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Often the simplest things are the most beautiful. This is the underside of a leaf of a variety of palm trees grown in Hong Kong. Exact species unknown.
# SML Data
+ Date: 2013-03-03 15:52:18 GMT+0800
+ Dimensions: 3369 x 5054
+ Exposure: 1/500 sec at f/5.6
+ Focal Length: 280 mm
+ ISO: 1000
+ Flash: Did not fire
+ Camera: Canon EOS 7D
+ Lens: Canon EF 70-200mm f/4L USM + Canon EF 1.4x Extender III
+ GPS: 22°25'11" N 114°13'38" E
+ Location: 中國香港馬鞍山恆康街1號遊馬鞍山樂場 中国香港马鞍山恒康街1号马鞍山运动场 Ma On Shan Recreation Ground, 1 Hang Hong Road, Ma On Shan, Hong Kong, China
+ Workflow: Lightroom 4
+ Serial: SML.20130303.7D.26122
+ Series: 自然 Nature, 形 Forms
“\\\|\\\” / 自然之形 Nature Forms / SML.20130303.7D.26122
/ #自然 #Nature #形 #Forms #SMLForms #CCBY #SMLPhotography #SMLUniverse #SMLProjects
/ #中國 #中国 #China #香港 #HongKong #攝影 #摄影 #photography #植物 #Plants #樹 #树 #trees #葉 #叶 #leaf
Early juveniles in August when all or most adults dead. Similar form to adults, but periostracum thinner and paler, and spire protrudes less.
Maximum dimension 4.1 mm and 3.3 mm, Portlethen, north-east Scotland, August 1970.
Full SPECIES DESCRIPTION BELOW
Revised PDF available at www.researchgate.net/publication/372768813_Lacuna_pallidu....
Sets of OTHER SPECIES at: www.flickr.com/photos/56388191@N08/collections/
Lacuna pallidula (da Costa, 1778)
Synonyms: Cochlea pallidula da Costa, 1778; Lacuna neritoidea Gould, 1840; Lacuna patula Thorpe, 1844; Lacuna retusa Brown.
Current taxonomy: WoRMS www.marinespecies.org/aphia.php?p=taxdetails&id=140168
Vernacular: Pallid chink shell; Pale lacuna; Gwichiad agennog gwelw (Welsh); Lacuna pâle (French); Lavspiret grubesnegl (Danish); Bleke scheefhoren (Dutch); Blek lagunsnäcka (Swedish).
Shell description
The largest dimension of female shells is up to about 12 mm fig. 01 flic.kr/p/2kNQ7pc and males grow to 6 mm. The species has an annual life cycle; all or most adults are dead by June. Their small juvenile offspring occur in summer fig. 02 flic.kr/p/2kGH2G9 , growing to full size in winter. The body whorl forms the great majority of the shell, and the very small spire is sunk below the upper margin in most views. Juveniles are similar in form with a slightly lower spire. Sutures between the whorls are distinct. The smooth surface has no sculpture apart from numerous, growth lines.
One face of the hollow columella is missing, exposing a long wide columellar groove (lacuna, chink or canal), leading to a large funnel-like umbilicus fig. 03 flic.kr/p/2kNL1YB . On some specimens the columellar groove is indistinct and the umbilicus reduced fig. 04 flic.kr/p/2kNPCc9 and fig. 05 flic.kr/p/2oQ83ra .
The very large ‘D’ shape aperture is as high as the whole shell, and it occupies about 75% of the area in apertural-view images fig. 01 flic.kr/p/2kNQ7pc . The palatal lip is semi-circular, and it continues along the abapertural side of the columellar groove. The wide, white columellar lip forms the adapertural edge of the groove fig. 03 flic.kr/p/2kNL1YB .
The ‘D’ shape operculum is a rapidly expanding oligogyrous spiral with its off-centre nucleus close to the base of the columellar lip. It is transparent, tinted yellow fig. 04 flic.kr/p/2kNPCc9 & fig. 06 flic.kr/p/2kNL1Ut or nearly colourless fig. 05 flic.kr/p/2oQ83ra . The substantial periostracum is olive-brown with distinct growth lines on large specimens fig. 07 flic.kr/p/2kNQ773, and it usually extends beyond the lip of the aperture fig. 04 flic.kr/p/2kNPCc9 . Under the periostracum, the calcareous shell is white or yellowish white fig. 01 flic.kr/p/2kNQ7pc . Live adults with a thick opaque periostracum are olive-green/brown in water fig. 08 flic.kr/p/2kNPC3g becoming dull brown when dead and dried fig. 01 flic.kr/p/2kNQ7pc . There are no coloured bands or variegation at any stage.
Body description
The flesh is translucent white with varying amounts of yellow or pink tinting fig. 07 flic.kr/p/2kNQ773 and fig. 05 flic.kr/p/2oQ83ra . The snout is ventrally slit fig.06 flic.kr/p/2kNL1Ut and usually rolled into a cylinder fig. 09 flic.kr/p/2oQ92WM . The extended cephalic tentacles are long, smooth, translucent whitish and taper to a blunt tip. When contracted they wrinkle and any yellow tint is intensified fig. 08 flic.kr/p/2kNPC3g . There is a black eye on a slight bulge at the base of each tentacle fig. 07 flic.kr/p/2kNQ773 . The roof of the mantle cavity is whitish translucent showing the colour of the shell except for the mantle edge which is thick and sometimes yellowish fig. 09 flic.kr/p/2oQ92WM . The foot is white with varying amounts of yellow or pink fig. 07 flic.kr/p/2kNQ773 , especially on the opercular disc which supports, and is visible under and through, the transparent operculum fig. 05 flic.kr/p/2oQ83ra and fig. 09 flic.kr/p/2oQ92WM . The two small, flat metapodial tentacles protrude beyond the posterior of the operculum fig. 09 flic.kr/p/2oQ92WM .
Key identification features
Lacuna pallidula
1) Columellar groove (lacuna or chink) leads to umbilicus fig. 01 flic.kr/p/2kNQ7pc but is sometimes sealed over fig. 04 flic.kr/p/2kNPCc9 .
2) Largest dimensions up to 12 mm (female) and 6 mm (male). Hardly any of the spire protrudes beyond the body whorl fig. 01 flic.kr/p/2kNQ7pc
3) Very large ‘D’ shape aperture equals shell height and occupies about 75% of area in apertural view fig. 01 flic.kr/p/2kNQ7pc.
4) Shell olive-brown with no spiral bands fig. 08 flic.kr/p/2kNPC3g .
5) Body white fig. 07 flic.kr/p/2kNQ773 , sometimes yellowish or pinkish; no grey stipple.
6) Found mainly on Fucus serratus and sometimes on Laminaria.
Similar species
Lacuna parva (da Costa, 1778) fig. 10 flic.kr/p/2kNL1A2 .
1) Columellar groove (“lacuna” or “chink) leads to umbilicus. 2) Usual maximum height 4 mm; sometimes 6 mm. Spire 30% to 40% of shell height.
3) Aperture occupies about 50% of area in apertural-view images.
4) Body whorl has three brown spiral bands; basal band 1 easily overlooked if base of shell not examined. Some shells are uniform white or brown with no bands.
5) Body translucent white, usually stippled grey.
6) Found mainly, especially when young, on small red weeds. Sometimes on fucoids.
Littorina fabalis (W. Turton, 1825) and
L. obtusata (Linnaeus, 1758) fig. 11 flic.kr/p/2kNPBJk .
1) No columellar groove or umbilicus.
2) Maximum dimension up to 17 mm. Very large body whorl and small spire.
3) Aperture occupies about 50% of area in apertural-view images.
4) Shell of L. obtusata is sometimes greenish olive.
5) Body varied shades of yellow, brown or black.
6) Found on Fucus serratus (L. fabalis) or Ascophyllum (L. obtusata) and on Fucus vesiculosus (both).
Lacuna vincta (Montagu, 1803) fig. 12 flic.kr/p/2kNQ6PK .
1) Columellar groove (“lacuna” or “chink”) leads to umbilicus. 2) Maximum height about 10 mm. Well developed spire about 50% of adult shell height, and about 30% on juveniles less than 3 mm high.
3) Aperture occupies about 30% of area in apertural-view images of full grown adults.
4) Body whorl has four brown spiral bands.
5) Body whitish with grey, yellow, orange and/or aquamarine parts.
6) Found on Laminaria and, especially juveniles, on small red weeds. Also on Zostera and sometimes on fucoids.
Lacuna crassior (Montagu, 1803) fig. 13 flic.kr/p/2kGH26u
1) Wide white columellar shelf. Usually no groove or umbilicus but sometimes small ones present.
2) Distinct spire about 50% of mature shell height, about 45% when younger.
3) Aperture occupies about 30% of area in apertural view.
4) Shell when live, has translucent, yellowish-brown spire and brownish-white body whorl. Thick periostracum has distinct, raised, transverse (costal) ridges. Dead dry shells are dull yellowish-brown if periostracum retained, yellowish white with faint spiral lines if periostracum worn off.
5) Body translucent whitish.
6) A rare species which often associates with the bryozoan Alcyonidium diaphanum.
Habits and ecology
L. pallidula feeds on the surface of Fucus serratus (Smith, 1973) and Laminaria (Lebour, 1937) near low water on rocky shores and to 70 metres depth. It is usually absent where turbidity or soft substrate prevents growth of F. serratus. It cannot survive desiccation. Some populations live in the Baltic in salinity down to 12‰.
It moves with a bipedal stepping motion, lifting alternately the right and left sides of the foot. It breeds in late winter and spring, sometimes extending into summer and autumn, with a maximum in February to May in Britain, but precise dates vary regionally. The spawn mass is a low gelatinous dome with an almost circular, oval base (not kidney-shape), diameter 3.9 mm to 5.3 mm (Lebour, 1937), laid on fronds of F. serratus or Laminaria. There are up to about 200 ova per spawn mass fig. 14 flic.kr/p/2kNQ71M . In the low salinity Øresund, Denmark, the masses are smaller with as few as 13 ova (Thorson, 1946 in Fretter & Graham, 1962).
Fretter and Graham (1962) reported confusion with the spawn of “Littorina littoralis” (the name mistakenly used formerly by British authors for an aggregate of Littorina obtusata and L. fabalis). The limited material examined for this account suggests the confusion is with L. fabalis which lives on F. serratus at the same shore level and lays similar, almost circular oval spawn masses, while L. obtusata lives higher up the shore, favouring Ascophyllum, and often lays kidney-shaped spawn masses up to 7 mm long. The difference between the spawn masses of L. fabalis and Lacuna pallidula may be that the latter has a distinctly bevelled peripheral rim while the surface of the former slopes to the substrate without a break in slope fig. 14 flic.kr/p/2kNQ71M . But more investigation is required to test these suggestions; the difference might be due to age of spawn mass. Lacuna parva also has similar spawn but it is found on red algae and is smaller, about 2.5 mm diameter with about 50 ova in Britain fig. 14 flic.kr/p/2kNQ71M ; 2.2 mm to 2.5 mm with 6 to16 ova in the brackish Øresund (Ockelmann & Nielsen, 1981 in Wigham & Graham, 2017).
The individual egg capsules of L. pallidula become angular as they swell and become crowded and compressed. There is no planktonic veliger stage; young emerge as tiny crawling snails. Through a microscope, just before hatching, two tentacular extensions of the opercular disc protruding beyond the operculum may be detected on the embryos within the clear capsules (Fretter & Graham, 1962). Males die after mating, and the females about a month later, so all or most adults breeding in the main period are dead by June or July, and few specimens over 5 mm high can be found in August fig. 02 flic.kr/p/2kGH2G9 . Both sexes grow rapidly until October. From October to February males grow slowly, but females at three times their rate so that by breeding time they are over twice as high as males (Thorson, 1946 in Fretter & Graham, 1962). When mating, the small male rides on the female’s shell near the aperture with his penis inserted into her mantle cavity 15Lp flic.kr/p/2rSk89j.
