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.

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.

Source: en.wikipedia.org/wiki/Teylers_Museum

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.

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 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.

www.british-history.ac.uk/survey-kent/vol9/pp350-358

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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

-----------------

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!

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:

luv4country.com/blog/?p=5036

Ensconced In Velvet

Avec Joël Goossens

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

-----------------

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.

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

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.

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)

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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

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!

Coventry Motors "Executor" replica.

BRA 289 with Rover V8, taken at the 2019 Spa Classic

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

www.shepherdneame.co.uk/

britishlistedbuildings.co.uk/101260075-th-kentish-cricket...

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.

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

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.

Boba Fett jumped down from the cockpit of Slave I with a clang onto the cold metal floor. He was interrupted during his hunt for Jalin Tochus by the Dark Knight himself, Darth Vader. He was told he would be payed a handsom price to end his already handsomly priced hunt for Tochus, if he would attend a meeting arranged to discuss a new target. So here he was, standing in Docking Bay 638 of the Executor, the Sith Lord's own personal flagship. His partner, Dengar, landed beside him with a grunt. “So,” Said Dengar, throwing is blaster over his shoulder in case of any “unwanted trouble”. “Where to next? Just then, a large door opened above and in walked the tall black-amored sith who had arranged the meeting. His suit was as black as a Klithor worm hole, and he looked like he could destoy light just as easy. “I think we're about to find out.” Answered Boba, putting a hand on his own weapon. As the Dark Sith stalked down the stairs, the Stormtroopers hurried into two lines and stood strait with their blasters held out. Vader walked between the rows of his minions with his long dark cape flowing behind him. He towering over the Stormtroopers, and even Boba. The Sith Lord stopped just in front of Boba and Dengar. “Welcome.” greeted Vader, with his long intensified breaths following. “I am glad you accepted my invitation." He halted his sentance to breath more air through his dark mask. "To show my gratitude, here is a gift.” Said Vader as he gestured his hand toward to Stormtroopers. With a, “Yes sir!” the two white soldiers hurried away, returning with a body encased in carbonite. It was Jalin Tochus! “He is alive, just as Jabba ordered.” Breathed Vader. Boba nodded. “Glad to be here.” Once again Vader walked between the two rows of Stormtroopers until his midight colored cape dissapeared behind the metal doors. “Nice guy.” Boba turned to see a large grin stretched accross Dengar's scarred face. “Shall we share the prize?” Boba Fett ignored him and turned toward the two Stormtroopers carrying their “gift”. “Put him in the back of the ship.” Boba ordered the two Troopers. “And make sure you don't touch anything. Got it?” Which was more of a threat than an order. “Yes sir!” Answered the two Stormtroopers as they hurried away. Two more Stormtroopers marched up beside the bounty hunters. “Lord Vader commanded that we escort you to the command bridge.” Said the Troopers. Boba nodded and followed the two Stormtroopers through the long gray hallways of the Executor. As they were walking, a small mouse droid rolled up beside the company and beeped annoyingly. Boba stopped to raise a heavy metal boot and crushed it down into the top of the mouse droid, a small fireworks display following. He continued walking and Dengar chuckled. “Why do you have those pesky things buzzing around the place anyway?” Dengar asked the Stormtrooper to his left. But the two soldiers never turned their heads to answer. Boba stared into visor of one of the Stormtroopers, wondering if his fathers face lie inside. As they entered the elevator that lead to the bridge, Boba lifted his hands, imagining the time that he held his fathers mask alone in the middle of the battle scarred Geonosian arena, after it had been cut off by that Jedi filth. There were two reasons he had accepted the Sith Lord's offer. Number one was that he had heard rumors that the last remaining Jedi was traveling with Han Solo and his crew. The second reason was the credits. Both were sufficient. His thoughts were interrupted when the elevator door to the bridge slid open. As he looked in, he saw four other bounty hunters. Bossk, a green, slimy scaled Trandoshan, who was an old partner of his, Zuckuss, who was a member of the short, incect-like Gand Species, and two droid bounty hunters who he did not recognize. Dengar and Boba stepped out of the elevator into the command bridge and the Elevator doors closed behind them. “Welcome.” Said Vader, lifting his arms in greeting. “Now our meeting can begin.” Boba walked over to stand between the tallest droid and Bossk. “I never expected to see you again Boba Fett.” Growled Bossk with his strange gurgling in his throat. “I thought Aurra Sing killed