in the county", and it remains an example that shows how such houses would have looked in the Middle Ages. Unlike most courtyard houses of its type, which have had a range demolished, so that the house looks outward, Nicholas Cooper observes that Ightham Mote wholly surrounds its courtyard and looks inward, into it, offering little information externally.[9] The construction is of "Kentish ragstone and dull red brick,"[10] the buildings of the courtyard having originally been built of timber and subsequently rebuilt in stone.[11]

The moat of Ightham Mote

The house has more than 70 rooms, all arranged around a central courtyard, "the confines circumscribed by the moat."[10] The house is surrounded on all sides by a square moat, crossed by three bridges. The earliest surviving evidence is for a house of the early 14th century, with the great hall, to which were attached, at the high, or dais end, the chapel, crypt and two solars. The courtyard was completely enclosed by increments on its restricted moated site, and the battlemented tower was constructed in the 15th century. Very little of the 14th century survives on the exterior behind rebuilding and refacing of the 15th and 16th centuries.

The structures include unusual and distinctive elements, such as the porter's squint, a narrow slit in the wall designed to enable a gatekeeper to examine a visitor's credentials before opening the gate. An open loggia with a fifteenth-century gallery above, connects the main accommodations with the gatehouse range. The courtyard contains a large, 19th century dog kennel.[12] The house contains two chapels; the New Chapel, of c.1520, having a barrel roof decorated with Tudor roses. [13] Parts of the interior were remodelled by Richard Norman Shaw.[14] wikipedia

16th century-late 19th century

The house remained in the Selby family for nearly 300 years.[3] Sir William was succeeded by his nephew, also Sir William, who is notable for handing over the keys of Berwick-upon-Tweed to James I on his way south to succeed to the throne.[4] He married Dorothy Bonham of West Malling but had no children. The Selbys continued until the mid-19th century when the line faltered with Elizabeth Selby, the widow of a Thomas who disinherited his only son.[5] During her reclusive tenure, Joseph Nash drew the house for his multi-volume illustrated history Mansions of England in the Olden Time, published in the 1840s.[6] The house passed to a cousin, Prideaux John Selby, a distinguished naturalist, sportsman and scientist. On his death in 1867, he left Ightham Mote to a daughter, Mrs Lewis Marianne Bigge. Her second husband, Robert Luard, changed his name to Luard-Selby. Ightham Mote was rented-out in 1887 to American Railroad magnate William Jackson Palmer and his family. For three years Ightham Mote became a centre for the artists and writers of the Aesthetic Movement with visitors including John Singer Sargent, Henry James, and Ellen Terry. When Mrs Bigge died in 1889, the executors of her son Charles Selby-Bigge, a Shropshire land agent, put the house up for sale in July 1889.[6]

Late 19th century-21st century

The Mote was purchased by Thomas Colyer-Fergusson.[6] He and his wife brought up their six children at the Mote. In 1890-1891, he carried out much repair and restoration, which allowed the survival of the house after centuries of neglect.[7] Ightham Mote was opened to the public one afternoon a week in the early 20th century.[7]

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

On Sir Thomas's death in 1951, the property and the baronetcy passed to Max's son, James. The high costs of upkeep and repair of the house led him to sell the house and auction most of the contents. The sale took place in October 1951 and lasted three days. It was suggested that the house be demolished to harvest the lead on the roofs, or that it be divided into flats. Three local men purchased the house: William Durling, John Goodwin and John Baldock. They paid £5,500 for the freehold, in the hope of being able to secure the future of the house.[8]

In 1953, Ightham Mote was purchased by Charles Henry Robinson, an American of Portland, Maine, United States. He had known the property when stationed nearby during the Second World War. He lived there for only fourteen weeks a year for tax reasons. He made many urgent repairs, and partly refurnished the house with 17th-century English pieces. In 1965, he announced that he would give Ightham Mote and its contents to the National Trust. He died in 1985 and his ashes were immured just outside the crypt. The National Trust took possession in that year.[8]

In 1989, the National Trust began an ambitious conservation project that involved dismantling much of the building and recording its construction methods before rebuilding it. During this process, the effects of centuries of ageing, weathering, and the destructive effect of the deathwatch beetle were highlighted. The project ended in 2004 after revealing numerous examples of structural and ornamental features which had been covered up by later additions.[1]

Name: John T. Ingleson

Arrested for: not given

Arrested at: North Shields Police Station

Arrested on: 30 March 1915

Tyne and Wear Archives ref: DX1388-1-260-John T Ingleson

The Shields Daily News for 7 April 1915 reports:

“BREAKING AND ENTERING. SOLDIERS COMMITTED FOR TRIAL AT NORTH SHIELDS.

