This Hubble Picture of the Week features the galaxy LEDA 857074, located in the constellation Eridanus. LEDA 857074 is a barred spiral galaxy, with partially broken spiral arms. It also has a particularly bright spot right in its bar: this is a supernova snapped by Hubble, named SN 2022ADQZ, and quite relevant to this Picture of the Week.

 

The NASA/ESA Hubble Space Telescope has observed a vast range of celestial objects, from galaxies, to nebulae, to star clusters, to planets in the Solar System and beyond. Observing programmes usually seek to gather data so that astronomers can answer a specific question. Naturally, this means most scheduled observations target an object that astronomers have already researched. Some are famous, like the Crab Nebula or the globular cluster Omega Centauri; others might not be so well known to the public, but still be featured in hundreds of scientific papers, such as the Spider Galaxy or NGC 4753. Not so with this galaxy: LEDA 857074 is named in fewer than five papers, one of which is the Lyon-Meudon Extragalactic Database itself. Virtually no data have been recorded about it, other than its position: since its discovery, it simply hasn’t been studied. So how did it attract the gaze of the legendary Hubble?

 

The supernova is the answer — SN 2022ADQZ was detected by an automated survey in late 2022, and led to Hubble being pointed at its host galaxy, LEDA 857074, in early 2023. Astronomers have catalogued millions of galaxies, so while today tens of thousands of supernovae are detected annually, the chance that one is spotted in any particular galaxy is slim. We also do not know how actively LEDA 857074 is forming stars, and therefore how often it might host a supernova. This galaxy is therefore an unlikely and lucky target of Hubble, thanks to this supernova shining a spotlight on it! It now joins the ranks of many more famous celestial objects, with its own Hubble image.

 

[Image Description: A close-in view of a barred spiral galaxy. The bright, glowing bar crosses the centre of the galaxy, with blurred spiral arms curving away from its ends and continuing out of view. It’s surrounded by bright points of light that indicate stars and galaxies. The galaxy also hosts a bright supernova in its central bar.]

 

Credits: ESA/Hubble & NASA, R. J. Foley; CC BY 4.0

This detailed image features Abell 3827, a galaxy cluster that offers a wealth of exciting possibilities for study. It was observed by Hubble in order to study dark matter, which is one of the greatest puzzles cosmologists face today.

 

Abell 3827 has been observed previously by Hubble, because of the interesting gravitational lens at its core. Looking at this cluster of hundreds of galaxies, it is amazing to recall that until less than 100 years ago, many astronomers believed that the Milky Way was the only galaxy in the universe.

 

Gravitational lenses occur when the gravity of tremendously massive objects, such as galaxy clusters, bend and distort the light of more-distant objects behind them, making it possible to see those objects despite their distance.

 

Credit: ESA/Hubble & NASA, R. Massey

 

For more information, visit: esahubble.org/images/potw2118a/

 

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Egrets are characterized by, among other features, yellow beak and black feet.

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The Great White Egret always gets dressed up for the breeding season. A patch of skin on its face turns neon green, and long plumes, called 'aigrettes', grow from its back.

 

In the 1800s, Great White Egrets were hunted to almost near extinction by Plume hunters, because they were the most prized and expensive addition to a lady's hat. They made a stunning comeback only after being put on the Endangered List, and are now a nationally protected bird in the US.

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Two mature Egrets fight over nesting space on a tree top.

 

Ardea alba

Family Ardeidae

 

Bird Rookery

Gatorland Wildlife Preserve

Orlando

Florida

USA.

 

Note: The Scientific Name had since been changed from Casmerodius alba to Ardea alba.

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Reaching this thermal area requires some bushwhacking through the forest you see here. (We didn't go there.) Unusually for Yellowstone, it has no water features - just a lot of unusual gasses.

After being missing for months, some Made to Move Barbies finally showed up in my local stores again, so I grabbed one. This is the wave 2 Blue Top doll, so this one has a very noticeable red tint to her skin, which quite limits the body matching and body swapping options with other Barbies, but I did manage to find a doll in my collection that matched the complexion!

 

Here I did a side by side comparison of the Wave 1 and Wave 2 dolls, with Wave 1 on the left and Wave 2 on the right. The red tint is very much visible in these pictures, and so are the more cartoonish features of the Wave 2 Blue Top compared to the soft and beautiful features of the first doll.

 

However, the newer doll had great, totally glue free hair which was soft to the touch, in contrast to the gluey hair of the Wave 1.

 

I head swapped my Wave 2 doll with another doll, and I'll be posting pictures of the results soon! :)

Musée Marmottan Monet features over three hundred Impressionist and Post-Impressionist paintings by Claude Monet, including his 1872 Impression, Sunrise.

Marmottan Museum's fame is the result of a donation in 1966 by Michel Monet, Claude's second son and only heir.

en.wikipedia.org/wiki/Musée_Marmottan_Monet

A heads-up on the latest Signature-Gianni-body-update: it now features the same glorious "add your own texture"-gimmick the Dufaux-shirts and -tanks so proudly display. I love it!

 

Bike: SAU, Thunder, carbon

 

Head: Catwa, Daniel

Body: Signature, Gianni

Skin: Stray Dog

Eyes: Mesange, Killarney Eyes 11

Ears: Mandala, steking ears Gen5

Tattoo: Fallen Gods, Ragnar gold

Horns: Gabriel, Deer Horns, sand (gacha-item I got from the Marketplace ... as usual)

Forehead-Crystal: LovelyAlien, mage Crystals single, fire

Hat: Deadwool, Peqoud beanie

Hair: no-match bangs addon (group gift .. totally worth it! I'm using the various bangs on so many occasions and they are mod!)

Necklace: Rebellion, Ignite

Bandana: Defectiva, Blood Bandana

Armour: The Forge, Daerwen, red/gold

Top: Gild, Short Tank with Long Loop, black

Pants: Ascend, Classic Cargos with Suspenders

Boots: Rebellion, Trey

Shield: EZ-Weapons, Instigator Shield

Staff: EZ-Weapons, Staff of Damascus

  

Commando Gregor features: Custom Helmet and Pack and waterslide decals.

Commando Gregor

www.youtube.com/watch?v=Bn9oxb052bI

This image features IC 3476, a dwarf galaxy that lies about 54 million light-years from Earth in the constellation Coma Berenices. Whilst this image does not look very dramatic — if we were to anthropomorphise the galaxy, we might say it looks almost serene — the actual physical events taking place in IC 3476 are highly energetic. In fact, the little galaxy is undergoing a process known as ram pressure stripping, which is driving unusually high levels of star formation within regions of the galaxy itself.

 

We tend to associate the letters ‘ram’ with the acronym RAM, which refers to Random Access Memory in computing. However, ram pressure has a totally distinct definition in physics: it is the pressure exerted on a body when it moves through some form of fluid, due to the overall resistance of the fluid. In the case of entire galaxies experiencing ram pressure, the galaxies are the ‘bodies’ and the intergalactic or intracluster medium (the dust and gas that permeates the space between galaxies, and for the latter the spaces between galaxies in clusters) is the ‘fluid’.

 

Ram pressure stripping occurs when the ram pressure results in gas being stripped from the galaxy. This stripping away of gas can lead to a reduction in the level of star formation, or even its complete cessation, as gas is absolutely key to the formation of stars. However, the ram pressure can also cause other parts of the galaxy to be compressed, which can actually boost star formation. This is what seems to be taking place in IC 3476: there seems to be absolutely no star formation going on at the edge of the galaxy bearing the brunt of the ram pressure stripping, but then star formation rates within deeper regions of the galaxy seem to be markedly above the average.

 

[Image Description: A dwarf spiral galaxy. The centre is not particularly bright and is covered by some dust, while the outer disc and halo wrap around as if swirling water. Across the face of the galaxy, an arc of brightly glowing spots marks areas where new stars are being formed. The galaxy is surrounded by tiny, distant galaxies on a dark background.]

 

Credits: ESA/Hubble & NASA, M. Sun; CC BY 4.0

Finding crevasses and holes during the glacier hike in Sólheimajökull.

 

Sensational Iceland

This collage features photos from CC group members, who for the last challenge were "Shooting the light".

 

* Sunrise

* Sunset

* Blue Hour (the short period of time directly before sunrise and after sunset, when natural light has a blue tinge)

* Golden Hour ( the short period of time after sunrise or before sunset, during which daylight is redder and softer than when the sun is higher in the sky.)

  

Find out more at Compositionally Challenged, where we aim to inspire creativity and improve our technical skills.

St. Hilda's Church in Hartlepool is a remarkable historical and architectural gem. Located on the Headland, it is a Grade I listed building and serves as the parish church of the area. The church is named after St. Hilda, who came to the region around 648 AD to lead a double monastery of monks and nuns. She later moved to Whitby, where she became the first Abbess.

 

The current structure of St. Hilda's Church dates back to the late 12th century, although some elements, like the south doorway, suggest it incorporates parts of an earlier Norman church. The nave and tower are among the oldest sections of the building. Over the centuries, the church has seen various architectural styles and periods reflected in its design.

 

The church also has a fascinating connection to the Bruce family, with Robert de Brus IV believed to have been instrumental in its construction. The Bruce Chapel and Tomb within the church are a testament to this historical link.

 

Today, St. Hilda's Church is not only a place of worship but also a vibrant community hub. It features a Visitor Centre with modern displays, some interactive, that chart the history of the church and the Headland. The church continues to play an active role in the community through worship, pastoral support, and various organizations.

Ladbroke Grove

The robin features prominently in British folklore, and that of northwestern France, but much less so in other parts of Europe. It was held to be a storm-cloud bird and sacred to Thor, the god of thunder, in Norse mythology. Robins feature in the traditional children's tale, Babes in the Wood; the birds cover the dead bodies of the children.

 

More recently, the robin has become strongly associated with Christmas, taking a starring role on many Christmas cards since the mid 19th century. The robin has appeared on many Christmas postage stamps. An old British folk tale seeks to explain the robin's distinctive breast. Legend has it that when Jesus was dying on the cross, the robin, then simply brown in colour, flew to his side and sang into his ear in order to comfort him in his pain. The blood from his wounds stained the robin's breast, and thereafter all robins got the mark of Christ's blood upon them.

 

An alternative legend has it that its breast was scorched fetching water for souls in Purgatory. The association with Christmas more probably arises from the fact that postmen in Victorian Britain wore red jackets and were nicknamed "Robins"; the robin featured on the Christmas card is an emblem of the postman delivering the card.

 

In the 1960s, in a vote publicised by The Times, the robin was adopted as the unofficial national bird of the UK. In 2015, the robin was again voted Britain's national bird in a poll organised by birdwatcher David Lindo, taking 34% of the final vote

NPS/Diane Renkin

Features on J.B. Jackson and Howard Fogg, cover photograph by Jeff Brouws. More at: www.railphoto-art.org/railroad-heritage-47/

River Wear, river that rises near Wearhead in the county of Durham, England, and enters the North Sea at Sunderland. With headwaters in the Pennines, it flows through Weardale and once entered the sea in the vicinity of Hartlepool, but it was subsequently diverted northward. Durham city is built along the Wear, and its castle and cathedral stand 100 feet (30 metres) above the river on an incised meander (loop). From Bishop Auckland the river flows across coalfields, but coal mining had ceased by the end of the 20th century.

 

Stanhope is a market town and civil parish in the County Durham district, in the ceremonial county of Durham, England. It lies on the River Wear between Eastgate and Frosterley, in the north-east of Weardale. The main A689 road over the Pennines is crossed by the B6278 between Barnard Castle and Shotley Bridge. In 2001 Stanhope had a population of 1,633, in 2019 an estimate of 1,627, and a figure of 1,602 in the 2011 census for the ONS built-up-area which includes Crawleyside. In 2011 the parish population was 4,581.[4]

 

Stanhope parish is the largest parish area in England, at 85 square miles (221 km2) It has some land in common with the neighbouring Wolsingham civil parish. On 31 December 1894 "Stanhope Urban" parish was formed from part of Stanhope parish, but on 1 April 1937 it was merged back. In 1894 Stanhope became an urban district which contained Stanhope Urban parish, on 1 April 1937 the urban district was abolished and merged with Weardale Rural District. On 1 April 1946, 2,396 acres (969.6 ha) were transferred to the parish from Wolsingham. Stanhope Town Hall was completed in 1849.

 

Stanhope is surrounded by moorland in the North Pennines Area of Outstanding Natural Beauty (AONB) – the second largest of a current 40 such areas in England and Wales.

 

Features of interest include:

A petrified tree stump standing in the churchyard was found with two others, one of which features in the Great North Museum in Newcastle upon Tyne.

The Durham Dales Centre incorporates a tea room, tourist information and craft shops.

Stanhope Bridge, a scheduled monument, was built in the 15th century and widened in 1792.

The ford has a stepping-stone bridge for pedestrians.

The 18th-century Stanhope Castle in the town centre stands on the possible site of a medieval castle. It was built in 1798 by Cuthbert Rippon, MP for Gateshead.

The town has one of only two heated open-air swimming pools in the North East.

Stanhope was at the centre of the Weardale campaign (1327), when Sir James Douglas of Scotland invaded England and faced Edward III and Roger Mortimer, Earl of March. A series of skirmishes took place on the valley floor and in Stanhope Park.

 

The parish church dedicated to St Thomas is mostly from the 12th–13th centuries, with restoration in 1663 and 1867. The earliest known Rector was Richardus in 1200. Joseph Butler, later Bishop of Bristol, was Rector in 1725.

 

Stanhope Castle may be on the site of a motte and bailey castle according to some evidence from the 1790s. Furthermore, Bishop Anthony Bek granted land "to the west side of Stanhope castle". The present castle was built for Cuthbert Rippon (1744-1801) in 1798 with additions in 1823 by his son, also Cuthbert (1797–1867) and Member of Parliament for Gateshead. Ignatius Bonomi (1787–1870) was the architect. In 1941 the castle was adapted by the Home Office as a school for boys and remained so until 1980, when it was converted into apartments. Part of the gardens lie to the north of the castle across the main road, including the park wall and gazebo.

