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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.
Casapueblo atelier-museu, Punta Bellena - Punta del Este, UY.
Residence and atelier of Carlo Paez Vilaró.
A bonus summer church on the way back home from yet another orchid hunt, situated up a narrow land from the picturesque village and opposite the village school.
despite the church claiming the key could only be obtained from the school during term time, I found it unlocked, which was nice.
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Petham is a little visited church high above its village on the edge of a picturesque valley. Burned out in the 1920s it has lost some of the patina of age but nonetheless it contains much of interest. The south aisle once had a lean to roof – as can be clearly seen inside today. Apart from that most of the church is thirteenth century and many lancets survive. Some have rere-arches, a decorative carved stone feature over the top inside that shows wealth. The lovely tie beams and wall plates were painted after the fire in a late Arts and Crafts form with colourful cherries and vines. The east window contains quarries that may have been made by Powell’s whilst at the west end against the wall is a thirteenth century stone coffin lid. Outside on the west wall of the tower is a much weathered cross, possibly of thirteenth century date, that was discovered in the eighteenth century walled up high in the tower. The intervention of a local clergyman saved it from destruction and preserved it for us to see.
www.kentchurches.info/church.asp?p=Petham
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PETHAM
LIES the next parish southward from Upper Hardres, and was once so considerable as to give name to the hundred, in which it is situated, which being since joined to that of Bridge, is now stiled the lower half hundred of Petham. This parish has in it the boroughs of Sapington, Broadway, Cotterell, and Stonestreet.
THE PARISH OF PETHAM lies in a healthy, though wild and romantic country of steep hills, the soil of which is very poor, barren and chalky, and covered with sharp slints, the fields are in general large; at the western boundaries it is covered with woodland, at the eastern runs the Stone-street way from Canterbury to Hythe and Limne, the Portus Lemanis of the Romans. Swerdling downs extend from Chartham for the length of two miles, on a side hill facing the south, as far as Lower Hardres, along the northern part of this parish, and have plain remains of intrenchments over them, four single lines of which cross the whole of them in different places, at no great distance from Iffins wood above it, great, part of which is within this parish. The remains of fortification in this wood, and the intrenchments below it, are by many supposed to be on the place to which the Britons retreated, after they were driven by the Romans from their hold in the woods, which Cæsar says was fortified both by art and nature, and where he again found them, after he had fortified his camp, with their allies, under the command of Cassivilaun, and sought his decisive battle with them. (fn. 1) At this end of the parish, in the valley, close adjoining to Lower Hardres, at a field's distance from the high road to Hythe, is the house called Street-end, formerly belonging to the Spracklyns, then to the Whitfields, and afterwards to H. Fonnereau, esq. who rebuilt it, and new laid out the adjoining grounds, after which he sold it to James Tillard, esq. who now resides in it. At a small distance below Swerdling downs southward, in the valley, which is here noble and wide, are the estates of Sapington, Depden, and Swerdling; further on stands the village of Petham, on the road leading to Elmsted and Hastingleigh, with the church on the hill at a small distance from it. From a pond in the village, and sometimes as high as Dene, in Elmsted, there flows through this valley, though but very seldom, a nailbourn, which runs on towards Shalmsford, and thence into the river Stour. On the hill, at no great distance westward from the village, is the seat of Kenfield, a conspicuous object from the downs, towards which it fronts, and beyond the large tract called Denge wood, and the farm of Bockholt, belonging to the archbishop. A fair is held here on the 15th of July.
THE MANOR OF PETHAM was given in the year 1036, to Christ-church, in Canterbury, by Haldene, a Saxon prince, in the presence of king Cnute, and at the time of taking the survey of Domesday, in 1080, was part of the possessions of that see; accordingly it is thus entered in it, under the general title of the archbishop's lands:
In Piteham hundred, the archbishop himself holds Piteham. It was taxed for seven sulings. The arable land is as much as twenty carucates. In demesne there are three carucates, and thirty-two villeins, with twenty one borderers having nineteen carucates. There are two churches. There are two servants, and thirteen acres of meadow. Wood for the pannage of twenty bogs. In the whole value in the time of king Edward the Confessor this manor was worth seventeen pounds and six shillings and three pence, and afterwards as much, and now it is worth twenty pounds. Of this manor Godefrid and Nigell hold of the archbishop one suling and an half and a yoke, and there they have four carucates, and four villeins, with eight borderers having three carucates. In the whole they were worth nine pounds, of these the monks have eight shillings per annum.
After which this manor continued parcel of the possessions of the see of Canterbury till some time after the reformation, when it passed by act of parliament into the hands of the crown, where it staid till it was granted in the 5th year of king Charles I. to William White and others, (fn. 2) and they soon afterwards sold it to Henry Thomson, esq. who resided at THE MANOR OF KENFIELD, in his mansion then called Upper Kenfield, in this parish, being descended of a family originally of Sandwich, who bore for their arms, Gules, two bars, argent, a chief, ermine; and in his descendants they both continued down to Thomas Thomson, esq. of Kenfield, who died in 1762, leaving four sons and three daughters; of the former, Thomas the eldest, married Sarah, daughter of Mr. Samuel Belcher, and was of Ulcomb, and afterwards of Maidstone; Thomas, the second son, will be mentioned hereafter, who married Anne, widow of the Rev. Edward Wilson, of Romney, by whom he has no issue; John, the third son, was of Chartham deanry, and married Elizabeth, daughter of Mr. John Thurston, of Sittingborne; and Edward, the fourth, is of Romney Marsh. Of the daughters, Charlotte, the second, married Mr. William Belcher, of Ulcombe. By his will he gave these manors, with the mansion of Kenfield, to his second son, the Rev. Henry Thomson, now of Kenfield, the present possessor of them; (fn. 3) but he entailed them, on failure of male issue by his three younger sons, on the branch of this family of Somersham, in Huntingdonshire. A court leet and court baron is held for it.
HAUTS PLACE lies partly in this parish, and partly in that of Waltham, which, though now dwindled down almost to a cottage, was once eminent for being the original seat of that family, which afterwards branched out into several parts of this county, who bore for their arms, Or, a cross engrailed, gules. Ivode Haut is mentioned in the book of survey, now kept in the exchequer, entitled Liber de Terris Templariorum, being of such lands as were held by that order in England in the year 1180, anno 27 Henry II. in which he appears to have held this estate of their manor of Temple Waltham. His descendant Sir Piers Fitzhaut, was steward of the king's houshold anno 29 Henry III. from whom descended Sir Edmund de Haut, who in king Edward III.'s reign, had two sons, Nicholas, of Hauts-court, and Edmund, father of John, of Surrenden, in Pluckley, whose daughter and coheir Christian carried that seat in marriage to John Dering, ancestor of the Derings, baronets, of that place.
Nicholas Haut, the eldest son, lest two sons, Nicholas, of Hauts-place, and William, who was seated at Bishopsborne, under which his descendants will be further mentioned. Nicholas Haut, of Hauts-place lastmentioned, lest a son Richard, who in the beginning of king Henry VI.'s reign, alienated this seat to Thomas Broumston, of Preston, near Faversham, in whose descendants it continued for some time, and till it was at length alienated to Sawkins, and Nicholas Sawkins, gent. of Liminge, died possessed of it in 1619, whose eldest son, of the same name, sold it to Bateman, in which name it continued down to the Rev. John Bateman, of University college, Oxford, (fn. 4) who at his death devised it to his niece, married to Philpot, and they joined in the sale of it to Mr. Thomas Bridges, gent. of St. Nicholas, in the Isle of Thanet, who died possessed of it in 1777, and his son Thomas Bridges, esq. of Glamorganshire, is the present owner of it.
SAPINGTON is a manor, situated in the north-west part of this parish, which was formerly the inheritance of a family named at Bregge, the last of whom, John ate Bregge conveyed it, anno 42 Edward III. to Sir Richard at Lese, elder brother of Marcellus, who had married his only daughter and heir Anne. He died possessed of it anno 18 Richard II. and was succeeded by his brother and heir Marcellus, whose eldest daughter and coheir Lucy, first married to John Norton, and afterwards to William Langley, esqrs. of Knolton, upon the division of his estates became entitled to it, and her issue by her two husbands afterwards jointly possessed it, though not without much dispute between them; but afterwards they joined in the sale of it, about king Henry IV.'s reign, to Gregory Ballard, esq. whose descendant Nicholas Ballard, at the end of Philip and Mary, alienated it to Stransham, from which family, about the 40th of Elizabeth, it was sold to Appleford, and he not long afterwards conveyed it to Langford, from which name, four brothers of it joining in the sale, it was passed away to Cranmer, of Canterbury, descended from archdeacon Cranmer, the archbishop's brother, in whose descendants it continued down to Sir William Cranmer, of London, who dying unmarried in 1697, devised it by will to his nephew John Kenrick, whose arms were, Ermine, a lion rampant, sable, who lest it to his eldest son Clayton, as he did to his younger brother Matthew Kenrick, esq. of London, with remainder to his third son Matthew Kenrick, clerk, LL. D. rector of Blechinglye, in Surry, the present owner of it. A court baron is held for this manor.
