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PACIFIC OCEAN (Nov. 8, 2014) Sailors scrub after testing the Aqueous Film Forming Foam System on the flight deck of Nimitz-class aircraft carrier USS John C. Stennis (CVN 74). Stennis is completing a Docking Planned Incremental Availability maintenance period at Puget Sound Naval Shipyard and Intermediate Maintenance Facility. (U.S. Navy Photo by Mass Communication Specialist Seaman Ignacio D. Perez/ Released)
A field of sunflowers is always worth a visit.
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I am not sure if my form is good or bad.
Until recently I rarely used the front or lower part of the forward facing U of road racing bicycles.
Instead I had "aero bars" installed so that I could recline forwards resting on top of the handlebars.
In the above photograph I am shown using the forward facing part of the U of my road racing bike.
I am not sure whether my form is good bad or indifferent but until I purchase the saddle in the adjacent photograph I rarely used the front or bottom part of the forward-facing-U of my handlebars.
Auguste Rodin, was a French sculptor. Although Rodin is generally considered the progenitor of modern sculpture, he did not set out to rebel against the past. These are examples of his work that I took photographs of in Basel and Zurich.
Since September 2017, I have been posting images that were taken in Art Galleries. Right now I’m building up some new works of my own , but I’m not posting these until I’m ready. In the meantime I hope that you enjoy these images that I find so inspiring.
PIL - Death Disco
Virgin (1979)
Cat. N° VS27412
My copy. Bought on release.
12" single, limited edition of 15,000 copies.
Label does not mention "Death Disco" and just lists tracks as:
"Part 1 ½ Mix"
"Part 2 Megga Mix"
"Part 1 ½ Mix" is a longer alternative version of "Death Disco" from the 7" release.
"Part 2 Megga Mix" is an instrumental and a re-recorded version of the track "Fodderstompf" from their first album.
Henry Moore sculpture in bronze (1966-1969) or the two large forms? (To be fair only one of the people could be considered a large form!)
Yorkshire Sculpture Park.
Philadephus lewisii 'Goose Creek' (double-flowered form). An unusual sport of the typically four-petaled species. The form holds true when propagated from cuttings. Compare with the four-petaled flowers in this Flckr photo: flic.kr/p/tNBocS . Photographed at Regional Parks Botanic Garden located in Tilden Regional Park near Berkeley, CA
Durga
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In Hinduism, Durga one who can redeem in situations of utmost distress; is a form of Devi, the supremely radiant goddess, depicted as having ten arms, riding a lion or a tiger, carrying weapons and a lotus flower, maintaining a meditative smile, and practising mudras, or symbolic hand gestures.
An embodiment of creative feminine force (Shakti), Durga exists in a state of tantrya (independence from the universe and anything/anybody else, i.e., self-sufficiency) and fierce compassion. Kali is considered by Hindus to be an aspect of Durga. Durga is also the mother of Ganesha and Kartikeya. She is thus considered the fiercer, demon-fighting form of Shiva's wife, goddess Parvati. Durga manifests fearlessness and patience, and never loses her sense of humor, even during spiritual battles of epic proportion.
The word Shakti means divine feminine energy/force/power, and Durga is the warrior aspect of the Divine Mother. Other incarnations include Annapurna and Karunamayi. Durga's darker aspect Kali is represented as the consort of the god Shiva, on whose body she is often seen standing.
Durga Slays Mahishasura, Mahabalipuram sculpture.
As a goddess, Durga's feminine power contains the energies of the gods. Each of her weapons was given to her by various gods: Rudra's trident, Vishnu's discus, Indra's thunderbolt, Brahma's kamandalu, Kuber's Ratnahar, etc.
According to a narrative in the Devi Mahatmya story of the Markandeya Purana text, Durga was created as a warrior goddess to fight an asura (an inhuman force/demon) named Mahishasura. He had unleashed a reign of terror on earth, heaven and the nether worlds, and he could not be defeated by any man or god, anywhere. The gods went to Brahma, who had given Mahishasura the power not to be defeated by a man. Brahma could do nothing. They made Brahma their leader and went to Vaikuntha — the place where Vishnu lay on Ananta Naag. They found both Vishnu and Shiva, and Brahma eloquently related the reign of terror Mahishasur had unleashed on the three worlds. Hearing this Vishnu, Shiva and all of the gods became very angry and beams of fierce light emerged from their bodies. The blinding sea of light met at the Ashram of a priest named Katyan. The goddess Durga took the name Katyaayani from the priest and emerged from the sea of light. She introduced herself in the language of the Rig-Veda, saying she was the form of the supreme Brahman who had created all the gods. Now she had come to fight the demon to save the gods. They did not create her; it was her lila that she emerged from their combined energy. The gods were blessed with her compassion.