 

Stanhope Agricultural Show is held on the second weekend of September each year. It has been held annually since 1834, except in world-war years, the 2001 United Kingdom foot-and-mouth outbreak and times of bad weather.

 

Stanhope is the current terminus of the Weardale Railway, a heritage line operating mainly at weekends from Bishop Auckland, with stations at Frosterley, Wolsingham and Witton-le-Wear. Stanhope Station stood in for the fictional Partlington Station in an episode of the criminal drama series Vera.

 

Notable residents

Joseph Butler (1692–1752), theologian and cleric

William Greenwell (1820–1918), archaeologist and Anglican cleric, catalogued Late Bronze Age finds at Heathery Burn Cave near Stanhope in 1859–1872.

William Percival Crozier (1879–1944), scholar and journalist, edited the Manchester Guardian in 1932–1944.

Muriel Young (1923–2001), television continuity announcer, presenter and producer, died in Stanhope.

 

County Durham, officially simply Durham is a ceremonial county in North East England. The county borders Northumberland and Tyne and Wear to the north, the North Sea to the east, North Yorkshire to the south, and Cumbria to the west. The largest settlement is Darlington, and the county town is the city of Durham.

 

The county has an area of 2,721 km2 (1,051 sq mi) and a population of 866,846. The latter is concentrated in the east; the south-east is part of the Teesside built-up area, which extends into North Yorkshire. After Darlington (92,363), the largest settlements are Hartlepool (88,855), Stockton-on-Tees (82,729), and Durham (48,069). For local government purposes the county comprises three unitary authority areas—County Durham, Darlington, and Hartlepool—and part of a fourth, Stockton-on-Tees. The county historically included the part of Tyne and Wear south of the River Tyne, and excluded the part of County Durham south of the River Tees.

 

The west of the county contains part of the North Pennines uplands, a national landscape. The hills are the source of the rivers Tees and Wear, which flow east and form the valleys of Teesdale and Weardale respectively. The east of the county is flatter, and contains by rolling hills through which the two rivers meander; the Tees forms the boundary with North Yorkshire in its lower reaches, and the Wear exits the county near Chester-le-Street in the north-east. The county's coast is a site of special scientific interest characterised by tall limestone and dolomite cliffs.

 

What is now County Durham was on the border of Roman Britain, and contains survivals of this era at sites such as Binchester Roman Fort. In the Anglo-Saxon period the region was part of the Kingdom of Northumbria. In 995 the city of Durham was founded by monks seeking a place safe from Viking raids to house the relics of St Cuthbert. Durham Cathedral was rebuilt after the Norman Conquest, and together with Durham Castle is now a World Heritage Site. By the late Middle Ages the county was governed semi-independently by the bishops of Durham and was also a buffer zone between England and Scotland. County Durham became heavily industrialised in the nineteenth century, when many collieries opened on the Durham coalfield. The Stockton and Darlington Railway, the world's first public railway to use steam locomotives, opened in 1825. Most collieries closed during the last quarter of the twentieth century, but the county's coal mining heritage is remembered in the annual Durham Miners' Gala.

 

Remains of Prehistoric Durham include a number of Neolithic earthworks.

 

The Crawley Edge Cairns and Heathery Burn Cave are Bronze Age sites. Maiden Castle, Durham is an Iron Age site.

 

Brigantia, the land of the Brigantes, is said to have included what is now County Durham.

 

There are archaeological remains of Roman Durham. Dere Street and Cade's Road run through what is now County Durham. There were Roman forts at Concangis (Chester-le-Street), Lavatrae (Bowes), Longovicium (Lanchester), Piercebridge (Morbium), Vindomora (Ebchester) and Vinovium (Binchester). (The Roman fort at Arbeia (South Shields) is within the former boundaries of County Durham.) A Romanised farmstead has been excavated at Old Durham.

 

Remains of the Anglo-Saxon period include a number of sculpted stones and sundials, the Legs Cross, the Rey Cross and St Cuthbert's coffin.

 

Around AD 547, an Angle named Ida founded the kingdom of Bernicia after spotting the defensive potential of a large rock at Bamburgh, upon which many a fortification was thenceforth built. Ida was able to forge, hold and consolidate the kingdom; although the native British tried to take back their land, the Angles triumphed and the kingdom endured.

 

In AD 604, Ida's grandson Æthelfrith forcibly merged Bernicia (ruled from Bamburgh) and Deira (ruled from York, which was known as Eforwic at the time) to create the Kingdom of Northumbria. In time, the realm was expanded, primarily through warfare and conquest; at its height, the kingdom stretched from the River Humber (from which the kingdom drew its name) to the Forth. Eventually, factional fighting and the rejuvenated strength of neighbouring kingdoms, most notably Mercia, led to Northumbria's decline. The arrival of the Vikings hastened this decline, and the Scandinavian raiders eventually claimed the Deiran part of the kingdom in AD 867 (which became Jórvík). The land that would become County Durham now sat on the border with the Great Heathen Army, a border which today still (albeit with some adjustments over the years) forms the boundaries between Yorkshire and County Durham.

 

Despite their success south of the river Tees, the Vikings never fully conquered the Bernician part of Northumbria, despite the many raids they had carried out on the kingdom. However, Viking control over the Danelaw, the central belt of Anglo-Saxon territory, resulted in Northumbria becoming isolated from the rest of Anglo-Saxon Britain. Scots invasions in the north pushed the kingdom's northern boundary back to the River Tweed, and the kingdom found itself reduced to a dependent earldom, its boundaries very close to those of modern-day Northumberland and County Durham. The kingdom was annexed into England in AD 954.

 

In AD 995, St Cuthbert's community, who had been transporting Cuthbert's remains around, partly in an attempt to avoid them falling into the hands of Viking raiders, settled at Dunholm (Durham) on a site that was defensively favourable due to the horseshoe-like path of the River Wear. St Cuthbert's remains were placed in a shrine in the White Church, which was originally a wooden structure but was eventually fortified into a stone building.

 

Once the City of Durham had been founded, the Bishops of Durham gradually acquired the lands that would become County Durham. Bishop Aldhun began this process by procuring land in the Tees and Wear valleys, including Norton, Stockton, Escomb and Aucklandshire in 1018. In 1031, King Canute gave Staindrop to the Bishops. This territory continued to expand, and was eventually given the status of a liberty. Under the control of the Bishops of Durham, the land had various names: the "Liberty of Durham", "Liberty of St Cuthbert's Land" "the lands of St Cuthbert between Tyne and Tees" or "the Liberty of Haliwerfolc" (holy Wear folk).

 

The bishops' special jurisdiction rested on claims that King Ecgfrith of Northumbria had granted a substantial territory to St Cuthbert on his election to the see of Lindisfarne in 684. In about 883 a cathedral housing the saint's remains was established at Chester-le-Street and Guthfrith, King of York granted the community of St Cuthbert the area between the Tyne and the Wear, before the community reached its final destination in 995, in Durham.

 

Following the Norman invasion, the administrative machinery of government extended only slowly into northern England. Northumberland's first recorded Sheriff was Gilebert from 1076 until 1080 and a 12th-century record records Durham regarded as within the shire. However the bishops disputed the authority of the sheriff of Northumberland and his officials, despite the second sheriff for example being the reputed slayer of Malcolm Canmore, King of Scots. The crown regarded Durham as falling within Northumberland until the late thirteenth century.

 

Following the Battle of Hastings, William the Conqueror appointed Copsig as Earl of Northumbria, thereby bringing what would become County Durham under Copsig's control. Copsig was, just a few weeks later, killed in Newburn. Having already being previously offended by the appointment of a non-Northumbrian as Bishop of Durham in 1042, the people of the region became increasingly rebellious. In response, in January 1069, William despatched a large Norman army, under the command of Robert de Comines, to Durham City. The army, believed to consist of 700 cavalry (about one-third of the number of Norman knights who had participated in the Battle of Hastings), entered the city, whereupon they were attacked, and defeated, by a Northumbrian assault force. The Northumbrians wiped out the entire Norman army, including Comines, all except for one survivor, who was allowed to take the news of this defeat back.

 

Following the Norman slaughter at the hands of the Northumbrians, resistance to Norman rule spread throughout Northern England, including a similar uprising in York. William The Conqueror subsequently (and successfully) attempted to halt the northern rebellions by unleashing the notorious Harrying of the North (1069–1070). Because William's main focus during the harrying was on Yorkshire, County Durham was largely spared the Harrying.

 

Anglo-Norman Durham refers to the Anglo-Norman period, during which Durham Cathedral was built.

 

Matters regarding the bishopric of Durham came to a head in 1293 when the bishop and his steward failed to attend proceedings of quo warranto held by the justices of Northumberland. The bishop's case went before parliament, where he stated that Durham lay outside the bounds of any English shire and that "from time immemorial it had been widely known that the sheriff of Northumberland was not sheriff of Durham nor entered within that liberty as sheriff. . . nor made there proclamations or attachments". The arguments appear to have prevailed, as by the fourteenth century Durham was accepted as a liberty which received royal mandates direct. In effect it was a private shire, with the bishop appointing his own sheriff. The area eventually became known as the "County Palatine of Durham".

 

Sadberge was a liberty, sometimes referred to as a county, within Northumberland. In 1189 it was purchased for the see but continued with a separate sheriff, coroner and court of pleas. In the 14th century Sadberge was included in Stockton ward and was itself divided into two wards. The division into the four wards of Chester-le-Street, Darlington, Easington and Stockton existed in the 13th century, each ward having its own coroner and a three-weekly court corresponding to the hundred court. The diocese was divided into the archdeaconries of Durham and Northumberland. The former is mentioned in 1072, and in 1291 included the deaneries of Chester-le-Street, Auckland, Lanchester and Darlington.

 

The term palatinus is applied to the bishop in 1293, and from the 13th century onwards the bishops frequently claimed the same rights in their lands as the king enjoyed in his kingdom.

 

The historic boundaries of County Durham included a main body covering the catchment of the Pennines in the west, the River Tees in the south, the North Sea in the east and the Rivers Tyne and Derwent in the north. The county palatinate also had a number of liberties: the Bedlingtonshire, Islandshire and Norhamshire exclaves within Northumberland, and the Craikshire exclave within the North Riding of Yorkshire. In 1831 the county covered an area of 679,530 acres (2,750.0 km2) and had a population of 253,910. These exclaves were included as part of the county for parliamentary electoral purposes until 1832, and for judicial and local-government purposes until the coming into force of the Counties (Detached Parts) Act 1844, which merged most remaining exclaves with their surrounding county. The boundaries of the county proper remained in use for administrative and ceremonial purposes until the Local Government Act 1972.

 

Boldon Book (1183 or 1184) is a polyptichum for the Bishopric of Durham.

 

Until the 15th century, the most important administrative officer in the Palatinate was the steward. Other officers included the sheriff, the coroners, the Chamberlain and the chancellor. The palatine exchequer originated in the 12th century. The palatine assembly represented the whole county, and dealt chiefly with fiscal questions. The bishop's council, consisting of the clergy, the sheriff and the barons, regulated judicial affairs, and later produced the Chancery and the courts of Admiralty and Marshalsea.

 

The prior of Durham ranked first among the bishop's barons. He had his own court, and almost exclusive jurisdiction over his men. A UNESCO site describes the role of the Prince-Bishops in Durham, the "buffer state between England and Scotland":

 

From 1075, the Bishop of Durham became a Prince-Bishop, with the right to raise an army, mint his own coins, and levy taxes. As long as he remained loyal to the king of England, he could govern as a virtually autonomous ruler, reaping the revenue from his territory, but also remaining mindful of his role of protecting England’s northern frontier.

 

A report states that the Bishops also had the authority to appoint judges and barons and to offer pardons.

 

There were ten palatinate barons in the 12th century, most importantly the Hyltons of Hylton Castle, the Bulmers of Brancepeth, the Conyers of Sockburne, the Hansards of Evenwood, and the Lumleys of Lumley Castle. The Nevilles owned large estates in the county. John Neville, 3rd Baron Neville de Raby rebuilt Raby Castle, their principal seat, in 1377.

 

Edward I's quo warranto proceedings of 1293 showed twelve lords enjoying more or less extensive franchises under the bishop. The repeated efforts of the Crown to check the powers of the palatinate bishops culminated in 1536 in the Act of Resumption, which deprived the bishop of the power to pardon offences against the law or to appoint judicial officers. Moreover, indictments and legal processes were in future to run in the name of the king, and offences to be described as against the peace of the king, rather than that of the bishop. In 1596 restrictions were imposed on the powers of the chancery, and in 1646 the palatinate was formally abolished. It was revived, however, after the Restoration, and continued with much the same power until 5 July 1836, when the Durham (County Palatine) Act 1836 provided that the palatine jurisdiction should in future be vested in the Crown.

 

During the 15th-century Wars of the Roses, Henry VI passed through Durham. On the outbreak of the Great Rebellion in 1642 Durham inclined to support the cause of Parliament, and in 1640 the high sheriff of the palatinate guaranteed to supply the Scottish army with provisions during their stay in the county. In 1642 the Earl of Newcastle formed the western counties into an association for the King's service, but in 1644 the palatinate was again overrun by a Scottish army, and after the Battle of Marston Moor (2 July 1644) fell entirely into the hands of Parliament.

 

In 1614, a Bill was introduced in Parliament for securing representation to the county and city of Durham and the borough of Barnard Castle. The bishop strongly opposed the proposal as an infringement of his palatinate rights, and the county was first summoned to return members to Parliament in 1654. After the Restoration of 1660 the county and city returned two members each. In the wake of the Reform Act of 1832 the county returned two members for two divisions, and the boroughs of Gateshead, South Shields and Sunderland acquired representation. The bishops lost their secular powers in 1836. The boroughs of Darlington, Stockton and Hartlepool returned one member each from 1868 until the Redistribution of Seats Act 1885.

