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THE STRICKLAND FAMILY HAS LIVED AT SIZERGH FOR MORE THAN 750 YEARS, AND IT REMAINS THEIR HOME TODAY. SET IN LARGE, BEAUTIFULLY LANDSCAPED GARDENS AND BASED ON AN IMPRESSIVE 13TH CENTURY SOLAR TOWER.
SIZERGH CASTLE ISN’T REALLY A CASTLE AT ALL. ALTHOUGH IT HAS A LARGE DEFENSIVE SOLAR TOWER, A POTENT SYMBOL OF THE POWER OF THE STRICKLAND FAMILY THROUGHOUT THE MEDIEVAL PERIOD, IT IS REALLY JUST A GRAND COUNTRY HOUSE. PROMINENT PARTS OF THE HOUSE DATE FROM THE ELIZABETHAN, INCLUDING THE DARK WOOD PANELLED INTERIORS, AND GEORGIAN-ERAS.
THE HOUSE IS SET IN A LARGE COUNTRY PARK, THE FIRST, DRAMATIC, SIGHT OF THE BUILDING COMES AS YOU WALK ACROSS THE PARK FROM THE SOUTH. THE LONG WALK THROUGH THE GROUNDS, PASSING SOME LOVELY OLD TREES, GIVES YOU SOME IDEA OF THE FORMER WEALTH OF THE FAMILY THAT LIVED HERE.
MUCH HISTORY IS BOUND UP IN SIZERGH CASTLE, INCLUDING THE POLITICAL AND RELIGIOUS TURMOIL OF THE 17TH AND 18TH CENTURIES. UNTIL THE END OF THE 18TH CENTURY, THE STRICKLAND FAMILY WERE DEEPLY INVOLVED IN THE EVENTS OF ENGLISH HISTORY. DESPITE HAVING A CENTRAL ROLE IN THIS TURMOIL, THEY MANAGED TO RETAIN OWNERSHIP OF SIZERGH CASTLE UNTIL THE 20TH CENTURY. THE FAMILY ‘GAVE’ THE HOUSE TO THE NATIONAL TRUST IN 1950, BUT NEGOTIATED A PRETTY GOOD DEAL. THEY CONTINUE TO LIVE THERE AND PUBLIC ACCESS IS RESTRICTED TO FOUR HOURS PER DAY, FIVE DAYS PER WEEK.
THE STRICKLAND FAMILY ARRIVED IN ENGLAND AS PART OF THE NORMAN CONQUEST, AND WERE GRANTED LAND IN CUMBRIA. SIZERGH CASTLE CAME INTO THEIR HANDS THROUGH MARRIAGE. THOMAS STRICKLAND CAME TO PROMINENCE DURING THE BATTLE OF AGINCOURT IN 1415, CARRYING THE FLAG OF ST. GEORGE (A GREAT HONOUR APPARENTLY). MORE IMPORTANTLY, STRICKLAND BROUGHT WITH HIM A COMPLEMENT OF ARCHERS. THE BOWMEN OF KENDAL WERE INSTRUMENTAL IN THE ENGLISH VICTORY AGAINST OVERWHELMING FRENCH ODDS.
A Verde Ithaca GTR that the owner was daring enough to have his GTR in... Very unique I have to say...
Deboxing Pocahontas. She has been freed from the large plastic spacer, but her right foot is still attached to a small plastic piece at the base. She is also tied to the doll stand that supports her, and her shawl is tied down in various places. There are also two rubber bands around her hair, which are in two sections. The rubber bands are removed, and her hair moved out of the way so I can remove the wire around her waist. Her golden crown has come apart in the back. The tiny post on one end that goes into a tiny hole on the other end doesn't stay in very well. Her shawl is raised so we can undo the wire around her tying her to the doll stand.
Deboxing the Pocahontas and John Smith Doll Set. The slip cover and acrylic covers have been taken off, so the dolls are in clear view in the display case. The dolls are attached to the built in doll stands, and to the plastic and cardboard backing. Then the backing was opened up by cutting the tape holding it together on the edges. The tabs and wires are now accessible so the dolls can be removed from the backing. The backing was cut off from the base after the dolls were freed from the backing. The dolls are now attached to the large plastic spacer and two smaller ones, by rubber bands, plastic t-tabs and wires. They are now removed from plastic spacers. John Smith can now be taken from the doll stand. Pocahontas is still attached to the doll stand by additional restraints. Photo taken in daylight.
Photos of my Limited Edition Pocahontas and John Smith 12'' Designer Doll Set. Second of five releases in the 2014 Disney Fairytale Designer Collection. I purchased them in store on the release day, Tuesday Sept. 30, 2014. They are #1352 of 6000, and cost $129.95. I think these dolls follow the artwork very well, and look very good together. I like the colors and textures of Pocahontas' outfit and accessories much better than the original Designer Pocahontas doll (released in October 2011). I also think her face is prettier and her expression gentler and more natural. John Smith also has a good expression, and doesn't look as bland as most of the other Designer Princes. The couple are presented side by side in the box, so are both very well shown.
Pocahontas and John Smith Doll Set - Disney Fairytale Designer Collection
US Disney Store
Released in stores 2014-09-30
Released online 2014-10-01
Purchased in store 2014-09-30
#1352 of 6000
$129.95
Item No. 6070040901072P
Free spirit
The noble Powhatan Indian, Pocahontas, has never looked more beautiful than she does paired here with the adventurous John Smith. This elegant set of Disney Fairytale Designer Collection dolls is the result when their two worlds become one.
Magic in the details...
Please Note: Purchase of this item is limited to 1 per Guest.
As part of the Disney Fairytale Designer Collection this pair of Pocahontas and John Smith dolls were carefully crafted by artists inspired by Disney's 1995 movie. Pocahontas and John Smith have been reimagined in exquisite detail with these limited edition dolls. Brought to life with thoughtful attention, they uniquely capture the essence of the fairytale couple, creating a one of a kind set that will be a treasured keepsake of collectors, Disney fans and every princess at heart.
• Global Limited Edition of 6000
• Includes Certificate of Authenticity
• A golden braided feather headdress adorns Pocahontas' wind-swept long, black hair
• Teal blue signature necklace with a feather charm
• Highly detailed embroidered bodice
• Matching light tan suede skirt with beaded fringe details
• Layered suede wrap belt with sculpted feathers
• Deep chocolate brown suede shawl with tonal leaf flocking
• Dramatic make-up and rooted eyelashes
• John Smith wears a quilted blue suede tunic
• Weathered boots and tan suede satchel with gold buckle
• Dolls sold in a special keepsake display case with intricate details on the base, including a golden plate with the names of Pocahontas and John Smith
• Includes special Disney Fairytale Designer Collection Gift Bag
• Part of the Disney Fairytale Designer Collection
* Intended for adult collectors -- Not a child's toy.
The bare necessities
• Plastic / polyester
• Pocahontas: 11 1/2'' H
• John Smith: 12'' H
• Imported
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
Uruguay, like several other countries in South America, has been a traditional customer of US military hardware. In Uruguay’s case, this first example were 40 M3A1 Stuart light tanks delivered in 1944-1945. In the years following the Second World War and the Korean War, obsolete armored vehicles which were no longer deemed as required for the current situation of the US military were given as military aid to US allies, particularly in Latin America. It was in this context that Uruguay would receive 17 M24 Chaffee light tanks and 12 M4A3E8 Sherman medium tanks in 1957-1958 from American surplus stock.
Deliveries were completed on September 30th, 1958. This was part of the American Military Assistance Program (MAP), under which the US provided military equipment to aligned nations within the context of the Cold War. These tanks did not come from the mainland US but were instead delivered from US Army stocks in Japan and Korea. A considerable number of spare parts were likely delivered along with these, too, as well as in the coming years. Along with the Chaffees and Shermans, Uruguay furthermore received a single Sherman-based M74 Armored Recovery Vehicle.
By the time of the Korean War, the M4 series had evolved into its final form, often referred to as the M4A3E8, and this was the Sherman version that was also delivered to Uruguay. To the Marines in Korea, they were known as the “Old Reliables”. Entering service late in the Second World War, this model featured an improved Horizontal Volute Spring Suspension (HVSS) that replaced the iconic Vertical Volute Spring Suspension (VVSS) of earlier models. This suspension allowed for a wider track, improving grip and lower ground pressure on softer ground.
Propulsion was provided by the Ford GAA all-aluminum 32-valve DOHC 60-degree, 500 hp, V8 gasoline/petrol engine. This could propel the tank to a top speed of 40 – 48 km/h (25 – 30 mph). Armor on the vehicle was up to 76 mm (3 in) thick. The tank had a crew of five, consisting of a commander, driver, co-driver/bow machine gunner, gunner, and loader.
Even though a large number of newer 90mm gun armed M26 Pershings and M46 Pattons were dispatched to the Korean Peninsula, multiple variants of the HVSS Sherman were also used in the Korean War. These included the regular M4A3(76)W HVSS, which was armed with the 76mm Tank Gun M1A1 or M1A2, the M4A3(105) HVSS, armed with the 105mm Howitzer M4, and finally, the POA-CWS-H5, a specialist version armed with both a 105mm Howitzer and a coaxial flamethrower.
The ex-American tanks were delivered to Uruguay’s Batallón de Infantería Nº 13 (13th Infantry Battalion), founded in 1904, and with the arrival of the new equipment at the Durazno Arsenal in central Uruguay the regiment was aptly renamed Batallón de Infantería Blindado Nº 13 (13th Armored Infantry Battalion). The tanks formed two Compañías Blindada de Tanques (Armored Tanks Companies), formally created on 12 July 1958. In each company, two tanks formed a command section while the remaining were divided into platoons of five. Each platoon was coded with an individual color and the command tanks received colored shields as background to their tactical codes. Additionally, the command tanks received individual names, beginning with letters corresponding to their respective commanded platoons, e. g. “Ceasar” for one of the 3rd platoon’s commanding M4s, which carried the tactical code "2" on a green background, the 3rd platoon’s color.
The tanks were delivered in a unicolor camouflage, likely U.S. Army olive drab. They received prominent Uruguayan army roundels on the turret flanks, comprising a blue roundel in the center, circled by white and then further circled by blue again, with a red bar going through the roundel diagonally. Later, likely in the 1960s, the tanks were given a disruptive four-color scheme, comprising medium green, dark green, tan and a dark brown bordering on black.
The first months of the new tanks’ service were marked by several instances of ceremonial use in foreign presidential visits to Uruguay, during which the tanks would perform a parade in the streets of Montevideo, the Uruguayan capital – often in the company of the vintage M3A1 Stuarts which were still retained in service by this point for training.
The 1960s were a decade of turmoil in Uruguay, with an economic crisis caused by struggling Uruguayan exports causing significant unrest and political uproar. This led to the rise of an armed revolutionary left-wing movement known as the Tupamaros or MLN-T (Movimiento de Liberación Nacional-Tupamaros, Tupamaros National Liberation Movement) which would progressively grow more violent. In 1968, the Uruguayan president, Jorge Pachero, declared a state of emergency that would see the military largely deployed in the streets. The following president, Juan María Bordaberry, would continue authoritarian policies and suspend civil liberties. In June 1973, he dissolved the Uruguayan congress and became a de facto dictator sponsored by the Uruguayan military.
