View allAll Photos Tagged Forms
Margaret O' Connor, Bridget O' Brien R.I.P. Garryowen Road, Kay Roche, Gilda Larkin Sealy Ballyfermot Drive
Hilda Smith Henry
I went all through school in Ballyfermot from 4 years till Inter Cert. Some of my Class mates in Primary School were
1. Yvonne Murphy
2. Hilda smith
3. Hilda Dawson
4. Michael Parker
5. Lorraine Darcy
6. Maraide Brennan
7. Eileen Foley
8. Ann Marie Picard
9. Adrian Murray
10. Jacinta Perry
11. Angela ??Riordan?
12. Michelle kallahan
13. Edel Mannix
14. Carol Shields
15. ?? Kavanagh.
St Domnic's College
White, green, gold.
Teachers
Sister Rosetta preK 4 years 1969 ( low babies) & k 5 years 1970 (high babies)
Mrs. O’Connor 1-6 year 1971 to 1977 made confirmation 1977 end of school year. 6, 7, 8, 9, 10, 11, 12 years old
Secondary :
1977/78 1st year Green
1978/79. 2nd year white
1979/80 3rd year Gold
started 13/14/15 years old. Three years till inter. I remember
History Mr. David Kinsella
Religion Mr. Gorman (teddy bear)
English
French. Mrs . Brennan
Art
Math
Geography Paul Duggan
Ken Larkin
I don't have Hilda but but I hoping that I may get some of the Roll Books in the future but I will add all the names you gave me to the Ballyfermot and St Marks Heritage site and credit you for them. I may come up with a photo
(from left to right)
Name: Jing-chan | Age: 21
From: Ohio
Name: Ameria | Age: 22
From: Ohio
Name: Zoroko | Age: 21
From: Ohio
Together they form Voltron! Okay, maybe not. They are part of a group called Kaizoku Kosplay. Check out their deviantart pages while you're at it. Great stuff! Thiese costumes are quite incredible. I can't imagine how long it took to craft these costumes. Just look at them! Cosplayers rawk. Don't even argue with me.
To be honest I'm not a fan of Kingdom Hearts. I fell asleep while playing the first one. It just never appealed to me. I really tried to get into it, I swear! Damn shame because the character models in that game are incredible. They really nailed the Disney look. And on a PlayStation 2! Can you imagine how the game would look on a next generation console? It would be like watching a Disney movie. Hell, the visuals on the PS2 are almost like that.
Also, guy in the corner? PictoChat. I'm telling you, at gatherings like this, leave the games at home. It's all about the PictoChat. and you know what, actually, if you leave your games at home, you can open up download play and get one from there. Download play was like GameTap. Except free and without suck.
38 years old Rohingya form Teknaf.
Met him in the street, then shared a tea and start talking about the Burmese Bangladesh political issue. Had served a 3 years sentence in Burma for mobile phone trafficking !
Running a small business in Teknaf, but dreaming of a better life abroad, thinking of using the illegal, paying brokers to smuggle by boat to Malaysia and beyond Australia. His sister got married with a bangladeshi, a more common trend these last years.
Rohingya Refugees in Bangladesh: Limiting the Damage of a Protracted Crisis
www.crisisgroup.org/asia/south-east-asia/myanmar-banglade...
Rohingya Refugee Crisis Explained
www.unrefugees.org/news/rohingya-refugee-crisis-explained/
Six Years of Rohingya Refugee Crisis in Bangladesh: From Here to Where?
www.spf.org/apbi/news_en/b_240627.html
The Rohingyas are a Muslim minority from the North Rakhine State in western Burma. Over the past forty years, the Burmese government has systematically stripped over 1 million Rohingya of their citizenship. Recognized as one of the most oppressed ethnic groups in the world, the Rohingya are granted few social, economic and civil rights. They are subjected to forced labor, arbitrary land seizure, religious persecution, extortion, the freedom to travel, and the right to marry. Because of the abuse they endure in Burma, hundreds of thousands of Rohingya have fled Burma to seek sanctuary in neighboring Bangladesh. In the refugee camps along the south east coast where they settle, most are not recognized as refugees and are considered illegal economic migrants. Unwanted and unwelcome, they receive little or no humanitarian assistance and are vulnerable to exploitation and harassment. In recent years, the Rohingya have paid brokers to smuggle them by boat from Bangladesh to Malaysia and even beyond to Australia, sparking the attention of governments throughout the region.
The Association of Southeast Asian Nations (ASEAN) has confirmed that the statelessness of the Rohingya is not just a Burma-related problem, but a problem with larger regional implications.
pulitzercenter.org/reporting/burma-bangladesh-muslim-mino...
pulitzercenter.org/reporting/rohingya-bangladesh-burma-my...
pulitzercenter.org/reporting/rohingya-burma-bangladesh-st...
www.doctorswithoutborders.org/publications/reports/2002/r...
blogs.mediapart.fr/edition/les-invites-de-mediapart/artic...
pulitzercenter.org/blog/week-review-inside-burma-presiden...
www.bbc.co.uk/news/world-asia-20264279
pulitzercenter.org/reporting/burma-bangladesh-muslim-mino...
pulitzercenter.org/reporting/rohingya-bangladesh-burma-my...
pulitzercenter.org/reporting/rohingya-burma-bangladesh-st...
www.doctorswithoutborders.org/publications/reports/2002/r...
blogs.mediapart.fr/edition/les-invites-de-mediapart/artic...
pulitzercenter.org/blog/week-review-inside-burma-presiden...
Deva is the Hindu term for deity; devatas (Devanagari: देवता, Khmer: tevoda (ទេវតា), Javanese, Balinese, Sundanese, Malay and Indonesian: dewata; Philippine languages: diwata), are a kind of smaller more focused devas. The term "devata" also means devas (deva in plural form or the gods). They are male and female devata. There are many kinds of devatas: vanadevatas (forest spirits, perhaps descendants of early nature-spirit cults), gramadevata (village gods), devata of river crossings, caves, mountains, and so on. In Hinduism, the devatas that guard the nine cardinal points are called Devata Lokapala (Guardians of the Directions) or in ancient Java called Dewata Nawa Sanga (Nine guardian gods). Every human activity has its devata, its spiritual counterpart or aspect.
Hindu devatas in the Konkan region are often divided into five categories: 1. Grama devatas - or village deities, for example, Hanuman, Kalika, Amba, Bhairava. 2. Sthana devatas - or local deities, for example, those in certain places of pilgrimage like Rama in Nasik, Vithoba in Pandharpur or Krishna at Dwarka. 3. Kula devatas - or family deities, like Khanderai. 4. Ishta devatas - or Chosen deities, 5. Wastu devatas or Gruha devatas - or a class of deities that preside over the house.
Some of well-known Hindu-Buddhist heavenly beings belong to the group of devatas, such as apsara or vidhyadari; heavenly maiden that sent by Indra from svarga to seduces the meditating ascetics, and her male counterparts; gandharvas; the heavenly musicians. Devatas often occurred in Hindu epics such as Ramayana and Mahabharata, and also some Buddhist holy scriptures. The island of Bali is nicknamed as Pulau Dewata (Indonesian: "islands of devata or island of gods"), because of its vivid Hindu culture and traditions. In Bali, there are many offerings dedicated to hyang, the guardian spirits associated with devata._
______________________
Banteay Kdei (Khmer: ប្រាសាទបន្ទាយក្តី; Prasat Banteay Kdei), meaning "A Citadel of Chambers", also known as "Citadel of Monks' cells", is a Buddhist temple in Angkor, Cambodia. It is located southeast of Ta Prohm and east of Angkor Thom. Built in the mid-12th to early 13th centuries AD during the reign of Jayavarman VII (who was posthumously given the title "Maha paramasangata pada"), it is in the Bayon architectural style, similar in plan to Ta Prohm and Preah Khan, but less complex and smaller. Its structures are contained within two successive enclosure walls, and consist of two concentric galleries from which emerge towers, preceded to the east by a cloister.
This Buddhist monastic complex is currently dilapidated due to faulty construction and poor quality of sandstone used in its buildings, and is now undergoing renovation. Banteay Kdei had been occupied by monks at various intervals over the centuries until the 1960s.
GEOGRAPHY
The Banteay Kdei, one of the many Angkor temples, is located in the Angkor Archaeological Park of 400 square kilometres area. The ancient city of Angkor during the Khmer Empire extended from Tonle Sap to the Kulen hills covering a vast area of 1,000 square kilometres. The temple is approached from the east gopura of Ta Prohm along a 600 metres path. This path leads to the west gate entrance gopura of Banteay Kdei. It is 3 kilometres east of Angkor Thom.
HISTORY
The Khmer Empire lasted from 802 to 1431, initially under Hindu religious beliefs up to the end of the 12th century and later under Buddhist religious practices. It was a time when temples of grandeur came to be built and reached a crescendo during the reign of Suryavarman II until 1191, and later in the 12th–13th centuries, under Jayavarman VII. Many Buddhist temples were built, including the Banteay Kdei, from middle of the 12th century to early 13th century. Though Jayavarman VII was credited with building many temples, he was also accused of squandering money on extravagant temple building projects at the expense of society and other duties. He built Buddhist temples in which Bodhisattva Avalokitesvara was the main deity. This temple built, conforming to the style of the Ta Prohm and Preah Khan temples in the vicinity during the same period by Jayavarman VII, but of a smaller size, was built as a Buddhist monastic complex on the site of a 10th-century temple built by Rajendravarman. Some small inscriptions attest to the building of this temple by Jayavarman VII and the royal architect, Kavindrarimathana.
