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Jamaica Avenue, Jamaica, Queens, New York City, New York, United States
The Kurtz Store, a striking commercial building in the heart of downtown Jamaica, is a rare manifestation of the Art Deco style in the Borough of Queens. Its ornamentation is typical of that period of architecture prevalent in the 1920s and early 1930s, which looked to the future and to the machine with expectation and optimism. Its compact form, accented by modern materials and skyscraper imagery, enhances this bustling area of the city.
The building was erected in 1931 as a retail store for the furniture chain of J. Kurtz & Sons. This company had been founded in 1870 by Jacob Kurtz and had three other stores by that time, including the original one on State Street in Brooklyn. The Jamaica store was used continuously by the Kurtz firm until 1978, at which time it was sold to other retailers. The selling floors have recently been divided to accommodate several tenants but the exterior remains intact.
When the Kurtz company decided to expand its retail operations to Jamaica, the area was an important commercial center for Queens and for much of Long Island. Its central location and well-developed transportation systems had made it the hub of a wide area.
Jamaica had always been a crossroads for Long Island, dating back to the time when Jamaica Avenue was an Indian trail. The first railroad line arrived here in 1834, built by the Brooklyn & Jamaica Railroad Company. In 1850 Jamaica Avenue, then called Fulton Street, became a plank road and connected the area to the Brooklyn ferries. Horsecar lines were begun in 1866 and electrified in 1886. The Long Island Railroad station was completed in 1913 with the Jamaica Elevated trains arriving five years later.
Jamaica started as a sleepy Dutch village of assorted, freestanding structures, loosely grouped along main streets, when the town was granted a patent from Peter Stuyvesant in 1656. The English took over in 1664, changing the town's name from the Dutch "Rusdorp" to a variation on the Canarsie Indian word for beaver, "jamecos."
One hundred years later, the community had become a trading post where farmers from outlying areas brought their produce. The nineteenth century saw the development of Jamaica as a resort, attracting wealthy urban residents who wanted to escape the numerous summer plagues of the city. The permanent population of Jamaica also increased steadily in the early nineteenth century and brought with it the normal proliferation of new buildings.
The earliest recorded map of the land where the Kurtz Store is located, dated 1836, shows that it was owned by Henry Wilkes. Another map, compiled ten years later shows the Wilkes land subdivided, but neither shows any structures on this lot. On the 1873 Beers Map, a Methodist Episcopal Church is located here, but the building was no longer extant by 1895.^ From at least that date until the Kurtz company erected its building, this lot held a two-story commercial structure which, in 1929, housed eleven different tenants.
By this time Jamaica contained a thriving business district and the furniture company sought to take advantage of this. The Kurtz family requested that the architects create a building which would be thoroughly modern and arrest the eye of those passing by on the elevated train, which then ran along Jamaica Avenue.
The firm of Allmendinger & Schlendorf, which had previously renovated other stores for the Kurtz chain, was chosen to design the new furniture store. Louis Allmendinger (1876-1937) received his technical training at the Mechanics Institute in New York. He worked for various architects until 1922 when he started his own firm, specializing in industrial and commercial buildings. His work included other types of buildings however, including the Russian Orthodox Cathedral of the Transfiguration of Our Lord in Brooklyn (1916-21, a designated New York City Landmark) and its Parish House (1916).
M. Allen Schlendorf (b. 1902) graduated from Cooper Union and attended Columbia University. In 1926, he joined with Allmendinger and formed a partnership which lasted until the older man's death in 1937. Located on offices in Brooklyn, the firm was responsible for numerous institutional, industrial, and commercial designs, including the German Masonic Temple in Manhattan, the Liebman Brewery and the North American Brewery in Brooklyn, as well as the Ehler Coffee Plant in Brooklyn After Allmendinger's death, Schlendorf continued the practice under his own name, designing such projects as the Evangelical Lutheran Church and Hospital in Brooklyn, the E.B. Stimpson Co., and the East Brooklyn Savings and Loan (now Pioneer Savings and Loan).
The design for the Kurtz Store is clearly different from the other work of these designers. Mr. Schlendorf recalls that his clients requested a building that would be very "modern and colorful" and would reflect the contemporary furniture which was to be displayed there.
