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The greatest achievement in design and engineering is when form transcends function. What was once raw—aluminium, fibreglass, titanium—is now sleek, powerful, elegant and aerodynamic. What was once a concept is now art.
The entire SuperJet International Team wishes you a 2013
full of wonder and excitement.
Discussing Santeria religion at the local library in Trinidad, Cuba.
Of all the New World societies, Cuba received captives from the greatest mix of African origins. They came from all parts of the coast and interior of western Africa, their numbers dwarfing all reliable estimates of the number of captives brought to the entire United States. Between 500,000 and 700,000 Africans reached Cuba, the majority arriving in the nineteenth century. The size, diversity, and continual replenishment of this population allowed a rich array of African-inspired religions to flourish there, even beyond the end of the slave trade.
The gods of West Africa are called orisha in Yoruba, oricha in Spanish. Yoruba people also speak of a supreme being, Olorun or Olodumare, whose power or life-energy, called ashe, becomes manifest through both ancestral spirits and the orisha. In Cuba, as in Haiti, West African gods became paired with Roman Catholic saints in syncretistic relationships. In Cuba, the ruler of lightning, called Shango in Yoruba and Chango in Spanish, is identified with St. Barbara. Ogun, the lord of iron and technology, is identified with St. George, Babalu Aye is identified with St. Lazarus, and Yemaya, goddess of the sea, with Our Lady of Regla, the patroness of a Havana suburb.
Local call number: V-179 H-49
Title: [Filming Cecil Demille's "Greatest Show on Earth"]
Date of film: 1952
Physical descrip: color; silent; Original film length: 8:43.
General note: This is a home movie of the filming of Cecil DeMille's "Greatest Show on Earth" in Sarasota. There is a parade through town with Paramount camera crews and large crowds of spectators. There is footage of Betty Hutton, Cornel Wilde, Gloria Grahame and Dorothy Lamour.
To see full-length versions of this and other videos from the State Archives of Florida, visit www.floridamemory.com/video/.
Repository: State Library and Archives of Florida, 500 S. Bronough St., Tallahassee, FL 32399-0250 USA. Contact: 850-245-6700. Archives@dos.state.fl.us
Persistent URL: floridamemory.com/items/show/245873
Visit Florida Memory to see more images from the filming of the "Greatest Show on Earth."
0916 R Roma Il Colosseo The Colosseum Das Kolosseum Le Colisée Rim Koloseum Tomica za VT 14.X.1985.
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wiki
The Colosseum or Coliseum, also known as the Flavian Amphitheatre (Latin: Amphitheatrum Flavium; Italian: Anfiteatro Flavio or Colosseo , is an oval amphitheatre in the centre of the city of Rome, Italy. Built of concrete and sand, it is the largest amphitheatre ever built and is considered one of the greatest works of architecture and engineering ever.
The Colosseum is situated just east of the Roman Forum. Construction began under the emperor Vespasian in 72 AD, and was completed in 80 AD under his successor and heir Titus. Further modifications were made during the reign of Domitian (81–96). These three emperors are known as the Flavian dynasty, and the amphitheatre was named in Latin for its association with their family name (Flavius).
The Colosseum could hold, it is estimated, between 50,000 and 80,000 spectators,having an average audience of some 65,000; it was used for gladiatorial contests and public spectacles such as mock sea battles, animal hunts, executions, re-enactments of famous battles, and dramas based on Classical mythology. The building ceased to be used for entertainment in the early medieval era. It was later reused for such purposes as housing, workshops, quarters for a religious order, a fortress, a quarry, and a Christian shrine.
Although partially ruined because of damage caused by earthquakes and stone-robbers, the Colosseum is still an iconic symbol of Imperial Rome. It is one of Rome's most popular tourist attractions and has also links to the Roman Catholic Church, as each Good Friday the Pope leads a torchlit "Way of the Cross" procession that starts in the area around the Colosseum.
The Colosseum is also depicted on the Italian version of the five-cent euro coin.
The Colosseum's original Latin name was Amphitheatrum Flavium, often anglicized as Flavian Amphitheater. The building was constructed by emperors of the Flavian dynasty, following the reign of Nero. This name is still used in modern English, but generally the structure is better known as the Colosseum. In antiquity, Romans may have referred to the Colosseum by the unofficial name Amphitheatrum Caesareum (with Caesareum an adjective pertaining to the title Caesar), but this name may have been strictly poetic as it was not exclusive to the Colosseum; Vespasian and Titus, builders of the Colosseum, also constructed an amphitheater of the same name in Puteoli (modern Pozzuoli).
The name Colosseum has long been believed to be derived from a colossal statue of Nero nearby[5] (the statue of Nero was named after the Colossus of Rhodes).[citation needed] This statue was later remodeled by Nero's successors into the likeness of Helios (Sol) or Apollo, the sun god, by adding the appropriate solar crown. Nero's head was also replaced several times with the heads of succeeding emperors. Despite its pagan links, the statue remained standing well into the medieval era and was credited with magical powers. It came to be seen as an iconic symbol of the permanence of Rome.
In the 8th century, a famous epigram attributed to the Venerable Bede celebrated the symbolic significance of the statue in a prophecy that is variously quoted: Quamdiu stat Colisæus, stat et Roma; quando cadet colisæus, cadet et Roma; quando cadet Roma, cadet et mundus ("as long as the Colossus stands, so shall Rome; when the Colossus falls, Rome shall fall; when Rome falls, so falls the world"). This is often mistranslated to refer to the Colosseum rather than the Colossus (as in, for instance, Byron's poem Childe Harold's Pilgrimage). However, at the time that the Pseudo-Bede wrote, the masculine noun coliseus was applied to the statue rather than to what was still known as the Flavian amphitheatre.
The Colossus did eventually fall, possibly being pulled down to reuse its bronze. By the year 1000 the name "Colosseum" had been coined to refer to the amphitheatre. The statue itself was largely forgotten and only its base survives, situated between the Colosseum and the nearby Temple of Venus and Roma.
The name further evolved to Coliseum during the Middle Ages. In Italy, the amphitheatre is still known as il Colosseo, and other Romance languages have come to use similar forms such as Coloseumul (Romanian), le Colisée (French), el Coliseo (Spanish) and o Coliseu (Portuguese).
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Koloseum, izvorno nazvan "Amfiteatar Flavijevaca", je amfiteatar u Rimu. Ime je dobio po kolosalnoj skulpturi cara Nerona koja se nalazila ispred amfiteatra. U Koloseumu su održavane gladijatorske borbe, koje je moglo pratiti 50 000 gledatelja
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Its that time again to take a look at the latest and greatest trends in the holy land - Akihabara. But I'm a wee bit late posting this as these were taken before Christmas.
Today our visit includes Mandarake, Toranoana, Radio Kaikan, Kotobukiya, Sofmap, Tokyo Anime Center, Kimidore, Kanda Myojin Shrine, Animate and Comic Zin.
View more at www.dannychoo.com/en/post/27118/Akihabara+Shops+13.html
Architect: József Vágó www.art-nouveau.hu/art.php?menuid=2&id=107
Cooperating artists were the greatest Hungarian painters and sculptors of the period:
József Rippl-Rónai
www.hung-art.hu/frames-e.html?/english/r/rippl-ro/index.html
commons.wikimedia.org/w/index.php?title=Special%3ASearch&...
Béla Iványi-Grünwald
en.wikipedia.org/wiki/B%C3%A9la_Iv%C3%A1nyi-Gr%C3%BCnwald
hu.wikipedia.org/wiki/Iv%C3%A1nyi-Gr%C3%BCnwald_B%C3%A9la
Vilmos Fémes Beck
commons.wikimedia.org/wiki/F%C3%A9mes_Beck_Vilmos
hu.wikipedia.org/wiki/F%C3%A9mes_Beck_Vilmos
Zsolnay:
About the building, architect and owner:
www.sziabudapest.com/text/2011april_en.php
www.sziabudapest.com/text/vago_jozsef_en.php
Magyarul:
hg.hu/cikk/epiteszet/12623-a-szecesszio-elfelejtett-meste...
artportal.hu/kislexikon/vago_jozsef
Magyarul:
vam.gov.hu/muzeum/pages/schiffer_villa.html
There was a fountain in front of the window, work of Vilmos Fémes Beck, it was destroyed during WW2.
Stained glass windows by Károly Kernstok (Budapest, 1873 - 1940)
www.google.hu/search?q=kernstok+k%C3%A1roly&hl=hu&...
One of Hungary's most influential early twentieth century artists, Karoly Kernstok first studied painting techniques at the Budapest School of Design. He then went to Munich in 1892 to study under Simon Hollosy. Karoly Kernstok concluded his formal education at the Academie Julian, Paris, from 1893 to 1895 and at Benczur's School, Budapest, from 1896 to 1899. Kernstok's first major exhibitions took place in Budapest in 1897. Three years later one of his paintings was awarded a bronze medal at the Universal Exposition in the United States.
Karoly Kernstok's initial works were figure studies and genre depictions, largely in the vein of Hungarian turn-of-the-century early social realist painting. By 1906, however, his art began exploring stylized elements and postimpressionist techniques, and thus he became a leading exponent of modernism. In 1910, Karoly Kernstok was a founding member of the Nyolcak (Group of Eight) painters. Briefly this important movement advocated expressionism and an emphasis upon the body within space. It drew upon such divergent forms as Art Nouveau, Fauvism and native Hungarian art forms. The Nyolcak was also somewhat political and, through the art of its participants, attempted to move Habsburg Hungary toward a democratic republic. Karoly Kernstok's 1910 painting, Riders on the Shore, became a major catalyst for the art of Nyolcak (Group of Eight). During this period, Karoly Kernstok designed and painted major frescoes and glass windows for the Schiffer-villa (1911) and the County Hall, Debrecen.