SWERDLING, vulgarly called Great Swarling, is a manor in the northern part of this parish, close at the foot of the downs of the same name. It was given, on payment of a sum of money, by Cenulph, king of Mercia, and Cudred, king of Kent, anno 805, to one Vulshard, a priest belonging to the archbishop's monastery of Christ church, to be possessed by him in hereditary right; and he most probably at his death, if not before, gave it to his monastery; and king Edmund afterwards freed it from all secular services, excepting the trinoda necessitas. (fn. 5) After the conquest, on the division made by archbishop Lanfranc, of the revenues of his church, this manor seems, by the entry in Domesday before, to have been allotted to the archbishop, being then held of him, as of his manor of Petham, by Godefrid and Nigell, as there mentioned. Not many years after which it became part of the possessions of the eminent family of Valoigns, one of whose principal seats it was, for they resided at times at Repton, in Ashford, and at Tremworth, in Crundal, likewise, being severally from time to time knights of the shire, and sheriffs of this county, and keeping their shrievalty at one or other of those seats. Ruallon de Valoigns possessed this manor in king Stephen's reign, being written of Swerdling, and Waretius de Valoigns is in the catalogue of Kentish gentlemen who were at the siege of Acon, in Palestine, with Richard I. At length his descendant Sir War. de Valoigns, possessor likewise of this manor in king Edward the IIId.'s reign, (who was a benefactor of tithes in this parish to the hospital of St. Laurence, near Canterbury, now in the possession of the owners of that dissolved hospital) died without male issue, and in the 20th year of that reign it was come into the possession of Jeffry de Saye, who held it by knight's service of the archbishop. After which I find it possessed by the family of Haut, for Sir Nicholas Haut was owner of it in the next reign of king Richard II. in which he was knight of the shire, and in the 19th year of it kept his shrievalty at Wadenhall, in Waltham; and in his descendants it continued down to Edward Haut, esq. who did homage to archbishop Warham for it anno 22 Henry VII. whose heirs passed it away to Spilman, and his descendant Thomas Spilman, gent. of Chart Sutton, gave it in marriage in 1602, with Margaret his daughter, to Edward Hadde, esq. of Canterbury, in whose descendants, (by one of whom in 1645, part of this mansion was pulled down) it continued till it was at length sold to Spracklyn, of St. Laurence, in Thanet, from which name it passed by sale, about the end of George I.'s reign, to Dawes, whose descendant William Dawes, esq. of Hernehill, about the year 1747, alienated it to Mr. William Hammond, of Stone-house, near Canterbury, who died in 1773, and his son, of the same name, is now possessed of it.
THERE WAS, as early as the year 1190, a chapel at this manor of Swerdling, which was served by the brethren of St. John of Jerusalem. (fn. 6) To which John de Valoyns gave land, for the maintenance of one chaplain celebrating in it.
THERE IS A PORTION OF TITHES arising from a part of this manor, containing about one hundred and one acres, which belongs to the see of Canterbury, Mr. William Hammond being lessee of it.
DEPDEN, or rather Depeden, so called from its situation, is a manor in this parish, which lies south-eastward from Swerdling. It had in early times owners of its own name, one of whom, John Depeden, possessed it in the 47th year of Edward III. How long they continued owners of it, I have not found; but in king Henry IV.'s reign it was become the property of William Gratian, clerk, who founded a chantry here for one priest; and he endowed it with the rents of this manor, which, upon the suppression of all such foundations anno 2 Edward VI. came into the hands of the crown, and were soon afterwards granted to John Comb and Richard Almot, who not long after joined in the sale of it to William Farbrace, yeoman, from which name it was, about the beginning of king James, carried off by sale to Gregory, who in king Charles I.'s reign, alienated it to Sawkins, of Liminge, from whose descendant it passed by sale to Thomas Morris, esq. of Monks Horton, since which it has remained in the same line of descent with that manor, down to the right hon. Matthew Robinson Morris, lord Rokeby, the present owner of it.
Charities.
EDWARD STRONG gave by will, in 1623, the sum of 1l. 10s. per annum, payable out of a small farm in this parish, to be distributed among the poor annually. Which sum is vested in trustees.
THOMAS THOMSON, ESQ. of Petham, by his will in 1626, gave 5l. 10s. for the relief of the poor of it. This money is now vested in the Rev. Henry Thomson, of Kenfield, the interest of of which, amounting to 5s. 6d. in money, is given to the poor yearly.
The poor constantly relieved are about thirty, casually as many.
THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Bridge.
The church, which is dedicated to All Saints, is large, consisting of two isles and one chancel, having a square flat tower at the south-west corner, in which are six bells. The church is very neat and well kept. In the chancel and north isle are several monuments and memorials of the family of Thomson, of Kenfield, and of the Lefroys, who married into the family. A stone in the north isle for Martha, wife of Benjamin Macaree, gent. of Canterbury, obt. 1756. A monument for Anne, daughter of the Rev. John-Edward Wilson, of New Romney, by Anne, his wife, re-married to the Rev. Henry Thomson, of Kenfield, obt. 1786. A memorial for several of the family of Halke, of this parish. In the south isle is a memorial for John Honywood, A. M. vicar, obt. 1737. In the churchyard is a tomb for Thomas Halke, gent. of this parish, who lest one son Thomas, and a daughter Mary, married to Hopkins Fox, gent. of Nackington, obt. 1747; arms, A fess, between three hawks.
¶THIS CHURCH was antiently appendant to the manor of Petham, parcel of the possessions of the see of Canterbury, and continued so till archbishop Ralph, in king Henry I.'s reign, gave it to the priory of St. Osyth, in Essex, to which it was afterwards appropriated, and a vicarage endowed in it anno 1226. (fn. 7) In which state it remained till the suppression of the priory anno 31 Henry VIII. when it came into the king's hands, who granted the parsonage appropriate and advowson to the archbishop, from whom they came in exchange again to the crown, and were soon afterwards granted again to Spilman, from which name they went by marriage to Hadde, in whose family they continued some time, and till at length the parsonage, then become impropriate, was sold to Francis Brooke, esq. who died in 1720, as did his grandson Joseph Brooke, esq. of Town Malling, in 1792, whose devisee the Rev. John Kenward Shaw Brooke is the present owner of it.
BUT the advowson of the vicarage was sold from the Haddes to Sir William Honywood, bart. of Elmsted, in whose descendant Sir John Honywood, bart. the alternate presentation of it still continues. For in 1698 this vicarage was, with the consent of both patrons, united to that of the adjoining parish of Waltham, and both churches made one cure. The presentation to be alternate in future; the first turn to belong to the archbishop, as patron of the vicarage of Waltham, and the next to the family of Honywood, as patrons of the vicarage of Petham. In which state of alternate presentation it continues at this time.
This vicarage is valued in the king's books at 8l. os. 2½d. and the yearly tenths at 16s. 0½d. The pension of forty shillings formerly paid by the prior of St. Osyth, is now paid by the impropriator to the vicar. In 1640 it was valued at forty pounds, communicants one hundred.
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)
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Spinning is an ancient textile art in which plant, animal or synthetic fibers are drawn out and twisted together to form yarn. For thousands of years, fiber was spun by hand using simple tools, the spindle and distaff. Only in the High Middle Ages did the spinning wheel increase the output of individual spinners, and mass-production only arose in the 18th century with the beginnings of the Industrial Revolution. Hand-spinning remains a popular handicraft.
Characteristics of spun yarn vary according to the material used, fiber length and alignment, quantity of fiber used, and degree of twist.
HISTORY
HAND SPINNING
The origins of spinning fiber to make string or yarn are lost in time, but archaeological evidence in the form of representation of string skirts has been dated to the Upper Paleolithic era, some 20,000 years ago. In the most primitive type of spinning, tufts of animal hair or plant fiber are rolled down the thigh with the hand, and additional tufts are added as needed until the desired length of spun fiber is achieved. Later, the fiber is fastened to a stone which is twirled round until the yarn is sufficiently twisted, whereupon it is wound upon the stone and the process repeated over and over.
The next method of spinning yarn is with the spindle, a straight stick eight to twelve inches long on which the yarn is wound after twisting. At first the stick had a cleft or split in the top in which the thread was fixed. Later, a hook of bone was added to the upper end. The bunch of wool or plant fibers is held in the left hand. With the right hand the fibers are drawn out several inches and the end fastened securely in the slit or hook on the top of the spindle. A whirling motion is given to the spindle on the thigh or any convenient part of the body. The twisted yarn is then wound on to the upper part of the spindle. Another bunch of fibers is drawn out, the spindle is given another twirl, the yarn is wound on the spindle, and so on.