The Art Deco or Moderne style of this building epitomized the word "modern" for many people of the period. The straight lines, the jagged or geometrically shaped outline and decoration seemed to symbolize the immediacy of the city, with its bustling population and the prosperity which could be found there.
The term Art Deco derives from the Paris exhibition of 1925, the "Exposition des Arts Decoratifs et Industriels Modernes" but the inspiration for the style in skyscraper design came from at least two main sources: the second prize-winning design by Eliel Saarinen for the Tribune Tower competition in 1922, and the publication of Hugh Ferris's book The Metropolis of Tomorrow in 1929.
After these two events the image of the modern skyscraper became that of a "tapered, soaring ziggurat." While the compact, six-story Kurtz building in Queens can hardly be called a skyscraper, its decorative motifs in the form of tapered pylons in contrasting colors and materials, which rise on the two main facades, as well as the skyscraper-like designs originally painted on the windows pay homage to this idea.
The influence of Frank Lloyd Wright on Art Deco design was also a strong one, beginning with his use of abstract, geometric designs in the stained-glass windows of his early Prairie School houses to the patterned concrete blocks of his California houses of the 1920s.
Mr. Schlendorf recalls always having admired Wright's work and being influenced by it in the design of this building. This influence can be seen in the horizontally grouped windows and the use of ornament in clearly defined areas. In the Kurtz store this ornament takes the form of flat fields of curvilinear design and groups of horizontal bands protruding from a vertical shaft, both characteristic Art Deco motifs.
The Kurtz store contains five stories plus a mezzanine, all of which were intended to display furniture. It is constructed on a steel frame, visible both inside the windows which wrap around the corner of Jamaica Avenue and New York Boulevard and inside the large display windows which fill the two lowest floors.
Crowning the mezzanine windows are stepped horizontal bands of cast aluminum. The strong horizontal lines are pierced by verticals and by blocks containing lightning-like motifs, another important design element of this period. This lower section is set off by a broad band of black glazed tile, making it quite distinct from the light brick which faces the upper stories.
Above this base, the Jamaica Avenue facade is three bays wide while that on New York Boulevard is six bays wide. Each is symmetrically disposed, the composition alternating plain, metal - framed windows with a stepped pylon motif which rises continuously through all four stories. The Jamaica Avenue facade contains one of these pylons in the center, while the longer facade on New York Boulevard has two. They are formed by black and white glazed tiles which contrast in color and material with the rest of the facade, in a manner characteristic of Art Deco.
A narrow window is located at the center of the pylon at each floor, and this feature adds to the vertical emphasis of this motif. This verticality is arrested just above each window by a slightly protruding element covered in black tile which has short horizontal bands on each side. At the center of the New York Boulevard facade another tower-like form is outlined in black brick. Small, horizontal bands are grouped along its height, echoing the spandrel motif of the wider black and white pylons. This central tower is crowned by another group of bands, this one turned in a vertical direction and reaching up to the top of the building.
Several windows on both facades contain the remains of a design that was originally painted in silver on many of them. It takes the form of a schematic skyscraper, divided vertically, with matching halves on facing window panes. This is another manifestation of the importance of the skyscraper to the designers of this building. At the roof line of the building is a plain, flat parapet which hides the flat roof. Just below the parapet at the top of each, window bay are rectangular panels of flat, stylized designs. The gold and blue terra cotta of this ornament provides the only bit of bright color on the facades.
The Kurtz store is a distinctive commercial structure in the modern idiom, one that created a striking image for the Kurtz Company. Although it is a relatively small building, the designers chose to decorate it with the skyscraper motifs of the period, motifs which cried "modern": tall, tapering ziggurats or pylons; groupings of horizontal bands; distinct panels of flat, stylized design; contrasting colors and materials including glazed tile, terra cotta, brick and cast aluminum.
Despite the presence of strong horizontal lines, the vertical emphasis of the decoration dominates the facade, creating a building which is impressive and forceful beyond its size and still enhances the Jamaica streetscape.
- From the 1981 NYCLPC Landmark Designation Report
On mange propre, on s'entraîne sale! 😜 #postworkout#dinner#eatforabs#eatclean #healthy #gymaddict #bodybuilding #allnatural #expectation #fitness #fitnessaddict #lifestyle
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Wednesday 17th June. There was widespread expectation First Minister Nicola Sturgeon would announce a move to phase two of lockdown on Thursday 18th June and give indicative dates for further easing of lockdown.
