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A few months ago I read a post about this ancient monument, I was unaware of its existence.
I logged into my Google Maps and recorded it as one of my desired places to visit.
Today Thursday 15th November 2018 Scotland basked in a beautiful Autumn sunshine, my favoured shooting conditions, I packed my Nikon and drove the 25 miles to the site.
Historic Environment Scotland maintain the monument , thankfully they have done a magnificent job, I truly believe it is important to preserve history for the generations to come.
I had a magnificent two hours recording my experience, I never fail to feel overwhelmed by the wealth of history that surrounds Aberdeen and the shire.
Thank's to Historic Environment Scotland for their detailed information on this site.
Ancient Monument - Kinkell Church - Inverurie Aberdeen Scotland.
Kinkell Church, built in the 1200s, is a classic medieval Highland church: simply designed and rectangular in shape. But the liturgical features installed in the 1520s are anything but plain. The stone sacrament house in the north of the church is an especially fine fixture.
Kinkell was refitted for Presbyterian worship following the Protestant Reformation of 1560, and declared redundant in 1771. Much of the building was dismantled and building materials recycled for use in a new kirk.
KINKELL CHURCH
• Kinkell Church, dedicated to St Michael, consist of the remains of a simple rectangular medieval parish church, of which only the N, W and part of the E
wall are upstanding.
The church was partly remodelled, perhaps on more than one occasion,
including in the early 16th century, when an elaborately carved Sacrament
House was built into the E end of the N wall.
Within the church is the monument of Gilbert de Greenlaw, killed at the battle
of Harlaw in 1411; the stone was re-used for a Forbes burial in 1592
CHARACTER OF THE MONUMENT
The church appears to have come on record in the early 13th century. Kinkell
was a mother church, or plebanus, and had dependent chapels at Dyce,
Drumblade, Kemnay, Kinnellar, Kintore and Skene.
This connection, which
was of long standing, may have arisen if Kinkell’s origins was that of an ecclesiastical foundation, rather like a minster, with an extensive parochia.
This would push back its origins considerably.
From the 14th century, certain revenues of the church evidently pertained to the Knights Hospitallers, although it is also recorded as an independent parsonage during the 14th century.
Any connection with the Hospitallers came to an end in 1420, when the church
and its annexes were erected into a prebend of Aberdeen Cathedral.
From a date and a set of initials on the sacrament house, it is apparent that in 1524 Alexander Galloway, rector of Kinkell and canon of Aberdeen Cathedral,
paid for the splendid sacrament house built into the E end of the N wall.
He appears to have been paying for further work the following year as a carved stone panel depicting the crucifixion, dated 1525, and with Alexander’s initials (three times), is built into the N wall (only a bronze replica survives; the original
was removed to Aberdeen Museum in 1934 and subsequently lost).
The church was abandoned in 1771 when the parish was amalgamated with
Keithhall. It was partially demolished to provide building materials for the new
parish church.
Archaeological Overview
There have been no recorded archaeological investigations at Kinkell.
The archaeological potential of the monument is extremely high and any excavation is very like to come across human remains, and perhaps also earlier church
buildings on the site.
Artistic/Architectural Overview
The church is fragmentary and devoid of features apart for the sacrament
house, the crucifixion panel and a single jamb of what must have been a large,
traceried E window. The simple oblong plan of the church suggests that the
basic form of the church dates from the early 13th century, with much late
medieval remodelling.
2/3
• The sacrament house is a particularly fine, and unique, example of this type of
medieval church fixture. It was an aumbry, or wall cupboard, designed to
reserve the host in appropriate reverential surroundings.
• The sacrament house at Kinkell shares several features with others found in
the NE, associated with Galloway, but is unique due to its cross shape. The
aumbry is flanked by two buttresses with crocketed finials. Between these is a
panel, which although badly defaced, appears to have been ornamented with a
monstrance supported by two angels (a very common motif found on other
sacrament houses associated with Alexander Galloway). Above this panel is a
corbelled and battlemented cornice, and above this is an oblong panel, which
probably contained a crucifixion scene, but is now empty. Flanking the
pinnacles are two panels, each filled with scrolls, which are of different forms
although the inscriptions on the scrolls were meant to be read as one and
state: ‘Here is preserved that body which was born of a virgin’.
• The crucifixion panel has a representation of St Michael, the archangel (to
whom the church was dedicated) to the right of the crucified, the Virgin on the
left and under her a priest, perhaps representing Galloway himself as donor,
standing beside an altar on which are Galloway’s initials.
• The sacrament house and the Crucifixion panel appear to have been part of a
liturgical revival in the diocese of Aberdeen during the early decade on the 16th
century. Alexander Galloway appear to have been a central figure in the move
to ensure parish churches had the fittings for the proper worship of God, and in
particular devotion to the Blessed Sacrament. He erected several sacrament
houses in churches he was involved in; Kinkell and its dependents at Dyce and
Kintore, and at King College, Aberdeen and may have been influential in the
decision of his colleagues, Alexander Spittal of Auchindoir and Alexander Lyon
of Turiff, to erect those in their respective churches. Galloway also donated a
font to Kinkell, which now is now in St John’s Episcopal Church, Aberdeen.
• The construction of the sacrament house may have been part of a wider
reorganisation of the chancel area of the church, and it is tempting to suggest
that the great E window may have been a part of this re-organisation, although
details of this moulding may be more consistent with a 14th or 15th century
date.
Social Overview
• The church is currently used as a recreational attraction. It receives little other
community use.
Spiritual Overview
• As a parish church in use for some six centuries, the site has the potential to
inform our understanding of medieval Christianity, the aspirations of the
rectors, vicars and ministers who served the church and the congregations
who worshipped in it.
• The burial ground was in use until fairly recently, and may still be in use for
occasional burials. People still visit family graves and memorials.
Aesthetic Overview
• The church and burial ground are located in the haughs of the River Don,
amongst arable farmland which adds to the appreciation of this monument.
The church has been pointed with a hard cement mortar that give the walls the impression of crazy paving.
The sacrament house, the replica crucifixion panel,
3/3 the window jamb are fine architectural details which are aesthetically very striking, and provide some idea of the glories of this once very fine church.
• The graveslab of Gilbert de Greenlaw, killed at the Battle of Harlaw, which would originally have been a ledger slab, is a particularly detailed carving of an armed knight.
What are the major gaps in understanding of the property?
• Do further historical sources or references survive.
• Nothing is known about the archaeology and earlier history of this site.
The church is an example, although much ruined, of a church which was remodelled in the 16th century.
The sacrament house is a particularly fine example of this type of church
furnishing, and the only example which takes the form of a cross.
Sacrament houses are physical manifestation of an important aspect of late medieval
Christianity; the veneration and adoration of the Body of Christ in the form of the consecrated host.
The church is closely associated with Canon Alexander Galloway, who encouraged a liturgical revival in the diocese in the early 16th century.
The site has high archaeological potential, but as a place of burial over centuries so the scope for research-led invasive excavation is not high.
Associated Properties
St Fergus’, Dyce, Auchindoir Church, St Machars Cathedral, Kintore Church,
Hohhot, Inner Mongolia, China
Hohhot is a city of incredible diversity. The mesh of Islamic and traditional Chinese architecture can be seen on the opposing sides of this city street. Muslims, Buddhists, and minority groups blend seamlessly in this bustling city.
Submitted by: Lisa Dicker
This and other photos in this set were submitted by students of the University of Tennessee as part of the Study Abroad Photo Contest. See studyabroad.utk.edu/ for more details.
The Bell AH-1 Cobra (also called HueyCobra) owes its existence to the Vietnam War. While the proof of the air cavalry concept was being proven every day, the US Army was also losing huge amounts of helicopters to ground fire. Equipping the troop-carrying “slicks” with door guns helped, and arming the UH-1 Iroquois/Huey with weapons was another interim solution. Clearly, however, the solution lay with a dedicated attack helicopter that could defend the troop carriers.
Bell, the manufacturer of the UH-1, had been also experimenting with a concept of a heavily armed, turreted, and thin fuselage helicopter. The US Army awarded a proof-of-concept contract to Bell, which replied in a heavily modified Model 47 called the Sioux Scout. It failed to win any orders, but Bell kept at it even as the Army pursued the far more complicated and expensive AH-56 Cheyenne. This resulted in the Model 209, based on components of the UH-1 and the original conceptual design.
With the Vietnam War intensifying and the Cheyenne going nowhere, the Army issued a requirement for an interim solution, which the Model 209—built and tested in only eight months—won easily. The Army ordered 110 AH-1Gs in April 1966 and the type was in action in Vietnam a year later. It was highly successful there, and successive marks of the Cobra would continue to fight in America’s wars since—Grenada and both Gulf Wars. US Army Cobras were upgraded continually in the 1980s, resulting in a dizzying number of variants: the AH-1S (with upgraded engine), AH-1P (with flat glass windscreen), AH-1Q (with TOW missile system), AH-1E (with 20mm gatling cannon in nose turret), and AH-1F (with laser rangefinder and countermeasures). In 1988, the Army finally gave up and redesignated the whole lot as AH-1S.
US Army Cobras were finally retired in 2001, but USMC Cobras remain in service, with the fleet being converted to AH-1Z Kingcobras. Israel, Iran, and Pakistan likewise have used and continue to use their Cobra fleet, and it is generally considered to be the most successful and prototypical attack helicopter.