Distribution and status
L. pallidula occurs from northern Norway and Iceland to Atlantic Spain and New England (USA). GBIF map www.gbif.org/species/2301181
It is found all around Britain and Ireland, but is scarce or absent in the north-eastern Irish Sea and southern North Sea where lack of hard substrate and/or turbidity hinder the growth of Fucus serratus and Laminaria. UK distribution map NBN species.nbnatlas.org/species/NBNSYS0000175975#tab_mapView
Acknowledgements
For use of images, I thank Sarah Charles and Rob Durrant.
References and links
Forbes, E. & Hanley S. 1849-53. A history of the British mollusca and their shells. vol. 3 (1853), London, van Voorst. archive.org/details/historyofbritish03forbe/page/56/mode/2up
Also plate LXX11 at end of vol.4, fig. 1 & 2, also fig. 3 & 4 labelled “L. patula” archive.org/details/historyofbritish04forbe/page/n459/mod...
Fretter, V. and Graham, A. 1962. British prosobranch molluscs. London, Ray Society.
Graham, A. 1988. Molluscs: prosobranch and pyramidellid gastropods. Synopses of the British Fauna (New Series) no.2 (Second edition). Leiden, E.J.Brill/Dr. W. Backhuys. 662 pp.
Jeffreys, J.G. 1862-69. British conchology. vol. 3 (1865). London, van Voorst.
archive.org/details/britishconcholog03jeffr/page/350/mode...
Lebour, M.V. 1937. The eggs and larvae of the British prosobranchs with special reference to those living in the plankton. J. mar. biol. Ass. U.K., 22: 105 – 166. plymsea.ac.uk/953/
Ockelmann, K. W. and Nielsen, C. 1981. On the biology of the prosobranch Lacuna parva in the Øresund. Ophelia 20: 1-16.
Abstract at www.tandfonline.com/doi/abs/10.1080/00785236.1981.10426559
Smith, D. A. S. 1973. The population biology of Lacuna pallidula (da Costa) and Lacuna vincta (Montagu) in north-east England. J. mar. biol. Ass. U.K., 53: 493-520.
Thorson, G. 1946. Reproduction and larval development of the Danish marine bottom invertebrates. Meddelelser fra Kommissionen for Danmarks Fiskeri- og Havundersøgelser, Serie Plankton 4: 1-523.
Wigham, G.D. & Graham, A. 2017. Marine gastropods 2: Littorinimorpha and other, unassigned, Caenogastropoda. Synopses of the British Fauna (New Series) no.61. (344 pages). Field Studies Council, Telford, England.
Glossary
‰ = (salinity) parts salt per thousand parts water (brackish <30‰).
abapertural = away from the aperture.
abapical = away from the apex of the shell.
adapertural = towards the aperture
adapical = towards the apex of the shell.
aperture = mouth of gastropod shell; outlet for head and foot.
apical = at or near the apex.
chink = (see columellar groove).
columella = solid or hollow axis around which gastropod shell spirals; concealed except next to aperture where hollow ones may end in an umbilicus, slit or siphonal canal.
columellar = (adj.) of or near central axis of spiral gastropod,
columellar groove = Groove where one face of hollow columella missing, terminates in umbilicus. Also called “lacuna” or “chink.
columellar lip = lower (abapical) part of inner lip of aperture.
cephalic = (adj.) of the head.
costa = (pl. costae) rib crossing a whorl of a gastropod shell at about 90° to direction of coiling and any spiral ribs or lines.
costal = (adj.) of, or arranged like, costae.
ctenidium = comb-like molluscan gill; usually an axis with a row of filaments either side.
height = (of gastropod shells) distance from apex of spire to base of aperture.
lacuna = (see columellar groove).
mantle = sheet of tissue that secretes the shell and forms a cavity for the gill.
oligogyrous = (of a spiral) having few turns.
operculum = plate of horny conchiolin used to close shell aperture.
palatal lip = outer lip of gastropod aperture.
parietal lip = upper (adapical) part of inner lip of gastropod aperture that lies, often as a glaze, on surface of whorl.
periostracum = thin horny layer of conchiolin often coating shells.
plankton = animals and plants that drift in pelagic zone (main body of water).
protoconch = apical whorls produced during embryonic and larval stages of gastropod; often different in form from other whorls.
suture = groove or line where whorls adjoin.
umbilicus = cavity up axis of some gastropods, open as a hole or chink on base of shell, sometimes sealed over.
umbilical groove = narrow slit opening of umbilicus on some gastropods.
veliger = shelled larva of marine gastropod or bivalve mollusc which swims by beating cilia of a velum (bilobed flap).
NK 1505 A4 1964
In the first part of the book, Mr. Alexander discusses the process by which a form is adapted to the context of human needs and demands that has called it into being. He shows that such an adaptive process will be successful only if it proceeds piecemeal instead of all at once. In the second part, Mr. Alexander presents a method by which the designer may bring his full creative imagination into play, and yet avoid the traps of irrelevant preconception. He shows that, whenever a problem is stated, it is possible to ignore existing concepts and to create new concepts, out of the structure of the problem itself, which do correspond correctly to what he calls the subsystems of the adaptive process. By treating each of these subsystems as a separate subproblem, the designer can translate the new concepts into form. The form, because of the process, will be well-adapted to its context, non-arbitrary, and correct.
On Sept. 19, 2018, crews form a cast-in-place wall in the median work zone of SR 167. This work is part of ongoing construction for the I-405/SR 167 Interchange Direct Connector Project in Renton.
One of the closest regions of star formation to Earth, newly-formed stars in the Orion Nebula are detected by Chandra. X-rays from Chandra (magenta) and infrared from Webb (red, green, and blue).
Read more about Chandra's 25th anniversary: chandra.cfa.harvard.edu/photo/2024/25th/
Image credit: X-ray: NASA/CXC/SAO; Infrared: NASA/ESA/CSA/STScI; Image Processing: NASA/CXC/SAO/K. Arcand and J. Major
Visual Description:
In this composite image, a collection of neon pink and white stars gleam through a haze of wispy clouds. The young stars range in size from tiny specks to plump circles. Many have white cores and are surrounded by neon pink rings, identifying stars detected by Chandra. Some display long, ruler-straight diffraction spikes. Near the upper right of the image is a burst of red cloud that resembles a thick shock of hair. Both the red burst and the collection of stars are muted by hazy clouds, as if viewed through wafting smoke rising out of a campfire.
Van's US Open 2014 Huntington Beach with pro surfers Alana Blanhard, Lakey Peterson, Laura Enever, Sally Fitzgibbons, Coco Ho, Stephanie Gilmore, newcomers Nikki Van Dijk and Tatiana Weston-Web, and more!
The new Nikon D810 rocks for sports photography! New Instagram!
Goddess videos! vimeo.com/45surf
Nikon D810 Photos Pro Women's Surfing Van's US Open Sports Photography Tamron SP 150-600mm F/5-6.3 Di VC USD !
I shot in DX mode which crops away the extra pixels and takes me 1.5X closer while allowing for up to 7 FPS with the Nikon D810's Nikon MB-D12 Battery Grip using the 8 AA battery option! 8 Duracles took me through around 3,000 shots no problem--maybe more! I was shooting at the equivalent of 900mm with the 1.5x crop factor! Pretty close! Had I gone with the Nikon D4s, I would have gotten 12 fps, but no DX crop factor, as the sensor has only around 14mp, compared to the d810's 36 megapixels! Sure the larger pixel size on the Nikon D4s full frame sensor comes in handy indoors or at night, but in the brigth sun, there's more than enough light for the smaller pixels in crop mode! Sure we lose some pixels from the outer edges when shooting in DX crop mode, but most of those pixels would be cropped away in lightroom anyway. And the smaller files make the memory cards last longer, while also upping the FPS to 7 shots per second! Not quite 12 FPS< but still awesome and enough I felt!
What a beautiful way to test the Nikon D810 and Tamron 150-600mm zoom lens for sports photography!
Athletic graceful girl goddesses! Tall, thin, fit and in shape! Pro women's surfers form the van's us open wearing both long wetsuits and bikini bottoms with shorty wetsuit tops/summer wetsuits. Sexy, beautiful beach babes and water goddesses all! Many are professional swimsuit bikini / surf lifestyle models too!
Tamron SP 150-600mm F/5-6.3 Di VC USD Autofocus lens for Nikon AF-D Cameras.
The new Nikon D810 rocks for sports photography New Instagram!
Casapueblo atelier-museu, Punta Bellena - Punta del Este, UY.
Residence and atelier of Carlo Paez Vilaró.
Hythe is now a large and busy town, stretching from the terminus of the Romney Hythe and Dymchurch Railway in the west (and even a little further), to the long sandy beach and coast road that lead to Sandgate and Folkestone. It also creeps west, up the downs and valleys of the North Downs. It also is the start of the Military Canal. Hythe also has a vibrant high street, with many independent shops, as well as both a Sainsbury's and Waitrose. Which speaks about the town's demographic.
It even has an industrial area, where Jools works, and a stony beach which serves as a harbour for a small fleet of fishing boats as the harbour itself silted up in antiquity.
St Leonard itself sits up on the slopes of the down, in a flattened area that was some feat in itself. The church is very large and heavily Victorianised, but well worth an hour or two of anyone's time. And it is most well known for the ossuary which lies beneath the chancel, and is open during the non-winter months.
It is some climb up from the town, up two layers of roads which run parallel with the main street, up steepish steps, past the old Hospital, now two flats call Centuries, until you come to the church, but then there are more steps up to the porch and then into the church itself. And if there hadn't already been too much climbing, there are more steps up to the chancel and side chapels.
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A large civic church, as befits one of the original Cinque Ports. Traces of the Norman building may still be seen in the blocked round-headed windows in the north wall of the nave and the excellent Norman arch at the east end of the south aisle. The chancel is thirteenth century in origin, completed by Pearson in 1886. The pulpit is a great piece of Victorian craftsmanship, designed by George Edmund Street in 1876. The three-light stained glass in the east window is by Wallace Wood and dates from 1951. There are Royal Arms of the reign of William and Mary. The chancel has a triforium gallery, an unexpected find in a parish church. A circular staircase runs from the north-west corner linking the triforium, rood loft and roof. Under the chancel is an interesting processional passage, open to the public during the summer, which contains hundreds of skulls collected from the churchyard during clearances. In the churchyard is the grave of Lionel Lukin, who obtained a patent for his invention - the lifeboat - in 1785.
www.kentchurches.info/church.asp?p=Hythe
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lthough it is now difficult to imagine, Hythe's rise and development stems from its former role as a busy Channel port.
St Leonard's stands far from the sea today, but when the first Norman church was built, in c.1080, the high Street formed the quayside of the Cinque Port of Hythe.
The earliest known reference to a church in the town is found in the contemporary Doomesday Monarchum. Some writers believe that the north transept, now called St Edmund's Chapel, may have then incorporated a Saxon place of worship; a Saxon-style arch is still plainly visible.
In medieval times St Leonard's was described as "Hethe Chapel" despite possessing a magnificence which other Kentish folk would have envied.
Successive Archbishops of Canterbury held a large estate at Saltwood near Hythe and are believed to have been responsible for the enlargement of the church in c.1120, probably using some of the craftsmen who built the cathedral in Canterbury.
Aisles and transepts were added and a new, more elaborate choir with small apse was fashioned. Entry was through a west door where the interior tower wall still stands. Many Norman features can still be seen; the arches in the south aisle and in the choir vestry, as well as the remains of two windows above the north aisle.
By c.1220 fashions in architectural style had changed. With a growing number of pilgrims visiting the church, further enlargements were carried out. Perhaps in an attempt to build a mini-Canterbury Cathedral, and certainly with that inspiration, the civic pride of the townsfolk gave birth to the present church.