It is said that upon initially encountering Durga, Mahishasura underestimated her, thinking: "How can a woman kill me, Mahishasur — the one who has defeated the trinity of gods?" However, Durga roared with laughter, which caused an earthquake which made Mahishasur aware of her powers.
And the terrible Mahishasur rampaged against her, changing forms many times. First he was a buffalo demon, and she defeated him with her sword. Then he changed forms and became an elephant that tied up the goddess's lion and began to pull it towards him. The goddess cut off his trunk with her sword. The demon Mahishasur continued his terrorizing, taking the form of a lion, and then the form of a man, but both of them were gracefully slain by Durga.
Then Mahishasur began attacking once more, starting to take the form of a buffalo again. The patient goddess became very angry, and as she sipped divine wine from a cup she smiled and proclaimed to Mahishasur in a colorful tone — "Roar with delight while you still can, O illiterate demon, because when I will kill you after drinking this, the gods themselves will roar with delight".[cite this quote] When Mahashaur had half emerged into his buffalo form, he was paralyzed by the extreme light emitting from the goddess's body. The goddess then resounded with laughter before cutting Mahishasur's head down with her sword.
Thus Durga slew Mahishasur, thus is the power of the fierce compassion of Durga. Hence, Mata Durga is also known as Mahishasurmardhini — the slayer of Mahishasur. According to one legend, the goddess Durga created an army to fight against the forces of the demon-king Mahishasur, who was terrorizing Heaven and Earth. After ten days of fighting, Durga and her army defeated Mahishasur and killed him. As a reward for their service, Durga bestowed upon her army the knowledge of jewelry-making. Ever since, the Sonara community has been involved in the jewelry profession [3].
The goddess as Mahisasuramardhini appears quite early in Indian art. The Archaeological Museum in Matura has several statues on display including a 6-armed Kushana period Mahisasuramardhini that depicts her pressing down the buffalo with her lower hands [4]. A Nagar plaque from the first century BC - first century AD depicts a 4-armed Mahisamardhini accompanied by a lion. But it is in the Gupta period that we see the finest representations of Mahisasuramardhini (2-, 4-, 6-, and at Udayagiri, 12-armed). The spear and trident are her most common weapons. a Mamallapuram relief shows the goddess with 8 arms riding her lion subduing a bufalo-faced demon (as contrasted with a buffalo demon); a variation also seen at Ellora. In later sculptures (post-seventh Century), sculptures show the goddess having decapitated the buffalo demon
Durga Puja
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Durga puja is an annual Hindu festival in South Asia that celebrates worship of the Hindu goddess Durga. It refers to all the six days observed as Mahalaya, Shashthi , Maha Saptami, Maha Ashtami, Maha Navami and Bijoya Dashami. The dates of Durga Puja celebrations are set according to the traditional Hindu calendar and the fortnight corresponding to the festival is called Devi Paksha and is ended on Kojagori Lokkhi Puja
Durga Puja is widely celebrated in the Indian states of West Bengal, Assam, Jharkhand, Orissa and Tripura where it is a five-day annual holiday.In West Bengal and Tripura which has majority of Bengali Hindus it is the Biggest festival of the year. Not only is it the biggest Hindu festival celebrated throughout the State, but it is also the most significant socio-cultural event in Bengali society. Apart from eastern India, Durga Puja is also celebrated in Delhi, Uttar Pradesh, Bihar, Maharashtra, Gujarat, Punjab, Kashmir, Karnataka and Kerala. Durga Puja is also celebrated as a major festival in Nepal and in Bangladesh where 10% population are Hindu. Nowadays, many diaspora Bengali cultural organizations arrange for Durgotsab in countries such as the United States, Canada, United Kingdom, Australia, Germany, France, The Netherlands, Singapore and Kuwait, among others. In 2006, a grand Durga Puja ceremony was held in the Great Court of the British Museum.