The distaff was used for holding the bunch of wool, flax, or other fibers. It was a short stick, on one end of which was loosely wound the raw material. The other end of the distaff was held in the hand, under the arm or thrust in the girdle of the spinner. When held thus, one hand was left free for drawing out the fibers.
A spindle containing a quantity of yarn rotates more easily, steadily, and continues longer than an empty one; hence, the next improvement was the addition of a weight called a spindle whorl at the bottom of the spindle. These whorls are discs of wood, stone, clay, or metal with a hole in the center for the spindle, which keep the spindle steady and promote its rotation. Spindle whorls appeared in the Neolithic era. They allowed the spinner to slowly lower, or drop, the spindle as it was spinning, thus allowing a greater quantity of yarn to be created before it had to be wound onto the spindle; hence the name "drop spindle," which is now most commonly used for the hand spindle with whorl attached.
In mediæval times, poor families had such a need for yarn to make their own cloth and clothes that practically all girls and unmarried women would keep busy spinning, and "spinster" became synonymous with an unmarried woman. Subsequent improvements with spinning wheels and then mechanical methods made hand-spinning increasingly uneconomic, but as late as the twentieth century hand-spinning remained widespread in poor countries: in conscious rejection of international industrialization, Gandhi was a notable practitioner. The hand spinning movement that he initiated as a part of the Indian freedom struggle has made the handwoven cloth known as "Khadi" made from handspun cotton yarn world famous. Women spinners of cotton yarn still continue to work to produce handspun yarn for the weaving of Khadi in Ponduru, a village in South India.
A great wheel (also called a wool wheel, high wheel or walking wheel) is advantageous when using the long-draw technique to spin wool or cotton because the high ratio between the large wheel and the whorl (sheave) enables the spinner to turn the bobbin faster, thus significantly speeding up production.
A Saxony wheel (also called a flax wheel) or an upright wheel (also called a castle wheel), can be used to spin wool or cotton, but are invaluable when spinning flax (linen). The ends of flax fibers tend to stick out from the thread unless wetted while being spun. The spinner typically keeps a bowl of water handy when spinning flax, and on these types of wheels, both hands are free (since the wheel is turned with a treadle, rather than by hand), so the spinner can use one hand to draft the fibers and the other to wet them.
INDUSTRIAL SPINNING
Modern powered spinning, originally done by water or steam power but now done by electricity, is vastly faster than hand-spinning.
The spinning jenny, a multi-spool spinning wheel invented c. 1764 by James Hargreaves, dramatically reduced the amount of work needed to produce yarn of high consistency, with a single worker able to work eight or more spools at once. At roughly the same time, Richard Arkwright and a team of craftsmen developed the spinning frame, which produced a stronger thread than the spinning jenny. Too large to be operated by hand, a spinning frame powered by a waterwheel became the water frame.
In 1779, Samuel Crompton combined elements of the spinning jenny and water frame to create the spinning mule. This produced a stronger thread, and was suitable for mechanisation on a grand scale. A later development, from 1828/29, was Ring spinning.
In the 20th century, new techniques including Open End spinning or rotor spinning were invented to produce yarns at rates in excess of 40 meters per second.
CHARACTERISTICS OF SPUN YARNS
MATERIALS
Yarn can be, and is, spun from a wide variety of materials, including natural fibers such as animal, plant, and mineral fibers, and synthetic fibers. It was probably first made from plant fibers, but animal fibers soon followed.
TWIST AND PLY
The direction in which the yarn is spun is called twist. Yarns are characterized as S-twist or Z-twist according to the direction of spinning (see diagram). Tightness of twist is measured in TPI (twists per inch or turns per inch).
Two or more spun yarns may be twisted together or plied to form a thicker yarn. Generally, handspun single plies are spun with a Z-twist, and plying is done with an S-twist. This is a cultural preference differing in some areas but surprisingly common.
PLYING METHODS
Yarns can be made of two, three, four, or more plies, or may be used as singles without plying. Two-ply yarn can also be plied from both ends of one long strand of singles using a center-pull ball, where one end feeds from within a ball of yarn while the other end feeds from the outside. So-called "Andean" plying, in which the single is first wound around one hand in a specific manner that allows unwinding both ends at once without tangling, is another way to ply smaller amounts of yarn. The name comes from a method used by Andean spinners to manage and splice unevenly matched singles being plied from multiple spindles. "Navajo" (aka "chain-") plying is another method of producing a three-ply yarn, in which one strand of singles is looped around itself in a manner similar to crochet and the resulting three parallel strands twisted together. This method is often used to keep colors together on singles dyed in sequential colors. Cabled yarns are usually four-ply yarns made by plying two strands of two-ply yarn together in the direction opposite to the plying direction for the two-ply yarns.
CONTEMPORARY HAND SPINNING
Hand-spinning is still an important skill in many traditional societies. Hobby or small scale artisan spinners spin their own yarn to control specific yarn qualities and produce yarn that is not widely available commercially. Sometimes these yarns are made available to non-spinners online and in local yarn stores. Handspinners also may spin for self-sufficiency, a sense of accomplishment, or a sense of connection to history and the land. In addition, they may take up spinning for its meditative qualities.
Within the recent past, many new spinners have joined into this ancient process, innovating the craft and creating new techniques. From using new dyeing methods before spinning, to mixing in novelty elements (Christmas Garland, eccentric beads, money, etc.) that would not normally be found in traditional yarns, to creating and employing new techniques like coiling, this craft is constantly evolving and shifting.
To make various yarns, besides adding novelty elements, spinners can vary all the same things as in a machined yarn, i.e., the fiber, the preparation, the color, the spinning technique, the direction of the twist, etc. A common misconception is yarn spun from rolags may not be as strong, but the strength of a yarn is actually based on the length of hair fiber and the degree of twist. When working with shorter hairs, such as llama or angora rabbit, the spinner may choose to integrate longer fibers, such as mohair, to prevent yarn breakage. Yarns made of shorter fibers are also given more twist than yarns of longer fibers, and are generally spun with the short draw technique.
The fiber can be dyed at any time, but is often dyed before carding or after the yarn has been spun.
Wool may be spun before or after washing, although excessive amounts of lanolin may make spinning difficult, especially when using a drop-spindle. Careless washing may cause felting. When done prior to spinning, this often leads to unusable wool fiber. In washing wool the key thing to avoid is too much agitation and fast temperature changes from hot to cold. Generally, washing is done lock by lock in warm water with dish-soap.
EDUCATION
There are number of guilds and educational institutions which offer certificate programs in handspinning. The Handweavers Guild of America (HGA) offers a Certificate of Excellence in Handspinning. Olds College in Alberta, Canada, offers a Master Spinner program both on campus and by distance education. The Ontario Handweavers & Spinners offer both a Spinning Certificate as well as a Master Spinning Certificate. These programs feature in-depth examinations of handspinning topics, as well as extensive assignments and skill evaluations.
TECHNIQUES
A tightly spun wool yarn made from fiber with a long staple length in it is called worsted. It is hand spun from combed top, and the fibers all lie in the same direction as the yarn. A woolen yarn, in contrast, is hand spun from a rolag or other carded fiber (roving, batts), where the fibers are not as strictly aligned to the yarn created. The woolen yarn, thus, captures much more air, and makes for a softer and generally bulkier yarn. There are two main techniques to create these different yarns: short draw creates worsted yarns, and long draw creates woolen yarns. Often a spinner will spin using a combination of both techniques and thus make a semi-worsted yarn.
Short draw spinning is used to create worsted yarns. It is spun from combed roving, sliver or wool top. The spinner keeps his/her hands very close to each other. The fibers are held, fanned out, in one hand, and the other hand pulls a small number from the mass. The twist is kept between the second hand and the wheel. There is never any twist between the two hands.
Long draw is spun from a carded rolag. The rolag is spun without much stretching of the fibers from the cylindrical configuration. This is done by allowing twist into a short section of the rolag, and then pulling back, without letting the rolag change position in one's hands, until the yarn is the desired thickness. The twist will concentrate in the thinnest part of the roving; thus, when the yarn is pulled, the thicker sections with less twist will tend to thin out. Once the yarn is the desired thickness, enough twist is added to make the yarn strong. Then the yarn is wound onto the bobbin, and the process starts again.
SPINNING IN THE GREASE
Handspinners are split, when spinning wool, as to whether it is better to spin it 'in the grease' (with lanolin still in) or after it has been washed. More traditional spinners are more willing to spin in the grease, as it is less work to wash the wool after it is in yarn form. Spinners who spin very fine yarn may also prefer to spin in the grease as it can allow them to spin finer yarns with more ease. Spinning in the grease covers the spinner's hands in lanolin and, thus, softens the spinner's hands.