Karoly Kernstok moved to Berlin in 1919. He both lived and exhibited in that city until his 1926 return to Hungary. For the following fourteen years the artist continued to paint and etch major works of art, often exploring and incorporating elements of ancient Etruscan art. As well, Karoly Kernstok established an art school in the Nyergesújfalu region of Hungary.
Today the art of Karoly Kernstok is found in most major Hungarian collections, including the Hungarian National Gallery, Budapest
Kernstok Károlyról (Ady csodálatos versével):
Close up using my Carl Zeiss Jenna 135 Lens of my Music Centres Stylus.
The LP album playing is "greatest hits Barry White" Hence the reason of the title.
The sound is so 1970s :D
I finally got Ursula back in the summer and these are old photos I never posted. This actually put me in a Little Mermaid kick so I've got a s**t ton more photos of my Ariel collection. Ursula is a lot bigger than I was expecting and I love how nice and heavy she is. She was definitely worth the wait, and while the Simba/DS Ursula is alright, she kind of blows that one out of the water. I only really have two complaints:the crown isn't removable as her hair is styled around it and the ties are deep inside and the fact that the shell, crown, and trident are plated, while I tend to prefer plastic to be a moulded gold, similar to the DS trident and shell. I love her expression, it's just the right amount of evil, crazy, and "glamour."
Liverpool FC were formed in 1892, and in 1965 won the FA Cup for the first time in their history. The mural, by Murwalls, is situated in Sybil Road, Anfield, close to LFC's ground and depicts Ian St.John and Roger Hunt MBE.
Ian St.John sealed their win against Leeds United with his extra-time goal - 1st May 1965, to crowd attendance of 100,000.
Roger Hunt MBE was 11 years with the club and remains their record league scorer with 244 goals.
In 1964 Roger Hunt had the distinction of scoring the first ever goal seen on BBC's iconic programme 'Match of the Day' !
Francis Smith 1629 with wife Ann Markham
"To God the best and the greatest, Francis Smith, knight, son of George, equal & ancient heroes in rightiousness & religion, who was fortunate in his children & grandchildren, in the rectitude of his life and blamelessness of his customs. Much more fortunate in his love towards his own, his fairness towards all and his piety towards God. At last with constant profession of his ancestral faith in adversity, by far the most fortunate , he departed this life the day before the nones of May 1629"
Ann was the daughter of Thomas Markham 1590 of Kirby Bellars & Mary 1633 daughter of Rice Griffin 1549 & Elizabeth daughter of Thomas Brudenell 1586 by Elizabeth Fitzwilliam
Her sister Elizabeth m Anthony son of Ralph Sheldon 1613 & wife Anne Berkeley at Beoley www.flickr.com/gp/52219527@N00/59za87HVV7
Francis was the son of George Smith & Anne Giffard www.flickr.com/gp/52219527@N00/J05DSm daughter of Thomas Giffard 1560 of Chillingham & Ursula Throckmorton
Children
1. Sir Thomas of Broxton
2. John, knight banneret, killed at Alresford 1644
3. Charles : 1st Baron Carington, Viscount Beresford murdered in Pontoise by his servant during a robbery. m Elizabeth 1658 daughter of John Caryll flic.kr/p/299hx1 of South Harting by Mary daughter of Robert Dormer 1st Baron & Elizabeth Browne www.flickr.com/photos/52219527@N00/8296419335/ Elizabeth was the grand daughter of John Caryll 1613 and Mary Cotton flic.kr/p/2995Rq
4. Francis
1. Elizabeth Winifred 1607 nun in Ghent
2. Alethia m Christopher Anderton of Lostock
3. Lucy m John Thwaites of Marston
4. Anne 1683 m Col Rowland Eyre of Hassop 1672 grand parents of Margaret www.flickr.com/gp/52219527@N00/tR6gN2 wife of Edward Paston of Blofield www.flickr.com/gp/52219527@N00/23P9ac
5. Mary m Sir Robert Throckmorton 1650 1st bart of Coughton
6. Ursula
7. Dorothy
8. Martha
9. Frances
The Smiths were catholics, as a recusants his parents house was recommended to be searched in 1581. However Francis although his inscription confirms the "constant profession of his ancestral faith in adversity", managed to avoid recusancy penalties by attending church for the required number of times.
They married their children with other catholic families
- Church of St Mary, Ashby Folville, Leicestershire
It seems there are always nooks and corners of the county in which to find churches.
Sheldwch is part of a benefice with Leaveland and Badlesmere, but before last weekend I had only visited the latter, having missed the former when planning a tour last year.
It is a fine and grand building, beside the main road. And has good parking, which is nice.
But I found it locked. Coming out of the porch I got talking to a lady about the church, and she advised me to go to see the retired priest who lived the other side of the village.
So I did.
He did better than letting me have the church key, he came to open it for me.
I talked to the lady for about half an hour, about churches and orchids, and to the priest for another 15 minutes. So in all, this visit took nearly two hours.
A very pleasant way to spend a morning though.
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Sheldwich is a village and civil parish in the Swale District of Kent, see Sheldwich Wikipedia
Sheldwich St James is an Ancient Parish in the Diocese of Canterbury and includes the settlements of North Street, Sheldwich Lees and the hamlet of Gosmere. The parish is part of the Selling with Throwley Sheldwich with Badlesmere group of churches.
The church dates from the 12th century and was extended in the 14th century with the tower added in the 15th century. It was restored in 1888 and a porch added in 1899.
The church of St James Sheldwich has been designated a grade II* listed building by English Heritage, British listed building.
www.familysearch.org/wiki/en/Sheldwich,_Kent_Genealogy
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SHELDWICH
THE next parish northward from Badlesmere is Sheldwich, which is written in antient charters, Schyldwic.
The high road from Faversham to Ashford leads through this parish, from the former of which it is distant between five and six miles, it lies mostly on high and even ground, to which the land rises from the London road, in rather a pleasant and healthy country, the greatest part of it on a chalky soil, having much poor land in it, and that covered with slints, though in the northern part of it, where the chalk prevails less, there is some tolerable fertile land; in the eastern part, where the hill rises, there is much rough ground, and adjoining woodland. The church stands close to the Ashford road, along which the houses are dispersed, as they are in that leading to Sheldwich lees, and round it mostly neat chearful dwellings. The Lees, which is about a quarter of a mile distance on the left side of the Ashford road, has a pleasant look from the trees planted on it, leading to Leescourt, at the further part of it, not unpleasantly situated, for though the fine front of it faces the east, with no great prospect, except towards a rough and barren hill, which rises at no great distance, yet towards the north and north-east it has a beautiful view over its own planted grounds, towards a wide extent of fertile country, and the channel beyond it. At the boundary of the parish, next to Badlesmere, on the Ashford road, is the manor house of Lords, which has been modernized and made a neat genteel residence by the present possessor of it.
There is yearly a running match on Sheldwich lees, which first took its rise from the will of Sir Dudley Diggs, in 1638, who left by it twenty pounds, to be paid yearly out of the rent of Selgrave manor, to two young men and two maids, who on May 19, should run a tye at Old Wives lees, in Chilham, and prevail. In pursuance of which the two young men and maids run at Old Wives lees yearly, on the Ist of May, and the same number at Sheldwich lees on the Monday following each by way of trial, and the two of each sex which prevail at each of those places, run for the ten pounds at Old Wives lees as above-mentioned, on the 19th of May. (fn. 1)
MR. JACOB, in his Plantæ Faver Shamienses, notices several scarce plants in this parish, to which the reader is referred.
THIS PLACE was given by the name of Schyldwic, in 784 by Alcmund, king of Kent, to Wetrede, abbot, and the convent of Raculf Cestre, or Reculver, as twelve plough-lands, with all its appurtenances, free from all secular service and all regal tribute, excepting the repelling of invasions, and the repairing of bridges and castles.
This monastery seems in 949 to have been annexed to Christ-church, in Canterbury, by king Edred; but this estate of Sheldwich does not appear ever to have come into the possession of the latter, no notice being taken of it in any of the charters or records relating to it, nor have I seen how it passed afterwards, till the time of its becoming the property of the family of Atte-Lese, in the reign of Edward I. when this estate, which seems to have comprehended the manor of Sheldwich, became the property of that family which, from their residence at the Lees here, had assumed the name of At-Lese, their mansion here being called Lees-court, a name which this manor itself soon afterwards adopted, being called THE MANOR OF LEESCOURT, alias SHELDWICH. Sampson Ate-Lese was possessed of it in the 27th year of the above reign, and bore for his arms, Gules, a cross-croslet, ermine. His son, of the same name, left several children and Lora his wife surviving, who afterwards married Reginald de Dike, who in her right resided at Lees-court, where he kept his shrievalty in the 29th year of king Edward III.'s reign.
Sir Richard At-Lese, the eldest son, at length succeeded to this manor, and resided at Lees-court. He served in parliament for this county in the 40th year of that reign, and the next year was sheriff of it. He died in 1394, anno 18 Richard II. and was buried, with Dionisia his wife, in the north chancel of Sheldwich church, where their essigies and inscription in brass still remain. He died s. p. and by his will gave his manor of Lese, among others, to John, son of Richard Dane, and his heirs male, remainder to the heirs male of Lucy his niece, one of the daughters and coheirs of his brother Marcellus At-Lese, then the wife of John Norton, esq. the other daughter Cecilia married Valentine Barrett.
