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"Let the mind beware, that though the flesh be bugged, the circumstances of existence are pretty glorious" 🍻🌳🗻🍃 — Kerouac, The Dharma Bums
Remember when someone remarked that there is nowhere in the world it is always Autumn? There is always Winter. There is always Summer. But there is never always Autumn. The earth cannot always be dying. While the deserts exsist, even deserts in our lives, they like Autumn, cannot last forever. At some point in our journey we find an oasis, a solace of sorts, and it is there we find rest, we find hope, we find life again. I started my New Year with a walk at one of my favorite nature reserves. It was a brutally chilled day and I left the house armed with my camera, but not my winter coat. Winter coats can be so cumbersome and fashionless. I walked arm in arm with my Mum. We weren't very talkative, but if there is one thing she is adamant about in the Indiana woods, it is to understand and not disturb the world you are observing (be seen, not heard). We waited to see creatures, but I'm sure they looked on thinking we were a bit mad to be embarking on this cold day into their world. Nonetheless we did see a woodpecker, a cardinal, and a bluejay. The quiet greeting our conversation was, I can only assume on my own part, brought on by the entrance of another year. A new 'anything' brings much reflection, good and bad, and not too little of the soul-searching we can all find ourselves in from time to time. Will you join me for all this year may have? Will we feast, will we fight, will find a freedom we cannot not fathom its beginning nor its end? I want to be a spring for Hope. I want the weakness of my mind to not Hinder my ability to move forward in baby steps or in leaps. I want to continue to Heal. Let's exsist this year.
Before the existence of the fishing port (works began in the late 40s), during bad weather, boats were carried ashore to this square and also to Marinha Square.
A cyclone in February 1941, destroyed most of the fishing fleet.
Sesimbra harbor, Portugal
11/03/2014, Little Bardfield, Braintree CM7 4TZ.
View from the North East, with its magnificent 11th Century tower, possibly pre-Conquest, topped off with a perky little pyramid.
By 1046, St Katharine's church tower was in existence.
The parish church in Little Bardfield is dedicated to St Katharine of Alexandria. According to tradition, Katharine was a virgin who was martyred at Alexandria in the early fourth century A.D. during the persecution of Christians by the pagan Roman emperor Maxentius. At the time the church was being built in Little Bardfield, St Katharine was one of the most venerated women saints in Europe after the Blessed Virgin Mary.
The foundation of St Katharine’s Church is uncertain but is believed to date from circa 1040 A.D. This beautiful church is built of flint and rubble dressing, partly of clunch, together with occasional Roman tiles and bricks, adding colour to the walls and structure of the tower.
The Tower and Nave are pre-Conquest. The chancel was added in the fourteenth century and the porch in the late fourteenth or early fifteenth century. The Vestry was built c.1820 and Organ Chamber in 1866.
The Tower:
The Tower was built in five stages divided by rubble string courses. The ground storey of the tower has late sixteenth or early seventeenth century moulded ceiling beams with curved braces. The second stage is included in the internal ground storey and has one blocked opening. The North, South, and West walls of the third stage have each two-narrow round-headed windows all without dressing. It also has two seventeenth century ceiling beams with curved braces. The fourth stage has in each wall a window of two round headed lights with a rubble division between them. The fifth stage has two round headed windows in each wall but those in the north and east are blocked. The embattled parapet and the small spire were added in the eighteenth century.
Muilman's History of Essex (1769) states: "In the tower which hath a little cupola at the top are only two bells". The clock was given by Sir John Sutton, in 1865-6 during the restoration of the Church. Sir John was organist at Jesus College, Cambridge and was also responsible for removal of the organ from All Saints Church, Cambridge.
The Bells:
There are two bells although the frame was built to take four. The smaller one is dated 1624 and was cast by William Land of London who was working between 1612 and 1637. The larger bell was cast by John Bird also of London who was working between 1408 and 1418 and has been dated c1410. It is inscribed SUM ROSA PULSATA MUNDI KATERINA VOCATA (’I am the battered rose of the world called Katharine’). In 1899 the bells were re-hung, and the frame strengthened. There is also a clock bell dated 1848 which is unusual in that it is hemispherical.
