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More information here about how I took this photo.
Building instructions and .ldr file available freely here. I strongly advise to have a look at it before doing anything.
Credits inside the building instructions. Enjoy!
Minor design changes may occur during the life of the MOC. When implemented, I make a new post in the album as soon as the building instructions are updated and available (the .zip file will indicate the date of the revision)
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.
The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, 2013, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.
Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater at the end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.
The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.
1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.
Directorate Claus Peymann 1986-1999
Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.
In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.
Directorate Klaus Bachler 1999-2009
Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."
The Burgtheater on the Mozart Year 2006
Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.
Directorate Matthias Hartmann since 2009
From September 2009 to 2014, Matthias Hartmann was Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .
Since 2014, Karin Bergmann is the commander in chief.
Marley was dead: to begin with. There is no doubt whatever about that. The register of his burial was signed by the clergyman, the clerk, the undertaker, and the chief mourner: Ebenezer Scrooge, signed it; and Scrooge and Marley were business partners for I don’t know how many years. Scrooge was his sole executor, his sole administrator, his sole assign, his sole residuary legatee, his sole friend, and sole mourner. And even Scrooge was not so dreadfully cut up by the sad event, but that he was an excellent man of business on the very day of the funeral, and solemnised it with an undoubted bargain. There is no doubt it, old Jacob Marley was as dead as a door-nail. This must be distinctly understood, or nothing wonderful can come of the story I am going to relate.
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!
Dionysos's discovery of Ariadne on Naxos [3rd-4th C AD] - Syria - Kyoto, Japan, Miho Museum - wm; Kimon Berlin
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Surrounded by a running wave pattern that may allude to the island setting of the story, the main scene is framed on each side by a long, rectangular border with a central figural vignette. To the sides of the vignettes are three-dimensionally rendered meanders. In the corners are figural busts. From the orientation of the main panel, the vignettes above and below it, and the busts, the best vantage point for viewing the composition was from the bottom of the central composition. The two vignettes on the sides are oriented so that the bottom of their scenes is turned outward from the central panel. The vignette at the top, in which the central figure is a replacement, shows three men in a canopied boat, perhaps on the Nile or Orontes River. The scene to the right, also heavily restored, features a shepherd, his right leg covered by a himation. He sits on a rocky outcrop, playing his panpipe as a pair of horned cattle search for grass. Along the bottom is an offering scene, in which a veiled woman extends a pair of lighted torches toward a man who is about to slit the throat of an animal before a fire. The sacrifice takes place in front of a temple-like structure with a pedimented facade that sits on a three-tiered platform. On the left side is another bucolic scene, of a shepherd sitting on the ground as a pair of goats graze nearby.
Three of the figures in the corners wear wreaths that identify them as members of Dionysos's retinue. In the upper left corner is Bakche, who personifies the frenzied female followers of Dionysos. In the upper right is Pan the half-goat, half-human son of Hermes, a god of pastures, whose bestial abandon is characterized here by his wildly askew hair. In the bottom right corner is a bust of Lyde, who wears gold fibulae, or pins, at her shoulders. In the lower left is Thiasos, who personifies the entire group of maenads, thyiads, satyrs and silenoi that Dionysos's retinue comprises. The setting of the central panel in a hilly landscape; the smaller outdoor scenes, three of them among hills; and the presence of the rustic deity Pan may allude to the pastoral setting of Dionysiac revels, where delirious maenads were often pursued by lustful satyrs, or to the countryside of the Syrian province the mosaic came from, which was largely farmland.
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Inscribed between Ariadne and Satyros is >Pamphilos Agroikos Ergasato< “Pamphilos made this [image of] Agroikos”, making this one of the rare instances in which a mosaic was signed. Based on the choice of syntax and the conventional nature of the scene, it has been suggested that this inscription, which also appears on another mosaic, identifies the executor of the mosaic rather than the author of the design. It has been further argued that the use of the adjectival noun, Agroikos, and the likeness of the similarly inscribed mosaic to another known to have come from Antioch, in which Dionysos is labeled Agros, may well indicate a common source for the works.
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Tommy Oliver has been brain washed into becoming Rita Repulsa's mighty executor.
With his Dragon Dagger he can summon The Dragon Zord.
On the off chance I peg it from swine flu - the cat inherits my comic book collection. It should keep her in whiskas (or maybe even Iams) for the rest of her days. Now, who will be executor of my estate? Bueller? Bueller?
1973 BMW 3.0 CSL.
No DVLA records.
Anglia Car Auctions, King's Lynn -
"MoT Jun 2019
Chassis number: 2285253
Offered on behalf of the executors. This UK market example was rebuilt over a ten year period by the late owner, a serial BMW collector and great friend of ours, and was converted to left‑hand drive, we believe, for use at his holiday home. Close friendships with key figures within BMW Motorsport, facilitated the purchase of many genuine 'Batmobile' parts, and, with the necessity of trouble free motoring in sunnier climes, an M30 3.5 litre engine, connected to a dog leg ZF five speed gearbox has been utilised. Not one for the purist, but a great driving, and looking, example of one of Munich's greats. A V5 needs to be applied for by the new owner. It comes without documentation. The MoT history print‑out covers from 2014 to current. Odometer records 66,590 miles."
Sold for £78,440 including premium.
The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, 2013, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.
Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater at the end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.
The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.
1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.
Directorate Claus Peymann 1986-1999
Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.
In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.
Directorate Klaus Bachler 1999-2009
Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."
The Burgtheater on the Mozart Year 2006
Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.
Directorate Matthias Hartmann since 2009
From September 2009 to 2014, Matthias Hartmann was Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .
Since 2014, Karin Bergmann is the commander in chief.
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Leonardo da Vinci.
Um texto, em português, da Wikipédia, a enciclopédia livre:
Leonardo di ser Piero da Vinci (Anchiano, 15 de Abril (Calendário Juliano) ou 25 de Abril (Calendário Gregoriano) de 1452 — Cloux, Amboise, 2 de Maio de 1519) foi um pintor, escultor, arquiteto, engenheiro, fisiólogo, químico, botânico, geólogo, cartógrafo, físico, mecânico, escritor, poeta e músico do Renascimento italiano, vale ressaltar também como o precursor da aviação e da balística [1][2] . É considerado um dos maiores gênios da história da Humanidade, embora não tivesse nenhuma formação na maioria dessas áreas, como na engenharia e na arquitetura. Não tinha propriamente um sobrenome, sendo "di ser Piero" uma relação ao seu pai, "Messer Piero" (algo como Sr. Pedro), e "da Vinci", uma relação ao lugar de origem de sua família, significando "vindo de Vinci" .
Nascido numa pequena localidade de Anchiano próximo do município toscano de Vinci, Leonardo era filho ilegítimo de Piero da Vinci, um jovem notário e de Caterina. A mãe de Leonardo era provavelmente uma camponesa, embora seja sugerido, com poucas evidências, que ela era uma escrava judia oriunda do Oriente Médio comprada por Piero. O próprio Leonardo da Vinci assinava seus trabalhos simplesmente como Leonardo ou Io Leonardo. A maioria das autoridades refere-se aos seus trabalhos como Leonardos e não da Vincis. Presume-se que ele não usou o nome do pai por causa do estado ilegítimo
Leonardo da Vinci é considerado por vários o maior gênio da história, devido à sua multiplicidade de talentos para ciências e artes, sua engenhosidade e criatividade, além de suas obras polêmicas. Num estudo realizado por Catherine Cox em 1926 seu QI foi estimado em cerca de 180. Outras fontes mais precisas mencionam valores entre 220 e 250.
Na adolescência, Leonardo foi fortemente influenciado por duas grandes personalidades da época, Lorenzo de Médici e o grande artista Andrea del Verrocchio . Leonardo viveu em plena Renascença, nos séculos XV e XVI, e expressa melhor do que qualquer outro o espírito daquele tempo. Ao contrário do homem medieval, que via em Deus a razão de todas as coisas, os renascentistas acreditavam no poder humano de julgar, de criar e construir. Por isso a Renascença também é conhecida como a época do Humanismo e se caracteriza por enormes progressos nas artes, nas leis e nas ciências.
Suas obras mais conhecidas são o afresco A Última Ceia, pintado diretamente no refeitório da Igreja Santa Maria delle Grazie, em Milão, e o Retrato de uma modelo desconhecida, a La Gioconda (mais conhecida como a Mona Lisa), que ele demorou provavelmente três anos para terminar.
Prestando atenção, pode-se perceber em várias imagens um efeito característico da pintura de Leonardo: a delicada passagem de luz para a sombra, quando um tom mais claro mergulha em outro mais escuro, como dois belos acordes musicais. Esse procedimento recebe o nome de sfumato (esfumado, em português).
Lorenzo de Médici, um grande humanista e comunicador, inspirou Leonardo na parte da comunicação, fazendo com que começasse a fazer seus quadros mais “parlanti”, com maior animação gestual, o que o levou a se tornar mestre nesta arte. Em toda sua obra pode-se notar a iconografia das figuras ou personagens de seus quadros.
Em 1466, com quatorze anos, Leonardo mudou-se para Florença, e iniciou seu aprendizado no ateliê de Verrocchio. O artista, de grande prestígio da época, ensinou-lhe toda a base que mais tarde o levaria a se tornar um grande pintor. Leonardo também aprendeu escultura, arquitetura, óptica, perspectiva, música e até botânica.
Em 1472, com vinte anos, já era membro do grêmio dos pintores florentinos (Corporação de São Lucas) e a sua carreira começa a ficar independente do mestre Verrocchio. As pessoas da corte fazem encomendas directamente a Leonardo.
Em 1476, Leonardo da Vinci juntamente com mais três alunos do ateliê de Andrea del Verrocchio foram acusados de sodomia, segundo a acusação referente a Leonardo, teria ele tido relações homossexuais com um modelo de Florença muito popular mas, faltaram provas concretas que confirmassem semelhante acusação; então Leonardo é absolvido de toda e qualquer acusação possível.
Em 1482, Leonardo da Vinci trabalhou para Ludovico Sforza, Duque de Milão e manteve o próprio seminário com aprendizes. Foram usadas setenta toneladas de bronze que tinha sido colocado à disposição de Da Vinci para o Grande Cavalo, estátua de um cavalo, em armas pelo duque em uma tentativa de salvar Milão de ser subjugada pelo francês Carlos VIII em 1495.
Em 1498, Milão caiu sem uma batalha para o francês Luís XII. Da Vinci ficou em Milão durante algum tempo até que viu arqueiros franceses usando seu modelo de cavalo de barro em tamanho natural para o Grande Cavalo como alvo para treinamento partindo logo com o amigo Luca Pacioli para Mântua, mudando depois de dois meses para Veneza e se mudando novamente então para Florença no final de Abril de 1500.
Em 1502, ele ficou a serviço de César Bórgia (também chamado de Duque de Valentino e filho do Papa Alexandre VI) como arquitecto militar e engenheiro, nesse mesmo ano ambos viajaram pelo norte da Itália, é nessa viagem que Leonardo conhece Nicolau Maquiavel; no final do mesmo ano retorna novamente a Florença, onde recebe a encomenda de um retrato: a Mona Lisa.
Em 1506, voltou a Milão, então nas mãos de Maximiliano Sforza depois de mercenários suíços expulsarem os franceses.
De 1513 a 1516 morou em Roma, onde os pintores Rafael e Michelangelo eram, na ocasião, muito requisitados; porém, Da Vinci não teve muito contacto com estes artistas.
Em 1515 Francisco I da França retorna a Milão, e Da Vinci foi designado para fazer a peça central de um leão mecânico para as negociações de paz em Bolonha entre o rei francês e o Papa Leão X, onde provavelmente conheceu o rei.
Em 1516 ficou a serviço de Francisco I como primeiro pintor, engenheiro e arquiteto do Rei. Foi dado a ele o uso do Castelo Clos Lucé, próximo ao Castelo de Amboise, residência do Rei, junto com uma pensão generosa. Da Vinci e o Rei ficaram bons amigos.
Morreu em Cloux, França, e de acordo com o seu desejo, sessenta mendigos seguiram seu caixão. Leonardo da Vinci foi enterrado na Capela de São Hubert no Castelo de Amboise.
"De tempos em tempos, o Céu nos envia alguém que não é apenas humano, mas também divino, de modo que através de seu espírito e da superioridade de sua inteligência, possamos atingir o Céu."
— Giorgio Vasari
Leonardo sempre foi tido como um ser misterioso, devido aos muitos talentos que possuía; a sua capacidade e conhecimento em muitas áreas proclamaram-no como um dos Maiores gênios da humanidade.
Leonardo sabia que se os seus manuscritos fossem descobertos pela igreja, haveria grandes possibilidades de ser considerado herege (devido a conteúdos científicos considerados como feitiçaria pela mesma), e assim teria como castigo um final terrível, daí a idéia de escrever da direita para a esquerda (inverso da escrita), de modo que, somente mediante um espelho, seus manuscritos fossem decifrados. Outro método de transmitir mensagens para gerações futuras, que acreditava ele que estariam muito desenvolvidas (devido ao progresso racional dos seres humanos), foi a pintura; através desta Arte com ajuda do simbolismo, deixava mensagens muito comprometedoras, de tal modo que, mudaria talvez a convicção de pensar do homem. Ao mesmo tempo em que uma obra por ele pintada esconde um segredo, o também revela (ou vice-versa), um bom exemplo, é a Madona das Rochas, citada no Livro O Código Da Vinci, de Dan Brown.
O impossível de se imaginar, é como um homem que viveu em cerca de quinhentos anos atrás, fosse desenvolver teorias e técnicas em tantas áreas, desde a pintura, até mesmo a ciências modernas. Provavelmente o seu perfeccionismo em cada pintura, é um dos motivos por este possuir autoria de tão poucas obras; outro possível motivo é que algumas de seus quadros se perderam com o tempo (sendo roubados ou até mesmo destruídos), devido a sua maneira polêmica de retratar, desde cenas religiosas, até mesmo retratos, sendo um deles a Mona Lisa.
Alguns historiadores e especialistas concluem que Leonardo gostava muito de distorcer coisas como em um quebra-cabeça. Muitos acham que sua escrita invertida era um código e protegia seus esboços contra espiões. Segundo Bruce Peterson, da RYP Australia Major Projects, Leonardo da Vinci escrevia assim porque era canhoto[3] e não queria borrar os textos que criava febrilmente. Já historiadores acreditam que esta escrita era um sinal de que Leonardo da Vinci tinha dislexia, pois escrevia de forma embaralhada e ás vezes gostava de formar anagramas.
Na sua pintura Ginevra de' Benci, a mulher está posada diante um junípero. Na época o junípero era símbolo de castidade. Leonardo acabou incluindo mais uma referência. Em italiano a palavra junípero significa ginevra.
Uma de suas pinturas faz um anagrama, Mona Lisa, que vira Amon L'Isa ou Man An Oil (Homem em Forma de Óleo), mas essa hipótese é improvável, já que como iria criar anagramas de línguas distante do alcance de Leonardo (e particularmente Leonardo não tinha interesse em línguas).
Durante seu período em Milão com Francesco Sforza, ele projetou vários prédios com armas de guerra e reforços. Ele tinha habilidade para arquitectura militar e por isso ficou famoso entre os Sforza.
Entre seus mais formidáveis projetos militares está uma escada para uso numa torre fortificada. O projeto incluía quatro rampas independentes de outras. Assim, os soldados podiam subir e descer de 4 andares sem esbarar em grupos de soldados que iam em direção contrária.
Em 1502, Leonardo projetou um fosso interessante. Ele escondeu uma torre cilíndrica debaixo d'água com um teto levemente inclinado que saía um pouco da superfície da água. Os defensores que estivessem dentro da torre poderiam disparar suas armas através da superfície da água. Feno molhado cobria o teto da torre contra os danos causados pelos disparos.
Leonardo projetou também um castelo com sistema triplo de segurança. Um dos cantos dessa construção tinha duas fortificações: a primeira estendia-se até o canto do forte e a outra estendia-se sobre parte da parede externa.
Veja muito mais no endereço pt.wikipedia.org/wiki/Leonardo_da_Vinci
This sculpture was fotographed at the street in front of the Ufizzi Museum in florence, Italy.
A text, in english, from Wikipedia, the free encyclopedia:
Leonardo di ser Piero da Vinci (it-Leonardo di ser Piero da Vinci.ogg pronunciation (help·info), April 15, 1452 – May 2, 1519) was an Italian polymath, being a scientist, mathematician, engineer, inventor, anatomist, painter, sculptor, architect, botanist, musician and writer. Leonardo has often been described as the archetype of the renaissance man, a man whose unquenchable curiosity was equaled only by his powers of invention.[1] He is widely considered to be one of the greatest painters of all time and perhaps the most diversely talented person ever to have lived.[2] Helen Gardner says "The scope and depth of his interests were without precedent...His mind and personality seem to us superhuman, the man himself mysterious and remote".
Born as the illegitimate son of a notary, Piero da Vinci, and a peasant woman, Caterina, at Vinci in the region of Florence, Leonardo was educated in the studio of the renowned Florentine painter, Verrocchio. Much of his earlier working life was spent in the service of Ludovico il Moro in Milan. He later worked in Rome, Bologna and Venice and spent his last years in France, at the home awarded him by King François I.
Leonardo was and is renowned primarily as a painter. Two of his works, the Mona Lisa and The Last Supper, are the most famous, most reproduced and most parodied portrait and religious painting of all time, their fame approached only by Michelangelo's Creation of Adam. Leonardo's drawing of the Vitruvian Man is also regarded as a cultural icon, being reproduced on everything from the Euro to text books to t-shirts. Perhaps fifteen of his paintings survive, the small number due to his constant, and frequently disastrous, experimentation with new techniques, and his chronic procrastination. Nevertheless, these few works, together with his notebooks, which contain drawings, scientific diagrams, and his thoughts on the nature of painting, comprise a contribution to later generations of artists only rivalled by that of his contemporary, Michelangelo.
Leonardo is revered for his technological ingenuity. He conceptualised a helicopter, a tank, concentrated solar power, a calculator, the double hull and outlined a rudimentary theory of plate tectonics. Relatively few of his designs were constructed or were even feasible during his lifetime, but some of his smaller inventions, such as an automated bobbin winder and a machine for testing the tensile strength of wire, entered the world of manufacturing unheralded. As a scientist, he greatly advanced the state of knowledge in the fields of anatomy, civil engineering, optics, and hydrodynamics.
Leonardo was born on April 15, 1452, "at the third hour of the night" in the Tuscan hill town of Vinci, in the lower valley of the Arno River in the territory of Florence. He was the illegitimate son of Messer Piero Fruosino di Antonio da Vinci, a Florentine notary, and Caterina, a peasant who may have been a slave from the Middle East. Leonardo had no surname in the modern sense, "da Vinci" simply meaning "of Vinci": his full birth name was "Leonardo di ser Piero da Vinci", meaning "Leonardo, son of (Mes)ser Piero from Vinci".