During this time, the Tupamaros fought in an urban guerilla war against the Uruguayan military. The Uruguayan tanks, especially the compact M24s, were regularly employed in the streets as a show of force, being a very intimidating presence to potential insurgents. For this mission, a few M4s and M24s, primarily command tanks, were outfitted with locally developed hydraulic dozer blades. These were detachable, though, and the tanks should retain the installations for the rest of their career.
By mid-1972, the Tupamaros had largely been defeated, killed, captured, or forced into exile, as many other Uruguayans had been. The Uruguayan dictatorship would maintain itself all the way to 1985 however, engaging in repressive policies which, while often overshadowed by some employed by other regimes, such as Augusto Pinochet’s Chile, would see many Uruguayans exiled, and many assassinations performed against political opponents, even though most of which took place outside of Uruguay’s borders. The M4s and M24s would continue to regularly be used for intimidation purposes during this era, though Uruguay would also purchase more modern tanks in 1982, including twenty-two M41 Walker Bulldog light tanks from Belgium. These didn’t replace the vintage WWII vehicles, though.
In 1984, elections were finally held, seeing Uruguay return to civilian rule from this point onward. Though amnesty for human rights abusers would be declared, Uruguay would move back towards being one of the more democratic and stable countries in South America in the next decades, which would culminate in a former Tupamaros, who had spent fifteen years in prison, José Mujica, being elected president in 2009.
At the same time as Uruguay was transitioning back to democracy, the M4s and M24s the country had now operated for about thirty years were becoming increasingly obsolete. The tanks’ engines were worn out after 30 years of constant use and useful ammunition for the M4s 76 mm gun was not available anymore. Funds for new/more modern tanks were not available at that time, therefore, it was decided to modernize the powerplants and drivetrains of the tanks and outfit the Shermans with a modern, bigger main gun.
For this purpose, the Brazilian company Bernardini was contracted. The Bernardini S/A Industria e Comercio (Bernardini Industrial and Commerce Company), based at São Paulo, was originally a safe manufacturer which operated from 1912, but during its later years it branched out into vehicle production, too, and created several conversions and indigenous tanks for the Brazilian Army.
Bernardini outfitted the light M24s with a Saab-Scania DN11 220-230 hp engine, a Swedish industrial truck engine manufactured in Brazil. This was a commercially available engine for which parts could be very easily sourced, and it was coupled with a new GAV 762 automatic gearbox. Mounting these totally different engines called for considerable modifications, including a completely new raised engine deck with integrated coolers.
The Shermans received new Continental AOS-895-3 six-cylinder air-cooled petrol engines, which had been procured together with the Belgian M41s as part of a spares deal and directly delivered to Brazil for the conversions. This engine delivered 500 bhp (370 kW), the same as the former Ford GAA V8, but provided more torque, was lighter and more compact, and had a considerably lower fuel consumption. It was coupled with a new gearbox, an Allison CD-500-3, with 2 ranges forward, 1 reverse.
For the planned armament upgrade, the modern 90 mm Cockerill Mk. 7 gun was chosen, another item procured from Belgium. Weighing less than ¾ of a ton and with a length of 4.365 m, the 90 mm Cockerill operated at a pressure of just 310 MPa and produced a recoil stroke of only 350 to 370 mm. Ammunition for the Cockerill gun was made by MECAR (another Belgian arms company) and included a potent Armor-Piercing Fin-Stabilised Discarding Sabot – Tracer (APFSDS-T) round with a muzzle velocity of 1,500 m/s, able to defeat even heavy targets. Furthermore, there were High Explosive Plastic rounds (HEP) to defeat bunkers, structures, light armor and also for indirect fire use, smoke, canister, High Explosive Anti-Tank (HEAT), and training rounds.
However, the plan to simply exchange the old 76 mm gun in the original M4A3 turret turned out to be impossible, so that Bernardini offered to adapt one of the company’s own turret designs, a cast turret for an upgrade for the indigenous CCL X1A2 “Carcará” tank that never materialized due to low Brazilian funds, to the M4’s very similar hull. The Uruguayan government agreed and the deal for the conversion of all M4s left in service was closed in late 1982. Some sources refer to this modernization as having occurred in 1983, while some others mention 1987.
The new Bernardini turret resembled the earlier Sherman turret, but it was overall larger and featured a long, characteristic jutty as a counterweight for the bigger and longer gun. It also offered ample space for a radio set and ammunition. The turret had a maximum armor strength of 114 mm (4.5 in) at the front, instead of the former 76 mm (3 in); traverse was full 360° (manual and electric-hydraulic) at a rate of 36°/sec. The turret’s higher overall weight was compensated for by the relatively light gun and the lighter engine – even though this raised the tank’s center of gravity and somewhat reduced its handling quality. The commander and gunner sat in the turret on the right side, with the commander provided with a domed U.S.-style cupola. The gunner did not have a hatch and was seated forward of the commander. A loading assistant was placed on the left side of the gun, with a separate hatch that was also used to board the tank by the crew and to load ammunition. A tool storage box was normally mounted externally on the rear of the already long bustle, and smoke grenade launchers could be mounted on each side of the turret – even though this never happened, and Uruguay apparently never procured such devices. A large radio antenna was mounted to the turret roof and at the rear of the jutty, command tanks had a second antenna for a dedicated inter-tank communication radio set next to the cupola.
The 90 mm Cockerill Mk. 7 gun had a rifled L/52 barrel and was outfitted with a light T-shaped muzzle brake and a smoke ejector. The secondary armament was changed to two 7.62 mm Browning M1919 machine guns (which were able to fire 7.62×51 mm NATO standard ammunition), one coaxial with the main gun and the other in the hull. A manually operated 12.7 mm Browning M2HB machine gun was mounted in an anti-aircraft position on the turret roof, in front of the commander cupola. A total of 55 rounds for the 90 mm gun were carried, plus 4,750 rounds for the 7.62 mm machine guns and 600 rounds for the 12.7 mm gun. This ammunition was mostly stored in the hull, the turret jutty held a new ammunition-ready rack with 11 rounds.
At some point following their modernization, during the late Eighties, all Uruguayan tanks were given a new, more subdued camouflage scheme, vaguely resembling the American woodland scheme, consisting of a very dark brown/black, light brown, and dark green. The prominent roundel was removed, too, an the vehicles’ tactical code was now either retained in a dark color on the turret side or completely omitted.
The 1990s saw the 13th Armored Infantry Battalion receive a fleet of fifteen BVP-1s purchased from the Czech Republic; ten more were delivered in 1996, with a further five in 1998, plus three vehicles for spare parts in 1999. These more modern infantry fighting vehicles would be operated alongside the M4s and M24s within the battalion’s fleet during the coming decades. Other purchases from the 1990s included, for example, Tiran-5Sh main battle tanks (revamped captured T-55s from Israel) and 2S1 self-propelled artillery pieces.
Uruguay retired its M4 fleet around 2012, but the light M24s soldiered on until 2019, when the last WWII type in Uruguayan service was eventually sorted out, after a long process that was delayed by a lack of an export permission for M41s as replacement from the United States for no less than six years.
Specifications:
Crew: Five (commander, gunner, loader, driver, radio operator/hull machine gun operator)
Weight: 33.7 tons combat loaded
Length: 6.87 m (22 ft 6 in) hull only
8.21 m (26 ft 10 1/2 in) overall with gun forward
Width: 3.42 m (11 ft 3 in) hull only
Height: 3,45 m (11 ft 3 3/4 in) w/o AA machine gun
Tread: 89 in
Ground clearance: 17 in (0.43 m)
Fire Height: 90 in (2.29 m)
Suspension: Horizontal volute spring
Fuel capacity: 168 gallons 80 Octane gasoline
Armor:
0.5 – 4.5 in (13 – 114 mm)
Performance:
Maximum speed: 30 mph (48 km/h) in a dash
26 mph (42 km/h) sustained on road
Operational range: 120 mi (193 km) on roads
Maximum grade: 60 percent
Maximum trench: 7.5 feet
Maximum vertical Wall: 24 inches
Maximum fording depth: 36 inches
Minimum turning circle: (diameter) 62 feet
Power/weight: 13.5 hp/ton
Ground pressure: Zero penetration 11.0 psi
Engine & transmission:
Continental AOS-895-3 six-cylinder air-cooled petrol engine with 500 bhp (370 kW),
coupled with an Allison CD-500-3 gearbox with 2 ranges forward, 1 reverse
Armament:
1× 90 mm (L/52) Cockerill Mk. 7 gun with 55 rounds
2× 7.62 mm Browning M1919 machine guns with a total of 4,750 rounds,
one co-axial with the main gun, another in the front glacis plate
1× 12.7 mm Browning M2HB anti-aircraft machine gun on the commander cupola with 600 rounds
The kit and its assembly:
This whiffy M4 Sherman was inspired by two things: one was that I have so far never built a fictional M4 before, despite the type’s large number in WWII and thereafter. And I had a surplus turret from a Japanese 1:72 Type 61 tank (Trumpeter kit) in the donor bank, which frequently grinned at me – but I never had a proper idea how to use it.
This changed when I combined both, and the idea of a post-WWII M4 conversion/modernization was born, inspired by the successful Israeli M50/51 upgrades. I also settled for an M4A3E8 chassis, because I wanted a relatively modern Sherman with a welded hull and the new running gear as the basis – and the choice fell on the respective Hasegawa kit (which has its fundamental scale and proportions flaws, but it was cheap and readily available). Using an alternative Trumpeter kit might have been a better choice from a detail point of view, but I think that the Hasegawa kit’s weaknesses are negligible – and this here is whifworld, after all.
The next conceptual problem arose quickly, though: who’d be the operator of this tank? A natural choice was Japan’s JGSDF, because they received M4A3E8s from the USA (the Hasegawa kit even provides decals for such a vehicle), and the Type 61 was its successor. But the Sherman was not very popular in Japan – it was quite big, with logistics problems (tunnel sizes, train transport), and the interior was not suited to the smaller Japanese crews. The JGSDF was quite happy to get rid of the vintage Shermans.
The IDF was another candidate, but the M50/51s were “already there”. After long further research I went across Middle and South America. Chile, for instance, operated a highly modified M4A3E8 upgrade with a 60 mm high-velocity gun called “M-60”. And Paraguay decided to re-activate its M3 and M4 fleet in 2014, even though only for training purposes.
I eventually settled for a small and rather exotic operator: Uruguay! I found a very good article about the M24 Chaffee’s active duty in this country, which lasted from 1958 until 2019(!), and these Chaffees underwent massive conversions and upgrades during their long career – and some M4s would be a nice and plausible company. Another selling point was that the Uruguayan Army’s roundel was easy to replicate, and, as a bonus, the M24s carried a very attractive camouflage early in their career.
With this concept, the build was straightforward: The M4A3E8 was basically built OOB, it went together with no trouble, even though its details appear rather clumsy and almost toylike these days. A good thing about the kit is, though, that you can paint the small road wheels separately, while the HVSS suspension can be attached to the hull. This makes painting quite easy and convenient.
Trumpeter’s Type 61 turret was another matter, though, because its fit was rather dubious and called for some PSR. Furthermore, it was incomplete: some small parts of it had already been used in other projects, so that I had to improvise.
First, I had to create an adapter so that it could be combined with the Sherman hull – it was created from styrene sheet and profiles, together with a “floor” for the turret with 0.5 mm sheet. But now the turret can be mounted into the original opening, and it fits like a glove into the intended space. Even the low deflector walls that protect its base fit snuggly around it, it’s a very natural combo (at least on the Hasegawa hull!).