Frederick Jones (19) and John Thomas Ingleson (19), soldiers, stationed at Earsdon, were brought up on remand at North Shields today charged with breaking and entering on the 30th March a dwelling house, situated at 9 Lovaine Terrace and stealing 16 knives, a cruet, clock, pair of scissors, case of needles, silver tray and two salt cellars valued at £3 7s 6d the property of the executors of the late Thomas Williamson.

They were also charged with breaking and entering between 10pm on the 29th ult. and 7.45am on the 30th ult. a confectioner’s shop in Queen Alexandra Road and stealing two loaves of bread, valued at 7d, the property of Messrs Patterson and Reed.

George Anderson, a cashier, identified the goods as the property of the executors of the late Mr Williamson. PC John Dixon stated that at 2.50am on the 30th ult. he found a window broken at 9 Lovaine Terrace. He lifted the sash and upon shining his lamp around the room he saw Jones behind a bookcase and the other man crouching in a corner. Witness arrested defendants and on searching them at the police station found the goods mentioned in their possession…

Det.-Insp. said that on the morning of the 30th, from what Jones told him, he examined Messrs Patterson and Reed’s shop and found a large stone, which exactly fitted the break in the window. Afterwards witness jointly charged both men and Jones replied, “We did it” and Ingleson said, “I say the same”. When formally charged with the first offence Jones said, “We took them” and Ingleson said, “We wanted to get in there mostly to get some clothes”. Replying to the second charge, defendants both said they wanted something to eat. They were committed for trial at the Quarter Sessions and the magistrates complimented PC Dixon upon his smart capture. On the recommendation of Chief Constable Huish, the Watch Committee have granted the merit badge to PC Dixon.”

The Shields Daily News for 9 April 1915 reports:

“SHOP BREAKING BY SOLDIERS AT NORTH SHIELDS

Frederick Jones, 19, and John Thomas Ingleson, 19, privates in the Duke of Wellington’s First Riding Regiment, stationed at Earsdon, were charged with having broken into the unoccupied house of the late Mr Thomas Williamson, Lovaine House, Lovaine Terrace, North Shields on March 30 and with having stolen various goods, valued at £3 7s 6d. They were also charged with the theft of two loaves of bread from the confectionery shop of Messrs Patterson and Reed at North Shields on the same date. Accused pleaded guilty.

An officer from the prisoners’ regiment said they were indifferent soldiers, because they had repeatedly absented themselves without leave. The officer knew nothing about the men’s records and said that was a matter that was not very carefully gone into at this time.

The Chairman said he observed from the depositions taken at the police court that Jones said, “We wanted money and clothes. I have soldiered for six months for a shilling. I got 90 days pay stopped.”

The officer said it was true that Jones had lost a great deal of his pay but that was for absenting himself from his regiment. The balance of the account was on the other side.

Jones, who was convicted of wilful damage at Dublin in May last, was sentenced to six months’ imprisonment with hard labour on each charge, to run concurrently. Ingleson was sentenced to four months imprisonment with hard labour”.

These images are taken from an album of photographs of prisoners brought before the North Shields Police Court between 1902 and 1916 (TWAM ref. DX1388/1). This set is our selection of the best mugshots taken during the First World War. They have been chosen because of the sharpness and general quality of the images. The album doesn’t record the details of each prisoner’s crimes, just their names and dates of arrest.

In order to discover the stories behind the mugshots, staff from Tyne & Wear Archives & Museums visited North Shields Local Studies Library where they carefully searched through microfilm copies of the ‘Shields Daily News’ looking for newspaper reports of the court cases. The newspaper reports have been transcribed and added below each mugshot.

Combining these two separate records gives us a fascinating insight into life on the Home Front during the First World War. These images document the lives of people of different ages and backgrounds, both civilians and soldiers. Our purpose here is not to judge them but simply to reflect the realities of their time.

(Copyright) We're happy for you to share this digital image within the spirit of The Commons. Please cite 'Tyne & Wear Archives & Museums' when reusing. Certain restrictions on high quality reproductions and commercial use of the original physical version apply though; if you're unsure please email archives@twmuseums.org.uk.

brick count 7312, 132cm long, 47cm wide.