Little is known about Leonardo's early life. He spent his first five years in the hamlet of Anchiano, then lived in the household of his father, grandparents and uncle, Francesco, in the small town of Vinci. His father had married a sixteen-year-old girl named Albiera, who loved Leonardo but died young. In later life, Leonardo only recorded two childhood incidents. One, which he regarded as an omen, was when a kite dropped from the sky and hovered over his cradle, its tail feathers brushing his face. The second occurred while exploring in the mountains. He discovered a cave and was both terrified that some great monster might lurk there, and driven by curiosity to find out what was inside.
Leonardo's early life has been the subject of historical conjecture. Vasari, the 16th century biographer of Renaissance painters tells of how a local peasant requested that Ser Piero ask his talented son to paint a picture on a round plaque. Leonardo responded with a painting of snakes spitting fire which was so terrifying that Ser Piero sold it to a Florentine art dealer, who sold it to the Duke of Milan. Meanwhile, having made a profit, Ser Piero bought a plaque decorated with a heart pierced by an arrow, which he gave to the peasant.
In 1466, at the age of fourteen, Leonardo was apprenticed to one of the most successful artists of his day, Andrea di Cione, known as Verrocchio. Verrocchio's workshop was at the centre of the intellectual currents of Florence, assuring the young Leonardo of an education in the humanities. Other famous painters apprenticed or associated with the workshop include Ghirlandaio, Perugino, Botticelli, and Lorenzo di Credi. Leonardo would have been exposed to a vast range of technical skills and had the opportunity to learn drafting, chemistry, metallurgy, metal working, plaster casting, leather working, mechanics and carpentry as well as the artistic skills of drawing, painting, sculpting and modelling.
Much of the painted production of Verrocchio's workshop was done by his employees. According to Vasari, Leonardo collaborated with Verrocchio on his Baptism of Christ, painting the young angel holding Jesus's robe in a manner that was so far superior to his master's that Verrocchio put down his brush and never painted again. This is probably an exaggeration. On close examination, the painting reveals much that has been painted or touched up over the tempera using the new technique of oil paint, the landscape, the rocks that can be seen through the brown mountain stream and much of the figure of Jesus bearing witness to the hand of Leonardo.
Leonardo himself may have been the model for two works by Verrocchio, including the bronze statue of David in the Bargello and the Archangel Michael in Tobias and the Angel.
By 1472, at the age of twenty, Leonardo qualified as a master in the Guild of St Luke, the guild of artists and doctors of medicine, but even after his father set him up in his own workshop, his attachment to Verrocchio was such that he continued to collaborate with him. Leonardo's earliest known dated work is a drawing in pen and ink of the Arno valley, drawn on August 5, 1473.
Court records of 1476 show that Leonardo and three other young men were charged with sodomy, and acquitted. From that date until 1478 there is no record of his work or even of his whereabouts, although it is assumed that Leonardo had his own workshop in Florence between 1476 and 1481. He was commissioned to paint an altarpiece in 1478 for the Chapel of St Bernard and The Adoration of the Magi in 1481 for the Monks of San Donato a Scopeto.
In 1482 Leonardo, who according to Vasari was a most talented musician, created a silver lyre in the shape of a horse's head. Lorenzo de’ Medici sent Leonardo, bearing the lyre as a gift, to Milan, to secure peace with Ludovico il Moro, Duke of Milan. At this time Leonardo wrote an often-quoted letter to Ludovico, describing the many marvellous and diverse things that he could achieve in the field of engineering and informing the Lord that he could also paint.
Leonardo continued work in Milan between 1482 and 1499. He was commissioned to paint the Virgin of the Rocks for the Confraternity of the Immaculate Conception, and The Last Supper for the monastery of Santa Maria delle Grazie. While living in Milan between 1493 and 1495 Leonardo listed a woman called Caterina among his dependents in his taxation documents. When she died in 1495, the list of funeral expenditure suggests that she was his mother.
He worked on many different projects for Ludovico, including the preparation of floats and pageants for special occasions, designs for a dome for Milan Cathedral and a model for a huge equestrian monument to Francesco Sforza, Ludovico's predecessor. Seventy tons of bronze were set aside for casting it. The monument remained unfinished for several years, which was not unusual for Leonardo. In 1492 the clay model of the horse was completed. It surpassed in size the only two large equestrian statues of the Renaissance, Donatello's statue of Gattemelata in Padua and Verrocchio's Bartolomeo Colleoni in Venice, and became known as the "Gran Cavallo". Leonardo began making detailed plans for its casting, however, Michelangelo rudely implied that Leonardo was unable to cast it. In November 1494 Ludovico gave the bronze to be used for cannons to defend the city from invasion by Charles VIII.
At the start of the Second Italian War in 1499, the invading French troops used the life-size clay model for the "Gran Cavallo" for target practice. With Ludovico Sforza overthrown, Leonardo, with his assistant Salai and friend, the mathematician Luca Pacioli, fled Milan for Venice, where he was employed as a military architect and engineer, devising methods to defend the city from naval attack.
On his return to Florence in 1500, he and his household were guests of the Servite monks at the monastery of Santissima Annunziata and were provided with a workshop where, according to Vasari, Leonardo created the cartoon of The Virgin and Child with St. Anne and St. John the Baptist, a work that won such admiration that "men and women, young and old" flocked to see it "as if they were attending a great festival". In 1502 Leonardo entered the service of Cesare Borgia, the son of Pope Alexander VI, acting as a military architect and engineer and travelling throughout Italy with his patron. He returned to Florence where he rejoined the Guild of St Luke on October 18, 1503, and spent two years designing and painting a great mural of The Battle of Anghiari for the Signoria, with Michelangelo designing its companion piece, The Battle of Cascina. In Florence in 1504, he was part of a committee formed to relocate, against the artist's will, Michelangelo's statue of David.
In 1506 he returned to Milan. Many of Leonardo's most prominent pupils or followers in painting either knew or worked with him in Milan, including Bernardino Luini, Giovanni Antonio Boltraffio and Marco D'Oggione. However, he did not stay in Milan for long because his father had died in 1504, and in 1507 he was back in Florence trying to sort out problems with his brothers over his father's estate. By 1508 he was back in Milan, living in his own house in Porta Orientale in the parish of Santa Babila.
From September 1513 to 1516, Leonardo spent much of his time living in the Belvedere in the Vatican in Rome, where Raphael and Michelangelo were both active at the time.[8] In October 1515, François I of France recaptured Milan. On December 19, Leonardo was present at the meeting of Francois I and Pope Leo X, which took place in Bologna. It was for Francois that Leonardo was commissioned to make a mechanical lion which could walk forward, then open its chest to reveal a cluster of lilies. In 1516, he entered François' service, being given the use of the manor house Clos Lucé[nb 14] near the king's residence at the royal Chateau Amboise. It was here that he spent the last three years of his life, accompanied by his friend and apprentice, Count Francesco Melzi, supported by a pension totalling 10,000 scudi.
Leonardo died at Clos Lucé, France, on May 2, 1519. François I had become a close friend. Vasari records that the King held Leonardo's head in his arms as he died, although this story, beloved by the French and portrayed in romantic paintings by Ingres, Ménageot and other French artists, may be legend rather than fact. Vasari also tells us that in his last days, Leonardo sent for a priest to make his confession and to receive the Holy Sacrament. In accordance to his will, sixty beggars followed his casket. He was buried in the Chapel of Saint-Hubert in the castle of Amboise. Melzi was the principal heir and executor, receiving as well as money, Leonardo's paintings, tools, library and personal effects. Leonardo also remembered his other long-time pupil and companion, Salai and his servant Battista di Vilussis, who each received half of Leonardo's vineyards, his brothers who received land, and his serving woman who received a black cloak of good stuff with a fur edge.
Some twenty years after Leonardo's death, François was reported by the goldsmith and sculptor Benevenuto Cellini as saying: "There had never been another man born in the world who knew as much as Leonardo, not so much about painting, sculpture and architecture, as that he was a very great philosopher.
Leonardo commenced his apprenticeship with Verrocchio in 1466, the year that Verrocchio's master, the great sculptor Donatello, died. The painter Uccello whose early experiments with perspective were to influence the development of landscape painting, was a very old man. The painters Piero della Francesca and Fra Filippo Lippi, sculptor Luca della Robbia, and architect and writer Alberti were in their sixties. The successful artists of the next generation were Leonardo's teacher Verrocchio, Antonio Pollaiuolo and the portrait sculptor, Mino da Fiesole whose lifelike busts give the most reliable likenesses of Lorenzo Medici's father Piero and uncle Giovanni.
Leonardo's youth was spent in a Florence that was ornamented by the works of these artists and by Donatello's contemporaries, Masaccio whose figurative frescoes were imbued with realism and emotion and Ghiberti whose Gates of Paradise, gleaming with gold leaf, displayed the art of combining complex figure compositions with detailed architectural backgrounds. Piero della Francesca had made a detailed study of perspective, and was the first painter to make a scientific study of light. These studies and Alberti's Treatise were to have a profound effect on younger artists and in particular on Leonardo's own observations and artworks.
Massaccio's depiction of the naked and distraught Adam and Eve leaving the Garden of Eden created a powerfully expressive image of the human form, cast into three dimensions by the use of light and shade which was to be developed in the works of Leonardo in a way that was to be influential in the course of painting. The Humanist influence of Donatello's David can be seen in Leonardo's late paintings, particularly John the Baptist.
A prevalent tradition in Florence was the small altarpiece of the Virgin and Child. Many of these were created in tempera or glazed terracotta by the workshops of Filippo Lippi, Verrocchio and the prolific della Robbia family. Leonardo's early Madonnas such as the The Madonna with a carnation and The Benois Madonna followed this tradition while showing indiosyncratic departures, particularly in the case of the Benois Madonna in which the Virgin is set at an oblique angle to the picture space with the Christ Child at the opposite angle. This compositional theme was to emerge in Leonardo's later paintings such as The Virgin and Child with St. Anne.
Leonardo was a contemporary of Botticelli, Ghirlandaio and Perugino, who were all slightly older than he was. He would have met them at the workshop of Verrocchio, with whom they had associations, and at the Academy of the Medici.Botticelli was a particular favourite of the Medici family and thus his success as a painter was assured. Ghirlandaio and Perugino were both prolific and ran large workshops. They competently delivered commissions to well-satisfied patrons who appreciated Ghirlandaio's ability to portray the wealthy citizens of Florence within large religious frescoes, and Perugino's ability to deliver a multitude of saints and angels of unfailing sweetness and innocence.
These three were among those commissioned to paint the walls of the Sistine Chapel, the work commencing with Perugino's employment in 1479. Leonardo was not part of this prestigious commission. His first significant commission, The Adoration of the Magi for the Monks of Scopeto, was never completed.
In 1476, during the time of Leonardo's association with Verrocchio's workshop, Hugo van der Goes arrived in Florence, bringing the Portinari Altarpiece and the new painterly techniques from Northern Europe which were to profoundly effect Leonardo, Ghirlandaio, Perugino and others. In 1479, the Sicilian painter Antonello da Messina, who worked exclusively in oils, travelled north on his way to Venice, where the leading painter, Giovanni Bellini adopted the technique of oil painting, quickly making it the preferred method in Venice. Leonardo was also later to visit Venice.
Like the two contemporary architects, Bramante and Antonio da Sangallo the Elder, Leonardo experimented with designs for centrally planned churches, a number of which appear in his journals, as both plans and views, although none was ever realised.
Leonardo's political contemporaries were Lorenzo Medici (il Magnifico), who was three years older, and his popular younger brother Giuliano who was slain in the Pazzi Conspiracy in 1478. Ludovico il Moro who ruled Milan between 1479–1499 and to whom Leonardo was sent as ambassador from the Medici court, was also of Leonardo's age.
With Alberti, Leonardo visited the home of the Medici and through them came to know the older Humanist philosophers of whom Marsiglio Ficino, proponent of Neo Platonism, Cristoforo Landino, writer of commentaries on Classical writings, and John Argyropoulos, teacher of Greek and translator of Aristotle were foremost. Also associated with the Academy of the Medici was Leonardo's contemporary, the brilliant young poet and philosopher Pico della Mirandola. Leonardo later wrote in the margin of a journal "The Medici made me and the Medici destroyed me." While it was through the action of Lorenzo that Leonardo was to receive his important Milanese commissions, it is not known exactly what Leonardo meant by this cryptic comment.
Although usually named together as the three giants of the High Renaissance, Leonardo, Michelangelo and Raphael were not of the same generation. Leonardo was twenty-three when Michelangelo was born and thirty-one when Raphael was born. The short-lived Raphael died in 1520, the year after Leonardo, but Michelangelo went on creating for another 45 years.
Within Leonardo's lifetime, his extraordinary powers of invention, his "outstanding physical beauty", "infinite grace", "great strength and generosity", "regal spirit and tremendous breadth of mind" as described by Vasari attracted the curiosity of others. Many authors have speculated on various aspects of Leonardo's personality. One such aspect is his respect for life evidenced by his vegetarianism and his habit, described by Vasari, of purchasing caged birds and releasing them.
Leonardo had many friends who are now renowned either in their fields or for their historical significance. They included the mathematician Luca Pacioli, with whom he collaborated on a book in the 1490s, as well as Franchinus Gaffurius and Isabella d'Este. Leonardo appears to have had no close relationships with women except for Isabella d'Este. He drew a portrait of her while on a journey which took him through Mantua, and which appears to have been used to create a painted portrait now lost.
Beyond friendship, Leonardo kept his private life secret. His sexuality has often been the subject of study, analysis and speculation. This trend began in the mid-16th century and was revived in the 19th and 20th centuries, most notably by Sigmund Freud.
See more of Leonardo da Vinci at the address en.wikipedia.org/wiki/Leonardo_da_Vinci
better view: B l a c k M a g i c
Fifty people a day are looking at this picture. Please take 2 minutes to send an email from the Save Duke Gardens web site. This page is the 'visitor book' for a flickr group of pictures by people who love Duke Gardens.
Doris Duke's glorious indoor display gardens at her Estate in NJ will be closed then destroyed on May 25th, by the order of the Trustees of the Doris Duke Charitable Foundation.
The individuals responsible for this destruction are: Joan E. Spero (President), Nannerl O. Keohane (Chair), John J. Mack (Vice Chair), Harry B. Demopoulos, Anthony S. Fauci, James F. Gill, Anne Hawley, Peter A. Nadosy, William H. Schlesinger, John H.T. Wilson and John E. Zuccotti.
These Gardens are a labor of love and a work of art. Doris Duke spent years creating them, and would sometimes spend 16 hours a day working in them. She created the Duke Gardens Foundation in 1960 to sustain them. They are being destroyed only 15 years after Doris Duke's death, on the 50th anniversary of their creation, by her Trustees, who say the gardens don't 'represent the best environmental practices'.
Really.
The Trustees have a PR machine that says the Gardens will re-open in a couple years. But what this really means is that a different garden will reopen in a different Conservatory. Not Doris Duke's elaborate set of interconnected display gardens. They will be destroyed forever.
alternate view of my photostream (Flickr Hive Mind)
Tatton Park is one of the UK’s most complete historic estates. It is home to a Tudor Old Hall, Neo-Classical Mansion, 50 acres of landscaped gardens, a rare-breed farm and 1,000 acres of deer park. Our speciality shops, restaurant, tea room, adventure playground, events and educational programmes combine to make Tatton one of the most popular family days out in the North West.
The Old Hall was the estate manor house until the late 17th century, when work commenced on a new house, today known as The Neo Classical Mansion. It is celebrated for its Gillows furniture and collection of ceramics, paintings, music, books and the library collection is considered one of the finest in the National Trust.
Herds of Red and Fallow deer roam freely in 1,000 acres of parkland. The meres, woodlands and rough grassland provide a perfect habitat for wildlife. The parkland is a stunning setting for a leisurely stroll or high-octane cycle. You can also take a stroll through 50 acres of beautiful gardens reflecting over 250 years of garden design.The gardens are renowned for their remarkable glasshouses, the Japanese Garden, considered the finest in Europe and the extensive Kitchen Gardens, still producing fruit and vegetables today.
The working rare-breed farm is a must-see for our family visitors. Meet our rare breed cattle, horses, sheep, pigs, goats, poultry and donkeys and take part in themed events throughout the year. Children can enjoy the farm's new woodland play trail and den building area.
Tatton Park is a historic estate in Cheshire, England, to the north of the town of Knutsford. It contains a mansion, Tatton Hall, a manor house dating from medieval times, Tatton Old Hall, gardens, a farm and a deer park of 2,000 acres (8.1 km2). It is a popular visitor attraction and hosts over 100 events annually. The estate is owned by the National Trust, who administer it jointly with Cheshire East Council. Since 1999 it has hosted an annual horticultural show.
There is evidence of human habitation in the area of the estate going back to the Iron Age. In medieval times the village of Tatton was on the site. This has since disappeared but the area of the village and its roadways are a Scheduled Ancient Monument. By the end of the 15th century the estate was owned by the Stanley family who built and occupied the Old Hall. By the 1580s this building had been enlarged and it was owned by the Brereton family. In 1598 the estate was bought by Sir Thomas Egerton, Lord Chancellor of England. Sir Thomas and his children rarely visited the estate and it was loaned to tenants. At the end of the 17th century the estate was owned by John Egerton, Sir Thomas' grandson, who built a new house on the site of the present mansion, some 0.75 miles (1 km) to the west of the Old Hall. This mansion, Tatton Hall, was extensively altered and extended between 1780 and 1813. In 1795 the estate covered 251,000 acres (1,020 km2) (392 sq.miles). The estate remained in the ownership of the Egerton family until the last Lord Egerton died without issue in 1958. He left the house to the National Trust and gave them the park in lieu of death duties. However, as the estate itself was sold by his executors, Cheshire County Council committed to a 99-year lease in place of an endowment to ensure that it was preserved for the benefit of the nation. The Trust's ownership (run now by Cheshire East Council) is some 2,000 acres (8.1 km2) (3.1 sq.miles).
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The Burgtheater at Dr.-Karl -Lueger-Ring (from now on, Universitätsring) in Vienna is an Austrian Federal Theatre. It is one of the most important stages in Europe and after the Comédie-Française, the second oldest European one, as well as the greatest German speaking theater. The original 'old' Burgtheater at Saint Michael's square was utilized from 1748 until the opening of the new building at the ring in October, 1888. The new house in 1945 burnt down completely as a result of bomb attacks, until the re-opening on 14 October 1955 was the Ronacher serving as temporary quarters. The Burgtheater is considered as Austrian National Theatre.
Throughout its history, the theater was bearing different names, first Imperial-Royal Theater next to the Castle, then to 1918 Imperial-Royal Court-Burgtheater and since then Burgtheater (Castle Theater). Especially in Vienna it is often referred to as "The Castle (Die Burg)", the ensemble members are known as Castle actors (Burgschauspieler).
History
St. Michael's Square with the old K.K. Theatre beside the castle (right) and the Winter Riding School of the Hofburg (left)
The interior of the Old Burgtheater, painted by Gustav Klimt. The people are represented in such detail that the identification is possible.