Biggest problem was the missing original commander cupola. The spare box did not yield a proper replacement, so I ordered M48/M60 cupolas from Bulgaria-based OKB Grigorovich – very crisp stuff, the set comes with four pieces and the cupolas are even made from clear resin so that the periscopes have a natural look on the model. As a lucky coincidence, the cupola’s diameter perfectly matched the respective hole in the turret, so that the implant looks very natural. Because the cupola came with a separate hatch, I fixed it in an open position and added a crew figure from the Hasegawa Sherman.
The dozer blade was a late addition, inspired by equipment carried by some real Uruguayan M24s. However, in this case the device was scratched from the remains of a dozer blade from a WWII Bergehetzer. Hydraulic rams to lift it and some hoses were scratched from steel wire and various bits and pieces. Improvised, but it looks the part, and it’s a nice detail that fits well into the model’s real world historic background.
Painting and markings:
The camouflage is based on a single-color picture I was able to find of a Uruguayan M24 wearing it, providing a guesstimate basis for the four tones, and a profile drawing of the same vehicle, just from the other side. I settled upon Humbrol 63, 75, and mix of 150 with 63 and 10 with 85 for the respective tan (which appears very yellow-ish), dark green, light green and the very dark brown tone. The pattern is a free interpretation of what could be discerned on the reference material, with guesstimates for front, back and upper surfaces. As it is a retrofitted piece, the dozer shield became all dark green.
The model then received an overall washing with a highly thinned mix of black and dark brown acrylic artist paint. The vinyl tracks were painted, too, with a mix of grey, red brown and iron, all acrylic paints, too, that do not interact chemically with the soft vinyl in the long run.
Markings are minimal; the Uruguayan Army roundel is an Argentinian cocarde from an Airfix Skyhawk (and a bit pale) with a separate red decal stripe placed over it – unfortunately it’s a bit obscured by the handles running along the turret. The tactical code number came from an Israeli tank, and it had to be placed quite high because of the handles/rails.
Uruguayan tanks from the Eighties and earlier seem to have carried additional registration numbers, too, and I gave the Sherman the fictional code "A 247" on the glacis plate and its flanks. The nickname "Caesar" is a personal twist.
Dry-brushing with earth brown to further emphasize edges and details followed. Finally, the model was sealed with matt acrylic vanish (Italeri) overall, and some very light extra dry-brushing with silver and light grey was done to simulate flaked paint, esp. on the dozer blade. Dirt and rust residues were added here and there. After final assembly (the vinyl tracks refused to stick to the road wheels!), the lower areas of the model were powdered with mineral pigments to simulate dust.
All in all, this fictional Uruguayan Sherman update looks very natural and convincing. The Type 61 turret matched the M4A3E8 hull in an almost unnatural fashion, and the dozer blade adds a certain twist to the tank, even though this detail is rooted in Uruguay’s tank operations history. The disruptive “tiger stripes” paint scheme is also very attractive, and together with the unusual roundels the whole thing has a very exotic look – but it’s not unbelievable. :D
- Santa has a list that transcends both naughty and nice, he is the only one on i
- when riding his bicycle, he wears a helmet to protect the ground
- PBS kids has a channel about him
- the school bell rings when he enters the classroom
- his parents need timeouts to consider all he has done
- the ice cream truck only plays music composed by him
- all amusement park ride height requirements are always set to his current height
Designer Mulan has been fully deboxed, and is posed standing, supported by the custom doll stand. Her skirt and train, freed from the factory restraints, are now wider than the doll stand, and are allowed to drape over the edges of the base, especially in the rear.
First look at the Disney Princess Designer Collection Mulan Doll. I bought her online on release day, September 12, 2011. I received her a week later, so It's been more than a year and a half since I got this doll. But I have not deboxed her until now, and this the first time I am doing a full photoshoot of her. This the tenth and final Designer Princess to be deboxed. I will photograph her boxed, during her deboxing, and fully deboxed.
My Designer Mulan doll is a limited edition doll that was produced and sold exclusively by the Disney Store, and is numbered 4710 of 6000. She is the title character of the Disney animated feature Mulan (1998). She comes in an acrylic case with a built-in doll stand, with a base that has a golden filigree design, and a golden metallic nameplate. There is also a cardboard cover for the case that I have not photographed here.
She is 11 1/2'' tall, and has the same body as the other Designer Princess dolls, with jointed neck, shoulders, elbows, wrists, waist, hips and knees (internal). She has rubber legs and fixed ankles, with feet angled for high heels.
She has jet black hair wrapped into a beehive hairdo. There is a black rubber band tying the end of the original ponytail, the end of which is neatly tucked into the beehive. There is a long curl that goes from the middle of her forehead to below the front of her neck. After she was deboxed I chose to wrap the curl behind her neck so it wouldn't be so prominent. She has very pale white skin, in fact by far the palest skin of any of the Designer Princess dolls, matching the skin of the Classic Mulan doll. She shares the same face sculpt as the Classic Mulan doll, which hasn't changed since at least 2010 (I don't have any earlier dolls with which to directly compare Designer Mulan), but with glammed up makeup. She has narrow dark brown almond shaped eyes that are glancing towards her left. She has glittering silver eye shadow with blue above it, and thick black eyebrows. She has rooted eyelashes, that are tapered in length from short to long, then at the ends there are very long curved antenna like lashes. She has a small straight nose, full light pink lips in with a closed mouth exaggerated smile. She has very pale pink rouge on her cheeks.
Her two piece gown is made mostly of pink double layered satin. Her bodice consists of ruffled pink organza over pink satin, with pink lacy trim. Around her waist is a very wide deep blue satin sash, with blue jewels embedded. There is a bright red rope belt around her waist, tied into a bow in the front, and the ends of which dangle almost to the floor. The ends of the rope are sewed to the skirt by red thread, which I elected to leave alone. The floor length skirt is entirely of pink satin, is form fitting, and flares at the bottom, and is considerably wider towards the back. Attached to the back of the dress is a very long pink satin train, the top of which is shaped into a fan. It's a shame that most of it, especially the fan part, cannot be seen from the front, nor without deboxing the doll.
She is wearing light pink high heeled shoes, which match the color of her skirt.
Her accessories include gloves, earrings and hair picks. She is wearing full length pink stretch gloves, with light pink jewels embedded. She is wearing stud earrings with round light pink jewels. Finally she has two identical hair picks stuck in her beehive hairdo, decorated with large pink plastic flowers, with embedded clear jewels. The stems of the picks are deep red in color, and extend to stick out the back of her beehive.
Since she had a relatively simple outfit, with nothing underneath her gown, and her form fitting skirt would make it a hassle to remove her from the stand and later to put her back, I decided not to remove her from the doll stand. But since all the factory restraints have been removed from the doll, I consider her to be fully deboxed. The one surprise from deboxing her was the length and extent of her gown's train, as well as the fan design at its top. The overall look of the doll and her outfit matches the original design sketch very closely, except for the beehive hairdo (rather than a round bun), and the lengthening of her front curl. For some reason, her entire body was tilted to the right (her left) in the original packaging. I was glad I could straighten out her body before reboxing her.
Trojans FC has been providing top class Southampton Rugby for 142 years! Established in 1874 Trojans operates 3 Senior Men's, a Senior Ladies and teams at every youth age group.
#proudtobeatrojan
The Trojans Club was founded in 1874 initially as a rugby club - The Trojans Football Club.
There are now four very active sporting sections, Rugby, Cricket, Hockey and Squash with a total membership of well over one thousand.
During its long and proud history, Trojans has done much to foster amateur sport and has, over the years, produced many county and international players.
The original minute books are still in existence and are held in the Southampton City archives and there are many other documents and press reports that have been used extensively to create the following documents, broken into two sections, the History and the Playing Archives.
This is not intended to be a definitive history of the Trojans Football Club, the oldest rugby club in Hampshire, but more a selection of the highlights of the early years and a brief review of the past few years.
The Beginning
On the 3rd of September 1874 a meeting was held at the Antelope Hotel, Southampton, by members of a previous club, with a view to forming the "Trojans".
The previous Club was the "Southampton Football Club" which existed for one season under that name having previous been the "Grammar School Old Boys". The earliest recorded game so far found was the Old Boys against the Shirley Club on 5th October 1872 at Porter's Meadow. The match was won by Shirley by 2 touchdowns to one. H F Gibbs was captain of both of these forerunners.
H F Gibbs was voted the first Captain of the Trojans Football Club and the Club colours were voted as blue and red. It was agreed that the first annual subscription should be five shillings per year. The first rugby games of the Club were played at Porters Mead, which is now called Queens Park, Southampton.
The first Annual Meeting of the Club took place on the 24th September 1875 when the Treasurer reported a small credit balance of five pence halfpenny (2.29p). The results for the 1874/75 season produced five victories and three defeats.
The Club joined the Rugby Football Union in 1881.
Change the Laws
At a committee Meeting on the 5th September 1874 the Playing Rules of Rugby Football were read through and the worthy members of the Trojans decided to make an amendment to Rule number 15 which read "It is lawful to run in anywhere across the goal line". The addition made by the Trojans at that stage was "except between the goal posts". The Club soon found it necessary to alter this!
The First Results
Southsea (A) lost by two punts out and seven touch downs
Salisbury (A) Won by one goal and two touch downs to nil.
Salisbury (H) Lost by one goal, one try and two touch downs to two tries and four touch downs.
Magpies Won by three tries and seven touch downs to nil.
Southsea (H) Won by one goal to nil
Springhill Won by one goal and three touch downs to one goal.
Royal Academy Gosport Lost by four tries and six touch downs to one try.
First Floodlit game
On the evening of 28th November 1878, a match was played against the Rovers Football Club by electric light, having been cancelled the night before because of rain. This was the first exhibition of electric light in Southampton, and believed to be the first ever game of rugby under lights. The local newspaper reported that "at times the light was very brilliant and players could be seen plainly".
Ban the Game!
During the 1880 season, S E Gibbs died as a result of an injury while playing against Romsey. There was much local comment and the then Mayor of Southampton issued a handbill, published in full in "The Times", condemning the game as follows:
"The Mayor in consequence of the many serious accidents and the recent deplorable death in Southampton resulting from the dangerous practice of playing football requests the Heads of Families, the Principals of Scholastic Establishments in the Town and Members of Clubs to take such steps as may be necessary for preventing the game being played in future according to Rugby Union, Association and other rules of a dangerous character. The Mayor considers it his duty to use every means in his power for prohibiting the game as hitherto played being continued in the Porters Meadow field or upon any other of the Public lands in Southampton".
At the Committee Meeting of 16th December 1880 "It was decided to play as usual unless we found out before that the Mayor had given any instruction to the police. In that case it was thought best to summons any offending "arm of the law" for assault".
The Formation of the Hampshire Rugby Football Union
At the Trojan Club's initiative, a meeting was held on 13th April 1883 to discuss the formation of "The Hampshire County Rugby Football Union". In the first season of the County Club, at least seven Trojans represented the County.
In 1901 County activities ceased and it was again the Trojans, along with United Services, who, in 1910, convened a meeting at the Trojans Club for the purpose of forming a Rugby Football Union in Hampshire.
Over 400 Trojan members have represented the county at rugby at the various levels and 140 at senior level.