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"Authority of Law"

also known as Guardian or Executor of Law

sculptor: James Earle Fraser

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The United States Supreme Court Building

also known as: the Temple of Justice (former site of the Old Brick Capitol)

architect: Cass Gilbert, Cass Gilbert Jr., 1935

architectural style: Neoclassical

Capitol Hill

1 First Street, NE

Washington, District of Columbia

Hughenden Manor, Hughenden, Buckinghamshire, England, is a Victorian mansion, with earlier origins, that served as the country house of the Prime Minister, Benjamin Disraeli, 1st Earl of Beaconsfield. It is now owned by the National Trust and open to the public. It sits on the brow of the hill to the west of the main A4128 road that links Hughenden to High Wycombe.

History

The manor of Hughenden is first recorded in 1086, as part of Queen Edith's lands, and held by William, son of Oger the Bishop of Bayeux, and was assessed for tax at 10 hides. After his forfeiture, the lands were held by the Crown, until King Henry I of England gave the lands to his chamberlain and treasurer, Geoffrey de Clinton.[1] Clinton, whose main home was in Kenilworth, Warwickshire, had the lands tenanted by Geoffrey de Sancto Roerio, who resultantly changed his surname to the Anglicised Hughenden.[1] After passing through that family, with successive Kings having to confirm the gift of the lands, the manor returned to the Crown in the 14th century.[1] In 1539, the Crown granted the manor and lands to Sir Robert Dormer, and it passed through his family until 1737 when it was sold by the 4th Earl of Chesterfield to Charles Savage.[1]

After passing through his extended family following a series of deaths and resultant devises by will, by 1816 the manor and lands were owned by John Norris, a distinguished antiquary and scholar.[1] Isaac D'Israeli, the father of Benjamin Disraeli, Prime Minister of the United Kingdom (1868 and 1874–1880, and Earl of Beaconsfield 1876), had for some time rented the nearby Bradenham Manor and, following Norris's death in 1845, bought the manor and lands from his executors in 1847.[1] The purchase was supported with the help of a loan of £25,000 (equivalent to almost £1,500,000 today) from Lord Henry Bentinck and Lord Titchfield. This was because at the time, as Disraeli was the leader of the Conservative Party, "it was essential to represent a county," and county members had to be landowners.[2] Taking ownership of the manor on the death of his father in 1848, Disraeli and his wife Mary Anne, alternated between Hughenden and several homes in London.

Newton House, Elgin

Tall 2-storey and attic house over raised basement (3-storey, U-plan rear), 5-bays, S facing. Harled with tooled and polished ashlar margins and dressings. Plain late 18th century house with 1852 embellishments, particularly to upper storey. Advanced and gabled centre bay with 1852

porch approached by flight of steps oversailing raised basement; pilastered and corniced entrance with florid Jacobean detailing, lunette and banded obelisk finials; tall canted 1st floor window above. Plain chamfered margins to ground and 1st floor windows; carved and monogrammed pediments to 1852 dormers; corbelled angle bartizans with conical bellcast fishscale slated roofs; moulded corbel and string courses; decorative water spouts. Projecting wing set back at E with raised ground floor canted oriel with corbelled base decorated with masks and with corbelled stone roof. 2 rear wings project to form U-plan service court.

Mainly 4-pane glazing. Crowstepped gables; end batteries of coped stacks with diamond flues; slate roofs. Small sun porch (circa 1975) at W of house.

Newton House built by George Forteath in 1793; it passed to his nephew Alexander Williamson (who took the name of Forteath) in 1815. Alexander Forteath was factor for the Trustees of the Earl of Fife's estates and took an active role in the public life of Moray. The property remained in the Forteath family until the 1930s. (Historic Environment Scotland List Entry)