Jayavarman VII had come to power at the age of 55 after defeating Chams who had invaded Angkor and subjected it to devastation. His "prodigious activity" resulted in the restoration of Cambodia from its ruins. He was chiefly the architect of the rebuilt capital at Angkor Thom and was called a "Great Builder". He was responsible for building many temples, which apart from Banteay Kdei, included the central temple of the Bayon, Prah Khan, Ta Prohm and many others, and also many rest houses for pilgrims. The reasons for building this temple at its present site is not known. However, it is established that the temple is a contemporary of the Angkor Wat as many similarities have been identified between the two, and also with Phimai temple in Thailand. It is reported to be the first temple built by Jayavarman VII in 1181 AD, opposite to the Srah Srang reservoir.
In the 13th century, most of the temples built by Jayavarman were vandalised. However, some of the Mahayana Buddhist frontons and lintels are still seen in good condition. It is also the view of some archaeologists that the temple was built by Jayavarman II in honour of his religious teacher.
The temple, which for several centuries after the Khmer reign ended, remained neglected and covered with vegetation. It was exposed after clearing the surrounding overgrowth of vegetation in 1920–1922. This work was carried out under the guidance of Henri Marchal (then Conservator of Angkor) and Ch. Battuer, by adopting a conservation principle which was known as "the principle of anastylosis, which was being employed very effectively by the Dutch authorities in Indonesia". It was partially occupied by Buddhist monks till the 1960s.
For ten years till March 2002, Sophia University Mission or the Sophia Mission of Japan carried out several Archaeological research at the Banteay Kdei temple. During these investigations, a cache of fragments of 274 Buddhist statues made in sandstone, along with a few metal art pieces, were unearthed, in 2001. Plans to build a storage room to house the statues was also planned.
LAYOUT
The sacred temple complex is cloistered and packed in a space of 65×50 m with three enclosures within a large compound wall of size 700×300 m, made of laterite stones. The entry is from the east facing gopura, which is in a cruciform embellished with Lokesvara images. The temple is a treasure house of sculptures in the architectural styles of the Bayon and also of the Angkor Wat. The complex is on a single level.
EXTERNAL ENCLOSURE
The external enclosure with four concentric walls, has four gopuras similar to the Ta Brahm temple, and all are in some degree of preserved status. At the four corners, the gopuras have a fascia of Lokesvara (Buddhist deity, Avalokitesvara) mounted over Garuda images (it is also mentioned that the smiling faces are of King Jayavarman II, similar to those seen in the Beyan temple). The east facing gopura, in particular, has well-preserved garuda images on its corners. Two hundred meters from the west entrance of this enclosure leads to a moat, which is decorated with statues of lions and naga-balustrades mounted on garudas. The moat itself has in its precincts the third enclosure which measures 320×300 m, also enclosed with laterite walls. The Buddha image at the entrance to the moat, near the second interior gate, is well preserved, considering the fact that most of the other statues have been destroyed or stolen.
THIRD ENCLOSURE
The third enclosure has a gopura which has a cruciform plan. It has pillars which are crossed by vaults. There are three passages in this enclosure, two on either side are independent, with laterite walls. The niches here have small figurines, and large apsara devatas in single poses or in pairs of dancing poses. Large Buddha images, in an internal courtyard of this enclosure, have been defaced by vandals. A paved access from here leads to the main shrine, which comprises two galleried enclosures. At the entrance to these enclosures, from the eastern end, is the "Hall of Dancers", which has four open courtyards and the pillars have fine carvings of apsaras.
SECOND ENCLOSURE
The second enclosure, which is part of the main temple, measures 58×50 m. It has a gopura on its eastern side and also subsidiary gopura on the west. Entrance doors are at the northern and southern ends. The gopura is built like a gallery with one exterior wall and double row of pillars which open into a courtyard and which has mostly shored up walls with small openings at the bottom to allow air circulation. The niches here are decorated with images of apsaras, and a Buddha statue in the central hall has been defaced by vandals. Bayon style architectural features built-in are the "balustered false windows with lowered blinds and devatas with headdresses in the form of small flaming discs set in a triangle." The vaults built in sandstone and laterite have collapsed at several locations of the gallery. The inner enclosures contain library building to its north and south and also a central sanctuary.
INNER ENCLOSURE
The inner enclosure of the main temple is built on a 36×30 m layout plan. This enclosure has four corner towers abutted by small gopuras. Galleries running along an axis link these towers to the main sanctuary. The towers at the north-east and south-east are linked with the second gallery where a Buddha statue in a sitting posture is seen, in the backdrop of an open sky line. The sanctum which is 2.75 m square enclosure has some traces of statues of deities. This entire enclosure, however, is not built in Bayon style and hence conjectured to be of an earlier period. Remnants of wooden ceiling are also seen here. The entrance to the sanctum is flanked by dvarapalas surrounded by apsaras.
SRAH SRANG
Srah Srang or "The royal bathing pool" or "pool of ablutions" to the east of Banteay Kdei, which was dug to dimensions of 700x300 m during the reign of Rajendraverman in the 10th century, was beautified by Jayavarman VII with well laid out steps of laterite stones with external margin of sandstone, on the banks of the pond facing the Sun. It is set amidst large trees and has turquoise blue waters all the year round. The approaching steps to the water edge are flanked by two stone statues of lions with ornamented Nāga-balustrades. The pond was reserved for use by the king and his wives. A stone base seen at an island in the centre of the pond once housed a wooden temple where the king did meditation. At the lily filled lake, watching sunset reflections in the lake is quite an experience. The water from the lake is now used for rice cultivation by farmers of the area.
ARCHITECTURAL FEATURES
Some specific architectural features which evolved with the Bayon style are clearly discerned in this temple. The roof is supported on free-standing pillars in the eastern and western pavilions in the third enclosure, built in a cruciform plan with the inner row of pillars supporting the roof. The pillars are also tied to the wall by a tie beam using a "mortise–and–tenon join" patterned on wooden structures. Other features noted are of the four central pillars in the western pavilion which have been strengthened with temporary supports of laterite stone block pillars. Carvings of Buddha are seen on all these pillars but mostly defaced. The temporary support system provided to the roof built on free standing pillars is indicative of problems of design seen in the temples built during this period.
RESTAURATION
Laser scans and imaging of the Banteay Kdei and Angkor Wat Western Causeway were performed within a project launched in March 2004 by the University of California and Sophia University of Tokyo, in partnership with the nonprofit CyArk. The obtained information has facilitated restoration and reconstruction of these structures, which is funded by the Sophia University, and much publicly accessible data from the project is hosted on the CyArk Website. The APSARA Authority has achieved significant improvements in conservation and preservation of monuments in Angkor. Some of the towers and corridors are under restoration and as a result some locations have been cordoned off. Strengthening measures are seen in some parts of the interior temple area where structures in danger are tied together with cables.
WIKIPEDIA
Fluorite vein in the Oligocene of Colorado, USA.
The Cripple Creek Gold District of central Colorado is famous for its unusual gold and silver mineralization. Precious metal mineralization occurs in the Cripple Creek Diatreme, the root zone of a deeply eroded volcano dating to the Early Oligocene (32 Ma). The dominant lithology at Cripple Creek is phonolite, a scarce, alkaline, intermediate, extrusive igneous rock. Cripple Creek gold can be found in its native state (Au), but it typically occurs in the form of gold telluride minerals: for example, calaverite - AuTe2, sylvanite - (Au,Ag)2Te4, petzite - Ag3AuTe2, krennerite - (Au,Ag)Te2, and nagyagite - Pb5Au(Sb,Bi)Te2S6). Silver also occurs in some Cripple Creek minerals, including sylvanite, petzite, krennerite, hessite - Ag2Te, tennantite - (Cu,Ag,Fe,Zn)12As4S13, acanthite - Ag2S, and argentian tetrahedrite - (Cu,Fe,Ag,Zn)12Sb4S13.
Seen here is a purple fluorite vein at the Cresson Pit. Precious metal tellurides are often intimately mixed with fluorite in these thin veins. They were the targets of historic subsurface mine tunnels.
------------------------------------
The following are my personal notes from a 2007 presentation on Cripple Creek geology by mine representative Tim Brown:
The Cripple Creek District has four different pits being mined now, including the main Cresson Pit. The Cripple Creek & Victor Gold Mining Company is an AngloGold Ashanti joint venture operation. The heart of the mining district is a 32 Ma diatreme. It erupted along a major structural feature - through deep cracks in a big shear zone along a syenite-augen gneiss contact.
Some Precambrian rocks occur in the diatreme.
There are three eruptive sub-basins to this diatreme - one in the north, one in the south, and one in the southwest. The diatreme consists of volcanic breccias and phonolites and lamprophyre breccias. The lamprophyre breccia is relatively small, but the margins have produced 2.5 million ounces of gold.
Types of gold mineralization in the Cripple Creek District:
1) Lamprophyre breccia-hosted gold mineralization - 2.5 million ounces of gold (Cresson Mine).
2) Au-Te rich, sheeted vein system - 4.3 million ounces of gold (Portland-Independence Mine).
3) Au-hydrothermal breccias
Most Cripple Creek rocks are phonolites (earlier intrusions) and trachytes. All are on the alkaline side of extrusive rock classification. Later intrusions are mafic. Finally, there are ultramafic lamprophyres.
When gold is poured here, ~30% of each button is silver.
The Cripple Creek diatreme is 4.3 miles in size, in an east-west direction, and 4 miles across in a north-south direction. Some of the old underground workings along the gold telluride vein systems reached down to 3000’ depth.
Structural features in the diatreme are probably related to the Rio Grande Rift.