Spinning in the grease works best if the fleece is newly sheared. After several months, the lanolin becomes sticky, which makes the wool harder to spin using the short-draw technique, and almost impossible to spin using the long-draw technique. In general, spinners who use the long-draw technique do not spin in the grease.
Such spinners generally buy their fibers pre-washed and carded, in the form of roving, sliver, or batts. This means less work for the spinners, as they do not have to wash out the lanolin. Spinners then have available predyed fiber, or blends of fibers, which are hard to create when the wool is still in the grease. As machine carders cannot card wool in the grease, pre-carded yarn generally is not spun in the grease. Some spinners use spray-on lanolin-like products to get the same feel of spinning in the grease with carded fiber.
WIKIPEDIA
Outshopped form Doncaster in 1937 she was numbered 4464 and based at Heaton shed. Moving a few mile to Gateshead in 1943 she was renumbered 19 in 1946. Becoming 60019 under BR moved to St Margaret's in 1963 ending her days working the 3 hour expresses from Edinburgh to Aberdeen. Purchased privately she first went to Dinting Railway Museum before moving on the Stephenson Railway Museum in Newcastle where she was rebuilt as No.2509 Silver Link. After spending a short period of time at the Great Central and Southall Railway Centre she finally ended up at the Mid-Hants. Steaming for the first time in 2007 she has since been rebuilt into her original guise with side valances and numbered 4464.
Lila form the "Luscious Trio" with 1963 Bridget Riley’s “Uneasy Center" in the Back. (detail)
Lila
Serigraphy, 2022, 70 x 70 cm
paper: Munken Polar Rough 300 gr/m2
edition of 38 hand signed and numbered prints.
Triptich at Graphic Flowershop Store.
Photo by Kwiatek
Nottingham's famous Mortimers Hole.
Formed 230 million years ago from Bunter Pebble bed. Within this tip of an unusual area of rock is a tunnel that lead to the castle above The tunnel was used by Edward III in 1329 to seize control of his rightful place on the throne of England from his regent mother Queen Isabella and her lover, Roger Lord Mortimer.
Built into the side of the rock is the School Room and Toy Shop area of the Museum of Nottingham History at the Brewhouse Yard
Taken with a Nokia 6230i phone camera
Tour de Suisse par l'Extérieur
Florence (/ˈflɒrəns/; Italian: Firenze [fiˈrɛntse] ( listen), alternative obsolete form: Fiorenza; Latin: Florentia Latin pronunciation: [flɒˈrɛntsɪə]) is the capital city of the Italian region of Tuscany and of the province of Florence. It is the most populous city in Tuscany, with approximately 370,000 inhabitants, expanding to over 1.5 million in the metropolitan area.[2]
Florence is famous for its history: a centre of medieval European trade and finance and one of the wealthiest cities of the time,[3] it is considered the birthplace of the Renaissance, and has been called "the Athens of the Middle Ages".[4] A turbulent political history includes periods of rule by the powerful Medici family, and numerous religious and republican revolutions.[5] From 1865–71 the city was the capital of the recently established Kingdom of Italy.
The Historic Centre of Florence attracts millions of tourists each year, and Euromonitor International ranked the city as the world's 89th most visited in 2012, with 1.8 million visitors.[6] It was declared a World Heritage Site by UNESCO in 1982. The city is noted for its culture, Renaissance art and architecture and monuments.[7] The city also contains numerous museums and art galleries, such as the Uffizi Gallery and the Palazzo Pitti, and still exerts an influence in the fields of art, culture and politics.[8] Due to Florence's artistic and architectural heritage, it has been ranked by Forbes as one of the most beautiful cities in the world.[9]
Florence is an important city in Italian fashion,[8] being ranked in the top 50 fashion capitals of the world;[10] furthermore, it is a major national economic centre,[8] as a tourist and industrial hub. In 2008, the city had the 17th highest average income in Italy.[11]
History[edit]
Main article: History of Florence
Florence originated as a Roman city, and later, after a period as a flourishing trading and banking medieval commune, it was the birthplace of the Italian Renaissance (or the "Florentine Renaissance"). According to the Encyclopædia Britannica, it was politically, economically, and culturally one of the most important cities in Europe and the world from the 14th to 16th centuries.[7]
The language spoken in the city during the 14th century was, and still is, accepted as the Italian language. Almost all the writers and poets in Italian literature of the golden age are in some way connected with Florence, leading ultimately to the adoption of the Florentine dialect, above all the local dialects, as a literary language of choice.[12]
Starting from the late Middle Ages, Florentine money—in the form of the gold florin—financed the development of industry all over Europe, from Britain to Bruges, to Lyon and Hungary. Florentine bankers financed the English kings during the Hundred Years War, as well as the papacy, including the construction of their provisional capital of Avignon and, after their return to Rome, the reconstruction and Renaissance embellishment of the latter.
Florence was home to the Medici, one of history's most important noble families. Lorenzo de' Medici was considered a political and cultural mastermind of Italy in the late 15th century. Two members of the family were popes in the early 16th century: Leo X and Clement VII. Catherine de Medici married king Henry II of France and, after his death in 1559, reigned as regent in France. The Medici reigned as Grand Dukes of Tuscany, starting with Cosimo I de' Medici in 1569 and ending with the death of Gian Gastone de' Medici in 1737.
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.
Pictures form my recent trip to London. All pictures taken with the Fujifilm X-T20 and the Fujinon 35mm f1.4! it is a lovely combination!
© All rights reserved
Forget my Canon 5D, this was taken with my iPhone :)
Explore #79, May 23rd 2009
Fountains Abbey is one of the largest and best preserved ruined Cistercian monasteries in England. It is located approximately 3 miles (5 kilometres) south-west of Ripon in North Yorkshire, near to the village of Aldfield. Founded in 1132, the abbey operated for 407 years becoming one of the wealthiest monasteries in England until its dissolution in 1539 under the order of Henry VIII.
The abbey is a Grade I listed building owned by the National Trust and part of the designated Studley Royal Park including the Ruins of Fountains Abbey UNESCO World Heritage Site.
Foundation
After a dispute and riot in 1132 at the Benedictine house of St Mary's Abbey, in York, 13 monks were expelled (among them Saint Robert of Newminster) and, after unsuccessful attempts to form a new monastery were taken under the protection of Thurstan, Archbishop of York. He provided them with land in the valley of the River Skell, a tributary of the Ure. The enclosed valley had all the natural features needed for the creation of a monastery, providing shelter from the weather, stone and timber for building, and a supply of running water. After enduring a harsh winter in 1133, the monks applied to join the Cistercian order which since the end of the previous century was a fast-growing reform movement that by the beginning of the 13th century was to have over 500 houses. So it was that in 1135, Fountains became the second Cistercian house in northern England, after Rievaulx. The Fountains monks became subject to Clairvaux Abbey, in Burgundy which was under the rule of St Bernard. Under the guidance of Geoffrey of Ainai, a monk sent from Clairvaux, the group learned how to celebrate the seven Canonical Hours according to Cistercian usage and were shown how to construct wooden buildings in accordance with Cistercian practice.
Consolidation
After Henry Murdac was elected abbot in 1143, the small stone church and timber claustral buildings were replaced. Within three years, an aisled nave had been added to the stone church, and the first permanent claustral buildings built in stone and roofed in tile had been completed.
In 1146 an angry mob, annoyed at Murdac for his role in opposing the election of William FitzHerbert as archbishop of York, attacked the abbey and burnt down all but the church and some surrounding buildings.The community recovered swiftly from the attack and founded four daughter houses. Henry Murdac resigned as abbot in 1147 upon becoming the Archbishop of York and was replaced first by Maurice, Abbot of Rievaulx then, on the resignation of Maurice, by Thorald. Thorald was forced by Henry Murdac to resign after two years in office. The next abbot, Richard, held the post until his death in 1170 and restored the abbey's stability and prosperity. In 20 years as abbot, he supervised a huge building programme which involved completing repairs to the damaged church and building more accommodation for the increasing number of recruits. Only the chapter house was completed before he died and the work was ably continued by his successor, Robert of Pipewell, under whose rule the abbey gained a reputation for caring for the needy.
The next abbot was William, who presided over the abbey from 1180 to 1190 and he was succeeded by Ralph Haget, who had entered Fountains at the age of 30 as a novice, after pursuing a military career. During the European famine of 1194 Haget ordered the construction of shelters in the vicinity of the abbey and provided daily food rations to the poor enhancing the abbey's reputation for caring for the poor and attracting more grants from wealthy benefactors.
In the first half of the 13th century Fountains increased in reputation and prosperity under the next three abbots, John of York (1203–1211), John of Hessle (1211–1220) and John of Kent (1220–1247). They were burdened with an inordinate amount of administrative duties and increasing demands for money in taxation and levies but managed to complete another massive expansion of the abbey's buildings. This included enlarging the church and building an infirmary.