Development History12 February 1992: The Aberdeen Evening Express reports that the house has been reduced to a shell by fire. The house had sat empty due to the death of its previous occupant, but was due to be marketed. Minimal safety works are subsequently carried out, but further stabilisation works are required. SCT understands that the executors of the house are not in a position to restore or redevelop it themselves. September 1992: A potential restorer reports that the house is being offered by agents at an asking price of £50,000, which includes 7 acres of woodland but not the adjacent cottage. January 1993: SCT understands that negotiations are continuing with the potential restorer, who plans to develop the house as long as enabling development in the grounds is permitted. March 1993: The house enters new ownership. 1994: An application is submitted to convert the house into 3 dwellings. 2 houses would be built within the walled garden, and the steading converted into a house. A further 5 houses would sit in the paddock to the south. Planning Permission is subsequently granted for 13 units in total. November 1996: No works have commenced, although SCT understands that other developers are showing an interest in the property. January 2000: Local planners are unaware of any change. January 2005: From visual inspection - no obvious change to builidng fabric. Property remains at risk.June 2008: External inspection finds the property has stood exposed for several years since the fire (1992) the new owners are clearing the surrounding site and are applying for permission to develop it. It is understood these plans will include the restoration of the shell. The previous planning approvals are understood to have lapsed.5 September 2012: External inspection finds no significant change from the previous site visit. Full Planning Permission for conversion of Newton House to 5 flats was conditionally approved Sept 2009 ref: 08/01414/FUL. Listed Building Consent for 2 dwellings in the walled garden was conditionally granted July 2009 and Outline Planning Permission for 5 plots in a paddock area was conditionally approved on appeal Oct 2011 ref: 10/00001/REF.13 July 2015: External inspection finds the building remains in much the same condition as seen previously.2 October 2015: A member of the public advises Newton House remains fenced off. New build development within the surrounding grounds has taken place.30 December 2016: The property is being marketed for sale, through agents CKD Galbraith, at offers over £50,000.

Wanted to wish everyone the best in 2019 and hope some of you remmeber old Sandi ? 2017 and 18 were not good years for me lost two of my borthers and I was executor for the older one,which took up way more time them I was thinking!! Not like T.V. read the will and go now,very long process and I was very naive to it all. But anyway here are some pictures of the old girl in a dress I got at wallyworld,help that it was the Holidays ez to say just a gift for the wife LOL!!! and no not married LOL. So we have boots,heels and flats. Not looking my best. Hope you like!!

Sandy and I went to my dad's house in southwest Virginia today to move along the arduous process of executor of his estate. It is such a beautiful location, I can see why he loved it so much up here.

La Bodeguita del Medio is a restaurant-bar in Havana, Cuba. La Bodeguita lays claim to being the birthplace of the Mojito cocktail, prepared in the bar since its opening in 1942, although this is disputed. It has been patronized by Salvador Allende, the poet Pablo Neruda, the artist Josignacio and many others. The rooms are full of curious objects, frames, photos, as well as the walls covered by signatures of famous or unknown customers, recounting the island's past.

In 1942, Angel Martínez bought out the small Bodega La Complaciente in Empedrado Street, in the old Havana district. He renamed the place Casa Martínez. Angel Martínez sold typical Cuban products and, from time to time, served dinner to the regulars. But mainly, the people who were found at the Casa Martínez, were there to have a drink with their friends, and savor a brand new cocktail called Mojito, made with rum, mint, sugar, lime and club soda.

In 1949, the cook Silvia Torres aka “la china” prepared the food. Very quickly, the Casa Martínez became the centre of Havana's cultural effervescence. Attracted by the bohemian charm of the place, writers, choreographers, musicians or journalists met there in a convivial ambiance. Encouraged by a need for restaurants in the Old Havana at the end of the 1950s, the place started to serve food to everyone.

On April 26, 1950, the name Bodeguita del Medio was officially adopted.

Among the first clients was Felito Ayon, a charismatic editor, who rubbed shoulders with the avant-garde of Havana, and put Casa Martínez on the map amongst his acquaintances. It is the way Felito Ayon used to indicate the location of the Bodeguita to his friends, that made popular the expression Bodeguita del Medio, that was to become its official name in 1950.

Harry's Bar is a restaurant located at Calle Vallaresso 1323, Venice, Italy, owned by Cipriani S.A.

Harry's Bar was opened in 1931 by Giuseppe Cipriani. According to the company's history, Harry Pickering, a rich young American, had been frequenting the Hotel Europa in Venice, where Cipriani was a bartender. When Pickering suddenly stopped coming to the hotel bar, Cipriani asked him why. Pickering explained that he was broke because his family found out his drinking habits and cut him off financially, and Cipriani lent him 10,000 lire (about $500 US [$7,839 in 2015 dollars]). Two years later, Pickering returned to the hotel bar, ordered a drink, and gave Cipriani 50,000 lire in return. "Mr. Cipriani, thank you," he said, according to the Cipriani website. "Here's the money. And to show you my appreciation, here's 40,000 more, enough to open a bar. We will call it Harry's Bar."