The 'old' Burgtheater at St. Michael's Square
The original castle theater was set up in a ball house that was built in the lower pleasure gardens of the Imperial Palace of the Roman-German King and later Emperor Ferdinand I in 1540, after the old house 1525 fell victim to a fire. Until the beginning of the 18th Century was played there the Jeu de Paume, a precursor of tennis. On 14 March 1741 finally gave the Empress Maria Theresa, ruling after the death of her father, which had ordered a general suspension of the theater, the "Entrepreneur of the Royal Court Opera" and lessees of 1708 built theater at Kärntnertor (Carinthian gate), Joseph Karl Selliers, permission to change the ballroom into a theater. Simultaneously, a new ball house was built in the immediate vicinity, which todays Ballhausplatz is bearing its name.
In 1748, the newly designed "theater next to the castle" was opened. 1756 major renovations were made, inter alia, a new rear wall was built. The Auditorium of the Old Burgtheater was still a solid timber construction and took about 1200 guests. The imperial family could reach her royal box directly from the imperial quarters, the Burgtheater structurally being connected with them. At the old venue at Saint Michael's place were, inter alia, several works of Christoph Willibald Gluck, Ludwig van Beethoven, Wolfgang Amadeus Mozart as well as Franz Grillparzer premiered .
On 17 February 1776, Emperor Joseph II declared the theater to the German National Theatre (Teutsches Nationaltheater). It was he who ordered by decree that the stage plays should not deal with sad events for not bring the Imperial audience in a bad mood. Many theater plays for this reason had to be changed and provided with a Vienna Final (Happy End), such as Romeo and Juliet or Hamlet. From 1794 on, the theater was bearing the name K.K. Court Theatre next to the castle.
1798 the poet August von Kotzebue was appointed as head of the Burgtheater, but after discussions with the actors he left Vienna in 1799. Under German director Joseph Schreyvogel was introduced German instead of French and Italian as a new stage language.
On 12 October 1888 took place the last performance in the old house. The Burgtheater ensemble moved to the new venue at the Ring. The Old Burgtheater had to give way to the completion of Saint Michael's tract of Hofburg. The plans to this end had been drawn almost 200 years before the demolition of the old Burgtheater by Joseph Emanuel Fischer von Erlach.
The "new" K.K. Court Theatre (as the inscription reads today) at the Ring opposite the Town Hall, opened on 14 October 1888 with Grillparzer's Esther and Schiller's Wallenstein's Camp, was designed in neo-Baroque style by Gottfried Semper (plan) and Karl Freiherr von Hasenauer (facade), who had already designed the Imperial Forum in Vienna together. Construction began on 16 December 1874 and followed through 14 years, in which the architects quarreled. Already in 1876 Semper withdrew due to health problems to Rome and had Hasenauer realized his ideas alone, who in the dispute of the architects stood up for a mainly splendid designed grand lodges theater.
However, created the famous Viennese painter Gustav Klimt and his brother Ernst Klimt and Franz Matsch 1886-1888 the ceiling paintings in the two stairwells of the new theater. The three took over this task after similar commissioned work in the city theaters of Fiume and Karlovy Vary and in the Bucharest National Theatre. In the grand staircase on the side facing the café Landtmann of the Burgtheater (Archduke stairs) reproduced Gustav Klimt the artists of the ancient theater in Taormina on Sicily, in the stairwell on the "People's Garden"-side (Kaiserstiege, because it was reserved for the emperor) the London Globe Theatre and the final scene from William Shakespeare's "Romeo and Juliet". Above the entrance to the auditorium is Molière's The Imaginary Invalid to discover. In the background the painter immortalized himself in the company of his two colleagues. Emperor Franz Joseph I liked the ceiling paintings so much that he gave the members of the company of artists of Klimt the Golden Cross of Merit.
The new building resembles externally the Dresden Semper Opera, but even more, due to the for the two theaters absolutely atypical cross wing with the ceremonial stairs, Semper's Munich project from the years 1865/1866 for a Richard Wagner Festspielhaus above the Isar. Above the middle section there is a loggia, which is framed by two side wings, and is divided from a stage house with a gable roof and auditorium with a tent roof. Above the center house there decorates a statue of Apollo the facade, throning between the Muses of drama and tragedy. Above the main entrances are located friezes with Bacchus and Ariadne. At the exterior facade round about, portrait busts of the poets Calderon, Shakespeare, Moliere, Schiller, Goethe, Lessing, Halm, Grillparzer, and Hebbel can be seen. The masks which also can be seen here are indicating the ancient theater, furthermore adorn allegorical representations the side wings: love, hate, humility, lust, selfishness, and heroism. Although the theater since 1919 is bearing the name of Burgtheater, the old inscription KK Hofburgtheater over the main entrance still exists. Some pictures of the old gallery of portraits have been hung up in the new building and can be seen still today - but these images were originally smaller, they had to be "extended" to make them work better in high space. The points of these "supplements" are visible as fine lines on the canvas.
The Burgtheater was initially well received by Viennese people due to its magnificent appearance and technical innovations such as electric lighting, but soon criticism because of the poor acoustics was increasing. Finally, in 1897 the auditorium was rebuilt to reduce the acoustic problems. The new theater was an important meeting place of social life and soon it was situated among the "sanctuaries" of Viennese people. In November 1918, the supervision over the theater was transferred from the High Steward of the emperor to the new state of German Austria.
1922/1923 the Academy Theatre was opened as a chamber play stage of the Burgtheater. On 8th May 1925, the Burgtheater went into Austria's criminal history, as here Mentscha Karnitschewa perpetrated a revolver assassination on Todor Panitza.
The Burgtheater in time of National Socialism
The National Socialist ideas also left traces in the history of the Burgtheater. In 1939 appeared in Adolf Luser Verlag the strongly anti-Semitic characterized book of theater scientist Heinz Kindermann "The Burgtheater. Heritage and mission of a national theater", in which he, among other things, analyzed the "Jewish influence "on the Burgtheater. On 14 October 1938 was on the occasion of the 50th anniversary of the opening of the Burgtheater a Don Carlos production of Karl-Heinz Stroux shown that served Hitler's ideology. The role of the Marquis of Posa played the same Ewald Balser, who in a different Don Carlos production a year earlier (by Heinz Hilpert) at the Deutsches Theater in the same role with the sentence in direction of Joseph Goebbels box vociferated: "just give freedom of thought". The actor and director Lothar Müthel, who was director of the Burgtheater between 1939 and 1945, staged 1943 the Merchant of Venice, in which Werner Kraus the Jew Shylock clearly anti-Semitic represented. The same director staged after the war Lessing's parable Nathan the Wise. Adolf Hitler himself visited during the Nazi regime the Burgtheater only once (1938), and later he refused in pure fear of an assassination.
For actors and theater staff who were classified according to the Reich Citizenship Law of 1935 as "Jews ", were quickly imposed stage bans, within a few days, they were on leave, fired or arrested. The Burgtheater ensemble between 1938 and 1945 did not put up significant resistance against the Nazi ideology, the repertoire was heavily censored, only a few joined the Resistance, as Judith Holzmeister (then also at the People's Theatre engaged) or the actor Fritz Lehmann. Although Jewish members of the ensemble indeed have been helped to emigrate, was still an actor, Fritz Strassny, taken to a concentration camp and murdered there.
The Burgtheater at the end of the war and after the Second World War
In summer 1944, the Burgtheater had to be closed because of the decreed general theater suspension. From 1 April 1945, as the Red Army approached Vienna, camped a military unit in the house, a portion was used as an arsenal. In a bomb attack the house at the Ring was damaged and burned down on 12th April 1945 completely. Auditorium and stage were useless, only the steel structure remained. The ceiling paintings and part of the lobby were almost undamaged.
The Soviet occupying power expected from Viennese City Councillor Viktor Matejka to launch Vienna's cultural life as soon as possible again. The council summoned on 23 April (a state government did not yet exist) a meeting of all Viennese cultural workers into the Town Hall. Result of the discussions was that in late April 1945 eight cinemas and four theaters took up the operation again, including the Burgtheater. The house took over the Ronacher Theater, which was understood by many castle actors as "exile" as a temporary home (and remained there to 1955). This venue chose the newly appointed director Raoul Aslan, who championed particularly active.
The first performance after the Second World War was on 30 April 1945 Sappho by Franz Grillparzer directed by Adolf Rott from 1943 with Maria Eis in the title role. Also other productions from the Nazi era were resumed. With Paul Hoerbiger, a few days ago as Nazi prisoner still in mortal danger, was shown the play of Nestroy Mädl (Girlie) from the suburbs. The Academy Theatre could be played (the first performance was on 19 April 1945 Hedda Gabler, a production of Rott from the year 1941) and also in the ball room (Redoutensaal) at the Imperial Palace took place performances. Aslan the Ronacher in the summer had rebuilt because the stage was too small for classical performances. On 25 September 1945, Schiller's Maid of Orleans could be played on the enlarged stage.
The first new productions are associated with the name of Lothar Müthel: Everyone and Nathan the Wise, in both Raoul Aslan played the main role. The staging of The Merchant of Venice by Müthel in Nazi times seemed to have been fallen into oblivion.
Great pleasure gave the public the return of the in 1938 from the ensemble expelled Else Wohlgemuth on stage. She performaed after seven years in exile in December 1945 in Clare Biharys The other mother in the Academy Theater. 1951 opened the Burgtheater its doors for the first time, but only the left wing, where the celebrations on the 175th anniversary of the theater took place.
1948, a competition for the reconstruction was tendered: Josef Gielen, who was then director, first tended to support the design of ex aequo-ranked Otto Niedermoser, according to which the house was to be rebuilt into a modern gallery theater. Finally, he agreed but then for the project by Michael Engelhardt, whose plan was conservative but also cost effective. The character of the lodges theater was largely taken into account and maintained, the central royal box but has been replaced by two balconies, and with a new slanted ceiling construction in the audience was the acoustics, the shortcoming of the house, improved significantly.
On 14 October 1955 was happening under Adolf Rott the reopening of the restored house at the Ring. For this occasion Mozart's A Little Night Music was played. On 15 and on 16 October it was followed by the first performance (for reasons of space as a double premiere) in the restored theater: King Ottokar's Fortune and End of Franz Grillparzer, staged by Adolf Rott. A few months after the signing of the Austrian State Treaty was the choice of this play, which the beginning of Habsburg rule in Austria makes a subject of discussion and Ottokar of Horneck's eulogy on Austria (... it's a good country / Well worth that a prince bow to it! / where have you yet seen the same?... ) contains highly symbolic. Rott and under his successors Ernst Haeusserman and Gerhard Klingenberg the classic Burgtheater style and the Burgtheater German for German theaters were finally pointing the way .
In the 1950s and 1960s, the Burgtheater participated (with other well-known theaters in Vienna) on the so-called Brecht boycott.
Gerhard Klingenberg internationalized the Burgtheater, he invited renowned stage directors such as Dieter Dorn, Peter Hall, Luca Ronconi, Giorgio Strehler, Roberto Guicciardini and Otomar Krejča. Klingenberg also enabled the castle debuts of Claus Peymann and Thomas Bernhard (1974 world premiere of The Hunting Party). Bernhard was as a successor of Klingenberg mentioned, but eventually was appointed Achim Benning, whereupon the writer with the text "The theatrical shack on the ring (how I should become the director of the Burgtheater)" answered.
Benning, the first ensemble representative of the Burgtheater which was appointed director, continued Klingenberg's way of Europeanization by other means, brought directors such as Adolf Dresen, Manfred Wekwerth or Thomas Langhoff to Vienna, looked with performances of plays of Vaclav Havel to the then politically separated East and took the the public taste more into consideration.
Directorate Claus Peymann 1986-1999
Under the by short-term Minister of Education Helmut Zilk brought to Vienna Claus Peymann, director from 1986 to 1999, there was further modernization of the programme and staging styles. Moreover Peymann was never at a loss for critical contributions in the public, a hitherto unusual attitude for Burgtheater directors. Therefore, he and his program within sections of the audience met with rejection. The greatest theater scandal in Vienna since 1945 occurred in 1988 concerning the premiere of Thomas Bernhard's Heldenplatz (Place of the Heroes) drama which was fiercly fought by conservative politicians and zealots. The play deals with the Vergangenheitsbewältigung (process of coming to terms with the past) and illuminates the present management in Austria - with attacks on the then ruling Social Democratic Party - critically. Together with Claus Peymann Bernhard after the premiere dared to face on the stage applause and boos.
Bernard, to his home country bound in love-hate relationship, prohibited the performance of his plays in Austria before his death in 1989 by will. Peymann, to Bernhard bound in a difficult friendship (see Bernhard's play Claus Peymann buys a pair of pants and goes eating with me) feared harm for the author's work, should his plays precisely in his homeland not being shown. First, it was through permission of the executor Peter Fabjan - Bernhard's half-brother - after all, possible the already in the schedule of the Burgtheater included productions to continue. Finally, shortly before the tenth anniversary of the death of Bernard it came to the revival of the Bernhard play Before retirement by the first performance director Peymann. The plays by Bernhard are since then continued on the programme of the Burgtheater and they are regularly newly produced.
In 1993, the rehearsal stage of the Castle theater was opened in the arsenal (architect Gustav Peichl). Since 1999, the Burgtheater has the operation form of a limited corporation.
Directorate Klaus Bachler 1999-2009
Peymann was followed in 1999 by Klaus Bachler as director. He is a trained actor, but was mostly as a cultural manager (director of the Vienna Festival) active. Bachler moved the theater as a cultural event in the foreground and he engaged for this purpose directors such as Luc Bondy, Andrea Breth, Peter Zadek and Martin Kušej.
Were among the unusual "events" of the directorate Bachler
* The Theatre of Orgies and Mysteries by Hermann Nitsch with the performance of 122 Action (2005 )
* The recording of the MTV Unplugged concert with Die Toten Hosen for the music channel MTV (2005, under the title available)
* John Irving's reading from his book at the Burgtheater Until I find you (2006)
* The 431 animatographische (animatographical) Expedition by Christoph Schlingensief and a big event of him under the title of Area 7 - Matthew Sadochrist - An expedition by Christoph Schlingensief (2006).
* Daniel Hoevels cut in Schiller's Mary Stuart accidentally his throat (December 2008). Outpatient care is enough.
Jubilee Year 2005
In October 2005, the Burgtheater celebrated the 50th Anniversary of its reopening with a gala evening and the performance of Grillparzer's King Ottokar's Fortune and End, directed by Martin Kušej that had been performed in August 2005 at the Salzburg Festival as a great success. Michael Maertens (in the role of Rudolf of Habsburg) received the Nestroy Theatre Award for Best Actor for his role in this play. Actor Tobias Moretti was awarded in 2006 for this role with the Gertrude Eysoldt Ring.
Furthermore, there were on 16th October 2005 the open day on which the 82-minute film "burg/private. 82 miniatures" of Sepp Dreissinger was shown for the first time. The film contains one-minute film "Stand portraits" of Castle actors and guest actors who, without saying a word, try to present themselves with a as natural as possible facial expression. Klaus Dermutz wrote a work on the history of the Burgtheater. As a motto of this season served a quotation from Lessing's Minna von Barnhelm: "It's so sad to be happy alone."
The Burgtheater on the Mozart Year 2006
Also the Mozart Year 2006 was at the Burgtheater was remembered. As Mozart's Singspiel Die Entführung aus dem Serail in 1782 in the courtyard of Castle Theatre was premiered came in cooperation with the Vienna State Opera on the occasion of the Vienna Festival in May 2006 a new production (directed by Karin Beier) of this opera on stage.
Directorate Matthias Hartmann since 2009
From September 2009 to 2014, Matthias Hartmann was Artistic Director of the Burgtheater. A native of Osnabrück, he directed the stage houses of Bochum and Zurich. With his directors like Alvis Hermanis, Roland Schimmelpfennig, David Bösch, Stefan Bachmann, Stefan Pucher, Michael Thalheimer, came actresses like Dorte Lyssweski, Katharina Lorenz, Sarah Viktoria Frick, Mavie Hoerbiger, Lucas Gregorowicz and Martin Wuttke came permanently to the Burg. Matthias Hartmann himself staged around three premieres per season, about once a year, he staged at the major opera houses. For more internationality and "cross-over", he won the Belgian artist Jan Lauwers and his Need Company as "Artists in Residence" for the Castle, the New York group Nature Theater of Oklahoma show their great episode drama Live and Times of an annual continuation. For the new look - the Burgtheater presents itself without a solid logo with word games around the BURG - the Burgtheater in 2011 was awarded the Cultural Brand of the Year .
Since 2014, Karin Bergmann is the commander in chief.
=) #starwars #lego #legostarwars #empirestrikesback #esb #bountyhunters #darthvader #dengar #ig88 #bobafett #bossk #4lom #75167 #75093 #75137 #75033
I began the Kent church project back in 2008, and Barham was one of the first dozen I visited. I took a few shots, and from then I remember the window showing a very fine St George and a balcony from where the bells are rung giving great views down the church.
I have not stepped foot inside a Kent church since the end of September, and so I felt I needed to get back into it, as the orchid season is possibly just four months away, and then I will be lost for months.
Barham is like an old friend; it lies on a short cut from the A2 to the Elham Valley, so I pass down here many times a year, zig-zaggin at its western end as the road heads down towards the Nailbourne.
You can see the spire from the A2, nestling in the valley below, and yet being so close to a main road, the lane that winds it way through the timber framed and clapboard houses is wide enough to allow just one car to pass at a time.
Unusually, there is plentiful parking on the south side of the church, and from there there is a great view of the southern face of the church with its magnificent spire.
As hoped, it was open, and the church has so much more than I remember from what, eight years back.
Rows of modern chairs have replaced pews, but it looks good like thet. The church has a good collection of Victorian glass, some better than others, and there is that St George window at the western end of the north wall.
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A long and light church, best viewed from the south. Like nearby Ickham it is cruciform in plan, with a west rather than central, tower. Sometimes this is the result of a later tower being added, but here it is an early feature indeed, at least the same age (if not earlier) than the body of the church. Lord Kitchener lived in the parish, so his name appears on the War Memorial. At the west end of the south aisle, tucked out of the way, is the memorial to Sir Basil Dixwell (d 1750). There are two twentieth century windows by Martin Travers. The 1925 east window shows Our Lady and Child beneath the typical Travers Baroque Canopy. Under the tower, affixed to the wall, are some Flemish tiles, purchased under the will of John Digge who died in 1375. His memorial brass survives in the Vestry.
www.kentchurches.info/church.asp?p=Barham
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Many churches in Kent are well known for their yew trees but St. John the Baptist at Barham is noteworthy for its magnificent beech trees.
The Church guide suggests that there has been a Church here since the 9th Century but the present structure was probably started in the 12th Century although Syms, in his book about Kent Country Churches, states that there is a hint of possible Norman construction at the base of the present tower. The bulk of the Church covers the Early English, Decorated and Perpendicular periods of building. Many of the huge roof beams, ties and posts are original 14th Century as are the three arches leading into the aisle..
In the Northwest corner is a small 13th Century window containing modern glass depicting St. George slaying the dragon and dedicated to the 23rd Signal Company. The Church also contains a White Ensign which was presented to it by Viscount Broome, a local resident. The Ensign was from 'H.M.S. Raglan' which was also commanded by Viscount Broome. The ship was sunk in January, 1918 by the German light cruiser 'Breslau'.