Difficulties
In the second half of the 13th century the abbey was in more straitened circumstances. It was presided over by eleven abbots, and became financially unstable largely due to forward selling its wool crop, and the abbey was criticised for its dire material and physical state when it was visited by Archbishop John le Romeyn in 1294. The run of disasters that befell the community continued into the early 14th century when northern England was invaded by the Scots and there were further demands for taxes. The culmination of these misfortunes was the Black Death of 1348–1349. The loss of manpower and income due to the ravages of the plague was almost ruinous.
A further complication arose as a result of the Papal Schism of 1378–1409. Fountains Abbey along with other English Cistercian houses was told to break off any contact with the mother house of Citeaux, which supported a rival pope. This resulted in the abbots forming their own chapter to rule the order in England and consequently they became increasingly involved in internecine politics. In 1410, following the death of Abbot Burley of Fountains, the community was riven by several years of turmoil over the election of his successor. Contending candidates John Ripon, Abbot of Meaux, and Roger Frank, a monk of Fountains were locked in conflict until 1415 when Ripon was finally appointed, ruling until his death in 1434. Under abbots John Greenwell (1442–1471), Thomas Swinton (1471–8), John Darnton (1478–95), who undertook some much needed restoration of the fabric of the abbey, including notable work on the church, and Marmaduke Huby (1495–1526) Fountains regained stability and prosperity.
At Abbot Huby's death he was succeeded by William Thirsk who was accused by the royal commissioners of immorality and inadequacy and was dismissed as abbot. He was replaced by Marmaduke Bradley, a monk of the abbey who had reported Thirsk's supposed offences, testified against him and offered the authorities six hundred marks for the post of abbot. In 1539 it was Bradley who surrendered the abbey when its seizure was ordered under Henry VIII at the Dissolution of the Monasteries.
The abbey precinct covered 70 acres (28 ha) surrounded by an 11-foot (3.4 m) wall built in the 13th century, some parts of which are visible to the south and west of the abbey. The area consists of three concentric zones cut by the River Skell flowing from west to east across the site. The church and claustral buildings stand at the centre of the precinct north of the Skell, the inner court containing the domestic buildings stretches down to the river and the outer court housing the industrial and agricultural buildings lies on the river's south bank. The early abbey buildings were added to and altered over time, causing deviations from the strict Cistercian type. Outside the walls were the abbey's granges.[citation needed]
The original abbey church was built of wood and "was probably" two stories high; it was, however, quickly replaced in stone. The church was damaged in the attack on the abbey in 1146 and was rebuilt, in a larger scale, on the same site. Building work was completed c.1170.[11] This structure, completed around 1170, was 300 ft (91 m) long and had 11 bays in the side aisles. A lantern tower was added at the crossing of the church in the late 12th century. The presbytery at the eastern end of the church was much altered in the 13th century. The church's greatly lengthened choir, commenced by Abbot John of York, 1203–11, and carried on by his successor terminates, like that of Durham Cathedral, in an eastern transept, the work of Abbot John of Kent, 1220–47. The 160-foot-tall (49 m) tower, which was added not long before the dissolution, by Abbot Huby, 1494–1526, is in an unusual position at the northern end of the north transept and bears Huby's motto 'Soli Deo Honor et Gloria'. The sacristry adjoined the south transept.
The cloister, which had arcading of black marble from Nidderdale and white sandstone, is in the centre of the precinct and to the south of the church. The three-aisled chapter-house and parlour open from the eastern walk of the cloister and the refectory, with the kitchen and buttery attached, are at right angles to its southern walk. Parallel with the western walk is an immense vaulted substructure serving as cellars and store-rooms, which supported the dormitory of the conversi (lay brothers) above. This building extended across the river and at its south-west corner were the latrines, built above the swiftly flowing stream. The monks' dormitory was in its usual position above the chapter-house, to the south of the transept. Peculiarities of this arrangement include the position of the kitchen, between the refectory and calefactory, and of the infirmary above the river to the west, adjoining the guest-houses.
The abbot's house, one of the largest in all of England,is located to the east of the latrine block, where portions of it are suspended on arches over the River Skell.It was built in the mid-twelfth century as a modest single-storey structure, then, from the fourteenth century, underwent extensive expansion and remodelling to end up in the 16th century as a grand dwelling with fine bay windows and grand fireplaces. The great hall was an expansive room 52 by 21 metres (171 by 69 ft).
Among other apartments, for the designation of which see the ground-plan, was a domestic oratory or chapel,
1/2-by-23-foot (14 by 7 m), and a kitchen, 50-by-38-foot (15 by 12 m)
Medieval monasteries were sustained by landed estates that were given to them as endowments and from which they derived an income from rents. They were the gifts of the founder and subsequent patrons, but some were purchased from cash revenues. At the outset, the Cistercian order rejected gifts of mills and rents, churches with tithes and feudal manors as they did not accord with their belief in monastic purity, because they involved contact with laymen. When Archbishop Thurstan founded the abbey he gave the community 260 acres (110 ha) of land at Sutton north of the abbey and 200 acres (81 ha) at Herleshowe to provide support while the abbey became established. In the early years the abbey struggled to maintain itself because further gifts were not forthcoming and Thurstan could not help further because the lands he administered were not his own, but part of the diocesan estate. After a few years of impoverished struggle to establish the abbey, the monks were joined by Hugh, a former dean of York Minster, a rich man who brought a considerable fortune as well as furniture and books to start the library.
By 1135 the monks had acquired only another 260 acres (110 ha) at Cayton, given by Eustace fitzJohn of Knaresborough "for the building of the abbey". Shortly after the fire of 1146, the monks had established granges at Sutton, Cayton, Cowton Moor, Warsill, Dacre and Aldburgh all within 6 mi (10 km) of Fountains. In the 1140s the water mill was built on the abbey site making it possible for the grain from the granges to be brought to the abbey for milling.Tannery waste from this time has been excavated on the site.
Further estates were assembled in two phases, between 1140 and 1160 then 1174 and 1175, from piecemeal acquisitions of land. Some of the lands were grants from benefactors but others were purchased from gifts of money to the abbey. Roger de Mowbray granted vast areas of Nidderdale and William de Percy and his tenants granted substantial estates in Craven which included Malham Moor and the fishery in Malham Tarn. After 1203 the abbots consolidated the abbey's lands by renting out more distant areas that the monks could not easily farm themselves, and exchanging and purchasing lands that complemented their existing estates. Fountains' holdings both in Yorkshire and beyond had reached their maximum extent by 1265, when they were an efficient and very profitable estate. Their estates were linked in a network of individual granges which provided staging posts to the most distant ones. They had urban properties in York, Yarm, Grimsby, Scarborough and Boston from which to conduct export and market trading and their other commercial interests included mining, quarrying, iron-smelting, fishing and milling.
The Battle of Bannockburn in 1314 was a factor that led to a downturn in the prosperity of the abbey in the early fourteenth century. Areas of the north of England as far south as York were looted by the Scots. Then the number of lay-brothers being recruited to the order reduced considerably. The abbey chose to take advantage of the relaxation of the edict on leasing property that had been enacted by the General Chapter of the order in 1208 and leased some of their properties. Others were staffed by hired labour and remained in hand under the supervision of bailiffs. In 1535 Fountains had an interest in 138 vills and the total taxable income of the Fountains estate was £1,115, making it the richest Cistercian monastery in England.
After the Dissolution
The Gresham family crest
The Abbey buildings and over 500 acres (200 ha) of land were sold by the Crown, on 1 October 1540, to Sir Richard Gresham, at the time a Member of Parliament and former Lord Mayor of London, the father of Sir Thomas Gresham. It was Richard Gresham who had supplied Cardinal Wolsey with the tapestries for his new house of Hampton Court and who paid for the Cardinal's funeral.
Gresham sold some of the fabric of the site, stone, timber, lead, as building materials to help to defray the cost of purchase. The site was acquired in 1597 by Sir Stephen Proctor, who used stone from the monastic complex to build Fountains Hall. Between 1627 and 1767 the estate was owned by the Messenger family who sold it to William Aislaby who was responsible for combining it with the Studley Royal Estate.
Burials
Roger de Mowbray, 1st Baron Mowbray
John de Mowbray, 2nd Baron Mowbray
Abbot Marmaduke Huby (d. 1526)
Rose (daughter of Richard de Clare, 6th Earl of Gloucester), wife of Roger de Mowbray, 1st Baron Mowbray
Henry de Percy, 1st Baron Percy
William II de Percy, 3rd feudal baron of Topcliffe
Becoming a World Heritage Site
The archaeological excavation of the site was begun under the supervision of John Richard Walbran, a Ripon antiquary who, in 1846, had published a paper On the Necessity of clearing out the Conventual Church of Fountains.In 1966 the Abbey was placed in the guardianship of the Department of the Environment and the estate was purchased by the West Riding County Council who transferred ownership to the North Yorkshire County Council in 1974. The National Trust bought the 674-acre (273 ha) Fountains Abbey and Studley Royal estate from North Yorkshire County Council in 1983. In 1986 the parkland in which the abbey is situated and the abbey was designated a World Heritage Site by UNESCO. It was recognised for fulfilling the criteria of being a masterpiece of human creative genius, and an outstanding example of a type of building or architectural or technological ensemble or landscape which illustrates significant stages in human history. Fountains Abbey is owned by the National Trust and maintained by English Heritage. The trust owns Studley Royal Park, Fountains Hall, to which there is partial public access, and St Mary's Church, designed by William Burges and built around 1873, all of which are significant features of the World Heritage Site.