By the above will, this manor at length came into the possession of their son William Norton, esq. who resided both at Lees-court and at Faversham, where he died in the 9th year of king Edward IV. and was buried in the church of Faversham, leaving two sons, Reginald, who by his will became his heir to this manor, and Richard, who was likewise of Sheldwich, and dying anno 1500, was buried in Faversham church. (fn. 2) Reginald, the eldest son, of Lees-court, left two sons, John, who succeeded him in this manor, and William, who was of Faversham, and ancestor to the Nortons, of Fordwich. Sir John Norton, the eldest son, lived in the reign of Henry VIII. and resided at first at Lees-court, but marrying Joane, one of the daughters and coheirs of John Northwood, esq. of Northwood, in Milton, he removed thither, whose grandson Sir Thomas Norton, of Northwood, about the reign of king James I. alienated this manor to Sir Richard Sondes, of Throwley, whose son Sir George Sondes, K. B. succeeding him in it, pulled down great part of the old mansion of Lees-court, soon after the death of king Charles I. and completed the present mansion of Lees-court, the front of which is built after a design of Inigo Jones, to which he afterwards removed from the antient mansion of his family at Throwley.
He was a man of great power and estate in this county, being a deputy-lieutenant, and sheriff in the 13th year of Charles I. in which year the difficult business of ship-money was agitated, in the levying of which he conducted himself with such justice and moderation, as gained him much reputation and esteem of the gentry. (fn. 3) Being a man strictly loyal in his principles, he underwent during the unsurpation much persecutation, as well in regard to his person as estates, all which may be learned from the Narrative which he printed in 1655, on the death of his two sons, which is rather an apology for his own conduct on some accusations of immorality, brought against him by the fanatic ministers of those times in it, says, he had three fair houses in his own hands, all well furnished, and at least 2000l. per annum about them, his lands all well stocked; that he had at least one hundred head of great cattle, half an hundred horses, some of them worth 40 or 50l. a piece, besides five hundred sheep and other stock, about 1000 quarters of wheat and malt in his garners, and ten barnes, none of the least, all full of good corn, and great quantities of flax and hops; that as to his housekeeping, his house was open at all times to rich and poor, twenty poor people at least were relieved in it weekly, the lowest proportion in his house, whether he was there or not, was every week a bullock of about fifty stone, a quarter of wheat, and a quarter of malt for drink, which made about a barrel a day for his household; that he had employed for near thirty years labourers and workmen continually, to the amount of at least 1000l. a year.
He says, that in the time of the troubles he had been injured in his goods and estates near 40,000l. in value, all that he had as above-described having been seized and taken at one time, together with his plate and jewels, and the rents and profits of his estates for seven years together, during the two first years of which neither himself nor his children had any thing out of them, and at last to prevent his estates being sold he was forced to compound for them, by paying the sum of 3500l. for his delinquency; besides which, he sussered much in his person, being imprisoned for several years, at first on shipboard, and afterwards, with many other royalists, in Uppor castle, near Rochester.
After the restortation, he was, in recompence of his former sufferings for the royal cause, created by king Charles II. in his 28th year, anno 1676, earl of Faversham, viscount Sondes, of Lees-court, and baron of Throwley, for his life, with remainder to his sonin-law Lewis, lord Duras, and his heirs male, the year after which he died at Lees-court, and was buried in the family vault in the south chancel of Throwley church. Sir George Sondes had been twice married; first to Jane, daughter and heir of Sir. Ralph Freeman, of Aspeden, in Hertfordshire, lord mayor of London anno 9 king Charles I. by whom he had two sons, George and Freeman, who were both in 1655, whilst youths, cut off by untimely deaths, the youngest murdering the eldest whilst asleep in his bed in this house, for which horrid deed he was tried at the assizes then holding at Maidstone, and being convicted, was executed for the crime at Pennendenheath on the day fortnight afterwards, and interred in the neighbouring church of Bersted. (fn. 4)
Sir George Sondes married secondly Mary, daughter of Sir William Villars, bart. of Brokesby, by whom he had two daughters, who became his coheirs, of whom Mary, the eldest, married Lewis de Duras, marquis of Blanquefort, in France, and baron of Holdenby, in this kingdom, and Catherine, the youngest, married the hon. Lewis Watson, afterwards on his father's death, lord, and then earl of Rockingham.
On Sir George Sondes's death, this manor, with the rest of his estates in this county, descended to Lewis, lord Duras, in right of his wife Mary. He had been naturalized by parliament in 1664, and created in 1672 baron Duras, of Holdenby, in Northamptonshire. He bore for his arms, quarterly, first and fourth, Argent, a lion rampant, gules; second and third, Argent, a bend, azure. On the death of his father-in-law without male issue, he succeeded, by limitation of the patent, to the title of earl of Faversham. In the 1st year of James II. he was elected a knight of the garter, and in 1688 made general of the king's forces, in which post he continued at the revolution. He survived his wife some years, and died in 1709, s. p. and possessed of this manor, for on his wife the countes's death who died in 1687, the house of lords had adjudged the estates of the Sondes's to her surviving husband, the earl of Faversham, though she had never been with child. The late Daniel, earl of Winchelsea, a man as wife and experienced as most of his time, used to affirm, that there were but two instances on the journals of that house, which could cast the least imputation on the honor of it, and that this was one of them. Upon which this manor, with Lees-court, and the rest of the estates in this county, late belonging to Sir George Sondes, became the property of Lewis, lord Rockingham, by virtue of the limitation made of them on his second daughter Catherine, on failure of issue by his first daughter Mary, which Catherine was afterwards married to lord Rockingham, but had deceased in 1695 as above-mentioned. The family of Watson was originally of Cambridgeshire, a branch of which settled at the latter end of king Henry the VIIIth's reign, at Rockinghamcastle, in Northamptonshire. Sir Lewis Watson, of Rockingham-castle, was created a baronet anno 19 James I. and afterwards, for his loyalty and services to the king in his troubles, was created lord Rockingham, anno 20 Charles I. By his second wife Eleanor, sister of George, earl of Rutland, he left one son Edward, and six daughters; which Edward, lord Rockingham, married Anne, eldest daughter of Thomas Wentworth, earl of Stafford, and died in 1691. By her he had four sons and four daughters; of the former, Lewis was created earl of Rockingham, and married Catherine, youngest daughter of Sir George Sondes, as above-mentioned; Thomas was heir to his uncle William, earl of Strafford, by his will, in pursuance of which he assumed the name and arms of Wentworth, whose son was created earl of Malton, and afterwards marquis of Rockingham, the two other sons died young.
Lewis, lord Rockingham, resided afterwards at Lees-court, in 1705 he was made lord-lieutenant and custos rotulorum of this county; and on king George's accession he was in 1714, created earl of Rockingham, viscount Sondes, of Lees-court, and baron of Throwley. He died in 1724, and was buried at Rockingham, having had two sons, Edward and George, the latter of whom died s. p. and four daughters; of the latter, Mary married Wrey Sanderson, of Lincolnshire, grandson and heir apparent of viscount Castleton; Anne died young; Arabella married Sir Robert Furnese, bart. and Margaret in 1725 John, lord Monson, ancestor of the present Lewis-Thomas, lord Sondes, as will be further mentioned hereafter.
Of the sons, Edward, viscount Sondes, the eldest, died in 1721, in his father's life-time, and was buried in Throwley church, having married in 1708 Catherine, the eldest of the five daughters and coheirs of Thomas Tuston, earl of Thanet, by whom he left three sons, and a daughter Catherine, married in 1729 to Edward Southwell, esq. of Kings Weston, in Gloucestershire.
Lewis, the eldest son, succeeded his grandfather in the possession of his estates and as second earl of Rockingham, and in 1737 was made lord-lieutenant and custos rotulorum of this county. He died in December, 1745, having married in 1736 Catherine, daughter of Sir Robert Furnese, bart. of Waldershare, afterwards remarried in 1751 to Francis, earl of Guildford, by whom he had no issue, upon which this manor, among the rest of his intailed estates, descended to his next and only surviving brother Thomas, (Edward the youngest having died before unmarried) who became the third earl of Rockingham, and succeeded his brother likewise as lord-lieutenant and custos rotulorum of this county. He enjoyed his honors but a short time, for he died in the February following, 1746, unmarried, upon which the title of earl, &c. became extinct, and the barony of Rockingham descended to his kinsman Thomas Watson Wentworth, earl of Malton, afterwards created Marquis of Rockingham.
But this manor, with the seat of Lees-court, and the rest of his estates in this county and elsewhere, were devised by him to his first cousin Lewis Monson, second son of John, lord Monson, by Margaret his wife, youngest daughter of Lewis, first earl of Rockingham, and aunt to earl Thomas above-mentioned, whom he enjoined to take on him the surname, and use the arms of Watson.
The family of Monson, or Munson, as they were antiently written, were seated in the county of Lincoln as early as the reign of king Edward III. when they were denominated of East Reson, in that county, soon after which they were seated at South Carlton, near Lincoln, in which church there are several memorials of them. A younger son of this family was Sir William Monson, an admiral of the English navy in the reigns of queen Elizabeth and king James I. a man of untainted reputation for conduct and bravery, who lived till the year 1642, but his issue is extinct in the male line. He compiled large Tracts on Naval Affairs, in six books, which are published in a collection of voyages, printed in 1703 and 1745.