This was an active volcano at one time.
There are lots of north-south trending veins & northeast-southwest trending veins here.
The district was discovered in 1891. It’s been producing gold for 110 years.
Geochemistry of altered & mineralized rocks in the Cripple Creek District - can see a characteristic enrichment of a certain suite of elements (Au, Te, Ag, Sb, W), especially gold. A similar pattern is seen in alkaline districts elsewhere. Ca, Na, Cs were systematically depleted. Mo is systematically enriched in all the mineralized zones. Other base metals have an erratic enrichment-depletion pattern.
High-grade gold ore rocks here are always associated with potassic alteration. But not all K-altered rocks have high-grade gold ore.
There are NE trends, E-W trends, N-S trends, and NW trends in the Cripple Creek area. On a resistivity map, can readily see the Cripple Creek Diatreme boundary.
Can also readily see the diatreme outline on a magnetic signature map, plus the syenite-augen gneiss boundary, trending northeast.
Gravity maps show ENE trends and a strong N-S trend (gravity low), which extends under Precambrian rocks at the surface.
Currently, gold mining at Cripple Creek is in surface pits. They may end up going underground to the diatreme pipe, below the already worked area.
Have drilled 3500’ down - not much gold, but did find carbonized wood! The carbonized log is though to have been originally a tree caught up in an eruption by the Cripple Creek Volcano, and got incorporated in the diatreme breccia.
300,000 ounces of gold per year is produced here. They’ve just passed the 3 millionth ounce of gold for the district.
Porphyritic phonolite bodies here have narrow rooted zones and they spread out above the root zones.
The mining area mostly has near-vertical features. There are some flat-lying sills.
There are syenite bodies in the diatreme - they are not exposed at the surface - they are pretty broken up.
An aphanitic phonolite dike, the Bluebird Dike, is in the main Cresson Pit.
There are 3 to 4 old, very long drain tunnels that kept the original subsurface mines free of water. Those mines tracked productive veins. The tunnels come out in the Squaw Gulch area. So, no water problems in the present mines.
President Franklin Delano Roosevelt shut down the Cripple Creek District at one time - all nonessential mining was stopped during World War II.
The lamprophyre breccia body bifurcates at depth - it has a pair of pant legs.
Drill holes through the pant legs didn’t have much gold, but they are only small pinprick drill holes. Would like to redrill them.
Current pit operations - expect to bottom out at 1000’-1200’ depth. The expected life of the current mine is to 2012.
Old underground workings consistently go through the gradient between low & high resistivity areas.
Au:Ag ratios in the area range from 1:1 to 10:1.
The average grade of gold ore here is 2/3 of a ppm.
The modern land surface is ~100 to 1000-2000 meters below the level of the original active volcanic surface.
------------------------------------
Geologic unit: Cripple Creek Diatreme, Early Oligocene, 32 Ma
Locality: Cresson Pit, north of the town of Victor, Cripple Creek Mining District, southern Teller County, central Colorado, USA
Fordwich claims to be the smallest town in England, and depending on what criteria you use, it might be. Or not.
Fordwich lies alongside a narrow lane that winds down the Stour valley side and jumps over the river via a pack bridge. THe road is very narrow in places, wide enough for just one car and turns in 90 degrees in two places too, meaning that it is totally unsuitable for the 20th century, let alone the 21st.
Fordwich was the main prt for Canterbury and is the limit of navigation now on the Stour. It was also once presided over by Sandwich and so is one of the Cinque Ports despite being a few miles from the sea now. This is because of the silting of the Wantsum Channel I talked about at Stourmouth.
Fordwich has two fine pubs, as well as a well known town hall, on stilts, shots of which I have posted before.
St Mary is now under the care of the CCT, and is home to what may be the lid of St Thomas of Canterbury's tomb and a very fine William of Orange coat of arms on the Chancel Arch.
St Mary is also available for Champing; camping in historical buildings, and several of the box pews have camp beds set up.
On this day the writer found the church to be as cold a fridge, and more than a sleeping bag needed to be kept warm at night.
------------------------------------------
Familiar as one of the locations in the cult film `A Canterbury Tale` it stands in the heart of the smallest town in England. A Norman church with later additions it contains much of interest. Most notable is the carved stone which reputedly formed part of St Augustine's tomb in nearby Canterbury. Probably of tenth century date it was brought here by the Victorians. There is a fine assemblage of glass - much of it medieval, although the east window is a fine example of the work of Martin Travers. At the west end is a series of shelves for doling out bread to the poor. The box pews are eighteenth century and the floor pleasantly uneven. Keyholder nearby.
www.kentchurches.info/church.asp?p=Fordwich
------------------------------------------
THE TOWN AND PARISH OF FORDWICH lIES at no great distance from St. Stephen's, a small part of the parish of Sturry only intervening, and about two miles north-eastward from Canterbury. It takes its name from the ford or pass, at the crooked winding of the river Stour, close to which it is situated. The liberty of the cinque ports claims over the whole of this parish, the town of which is a subordinate member to the principal cinque port of Sandwich, and in the survey of Domesday is said to lie within a hundred of its own name, (fn. 1) being called in the records of that time, Burgum de Fordwyc.
King Edward the Confessor, in the year 1055, gave all his lands in Fordwych to the abbot and convent of St. Augustine, who were possessed of some property here before; but soon after the conquest, Egelsin, then abbot, to gain the favour of the powerful Normans, granted away several of the estates of his monastery to them, and among others this of Fordwych to Hamo de Crevequer, surnamed Vicecomes. But the king afterwards, at the instance of abbot Scotland, put him again in possession of this borough, which Hamo the sheriff then held, as well as the other estates which had been given away. And at the same time Odo, bishop of Baieux, the king's half-brother, gave to the abbot all the houses he had here. Soon after this, anno 1080, the survey of Domesday was taken, in which, under the general title of the lands of that abbey, it is thus entered:
In Forewic hundred, the abbot himself holds one small borough, which is called Forewic. Two parts of this borough king Edward the Confessor gave to St. Augustine, but the third part, which was earl Goduin's the bishop of Baieux granted to the same saint, with the consent of king William. It was taxed at one yoke. There were one hundred plats of land, all but four, paying thirteen shillings, now there are seventy-three plats, paying as much. In the time of king Edward the Confessor, and afterwards, it was worth one hundred shillings, now eleven pounds and two shillings. There are twenty four acres of land, which St. Augustine had separate where there were, and there are six burgesses, paying twentytwo shillings.
In this borough archbishop Lanfranc has seven plats of land, which in the time of king Edward the Confessor performed their service to St. Augustine, now the archbishop takes away the service to himself.
Night to the city of Canterbury, St. Augustine has half a suling, which was separately acquitted; and there is one carucate in demesne, with fifteen borderers, and seven acres of meadow; and there are four acres of arable land, which four nuns hold in alms of the abbot, and pay two shillings, and one seam of meal flour. The whole of this, in the time of king Edward the Confessor, and afterwards, and now, was and is worth four pounds.
This manor was confirmed to the abbot and convent by inspeximus, by king Edward III. in his 36th year, at which time it appears that the abbot had a prison here, and held land then called a park in his demesne in this parish. After which it remained part of the possessions of the monastery till its dissolution, anno 30 Henry VIII. when it was surrendered into the king's hands, where the manor of Fordwich remained till king Edward VI. in his 7th year, granted it, with the advowson of the church, to Sir Thomas Cheney, to hold in capite, who in the Ist year of queen Mary alienated both manor and advowson to Mr. John Johnson, gent. of St. Laurence, whose grandson Timothy Johnson, gent. of Fordwich, about the latter end of that reign alienated them to Thomas Paramour, gent. descended from those of Paramourstreet, in Ash, who resided here, (fn. 2) and in James I.'s reign sold them to the lady Elizabeth Finch, widow of Sir Moile Finch, of Eastwell, afterwards created viscountess Maidstone and countess of Winchelsea, whose surviving son and heir Sir Thomas Finch, earl of Winchelsea, in the beginning of king Charles I.'s reign, passed them away to his relation Sir J. Finch, afterwards a justice of the common pleas, keeper of the great seal, and in 1630 created lord Finch, baron of Fordwich, who at his death in 1660 devised this manor and advowson by his will to his kinsman Heneage, earl of Winchelsea, whose grandson Charles, earl of Winchelsea, alienated them to William, lord Cowper, afterwards created earl Cowper and viscount Fordwich, whose great-grandson the right hon. Peter-Lewis-Francis, earl Cowper, is the present owner of the manor and advowson of the church of Fordwich. (fn. 3) A court baron is held for this manor.
THERE is an estate in this parish, called TANCREY ISLAND, which, in king Edward I.'s reign, was the property of the family of Marins, called in old deeds de Marinis, one of whom, John de Maryns, had a grant of free-warren for his lands here in the 1st year of king Edward III. but in the next reign of king Richard II. it was the property of a family who took their name from it, when Bertram de Tancrey stiled himself lord of it, in whose descendants it continued down to king Henry IV.'s reign, when it passed to the Beverleys, of Beverley, in Harbledowne, who afterwards quitted that seat and resided here, in whom it continued till William Beverley leaving an only daughter and heir Beatrix, she carried it in marriage, about king Henry VIII.'s reign, to William Norton, of Faversham, second son of Reginald Norton, esq. of Sheldwich; and it appears by the arms on a gravestone in this church, that this branch of the family of Norton bore for their arms, Three swords, jointed at the pomels in triangle, on a chief, three maunches; and that the Beverleys bore, Barry, on a chief, two pales, over all, an escutcheon, a crescent for difference; by which correct the arms of Beverley, in Harbledowne. He afterwards removed hither, and in his descendants it continued till at length it became the property of Mr. George Upton, gent. of Canterbury. After which it passed by his will to his relations, the Jennings's, with whom it continued down to Anthony Jennings, who resided here, and died possessed of it in 1771, leaving his widow Mrs. Martha Jennings surviving, who is now possessed of it, and resides here.