This AH-1S is 70-16042, and not much can be found about its career. It may have been originally built as an AH-1G and was later upgraded to an AH-1S, and may have also served in Vietnam. By the late 1980s, it was serving with the 285th Aviation Regiment (Arizona National Guard) at Marana-Silverbell Army Airfield, and was used as a training aircraft. It was retired in 1994 and eventually made its way to Fort Douglas, Utah, where it remains today.
Other than lacking turret guns and a complete cockpit, 70-16042 is in excellent shape, and is displayed with four M200 2.75-inch rocket launchers on the stubwings.
A lush garden, with shrubs and flowerbeds pruned in very many artistic shapes, surrounds the palace. Quite obviously; the art of topiary has been in existence in Orchha for centuries. The Mahal was built in honor of the ‘Nightingale of Orchha’, Rai Praveen, and the second floor is resplendent with scenes of Nritya Mudra, the poses and postures of Indian dance.
Rai Praveen was as well identified for her charming beauty as for her poetry and music. The paramour of Indrajit Singh, in whose court she performed, her fame inevitably spread far and wide and finally reached the Imperial Court of Akbar. The Mughal emperor was smitten by her, and he arrogantly summoned her to his durbar. Indrajit Singh, Rai Parveen’s paramour, was too weak-kneed a ruler to defy the Imperial summons. Touched by her loyalty, Akbar decided to restore her to Orchha with both her dignity and that of her kingdom intact. The palace is now a fitting memorial to this lady.
The Orchha Fort complex, which houses a large number of ancient monuments consisting of the fort, palaces, temple and other edifices, is located in the Orchha town in the Indian state of Madhya Pradesh. The fort and other structures within it were built by the Bundela Rajputs starting from early 16th century by King Rudra Pratap Singh of the Orchha State and others who followed him.
The fort complex, which is accessed from an arched causeway, leads to a large gateway. This is followed by a large quadrangular open yard surrounded by palaces. These are Raja Mahal or Raja Mandir, Sheesh Mahal, Jahangir Mahal, a temple, gardens and pavilions. The battlements of the fort have ornamentation. Notable architectural features in the fort complex are projected balconies, open flat areas and decorated latticed windows.
LOCATION
The fort complex is located in the Tikamgarh district of Madhya Pradesh in the erstwhile state of Orchha. The fort complex is within an island formed by the confluence of the Betwa River and Jamni River in Orchha town. Approach to the complex from the eastern part of the market in the town is through a multiple arched bridge with 14 arches built in granite stones.
Orchha town is approximately 80 kilometres away from Tikamgarh town, which is the district headquarters of the district of the same name. Jhansi town is 15 kilometres away. Orchha is a railway station of the Central Railway on the Jhansi-Manikpur section.
HISTORY
The fort was built following the founding of the Orchha State in 1501 AD by Rudra Pratap Singh (r. 1501–1531), a Bundela rajput. The palaces and temples within the fort complex were built over a period of time by successive Maharajas of the Orchha State. Of these, the Raja Mandir or Raja Mahal was built by Madhukar Shah who ruled from 1554 to 1591. Jahangir Mahal and Sawan Bhadon Mahal were built during the reign of Vir Singh Deo (r. 1605–1627). The features of "pepper pots and domes" seen in the fort complex are believed to have inspired Lutyens in the architecture of the structures which he built in New Delhi.
MONUMENTS
The fort complex, accessed from an arched causeway, leads to a large gateway followed by a large quadrangular open space which is surrounded by palaces such as Raja Mahal or Raja Mandir, Sheesh Mahal, Jahangir Mahal, a temple, gardens and pavilions. The fort walls have battlements, which have ornamentation. Notable architectural features seen in the fort complex consist of projected balconies, open flat areas and decorated latticed windows.
RAJA MAHAL
The Raja Mahal (King’s Palace), where the kings and the queens had resided till it was abandoned in 1783, was built in the early part of 16th century. Its exterior is simple without any embellishments but the interior chambers of the palace are elaborately royal in its architectural design, decorated with murals of social and religious themes of gods, mythical animals and people. In the upper floor of the palace there are traces of mirrors in the ceilings and walls. Its windows, arcaded passages and layout plan are designed in such a way that the "sunlight and shadow create areas of different moods and temperatures throughout the day". The interior walls of the Mahal have murals of Lord Vishnu. The Mahal has several secret passages.
A part of this Mahal was converted into a temple and named Rama Raja Temple in honour of the god Rama. There is legend associated with naming it as a temple. According to a local legend, the temple was built following Rani Ganeshkuwari, the queen getting a "dream visitation" by Lord Rama directing her to build a temple for Him; while Madhukar Shah was a devotee of Krishna, his wife's dedication was to Rama. Following this a new temple known as the Chaturbuj Temple was approved to be built, and the queen went to Ayodhya to obtain an image of Lord Rama that was to be enshrined in her new temple. When she came back from Ayodhya with the image of Rama, initially she kept the idol in her palace as the Chaturbuj Temple was still under construction. She was, however, unaware of an injunction that the image to be deified in a temple could not be kept in a palace. Once the temple construction was completed and the idol of the lord had to be moved for installation at the Chatrubhuj Temple, it refused to be shifted from the palace. Hence, instead of the Chaturbhuj Temple, the Rama's idol remained in the palace where as the Chaturbhuj Temple remained without an idol in its sanctum. As Rama was worshipped in the palace, part of the palace was converted into the Rama Raja Temple; it is the only shrine in the country where Rama is worshipped as a King. The temple is guarded by a police force and the deity, Lord Rama, is considered as the king and is given a gun salute of honour every day.
SHEESH MAHAL
Sheesh Mahal is flanked on either side by the Raja Mahal and the Jahangir Mahal. This has royal accommodation, which was built for king Udait Singh. It has now been converted into a hotel. The interior of this edifice consists of a huge impressive hall with high ceiling, which is the dining hall. Its recent colour scheme renovations are an eyesore. But staying in two of its royal suites on the upper floor, which provide scenic views of the town, gives the guest a feeling of royalty.
JAHANGIR MAHAL
Jahangir Mahal is a palace that was exclusively built by Bir Singh Deo in 1605 to humor the Mughal emperor Jahangir who was a guest of the Maharaja for one night only. The palace is built in four levels with elegant architectural features of both Muslim and Rajput architecture. Its layout is a symmetrical square built in the inner courtyard of the fort and has eight large domes. It has a plethora of rooms with arcaded openings, projecting platforms and windows with lattice design work. The roof above top floor of this Mahal is accessed through a steep stairway. It provides picture perfect views of the temples and the Betwa River outside the fort complex. The palace also houses a small archaeological museum.
The entrance gate from this palace, which was earlier the main gate and which has carved ornamentation, leads to the royal baths and then to an elegant small dwelling unit built within a garden in typical Mughal architectural style; this had been built exclusively for Rai Parveen, the female escort of the Raja Indramani (1672 – 76); her large-size portrait in a revealing and seductive attire adorns hall in this Mahal. She was a poet and musician. The building is a double storied structure built with bricks, rising to the height of the trees in the well tended garden called Anand Mahal. The garden is laid out with octagonal flower beds and has good network of water supply. There are niches in the Mahal which permit natural light to the main hall and smaller rooms.
It is said that Emperor Akbar (r. 1556 – 1605) who was enamored by Parveen's beauty had taken her to his palace in Agra to be his courtesan. But Parveen, who wanted to get out of the situation, composed a gazal or a couplet which stated her status as an already used woman not fit for an emperor, which enabled her to get release from Akbar's court and return to Orchha.
PHOOL BAGH
Phool Bagh is an elegantly laid out garden in the fort complex which has a line of water fountains that terminates in a "palace-pavilion" which has eight pillars. Below this garden is an underground structure which was used by the royalty as a cool summer retreat. This cooling system consists of water ventilation system that is linked to an underground palace with "Chandan Katora", which is in the shape of a bowl from where fountains of droplets trickle through the roof creating rainfall.
WIKIPEDIA
Lens: Revuenon 35mm f/2.8
Film: Fuji Superia
Ipod soundtrack: www.youtube.com/watch?v=W5mmmWIqZUQ&list=PLE7B2E84767...
Bury St Edmunds Cathedral for most of its existence was simply the parish church of St James until the foundation of the new diocese of St Edmundsbury in 1914 when it was raised to cathedral status, one of the many new dioceses formed in the early 20th century that elevated existing parish churches to diocesan rank rather than purpose building a new cathedral. Many of these 'parish church cathedrals' sit slightly awkwardly with their new status, lacking in the scale and grandeur that befits such a title, but of all of them Bury St Edmunds has been adapted to its new role the most successfully, with in my opinion the most beautiful results.
The medieval church consisted of the present nave, built in 1503-51 under master mason John Wastell, with an earlier chancel that was entirely rebuilt in 1711 and again in 1870. Originally it would have seemed a fairly minor building at the entrance to the monastic precinct, overshadowed by the enormous abbey church that once stood immediately behind it. The absence of this magnificent church since the Dissolution and the scant remains of this vast edifice always sully my visits here with a sense of grievous loss, had history been kinder it would have served as the cathedral here instead and likely be celebrated as one of the grandest in the country.