The walls contain various mural tablets. Hanging high on the west wall is a helmet said to have belonged to Sir Basil Dixwell of Broome Park. The helmet probably never saw action but was carried at his funeral.
The floor in the north transept is uneven because some years ago three brasses were found there. According to popular medieval custom engraved metal cut-outs were sunk into indented stone slabs and secured with rivets and pitch. In order to save them from further damage the brasses were lifted and placed on the walls. The oldest dates from about 1370 is of a civilian but very mutilated. The other two are in good condition and dated about 1460. One is of a woman wearing the dress of a widow which was similar to a nun. The other is of a bare headed man in plate armour. These are believed to be of John Digges and his wife Joan.
At the west end of the church is a list of Rectors and Priests-in-Charge - the first being Otho Caputh in 1280. Notice should be made of Richard Hooker (1594), the author of the Laws of Ecclesiastical Polity. The tiles incorporated into the wall were originally in place in the Chancel about 1375. They were left by John Digges whose Will instructed that he was to be buried in the Chancel and "my executors are to buy Flanders tiles to pave the said Chancel".
The 14th century font is large enough to submerse a baby - as would have been the custom of the time. The bowl is octagonal representing the first day of the new week, the day of Christ's resurrection. The cover is Jacobean.
The Millennium Window in the South Transept was designed and constructed by Alexandra Le Rossignol and was dedicated in July 2001. The cost of the project (approximately £6,500) was raised locally with the first donation being made by the then Archbishop of Canterbury, Dr George Carey.
The porch contains two wooden plaques listing the names of men from the village who were killed in the Great Wars - among them being Field Marshall Lord Kitchener of Broome Park.
www.barham-kent.org.uk/landmark_church.htm
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ANTIENTLY written Bereham, lies the next parish eastward. There are five boroughs in it, viz. of Buxton, Outelmeston, Derrington, Breach, and Shelving. The manor of Bishopsborne claims over almost the whole of this parish, at the court of which the four latter borsholders are chosen, and the manors of Reculver and Adisham over a small part of it.
BARHAM is situated at the confines of that beautiful country heretofore described, the same Nailbourne valley running through it, near which, in like manner the land is very fertile, but all the rest of it is a chalky barren soil. On the rise of the hill northward from it, is the village called Barham-street, with the church, and just beyond the summit of it, on the further side Barham court, having its front towards the downs, over part of which this parish extends, and gives name to them. At the foot of the same hill, further eastward, is the mansion of Brome, with its adjoining plantatious, a conspicuous object from the downs, to which by inclosing a part of them, the grounds extend as far as the Dover road, close to Denne-hill, and a costly entrance has been erected into them there. By the corner of Brome house the road leads to the left through Denton-street, close up to which this parish extends, towards Folkestone; and to the right, towards Eleham and Hythe. One this road, within the bounds of this parish, in a chalky and stony country, of poor barren land, there is a large waste of pasture, called Breach down, on which there are a number of tumuli, or barrows. By the road side there have been found several skeletons, one of which had round its neck a string of beads, of various forms and sizes, from a pidgeon's egg to a pea, and by it a sword, dagger, and spear; the others lay in good order, without any particular thing to distinguish them. (fn. 1)
In the Nailbourne valley, near the stream, are the two hamlets of Derrington and South Barham; from thence the hills, on the opposite side of it to those already mentioned, rise southward pretty high, the tops of them being covered with woods, one of them being that large one called Covert wood, a manor belonging to the archbishop, and partly in this parish, being the beginning of a poor hilly country, covered with stones, and enveloped with frequent woods.
BARHAM, which, as appears by the survey of Domesday, formerly lay in a hundred of its own name, was given anno 809, by the estimation of seven ploughlands, by Cenulph, king of Kent, to archbishop Wlfred, free from all secular demands, except the trinoda necessitas, but this was for the use of his church; for the archbishop, anno 824, gave the monks lands in Egelhorne and Langeduna, in exchange for it. After which it came into the possession of archbishop Stigand, but, as appears by Domesday, not in right of his archbishopric, at the taking of which survey, it was become part of the possessions of Odo, bishop of Baieux, under the title of whose lands it is thus entered in it:
In Berham hundred, Fulbert holds of the bishop Berham. It was taxed at six sulings. The arable land is thirty two carucates. In demesne there are three carucates, and fifty two villeins, with twenty cottagers having eighteen carucates. There is a church, and one mill of twenty shillings and four pence. There are twentlyfive fisheries of thirty-five shillings all four pence. Of average, that is service, sixty shilling. Of herbage twenty six shillings, and twenty acres of meadow Of pannage sufficient for one hundred and fifty hogs. Of this manor the bishop gave one berewic to Herbert, the son of Ivo, which is called Hugham, and there be has one carucate in demesne, and twelve villeins, with nine carucates, and twenty acres of meadow. Of the same manor the bisoop gave to Osberne Paisforere one suling and two mills of fifty sbillings, and there is in demesne one carucate, and four villeins with one carucate. The whole of Barbam, in the time of king Edward the Confessor, was worth forty pounds, when be received it the like, and yet it yielded to him one hundred pounds, now Berhem of itself is worth forty pounds, and Hucham ten pounds, and this which Osberne bas six pounds, and the land of one Ralph, a knight, is worth forty shillings. This manor Stigand, the archbishop held, but it was not of the archbishopric, but was of the demesne ferm of king Edward.
On the bishop's disgrace four years afterwards, and his estates being confiscated to the crown, the seignory of this parish most probably returned to the see of Canterbury, with which it has ever since continued. The estate mentioned above in Domesday to have been held of the bishop by Fulbert, comprehended, in all likelihood, the several manors and other estates in this parish, now held of the manor of Bishopsborne, one of these was THE MANOR AND SEAT OF BARHAM-COURT, situated near the church, which probably was originally the court-lodge of the manor of Barham in very early times, before it became united to that of Bishopsborne, and in king Henry II.'s time was held of the archbishop by knight's service, by Sir Randal Fitzurse, who was one of the four knights belonging to the king's houshould, who murdered archbishop Becket anno 1170; after perpetrating which, Sir Randal fled into Ireland, and changed his name to Mac-Mahon, and one of his relations took possession of this estate, and assumed the name of Berham from it; and accordingly, his descendant Warin de Berham is recorded in the return made by the sheriff anno 12 and 13 king John, among others of the archbishop's tenants by knight's service, as holding lands in Berham of him, in whose posterity it continued till Thomas Barham, esq. in the very beginning of king James I.'s reign, alienated it to the Rev. Charles Fotherbye, dean of Canterbury, who died possessed of it in 1619. He was eldest son of Martin Fotherby, of Great Grimsby, in Lincolnshire, and eldest brother of Martin Fotherby, bishop of Salisbury. He had a grant of arms, Gules, a cross of lozenges flory, or, assigned to him and Martin his brother, by Camden, clarencieux, in 1605. (fn. 2) His only surviving son Sir John Fotherbye, of Barham-court, died in 1666, and was buried in that cathedral with his father. At length his grandson Charles, who died in 1720, leaving two daughters his coheirs; Mary, the eldest, inherited this manor by her father's will, and afterwards married Henry Mompesson, esq. of Wiltshire, (fn. 3) who resided at Barhamcourt, and died in 1732, s. p. and she again carried this manor in marriage to Sir Edward Dering, bart. of Surrenden, whose second wife she was. (fn. 4) He lest her surviving, and three children by her, Charles Dering, who married Elizabeth, daughter of Sir Thomas Farnaby, bart. since deceased, by whom he has an only surviving daughter, married to George Dering, esq. of Rolling, the youngest son of the late Sir Edw. Dering, bart. and her first cousin; Mary married Sir Robert Hilyard, bart. and Thomas Dering, esq. of London. Lady Dering died in 1775, and was succeeded by her eldest son Charles Dering, esq. afterwards of Barhamcourt, the present owner of it. It is at present occupied by Gen. Sir Charles Grey, bart. K. B. commanderin chief of the southern district of this kingdom.
THE MANORS OF BROME and OUTELMESTONE, alias DIGGS COURT, are situated in this parish; the latter in the valley, at the western boundary of it, was the first residence in this county of the eminent family of Digg, or, as they were asterwards called, Diggs, whence it gained its name of Diggs-court. John, son of Roger de Mildenhall, otherwise called Digg, the first-mentioned in the pedigrees of this family, lived in king Henry III.'s reign, at which time he, or one of this family of the same name, was possessed of the aldermanry of Newingate, in Canterbury, as part of their inheritance. His descendants continued to reside at Diggs-court, and bore for their arms, Gules, on a cross argent, five eagles with two heads displayed, sable, One of whom, James Diggs, of Diggs-court, died in 1535. At his death he gave the manor and seat of Outelmeston, alias Diggs-court, to his eldest son (by his first wife) John, and the manor of Brome to his youngest son, (by his second wife) Leonard, whose descendants were of Chilham castle. (fn. 5) John Diggs, esq. was of Diggs-court, whose descendant Thomas Posthumus Diggs, esq. about the middle of queen Elizabeth's reign, alienated this manor, with Diggs-place, to Capt. Halsey, of London, and he sold it to Sir Tho. Somes, alderman of London, who again parted with it to Sir B. Dixwell, bart. and he passed it away to Sir Thomas Williams, bart. whose heir Sir John Williams, bart. conveyed it, about the year 1706, to Daniel and Nathaniel Matson, and on the death of the former, the latter became wholly possessed of it, and his descendant Henry Matson, about the year 1730, gave it by will to the trustees for the repair of Dover harbour, in whom it continues at this time vested for that purpose.
BUT THE MANOR OF BROME, which came to Leonard Diggs, esq. by his father's will as above-mentioned, was sold by him to Basil Dixwell, esq. second son of Cha. Dixwell, esq. of Coton, in Warwickshire, then of Tevlingham, in Folkestone, who having built a handsome mansion for his residence on this manor, removed to it in 1622. In the second year of king Charles I. he served the office of sheriff with much honour and hospitality; after which he was knighted, and cveated a baronet. He died unmarried in 1641, having devised this manor and seat, with the rest of his estates, to his nephew Mark Dixwell, son of his elder brother William, of Coton above-mentioned, who afterwards resided at Brome, whose son Basil Dixwell, esq. of Brome, was anno 12 Charles II. created a baronet. He bore for his arms, Argent, a chevron, gules, between three sleurs de lis, sable. His only son Sir Basil Dixwell, bart. of Brome, died at Brome,s. p. in 1750, and devised this, among the rest of his estates, to his kinsman George Oxenden, esq. second son of Sir Geo. Oxenden, bart. of Dean, in Wingham, with an injunction for him to take the name and arms of Dixwell, for which an act passed anno 25 George II. but he died soon afterwards, unmarried, having devised this manor and seat to his father Sir George Oxenden, who settled it on his eldest and only surviving son, now Sir Henry Oxenden, bart. who is the present owner of it. He resides at Brome, which he has, as well as the grounds about it, much altered and improved for these many years successively.
SHELVING is a manor, situated in the borough of its own name, at the eastern boundary of this parish, which was so called from a family who were in antient times the possessors of it. John de Shelving resided here in king Edward I.'s reign, and married Helen, daughter and heir of John de Bourne, by whom he had Waretius de Shelving, whose son, J. de Shelving, of Shelvingborne, married Benedicta de Hougham, and died possessed of this manor anno 4 Edward III. After which it descended to their daughter Benedicta, who carried it in marriage to Sir Edmund de Haut, of Petham, in whose descendants, in like manner as Shelvington, alias Hautsborne, above-described, it continued down to Sir William Haut, of Hautsborne, in king Henry VIII's reign, whose eldest daughter and coheir Elizabeth carried it in marriage to Tho. Colepeper, esq. of Bedgbury, who in the beginning of king Edward VI.'s reign passed it away to Walter Mantle, whose window carried it by a second marriage to Christopher Carlell, gent. who bore for his arms, Or, a cross flory, gules; one of whose descendants sold it to Stephen Hobday, in whose name it continued till Hester, daughter of Hills Hobday, carried it in marriage to J. Lade, esq. of Boughton, and he having obtained an act for the purpose, alienated it to E. Bridges, esq. of Wootton-court, who passed away part of it to Sir George Oxenden, bart. whose son Sir Henry Oxenden, bart. of Brome, now owns it; but Mr. Bridges died possessed of the remaining part in 1780, and his eldest son the Rev. Edward Timewell Brydges, is the present possessor of it.
MAY DEACON, as it has been for many years past both called and written, is a seat in the southern part of this parish, adjoining to Denton-street, in which parish part of it is situated. Its original and true name was Madekin, being so called from a family who were owners of it, and continued so, as appears by the deeds of it, till king Henry VI's reign, in the beginning of which it passed from that name to Sydnor, in which it continued till king Henry VIII.'s reign, when Paul Sydnor, who upon his obtaining from the king a grant of Brenchley manor, removed thither, and alienated this seat to James Brooker, who resided here, and his sole daughter and heir carried it in marriage, in queen Elizabeth's reign, to Sir Henry Oxenden, of Dene, in Wingham, whose grandson Sir Henry Oxenden, bart. sold it in 1664, to Edward Adye, esq. the second son of John Adye, esq. of Doddington, one of whose daughters and coheirs, Rosamond, entitled her husband George Elcock, esq. afterwards of Madekin, to it, and his daughter and heir Elizabeth carried it in marriage to Capt. Charles Fotherby, whose eldest daughter and coheir Mary, entitled her two successive husbands, Henry Mompesson, esq. and Sir Edward Dering, bart. to the possession of it, and Charles Dering, esq. of Barham-court, eldest son of the latter, by her, is at this time the owner of it. The seat is now inhabited by Henry Oxenden, esq.
There are no parochial charities. The poor constantly maintained are about forty, casually fifteen.
THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanryof Bridge.
The church, which is dedicated to St. John Baptist, is a handsome building, consisting of a body and side isle, a cross or sept, and a high chancel, having a slim tall spire at the west end, in which are four bells. In the chancel are memorials for George Elcock, esq. of Madeacon, obt. 1703, and for his wife and children; for Charles Bean, A. M. rector, obt. 1731. A monument for William Barne, gent. son of the Rev. Miles Barne. His grandfather was Sir William Barne, of Woolwich, obt. 1706; arms, Azure, three leopards faces, argent. Several memorials for the Nethersoles, of this parish. In the south sept is a magnificent pyramid of marble for the family of Dixwell, who lie buried in a vault underneath, and inscriptions for them. In the north sept is a monument for the Fotherbys. On the pavement, on a gravestone, are the figures of an armed knight (his feet on a greyhound) and his wife; arms, A cross, quartering six lozenges, three and three. In the east window these arms, Gules, three crowns, or—Gules, three lions passant in pale, or. This chapel was dedicated to St. Giles, and some of the family of Diggs were buried in it; and there are memorials for several of the Legrands. There are three tombs of the Lades in the church-yard, the inscriptions obliterated, but the dates remaining are 1603, 1625, and 1660. There were formerly in the windows of this church these arms, Ermine, a chief, quarterly, or, and gules, and underneath, Jacobus Peccam. Another coat, Bruine and Rocheleyquartered; and another, Gules, a fess between three lions heads, erased, argent, and underneath,Orate p ais Roberti Baptford & Johe ux; which family resided at Barham, the last of whom, Sir John Baptford, lest an only daughter and heir, married to John Earde, of Denton.
¶The church of Barham has always been accounted as a chapel to the church of Bishopsborne, and as such is included in the valuation of it in the king's books. In 1588 here were communicants one hundred and eighty; in 1640 there were two hundred and fifty.
Spaarne 16, Haarlem.
Rijksmonument 513441
Teylers Museum is een museum voor wetenschap en kunst in Haarlem. Het werd in 1778 gesticht als boek en konstzael – een openbare gelegenheid voor kunst en wetenschap. Zowel het gebouw als het museuminterieur hebben de status van rijksmonument. Het museum heeft de oudste Nederlandse museumzaal waarvan het interieur nagenoeg in originele staat behouden is.
Het museum is genoemd naar Pieter Teyler van der Hulst (1702-1778), een rijke Haarlemse laken- en zijdefabrikant en bankier. Als aanhanger van de Verlichting had Pieter Teyler grote belangstelling voor kunst en wetenschap. Bij testament liet hij zijn collectie en vermogen na aan de Teylers Stichting, die onder meer de bevordering van kunst en wetenschap tot doel had.
Bij de uitvoering van het testament werd besloten een centrum voor kennis en onderwijs te stichten achter het woonhuis van Pieter Teyler. In Teylers Museum werden voorwerpen van kunst en wetenschap (boeken, natuurkundige instrumenten, tekeningen, fossielen en mineralen) onder één dak bijeengebracht. Dit was een revolutionair initiatief voortkomend uit de idealen van de Verlichting: een kennisinstituut door en voor burgers waar men zonder dwang van Kerk of Staat zelf de wereld kon ontdekken.
In 1779 werd door Leendert Viervant begonnen aan het ontwerp van de Ovale Zaal die achter de woning van Teyler aan de Damstraat gebouwd werd. In 1784 werd deze zaal opengesteld voor het publiek en werd Martinus van Marum aangesteld als eerste directeur van het museum. In 1825 werd het museum uitgebreid met een leeszaal. Een schilderijenzaal volgde in 1838.
Ter gelegenheid van het eeuwfeest in 1878 werd besloten een nieuw museum aan het complex toe te voegen, de zogenaamde Spaarnevleugel. Dit gebouw omvat een entree aan het Spaarne, drie museumzalen en op de eerste verdieping een gehoorzaal en bibliotheek. De entreehal met een rijk versierde voorgevel, een lichtkoepel en rotonde werd ontworpen door de Weense architect Christian Ulrich. De Haarlemse architect Adrianus van der Steur ontwierp de achterliggende zalen: de Eerste en Tweede Fossielenzaal en de Instrumentenzaal. De gehoorzaal is opgezet als een collegezaal en biedt plaats aan 150 personen. De bibliotheek sluit aan op de oorspronkelijke bibliotheek op de eerste verdieping van de ovale zaal. De bibliotheek heeft bovenlicht en is rondom voorzien van boekenwanden met een bovenloop. Het 'nieuwe museum' opende in 1885.
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Teylers Museum is an art, natural history, and science museum in Haarlem, the Netherlands. Established in 1778, Teylers Museum was founded as a centre for contemporary art and science. The historic centre of the museum is the neoclassical Oval Room (1784), which was built behind the house of Pieter Teyler van der Hulst (1702–1778), the so-called Fundatiehuis (Foundation House). Pieter Teyler was a wealthy cloth merchant and banker of Scottish descent, who bequeathed his fortune for the advancement of religion, art, and science.
In his will, Pieter Teyler stipulated that his collection and part of his fortune should be used to establish a foundation for their promotion: Teylers Stichting. The Teyler legacy to the city of Haarlem was split into two societies: Teylers First or Theological Society, intended for the study of religion and Teylers Second Society, which was to concern itself with physics, poetry, history, drawing, and numismatics.