The Porter's Lodge, which was once the gatehouse to the abbey, houses a modern exhibition area with displays about the history of Fountains Abbey and how the monks lived.
In January 2010, Fountains Abbey and Studley Royal became two of the first National Trust properties to be included in Google Street View, using the Google Trike.
Film location
Fountains Abbey was used as a film location by Orchestral Manoeuvres in the Dark for their single "Maid of Orleans (The Waltz Joan of Arc)" during the cold winter of December 1981. In 1980, Hollywood also came to the site to film the final scenes to the film Omen III: The Final Conflict.Other productions filmed on location at the abbey are the films Life at the Top, The Secret Garden, The History Boys, TV series Flambards, A History of Britain, Terry Jones' Medieval Lives, Cathedral, Antiques Roadshow and the game show Treasure Hunt. The BBC Television series 'Gunpowder' (2017) used Fountains Abbey as a location.
The Maria-Theresien street, named after Empress Maria Theresia, is a broad, slightly curved boulevard and commercial street and a central street of Innsbruck, which dates back to the first city expansion in the 13th century. It is one of the busiest streets in the city.
Course
The road runs with a length of about 490 m slightly curved in north-south direction. The northern end forms the intersection with Castle Moat and Market Moat, beyond which leads the Herzog-Friedrich street in the old town. The southern end of the road and the border with Wilten form the Gate of Victory (Triumphal Gate) at the intersection with Maximilian street and Salurn street. The continuation to the south is the Leopold street. Branches cross the Anich street to the west and the Meran street to the east. Passages exist in the east to Sparkassen square and Landhaus square and in the west by the Town Hall Gallery to Adolf-Pichler square.
History
The new town around 1840
The Maria-Theresien street around 1898
The original city of Innsbruck, founded in 1180, soon grew beyond its border formed by city walls and moats (today's Old Town). Along the arterial road heading south to Wilten and on to Brenner, a suburb developed. This settlement, known as nova civitas ("New Town"), originally belonged to the Hofmark court of the Wilten Abbey. On June 5, 1281, Count Meinhard II concluded a treaty with Wilten Abbey, in which, in returm for the exemption from the wine duty, the judiciary on the Neustadt (New Town) from Stift Wilten came to the city of Innsbruck. At that time, however, the area did not reach the Triumphal Gate, which later formed the border between Innsbruck and Wilten, but reached the height of what is today the Old Landhaus (Regional Parliament). There, at the end of the "inner New Town", stood the Upper Gate or Georgentor, which was first mentioned in 1350 and was abolished in 1570. The part south of it (the "outer New City") is attributed only from about 1440 the city of Innsbruck.
In 1315, with the support of Duke Henry of Carinthia and Tyrol, the city's Holy Spirit Hospital was founded at the beginning of New Town, which, as was customary at that time, was located outside the city walls and still reminds the Hospital Church.
In the first few centuries, the loosely built New Town contained mainly craft and commercial enterprises, especially those involved in carriage, such as wainwrights, smiths, saddlers or carpenters. The houses were usually made of wood, after a major fire in 1620 they were allowed to be built by order of the government only of stone. As a result, a closed development developed and with the settlement of high officials and noble families, the magnificent buildings today in the Baroque and Rococo style emerged, such as 1679-1690 the Taxis Palace or 1744-1749 the Palais Lodron. Many of the buildings were designed by representatives of the builder family Gumpp.
1706 was built in thanksgiving for the withdrawal of the Bavarian troops after the Bavarian Rummel in the middle of the road, the Saint Anna's column. The Saint Anna's column was surrounded on both sides by fountains, the fountain of Saint Joseph in the north from 1709 to 1870 and the fountain of Saint Joachim in the south from 1706 to 1732 (today in the Waltherpark in St. Nikolaus). On the occasion of the wedding of Archduke Leopold with the Spanish princess Maria Ludovica of Spain in Innsbruck in 1765, the triumphal arch was erected at the southern end of the new town and the moat filled. In 1897, the town hall was relocated here from the old town.
On December 22, 1873, the citizens' committee (local council) decided to rename the new town in Maria-Theresien street "in memory of its old name Theresian New Town and in consideration of the it closing triumphal arch". From 1891 the initially steam-powered Innsbruck-Hall local train ran through the Maria-Theresien street in Tyrol, and from 1905 also electric inner-city tram lines.
In 1978, the city of Innsbruck and the province of Tyrol declared the Maria Theresien street a conservation zone in which every demolition of a building is prohibited. In an amendment of the Stadtkern- and Ortsbildschutzgesetzes (law for the protection of urban character and downtown area) this was revoked in 2003, however. When the demolition of three buildings was threatened for the new building of the Tyrol department store, the Federal Monuments Office placed the street under Ensemble protection in 2006. The city of Innsbruck convened against it and after heated controversy, especially on the architecture of the planned new building Minister of Culture Claudia Schmied raised the ensemble protection. As a result, three buildings were demolished and replaced in 2010 by a new building.
From 2006 to 2009, the area north of the Anich street was converted into a pedestrian zone. The road with different paving was designed square-like. Since then, the tram has been routed through Anichs street and Castle Moat. The southern section, which is still open to public transport, was also redesigned by 2011.
Important buildings
Palais Trapp
Old Landhaus/Regional Parliament (left) and Palais Fugger / Taxis (right)
Hospital church: built from 1700 to plans by Johann Martin Gumpp the Elder instead of a Gothic predecessor building.
Palais Lodron (No. 7): built for Joseph Nicholas Count Lodron 1744-1749 in Rococo style.
Inn Alt Insprugg (No. 16): a 15th-century Baroque house rebuilt in 1906. On the Gothic façade are carved wooden copies of the statues of Arthur and Theodoric from the Innsbruck Hofkirche (church of the Order of Friars Minor).
New Town Hall (No. 18): originally three medieval town houses, which were rebuilt by Johann Martin Gumpp the Elder at the beginning of the 18th century for Palais Künigl. 1848-49 conversion for Hotel d'Autriche, since 1897 town hall.
Palais Trapp (No. 38): built in the 17th century Residence Wolkenburg, from 1700 by Johann Martin Gumpp d. Ä. rebuilt into a Baroque palace, since 1804 in the possession of the Counts Trapp.
Palais Troyer-Spaur (No. 39): Around 1680 by Johann Martin Gumpp the Elder. Built for Franz Anton Graf Troyer in Baroque style.
Old Landhaus/Regional Parliament (No. 43): Built 1725-1728 by Georg Anton Gumpp as a Baroque monumental building.
Palais Fugger-Taxis (Nr. 45): Around 1680 probably according to plans by Johann Martin Gumpp the Elder built for Count Hans Otto Fugger as a Baroque palace complex on the Italian model, from 1784 under the Counts Thurn and Taxis Post Office, acquired in 1905 by the state of Tyrol.
Servite Church and Monastery: donated in 1614, rebuilt after a fire and consecrated in 1626, baroqueized in the 18th century by Georg Anton Gumpp.
Peterlongo house (formerly Palais Sarnthein, no. 57): 1686 by Johann Martin Gumpp the Elder converted for David Count Sarnthein from older town houses to the palace, in 1869 increased and enlarged.
Use
Bus and tram in the southern Maria-Theresien street
As the main street of Innsbruck, Maria-Theresien street frequently served marches and rallies, such as in the Tyrolean freedom struggle in 1809, during the invasion of German troops after the Annexation of Austria in 1938 or 1945, when Innsbruck was the only major city in the Third Reich to be handed over to the Allied troops without a fight by native regime opponents.
Since the end of the 19th century, the Maria-Theresien street has been an important public transport corridor, which has been crossed by all inner-city tram lines and many bus lines. Today trams and buses drive only through the traffic-calmed section south of Anich street, the northern part was transformed from 2006 to 2009 to the pedestrian zone.
Along the street you will find important facilities such as the Town Hall and the Landhaus as well as numerous shops and shopping centers (Kaufhaus Tyrol, Rathaus-Galerien). With a pedestrian frequency of more than 30,000 people per day, it is one of the six most attractive shopping streets in Austria. It is also used for events such as a Christmas market was in use as Fan Mile at the 2008 European Football Championship.