The church never had a tower of its own since the adjacent Norman tower of the Abbey gateway served the role of a detached campanile perfectly. It is an impressive piece of Romanesque architecture and one of the best preserved 12th century towers in the country.
Upon being raised to cathedral status in 1914 the building underwent no immediate structural changes but plans were made to consider how best to transform a fairly ordinary church into a worthy cathedral. This task was appointed to architect Stephen Dykes Bower and work began in 1959 to extend the building dramatically. Between 1963-1970 the entire Victorian chancel was demolished and replaced with a much grander vision of a lofty new choir and shallow transepts, remarkably all executed in traditional Gothic style in order to harmonize with the medieval nave. It is incredible to think that this was done in the 1960s, a period in which church and cathedral buildings were otherwise constructed in the most self consciously modern forms ever seen, with delicate neo-medieval masonry in place of brick and concrete.
The new crossing of transepts and choir however remained crowned by the stump of a tower for the remainder of the century as funds were not available to finish Dykes Bower's complete vision of a lantern tower over the crossing: this was only realised at the beginning of the 21st century, aided by a legacy left in the architect's will and some subtle design changes under his successor as architect Hugh Matthews. The transformation from church to cathedral was finally completed in 2005 with most satisfactory results. A stunning fan-vault was installed within the new tower in 2010, an exquisite finishing touch.
Whilst it isn't a large building by cathedral standards its newer parts do much to give it the shape and dignity of one. This is especially apparent within, where the cruciform eastern limb draws the eye. The interior is enlivened by much colour, with the ceilings of Dykes Bower's choir and transepts adorned with rich displays of stencilling, whilst the nave ceiling (a Victorian replacement for the medieval one) was redecorated in similarly lively colours in the 1980s which helps to unify the old and new parts of the church.
Few fittings or features remain from the medieval period, most of the furnishings being Victorian or more recent, but one window in the south aisle retains a rich display of early 16th century stained glass, very much Renaissance in style. The remaining glass is nearly all Victorian, some of the windows in the new choir having been transferred from the previous chancel.
St Edmundsbury Cathedral is not filled with the monuments and fittings that make other great churches so rewarding to linger in but it is a real architectural delight and cannot fail to uplift the spirit.
Oldsmobile was a brand of automobile produced for most of its existence by General Motors. It was founded by Ransom E. Olds in 1897. In its 107-year history, it produced 35.2 million cars, including at least 14 million built at its Lansing, Michigan factory. When it was phased out, Oldsmobile was the oldest surviving American automobile marque, and one of the oldest in the world, after Daimler and Peugeot. Oldsmobile was GM's first brand to be phased out in the 21st century, after the company's Geo and Canadian-market Asüna brands were phased out in the 1990s, and before the discontinuation of GM's Pontiac, Saturn, and Hummer brands in 2010.
In the 1930s through the 1990s, Oldsmobile used a two digit model designation. As originally implemented, the first digit signified the body size while the second represents the number of cylinders. Body sizes were 6, 7, 8, and 9, and 6- and 8-cylinder engines were offered. Thus, Oldsmobiles were named 66 through 98.
In 1937, Oldsmobile was a pioneer in introducing a four-speed semi-automatic transmission called the "Automatic Safety Transmission", although this accessory was actually built by Buick, which would offer it in its own cars in 1938. This transmission featured a conventional clutch pedal, which the driver pressed before selecting either "low" or "high" range. In "low", the car shifted between first and second gears. In "high", the car shifted between first, third and fourth gears.
Hats Off Day, Parade, 2010
For my video; youtu.be/z9vroY-HjkM
Burnaby Heights, Burnaby, British Columbia, Canada
The term Broken Hill was first used by the early British Explorer Charles Sturt in his diaries during his search for an inland sea in 1844. Western plains towns far away from the major rivers, such as Broken Hill, owe their existence to the mineral discoveries made in the decade after 1875, when spectacular deposits of gold, silver, copper, and opal were found. The township of Broken Hill was developed in the "Broken Hill Paddock" which was part of Mount Gipps Station where George McCulloch, the station manager employed many men. It was in 1883 that three of his workers pegged the first mineral lease on his property: they were Charles Rasp, David James and James Poole. The Syndicate of Seven was formed, and consisted of: George McCulloch, Charles Rasp, David James, James Poole, George Urquhart, and George Lind. These men pegged out the remaining six mineral leases which are now known as the Line of Lode. It was the seventh member of the Syndicate, Philip Charley, who found the first amount of silver in 1885. A township was soon surveyed and Broken Hill was initially known as a shanty town with an entire suburb named 'Canvas Town' for its temporary buildings.
The first survey of Broken Hill was made by Mr. E.H. Dawson, and started on the 27th of August 1884. It was in the year 1885 that the town of Broken Hill began to develop. Previous to that date, it was nothing but mulga scrub, with two or three tents or humpies. The first house was built on Block 14 for Mr. Wm. Jamieson, the manager of the Broken Hill Mining Co. Then came Delamore's Hotel, which was pulled down out Lake's Camp way, carted into Broken Hill, and re-erected by Mr. A.F. Pincombe, one of the old pioneers who was well known on the Hill. In quick succession followed Sully's old store, the Silver King Hotel, and Brazill and Jones' store, then came J.R. Stewart, baker, Neilson & Co., butchers;, Langemen's Billiard Saloon, Vaughan's Hotel, Ledgard's, Lee's and Finn's, & Co. Argent Street began to assume a busy aspect.'
The town boundaries of the 'Town of Willyama' were proclaimed on the 24th of August 1887. The Municipal District of Broken Hill was constituted by a Proclamation dated 24th September 1888 to include 'the Towns of Willyama and Alma and other lands.' The Proclamation, gazetted on the 24th of July 1907, 'hereby constitute as a City the said Municipality of Broken Hill.'
This small and remnant chimney marks the commencement of Australia's most ambitious and successful mining industrial enterprise. Broken Hill Proprietary, the 'Big Australian' started on this site in 1885.
With a mining boom taking place at Silverton, Thackaringa, and other locations in the area, Charles Rasp, a boundary rider from Mount Gipps Station, saw the potential for a tin mine on the rock outcrop located near the southern boundary of the Station. With David James and James Poole, dam sinking contractors, on the 5th of September 1883 he pegged out mineral lease 12 in the centre of the outcrop. On returning to Mount Gipps Station, Rasp advised the station manager, Geroge McCulloch, of the lease and McCulloch proposed a syndicate of 7 members to undertake works. The syndicate pegged out and registered six further leases - blocks 10 - 16.
The 7 original shares were divided to create 14 equal shares and after selling and buying of some shares the syndicate comprised four of the original seven; George McCulloch, Charles Rasp (boundary rider); David James and James Poole (dam sinking contractors) and Phillip Charley (station hand), with new shareholders: Kenric Bobribb; Bowes Kelly; W.R. Wilson; William Jamieson; James Daglish; Samuel Hawkins; Solomon Wiseman; W.C. Palmer; and A.W. Cox.
The first shaft, named after Rasp, was sunk in October 1884. Charles Rasp in a quote in the Argus newspaper from the 19th of August 1905 looking back to the commencement of mining reflected:
""
Early in 1885 Phillip Charley discovered a high yield of silver chloride in the ore extracted from the shaft that tested at 1000's of ounces to the ton. The first large scale smelting that took place shortly after produced 35,600 ounces ofsilver from 48 tons of ore. With renewed confidence the Broken Hill Mining Company was formed on the 25th of April 1885 operating over the seven leases with William Jamieson, a syndicate member and mine surveyor, as manager. Joined by workmen Alf Orman and Tom Phin, Jamieson established a camp on this site in May of that year when this chimney and a hut were built. In June of that year the company registered as Broken Hill Proprietary (BHP) and continued to mine the 7 leases until 1939.
Mining activity on the leases increased rapidly from 1885 transforming the remote outcrop to become the most lucrative mine in the world. The 7 original shares of 70 pounds each, after their division into 14 shares, were valued at 1, 250, 000 pounds by 1890. The company continued to grow rapidly, the Broken Hill mines producing over 100 billion dollars of income during BHP's 54 year ownership.
BHP quickly expanded beyond Broken Hill first, by building and operating its own smelters at Port Pirie, South Australia (1890) and then aquiring iron mining leases at Iron Knob (by 1900) that resulted in the start of the Australian steel industry. As the extraction of tin, silver, and zinc reached its peak in the early decades of the twentieth century, BHP focused on iron and steel establishing their first major steelworks in 1915 at Newcastle. They further diversified into ship building and coal mining and shortly before leaving Broken Hill in 1939 consolidated their steel works by acquiring Australian Iron and Steel at Port Kembla making BHP the largest steel producer in the British Empire.
BHP merged with Billiton Pic in 2001 to beocme the largest mining company in the world. BHP has been the backbone of Australian mining and steel production for almost 150 years.