you when we were searching for Strat Trodus on Tarris.” Boba Shrugged. “I'm hard to kill.” He noticed that the imperial troopers in the control bunker below where whispering together. “Bounty hunters!” He overheard them say. “We don't need their scum here.” said one of the troopers angrily. “Yes sir.” Another answered. Bossk Looked down and growled something Boba didn't catch. “Scum?” Thought Fett. “Well apparently you do need our 'scum', or we wouldn't be here would we?” He knew he could silence the two failures below him with two single shots, but he wouldn't want to interrupt their meeting by making a mess of the floor. Once the bounty hunters stopped conversing, Vader started speaking. “I trust that you all know why you are here.” Vader began as he walked around the bounty hunters. “To put your skills to use.” Vader stopped in front of Dengar. “To hunt.” Dengar smiled behind his cloth mask. “Aye.” Vader continued walking. “Han Solo has escaped the ice planet of Hoth with a rather precious cargo. Princess Leia Organa, the leader of the Rebel Alliance. I will not afford you too much information as I understand that you are all quite capable of detecting it yourselves. As I am sure you all understand, there will be a substantial reward for the one who finds the Millenium Falcon. You are free to use any means necessary, but I want them alive!” He stopped in front of Boba this time. “No disintegrations.” Said the Dark Lord, raising his finger in the air inches from Boba Fett's face. “As you wish.” Answered Boba. Though he was slightly disappointed. He had met Han Solo before. In fact, he knew him quite well. But he had learned to loath him after an unfair bet or two. He would have liked to kill the Jedi himself too, but that would risk loosing his pay. And besides, even the mighty bounty hunter Boba Fett wouldn't want to challenge the anger of the even mightier Sith Lord and ruler of the Galaxy. Just then an Imperial trooper ran in. “My Lord! We have them.” Darth Vader looked across the bridge out into space. “Captain! Fire at will!” The man who had run in saluted. “Yes my Lord.” He answered quickly. “Fire at will!” The captain called out to the multiple men in the control bunkers. They all turned to their control desks and fired the large cannons of the Executor. Boba Fett new immediately who they were firing at. The ship rocked a bit as the laser cannons fired away at their target. “I trust that you will not fail me as your predecessor did.” Said the Sith to the captain. The man looked back at Vader with a look of terror etched into his face. “I shall try.” Stuttered the captain. “If you can not accomplish even a task as small as this one captain Needa, I believe you know what the consequences are.” Captain Needa opened his mouth to answer, but Darth Vader was already walking toward the elevator. Captain Nedda closed his gaping mouth and swallowed, then turned and rushed toward the end of the command bridge. Dengar walked over to Boba. “We should hurry and leave now before one of the other hunters claim the prize.” He urged Boba. “We should go to the ship now!” Boba clasped a metal covered hand tight over Dengar's mouth. That was all he needed to say. He let go of Dengar's face tearing part of his mask off. “Fine,” grumbled Dengar as he attempted to fix his cloth mask. “But hurry it up! The other bounty hunters have already left!” Boba Fett turned away and set his attention toward the men at the bridge. “They're turning to attack position!” exclaimed Captain Needa surprisedly. Boba Fett wasn't surprised though. If he knew Solo, he knew one of the craziest men in the inner and outer rims of the Galaxy. Suddenly he saw the Millenium Falcon speed over the bridge, nearly crashing through it's large windows. “Track them! Shouted captain Needa once he gained his composure again. "They may be coming around for another pass.” "Captain Needa,” called one of the men in the control bunkers. “The ship no longer appears on our scopes.” “They can't have disappeared!” Said Captain Needa angrily through gritted teeth. “No ship that small has a cloaking device!” The man in the bunker looked back at his monitor squinting just to make sure he was correct. “Well, there's no trace of them sir.” Another man called out to Captain Needa. “Captain! Lord Vader Demands an update on the pursuit.” Boba's smile his behind his mask. Darth Vader would not be pleased. If this man couldn't even accomplish the small task of shooting down a small ship like the Millenium Falcon, even with hundreds of guns at his command, he deserved whatever punishment Darth Vader had implied earlier. “Captain Needa froze where he stood, obviously remembering what had happened to the former commander. Finally he looked up. “Get a shuttle ready.” He stuttered quietly. “....I shall assume full responsibility for loosing them, and apologize to Lord Vader.... Meanwhile, continue to scan the area.” The man standing next to him looked nearly as scared as the captain himself. “Yes captain Needa.” Said the man before hurrying away. Boba Fett stood silently for a few moments, going through all the possibilities in his head. Another imperial trooper walked into the room, and called down to one of the men in the command bunker. “Lieutenant Nolan! Prepare to evacuate the garbage vents in 025 minutes.” The Lieutenant looked up and nodded. Boba looked up quickly as a possibility opened up before him. He turned around and ran toward the elevator only to hear a yell behind him. “Hey!” Yelled Dengar as he ran for the elevator. “Don't think you'll be leaving without me!” Babo Fett lifted his blaster until it pointed strait between Dengar's eyes. “Sorry,” said Boba as the door began to close. “But Solo is mine.”