 

The Municipal Corporations Act 1835 reformed the municipal boroughs of Durham, Stockton on Tees and Sunderland. In 1875, Jarrow was incorporated as a municipal borough, as was West Hartlepool in 1887. At a county level, the Local Government Act 1888 reorganised local government throughout England and Wales. Most of the county came under control of the newly formed Durham County Council in an area known as an administrative county. Not included were the county boroughs of Gateshead, South Shields and Sunderland. However, for purposes other than local government, the administrative county of Durham and the county boroughs continued to form a single county to which the Crown appointed a Lord Lieutenant of Durham.

 

Over its existence, the administrative county lost territory, both to the existing county boroughs, and because two municipal boroughs became county boroughs: West Hartlepool in 1902 and Darlington in 1915. The county boundary with the North Riding of Yorkshire was adjusted in 1967: that part of the town of Barnard Castle historically in Yorkshire was added to County Durham, while the administrative county ceded the portion of the Borough of Stockton-on-Tees in Durham to the North Riding. In 1968, following the recommendation of the Local Government Commission, Billingham was transferred to the County Borough of Teesside, in the North Riding. In 1971, the population of the county—including all associated county boroughs (an area of 2,570 km2 (990 sq mi))—was 1,409,633, with a population outside the county boroughs of 814,396.

 

In 1974, the Local Government Act 1972 abolished the administrative county and the county boroughs, reconstituting County Durham as a non-metropolitan county. The reconstituted County Durham lost territory to the north-east (around Gateshead, South Shields and Sunderland) to Tyne and Wear and to the south-east (around Hartlepool) to Cleveland. At the same time it gained the former area of Startforth Rural District from the North Riding of Yorkshire. The area of the Lord Lieutenancy of Durham was also adjusted by the Act to coincide with the non-metropolitan county (which occupied 3,019 km2 (1,166 sq mi) in 1981).

 

In 1996, as part of 1990s UK local government reform by Lieutenancies Act 1997, Cleveland was abolished. Its districts were reconstituted as unitary authorities. Hartlepool and Stockton-on-Tees (north Tees) were returned to the county for the purposes of Lord Lieutenancy. Darlington also became a third unitary authority of the county. The Royal Mail abandoned the use of postal counties altogether, permitted but not mandatory being at a writer wishes.

 

As part of the 2009 structural changes to local government in England initiated by the Department for Communities and Local Government, the seven district councils within the County Council area were abolished. The County Council assumed their functions and became the fourth unitary authority. Changes came into effect on 1 April 2009.

 

On 15 April 2014, North East Combined Authority was established under the Local Democracy, Economic Development and Construction Act 2009 with powers over economic development and regeneration. In November 2018, Newcastle City Council, North Tyneside Borough Council, and Northumberland County Council left the authority. These later formed the North of Tyne Combined Authority.

 

In May 2021, four parish councils of the villages of Elwick, Hart, Dalton Piercy and Greatham all issued individual votes of no confidence in Hartlepool Borough Council, and expressed their desire to join the County Durham district.

 

In October 2021, County Durham was shortlisted for the UK City of Culture 2025. In May 2022, it lost to Bradford.

 

Eighteenth century Durham saw the appearance of dissent in the county and the Durham Ox. The county did not assist the Jacobite Rebellion of 1715. The Statue of Neptune in the City of Durham was erected in 1729.

 

A number of disasters happened in Nineteenth century Durham. The Felling mine disasters happened in 1812, 1813, 1821 and 1847. The Philadelphia train accident happened in 1815. In 1854, there was a great fire in Gateshead. One of the West Stanley Pit disasters happened in 1882. The Victoria Hall disaster happened in 1883.

 

One of the West Stanley Pit disasters happened in 1909. The Darlington rail crash happened in 1928. The Battle of Stockton happened in 1933. The Browney rail crash happened in 1946.

 

The First Treaty of Durham was made at Durham in 1136. The Second Treaty of Durham was made at Durham in 1139.

 

The county regiment was the Durham Light Infantry, which replaced, in particular, the 68th (Durham) Regiment of Foot (Light Infantry) and the Militia and Volunteers of County Durham.

 

RAF Greatham, RAF Middleton St George and RAF Usworth were located in County Durham.

 

David I, the King of Scotland, invaded the county in 1136, and ravaged much of the county 1138. In 17 October 1346, the Battle of Neville's Cross was fought at Neville's Cross, near the city of Durham. On 16 December 1914, during the First World War, there was a raid on Hartlepool by the Imperial German Navy.

 

Chroniclers connected with Durham include the Bede, Symeon of Durham, Geoffrey of Coldingham and Robert de Graystanes.

 

County Durham has long been associated with coal mining, from medieval times up to the late 20th century. The Durham Coalfield covered a large area of the county, from Bishop Auckland, to Consett, to the River Tyne and below the North Sea, thereby providing a significant expanse of territory from which this rich mineral resource could be extracted.

 

King Stephen possessed a mine in Durham, which he granted to Bishop Pudsey, and in the same century colliers are mentioned at Coundon, Bishopwearmouth and Sedgefield. Cockfield Fell was one of the earliest Landsale collieries in Durham. Edward III issued an order allowing coal dug at Newcastle to be taken across the Tyne, and Richard II granted to the inhabitants of Durham licence to export the produce of the mines, without paying dues to the corporation of Newcastle. The majority was transported from the Port of Sunderland complex, which was constructed in the 1850s.

 

Among other early industries, lead-mining was carried on in the western part of the county, and mustard was extensively cultivated. Gateshead had a considerable tanning trade and shipbuilding was undertaken at Jarrow, and at Sunderland, which became the largest shipbuilding town in the world – constructing a third of Britain's tonnage.[citation needed]

 

The county's modern-era economic history was facilitated significantly by the growth of the mining industry during the nineteenth century. At the industry's height, in the early 20th century, over 170,000 coal miners were employed, and they mined 58,700,000 tons of coal in 1913 alone. As a result, a large number of colliery villages were built throughout the county as the industrial revolution gathered pace.

 

The railway industry was also a major employer during the industrial revolution, with railways being built throughout the county, such as The Tanfield Railway, The Clarence Railway and The Stockton and Darlington Railway. The growth of this industry occurred alongside the coal industry, as the railways provided a fast, efficient means to move coal from the mines to the ports and provided the fuel for the locomotives. The great railway pioneers Timothy Hackworth, Edward Pease, George Stephenson and Robert Stephenson were all actively involved with developing the railways in tandem with County Durham's coal mining industry. Shildon and Darlington became thriving 'railway towns' and experienced significant growths in population and prosperity; before the railways, just over 100 people lived in Shildon but, by the 1890s, the town was home to around 8,000 people, with Shildon Shops employing almost 3000 people at its height.

 

However, by the 1930s, the coal mining industry began to diminish and, by the mid-twentieth century, the pits were closing at an increasing rate. In 1951, the Durham County Development Plan highlighted a number of colliery villages, such as Blackhouse, as 'Category D' settlements, in which future development would be prohibited, property would be acquired and demolished, and the population moved to new housing, such as that being built in Newton Aycliffe. Likewise, the railway industry also began to decline, and was significantly brought to a fraction of its former self by the Beeching cuts in the 1960s. Darlington Works closed in 1966 and Shildon Shops followed suit in 1984. The county's last deep mines, at Easington, Vane Tempest, Wearmouth and Westoe, closed in 1993.

 

Postal Rates from 1801 were charged depending on the distance from London. Durham was allocated the code 263 the approximate mileage from London. From about 1811, a datestamp appeared on letters showing the date the letter was posted. In 1844 a new system was introduced and Durham was allocated the code 267. This system was replaced in 1840 when the first postage stamps were introduced.

 

According to the Encyclopædia Britannica Eleventh Edition (1911): "To the Anglo-Saxon period are to be referred portions of the churches of Monk Wearmouth (Sunderland), Jarrow, Escomb near Bishop Auckland, and numerous sculptured crosses, two of which are in situ at Aycliffe. . . . The Decorated and Perpendicular periods are very scantily represented, on account, as is supposed, of the incessant wars between England and Scotland in the 14th and 15th centuries. The principal monastic remains, besides those surrounding Durham cathedral, are those of its subordinate house or "cell," Finchale Priory, beautifully situated by the Wear. The most interesting castles are those of Durham, Raby, Brancepeth and Barnard. There are ruins of castelets or peel-towers at Dalden, Ludworth and Langley Dale. The hospitals of Sherburn, Greatham and Kepyer, founded by early bishops of Durham, retain but few ancient features."

 

The best remains of the Norman period include Durham Cathedral and Durham Castle, and several parish churches, such as St Laurence Church in Pittington. The Early English period has left the eastern portion of the cathedral, the churches of Darlington, Hartlepool, and St Andrew, Auckland, Sedgefield, and portions of a few other churches.

 

'Durham Castle and Cathedral' is a designated UNESCO World Heritage Site. Elsewhere in the County there is Auckland Castle.

Baker City Bronc and Bull Riding

 

An action packed weekend at this year's Baker City Bronc and Bull Riding, with some of the meanest bulls, toughest cowboys, and hardest working bull fighters we've seen in a long time at Saturday night's Bull Riding

 

This two day rodeo event in Baker City is held on the 3rd weekend of July each year in conjunction with the annual Miners Jubilee celebration and features some of the best rodeo stock and toughest cowboy’s of any rodeo in Oregon, competing in just two events, bronc riding on Friday and bull riding on Saturday.

 

For more information including next year’s dates and ticket information visit www.bakerbroncsandbulls.com Or become a fan and like them on facebook at www.facebook.com/BakerBroncandBullRiding

 

For more information about other Baker County rodeos, and equestrian events visit Baker County Tourism's website at www.travelbakercounty.com

  

For the first churchly visit of that November 2023 trip to the southern French provinces of Roussillon and Languedoc, I will treat you to a truly unique place, the so-called “priory” of Serrabone, which features an absolute world-class masterpiece of Romanesque sculpture: its tribune.

 

I said “so-called” above because a priory, in the genuine acception of the word, is a secondary monastery established by an abbey. It is populated by monks sent by that abbey. Those monks are led by a prior, whose superior is the abbot of the founding abbey. In the case of Serrabone, there first was a late Carolingian parochial church established in this mountainous locale and first mentioned in writing in 1069. The walls of the nave are, for some part, still those of that ancient church.

 

It was then, at a time when local lords used to meddle more and more in the affairs of the Church (which was one of the reasons that prompted the coming of the Gregorian reform), that the viscount of Cerdagne and the local lord of Corsavy installed on the Serrabone mountaintop an unusually mixed group of canons and canonesses to live in accordance with the Augustinian Rule.

 

A new college church was built (mostly by enlarging the previous one) and consecrated in 1151. Its architecture is harmonious but very simple, as one would expect: in the Middle Ages, those mountains were populated (hence the creation of the parish) and did feed their inhabitants (serra bona in Catalan means “good mountain”), but there was precious little commerce with the outside world and the locals had nothing of real value to export. Therefore, the local economy was pretty much a closed circuit and money was far from flowing in abundantly. The style of the church, even though there were donations from the aforementioned lords, reflects this paucity of financial resources.

 

It is therefore a total mystery how the magnificent sculpted tribune, which would have cost a veritable fortune, was funded, and by whom. Nothing has ever been demonstrated in that matter, although many have conjectured in various directions. The only certainty we have is that it was built around the time when the church itself was completed, i.e., the mid–1150s.

 

The culmination of the “priory” did not last very long: canons and canonesses are not monks and nuns, their commitment is found throughout history and places to be much less strong, and by the late 1200s they had already broken communal life and begun to live in their own separate homes. Decadence went to such extremes that the “priory” was secularized by the pope in the 16th century and made a dependency of the chapter of the cathedral of Solsona. The last “prior” died in 1612 and the church returned to its simple parochial status.

 

The place was progressively abandoned as people left the mountains to go live easier lives in the valleys. It was almost in ruins when it was listed as a Historic Landmark in 1875 and the restoration began. Fortunately, the tribune had been protected and its capitals and columns hidden by the locals.

 

Those of you who will say “We have already seen this one!” like they spot twice-used footage in a movie are right, and I congratulate them for being so attentive!

 

I admit I unashamedly post a black-and-white version of an earlier color photograph of the underside of the Serrabone tribune —tell me which one you like best! Personally, I like both versions very much: the color version gives you additional information which is important and an integral part of the experience, but the black-and-white one retains, I feel, more “mystery” and ambiance, leaving more to the imagination...

Paxton’s Tower,

Llanarthne,

Carmarthenshire.

 

TAKEN - Sat 30th Oct'21

 

The tower is 36 feet high. The lower part of the tower is triangular in shape with a turret at each corner. On the first floor there is a banqueting room. Coloured glass from one of the windows can now be seen in the Carmarthen Museum at Abergwili. On the second floor there is a hexagonal prospect room surrounded by roof terraces. The windows to the prospect room are now bricked up. There is currently public access to the first floor banqueting room via stairs in one of the corner turrets.

South Flagler House is an ultra-luxury waterfront condominium development located at 1355 South Flagler Drive in West Palm Beach, Florida. Developed by Related Ross and designed by the globally renowned Robert A.M. Stern Architects (RAMSA), the project features two 28-story limestone-clad towers rising from a shared garden podium. The development topped out in late 2025 and is scheduled for completion in Fall 2027.

 

Residences & Pricing

The project features 105 to 121 private residences, including townhomes, multi-bedroom condos, and expansive penthouses. Interiors are custom-designed by Pembrooke & Ives, combining classic Palm Beach elegance with floor-to-ceiling glass and expansive terraces overlooking the Intracoastal Waterway and Atlantic Ocean.

 

According to current Zillow property listings, available units broadly range from $7.5 million to over $28 million.

 

Large-scale penthouses within the complex have reportedly commanded contracts upwards of $40 million.

 

World-Class Amenities

The complex boasts approximately 50,000 square feet of resort-style amenities and hospitality-driven services.

 

Wellness & Pools: A 25-meter lap pool, lakefront cabanas, hot tub, and private men’s and women’s spas featuring ice plunges, steam rooms, and saunas.