Die Maria-Theresien-Straße, benannt nach Kaiserin Maria Theresia, ist eine breit angelegte, leicht gekrümmte Pracht- und Geschäftsstraße und ein zentraler Straßenzug Innsbrucks, der auf die erste Stadterweiterung im 13. Jahrhundert zurückgeht. Sie ist eine der am stärksten frequentierten Straßen der Stadt.
Verlauf
Die Straße verläuft mit einer Länge von rund 490 m leicht gekrümmt in Nord-Süd-Richtung. Das nördliche Ende bildet die Kreuzung mit Burggraben und Marktgraben, jenseits davon führt die Herzog-Friedrich-Straße in die Altstadt. Den südlichen Abschluss der Straße sowie die Grenze zu Wilten bildet die Triumphpforte an der Kreuzung mit Maximilianstraße und Salurner Straße. Die Fortsetzung nach Süden ist die Leopoldstraße. Als Querstraßen zweigen versetzt die Anichstraße nach Westen und die Meraner Straße nach Osten ab. Durchgänge bestehen im Osten zum Sparkassenplatz und zum Landhausplatz und im Westen durch die Rathausgalerien zum Adolf-Pichler-Platz.
Geschichte
Die Neustadt um 1840
Die Maria-Theresien-Straße um 1898
Die ursprüngliche Stadt Innsbruck, 1180 gegründet, wuchs schon bald über ihre durch Stadtmauern und -graben gebildete Grenze (die heutige Altstadt) hinaus. Entlang der Ausfallstraße Richtung Süden nach Wilten und weiter zum Brenner entwickelte sich eine Vorstadt. Diese Siedlung, als nova civitas („Neustadt“) bezeichnet, gehörte ursprünglich zum Hofmarkgericht des Stiftes Wilten. Am 5. Juni 1281 schloss Graf Meinhard II. mit dem Stift Wilten einen Vertrag, in dem gegen eine Befreiung vom Weinzoll die Gerichtsgewalt über die Neustadt vom Stift Wilten an die Stadt Innsbruck kam. Das Gebiet reichte damals aber noch nicht bis zur Triumphpforte, die später die Grenze zwischen Innsbruck und Wilten bildete, sondern etwa bis zur Höhe des heutigen Alten Landhauses. Dort, am Ende der „inneren Neustadt“, stand das Obere Tor oder Georgentor, das 1350 erstmals erwähnt und 1570 abgebrochen wurde. Der Teil südlich davon (die „äußere Neustadt“) wird erst ab etwa 1440 der Stadt Innsbruck zugerechnet.
1315 wurde mit der Unterstützung Herzog Heinrichs von Kärnten und Tirol am Beginn der Neustadt das städtische Heilig-Geist-Spital gegründet, das, wie damals üblich, außerhalb der Stadtmauern lag und an das heute noch die Spitalskirche erinnert.
In den ersten Jahrhunderten befanden sich in der nur locker verbauten Neustadt hauptsächlich Handwerks- und Gewerbebetriebe, insbesondere solche, die mit dem Fuhrwesen zu tun hatten, wie Wagner, Schmiede, Sattler oder Tischler. Die Häuser waren in der Regel aus Holz, nach einem Großbrand 1620 durften sie auf Anordnung der Regierung nur noch aus Stein errichtet werden. In der Folge entwickelte sich eine geschlossene Verbauung und mit der Ansiedelung von hohen Beamten und adeligen Familien entstanden die heute das Straßenbild prägenden Prachtbauten im Barock- und Rokokostil, so etwa 1679–1690 das Taxispalais oder 1744–1749 das Palais Lodron. Viele der Bauten wurden von Vertretern der Baumeisterfamilie Gumpp entworfen.
1706 wurde als Dank für den Abzug der bayrischen Truppen nach dem Bayrischen Rummel in der Mitte der Straße die Annasäule errichtet. Die Annasäule war auf beiden Seiten von Brunnen umgeben, dem Josefsbrunnen im Norden von 1709 bis 1870 und dem Joachimsbrunnen im Süden von 1706 bis 1732 (heute im Waltherpark in St. Nikolaus). Anlässlich der Hochzeit von Erzherzog Leopold mit der spanischen Prinzessin Maria Ludovica von Spanien in Innsbruck 1765 wurde am südlichen Ende der Neustadt die Triumphpforte errichtet und der Stadtgraben zugeschüttet. 1897 wurde das Rathaus aus der Altstadt hierher verlegt.
Am 22. Dezember 1873 beschloss der Bürgerausschuss (Gemeinderat) die Umbenennung der Neustadt in Maria-Theresien-Straße „in Erinnerung an ihre alte Bezeichnung theresianische Neustadt und mit Rücksicht auf die sie abschließende Triumphpforte“. Ab 1891 verkehrte die zunächst dampfbetriebene Lokalbahn Innsbruck–Hall in Tirol durch die Maria-Theresien-Straße, ab 1905 auch elektrische innerstädtische Straßenbahnlinien.
1978 wiesen Stadt Innsbruck und Land Tirol die Maria-Theresien-Straße als Erhaltungszone aus, in der jeder Abbruch eines Gebäudes verboten ist. Bei einer Novellierung des Stadtkern- und Ortsbildschutzgesetzes wurde dies 2003 jedoch widerrufen. Als für den Neubau des Kaufhauses Tyrol der Abriss dreier Gebäude drohte, stellte das Bundesdenkmalamt die Straße 2006 unter Ensembleschutz. Die Stadt Innsbruck berief dagegen und nach heftigen Kontroversen insbesondere um die Architektur des geplanten Neubaus hob Kulturministerin Claudia Schmied den Ensembleschutz auf. Daraufhin wurden drei Gebäude abgerissen und 2010 durch einen Neubau ersetzt.
Von 2006 bis 2009 wurde der Bereich nördlich der Anichstraße in eine Fußgängerzone umgewandelt. Die Straße wurde dabei mit unterschiedlicher Pflasterung platzartig gestaltet. Die Straßenbahn wird seither durch Anichstraße bzw. Burggraben geführt. Der südliche Abschnitt, der nach wie vor dem öffentlichen Verkehr zur Verfügung steht, wurde bis 2011 ebenfalls neu gestaltet.
Bedeutende Bauten
Palais Trapp
Altes Landhaus (links) und Palais Fugger/Taxis (rechts)
Spitalskirche: ab 1700 nach Plänen von Johann Martin Gumpp dem Älteren anstelle eines gotischen Vorgängerbaus errichtet.
Palais Lodron (Nr. 7): für Joseph Nikolaus Graf Lodron 1744–1749 im Rokokostil erbaut.
Gasthaus Alt Insprugg (Nr. 16): aus dem 15. Jahrhundert stammendes, in der Barockzeit und 1906 umgebautes Haus. An der gotisierenden Fassade befinden sich holzgeschnitzte Kopien der Statuen Artus' und Theoderichs aus der Innsbrucker Hofkirche.
Neues Rathaus (Nr. 18): ursprünglich drei mittelalterliche Bürgerhäuser, die Anfang des 18. Jahrhunderts von Johann Martin Gumpp dem Älteren zum Palais Künigl umgebaut wurden. 1848–49 Umbau zum Hotel d'Autriche, seit 1897 Rathaus.
Palais Trapp (Nr. 38): Im 17. Jahrhundert erbauter Ansitz Wolkenburg, ab 1700 von Johann Martin Gumpp d. Ä. zu einem Barockpalais umgebaut, seit 1804 im Besitz der Grafen Trapp.
Palais Troyer-Spaur (Nr. 39): Um 1680 von Johann Martin Gumpp d. Ä. für Franz Anton Graf Troyer im Barockstil erbaut.
Altes Landhaus (Nr. 43): 1725–1728 von Georg Anton Gumpp als barocker Monumentalbau erbaut.
Palais Fugger-Taxis (Nr. 45): Um 1680 vermutlich nach Plänen von Johann Martin Gumpp d. Ä. für Graf Hans Otto Fugger als barocke Palastanlage nach italienischem Vorbild errichtet, ab 1784 unter den Grafen Thurn und Taxis Postgebäude, 1905 durch das Land Tirol erworben.
Servitenkirche und -kloster: 1614 gestiftet, nach einem Brand wieder aufgebaut und 1626 geweiht, im 18. Jahrhundert von Georg Anton Gumpp barockisiert.
Peterlongohaus (ehem. Palais Sarnthein, Nr. 57): 1686 von Johann Martin Gumpp d. Ä. für David Graf Sarnthein aus älteren Bürgerhäusern zum Palais umgebaut, 1869 aufgestockt und vergrößert.