My first post of 2013! This was a really fun build to... well, build. I'm pretty happy with how the final picture turned out. There are a few things I don't like in this picture, but every time I try to change the lighting, I break something! So I figured, eh, this is fine.

Sorry I din't post anything over winter Vacation, but I was pretty busy with family and my new camera. :)

But trust me, I'm in a good building mood lately. Maybe you can even expect a certain lego assault rifle sometime soon...

No, not the Steyr AUG, There are quite a few pieces I need for that, so I don't think I'll be building it any time soon. But you can for sure (maybe) expect some form of lego gun sometime soon(ish) (maybe)

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'.

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.

Credits:

reaperdarkheart.blogspot.com/2024/01/444.html

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The Church of St. Blaise (Croatian: Crkva sv. Vlaha) is a Baroque church in Dubrovnik and one of the city's major sights. Saint Blaise (St. Vlaho), identified by medieval Slavs with the pagan god Veles, is the patron saint of the city of Dubrovnik and formerly the protector of the independent Republic of Ragusa.

In February 1349, a month after the Black Death had arrived in Dubrovnik, the Great Council decided to build a Romanesque church dedicated to St Blaise as head and protector of the city. As the plague killed many heirs and executors, the Council further decided to use some of the properties that had reverted to the state as funds for the building of the church. Under the supervision of the craftsmen Andelo Lorrin, Butko and Mihajlo Petrovic the church was completed in three years. The church of St. Blaise became soon the second most important church of Dubrovnik after its cathedral.

The current church was built in 1715 by the Venetian architect and sculptor Marino Gropelli (1662-1728) on the foundations of the medieval church which, though it survived the earthquake of 1667 fairly well, burned down in 1706. He modeled the church on Sansovino's Venetian church of San Maurizio

Crkva sv. Vlaha je barokna crkva zaštitnika grada Dubrovnika. Nalazi se na trgu Luža u Dubrovniku.

Barokna crkva sv. Vlaha sagrađena je na mjestu starije romaničke crkve (14. stoljeće), koja je preživjela veliki potres 1667. godine, ali je izgorjela u požaru 1706. godine. Crkva je oštećena u potresu godine 1979. godine, a u Domovinskom ratu (1991. – 1992.) oštećena je pogodcima, najjače na krovu i sjevernom pročelju.

Veliko vijeće 26. veljače 1348. godine donosi odluku o gradnji crkve sv. Vlaha na Platea Communis, na mjestu gdje je i današnja (barokna), ispred Vijećnice. Iz odluke o izgradnji nove crkve sv. Vlaha na navedenome mjestu još se može iščitati želja Dubrovčana za stjecanjem neovisnosti od mletačke vlasti, posebice ako se uzme u obzir arhivski podatak da je dubrovački nadbiskup Ilija Saraka postavio temeljni kamen crkve. Godine 1558. orgulje orguljara Colombija postavljene su u crkvu. Nova barokna crkva izgrađena je od 1706. do 1715. godine po nacrtima mletačkog graditelja Marina Gropellija. Crkva ima bogato ukrašeno pročelje s portalom, a ispred njega su široke stube. Središnji prostor crkve nadvišen je kupolom. Na glavnom mramornom oltaru nalazi se kip sv. Vlaha od pozlaćenog srebra, rad dubrovačkih majstora iz 15. stoljeća. U rukama drži maketu grada prije potresa 1667. godine. Kip je preživio i potres i požar u crkvi. Svake se godine 3. veljače u Dubrovniku slavi Festa svetog Vlaha.