The executors of Teyler's will, the first directors of Teylers Stichting, decided to establish a centre for study and education. Under a single roof, it would house all manner of suitable artifacts, such as books, scientific instruments, drawings, fossils, and minerals. The concept was based on a revolutionary ideal derived from the Enlightenment: that people could discover the world independently, without coercion by church or state. The example that guided the founders in establishing Teylers Museum was the Mouseion of classical antiquity: a "temple for the muses of the arts and sciences" that could also serve as a meeting place for scholars and the venue for various collections.
In 1779, Leendert Viervant started on the design of an "art and book room" behind Teyler’s residence. This neoclassical room, whose shape quickly led it to be called the Oval Room, was designed for research and study; here, scientific experiments would be conducted, public demonstrations held, and books, drawings, and prints viewed by the public. The Oval room was opened in 1784, with the scientist Martin van Marum as its first director.
A showcase in the centre displays a mineralogical collection from the 18th century and the showcases around hold 18th-century scientific instruments. The upper gallery, which was designed to let in the maximum amount of light for viewing purposes, has 12 built-in bookcases, largely containing period encyclopaedias and periodicals.
Our old cat Minnie died a week or two ago. She left behind a substantial estate of foods and other things. But like all cats, she died without a will. We have thus appointed ourselves as executors of her estate. We're gradually dispersing it.
The crows are among the first beneficiaries. Minnie would have approved.
This crow has a large craw and it's full. But there's enough in the estate to last at least a couple of weeks. Despite the greedyguts that the birds are.
I've gotten many requests for midi-scale Executor instructions, which has now been (mostly) addressed by fellow flickr user davidkfraser who has built a nearly identical Super Star Destroyer in LDD:
Download LDD file (brickshelf)
This has started a discussion of the differences between his model and mine (particularly the interior A-frame), which has finally gotten me to pull the superstructure off my Executor and take some pictures for you guys. :D
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So here it is: my messy Technic A-frame. It is designed to be as thin as possible (keeping the ship from being too tall) and to allow me to build everything with studs-out, including the bottom. Unfortunately I don't have the angle quite right, which is why there is such a gap between the hull plates. I think I had the angle just right at one point, but then extended the length of the model (forcing me to adjust the A-frame) and the Technic math just doesn't quite work out. I may give davidkfraser's clips and plates A-frame a try, though I'm wary of disassembly any of this thing!
✦ . ✦ . ✦ ✦ . . ✦
TANAKA x TREVOR - EXECUTOR BLADE
TANAKA: HIME KIMONO
► LINKS TO POSTS ◄ (TANAKA & TREVOR)
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TREVOR :http://maps.secondlife.com/secondlife/ALEGRIA/59/128/630
TANAKA: maps.secondlife.com/secon.../TOKYO%20ZERO/225/46/3306
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| TANAKA |
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GET KIMONO:
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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 (and possibly winding) 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.
It’s been a rough couple of months around here…
Long story short:
Moved away from the farm, separated with my partner of 20 yrs. Moved in with an ailing mother, mom passes away in May, I am the executor of mom’s will, trying to purchase her house and deal with the estate….
Soooo, if you haven’t seen hide nor hair of me it’s because SL kinda is taking a back seat to RL. My utmost apologies to all of my sponsors and letting you know that I will return sometime in the future or when I can get at least a few hours to myself.
Wearing:
Skin: Ghost xy +Fallen Gods Inc.+ Wrath NEW!
Hair: /Wasabi Pills/ Tanya Mesh Hair – (BOOBS) – Rye NEW!
Outfit: *{ SeVered GarDeN }* AGATHA dark NEW!
Blogged at:
Ensconced In Velvet
This big vessel is Benny's pride and joy that had been captured, repainted, upgraded, and modified. (Benny is not pleased, to say the least.)
I've gotten many requests for midi-scale Executor instructions, which has now been (mostly) addressed by fellow flickr user davidkfraser who has built a nearly identical Super Star Destroyer in LDD:
Download LDD file (brickshelf)
This has started a discussion of the differences between his model and mine (particularly the interior A-frame), which has finally gotten me to pull the superstructure off my Executor and take some pictures for you guys. :D
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This is a close-up of the central "city". The greebles are mostly random, but I have tried to preserve the "streets and buildings" look shown in models like this one.
Ightham Mote (/ˈaɪtəm ˈmoʊt/), Ightham, Kent is a medieval moated manor house. The architectural writer John Newman describes it as "the most complete small medieval manor house in the county". Ightham Mote and its gardens are owned by the National Trust and are open to the public. The house is a Grade I listed building, and parts of it are a Scheduled Ancient Monument.
The origins of the house date from circa 1340-1360. The earliest recorded owner is Sir Thomas Cawne, who was resident towards the middle of the 14th century. The house passed by the marriage of his daughter Alice to Nicholas Haute and their descendants, their grandson Richard Haute being Sheriff of Kent in the late 15th century. It was then purchased by Sir Richard Clement in 1521. In 1591, Sir William Selby bought the estate.
The house remained in the Selby family for nearly 300 years. Sir William was succeeded by his nephew, also Sir William, who is notable for handing over the keys of Berwick-upon-Tweed to James I on his way south to succeed to the throne. He married Dorothy Bonham of West Malling but had no children. The Selbys continued until the mid-19th century when the line faltered with Elizabeth Selby, the widow of a Thomas who disinherited his only son. During her reclusive tenure, Joseph Nash drew the house for his multi-volume illustrated history Mansions of England in the Olden Time, published in the 1840s. The house passed to a cousin, Prideaux John Selby, a distinguished naturalist, sportsman and scientist. On his death in 1867, he left Ightham Mote to a daughter, Mrs Lewis Marianne Bigge. Her second husband, Robert Luard, changed his name to Luard-Selby. Ightham Mote was rented-out in 1887 to American Railroad magnate William Jackson Palmer and his family. For three years Ightham Mote became a centre for the artists and writers of the Aesthetic Movement with visitors including John Singer Sargent, Henry James, and Ellen Terry. When Mrs Bigge died in 1889, the executors of her son Charles Selby-Bigge, a Shropshire land agent, put the house up for sale in July 1889.
The Mote was purchased by Thomas Colyer-Fergusson. He and his wife brought up their six children at the Mote. In 1890-1891, he carried out much repair and restoration, which allowed the survival of the house after centuries of neglect. Ightham Mote was opened to the public one afternoon a week in the early 20th century.
Sir Thomas Colyer-Fergusson's third son, Riversdale, died aged 21 in 1917 in the Third Battle of Ypres, and won a posthumous Victoria Cross. A wooden cross in the New Chapel is in his memory. The oldest brother, Max, was killed at the age of 49 in a bombing raid on an army driving school near Tidworth in 1940 during World War II. One of the three daughters, Mary (called Polly) married Walter Monckton.
On Sir Thomas's death in 1951, the property and the baronetcy passed to Max's son, James. The high costs of upkeep and repair of the house led him to sell the house and auction most of the contents. The sale took place in October 1951 and lasted three days. It was suggested that the house be demolished to harvest the lead on the roofs, or that it be divided into flats. Three local men purchased the house: William Durling, John Goodwin and John Baldock. They paid £5,500 for the freehold, in the hope of being able to secure the future of the house.
In 1953, Ightham Mote was purchased by Charles Henry Robinson, an American of Portland, Maine, United States. He had known the property when stationed nearby during the Second World War. He lived there for only fourteen weeks a year for tax reasons. He made many urgent repairs, and partly refurnished the house with 17th-century English pieces. In 1965, he announced that he would give Ightham Mote and its contents to the National Trust. He died in 1985 and his ashes were immured just outside the crypt. The National Trust took possession in that year.
In 1989, the National Trust began an ambitious conservation project that involved dismantling much of the building and recording its construction methods before rebuilding it. During this process, the effects of centuries of ageing, weathering, and the destructive effect of the deathwatch beetle were highlighted. The project ended in 2004 after revealing numerous examples of structural and ornamental features which had been covered up by later additions. The final year of construction was followed by the television series Time Team.
Originally dating to around 1320, the building is important because it has most of its original features; successive owners effected relatively few changes to the main structure, after the completion of the quadrangle with a new chapel in the 16th century. Pevsner described it as "the most complete small medieval manor house in the county", and it remains an example that shows how such houses would have looked in the Middle Ages. Unlike most courtyard houses of its type, which have had a range demolished, so that the house looks outward, Nicholas Cooper observes that Ightham Mote wholly surrounds its courtyard and looks inward, into it, offering little information externally. The construction is of "Kentish ragstone and dull red brick," the buildings of the courtyard having originally been built of timber and subsequently rebuilt in stone.
The house has more than 70 rooms, all arranged around a central courtyard, "the confines circumscribed by the moat." The house is surrounded on all sides by a square moat, crossed by three bridges. The earliest surviving evidence is for a house of the early 14th century, with the Great Hall, to which were attached, at the high, or dais end, the Chapel, Crypt and two Solars. The courtyard was completely enclosed by increments on its restricted moated site, and the battlemented tower was constructed in the 15th century. Very little of the 14th century survives on the exterior behind rebuilding and refacing of the 15th and 16th centuries.
The structures include unusual and distinctive elements, such as the porter's squint, a narrow slit in the wall designed to enable a gatekeeper to examine a visitor's credentials before opening the gate. An open loccia with a fifteenth-century gallery above, connects the main accommodations with the gatehouse range. The courtyard contains a large, 19th century dog kennel. The house contains two chapels; the New Chapel, of c.1520, having a barrel roof decorated with Tudor roses. Parts of the interior were remodelled by Richard Norman Shaw.
(Wikipedia)
Ightham Mote (sprich wie "item moot") ist ein mittelalterliches Herrenhaus mit Wassergraben in der Nähe des Dorfes Ightham bei Sevenoaks in der englischen Grafschaft Kent.
Ightham Mote und die umgebenden Gärten werden heute vom National Trust verwaltet und sind öffentlich zugänglich. English Heritage hat das Herrenhaus als historisches Gebäude I. Grades gelistet und Teile davon gelten als Scheduled Monument.
Die eigentliche Bedeutung des ursprünglich um 1320 entstandenen Gebäudes liegt in der Geringfügigkeit der Änderungen, die nachfolgende Besitzer nach der Fertigstellung des Vierseitgebäudes mit einer neuen Kapelle im 16. Jahrhundert an der Grundstruktur vornehmen ließen. Nikolaus Pevsner nannte es „(...) das kompletteste kleine mittelalterliche Herrenhaus auf dem Land.“ Es zeigt heute noch, wie solche Häuser im Mittelalter ausgesehen haben. Anders als die meisten anderen Hofhäuser dieses Typs, von denen jeweils Teile im Laufe der Zeit abgerissen wurde, sodass das Haus sich nach außen orientiert, besitzt Ightham Mote noch alle vier Gebäudeseiten um den Hof und orientiert sich so nach innen. Nach außen zeigt es wenig Details und Informationen.
Es gibt mehr als 70 Räume in dem Haus, alle arrangiert um den Hof in der Mitte. Auf allen Seiten umgibt ein Graben mit quadratischem Querschnitt das Gebäude. Drei Brücken überqueren ihn. Die früheste urkundliche Erwähnung eines Hauses an dieser Stelle datiert auf den Anfang des 14. Jahrhunderts. Es hatte einen Rittersaal, an dessen oberes Ende eine Kapelle, eine Krypta und zwei Solare angeschlossen waren. Der Hof wurde dann durch Zubauten in seiner begrenzten, grabenbewehrten Lage und den zinnenbewehrten Turm im 15. Jahrhundert vollständig umschlossen. Außen ist nach den Umbauten im 15. und 16. Jahrhundert nur wenig vom 14. Jahrhundert bis heute erhalten geblieben.
Das Grundgerüst enthält unübliche und einzigartige Elemente, wie z. B. der Portiersspion, ein schmaler Schlitz in der Mauer, der es dem Torwächter ermöglichte, das Beglaubigungsschreiben eines Besuchers zu prüfen, bevor er ihn einließ. Eine offene Loggia mit einer Galerie aus dem 15. Jahrhundert darüber verbindet die Hauptwohnräume mit dem Torhaustrakt. Eine große Hundehütte aus dem Ende des 19. Jahrhunderts für einen Bernhardiner namens Dido ist die einzige, die als historisches Gebäude I. Grades gelistet ist.
Man erzählt sich, dass im 19. Jahrhundert ein weibliches Skelett eingemauert hinter einer nicht benutzten Seitentüre gefunden wurde. Diese Türe in der Spezialsendung Nr. 21 der archäologischen Fernsehserie ‚‘Time Team‘‘ zu sehen. Tatsächlich handelt es sich dabei um einen Abstellraum. Es gibt keine Aufzeichnungen über den Fund eines Skeletts und so nahm man das Gerücht nicht in den 2004 verlegten Führer auf.
In der historischen Novelle A Rose for the Crown von Anne Easter Smith, die im 15. Jahrhundert spielt, ist Ightham Mote häufig erwähnt. Die Novelle Green Darkness von Anya Seton spielt auch hauptsächlich in Ightham Mote. Die Legende vom eingemauerten Skelett spielt darin eine wesentliche Rolle.
Das Haus blieb fast 300 Jahre lang in den Händen der Familie Selby. Sir William Selby kaufte es 1591 von Charles Allen. Ihm folgte sein Neffe, ebenfalls William Selby, nach, der bekanntermaßen die Stadtschlüssel von Berwick-upon-Tweed an Jakob I. übergab, als dieser auf dem Weg nach Süden war, um den Thron zu übernehmen. Dieser William Selby heiratete Dorothy Bonham aus West Malling, aber das Paar blieb kinderlos. Dennoch verblieb das Anwesen in den Händen der Familie, bis diese Linie Mitte des 19. Jahrhunderts mit Elizabeth Selby, der Witwe eines Thomas Selby, der seinen einzigen Sohn enterbte, endete. Das Anwesen ging an einen Vetter, Prideaux John Selby, einen ausgewiesenen Naturalisten, Sportler und Wissenschaftler, über. Nach dessen Tod 1867 vererbte er Ightham House an seine Tochter, Mrs Lewis Marianne Bigge. Deren zweiter Mann, Robert Luard, änderte seinen Namen in Luard-Selby. Sie starb 1889 und die Nachlassverwalter ihres Sohnes Charles Selby-Bigge, einem Makler aus Shropshire, boten das Anwesen im Juli 1889 zum Verkauf an.
Ightham Mote wurde von Thomas Colyer-Fergusson erworben, der seine sechs Kinder in dem Herrenhaus aufzog. In den Jahren 1890–1891 ließ er umfangreiche Reparatur- und Restaurierungsarbeiten ausführen und so ist das Haus trotz jahrhundertelanger Vernachlässigung bis heute erhalten. Er ließ die Rumpelkammer in ein Billiardzimmer umbauen, Badezimmer und Zentralheizung einbauen, arrangierte die Küche und das Speisezimmer neu und ließ ungezählte Reparaturen durchführen. Anfang des 20. Jahrhunderts wurde Ightham Mote einen Nachmittag pro Woche der Öffentlichkeit zugänglich gemacht.
Sir Thomas Colyer-Fergussons dritter Sohn, Riversdale, fiel 1917 im Alter von 21 Jahren in der dritten Flandernschlacht. Ihm wurde posthum ein Victoria Cross verliehen. In der neuen Kapelle erinnert ein Holzkreuz an ihn. Der älteste Bruder, Max, starb 1940 im Alter von 49 Jahren bei einem Bombenangriff auf eine Armeefahrschule bei Tidworth. Eine der drei Töchter, Mary (auch „Polly“ genannt), heiratete Walter Monckton.
Im Zweiten Weltkrieg schlief die dezimierte Dienerschaft in der Krypta, die Schutz vor Fliegerangriffen bot. Ein deutscher Pilot, der mit dem Fallschirm auf dem Anwesen landete, nachdem sein Flugzeug abgeschossen worden war, wurde eine Nacht dort eingesperrt.
Nach dem Tod von Sir Thomas 1951 fielen das Anwesen und der Titel eine Barons an Maxs Sohn James, der nie heiratete. Die Kosten für die Erhaltung und Reparatur des Herrenhauses zwangen ihn, das Haus zu verkaufen und den größten Teil des Inventars versteigern zu lassen. Die Versteigerung fand im Oktober 1951 statt und dauerte drei Tage. Man schlug vor, das Haus abzureißen und das Blei auf dem Dach wiederzuverwerten oder das Haus in Wohnungen aufzuteilen. Drei Männer aus der Gegend taten sich zusammen, um das Herrenhaus zu retten, weil es ihnen so gefiel: William Durling, John Goodwin und John Baldock. Sie zahlten £ 5500 für die Grundstücksrechte und hofften, dass sich weiterer, reicherer Wohltäter anschließen würde.
1953 kaufte der unverheiratete Charles Henry Robinson aus Portland in Maine das Haus. Aus steuerlichen Gründen konnte er das Haus nur 14 Wochen im Jahr bewohnen. Er ließ viele dringende Reparaturen durchführen und möblierte die Innenräume teilweise mit englischen Stücken aus dem 17. Jahrhundert. 1965 kündigte er an, dass er Ightham Mote und seinen Inhalt dem National Trust überlassen wollte. Er starb 1985 und seine Asche wurde außen an der Krypta eingemauert. Im selben Jahr übernahm der National Trust das Anwesen.
1989 begann der National Trust ein ambitioniertes Erhaltungsprojekt, das auch eine weitgehende Demontage der Gebäude umfasste, um deren Konstruktionsprinzip aufzunehmen. Danach wurden sie wiederhergestellt. Das Projekt endete 2004 nach der Entdeckung zahlreicher struktureller und ornamentaler Details, die von späteren Umbauten verdeckt waren. Die Kosten dieser Arbeiten werden auf mehr als £ 10 Mio. geschätzt.
(Wikipedia)
Cricketers, Canterbury
A Traditional English Pub in the Centre of Canterbury.
The Faversham Brewery is home to Shepherd Neame, is Britain's oldest brewer - and while 1698 is the Brewery's official founding date, there is clear evidence that its heritage pre-dates even this period.
900 AD. Faversham's first known link with brewing follows the founding of the town's abbey in 1147 by King Stephen. Within the site was a brewhouse, which produced ale for the monks.
www.shepherdneame.co.uk/brewery/brewery-history
1525. William Castlock, the brother of the last abbot of Faversham, was exporting and importing beer.
It was an association with beer that the Castlocks maintained and by 1550 John Castlock, his son, was leasing the abbey brewhouse. By 1570, he was the owner of 18 Court Street, where brewing has continued ever since.
1653 the brewery passed to Thomas Hilton.
1678 that an important figure entered the brewery’s story when Richard Marsh leased it from Hilton's executors.
Marsh, in his capacity as mayor, held King James II as a prisoner after he ran aground off Faversham while attempting to flee to France to avoid William of Orange and his threatening Dutch army during the Glorious Revolution of 1688. The monarch was confined at the brewery.
1698 Marsh bought the brewery from the executors of Thomas Hilton, thereby signalling the official start of the brewery's history. He died in 1726 and the brewery passed to his second son, also called Richard, who died only a year later. His widow, Mary, married a Mr Hilles Hobday, who died in 1731. By this time the brewery owned two Faversham pubs, The Castle and The Three Tuns.