In phase two the virus is controlled but remains; R is consistently below 1 and WHO conditions are met. Physical distancing would still be required.
Phase two includes: People meeting in larger groups; workers being allowed to return to construction sites; opening playgrounds; small shops selling non-essential goods reopening (but not shopping malls); outdoor beer gardens but not indoor areas of pubs.
"Ms Sturgeon has previously stressed that not all of the changes will happen overnight, and it might not be until "the coming weeks" that some are in place."
www.bbc.co.uk/news/uk-scotland-53083995
This image was taken during the Covid-19 pandemic and phase one of moving out of lockdown in Scotland.
Jamaica Avenue, Jamaica, Queens, New York City, New York, United States
The Kurtz Store, a striking commercial building in the heart of downtown Jamaica, is a rare manifestation of the Art Deco style in the Borough of Queens. Its ornamentation is typical of that period of architecture prevalent in the 1920s and early 1930s, which looked to the future and to the machine with expectation and optimism. Its compact form, accented by modern materials and skyscraper imagery, enhances this bustling area of the city.
The building was erected in 1931 as a retail store for the furniture chain of J. Kurtz & Sons. This company had been founded in 1870 by Jacob Kurtz and had three other stores by that time, including the original one on State Street in Brooklyn. The Jamaica store was used continuously by the Kurtz firm until 1978, at which time it was sold to other retailers. The selling floors have recently been divided to accommodate several tenants but the exterior remains intact.
When the Kurtz company decided to expand its retail operations to Jamaica, the area was an important commercial center for Queens and for much of Long Island. Its central location and well-developed transportation systems had made it the hub of a wide area.
Jamaica had always been a crossroads for Long Island, dating back to the time when Jamaica Avenue was an Indian trail. The first railroad line arrived here in 1834, built by the Brooklyn & Jamaica Railroad Company. In 1850 Jamaica Avenue, then called Fulton Street, became a plank road and connected the area to the Brooklyn ferries. Horsecar lines were begun in 1866 and electrified in 1886. The Long Island Railroad station was completed in 1913 with the Jamaica Elevated trains arriving five years later.
Jamaica started as a sleepy Dutch village of assorted, freestanding structures, loosely grouped along main streets, when the town was granted a patent from Peter Stuyvesant in 1656. The English took over in 1664, changing the town's name from the Dutch "Rusdorp" to a variation on the Canarsie Indian word for beaver, "jamecos."
One hundred years later, the community had become a trading post where farmers from outlying areas brought their produce. The nineteenth century saw the development of Jamaica as a resort, attracting wealthy urban residents who wanted to escape the numerous summer plagues of the city. The permanent population of Jamaica also increased steadily in the early nineteenth century and brought with it the normal proliferation of new buildings.
The earliest recorded map of the land where the Kurtz Store is located, dated 1836, shows that it was owned by Henry Wilkes. Another map, compiled ten years later shows the Wilkes land subdivided, but neither shows any structures on this lot. On the 1873 Beers Map, a Methodist Episcopal Church is located here, but the building was no longer extant by 1895.^ From at least that date until the Kurtz company erected its building, this lot held a two-story commercial structure which, in 1929, housed eleven different tenants.
By this time Jamaica contained a thriving business district and the furniture company sought to take advantage of this. The Kurtz family requested that the architects create a building which would be thoroughly modern and arrest the eye of those passing by on the elevated train, which then ran along Jamaica Avenue.
The firm of Allmendinger & Schlendorf, which had previously renovated other stores for the Kurtz chain, was chosen to design the new furniture store. Louis Allmendinger (1876-1937) received his technical training at the Mechanics Institute in New York. He worked for various architects until 1922 when he started his own firm, specializing in industrial and commercial buildings. His work included other types of buildings however, including the Russian Orthodox Cathedral of the Transfiguration of Our Lord in Brooklyn (1916-21, a designated New York City Landmark) and its Parish House (1916).