The ambitious project was launched when Hythe was at the height of its prosperity, and the magnificent chancel and ambulatory beneath ( now incorrectly known as the crypt ) are the result.
The only reason we can still see the remains of the previous churches is that the town's prosperity later waned and the plan could not be fully carried out.
Some improvements were made in the 14th Century, notably the building of the tower and the porch with a room above to house the parish priest, but these were on a less lavish scale than before.
During the Reformation the rich decoration which filled the church was stripped away. Wall paintings, rood screen and statues were destroyed, alters removed and pews added for the first time.
Throughout the 16th and 17th centuries the interior would have appeared remarkably plain. Only the iron "Armada" chest which used to contain the parish registers survives as a tangible reminder of the period.
The west tower of the medieval church collapsed in 1739; possibly it had finally succumbed to weakness created by a severe earthquake of 1580. The ferocity of the tremors was reported to have made the church bells ring and caused dangerous cracks in nearby Saltwood Castle.
A newspaper reported: "We learn from Hythe that on Thursday morning last, about eleven o'clock, the steeple of their church fell down, and that they have been busy digging out the bells, being six in number. About ten persons were present when it fell, waiting for keys in the church porch to go up the steeple for a view. But some delay being made in bringing them, they all happily saved their lives, and no other damage than being terribly frightened.
The tower was subsequently reconstructed in 1750, using the old materials, with the south transept being rebuilt the following year, largely through the generosity of the Deedes family, many of whose ancestors are buried there.
There was a clock in the tower before 1413, although the present instrument dates from 1901.
A peal of at least five bells is recorded before the 1480s. Subsequently there were normally eight, two bells being added in 1993 to make the full peal of ten.
In the 18th century the nave was surrounded by galleries to provide enough seating for the town's growing population. Poorer people sat up there while the best pews below were ' rented out ' to wealthier worshippers.
In 1751 the Deedes family rented one such pew for themselves and four more for their servants.
The mayor and the town corporation had their own pews at the front. Present councillors still sit at the front, in the pews with carved poppy-heads.
urial vaults were made outside the church in the later 18th and early 19th cenuries.
In 1875 and 1887 restorations to the church were carried out at a cost of £10,000. Two of the finest
Victorian architects, George Street and John Pearson, were employed. Street designed the Law Courts
in the Strand.
At St Leonard's the two men successfully completed many of the features which the original medieval craftsmen had intended to incorporate before the funds dried up. The vaulting to the chancel and aisle roofs was completed in 1887, albeit five centuries overdue. The present barrel-shaped roof in the nave dates from 1875. The pulpit with its fine Venetian mosaic work, composed of 20,000 pieces, is of the same date.
Many of the fittings introduced at that time were in keeping with the medieval devotional life of the church. Amongst these is an especially fine marble reredos which originally stood behind the alter, but is now situated in the south choir aisle. This is a masterpiece of artistic work, given by a former curate in memory of his wife. There is a Pre-Raphaelite touch in the depiction of the angels, and its deep swirling lines give it an almost sultry appearance. It was carved from a single piece of carrera marble in 1881 by Henry Armstead to the designs of George Street. It was moved to its present position in 1938.
Two features in the church bring the visitor abruptly into the 20th century. In the south aisle a remarkable stained-glass window commemorates 2nd Lieutenant Robert Hildyard who was killed, with over a million others, on the Somme in 1916. The window has a dreamy, surreal effect, and is a fine example of the art nouveau style.
The present fine organ built in 1936 by Harrison & Harrison, is the latest in a long line dating back to the 15th century.
Most visitors are impressed by the main east window which shows Christ, surrounded by angels, ascending to heaven. The Victorian glass which once occupied the space was destroyed in 1940 when a german bomb struck the ground at the east end of the church causing extensive damage.
The present east window was dedicated in 1951 and reflects the long-term role played by the town of Hythe in the front line of England's defence. A Cinque Port ship can be seen in the panel at the bottom left, and an anti-aircraft gun and searchlights in the right-hand panel.
The only structural alteration to the church in the 20th century was the building of the choir vestry on the north side in 1959, enclosing the fine Norman arch of the second church.
St Leonard's maintains a strong musical heritage with concerts and recitals being held regularly in the church. The worship continues to be enriched by a strong choral tradition which stretches back several centuries. The church building is continuously being developed and restored through the fundraising efforts of the parishioners.
St Leonard's church remains passionately committed to discovering God wherever he might be encountered in the word, in sacraments, in the beauty of this place and in the love shared between its parishioners.
New approaches and styles of worship, as well as the traditional forms of service, all seek to deepen further the spiritual health and maturity of the faithful, who keep returning, time and time again, to seek God in a holy place.
www.stleonardschurchhythekent.org/stlh.html
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THE parish of Hythe, at this time within the liberty of the Cinque Ports, and the corporation of the town of Hythe was antiently, with part of the parish of West Hythe, within an hundred of its own name.
It is called in some antient records, Hethe; in Domesday, Hede; and according to Leland, in Latin, Portus Hithinus; Hithe signifying in the Saxon, a harbour or haven. (fn. 1) In the year 1036, Halden, or Half den, as he is sometimes, and perhaps more properly written, one of the Saxon thanes, gave Hethe and Saltwood, to Christ-church, in Canterbury. After which they appear to have been held of the archbishop by knight's service, by earl Godwin; (fn. 2) and after the Norman conquest, in like manner by Hugo de Montfort, one of those who had accompanied William the Conqueror hither, at which time it was accounted only as a borough appurtenant to the manor of Saltwood, as appears by the book of Domesday, taken in the year 1080, where, under the title of lands held of the archbishop by knight's service, at the latter end of the description of that manor, it is said:
To this manor (viz. Saltwood) belong two hundred and twenty-five burgesses in the borough of Hede Between the borough and the manor, in the time of king Edward the Confessor, it was worth sixteen pounds, when he received it eight pounds, and now in the whole twenty-nine pounds and six shillings and four-pence .
Besides which, there appears in the description of the archbishop's manor of Liminge, in the same record, to have been six burgesses in Hede belonging to that manor. Hythe being thus appurtenant to Saltwood, was within the bailiwick of the archbishop, who annually appointed a bailiff, to act jointly for the government of this town and liberty, which seems to have been made a principal cinque port by the Conqueror, on the decay and in the room of the still more antient port of West Hythe, before which it had always been accounted within the liberty of those ports, which had been enfranchised with several privileges and customs, though of what antiquity they were, or when first enfranchised, has not been as yet, with any certainty, discovered; and therefore they are held to enjoy all their earliest liberties and privileges, as time out of mind by prescription. The quota which the port of Hythe was allotted to furnish towards the mutual armament of the ports, being five ships, and one hundred and five men, and five boys, called gromets. (fn. 3)
The archbishop continued in this manner to appoint his bailiff, who acted jointly with the jurats and commonalty of the town and port of Hythe, the senior jurat on the bench always sitting as president, till the 31st year of king Henry VIII. when the archbishop exchanged the manor of Saltwood, together with the bailiwick of Hythe, with the king for other estates elsewhere. After which a bailiff continued to be appointed yearly by the crown, till queen Elizabeth, in her 17th year, granted them a particular charter of incorporation, by the name of mayor, jurats, and commonalty of the town and port of Hythe, under which they continue to be governed at this time; and she likewise granted to the mayor and his successors, all that her bailiwick of Hythe, together with other premises here, to hold by the yearly fee farm of three pounds, by which they are held by the corporation at this time.
The liberty of the town and port of Hytheextends over the whole of this parish, and part of that of West Hythe, which indeed before the harbour of it failed, was the antient cinque port itself, and to which great part of what has been said above of the antient state of Hythe likewise relates, but not over the scite of that church. The corporation consists of a mayor and twelve jurats, of which he is one, and twenty-four common councilmen, together with two chamberlains and a town-clerk. The mayor, who is coroner by virtue of his office, is chosen, as well as the other officcers of the corporation, on Feb. 2d yearly, and, together with the jurats, who are justices within this liberty exclusive of all others, hold a court of general sessions of the peace and gaol delivery, together with a court of record, the same as at Dover; and it has other privileges, mostly the same as the other corporations within the liberties of the five ports. It has the privileges of two maces. The charters of this corporation, as well as those of the other cinque ports, were in 1685, by the king's command, surrendered up to colonel Strode, then governor of Dover castle, and were never returned again.
Hythe has no coat of arms; but the corporation seal represents an antique vessel, with one mast, two men in it, one blowing a horn; and two men lying on the yard arm.
The PRESENT TOWN OF HYTHE is supposed to owe its origin to the decay of the antient ports of Limne and West Hythe, successively, the harbours of which being rendered useless, by the withdrawing of the sea, and their being banked up with sand, occasioned this of Hythe to be frequented in their stead, and it continued a safe and commodious harbour for considerable length of time, till the same fate befel it likewise, and rendered it wholly useless; and whoever, as Lambarde truly observes, considers either the vicissitude of the sea in different places, and the alterations which in times past, and even now, it works on the coasts of this kingdom, will not be surprized that towns bordering upon the sea, and supported by traffic arising from it, are subject in a short time to decay, and become in a manner of little or no consequence; for as the water either flows or forsakes them, so they must of necessity flourish or decay, flowing and ebbing, as it were, with the sea itself. (fn. 4) Thus after the sea had retired from the town of West Hythe and its haven, the former fell to decay, and became but a small village of no resort, and the present town of Hythe, at two miles distance, to which it was continued by a number of straggling houses all along the shore between them, rose to prosperity, and its harbour became equally noted and frequented in the room of it; so that in a short time the houses and inhabitants increased here so greatly, that Leland says there was once a fair abbey in it, and four parishes and their churches, one of which was that of our Lady of Westhithe, which shews that West Hythe was once accounted a part of the town itself. But this must have been in very early times; for long before king Richard II.'s reign, I find it accounted but as one single parish. The town and harbour of Hythe were by their situation always liable to depredation from enemies; in particular, earl Godwin, when exiled, returned in 1052, and ravaging this coast, took away several vessels lying at anchor in this haven, and Romney; and in king Edward I.'s reign, anno 1293, the French shewed themselves with a great fleet before Hythe, and one of their ships, having two hundred soldiers on board, landed their men in the haven, which they had no sooner done, but the townsmen came upon them and slew every one of them; upon which the rest of the fleet hoisted sail, and made no further attempt. In the latter part of king Richard the IId.'s reign, a dreadful calamity happened to it, when more than two hundred houses of it were burnt down in one day; (fn. 5) and five of their ships were lost, and one hundred men drowned, by which misfortunes the inhabitants were so much impoverished and dispirited, that they had thoughts of abandoning the place, and building themselves a town elsewhere; but king Henry IV. by his timely interposition, prevented this, and by charter released them from their quota of shipping for several turns. The following is Leland's description of it, who wrote in king Henry VIII.'s reign, "Hythe hath bene a very great towne yn lenght and conteyned iiii paroches, that now be clene de stroied, that is to say, S. Nicholas paroche, our Lady paroche, S. Michael paroche, and our Lady of West Hithe, the which ys with yn less than half a myle of Lymne hill. And yt may be well supposed that after the haven of Lymne and the great old towne ther fayled that Hithe strayt therby encresed and was yn price. Finally to cownt fro Westhythe to the place wher the substan of the towne ys now ys ii good myles yn lenght al along on the shore to which the se cam ful sumtym, but now by banking of woose and great casting up of shyngel the se is sumtyme a quarter, dim. a myle fro the old shore. In the tyme of king Edw 2 ther were burned by casuelte xviii score houses and mo, and strayt followed a great pestilens, and thes ii thinges minished the towne. There remayn yet the ruines of the chyrches and chyrch yardes. It evidently appereth that wher the paroch chirch is now was sumtyme a fayr abbey, &c. In the top of the chirch yard is a fayr spring and therby ruines of howses of office of the abbey. The havyn is a prety rode and liith meatly strayt for passage owt of Boleyn; yt croketh yn so by the shore a long and is so bakked fro the mayne se with casting of shingil that smaul shippes may cum up a large myle towards Folkestan as in a sure gut." Though Leland calls it a pretty road, yet it then seems to have been in great measure destroyed by the sands and beach cast up on this shore, by the desertion of the sea, for he describes it as being at that time as only a small channel or gut left, which ran within shore for more than a mile eastward from Hythe towards Folkestone, that small vessels could come up it with safety; and the state of the town and trade of it in queen Elizabeth's time, may be seen by a survey made by her order in her 8th year, of the maritime parts of this county, in which it was returned, that there were here, a customer, controller, and searcher, their authority several; houses inhabited, 122; persons lacking habitation, 10; creeks and landing places two; th'on called the Haven, within the liberties; th'other called the Stade, without the liberties. It had of shipping, 17 tramellers of five tunne, seven shoters of 15; three crayers of 30, four crayers of 40; persons belonging to these crayers and other boats, for the most part occupied in fishing, 160.