The prominence of Durga Puja increased gradually during the British Raj in Bengal. After the Hindu reformists identified Durga with India, she became an icon for the Indian independence movement. In the first quarter of the 20th century, the tradition of Baroyari or Community Puja was popularised due to this. After independence, Durga Puja became one of the largest celebrated festivals in the whole world.
Durga Puja also includes the worship of Shiva, Lakshmi, Ganesha, Saraswati and Kartikeya. Modern traditions have come to include the display of decorated pandals and artistically depicted idols (murti) of Durga, exchange of Bijoya Greetings and publication of Puja Annuals.
Sony A7R RAW Photos of Pretty, Tall Blond Ballerina Model Goddess Dancing Ballet! Carl Zeiss Sony FE 55mm F1.8 ZA Sonnar T* Lens & Lightroom 5.3
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And here're a couple of HD video movies I shot of the goddess with the 4K Sony:
Enjoy! Be sure to watch in the full 1080P HD!
The epic goddess was tall, thin, fit, tan, and in wonderful shape (as you can see).
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Epic Goddess Straight Out of Hero's Odyssey Mythology! Pretty Model! :) Tall, thin, fit and beautiful!
Welcome to your epic hero's odyssey! The beautiful 45surf goddess sisters hath called ye to adventure, beckoning ye to read deeply Homer's Iliad and Odyssey, whence ye shall learn of yer own exalted artistic path guided by Hero's Odyssey Mythology. I wouldn't be saying it if it hadn't happened to me.
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Pretty Swimsuit Bikini Model Goddess! :)
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She was a beauty--a gold 45 goddess for sure! A Gold 45 Goddess exalts the archetypal form of Athena--the Greek Goddess of wisdom, warfare, strategy, heroic endeavour, handicrafts and reason. A Gold 45 Goddess guards the beauty of dx4/dt=ic and embodies 45SURF's motto "Virtus, Honoris, et Actio Pro Veritas, Amor, et Bellus, (Strength, Honor, and Action for Truth, Love, and Beauty," and she stands ready to inspire and guide you along your epic, heroic journey into art and mythology. It is Athena who descends to call Telemachus to Adventure in the first book of Homer's Odyssey--to man up, find news of his true father Odysseus, and rid his home of the false suitors, and too, it is Athena who descends in the first book of Homer's Iliad, to calm the Rage of Achilles who is about to draw his sword so as to slay his commander who just seized Achilles' prize, thusly robbing Achilles of his Honor--the higher prize Achilles fought for. And now Athena descends once again, assuming the form of a Gold 45 Goddess, to inspire you along your epic journey of heroic endeavour.
ALL THE BEST on your Epic Hero's Odyssey from Johnny Ranger McCoy!
All 45surf Hero's Odyssey Mythology Photography is shot in the honor of Truth, Beauty, and the Light of Physicist Dr. E's Moving Dimensions Theory's dx4/dt=ic . The fourth dimension is expanding relative to the three spatial dimensions at the rate of c. Ergo relativity, time, entropy, and entanglement.
Sony A7R RAW Photos of Pretty Blonde Bikini Swimsuit Ballerina Model Goddess Dancing Ballet! Carl Zeiss Sony FE 55mm F1.8 ZA Sonnar T* Lens! Lightroom 5.3 ! Pretty Hazel Eyes & Silky Blond Hair!
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All the best on your Epic Hero's Odyssey from Johnny Ranger McCoy!
Forrest fairy! Wood nymph! Dancing ballet beside an old tree and creek!
Positive Runway Global Catwalk African Fashion Show African Ambassadors & Diaspora Interactive Form AAIF United Nations buildings International Maritime Organization HQ IMO London.
Murmuration—named after the mesmerizing patterns formed by flocks of birds and swarms of insects—is the latest creation by Lalie Sorbet and Chrix.
There's beauty on the ground but be sure to fly the posers solo or with a friend. Shout out to Scott for sharing the ride!
This is a photograph of a sculpture of Alison Lapper, a British artist who was born in 1965 with no arms and shortened legs due to a condition called phocomelia, caused by the morning sickness drug Tholidomide.