Source: New South Wales Heritage Register, BHP Archives, RHB Kearns, National Museum of Australia, Broken Hill Archives,
The Chimney
The original syndicate of seven which held the seven mining leases (Blocks 10-16) on the broken hill named their venture the Broken Hill Mining Company. Following the discovery of rich silver ores in early 1885, the syndicate appointed William Jamieson as manager in April 1885 and registered the name Broken Hill Proprietary Co. Ltd, in June 1885. The BHP chimney marks the site of the hut built by Tim Phin and W.B. Orman for the company in May 1885 to house Jamieson. It was located amongst the busy mining area at the Line of Lode, the rocky outcrop which contained the ore body and was used for a short time as the BHP works office where all mining business was conducted. Although Jamieson resigned at the end of the year, during that period at this site he undertook planning of the original development work at the mine including the erection of the first smelters. The BHP Chimney is the only remaining remnant of the hut which dates from the year that mining activities began in Broken Hill and when it began its development as a remote inland town.
No photographs have been located of the hut which housed the original BHP offices.
By 1888, wooden staff houses and a handsome stone office were erected about 500 metres to the northwest. The site was now part of the Block 14 Mine. By the 1890s, all BHP staff housing was provided at proprietary Square.
In 1908 the BHP Chimney was already a ruin but described as 'One of the most historical spots on the Hill. Beside this stack in a large tent there lived in the early days Mr. Wm. Jamieson and his assistant A. Reid, W.R. Thomas, Alf Orman, two or three axemen, cook. It was in this tent the destinies of Broken Hill were laid, it was here that all business with the mine was transacted, and here in this tent Mr. Thomas drew the plans of Block 14, British, Block 10. The Company has lately placed a railing round the old spot, in order that it may be preserved.' (Curtis, 1908) By this time BHP had erected a wooden railing around the chimney so that it might be preserved.
BHP ceased operations at Broken Hill in 1939. In 2001, BHP became part of BHP Billiton, the world's largest resources company.
The BHP Chimney thus represents the birthplace of BHP, a company which helped shape Australia's mining and industrial landscape.
The BHP Chimney is located on Crown land reserved for Temporary Common (Reserve 2421 Notified 4 September 1886), known locally as the Willyama Common, which is administered by Broken Hill City Council as the trust manager for the Willyama Common Trust. Consolidated Mining Lease no.7, held by CBH Resources Pty Ltd, includes the site but there are no plans to conduct surface mining in this area.
The top section of the chimney has been rebuilt at some time since 1907 and the structure modestly covered with a tin roof on four wooden columns. Under the supervision of Broken Hill City Council's heritage advisor in 2008, the chimney was repointed and interpretation signage added to the site.
Why is love beyond all measure of other human possibilities so rich and such a sweet burden for the one who has been struck by it? Because we change ourselves into that which we love, and yet remain ourselves. Then we would like to thank the beloved, but find nothing that would do it adequately. We can only be thankful to ourselves. Love transforms gratitude into faithfulness to ourselves and into an unconditional faith in the Other. Thus love steadily expands its most intimate secret. Closeness here is existence in the greatest distance from the other- the distance that allows nothing to dissolve - but rather presents the “thou” in the transparent, but “incomprehensible” revelation of the “just there”. That the presence of the other breaks into our own life - this is what no feeling can fully encompass. Human fate gives itself to human fate, and it is the task of pure love to keep this self-surrender as vital as on the first day. – Martin Heidegger
www.youtube.com/watch?v=FZVWmrXHlGY
Massive Attack (1995) -Protection
---
from the book
STRATEGIES d'EXISTENCE"
strategy
by Morten Friis /1996
translation from danish text for the book "Strategies d' existence "
colonel formulates this liberation of the exhibition
in his manifeste
- les differents types de moving exhibition. bordertransgressing and as such is in accordance with the working conditions dictated to the artist by our time. the moving exhibition is a military strategy which simultaneously pays hommage to the sensibility of the artist.
moving exhibition, the bourgeois type, pays this hommage to the private, introverted room. the artist is protected against the eyes of the public or in company with “the understanding”.
the semi-bourgeois takes place in an environment where the artist is already accepted. in this type the integration of the public is a central idea. colonel insists upon the existence of a creative potential within the public. the provocation of this potential is central to the extrovert universe of colonel.
the offensive type underlines the penetrative. the penetration. it is here that the artist agressively manifests himself within the world of art. the artist’s dynamism attracts attention. the artworld is deprived of its monopoly. an exhibition, fernissage, conference looses its substance, when the offensive moving marches in.
flying exhibition is likewise offensive. the works of art are hurled out as paper aeroplanes. this is the most striking visual image of strategy, tactic and means in colonels exposition-method moving exhibition.
the vagabond type attacks the public space in all its entirety. it is democratic. humble. mobile.
the exhibitionistic type is based upon the aforementioned fascination colonel has for the potential of the individual. this type also represents the movement from the inside and out. from the interior to the exterior. the private is exposed into the public.
l’impermeable is a sublime construction. onto which is printed a thematic exhibition. the exterior part of l’impermeable can be wiewed by all. the interior is hidden. in its totality l’impermeable forms an accumulation of works. l’impermeable pierces all borderlines, surmounts all obstacles and reaches its goal. at the same time as its carrier: the artist.
sport art denotes an expansion and an acceleration of moving exhibition. sport art elevates the competition to an ideal with the motto: sport art is a competition. the direct, physical, social communication becomes accentuated. the work of art exists in the midst of a direct confrontation. moving surpasses its own dynamic nature by being able to follow the acceleration of sport art.
la valise. the suitcase, is a type of exhibition with an integrated, automatic mobility. colonel broadens the concept of “exhibition” by filling the suitcase with works of art. the suitcase is thus exhibited as a piece of art, whereas its contents remain hidden. however, colonel leaves the possibility of a breakthrough into the private sphere of the artistic universe open -
the visa. in modern mythologi, as in reality, the visa represents the solution that can open doors to new worlds. at the same time it has the means to keep the unwanted out. access to the interior of l’impermeable, the suitcase or other intimate exhibitions requires a valid visa, this is given by the artist. as an exhibition strategy this underlines the demands of the artist to his audience - that of undivided attention and passion. the traditional artistic presentation is turned around by means of the visa. art becomes the chased. the object of passion.
transport. the unpenetrable surface of the media stands as a wall between the artist and his public. colonel has perforated this wall and created a series of surprising loopholes. entrances through which manifests, works of art and statements can step through. colonels media strategy is simple. the birthday section, which is reserved for personal greetings, is used to announce new artforms e.g. the conclusionism. ad-papers are used in the same way to exhibit works of art. like a guerillasoldier of the media colonel places his messages and works undercover. the mediaimages are thus elevated to works of art. presented as such they obviously become integrated in the medias treatment of the artist. they are reproduced in the reviews and articles and is thereupon transported from media to media. on their way they become victims of reduction and change. they live an autonomous life in the media. this transition and transformation becomes an integral part of a work of art and acts simultanously as an analysis of the media’s consumption of the work of art.
strategy. the penetrating is a standard theme in the exhibition strategies of colonel. colonel proposes a frontal attack on the world, where artist and exhibition fuse together in a veritable warmachine, where all surfaces are assaulted. coloned proposes a fusion of artist and public. a common movement which also leads to a revealing of the mechanisms that lock the creative in a rigid position. yet at the same time one continuously discovers a most personal, emotionally based train of thought in colonel’s strategic work. a work based on existentialistic considerations. it is in this point of intersection, between the inner and the outer, that we discover colonel.
Morten Friis
from the book
STRATEGIES d'EXISTENCE" by Thierry Geoffroy / Colonel
ISBN877245456949
Rhodos Publishing h
from the book
STRATEGIES d'EXISTENCE" by Thierry Geoffroy / Colonel
ISBN877245456949
Rhodos Publishing house 1996
The Chain Gang came into existence in 1920 when it's leader / founder Gold Tooth (the man on the far right of this picture) began a sweets bootlegging business with some associates of his old deceased boss, Dollar Bill. He expanded into racketeering, bank robbing and dirtier crimes soon thereafter. By 1926, he was the top candy bootlegger in Lego City, and boss of a major crime organization running various operations in several different areas - Legoville, Fabuland, and Metru Nui to name just a few. In fact, Turaga Dume, leader of Metru Nui was on his payroll, as was about a quarter of the LEGO City police force in 1927.
In 1928 / 29 he tried to muscle in on Heartlake City's government and was, for once, rebuffed by local officials. He made it his goal to destroy the officials who spurned him by attempting to run for Mayor, but this was stopped by a successful campaign by a re-elected Mayor Stephanie. In late 1929, Gold Tooth and his gang made another mistake by making a derogatory public comment about Mayor Fleck of LEGO City who was not on his payroll. In an unusual moment of bravery, and inspired by Mayor Stephanie of Heartlake's bravery, he contacted her and Mayor Lionel Lion of Fabuland about an alliance against the criminals of their respective cities. This so called Tri-State Alliance proved to be a thorn in Gold Tooth's side for the next ten years - especially after the Sweets Amendment was repealed in 1933, cutting off a huge chunk of his income, as bootlegging illegal candy was no longer worth it.
The LEGO City police force was gone through with a fine comb and all the officers on the take fired by 1932. Fabuland also had a successful series of Catnip sting operations in 1934 that captured top operatives of the Chain Gang red handed. By 1938, Gold Tooth was hanging onto control of his gang by a thread - a civil war with a faction who wanted to pull up stakes and go to Metru Nui (the only municipal ally left) was costing him dearly. Thus, in March 1939 Gold Tooth was heading to a meeting with the rival faction leaders on a truce at a location near Legoville when he was surrounded and apprehended by members of the Duplo police force, who had been tipped off by a traitorous member of his entourage about Gold Tooth's route to the meeting.