 

Athletics & Recreation: A private pickleball court, sports simulator lounge, golf simulator, and state-of-the-art fitness center.

 

Leisure & Conveniences: On-site elevated dining, a coffee shop, private gardens, a children's playroom, co-working spaces, and a fenced outdoor dog run with a sculpture garden.

 

Service Layer: 24-hour onsite staff, concierge, 24-hour valet parking, private keyed elevators, and two deeded parking spaces per residence.

 

Situated along the Gold Coast at the southern edge of West Palm Beach’s arts district, South Flagler House sits right across the bridge from Palm Beach Island. It offers immediate access to the Norton Museum of Art, Palm Harbor Marina, and the luxury shopping of Worth Avenue.

 

Credit for the data above is given to the following websites:

www.google.com/search?q=south+flagler+house+west+palm+bea...

www.google.com/search?q=what+is+the+architectural+style+o...

 

© All Rights Reserved - you may not use this image in any form without my prior permission.

  

View on Instagram ift.tt/33LIlBG

This piece features a celebration of pink with dark green in the background that makes it stand out. The colours compliment one another for an enchanted feel.

The primary historic post office in downtown Macon is the William Augustus Bootle Federal Building and U.S. Courthouse, located at 475 Mulberry Street. Originally completed in 1908, it served as the city's main post office and federal courthouse for decades.

 

Architecture & Design

Style: The building is a premier example of Beaux Arts Classicism, designed by James Knox Taylor, the Supervising Architect of the U.S. Treasury.

 

Exterior: Its facade is clad in white Georgia marble with a rusticated first floor and monumental paired columns.

 

Interior: The original postal lobby features verde marble pilasters, terrazzo floors with brass dividers, and richly detailed plaster ceilings. Some of the original octagonal postal tables remain in place today.

 

Key Historical Milestones

1896: Planning began due to Macon's rapid growth requiring a larger postal and judicial facility.

 

1905–1908: Construction took three years, replacing an older courthouse that was demolished in 1906.

 

1917 & 1934: The building underwent significant expansions to accommodate growing needs while maintaining its original architectural style.

 

1972: It was officially listed on the National Register of Historic Places.

 

1998: The building was renamed to honor Judge William Augustus Bootle, a pivotal figure in the Civil Rights Movement who issued landmark rulings desegregating the University of Georgia and Macon’s public services.

 

Current Use

Today the building serves as the headquarters for the U.S. District Court for the Middle District of Georgia. It also houses the U.S. Marshals Service and offices for the Eleventh Circuit Court of Appeals.

 

Credit for the data above is given to the following websites:

en.wikipedia.org/wiki/William_Augustus_Bootle_Federal_Bui...

www.google.com/search?q=history+of+post+office+building+d...

www.google.com/search?q=history+of+post+office+building+d...

 

© All Rights Reserved - you may not use this image in any form without my prior permission.

Rocky coastline of Big Sur, California, features turquoise waters of the Pacific Ocean crashing against rugged cliffs and a sandy cove. A small waterfall cascades directly onto the beach, framed by dense coastal trees. The scene captures the area's natural beauty, with clear blue skies overhead.

ATLANTA, GEORGIA - OCTOBER 26: Lee "Gumayusi" Min-hyeong (L) and Ryu "Keria" Min-seok of T1 pose at the League of Legends World Championship Semifinals Features Day on October 26, 2022 in Atlanta, GA. (Photo by Fernando Decillis/Riot Games)

The perfect spooky activity to do this fall.

   

The interactive pumpkin features a system which allows you to remove the lid, scoop the flesh, carve the pumpkin and then place a candle inside.

   

A smaller model is included for child avatars (tested with bebe youth).

   

A decor pack is also provided which is perfect to use as a photo prop or for decorating your home.

   

How to use:

   

-Rez the pumpkin on a suitable surface (Make sure it's facing the right way - the sticker is an indication).

 

- Stand directly in front of the pumpkin.

 

- Attach the item named "Pumpkin Carving Tool".

 

- Click the pumpkin to begin the interactive functions.

   

I hope you enjoy it guys!

Radgha features a spring-loaded Spell Launcher on her belly, and storage for magic bolts under her wings

Pontefract (or Pomfret) Castle is a castle ruin in the town of Pontefract, in West Yorkshire, England. King Richard II is thought to have died there. It was the site of a series of famous sieges during the 17th-century English Civil War.

 

The castle, on a rock to the east of the town above All Saints' Church, was constructed in approximately 1070 by Ilbert de Lacy on land which had been granted to him by William the Conqueror as a reward for his support during the Norman Conquest. There is, however, evidence of earlier occupation of the site. Initially the castle was a wooden structure which was replaced with stone over time. The Domesday Survey of 1086 recorded "Ilbert's Castle" which probably referred to Pontefract Castle.

 

Robert de Lacy failed to support King Henry I during his power struggle with his brother, and the King confiscated the castle from the family during the 12th century. Roger de Lacy paid King Richard I 3,000 marks for the Honour of Pontefract, but the King retained possession of the castle. His successor King John gave de Lacy the castle in 1199, the year John ascended the throne. Roger died in 1213 and was succeeded by his eldest son, John. However, the King took possession of Castle Donington and Pontefract Castle. The de Lacys lived in the castle until the early 14th century. It was under the tenure of the de Lacys that the magnificent multilobate donjon was built.

 

In 1311 the castle passed by marriage to the estates of the House of Lancaster. Thomas, Earl of Lancaster (circa 1278–1322) was beheaded outside the castle walls six days after his defeat at the Battle of Boroughbridge, a sentence placed on him by King Edward II himself in the great hall. This resulted in the earl becoming a martyr with his tomb at Pontefract Priory becoming a shrine. It next went to Henry, Duke of Lancaster and subsequently to John of Gaunt, third son of King Edward III. He made the castle his personal residence, spending vast amounts of money improving it.

 

In the closing years of the 14th century, Richard II banished John of Gaunt’s son Henry Bolingbroke, Duke of Hereford, from England. Following the death of John of Gaunt, Duke of Lancaster, in 1399, Richard II seized much of the property due to Bolingbroke. Richard then shared some of the seized property around among his favourites. The castle at Pontefract was among such properties which was under threat. These events aroused Bolingbroke to return to England to claim his rights to the Duchy of Lancaster and the properties of his father. Shakespeare's play Richard II (Act 2, scene 1, 277) relates Bolingbroke’s homecoming in the words of Northumberland in the speech of the eight tall ships:-

 

NORTHUMBERLAND

Then thus: I have from Port Le Blanc,

A bay in Brittany, receiv’d intelligence,

That Harry Duke of Herford, Rainold Lord Cobham,

Thomas, son and heir to th’ Earl of Arundel,

That late broke from the Duke of Exeter,

His brother, Archbishop late of Canterbury,

Sir Thomas Erpingham, Sir John Ramston,

Sir John Norbery, Sir Robert Waterton, and Francis Quoint—

All these, well furnished by the Duke of Brittany

With eight tall ships, three thousand men of war,

Are making hither with all due expedience,

And shortly mean to touch our northern shore

 

When Bolingbroke landed at Ravenspur on the Humber, he made straight way for his castle at Pontefract. King Richard II, being in Ireland at the time, was in no position to oppose Bolingbroke. Bolingbroke soon deposed Richard and took the crown for himself as Henry IV.

 

Richard II was captured by Henry Bolingbroke's supporters in August 1399 and was initially imprisoned in the Tower of London. Sometime before Christmas that year he was moved to Pontefract Castle (via Knaresborough) where he remained under guard until his death, perhaps on 14 February 1400. William Shakespeare's play Richard III mentions this incident:

 

Pomfret, Pomfret! O thou bloody prison,

Fatal and ominous to noble peers!

Within the guilty closure of thy walls

Richard the second here was hack'd to death;

And, for more slander to thy dismal seat,

We give thee up our guiltless blood to drink.

 

Various chroniclers suggest that Richard was starved to death by his captors, and others suggest he starved himself. A contemporary French chronicler suggested that Richard II had been hacked to death, but this is, according to the ODNB, "almost certainly fictitious"

 

Richard III had two relatives of Elizabeth Woodville beheaded at Pontefract Castle on 25 June 1483 – her son, Sir Richard Grey, and her brother, Anthony Woodville, 2nd Earl Rivers.

 

n 1536, the castle's guardian, Thomas Darcy, 1st Baron Darcy de Darcy handed over the castle to the leaders of the Pilgrimage of Grace, a Catholic rebellion from northern England against the rule of King Henry VIII. Lord Darcy was executed for this alleged "surrender", which the king viewed as an act of treason.

 

In 1541, during a royal tour of the provinces, it was alleged that King Henry's fifth wife, Queen Catherine Howard, committed her first act of adultery with Sir Thomas Culpeper at Pontefract Castle, a crime for which she was apprehended and executed without trial. Mary, Queen of Scots was lodged at the castle on 28 January 1569, travelling between Wetherby and Rotherham.

 

On his way south to London, King James rode from Grimston Park to view Pontefract Castle on 19 April 1603 and stayed the night at the Bear Inn at Doncaster. The castle was included in English jointure property of his wife, Anne of Denmark.

 

Royalists controlled Pontefract Castle at the start of the English Civil War. The first of three sieges began in December 1644 and continued until the following March when Marmaduke Langdale, 1st Baron Langdale of Holme arrived with Royalist reinforcements and the Parliamentarian army retreated. During the siege, mining and artillery caused damage and the Piper Tower collapsed as a result. The second siege began on 21 March 1645, shortly after the end of the first siege, and the garrison surrendered in July after hearing the news of Charles I's defeat at the Battle of Naseby. Parliament garrisoned the castle until June 1648 when Royalists sneaked into the castle and took control. Pontefract Castle was an important base for the Royalists, and raiding parties harried Parliamentarians in the area.

 

Oliver Cromwell led the final siege of Pontefract Castle in November 1648. Charles I was executed in January, and Pontefract's garrison came to an agreement and Colonel Morrice handed over the castle to Major General John Lambert on 24 March 1649. Following requests from the townspeople, the grand jury at York, and Major General Lambert, on 27 March Parliament gave orders that Pontefract Castle should be "totally demolished & levelled to the ground" and materials from the castle would be sold off. Piecemeal dismantling after the main organised activity of slighting may have further contributed to the castle's ruined state.

 

It is still possible to visit the castle's 11th-century cellars, which were used to store military equipment during the civil war.

 

Little survives of what "must have been one of the most impressive castles in Yorkshire" other than parts of the curtain wall and excavated and tidied inner walls. It had inner and outer baileys. Parts of a 12th-century wall and the Piper Tower's postern gate and the foundations of a chapel are the oldest remains. The ruins of the Round Tower or keep are on the 11th-century mound. The Great Gate flanked by 14th-century semi-circular towers had inner and outer barbicans. Chambers excavated into the rock in the inner bailey possibly indicate the site of the old hall and the North Bailey gate is marked by the remains of a rectangular tower.

 

The castle has several unusual features. The donjon has a rare Quatrefoil design. Other examples of this type of Keep are Clifford's Tower, York and at the Château d'Étampes in France. Pontefract also has an torre albarrana, a fortification almost unknown outside the Iberian Peninsula. Known as the Swillington Tower, the detached tower was attached to the north wall by a bridge. Its purpose was to increase the defender's range of flanking fire.

 

Wakefield Council, who manage the site, commissioned William Anelay Ltd to begin repairs on the castle in September 2015, but work stopped in November 2016 when Anelay went into administration. The Council then engaged Heritage Building & Conservation (North) Ltd, who began work on the site in March 2017. A new visitor centre and cafe were opened in July 2017; but in April 2018 the council announced that they had terminated the contract with HB&C (North) Ltd, as no work had been done since mid-March, and they had not had any reassurances that the work would restart. On Yorkshire Day 2019, the restoration was completed, and the castle was removed from Historic England's "Heritage At Risk" list.

"Casa Cuseni is a house-garden-museum, with countless delightful works of art of all shapes and types: here a table lamp with the features of a beautiful girl, in Art Nouveau style."

 

“Casa Cuseni è una casa-giardino-museo, con innumerevoli deliziose opere d'arte di ogni foggia e tipo: qui una lampada da tavolo con le fattezze di una bella fanciulla, in stile liberty.”

 

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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;

or…. Press the “L” button to zoom in the image;

clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;

oppure…. premi il tasto “L” per ingrandire l'immagine;

 

Qi Bo's photos on Fluidr

  

Qi Bo's photos on Flickriver

  

www.worldphoto.org/sony-world-photography-awards/winners-...

  

www.fotografidigitali.it/gallery/2726/opere-italiane-segn...

 

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A history of Taormina: chronicles of a forbidden love and its great secret (not only Paolo and Francesca) with an unexpected "scoop".