Lapper is an inspring example of someone who has managed to overcome her childhood- spending the first 19 years in residential institutions, and her disability. She has (amongst other achievments that in the past would be thought inconcievable for a woman with disabilities) graduated with a first class honours degree in Fine Art from Brighton University, Learnt to drive, Become a successful artist, and a mother to a son named Paris (featured on the Robert Winston Documentary "child of out time").
I feel that the placing of this Statue in Trafalgar Square, London, a place always packed with people, and dominated by statues of Male war heroes, really shows the developement in acceptance, and the overcoming of prejudices in our society. Not so long ago, before the Women's liberation and the birth of feminism, people would have laughed at the thought of a statue of a woman in Trafalgar Square. Who would have thought that a Pregnant, Naked, Disabled Woman would ever take center stage as both a stunning work of art, a beautiful woman and an iconic public Statue?
Formed 1.5 billion years ago from a dome of molten magma, the large granite boulders at Elephant Rocks State Park resemble a train of pink elephants. The reddish or pink granite has been quarried in this area since 1869, and has provided red architectural granite for buildings all across the country, particularly in nearby St. Louis, Missouri. Stones unsuitable for architectural use were made into paving stones that were used on the streets of St. Louis, as well as the wharf along the Mississippi River. The granite from this area is commercially known as Missouri Red monument stone.
One of the largest boulders, named “Dumbo,” measures 27 feet tall, 35 feet long and 17 feet wide, tipping the scales at a hefty 680 tons.
Elephant Rocks State Park was created in 1967 following donation of the land by geologist John Stafford, and is managed by the Missouri Department of Natural Resources. It is located in Iron County, Missouri, and is part of the Saint Francois Mountains, which rise over the Ozark Plateau in southeastern Missouri. This mountain range is one of the oldest exposures of igneous rock in North America. The park has a one-mile paved Braille Trail designed for people with visual and physical disabilities.
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The Pyramid in The Louvre. Spotlights were shone through it to produce this colour.
More Paris pics on my blog post here!
The litany of Ra continues in the second corridor of the tomb, and in niches at the top of the walls, are depicted the seventy-four manifestations of the sun god. This is from the right side wall.
From the "turning point" (left to right) of the niche the manifestation names of the sun god are: 21 - The Brilliant One, 22 - The Hidden One, 23 - The Jubilating One, 24 - He Whose ways are correct, 25 - The Lightning One, 26 - The Shining Horn, 27 - He of the Exalted Forms, 28 - The Distant Ba, 29 - The High Ba, 30 - He of the Two Children, 31 - The Blazing One in the Earth, 32 - He of the Caldron and 33 - The Watchers.
The first part of the tomb was the work of Setnakht.
20th dynasty, tomb of Ramses III - KV11, Valley of the Kings
Daytime no time to take pictures
so I steal time in the early morning
Sorry, no time for comment, I'll catch up later
201106101087
The Curtiss JN-4 was one of the most popular aircraft in the late 1910s and early 1920s. Designed by Englishman Benjamin Thomas, formerly with the Sopwith Aviation Company, it was manufactured by the Curtiss Aeroplane Co. of Hammondsport, New York. The JN built upon the previous Curtiss Model J and Model N series of trainers that had developed before the First World War. The name “Jenny” came from the JN designation and is associated with the American (Curtiss Aeroplane Co.) variants of this aircraft. It was originally developed as a training aircraft in response to a U.S. Army competition seeking a two-seater biplane (student in front, instructor behind) with dual controls. The JN-4 model first appeared in 1916 and sported a 90 hp Curtiss OX-5 water cooled V8 engine. By 1918 a larger 150 hp Hispano-Suiza engine was installed to provide more power. LINK - albertaaviationmuseum.com/in-formation-curtiss-jn-4-jenni...
The Curtiss Model 41 Lark was a commercial biplane manufactured by Curtiss Aeroplane and Motor Company that was used by pioneering airmail, airline and bush pilots in the 1920s. Patrica Airways operated a Lark for early bushplane operations. The aircraft flew with floats in warm weather, and skis in the winter. The aircraft was pressed into service as an early hearse once, with the cargo needing to be seated upside down in the open seat and secured with haywire.