“International” Football"
Although a rugby club, Trojans were known, on occasions, to play with the round ball. The following team was selected to play Curries French team (from Havre) on the New Football Ground, Archers Road (the Dell) on Tuesday 1st November 1898. Scotney, goal, Denning & Maundrell, backs, Densham, Ellerby & Colson, halfs, Ellaby, Page, Macdonald, Gamble & Hussey (councillor and later Sir George), forwards. Trojans were allowed to take half the gate money. The Echo reported this as a game against a team of French players and thus it claimed the honour of being the first international match played at the Dell.
The First Hampshire Cup
In May 1888 the Trojans Committee proposed the starting of a Rugby Union Cup Competition in the interests of Rugby Football. The County Challenge Cup (Presented by Tankerville Chamberlayne M.P., President of Trojans, and pictured here) was started in the 1889/1890 season and the Club entered the same. During this year, not only was the pitch enclosed by rope, but a charge of sixpence was made to all spectators. The Cup was duly won by Trojans in March 1890. Whether it was ever played for again is not sure as, in 1891, Trojans decided not to enter because " it was felt that it was a farce putting up the cup at the fag end of the season to be competed for by three clubs"! The present whereabouts of the grand cup is not known, although it is believed it was presented back to Tankerville Chamberlayne.
Service to the County
As well as forming the County Union (twice), Trojan members have served the County well and it can be said that there has always been a Trojan involved in Hampshire Rugby since its formation.
In particular, over the 108 active years of the Union, six Trojan members have served as President of the Union serving a total of 49 years. Six Secretaries served a total of 36 years and for the first sixty-two years of County representation on the RFU Committee the Hampshire representative was a Trojan.
Mr. Hampshire
There can be no more respected and faithful servant of the County and the Game than one particular Trojan, Dudley Kemp, as the following record illustrates -
Captain of Trojans 1927-34, 1935-38
Captain of Hampshire 1935
Played for England 1935.
Barbarian
President of the Rugby Football Union 1969
Member of the International Board 1971-77
Hampshire representative on the RFU Committee 1955-69
President HRFU 1973-76
Secretary HRFU 1946-67
Assistant Secretary HRFU 1967-68
Team Secretary HRFU 1946-53
Match Secretary HRFU 1953-56
Dudley died at his home in Devon in January 2003 aged 93.
Doggy Spectators
During a match between Trojans and Portsmouth Victoria in 1886, the ball was kicked into the Trojans' in-goal area where it rebounded off a stray dog. One of the Portsmouth players gathered it and touched down to claim a try. The Trojans protested, and claimed "dead-ball" the ball having struck a "spectator". The objection was later referred to the RFU Committee who ruled that the try should stand, as dogs could not be classed as spectators!
The Barbarians
H A Haigh-Smith was elected Trojans Captain in 1912. He was instrumental in forming the Barbarians Club and was later made president of that Club. He was also assistant Manager of the Lions tour in 1935.
Trojans played the Barbarians on January 9th 1895 but the result does not appear to have been recorded for posterity!
The Wars!
Trojans Rugby had to be suspended three times because of wars - in 1897 because of the Boer War, 1914, the Great War and 1939 the World War.
Moving Home
Although always considered a Southampton Club, Trojans actually now play in the Test Valley District. Over the years there have been many homes -
1874 the first games were played at Porters Mead, which is now called Queens Park on Queens Terrace. (by the Dock Gates)
1884 the Club donated the sum of two guineas towards the purchase of the proposed Cricket Ground in Bannister Park, until recently, the County Cricket Ground, and commenced playing rugby there in the 1884/85 season.
1897 Freemantle Ground, Stafford Road
1905 County Cricket Ground, Northlands Road
1923 G H Brown's farm in Wide Lane, Swathling with Atlantic Park (now Southampton Airport) being used for the dressing accommodation.
1929 Southampton Stadium, Banister Road
1931 Bannister Court as well as G H Brown's farm
1933 11 acres of land purchased in Cemetery Road, Swaythling (sold in 1945)
1946 County Cricket Ground, Northlands Road
1947 Sports Centre, Southampton
1958 Stoneham Park (the present ground). The ground, 22.8 acres, was purchased in 1953 for £1,205 and was another example of the members' foresight, as the timber in the ground was sold for sums almost sufficient to cover the cost of purchase! In 1958, a temporary corrugated iron changing room was completed and the foundations of the pavilion commenced. The pavilion was officially opened by A.T. Voyce, President of the Rugby Football Union, on 27th December 1960.
The Prime Years
Throughout the early and mid 1900s, Trojans went from strength to strength and provided many County Players as well a number of Internationals.
The modern peak was probably reached in the early 1960s when the Club could justifiably consider itself to be the premier civilian rugby club in the South of England (outside London). In 1961, seven rugby sides were fielded with over 200 players available for selection.
Before league tables were introduced in 1987/88, local newspapers ran Merit Tables, the Wessex Merit Table and the Hampshire Merit Table both being won in the 1978/79 and the 1980/81 seasons.
The Lean Years
There were many reasons for the decline from that peak which started in the early 80s. More local clubs, easier transport and a change of working patterns (Trojans being very much a "transit camp" in those days) were some of them. The introduction of leagues in 1987 hit the Club at the worst possible time. In the first year, the Club was put into London Division 3 but could not cope at that level and dropped straight into Hampshire Division One. Luck was also in short supply when the Club, having finished fifth, seventh from bottom (!), the team was still relegated to Hampshire Division Two (a quirk of the league structure). There the Club stayed, battling for promotion with the other strong clubs to be relegated in the mass drop, until the 1992/93 season when the league was won with a record of played 10, won 10, for 353, against 37 which included a league record win of 91-0 against Waterlooville.
Three seasons were spent in Hampshire One but the 1995/96 season saw what was probably
the strongest ever Hampshire Division 1 and relegation again befell the team. 1996/97 season saw us just lose out on promotion but success was achieved in 1997/98.
The Revival Years
Success was achieved in the 2000/2001 season when promotion was achieved to London Division 4SW (The old Division 3SW having been broken into two divisions). The first season at that level was quite successful, ending mid-table, but the next was not when Hampshire 1 again beckoned. Promotion and relegation followed over a number of seasons until London Division 1 was achieved in the 2011/12 season.
Competition is maintained throughout the Senior Club with the 2nd XV being in the Hampshire Senior merit table and the 3rd XV being in the Hampshire Division 1 merit table.
One significant advance was the introduction of Women's rugby which has developed into the strongest team in Southern England. The end of the 2006/07 season saw them promoted to the Championship 1 South (National level 2) and in 2009/10 a second team was entered into the leagues.
The Strength of Youth
One thing that has remained a strength since it's formation in the mid 70s is the Youth Section. Being one of the first clubs to introduce Mini Rugby in England (imported from Wales) the Mini and Junior Sections have encouraged many thousands of youngsters into the game and the Youth section now runs teams in every year group from under 8s to under 17s, holds annual tournaments and is generally held up to be a model of organization.
The Chrysler Group has introduced diesel powered passenger vehicles in the past with little success but with the 2014 Jeep Grand Cherokee EcoDiesel, the company has put a name to their new diesel technology that will help market it to consumers while the power and efficiency of new 3.0L V6 diesel does the rest as this is one fantastic engine option.
The Jeep Grand Cherokee is the bestselling and most awarded sport utility vehicle in the history of the segment so when the Trail Rated brand makes a big move - the industry takes notice. The 2014 Grand Cherokee features the new EcoDiesel powerplant that allows Jeep owners to haul and tow comparable amounts to the 5.7L Hemi while offering nearly 30 miles per gallon. The current Grand Cherokee is a great SUV; adding a 3.0L diesel engine that allows you to tow 7,200 pounds while offering 28 miles per gallon on the highway (not while towing) makes it one of the best SUVs today?if not the best.
My 2014 Jeep Grand Cherokee test vehicle was a 4x4 model with the Limited trimline and the 3.0L EcoDiesel engine mated to an 8-speed automatic transmission. The Luxury Group II added $3,000, the Off Road Adventure II package added $1,795, the premium infotainment system added $400 and when added up with the $995 destination and base price, my test vehicle carried a sticker price of $48,785.
The Exterior
The 2014 Jeep Grand Cherokee 4x4 Limited package wears just enough chrome/silver trim around the outside to look like it isn't a base model. It doesn't look like an overly blinged out luxury model, but features like the 18 inch split spoke wheels and the silver accents found around the lower fascia opening, around the distinct 7 slot Jeep grille, on the mirrors and on the door handles give this Grand Cherokee a far more upscale look compared to the lower priced models. Of course, the 2014 Grand Cherokee has all of the same great looks that make this the bestselling big SUV in the world. This is the Jeep which best displays the iconic look that the Trail Rated brand has become known for and when fitted with the Limited package - it's a sharp looking large SUV.
The Interior
The Limited level trimline is technically midrange for the 2014 Grand Cherokee, but thanks to the addition of the Luxury Group II Preferred Equipment Package, it is impossible to tell by looking around inside. Leather seats, leather door pads and a leather center console armrest cover all in black with white stitching give this cabin a very high end look and feel with help from the minimal chrome trim scattered throughout. The front seats are nicely padded with deepish side bolsters that are comfortable for folks of all shapes and sizes while the power seat controls allow enough adjustment to make it easy for both very tall and very small drivers to safely operate the Grand Cherokee. Regardless of your size (unless you are a giant like Shaq or something), anyone sitting up front should find there to be ample seating space in every direction.
Now for the big news. The 2014 Jeep Grand Cherokee 4x4 Limited EcoDiesel is expected to deliver 21 miles per gallon around town, 28mpg on the highway and 24 combined. In my time driving the EcoDiesel Jeep I was not able to hit that average number, but around 150 of my miles were driven with the horse trailer loaded up. Even with those harder working miles, I averaged 21mpg overall and on one tank where I did not tow at all while driving most of the miles on the highway, I was able to achieve 25.6 miles per gallon. I believe that someone who lives in an area where the maximum highway speed limits are 55-65 will be able to exceed the 24mpg average figure. The EcoDiesel offers incredible fuel economy figures and it makes good on those promises.
Better yet, the 3.0L EcoDiesel equipped 2014 Jeep Grand Cherokee Limited is able to tow 7,200lbs and while I don't have a 7,200lb trailer, I do have a 5,500 pound horse trailer that I use for all of my towing exercises. The EcoDiesel pulled my small horse trailer very nicely and the big torque allowed for smooth, easy acceleration while handling the hills fairly effortlessly. The EcoDiesel didn't pull quite as well as the Grand Cherokee SRT with the 6.4L Hemi, but it pulled better than any other SUV of this size which I've tested. The diesel engine is designed to be a workhorse and it handles the heavy load just as well as the non-SRT Hemi.
I can just about remember the Cathedral being opened. Certainly I saw a TV program about it soon after it was completed, it has stayed with me since then.
By the time we left The Phill having had lunch, the weather was grim, driving rain in a keen breeze.
We rushed along Hope Street and up the steps to the cathedral.
I dried my camera off, and went about taking shots.
Being a heavily overcast day, it was dark inside, the lighting showed up well.
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Liverpool Metropolitan Cathedral, officially known as the Metropolitan Cathedral of Christ the King,[2] is the seat of the Archbishop of Liverpool and the mother church of the Roman Catholic Archdiocese of Liverpool in Liverpool, England.[3][4] The Grade II* Metropolitan Cathedral is one of Liverpool's many listed buildings.