On trial in Heartlake, he was defiant and admitted nothing - up until Turaga Dume took the stand as a witness for the prosecution. Dume had only been pretending to help the Chain Gang, all the while keeping diligent records of every crime and operative in his city, and quite a few in other cities too. Finally defeated, Goldtooth was sent away for 50 years - a life sentence for him considering his age. He died in prison in July 1957 of old age.
Today, the Chain Gang is no more.
Ricky Horror of Motionless in White live at Starland Ballroom, Sayreville NJ. 12.11.14
Feature gallery on Music Existence: musicexistence.com/blog/2014/12/15/gallery-motionless-in-...
For the first time in six years of existence, the P1 AquaX was hosting a World Championship event sanctioned by IJSBA and it happened in Key West, Florida December 9th and 10th 2017. Since the Thailand King's Cup was being held at the same time, only 18 of the 25 pilots that made the selection were racing this week end. Nevertheless, Key West was a beautiful destination to race, every morning brought a different colour of sunrise and the ever changing blue hues of the water made this race memorable. After marine and storm delays, day one was hard for David Chassier after experiencing mechanical problems. Day two was a little better even if the Yamaha FX SVHO was barely taking 7000 rpm, the French pilot from Blois managed to finish 12 and 13, which placed him 15 overall. A big thank you to Barefoot Billy's Jet Ski Rental that helped us train the first days in Key West as well as Redler's family that gave us assistance and support during the race. Congratulation to our friend Nicolas Rius on landing a 3rd place overall despite a bad shoulder injury and we wish him the best recovery so he can be back a the top for 2018. This was the last race of the season, see you next year :)
Preserve [pri-zurv] verb, to keep alive or in existence; make lasting.
If one were to ask for the best way to accomplish the preservation of a historic property, they would likely find just as many interpretations as there would be responses. The truth is, there isn't necessarily a best way to go about saving something historic. You could restore it to original, preserve it as is, or make it useful for generations to come.
In the case of this photo, there are two drastically different methods of preservation at hand, yet both act to convey the definition of the word: making things last.
In the background we see the vessel currently named Point Ruston. Today it serves as a sales office for a new development. However, her history is much more than that, dating back to her construction in 1936 by Bath Iron Works as the ferry Aquidneck (YFB-14). Built for the US Navy, she served the Naval Torpedo Station in Newport, RI for more than 30 years, until being placed in reserve in 1971. Her career resumed under a new owner, Pierce County, in 1975 when she became the ferry Steilacoom. In that capacity she carried on through her 70th birthday in 2006 until being sold and lovingly renovated to assume her new occupation.
In contrast, the ruins in the foreground are considerably more ambiguous. Likely what is left of a mill complex, they consist of a mixture of brick and concrete foundations, and the scant remains of numerous wooden pilings. Though anonymous, the fact is these too are in a state of preservation. Even if they will never be restored or truly appreciated for whatever role they played in Tacoma history, they have been preserved as-is, left to preserve an air of an industrial past that not too long ago dominated the shores of Commencement Bay.
Throughout the 20 years of my existence, I was always influenced in one way or another of my self-image. Whether it be my clothing (on the left), who I hang out with, what grammar I should be using, and my identity. Its called acceptance, and lets face it everyone wants to be accepted in some way or another.The things I've done to enhance myself I thought was cool, I thought it would make me happy, but it either got complicated or came to an end. I've never really felt truly accepted until I met Jesus, and even when I met him I thought he was crazy. A person who still loves even when you spit on his face, a person who is there 24/7 through thick & thin, its pretty much unheard of in today's society. It says in "Romans 8:15-The Spirit you received does not make you slaves, so that you live in fear again; rather, the Spirit you received brought about your adoption to sonship..." Receiving Christ and being his Son is a challenging process, but it makes life simple. I don't have to step out on an extra limb to impress someone, be someone I'm not, or do something I don't want to do, all I gotta be is a Son.
Info:
nikon d300+18-70
sb600 camera right through translucent umbrella
sb600 camera left through silver umbrella
triggered via nikon cls
Princes Road Synagogue came into existence when the Jewish community in Liverpool in the late 1860s decided to build itself a new synagogue, reflecting the status and wealth of the community. The Toxteth area was rapidly expanding as Liverpool's magnates built opulent mansions. The synagogue stands in a cluster of houses of worship designed to advertise the wealth and status of the local captains of industry, a group that was remarkably ethnically diverse, by the standards of Victorian England. Immediately adjacent to Princes Road are the magnificent Greek Orthodox Church of St Nicholas, and a handsome, early French gothic, Welsh Presbyterian Church.
Author H A Meek is quoted as saying "He who has not seen the interior of Princes Road synagogue in Liverpool has not beheld the glory of Israel."
Macrinus, AD 217-218. AE Sestertius (23.9 g) minted at Rome. IMP CAES M OPEL SEV MACRINVS AVG. Laureate, draped and cuirassed bust of Macrinus right. Reverse: SECVRITAS TEMPORVM S C. Securitas (Security) standing left, holding scepter in right hand, resting left elbow on column. RIC 202; Cohen 123. Dark forest green patina. Meticulous strike of fine style offering a magnificent depiction of Macrinus. A fabulous coin and undoubtedly one of the finest of its type in existence. Very rare. Superb Extremely Fine. .
This handsome sestertius of Macrinus has a magnificent portrait of the emperor who briefly interrupted the Severan dynasty when he arranged for the assassination of Caracalla in AD 217. While Macrinus was serving as praetorian prefect at the time of Caracalla's Parthian campaign, he learned of a prophecy concerning his own future elevation to the throne. Terrified that the emperor would hear of this and order his immediate execution, Macrinus felt that he had no choice but to make the prophecy self-fulfilling by secretly plotting the emperor's murder. Once the deed was carried out along a lonely stretch of road between the Mesopotamian cities of Edessa and Carrhae, Macrinus was proclaimed emperor by the army, which was unaware of his part in the affair. The reverse proclaims the "security of the times," a somewhat extravagant claim given the uncertainty of the situation both for the new emperor himself and for the Roman army in the East.
Provenance: The Hunter Collection; Ex Superior Stamp & Coin, NYINC Sale, December 8-9, 1995, lot 947; Tkalec (Zurich), October 1992, lot 326.
GOLDBERG72, 4175
This is a special dedication to Kokero, whose work and friendship on flickr has proven very encouraging and inspirational!
Her creative and imaginative photostream has persuaded me to develop my skills in photography and photo manipulation once again. I hope to continue posting shots which have been inspired by this wonderful flickr friend!!
I would encourage everyone to view Kokero's fantastic images, I promise you won't be disappointed!
Here's your portal of existence: www.flickr.com/photos/kokero/
Abdominal excessive weight, colloquially called stomach fat or medically as major excessive weight, is the buildup of visceral cellulite causing a surge in stomach size. Put simply, it refers to the existence of excess fat in the belly area. Those that are apple-shaped have the tendency to keep excess physical body fat around their belly and abdomen. Abdominal excessive weight is often assessed by stomach area; a size of 40 inches or perhaps a lot more in males along with 35 inches or more in females shows belly excessive weight
Excess fat in the abdomen is thought of an independent predictor of threat facets and morbidity, indicating the likelihood for developing ailment is higher for those with belly too much weight.
An unwanted of visceral fat is called major weight troubles, the "pot stomach" or "stomach" impact, where the abdominal area protrudes overly. This body type is in addition referred to as "apple formed", unlike "pear" shape, where fat is placed on the hips and buttocks. This figure is similarly referred to as apple formed, rather than "pear" kind, in which fat is placed on the hips as well as buttocks.
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Drink lots of water throughout the day. Water is the most reliable organic resource conveniently available to toss out waste.
Consume your meals at your own time. Chew it extensively just before ingesting it as eating without delay can create air swallowing. Therefore, decelerate as well as enjoy your scrumptious meal. Constraint intake of carbonated water. As a different take in lemon water. Claim NO to sugary products. Eat bunches of fresh fruits as well as vegetables. Eat tiny meals, along with take in after every 3-4 hours. Stop late night meals or snacks.
Include in your routine at the very least 45 minimums of day-to-day exercise in your life as well as making certain you acquire a correct 8 hours of rest every night.
Include low fatty tissue nutritional products like skimmed milk along with low fatty tissue cheese along with yoghurt.
Understand the precursors or disorders causing high blood tension, a lot more so if you have a genealogy. Then take those procedures to regulate or take care of hypertension with the help of your medical professional. Display your cholesterol levels often as well as continuously regulate your weight.
Abdominal excessive weight, colloquially recognized as stomach fat or medically as major excessive weight, is the buildup of visceral fatty tissue resulting in a surge in stomach size. Merely put, it refers to the existence of excess fat in the belly area. Those that are apple-shaped have the tendency to keep excess physical body fat around their belly and additionally abdomen. Abdominal excessive weight is often assessed by stomach area; a size of 40 inches or even a lot more in males as well as 35 inches or more in females shows belly excessive weight
An unwanted of visceral fat is recognized as major weight troubles, the "pot stomach" or "stomach" impact, where the abdominal area sticks out overly. liposuctionmelbourne.com.au/liposuction-melbourne-2/abdom...