At length the principal line of this family, of whom several had been from time to time knighted, and had served in different parliaments, descended down to Sir Thomas, eldest surviving son and heir to Sir John Monson, and brother of the admiral above-mentioned, who was created a baronet in 1611, and had the character of a person of fine breeding and a most accomplished gentleman. He died in 1641, and was buried with his ancestors at South Carlton, having married Margaret, daughter of Sir Edmund Anderson, chief justice of the common pleas, by whom he had issue four sons and three daughters; of the former, Sir John Monson, bart. the eldest son, became in 1645 possessed of Burton, in Lincolnshire, which became the family residence of his descendants; one of whom, Sir John Monson, K. B. was in 1728, anno 1 George II. created lord Monson, and afterwards made a privy counsellor. He died in 1748, having married the lady Margaret Watson, youngest daughter of Lewis, first earl of Rockingham, who survived him, and dying in 1752, was buried beside her husband, at South Carlton, in Lincolnshire. They left three sons, John, who succeeded him as lord Monson; Lewis, possessor of Lees manor and court, created lord Sondes, as before-mentioned; and George, who was a general in the army, and died some years since in the East-Indies. (fn. 5)
Lewis Monson Watson, before-mentioned, thus becoming possessed of this manor and seat, was in 1754 chosen to represent this county in parliament, in which year he was appointed one of the auditors of the imprest, and by letters patent, bearing date May 20, 1760, anno 33 George II. was created Lord Sondes, baron of Lees-court, to him and his heirs male. In 1752 he married Grace, second surviving daughter of the hon. Henry Pelham, who died in 1777, by whom he had four sons, Lewis-Thomas, born in 1754; Henry now in the army; Charles, who died young; and George, in holy orders. Lord Sondes died in 1795, having before his death settled this manor and seat on his eldest son the hon. Lewis-Thomas Watson, who afterwards resided here, and in 1785 married Mary, only daughter and heir of Richard Milles, esq. of Nackington, by whom he has several children. On his father's death he succeeded to the title of lord Sondes, being the present possessor of this manor and seat, at which he resides. He bears for his arms, quarterly, first and fourth, Watson, argent, on a chevron engrailed, azure, between three martlets, sable, as many crescents, or; second and third, Monson, or, two chevrons, gules.
For his supporters, on the dexter side, a griffin, argent, gorged with a ducal coronet, or; on the smister, a bear, proper, gorged with a belt, buckled, with strap pendent, argent, charged with two crescents, or. For his crest, A griffin's head erased, argent, gorged as the dexter supporter above-mentioned.
COPESHAM SOLE, alias COPSHOLE FARM, is an estate in this parish, which remained for several centuries in the possession of the family of Belk, written originally Bielke, and descended out of Sweden, who bore for their arms, Gules, a chevron between three leopards faces, argent. Stephen de Belk is mentioned in the Testa de Nevil, as having paid respective aid for land in this part of Kent at the marriage of Isabel, sister to king Henry III. in the 20th year of that reign. Valentine and John Belk were of Sheldwich in the reign of queen Elizabeth, in the 9th year of which they purchased of Edward Livesey several parcels of land in this parish and Selling.
John, the eldest son of Valentine Belk, gent. resided at Sheldwich, and died possessed of this estate in 1633, and was buried in the great chancel of this church. His son William Belk, D. D. was prebendary of Canterbury, and dying in 1676, was buried in that cathedral, leaving by Elizabeth his wife, daughter of Sir Thomas Hardres, a son Thomas Belk, D. D. who succeeded his father in that dignity, and married in 1677 Anne, daughter of Sir Henry Oxenden. He died in 1712, and was buried near his father, having by his will devised this estate to his neice May, daughter of his brother Mr. Anthony Belk, auditor to the chapter of that church. She in 1713 married Mr. Bryan Bentham, gent. of Chatham, whose sons Edward and Bryan afterwards became possessed of it under their mother's marriage settlement; Edward in 1752 conveyed his moiety to his brother Bryan, and he by his will in 1767 devised the whole of it to his brother Edward for life, remainder to his nephew, son of Edward-William Bentham, who alienated it, with Southouse lands in this parish likewise, in 1775, to Lewis, lord Sondes, whose son the right hon. Lewis-Thomas is the present possessor of it.
LORDS is a manor situated about a mile southward of Sheldwich church, on the Ashford high road, which had formerly owners of that name, in which it continued till Richard II. when it was come into the possession of Giles, a family who bore for their arms, Per pale, azure and gules, a griffin passant, or; one of whom, in the preceding reign, had been steward to the abbot of Lesnes, in which name this manor continued till the year 1678, when Christian Giles, marrying Mr. Thomas Hilton, gent. of Sheldwich, entitled him to it. He was the son of Mr. Thomas Hilton, gent. of Faversham, at which place his ancestors had been for some generations, as appears by the parish register, before which they resided at Throwley, in the register of which they are likewise mentioned, almost at the beginning of it in 1558, being the last year of queen Mary's reign. He afterwards resided here, and was succeeded in it by his son Mr. Giles Hilton, gent. who in 1702 married Elizabeth, daughter of Mr. John Law, by whom he had three sons and three daughters; of the former, John succeeded him in this manor; William was of Faversham, and married Mary Oldfield, by whom he had no issue; and Robert was of Selling, and left by his wife Elizabeth Chambers, of the same place, two sons, Thomas Gibbs Hilton, of Selling, who married Anne, daughter of Mr. Stephen Jones, of Faversham, by whom he has seven sons, and John, who married Eleanor, daughter of Mr. John Cobb, of Sheldwich, and two daughters, Elizabeth-Farewell and Christian. Mr. John Hilton, the eldest son, resided at Lords, where he died unmarried in 1780, being much noted for his generous housekeeping and old English hospitality. By his will he gave this manor to his brother Mr. Robert Hilton, for life, remainder in tail to his nephew Mr. John Hilton, second son of his brother above-mentioned, which Mr. John Hilton, since his father's death in 1782, is become the possessor of it, and now resides in it.
SELGRAVE, now usually called Selgrove, is a manor situated both in this parish and in that of Preston, but it has of long time been separated into moieties, and has become two distinct manors, of which that lying within this parish, at the north-east boundary of it, was formerly the property of the family of St. Nicholas, one of whom, Laurence St. Nicholas, paid aid for it in the 20th year of Edward III. being then held of the honor of Gloucester. After which it seems to have come into the possession of Roger Norwood, of Northwood, in Milton, in whose descendants it remained for several generations, and till it came at length by one of the two sisters and coheirs of John Northwood, in marriage to John Barley, esq. of Hertfordshire, from one of which name it was alienated to Clive, of Copton, in the adjoining parish of Preston. Soon after which, this manor seems to have come into the hands of the crown, and king Charles I. in his 7th year, granted it to Sir Edward Hales, knight and baronet, of Tunstall, in fee, who soon afterwards conveyed it to Sir Dudley Diggs, of Chilham-castle, who died possessed of it in 1638, and by a codicil to his will devised the sum of twenty pounds yearly for a running match at Old Wives lees, in Chilham, to be paid out of the profits of the lands of that part of this manor, which had escheated to him after the death of lady Clive, and by purchase from Sir Christopher Clive, these lands being in three pieces, lay in the parishes of Preston and Faversham, and contain about forty acres, and are commonly called the running lands. After Sir Dudley Diggs's death the manor of Selgrave descended to his two sons, Thomas and John Diggs, esqrs. who about 1641 alienated it to Sir George Sondes, K. B. since which it has descended, in like manner as Lees-court, in this parish, described before, to the right hon. Lewis Thomas, lord Sondes, the present owner of it.
A borsholder is chosen yearly for this part of the manor of Selgrave, by the name of the borsholder of the borough of Selgrave, at the court leet holden for the hundred and manor of Faversham.
The sheerway, called Portway, alias Porters, alias Selgrave-lane, leading from Copton to Whitehill, in Ospringe, seems to separate this moiety of the manor from the other.
HUNTINGFIELD is a small court held in this parish, which seems to be an appendage to the manor of that name in Easling, and to have continued with it part of the possessions of the free chapel or college of St. Stephen, in Westminster, till its dissolution in the 1st year of Edward VI. since which it has continued in the like chain of ownership as that in Easling, to the family of Grove, of Tunstall, in which it continued down to Richard Grove, esq. of London, who at his death in 1792 s. p. devised it by his will to William Jemmet, gent. of Ashford, and William Marshall, of London, who are the present possessors of it.
THE MANOR OF LITTLES, antiently called Lydles, which is situated in the north-west part of this parish, and in those of Throwley and Preston adjoining, was formerly owned by the family of At-Lese, one of whom, Richard At-Lese, possessed it, as appears by the chartulary of Knolton manor in the 49th year of king Edward III. How long it continued in his descendants I have not found, but in much later times it came into the possession of the Chapmans, of Molash, from which it was alienated, with other estates in this neighbourhood, by Edward, Thomas, and James Chapman, to Christopher Vane, lord Barnard, who died in 1723, leaving two sons, Gilbert, who succeeded him in title and in his estates in the North of England, and William, who possessed his father's seat of Fairlawn, and the rest of his estates in this county, having been in his father's life-time created viscount Vane, of the kingdom of Ireland. He left an only son William, viscount Vane, who dying in 1789 s. p. gave it by his will to David Papillion, esq. of Acrise, who is the present owner of it. (fn. 6)
SHEPHERDS FORSTAL is an estate in the north-east part of this parish, which takes its name from the green or fostal of that name near which it is situated, and was for many descents in the possession of the family of Ruck, one of whom lies buried at Rye, and was a person of some note in the reign of Henry VIII. being bow-bearer to that prince, and bore for his coat armour, as appears by his grave-stone, Sable, a plain cross, argent, between four fleurs de lis, or. The last of this name, who possessed this estate, was Nicholas Ruck, who about the latter end of queen Elizabeth's reign dying s. p. gave it to his nephew Mr. Nicholas Oliver, who soon after the death of Charles I. passed it away, with other estates in the adjoining parishes of Selling, to the president and fellows of Corpus Christi college, in Oxford, in whom it still continues vested.