Soon after this, even the small channel within land, above-mentioned, which served as the only remaining harbour, became likewise swarved up and lost, though it had the advantage of the Seabrook, and other streams, which came down from the down hills, as a back water, to keep it scowered and open; and though several attempts were from time to time afterwards made, at no small expence and trouble, to open it again, yet it never could be effected; and the abovementioned streams, for want of this channel, flow now towards the beach on the shore, and lose themselves imperceptibly among it.
The parish of Hythe, which is wholly within the liberty of the corporation, extends from the sea shore, the southern bounds of it, northward up the hill a very little way beyond the church, which is about half a mile, and from the bridge at the east end of the town westward, about half way up the hill towards Newingreen, being more than a mile and an half. The town, which contains about two hundred houses, is situated exceedingly pleasant and healthy, on the side as well as at the foot of the quarry-hill, where the principal street is, which is of a handsome breadth, and from the bridges at the extremities of it, about half a mile in length. It has been lately new paved, and otherwise much improved. The court-hall and market place are near the middle of it, the latter was built by Philip, viscount Strangford, who represented this port in parliament anno 12 Charles II. His arms those of the five ports; of Boteler; and of Amhurst, who served likewise in parliament for it, and repaired this building, are on the pillars of it. There are two good inns; and near the east end of it St. John's hospital. Higher up on the side of the hill, where the old town of Hythe is supposed once to have stood, are parallel streets, the houses of which are very pleasantly situated; several of them are handsome houses, occupied by genteel families of good account, the principal one of them has been the seat of the family of Deedes for several generations.
This family have resided at Hythe, in good estimation, for upwards of two hundred years; the first of them that I meet with being Thomas Deedes, who by Elizabeth his wife, sister of Robert Glover, esq. Somerset herald, a most learned and judicious antiquary, had one son Julius Deedes, whose youngest son Robert had a grant of arms confirmed to him, and Julius his nephew and their heirs, by Byshe, clarencieux, in 1653, Per fess, nebulee, gules and argent, three martlets, counter changed , which have been borne by the different branches of this family ever since. William, the youngest son but one, left a son William, the first who appears to have resided at Hythe. He died in 1653, and was buried in this church, which has ever since remained the burial place of this family. He had one only son Julius Deedes, esq. who was of Hythe, for which he was chosen in three several parliaments, and died in 1692, having had three sons, of whom William, the eldest, was ancestor to the Deedes's of Hythe, and of St. Stephen's, as will be mentioned hereafter; Henry, the second son, was of Hythe, gent. whose eldest son Julius, was of Hythe, esq. and died without surviving issue, upon which this seat, among the rest of his estates, came by the entail in his will, to his aunt Margaret Deedes, who dying unmarried, they came, by the same entail, to her cousin William Deedes, esq. late of Hythe, and of St. Stephen's, being descended from William, the eldest son of Julius, who died in 1692, and was a physician at Canterbury, whose son Julius was prebendary of Canterbury, and left one son William, of whom hereafter; and Dorothy, married to Sir John Filmer, bart. of East Sutton, by whom she had no issue. William Deedes, esq. the only surviving son before-mentioned, of Hythe and St. Stephen's, possessed this seat at Hythe, with several other estates in this neighbourhood, by the above entail. He married Mary, daughter of Thomas Bramston, esq. of Skreens, in Essex, and died in 1793, leaving surviving two sons, William, of whom hereafter; John, who married Sophia, daughter of Gen. Forbes, and one daughter Mary, unmarried. William Deedes, esq. the eldest son, is now of Hythe, and married Sophia, second daughter of Sir Brook Bridges, bart. by whom he has two sons and three daughters.
Further westward is St. Bartholomew's hospital. Opposite Mr. Deedes's house, but still higher up, with a steep ascent, is the church, the hill reaching much above it northward. On the upper part of this hill, are several springs, which gush out of the rock, and run into the streams which flow at each end of the town. All the houses situated on the side of the hill, have an uninterrupted view of the sea southward, Romney Marsh, and the adjoining country. The houses throughout it are mostly modern built, and the whole has a neat and chearful appearance. There is a boarding-school kept in the town for young ladies, and on the beach there are bathing machines for the accommodation of invalids. There was formerly a market on a Saturday, which has been long since discontinued, though the farmers have for some time held a meeting here on a Thursday, for the purpose of selling their corn; and two fairs yearly, formerly held on the seasts of St. Peter and St. Edmund the King, now, on July 10th and December 1st, for horses and cattle, very few of which are brought, and shoes and pedlary.
¶ Here is a small fort, of six guns, for the protection of the town and fishery, which till lately belonged to the town, of which it was bought by government, but now rendered useless, by its distance from the sea, from the land continuing to gain upon it; the guns have therefore been taken out. Soon after the commencement of the war, three new forts, of eight guns each, were erected, at the distance of a mile from each other, viz. Twis, Sutherland, and Moncrief; they contain barracks for 100 men each. Every summer during the present war a park of royal artillery has been established on the beech between the forts and the town, for the practice of guns and mortars; and here is a branch of the customs, subordinate to the out port of Dover. This town is watered by two streams; one at the east end of it, being the boundary between this parish and Newington; and the other at the west end, called the Slabrooke, which comes from Saltwood, and runs from hence, by a channel lately made for that purpose, into the sea, which has now left this town somewhat more than half a mile, much the same distance as in Leland's time, the intermediate space being entirely beach and shingle-stones, (the great bank of which lines this shore for upwards of two miles in length) on which, at places, several houses and buildings have been erected, and some parts have been inclosed, with much expence, and made pasture ground of, part of which is claimed by different persons, and the rest by the corporation as their property.
The CINQUE PORTS, as well as their two antient towns of Rye and Winchelsea, have each of them the privilege of returning members, usually stiled barons to parliament; the first returns of which, that are mentioned for any of them, are in the 42d year of king Edward III.
This is my finished model of the TARDIS in its original form. Although the ship doesn't have a base in 'The Name Of The Doctor' I felt that it looked unfinished without it. So I added a base and fitted a thicker, more sturdy door
Minha miniatura da cadeira Form do Normann Copenhagen chegou hoje! Chegaram, na verdade. Mas são duas iguais. E hoje comprei o meu tão sonhado armário pra guardar os dolls. Devo montar amanhã com a ajuda do meu marido.
Quero colocar meus dolls sentados em cadeirinhas dentro do armário. Essas do Normann Copenhagen vão ser pras minhas duas Dals, os dois Isuls vão ficar em cadeiras de outro modelo, as miniaturas Poang da IKEA, que podem ver nessa foto antiga minha:
www.flickr.com/photos/uilaengelblank/14241449572/in/album...
Outra possibilidade seria colocar uma Dal e um Isul nas Poangs, e uma Dal e um Isul nas Forms, pra deixar os casais sentados juntos, verei.
Sobre o armário, tinha TANTO tempo que eu queria um pras dolls, que nem acredito que finalmente comprei. Queria desde 2014.
Eu fiquei em duvidas sobre comprar as portas de vidro, ou umas portas customizáveis. Nas portas customizáveis, dá pra colocar várias fotos, papel de parede ou tecido, que ficam atrás de um vidro. Acabei escolhendo as portas customizaveis, por 3 motivos:
1 - O armário vai ficar exatamente do lado oposto do aposento de uma janela e uma porta de vidro. Elas tem uma cortina blackout que posso baixar, mas não da pra ficar com a cortina baixa toda hora, fiquei com medo que com o tempo isso fosse amarelar minhas dolls mais rapidamente.
2 - Se alguma criança me visitar, não vai ver um armário tentação cheio de bonecas no meio da sala. Bonus: não teria que explicar nanica de nada pra nenhum convidado aleatório que poderia me julgar pelas minhas bonecas.
3 - Apesar de saber que nunca vou ter uma casa minimalista, admiro muito esse estilo de casa, babo em design escandinavo, como podem ver pela minha escolha de miniaturas. Se eu não posso ter uma casa minimalista e perfeitamente escandinava, meus dolls podem! Mass, podendo diminuir a poluição visual, com as dolls lindinhas dentro do armário, mas sem aparecer com as portas fechadas, já ajuda. Principalmente pq tenho no mesmo aposento uma parede totalmente ocupada por estantes com meus livros (e efeitinhos na frente dos livros), então fiquei com medo de ficar um ambiente muito poluído visualmente, mesmo que organizado.
Acho que vou dormir hoje a noite sonhando em como vou organizar essa estante. 💕
A visit to the National Trust property that is Penrhyn Castle
Penrhyn Castle is a country house in Llandygai, Bangor, Gwynedd, North Wales, in the form of a Norman castle. It was originally a medieval fortified manor house, founded by Ednyfed Fychan. In 1438, Ioan ap Gruffudd was granted a licence to crenellate and he founded the stone castle and added a tower house. Samuel Wyatt reconstructed the property in the 1780s.
The present building was created between about 1822 and 1837 to designs by Thomas Hopper, who expanded and transformed the building beyond recognition. However a spiral staircase from the original property can still be seen, and a vaulted basement and other masonry were incorporated into the new structure. Hopper's client was George Hay Dawkins-Pennant, who had inherited the Penrhyn estate on the death of his second cousin, Richard Pennant, who had made his fortune from slavery in Jamaica and local slate quarries. The eldest of George's two daughters, Juliana, married Grenadier Guard, Edward Gordon Douglas, who, on inheriting the estate on George's death in 1845, adopted the hyphenated surname of Douglas-Pennant. The cost of the construction of this vast 'castle' is disputed, and very difficult to work out accurately, as much of the timber came from the family's own forestry, and much of the labour was acquired from within their own workforce at the slate quarry. It cost the Pennant family an estimated £150,000. This is the current equivalent to about £49,500,000.
Penrhyn is one of the most admired of the numerous mock castles built in the United Kingdom in the 19th century; Christopher Hussey called it, "the outstanding instance of Norman revival." The castle is a picturesque composition that stretches over 600 feet from a tall donjon containing family rooms, through the main block built around the earlier house, to the service wing and the stables.
It is built in a sombre style which allows it to possess something of the medieval fortress air despite the ground-level drawing room windows. Hopper designed all the principal interiors in a rich but restrained Norman style, with much fine plasterwork and wood and stone carving. The castle also has some specially designed Norman-style furniture, including a one-ton slate bed made for Queen Victoria when she visited in 1859.
Hugh Napier Douglas-Pennant, 4th Lord Penrhyn, died in 1949, and the castle and estate passed to his niece, Lady Janet Pelham, who, on inheritance, adopted the surname of Douglas-Pennant. In 1951, the castle and 40,000 acres (160 km²) of land were accepted by the treasury in lieu of death duties from Lady Janet. It now belongs to the National Trust and is open to the public. The site received 109,395 visitors in 2017.