THE TOWN of Fordwich was in antient time of much greater account than it has been for a long time past, for Leland, who lived in Henry the VIIIth.'s reign, mentions it as then having in it a poor mayor. During the time that Reculver continued one of the mouths of the Portus Rhutupinus, and the sea flowed up from thence as far as Fordwich, it continued the great resort for the shipping, which then frequented in abundance the river Stour, the navigation of which extended as high as the key of this town, where the ships were moored, and where all goods were laded and unladed; and in the time of the Saxons there was here a public collector of the customs and droits arising from thence, appointed by the king; which duties, after the gift of the manor of Fordwich by king Edward the Confessor, belonged to the abbot of St. Augustine, and continued so till the dissolution of that monastery in king Henry VIII.'s reign. But the prior and convent of the Holy Trinity, afterwards Christ-church, in Canterbury, claimed the privilege of a key here likewise, for the use of which they built a house in a meadow close to the town, which the abbot of St. Augustine's repeatedly threw down; but this produced continual controversies between them, which at last, in 1285, was settled by a composition made between them, by the justices itinerant, appointed by the king for that purpose. (fn. 4)
The town of Fordwich lies very low and unhealthy, close to the marshes, on the southern bank of the river Stour, a lonely place, of little or no thoroughfare. It is but small and mean, consisting of about thirty houses and cottages. The only remains of antiquity, of its having belonged to the abbey of St. Augustine for a great length of time past, was a losty arched gateway, built of brick, at the entrance to their wharf here, lately pulled down, and a small length of flint wall close to the river. Near which is a large handsome house, belonging to the Blaxlands, and now made use of as a soap manufactory. This house is known by the name of Hemphall, and was formerly part of the possessions of St. Augustine's monastery, parcel of their manor here, probably their manorhouse, and the same in which the Johnsons and Paramours, who afterwards had the grant of the manor, resided. Not long after which it seems to have been separated from the manor, and come into the possession of the Crispes, in which it continued, till at length Mrs. Eleanor-Anne, daughter of Henry Crispe, esq. of Quekes, carried it in marriage to Robert Darell, esq. who resided here, whose first wife she was; and afterwards, in like manner, to the Shorts, several of whom, as well as the Darells, lie buried in the chancel of this church, the last of whom, Samuel Short, esq. of this town, died in 1716. After which it was alienated to the Turners, and thence to the Blaxlands. Close to the above-mentioned house is the court-hall, or sessions-house, and the prison underneath it. In the southern part of it is an antient brick house, formerly of some note, and much larger, seemingly of the time of queen Elizabeth, and no doubt once a gentleman's habitation, now belonging to the Graydons; a little above which is a seat, called Hermesland, once belonging to the family of Harlestone, descended out of Suffolk, and bore for their arms, Paly, or, and sable, (fn. 5) one of whom, Simon Harlestone, resided here in queen Elizabeth's reign. After which it was purchased by the Osbornes, and was afterwards alienated by William Osbornes, A. M. rector of Fordwich, to John Graydon, esq. afterwards vice-admiral of the royal navy, who rebuilt it, and resided here at his death in 1727. He married Mary, grand daughter of Sir Edward Gregory, commissioner of Chatham dock, and dying in his eighth mayoralty of this town, was buried in Westbere church. John, his eldest son, succeeded him in this seat, and died s.p. Benjamin, his second son, was of Rochester, and left a son Benjamin, now of Fordwich, and owner of this seat; and Gregory, his third son, was of Canterbury, gent. and married a daughter of William Hougham, esq. of that city. They bore for their arms, Azure, three otters, each holding in its mouth a fish, argent. Mr. Ben jamin Graydon, of Fordwich, a descendant of him before-mentioned, is owner of this seat, which is at present untenanted. The church stands close to the east end of the town, and the parsonage-house at some distance southward of it, in the road leading to Stodmarsh, The river Stour, and the small spot of Tancrey island, over which the high road leads from Sturry to Fordwich, bound the north part of this parish, which extends about a mile southward up the hill, as far as the road next to the wall of the Moat park.
THE CORPORATION of the town of Fordwich and its liberties, extend over the town and the whole of this parish, and over part of the parishes of Westbere, Sturry, Northgate, and St. Martin's, in Canterbury, and likewise down the river Stour to Grove ferry, and thence as far as Plucks gutter, just below the Wingham water, opposite to the Isle of Thanet. It is a corporation by prescription, the members of which were at first stiled barons; but it is now governed by a mayor, jurats, and commonalty, of freemen, to which is added a high steward, treasurer, and town-clerk. The mayor, who is coroner by virtue of his office, is chosen yearly on the first Monday after the feast of St. Andrew, and with the jurats, who are justices within these liberties exclusive of all others, hold a general sessions of the peace and gaol delivery, (fn. 6) together with a court of record, the same as at Sandwich, and it has other privileges, mostly the same as the other corporations within the liberties of the cinque ports; and there was a gallows erected just below the key, for the execution of criminals, which has been down but a few years. It has a mace belonging to it, which is very handsome, of silver gilt, and given to the corporation by admiral Graydon; and the mayor, the same as at Sandwich, bears in his hand, when exercising his office, a black wand. The river Stour is still navigable for lighters and barges as far as the bridge just above the town, for the passage of carriages, over which the corporation exact a toll. The droits and duties arising from the coals and other ladings brought up the river and landed at the town-key, belong to the corporation, who likewise receive twenty shillings yearly from the dean and chapter of Canterbury, for the use of the crane and wharf here. There is a particular species of trout, which frequents the river Stour, and being for the most part caught within these liberties, is from thence known by the name of Fordwich trout; being esteemed of a superior flavour to most others, and there being but few of them taken in a year, they bear a high price, and are much sought after as a delicacy throughout the neighbourhood. They are of a silver colour, speckled with black spots, and the flesh of them is of a yellowish colour; they weigh from four to ten or twelve pounds. They are a very shy fish, insomuch that they are not often taken with a drag net, and seldom or never with a hook. It is supposed they never breed in the river, no small ones being ever found in it, nor large ones with any spawn in them, but that they come from the sea, many of them being taken without the mouth of the river, particularly in the set-nets in Pegwell bay, at the entrance of Sandwich harbour. There are not more than thirty caught here yearly on an average, though they were more caught formerly than for several years past.
SIR JOHN FINCH, (son and heir of Sir Henry Finch, younger brother of Sir Moile Finch, of Eastwell, ancestor of the earls of Winchelsea and Nottingham) who was speaker of the house of commons, and afterwards made chief justice of the common pleas, was in 1639, anno 15 Charles I. made lord keeper of the great seal, and created lord Finch, baron of Ford wich. He died in 1661, without male issue, and the title became extinct. (fn. 7)
WILLIAM COWPER, ESQ. son of Sir Wm. Cowper, bart. of Ratling-court, in Nonington, having been made lord keeper of the great seal in 1705, was on December 14, 1706, anno 5 queen Anne, created lord Cowper, baron Cowper, of Wingham, in Kent, and in 1707 made lord chancellor; and on March 18, 1718, anno 4 George I. he was further advanced to the dignity of earl Cowper, and viscount Fordwich. He died in 1723, and was buried at Hertingfordbury, being succeeded by his eldest son William, second earl Cowper, and viscount Fordwich, who died in 1764, having some time before prefixed the surname and arms of Clavering to his own, according to the will of his mother's brother. He was succeeded by his only son George Clavering, the third earl Cowper, and viscount Fordwich, who residing at Florence, was created a count of the sacred Roman empire, which title was confirmed by king George III. He died in 1789, having married Anne, daughter of Francis Gore, esq. of Southampton, and was succeeded by his eldest son George-Augustus, earl Cowper, and viscount Fordwich, who dying unmarried in February, 1799, was succeeded by the right hon. Peter-LewisFrancis, the fifth and present earl Cowper, and viscount Fordwich, who is at present unmarried. He bears for his arms, quarterly, Clavering, or, and gules, surmounted with a bend, sable; and Cowper, argent, three martlets, a chief engrailed, gules, on the latter as many annulets, or; supporters, Two bay horses, with tails docked, proper. Crest, On a wreath, a lion's gamb, erected and erased, or, holding a branch vert, sructed, gules.
Charities.
WALTER BIGG, jurat, by his will in 1631, gave three pieces of land, containing nine acres, for the relief of poor aged people, to be distributed by the mayor and jurats yearly on Good-Friday, and on the Friday before Christmas-day.
STEPHEN BIGG, of Fordwich, by will in 1646, gave the rent of 20 acres of land in Romney Marsh, to be distributed yearly to six poor housekeepers, and the like number of Sturry, 20s. to each; the remainder to put out poor boys and girls of each parish apprentices, and to remain in stock in for that use for ever.
THOMAS BIGG, by will in 1669, gave 50s. per annum, to be paid weekly to the overseers, to be distributed to the poor at their discretion. Which money is given away weekly in bread.
THERE ARE nine acres of meadow in this parish, late in the possession of Anthony Jennings, into which the resident freemen of this corporation have the liberty of turning any kind of cattle, except hogs, between the months of September and May.
FORDWICH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of the same.