M. Allen Schlendorf (b. 1902) graduated from Cooper Union and attended Columbia University. In 1926, he joined with Allmendinger and formed a partnership which lasted until the older man's death in 1937. Located on offices in Brooklyn, the firm was responsible for numerous institutional, industrial, and commercial designs, including the German Masonic Temple in Manhattan, the Liebman Brewery and the North American Brewery in Brooklyn, as well as the Ehler Coffee Plant in Brooklyn After Allmendinger's death, Schlendorf continued the practice under his own name, designing such projects as the Evangelical Lutheran Church and Hospital in Brooklyn, the E.B. Stimpson Co., and the East Brooklyn Savings and Loan (now Pioneer Savings and Loan).
The design for the Kurtz Store is clearly different from the other work of these designers. Mr. Schlendorf recalls that his clients requested a building that would be very "modern and colorful" and would reflect the contemporary furniture which was to be displayed there.
The Art Deco or Moderne style of this building epitomized the word "modern" for many people of the period. The straight lines, the jagged or geometrically shaped outline and decoration seemed to symbolize the immediacy of the city, with its bustling population and the prosperity which could be found there.
The term Art Deco derives from the Paris exhibition of 1925, the "Exposition des Arts Decoratifs et Industriels Modernes" but the inspiration for the style in skyscraper design came from at least two main sources: the second prize-winning design by Eliel Saarinen for the Tribune Tower competition in 1922, and the publication of Hugh Ferris's book The Metropolis of Tomorrow in 1929.
After these two events the image of the modern skyscraper became that of a "tapered, soaring ziggurat." While the compact, six-story Kurtz building in Queens can hardly be called a skyscraper, its decorative motifs in the form of tapered pylons in contrasting colors and materials, which rise on the two main facades, as well as the skyscraper-like designs originally painted on the windows pay homage to this idea.
The influence of Frank Lloyd Wright on Art Deco design was also a strong one, beginning with his use of abstract, geometric designs in the stained-glass windows of his early Prairie School houses to the patterned concrete blocks of his California houses of the 1920s.
Mr. Schlendorf recalls always having admired Wright's work and being influenced by it in the design of this building. This influence can be seen in the horizontally grouped windows and the use of ornament in clearly defined areas. In the Kurtz store this ornament takes the form of flat fields of curvilinear design and groups of horizontal bands protruding from a vertical shaft, both characteristic Art Deco motifs.
The Kurtz store contains five stories plus a mezzanine, all of which were intended to display furniture. It is constructed on a steel frame, visible both inside the windows which wrap around the corner of Jamaica Avenue and New York Boulevard and inside the large display windows which fill the two lowest floors.
Crowning the mezzanine windows are stepped horizontal bands of cast aluminum. The strong horizontal lines are pierced by verticals and by blocks containing lightning-like motifs, another important design element of this period. This lower section is set off by a broad band of black glazed tile, making it quite distinct from the light brick which faces the upper stories.
Above this base, the Jamaica Avenue facade is three bays wide while that on New York Boulevard is six bays wide. Each is symmetrically disposed, the composition alternating plain, metal - framed windows with a stepped pylon motif which rises continuously through all four stories. The Jamaica Avenue facade contains one of these pylons in the center, while the longer facade on New York Boulevard has two. They are formed by black and white glazed tiles which contrast in color and material with the rest of the facade, in a manner characteristic of Art Deco.
A narrow window is located at the center of the pylon at each floor, and this feature adds to the vertical emphasis of this motif. This verticality is arrested just above each window by a slightly protruding element covered in black tile which has short horizontal bands on each side. At the center of the New York Boulevard facade another tower-like form is outlined in black brick. Small, horizontal bands are grouped along its height, echoing the spandrel motif of the wider black and white pylons. This central tower is crowned by another group of bands, this one turned in a vertical direction and reaching up to the top of the building.
Several windows on both facades contain the remains of a design that was originally painted in silver on many of them. It takes the form of a schematic skyscraper, divided vertically, with matching halves on facing window panes. This is another manifestation of the importance of the skyscraper to the designers of this building. At the roof line of the building is a plain, flat parapet which hides the flat roof. Just below the parapet at the top of each, window bay are rectangular panels of flat, stylized designs. The gold and blue terra cotta of this ornament provides the only bit of bright color on the facades.