en.wikipedia.org/wiki/St_Blaise%27s_Church

hr.wikipedia.org/wiki/Crkva_sv._Vlaha_u_Dubrovniku

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

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

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

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

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

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

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

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

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

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

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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/f/help-for-abandoned-thai-temple-dogs

Please,

No Political Statements, Awards,

Invites Large Logos or Copy/Pastes.

© All rights reserved.

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brick count 7312

OK well I used my recently new (fair enough) photograph skills on my Executor one last time.

A decent photo does not make background removal any easier though...

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)

your beloved body. day 8. how I feel in my body

The place where the soul dwells. You should honor that temple, they said. The place where the sacred shows up.

But I didn´t feel it to be true. My body was a servant, a vehicle, a container, an obstacle, an executor...sometimes a traitor, rarely a friend, how could it be a temple?

Coming from a society where women depend so much on their husbands and families in so many levels, I only yearned for independence and for getting away the traditional feminine roles. In an age where body cult was so preeminent, I felt far from that ideology.

Retrospectively, I think that I felt proud of both facts because they allowed me to construct my own identity. But I was not able to find a happy medium regarding to my body. (...)

However, one day I started to understand:

Body is not a chapel where a bright deity resides. Body is not a sacrificial altar or a place through which I can worship myself. It is not a business card or a tool at the services of other persons. It´s not a clothes rack or a shield, either.

Body is a way to materialize my essence and somehow, even when I can be much more than it, I am also this body. The more I respect it, the more my essence shines.

if you want to read the whole text: myhealingmoments.blogspot.com.es/p/blog-page.html

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

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):

www.youtube.com/watch?v=ipoGy1XadYw

This is my personal redesign of the midi-scale Imperial-Class Star Destroyer featured in the new Executor SSD set, which I wasn't the most impressed with. Until LEGO makes a modified plate with slope that's 1 stud shorter, this is as good as I can do to "upgrade" this design, but I'm still happy with it.

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While waiting for 75356 to come back in stock on LEGO.com, I've challenged myself to design some ships to go alongside it, all to scale. Here's the first batch of ships, but I'll likely check back here with some more designs soon!

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!

Another my Work-in-progress.

More pictures are available here: www.brickshelf.com/cgi-bin/gallery.cgi?f=534855

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

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

History

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

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

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

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

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

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

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

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

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

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

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

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

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

The Burgtheater in time of National Socialism

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

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

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

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

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

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

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

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

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

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

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

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

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

Directorate Claus Peymann 1986-1999

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

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

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

Directorate Klaus Bachler 1999-2009

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

Were among the unusual "events" of the directorate Bachler

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

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

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

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

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

Jubilee Year 2005

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

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

The Burgtheater on the Mozart Year 2006

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

Directorate Matthias Hartmann since 2009

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

The brick built Manor house used to have white stucco front and back which was removed by Disraeli's builders to keep in tune with the current fashion of brick build mansions

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.

There was a small gap of 1-2 mm between both upper hull sections. So I made little modification to the structure to get rid of it. Initially I wanted to do that with towball elements but it did not work so I implemented the same solution as my Executor.

Along with this, a few others minor changes:

- The Leg Mechanical, Droid with Technic Pin is too rare in light bluish grey, so I modified the model to have the dark bluish grey version.

- I added 2 tiles with grille on the underside hull to strenghen the back edge

- I removed both 1/2 pins from the Tantive IV and fitted directly on the stand

- I changed the stand a bit so that the model is perfectly horizontal when standing (without new parts).

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)

TaTToo : .::DEATH INK::. -DARK DESTINY Evox Neck

NEW RELEASE AVAILABLE AT MEN ONLY EVENT December

Round Event start: Every 20th @ 12:00 PM SLT Close: Every 15th @ 12:00 PM SLT TAXI:

maps.secondlife.com/secondlife/Sunset%20Ambiance%20Island...