The cathedral's architect, Frederick Gibberd, was the winner of a worldwide design competition. Construction began in 1962 and was completed in 1967. Earlier designs for a cathedral were proposed in 1933 and 1953, but none were completed.
During the Great Irish Famine (1845–1852) the Catholic population of Liverpool increased dramatically. About half a million Irish, who were predominantly Catholic, fled to England to escape the famine; many embarked from Liverpool to travel to North America while others remained in the city.[5] Because of the increase in the Catholic population, the co-adjutor Bishop of Liverpool, Alexander Goss (1814–1872), saw the need for a cathedral. The location he chose was the grounds of St. Edward's College on St. Domingo Road, Everton.[6]
In 1853 Goss, then bishop, awarded the commission for the building of the new cathedral to Edward Welby Pugin (1833–1875).[7] By 1856 the Lady chapel of the new cathedral had been completed. Due to financial resources being diverted to the education of Catholic children, work on the building ceased at this point and the Lady chapel – now named Our Lady Immaculate – served as parish church to the local Catholic population until its demolition in the 1980s.
Following the purchase of the 9-acre (36,000 m2) former Brownlow Hill workhouse site in 1930,[6] Sir Edwin Lutyens (1869–1944) was commissioned to provide a design which would be an appropriate response to the Giles Gilbert Scott-designed Neo-gothic Anglican cathedral then being built further along Hope Street.[9]
Lutyens' design was intended to create a massive structure that would have become the second-largest church in the world. It would have had the world's largest dome, with a diameter of 168 feet (51 m) compared to the 137.7 feet (42.0 m) diameter on St. Peter's Basilica in Vatican City.[10] Building work based on Lutyens' design began on Whit Monday, 5 June 1933,[10] being paid for mostly by the contributions of working class Catholics of the burgeoning industrial port.[11] In 1941, the restrictions of World War II wartime and a rising cost from £3 million to £27 million[12] (£1.31 billion in 2018),[13] forced construction to stop. In 1956, work recommenced on the crypt, which was finished in 1958. Thereafter, Lutyens' design for the Cathedral was considered too costly and was abandoned with only the crypt complete.[10] The restored architectural model of the Lutyens cathedral is on display at the Museum of Liverpool.
After the ambitious design by Lutyens fell through, Adrian Gilbert Scott, brother of Sir Giles Gilbert Scott (architect of the Anglican Cathedral), was commissioned in 1953 to work on a smaller cathedral design with a £4 million budget (£110 million in 2018).[13] He proposed a scaled-down version of Lutyens' building, retaining the massive dome. Scott's plans were criticised and the building did not go ahead.
The present Cathedral was designed by Sir Frederick Gibberd (1908–84). Construction began in October 1962 and less than five years later, on the Feast of Pentecost 14 May 1967, the completed cathedral was consecrated.[6] Soon after its opening, it began to exhibit architectural flaws. This led the cathedral authorities to sue Frederick Gibberd for £1.3 million on five counts, the two most serious being leaks in the aluminium roof and defects in the mosaic tiles, which had begun to come away from the concrete ribs.[15] The design has been described by Stephen Bayley as "a thin and brittle take on an Oscar Niemeyer original in Brasilia,"[16] though Pevsner notes that the resemblance is only superficial.
The competition to design the Cathedral was held in 1959. The requirement was first, for a congregation of 3,000 (which was later reduced to 2,000) to be able to see the altar, in order that they could be more involved in the celebration of the Mass, and second, for the Lutyens crypt to be incorporated in the structure. Gibberd achieved these requirements by designing a circular building with the altar at its centre, and by transforming the roof of the crypt into an elevated platform, with the cathedral standing at one end.[18] The construction contract was let to Taylor Woodrow.[
The Cathedral is built in concrete with a Portland stone cladding and an aluminium covering to the roof.[20] Its plan is circular, having a diameter of 195 feet (59 m), with 13 chapels around its perimeter.[21] The shape of the Cathedral is conical, and it is surmounted by a tower in the shape of a truncated cone.[20] The building is supported by 16 boomerang-shaped concrete trusses which are held together by two ring beams, one at the bends of the trusses and the other at their tops. Flying buttresses are attached to the trusses, giving the cathedral its tent-like appearance. Rising from the upper ring beam is a lantern tower, containing windows of stained glass, and at its peak is a crown of pinnacles.[21]
The entrance is at the top of a wide flight of steps leading up from Hope Street. Above the entrance is a large wedge-shaped structure. This acts as a bell tower, the four bells being mounted in rectangular orifices towards the top of the tower. Below these is a geometric relief sculpture, designed by William Mitchell, which includes three crosses. To the sides of the entrance doors are more reliefs in fibreglass by Mitchell, which represent the symbols of the Evangelists.[20][22] The steps which lead up to the cathedral were only completed in 2003, when a building which obstructed the stairway path was acquired and demolished by developers.[23]
A much smaller version of the Cathedral, also designed by Sir Frederick Gibberd, was constructed in 1965 as a chapel for the former De La Salle College of Education, Middleton, Lancashire, a Catholic teacher-training college. The site is now occupied by Hopwood Hall College, a further education college of the Borough of Rochdale and the chapel may still be seen.
The focus of the interior is the altar which faces the main entrance. It is made of white marble from Skopje, Macedonia, and is 10 feet (3 m) long. The floor is also of marble in grey and white designed by David Atkins. The benches, concentric with the interior, were designed by Frank Knight. Above is the tower with large areas of stained glass designed by John Piper and Patrick Reyntiens in three colours, yellow, blue and red, representing the Trinity. The glass is 1 inch (3 cm) thick, the pieces of glass being bonded with epoxy resin, in concrete frames. Around the perimeter is a series of chapels. Some of the chapels are open, some are closed by almost blank walls, and others consists of a low space under a balcony. Opposite the entrance is the Blessed Sacrament Chapel, above which is the organ. Other chapels include the Lady Chapel and the Chapel of Saint Joseph. To the right of the entrance is the Baptistry.[24]
On the altar, the candlesticks are by R. Y. Goodden and the bronze crucifix is by Elisabeth Frink. Above the altar is a baldachino designed by Gibberd as a crown-like structure composed of aluminium rods, which incorporates loudspeakers and lights. Around the interior are metal Stations of the Cross, designed by Sean Rice. Rice also designed the lectern, which includes two entwined eagles. In the Chapel of Reconciliation (formerly the Chapel of Saint Paul of the Cross), the stained glass was designed by Margaret Traherne. Stephen Foster designed, carved and painted the panelling in the Chapel of St. Joseph. The Lady Chapel contains a statue of the Virgin and Child by Robert Brumby and stained glass by Margaret Traherne. In the Blessed Sacrament Chapel is a reredos and stained glass by Ceri Richards and a small statue of the Risen Christ by Arthur Dooley. In the Chapel of Unity (formerly the Chapel of Saint Thomas Aquinas) is a bronze stoup by Virginio Ciminaghi, and a mosaic of the Pentecost by Hungarian artist Georg Mayer-Marton which was moved from the Church of the Holy Ghost, Netherton, when it was demolished in 1989. The gates of the Baptistry were designed by David Atkins.
Today has really taught me how to have fun.
Not that I didn't know how to before, but I really let loose and didn't care what one person thought about me.
Might have come off a tad bit obnoxious but hey, I'm happy, so who cares?
Today has been one of the most fun days I've experienced in the longest time.
I've been straight LACKING entertainment in my life.
So I got my fix...finally.
<3
These are some of the super cool guys we meet at the beach...Jennings on the far left, and John on the right. Then me and my brother. I had to crop mini out because the moon was out! ;P
Monday.
And time has came to leave Causeway House. A sad moment. We have enjoyed our stay, slept well, relaxed and seen some great things.
I have one final coffee, before the packing begins, and we manage to fitit all in the car, with room for us to spare. Jools programs the sat nave to Rosslyn, the sat nave tells us our route, and we are off. It decides we should go via Carlisle and then up the motorway, which would have been OK were it not for the pouring rain, but then I guess all roads would have been horrible to drive on. Along the A69, round Carlisle and up the M6 to Scotland. But, as we crossed the border, the rain began to ease, and we thought we sensed some brightness overhead.
We took the scenic route alongside the trackbed of the old Waverly Line, through green valley, past the source of the River Tweed, over passes and down the other side. It is a beautiful route, even in list drizzle and mist, but after a while we began to wish for some straighter roads.
We stop at a greasy spoon some 20 minutes shy of Rosslyn, I have square sausage in a bun, Jools has bacon. And we still have six days of holiday left.
It is some 11 years since I was last at Rosslyn, back then Da Vinci Code fever had only just begun; but now it is a world famous place, and with ample parking. And nine of your Scottish pounds to get in! And only once we paid did we see the sign informing all that photography was banned inside. For £9, a small, if bonkers, church?
We looked round, I took some exterior shots, and we left, leaving visitors of all nations behind.
Thanks to my good friend, John, our next port of call was Linlithgow, where the Scottish Stewart Royal family had their home, and Mary, Queen of Scots was born. He recommended we go, and who I am I to argue with John?
The rain threatened again, but stayed dry, at least for a while. Round the Edniburg by-pass towards Glasgow, and there were the signs, all simple. Into the town, and then the road to the palace was closed, and there were no alternative signs.
We drove up and down the high street, all the long term parking was full, until just as we were about to give up, we see signs for another, a little further out, and so do find a place to park.
It was a 5 minute walk to the centre of town, past the bowls centre, Tesco and the railway station. We were hungry, and there was a fine looking Italian place just there, should we go in? I think we should.
It is very nice, we have Insalata Caprese again, and some bread. And some olives. All is nice, so we are not tempted by the desserts. Well, we are but resist.
The rain had begun to fall again as we walked to the old palace, up the cobbled street and through the ornamental gateway: the parish church is on the right, so we go in and once again are delighted. But the most stunning aspect is a modern south window, which is just spectacular and takes my breath away.
The castle next door is mostly complete, except for the roof, which in the steady rain would have been nice. But we get in for free, our favourite price, and have the place almost to ourselves. I follow a spiral staircase up, and end up at the top of one of the towers, with views across the castle and rooftops of the town behind.
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"St Michael is kinde to strangers". So runs the motto of the Ancient and Royal Burgh of Linlithgow. St Michael is the patron saint of the town and, in the form of the ancient church of that name, he still stands guard above its inhabitants, both residents and strangers alike.
Although it is undoubtedly of earlier origin the first mention of "the great church of Linlithgow" is in a charter of 1138 in which King David I gifted it "with all its chapels, lands and other rights" to the Cathedral of St Andrews.
On 22nd May 1242, the Church of St Michael of Linlithgow was consecrated by David de Bernham, Bishop of St Andrews. Whether he was hallowing a new building or rededicating an established House of God, is not certain. What is clear is that the ancient kirk has for centuries been recognised as a place of worship and as an historical memorial without equal in Scotland.
In 1301 King Edward I of England arrived and requisitioned the Church as a garrison storehouse in which to house the war provisions required for his fortified palisade or "Peel".
After the Scottish Victory at Bannockburn, and the recapture of the Linlithgow fortifications, St Michael’s stood in need of considerable restoration.
Whatever reconstruction work was done in the 14th century was not long-lived as, in 1424, a great fire occurred which caused massive damage to the church and neighbouring palace.