Samuel Shepherd married Mary in 1732 and promptly took over the running of the brewery, introducing an era of growth. Shepherd led an important development for the brewery which was the acquisition of 21 pubs, five of which remain with Shepherd Neame. 1755 Samuel retired leaving the business in the hands of his sons, John and Julius.
1777 John withdrew from the business leaving Julius as the sole owner. He in turn took two of his sons, Samuel and Henry, into the partnership.
1789 Julius bought the brewery's first Sun and Planet steam engine.
1819 Julius was succeeded by his son Henry. When Henry retired. It passed initially to Henry Jr and his son-in-law, Charles Jones Hilton, but Hilton withdrew only four years later and Henry Jr took on John Henry Mares as his partner.
1864 Percy Beale Neame, a 28-year-old hop farmer and brother-in-law of John Mares, joined the firm as a partner, only two months before Mares' death. Shepherd Neame & Company was born.
1864 The building of a new brewhouse and stores and 10 years later the pubs estate had grown to nearly 100.
1875 Henry Jr died , leaving Percy Neame the sole proprietor. He was joined by his sons, Harry, Arthur and Alick about 20 years later.
1913 Percy Beale Neame died, after 49 years at the brewey, 1814 Shepherd Neame became a limited company
1916 Arthur died of pneumonia in March of that year, to be followed by Alick only three months later. Harry became the sole managing director.
The Second World War saw the brewery depleted of staff due to military service. Seventy-five were away by 1940, though production continued as beer was not rationed and indeed, was regarded as a morale-boosting essential.
1947 Harry died in and nine years later, Jasper's eldest son Robert, known as Bobby, joined the company.
1958 Shepherd Neame produced one of its most distinctive beers, Bishop's Finger. Was named, according to folklore, after a signpost that pointed the way to Thomas Becket's tomb.
1968 Shepherd Neame regional brewer of lager in the UK when it started brewing Hürlimann larger,
1990 Shepherd Neame produced Spitfire to commemorate the 50th anniversary of the Battle of Britain.
2006 Shepherd Neame received the Queen's Award for Sustainable Development .
Tone Mapped with NIK Collection Color EFEX pro 4 in Photoshop, corrected with Lightroom
The Cricketers
14 St Peter's Street,
Canterbury, Kent
CT1 2BQ
britishlistedbuildings.co.uk/101260075-th-kentish-cricket...
Hosyers Almshouses Providing Social Housing for the Elderly in Ludlow since 1463
John Hosyer purchased the site for the almshouses on 22 April 1462. A large rectangular plot, this was one of the burgages opening to the original High Street or market place. It was laid out in the town's first phase of development, probably in the late C11th or early C12th. Like other burgages in this part of Ludlow, the frontage width was exactly three perches, i.e. 49 feet, the perch (16 1⁄2 feet) being the standard unit of measurement in medieval town plans. The side of the present building, onto what is now Church Street, retains this width, an evocative link with the early Norman surveyors.
In the conveyance of the almshouse site, John Hosyer, the purchaser, is described as draper, i.e. a trader in cloth. Much of the wealth of late medieval Ludlow came from its manufacture of cloth. In the C14th and C15th ‘Ludlow Blues’, ‘Ludlow Reds’, ‘Ludlow Whites’ and other cloths were widely marketed by Ludlow merchants, in many parts of England and Wales and in Europe.
John Hosyer’s will reveals that his wife, Alice, had died before him, and there are no references to male heirs. This helps to explain his great public munificence. He left generous amounts to the town’s Carmelite Friary near the bottom of Corve Street, which had been badly damaged by the Lancastrians. There are individual bequests to named individuals and 20 pence to each of the Guild chaplains. Like others of his day he provided for an elaborate funeral, with 24 poor men carrying torches, and £6 13s 4d — a very large sum — was to be distributed among the poor on the day of his burial. But the most enduring of his bequests was the endowment of the almshouses which still bear his name, the details of which were entrusted to his executors, fellow merchants John Dodmore, John Dale and Richard Sherman.
The current building was rebuilt on the original site in 1758.
Hosyers Almshouses consist of one bedroom flats and bedsits.
Gleaned from the website of the Hosyer’s Charity website: hosyers.co.uk
Do take a look for lots more information.
Ludlow is a market town in Shropshire. It sits near the confluence of the rivers Corve and Teme. The oldest part is the medieval walled town, founded in the late 11th century after the Norman conquest of England. It is centred on a small hill which lies on the eastern bank of a bend of the River Teme. Situated on this hill are Ludlow Castle and the parish church, St Laurence's, the largest in the county. From there the streets slope downward to the River Teme, and northward toward the River Corve. The town is in a sheltered spot beneath Mortimer Forest and the Clee Hills, which are clearly visible from the town.I
The original land grant of 50 acres was made to James Henry Neal on 10 October 1877 under the provisions of the Volunteer Force Regulation Act 1867. On 8 January 1881 the land was transferred to Frederick Clissold of Ashfield, who subdivided the entire portion.
Tenders were called for the Western Star Hotel by J. Kirkpatrick of Kirkpatrick & Bossler, architects in September 1881. On 18 January 1882 Lots 10-15 of Section 2 was transferred to Harry George Rowell. The same year the hotel was constructed by F. Drewett, a builder from Lithgow, opening as the Great Western Hotel. Tenders were called later that year by Kirkpatrick for additions to the hotel, possibly the stone wing. On 24 April 1883 Harry George Rowell purchased Lots 1 & 2 of Section 2 of Deposited Plan 292 from Frederick Clissold.
In 1884 the Great Western Hotel is described as accommodating seventy to eighty persons with nearly sixty rooms.
On 9 September 1886 Thomas Frederick Thompson and Henry Moses, wine and spirit merchants, exercised Power of Sale under their Mortgage of 1 July 1885 and transferred the property to James Hunt and Henry Thorpe, hotelkeepers.
On 6 October 1887 the property was leased to Frederick Charles Goyder of Katoomba. In 1886 Lord Carrington, Governor of NSW visited the hotel and gave permission for Goyder to change its name to The Carrington Hotel.
Between 1887 to 1889 Goyder built an additional wing, dining hall, two drawing rooms and a music room, resulting in 119 bedrooms and seven suites of rooms, two tennis courts and flower and vegetable gardens.
On 30 April 1888 the property was transferred to F.C. Goyder and mortgaged to Hunt and Thorpe. On 10 March 1898 the mortgage was transferred to Henry Thorpe and Sydney Mansfield Rowell. On 24 July 1899 the property was leased to William Frederick Goyder, son of F.C. Goyder.
The mortgage was foreclosed on 19 September 1901 and ownership passed to Thorpe and Rowell. The property was leased to Arthur Lawrence Peacock on 19 September 1901.
Between 1904 to 1911 Peacock carried out various alterations and additions, mostly redecoration and including services of lavatories, baths and water closets on each floor.
In 1908 Edward, Prince of Wales stayed at the Hotel.
The power station at the rear of the Carrington Hotel was built in 1910. It provided the first electricity supply not only to the Carrington Hotel but also to Katoomba and other Blue Mountains towns. The octagonal brick chimney remains an important Katoomba landmark. A boiler which was in use until the 1980s. An earlier horizontal boiler was removed when the current boiler was installed. The latter, had a name plate: D.H. Berghouse Ultimo. It was reported to have been brought from Sydney by rail, having previously operated in the Arcadia Hotel. It was constructed of revitted steel plates and features six 'spy holes'. Various tools for raking etc remain nearby. This boiler was removed in the 1990s without prior approval.
On 10th October 1911 the property and remainder of lease was transferred to James Joynton Smith. Between 1911 and 1912 Joynton Smith commissioned local Katoomba architects HR Goyder & Hewlett Hogben for construction of new Main Street Bar and a motor garage at the rear of the Hotel. New driveways were also constructed.
Between 1912 to 1913 the stone and wrought iron gates to Katoomba Street , front terrace, steps and balcony, stained glass screen to verandah, dining room fireplaces and electric power house and chimney, including first floor laundry and servants' quarters were constructed. The kitchen ceiling was raised, floors above replaced with reinforced concrete, new men's bathrooms installed on the second floor and fire hydrants were installed throughout. The architects were Gotder Bros and the builders were Howie, Brown & Moffit of Sydney. At this time the pine trees and garden were also redesigned.
Samuel Timmings worked as the gardener at the Carrington Hotel from 1914-1947. He worked as the gardener at Nellie Melba's house in Rose Bay, Sydney. In 1912 he was employed as gardener at the Hydro Majestic Hotel (Medlow Bath), possibly through the friendship between its owner Mark Foy and Nellie Melba's agent, Hugh Ward. Samuel rode a bike from Katoomba to Medlow Bath each day, but after 18 months got a job closer to home at the Carrington. His wife Mabel said 'I think Joynton pinched him' and this is quite likely, for his new position was around the time Mark Foy transferred the Hydro over to James Joynton-Smith - the owner of the Carrington Hotel. His son Les worked with him in the 1930s and then at Everglades, Leura in the late 1940s. Les said of his father, here: 'mowing with a bloody heavy thing called a Greenge, up and down the slope, one pushing and the other pulling...Dad would get down on his hands and knees to clip the edges using sheep shears...and he planted many trees and plants, including a beautiful circular rose garden...Dad's garden shed was between the Stone Wing and the Boiler House, where he'd boil the billy for his tea.' In recognition of his work, Timmings' name was etched into the stone paving in Carrington Place (street-front park landscaping) in 2002, at the top of the small steps at the southern end.
Around 1923 the Hotel was under the control of the Joynton Smith Management Trust and had over 200 bedrooms. Between 1923 and 1927 the attic bedrooms were enlarged by removing dormer windows and the widow's walk and building a flat roofed terrace. Additional bathrooms were added at the southern end. The dining room was enlarged and a lift installed. The western end of the original north wing was demolished and a new wing added with 23 bedrooms and parking and service rooms beneath. Walls were also removed to create a cocktail lounge and ballroom.
Electricity supply to the Blue Mountains area was taken over by local councils in April 1925. The power house equipment was removed, except for the boiler which was converted to supply hot water to the Hotel.
In 1927 the Duke and Duchess of York visited the Carrington. During this same Australian tour they opened Parliament House in Canberra.
On 17 November 1947, following the death of Joynton Smith, an allocation of title was made to William Patrick Donohoe, Francis Patrick Donohoe and Gladys Joynton Smith. On 24 October 1950 Gladys Joynton Smith entered into a Deed of Appointment with Permanent Trustee Company Limited, William Patrick Donohoe and Francis Patrick Donohoe, who are also the executors and trustees of her late husband's will.
Between 1947 and 1953 the tennis court was reconstructed. In 1953 the tennis court was removed and the Starlight Room and a new bar was built.
On 18 December 1967 the property was transferred to six people, one of whom was Theodore Constantine Morris, holds a half share. On 5 May 1969 the entire property was transferred to Morris. In 1968 the swimming pool was constructed and a general redecoration was undertaken.
During the later years of the 20th century elements such as the pergola, trellis and some garden beds were removed and the swimming pool (since filled in) were added to the upper terrace. New trees were planted, some, e.g. the Himalayan cedars (Cedrus deodara) placed with respect for the symmetrical nature of the 1911-13 design and others planted seemingly at random. From the 1960s onwards there was a gradual erosion in the level of garden maintenance, resulting in a loss of detail. The introduction of public bus shelters on Katoomba Street in front of the early 20th century stone wall of the Carrington Hotel obscured and detracted from traditional views to the place.
The hotel was closed in 1986 under then owner Theo Morris for non-compliance with fire regulations. It was boarded up.
Revival: 1992 - 1998:
In 1992, Geoffrey Leach, a building contractor, began a process of restoration said to have cost rather less than $8m. In December 1998, the ground floor and one floor of guest rooms was re-opened, with other areas following as progress and finances permitted. Mr. Leach would not say what the restoration has cost, but claims it is less than the "6m to 8m' he says is being spent on that other fabulous mountains hotel, the Hydro Majestic.
Lynch's first task was to restore the pub at the driveway's entry on Katoomba Street, which has been generating income for the project for some years now. Inside the hotel, the art nouveau windows to the enclosed verandah have been replicated and the black and white tiled bathrooms - many with original fittings - restored. Uptsairs one large room - the 'treasure room' - was used to stockpile any original items - light fittings, clocks, items of furniture, a pair of genuine Ming vases, the silver plate that now sits in a glass-fronted cupboard in the dining room. Vast Victorian oil paintings went off for cleaning and restoration, chandeliers were cleaned and re-hung, silver polished, clocks returned to working order, and pieces of furniture copied for the guest rooms (the bedheads even have the CH logo)
In 2002 a master plan for a new town square was approved and implemented, partly imposing inside the Carrington's lower garden and involving its redesign, relocation of the intrusive bus shelters, ramps, paving and widespread replanting.
In 2004 Leach's interest was purchased by Michael Brischetto and Mark Jarvis, who announced ambitious new plans for a backpackers' hostel, a large number of bedrooms, new retail facilities and a drive-through bottle shop in the former power house. The partners have achieved some of these aims, while also devoting their energies to the conservation of the hotel's original fabric.
In july 2010 a bottle shop was opened in the former boiler room of the power house facing Parke Street. This involved the stabilisation of portions of the internal and external fabric of the structure.
Source: New South Wales Heritage Register.
Prior to the arrival of Europeans, the area around San Juan Bautista was populated by the Mutsunes, a branch of the Ohlone Indians. The Mutsunes lived in villages composed of thatched huts made of willow and grass, and as they lived the simple hunter-gatherer lifestyle common to California Indians, left little mark on the land. Today, the Mutsunes are extinct, with the last full-blooded native, Ascención Solórzano, dying in 1930.
In 1797, the Spanish Franciscan priest fray Fermín de Lasuén founded Mission San Juan Bautista to facilitate the conversion of the native people to Catholicism; in the process, he claimed the land for the Spanish Empire. Lasuén chose the site because of the area's fertile cropland, steady water supply, and sizable Indian population. At its height, the Mission had over 1200 neophytes living within its walls. The mission churchyard holds the remains of about 4500 Indians. Construction of the current mission church began in 1803, and has served the community continuously since 1812. The mission was located on the Camino Real, a "royal highway" which connected the California missions and which remained well-used until the 19th century.
In 1821, Mexico revolted against Spain, winning independence for itself, and making California a province of the newly independent Mexico. By 1834, a town known as San Juan de Castro has sprouted up around the mission. It drew its name from the town's prominent alcalde José Tiburcio Castro. In 1834 the mission was secularized, and Castro appointed executor of the property. Accordingly, he divided and auctioned off the former mission properties. His son, José Antonio Castro, built the Castro Adobe on the south side of the Plaza Mayor in 1840; however, Castro's frequent involvement in government kept him from spending much time there. Castro was a key member of the overthrow of governors Nicolás Gutiérrez in 1836 and Manuel Micheltorena in 1844.
After defeating Micheltorena and his ill-equipped "Cholo" army, José Antonio Castro was appointed Comandante General of California, in charge of the Mexican Army's operations in California. From San Juan Bautista, Castro ordered the army against potential foreign incursions; he soon became preoccupied with the threat posed by the uneducated foreign workers who were entering the country illegally, particularly from the United States, and who refused to adopt Mexican customs or learn Spanish. He kept especially close watch over the movements of John C. Frémont, an American military officer who had been let into California to conduct a survey of the interior. Though given explicit instructions to stay away from coastal settlements, Frémont soon broke the agreement by taking his team to Monterey, a potential military target. When Castro told Frémont he would have to leave the country, the situation came close to war when he obstinately refused to leave and instead set up a base on Gavilán Peak, overlooking the town of San Juan. However, fighting was avoided and Frémont, grudgingly, withdrew.
Faced with continuous incursions against it by a foreign power, Castro's foreboding of an immigrant takeover was soon confirmed when the United States started the Mexican-American War in a bid to seize Mexico's northern holdings. Frémont returned to California, this time leading the invading US army. After using San Juan as a post for some time, Frémont went south, where he signed the Treaty of Cahuenga ending hostilities between the US and Mexico.
Wikipedia
Vicars' Close, Wells, Somerset, England
Just playing with a new toy which Santa kindly dropped off on Sunday. This is Vicars' Close in Wells with Wells Cathedral in the background
Info below from Wikipedia:-
Vicars' Close, in Wells, Somerset, England is claimed to be the oldest purely residential street with its original buildings all surviving intact in Europe. John Julius Norwich calls it "that rarest of survivals, a planned street of the mid-14th century". It comprises numerous Grade 1 listed buildings, comprising 27 residences (originally 44), built for Bishop Ralph of Shrewsbury, a chapel and library at the north end, and a hall at the south end, over an arched gate. It is connected at its southern end to the cathedral by way of a walkway over Chain Gate.
The Close is about 460 ft (140 m) long, and paved with setts. Its width is tapered by 10 ft (3 m) to make it look longer when viewed from the main entrance nearest the cathedral. When viewed from the other end it looks shorter.
By the nineteenth century the buildings were reported to be in a poor state of repair, and part of the hall was being used as a malthouse.
The Close owes its origins to a grant of land and buildings by Walter de Hulle, a canon of the cathedral, for the purpose of accommodating thirteen chantry priests. Bishop Jocelin styled these priests the Vicars Choral, their duty being to chant divine service eight times a day. Previously they had lived throughout the town, and Bishop Ralph resolved to incorporate them and provide subsistence for the future. The Vicars Choral were assigned annuities from his lands and tenements in Congresbury and Wookey, an annual fee from the vicarage of Chew, and endowed them with lands obtained from the Feoffees of Walter de Hulle. The residences he built became known as the College, or Close of the Vicars.
The first part of the Close to be constructed were a first floor barrel-roofed common hall and store room below, kitchen and bakehouse which were completed in 1348. Chain Gate was abutted to it in 1459 by Thomas Beckington. This included a gallery over the gate into the cathedral for the vicars' convenience. The entrance arch into the close is divided into a pedestrian gate and a waggon gate, and has a lierne vault ceiling.
The chapel was built c1424-1430 at the north end of the close against the northern boundary wall of the Liberty. The lower floor was a chapel, and a spiral stair lead up to the library. It is now used by Wells Cathedral School.
The residences originally comprised a ground floor hall of approximately 20 ft x 13 ft (6 m x 4 m), and an upper floor of the same size. Both had a fireplace in the front wall. The date of some of the buildings is unclear but it is known that some had been built by 1363 and the rest were completed by 1412. From the 15th century onwards many alterations have been made, including extensions at the rear and knocking through walls to create larger dwellings. Following the Reformation when clerical marriage was permitted, larger households would have been required. In a charter of c.1582 Queen Elizabeth restricted the number of vicars to twenty.
In the fifteenth century, Bishop Thomas Beckington left much of his estate to the Vicars Choral, enabling repairs to be carried out. The chimney shafts were renewed. Each stack incorporates two heraldic shields and the upper sections of the stacks are octagonal. The shields are those of the Bishop, a beacon above tun, and the arms of his three executors; sugar loaves for Hugh Sugar, three swans for Richard Swan, and the talbot for John Pope.