Just one of four German wartime U-boats left in existence, the U-505 is either the unluckiest U-boat to ever put to sea--or the luckiest of all.
Commissioned in August 1941, the U-505 was to undertake 12 war patrols, but only sank eight ships totaling 46,447 gross registered tons--a paltry sum compared to other U-boats at the time. The U-505 seemed snakebit. On its third patrol, it accidentally sank a Colombian sailing ship, giving Colombia a reason to join the Allies; on its fourth patrol, it was nearly sunk when a RAF Lockheed Hudson bombed it. Only through heroic efforts by its crew did it survive, and limp back to Lorient, France. While under repairs in France, it was continually sabotaged by the French Resistance, and four patrols were ended prematurely due to technical issues. When it did get out into the Atlantic, it was worked over hard by British hunter-killer groups--the last incident, on 24 October 1943, was such a depth-charging that the U-505's captain committed suicide, the only known incidence of a submarine captain doing so during the war.
Finally, the U-505 went out on its 12th patrol off the Cape Verde Islands. Unfortunately for its crew, the Allies knew German submarines were in the area due to Ultra codebreaking, and the U-505 was caught by Task Group 22.3 of the US Navy, centered around USS Guadalcanal (CVE-60), commanded by Captain Daniel Gallery. The U-505 was blown to the surface by one of the task group's destroyers; surrounded, the submarine's captain ordered the crew to abandon ship and surrender. The crew abandoned so fast that they forgot to do more than open a few valves to the sea to scuttle the ship, and failed to destroy either the codebooks or the Enigma code machine. The U-505 continued to cruise, half-sunk, through the task group, as the German crew was rescued.
Gallery ordered the U-505 to be boarded to capture the codes and the Enigma. An eight-man volunteer boarding party, under Lieutenant (jg) Albert David (who would later be awarded the Medal of Honor), went inside the U-505--considered extremely risky, as the submarine could sink at any moment. They found the damage to be minor, and David radioed Gallery to let him know the U-505 was basically intact. Gallery, already known as a bit of a maverick, decided on the spot to claim U-505 as a prize--the first time it had been done to an enemy combatant since the War of 1812. The valves were closed, the U-505's motors engaged to recharge the batteries, and the submarine pumped free of water. It was then towed back to the United States. Aboard, completely intact, were every codebook the Kriegsmarine used, as well as one of the newer four-rotor Enigma machines.
Admiral Ernest King, the Chief of Naval Operations, was incensed: if the Germans found out that the U-505 had been taken intact, they would change all of their codes. He initially wanted to court-martial Gallery, but instead ordered Task Group 22.3 be awared the Presidential Unit Citation and Gallery awarded the Distinguished Service Medal. Neither would be awarded until after the war was over, to preserve the secret of the U-505. Even the German survivors were kept in a separate prison camp and the Red Cross not notified of their survival, while the U-505 was repainted and named the "USS Nemo" to preserve secrecy. The Germans never knew what a windfall of intelligence the Allies had gotten; more important was the capture of the U-505's acoustical homing torpedoes, which could be reverse-engineered. The secret was not revealed until after the war, when the crew was released, and even then parts of the story were heavily censored, as Ultra was not declassified until the 1970s.
After the war was over, the Navy was going to sink the now-superfluous U-505 as a target. Gallery, now a Rear Admiral, heard of the plan and once more decided to save the submarine. He contacted Chicago's Museum of Science and Industry, which agreed to take it on, then convinced the Navy to donate it. The U-505 was towed to Chicago and went on display outside the museum in 1954. It had been stripped of everything remotely usable, but once more Gallery came through: he contacted the German manufacturers, who were happy to help preserve the U-505 as a memorial to all the sailors who died during the Battle of the Atlantic.
After decades of being outside, the U-505 was starting to fall apart, so in 2004 it was moved into a completely new underground hall of the MSI and refurbished. Today it remains one of the best, if not the best, preserved U-boat left in the world.
I got to tour the U-505 in 2009, soon after it went back on display. As a big fan of the movie "Das Boot," it was fascinating to see the real thing in person. It is open to the public to tour the interior, and during the tour, the guide will recount the travails of the U-505 on its final war patrol--complete with change in interior lighting and a simulated depth charge attack. I found myself having trouble catching my breath, imagining what it was like for any submarine unlucky enough to be caught by depth charges; a good friend of mine started to have a panic attack. It's worth the extra cost to see the boat and experience the tour.
Sadly for me, most of my pictures blurred, but this one of the U-505's conning tower turned out well enough. The holes in the tower are damage the submarine sustained during TG 22.3's attack on 4 June 1944, from destroyer 40mm fire. This view shows the extended "wintergarden" of the Type IXC series, though it only carries a single 37mm antiaircraft gun; some IXCs were known to mount quad 20mm Flakvierlings.
A few months ago I read a post about this ancient monument, I was unaware of its existence.
I logged into my Google Maps and recorded it as one of my desired places to visit.
Today Thursday 15th November 2018 Scotland basked in a beautiful Autumn sunshine, my favoured shooting conditions, I packed my Nikon and drove the 25 miles to the site.
Historic Environment Scotland maintain the monument , thankfully they have done a magnificent job, I truly believe it is important to preserve history for the generations to come.
I had a magnificent two hours recording my experience, I never fail to feel overwhelmed by the wealth of history that surrounds Aberdeen and the shire.
Thank's to Historic Environment Scotland for their detailed information on this site.
Ancient Monument - Kinkell Church - Inverurie Aberdeen Scotland.
Kinkell Church, built in the 1200s, is a classic medieval Highland church: simply designed and rectangular in shape. But the liturgical features installed in the 1520s are anything but plain. The stone sacrament house in the north of the church is an especially fine fixture.
Kinkell was refitted for Presbyterian worship following the Protestant Reformation of 1560, and declared redundant in 1771. Much of the building was dismantled and building materials recycled for use in a new kirk.
KINKELL CHURCH
• Kinkell Church, dedicated to St Michael, consist of the remains of a simple rectangular medieval parish church, of which only the N, W and part of the E
wall are upstanding.
The church was partly remodelled, perhaps on more than one occasion,
including in the early 16th century, when an elaborately carved Sacrament
House was built into the E end of the N wall.
Within the church is the monument of Gilbert de Greenlaw, killed at the battle
of Harlaw in 1411; the stone was re-used for a Forbes burial in 1592
CHARACTER OF THE MONUMENT
The church appears to have come on record in the early 13th century. Kinkell
was a mother church, or plebanus, and had dependent chapels at Dyce,
Drumblade, Kemnay, Kinnellar, Kintore and Skene.
This connection, which
was of long standing, may have arisen if Kinkell’s origins was that of an ecclesiastical foundation, rather like a minster, with an extensive parochia.
This would push back its origins considerably.
From the 14th century, certain revenues of the church evidently pertained to the Knights Hospitallers, although it is also recorded as an independent parsonage during the 14th century.
Any connection with the Hospitallers came to an end in 1420, when the church
and its annexes were erected into a prebend of Aberdeen Cathedral.
From a date and a set of initials on the sacrament house, it is apparent that in 1524 Alexander Galloway, rector of Kinkell and canon of Aberdeen Cathedral,
paid for the splendid sacrament house built into the E end of the N wall.
He appears to have been paying for further work the following year as a carved stone panel depicting the crucifixion, dated 1525, and with Alexander’s initials (three times), is built into the N wall (only a bronze replica survives; the original
was removed to Aberdeen Museum in 1934 and subsequently lost).
The church was abandoned in 1771 when the parish was amalgamated with
Keithhall. It was partially demolished to provide building materials for the new
parish church.
Archaeological Overview
There have been no recorded archaeological investigations at Kinkell.
The archaeological potential of the monument is extremely high and any excavation is very like to come across human remains, and perhaps also earlier church
buildings on the site.
Artistic/Architectural Overview
The church is fragmentary and devoid of features apart for the sacrament
house, the crucifixion panel and a single jamb of what must have been a large,
traceried E window. The simple oblong plan of the church suggests that the
basic form of the church dates from the early 13th century, with much late
medieval remodelling.
2/3
• The sacrament house is a particularly fine, and unique, example of this type of
medieval church fixture. It was an aumbry, or wall cupboard, designed to
reserve the host in appropriate reverential surroundings.
• The sacrament house at Kinkell shares several features with others found in
the NE, associated with Galloway, but is unique due to its cross shape. The
aumbry is flanked by two buttresses with crocketed finials. Between these is a
panel, which although badly defaced, appears to have been ornamented with a
monstrance supported by two angels (a very common motif found on other
sacrament houses associated with Alexander Galloway). Above this panel is a
corbelled and battlemented cornice, and above this is an oblong panel, which
probably contained a crucifixion scene, but is now empty. Flanking the
pinnacles are two panels, each filled with scrolls, which are of different forms
although the inscriptions on the scrolls were meant to be read as one and
state: ‘Here is preserved that body which was born of a virgin’.
• The crucifixion panel has a representation of St Michael, the archangel (to
whom the church was dedicated) to the right of the crucified, the Virgin on the
left and under her a priest, perhaps representing Galloway himself as donor,
standing beside an altar on which are Galloway’s initials.