Grade I Listed Building
History
The present house, built in the form of a vast Norman castle, was constructed to the design of Thomas Hopper for George Hay Dawkins-Pennant between 1820 and 1837. It has been very little altered since.
The original house on the site was a medieval manor house of C14 origin, for which a licence to crenellate was given at an unknown date between 1410 and 1431. This house survived until c1782 when it was remodelled in castellated Gothick style, replete with yellow mathematical tiles, by Samuel Wyatt for Richard Pennant. This house, the great hall of which is incorporated in the present drawing room, was remodelled in c1800, but the vast profits from the Penrhyn slate quarries enabled all the rest to be completely swept away by Hopper's vast neo-Norman fantasy, sited and built so that it could be seen not only from the quarries, but most parts of the surrounding estate, thereby emphasizing the local dominance of the Dawkins-Pennant family. The total cost is unknown but it cannot have been less than the £123,000 claimed by Catherine Sinclair in 1839.
Since 1951 the house has belonged to the National Trust, together with over 40,000 acres of the family estates around Ysbyty Ifan and the Ogwen valley.
Exterior
Country house built in the style of a vast Norman castle with other later medieval influences, so huge (its 70 roofs cover an area of over an acre (0.4ha)) that it almost defies meaningful description. The main components of the house, which is built on a north-south axis with the main elevations to east and west, are the 124ft (37.8m) high keep, based on Castle Hedingham (Essex) containing the family quarters on the south, the central range, protected by a 'barbican' terrace on the east, housing the state apartments, and the rectangular-shaped staff/service buildings and stables to the north. The whole is constructed of local rubblestone with internal brick lining, but all elevations are faced in tooled Anglesey limestone ashlar of the finest quality jointing; flat lead roofs concealed by castellated parapets. Close to, the extreme length of the building (it is about 200 yards (182.88m) long) and the fact that the ground slopes away on all sides mean that almost no complete elevation can be seen. That the most frequent views of the exterior are oblique also offered Hopper the opportunity to deploy his towers for picturesque effect, the relationship between the keep and the other towers and turrets frequently obscuring the distances between them. Another significant external feature of the castle is that it actually looks defensible making it secure at least from Pugin's famous slur of 1841 on contemporary "castles" - "Who would hammer against nailed portals, when he could kick his way through the greenhouse?" Certainly, this could never be achieved at Penrhyn and it looks every inch the impregnable fortress both architect and patron intended it to be.
East elevation: to the left is the loosely attached 4-storey keep on battered plinth with 4 tiers of deeply splayed Norman windows, 2 to each face, with chevron decoration and nook-shafts, topped by 4 square corner turrets. The dining room (distinguished by the intersecting tracery above the windows) and breakfast room to the right of the entrance gallery are protected by the long sweep of the machicolated 'barbican' terrace (carriage forecourt), curved in front of the 2 rooms and then running northwards before returning at right-angles to the west to include the gatehouse, which formed the original main entrance to the castle, and ending in a tall rectangular tower with machicolated parapet. To the right of the gatehouse are the recessed buildings of the kitchen court and to the right again the long, largely unbroken outer wall of the stable court, terminated by the square footmen's tower to the left and the rather more exuberant projecting circular dung tower with its spectacularly cantilevered bartizan on the right. From here the wall runs at right-angles to the west incorporating the impressive gatehouse to the stable court.
West elevation: beginning at the left is the hexagonal smithy tower, followed by the long run of the stable court, well provided with windows on this side as the stables lie directly behind. At the end of this the wall turns at right-angles to the west, incorporating the narrow circular-turreted gatehouse to the outer court and terminating in the machicolated circular ice tower. From here the wall runs again at a lower height enclosing the remainder of the outer court. It is, of course, the state apartments which make up the chief architectural display on the central part of this elevation, beginning with a strongly articulated but essentially rectangular tower to the left, while both the drawing room and the library have Norman windows leading directly onto the lawns, the latter terminating in a slender machicolated circular corner tower. To the right is the keep, considerably set back on this side.
Interior
Only those parts of the castle generally accessible to visitors are recorded in this description. Although not described here much of the furniture and many of the paintings (including family portraits) are also original to the house. Similarly, it should be noted that in the interests of brevity and clarity, not all significant architectural features are itemised in the following description.
Entrance gallery: one of the last parts of the castle to be built, this narrow cloister-like passage was added to the main block to heighten the sensation of entering the vast Grand Hall, which is made only partly visible by the deliberate offsetting of the intervening doorways; bronze lamp standards with wolf-heads on stone bases. Grand Hall: entering the columned aisle of this huge space, the visitor stands at a cross-roads between the 3 principal areas of the castle's plan; to the left the passage leads up to the family's private apartments on the 4 floors of the keep, to the right the door at the end leads to the extensive service quarters while ahead lies the sequence of state rooms used for entertaining guests and displayed to the public ever since the castle was built. The hall itself resembles in form, style and scale the transept of a great Norman cathedral, the great clustered columns extending upwards to a "triforium" formed on 2 sides of extraordinary compound arches; stained glass with signs of the zodiac and months of the year as in a book of hours by Thomas Willement (completed 1835). Library: has very much the atmosphere of a gentlemen’s London club with walls, columned arches and ceilings covered in the most lavish ornamentation; superb architectural bookcases and panelled walls are of oak but the arches are plaster grained to match; ornamental bosses and other devices to the rich plaster ceiling refer to the ancestry of the Dawkins and Pennant families, as do the stained glass lunettes above the windows, possibly by David Evans of Shrewsbury; 4 chimneypieces of polished Anglesey "marble", one with a frieze of fantastical carved mummers in the capitals. Drawing room (great hall of the late C18 house and its medieval predecessor): again in a neo-Norman style but the decoration is lighter and the columns more slender, the spirit of the room reflected in the 2000 delicate Maltese gilt crosses to the vaulted ceiling. Ebony room: so called on account of its furniture and "ebonised" chimneypiece and plasterwork, has at its entrance a spiral staircase from the medieval house. Grand Staircase hall: in many ways the greatest architectural achievement at Penrhyn, taking 10 years to complete, the carving in 2 contrasting stones of the highest quality; repeating abstract decorative motifs contrast with the infinitely inventive figurative carving in the newels and capitals; to the top the intricate plaster panels of the domed lantern are formed in exceptionally high relief and display both Norse and Celtic influences. Next to the grand stair is the secondary stair, itself a magnificent structure in grey sandstone with lantern, built immediately next to the grand stair so that family or guests should not meet staff on the same staircase. Reached from the columned aisle of the grand hall are the 2 remaining principal ground-floor rooms, the dining room and the breakfast room, among the last parts of the castle to be completed and clearly intended to be picture galleries as much as dining areas, the stencilled treatment of the walls in the dining room allowing both the provision of an appropriately elaborate "Norman" scheme and a large flat surface for the hanging of paintings; black marble fireplace carved by Richard Westmacott and extremely ornate ceiling with leaf bosses encircled by bands of figurative mouldings derived from the Romanesque church of Kilpeck, Herefordshire. Breakfast room has cambered beam ceiling with oak-grained finish.
Grand hall gallery: at the top of the grand staircase is vaulted and continues around the grand hall below to link with the passage to the keep, which at this level (as on the other floors) contains a suite of rooms comprising a sitting room, dressing room, bedroom and small ante-chamber, the room containing the famous slate bed also with a red Mona marble chimneypiece, one of the most spectacular in the castle. Returning to the grand hall gallery and continuing straight on rather than returning to the grand staircase the Lower India room is reached to the right: this contains an Anglesey limestone chimneypiece painted to match the ground colour of the room's Chinese wallpaper. Coming out of this room, the chapel corridor leads to the chapel gallery (used by the family) and the chapel proper below (used by staff), the latter with encaustic tiles probably reused from the old medieval chapel; stained and painted glass by David Evans (c1833).
The domestic quarters of the castle are reached along the passage from the breakfast room, which turns at right-angles to the right at the foot of the secondary staircase, the most important areas being the butler's pantry, steward's office, servants' hall, housekeeper's room, still room, housekeeper's store and housemaids' tower, while the kitchen (with its cast-iron range flanked by large and hygienic vertical slabs of Penrhyn slate) is housed on the lower ground floor. From this kitchen court, which also includes a coal store, oil vaults, brushing room, lamp room, pastry room, larder, scullery and laundry are reached the outer court with its soup kitchen, brewhouse and 2-storey ice tower and the much larger stables court which, along with the stables themselves containing their extensive slate-partitioned stalls and loose boxes, incorporates the coach house, covered ride, smithy tower, dung tower with gardeners' messroom above and footmen's tower.
Reasons for Listing
Included at Grade I as one of the most important large country houses in Wales; a superb example of the relatively short-lived Norman Revival of the early C19 and generally regarded as the masterpiece of its architect, Thomas Hopper.
A look around the inside of the castle / house.
The Library
Billiard Table
Seen before going up the Grand Staircase.
Sacred Harp singing is a form of church music started in the early 19th century in the northeast, which went on to be popular in the south. It's an art form that came close to dying out, but has had a resurgence in popularity due in part to the Internet. The locals who enjoy this singing have formed the Harpeth Valley Sacred Harp Singers and you can find out more about them here: sacredharpnashville.org/
Here's what's going on in the picture: Chairs are arranged to form a square. That song's leader stands in the middle and faces the largest group who sings the melody. On one side are the basses, who are opposite from the trebles, with the altos in the back. The book they use is a modern reprint of a book dating back to 1844 called The Sacred Harp. The music is sung a cappella, which means they don't use instruments, but with everyone singing they can belt out the notes really loud. The leader and some of the singers wave their hand in a pattern to help keep the rhythm. This meetup was at the 2011 Wilson County Fair in Lebanon, TN
A visit to the National Trust property that is Penrhyn Castle
Penrhyn Castle is a country house in Llandygai, Bangor, Gwynedd, North Wales, in the form of a Norman castle. It was originally a medieval fortified manor house, founded by Ednyfed Fychan. In 1438, Ioan ap Gruffudd was granted a licence to crenellate and he founded the stone castle and added a tower house. Samuel Wyatt reconstructed the property in the 1780s.
The present building was created between about 1822 and 1837 to designs by Thomas Hopper, who expanded and transformed the building beyond recognition. However a spiral staircase from the original property can still be seen, and a vaulted basement and other masonry were incorporated into the new structure. Hopper's client was George Hay Dawkins-Pennant, who had inherited the Penrhyn estate on the death of his second cousin, Richard Pennant, who had made his fortune from slavery in Jamaica and local slate quarries. The eldest of George's two daughters, Juliana, married Grenadier Guard, Edward Gordon Douglas, who, on inheriting the estate on George's death in 1845, adopted the hyphenated surname of Douglas-Pennant. The cost of the construction of this vast 'castle' is disputed, and very difficult to work out accurately, as much of the timber came from the family's own forestry, and much of the labour was acquired from within their own workforce at the slate quarry. It cost the Pennant family an estimated £150,000. This is the current equivalent to about £49,500,000.
Penrhyn is one of the most admired of the numerous mock castles built in the United Kingdom in the 19th century; Christopher Hussey called it, "the outstanding instance of Norman revival." The castle is a picturesque composition that stretches over 600 feet from a tall donjon containing family rooms, through the main block built around the earlier house, to the service wing and the stables.
It is built in a sombre style which allows it to possess something of the medieval fortress air despite the ground-level drawing room windows. Hopper designed all the principal interiors in a rich but restrained Norman style, with much fine plasterwork and wood and stone carving. The castle also has some specially designed Norman-style furniture, including a one-ton slate bed made for Queen Victoria when she visited in 1859.