The Kurtz store is a distinctive commercial structure in the modern idiom, one that created a striking image for the Kurtz Company. Although it is a relatively small building, the designers chose to decorate it with the skyscraper motifs of the period, motifs which cried "modern": tall, tapering ziggurats or pylons; groupings of horizontal bands; distinct panels of flat, stylized design; contrasting colors and materials including glazed tile, terra cotta, brick and cast aluminum.
Despite the presence of strong horizontal lines, the vertical emphasis of the decoration dominates the facade, creating a building which is impressive and forceful beyond its size and still enhances the Jamaica streetscape.
- From the 1981 NYCLPC Landmark Designation Report
Welcome to 2012 and to /ˈtwɛlv/!
Expectations can sometimes subvert reality…
2012 has arrived and with it /ˈtwɛlv/, my new yearlong photographic-project. Twelve monthly mini-projects combined into a single Project; /ˈtwɛlv/.
Arising two hours before sunrise on January 1st 2012, in order to capture the sunrise of a new day, in a new month, in a new year. The plan was an image of the sun emerging from the snow covered prairies, the light bursting forth, reflecting off the crispness of the white iced earth… The reality was an overcast heaven.
Bitterly cold with a stinging wind and hopes dashed against the uncooperative weather. Daunted but not overcome, intimidated but not ruined. Trudging bravely into the undiscovered for the glory of photography.
OK, melodrama aside, it was cold but it is Winnipeg and it’s not as cold as it usually is at this time of year. The sky is overcast but clouds add to the colours of a sunrise and besides I need to get a shot for day one of my the new Project. Thermals donned, boots laced and winter jacket (rated for -35° celsius) zipped the pre-dawn was rewarded with a small department of deer crossing the frozen river chosen as the location for the shoot.
The final chosen image is of the rail tracks beckoning on towards the rising sun breaking through the clouds.
Sometimes we need to g0 beyond expectation to capture the result.
France just beat Portugal 1-0 in the semi-finals ! After watching the game at the Parc des Princes, another crazy night on the Champs-Elysées :-)
Parc des Princes, during the game.
Part of World Cup 2006
Dmitrov | Дмитров, 02-06-2010.
А. Рукавишников (скульптор) и Р. Нарский (архитектор) | Фонтан "Ожидание". Бронза, 2003.
A. Rukavishnikov (sculptor) and R. Narskiy (architector) | Fountain "Expectation". Bronze, 2003.
Dmitrov on Wikipedia (English)
Aleksander Rukavishnikov (English and Russian)
This is the 1959 GAZ M21 Volga by the Molotov Automobile Plant, later Gorky Automobile Plant in Russia. 2.5 litre inline 4-cyl. 2nd generation 1959–1962.
In the afternoon I went to the cities automobile museum, one hour SW of city centre by subway. Huge curvy metallic looking builing. Entrance was 30 yuan (€4), 5 floors.
When you enter the museum they have lockers and above those they have pictures of other car museum like the Porsche- and Mercedes-Benz museum in Stuttgart and the MAUTO museum Turin, which are some of the finest car museums on Planet Earth. In between those is a photo of this Beijing car museum. That gave high expectation but those were not met.
They have some Chinese built cars from the 50s and 60s but those were heavily influnced by Russian-, American- and European cars and produced in very limited numbers.
Expectation doesn’t match reality when a girl tries to do a backflipIn album Funny GIFs
- www.sinneuronas.com/cheerleader-backflips-expectation-rea...
http://www.sinneuronas.com/cheerleader-backflips-expectation-reality/
imagen-gif
#imagen-gif
Bebas yang aku inginkan sangat.
Bebas dari expectation. Bebas dari terlibat dalam angan-angan orang lain. Kurang selesa roh aku digunakan untuk mencipta khayalan orang lain. Seolah-olah satu hari ia bakal dituntut dan aku tidak bersedia. Bukan salah sesiapa, itu adalah normal. Alasan? Mencipta alasan memang mudah. Tapi untuk guna alasan yang sama setiap kali, bukanlah cerita orang cerdik.
Ada satu sudut, aku rasa mungkin apa yang aku pegang selama ini adalah silap. Meaning, sekarang aku silap. Dan tak ada siapa cuba betulkan aku. Untuk suatu hari yang tua, aku takut. I'm deathly scared to concentrate on this thing I've been working on; so much that I'd wake up one day and realize that I'm actually alone, like how I felt tonight. Not that aku bangun sendiri. Tetapi satu kesunyian dalam bingit. Paling aku takut.