(The Gazette newspaper - Montreal, Quebec, Canada •
Friday, March 12, 1926) - AIR SERVICE FOR RED LAKE DISTRICT - Company is Formed and Flying Boat and Cruiser Purchased - Red Lake, which was brought within one and half hours of the outer world on March 3, 1926 when the first airplane flight was made in from Hudson, as compared with from ten to twelve days previously, made with dogs, is to have an even better service with the formation yesterday of the Elliot Fairchild Air Service and the purchase of one aeromarine, seven passenger, all metal flying boat, together with a large deluxe cruiser passenger boat. Jack V. Elliot who inaugurated the original service with two machines, spent yesterday in Montreal making arrangements with the Fairchild Aerial Surveys Company of Canada Limited, with the result that a company has been formed and a charter applied for. To date there has been a daily service into Red Lake from Hudson, three planes being in operation and carrying two passengers and 500 pounds of baggage each. They cover the 140 miles separating Hudson and Red Lake in one hour and a half. Air mail is carried from Hudson, the post office address for Red Lake being via Rolling Portage, Ontario. Stamps for the air-mail service may be purchased from the post offices at Hudson (Hudson being the rail road station and Rolling Portage the post office address). Toronto. Winnipeg, Montreal, Ottawa. North Bay, Sudbury, Cobalt, Haileybury and Timiskaming. When navigation opens about May 1, a boat service is to be provided from Hudson to Pineridge, two-thirds the distance from Hudson to Red Lake, and the large flying boats will take passengers, mail and express freight the balance of the distance into Red Lake. Heavier packages and canoes are to be taken in by Indians, who will be brought back by airplane. The passenger cruiser, which has been purchased for the boat service, will have three staterooms with sleeping accommodation for 16 and day accommodation for 50, the journey by water taking seven or eight hours. It has been planned to erect a broadcasting station at Red Lake, Hudson and on the boat so that communications may be kept up between these three and the outer world at all times. President of the new company is Elwood Wilson, M E.I.C., and Jack V. Elliot is vice-president and general manager. LINK - www.newspapers.com/article/the-gazette-air-service-for-re...
(The Daily Sun-Times newspaper - Owen Sound, Ontario, Canada • Monday, March 22, 1926) - NEW AIRPLANE FOR HUDSON TO RED LAKE ROUTE IS ON THE WAY "The Lark" Leaving Buffalo for Toronto and There Will Take on Sleeping Bags, Etc. (Canadian Press Despatch) BUFFALO, N. Y., Mar. 22, 1926 -The new airplane, "'The Lark", to be used in the Lake service, by the Patricia Airway and Exploration company, arrived here shortly after noon, yesterday, from New York, with "Casey" Jones, test pilot for the Curtis Airplanes Corporation, in charge, and two passengers. Frederick Griffin, press writer, and Captain W. R. Maxwell, Director of the Ontario Provincial air service. The Lark expected to continue its northward flight, to-day, by way of Toronto, Sault Ste. Marie, Orient Bay, Sioux Lookout and Hudson. Roy Mitchell will replace Mr. Jones in the pilot's seat from this point. At Toronto the ship will take on snowshoes, sleeping bags, and food, preparation for an overland tramp, in the event of ship coming down unscheduled, in northern territory. LINK - www.newspapers.com/article/the-daily-sun-times-new-airpla...
(The Toronto Star newspaper - Toronto, Ontario, Canada •
Tuesday, June 29, 1926) - RED LAKE MAIL SERVICE - F. E. Davidson of the Patricia Air Service into Red Lake, made an announcement this morning that starting today all mail will be carried into Red Lake via Sioux Lookout instead of via Hudson. All letters should bear the mark "Via Sioux Lookout." The Elliot Fairchild service has been carrying mail since March 20th. From now on the Patricia Air Service will be permitted to issue their own postage stamps. The government intends to redeem the old Elliot-Fairchild stamps but in the meantime old stamps are good for carriage over the Patricia Air Service. The new Patricia stamps can now be purchased at post offices for 25 cents apiece. The Patricia Air Service makes the trip from Sioux Lookout to Red Lake in about 60 minutes. It also makes trips to Woman Lake, Pine Ridge and to Bull Dog Lake, Manitoba. The Elliot Fairchild boat service still continues. LINK - www.newspapers.com/article/the-toronto-star-red-lake-mail...