This story is an integral part of the story previously told, the historical period is the same, the place is the same, the various characters often meet each other because they know each other; Taormina, between the end of the 1800s and the beginning of the 1900s, in an ever increasing growth, became the place of residence of elite tourism, thanks to the international interest aroused by writers and artists, such as Johann Wolfgang von Goethe , or great personalities like Lady Florence Trevelyan: Taormina becomes so famous, thanks to the paintings of the painter Otto Geleng and the photographs of the young Sicilian models by Wilhelm von Gloeden; in the air of Taormina there is a sense of libertine, its famous and histrionic visitors never fail to create scandal, even surpassing the famous Capri, in which, to cite just one example, the German gunsmith Krupp, trying to recreate the he environment of Arcadia that one breathed in Taormina (thanks to the photos of von Gloeden) was overwhelmed by the scandal for homosexuality, and took his own life. Taormina thus becomes a heavenly-like place, far from industrial civilizations, where you can freely live your life and sexuality; this is the socio-cultural environment in which the two protagonists of this story move, the British painter Robert Hawthorn Kitson (1873 - 1947) and the painter Carlo Siligato (born in Taormina in 1875, and died there in 1959). Robert H. Kitson, born in Leeds in England, belonged to a more than wealthy family, as a young engineer he had begun to replace his father in the family locomotive construction company (Kitson & Co.), on the death of his father in 1899 sells everything and decides to move very rich in Sicily to Taormina (he had been there the previous year with a trip made with his parents, here he had met, in addition to Baron von Gloeden, also the writer and poet Oscar Wilde who came to Italy, immediately after having served two years in prison in forced labor, on charges of sodomy); Kitson settled there because he was suffering from a severe form of rheumatic fever (like von Gloeden was advised to treat himself in the Mediterranean climate milder), and because as a homosexual, he leaves England because the Labouchere amendment considered homosexuality a crime. The other protagonist of this story is Carlo Siligato, he was from Taormina, he had attended the Academy of Fine Arts in Venice, a very gifted painter, he was very good at oil painting (he exhibited his paintings in an art workshop, even now existing, in via Teatro Greco in Taormina), the meeting with the painter Robert Kitson, led him to adopt the watercolor technique: almost to relive Dante's verses on Paolo and Francesca "Galeotto was the book and who wrote it" the common passion for painting led the two artists to live an intense love story. Kitson built his home in the "Cuseni" district of Taormina, called for this "Casa Cuseni", the house was built between 1900 and 1905, its decorations were entrusted to the artists Alfred East (realist landscape painter, president of the Royal Society ), and Frank Brangwyn (painter, decorator, designer), he was a pupil of William Morris, leader of the English movement "Arts and Crafts" which spread to England in the second half of the nineteenth century (the Arts and Crafts was a response to the industrialization of Europe, of mass production operated by factories, all this at the expense of traditional craftsmanship, from this movement originated the Art Nouveau, in Italy also known as Liberty Style or Floral Style, which distinguished itself for having been a artistic and philosophical movement, which developed between the end of the 19th century and the first decade of the 20th century, whose style spread in such a way as to be present everywhere). Casa Cuseni has kept a secret for 100 years that goes far beyond the forbidden love lived by Robert and Carlo, a secret hidden inside the "secret room", that dinning room that was reopened in 2012; entering the dining room, you can witness a series of murals painted on the four walls by Frank Brangwyn, in Art Nouveau style, which portray the life and love story between the painter Robert Kitson, and his life partner, the Carlo Siligato from Taormina, but the thing that makes these murals even more special, full of tenderness and sweetness, is that "their secret" (!) is represented in them, it is described visually, as in an "episodic" story that really happened in their lives: Messina (and Reggio Calabria) are destroyed by the terrible earthquake with a tsunami on December 28, 1908, Carlo Siligato, Robert Kitson, Wilhelm von Gloeden and Anatole France leave for Messina, to see and document in person the tragedy, the city was a pile of rubble, many dead, Robert and Carlo see a baby, Francesco, he is alone in the world, without parents who died in the earthquake, abandoned to a certain and sad destiny, a deep desire for protection is born in the two of them, a maternal and paternal desire is born, they decide to takes that little child with them even knowing that they are risking a lot ... (!), what they want to do is something absolutely unthinkable in that historical period, they are a homosexual couple, what they are about to do is absolutely forbidden ..(!) but now there is Francesco in their life, thus becoming, in fact, the first homogenitorial family (with a more generic term, rainbow family) in world history: hence the need to keep the whole story absolutely hidden, both from an artistic point of view , represented by the murals (for more than 100 years, the "dinning room" will be kept hidden), both of what happens in real life, with little Francesco cared for lovingly, but with great risk or. I have allegorically inserted, in the photographic story, some photographs of the artists of the company "Casa del Musical", who came to Taormina to perform during the Christmas period: today as yesterday, Taormina has always been (starting from the last 20 years of the 19th century) center of a crossroads of artists and great personalities, Casa Cuseni also in this has an enormous palmares of illustrious guests, too long to state. The young boys painted on the murals of Casa Cuseni, wear white, this is a sign of purity, they wanted to represent their ideal homosexual world, fighting against the figure dressed in black, short in stature, disturbing, which acquires a negative value, an allegorical figure of the English society of the time, indicating the Victorian morality that did not hesitate to condemn Oscar Wilde, depriving him of all his assets and rights, even preventing him from giving the surname to his children. The boys are inspired by the young Sicilian models photographed by Wilhelm von Gloeden, dressed in white tunics, with their heads surrounded by local flowers. The only female figure present has given rise to various interpretations, one could be Kitson's detachment from his motherland, or his detachment from his mother. On the third wall we witness the birth of the homogenitorial family, both (allegorically Carlo and Kitson with the child in their arms) are in profile, they are walking, the younger man has a long, Greek-style robe, placed on the front, next to him behind him, the sturdier companion holds and gently protects the little child in his arms, as if to spare the companion the effort of a long and uncertain journey, there is in the representation of the family the idea of a long journey, in fact the man holding the child wears heavy shoes, their faces are full of apprehension and concern: in front of them an empty wall, so deliberately left by Frank Brangwin, since their future is unknown, in front of them they have a destiny full of unknowns (at the same time, their path points east, they go towards the rising sun: opening the large window the sun floods everything in the room). In the "secret room" there is the picture painted in 1912 by Alfred E. East, an oil on canvas, representing Lake Bourget. Carlo Siligato later married Costanza, she was my father's grandmother's sister, they had a son, Nino, who for many years lived and worked as a merchant in his father's art workshop. I sincerely thank my colleague Dr. Francesco Spadaro, doctor and esteemed surgeon, owner and director of the "Casa Cuseni" House-Garden-Museum, who, affectionately acting as a guide, gave me the precious opportunity to create "this photographic tour" inside the house- museum and in the "metaphysical garden" of Casa Cuseni. … And the scoop that I announced in the title ..? After photographing the tomb of Carlo Siligato, in the Catholic cemetery of Taormina, I started looking for that of Robert Kitson, in the non-Catholic cemetery of Taormina: when I finally found it (with him lies his niece Daphne Phelps, buried later in 2005) ... I felt a very strong emotion, first of all I was expecting a mausoleum, instead I found a small, very modest tomb on this is not a photo of him, not an epitaph, not a Cross, not a praying Angel to point it out, but ... unexpectedly for a funerary tombstone ... a small bas-relief carved on marble (or stone) depicting ... the Birth ... (!), obviously , having chosen her could have a very specific meaning: a desire to transmit a message, something very profound about him, his tomb thus testified that in his soul, what was really important in life was having a family, with Carlo and baby Francesco, certainly beloved, saved from a certain and sad fate, in the terrible Messina earthquake-tsunami of 28 December 1908 ... almost recalling in an absolute synthesis, at the end of his life, what had already been told in the "secret murals" of Casa Cuseni.

…………………………………………………………………..

Una storia di Taormina: cronache di un amore proibito e del suo grande segreto (non solo Paolo e Francesca) con inaspettato “scoop”.

Questa storia fa parte integrante della storia precedentemente raccontata, il periodo storico è lo stesso, il luogo è lo stesso, i vari personaggi spesso si frequentano tra loro poiché si conoscono; Taormina, tra la fine dell’800 e l’inizio del’900, in un sempre maggiore crescendo, diventa luogo di residenza del turismo d’élite, grazie all’interesse internazionale suscitato ad opera di scrittori ed artisti, come Johann Wolfgang von Goethe, o grandi personalità come Lady Florence Trevelyan: Taormina diventa così famosa, complici i quadri del pittore Otto Geleng e le fotografie dei giovani modelli siciliani di Wilhelm von Gloeden; nell’aria di Taormina si respira un che di libertino, i suoi famosi ed istrionici frequentatori non mancano mai di creare scandalo, superando persino la famosa Capri, nella quale, per citare solo un esempio, l’armiere tedesco Krupp, cercando di ricreare l’ambiente dell’Arcadia che si respirava a Taormina (grazie alle foto di von Gloeden) viene travolto dallo scandalo per omosessualità, e si toglie la vita. Taormina diviene quindi un luogo simil-paradisiaco, lontana dalle civiltà industriali, nella quale poter vivere liberamente la propria vita e la propria sessualità; questo è l’ambiente socio-culturale nel quale si muovono i due protagonisti di questa vicenda, il pittore britannico Robert Hawthorn Kitson (1873 – 1947) ed il pittore Carlo Siligato (nato a Taormina nel 1875, ed ivi morto nel 1959). Robert H. Kitson, nacque a Leeds in Inghilterra, apparteneva ad una famiglia più che benestante, da giovane ingegnere aveva cominciato a sostituire il padre nell’impresa familiare di costruzioni di locomotive (la Kitson & Co.), alla morte del padre nel 1899 vende tutto e decide di trasferirsi ricchissimo in Sicilia a Taormina (vi era stato l’anno precedente con un viaggio fatto coi suoi genitori, qui aveva conosciuto, oltre al barone von Gloeden, anche lo scrittore e poeta Oscar Wilde venuto in Italia, subito dopo aver scontato due anni di prigione ai lavori forzati, con l’accusa di sodomia); Kitson vi si stabilisce perché affetto da una grave forma di febbre reumatica (come von Gloeden gli fu consigliato di curarsi nel clima mediterraneo più mite), sia perché in quanto omosessuale, lascia l’Inghilterra perché l’emendamento Labouchere considerava l’omosessualità un crimine. L’altro protagonista di questa storia è Carlo Siligato, egli era taorminese, aveva frequentato l’Accademia di Belle Arti di Venezia, pittore molto dotato, era bravissimo nel dipingere ad olio (esponeva i suoi quadri in una bottega d’arte, ancora adesso esistente, in via Teatro Greco a Taormina), l’incontro col pittore Robert Kitson, lo portò ad adottare la tecnica dell’acquarello: quasi a rivivere i versi di Dante su Paolo e Francesca “Galeotto fu ‘l libro e chi lo scrisse” la comune passione per la pittura condusse i due artisti a vivere una intensa storia d’amore. Kitson costruì nel quartiere “Cuseni” di Taormina la sua abitazione, detta per questo “Casa Cuseni”, la casa fu costruita tra il 1900 ed il 1905, le sue decorazioni furono affidate agli artisti Alfred East (pittore verista paesaggista, presidente della Royal Society), e Frank Brangwyn (pittore, decoratore, designer, progettista), egli era allievo di William Morris, leader del movimento inglese “Arts and Crafts” (Arti e Mestieri) che si diffuse in Inghilterra nella seconda metà del XIX secolo (l’Arts and Crafts era una risposta alla industrializzazione dell’Europa, della produzione in massa operata dalle fabbriche, tutto ciò a scapito dell’artigianato tradizionale, da questo movimento ebbe origine l’Art Nouveau, in Italia conosciuta anche come Stile Liberty o Stile Floreale, che si distinse per essere stata un movimento artistico e filosofico, che si sviluppò tra la fine dell’800 ed il primo decennio del ‘900, il cui stile si diffuse in tal modo da essere presente dappertutto). Casa Cuseni ha custodito per 100 anni un segreto che va ben oltre quell’amore proibito vissuto da Robert e Carlo, segreto celato all’interno della “stanza segreta”, quella dinning room che è stata riaperta nel 2012; entrando nella sala da pranzo, si assiste ad una serie di murales realizzati sulle quattro pareti da Frank Brangwyn, in stile Art Nouveau, che ritraggono la vita e la storia d’amore tra il pittore Robert Kitson, ed il suo compagno di vita, il pittore taorminese Carlo Siligato, ma la cosa che rende questi murales ancora più particolari, carichi di tenerezza e dolcezza, è che in essi viene rappresentato “il loro segreto” (!), viene descritto visivamente, come in un racconto “ad episodi” quello che è realmente avvenuto nella loro vita: Messina (e Reggio Calabria) vengono distrutte dal terribile sisma con maremoto il 28 dicembre del 1908, partono per Messina, Carlo Siligato, Robert Kitson, Wilhelm von Gloeden ed Anatole France, per vedere e documentare di persona la tragedia, la città era un cumulo di macerie, moltissimi i morti, Robert e Carlo vedono un piccolo bimbo, Francesco, egli è solo al mondo, privo dei genitori periti nel terremoto, abbandonato ad un certo e triste destino, nasce in loro due un profondo desiderio di protezione, nasce un desiderio materno e paterno, decidono di prende quel piccolo bimbo con loro pur sapendo che stanno rischiando moltissimo…(!) , quello che vogliono fare è una cosa assolutamente impensabile in quel periodo storico, loro sono una coppia omosessuale, quello che stanno per fare è assolutamente proibito..(!) ma oramai c’è Francesco nella loro vita, divenendo così, di fatto, la prima famiglia omogenitoriale (con termine più generico, famiglia arcobaleno) nella storia mondiale: da qui la necessità di tenere assolutamente nascosta tutta la vicenda, sia dal punto di vista artistico, rappresentata dai murales (per più di 100 anni, la “dinning room” verrà tenuta nascosta), sia di quanto accade nella vita reale, col piccolo Francesco accudito amorevolmente, ma con grandissimo rischio. Ho inserito allegoricamente, nel racconto fotografico, alcune fotografie degli artisti della compagnia “Casa del Musical”, giunti a Taormina per esibirsi durante il periodo natalizio: oggi come ieri, Taormina è sempre stata (a partire dagli ultimi 20 anni dell’800) al centro di un crocevia di artisti e grandi personalità, Casa Cuseni anche in questo ha un enorme palmares di ospiti illustri, troppo lungo da enunciare. I giovani ragazzi dipinti sui murales di Casa Cuseni, vestono di bianco, questo è segno di purezza, si è voluto in tal modo rappresentare il loro mondo ideale omosessuale, in lotta contro la figura vestita di nero, bassa di statura, inquietante, che acquista un valore negativo, figura allegorica della società inglese dell’epoca, indicante la morale Vittoriana che non ha esitato a condannare Oscar Wilde, privandolo di tutti i suoi beni e diritti, impedendogli persino di dare il cognome ai suoi figli. I ragazzi sono ispirati ai giovani modelli siciliani fotografati da Wilhelm von Gloeden, vestiti con tuniche bianche, col capo cinto dei fiori locali. L’unica figura femminile presente, ha dato spunto a varie interpretazioni, una potrebbe essere il distacco da parte di Kitson dalla sua madre patria, oppure il distacco da sua madre. Sulla terza parete si assiste alla nascita della famiglia omogenitoriale, entrambi (allegoricamente Carlo e Kitson col bimbo in braccio) sono di profilo, sono in cammino, l’uomo più giovane ha una veste lunga, alla greca, posto sul davanti, accanto a lui, alle sue spalle, il compagno più robusto sostiene in braccio e protegge con dolcezza il piccolo bimbo, quasi a voler risparmiare al compagno la fatica di un lungo ed incerto percorso, vi è nella rappresentazione della famiglia l’idea di un lungo percorso, infatti l’uomo che regge il bimbo indossa delle calzature pesanti, i loro volti sono carichi di apprensione e preoccupazione: davanti a loro una parete vuota, così volutamente lasciata da Frank Brangwin, poiché il loro futuro è ignoto, davanti hanno un destino pieno di incognite (al tempo stesso, il loro cammino indica l’est, vanno verso il sole nascente: aprendo la grande finestra il sole inonda ogni cosa nella stanza).