Aku sudah ada idea untuk berubah. Idea bernas orang kata.
Kepada soulmate aku yang masih mencari aku diluar dunia sana, cepatlah. Segera datang. Keluarkan aku. Aku dah mula rindu. Dan aku tak punya banyak masa.
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Wednesday 29 July, 7.30pm, £10/£5.
Z-arts, 335 Stretford Road, Manchester, M15 5ZA
Theatrication is formed of young performers from Derbyshire aged between 18-24 and a considerably older director. Expectation is their debut production. Mixing dance, physical theatre and drama, 'expectation' reflects on the issues and themes affecting young people as they mature and become part of a society that is often confusing, demanding and difficult to navigate. "The company members of Theatrication delivered a tour de force ensemble performance in their inaugural devised show 'Expectation'. Each performance was fully crafted and woven into a highly engaging synergous whole..." Clare Limb: Déda. The production is a recipient of an unltd* award. PHYSICAL THEATRE
In expectation of what I hope to be the first serious period of frost this winter, I have posted some older “winter” photo’s.
I have desaturated this photo to enhance the greyness of this landscape.
Canon 40D
Canon EF-S 17-55mm f2.8 IS USM at 21 mm
ISO 200, 1/160 sec, f/6,3
0 EV
"In the name of Jesus, repenting & faithful in expectation of the resurrection , Elizabeth wife of Thomas Brudenell eldest son of Thomas Brudenell of Stonton Brundenell in the county of Leicester, armiger. Sole surviving daughter of Nathaniel Humphrey formerly of Barton Segrave in the county of Northampton, armiger, lies under this monument , died the last day of the month of August the same day the Sabbath in the year: aged 36 years , in the year of Christ"
1656 is the date given for her death, though the year is not given on the monument and there is no room to carve it
Elizabeth was one of 2 co-heiress sisters of Nathaniel Humphrey grandson of Sir William Humphrey at Swepston, www.flickr.com/gp/52219527@N00/1GJHJs by Joan Tudor. Her sister Dorothy dsp 1644
She m (1st wife) Thomas Brudenell 1613-1670 of Whittingham, eldest son of Thomas Brudenell 1661 of Staunton Wyville & Dorothy flic.kr/p/btfMzw eldest daughter of Henry Smith of Withcock :
Thomas was the grandson of Sir Edmund Brudenell and Elizabeth Burnell flic.kr/p/bFxziK
Children
1. Mary
2. Dorothy m Rev. William Baker 1732, Vicar of St. Mary's, Lichfield
3. Edmund
Husband Thomas m2 (?) Frances daughter of Sir Edward Barkham, of Southacre 1667 www.flickr.com/gp/52219527@N00/648L44 by Frances Berney; who m2 John Pyott
Thomas died the 9 May 1670, aged 57, and has a memorial in Whittingham church.
WILL of Thomas Brudenell of Whittington, co. Staffs., esq. WiU dated 21 Mch. 1669/70.
"To be buried. in Stanton church, co. Leic, as near as possible to my father. I confirm the jointure to my wife Frances, and bequeath to her my close in Goadby, co. Leic, called Goadby cow-pasture, adjoining the jointure lands there, for Ufe, with remainder to my son Edmond, and the heirs of his body, with contingent remainders, in default of his issue, to my daughters, Mary and Dorothy Brudenell, and the heirs of their bodies, to my right heirs. I have received £500 from my brother Richard Brudenell, being £250 each left by my father, Thomas Brudenell, to my 2 daughters, and I enfeoffed by deed of 24 Apl., 19 Chas, II. [1667] Charles Agard, of Foston, co. Derby, esq.,* and Richard Brudenell afsd., of the said -£500, and a further £5oo for my daughters' portions. To my
mother-in-law, Mary Price, and my sister, Anne Orme, 20*/- each ; to my bror.-in-law, Mr. Charles Agard, my sister, his wife, and my kinsman, Mr. Thomas Orme, 20^/- each. To Mr. Christopher Gardener minister of Scropton, co. Derby, 40^/-. To poor of Stanton, lo^/- ; of Gk)adby, 20^/-.