Hugh Napier Douglas-Pennant, 4th Lord Penrhyn, died in 1949, and the castle and estate passed to his niece, Lady Janet Pelham, who, on inheritance, adopted the surname of Douglas-Pennant. In 1951, the castle and 40,000 acres (160 km²) of land were accepted by the treasury in lieu of death duties from Lady Janet. It now belongs to the National Trust and is open to the public. The site received 109,395 visitors in 2017.
Grade I Listed Building
History
The present house, built in the form of a vast Norman castle, was constructed to the design of Thomas Hopper for George Hay Dawkins-Pennant between 1820 and 1837. It has been very little altered since.
The original house on the site was a medieval manor house of C14 origin, for which a licence to crenellate was given at an unknown date between 1410 and 1431. This house survived until c1782 when it was remodelled in castellated Gothick style, replete with yellow mathematical tiles, by Samuel Wyatt for Richard Pennant. This house, the great hall of which is incorporated in the present drawing room, was remodelled in c1800, but the vast profits from the Penrhyn slate quarries enabled all the rest to be completely swept away by Hopper's vast neo-Norman fantasy, sited and built so that it could be seen not only from the quarries, but most parts of the surrounding estate, thereby emphasizing the local dominance of the Dawkins-Pennant family. The total cost is unknown but it cannot have been less than the £123,000 claimed by Catherine Sinclair in 1839.
Since 1951 the house has belonged to the National Trust, together with over 40,000 acres of the family estates around Ysbyty Ifan and the Ogwen valley.
Exterior
Country house built in the style of a vast Norman castle with other later medieval influences, so huge (its 70 roofs cover an area of over an acre (0.4ha)) that it almost defies meaningful description. The main components of the house, which is built on a north-south axis with the main elevations to east and west, are the 124ft (37.8m) high keep, based on Castle Hedingham (Essex) containing the family quarters on the south, the central range, protected by a 'barbican' terrace on the east, housing the state apartments, and the rectangular-shaped staff/service buildings and stables to the north. The whole is constructed of local rubblestone with internal brick lining, but all elevations are faced in tooled Anglesey limestone ashlar of the finest quality jointing; flat lead roofs concealed by castellated parapets. Close to, the extreme length of the building (it is about 200 yards (182.88m) long) and the fact that the ground slopes away on all sides mean that almost no complete elevation can be seen. That the most frequent views of the exterior are oblique also offered Hopper the opportunity to deploy his towers for picturesque effect, the relationship between the keep and the other towers and turrets frequently obscuring the distances between them. Another significant external feature of the castle is that it actually looks defensible making it secure at least from Pugin's famous slur of 1841 on contemporary "castles" - "Who would hammer against nailed portals, when he could kick his way through the greenhouse?" Certainly, this could never be achieved at Penrhyn and it looks every inch the impregnable fortress both architect and patron intended it to be.
East elevation: to the left is the loosely attached 4-storey keep on battered plinth with 4 tiers of deeply splayed Norman windows, 2 to each face, with chevron decoration and nook-shafts, topped by 4 square corner turrets. The dining room (distinguished by the intersecting tracery above the windows) and breakfast room to the right of the entrance gallery are protected by the long sweep of the machicolated 'barbican' terrace (carriage forecourt), curved in front of the 2 rooms and then running northwards before returning at right-angles to the west to include the gatehouse, which formed the original main entrance to the castle, and ending in a tall rectangular tower with machicolated parapet. To the right of the gatehouse are the recessed buildings of the kitchen court and to the right again the long, largely unbroken outer wall of the stable court, terminated by the square footmen's tower to the left and the rather more exuberant projecting circular dung tower with its spectacularly cantilevered bartizan on the right. From here the wall runs at right-angles to the west incorporating the impressive gatehouse to the stable court.
West elevation: beginning at the left is the hexagonal smithy tower, followed by the long run of the stable court, well provided with windows on this side as the stables lie directly behind. At the end of this the wall turns at right-angles to the west, incorporating the narrow circular-turreted gatehouse to the outer court and terminating in the machicolated circular ice tower. From here the wall runs again at a lower height enclosing the remainder of the outer court. It is, of course, the state apartments which make up the chief architectural display on the central part of this elevation, beginning with a strongly articulated but essentially rectangular tower to the left, while both the drawing room and the library have Norman windows leading directly onto the lawns, the latter terminating in a slender machicolated circular corner tower. To the right is the keep, considerably set back on this side.
Interior
Only those parts of the castle generally accessible to visitors are recorded in this description. Although not described here much of the furniture and many of the paintings (including family portraits) are also original to the house. Similarly, it should be noted that in the interests of brevity and clarity, not all significant architectural features are itemised in the following description.
Entrance gallery: one of the last parts of the castle to be built, this narrow cloister-like passage was added to the main block to heighten the sensation of entering the vast Grand Hall, which is made only partly visible by the deliberate offsetting of the intervening doorways; bronze lamp standards with wolf-heads on stone bases. Grand Hall: entering the columned aisle of this huge space, the visitor stands at a cross-roads between the 3 principal areas of the castle's plan; to the left the passage leads up to the family's private apartments on the 4 floors of the keep, to the right the door at the end leads to the extensive service quarters while ahead lies the sequence of state rooms used for entertaining guests and displayed to the public ever since the castle was built. The hall itself resembles in form, style and scale the transept of a great Norman cathedral, the great clustered columns extending upwards to a "triforium" formed on 2 sides of extraordinary compound arches; stained glass with signs of the zodiac and months of the year as in a book of hours by Thomas Willement (completed 1835). Library: has very much the atmosphere of a gentlemen’s London club with walls, columned arches and ceilings covered in the most lavish ornamentation; superb architectural bookcases and panelled walls are of oak but the arches are plaster grained to match; ornamental bosses and other devices to the rich plaster ceiling refer to the ancestry of the Dawkins and Pennant families, as do the stained glass lunettes above the windows, possibly by David Evans of Shrewsbury; 4 chimneypieces of polished Anglesey "marble", one with a frieze of fantastical carved mummers in the capitals. Drawing room (great hall of the late C18 house and its medieval predecessor): again in a neo-Norman style but the decoration is lighter and the columns more slender, the spirit of the room reflected in the 2000 delicate Maltese gilt crosses to the vaulted ceiling. Ebony room: so called on account of its furniture and "ebonised" chimneypiece and plasterwork, has at its entrance a spiral staircase from the medieval house. Grand Staircase hall: in many ways the greatest architectural achievement at Penrhyn, taking 10 years to complete, the carving in 2 contrasting stones of the highest quality; repeating abstract decorative motifs contrast with the infinitely inventive figurative carving in the newels and capitals; to the top the intricate plaster panels of the domed lantern are formed in exceptionally high relief and display both Norse and Celtic influences. Next to the grand stair is the secondary stair, itself a magnificent structure in grey sandstone with lantern, built immediately next to the grand stair so that family or guests should not meet staff on the same staircase. Reached from the columned aisle of the grand hall are the 2 remaining principal ground-floor rooms, the dining room and the breakfast room, among the last parts of the castle to be completed and clearly intended to be picture galleries as much as dining areas, the stencilled treatment of the walls in the dining room allowing both the provision of an appropriately elaborate "Norman" scheme and a large flat surface for the hanging of paintings; black marble fireplace carved by Richard Westmacott and extremely ornate ceiling with leaf bosses encircled by bands of figurative mouldings derived from the Romanesque church of Kilpeck, Herefordshire. Breakfast room has cambered beam ceiling with oak-grained finish.
Grand hall gallery: at the top of the grand staircase is vaulted and continues around the grand hall below to link with the passage to the keep, which at this level (as on the other floors) contains a suite of rooms comprising a sitting room, dressing room, bedroom and small ante-chamber, the room containing the famous slate bed also with a red Mona marble chimneypiece, one of the most spectacular in the castle. Returning to the grand hall gallery and continuing straight on rather than returning to the grand staircase the Lower India room is reached to the right: this contains an Anglesey limestone chimneypiece painted to match the ground colour of the room's Chinese wallpaper. Coming out of this room, the chapel corridor leads to the chapel gallery (used by the family) and the chapel proper below (used by staff), the latter with encaustic tiles probably reused from the old medieval chapel; stained and painted glass by David Evans (c1833).
The domestic quarters of the castle are reached along the passage from the breakfast room, which turns at right-angles to the right at the foot of the secondary staircase, the most important areas being the butler's pantry, steward's office, servants' hall, housekeeper's room, still room, housekeeper's store and housemaids' tower, while the kitchen (with its cast-iron range flanked by large and hygienic vertical slabs of Penrhyn slate) is housed on the lower ground floor. From this kitchen court, which also includes a coal store, oil vaults, brushing room, lamp room, pastry room, larder, scullery and laundry are reached the outer court with its soup kitchen, brewhouse and 2-storey ice tower and the much larger stables court which, along with the stables themselves containing their extensive slate-partitioned stalls and loose boxes, incorporates the coach house, covered ride, smithy tower, dung tower with gardeners' messroom above and footmen's tower.
Reasons for Listing
Included at Grade I as one of the most important large country houses in Wales; a superb example of the relatively short-lived Norman Revival of the early C19 and generally regarded as the masterpiece of its architect, Thomas Hopper.
Clocks - went up a tower and they had thousands of clocks all over the place!
Harrison's Garden
An installation of over 5000 clocks creates an imagined landscape in the derelict 'unloved' rooms of the keep.
You needed a token to go up here, and only a certain number of people were allowed up here at each time.
Historic Documents Which Marked the Beginning of Our War with Germany.
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Sixty-fifth Congress of the United States of America;
At the First Session,
Begun and held at the City of Washington on Monday, the 2nd day of April, 1917.
JOINT RESOLUTION
Declaring that a state of war exists between the Imperial German Government and the Government and the people of the United States of America and making provision to prosecute the same.
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Whereas the Imperial German Government has committed repeated acts of war against the Government and the people of the United States of America ; Therefore be it
Resolved by the Senate and House of Representatives of the United States of America in Congress assembled, That the state of war between the United States and the Imperial German Government which has thus been thrust upon the United States is hereby formally declared; and that the President be, and he is hereby, authorized and directed to employ the entire naval and military forces of the United State and the resources of the Government to carry on war against the Imperial German Government; and to bring the conflict to a successful termination all of the resources of the country are hereby pledged by the Congress of the United States.
Champ Clark,
Speaker of the House of Representatives.
Thomas Riley Marshall,
Vice President of the United States and
President of the Senate.
Approved 6, April, 1917.
Woodrow Wilson.
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Proclamation 1364—Declaring That a State of War Exists Between the United States and Germany
April 6, 1917.
By the President of the United States of America,
A Proclamation.