Nella “stanza segreta” c’è il quadro dipinto nel 1912 da Alfred E. East, un olio su tela, rappresentante il lago Bourget.

Carlo Siligato, successivamente si sposò con Costanza, una sorella della nonna di mio padre, da lei ebbe un figlio, Nino, il quale per tantissimi anni ha vissuto e lavorato come commerciante nella bottega d’arte del padre. Ringrazio di cuore il mio collega dott. Francesco Spadaro, medico e stimato chirurgo, proprietario e direttore della Casa-Giardino-Museo “Casa Cuseni”, il quale, facendomi affettuosamente da cicerone, mi ha dato la preziosa opportunità di realizzare “questo tour fotografico” all’interno dell’abitazione-museo e nel “giardino-metafisico” di Casa Cuseni.

…E lo scoop che ho annunciato nel titolo..? Dopo aver fotografato la tomba di Carlo Siligato, nel cimitero cattolico di Taormina, mi sono messo alla ricerca di quella di Robert Kitson, nel cimitero acattolico di Taormina: quando finalmente l’ho trovata (insieme a lui giace sua nipote Daphne Phelps, seppellita successivamente nel 2005)…ho provato una fortissima commozione, innanzitutto mi aspettavo un mausoleo, invece ho trovato una tomba piccola, molto modesta, su questa non una sua foto, non un epitaffio, non una Croce, non un Angelo pregante ad indicarla, ma … inaspettatamente per una lapide funeraria…un piccolo bassorilievo scolpito su marmo (o su pietra) raffigurante…la Natalità…(!), evidentemente, l’averla scelta potrebbe avere un significato ben preciso: un desiderio di trasmettere un messaggio, qualcosa di molto profondo di lui, la sua tomba testimoniava così che nel suo animo, ciò che in vita fu davvero importante fu l’aver avuto una famiglia, con Carlo e col piccolo Francesco, certamente amatissimo, salvato da un molto probabile triste destino, nel terribile terremoto-maremoto di Messina del 28 dicembre del 1908…quasi rievocando in una sintesi assoluta, al termine della sua vita, ciò che era già stato raccontato nei “murales segreti” di Casa Cuseni.

  

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Belgian e-card by Boomerang, no. 1022832, 2007. Photo: Cinéart / Universal / Focus Features. Jake Gyllenhaal and Heath Ledger in Brokeback Mountain (Ang Lee, 2005).

 

The career of American actor Jake Gyllenhaal (1980) has spanned more than three decades. He is the son of film director Stephen Gyllenhaal and screenwriter Naomi Foner, and the younger brother of actress Maggie Gyllenhaal. He had his breakthrough in the cult film Donnie Darko (2001). He earned praise for his performance as Jack Twist in Ang Lee's gay drama Brokeback Mountain (2005), including the BAFTA Award for Best Supporting Actor and an Academy Award nomination. Gyllenhaal starred in various action films and thrillers, including David Fincher's Zodiac (2007) and Nightcrawler (2014).

 

Posthumously, Australian actor Heath Ledger (1979–2008) won an Oscar for his portrayal of the Joker as the psychopathic clown prince of crime in The Dark Knight (2008). In 2006, he was Oscar-nominated for his role as a gay cowboy in Brokeback Mountain (2005). In his short career, Ledger acted in 19 films and won 39 awards, including a BAFTA Award and a Golden Globe.

 

And, please check out our blog European Film Star Postcards.

The drive to my hometown features fewer and fewer railroad sights the farther north you go. We stopped for lunch in Eagle River and the old C&NW depot was looking particularly good in the snow, uncluttered by vehicles and the plowed lane in front could almost pass for snowy tracks if you let your imagination wander. It's been a long time since the walls reverberated from the rumble of a passing train. The line through here, between Eland, WI and Watersmeet, MI was originally built by the Milwaukee, Lake Shore & Western. December 23, 2021.

Various water features at the Orange County Arboretum

Pacific Fair Shopping Centre in Broadbeach,Gold Coast, Queensland Australia. August 2018.

 

The shopping centre has been done up since we were last here and it is amazing.

Note the accumulation of iron (redox feature) and areas of reduction (gray color) from the lower subsoil of an Augusta soil.

 

For a detailed description of the soil, visit:

soilseries.sc.egov.usda.gov/OSD_Docs/A/AUGUSTA.html

 

Redoximorphic features (RMFs) consist of color patterns in a soil that are caused by loss (depletion) or gain (concentration) of pigment compared to the matrix color, formed by oxidation/reduction of iron and/or manganese coupled with their removal, translocation, or accrual.

 

For more information about describing and sampling soils, visit:

www.nrcs.usda.gov/resources/guides-and-instructions/field...

or Chapter 3 of the Soil Survey manual:

www.nrcs.usda.gov/sites/default/files/2022-09/The-Soil-Su...

 

For additional information on "How to Use the Field Book for Describing and Sampling Soils" (video reference), visit:

www.youtube.com/watch?v=e_hQaXV7MpM

 

For additional information about soil classification using USDA-NRCS Soil Taxonomy, visit:

www.nrcs.usda.gov/resources/guides-and-instructions/keys-...

or;

www.nrcs.usda.gov/resources/guides-and-instructions/soil-...

 

For more information about Hydric Soils and their Field Indicators, visit:

www.nrcs.usda.gov/resources/guides-and-instructions/field...

 

Some background:

The VF-1 was developed by Stonewell/Bellcom/Shinnakasu for the U.N. Spacy by using alien Overtechnology obtained from the SDF-1 Macross alien spaceship. Its production was preceded by an aerodynamic proving version of its airframe, the VF-X. Unlike all later VF vehicles, the VF-X was strictly a jet aircraft, built to demonstrate that a jet fighter with the features necessary to convert to Battroid mode was aerodynamically feasible. After the VF-X's testing was finished, an advanced concept atmospheric-only prototype, the VF-0 Phoenix, was flight-tested from 2005 to 2007 and briefly served as an active-duty fighter from 2007 to the VF-1's rollout in late 2008, while the bugs were being worked out of the full-up VF-1 prototype (VF-X-1).

 

The space-capable VF-1's combat debut was on February 7, 2009, during the Battle of South Ataria Island - the first battle of Space War I - and remained the mainstay fighter of the U.N. Spacy for the entire conflict. Introduced in 2008, the VF-1 would be out of frontline service just five years later, though.

 

The VF-1 proved to be an extremely capable craft, successfully combating a variety of Zentraedi mecha even in most sorties which saw UN Spacy forces significantly outnumbered. The versatility of the Valkyrie design enabled the variable fighter to act as both large-scale infantry and as air/space superiority fighter. The signature skills of U.N. Spacy ace pilot Maximilian Jenius exemplified the effectiveness of the variable systems as he near-constantly transformed the Valkyrie in battle to seize advantages of each mode as combat conditions changed from moment to moment.

 

The basic VF-1 was deployed in four minor variants (designated A, D, J, and S) and its success was increased by continued development of various enhancements including the GBP-1S "Armored" Valkyrie, FAST Pack "Super" Valkyrie and the additional RÖ-X2 heavy cannon pack weapon system for the VF-1S for additional firepower.

The FAST Pack system was designed to enhance the VF-1 Valkyrie variable fighter, and the initial V1.0 came in the form of conformal pallets that could be attached to the fighter’s leg flanks for additional fuel – primarily for Long Range Interdiction tasks in atmospheric environment. Later FAST Packs were designed for space operations.

 

The VF-1D Valkyries were two-seater variants of the VF-1 Valkyrie and they were used for training. Each features two independent TV camera "eye" systems within their head, one for each crew member, and each visual system was linked to a RÖV-20 anti-aircraft laser cannon, which could be fired independently or as a single weapon station, operated by either crew member. Otrherwise the VF-1D had the same equipment and avionics suite as the single seat fighters, making them fully combat-capable.

 

The forward fuselage (コクピット・カプセル Kokupitto Kapuseru, lit. Cockpit Capsule) of a VF-1D Valkyrie functionsed as an escape system that was furnished with an independent life support system, rescue transponder, a hypo-metabolic system, and a simple emergency medical system. When a VF-1D transformed into Battroid mode, the head could open, allowing the two seats to emerge at the top, arranged vertically. The back seat emerged first and the front seat, where the pilot sat, emerged second underneath the back seat.

 

After the end of Space War I, the VF-1 continued to be manufactured both in the Sol system and throughout the UNG space colonies. Although the VF-1 would be replaced in 2020 as the primary Variable Fighter of the U.N. Spacy by the more capable, but also much bigger, VF-4 Lightning III, a long service record and continued production after the war proved the lasting worth of the design.

The versatile aircraft also underwent constant upgrade programs. For instance, about a third of all VF-1 Valkyries were upgraded with Infrared Search and Track (IRST) systems from 2016 onwards, placed in a streamlined fairing on the upper side of the nose, just in front of the cockpit. This system allowed for long-range search and track modes, freeing the pilot from the need to give away his position with active radar emissions, and it could also be used for target illumination and guiding precision weapons.

Many Valkyries also received improved radar warning systems, with receivers, depending on the systems, mounted on the wingtips, on the fins and/or on the LERXs. Improved ECR measures were also mounted on some machines, typically in conformal fairings on the flanks of the legs/engine pods.

 

The VF-1 was without doubt the most recognizable variable fighter of Space War I and was seen as a vibrant symbol of the U.N. Spacy even into the first year of the New Era 0001 in 2013. At the end of 2015 the final rollout of the VF-1 was celebrated at a special ceremony, commemorating this most famous of variable fighters. The VF-1 Valkryie was built from 2006 to 2013 with a total production of 5,459 VF-1 variable fighters with several variants (VF-1A = 5,093, VF-1D = 85, VF-1J = 49, VF-1S = 30, VF-1G = 12, VE-1 = 122, VT-1 = 68).

 

However, the fighter was frequently updated, leading to several “re-built” variants, and remained active in many second line units and continued to show its worthiness years later, e. g. through Milia Jenius who would use her old VF-1 fighter in defense of the colonization fleet - 35 years after the type's service introduction!

  

General characteristics:

All-environment variable fighter and tactical combat Battroid,

used by U.N. Spacy, U.N. Navy, U.N. Space Air Force

 

Accommodation:

Pilot only in Marty & Beck Mk-7 zero/zero ejection seat

 

Dimensions:

Fighter Mode:

Length 14.23 meters

Wingspan 14.78 meters (at 20° minimum sweep)

Height 3.84 meters

 

Battroid Mode:

Height 12.68 meters

Width 7.3 meters

Length 4.0 meters

 

Empty weight: 13.25 metric tons;

Standard T-O mass: 18.5 metric tons;

MTOW: 37.0 metric tons

 

Power Plant:

2x Shinnakasu Heavy Industry/P&W/Roice FF-2001 thermonuclear reaction turbine engines, output 650 MW each, rated at 11,500 kg in standard or in overboost (225.63 kN x 2)

4x Shinnakasu Heavy Industry NBS-1 high-thrust vernier thrusters (1 x counter reverse vernier thruster nozzle mounted on the side of each leg nacelle/air intake, 1 x wing thruster roll control system on each wingtip);

18x P&W LHP04 low-thrust vernier thrusters beneath multipurpose hook/handles

 

Performance:

Battroid Mode: maximum walking speed 160 km/h

Fighter Mode: at 10,000 m Mach 2.71; at 30,000+ m Mach 3.87

g limit: in space +7

Thrust-to-weight ratio: empty 3.47; standard T-O 2.49; maximum T-O 1.24

 

Design Features:

3-mode variable transformation; variable geometry wing; vertical take-off and landing; control-configurable vehicle; single-axis thrust vectoring; three "magic hand" manipulators for maintenance use; retractable canopy shield for Battroid mode and atmospheric reentry; option of GBP-1S system, atmospheric-escape booster, or FAST Pack system

 

Transformation:

Standard time from Fighter to Battroid (automated): under 5 sec.

Min. time from Fighter to Battroid (manual): 0.9 sec.

 

Armament:

2x Mauler RÖV-20 anti-aircraft laser cannon in the "head" unit, firing 6,000 pulses per minute

1x Howard GU-11 55 mm three-barrel Gatling gun pod with 200 RPG, fired at 1,200 rds/min

4x underwing hard points for a wide variety of ordnance, including

12x AMM-1 hybrid guided multipurpose missiles (3/point), or

12x MK-82 LDGB conventional bombs (3/point), or

6x RMS-1 large anti-spaceship reaction missiles (2/outboard point, 1/inboard point), or

4x UUM-7 micro-missile pods (1/point) each carrying 15 x Bifors HMM-01 micro-missiles, or a combination of above load-outs and other guided and unguided ordnance

  

The kit and its assembly:

This started as a quick relief build after the submission for the 2021 "One Week " Group Build at whatifmodellers.com - but progress was so quick that I finished this VF-1 in time to make it a second submission withing the GB's effective run of nine days.