¶The church, which is dedicated to St. Mary, consists of two isles and a chancel, having a tall spire steeple at the west end, in which are four bells. It is situated so close to the river, and so much on a level with it, that it is sometimes overflowed, and always exceedingly wet and damp. There seems to have been some good painted glass in the windows, of which there are but few remains. In the south isle is a stone, with the figure of a woman, and inscription in brass, for Afra, wife of Henry Hawkins, gent. daughter of Thomas Norton, esq. obt. 1655; arms, Hawkins, of Nash, impaling Norton; with the quarterings of Martyn, Beverley, and Hide. Several memorials for the Jennings's, of Tancrey island, and the Nortons. In the chancel are several memorials and hatchments of the Darells and Shortes, of this parish; the latter bore, Azure, a griffin passant, between three stars of six points, or. In the church-yard is a memorial for John Graydon, esq. obt. 1774. In the west part of the body of this church, was placed a very antient stone shrine against the wall, which having been removed some years since, was cast out in the church-yard, where being soon likely to perish, by being exposed to the weather, it was purchased by the editor of this history, and brought to the precincts of the cathedral of Canterbury, where it now lies. It is one solid stone, Sculptured only on one side; the back part having two hollows, as if made to fasten it to the wall. There is no conjecture to be formed on whose account it was made and placed there. (fn. 8)
The church of Fordwich is a rectory, and was always an appendage to the manor, and as such is now of the patronage of the right hon. earl Cowper, the present lord of the manor of Fordwich. It is valued in the king's books at 5l. 15s. 2d. and is now of the clear yearly certified value of forty-two pounds. In 1588. it was valued at thirty pounds, communicants one hundred and forty. In 1640 it was valued at forty pounds, communicants one hundred. It is now of about the yearly value of one hundred and twenty pounds. There are three acres of glebe land.
The rector for some length of time received of the corporation, in lieu of tithes of the merchandize of the key here, by composition, five pounds, by the name of crane duties, which has not been paid since the year 1733.
A cor é bem diferente, no começo estranhei um pouco, mas no final gostei muito, tanto que estou com essa combinação até hoje!
Usei:
2x Retângulo Verde (Colorama - Coleção Forma e Cor)
1x Chega Mais (Eliana Dote)
1x TC Ideal
Adesivo de flor no anelar
West Lancashire Rural District Council was based in Ormskirk, a town that did not form part of this extensive local authority whose administration stretched from the Mersey to the Ribble in a broad swathe of mostly agricultural lands that bordered the coastal strip of Southport and Ainsdale. In fact, thanks to the boundary of the RDC crossing the estuary of the River Ribble it looks as if the end of the pier in Lytham was almost in their jurisdiction!
The area formed one of the largest Rural District Council's in England at over 65,000 acres although the population in 1961 was only 55,804. The highly fertile land, much of which in the north had been reclaimed from the Ribble, is still noted for the production of potatoes, vegetables and market gardening. The Council, formed in 1894, had been expanded in 1932 when Sefton RDC was merged with them, was abolished under the 1974 Local Government reforms and although various parishes were split off into the new Merseyside Metropolitan County, the majority passed to the new West Lancashire Borough Council.
The cover has sketches of three of the villages within the District; Bispham, Halsall and Lydiate.
Four miles north of Cirencester, the ancient village of North Cerney occupies the steep valley of the River Churn, the church and the old rectory form an attractive group on the western slope high above the river, while the village cascades down the opposite side beyond the main Cirencester to Cheltenham road. Sheep are allowed to graze in the churchyard in the summertime and can often be seen dozing in the shade of the many table tombs.
All Saints North Cerney is one of the most interesting churches in the Cotswolds, wonderfully furnished at the expense of William Iveson Croome (1891-1967) and full of rare medieval carvings and stained glass. Possibly the third church to have occupied this lofty site, archaeological evidence found when installing a new heating system revealed the foundations of a smaller earlier building. The Saxon origin of these fragmentary remains was given credence when a pre-conquest crucifix, part of an early reredos, was found during further works in the graveyard, now set in the splay of a window in the chancel. A Norman church was built in the 12th century represented by the present nave, the base of the west tower and half the length of the chancel. Liturgical changes in the 13th century increased the role of the chancel in celebration of the Mass and here as elsewhere the chancel was lengthened. The original altar is a rare survival hidden from Reformation iconoclasts under the floor of the Lady chapel and only discovered during alterations in 1912.
Much of the present church rose from the ashes of a fire that caused much damage sometime between 1450 and 1460, the Norman roof was beyond repair and the upper stages of the tower bore the brunt of the flames as they took hold of the building. Indeed the effects of the fire returned to haunt present generations of parishioners as substantial funds had to be raised to stabilise the tower which had begun to crack. After the fire, the rector, William Whitchurch undertook the restoration, rebuilding the north wall with large Perpendicular windows, only the one at the west end survives. A window commemorating Whitchurch was moved when the north transept was built and inserted in its new north wall, a Latin inscription reads "Pray for the soul of William Whitchurch".
Sometime between 1461 and 1465 the Norman south wall was pierced and a Lady Chapel was constructed giving the church a cruciform plan. The chapel can be dated by its east window which includes the Yorkist symbol of the radiant sun. Prominent among the chapel's furnishings are three 15th century carved figures, St Martin cutting his cloak to give half to a beggar, the Virgin Mary and St Urban holding a bunch of grapes, who also wears the tiara usually associated with Urban the Great. A passage squint leads from the west wall of the transept to the nave. The Lady Chapel screen was designed by F.C. Eden and carved by Laurence Turner in 1913, the St George above is by Giorgio Maurus 1920.
Late in the 15th century the north transept was replaced by a chapel dedicated to St Catherine, patron saint of wool merchants. The 16th century altar served the church until the recovery of the medieval mensa in 1912. A vestment press by F.C. Eden occupies the south wall, he also designed the altar frontal and reredos. The east window commemorates the curate who succeeded William Whitchurch and bears the Latin inscription "Pray for the soul of John Bicot", he is seen praying beneath the crucified Christ. However at some stage the stained glass was re leaded with the painted surface outermost and the decoration has suffered as a result. The north transept has a ceiled wagon roof and a curving squint leads to the chancel.
The chancel was lengthened in the 13th century. The altar frontal is made from material woven for Chartres Cathedral before the First World War. The mensa with its consecration crosses is supported on the original medieval stones though a modern frame bears the considerable weight. The attractive reredos is the work of architect F.C. Eden responsible for much of the 20th century work in the church. Robert Broad carved the communion rails from Norway oak in 1736. The stepped east window is by Waller 1878 and bears the legend 'God is Love' and has stained glass by Hardman.
The Perpendicular nave roof has an interesting collection of carved bosses at its eastern end. The roof rests on large carved corbels, those on the north side are thought to depict the reigning monarch Henry VI, William Whitchurch and the Lord of the manor, the Duke of Buckingham with a ducal coronet and moustaches. The church was lit by candles until 25 years ago and several 17th century Flemish brass candelabra survive. Unfortunately the original Queen Anne arms was stolen but the insurance money was used to make a replacement bearing the present Queen's Royal Coat Of Arms. The pulpit of c1480 is ornamented with lilies and was carved from a single block of stone possibly by carvers from Burford, the pedestal is slightly later. The eagle lectern is of similar date and is made of Flemish brass with a Spanish steel pedestal, it was found in the Marine stores at Gloucester docks. Old pew ends have been used to construct a reading desk, one of the panels has an inscription WC 1631, William Cherrington was churchwarden at this time. In 1870 an organ chamber was created in the north wall of the nave, accessed by stairs from the Catherine chapel, part of F.S. Waller & Son's restoration. The organ is richly decorated by Dykes Bower and William Butchart of Westminster Abbey. Above the east end of the nave is a rood loft designed by F.C. Eden and carved by William Smith in the village, using oak from nearby Rendcomb. John and Mary were carved at this time but the central figure of Christ is Italian c1600 found when the churchwarden William Croome fell over its packing case in an antique shop in northern Italy and bought for £10. F.C. Eden designed several stained glass windows including the figure of St Nicholas in the south nave window and the south window of the south chapel which has the arms of the owners of North Cerney House through the ages. The nave has a deep west gallery that obscures the double chamfered C13-C14 tower arch. The 15th century octagonal font has a 18th century cover.
The tower has two lower stages of Norman work with original north and south windows and a clasping north-west buttress of the same date. The west window is 16th century, the bell-stage has west and east windows c1200. The right jamb of the south tower door bears a scratch dial.
The church has a Norman south porch with a carved tympanum, the door is 15th century and has its original closing ring. On the outside of the south wall of the south transept you will find the incised figure of a manticora which has a human head and arms, the body of a lion and a scorpion's tail. Another manticora is carved at the base of the tower apparently the work of the same 'artist'. On the steep slope above the church is a churchyard cross of 14th date, recently restored. On the outside of the tower the roof-line of the original Norman roof is clearly visible. A ring of six bells include four by Abraham Rudhall I, 1714, one by John Rudhall 1820 and a treble by Warner, 1863. Lychgate 1910 by FC Eden.
Rocks forming
Photographer Khalid Almasoud © All rights reserved
سبحان الله وبحمده ... سبحان الله العظيم
This photo was taken on June 05, 2011 using a Leica D-LUX 5
-----------------------------------------------------------------------------------------
Copyright © Rita Restifo. All Rights Reserved.
This work is protected under international copyright laws and agreements. It cannot be reproduced, stored in retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without my prior permission.