A BRANCH of the FAMILY OF SOUTHOUSE, of Selling, resided for some generations in this parish. Robert, son of Henry Southouse, of Selling, by his will in 1475, anno 16 Edward IV. devised it to John his son his tenement in Sheldwich, remainder to his son Robert; in after times, Henry, son of Henry Southouse, of this parish, died in 1705, and was succeeded in his estates here by his eldest son Henry, who died in 1720, leaving one son and four daughters; several of this name, descendants of this branch of the family, yet remain in these parts. Part of their lands called Southouse, came afterwards into the possession of Mr. John Hilton, of Lords, who sold them to Lewis, lord Sondes, whose son the right hon. Lewis-Thomas, lord Sondes, is the present possessor of them. Another parcel of them, called Southouse-lands, came into the hands of the owners of Copersole farm, in this parish, and were owned with it by Mr. Brian Bentham, whose grandson Edward William Bentham, in 1775, passed them away to Lewis, lord Sondes, whose son the right hon. LewisThomas, lord Sondes, is the present possessor of them.
Charities.
THERE is the sum of 40s. a year, payable on St. Barnabas's day, out of a farm called Bellhorn, in Throwley, towards the relief of the poor of this parish, the donor of which is unknown.
SHELDWICH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Ospringe.
The church, which is dedicated to St. James, is a handsome building, consisting of one isle and one chancel, with a chapel in the middle of the south side of the isle, and a small chapel on the north side of the chancel. The steeple, which is a tower, stands at the west end, having a beacon-tower on the top, on which is a small leaden spire and vane. There are four bells in it. In the south chancel are two arches in the south wall, which seem to have been for tombs. On the pavament is a brass plate, with the figures, for John Cely and Isabel his wife; he died in 1429; there is only one part of a coat of arms left, being a coat full of eyes, impaling a coat gone. In the isle are memorials for Southouse, and in the great chancel for Belk, and one with a brass plate, having the figure in brass for Joane, once wife of William Marrys, obt. 1431, under her a coat nebulee, and at one corner a coat per pale, and fess, indented. In the north-east chancel, a stone with the figures in brass, with a lion under his feet, for Sir Richard Atte-Lese, and Dionisia his wife; he died in 1394. Near it is a large stone, with very old French capitals round the edge of it, but mostly obliterated. The coat of arms of Atte-Lees is in several places of the north windows of the isle, and there were formerly in the windows of this church several other shields of arms, all which have been defaced.
The church of Sheldwich, or Cheldwich, as it was antiently written, was once accounted only as a chapel to the church of Faversham, as an appendage to which it was given, with it, by William the Conqueror in his 5th year, to the abbey of St. Augustine, and was included in the several confirmations made afterwards of that church to the abbey. When this chapel became an independent church, I have not seen, but it was certainly before the 8th year of Richard II. when it was rated as a distinct vicarage, to the tenth and the parsonage of it, was become appropriated to the abovementioned abbey, to which the patronage of the vicarage likewise belonged. In which state this church continued till the general suppression of religious houses, when it came with the rest of the possessions of the abbey, anno 30 king Henry VIII. into the hands of the crown; after which, the king, by his dotation charter, in his 33d year, settled both the church appropriate of Sheldwich, and the advowson of the vicarage, among other premises, on his new-founded dean and chapter of Canterbury, with whom the inheritance of the parsonage remains, the present lessee being the right hon. lord Sondes; but the advowson of the vicarage the dean and chapter retain in their own hands, and are the present patrons of it.
It appears by the endowment of the vicarage of Faversham, in 1305, that the vicar of that parish was entitled to all manner of oblations to be made by the thirteen inhabitants of certain tenements in the hamlet of Schelwych, in the chapel of that hamlet annexed to the above-mentioned church, and to be made within the tithing of Schelwych parish, the names of which tenements have been already specifically named before, under the description of the church of Faversham, to which the reader is referred.
¶It is a vicarage of the clear yearly certified value of forty pounds, the yearly tenths of which are 13s. 8d. In 1587 the communicants here were 120; in 1640 it was valued at forty pounds, communicants 160. The vicar receives an annual payment of five pounds, from the dean and chapter of Canterbury, in augmentation of his vicarage. It is exempt from the payment of procurations to the archdeacon.
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It is needless to say, NIKKOR 14-24 is the greatest wide-angle lens of the century, it is sharper than ever before. Look at gentle yellow line on the bottom of the chart, this lens never merge any other lines.
But how about Canon? The chart tell all. Perhaps Canon cares only big white cannons. Please don't forget wide-angles which I loved. Anyway Canon win only PC-E vs TS-E. I feel the L letter is cursed. Look at 17-40/4! This cheap lens beats 16-35/2.8 II. lol They cannot make grading either.
I like 24mm. I like sharpness. I want to know which is best. GANREF have many lens data but these are different ratio and I cannot compare directory. So I picked up these data and combine them on Illustrator CS4. They are using DxO analyzer for Blur measurement. Believe it or not this is actually measured by optical device, not someone's eye.
Dear Canon, I know you are busy for make money, but please make a decent wide-angle zoom lens, and hopefuly I want to see Canon's 14-24 by any chance. The glass is always sharper on the other side but this is too much.
I used to have 16-35/2.8 II once but I sold my copy because it was too crap. Now I have only 2,8/21, 14-24/2.8, TS-E24/3.5 II. I don't have EF zoom so I should add 17-40/4 I guess, it is cheaper and lighter, at least it is better than 16-35/2.8 II except slow abit.
Bodies?
They said 5D2 has been used to measure the lens of the Canon and Sigma. D700 for Nikon, respectively.
What does BxU stand for? How can you compare different body?
DxO labs explain here.
"BxU is covariant to rescaling, changes of resolution, etc… This means that it is possible to compare BxUs from digital cameras having different numbers of pixels, different sensor-pixel sizes, different sensor sizes, ..."
So this chart will helps you when you believe DxO labs is reliable and BxU is a science. If not, just ignore this chart.
GANREF pages
- EF 17-40mm f/4L USM (@24mm) 750 USD
- EF 24-105mm f/4L IS USM (@24mm) 1,149.95 USD
- EF 16-35mm f/2.8L II USM (@24mm) 1,499 USD
- EF 24-70mm f/2.8L USM (@24mm) 1,359 USD
- EF 24mm f/2.8 339.95 USD
- EF 24mm f/1.4L II USM 1,699 USD
- TS-E 24mm f/3.5L II 2,199 USD
- Ai AF-S Zoom-Nikkor ED 17-35mm F2.8D (@22mm, not 24mm) 1,764.95 USD
- AF-S NIKKOR 14-24mm f/2.8G ED (@24mm) 1,829.95 USD
- AF-S NIKKOR 24-70mm F2.8G ED (@24mm) 1,779 USD
- Ai AF Nikkor 24mm F2.8D 359.95 USD
- PC-E NIKKOR 24mm f/3.5D ED 1,989.95 USD
- 12-24mm F4.5-5.6 EX DG ASPHERICAL / HSM (@24mm) 859 USD
How to see Ganref's chart:
Green line: center
Red line: average center
Orange line: average peripheral
Blue line: average whole surface
I am using Blue one.
If you have any requests, please comment here.
This Church is special to me. I spent many Sunday's here as a child. I have fond family memories of this site.
The History of St. Peter's Parish
->The Early Days
The years following the American Civil War saw a great increase in the numbers of people moving from the central section of the City of Fort Wayne. One of the areas seeing the greatest influx was the immediate southeast area. By the early 1870's, it was evident that a new parish to serve the predominantly German and French speaking peoples was needed. (In fact, this particular area was known respectively as "Germantown" and "Frenchtown".) In the summer of 1871, a group of Catholics assembled for just this purpose. The initial meeting, chaired by Peter Mettler, who for many years had shown great interest in just such a project, unanimously decided to approach Bishop Joseph Dwenger in order to receive the necessary Episcopal approval. The approval was immediate in coming and it was decided to name the new parish (the city's fourth parish and third basically German speaking parish) Saint Peter's. In making this choice, the new parish would be placed directly under the protection of the Prince of the Apostles and the first Pope, but also, would in an indirect manner, honor the man who for so many years led the crusade to have this parish established, (Peter Mettler). Father John Wemhoff was appointed by Bishop Dwenger as Saint Peter's first pastor. Born in Minster, Germany in 1837, he had come to America in 1858 and had been ordained to the holy priesthood by our Diocese's first Bishop, John Henry Luers in 1862. Fr. Wemhoff immediately set to work procuring land for the newly formed parish. Eventually enough property was purchased in what was known as the LaSalle Addition for the parish to have an entire city block, which became known as Saint Peter's Square.