(The Toronto Star newspaper - Toronto, Ontario, Canada •
Wednesday, June 30, 1926) - Patricia Airways • Exploration- Above is reproduced a facsimile of one of new postal stickers of the Patricia Air Service, operating airplanes into Red Lake. The postmaster has granted the company permission to issue these stickers in future, and they can be procured at any post office for 25 cents apiece. The old Elliot-Fairchild stamps are being redeemed, but can still be used for letters. In future letters to Red Lake should be marked "Via Sioux Lookout." LINK - www.newspapers.com/article/the-toronto-star-patricia-airw...
Sherman Mills Fairchild (April 7, 1896 – March 28, 1971) was an American businessman and investor who founded over 70 companies, including Fairchild Aviation, Fairchild Industries, and Fairchild Camera and Instrument. LINK - en.wikipedia.org/wiki/Sherman_Fairchild
John "Jack" Vernon Elliot (1893 - 1964), was a pilot in the western Ontario area providing passenger service and flights for thrill seekers in the early 1920's. By 1925, he had his own flying school and by purchasing partially completed aircraft, managed to complete his own aircraft. LINK - www.semiofficials.ca/elliot_1.html
RAF Swinderby was a Royal Air Force station airfield opened in 1940, one of the last of the stations completed under the RAF's expansion plans started in the 1930s. This photo shows the derelict control tower in the centre of the disused airfield. This has been demolished since my visit circa 2005.
Brian Fisher flies.
A series of images of Capital Multisport at the 2009 Clough Triathlon near Concord, NH.
Cappadocia ( also Capadocia; Turkish: Kapadokya, Greek: Καππαδοκία Kappadokía, from Ancient Greek: Καππαδοκία, from Old Persian: Katpatuka ) is a historical region in Central Anatolia, largely in the Nevşehir, Kayseri, Kırşehir, Aksaray, and Niğde Provinces in Turkey.
According to Herodotus, in the time of the Ionian Revolt (499 BC), the Cappadocians were reported as occupying a region from Mount Taurus to the vicinity of the Euxine (Black Sea). Cappadocia, in this sense, was bounded in the south by the chain of the Taurus Mountains that separate it from Cilicia, to the east by the upper Euphrates, to the north by Pontus, and to the west by Lycaonia and eastern Galatia.
The name, traditionally used in Christian sources throughout history, continues in use as an international tourism concept to define a region of exceptional natural wonders, in particular characterized by fairy chimneys and a unique historical and cultural heritage
Cappadocia lies in central Anatolia, in the heartland of what is now Turkey. The relief consists of a high plateau over 1000 m in altitude that is pierced by volcanic peaks, with Mount Erciyes (ancient Argaeus) near Kayseri (ancient Caesarea) being the tallest at 3916 m. The boundaries of historical Cappadocia are vague, particularly towards the west. To the south, the Taurus Mountains form the boundary with Cilicia and separate Cappadocia from the Mediterranean Sea. To the west, Cappadocia is bounded by the historical regions of Lycaonia to the southwest, and Galatia to the northwest. The Black Sea coastal ranges separate Cappadocia from Pontus and the Black Sea, while to the east Cappadocia is bounded by the upper Euphrates, before that river bends to the southeast to flow into Mesopotamia, and the Armenian Highland. This results in an area approximately 400 km (250 mi) east–west and 250 km (160 mi) north–south. Due to its inland location and high altitude, Cappadocia has a markedly continental climate, with hot dry summers and cold snowy winters. Rainfall is sparse and the region is largely semi-arid.
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 Grand Hall
Stained glass windows
compassion is the purest and honest form of love, to show compassion is not to pity, but respectfully show understanding, acceptance and caring, compassion is never scheming, it's never wrong, it's always the right time, you can never give or receive too much ...and it should be a part of every human life
Noch unter Form-Signalisierung erhält der Kieler Triebwagen 628 219-8 Ausfahrt mit Hp 2 aus Gleis 2 des Lübecker Hauptbahnhofs.
Unterwegs ist die Fuhre als Regionalbahn 35829; das Ziel des Zuges ist Lüneburg.
Foto vom Diapositiv
Minolta X-700
Minolta MD 135mm 1:2.8
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.
Ice Tower - you can go up it to the first floor.