------------------------------------------------------------------------------------------------------
Da www.wunderkammern.net/jefaerosol/jefaerosol.htm:
Jean-François Perroy, conosciuto con lo pseudonimo di Jef Aérosol (1957, Nantes) è pioniere incontrastato della street art internazionale. Jef realizza senza distinzione ritratti di personaggi pubblici o di grande notorietà, e di figure anonime, artisti di strada, passanti, mendicanti, bambini; tutti preferibilmente in bianco e nero e contraddistinti dalla enigmatica freccia rossa, celebre firma e "marchio di fabbrica" dell'artista. Attori del panorama visivo contemporaneo, i personaggi di Jef sembrano infine tutti assomigliarsi, come esito e specchio contraddittorio del medesimo tessuto collettivo che li ha determinati.
Per “Anony(fa)mous”, la sua prima mostra personale in Italia, attraverso forme iconiche e stereotipate di fama e anonimato, Jef indagherà il limitare sottile tra celebrità assoluta e assoluto oblio, alla ricerca del punto invisibile dove gli estremi si incontrano e si identificano, per annullarsi, sempre. Personaggi famosi e gente comune, giovani e anziani saranno insieme rappresentati per fare emergere la pura umanità di ognuno. Senza distinzioni, in una sfida divertita e aperta ai meccanismi della comunicazione contemporanea, capace di glorificare e condannare, stabilire importanza e nullità di esistenze private parimenti degne di attenzione e rispetto. Come Jef ci rivela: "Io faccio degli anonimi una star e rendo anonimi i famosi. Li riporto al loro “status umano”, insistendo sul fatto che, famosi o no, siamo tutti uguali e una star è un uomo prima di qualsiasi altra cosa".
L’artista ha collaborato con gallerie, musei ed istituzioni di massimo livello internazionale. Suo è il leggendario “Chuuuttt!!!”, un’opera di 350m² eseguita accanto ed in collaborazione con il Centre George Pompidou di Parigi.
Come anteprima alla mostra, il 20 maggio l’artista ha realizzato un’opera permanente in situ sui muri dell’Institut français - Centre Saint-Louis (Largo Toniolo 22, Roma). Altri interventi di street art saranno realizzati all’interno della città di Roma, a incipit e prosieguo ideali delle opere in galleria.
Wunderkammern presenta "Anony(fa)mous", la prima mostra personale in Italia del celebre artista francese Jef Aérosol - via Gabrio Serbelloni 124, Roma.
...bellissimi anche:
www.flickr.com/photos/rita-restifo/14258659356/in/photost...
www.flickr.com/photos/rita-restifo/14278439231/in/photost...
www.flickr.com/photos/rita-restifo/14258658376/in/photost...
www.flickr.com/photos/rita-restifo/14095155610/in/photost...
www.flickr.com/photos/rita-restifo/14279739682/in/photost...
“En el Perú no queremos que las universidades formen solo profesionales, sino ciudadanos comprometidos con la solución de los retos del desarrollo del país“, enfatizó el ministro de Educación, Jaime Saavedra.
Foto: José Alva / Prensa Minedu
Out of the Archives: Wooden form in place near the bottom of a shaft, where concrete was later poured around it to make a quarter bend. May 12, 1932. (Image ID: p012229)
A striking Cuirassier Officer's gold-painted three-quarter armour, Savoy, circa 1630. Comprising close helmet with rounded skull formed of two halves each with integral neck lame, the base studded with lining rivets on brass rosette washers, pivoted fall formed with hooded guards acutely arched over the eyes, visor cut with a single mouth-like breathe and the upper edges with hemispherical openings for the eyes, pivoted chinpiece, and a single neck lame at the front, breast-plate formed with a low medial ridge, turned edges, and a short basal flange fitted with a pair of small iron plates, these each with a turningpin for attaching alternative detachable skirt lames or tassets, now fitted with a skirt of two lames, the upper lame overlapped by the base of the breast-plate, back-plate fitted with a detachable broad skirt of five lames, the upper lame boxed at the sides and the lower lames each with cusped subsidiary edges, a pair of long tassets each of ten lames, some with turned edges, the subsidiary edges cut with a chevron in the middle, winged poleyns embossed with leaf ornament over the point of the knee and with articulations above and below, a pair of full arm defences, comprising large pauldrons studded with circular patterns of brass-capped rivets front and rear, tubular turners, upper-and lower-cannons, bracelet couters, and complete with a pair of gauntlets with flared cuffs, studded with brass-capped rivets throughout, the entire armour richly decorated with a gold-painted pattern of roped cartouches filled with scrollwork interlaced in arabesques at the root, on a field of scrollwork segmented by roped lines and further arabesques, and the whole painted scheme contrasting against a painted black ground: on a purpose-built costumed mannequin. H.: 178 cm - Wt.: 15.945 kg. Exhibited: Lisbon, May-October, 1983, XVII Exposição Europeia de arte, ciência ecultura - Torre de Belem. Catalogue Os Descobrimentos Portugueses e a Europa do Renascimento. Armaria dos Seculos XV a XVII, 1983, No. 71, p.77, illustrated p.78. Compared to armour with engraved and gilded decoration those with gold-painted patterns are extremely rare. One of the most beautifully decorated was the armour of Margrave Johann Georg von Brandenburg-Jägendorf, made in Augsburg at the beginning of the 17th century, formerly preserved in the Deutsches Historishes Museum, Berlin, now missing since the Second World War. See MÜLLER, Heinrich, Das Berliner Zeughaus, vom Arsenal zum Museum, 1994, p.223, ill. No. 264.
Governorate of Al Ula is a natural museum is open to all glory to the Creator, there are many mountains of Western forms and some are bizarre animals Ichkeul forming on the mountain of elephant
Ela actually a natural museum
Ostfriesland – Ditzum ist nicht allein wegen der Windmühle schön… Blick auf die Lüttje Brügg und den Kirchturm von Ditzum, der in seiner Form an einen Leuchtturm erinnert.
Canto 30: Los hombres que se devoran unos a otros.
INFIERNO
El Infierno (en italiano Inferno) es la primera de las tres cánticas de La Divina Comedia del poeta florentino Dante Alighieri. Los sucesivos cantos son el Purgatorio y el Paraíso. Está formada por 33 cantos, más uno de introducción, y cada canto está subdividida en tercetos y la rima está unida. De hecho, su estructura doctrinal hace un uso constante del número 3: los condenados son de hecho repartidos en tres categorías, cada una localizada en una sección decreciente de la cavidad subterránea. El orden de las penas, como dice Virgilio en el canto XI, depende de la Ética Nicomaquea de Aristóteles, y prefigura una jerarquía del mal basada en el uso de la razón. La elección de las penas sigue la "ley del contrapaso", que castiga los pecadores mediante el contrario de sus pecados o por analogía a ella. En ese sentido, los pecadores más "cercanos" a Dios y la luz, es decir puestos en los primeros círculos, son los incontinentes, es decir aquellos que usaron el menor uso de la razón en pecar. Siguen los violentos, que fueron cegados por la pasión, si bien a un nivel de inteligencia mayor que los primeros. Los últimos son los fraudulentos y los traidores, que quisieron y realizaron el mal concientemente. Entre los traidores hay cuatro categorías: de quien se tiene confianza, de la patria, de los hospedantes y de las instituciones. Todos los pecadores del Infierno tienen una característica en común: sienten la lejanía de Dios como el mayor castigo.
Exposición
La Divina Comedia Ilustrada por Dalí
Del 22 de mayo al 30 de junio de 2013
La Divina Comedia ilustrada por Dalí
La ilustración de “La Divina Comedia” fue un encargo del Gobierno italiano con motivo del 700 aniversario del nacimiento de Dante. Dalí comenzó de inmediato el trabajo, llegando a realizarmás de cien acuarelas. Sin embargo, debido a la gran polémica suscitada en Italia porque el artista seleccionado no fuera un italiano, el proyecto original fue abortado.
A pesar de ello se editó en Italia un libro con las ilustraciones ya instancias del propio papa Pío XII, Dalí abordó el proyecto de recreación de la serie en xilografía, auspiciada por Joseph Foretquien, junto con los grabadores en madera Jacquet y Taricco, inicia el proceso de transferir las 100 acuarelas originales a 3,500 tacos xilográficos, uno por cada color y unos 35 para cada acuarela.
Entre 1960 y 1964 se confecciona la edición de “La Divina Comedia” ilustrada por Dalí, presentada en seis volúmenes, con eltexto de Dante Alighieri traducido al francés por Julien Brizeux.La primera edición en francés hace constar la duración del trabajorealizado: “Cette édition en langue française…elle a nécessitécinquante-cinq mois de un travail patient éd assidu. Commencé an avril 1959 elle fut achevée le 23 novembre 1963”.
Los 100 grabados se realizaron sobre madera de 25.5 x 17.5 cm de plancha, en un formato de 33 x 26 cm de papel, y se utilizó el “Vélin pour Chiffon de Rives”. La firma de Dalí fue hecha en plancha.
Los libros fueron presentados con diferentes estuches, que iban desde los más comunes en cartón rígido hasta estuches de madera finamente labrada con diseños de Dalí y acompañados de acuarelas originales. Pero “La Divina Comedia” con ilustraciones de Salvador Dalí también se presentó por la compañía francesa LesHeures Claires de París, como suite de 100 grabados recogidos en tres carpetas.
Les Heures Claires realiza también una edición especial en seis carpetas que contienen las xilografías que exponemos en esta muestra. Los 100 grabados están realizados sobre madera de25.5 x 17.5 cm de plancha, en un formato de 33 x 26 cm de papel “Vélin pur Chiffon de Rives”. Incluye las pruebas de color completas(entre 35 y 40 planchas) de seis grabados, dos por cada serie: infierno, purgatorio y paraíso.