Over the next 115 years St Michael’s was largely rebuilt although many of the old stones were incorporated in the new construction. Several local strategies were enforced to finance the rebuilding of the Kirk. Taxes were imposed on ale and leather and the money from fines for chimney or overpricing at the market also swelled the church coffers.
ll the Stewart kings from James I to V donated revenue to St Michael’s "kirk werk" and not until 1540 was the church’s completion celebrated with the granting of a new royal charter and, with it, the right to appoint a town Provost. The man chosen was Henry Forrest of Magdalenes who had himself been active in the "kirk werk" and had personally ensured that the masons received their "drinksilver". They certainly earned it for under their expert hands emerged the beautiful Medieval church we have today. First the nave and transepts were transformed; then the chancel and the apse. Outside, twenty niches were filled with carvings of saints and, inside, each of the 8 bays was graced with an altar, attended by a staff of chantry priests. The solid, square tower was furnished with a magnificent stone crown, topped with a weathervane, bearing the favourite emblem of King James III. The church was further adorned with the erection of a beautiful oak roof bearing the arms of George Crichton, vicar of St Michael’s and later Bishop of Dunkeld. The ecclesiastical masterpiece which resulted was much favoured as a place of worship by the Scottish monarchs, most notably Mary Queen of Scots who was born in Linlithgow Palace on December 8th 1542 and was baptised in St Michael’s church.
The font which carried the holy water used to baptise the royal baby did not survive for many years longer. In 1559 the Protestant Lords of the Congregation arrive to obliterate all traces of the Roman Catholic religion from the Church. They smashed the holy water stoop along with the statues and altars. Occasionally fragments of this orgy of destruction are found in and around the church.
The first Protestant minister of St Michael’s was Patrick Kinloquy and his parish kirk was equipped with new galleries (including those for the town magistrates and the monarch) and a stone pulpit on the north side of the chancel. The town did try to uphold its obligations to its church and considerable money was spent on equipping it as a fitting House of God. However the church was also to be used for other purposes. In 1620 part of it served as a wood store while in 1645 it became for a brief time the University of Edinburgh when the students and professors escaped to Linlithgow form the plague-stricken capital.
The year 1646 saw the arrival of the roundhead troops of Oliver Cromwell. St Michael’s found itself incorporated in the general defences of the town with horses stabled in the nave and soldiers billeted in the triforium. By the time the Cromwellian army left Linlithgow the church had deteriorated and the heritors estimated that £1000 Scots was required to repair the roof and windows.
The 18th century church of Linlithgow followed the general Scottish pattern. It was dominated by the minister and his Kirk Session who rigorously guarded the community’s moral life and enforced fines for any breach of church discipline. The money collected was used to help the poor of the parish. The church was equipped with a repentance stool, on which any wrongdoer had to sit in full view of the congregation, and a set of jougs at the church door to chain up by the neck anyone guilty of repeated transgressions. The Kirk Session minutes are full of references to such moral lapses: drunkenness, adultery, whistling, working or washing clothes on the Lord's Day or not "keeping elders’ hours". A typical church service lasted up to four hours. A sand-glass was attached to the ministers pulpit in order to ensure that he spoke (extempore, for all notes were frowned upon) for at least two hours. Singing was led by the precentor and was unaccompanied as music in the church was frowned on and an organ was referred to scathingly as a "kist o’ whistles".
In 1768 a storm damaged the steeple and blew down the weather cock and in 1773 the "old bell" cracked and had to be recast at Three Bells Foundry at Whitechapel.
In 1808 there was a panic when it was discovered that the old ceiling beams were rotten at the ends and that the "crazy roof" was about to collapse. In 1812, the 16th century "Crichton" ceiling was removed and replaced with a plaster one, partly due to the fact that oak was unavailable due to the shipbuilding demands of the Napoleonic War. The interior was also remodelled: a "restoration" generally regarded now as an act of colossal vandalism, especially the removal of the old dividing arch between chancel and nave and the whitewashing of the walls.
It was a grim church which emerged in the early 19th century and they were grim times. On February 19th 1819 a Linlithgow Mortsafe Society was established to hire out a huge metal cage which was placed over a recent grave to deter the grave robbers from "resurrecting" the body and selling it to the anatomy lecturers in Edinburgh. In addition, a watchman’s hut was erected in 1823 against the south wall of the churchyard and a watch of three men was appointed to prevent any "nocturnal activities".
In 1820 there occurred one of the most unfortunate episodes in the history of the church. A report concluded that the old stone crown was in danger of collapse. Despite the reluctance of the town and the church authorities there was no denying the fact that something had to be done. Local tradesmen all agreed that the crown was too heavy for the tower. It was reluctantly decided that the only course was demolition and, in the summer of 1821, the old crown was removed.
In 1885 the splendid centre window of the apse was fitted out with stained glass in memory of Charles Wyville Thomson, the locally born oceanic explorer who died in 1882. It features a fleet of ships such as that which accompanied the explorer on his charting of the world’s oceans in HMS Challenger from 1872-76.
In 1992 the Society of Friends of St. Michael's Church celebrated the church's 750th anniversary with the installation of a new stained glass window in the St. Katherine's Aisle. The window, created by Crear McCartney is designed around the theme of Pentecost.
This is the third tome I have visited St Vncent: first time I found it locked, or more likely did not push the door hard enough, second time I did go inside but only took a handful of shots. So this time, it means a lot of snapping.
Both this and Wingham were among the first churches I visited in this project, and with years of accumulated knowledge a return is always good to see what you missed the first, and second time.
As it turned out, I could not find the church. It is signposted off the main road, then nothing. We were two miles in the country before I found a place to turn round, but a check of the county map and we turned back to the village and found it on Church lane, of course.
Littlebourne is another village and church on the banks of the Nailbourne, a winterbourne, that flows through here to Bridge, eventually to Barham. Downstream it turns quickly into the Little Stour which in turn flows into the Great Stour at Plucks Gutter.
The view from the south is limited due to mature trees, but from the north reveals several periods of buildings with rooflines at different angles and heights.
A simple church inside, with a wall painting of St Christopher clearly visible on the north wall as you walk in through the porch. Some fine glass too, but there is also signs of damp too.
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The villages 13th century church, St Vincent of Saragossa, is thought to have been founded by the monks of St Augustine's Abbey in Canterbury and contains an ancient wall painting depicting Saint Christopher, patron saint of travellers. The church also has what is reckoned to be one of the finest collection of stained glass windows designed by Nathaniel Westlake in the country. Nathaniel Westlake was a leading designer of the Gothic Revival movement in England.
Work done in 1995 by experts from the V&A Museum established that he designed each of the windows over the long period of his work with the Company, thus giving an outstanding example of the development of his style.
The Church has a six-bell peal, the oldest bell dating back to 1597, the newest 1899.
www.littlebournebenefice.org.uk/littlebournechurchhistory...
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LOCATION: Situated at about 40 feet above O.D. on Head brickearth (over Upper Chalk). A little to the west of the river Little Stour. Littlebourne Court, originally belonging to St. Augustine’s Abbey, lies immediately to the north-west. Wickhambreaux and Ickham churches are not far away to the north and east.
DESCRIPTION: As with many North-East Kent churches, this church points south-east, and it is first documented in Domesday Book, with the eastern three-quarters of the nave of the present church presumably being, in part, of an early Norman date. The only visible evidence for the earliest structure, however, is outside the south-west corner of the nave. Here one can see reused Roman bricks, and the original steep slope of the very early 13th century south aisle (continuing the line of the nave roof). The nave must be earlier than this, so is at least 12th century in date. It is also worth noting the very rare dedication, to St Vincent.
The whole of the south arcade for the south aisle still survives in its very early 13th century form, with four pointed arches (that on the west is smaller). The arches have continuous flat
the piers themselves. All the dressings are in Caen stone.
Later in the 13th century a large new chancel was built, probably at about the time (c. 1245) when St Augustine’s Abbey were endowing the new vicarage there, after the appropriation. The chancel has four tall lancets on either side, and an eastern triplet which has internal shafting on the jambs, and deeply moulded rere-arches and hood-moulds. All the other lancets have plain rere-arches, and all the chancel windows sit internally on a filleted roll-moulding which steps up at the east end and runs under the triplet. There is a piscina on the south-east with a pointed arch (with hood) over it, and bar-stopped chamfers on the sides. On the north-west side of the chancel is a small doorway, which was restored in the 19th century. The chancel was fairly heavily restored on the outside in the 19th century (‘1865’ on one of the rain-water hoppers), but much of its original coursed whole flints are still visible, as well as some of the rows of putlog holes. The chancel also has a separate roof, with a west gable, but this was rebuilt completely in c. 1865.
At about the same time as the chancel was being rebuilt in the early to mid-15th century, a very plain tower was added at the west end (It is similar to the neighbouring tower at Ickham). This has a tall simple pointed arch (with flat chamfers and abaci) into the nave, and on the west is a simple pointed doorway with flat chamfers and a tall lancet above it. The tower is unbuttressed, and has four more wide restored lancets (one in each face) in the top (belfry) stage. Externally the tower has the remains of its original plastering over coursed flint with side-alternate Caenstone quoins. On top of the tower is a later medieval (14th/15th century) brooch spire (now covered in slates).
The tower was restored in 1899, and the bells were rehung in a new timber and cast iron frame. There are now six bells, dated 1597,1610, 1650 and three of 1899 (said to have been recast from two late medieval ones). Glynne tells us that there was an organ in a west gallery under the tower, but this was removed during the restoration. A shed (now 2 cloakrooms) was also added to the north side of the tower in c. 1899.
A small Lady Chapel may have been added to the north-east side of the nave in the later 13th century as shown by its two light trefoil-headed (with circular opening above) east window (it has an internal rere-arch). All other evidence for this above ground was removed by the early 14th and early 19th century re-buildings (see below). The Lady Chapel is first documented in the late 15th century, but most churches acquired a separate Lady Chapel in N.W. Kent in the 13th century.
In the early 14th century both the south and north aisles had their outer walls rebuilt. On the south this was a continuous heightening and rebuild for the full length of the nave (with the evidence for the earlier lean-to aisle surviving in the west wall, as shown above). There is however still a later 13th century lancet in the centre of the south wall, with a probable later 13th century south doorway next to it (though completely rebuilt externally in the 19th century). The other aisle windows are all, however, 2 - light early 14th century traceried windows, and the gables and separate pitched roof over the aisle is also perhaps 14th century (it is still hidden under a flat plaster ceiling). In the south aisle wall are some reused Reigate stone fragments, and the large later south buttress has Ragstone quoins and reused Reigate And Caenstone fragments (and heavy 19th century knapped flintwork). Some Purbeck marble is reused in the wall west of the south porch. This aisle also has a small square-topped piscina in its south-east corner, and a very small stoup just inside the door on the east.
Hasted tells us that ‘a few years ago the north isle fell down, when there were some curious paintings discovered by the breaking of the plaster from the walls. This aisle was immediately rebuilt’. It is however, clear from the present remains (and from the Petrie water-colour view), that the church was again rebuilt in the early 19th century, with the present flatish 4-bay crown/king post nave roof and lath and plaster ceiling. The two dormers on the south side of the nave roof are presumably of the same date as is the shallow-pitched shed-roof over the north aisle, and the wooden post and two semi-circular arches into the north aisle. On the north-west side of the nave one can see an infilled pointed arch (? of chalk) with abaci, suggesting that there was originally a 13th century 3-bay north aisle (and Lady Chapel). The scar for the south-west corner of this aisle which did not continue to the west end of the nave, is just visible, and the late 18th century collapse was clearly at the west end of this aisle, which was not rebuilt (the other aisle-wall window being reset in the nave wall). The north wall of the north aisle must have been rebuilt in the early 14th century with buttresses and new two-light traceried windows. There may have been a north door here.