• The sacrament house and the Crucifixion panel appear to have been part of a
liturgical revival in the diocese of Aberdeen during the early decade on the 16th
century. Alexander Galloway appear to have been a central figure in the move
to ensure parish churches had the fittings for the proper worship of God, and in
particular devotion to the Blessed Sacrament. He erected several sacrament
houses in churches he was involved in; Kinkell and its dependents at Dyce and
Kintore, and at King College, Aberdeen and may have been influential in the
decision of his colleagues, Alexander Spittal of Auchindoir and Alexander Lyon
of Turiff, to erect those in their respective churches. Galloway also donated a
font to Kinkell, which now is now in St John’s Episcopal Church, Aberdeen.
• The construction of the sacrament house may have been part of a wider
reorganisation of the chancel area of the church, and it is tempting to suggest
that the great E window may have been a part of this re-organisation, although
details of this moulding may be more consistent with a 14th or 15th century
date.
Social Overview
• The church is currently used as a recreational attraction. It receives little other
community use.
Spiritual Overview
• As a parish church in use for some six centuries, the site has the potential to
inform our understanding of medieval Christianity, the aspirations of the
rectors, vicars and ministers who served the church and the congregations
who worshipped in it.
• The burial ground was in use until fairly recently, and may still be in use for
occasional burials. People still visit family graves and memorials.
Aesthetic Overview
• The church and burial ground are located in the haughs of the River Don,
amongst arable farmland which adds to the appreciation of this monument.
The church has been pointed with a hard cement mortar that give the walls the impression of crazy paving.
The sacrament house, the replica crucifixion panel,
3/3 the window jamb are fine architectural details which are aesthetically very striking, and provide some idea of the glories of this once very fine church.
• The graveslab of Gilbert de Greenlaw, killed at the Battle of Harlaw, which would originally have been a ledger slab, is a particularly detailed carving of an armed knight.
What are the major gaps in understanding of the property?
• Do further historical sources or references survive.
• Nothing is known about the archaeology and earlier history of this site.
The church is an example, although much ruined, of a church which was remodelled in the 16th century.
The sacrament house is a particularly fine example of this type of church
furnishing, and the only example which takes the form of a cross.
Sacrament houses are physical manifestation of an important aspect of late medieval
Christianity; the veneration and adoration of the Body of Christ in the form of the consecrated host.
The church is closely associated with Canon Alexander Galloway, who encouraged a liturgical revival in the diocese in the early 16th century.
The site has high archaeological potential, but as a place of burial over centuries so the scope for research-led invasive excavation is not high.
Associated Properties
St Fergus’, Dyce, Auchindoir Church, St Machars Cathedral, Kintore Church,
History of Kraków
First indications of the existence of Krakow approximately stem from the 7th century. In the next following centuries the tribe of Vistulans (Wislanie) populated Krakow, after they centuries ago in the as "Lesser Poland" or Malopolska known region had settled down. From the year 965 stems the first document from Krakow, as Abraham ben Jacob of Cordova, a Jewish merchant, in his book referred to the trading center of Krakow.
In 1000, the Diocese of Krakow was founded and in 1038 declared capital of the Piast dynasty. The Wawel castle and several churches were built in the 11th century and thus the town rapidly grew. 1241 the Mongols invaded the city and burned down Krakow without exception. 1138 Krakow became the seat of the senior prince. 1257 Kraków was awarded its town charter and a city map was drawn up, which remained until today. This one included the arrangement of the checkerboard street configuration with a centrally located market. On the market following the seat of the city government was built. From the historical trading functions until today only the Cloth Halls remained. But on the market not only trade agreements were closed but also courtly and urban festivities celebrated. Furthermore, the urban center served for executions. The defensive walls were built, which surrounded the city and linked it to the Wawel. In the south of Wawel Castle in 1335 the city of Kazimierz was created. By Royal command it was surrounded by defense walls and the churches of St. Catherine, of Corpus Christi and the "Na Skalce" were built. End of the 15th century, Jews settled the later Cracow district. 1364 the Cracow Academy of King Kazimierz Wielki was founded, the famous Polish Jagellonen-University.
With the last king of Jagellonian dynasty, Krakow flourished. The Wawel castle was rebuilt in Renaissance style, the well known Zygmunt chapel was built and the Cloth Halls as well as the patrician houses have been restored. During the reign of King Sigismund III. Vasa the baroque style received introduction in Krakow. The Baroque University Church of St. Anne and the Church of Saints Peter and Paul were built in this period. In 1607 Warsaw was declared headquarters of the King, but Krakow retained its title of the Royal capital. Furthermore, it remained the place of coronations and funerals. Middle of the 17th century, the city was devastated by the Swedes, what at the beginning of the 18th century was produced again.
After the first partition of Poland, Krakow became a frontier town. Austria declared the settlement Podgorze separated city. After the second division in 1794, began the Polish national uprising. After its decline and the third partition of Poland the town fell to the Austrians, which on Wawel Hill caused numerous devastations and adapted buildings to the wishes and needs of the Army. 1809 Cracow was affiliated to the Grand Duchy of Warsaw. After the defeat of Napoleon, Krakow in the Vienna Convention of 1815 was declared Free City of Kraków. Then the remains of folk hero Tadeusz Kosciuszko and of Prince Jozef Poniatowski were brought back to the city. 1820-1823 on the rise of St. Bronislava a hill in honor of the leader of the popular uprising was built. Instead of the city walls, which were largely destroyed, they laid out supporting beams. 1846 Krakow lost its independence and the Austrians erected again on the Wawel barracks and they surrounded the Wawel with fortification complexes. However, Austria but has proved less tyrannical and so the city enjoyed a certain degree of growing cultural and political freedom. 1918 Krakow became the independence back.
Before the outbreak of the Second World War, in Krakow lived about 260,000 inhabitants, of which 65,000 belonged to the Jewish religion. During the war, also Krakow became witness of German war crimes. The for the greater part Jewish district of Kazimierz was eradicated. The Jews from now on lived in ghettos where they either were deported from there to Auschwitz or immediately shot. In spite of the plundering of the Nazis, Krakow became no scene for military combat operations and thus the only large Polish town escaping this fate. Therefore, its old architecture still almost completely is intact.
After the surrender of Germany and the Polish liberation, hastened the Communist government to inspire the traditional life and the city with a large steel plant in Nowa Huta. But the intensive rebuilding of the economy and industry rather promoted an ecological disaster. Buildings that had survived the war undamaged were now devoured and destroyed by acid rain and toxic gases. Carbon dioxide emissions grew so powerful that this has remained a serious and grave problem of the city. After the fall of the Communists and the fall of the Iron Curtain Krakow has benefited greatly from tourism and has adapted itself to a large extent to the Western culture.
"Flickr, listen up! We want more safety!
The amount of members affected by piracy and /or unauthorized use of their images grows more and more everyday.
It is not enough to state in our user profiles and in every photo the existence of a copyright; and that permission shall be requested of the author of the photo if somebody intends to use of that image.
It is not enough to report or block these people because FLICKR does not take action against these thieves, copycats, pedophiles and/or sadists! They keep on using their accounts as they wish, with the photos taken from other users without their permission to use them.
WE, honest and ethical USERS of FLICKR; free thinkers who respect the work of their colleagues, who use FLICKR in a LEGAL way and constitute a community that wants to nourish from the photos of others WTHOUT COPYING their photos and WITHOUT MISSUSING their works; DEMAND the following:
That our copyright be respected.
That Flickr creates new security tools to protect our work.
That it becomes forbidden for a user to re-enter the gallery of the person who blocked or reported him/her.
That the accounts of people who PLAGIRIZE, copy or use photos acquired without permission and, in many cases, with illegal purposes in activities prosecuted by law, such as pedophilia and pornography; be suspended indefinitely.
FLICKR, listen to your users! The warning that informs you that an account does not pass the filter of security is insufficient. You have to create safer accounts.
We want Flickr to make an adecuate follow-up of the accounts reported. We do not want anymore "moderation" without justification. Webmasters of Flickr, we demand respect on the moderation of all our accounts in Flickr and that a clear difference between art and pornography shall be made.
FLICKR: it is time to improve your security system and to guarantee the service we all deserve.
We join this worldwide action today in order to protect our art and to demand better service and a better FLICKR. A place where we can keep on sharing ethically and legally our viewpoints on life and the world from our lens!
Thanks for considering our proposal and for improving on the issues afore mentioned"
A petición del dueño, aqui el link a su pagina/At the request of the owner of the image, here the link to your page.
A few months ago I read a post about this ancient monument, I was unaware of its existence.
I logged into my Google Maps and recorded it as one of my desired places to visit.
Today Thursday 15th November 2018 Scotland basked in a beautiful Autumn sunshine, my favoured shooting conditions, I packed my Nikon and drove the 25 miles to the site.
Historic Environment Scotland maintain the monument , thankfully they have done a magnificent job, I truly believe it is important to preserve history for the generations to come.
I had a magnificent two hours recording my experience, I never fail to feel overwhelmed by the wealth of history that surrounds Aberdeen and the shire.
Thank's to Historic Environment Scotland for their detailed information on this site.