Esta edición es previa a la inclusión de la plancha con la firma impresa de Dalí, lo que hizo que fuese muy codiciada por los falsificadores para añadirle la firma falsificada del artista ya que al estar limpias, sin firma en plancha, la firma original es más creíble. Los ejemplares sueltos se vendieron a precios superiores a los 6,000 dólares. Aún hoy día se venden ejemplares que teniendo firma en plancha, tienen además la firma de Dalí y una numeración, evidentemente añadidos por los falsificadores.
Los ejemplares con firma en plancha fueron extraídos por los galeristas para venderlos como láminas sueltas, lo que ha hecho que se conserven muy pocas colecciones completas, siendo común que se realicen exposiciones parciales, de una de las tres partes de que consta la obra.
La colección que presentamos está íntegra, con sus carpetas originales y con las pruebas de color de seis de las láminas, lo que nos permite ofrecer una presentación absolutamente completa y perfecta de la edición original de xilografía sobre madera realizada por Les Heures Claires.
El minucioso proceso xilográfico en el que se interpreta cada trazo y cada color de la acuarela original, para trasladarlos a las planchas de madera uno a uno, supuso cincuenta y cinco meses de trabajo de virtuosos artesanos bajo la supervisión del artista. En el proceso de grabación la superposición de dos colores crea un nuevo color, por lo que los grabados hubieron de prestar atención minuciosa a la perfecta superposición de las planchas coloreadas, tarea que caracteriza específicamente a esta técnica.
En esta muestra presentamos la descomposición de acuarelas en el proceso xilográfico, pudiéndose observar las numerosas impresiones de diferentes colores que fueron necesarias para completar la imagen final.
La “Divina Comedia” fue ilustrada, entre otros, por Botticelli,Miguel Ángel y Gustavo Doré, antes del colosal trabajo de Dalí, y por Barceló en los últimos tiempos. Pero Dalí, a pesar del profundo conocimiento de la obra de Dante, no se limita a ilustrar los versículos sino que, partiendo de ellos, deja aflorar libremente su universo personal, plasmando sus obsesiones y motivos recurrentes, uniendo el impulso surrealista a la aplicación de técnicas y estilos del renacimiento y el barroco.
Consideramos esta muestra ideal para el conocimiento y disfrute del auténtico Dalí, excéntrico, virtuoso en el dibujo y en la aplicación del color, sorprendente en la imaginería que construye y por encima de todo, atractivo para todos los públicos que quedarán subyugados por la innegable belleza de todas y cada una de las cien láminas que constituyen la muestra íntegra de la primera edición de Les Heures Claires con sus pruebas de color.
Salvador Dalí
Salvador Dalí nació en Figueres (España) en 1904. Estudió en la Academia de Bellas Artes de San Fernando,en la cual experimentó con las tendencias cubistas y dadaístas. Luego de ser expulsado de esta academia en 1926, se muda a Paris, donde conoció a importantes artistas, como Joan Miró, Pablo Picasso y al grupo de surrealistas liderado por André Bretón; más adelante éste lo expulsa del grupo, acusándolo de ser fascista. Durante su estancia en la capital francesa es que conoce a Gala, quien se convirtió en su esposa, su musa y motivo de varias de sus obras.
En 1939 se trasladó a Estados Unidos y permanece allí por ocho años, siendo este uno de los períodos más fructíferos de su vida. Regresa a España adonde permanece hasta su muerte en 1989.
Dalí se convirtió en la figura icónica del movimiento surrealista, su producción artística refleja una combinación de imágenes referente a los sueños y objetos cotidianos representados de maneras sorprendentes a través de un dibujo minucioso, una impresionante atención al tratamiento de detalles y un colorido muy brillante y luminoso.
Su obra luego de la guerra civil española (1936-1939)trata temas clásicos como lo religioso, histórico y alegórico. Además de pintar, Dalí ilustró libros, diseñó joyas y ropa, elaboró esculturas y objetos varios y colaboró en la producción de varias películas.
Una parte de su extensa producción se muestra en el Teatro Museo Dalí, el cual se ha convertido en uno de los museos más visitados de España y que fue fundado antes de su muerte en Figueras; actualmente la Fundación Gala-Salvador Dalí administra tres espacios más que exhiben su obra en su país natal, incluyendo uno dedicado a las joyas diseñadas por este genial artista.
“La Divina Comedia” de Dante
Dante Alighieri (1265-1321) nació en Florencia y murió en Rávena (Italia). “La Divina Comedia” constituye una de las obras fundamentales de la transición del pensamiento medieval al renacentista, el poema insigne de la literatura italiana y una de las cimas de la literatura universal.
Fue escrita entre 1308 y 1321 en tercetos encadenados. En ellos gravita el símbolo del número tres. Tiene tres partes: Infierno, Purgatorio y Paraíso. Tres, los protagonistas: Dante, Virgilio, que representa la razón, y Beatriz, símbolo de la fe.
Cada parte reúne treinta y tres estrofas o cantos, excepto el Infierno, que tiene treinta y cuatro. De esta manera suman cien: otro número mágico.
El Infierno tiene nueve círculos, más un “ante infierno” en el que están los indiferentes. En cierto sentido, el Purgatorio es una imagen invertida del Infierno. Si este último es un abismo al que se va bajando por diferentes círculos, el primero es una montaña a la que se asciende al otro lado de la Tierra a través de siete cornisas. El siete y el nueve son también números mágicos.
Dante escribió la obra en dialecto toscano y al hacerlo contribuyó a establecerlo como la lengua italiana.
Carmen González Huguet
MARTE Museo de Arte de El Salvador
Colonia San Benito Final Avenida. La Revolución San Salvador, El Salvador Centroamérica
Tel.: (503) 2243-6099 Fax: (503) 2243-1726 info@marte.org.sv
Horario
Martes a Domingo: 10:00 a.m a 6:00 p.m.
Lunes (Cerrado)
Todos los domingos la entrada al MARTE es GRATIS.
De martes a sábado entran GRATIS: Adultos mayores, niños menores de 8 años, grupos de escuelas públicas, estudiantes del Centro Nacional de Artes (CENAR), Estudiantes de la Escuela de Artes de la Universidad Nacional, Miembros de Asociación de artistas Plásticos de El Salvador (ADAPES), Miembros de North American Reciprocal Museums Program (NARM), Miembros de El club de lectores de El Diario de Hoy, Visitantes del Museo Forma, Estudiantes y Docentes Universidad Tecnológica, Turistas hospedados en Hotel Hilton Princess San Salvador
Tarifa: (Martes a Sábado 10:00 am a 6:00 pm)
La tarifa normal es:
Adultos $1.50
Estudiantes $0.50
Facilidades para Discapacitados:
MARTE es accesible a personas con discapacidad móvil. Dos sillas de ruedas se encuentran además en la recepción para uso de visitantes que las requieran.
Fachzeitschrift der Industriewerkschaft Druck und Papier für alle Berufssparten des graphischen Gewerbes und der Papier und Pappe verarbeitenden Industrie
INHALT
— Schriftleitung: Qualität im Druck
— Adolf Götz: Chemisches und Technisches über das Kopieren mit Chromsalzen
— Adolf Welzmüller: Die Klischeemontage in der Praxis
— Hans Seiffarth: Ein praktischer Wink für den jungen Reprophotographen
— Oswin Gentsch: Bildgrößen verändern leicht gemacht
— Karl Kollar: Wie finde ich den richtigen Bildausschnitt?
— Fritz Bulle: Das Körnen der Zinkplatten im Offsetdruck
— Karl Keim: Kunstdruck- und Chromopapiere als Druckträger II
— Kurt Kittsteiner: Ein neuer Stanz- und Prägeautomat
— Ernst Wolfshöfer: Das Verschmieren der frischen Drucke II
— Karl Franke †: Die setztechnische Unterweisung und was mit dazu gehört
— Robert Höbel: Jugend und Neutypographie
— Wolfgang Unger: Der Typograph und seine Kunst
— Hermann Zapf: Zur Stilgeschichte der Druckschriften II
— Werner P. Held: Neue Rechtschreibung, wie? II
— Otto Linck: Zwei Sicherungen der Intertype
— Schulen // Persönliches // Eingänge
Hyperbolic Form for the Sydney Hyperbolic Crochet Coral Reef Project. Some of my own yarns and some from one of the Powerhouse Workshop, where people had kindly donated materials.
Hook: 4mm (Gives a firmer finish, not to loose - but easy to work)
Stitch: Half Treble (US - Half Double Crochet)
Increase: 1 in 2
Last row: No increase, yarn was very lumpy and thick. So I could only do 1 stitch per stitch.
Back row, left to right: Pete Fraser, John Carter, DJ Hodges, Antony Boreham, Duncan McColl, Alam Arbaney, DA Long, Steve Hoath, Graham R Martin, Robin Sifton, Douglas Job, GR Smith, Adrian Wickens, Ian Pattinson.
Middle row (standing, left to right): Adrian Broadway, Bill Davies, JRC Roberts, James Scott McBride, Christopher Stocking, David Clare, Nigel Hunt.
Front row (sitting, left to right): Pete Wagner, PG Barnes, Stephen Pettit, John Hughes, Alistair Pearson, Peter Marcan, Geoff Arnold, Ian Elliott, Paul Savage, William Gerrish, Jonathan Woolley, Patrick Inskip, Andrew Dickson, Andrew Le Messurier.