Only the chancel was heavily restored in the later 19th century (1865) with a new south porch in 1896, replacing a brick one, according to Glynne. A porch is documented from at least 1505.
BUILDING MATERIALS: (Incl. old plaster, paintings, glass, tiles etc.):
The main local material is flint, and whole flints, in courses, are used for all the early work with dressings of Caenstone. Some Reigate stone is then used in the 13th century, with Kent Rag for the quoins in the early 14th century. There is also some reused Purbeck marble in the walls, and Bathstone is used for the late 19th century restorations. Hasted mentions ‘the remains of good painted glass’ in the chancel side lancets and ‘seven sacraments, etc. handsomely done, with rich borders’ in the eastern lancets, ‘but they have been some few years since removed’ (op. cit. below, p.155). Also he mentions armorial glass in the S.E. window of the south aisle, and other now-vanished glass is known from the church - see C.R. Councer (below).
EXCEPTIONAL MONUMENTS IN CHURCH: None, but remains of medieval wall-painting on the north side of the nave, at the west end. Also a leger slab, with a small brass inscription in it, dated 1585, in front of the chancel arch. Also some early 19th century Benefaction boards on the west wall of the south aisle. Most of the furnishings in the church date from the restoration of 1864-4, or later.
CHURCHYARD AND ENVIRONS:
Size & Shape: Large north-south rectangular area around church, with large extensions to north (20th century) and south (19th century).
Condition: Good
Building in churchyard or on boundary: Lych Gate of timber (1892) to the south. Very large c. early 14th century great barn of Littlebourne Court (172ft long) runs along west boundary of the churchyard.
Ecological potential: ? Yes. The burial under a ‘great palm’ (ie. Yew Tree) in the churchyard is mentioned in a will of 1542, and there are still some quite large Yews north of the church.
Late med. Status: Vicarage endowed in 1245 with a house, some tithes, etc. A chaplain had to be found to celebrate weekly in Garrington Chapel.
Patron: St. Augstine’s Abbey, Canterbury (and alienated to the Italian monastery of Monte Mirteto in Italy, 1224). In 1538 it went to the crown, and then on to the Dean and Chapter of Canterbury in 1541.
Other documentary sources: Hasted IX (1800) , 155-8. There is much documentation in Thorne’s Chronicle and the ‘Black Book’ of St Augustine’s. Testamenta Cantiana (E. Kent, 1907), 196-8 mentions burial in the churchyard from 1473, the church porch (1501), various ‘lights’, the altar of Our Lady (1499+), reparation of the altars of St James and St Nicholas (1473), for paving between the chancel and the west door (1419).
SURVIVAL OF ARCHAEOLOGICAL DEPOSITS:
Inside present church: ? Good.
Outside present church: ? Good, though there is a large soil build-up around the church, and a brick-lined drainage gulley (up to 2ft deep) has been made all around the church.
RECENT DISTURBANCES/ALTERATIONS:
To structure: None, but chancel stalls brought from St Johns, Herne Bay in 1974, and organ in north aisle from Holy Cross, Canterbury in 1972.
To floors: Brick floor relaid at east end of S. aisle - Oct 1991.
Quinquennial inspection (date/architect): Feb. 1990 Maureen O’Connor.
ARCHAEOLOGICAL AND HISTORICAL ASSESSMENT:
A Norman nave was given a lean-to south aisle and perhaps extended to the west in the very early 13th century, with a plain west tower being added soon after. The chancel was rebuilt (and greatly enlarged) in the mid 13th century, and there was probably also a Lady Chapel and nave north aisle by the later 13th century. The outer walls of the aisles were rebuilt in the early 14th century. A timber spire was also built. In the late 18th century the west end of the north aisle collapsed and this was rebuilt along with the nave roof, etc. again in the early 19th century. Chancel restored in 1865, and west tower in 1899 (with rehung bells). A new south porch was built in 1896.
The wider context: One of a group of churches belonging to St Augustine’s Abbey, Canterbury with major rebuildings in the 13th and early 14th centuries.
REFERENCES: S.R. Glynne, Notes of the Churches of Kent (1877), 167-8. (He visited in 1851). C.R. Councer, Lost Glass from Kent Churches ) (1980), 77-8.
Guide Book: None available in church, but see St Vincent’s Church, Littlebourne by Elizabeth Jeffries (1984) - very poor for architectural history.
Plans & drawings: Petrie early 19th cent. view from N.E., with continuous roof slope over nave and N. aisle.
DATES VISITED: 19th December 1996 REPORT BY: Tim Tatton-Brown
www.kentarchaeology.org.uk/01/03/LIT.htm
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LITTLEBORNE
LIES the next parish south-eastward from Stodmarsh, taking its name from its situation close to the stream which bounds the eastern part of it, and at the same time to distinguish it from the other parishes of the name of Borne in the near neighbourhood of it.
There is but one borough in this parish, called the borough of Littleborne.
Littleborne extends to the skirt of the beautiful and healthy parts of East Kent, and verging farther from the large levels of marsh land which lie near the Stour, quits that gloomy aspect of ill health so prevalent near them, and here begins to assume one more cheerful, pleasant and healthy; and Twyne tells us, (fn. 1) that it was allotted by the abbot and convent of St. Augustine's, who possessed the manor, for the plantation of vines. The village is built on the high road leading from Canterbury to Sandwich and Deal, at the eastern boundary of the parish, adjoinining to the Little Stour, and consists of about forty houses. The church stands at a small distance from it, having the courtlodge close to it, with the parsonage at a small distance. This parish extends northward as far as the Stour, opposite to Westbere, in which part of it however, there is but a small quantity of marsh-land, near which is an estate called Higham, which antiently was owned by a family of that name. Above the hill, south-eastward from hence, there is a great deal of woodland, and among it a tract of heathy rough land, belonging to the archbishop, called Fishpool-downs, through which the road leads to Wickham. At the bottom of Fishpool hill is the valley called the Ponds, now entirely covered with wood, part of which is in this parish. The ponds were supplied from a spring called Arrianes well, probably for Adrian's well, and were of a considerable size and depth, made for the supply of the convent of St. Augustine, the owners of them, with fish for their refectory, the sides of them now equally thick with coppice wood, were antiently a vineyard. These woods continue from hence adjoining the high road towards the village in great quantities, much of which belongs to the archbishop, and are intermixed with a great deal of rough bushy ground. The lands in this parish are in general very poor and gravelly, but towards Wickham they are much more fertile both for corn and hops, of which there are several plantations. This parish extends across the river eastward towards the hill, and takes in great part of Lower Garwinton, and part of the house, and some little land of Upper Garwinton within it, which is entirely separated from the rest of it by the parish of Adisham intervening.
Polygonatum scalacæci, Solomon's seal; grows plentifully on Fishpool-hill in this parish.
A fair is held here on the 5th of July, for toys and pedlary.
In the year 690, Widred, king of Kent, gave to the monastery of St. Augustine, in pure and perpetual alms, five plough-lands called Litleborne, on condition of their remembring of him in their prayers and solemn masses. And in the year 1047, king Edward the Consessor gave another plough-land here, which consisted of the estates of Bourne, Dene, and Wiliyington, to archbishop Eadsin, free from all service, except. the trinoda necessitas, and he bestowed it on that monastery. After which the manor of Little borne continued in the possession of the abbey to the time of taking the survey of Domesday, in which it is thus entered under the general title of the land of the church of St. Augustine:
In Dunamesfort hundred, the abbot himself holds, Liteburne, which is taxed at seven sulings. The arable land is twelve carucates. In demesne there are three carucates, and thirty-five villeins, with fourteen cottagers having six and an half. There is a church, and thirtyeight acres of meadow. Wood for the pannage of four hogs. In the time of king Edward the Consessor it was worth twenty-five pounds, afterwards twenty pounds, now thirty-two pounds. Of this manor the bishop of Baieux has in his park, as much as is worth sixty shillings.
After this the abbot and convent's possessions here were increased by several gifts and purchases of different parcels of land. (fn. 2)
King Henry III. in his 54th year, granted to the abbot and convent free-warren in all their demesne lands of Littleborne, among others. In the 7th year of king Edward II.'s reign, anno 1313, in the iter of H. de Stanton and his sociates, justices itinerant, the abbot, upon a quo warranto, claimed and was allowed in this manor among others, free warren in all his demesne lands of it, and view of frank-pledge, and other liberties therein-mentioned, in like manner as has been already mentioned before, in the description of the manors of Sturry and Stodmarsh. (fn. 3) By a register of the monastery of about this time, it appears, that this manor had then in demesne the park of Trendesle. In the 10th year of king Edward III. Solomon de Ripple being custos, or bailiff of this manor, made many improvements here, and purchased more lands in it, all the buildings of it being in a manner wholly re-built and raised from the ground, with much cost, by him. In king Richard II.'s reign, the abbot's manor of Littleborne was valued at 23l. 8s. 6d. the admeasurement of the lands being 505 acres. After which this manor continued with the monastery till its dissolution, anno 30 Henry VIII. when it came into the king's hands, and remained in the crown till king Edward VI. in his 1st year, granted the manor and manor-house, with all lands and appurtenances, and a water-mill lately belonging to the abbot and convent of St. Augustine, to the archbishop, among other premises, in exchange for the manor of Mayfield, &c. parcel of the possessions of whose see it still remains, the archbishop being the present owner of it. The manor, with the profits of courts, royalties, &c. the archbishop keeps in his own hands; but the demesnes have been from time to time demised on a beneficial lease. The family of Denne have been for more than a century lessees of it, who now reside in the court-lodge.
On the abolition of episcopacy, after the death of king Charles I. this manor was sold by the state to Sir John Roberts and John Cogan, the latter of whom, by his will in 1657, gave his moiety of it to the mayor and aldermen of Canterbury, for the benefit of six poor ministers widows (for whose use he had at the same time demised his dwelling-house in Canterbury, now called Cogan's hospital. But the manor of Littleborne, on the restoration in 1660, returned again to the see of Canterbury.
The manor of Wolton, alias Walton, lies in the southern part of this parish, adjoining to the precinct of Well, and was antiently possessed by a family who took their name from it, one of whom, John, son of John de Wolton, held it at the latter end of king Henry III.'s reign. But this family became extinct here before the reign of king Edward III. in the 20th year of which, Roger de Garwinton held it by knight's service, (fn. 4) in whose descendants it continued till it passed into the family of Petit, of Shalmsford, who held it of the abbot of St. Augustine's by the like service, in which name and family it continued till it was at length alienated to Sir Henry Palmer, of Bekesborne, whose descendant of the same name passed it away by sale to Sir Robert Hales, of Bekesborne, in whose descendants it continued down to Sir Philip Hales, bart. of Howlets, who in 1787 alienated this manor to Isaac Baugh, esq. of Well, the present owner of it.