This one was a simple adaptation of one of the experimental "Heather Ferris" low-visibility paint schemes the US Navy tested during the early Eighties on some F-4S "Phantom II"s of VF-301 and 302, before the moere uniform Light Compass Grey/Light Ghost Grey was eventually adapted. However, the Heather Ferris schemes are absolutely comtemporary for the VF-1's medial appearance, and mating them on a model appeared like a suitable combo.

 

The basis is - as usual - the vintage and very simple ARII VF-1, in this case a double-seater. It was built OOB with the landing gear down, and with the usual improvements: some standard blade antennae, the fins’ tops were modified with RHAWS fairings. However, I neglected to modify the upper torso - The VF-1D Valkyrie has a slightly different forward fuselage in Super Dimension Fortress Macross The First, lacking the dorsal air brake of the single-seat fighters and having a "cleaner" surface with an edgier spine. But the "standard" hull is also fine/canonical, I just missed the opportunity. Maybe on another VF-1D...?

 

The underwing pylons were deleted (it's just a trainer and maybe used for air combat drill, so extra weight is superfluous). The gun pod was retained and modified to accept a scratched wire display in its tail to hold the Valkyrie in flight scenes. The pilot figures were just guests for the in-flight photo sessions, later the canopy was glued to a mount in open position.

  

Painting and markings:

As mentioned above, this kit carries an adaptation of one of the three Heather Ferris schemes, namely #2 with a light nose section and a darker tail/starboard side. Since the VF-1's structure, with VG wings at shoulderposition and a twin tail, differs from the benchmark F-4, I drew up a three-side profile view of a VF-1 and laid the paint scheme out - it made painting much easier.

 

The Heather Ferris warp-around scheme consists of four tones FS 36375 (Light Ghost grey), 36307 (Light Sea Grey, it was a brownish hue), 35237 (Grey bLue AMT-11) and 35164 (Intermediate Blue). The paints I used were Humbrol 127, a 3:1 mix of 64 and 140, 145 and 144, respectively. The cockpit interior became, according to the look in the TV series, medium grey (Revell 47) with black seats and brown cushions. The landing gear became white and the GU-11 gun pod iron metallic (Humbrol 53), for a toned.down look.

 

After basic painting, the model received an overall washing with thinned black ink to emphasize the engraved panel lines. A little post-shading was done, too, for a more graphic look, and then the decals were applied. The low-viz "kite" roundels were printed at home, the tactical markings came from an Authentic Decals F-18 sheet (which turned out to be rubbish - very thin but brittle and prone to crack like vintage ESCI decals!!!) and the stencils were taken from the VF-1 OOB sheet. For some contrast to the dull livery, and as a hommage to the "Delta November" markings of the F-4Ss that carried this unique paint scheme, I gave the VF-1D small red markings on the fins and under the cockpit - very subtle, but I think that this improves the overall look a lot. Generic decal material was used to create the grey wing leading edges and some black hull details, e.g. the bands around the nose.

 

Finally, after some more detail painting (antennae, position lights) , the VF-1 was sealed with a semi-gloss acrylic varnish. The jet nozzles/feet were treated with graphite for a used abnd metallic look.

  

A small and quick interim project, realized in just three days (plus two more for the pictures). There are certainly better VF-1 models than the vintage ARII kits, but I just love them because they are small, simple and easy to modify. Creating a benchmark profile for painting was quite a challenge, but it was IMHO worthwhile because it made adapting the F-4 scheme to the rather different VF-1 easier.

The only cool functionality besides lighting was this working hangar lift :D

 

WAY too many over achievers had cool features this year, I felt I had to put SOMETHING in, even this little feature takes up an incredible amount of space, so you guys (you know who yo uare), bravo for your insane skills to fit in oh so much more....

This Reserve is dedicated under the Crown Lands Act (1929–1985) for the preservation of the scenic and natural features of the breakaways landscape.

These boots certainly emphasize my legs!

...And my shiny minidress emphasizes some of my other features, doesn't it?

 

My ensemble is centered on this wonderfully shiny & tight black mystique wet look lycra spandex tube style shirred minidress that was custom made for me by the fantastic Ellie at coquetryclothing.com! I've matched it up with Leg Avenue black fishnet hose worn over shiny black Platino Cleancut pantyhose from shapings.com and Hanes Alive Barely There support hose from onehanesplace.com, my black lurex opera gloves, and my fantastic black patent thigh high stiletto platform boots from electriqueboutique.com

 

To see more pix of me in other tight, sexy and revealing outfits click this link:www.flickr.com/photos/kaceycdpix/sets/72157623668202157/

 

To see more pix of me in sexy boots click here: www.flickr.com/photos/kaceycdpix/sets/72157622816479823/

 

To see more pix of me in clothes from Coquetry Clothing click this link: www.flickr.com/photos/kaceycdpix/sets/72157626739774869/

 

To see more pix of me in tube dresses & one shoulder dresses, click this link: www.flickr.com/photos/kaceycdpix/sets/72157624466432948/

 

DSC_2528-13

An abandoned spa hotel with lots of nice features and some great ceilings in the main area. Left to find a classic car festival happening in the town so we hung around for a bit to admire the cars.

 

The travelling nun Tour. On Belgium derps with Dursty, John and Mike.

 

My blog:

 

timster1973.wordpress.com

 

Also on Facebook

 

www.Facebook.com/TimKniftonPhotography

 

online store: www.artfinder.com/tim-knifton

 

Features and Funcions:

- Engines Rotate for Vertical Landing

- Turret can Rotate 180 Degrees

- Turret is Accessible from the Command Deck

- Finished Interiors

- Rotating Side Mounted Guns

- Foldable Landing Gear

- Loading Ramp

- Jump Seats for Four Man SWAT Team

- Easy Access to Lower Level (Command Deck Floor Folds and Lifts Out)

- Two Prisoner Cells

- Pilot and Navigator Chairs

 

Credits:

Side-Mounted Turrets: Legohaulic

Command Chairs: Legodrome

Rear Exhaust Grilles: Larry Lars

This postcard features a reproduction of the 1990 Dutch "Kinderpostzegel" (Children's Welfare Stamp). The theme of this year's series was "Kind en Hobby" (Child and Hobby). The design by Berry van Gerwen and Jan Bolle depicts a child riding a horse in a stylized, artistic manner.

Country: Netherlands (Nederland)

Year of Stamp Issue: 1990

Catalog No: NVPH 1457

Value: 55c + 25c surcharge for children's charities.

This striking image features a relatively rare celestial phenomenon known as a Herbig–Haro object. This particular Herbig–Haro object is named HH111.

 

Newly formed stars are often very active, and in some cases they expel very narrow jets of rapidly moving ionised gas — gas that is so hot that its molecules and atoms have lost their electrons, making the gas highly charged. The streams of ionised gas then collide with the clouds of gas and dust surrounding newly-formed stars at speeds of hundreds of miles per second. These energetic collisions create Herbig–Haro objects such as HH111.

 

Credit: ESA/Hubble & NASA, B. Nisini

 

For more information, visit: esahubble.org/images/potw2135a/

 

Find us on Twitter, Instagram, Facebook and YouTube

 

Steinhatchee Falls and Steinhatchee Rise are tracts of protected lands in Florida named for aquatic features. Steinhatchee Falls includes 1,766 acres (715 ha), and Steinhatchee Rise covers 3,559 acres (1,440 ha). Steinhatchee Falls is in southeastern Taylor County, Florida. Steinhatchee Rise is in southwestern Dixie County, Florida.

 

The area around the falls is floodplain swamp, bottom land forest, pine plantation, and mixed hardwood forest. The area around Steinhatchee Rise contains also includes floodplain swamp, bottom land forest, pine plantation, and mixed hardwood forest as well as mesic woods and wet flat woods. Animal species in the area include gopher tortoise, wading birds, wild hog, swallow-tailed kite, Swainson's warbler, deer, turkey, and squirrel. A trailhead for the Steinhatchee Trail Tennille Trail is on Florida SR 51.

 

Steinhatchee Falls Park is a tourist attraction and viewpoint with water cascading over a small falls on the Steinhatchee River. The Steinhatchee Trail is a 3-mile (5 km) multi-use trail ending at Steinhatchee Falls. Coming off a limestone lip across the river, the height of Steinhatchee Falls ranges from four to five feet down to being almost unnoticeable when the river is high.

 

Credit for the data above is given to the following website:

en.wikipedia.org/wiki/Steinhatchee_Falls

map.mysuwanneeriver.com/tracts/steinhatchee-falls-185/

 

© All Rights Reserved - you may not use this image in any form without my prior permission.

"Casa Cuseni is a house-garden-museum, with countless delightful works of art of all shapes and types: here a table lamp with the features of a beautiful girl, in Art Nouveau style."

 

“Casa Cuseni è una casa-giardino-museo, con innumerevoli deliziose opere d'arte di ogni foggia e tipo: qui una lampada da tavolo con le fattezze di una bella fanciulla, in stile liberty.”

 

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click to activate the icon of slideshow: the small triangle inscribed in the small rectangle, at the top right, in the photostream;

or…. Press the “L” button to zoom in the image;

clicca sulla piccola icona per attivare lo slideshow: sulla facciata principale del photostream, in alto a destra c'è un piccolo rettangolo (rappresenta il monitor) con dentro un piccolo triangolo nero;

oppure…. premi il tasto “L” per ingrandire l'immagine;

 

Qi Bo's photos on Fluidr

  

Qi Bo's photos on Flickriver

  

www.worldphoto.org/sony-world-photography-awards/winners-...

  

www.fotografidigitali.it/gallery/2726/opere-italiane-segn...

 

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A history of Taormina: chronicles of a forbidden love and its great secret (not only Paolo and Francesca) with an unexpected "scoop".

This story is an integral part of the story previously told, the historical period is the same, the place is the same, the various characters often meet each other because they know each other; Taormina, between the end of the 1800s and the beginning of the 1900s, in an ever increasing growth, became the place of residence of elite tourism, thanks to the international interest aroused by writers and artists, such as Johann Wolfgang von Goethe , or great personalities like Lady Florence Trevelyan: Taormina becomes so famous, thanks to the paintings of the painter Otto Geleng and the photographs of the young Sicilian models by Wilhelm von Gloeden; in the air of Taormina there is a sense of libertine, its famous and histrionic visitors never fail to create scandal, even surpassing the famous Capri, in which, to cite just one example, the German gunsmith Krupp, trying to recreate the he environment of Arcadia that one breathed in Taormina (thanks to the photos of von Gloeden) was overwhelmed by the scandal for homosexuality, and took his own life. Taormina thus becomes a heavenly-like place, far from industrial civilizations, where you can freely live your life and sexuality; this is the socio-cultural environment in which the two protagonists of this story move, the British painter Robert Hawthorn Kitson (1873 - 1947) and the painter Carlo Siligato (born in Taormina in 1875, and died there in 1959). Robert H. Kitson, born in Leeds in England, belonged to a more than wealthy family, as a young engineer he had begun to replace his father in the family locomotive construction company (Kitson & Co.), on the death of his father in 1899 sells everything and decides to move very rich in Sicily to Taormina (he had been there the previous year with a trip made with his parents, here he had met, in addition to Baron von Gloeden, also the writer and poet Oscar Wilde who came to Italy, immediately after having served two years in prison in forced labor, on charges of sodomy); Kitson settled there because he was suffering from a severe form of rheumatic fever (like von Gloeden was advised to treat himself in the Mediterranean climate milder), and because as a homosexual, he leaves England because the Labouchere amendment considered homosexuality a crime. The other protagonist of this story is Carlo Siligato, he was from Taormina, he had attended the Academy of Fine Arts in Venice, a very gifted painter, he was very good at oil painting (he exhibited his paintings in an art workshop, even now existing, in via Teatro Greco in Taormina), the meeting with the painter Robert Kitson, led him to adopt the watercolor technique: almost to relive Dante's verses on Paolo and Francesca "Galeotto was the book and who wrote it" the common passion for painting led the two artists to live an intense love story. Kitson built his home in the "Cuseni" district of Taormina, called for this "Casa Cuseni", the house was built between 1900 and 1905, its decorations were entrusted to the artists Alfred East (realist landscape painter, president of the Royal Society ), and Frank Brangwyn (painter, decorator, designer), he was a pupil of William Morris, leader of the English movement "Arts and Crafts" which spread to England in the second half of the nineteenth century (the Arts and Crafts was a response to the industrialization of Europe, of mass production operated by factories, all this at the expense of traditional craftsmanship, from this movement originated the Art Nouveau, in Italy also known as Liberty Style or Floral Style, which distinguished itself for having been a artistic and philosophical movement, which developed between the end of the 19th century and the first decade of the 20th century, whose style spread in such a way as to be present everywhere). Casa Cuseni has kept a secret for 100 years that goes far beyond the forbidden love lived by Robert and Carlo, a secret hidden inside the "secret room", that dinning room that was reopened in 2012; entering the dining room, you can witness a series of murals painted on the four walls by Frank Brangwyn, in Art Nouveau style, which portray the life and love story between the painter Robert Kitson, and his life partner, the Carlo Siligato from Taormina, but the thing that makes these murals even more special, full of tenderness and sweetness, is that "their secret" (!) is represented in them, it is described visually, as in an "episodic" story that really happened in their lives: Messina (and Reggio Calabria) are destroyed by the terrible earthquake with a tsunami on December 28, 1908, Carlo Siligato, Robert Kitson, Wilhelm von Gloeden and Anatole France leave for Messina, to see and document in person the tragedy, the city was a pile of rubble, many dead, Robert and Carlo see a baby, Francesco, he is alone in the world, without parents who died in the earthquake, abandoned to a certain and sad destiny, a deep desire for protection is born in the two of them, a maternal and paternal desire is born, they decide to takes that little child with them even knowing that they are risking a lot ... (!), what they want to do is something absolutely unthinkable in that historical period, they are a homosexual couple, what they are about to do is absolutely forbidden ..(!) but now there is Francesco in their life, thus becoming, in fact, the first homogenitorial family (with a more generic term, rainbow family) in world history: hence the need to keep the whole story absolutely hidden, both from an artistic point of view , represented by the murals (for more than 100 years, the "dinning room" will be kept hidden), both of what happens in real life, with little Francesco cared for lovingly, but with great risk or. I have allegorically inserted, in the photographic story, some photographs of the artists of the company "Casa del Musical", who came to Taormina to perform during the Christmas period: today as yesterday, Taormina has always been (starting from the last 20 years of the 19th century) center of a crossroads of artists and great personalities, Casa Cuseni also in this has an enormous palmares of illustrious guests, too long to state. The young boys painted on the murals of Casa Cuseni, wear white, this is a sign of purity, they wanted to represent their ideal homosexual world, fighting against the figure dressed in black, short in stature, disturbing, which acquires a negative value, an allegorical figure of the English society of the time, indicating the Victorian morality that did not hesitate to condemn Oscar Wilde, depriving him of all his assets and rights, even preventing him from giving the surname to his children. The boys are inspired by the young Sicilian models photographed by Wilhelm von Gloeden, dressed in white tunics, with their heads surrounded by local flowers. The only female figure present has given rise to various interpretations, one could be Kitson's detachment from his motherland, or his detachment from his mother. On the third wall we witness the birth of the homogenitorial family, both (allegorically Carlo and Kitson with the child in their arms) are in profile, they are walking, the younger man has a long, Greek-style robe, placed on the front, next to him behind him, the sturdier companion holds and gently protects the little child in his arms, as if to spare the companion the effort of a long and uncertain journey, there is in the representation of the family the idea of a long journey, in fact the man holding the child wears heavy shoes, their faces are full of apprehension and concern: in front of them an empty wall, so deliberately left by Frank Brangwin, since their future is unknown, in front of them they have a destiny full of unknowns (at the same time, their path points east, they go towards the rising sun: opening the large window the sun floods everything in the room). In the "secret room" there is the picture painted in 1912 by Alfred E. East, an oil on canvas, representing Lake Bourget. Carlo Siligato later married Costanza, she was my father's grandmother's sister, they had a son, Nino, who for many years lived and worked as a merchant in his father's art workshop. I sincerely thank my colleague Dr. Francesco Spadaro, doctor and esteemed surgeon, owner and director of the "Casa Cuseni" House-Garden-Museum, who, affectionately acting as a guide, gave me the precious opportunity to create "this photographic tour" inside the house- museum and in the "metaphysical garden" of Casa Cuseni. … And the scoop that I announced in the title ..? After photographing the tomb of Carlo Siligato, in the Catholic cemetery of Taormina, I started looking for that of Robert Kitson, in the non-Catholic cemetery of Taormina: when I finally found it (with him lies his niece Daphne Phelps, buried later in 2005) ... I felt a very strong emotion, first of all I was expecting a mausoleum, instead I found a small, very modest tomb on this is not a photo of him, not an epitaph, not a Cross, not a praying Angel to point it out, but ... unexpectedly for a funerary tombstone ... a small bas-relief carved on marble (or stone) depicting ... the Birth ... (!), obviously , having chosen her could have a very specific meaning: a desire to transmit a message, something very profound about him, his tomb thus testified that in his soul, what was really important in life was having a family, with Carlo and baby Francesco, certainly beloved, saved from a certain and sad fate, in the terrible Messina earthquake-tsunami of 28 December 1908 ... almost recalling in an absolute synthesis, at the end of his life, what had already been told in the "secret murals" of Casa Cuseni.