It was cast by Robert Edward Taylor of Loughborough who was only 18 years old at the time and died at the age of 26; only six bells have been credited to him.
The ladder leading to the tower was made by Mr. S. Sturgeon of Hawkspur Green in 1884-1887. On the south wall of the tower the following can be seen: Benefactors of this parish - a farm called Charity Farm containing 136 acres, situated in this and the Parish of Great Bardfield settled by Sarah Bernard relic of the Rev. Thomas Bernard Late Vicar of this Parish in deed enrolled in the High Court of Chancery bearing date 12th November 1774 upon certain trustees therein named, and for such charitable uses and purposes as the said- deed are fully specified and recited.
Also, a rent charged of £1.10s. upon the farm called Wainsford situated in the Parish founded by Geoffrey Wale by deed in 1730 for the poor of the parish annuity of £1.0s.0d. upon the Rector of Little Bardfield founded by an unknown donor for the poor of this Parish".
The Nave:
This was built at the same time as the Tower and measures 332 ft. by 20 ft. In the North Wall are two windows.
The second of these is 14th century and is of two trefoiled ogee lights with tracery under a segmented pointed head and a moulded label, the rear arch is moulded and the glass is Victorian.
The outline of a third window can be seen near the pulpit. It is blocked now but is pre-Conquest and round headed.
In the South wall are two windows. The larger is fourteenth century and is similar to the second window in the North wall but has moulded internal splays and the label has a disc stop. The smaller pre-Conquest window can be seen over the church door.
The South Porch has a late fourteenth or early fifteenth century outer entrance with moulded jambs and a two centred arch traceried internal and external spandrels and a moulded label.
The monument on the South wall dates from the seventeenth century and depicts the arms of the Wale family.
The roof of the Nave has moulded and cambered tie-beams and moulded wall plates possibly of late fourteenth century.
The Chancel:
The chancel was added in the fourteenth century and was extensively refurbished by G.F. Bodley in 1866.The internal chancel roof, rood beam, choir stalls (which incorporate some earlier sixteenth century carved wooden poppy heads) and alabaster reredos all date from this period and include many of Bodley’s trademark features such as ‘barber pole’ decoration, crenellations, quatrefoil flowers and gothic window shapes.
The Cross on the rood beam bears the emblems of the four evangelists at the four corners and the Agnus Dei or Lamb of God in the centre. The Agnus Dei can also be seen at the top of the stained glass in the East Windon and carved on the door of the tabernacle on the altar: another example of Bodley’s integrated design scheme.
The Organ Chamber:
The Organ Chamber dates from 1865-66 and was built to house the organ.
The small window depicting Saint Katharine paid for by contributions from the children of the parish.
The chest in the Organ Chamber is of panelled oak inlaid and is early 17th century.
Organ and Organ Case:
The case is of oak with semi-circular end towers and central flats beneath a curved moulded cornice.
Both towers and flats are fitted with richly carved upper and lower pipe shades.
The tower impost brackets are enriched by supporting cherub heads late 16th century. The console with its reverse, colour keys has turned wooden stop knobs to the right and left, each stop designated by a printed label pasted onto the jamb.
The organ had an interesting history before it came to Little Bardfield in the year 1865-66. It was built by Renatus Harris for Jesus College, Cambridge.
On the 18th December 1693 an agreement was made between William Saywell, DD., Master of Jesus College, that the latter would come to Cambridge whenever required to put the College organ to rights and would in any case attend "once every year without notice" to inspect the instrument and this all for £3 per annum.
The entry in the audit book for 1688-1689 “wine at ye opening of ye organ £00.07.00". So, it would seem reasonable to suppose that the organ is 1688. In 1764 the organ was laid aside and it is said that it became the custom of "a certain element within the Undergraduate Body to sing dubious songs to its accompaniment as a diversion before dinner"; graffiti from this period can be seen on the treble end of the case.
By 1776 it was being described as ‘a useless piece of lumber’, and in January 1790 the College agreed to make a present of ‘the remains of our organ’ to the Parish of All Saints, Cambridge. The word ‘remains’ has been conjectured as ‘the case, chest and some decaying action work and little else’.