Nutzung
Bus und Straßenbahn in der südlichen Maria-Theresien-Straße
Als Hauptstraße Innsbrucks diente die Maria-Theresien-Straße häufig Aufmärschen und Kundgebungen wie etwa im Tiroler Freiheitskampf 1809, beim Einmarsch deutscher Truppen nach dem Anschluss Österreichs 1938 oder 1945, als Innsbruck als einzige Großstadt des Dritten Reichs von einheimischen Regimegegnern kampflos an die alliierten Truppen übergeben wurde.
Seit dem Ende des 19. Jahrhunderts war die Maria-Theresien-Straße eine wichtige Verkehrsachse für den öffentlichen Verkehr, die von allen innerstädtischen Straßenbahnlinien und vielen Buslinien durchfahren wurde. Heute fahren Straßenbahnen und Busse nur noch durch den verkehrsberuhigten Abschnitt südlich der Anichstraße, der Nordteil wurde von 2006 bis 2009 zur Fußgängerzone umgestaltet.
Entlang der Straße finden sich wichtige Einrichtungen wie das Rathaus und das Landhaus sowie zahlreiche Geschäfte und Einkaufszentren (Kaufhaus Tyrol, Rathaus-Galerien). Mit einer Passantenfrequenz von mehr als 30.000 Personen am Tag zählt sie zu den sechs attraktivsten Einkaufsstraßen Österreichs. Sie wird auch für Veranstaltungen wie einen Christkindlmarkt oder die Fanmeile bei der Fußball-Europameisterschaft 2008 genutzt.
forming most of the belt out of leather, sculpting the front buckles and back pieces, then probably vac forming them, since it might be nice to put lights inside later on.
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Strobilidium girans es un ciliado que tiene forma de peonza y nombre de giro, no hay confusión posible, da vueltas y más vueltas sobre su eje, ▷ como si fuese una peonza levitando, eso sí, sin salirse de su pequeña órbita. Utiliza para no perderse en sus giros un pequeño truco que también hemos visto en el ciliado Urocentrum y en el pequeño rotífero Microcodon.
Los cilios en Strobilidium de disponen en la parte superior, son pocos y están soldados, y como en muchos otros ciliados tienen una doble utilidad, la de provocar el desplazamiento y la de atraer el alimento, que en este caso está formado por algas y cianobacterias. En el interior se distingue un pequeño núcleo en la parte superior y una gran vacuola, hacia abajo, que expulsa el exceso de agua que entra en su cuerpo, cuerpo que remata en un extremo agudo, en el que un invisible filamento se suelda a él y lo sujeta en todos sus giros.
La especie de hoy Strobilidium girans también tiene alguna hermana próxima, habitante de las aguas marinas. Forman una familia reducida que vive tanto en aguas limpias como en otras más cargadas de materia orgánica.
La fotografía procede de una muestra de agua recolectada hace unos días en el Pozo de Tremeo una pequeña laguna natural situada en Rumoroso (Cantabria), el amigo Fernando también me llevó allí, después de visitar el pozón de La Dolores. La toma se ha realizado a 400 aumentos empleando la técnica de contraste de interferencia.
Con nuestra gratitud para Pilar Gil por la publicación en Qúo, a Antonio Martínez Ron ...y también Paul/
Puedes tener otra infomación en la exposición LA VIDA OCULTA DEL AGUA
Y en este catálogo
También en la galería de Fotolog
Y nuestro granito de arena por la Paz
"The National Railway Museum is a museum in York forming part of the Science Museum Group. The museum tells the story of rail transport in Britain and its impact on society. It is the home of the national collection of historically significant railway vehicles such as Mallard, Stirling Single, Duchess of Hamilton and a Japanese bullet train. In addition, the National Railway Museum holds a diverse collection of other objects from a household recipe book used in George Stephenson’s house to film showing a "never stop railway" developed for the British Empire Exhibition. It has won many awards, including the European Museum of the Year Award in 2001.
As of 2019 the museum is about to embark on a once-in-a-generation site development. As part of the York Central redevelopment which will divert Leeman Road, the National Railway Museum will be building a new entrance building to connect the two separate parts of the museum together. At the same time, the space around the museum will be landscaped to provide public spaces.
In 2020 architectural practice Feilden Fowles won an international competition to create the museum’s new £16.5 million Central Hall building—a key element of the museum’s Vision 2025 masterplan.
York is a cathedral city and unitary authority area in North Yorkshire, England. The population of the council area which includes nearby villages was 208,200 as of 2017[citation needed] and the population of the urban area was 153,717 at the 2011 census. Located at the confluence of the Rivers Ouse and Foss, it is the county town of the historic county of Yorkshire. The city is known for its famous historical landmarks such as York Minster and the city walls, as well as a variety of cultural and sporting activities, which makes it a popular tourist destination in England. The local authority is the City of York Council, a single tier governing body responsible for providing all local services and facilities throughout the city. The City of York local government district includes rural areas beyond the old city boundaries. It is about 25 miles north-east of Leeds and 34 miles north-west of Kingston upon Hull. York is the largest settlement in the ceremonial county of North Yorkshire.
The city was founded by the Romans as Eboracum in 71 AD. It became the capital of the Roman province of Britannia Inferior, and later of the kingdoms of Deira, Northumbria and Jórvík. In the Middle Ages, York grew as a major wool trading centre and became the capital of the northern ecclesiastical province of the Church of England, a role it has retained. In the 19th century, York became a major hub of the railway network and a confectionery manufacturing centre, a status it maintained well into the 20th century. During the Second World War, York was bombed as part of the Baedeker Blitz. Although less affected by bombing than other northern cities, several historic buildings were gutted and restoration efforts continued into the 1960s.
The economy of York is dominated by services. The University of York and National Health Service are major employers, whilst tourism has become an important element of the local economy. In 2016, York became sister cities with the Chinese city of Nanjing, as per an agreement signed by the Lord Mayor of York, focusing on building links in tourism, education, science, technology and culture. Today, the city is a popular tourist attraction, especially for international visitors from America, Germany, France and China. In 2017, York became UK's first human rights city, which formalised the city's aim to use human rights in decision making." - info from Wikipedia.
Summer 2019 I did a solo cycling tour across Europe through 12 countries over the course of 3 months. I began my adventure in Edinburgh, Scotland and finished in Florence, Italy cycling 8,816 km. During my trip I took 47,000 photos.
Now on Instagram.
Become a patron to my photography on Patreon.
Formado em 2000, o JAM Project é um grupo de cantores japoneses especializados em temas de animês (desenhos animados), tokusatsus (séries live-action) e jogos de videogames japoneses. É o principal expoente do gênero.
O objetivo do grupo é preservar as características originais do gênero musical, que desde a década de 90 tem a interferência do marketing da indústria fonográfica, envolvendo artistas do pop-rock japonês.
A formação atual é composta por Hironobu Kageyama, Masaaki Endoh, Masami Okui, Yoshiki Fukuyama, Hiroski Kitadani e Ricardo Cruz.
Cut from a sheet of 1" 40# tooling board, these will be vac formed with .10" PETG plastic to make up the transparent parts of the Transistor
Core-formed glass, 5th century B.C.E.
Vessel made of dark green core-formed glass. The body is cylindrical and flat round tray-shaped mouth rim has been attached to its short neck. A pair of dark green glass handles of the same type as those seen above on cat. No. 33 are attached just below the shoulders of the vessel (one handle has partial later additions). The base is relatively rounded. Yellow and turquoise threads wrap in threads around the body from directly below the mouth to the base and shifts up and down into a zigzag pattern. There is also one thread of yellow glass around the mouth of the jar. Modeled after the Greek vessel type the alabastron, this jar would have been used to hold the perfumed oils. Greek ceramics depict images of women carrying this type of jar suspended from a cord run through the two handles.
Text and image from the website of the Miho Museum.
Here we call this plant "Chinese Hat". The hummingbirds love these flowers, but they sure don't stay at one blossom very long. Quite a challenge to catch them feeding.
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.
Technical Details
Nikon D7000
AF-S Nikkor 18-105mm f/3.5-5.6 ED DX
f/5.3 1/100sec 75mm ISO2000
Software: Adobe Lightroom 3.5
This is only some of the forms, income slips and receipts I received during 2011 to report my 2011 income tax. It's so freaking complicated and annoying.
The Hong Kong expat community has a sarcastic nickname for Canada's tax recenue agency -- the Land of Ten Thousand Taxes.
You're given so many income slips, receipts and forms to file. When I used to do it using paper, pen and calculator, it used to take me at least one day to go through all of them, and that's because I'm very well-organised and have all the forms in a folder already. I know people who spend days and weeks to gather all the forms.
In Hong Kong, there's no sales tax, no VAT, no tax on interest and investment income (to encourage people to save and invest, rather than rely on the government). People pay a uniform 16% tax on employment income in Hong Kong. That's it, end of story.
Here in Canada, you report all kinds of income, then the government gives you a number of tax credits to offset the tax deducted, and some tax refunds. But it's so complicated! I get a headache just thinking about it each spring : (