- [TANAKA x TREVOR] - EXECUTOR BLADE -

TANAKA :

maps.secondlife.com/secondlife/TOKYO%20ZERO/225/46/3306

TREVOR :

maps.secondlife.com/secondlife/ALEGRIA/59/128/630

This is a Magic lantern Slide showing the corner of Blackfriars Road and Union Street, at 196 Blackfriars Road are the premises of J.W. Cunningham & Co, a long-established Ironmongers. On the opposite corner is the Surrey Chapel built by The Rev. Rowland Hill in 1783 in the form of an octagon, he stated that he built it this way so that the devil could not hide in the corners. The Ironmongers of J.W. Cunningham & Co was the third Ironmongery business at the premises, the first was run by a man name Walker, the second by a man named Hayward and the sign of the Dog and Pot or Dog and Porringer appears to have been attached to the premises since the late 18th Century. In 1824 a twelve-year-old Charles Dickens walked passed this corner daily on his way to and from his job at Warrens Blacking Factory at Hungerford Stairs on the Thames by Charing Cross and his lodgings in Lant Street. He recounted his recollections to his friend and executor John Forster, and they were published in the first biography of Dickens by Forster in 1872, two years after Dickens death. “My usual way home was over Blackfriars Bridge, and down that turning in the Blackfriars Road which has Rowland Hill's chapel on one side, and the likeness of a golden dog licking a golden pot over a shop-door on the other. There are a good many little low-browed old shops in that street, of a wretched kind; and some are unchanged now. I looked into one a few weeks ago, where I used to buy boot-laces on Saturday nights, and saw the corner where I once sat down on a stool to have a pair of ready-made half-boots fitted on. I have been seduced more than once, in that street on a Saturday night, by a show-van at a corner; and have gone in, with a very motley assemblage, to see the Fat-pig, the Wild-Indian, and the Little-lady. There were two or three hat-manufactories there then (I think they are there still); and among the things which, encountered anywhere or under any circumstances, will instantly recall that time, is the smell of hat-making.” In the early 1870s the ground lease of the Surrey Chapel was coming up for renewal but a legal technicality reverted the ownership of the lease to the original owner and the Surrey Chapel moved to a purpose built new church in Westminster Bridge Road, about a mile away. The Surrey Chapel was used for a short time by a group of primitive Methodists until 1881 when the building was leased for 21 years to Thomas Green & Son who produced gardening tools which included rollers and lawn mowers. In 1910 the Surrey Chapel was leased by Dick and Bella Burge; Dick had been quite a successful boxer until he was imprisoned in 1902 for ten years in connection with a bank fraud. The building then became known as “The Ring” and was the venue for boxing matches and later for wrestling bouts. Dick died in 1918 from pneumonia and his wife Bella then ran the venue very successfully until the building was hit by a German bomb in 1940 and then completely destroyed by another in 1941. The Ironmongers survived the war, but it did not survive Southwark Council which decided to demolish the building along with others to create Nelson Square Gardens Estate. A large office block called Palestra House now stands on the site of the Surrey Chapel and on the opposite corner an old lamp post supports a facsimile of the Dog and Pot, the actual sign is now in the Cuming Museum although in the same year as the facsimile was erected on the 201st birthday of Charles Dickens in 2013, there was a fire at the Museum which damaged the sign. There is also a facsimile of a metal coal hole cover adjacent to the Lamp Post showing the Dog and Pot sign and the name of J.W. Cunningham & Co, it would appear that the company had a foundry close by in Great Suffolk Street where it manufactured the coal hole covers and retailed them from the shop. I think the photograph dates from just after the first world war, you can just make out a Boxing poster on the wall of the Ring.

Designed by Onecase

1981 Reliant Robin Super.

Supplied by J W Milward of Newmarket (Reliant).

Last MoT test expired in September 2010.

East Anglian Motor Auctions, Wymondham -

"On behalf of executors. Non-runner. V5 document. Estimate: £200 - £300."

Sold for £850 plus premium.

"No Disintegrations!" I present my interpretation of the classic scene from Empire Strikes Back, complete with lighting and non-slip design to hold books nicely. Instructions available here, rebrickable.com/users/IScreamClone/mocs/

LEGO Star Wars Imperial Star Destroyer Fleet