The Italian Ministry for Cultural Affairs declared it a national landmark in 2001.

Harry's Bar has long been frequented by famous people, and it was a favourite of Ernest Hemingway.[1] Other notable customers have included Italian conductor Arturo Toscanini, inventor Guglielmo Marconi, Charlie Chaplin, Alfred Hitchcock, Jimmy Stewart, Richard Halliburton, Truman Capote, Orson Welles, Baron Philippe de Rothschild, Giuseppe Sinopoli, Princess Aspasia of Greece, Aristotle Onassis, Barbara Hutton, Peggy Guggenheim, Tareq Salahi, George Clooney, the Mundys, and Woody Allen.

The bar was also briefly mentioned in the second and subsequent editions of Evelyn Waugh's novel Brideshead Revisited (in the first edition Waugh simply called the bar "the English bar") as a frequent haunt of principal characters Charles Ryder and Sebastian Flyte during their time in Venice.

The Fortune of War Hotel is a heritage-listed pub located at 137 George Street, in the inner city Sydney suburb of The Rocks in the City of Sydney local government area of New South Wales, Australia. It was designed by the Tooth & Co. resident architect and built in 1922 by H. J. & H. W. Thompson. The property is owned by Property NSW, an agency of the Government of New South Wales. It was added to the New South Wales State Heritage Register on 10 May 2002.

The bubonic plague broke out on the waterfront in January 1900, prompting the Government to resume the entire Rocks and Millers Point area. Large scale demolitions followed and the area was administered by the Sydney Harbour Trust, then the Maritime Services Board and in 1970 The Rocks was handed to the Sydney Cove Redevelopment Authority.

The Fortune of War continued to trade until 1920 when Tooth & Co. Ltd. entered into a head-lease with the Sydney Harbour Trust for 45 years. Shortly after this the 19th century building was demolished and the extant hotel constructed. The first month of trading in the new building was in December 1921. In March 1976 Tooth & Co relinquished their head lease to the Sydney Cove Redevelopment Authority.

The site of the Fortune of War was originally part of the first hospital, erected in 1788. By 1790 the original tent hospital had been replaced by a portable hospital which came out with the Second Fleet. After the Rum Hospital opened in 1816 in Macquarie Street the buildings on George Street were demolished and the site became an early quarry.

The site of the Fortune of War was formalised in the survey of the township carried out in the early 1830s, the site was classified as Lot 7 of City Section 84, comprising an area of 1 rod 15 perches. In January 1841 the allotment was officially granted to the trustees, executrix and executors of the estate of the emancipist Samuel Terry, these being Rosetta Terry (widow), John Terry Hughes (nephew and son-in-law), Tom White Melville Winder of Windermere (family friend and long standing business acquaintance) and James Norton (solicitor).

Terry's interest in the site seems to date from at least c. 1823 when an area of "26 rods" situated on the "west side of George Street" was leased to Terry for the term of 21 years. Terry arrived in Sydney in 1801 on a seven-year sentence convicted of theft. He was eventually described as the "Botany Bay Rothschild" and at his death in 1838 left a personal estate of £250,000, an annual rental income from his Sydney properties of £10,000 and "land and property which defies assessment". Terry's business interests included brewing and he was occasionally a publican. On the site of the Fortune of War, Terry constructed a terrace of three buildings (today's 139-143 George Street) completed in the mid to late 1820s. The footprint of this building, a terrace of three with a breakfront is marked in the Robert Russell survey of 1834.

The building was constructed as a Public House known as "The Fortune of War". The first recorded licensee of the public house was John Boreham in 1830 for the sale of wines, malt and liquor. Many publicans were former artisans such as stonemasons, like Boreham, a former miller. In the 1822 Land and Stock Muster Boreham was listed as a miller in government employ on a 14-year sentence. 1828 he was listed in the census as a former convict who arrived in Sydney in 1815 on the "Marquis of Wellington" and employed at that time as a dealer.

From 1833 the publican of the Fortune of War was Walter Nottingham Palmer, where he remained until 1839 when he took over the licence of the New York Tavern, also on George Street. In 1844 the lease of the Fortune of War was renewed by Robert White Moore, although he had held the licence from 1842. The lease was again renewed in 1851 for a further seven years. During this period Moore held a late-night (midnight) licence.