->The First Church/School Building
The first structure was erected in the middle of the block facing St. Martins Street and was a brick combination two-story building intended to serve as both a church and a school. The first floor provided for four large classrooms, while the second floor was used as a church, which could easily hold 300. This structure was dedicated on December 27, 1872. In the same year, Fr. Wemhoff caused to have built the first rectory, located at 2001 South Hanna St. Unfortunately, the pastorate of Fr. Wemhoff did not last long. He died suddenly, on December 1, 1880 and is buried in Fort Wayne's Catholic Cemetery. Father Anthony Messman was immediately appointed as the second pastor of St. Peter's by Bishop Dwenger. He, like Fr. Wemhoff, was a native of Germany, having been born there in 1839. He came to America at the age of 20 and was ordained to the holy priesthood by Bishop Luers in 1870. Fr. Messman's first efforts were focused on liquidating the parish debt, which he was soon able to accomplish. He succeeded in bringing to the parish in 1881 the School Sisters of Notre Dame of Milwaukee, Wisconsin, to teach in the parish school. He caused to have built a new convent for the Sisters and also obtained a new rectory.
->The Present Church is Built
Fr. Messman served St. Peter's as its pastor for some sixteen years. During that time, he accomplished much in a material as well as in a spiritual way. However, unquestionably, his most outstanding accomplishment was the building of the new and present church. The church was begun in 1892 and was completed the following year. The plans for this building were drawn by architect Peter Diedrich (1856 - 1924) of Detroit, Michigan and the building contract was let to John Suelzer, Sr. (1852 - 1932), parishioner, (and builder of not only St. Peter's Church, but also its current rectory, which served as the Suelzer Homestead from 1911 to 1949, and builder of St. Mary's Church which was destroyed by fire in 1993). St. Peter's new church was dedicated by Bishop Joseph Rademacher on November 4, 1894. Gothic in style, it measures 190' x 80' and is surmounted by a steeple towering over 200'. Still today, architects and building experts as well as ordinary people marvel at its structure and beauty. Even more marvelous was its cost: built and furnished at a total expense of $75,000.00! In July of 1896, Fr. Messman was transferred to St. Joseph's Parish, LaPorte, where he continued to serve the people of God until his death on May 22, 1912. As the successor to Father Messman, Bishop Rademacher appointed Father Ferdinand Koerdt as St. Peter's third pastor. Like the first two pastors, Fr. Koerdt was also born in Germany and came to America in 1875. One year later, he was ordained a priest by Bishop Dwenger. Fr. Koerdt immediately turned his attention toward education and the building of a new and larger school, which he directed and supervised. Much to his regret, he was able to complete only one wing of his proposed school (the St. Martins Street wing, built in 1904 at the cost of $18,000.00). Early in 1905, because of failing health, Fr. Koerdt asked the Bishop to give him a temporary leave of absence. This request was granted and Fr. Koerdt went to Los Angeles, California, where he died on May 7, 1905 at the age of fifty-two.
->The School and Church Are Completed
On the patronal feast day of the parish, June 29, 1905, Father Charles H. Thiele entered upon his duties as St. Peter's fourth pastor. Like his predecessors, Fr. Thiele was born in Germany in 1862 and came to America at the age of three. He was ordained by Bishop Dwenger in 1888. From 1905 until his death in 1941, Fr. Thiele worked tirelessly for St Peter's and its people. His accomplishments were many. He worked with the City of Fort Wayne to have the streets surrounding St. Peter's extended and improved. He installed a central heating plant for all the parish buildings. He enlarged the convent and completed Fr. Koerdt's original plans for the school. His greatest accomplishment, however, was inside the House of God, St. Peter's Church. Exteriorly, the church was an architectural gem, but inside, much work needed to be done. Fr. Thiele had the entire church frescoed. He had installed the hand-painted Stations of the Cross and in the same year, 1908, he caused to have installed the three beautifully illuminated altars. These were designed and built by the Emil Hackner Company of LaCrosse, Wisconsin, at a cost of $8,000.00. Fr. Thiele was also fond of music. In 1929, he purchased a new organ, a Teller-Kent, made in Erie, PA. It was a gem, containing all the stops required for Church Liturgical accompaniment. It could produce most of the instruments found in a symphony orchestra. It contained a set of chimes of 21 notes, and a harp of 48 notes. In all, there were 54 stops and a total of 3,311 pipes. At the time of its installation, it was recognized as second to none in the city and one of the outstanding organs in the Diocese of Fort Wayne. This Teller-Kent organ served the parish well for some 70 years until its replacement in 1999. Also in 1929, Fr. Thiele was honored by Pope Pius XI for his many achievements with the title of Very Reverend Monsignor. In 1936, due to advancing age and failing health, Msgr. Thiele asked Bishop John Francis Noll to relieve him as pastor and Father John Bapst was appointed as St. Peter's fifth pastor. Msgr. Thiele died at St. Joseph's Hospital on April 17, 1941. In his funeral remarks, Bishop Noll said of Msgr. Thiele: "He was a real spiritual father in every parish in which he labored for fifty-three years: building, developing, working for others, but garnering very little for himself".
->Changes
Fr. Bapst has the distinction of being St. Peter's first native born, American pastor, having been born in Garrett, Indiana on June 19, 1894. He was ordained to the holy priesthood by Bishop Herman Alerding in 1921 and served at a number of parishes in the diocese before coming to St. Peter's in 1936. It can be said that Fr. Bapst inherited a strong, vibrant parish from Msgr. Thiele and it was Fr. Bapst's duty to guide the parish through the turbulent years of World War II and the years following. Because of his zeal and outstanding capability as pastor, in 1945, pope Pius XII honored Fr. Bapst with the title of Very Reverend Monsignor. In 1949, Msgr. Bapst acquired the John Suelzer Homestead at 518 E. DeWald Street to serve as the parish rectory. The 1950's and 60's began to see a dramatic change in parish demographics. For the first time in its history, the parish began to lose membership and the neighborhood started a serious decline. In 1972, St. Peter's School, after 100 years of continuous operation, closed its doors. In 1970, due to declining health, Msgr. Bapst resigned as active pastor, but was named as pastor emeritus, a position which he held until his death in the rectory on January 11, 1972. He is buried in Fort Wayne's Catholic Cemetery. Since 1970, St. Peter's has been served by the following pastors: Fr. Lawrence Kramer, 1970-1971; Fr. Eugene Koers, 1971-1973; Fr. Richard Hire, 1973-1974; Fr. Jacob Gall, 1974-1988; Fr. John Delaney, 1988-1998; and by Fr. Phillip A. Widmann, 1998-present.
->Restoration and Renewal
It was during the pastorate of Fr. John Delaney in the early 1990's that both the parish and the neighborhood started to return from their decline. In 1991, St. Peter's Church, school, and rectory were placed on the National Register of Historic Places. Beginning in 1992, and completed in 1993, on the 100th anniversary of the building of the church, the entire church interior was cleaned and redecorated. Additional work was also done to the church exterior and grounds. 1997-98 saw the forty-six stained glass windows totally restored. In 1998, St. Peter's acquired a 1958 model Aeolian-Skinner Opus 1337 Organ. The parish had this entire organ rebuilt and installed in St. Peter's organ loft. The organ has three manuals containing 37 ranks and 2,218 pipes. Some of the parts and pipes of the old Teller-Kent were salvaged and put to use in the new organ. The entire cost of this almost ten years of restoration was in excess of one milllion dollars. In 1997, in close cooperation with the City of Fort Wayne, Project Renew and nearby Zion Lutheran Church, St. Peter's entered into a partnership to help revitalize its neighborhood. Deteriorated housing and other structures have been removed from the neighborhood. New homes (the first in almost 80 years!) have been built with more scheduled to be built. A number of homes have been repaired and restored. At the east end of St. Peter's Square, a new branch of the Allen County Public Library, a new headquarters for the Fort Wayne Urban League, and new facilities for CANI Headstart and the Pontiac Youth Center have recently been built. In April 2004 ground was broken for the new St. Peter's Pavilion, which was dedicated by Bishop John D'Arcy on April 17, 2005. St. Peter's former school building has been renovated and reopened in 2005 as the Meetinghouse at St. Peter, with secure and comfortable apartments for senior citizens on low or moderate incomes. While times and faces and landscapes change, St. Peter's remains. The impact of St. Peter's Parish to revitalize itself should stand as an inspiration to others. The heritage of those early pioneer parishioners remains. The age-old Catholic belief that nothing can be too beautiful for God's House can be seen in St. Peter's, "the splendour of the South Side since 1872", "perhaps the most beautiful church in the Diocese, if not the entire Midwest".
THE GREATEST GIFT OF ALL - Artist Statement
by Matt Ward
Frozen isn’t my favorite Disney picture, but it’s a guilty pleasure of mine. Guilty, because I watched it alone as a full-grown adult, and found myself falling madly in love with the flaxen-haired snow goddess, Elsa. But then, I’ve got a long history of loving on cartoon characters of a particular sort.
Probably due to my past infatuation with (New) Teen Titans’ Raven, I was evermore conditioned to fall for characters whose talents or superpowers made them weird, dangerous, uncontrollable, and in many ways, doomed—the burgeoning human need to interact and express themselves puts them in constant danger of destroying all that they aspire to protect. That song remains the same, from Wolfman to Witchblade to Wicked, that essential humanity will not be denied. Eventually it boils over. (Tragedy’s a hell of a drug. I love it.)
Also due to the fact that not only is Elsa sexier than a Pininfarina-styled wet dream—her upswept mane of dangerous, dragon-like curls folded into a slinky French braid, and her gossamer-thin gown cling-filmed to all her most salient peaks, valleys and mounds—but for two years, there was no place to hide from her voice, her anthem, or her predatory glare (and Anna’s comparatively earnest gaze), being advertised on television or in all sorts of public spaces, accessories and apparel, cereal boxes, even a birthday party in my next-door neighbor’s backyard. The record-smashing worldwide gross and prolonged Disney blitz made the cups of popular culture runneth over.