Whereas, the Congress of the United States in the exercise of the constitutional authority vested in them have resolved, by joint resolution of the Senate and House of Representatives bearing date this day "That the state of war between the United States and the Imperial German Government which has been thrust upon the United States is hereby formally declared";
Whereas, it is provided by Section 4067 of the Revised Statutes, as follows:
Whenever there is declared a war between the United States and any foreign nation or government, or any invasion or predatory incursion is perpetrated, attempted, or threatened against the territory of the United States, by any foreign nation or government, and the President makes public proclamation of the event, all natives, citizens, denizens, or subjects of a hostile nation or government, being males of the age of fourteen years and upwards, who shall be within the United States, and not actually naturalized, shall be liable to be apprehended, restrained, secured, and removed as alien enemies. The President is authorized, in any such event, by his proclamation thereof, or other public act, to direct the conduct to be observed, on the part of the United States, toward the aliens who become so liable; the manner and degree of the restraint to which they shall be subject, and in what cases, and upon what security their residence shall be permitted, and to provide for the removal of those who, not being permitted to reside within the United States, refuse or neglect to depart therefrom; and to establish any such regulations which are found necessary in the premises and for the public safety;
Whereas, by Sections 4068, 4069, and 4070 of the Revised Statutes, further provision is made relative to alien enemies;
Now, Therefore, I, Woodrow Wilson, President of the United States of America, do hereby proclaim to all whom it may concern that a state of war exists between the United States and the Imperial German Government; and I do specially direct all officers, civil or military, of the United States that they exercise vigilance and zeal in the discharge of the duties incident to such a state of war; and I do, moreover, earnestly appeal to all American citizens that they, in loyal devotion to their country, dedicated from its foundation to the principles of liberty and justice, uphold the laws of the land, and give undivided and willing support to those measures which may be adopted by the constitutional authorities in prosecuting the war to a successful issue and in obtaining a secure and just peace;
And, acting under and by virtue of the authority vested in me by the Constitution of the United States and the said sections of the Revised Statutes, I do hereby further proclaim and direct that the conduct to be observed on the part of the United States toward all natives, citizens, denizens, or subjects of Germany, being males of the age of fourteen years and upwards, who shall be within the United States and not actually naturalized, who for the purpose of this proclamation and under such sections of the Revised Statutes are termed alien enemies, shall be as follows:
All alien enemies are enjoined to preserve the peace towards the United States and to refrain from crime against the public safety, and from violating the laws of the United States and of the States and Territories thereof, and to refrain from actual hostility or giving information, aid or comfort to the enemies of the United States, and to comply strictly with the regulations which are hereby or which may be from time to time promulgated by the President; and so long as they shall conduct themselves in accordance with law, they shall be undisturbed in the peaceful pursuit of their lives and occupations and be accorded the consideration due to all peaceful and law-abiding persons, except so far as restrictions may be necessary for their own protection and for the safety of the United States; and towards such alien enemies as conduct themselves in accordance with law, all citizens of the United States are enjoined to preserve the peace and to treat them with all such friendliness as may be compatible with loyalty and allegiance to the United States.
And all alien enemies who fail to conduct themselves as so enjoined, in addition to all other penalties prescribed by law, shall be liable to restraint, or to give security, or to remove and depart from the United States in the manner prescribed by Sections 4069 and 4070 of the Revised Statutes, and as prescribed in the regulations duly promulgated by the President;
And pursuant to the authority vested in me, I hereby declare and establish the following regulations, which I find necessary in the premises and for the public safety:
First. An alien enemy shall not have in his possession, at any time or place, any fire-arm, weapon or implement of war, or component part thereof, ammunition, maxim or other silencer, bomb or explosive or material used in the manufacture of explosives;
Second. An alien enemy shall not have in his possession at any time or place, or use or operate any aircraft or wireless apparatus, or any form of signalling device, or any form of cipher code, or any paper, document or book written or printed in cipher or in which there may be invisible writing;
Third. All property found in the possession of an alien enemy in violation of the foregoing regulations shall be subject to seizure by the United States;
Fourth. An alien enemy shall not approach or be found within one-half of a mile of any Federal or State fort, camp, arsenal, aircraft station, Government or naval vessel, navy yard, factory, or workshop for the manufacture of munitions of war or of any products for the use of the army or navy;
Fifth. An alien enemy shall not write, print, or publish any attack or threats against the Government or Congress of the United States, or either branch thereof, or against the measures or policy of the United States, or against the person or property of any person in the military, naval or civil service of the United States, or of the States or Territories, or of the District of Columbia, or of the municipal governments therein;
Sixth. An alien enemy shall not commit or abet any hostile acts against the United States, or give information, aid, or comfort to its enemies;
Seventh. An alien enemy shall not reside in or continue to reside in, to remain in, or enter any locality which the President may from time to time designate by Executive Order as a prohibited area in which residence by an alien enemy shall be found by him to constitute a danger to the public peace and safety of the United States, except by permit from the President and except under such limitations or restrictions as the President may prescribe;
Eighth. An alien enemy whom the President shall have reasonable cause to believe to be aiding or about to aid the enemy, or to be at large to the danger of the public peace or safety of the United States, or to have violated or to be about to violate any of these regulations, shall remove to any location designated by the President by Executive Order, and shall not remove therefrom without a permit, or shall depart from the United States if so required by the President;
Ninth. No alien enemy shall depart from the United States until he shall have received such permit as the President shall prescribe, or except under order of a court, judge, or justice, under Sections 4069 and 4070 of the Revised Statutes;
Tenth. No alien enemy shall land in or enter the United States, except under such restrictions and at such places as the President may prescribe;
Eleventh. If necessary to prevent violation of the regulations, all alien enemies will be obliged to register;
Twelfth. An alien enemy whom there may be reasonable cause to believe to be aiding or about to aid the enemy, or who may be at large to the danger of the public peace or safety, or who violates or attempts to violate, or of whom there is reasonable ground to believe that he is about to violate, any regulation duly promulgated by the President, or any criminal law of the United States, or of the States or Territories thereof, will be subject to summary arrest by the United States Marshal, or his deputy, or such other officer as the President shall designate, and to confinement in such penitentiary, prison, jail, military camp, or other place of detention as may be directed by the President.
This proclamation and the regulations herein contained shall extend and apply to all land and water, continental or insular, in any way within the jurisdiction of the United States.
In Witness Whereof, I have hereunto set my hand and caused the seal of the United States to be affixed.
Done at the City of Washington this 6th day of April in the year of our Lord one thousand nine hundred and seventeen and of the independence of the United States of America the one hundred and forty-first.
WOODROW WILSON
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DECLARATION OF WAR AGAINST GERMANY BY THE AMERICAN CONGRESS AND THE PRESIDENTIAL PROCLAMATION.
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The war of the nations: portfolio in rotogravure etchings: compiled from the Mid-week pictorial. New York: New York Times, Co, 1919. Book.
Retrieved from the Library of Congress, www.loc.gov/item/19013740/. (Accessed November 08, 2016.)
Images from "The War of the Nations : Portfolio in Rotogravure Etchings : Compiled from the Mid-Week Pictorial" (New York : New York Times, Co., 1919)
Notes: Selected from "The War of the Nations: Portfolio in Rotogravure Etchings," published by the New York Times shortly after the 1919 armistice. This portfolio compiled selected images from their "Mid-Week Pictorial" newspaper supplements of 1914-19. 528 p. : chiefly ill. ; 42 cm.; hdl.loc.gov/loc.gdc/collgdc.gc000037
Subjects: World War, 1914-1918 --Pictorial works.
New York--New York
Format: Rotogravures --1910-1920.
Rights Info: No known restrictions on reproduction
Repository: Library of Congress, Serials and Government Publications Division, Washington, D.C. 20540
Part Of: Newspaper Pictorials: World War I Rotogravures, 1914-1919 (DLC) sgpwar 19191231
General information about the Newspaper Pictorials: World War I Rotogravures, 1914-1919 digital collection is available at hdl.loc.gov/loc.gdc/collgdc.gc000037
=====================================================
From my set entitled ‘Sumac”
www.flickr.com/photos/21861018@N00/sets/72157607186471302/
In my collection entitled “The Garden”
www.flickr.com/photos/21861018@N00/collections/7215760718...
From Wikipedia, the free encyclopedia
Sumac (also spelled sumach) is any one of approximately 250 species of flowering plants in the genus Rhus and related genera, in the family Anacardiaceae. The dried berries of some species are ground to produce a tangy purple spice often used in juice.
Sumacs grow in subtropical and warm temperate regions throughout the world, especially in North America.
Sumacs are shrubs and small trees that can reach a height of 1-10 meters. The leaves are spirally arranged; they are usually pinnately compound, though some species have trifoliate or simple leaves. The flowers are in dense panicles or spikes 5-30 cm long, each flower very small, greenish, creamy white or red, with five petals. The fruits form dense clusters of reddish drupes called sumac bobs.
Sumacs propagate both by seed (spread by birds and other animals through their droppings), and by new sprouts from rhizomes, forming large clonal colonies.
The drupes of the genus Rhus are ground into a deep-red or purple powder used as a spice in Middle Eastern cuisine to add a lemony taste to salads or meat; in the Turkish cuisine e.g. added to salad-servings of kebabs and lahmacun. In North America, the smooth sumac (Rhus glabra), and the staghorn sumac (Rhus typhina), are sometimes used to make a beverage, termed "sumac-ade" or "Indian lemonade" or "rhus juice". This drink is made by soaking the drupes in cool water, rubbing them to extract the essence, straining the liquid through a cotton cloth and sweetening it. Native Americans also used the leaves and berries of the smooth and staghorn sumacs combined with tobacco in traditional smoking mixtures.
Species including the fragrant sumac (Rhus aromatica), the littleleaf sumac (R. microphylla), the skunkbush sumac (R. trilobata), the smooth sumac and the staghorn sumac are grown for ornament, either as the wild types or as cultivars.
The leaves of certain sumacs yield tannin (mostly pyrogallol), a substance used in vegetable tanning. Leather tanned with sumac is flexible, light in weight, and light in color, even bordering on being white.
Dried sumac wood is fluorescent under long-wave UV light. Mowing of sumac is not a good control measure as the wood is springy resulting in jagged, sharp pointed stumps when mowed. The plant will quickly recover with new growth after mowing. See Nebraska Extension Service publication G97-1319 for suggestions as to control.
At times Rhus has held over 250 species. Recent molecular phylogeny research suggests breaking Rhus sensu lata into Actinocheita, Baronia, Cotinus, Malosma, Searsia, Toxicodendron, and Rhus sensu stricta. If this is done, about 35 species would remain in Rhus. However, the data is not yet clear enough to settle the proper placement of all species into these genera.
Kingfisher looking to defy authority. All these Kingfisher shots today are posted with huge thanks to Martin Webber's invaluable help and patience. (Webbyu61) We were expecting shots around the nest but the young had fledged (see "Hiding"). Martin knew where to find them
Copyright © 2015 OffdaLipp Images
This image is protected under the United States and International Copyright laws and may not be downloaded, reproduced, copied, transmitted or manipulated without written permission.
This store opened in March 1993 as a Finast supermarket. This store was re-branded as Tops around 2000. This store was closed in December 2006 when the Tops chain pulled out of Ohio.
Giant Eagle purchased this store and planned to relocate from Southgate USA into this shopping center in 2007. However, Giant Eagle later chose to remain at the Southgate location after plans were released for a Walmart Supercenter in the same shopping center. The Target in this center also closed leaving this side of Meadowbrook Market Square dead.
Former Mecca Bingo Hall located at 125 Fountainbridge in Edinburgh prior to demolition.
The building was originally constructed in around 1911 - 1912 on the site of a former iron foundry and saw mill. At least part of it is an ice rink, but this was later converted to a cinema (called the Coliseum) and then a dance hall (called the Palais de Danse). It closed down as a Dance Hall in the early 1970s. After a period of redundancy, the building then functioned as the Mecca Bingo Hall, which closed down in the 2000s.
In the Swiss Alps near the Italian border is a small valley town called Lostallo. For the 5th summer in a row Shankra festival made this place its home for a goa-psytrance festival.
Video from 2017 youtu.be/sGJAhJp605k
Downloads on Flickr are free for fiends & followers but do tell the people where you got the picture.
Sala Capitular
Por iniciativa del Cardenal Cisneros se crea esta nueva sala capitular con dos estancias, una antesala y la sala propiamente dicha, sustituyendo la antigua que estaba en la Capilla Mozárabe.
La antesala capitular fue edificada por Enrique Egas y Pedro Gumiel entre los años 1504- 1512, con una portada esculpida por Copín de Holanda. Su interior es de estilo “Cisneros”, combinación del gótico flamígero y último mudéjar. De forma rectangular donde los laterales están cubiertos por armarios, que sirven para archivar las actas capitulares. Los del muro izquierdo, labrados entre 1549 y 1551, por Gregorio Pardo a instancias del cardenal Silíceo, los de enfrente son copia de 1780 realizados por Gregorio López. Las pinturas murales del friso tienen una decoración vegetal realizado por Luis Medina, Diego López y Alonso Sánchez según las trazas de Juan de Borgoña en 1511. La portada de entrada a la sala capitular realizada en 1510, es de yeserías moriscas o mudéjares.