My wife to have the tuition of my son Edmond during his minority, she taking the rents and issues of my messuages, lands, etc., in Barton Seagrave and Hubbenham, co. Northants. Exors., my wife and son. Signed, T. Brudenell. Wits., George Harding, clerk, Jo: Rawlins and Nich. Brett.
CODICIL dated 25 May 1670. I now desire to be buried in the parish church, of Whittington, where I now live, and give to the poor there 20s/-, revoking legacy to poor of Stanton.
To my cousin Thomas Orme's wife, 20^/-.
Proved 3 Sept. 1670, in P.C.C. (Penn, 115), by Edmund Brudenell, son and exor.
archive.org/stream/johnsoniangleani09readuoft/johnsoniang...
The expectation for prayers to be answered, forgive me my God
But, I thank you for the power of prayer
Without it, I will not be speaking to you.
♥•♫♪
The mentally ill- they have cursed your Name, as they’ve done to theirs
But, I thank you God for not shutting your ears
For one day I am afraid I'd become them too, though I hope not.
♥•♫♪
The obsession to “rituals” your eyes cannot behold
Are performed by men in the disgrace of your existence
I thank you God, which you forgive them in their acts of false worship.
♥•♫♪
The faith that is other times misplaced, forgive me God
I may be undervaluing its potential values that lead me to you
But, I thank you for the reminders not to put myself down.
♥•♫♪
The greed that fills half the World’s emptiness in the hearts of men
I thank you God that there is more kindness in many too
That many aims to overcome greed and wish every man Godspeed.
♥•♫♪
The hatred for foe will make me just one of them, I know
But, I thank you God the grandness of forgiveness to love my enemies
For no man is an island, no man stands alone.
♥•♫♪
The desire of lust, to be tempted by a forbidden fruit and give in
You’ll cast me God, your mighty lightning piercing through the heavens
But, I still thank thee God for the “fruit” had promised sweetness,
unselfishly given me love as the other.
♥•♫♪
The hope that has fallen into darkness, having much difficulty rising
I thank you my dear God for sending your angels lifting me up
To face anew and never to be afraid in trying again.
♥•♫♪
The sadness that has intoxicated the joyful spirit I was before
I thank you God for the sting of tears, its salty-pickled taste
For I know that sweetness is its counterpart, its opposite likeness.
♥•♫♪
The misunderstanding of one mind to the mind of the person she loves
I thank you God for the “stardust of knowing” showered upon us both
That sufficient understanding has abounded in both of our hearts.
♥•♫♪
The stubbornness ruling oneself like the solidity of a rock, gives You sorrow
But, I thank you God for the virtue of patience to soften and lighten me
For there is nothing else that can take this trait of mulishness at ease, except patience alone.
♥•♫♪
The destruction of nature right before your Divine eyes, Almighty Creator
I thank thee God, your Holy Name many men respect to help your unfortunate creations
To save especially more trees and animals you’ve put on Earth from their distinction.
♥•♫♪
The unfortunate deaths in children of war, the stolen lives of our loved ones, our soldiers who miss to come home, our good leaders assassinated
But, I thank you God for welcoming them to your Kingdom
For they have missed the fulfillment of life and others had served your Ways.
♥•♫♪
The will to live a life of goodness to revive your Holy Image from questioning its being
I thank you God for the right path to life and the understanding that I owe it to you
For one day, I shall hunger and thirst to meet you, eager to enter your Gates to Paradise.
♥•♫♪
The harmony at home, I pray for all the children of the World, the unity of a family
I thank you God for the parents who nurture LOVE to their children
For these children will follow in their parents’ footsteps and family craftsmanship.
♥•♫♪
And lastly, I thank you God for who I am and the miracles you have gifted me-
My beautiful Beloved once, a loving other half, and pets bringing every day cheers
For without them, my life would be hollow and meaningless on where I stand today.
♥•♫♪
There is one more God, I pray, in death before I awake
May prayers be said for the untimely passing of my soul
And I thank you God for their sincere prayers, their reverence and faith in You
Will my soul be salvaged, to be freed from the torments in Purgatory
And an angel to guide and deliver my purified spirit to you.
♥•♫♪
Taken on our little trip to NCAD- the national art college in Dublin....what a college i hope i get a place :(