In 1861 Moore acquired the freehold ownership of the property through a purchase from Thomas Smart. Smart's interest in the property originated from a mortgage taken out in 1851 and the partition of the Terry Estate made in 1860. Robert White Moore continued to hold the licence for the hotel up until the time of his death in 1870 when it passed to his relatives. Thomas Moore held it for the 1870 and 1880s and his nephew Benjamin Robert Moore for the 1890s. During this period the hotel was managed by the following publicans:

1978-1987 John Walker Hook and

1987–present (2009) Robert John Keyes.

Keyes was also one of the lessees of the Russell Hotel at 143 George Street and the operation of the two properties merged at this time. The Fortune of War Hotel with its longstanding licence and retention of original bar and fittings contributes to The Rocks as a unique historic neighbourhood.

Temple Bar is an area on the south bank of the River Liffey in central Dublin, Ireland. The area is bounded by the Liffey to the north, Dame Street to the south, Westmoreland Street to the east and Fishamble Street to the west. It is promoted as Dublin's 'cultural quarter' and, as a centre of Dublin's city centre's nightlife, is a tourist destination.

In medieval (Anglo-Norman) times, the name of the district was St. Andrews Parish. It was a suburb, located outside the city walls. But the area fell into disuse beginning in the 14th century because it was exposed to attacks by the native Irish.

The land was redeveloped in the 17th century, to create gardens for the houses of wealthy English families. At that time the shoreline of the River Liffey ran further inland of where it lies today, along the line formed by Essex Street, Temple Bar and Fleet Street. Marshy land to the river side of this line was progressively walled in and reclaimed, allowing houses to be built upon what had been the shoreline; but unusually, the reclaimed land was not quayed, so that the back yards of the houses ran down to the water's edge. (Not until 1812 were these back yards replaced by Wellington Quay.) The fronts of the houses then constituted a new street. The first mention of Temple Bar as the name of this street is in Bernard de Gomme's Map of Dublin from 1673, which shows the reclaimed land and new buildings. Other street names given nearby are Dammas Street (now Dame Street) and Dirty Lane (now Temple Lane South).

It is generally thought that the street known as Temple Bar got its name from the Temple family, whose progenitor Sir William Temple built a house and gardens there in the early 1600s.[5] Temple had moved to Ireland in 1599 with the expeditionary force of the Earl of Essex, for whom he served as secretary. (He had previously been secretary of Sir Philip Sydney until the latter was killed in battle.) After Essex was beheaded for treason in 1601, Temple "retired into private life", but he was then solicited to become provost of Trinity College, serving from 1609 until his death in 1627 at age 72. William Temple's son John became the "Master of the Rolls in Ireland" and was the author of a famous pamphlet excoriating the native Irish population for an uprising in 1641. John's son William Temple became a famous English statesman.

Despite this grand lineage, however, the name of Temple Bar street seems to have been more directly borrowed from the storied Temple Bar district in London, where the main toll-gate into London was located dating back to medieval times.

London's Temple Bar is adjoined by Essex Street to the west and Fleet Street to the east, and streets of the same names occupy similar positions in relation to Dublin's Temple Bar. It seems almost certain therefore that Dublin's Temple Bar was named firstly in imitation of the historic Temple precinct in London. However, a secondary and equally plausible reason for using the name Temple Bar in Dublin would be a reference to one of the area's most prominent families, in a sort of pun or play on words. Or as it has been put more succinctly, Temple Bar 'does honour to London and the landlord in nicely-gauged proportions'.

Fishamble Street near Temple Bar was the location of the first performance of Handel's Messiah on 13 April 1742. An annual performance of the Messiah is held on the same date at the same location. A republican revolutionary group, the Society of the United Irishmen, was formed at a meeting in a tavern in Eustace Street in 1791.

In the 18th century Temple Bar was the centre of prostitution in Dublin. During the 19th century, the area slowly declined in popularity, and in the 20th century, it suffered from urban decay, with many derelict buildings.