This photo may also be viewed on my website here: www.rgs.saund.co.uk/1964form3x.html
Calvin is in the final stages of manufacture of component parts for his lamp model. He will be using polystyrene to create a hemispherical dome for the top of his lamp. This will emerge from a hole cut out of pine 'furniture board' and this in turn will enable the dome to attach to the central cylindrical form of the bottom part of the lamp. This central cylinder is made from aluminium sheet which has been pop rivited together. Seven holes have been drilled around the circumference of the aluminium and these will accomodate nylon spikes that have been turned on the metalwork lathe. These will be attached using epoxy resin adhesive. These spikes have been counter-bored with a step drill so that the light will be transmitted along the nylon to the end of the spike. An energy efficient bulb and holder will be mounted on a wooden base at the bottom of the aluminium section.
Calvin has worked extremely hard over the last few weeks and has easily risen to each and every challenge that his concept has generated along the way.
Even the creation of the mdf former created issues by Calvin persevered with steely determination and kep at it until he was satisfied with the results. Good work, looking forward to seeing the completed model.
SEN-nuh -- Latin form of Arabic word for a thorny bush ... Dave's Botanary
her-SOO-tuh -- hairy ... Dave's Botanary
commonly known as: woolly cassia, woolly senna • Assamese: দুমদুমী dumdumi, শুঙাল কালিসোন্দা shungal kalisonda • Bengali: বড় চাকুন্দা bara chakunda • Bodo: sumu bipang • Gujarati: પરદેશી આવળ pardeshi aaval • Hindi: विलायती तरवर vilayati tarwar • Kannada: ಅಡವಿ ತಂಗಡಿ adavi thangadi • Khamti: kungu • Konkani: फिरंगी तैकिळो phirangi taikilo • Lotha: khokshu ehmuo • Malayalam: പൊന്നാവീരം ponnaaveeram • Manipuri: ꯊꯧꯅꯝ thounam • Marathi: केसाळ तरवड kesal tarvad • Mizo: sab-daru • Odia: ବଡ଼ ଚାକୁଣ୍ଡା bada chakunda • Tamil: மலையாவாரை malaiyavarai, மலையாவாரம் malaiyavaram, மலையாவிரை malaiyavirai • Telugu: నూగు తంగేడు nugu tangedu • Tulu: ಕಾಟ್ಟು ತಜಂಕ್ kattu thajanku
botanical names: Senna hirsuta (L.) H.S.Irwin & Barneby ... homotypic synonyms: Cassia hirsuta L. • Ditremexa hirsuta (L.) Britton & Rose ... and accepted infraspecifics listed at POWO, retrieved 19 August 2024
Names compiled / updated at Names of Plants in India.
Four miles north of Cirencester, the ancient village of North Cerney occupies the steep valley of the River Churn, the church and the old rectory form an attractive group on the western slope high above the river, while the village cascades down the opposite side beyond the main Cirencester to Cheltenham road. Sheep are allowed to graze in the churchyard in the summertime and can often be seen dozing in the shade of the many table tombs.
All Saints North Cerney is one of the most interesting churches in the Cotswolds, wonderfully furnished at the expense of William Iveson Croome (1891-1967) and full of rare medieval carvings and stained glass. Possibly the third church to have occupied this lofty site, archaeological evidence found when installing a new heating system revealed the foundations of a smaller earlier building. The Saxon origin of these fragmentary remains was given credence when a pre-conquest crucifix, part of an early reredos, was found during further works in the graveyard, now set in the splay of a window in the chancel. A Norman church was built in the 12th century represented by the present nave, the base of the west tower and half the length of the chancel. Liturgical changes in the 13th century increased the role of the chancel in celebration of the Mass and here as elsewhere the chancel was lengthened. The original altar is a rare survival hidden from Reformation iconoclasts under the floor of the Lady chapel and only discovered during alterations in 1912.
Much of the present church rose from the ashes of a fire that caused much damage sometime between 1450 and 1460, the Norman roof was beyond repair and the upper stages of the tower bore the brunt of the flames as they took hold of the building. Indeed the effects of the fire returned to haunt present generations of parishioners as substantial funds had to be raised to stabilise the tower which had begun to crack. After the fire, the rector, William Whitchurch undertook the restoration, rebuilding the north wall with large Perpendicular windows, only the one at the west end survives. A window commemorating Whitchurch was moved when the north transept was built and inserted in its new north wall, a Latin inscription reads "Pray for the soul of William Whitchurch".
Sometime between 1461 and 1465 the Norman south wall was pierced and a Lady Chapel was constructed giving the church a cruciform plan. The chapel can be dated by its east window which includes the Yorkist symbol of the radiant sun. Prominent among the chapel's furnishings are three 15th century carved figures, St Martin cutting his cloak to give half to a beggar, the Virgin Mary and St Urban holding a bunch of grapes, who also wears the tiara usually associated with Urban the Great. A passage squint leads from the west wall of the transept to the nave. The Lady Chapel screen was designed by F.C. Eden and carved by Laurence Turner in 1913, the St George above is by Giorgio Maurus 1920.
Late in the 15th century the north transept was replaced by a chapel dedicated to St Catherine, patron saint of wool merchants. The 16th century altar served the church until the recovery of the medieval mensa in 1912. A vestment press by F.C. Eden occupies the south wall, he also designed the altar frontal and reredos. The east window commemorates the curate who succeeded William Whitchurch and bears the Latin inscription "Pray for the soul of John Bicot", he is seen praying beneath the crucified Christ. However at some stage the stained glass was re leaded with the painted surface outermost and the decoration has suffered as a result. The north transept has a ceiled wagon roof and a curving squint leads to the chancel.
The chancel was lengthened in the 13th century. The altar frontal is made from material woven for Chartres Cathedral before the First World War. The mensa with its consecration crosses is supported on the original medieval stones though a modern frame bears the considerable weight. The attractive reredos is the work of architect F.C. Eden responsible for much of the 20th century work in the church. Robert Broad carved the communion rails from Norway oak in 1736. The stepped east window is by Waller 1878 and bears the legend 'God is Love' and has stained glass by Hardman.
The Perpendicular nave roof has an interesting collection of carved bosses at its eastern end. The roof rests on large carved corbels, those on the north side are thought to depict the reigning monarch Henry VI, William Whitchurch and the Lord of the manor, the Duke of Buckingham with a ducal coronet and moustaches. The church was lit by candles until 25 years ago and several 17th century Flemish brass candelabra survive. Unfortunately the original Queen Anne arms was stolen but the insurance money was used to make a replacement bearing the present Queen's Royal Coat Of Arms. The pulpit of c1480 is ornamented with lilies and was carved from a single block of stone possibly by carvers from Burford, the pedestal is slightly later. The eagle lectern is of similar date and is made of Flemish brass with a Spanish steel pedestal, it was found in the Marine stores at Gloucester docks. Old pew ends have been used to construct a reading desk, one of the panels has an inscription WC 1631, William Cherrington was churchwarden at this time. In 1870 an organ chamber was created in the north wall of the nave, accessed by stairs from the Catherine chapel, part of F.S. Waller & Son's restoration. The organ is richly decorated by Dykes Bower and William Butchart of Westminster Abbey. Above the east end of the nave is a rood loft designed by F.C. Eden and carved by William Smith in the village, using oak from nearby Rendcomb. John and Mary were carved at this time but the central figure of Christ is Italian c1600 found when the churchwarden William Croome fell over its packing case in an antique shop in northern Italy and bought for £10. F.C. Eden designed several stained glass windows including the figure of St Nicholas in the south nave window and the south window of the south chapel which has the arms of the owners of North Cerney House through the ages. The nave has a deep west gallery that obscures the double chamfered C13-C14 tower arch. The 15th century octagonal font has a 18th century cover.
The tower has two lower stages of Norman work with original north and south windows and a clasping north-west buttress of the same date. The west window is 16th century, the bell-stage has west and east windows c1200. The right jamb of the south tower door bears a scratch dial.
The church has a Norman south porch with a carved tympanum, the door is 15th century and has its original closing ring. On the outside of the south wall of the south transept you will find the incised figure of a manticora which has a human head and arms, the body of a lion and a scorpion's tail. Another manticora is carved at the base of the tower apparently the work of the same 'artist'. On the steep slope above the church is a churchyard cross of 14th date, recently restored. On the outside of the tower the roof-line of the original Norman roof is clearly visible. A ring of six bells include four by Abraham Rudhall I, 1714, one by John Rudhall 1820 and a treble by Warner, 1863. Lychgate 1910 by FC Eden.
Promo shoot with rock band Form in my home studio.
Strobist: SB-600 silver brolly right and SB-80x shoot through brolly left. Cactus V4 Triggers.
Form 5 Confirmation Mass 2021
English session 1
16 Confirmants
Celebrated by Father Andrew Wong
F5Confirmation: Anointing with Chrism Oil
Henry Low wen Yue
Curso de “Corte e Costura” ABECAO
As beneficiárias da Oficina de Corte e Costura da ABECAO estão colocando em prática as técnicas adquiridas nas aulas, confeccionando vários modelos de vestuários. O objetivo do curso visa resgatar este projeto de qualificação tradicional, ensinando as técnicas para confecção de vestuários de maneira clara, objetiva e completa de como cortar e costurar, promovendo a profissionalização da mão de obra prioritariamente às pessoas em risco social, formando profissionais atendendo a necessidade do mercado de trabalho, estimulando o desenvolvimento da criatividade com qualidade as alunas, Natalia Aparecida Silva Santos, Alessandra Carla da Silva, Aparecida Castanha Vieira, Elaine Pereira Gomes, Graziela Pereira Celestino, Lindalva Leite Melo Barboza, Maria Aparecida Olmedo, Rose Mara Domelas de Castro,Tassiana de Menezes da Silva, demonstra grande aptidão profissional como mostra as fotos, parabéns as alunas e a monitora Marlene Canhada.