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Una storia di Taormina: cronache di un amore proibito e del suo grande segreto (non solo Paolo e Francesca) con inaspettato “scoop”.

Questa storia fa parte integrante della storia precedentemente raccontata, il periodo storico è lo stesso, il luogo è lo stesso, i vari personaggi spesso si frequentano tra loro poiché si conoscono; Taormina, tra la fine dell’800 e l’inizio del’900, in un sempre maggiore crescendo, diventa luogo di residenza del turismo d’élite, grazie all’interesse internazionale suscitato ad opera di scrittori ed artisti, come Johann Wolfgang von Goethe, o grandi personalità come Lady Florence Trevelyan: Taormina diventa così famosa, complici i quadri del pittore Otto Geleng e le fotografie dei giovani modelli siciliani di Wilhelm von Gloeden; nell’aria di Taormina si respira un che di libertino, i suoi famosi ed istrionici frequentatori non mancano mai di creare scandalo, superando persino la famosa Capri, nella quale, per citare solo un esempio, l’armiere tedesco Krupp, cercando di ricreare l’ambiente dell’Arcadia che si respirava a Taormina (grazie alle foto di von Gloeden) viene travolto dallo scandalo per omosessualità, e si toglie la vita. Taormina diviene quindi un luogo simil-paradisiaco, lontana dalle civiltà industriali, nella quale poter vivere liberamente la propria vita e la propria sessualità; questo è l’ambiente socio-culturale nel quale si muovono i due protagonisti di questa vicenda, il pittore britannico Robert Hawthorn Kitson (1873 – 1947) ed il pittore Carlo Siligato (nato a Taormina nel 1875, ed ivi morto nel 1959). Robert H. Kitson, nacque a Leeds in Inghilterra, apparteneva ad una famiglia più che benestante, da giovane ingegnere aveva cominciato a sostituire il padre nell’impresa familiare di costruzioni di locomotive (la Kitson & Co.), alla morte del padre nel 1899 vende tutto e decide di trasferirsi ricchissimo in Sicilia a Taormina (vi era stato l’anno precedente con un viaggio fatto coi suoi genitori, qui aveva conosciuto, oltre al barone von Gloeden, anche lo scrittore e poeta Oscar Wilde venuto in Italia, subito dopo aver scontato due anni di prigione ai lavori forzati, con l’accusa di sodomia); Kitson vi si stabilisce perché affetto da una grave forma di febbre reumatica (come von Gloeden gli fu consigliato di curarsi nel clima mediterraneo più mite), sia perché in quanto omosessuale, lascia l’Inghilterra perché l’emendamento Labouchere considerava l’omosessualità un crimine. L’altro protagonista di questa storia è Carlo Siligato, egli era taorminese, aveva frequentato l’Accademia di Belle Arti di Venezia, pittore molto dotato, era bravissimo nel dipingere ad olio (esponeva i suoi quadri in una bottega d’arte, ancora adesso esistente, in via Teatro Greco a Taormina), l’incontro col pittore Robert Kitson, lo portò ad adottare la tecnica dell’acquarello: quasi a rivivere i versi di Dante su Paolo e Francesca “Galeotto fu ‘l libro e chi lo scrisse” la comune passione per la pittura condusse i due artisti a vivere una intensa storia d’amore. Kitson costruì nel quartiere “Cuseni” di Taormina la sua abitazione, detta per questo “Casa Cuseni”, la casa fu costruita tra il 1900 ed il 1905, le sue decorazioni furono affidate agli artisti Alfred East (pittore verista paesaggista, presidente della Royal Society), e Frank Brangwyn (pittore, decoratore, designer, progettista), egli era allievo di William Morris, leader del movimento inglese “Arts and Crafts” (Arti e Mestieri) che si diffuse in Inghilterra nella seconda metà del XIX secolo (l’Arts and Crafts era una risposta alla industrializzazione dell’Europa, della produzione in massa operata dalle fabbriche, tutto ciò a scapito dell’artigianato tradizionale, da questo movimento ebbe origine l’Art Nouveau, in Italia conosciuta anche come Stile Liberty o Stile Floreale, che si distinse per essere stata un movimento artistico e filosofico, che si sviluppò tra la fine dell’800 ed il primo decennio del ‘900, il cui stile si diffuse in tal modo da essere presente dappertutto). Casa Cuseni ha custodito per 100 anni un segreto che va ben oltre quell’amore proibito vissuto da Robert e Carlo, segreto celato all’interno della “stanza segreta”, quella dinning room che è stata riaperta nel 2012; entrando nella sala da pranzo, si assiste ad una serie di murales realizzati sulle quattro pareti da Frank Brangwyn, in stile Art Nouveau, che ritraggono la vita e la storia d’amore tra il pittore Robert Kitson, ed il suo compagno di vita, il pittore taorminese Carlo Siligato, ma la cosa che rende questi murales ancora più particolari, carichi di tenerezza e dolcezza, è che in essi viene rappresentato “il loro segreto” (!), viene descritto visivamente, come in un racconto “ad episodi” quello che è realmente avvenuto nella loro vita: Messina (e Reggio Calabria) vengono distrutte dal terribile sisma con maremoto il 28 dicembre del 1908, partono per Messina, Carlo Siligato, Robert Kitson, Wilhelm von Gloeden ed Anatole France, per vedere e documentare di persona la tragedia, la città era un cumulo di macerie, moltissimi i morti, Robert e Carlo vedono un piccolo bimbo, Francesco, egli è solo al mondo, privo dei genitori periti nel terremoto, abbandonato ad un certo e triste destino, nasce in loro due un profondo desiderio di protezione, nasce un desiderio materno e paterno, decidono di prende quel piccolo bimbo con loro pur sapendo che stanno rischiando moltissimo…(!) , quello che vogliono fare è una cosa assolutamente impensabile in quel periodo storico, loro sono una coppia omosessuale, quello che stanno per fare è assolutamente proibito..(!) ma oramai c’è Francesco nella loro vita, divenendo così, di fatto, la prima famiglia omogenitoriale (con termine più generico, famiglia arcobaleno) nella storia mondiale: da qui la necessità di tenere assolutamente nascosta tutta la vicenda, sia dal punto di vista artistico, rappresentata dai murales (per più di 100 anni, la “dinning room” verrà tenuta nascosta), sia di quanto accade nella vita reale, col piccolo Francesco accudito amorevolmente, ma con grandissimo rischio. Ho inserito allegoricamente, nel racconto fotografico, alcune fotografie degli artisti della compagnia “Casa del Musical”, giunti a Taormina per esibirsi durante il periodo natalizio: oggi come ieri, Taormina è sempre stata (a partire dagli ultimi 20 anni dell’800) al centro di un crocevia di artisti e grandi personalità, Casa Cuseni anche in questo ha un enorme palmares di ospiti illustri, troppo lungo da enunciare. I giovani ragazzi dipinti sui murales di Casa Cuseni, vestono di bianco, questo è segno di purezza, si è voluto in tal modo rappresentare il loro mondo ideale omosessuale, in lotta contro la figura vestita di nero, bassa di statura, inquietante, che acquista un valore negativo, figura allegorica della società inglese dell’epoca, indicante la morale Vittoriana che non ha esitato a condannare Oscar Wilde, privandolo di tutti i suoi beni e diritti, impedendogli persino di dare il cognome ai suoi figli. I ragazzi sono ispirati ai giovani modelli siciliani fotografati da Wilhelm von Gloeden, vestiti con tuniche bianche, col capo cinto dei fiori locali. L’unica figura femminile presente, ha dato spunto a varie interpretazioni, una potrebbe essere il distacco da parte di Kitson dalla sua madre patria, oppure il distacco da sua madre. Sulla terza parete si assiste alla nascita della famiglia omogenitoriale, entrambi (allegoricamente Carlo e Kitson col bimbo in braccio) sono di profilo, sono in cammino, l’uomo più giovane ha una veste lunga, alla greca, posto sul davanti, accanto a lui, alle sue spalle, il compagno più robusto sostiene in braccio e protegge con dolcezza il piccolo bimbo, quasi a voler risparmiare al compagno la fatica di un lungo ed incerto percorso, vi è nella rappresentazione della famiglia l’idea di un lungo percorso, infatti l’uomo che regge il bimbo indossa delle calzature pesanti, i loro volti sono carichi di apprensione e preoccupazione: davanti a loro una parete vuota, così volutamente lasciata da Frank Brangwin, poiché il loro futuro è ignoto, davanti hanno un destino pieno di incognite (al tempo stesso, il loro cammino indica l’est, vanno verso il sole nascente: aprendo la grande finestra il sole inonda ogni cosa nella stanza).

Nella “stanza segreta” c’è il quadro dipinto nel 1912 da Alfred E. East, un olio su tela, rappresentante il lago Bourget.

Carlo Siligato, successivamente si sposò con Costanza, una sorella della nonna di mio padre, da lei ebbe un figlio, Nino, il quale per tantissimi anni ha vissuto e lavorato come commerciante nella bottega d’arte del padre. Ringrazio di cuore il mio collega dott. Francesco Spadaro, medico e stimato chirurgo, proprietario e direttore della Casa-Giardino-Museo “Casa Cuseni”, il quale, facendomi affettuosamente da cicerone, mi ha dato la preziosa opportunità di realizzare “questo tour fotografico” all’interno dell’abitazione-museo e nel “giardino-metafisico” di Casa Cuseni.

…E lo scoop che ho annunciato nel titolo..? Dopo aver fotografato la tomba di Carlo Siligato, nel cimitero cattolico di Taormina, mi sono messo alla ricerca di quella di Robert Kitson, nel cimitero acattolico di Taormina: quando finalmente l’ho trovata (insieme a lui giace sua nipote Daphne Phelps, seppellita successivamente nel 2005)…ho provato una fortissima commozione, innanzitutto mi aspettavo un mausoleo, invece ho trovato una tomba piccola, molto modesta, su questa non una sua foto, non un epitaffio, non una Croce, non un Angelo pregante ad indicarla, ma … inaspettatamente per una lapide funeraria…un piccolo bassorilievo scolpito su marmo (o su pietra) raffigurante…la Natalità…(!), evidentemente, l’averla scelta potrebbe avere un significato ben preciso: un desiderio di trasmettere un messaggio, qualcosa di molto profondo di lui, la sua tomba testimoniava così che nel suo animo, ciò che in vita fu davvero importante fu l’aver avuto una famiglia, con Carlo e col piccolo Francesco, certamente amatissimo, salvato da un molto probabile triste destino, nel terribile terremoto-maremoto di Messina del 28 dicembre del 1908…quasi rievocando in una sintesi assoluta, al termine della sua vita, ciò che era già stato raccontato nei “murales segreti” di Casa Cuseni.

  

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