In the 1970s and 1980s, the state-owned transport company Córas Iompair Éireann (CIÉ) proposed to buy up and demolish property in the area and build a bus terminus in its place. While that was in the planning stages, the purchased buildings were let out at low rents, which attracted small shops, artists and galleries to the area. The plans included a large underground carpark with 1500 spaces, a shopping centre on the ground and first floors, with the bus station at second floor level accessed by large, long ramps to accommodate double decker buses. Protests by An Taisce, residents and traders led to the cancellation of the bus station project, and then Taoiseach Charles Haughey was responsible for securing funding, and, in 1991, the government set up a not-for-profit company called Temple Bar Properties, managed by Laura Magahy, to oversee the regeneration of the area as Dublin's cultural quarter.

In 1999, "stag parties" and "hen nights" were supposedly banned (or discouraged) from Temple Bar, mainly due to drunken loutish behaviour, although this seems to have lapsed. However, noise and anti-social behaviour remain a problem at night.

The area is the location of a number of cultural institutions, including the Irish Photography Centre (incorporating the Dublin Institute of Photography, the National Photographic Archive and the Gallery of Photography), the Ark Children's Cultural Centre, the Irish Film Institute, incorporating the Irish Film Archive, the Button Factory, the Arthouse Multimedia Centre, Temple Bar Gallery and Studios, the Project Arts Centre, the Gaiety School of Acting, IBAT College Dublin, the New Theatre, as well as the Irish Stock Exchange.

At night the area is a centre for nightlife, with various tourist-focused nightclubs, restaurants and bars. Pubs in the area include The Temple Bar Pub, The Porterhouse, The Oliver St. John Gogarty, The Turk's Head, The Quays Bar, The Foggy Dew, The Auld Dubliner, The Stag's Head, Bad Bobs and Busker's Bar.

The area has two renovated squares – Meetinghouse Square and the central Temple Bar Square. The Temple Bar Book Market is held on Saturdays and Sundays in Temple Bar Square. Meetinghouse Square, which takes its name from the nearby Quaker Meeting House, is used for outdoor film-screenings in the summer months. Since summer 2004, Meetinghouse Square is also home to the 'Speaker's Square' project (an area of public speaking) and to the 'Temple Bar Food Market' on Saturdays.

The 'Cow's Lane Market' is a fashion and design market which takes place on Cow's Lane on Saturdays.

Part of the 13th century Augustinian Friary of the Holy Trinity is visible within an apartment/restaurant complex called 'The Friary'.

Executor and Monarch

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

Credits inside the building instructions. Enjoy!

Listed Building Grade I

List Entry Number : 1283015

Date First Listed : 25 February 1952

College of the Collegiate Parish Church of Manchester, now music school. Established 1422 by Thomas de la Warre; converted after Dissolution in 1547 for use as town house by Earl of Derby; sequestrated during Commonwealth, purchased in 1654 by Humphrey Chetham's executors for adaptation as charity school ("hospital") and library; restored and enlarged 1883-95 by Oliver Heywood and Charles James Heywood.

The GATEHOUSE is 2-storeyed, steeply gabled, and has a moulded 4-centred archway through the ground floor, a small inserted or altered window above and a 4-centred arched doorway to the left of this; and its outer face, an early C19 rebuild, has an oriel window at 1st floor. The rear of the east wing has (inter alia) a massive external chimney stack to the kitchen (with inscription "Rebuilt 1902"), a corbelled garderobe, and a stone platform to the rear of the through-passage. INTERIOR: cavetto-moulded beams, and collar-rafter roofs with arch-braced principals and super-imposed collar purlins, throughout; hall has very large dais canopy at south end with brattished cornice, massive inglenook fireplace in west wall (altered), and tripartite oak screens at north end with moulded rails and brattished tops; screens passage has coupled 2-centred arched service doorways; cloisters have similar doorways to former Fellows' sets, some coupled; stair-turret off north cloister has splat-baluster staircase; Audit Room has muntin-and-rail panelling, moulded plaster floriated frieze, and beams with carved bosses; Reading Room has similar panelling, cavetto moulded wall-plate with portcullis and eagle's claw emblems of Derby family, and very large elaborate tympanum including carved cartouche with helm and mantling, cockerell, etc.; and segmental-vaulted ceiling (inserted before 1654). Kitchen (now Music Library) has fireplace approx. 7m wide with horizontal lintel of joggled blocks under segmental arch approx. 4m high, and in east wall a smaller opening with similar joggled lintel under 2-centred arch (probably also a fireplace); rooms to east of passage have low 2-centred arches in transverse walls.

en.wikipedia.org/wiki/Listed_buildings_in_Manchester_M3

historicengland.org.uk/listing/the-list/list-entry/1283015