Entrando en la Sala Capitular destaca el artesonado dorado y policromado, realizado por el famoso tracista y tratadista Diego López de Arenas y ejecutado por Francisco Lara. Está rodeada esta sala por pinturas al óleo sobre el muro de yeso, que representan trece escenas de la Vida de la Virgen y la Pasión de Cristo, separadas por columnas fingidas, pintados por Juan de Borgoña en 1508. Debajo de estas la serie de 32 retratos de los primeros Arzobispos toledanos, pintados por Juan de Borgoña. A partir del Cardenal Tavera, lo ejecutaron insignes pintores, como: Comontes, Carvajal, Tristán, Rizi, Goya ó Vicente López, entre otros. La silla Arzobispal es obra de Copín de Holanda realizada en 1509.ado y la ruina de la ciudad recién conquistada.
Urbano II, mediante la bula Cunctis Sanctorum, reconoció la condición de primada a la catedral y diócesis de Toledo
El asunto fue que el día 25 de octubre de 1087, el arzobispo (de acuerdo con la reina Constanza) envió gente armada para que se adueñara por la fuerza del recinto de la mezquita. Después de este lance, instalaron un altar provisional y colocaron una campana en el alminar, siguiendo la costumbre cristiana para «arrojar las suciedades de la ley de Mahoma».4 Cuenta el padre Mariana que el rey Alfonso VI se enfadó tanto cuando se enteró de lo acontecido que ni el arzobispo ni la reina consiguieron aplacarle y que dictó sentencia de muerte para casi todos los implicados. La leyenda cuenta que fueron los musulmanes los verdaderos intermediarios para conseguir la paz, con la figura del negociador y alfaquí Abu Walid quien llevó al rey un mensaje de tolerancia en el que se decía que aceptaban como legítima la usurpación. En recuerdo y gratitud de este gesto, el Cabildo catedralicio del siglo XV le dedicó un homenaje y encargó su efigie para colocarla en uno de los pilares de la capilla mayor, perpetuando de esta manera su recuerdo. Este hecho no está documentado y muchos historiadores de arte ven en la efigie un sacerdote de aspecto musulmán. Como consecuencia de aquel suceso, la mezquita toledana quedó consagrada y convertida en catedral cristiana, sin hacer apenas cambios en su estructura.
No se conservan los planos de lo que fue la mezquita ni se sabe cómo era esta construcción, pero teniendo en cuenta los vestigios conservados en otras ciudades (Sevilla, Jaén, Granada, Málaga y la propia Mezquita de Córdoba) puede suponerse que sería un edificio columnario, con arquería de herradura sobre columnas tal vez aprovechadas de otras construcciones romanas y visigodas. Es posible que se pareciese bastante a la iglesia de El Salvador de Toledo, antigua mezquita.
El rey Alfonso VI hizo importantes donaciones al nuevo templo. El 18 de diciembre de 1086 fue puesta la catedral bajo la advocación de María y se le concedieron villas, aldeas, molinos y un tercio de los ingresos de todas las demás iglesias de la ciudad. El primer privilegio real que se conserva reza en latín en su inicio:
Se hicieron las obras necesarias para establecer el culto cristiano romano, entre otras el cambio de orientación del presbiterio y capilla mayor. Urbano II le reconoció en 1088 su condición de catedral primada sobre las demás del reino. La mezquita-catedral se mantuvo casi intacta hasta el siglo XIII, año de 1222, en que una bula del Papa Honorio III autorizó a emprender las obras de la nueva fábrica que se iniciaron en 1224 (o 1225) y cuya ceremonia oficial de colocación de la primera piedra tuvo lugar en 1226 (otras fuentes dicen 1227), con la presencia del rey Fernando III el Santo.6 A lo largo del siglo XIII se aumentaron las rentas catedralicias al integrarse en su patrimonio Alcalá de Henares.7
La catedral del arzobispo Ximénez de Rada
El edificio de la catedral tal y como hoy se contempla es obra del siglo XIII, época del arzobispo de Toledo Rodrigo Ximénez de Rada y del rey Fernando III el Santo. La ceremonia oficial de la puesta de la primera piedra se retrasó con respecto al comienzo de las obras, en espera de que el rey pudiera hacer acto de presencia (1227). Ximénez de Rada había sido elegido arzobispo de Toledo en 1209 y desde el principio de su mandato defendió ante el Papa la primacía de la sede toledana. En su mente estaba la construcción de una gran catedral digna de esta ciudad que él gobernaba. Por entonces, la mezquita-catedral se mostraba bastante vieja y ruinosa; incluso algunas secciones habían sido demolidas por su antecesor. La mezquita-catedral disponía de un amplio espacio, pero era de poca altura y le faltaba la esbeltez de otros templos de similar importancia. Ximénez de Rada fue el entusiasta promotor de la nueva catedral que se edificaría al gusto de la época, en estilo gótico. Tan entusiasta fue con el proyecto y tanto se involucró en él, que se llegó a decir que fue el autor-arquitecto de las trazas de la nueva catedral; afirmación totalmente fuera de lugar según los historiadores y arquitectos. El arzobispo pasó unos años manteniendo y reforzando el antiguo templo a la espera de que su sueño fuera realizado.
El edificio de la catedral actual
La estructura del edificio tiene gran influencia del mejor gótico francés del siglo XIII pero adaptado al gusto español. Mide 120 m de longitud por 59 m de ancho. Consta de 5 naves más crucero y doble girola. Las naves externas presentan una anomalía extraña al ser algo más anchas que las otras dos. La parte más antigua del templo es la cabecera que mantiene en su arquitectura los triforios originales que se extendían a lo largo de las naves de donde fueron suprimidos en una de tantas reformas y evoluciones que sufrió la catedral. Todavía en época del gótico, estos triforios fueron sustituidos por los grandes ventanales-vidrieras. Los que se conservan de la cabecera son de influencia mudéjar. El más bajo está compuesto de arquillos lobulados que descansan en columnas pareadas y el alto presenta unos arcos entrecruzados típicos del mudéjar. No se sabe si estos temas mudéjares existían en la anterior mezquita y fueron copiados como recuerdo o bien se añadieron en una de las mejoras y enriquecimiento de la fábrica, como algo original y de buen gusto.
En la cabecera se encuentra la doble girola que es doble como corresponde a una planta de 5 naves. Esta doble girola es de proporciones grandiosas y está enriquecida por elementos arquitectónicos y por un original abovedamiento.
Cabecera de la catedral de Le Mans donde pueden apreciarse los rectángulos y los triángulos en los tramos de la girola.
Los tramos de la girola correspondientes a las distintas capillas se solucionaron con plantas alternativas de rectángulos y triángulos, lo que hizo que cada capilla fuera de distinto tamaño, más grandes las rectangulares y más pequeñas las triangulares. Esta manera de distribuir la cabecera puede verse en las catedrales francesas de Notre Dame en París, Bourges y Le Mans, siendo esta última la más parecida aunque las tres son más esbeltas en conjunto que la española. Las distintas reformas que se hicieron a través del tiempo alteraron la disposición de algunas de las capillas; en algún caso se reconstruyó una sola capilla en un espacio de tres. (Véase capilla de Santiago nº 7 en el plano y capilla de San Ildefonso nº 8 en el plano).
Las bóvedas de las naves son cuatripartitas excepto en el crucero y capilla mayor en que se refuerzan con terceletes.
The original much older control tower probably dating back to the very early days of the base. RAF Swinderby closed on the 1st April 1993.
Got this plant also from Thailand trader with tag name S. aethiopica, wide leaf form. Clear cross bands and withered tips.
For the form, we are using a fabric form, which will double as the moisture barrier after wards. Inside is 15m rebar, and cable ties which will be used to tether the upper bond beam to the foundation.
Albania - Butrinti.
The city of Butrinti (Bothrota) is one of the fragments which form the fabric of Albania's ancient cultural landscape. Nestling in the highlands in the far south of the country and surrounded by dense vegetation, Butrinti was doubly protected by nature and by the fortifications which its inhabitants built in ancient times. However, this was not sufficient to isolate the city from the rest of the world. Less than ten kilometers from the island of Corfu, Butrinti was linked to the Mediterranean by the Vivari canal, which ran from the Butrinti Lake to the Ionian Sea.
The proximity of the sea and the lake, the gentle climate and the beauty of the surrounding countryside provided a splendid environment for the foundation of a city. In taking advantage of this site, the architects of the past constructed what was to become one of the major maritime and commercial centers of the Ancient World. Butrinti reached the height of its glory in the 4th century B.C., at which time the city numbered 10,000 inhabitants.
The sight of the fortifications alone, which date from the 6th century B.C., evokes the military and economic potential of the city at that time. The hill on which the acropolis stands is encircled by a wall built of huge stone blocks. In places this wall is two meters high and 3.5 meters wide.
The amphitheater, dating from the 3rd century B.C., bears witness to the cultural riches of the city. The stone banks of seating, of which twenty-three rows have been preserved, would have held an audience of 1,500. The theater is situated at the foot of the acropolis, close by two temples, one of which is dedicated to Asclepios, the Greek god of medicine, who was worshiped by the city's inhabitants. Approximately thirty inscriptions, almost all in ancient Greek, carved the western facade of this temple, and another hundred or so found on a tower which was rebuilt in the 1st century B.C., are the only examples of writing discovered in Butrinti. These inscriptions are mainly concerned with the liberation of slaves.
Excavations have brought to light many objects - plates, vases, ceramic candle sticks - as well as sculptures, including a remarkable "Goddess of Butrinti," which seems to completely embody, in the perfection of its features, the Greek ideal of physical beauty.
For centuries, the walls faithfully defended Butrinti, but no wall is invincible, and these huge blocks of stone finally ceded to the assault of the Roman legions which landed on the Adriatic and Ionian shores in the 2nd century B.C. Under the rule of the occupiers, Butrinti was to fall slowly into decadence. In spite of this, three monumental fountains, three public baths, a gymnasium decorated with mosaics, and especially the aqueduct constructed during the reign of Augustus, prove that the site was not completely abandoned. Augustus also oversaw the reconstruction of all the ancient city walls and the erection of new fortifications.
Christianity brought new life to Butrinti. The palaeo-Christian period adorned the city with two basilicas and a baptistry, which is among the most beautiful in the Mediterranean region. Sixteen granite columns, forming two concentric circles, support the roof of the main hall. The floor is paved with a magnificent mosaic representing the Tree of Life and decorated with medallions embellished with animal motifs. Barbarian incursions and Norman raids in the eleventh century, a catastrophic earthquake in 1153, conquest by the Venetians in 1386, the subterranean infiltration of water and the subsequent epidemics completed the ruin of the city and forced the inhabitants to flee. Butrinti was buried in silence and oblivion. Throughout the occupation by the Ottoman Empire, from the 15th to the 20th centuries, the city remained in deep slumber. The waters covered Butrinti in mud, and abundant vegetation completely hid the remains from view.
It was not until the beginning of the 20th century that systematic excavations were carried out at Butrinti by the Italian archeologist I. Ugolini, followed by his compatriots P. Marconi and D. Mustili. Between 1928 and 1941, the ground was cleared and the ancient city gradually began to reveal its hidden treasures.
Following the liberation of Albania in 1944, Albanian archeologists undertook more ambitious excavations. In turn, the ramparts, the acropolis, the agora, the amphitheater, the temples, public baths and private residences re-emerged into the light of day. The entire city arose, almost intact, under the fascinated gaze of the archeologists. The mud and vegetation that covered Butrinti had protected it from the natural and human ravages of time.
Today, this rediscovered city represents a unique cultural treasure whose value far surpasses national frontiers. The importance of Butrinti can be gauged from its inclusion in 1992 on UNESCO's World Heritage List.