I was bored for a spell (and busy with other things), but with my mill immersed in a miasma of familiar-smelling grist, it was only a matter of time before I would move to consummate my feelings, pick up my Wacom tablet, and draw Elsa and Anna doing something un-Disney-like, with a requisite level of un-Disney-like modesty.
‘THE LAND THAT NEVER MELTS’
The setting is based on the Akshayuk Pass section of Auyuittuq National Park in Baffin Island, Nunavut. Mount Thor is visible on the left. I compressed the range in order to fit the tall and narrow canvas, and filled the bottom of the pass with a frozen lake. The clouds and lake ripples were produced with texture brushes I made from Googled photos of other frozen bodies of water (particularly Abraham Lake in Alberta), and different cloud species (mostly altocumulus, cirrus and cirrocumulus.)
I was originally inspired by the proliferation of methane bubbles in Abraham Lake, which freeze while en route to being expressed at the surface, making it look as if you’re walking on fathom-deep stacks of CD’s and coins. Later on, I felt that a huge methane bubble didn’t make a very powerful visual for the girls to be standing on, so I grafted in the huge snowflake, and used multiple duplicate layers of blurred overlays and screens to make it glow. The more it glowed, the happier I was with it.
THE MODELS
I had no intention of going fully photo-realistic, as I’m not a master of the craft and it would’ve taken me a million years to finish, but I wanted to use real faces as references. And I didn’t want faces you could see just anywhere. I looked to my two favorite pinup models from the 1950s and 60s, with Rosina Revelle as Elsa, and Michelle Angelo as Anna. I was introduced to their work via Dian Hanson’s The Big Book of Breasts (which had a memorable cameo on Matthew McConaughey’s desk in the movie Tropic Thunder) in which Revelle and Angelo were prominently featured models.
When I first bought the book a few years ago, it actually took me a while to get used to Rosina. Her facial features are gentle and fleshy, with full pouty lips, and a high-maintenance bearing. Her natural missile-shaped bosoms cantilever from her rib cage, and just seem to hang there even without support. It’s not a contemporary look, even though she is, on the whole, very easy on the eyes.
Michelle looks more contemporary, slimmer and slightly more petite, with a face that radiates a comparatively easier-going nature. Different looks for different times; Michelle Angelo was one of the most widely published American pinup models in 1960s gentleman’s literature, Playboy’s ‘Psychedelic Hippie’, and a fixture of the free-love generation. Rosina Revelle’s criminally short modeling career happened a decade earlier in the UK, where she was billed as Britain’s answer to Brigitte Bardot (though personally, I don’t think Ms. Bardot has anything on Rosie.)
Despite being photographed at a younger age than Michelle, Rosina’s eyes carry a sense of wisdom and experience beyond her years. And at times, a sense of implacable will, like she’d have no problem getting what she wants, most of the time, and not entirely due to cuteness.
Remember when Elsa told Olaf to lay off the cake? Stuff like that.
To paraphrase a line from Vito Corleone, Anna can afford to look a little careless, but Elsa cannot. This is what I feel allows Rosina and Michelle to really sell these characters, apart from bearing some vague resemblance to highly stylized cartoon designs—Anna is light and free and open, while Elsa carries baggage befitting her age and rank, both in the form of greater sensuality and the burden of responsibility.
THE WORK
I sketched the original line drawing in November 2015, and proceeded to paint in grayscale until I was comfortable with the direction of light sources, and the styling of the ribbons and bows.
In my previous outing with the Wacom tablet (which was my very first!) I only used varying sizes of hard and soft round brushes, bewildered by the vast selection of other brush tips and the sheer amount of control a power user can have over their behavior. Now this time, I was experimenting in earnest; I’d gobbled up all the free tutorials I could find, and was determined to learn this stuff and make it stick.
But I didn’t relinquish all of my powers—most of the piece is straight drawing, but where Photoshop could make my life easier (and make the painting look better), I just let it.
I tried painting freehand clouds, and thought at first that I managed a satisfactory result. Then I put away my pride and chucked it, made some custom texture brushes, and came out with something that looks a whole lot better. Likewise with the ripples on the lake. The rosemaling patterns and snowflakes were taken from a Google image search, and free-transformed into place.
The thing I looked most forward to trying out my new custom brush skills on was Anna’s freckles. I was giddy for it in a weird way. In the end, I got a little carried away and really Shawkatted her up. Then after I added blush and jacked that up, it looked like she had a condition! Jeez, where’s a freckle model when you need one? This is something I still need to work out.
THE MEANING
I should leave that up to the viewers. But if you want my view anyway:
I subscribe to a couple of Elsanna and ‘arencest’ tumblrs because I enjoy the fanart. But I don’t think the fate of the Universe hangs on the fulfillment of that prophesy, and, if many of one’s friends swim in that pool, one could be forgiven for thinking it was a religion. Ultimately I don’t care to ship it, because I don’t care. I painted this for my own selfish, prurient reasons.
I would be lying, however, if I denied it to be a compelling concept that Elsa’s ‘greatest gift of all’ was herself. And in a non-incestuous context, Frozen Fever is the bow that tops the wrappings of the previous film’s finale, with the wounds created in the first full-length feature all neatly bound and healed, pretty much hermetically.
Still, I didn’t let that stand in the way of me fixing my own little Elsanna sandwich. (Om nom nom)
One of the greatest engines ever made by Ford. Have yet to see one in person, this is 1/8 scale model from my Ford memorabilia collection (yes, I have ford and mustang models too, I've told you, cars are my addiction!) . Shot in my basement with two flashlights as my light sources.. got bored one night and started messing around
image copyright SB ImageWorks
Most early M4 tanks were outfitted with the M3 75mm which turned out to be a capable main gun.
The Sherman could lug around up to 104 rounds; most Shermans primarily carried HE (high explosive) and WP (white phosphorus) along with a few AP (Armored Piercing) rounds.
This gunner learned the hard way, and, luckily lived to tell about it- the 75mm was no match for the frontal armor of a Tiger or Panther.
He knows to target the side, especially the tracks, to knock out these Nazis.
At the later stages of the desert campaign, it's likely that his opponent is running on fumes, has little or no water left, and is desperately low on ammunition.
1:100 Johnny Lightning
Panzer "Panther" Ausf.G
(German Panther G)
Greatest Generation
2019 Release 1B
Should've Seen It in Color
Olympus OM-D E-M5 Mark II
Olympus M.14-42mm F3.5-5.6 II R
For more info about the tank that won the Big One, check out: The Sherman Tank
Ten Days in New York City
Day 1:
Self portrait.
Biodiversity Hall.
American Museum of Natural History,
New York City.
Durgotsava is a four-day celebration of the greatest Religious Festival of Bengal. During this time Kolkata turns into a vibrant city of art and culture reflecting the true spirit of Bengal. I hereby share a few glimpses of the fact with you. Hope you will appreciate.
[ Looking back - 2014: Last year I couldn’t share any of my photographs on this festival. I think you wouldn’t mind if I share them this year prior to my current photographs on this subject.]
The Meaning of ‘Durga’.
Durga, meaning "the inaccessible" or "the invincible", is a popular fierce form of the Hindu Goddess or Devi. She is depicted with multiple arms, carrying various weapons and riding a ferocious lion( in Bengal). She is pictured as battling or slaying demons, particularly Mahishasura, the buffalo demon.
Her triumph as Mahishasura Mardini, Slayer of the buffalo Demon is a central episode of the scripture Devi Mahatmya. Her victory is celebrated annually in the festivals of Durga Puja.
History
The word ‘Shakti’ means divine energy/force/power, and Durga is the warrior aspect of the Divine Mother/Brahman(Supreme Absolute Godhead).
As a goddess, Durga's feminine power contains the combined energies of all the gods. Each of her weapons was given to her by various gods: Rudra's trident, Vishnu's discus, Indra's thunderbolt, Brahma's kamandalu, Kuber's Ratnahar, etc.
According to a narrative in the Devi Mahatmya story of the Markandeya Purana text, Durga was created as a warrior goddess to fight an asura (demon) named Mahishasura. Brahma had given Mahishasura the power not to be defeated by a male. Mahishasura had unleashed a reign of terror on earth, heaven and the nether worlds, and he could not be defeated by any man or god, anywhere. The gods were helpless. Shiva, realizing that no man or god (male) can defeat Mahishasura, made a request to his wife Parvati(Durga) to take the role of a female goddess warrior in order to slay the demon. Parvati took his request and went to the Ashram of priest disciple named Katyayan to assume the role of a warrior. Meanwhile, the gods went to Brahma for help and, with Brahma, then made their way to Vaikuntha—the place where Vishnu lay on Ananta Naag. They found both Vishnu and Shiva, and Brahma eloquently related the reign of terror Mahishasur had unleashed on the three worlds. To save the worlds, Vishnu, Shiva and all of the gods emitted beams of fierce light from their bodies. The blinding sea of light reached Parvati at the Ashram of the priest Katyayan and Durga emerged from this pool of light. The goddess Durga took the name Katyaayani from the priest. She introduced herself in the language of the Rig-Veda, saying she was the form of the supreme female aspect of Brahman (Prakriti) who had created all the gods. Now she had come to fight the demon to save the three Worlds. They did not create her; it was her lila that she emerged from their combined energy. The gods were blessed with her compassion.
To combat the evil Mahishasura, she had appeared in a great blinding light, to combat this demon and end it for all to be in peace. The terrible Mahishasura rampaged against her, changing forms many times. First he was a buffalo demon, and she defeated him with her sword. Then he changed forms and became an elephant that tied up the goddess's lion and began to pull it towards him. The goddess cut off his trunk with her sword. The demon Mahishasur continued his terrorizing, taking the form of a lion, and then the form of a man, but both of them were gracefully slain by Durga.