Ancient Monument - Kinkell Church - Inverurie Aberdeen Scotland.
Kinkell Church, built in the 1200s, is a classic medieval Highland church: simply designed and rectangular in shape. But the liturgical features installed in the 1520s are anything but plain. The stone sacrament house in the north of the church is an especially fine fixture.
Kinkell was refitted for Presbyterian worship following the Protestant Reformation of 1560, and declared redundant in 1771. Much of the building was dismantled and building materials recycled for use in a new kirk.
KINKELL CHURCH
• Kinkell Church, dedicated to St Michael, consist of the remains of a simple rectangular medieval parish church, of which only the N, W and part of the E
wall are upstanding.
The church was partly remodelled, perhaps on more than one occasion,
including in the early 16th century, when an elaborately carved Sacrament
House was built into the E end of the N wall.
Within the church is the monument of Gilbert de Greenlaw, killed at the battle
of Harlaw in 1411; the stone was re-used for a Forbes burial in 1592
CHARACTER OF THE MONUMENT
The church appears to have come on record in the early 13th century. Kinkell
was a mother church, or plebanus, and had dependent chapels at Dyce,
Drumblade, Kemnay, Kinnellar, Kintore and Skene.
This connection, which
was of long standing, may have arisen if Kinkell’s origins was that of an ecclesiastical foundation, rather like a minster, with an extensive parochia.
This would push back its origins considerably.
From the 14th century, certain revenues of the church evidently pertained to the Knights Hospitallers, although it is also recorded as an independent parsonage during the 14th century.
Any connection with the Hospitallers came to an end in 1420, when the church
and its annexes were erected into a prebend of Aberdeen Cathedral.
From a date and a set of initials on the sacrament house, it is apparent that in 1524 Alexander Galloway, rector of Kinkell and canon of Aberdeen Cathedral,
paid for the splendid sacrament house built into the E end of the N wall.
He appears to have been paying for further work the following year as a carved stone panel depicting the crucifixion, dated 1525, and with Alexander’s initials (three times), is built into the N wall (only a bronze replica survives; the original
was removed to Aberdeen Museum in 1934 and subsequently lost).
The church was abandoned in 1771 when the parish was amalgamated with
Keithhall. It was partially demolished to provide building materials for the new
parish church.
Archaeological Overview
There have been no recorded archaeological investigations at Kinkell.
The archaeological potential of the monument is extremely high and any excavation is very like to come across human remains, and perhaps also earlier church
buildings on the site.
Artistic/Architectural Overview
The church is fragmentary and devoid of features apart for the sacrament
house, the crucifixion panel and a single jamb of what must have been a large,
traceried E window. The simple oblong plan of the church suggests that the
basic form of the church dates from the early 13th century, with much late
medieval remodelling.
2/3
• The sacrament house is a particularly fine, and unique, example of this type of
medieval church fixture. It was an aumbry, or wall cupboard, designed to
reserve the host in appropriate reverential surroundings.
• The sacrament house at Kinkell shares several features with others found in
the NE, associated with Galloway, but is unique due to its cross shape. The
aumbry is flanked by two buttresses with crocketed finials. Between these is a
panel, which although badly defaced, appears to have been ornamented with a
monstrance supported by two angels (a very common motif found on other
sacrament houses associated with Alexander Galloway). Above this panel is a
corbelled and battlemented cornice, and above this is an oblong panel, which
probably contained a crucifixion scene, but is now empty. Flanking the
pinnacles are two panels, each filled with scrolls, which are of different forms
although the inscriptions on the scrolls were meant to be read as one and
state: ‘Here is preserved that body which was born of a virgin’.
• The crucifixion panel has a representation of St Michael, the archangel (to
whom the church was dedicated) to the right of the crucified, the Virgin on the
left and under her a priest, perhaps representing Galloway himself as donor,
standing beside an altar on which are Galloway’s initials.
• The sacrament house and the Crucifixion panel appear to have been part of a
liturgical revival in the diocese of Aberdeen during the early decade on the 16th
century. Alexander Galloway appear to have been a central figure in the move
to ensure parish churches had the fittings for the proper worship of God, and in
particular devotion to the Blessed Sacrament. He erected several sacrament
houses in churches he was involved in; Kinkell and its dependents at Dyce and
Kintore, and at King College, Aberdeen and may have been influential in the
decision of his colleagues, Alexander Spittal of Auchindoir and Alexander Lyon
of Turiff, to erect those in their respective churches. Galloway also donated a
font to Kinkell, which now is now in St John’s Episcopal Church, Aberdeen.
• The construction of the sacrament house may have been part of a wider
reorganisation of the chancel area of the church, and it is tempting to suggest
that the great E window may have been a part of this re-organisation, although
details of this moulding may be more consistent with a 14th or 15th century
date.
Social Overview
• The church is currently used as a recreational attraction. It receives little other
community use.
Spiritual Overview
• As a parish church in use for some six centuries, the site has the potential to
inform our understanding of medieval Christianity, the aspirations of the
rectors, vicars and ministers who served the church and the congregations
who worshipped in it.
• The burial ground was in use until fairly recently, and may still be in use for
occasional burials. People still visit family graves and memorials.
Aesthetic Overview
• The church and burial ground are located in the haughs of the River Don,
amongst arable farmland which adds to the appreciation of this monument.
The church has been pointed with a hard cement mortar that give the walls the impression of crazy paving.
The sacrament house, the replica crucifixion panel,
3/3 the window jamb are fine architectural details which are aesthetically very striking, and provide some idea of the glories of this once very fine church.
• The graveslab of Gilbert de Greenlaw, killed at the Battle of Harlaw, which would originally have been a ledger slab, is a particularly detailed carving of an armed knight.
What are the major gaps in understanding of the property?
• Do further historical sources or references survive.
• Nothing is known about the archaeology and earlier history of this site.
The church is an example, although much ruined, of a church which was remodelled in the 16th century.
The sacrament house is a particularly fine example of this type of church
furnishing, and the only example which takes the form of a cross.
Sacrament houses are physical manifestation of an important aspect of late medieval
Christianity; the veneration and adoration of the Body of Christ in the form of the consecrated host.
The church is closely associated with Canon Alexander Galloway, who encouraged a liturgical revival in the diocese in the early 16th century.
The site has high archaeological potential, but as a place of burial over centuries so the scope for research-led invasive excavation is not high.
Associated Properties
St Fergus’, Dyce, Auchindoir Church, St Machars Cathedral, Kintore Church,
Roman copy of a Hellenistic original.
The statuette portrays Aphrodite on the point of untying the laces of the sandal on her left foot, under which a small Eros squats, touching the sole of her shoe with his right hand. The Goddess is leaning with her left arm (the hand is missing) against a figure of Priapus standing, naked and bearded, positioned on a small cylindrical altar while, next to her left thigh, there is a tree trunk over which the garment of the Goddess is folded. Aphrodite, almost completely naked, wears only a sort of costume, consisting of a corset held up by two pairs of straps and two short sleeves on the upper part of her arm, from which a long chain leads to her hips and forms a star-shaped motif at the level of her navel. The 'bikini', for which the statuette is famous, is obtained by the masterly use of the technique of gilding, also employed on her groin, in the pendant necklace and in the armilla on Aphrodite’s right wrist, as well as on Priapus’ phallus. Traces of the red paint are evident on the tree trunk, on the short curly hair gathered back in a bun and on the lips of the Goddess, as well as on the heads of Priapus and the Eros. Aphrodite’s eyes are made of glass paste, while the presence of holes at the level of the ear-lobes suggest the existence of precious metal ear-rings which have since been lost. An interesting insight into the female ornaments of Roman times, the statuette, probably imported from the area of Alexandria, reproduces with a few modifications the statuary type of Aphrodite untying her sandal, known from copies in bronze and terracotta.
1)The fun-side of the picture:
Minutes of the Trees' meeting :
Meeting held on 11th April,'06.
Time:09.00hrsIST, Venue:"The Professors'Forum",Kamala Street, Tree City, RUS(Right under the sky)
Presided by --the old Coconut Tree.
Members present:Jack-fruit tree, Guava tree,Neem tree,Drum-stick tree, Junior coconut tree.
Absentees:Mango tree and the Papaya tree had explained that they could not "reach" the venue, being in different"planes" and locations.
Resolutions made:To make humans better aware of the importance and protection of trees... and so on.
Last but the most important resolution is to arrange to post this Trees' picture in Flickr as the first step to the "Awareness Campaign")
AND NOW...the philosophy of "Live and Let Live"
"Together may we be protected
Together may we be nourished
Together may we work with great energy
May our journey together be brilliant and effective
May there be no bad feelings between us
Peace, peace, peace
(From the Kato Upanishad in Sanskrit)
"Om Sahana Vavatu Sahanou Bhunaktu. Sahaviryam Karavava Hi.
Tejasvina Vadhitamastu Mavidh Vishava Hi. Om,Shanti, shanti, shanti hi."
This is the prayer(mantra) for harmonious co-existence.
It's just a little sale but there is plenty of stuff at discounted prices and some new stuff from *BOOM*, Pididdle and Miseria as well as guests, Croire, Apholic Gloom, The Falconer Brothers and Ana_Mations.
slurl.com/secondlife/Existence/150/121/22
There are a few gifts and exclusives as well.