No. 1 Vicars Close was once a larger property, but has since been divided and part is now No. 1 St. Andrew Street.
Shrewsbury House is architecturally different to all the other buildings. It was re-built in the 19th century after a fire that burnt down the original structure.
The gardens were not part of the original scheme. The garden walls were added in the 15th century.
In 2009, two large trees that grew in the front gardens of two residences were cut down because they obscured the view, and the roots were at risk of damaging the ancient buildings
The original land grant of 50 acres was made to James Henry Neal on 10 October 1877 under the provisions of the Volunteer Force Regulation Act 1867. On 8 January 1881 the land was transferred to Frederick Clissold of Ashfield, who subdivided the entire portion.
Tenders were called for the Western Star Hotel by J. Kirkpatrick of Kirkpatrick & Bossler, architects in September 1881. On 18 January 1882 Lots 10-15 of Section 2 was transferred to Harry George Rowell. The same year the hotel was constructed by F. Drewett, a builder from Lithgow, opening as the Great Western Hotel. Tenders were called later that year by Kirkpatrick for additions to the hotel, possibly the stone wing. On 24 April 1883 Harry George Rowell purchased Lots 1 & 2 of Section 2 of Deposited Plan 292 from Frederick Clissold.
In 1884 the Great Western Hotel is described as accommodating seventy to eighty persons with nearly sixty rooms.
On 9 September 1886 Thomas Frederick Thompson and Henry Moses, wine and spirit merchants, exercised Power of Sale under their Mortgage of 1 July 1885 and transferred the property to James Hunt and Henry Thorpe, hotelkeepers.
On 6 October 1887 the property was leased to Frederick Charles Goyder of Katoomba. In 1886 Lord Carrington, Governor of NSW visited the hotel and gave permission for Goyder to change its name to The Carrington Hotel.
Between 1887 to 1889 Goyder built an additional wing, dining hall, two drawing rooms and a music room, resulting in 119 bedrooms and seven suites of rooms, two tennis courts and flower and vegetable gardens.
On 30 April 1888 the property was transferred to F.C. Goyder and mortgaged to Hunt and Thorpe. On 10 March 1898 the mortgage was transferred to Henry Thorpe and Sydney Mansfield Rowell. On 24 July 1899 the property was leased to William Frederick Goyder, son of F.C. Goyder.
The mortgage was foreclosed on 19 September 1901 and ownership passed to Thorpe and Rowell. The property was leased to Arthur Lawrence Peacock on 19 September 1901.
Between 1904 to 1911 Peacock carried out various alterations and additions, mostly redecoration and including services of lavatories, baths and water closets on each floor.
In 1908 Edward, Prince of Wales stayed at the Hotel.
The power station at the rear of the Carrington Hotel was built in 1910. It provided the first electricity supply not only to the Carrington Hotel but also to Katoomba and other Blue Mountains towns. The octagonal brick chimney remains an important Katoomba landmark. A boiler which was in use until the 1980s. An earlier horizontal boiler was removed when the current boiler was installed. The latter, had a name plate: D.H. Berghouse Ultimo. It was reported to have been brought from Sydney by rail, having previously operated in the Arcadia Hotel. It was constructed of revitted steel plates and features six 'spy holes'. Various tools for raking etc remain nearby. This boiler was removed in the 1990s without prior approval.
On 10th October 1911 the property and remainder of lease was transferred to James Joynton Smith. Between 1911 and 1912 Joynton Smith commissioned local Katoomba architects HR Goyder & Hewlett Hogben for construction of new Main Street Bar and a motor garage at the rear of the Hotel. New driveways were also constructed.
Between 1912 to 1913 the stone and wrought iron gates to Katoomba Street , front terrace, steps and balcony, stained glass screen to verandah, dining room fireplaces and electric power house and chimney, including first floor laundry and servants' quarters were constructed. The kitchen ceiling was raised, floors above replaced with reinforced concrete, new men's bathrooms installed on the second floor and fire hydrants were installed throughout. The architects were Gotder Bros and the builders were Howie, Brown & Moffit of Sydney. At this time the pine trees and garden were also redesigned.
Samuel Timmings worked as the gardener at the Carrington Hotel from 1914-1947. He worked as the gardener at Nellie Melba's house in Rose Bay, Sydney. In 1912 he was employed as gardener at the Hydro Majestic Hotel (Medlow Bath), possibly through the friendship between its owner Mark Foy and Nellie Melba's agent, Hugh Ward. Samuel rode a bike from Katoomba to Medlow Bath each day, but after 18 months got a job closer to home at the Carrington. His wife Mabel said 'I think Joynton pinched him' and this is quite likely, for his new position was around the time Mark Foy transferred the Hydro over to James Joynton-Smith - the owner of the Carrington Hotel. His son Les worked with him in the 1930s and then at Everglades, Leura in the late 1940s. Les said of his father, here: 'mowing with a bloody heavy thing called a Greenge, up and down the slope, one pushing and the other pulling...Dad would get down on his hands and knees to clip the edges using sheep shears...and he planted many trees and plants, including a beautiful circular rose garden...Dad's garden shed was between the Stone Wing and the Boiler House, where he'd boil the billy for his tea.' In recognition of his work, Timmings' name was etched into the stone paving in Carrington Place (street-front park landscaping) in 2002, at the top of the small steps at the southern end.
Around 1923 the Hotel was under the control of the Joynton Smith Management Trust and had over 200 bedrooms. Between 1923 and 1927 the attic bedrooms were enlarged by removing dormer windows and the widow's walk and building a flat roofed terrace. Additional bathrooms were added at the southern end. The dining room was enlarged and a lift installed. The western end of the original north wing was demolished and a new wing added with 23 bedrooms and parking and service rooms beneath. Walls were also removed to create a cocktail lounge and ballroom.
Electricity supply to the Blue Mountains area was taken over by local councils in April 1925. The power house equipment was removed, except for the boiler which was converted to supply hot water to the Hotel.
In 1927 the Duke and Duchess of York visited the Carrington. During this same Australian tour they opened Parliament House in Canberra.
On 17 November 1947, following the death of Joynton Smith, an allocation of title was made to William Patrick Donohoe, Francis Patrick Donohoe and Gladys Joynton Smith. On 24 October 1950 Gladys Joynton Smith entered into a Deed of Appointment with Permanent Trustee Company Limited, William Patrick Donohoe and Francis Patrick Donohoe, who are also the executors and trustees of her late husband's will.
Between 1947 and 1953 the tennis court was reconstructed. In 1953 the tennis court was removed and the Starlight Room and a new bar was built.
On 18 December 1967 the property was transferred to six people, one of whom was Theodore Constantine Morris, holds a half share. On 5 May 1969 the entire property was transferred to Morris. In 1968 the swimming pool was constructed and a general redecoration was undertaken.
During the later years of the 20th century elements such as the pergola, trellis and some garden beds were removed and the swimming pool (since filled in) were added to the upper terrace. New trees were planted, some, e.g. the Himalayan cedars (Cedrus deodara) placed with respect for the symmetrical nature of the 1911-13 design and others planted seemingly at random. From the 1960s onwards there was a gradual erosion in the level of garden maintenance, resulting in a loss of detail. The introduction of public bus shelters on Katoomba Street in front of the early 20th century stone wall of the Carrington Hotel obscured and detracted from traditional views to the place.
The hotel was closed in 1986 under then owner Theo Morris for non-compliance with fire regulations. It was boarded up.
Revival: 1992 - 1998:
In 1992, Geoffrey Leach, a building contractor, began a process of restoration said to have cost rather less than $8m. In December 1998, the ground floor and one floor of guest rooms was re-opened, with other areas following as progress and finances permitted. Mr. Leach would not say what the restoration has cost, but claims it is less than the "6m to 8m' he says is being spent on that other fabulous mountains hotel, the Hydro Majestic.
Lynch's first task was to restore the pub at the driveway's entry on Katoomba Street, which has been generating income for the project for some years now. Inside the hotel, the art nouveau windows to the enclosed verandah have been replicated and the black and white tiled bathrooms - many with original fittings - restored. Uptsairs one large room - the 'treasure room' - was used to stockpile any original items - light fittings, clocks, items of furniture, a pair of genuine Ming vases, the silver plate that now sits in a glass-fronted cupboard in the dining room. Vast Victorian oil paintings went off for cleaning and restoration, chandeliers were cleaned and re-hung, silver polished, clocks returned to working order, and pieces of furniture copied for the guest rooms (the bedheads even have the CH logo)
In 2002 a master plan for a new town square was approved and implemented, partly imposing inside the Carrington's lower garden and involving its redesign, relocation of the intrusive bus shelters, ramps, paving and widespread replanting.
In 2004 Leach's interest was purchased by Michael Brischetto and Mark Jarvis, who announced ambitious new plans for a backpackers' hostel, a large number of bedrooms, new retail facilities and a drive-through bottle shop in the former power house. The partners have achieved some of these aims, while also devoting their energies to the conservation of the hotel's original fabric.
In july 2010 a bottle shop was opened in the former boiler room of the power house facing Parke Street. This involved the stabilisation of portions of the internal and external fabric of the structure.
Significance:
The Carrington Hotel is the only 19th century grand resort hotel still in use in NSW. It retains much of the fabric of its major phases of development and continues to occupy the commanding position in Katoomba that it has done since 1882. The buildings and grounds represent a wealth of evidence of attitudes to leisure and hotel operation in the late 19th and early 20th centuries. They also reflect the history of Katoomba and the work of a succession of notable families, and the lifestyle of the Blue Mountains as a recreation area during its period of greatest activity.
The garden and grounds of the Carrington Hotel have high historic, aesthetic, social and technical importance as an integral component - the essential visual and functional setting - of a rare example of a grand late 19th-early 20th century resort hotel of State significance in a town setting, with an early 20th century garden layout containing important surviving elements of its design that is largely intact in its extent. The underlying structure of the garden demonstrates the principal characteristics of an early 20th century design retaining aspects of the earlier garden including 1890s-early 1900s mature plantings of Bunya pine (Araucaria bidwillii), Monterey pine (Pinus radiata), a bull bay (Magnolia grandiflora), plane tree (Platanus x acerifolia), beech (Fagus sylvatica) trees, with additional surviving Interwar additions, the gazebos, rose garden and stone seat.
The location of the Carrington at virtually the highest point in Katoomba and the sweeping approach, drives and lawns and prominent mature plantings have made the hotel an important landmark in the town from the time it was built.
The grounds of the Carrington, particularly the forecourt to Katoomba Street, have significance to the local community as a place for gathering to mark special community events such as the re-enactment in 1951 of the first crossing of the Blue Mountains in 1813.
The documentary evidence available for the Carrington Hotel garden fronting Katoomba Street indicates several phases of modification of the grounds. Physical evidence of older features such as terracing/ paths, the site of the croquet lawn and tennis court still survives and is evident in some of the surface contours, especially in the area of the lower terrace where it is proposed to put a new Town Square.
There are also areas of former hard paved surfaces, kerbing and guttering along the driveway loop. Particularly notable are the four remaining, handsome sandstone gatte posts at the northern entry on Katoomba Street. The site and foundations of a fifth post (removed from the drive in the 1970s but with fabric still present within the grounds) may survive archaeologically. The driveway was realigned in 1912, and archaeological evidence relevant to that alteration may also be present.
Landscape archaeology may also be expected to be able to clarify matters such as the presence and extent of sub-surface features such as the edge of the central garden path, and precise position of now-vanished structures such as the timber pergola, tennis court, garden plantings and garden edges.
(excerpt): The completion of the monitoring work yielded some significant archaeological and structural remains, including surfaces relevant to the former tennis court, site drainage systems and other evidence relevant to earlier entrances/ driveways...The results obtained during monitoring indicate that within the grounds of the Carrington Hotel, the predicted physical evidence survived intact below more modern layers. More primary physical evidence and archaeological material is likely to survive in the Upper Terrace area (not dealt with in the current project) and elsewhere across the site. The predicted high potential of some areas of the site as assessed in prior heritage studies and in the Archaeological Assessment Report has been confirmed by the archaeological work completed.
The Carrington Power Station is one of few surviving privately owned and established small country power stations. It is particularly significant because it provided the first electricity supply in the Blue Mountains. The station boiler (the second to be used) remains in situ and was operated until recently. The chimney is an integral part of the power station complex and has for many years been a prominent Katoomba landmark.
Source: New South Wales Heritage Register.
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Abused And Abandoned Jungle Dogs.
This has been a Very Looooong Day.
We left home around 8:30AM and
arrived at The Dog Palace at 9:45AM.
Got real busy feeding Mr Little Larry
some special food made just for him.
Sorted out things in The Bingo Room
then took off for Mr Kind Monks place.
Both Molly and Blondie received their
monthly inoculations plus special food.
No# 1 wife is cleaning her hands of some
liquid medication that spilled all over her.
From here we stopped at Mr Ed's and he
was given six juicy carrots, he loves-em .
Then it's off to the nuns place to pickup Mama.
Both nuns had left at 6:AM and will be back later.
Mama was loaded into the car and taken back to
The Bingo Room where she was given a bath ;-)-
Now, remember it's been mentioned the roads
are all torn-up and is an insane mess. Well we
are now going to head right back into said
mess in-order to get Mama to the clinic.
Rocky is on hold for the time being.
OK, it;s way after 11:AM when we finally arrive
at the dog clinic and surprisingly there's
a lot of people/dogs here too. While
waiting two different dogs came
in covered with blood and
in great pain so they
went to the front
of the line.
Three hours later the dog doctor saw Mama.
Did a test on her skin and said she is having
an allergic reaction to tic bites & mosquitoes.
Lucky there is no mange so injections were
given and pills are handed off to us. Both
Rocky and Mama have the same pills.
Other medical supplies were purchased
while we were there then off we went
back to the temple. Nuns showed up
right after we did so No# 1 explained
everything in detail. Now, for the next
part - Miss Legs The Zoomer was
loaded into the car and we head
for home through all the road
construction. Sometime
around 6:PM we made
it home, exhausted.
Now to answer your next question -
How is Legs, Pumpkin and Boney getting along ?
First I'll backup and fill you in on another part of the story.
About 18 months ago, no# 1's little brother died of cancer.
He stayed with us out here until the end of his life. We cared
for him all the way to the end and on his death bed he asked
us to do him a favor. He wanted no# 1 to be the executor of his
will and in his will he wanted another sister, who is younger then no# 1, to have a house out here where we live. But he also knew
it had to be approved by Uncle Jon. So the family came to me and stated their case. There was about 10K USD in his life insurance and the rest of the family said they would all chip in what they could to help out.
I thought about this for an hour then called for a sit down.
Knowing said sister will be retiring from a low paying job
in about 4-5 years and the fact she is a sweetheart and
a family favorite I made a decision. What they must all
agree to is her house must be painted white on the
outside. She could paint the inside any color she
wanted. And the house must be build close to
my house at a 90% angle making an L shape.
Reason for this is simple. This way If I yell
out for help, cuz I'm getting older, she
can hear me and come running.
Her home is about the same size as ours.
550 square feet including bathroom .
The size of a two car garage.
Now getting back to the question ---
Pumpkin and Boney sleep in my home
and right now Legs is with no# 1 in
her sisters home. We are doing
this very slowly & carefully .
When we first arrived no# 1 took Legs
and put her on her sisters porch.
I let Pumpkin & Boney out and they
ran right over and started sniffing.
No body made any kind of sound.
So, like I said this will be done real slow.
It could take awhile, it is what it is ;-)---
In a few days I'll return back to the temple.
More special food for Mr Little Larry and
of course juicy carrots for Mr Ed. Photos
will be taken to document the event.
Thank you for your comments and donations.
Thank You.
Jon&Crew.
Please help with your temple dog donations here.
www.gofundme.com/saving-thai-temple-dogs.
Please,
No Political Statements, Awards, Invites,
Large Logos or Copy/Pastes.
© All rights reserved.
.
ENGLISH TEXT DOWN UNDER THE LINE
Detall de la única finestra, o més aviat lluernari, de la cripta assetjada per les SS. Fou ametrallada per impedir que els paracaigudistes txecoslovacs s'hi poguessin acostar. A sobre, el monument als martirs.
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
============================================
A detail of the only window in the crypt of St. Cyril & Methodius, bullet ridden by the SS to attack the besieged paras. Above it, the martyrs memorial, with their names.
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):
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'.
My take on Vader's flagship from The Empire Strikes Back: the Star Destroyer Executor. Nineteen kilometers from stem to stern, Executor is over 11 times the length of a typical Imperial Star Destroyer (also shown, approximately to scale).
The Lego Group sells an Executor set, but at $400 and four feet in length, it's a bit impractical. Though this 22-inch version has taken me weeks and countless revisions, I'm pretty happy with the result. I'll take better pictures when time permits.
Having seen the photos taken by fellow Flickrite Chris Munden, I was hoping for an early morning shot.
With this in mind I set off early to the 1st Sheffield bus running day 30-08-15 via Hunslet Park depot Leeds.
West Yorkshire RCC can trace its origins from around 1928 as the Harrogate & District Road Car company was renamed, reflecting its geographical growth. However in 1906 the first public transport service was set up, which led to the Harrogate & District Carriage Ltd to be set up, using several smaller companies that were absorbed.
Still based in East Parade, Harrogate the West Yorkshire RRC which was part of the Tilling group and had interest from the LMS and LNER railway companies. In 1932 and 1934, WYRCC acquired control of the Keighley and York bus operations respectively. By 1948 the WYRCC was then nationalised, after a couple of transformations. In 1967 West Yorkshire acquired the routes and some vehicles from the executors of the Samuel Ledgard bus company, which had they in their control after Mr. Ledgard's death in 1952.
It was on January 1st 1969 that West Yorkshire became part of the biggest bus company in England & Wales, the National Bus Company. However by October 1986 the NBC was divided and sold-off to either management teams or newly set up companies. Through the new 1985 Transport Act or Deregulation, as it became known.
West Yorkshire was acquired by Alan. J. Stephenson who owned at the time East Yorkshire Motor services, with WYRCC senior management also involved in the sale.
By 1988 WYRCC was split into five companies, Harrogate & District, West Yorkshire & York City & District with two non-operational subsidiaries. These been West Yorkshire Engineering and West Yorkshire Management Services, all of which were part of the west Yorkshire Travel Ltd group.
In August 1989 WYRCC was subject to a takeover by Rider Holding Ltd, part of the Yorkshire Rider group. This particular change lasted until March 31st 1990, when the final day of WYRCC actually happened.
In July 1989 the Keighley & District company was set up, to cover for the sale of the Bradford, Leeds & Otley WYRCC operation. Meanwhile in January 1990 another new company, called Yorkshire Coastliner was set up. This was followed by the sale of the York City & District operation to Yorkshire Rider in late July 1990, along with Target travel and Reynard Pullman.
Yorkshire painted former WYRCC Olympians 5187(1812 FUM487Y), 5199 (1863 C485YWY) and WYPTE Olympian 5504 (B144RWY) into the WYRCC livery, as part of the building on a great tradition fleet.