Then Mahishasur began attacking once more, starting to take the form of a buffalo again. When Mahishasur had half emerged into his buffalo form, he was paralyzed by the extreme light emitting from the goddess's body. The goddess then resounded with laughter before cutting Mahishasur's head down with her sword.
Thus Durga slew Mahishasur, thus is the power of the fierce compassion of Durga. Hence, Mata Durga is also known as Mahishasurmardhini—the slayer of Mahishasur.
The goddess, as Mahishasuramardini, appears quite early in Indian art. The Archaeological Museum in Matura has several statues on display including a 6-armed Kushana period Mahisasuramardhini that depicts her pressing down the buffalo with her lower hands. A Nagar plaque from the first century BC - first century AD depicts a 4-armed Mahisamardhini accompanied by a lion. But it is in the Gupta period that we see the finest representations of Mahisasuramardhini. The spear and trident are her most common weapons. A Mamallapuram relief shows the goddess with 8 arms riding her lion subduing a buffalo-faced demon; a variation also seen at Ellora. In later sculptures show the goddess having decapitated the buffalo demon.
Durga Puja (Worshiping Durga)
The four day long (Saptami to Dashami) Durga Puja is the biggest annual festival in Bengal, Assam, Orissa, Bihar, Jharkhand and Nepal, where it is known as Dashain. It is celebrated likewise with much fervour in various parts of India, especially the Himalayan region, but is celebrated in various forms throughout the Hindu universe.
The day of Durga's victory is celebrated as Vijayadashami (Bengali), Dashain (Nepali) or Dussehra (Hindi) - these words literally mean "the Victory Tenth" (day).
The actual period of the worship however may be on the preceding nine days (Navaratri) followed by the last day called Vijayadashami in North India or five days in Bengal (from the sixth to tenth day of the waxing-moon fortnight)..
In North India, the tenth day, signifying Rama's victory in his battle against the demon Ravana, is celebrated as Dussehra - gigantic straw effigies of Ravana are burnt in designated open spaces (e.g. Delhi's Ram Lila grounds), watched by thousands of families and little children. In Bangladesh also the four-days long Sharadiya Durga Puja (Bengali: শারদীয়া দুর্গা পুজো, ‘autumnal Durga worship’) is the biggest religious festivals for the Hindus and celebrated across the country with Vijayadashami being a national holiday. Source: Wikipedia.
‘Durgotsava’ - My Personal feelings :
To me worshiping goddess Durga encompasses so many deeply seated aspects of human lives and nature. The imagination of such a Goddess-form has its age old story depicted in the Hindu Puranas and that had been fabricated by the wisdom of ages as a symbolic one for Bio-Geo-Socio-Economic-Cultural and Aesthetical upliftment of humankind and its relationship with nature, through the practice of worshiping.
Once in a year She, The Mother Durga, is thought to come from her abode at mount Kailash in Himalaya to the land of Bengal at the time of Autumn, the finest of all six seasons when Bengal turns into a nature’s paradise. The snow white clouds against the deep azure of the sky, the gentle cool breeze carrying the sweet fragrance of flowers, the turning colors of the leaves, the golden sunlit lush green paddy fields and the waving clusters of dazzling white inflorescence of Kash dramatically prepare the minds of Bengal apt for celebration of life. Artists of versatile talents from Bengal and other states culminate their finest ever skill and efforts for making the idols of Durga using conventional natural resources like clay, wood, organic colors, that are all biodegradable. The pandals( the temporary abodes of Devi Durga) all over Bengal, especially in urban cities turn into the finest galleries of art and culture covering an unimaginably wide range of form and traditions, represented by Bengal and neighboring states of India. Durga puja becomes a wide open opportunity to discover and re-discover the art and artistry of Bengal, and not only that this is the biggest festival of Bengal that provides a great competitive platform for innumerable artists and workers to learn and earn.
The time of Puja is the time for togetherness, is the time for sharing and caring. The traditional concept of making the idols of Durga, her four children and her husband Lord Shiva against a single background structure( which is in Bengali: Ek chalchitra) seems to me a very symbolic one! It implicates to me a strong bondage between the family members, or in a greater sense the relationships between individuals. An example of unity in diversity.
To save the worlds, Brahmma(the god of creation), Vishnu( the god of sustenance), Moheshwara/ Shiva(the god of destruction) and all of the gods emitted beams of fierce light from their bodies. The blinding sea of light reached Parvati, and Durga emerged from this pool of light. This is very symbolic. I see durga as a domain where there have been convergence of all form of energies; she is the symbolic epitome of unified force, as it is the most cherished theory of modern-day physics- “the unified field theory”. And therefore, She is the Symbolic epitome of concentrated knowledge and wisdom. She can create(sristi), She can sustain( sthiti), and She can destroy(loy). She comes over here to create all good things and to sustain them on this earth, and to destroys all evil power, as depicted by triumph over Mahisasura.
Her four children are very symbolic to me for four aspects of socio-economic- cultural upliftment. These are the four aspects to create a balanced nation or a person as an individual.
“Lakhsmi”, her elder daughter, is a symbol of wealth. She carries with her a bunch of ripe paddy and a container of vermilion. Ripened paddy is the symbol of agricultural success. And vermilion is the symbol of peaceful marriage in Hindu custom.
“Swaraswati”, her younger daughter, is a symbol of art and culture. She carries with her a sitar, a classical Indian instrument depicting music, which is the highest form of the faculty of art.
“Kartika”, her elder son, is the commander-in-chief of the gods for war. He is the warrior and protector from enemies. He carries a bow and arrows. He knows how to target an enemy. And he is the symbol of leadership qualities.
“Ganesha”, her youngest son. He is the symbol of knowledge and wisdom.
And the Mother is the creator of all her four children, the four faculties associated with biological, social, cultural and intellectual evolution of man.
Therefore, She is the idealistic epitome of Gunas (qualities), that we all her children should acquire for. And there lies the true meaningfulness of worshiping our mother, Durga.
On the tenth day after the triumph, the day of Vijaya Dashami, mother along with her family sets her journey back to her final adobe in himalaya, leaving the earthly world behind. The clay idol is thus immersed in the holy water of Ganges to symbolize her journey. And thus the whole celebration comes to an end.
File name: 11_06_000023
Title: The Barnum & Bailey greatest show on earth : The world's grandest, largest, best, amusement institution.
Created/Published: Cin ; N Y ; Lon : The Strobridge Lith. Co.
Date issued: 1895 (approximate)
Physical description: 1 print : lithograph, color ; 77 x 99 cm.
Genre: Circus posters; Lithographs
Subjects: Barnum and Bailey; Circus parades; Circus performers; Circus animals; Horses
Notes: Title from item.; Date supplied by cataloger.; Caption: Section 2. Circus division of the new million dollar free street parade. Brilliant array of champion performers elegantly mounted to represent a meet of fox hunters.
Collection: Richard Dale McMullan Collection
Location: Boston Public Library, Print Department
Rights: No known restrictions
Van Hool - McArdle bodied Leyland AN68 of CIE heading out of Dublin to Dun Laoghaire. When I first saw these vehicles in 1980 they seemed very avant-garde, but are rather less so in retrospect. This livery was called I think 'Tan'. It must rank as one of the most dreary liveries ever devised.
DIRTY SHOW 10TH ANNIVERSARY
THE GREATEST EROTIC ART SHOW ON EARTH!
Erotic Art Exhibition hosted by The National Grid Gallery
Dirty Show Detroit started ten years ago, as a showcase for erotic art of all forms and from all walks. Each year the amount of art displayed, the multitudes of patrons, and the imagination and quality of the erotic works, grew exponentially. Dirty Show® Detroit is one of the largest and most well respected art shows of our time.
Now, in a world first, it is evolving into a gigantic international art phenomenon. This year DIRTY SHOW X are planning simultaneous satellite Dirty Shows® all over the world. The National Grid Gallery in Sydney will proudly be hosting Dirty Show X Australia on February 6th 2009.
ARTISTS EXHIBITING:
ANDREW JOHNSTONE. BAD BEHAVIOR PUBLISHING. BARRETT. BETH JOSEY. BEASTMAN. BRIDGE BEAR.CARLY CASEY. DANIEL MARSHALL. DOUG FAIRCLOTH. EMMA KIDD. ERIN CASEY. FRANCESCA D’AMICO. FRANK FABLE. GARTH KNIGHT. HAYLEY ABLOTT. JASON IERACE. JENNY LLOYD. JUSTIN ROBSON. KIRSTEN FREDERICKS. LARA ALLPORT. MARTY O’HARE. MELODY CARAMINS. MICHAEL CHEN. MILOS POPOVIC. NIC PLOUGHMAN. NICK MORRIS. PATRICK CUMMINS. PAUL VANZELLA. RAINE SUPREME. ROMAN ROMANSKI. RORY ‘CHOPS’ WOODS. SASHA DOBIES. SHANNON CREES. SIMON DEGROOT. SIMON LOVELACE. TANIA WURSIG. THE RIPE COLLECTIVE. TRAVIS PRICE & MANY MORE...
Exhibition Dates:
Opening Night: Friday 6th February 6pm- 9pm
Closing date: Saturday 21st February
Address:
The National Grid Gallery
24 Chard Road
Brookvale
NSW
2100
(02) 9905 9332
Join Us on the Facebook or get on the mailing list for info on upcoming shows.