In 1824 twelve guineas were spent on repairs and in 1830 John Gray, a London organ builder, fitted ‘a new inside’ for £149.
The organ remained at All Saints until a new church was built in 1863/64 and the contents of the old church were disposed of or sold.
The organ was not transferred, and the next proven documentation was a letter dated May 21st, 1865, which is still in the archives at All Saints. This letter Is from R. H. White, who was then Rector of Little Bardfield and it says: "I am in a position to say that my neighbour at Great Bardfield will be glad to give £55 for the organ in the old church. I shall be glad to hear from you that you can accept the offer".
Sir John Sutton, organist at Jesus College, Cambridge was the neighbour although the allusion to Great Bardfield is confusing as by 1865 he was living permanently in Germany, only coming to England for visits.
There is no doubt that the organ is the one that came from Jesus College, Cambridge, as the Sperling note books (now in the Royal College of Organists) include a sketch of the organ as it stood in old All Saints Church and it clearly shows the case is the one which is now at Saint Katharine’s, Little Bardfield.
A.T. Miller of Cambridge was employed to move and rebuild the organ in the new organ chamber in 1866. He provided new soundboards and replaced most of the action but retained the Gray pipework and brought the Harris front pipes back into use which Gray had left silent in his 1830 rebuild. He also provided three new stops and possibly the Trumpet. It is just possible that the keyboard, which was extended up by one note by Gray and fitted with a bottom G sharp by Miller, is the original one by Harris but this cannot be confirmed.
In 2006 the organ was dismantled for restoration while the interior of the church was being restored. Upon its return in 2010 it was moved forward from its original position to allow the pedal pipes to be placed behind and enclosed in new solid oak casework. The restoration was skilfully and sympathetically carried out by Michael Young of Duton Hill. For a one manual instrument it is very versatile and is noted for its distinctive sound.
kleine Pandas gelten als scheu und sind in ihrem Bestand bedroht. Sie werden gern auch als Katzenbär bezeichnet, da sie sich wie diese durch Lecken am ganzen Körper reinigen
Little Pandas are a little shy and are threatened in their existence. They are usually denoted as a "cat bears", as they clean themselves by licking all over their body
this little one is such a pain in my arse. i mean it. lately, all i do is sit in front of my computer doing work, or sit at my desk during work, and she MUST be beside me at all times. she makes it a point to jump on my desk and sit behind my computer. so lately, i'm fighting back. i won't let her jump up. and if she jumps up, i pick her up and put her on the bed. she gets my desk so dirty and hairy! and here she is, having won again.
oh, and the blanket is only there because she chews my cords. i have to hide it so she won't chew it. the blanket wasn't initially meant for her to sleep on.
Despite the existence of cloud classifications, identifying cloud types seems, to me, more of an art form - I've noticed that subjectivity plays a role. Considering highly variable cloud shapes, many will not fit exactly into a preconceived "category". For example, I've been told that a cloud releasing precipitation is not a nimbus cloud, even though that's the definition of a nimbus cloud.
I'll give it a try, however - the examples seen here from an airplane over the Carolinas appear consistent with stratocumulus clouds. The very-high altitude clouds at the top of the picture may be cirrostratus clouds.
Subtle eye colour with darker lining for layering.
When I released all my makeups at Kozmetika, I forgot to make a fatpack poster for the marketplace. Duh me >.<
Vanishing on 7th street World Premiere
From Brad Anderson (Director of The Machinist and Session 9)
When a massive power blackout causes the population to inexplicably vanish, a small handful of survivors (Hayden Christensen, Thandie Newton, John Leguizamo) band together inside a desolate tavern struggling to survive as the darkness hones in on them. From director Brad Anderson (The Machinist, Transsiberian) comes an apocalyptic thriller with a terrifying vision of our world's end and a story that wrestles with the nature of existence itself.
Trailer: www.youtube.com/watch?v=vmph5mUi3-o
Red carpet coverage: www.youtube.com/watch?v=vS4UgMoJh9c