First West Yorkshire had chosen another Volvo B7TL/Gemini to be repainted into a heritage livery. 37675 was chosen and during August 2015 the bus was treated for a new livery.
The result is seen above on Sunday morning August 30th 2015, as it departs Hunslet Park on its first public outing. Many thanks to Chris Munden for slowing down for the shots of the new 1812, thank you mate.
- ex Tracy Cooper collection...
Article from the "Michel Reporter" newspaper - (16 October 1909) - ELK PRAIRIE is a splendid fertile valley, extending north and east up the valley of the Elk, covering over 120 square miles, it has an acreage sufficiently great to feed and sustain the wants of the twin cities. The land In this valley has been ranked by government exports as "First Rank" and Its producing qualities amply justify this classification. Elk Prairie is being rapidly filled with enterprising settlers, who have not had to encounter the difficulties of breaking and tilling the soil found elsewhere in this province. All grains and vegetables reach a perfection while the cultivation of fruit so long delayed is now receiving its just and due consideration. Recently a post office has been opened and the wagon road improved so that commerce with New Michel is fast and steadily becoming an important factor in the development of the district.
(from - Wrigley's 1918 British Columbia Directory) - ELK PRAIRIE - a post office and village in Fernie Provincial Electoral District, 3 miles northwest of Natal, the nearest point on the C. P. R., and C. P. R. telegraph office. Local resources: Coal mining, lumbering, farming. Ornicle Camp Coal claims are located 4 miles north of Elk Prairie. The C. P. R. coal claims, 30, 50 and 60 miles north. The Kimball Lumber Co. owns a large tract of timber claims undeveloped at Wilson Creek, Elk Prairie. The Fernie Lumber Co. own timber claims at Elk Prairie.
The ELK PRAIRIE Post Office was established - 1 October 1903 and closed - 13 June 1928.
LINK to a list of the Postmasters who served at the ELK PRAIRIE Post Office - www.bac-lac.gc.ca/eng/discover/postal-heritage-philately/...;
- sent from - / ELK PRAIRIE / MAY 14 / 13 / B.C / - split ring cancel - this split ring hammer (A1-1) was not listed in the Proof Book - it was most likely proofed c. 1903 - (RF E / now is classified as RF E3).
- sent by - William Weaver / Elk Prairie / B.C.
William Weaver - Dairy Farming and Postmaster, specialized in breeding pure bred Holstein Friesian Cattle and Percheron Horses.
"Advertisement from 1909"
William Weaver
"Tyldesley Dairy" (named after his birth place)
Eggs, Butter and Vegetables For Sale at Elk River, B.C.
William Weaver Sr.
Birth - 29 Mar 1877 in Tyldesley, Metropolitan Borough of Wigan, Greater Manchester, England
Death - 13 Feb 1947 (aged 69) in Ladysmith, Cowichan Valley Regional District, British Columbia, Canada
William married 1) Lois Esther Higson (1877 - 1931) in Tyldesley, Lancashire England on June 4, 1898.
William married 2) Clara Elliot, in the British Columbia Death Registrations 1872-1986. She immigrated to Canada the same year as her marriage in England to William which was about 1933. William and Clara lived in Natal for about 8 years and then moved to a farm located about 2 km. North of Ladysmith, British Columbia, Canada.
His occupation in England was Horseman and in Canada, Dairy Farmer, located in the Elk Valley. He called his dairy farm Tyldesley Dairy after the place that he was born in England. The Rural Post Office called Elk Prairie Post Office was located in his log home that he built; his wife Esther took care of it. LINK - www.findagrave.com/memorial/114909681/william-weaver
Addressed to: J.C. Drewry, Esq / The Glen Ranch / Cowley, Alberta
- arrival - / COWLEY / PM / MY 16 / 13 / ALTA. / - partial cds arrival backstamp
John Climie Drewry
Birth - 1860 in Barrie, Simcoe County, Ontario, Canada
Death - 28 Dec 1914 (aged 53–54) in Cowley, Claresholm Census Division, Alberta, Canada
Little is known about J.C. Drewery, and yet he remains an important figure in district history as one of the largest landholders in the early 1900s. The local history mentions that Drewry had been a journalist with the Globe and Mail in Toronto and had also been involved in mining interests at Rossland and Moyie, British Columbia. He came to the Cowley district ca. 1905, first buying the Cook farm where he planned to build a large sandstone house. Although construction proceeded to the point where foundations were in place and local rock quarried, Drewry decided to move upriver to the NE where in 1910 the Glen Ranche was established. A fine stone house and the original barns are still used today by Joseph Reners.
Drewry specialized in raising Percheron horses and purebred Holstein cattle. He appears to have had extensive land holdings in the Three Rivers area to provide pasture for the stock, and also acted as landlord to families who rented houses from him. Drewry died in 1914, and the Glen Ranche was then operated by his sister Mary Burnham Drewry and his brother Andrew, both of whom had come west with Drewry earlier. A third sibling, William Steward Drewry, who was a surveyor in Victoria, British Columbia was also named as an executor. It is unclear how the property finally passed out of the Drewry family, although it appears that the Debt Adjustment Act was brought into play, with the banks having major interest in the property. LINK to the complete article - hermis.alberta.ca/ARHP/Details.aspx?DeptID=2&ObjectID...
Description of Historic Place - The Drewry House is an early twentieth century, two-storey building situated on 1.12 hectares on the north bank of the Crowsnest River near Cowley. Constructed of locally quarried, rough-faced sandstone, it features a hipped roof, plain exterior, and window bays on the west and south facades. LINK - www.historicplaces.ca/en/rep-reg/place-lieu.aspx?id=5890
Ancient Trees (11th Century) @ Ripley Castle,England,UK
THE DEER PARK CONTAINS SEVERAL MAGNIFICENT TREES. SOME HAVE PROBABLY BEEN HERE SINCE THE 11TH CENTURY. CERTAINLY THESE OAKTREES MUST BE VERY OLD TO ACHIEVE A GIRTH OF 28.5'.
The Ingilby family celebrates 700 years at Ripley CastleThe Ingleby family can trace its history back to 1090, when Sir Robert Ingleby owned land in the village of Ingleby, near Saxelby, Lincs. Another branch of the family had extensive lands in and around Ingleby Greenhow and Ingleby Mill in North Yorkshire. When Sir Thomas Ingleby (c1290-1352) married the heiress Edeline Thwenge in 1308/9 she came with a very substantial dowry: Ripley Castle and its surrounding estates. Like most wedding presents, it has taken the family several generations to work out what to do with it! Life was far from easy: in 1318 the Scots, under Sir James ‘Black’ Douglas, plundered the region mercilessly, destroying 140 of the 160 houses in nearby Knaresborough. In the following year a bovine plague killed almost all of the cattle in the region, leaving thousands destitute and milk in short supply. In 1349 the Black Death struck, wiping out almost half of the local population and leaving numerous hamlets bereft of people.
The old village of Ripley was abandoned and the survivors built a new settlement on the site of the current village, on the doorstep of the castle. Sir Thomas was in great favour at the king’s court in London and was appointed as an Advocate in 1347. In 1351 he was appointed as a Justice of Assize. He died the following year and a magnificent tombchest in All Saint’s Church, Ripley, has the figures of Thomas and Edeline lying recumbent on the top, he in his armour and chain mail, she in a long robe and head dress. His oldest son, also called Thomas (1310-1369) also married well: Katherine Mauleverer was descended from Aelfwine, an Anglian of proud descent and one of the largest landowners in the North of England. He followed his father into the royal court, and accompanied Edward III on a hunting trip to the royal hunting forest of Knaresborough in 1357. The king found a wild boar and threw his spear at it, but only injured it. The boar charged the king’s horse, and the king was thrown to the ground. Thomas killed the boar, saving the king’s life. He was knighted, granted the boar’s head emblem as his family crest, and granted the right to hold a weekly market and annual horse fair in Ripley – both continued to be held until the early 1900’s. He was appointed as a justice of the King’s Bench in 1361, the only judge to hold that position apart from the Chief Justice. He could claim £40 pa for expenses, and a further £20pa for holding assizes in different counties.
Thomas’s brother, Sir Henry Ingleby, enjoyed an equally notable career. Rector of several parishes, he was appointed Master of the Rolls and Keeper of the Writs, serving under the Lord Chancellor William Edington: he had an office in the Tower of London and paid 40 shillings a year for the privilege of collecting the wool tax from the monasteries. He also oversaw the network of royal horse dealers who bought horses for the royal household, then sold them at a profit: the proceeds were used to build Windsor Castle. He died in 1375 and was buried in York Minster.
Sir John Ingleby (1434-1499) inherited the estate from his father at the age of five: his trustees had to testify to his correct date of birth in order to get the estates out of trust when he came of age. Their testimony paints a remarkable picture of an average day in the life of 15th century England. ‘Ralph Acclom remembers John’s birth because he was staying with John, Abbot of Fountains Abbey and rode across with him to baptize the baby. Ralph Apilton remembered John’s birth because he killed a deer between Ripley and Hampsthwaite. Robert Atkinson remembered the date because he rode with John Slingsby from Ripley to Sherburn and was robbed and beaten up, losing 28s and 8d.’John built the castle gatehouse – still there today – and married a wealthy heiress, Margery Strangeways of Harlsey Castle. She bore him a son and heir, William. In 1457 John abandoned his wife, son estates and earthly possessions to become a monk at Mount Grace Priory a Carthusian charterhouse near Northallerton which had been founded by his great grandfather – and was the last resting place for his parents.
He was appointed prior of Sheen in 1477 and first visitor of the English province between 1478 and 1496. The royal family worshipped at Sheen and John became the first of three executors for Queen Elizabeth, wife of Edward IV, in 1492. He was Henry VII’s special ambassador to Pope Innocent VIII, the king describing him as ‘my captain and envoy’ in one of the letters that John delivered to the Pope. Henry appointed him to oversee the conversion of priory at Sheen into the royal palace of Richmond between 1495 and 1499, and the Pope appointed him bishop of Llandaff on 27th June, 1496. He was buried at the church of St Nicholas in Hertford. His luckless wife, Margery, effectively became a widow when he took holy orders: she spent eleven years raising her son before marrying Richard, Lord Welles. Her luck was no better second time round: Edward IV reneged on a promise of safe keeping and had her husband beheaded in 1469, less than a year after their marriage.Sir William Ingleby (1518-1578) married the staunchly Catholic Ann Mallory and lived through a period of profound religious turbulence. When Henry VIII suppressed the smaller monasteries in 1536, Yorkshire’s old established Catholic families rose in revolt: the Pilgrimage of Grace was a populist and peaceful revolt that received such widespread support throughout the North that the king, heavily outnumbered, was forced to sue for peace. Reneging on a promise of safe keeping, Henry had the organizer, Robert Aske, arrested and put to death: 200 of his fellow pilgrims shared his fate. William received a reward for his staunch loyalty to the crown: Queen Mary wrote ‘For the opinion I have conceived of Sir William Ingleby…I have appointed him Treasurer of Berwick’. The Rising of the North in 1568 was potentially even more serious. The rebels set out from nearby Markenfield Hall and mustered an army that far outnumbered the king’s resources. Sir William, as High Sheriff of York, was obliged to muster additional troops but while doing so was surrounded in Ripon market square, by a group of rebels amongst whom were two of his sons, David and Francis. He had to fight his way out and, deciding that Ripley Castle was too weak to defend, took refuge in the duchy of Lancaster’s Knaresborough Castle until the troops under his command were strong enough to defeat the rebels. The earl of Sussex wrote to
William Cecil ‘Sir William Ingleby has served the Queen as truly and as chargeably from the first suspicion of this rebellion, as any man of his rank has done. He has delivered to me, from time to time, better intelligence than I have received from any others. He be such that her majesty may rest assured of his honesty and loyalty’. The rebellion was crushed: David and Francis fled into exile but Sir William’s own son in law,
Thomas Markenfield, was executed. Francis Ingleby (1550-1586) studied at Brasenose College, Oxford and read law at the Inner Temple. In 1583, having received a heavenly visitation while staying at Ripley, he emigrated to Reims and became ordained a Catholic seminary priest, returning to England in 1585. There are remarkable parallels with today: a native Englishman, passionately supporting a minority religion, goes abroad to receive militant training in his faith. He returns intent on spreading the word and overthrowing the established religion and government.
Francis was hung, drawn and quartered on York Knavesmire in 1586 and beatified by the Pope in 1987. His brother David (1547-1600) became known as ‘the Fox’ for his ability to outrun his pursuers. He was the man who guided the seminary priests around the North of England, leading them from one safe house to another. He married Lady Ann Neville, daughter of the exiled earl of Westmoreland – and another staunch Catholic. David was heavily implicated as a co-conspirator of John Ballard in the Babington treason, a conspiracy to remove Elizabeth I from the throne and replace her with Mary, Queen of Scots. He and Francis were described as ‘the most dangerous papists in the North’. A huge manhunt was launched to find them: a secret priest’s hiding hole, built to conceal them and other visiting priests while they were at Ripley, was only discovered by accident in 1964. A set of instructions written out for a spy being sent to the royal court in Scotland listed numerous things that the spy should and should not do: it ended with a very simple warning ‘ beware of David Ingleby’. David died in exile in Belgium: Elizabeth I, taking pity on his by now
impoverished widow, awarded her a pension provided she behaved herself. Their cousin Mary Ward spent several of her formative years staying with the Inglebys. In 1609 she founded a Catholic Society for Women, modeled on the Society of Jesus. They founded schools and taught in them, and the nuns were strongly encouraged to work in the community. Pope Urban VIII suppressed the order and it wasn’t until 1877 that her society was fully restored with papal blessing. The Bar Convent in York – which she founded - was the first teaching convent in the world. Sir William Ingleby (1546 - 1618) hosted a visit by James VI of Scotland en route to the king’s coronation as James I of England in 1603. Within two years William was heavily implicated in a plot to kill the king his family and hundreds of MP’s. The Ingilbys were related to or closely associated with, nine of the eleven principal conspirators of the infamous Gunpowder Plot. The mother of Robert and Thomas Wyntour, two of the leading conspirators, was an Ingleby. They had spent the week before the plot was unearthed at Ripley, buying horses from the surrounding district. Sir William and his son were arrested and charged with treason, but were, surprisingly, acquitted of all the charges. The third charge was that of bribing witnesses.
Sir William Ingleby (1594-1652) supported Charles I throughout the civil war, raising a troop of horse to fight under the generalship of Prince Rupert of the Rhine. He fought at the battle of Marston Moor, alongside his redoubtable sister, ‘Trooper’ Jane Ingleby, and somehow managed to escape the bloody rout that saw the king’s northern armies defeated for good. He made the safety of Ripley, but was his arrival was followed almost immediately by that of the victorious rebel general, Oliver Cromwell. Sir William leapt into the priest’s secret hiding place, leaving his sister to look after Cromwell. She at first refused to let him into the castle, swearing that she would defend it against all comers. After some negotiation, he was allowed to enter and spend the night there, guarded at pistol point by Jane, to prevent him from searching the castle for her brother. Cromwell, stunned at being held at gunpoint by a woman having just won the greatest victory of his career, did nothing and she saw him off the premises the following morning.
Sir William’s son, also called William (1620-1682) was deeply religious – and a closet ‘rebel’. He managed to get the family’s entire fortune captured by the rebels and his father, believing him to have done it on purpose, wrote him a blistering letter, threatening to disinherit him. The letter, signed ‘your loving father’, can be seen at the castle today.
William junior was not good looking: his portraits confirm that. In 1659 he employed a dating agent, a Mr E Pitt, to find him a wife, and again we have the correspondence: the mission was successful.Sir John Ingilby (1757 – 1835) married Elizabeth Amcotts, a Lincolnshire heiress. His father in law promised him funds to help the young couple rebuild the castle. Sir John had a row with his father in law half way through the project, and ended up so heavily in debt that he had to flee the country for eleven years while his land agent sold timber to pay off his debts. While he and his wife were abroad their oldest son died at the age of 18, and they were hustled from one European city to another as the Napoleonic wars consumed the continent. A bundle of frequently harrowing letters, written to his agent while he was in exile, survives. By the time he returned, his marriage was over: having had 11 children by his wife, he had a further 5 by Martha Webster, daughter of a local tenant farmer.
One son, Edward Webster, had problems involving a gamekeeper’s daughter near Skipton and was placed on board the RM Reynolds at Ramsgate with £200 and a supply of clean shirts: his stepbrother was ordered to remain on the dockside to ensure that he didn’t leave the vessel before it set sail for Sydney. This proved to be a life-changing experience and he and his successors thrived Down Under: Robert Webster was the minister of state for the Olympics in the NSW state government when Sydney won the bid for the games.
Sir John’s son Sir William Amcotts Ingilby (1783-1854) was the product of a broken home, and a great eccentric. He was a drinker, gambler and general reprobate: he became an MP, as many such people do. He was a leading Whig, and an outspoken supporter of the reform Act of 1832. His dress sense was spectacularly awful ‘’As to your friend, Sir William Ingilby I am told by a lady who saw him and absolutely took fright at it, that this eccentric baronet walks about Ripley and Ripon too, in his dressing gown, without smalls or loincloth on. The absence of the former was luckily disguised by the wrap of the gown, and is alleged on hearsay: but the naked throat, shirt collar displayed a la Milord Byron, had a striking effect, and produced the scarecrow impression.’ Believing that his tenants and workforce should be well housed in this age of industrial revolution, Sir William demolished the entire village of Ripley and rebuilt it as a model estate village, copying an idea that he had observed in Alsace Lorraine. Instead of a Town Hall, Ripley has a magnificent ‘Hotel de Ville’ – certainly the only one of its kind in England! He died without heir and left the estate to his cousin Henry, telling him that he was doing so because ‘ I don’t believe that you are any longer the canting hypocrite I took you for’. Sir William Ingilby (1829-1918) was a somewhat dictatorial Landlord. He disapproved of alcoholic drink being served on the Sabbath day and closed down the three pubs in the village when the Landlords refused to close on Sundays. The village remained dry for 71 years until the Boar’s Head opened in 1989. When a child ran out of the front door of one of the village houses and startled his horse, causing him to be deposited on the ground in the middle of the Main Street, he prevented further embarrassment by imposing an edict that the villagers should not use their front doors.
Having survived several plagues, invasions, civil wars, wars, religious turbulence, a plot to commit regicide, numerous periods of deep recession and everything else that has befallen this country in the last seven hundred years, the Ingilbys can justifiably breathe a sigh of relief that they have arrived safely at this astonishing landmark. Theirs is a story of how one family has been tossed around in the choppy waters of England’s stormy history – and somehow survived, despite being on the losing side more often than not. The history of the Ingilbys is a microcosm of the history of England and features a cast of extraordinarily brave, foolish, eccentric and courageous characters, black sheep and white. They have gone from high office in the court of kings and queens to running a wedding and conference venue and hotel, but they are still at Ripley and the story continues as they steer their family and business through these challenging times. Sir Thomas and Lady Ingilby have four sons and a daughter. A more detailed history of the family, complete with family trees not just of the Ingilby family but various families that became related to the Ingilbys by marriage over the centuries