Wingate, alias Lower Garwington, in a manor, which lies on the other or eastern side of the river, adjoining to Ickham, taking the former of those names from a family, who were owners of it in Henry III.'s reign, and held it by knight's service of the abbot and convent of St. Augustine. In which reign Simon de Wingate held it as above-mentioned, but before the 20th year of King Edward III. this name was extinct here, and Thomas de Garwinton then held this estate, lying in Wingate, held of the abbot by the like tenure. (fn. 5) In the descendants of Thomas de Garwington, who resided at their mansion and manor, since called Upper Garwinton, adjoining to it, seems to have continued some time, and from them, as well as to distinguish it from that, to have taken the name of Wingate, alias Lower Garwinton. After this family had quitted the possession of it, the Clyffords appear from different records to have become owners of it, and after them the Sandfords, and it appears by the escheat rolls, that Humphrey Sandford died possessed of it in the 14th year of king Henry VII. and that Thomas Sandford was his son and heir. After which it came into the hands of the crown, for king Henry VIII. in his 30th year, granted the manors of Wingate and Garwinton to Sir Christopher Hales, then master of the rolls. He left three daughters his coheirs, who became jointly, entitled to it, and on the division of their estates it was allotted to the youngest daughter Mary, who entitled her husband Alexander Colepeper, esq. to it, in which name it continued till the 22d of queen Elizabeth, when it was passed away by sale to Thomas Fane, esq. whose son Francis, earl of Westmoreland, sold it to William Prude, alias Proude, esq. who being a lieutenant-colonel in the army, was slain at the siege of Maestricht in 1632, having devised this estate in tail male to his eldest surviving son Serles Prude, who died in 1642, leaving only two daughters his coheirs, upon which it came to his next brother William, who left an only daughter Dorothy, and she, the entail being barred, carried it first in marriage to Nethersole, by whom she had no issue, and secondly to Christopher May, esq. of Rawmere, in Suffex, whose only daughter and heir Anne, entitled her husband William Broadnax, esq. of Godmersham, to the possession of it. His son Thomas Changed his name, first to May and then to Knight, and died possessed of this manor in 1781, leaving an only son Thomas Knight, esq. of Godmersham, who in the year 1785 exchanged it for other lands in Crundal with Thomas Barret, esq. of Lee, the present owner of it.
Upper Garwinton is a manor, which lies adjoining to that last-described, southward, at the boundary of this parish, next to Adisham, in which parish part of the mansion of it stands, being written in the survery of Domesday, Warwintone, one of the many instances in that book of the mistakes of the Norman scribes. It was, after the conquest, parcel of those possessions with which the Conqueror enriched his half-brother Odo, the great bishop of Baieux and earl of Kent, and was exchanged by him for other lands with the abbot of St. Augustine's, accordingly it is thus entered in that record, under the general title of the land of the church of St. Augustine:
The abbot himself holds Warwintone, and the bishop of Baieux gave it to him in exchange of his park. It was taxed at half a suling and forty-two acres of land. The arable land is one carucate, and there is in demesne, with three cottagers, and sixteen acres of meadow. In the time of king Edward the Confessor it was worth four pounds, and afterwards forty shillings, now four pounds. This manor Edric de Sbern Biga held, and now Radulf holds it of the abbot.
Whether this description extended to the last-described manor of Wingate, is uncertain, though most probably, as both were held of the abbot by knight's service, it was comprehended in it. However that may be, this manor of Garwintone, called as above, erroneously, in Domesday, Warwintone, was held of the abbot by a family who took their surname from it; one of whom, Richard de Garwynton, resided here at the latter end of king Henry II.'s reign, and had a chapel at his mansion here; and in 1194, the abbot granted to him and his heirs, to have the divine office celebrated for three days in a week in this chapel by the priest of Littleborne. (fn. 6) His descendant Thomas Garwinton was possessed of this manor and several other estates in this part of the county, in the 20th year of king Edward III. whose great-grandson William Garwynton dying S. P. Joane his kinswoman, married to Richard Haut, was anno II Henry IV. found to be his heir not only to this manor, but to much other lands in these parts, and their son Richard Haut having an only daughter and heir Margery, she carried this manor in marriage to William Isaac, esq. of Patrixborne, whose descendant Edward Isaac, at his death, gave this manor to his two daughter by his second wife, viz. Mary, married to Thomas Appleton, esq. of Suffolk, and Margaret, to John Jermye, second son of Sir John Jermye, of the same county, and they seem to have shared this manor between them. Thomas Appleton sold his share afterwards to Anthony Parker, who with Isaac Jermye, eldest son of John above-mentioned, joined in the sale of the entire see of it to Sir Henry Palmer, of Howlets, and he by his will in 1611, devised it to his nephew John Goodwyn, whose heirs some time afterwards passed it away by sale to George Curteis, esq. afterwards knighted, and of Otterden, and he alienated it to Sir Robert Hales, of Bekesborne, in whose descendants it continued down to Sir Philip Hales, bart. of Howlets, who in 1787, passed it away by sale to Isaac Baugh, esq. the present owner of it.
Charities.
John Dorrante, of Bekesborne, yeoman, in 1560, gave by will, to discharge the poor from the assessments of the church, the overplus to be paid to the most antient poor of the parish, the sum of 3s, 6d. on Palm Sunday and the Monday before Penticost; and 21s. 6d. on Christmas-day yearly, out of the house and lands called Church-house, now vested in Mr. Peter Inge.
Henry Sloyden, of Wickhambreaux, in 1568, gave by will to the poor of this parish and of Wickham, six acres and a half of land, called Church-close, to be divided between them yearly, now of the annual produce of 3l. 9s. 9d.
Sir Henry Palmer, by his will in 1611, gave 10s. to be paid yearly out of his manor of Welle, for the use of the poor.
James Franklyn, by will in 1616, gave to the parishes of Littleborne, Chistlet, and Hoathe, in Reculver, 5l. each, to be employed in a stock for the poor. This 5l. is now increased to 11l. this interest of which being 8s. 93frac34;d. is distributed among the poor in general.
Valentine Norton, gent. by his will, was a benefactor to the poor; but there are no particulars further known of it.
The poor constantly relieved are about fifty, casually thirtyfive.
This parish is within the ecclesiastical jurisdiction of the diocese of Canterbury, and deanry of Bridge.
The church, which is dedicated to St. Vincent, consists of three isles and a chancel, having at the west end a low pointed steeple, in which hang five bells. The church is kept very neat. It is a good sized building, and is handsomely ceiled. The chancel is lostly, and has four narrow lancet windows on each side, and three at the end; in the former are the remains of good painted glass, and in the latter some years ago were the seven sacraments, &c. very handsomely done, with rich borders, but they have been some few years since removed. In it is a memorial for George I'anns, curate, obt. 1699. In the middle isle are several memorials for the family of Denne, for many descents lessees of the court-lodge, and descended from those of Dennehill, in Kingston, In the south-east window of the south isle is a saint holding a shield of arms, in front, Gules, three cocks, argent, being the arms of Bunington, on the lest side a moon, on the right a sun, all very well done; and there were formerly in one of the windows, the arms of Higham, argent, a lion passant regardant, between six cross-croslets fitchee, sable, impaling Gallaway, ermine, three lozenges, gules. A few years ago the north isle fell down, when there were some curious paintings discovered, by the breaking of the plaister from the walls. This isle was immediately rebuilt. In the church-yard, at the north-west part of it, are several tombs and head stones of the family of Denne before- mentioned.
¶The church of Littleborne was antiently appendant to the manor, part of the possessions of the abbot and convent of St. Augustine, and continued so till the year 1224, when Robert de Bello being chosen abbot, and finding much difficulty in obtaining the pope's benediction, to facilitate it, gave this church to the monastery of St. Mary de Monte Mirteto, in Italy, to which the pope, in 1241, appropriated it. Immediately after which, this parsonage, so appropriated, was demised to the abbot and convent of St. Augustine, in perpetual ferme, at the clear yearly sum of thirty marcs. (fn. 7) Four years after which, anno 1245, archbishop Stratford endowed the vicarage of it, the advowson of which was reserved to the abbot and convent of St. Augustine, when he decreed, that the vicarage should be endowed with a mansion, the tithes of filva cæ dua, of hay, and in three acres of arable, one acre of meadow, and in the receipt of three marcs and an half in money from the religious yearly, and in the tithes of flax, hemp, ducks, calves, pigeons, bees, milk, milkmeats, mills, wool, pigs, and in all oblations and other small tithes belonging to the church; and that the vicar should serve the church in divine rites, and find one chaplain to celebrate weekly in the chapel of Garwyntone, and to find bread, wine, and tapers, for celebrating divine rites in the church. Which endowment was afterwards, in 1370, certified by inspeximus, by archbishop Wittlesey. In which state this church and advowson remained till the final dissolution of the abbey of St. Augustine, in the 30th year of Henry VIII. when they came into the king's hands, and the king, in his 33d year, settled both, by his dotation-charter, on his new-erected dean and chapter of Canterbury, with whom they continue at this time. The parsonage has been from time to time let on a beneficial lease, Mr. Thomas Holness being the present lessee of it, but the advowson of the vicarage the dean and chapter retain in their own hands.
The vicarage of Littleborne is valued in the king's books at 7l. 19s. 10d. but the yearly tenths taken are sixteen shillings, the sum total being erroneonsly cast up in the king's books at eight pounds. The antient pension of 3l. 17s. 4d. from the abbey of St. Augustine's, is yearly received by the vicar out of the exchequer; the demesne lands of the court-lodge pay no greattithes, and the archbishop's woods in his own occupation pay none. In 1588 here were one hundred and fifty communicants; in 1640 the same, when it was valued at thirty-five pounds. It has been augmented by the dean and chapter with fifty pounds per annum.
The chapel of Lukedale, in the precinct of Well, was once esteemed as within the bounds of this parish, of which more may be seen herefter, under Ickham, to which parish Well is now annexed.
The new Maserati Quattroporte VI has become a really popular car and a good seller for Maserati, but the idea for a four-door Maserati is one that goes all the way back to 1963 and kept on progressing all the way to 2013. Somewhere in the middle was the Quattroporte III, a machine that was styled by Italdesign and introduced in 1979. Like today’s Quattroporte, it was a Maserati for the businessman, and before it’s discontinuation in 1989 over 2,000 examples of the Quattroporte III left the factory.
This three-owner 1982 car located in Mesa, Arizona, is one of them and is now offered at a suspiciously low price.
It seems to have been really well taken care of and the seller claims that all of the electrics work (possibly because Bosch did the electronics in these). It also has the 4.9 liter quad-cam V-8, with 280 hp. If it’s advertised honestly, this is a very nice Quattroporte III priced like a mediocre Quattroporte III. It’s even more tempting when you realize that you could have this massive piece of Italian magnificence for the price of a well-used Camry. Yes, operating costs will start to catch up after a while, but such a low initial cost still really makes you wonder.
This 1982 Maserati Quattroporte III “Buy It Now” price (eBay) is set at $10,500 and even open to offers.
Describtion Maserati Quattroporte III
Mileage: 35,630
Exterior Color: Creme
Interior Color: Pumpkin
Transmission: 4-Speed Automatic
Engine: 4.9L 4930CC V8 GAS DOHC Naturally Aspirated
Number of Cylinders:8
For Sale By: Dealer, CA/AZ Owner well documented and in excellent condition
Seller Notes: "Couple small stone chips on the front nose and lower skirt underneath the front bumper. Driver and passenger seat are in outstanding condition but does show a little bit of use. The rear deck leather does show a little shrinking from the sun."
Heritage “The World’s Four Fastest Seats”
Turin Motor Show 1963, the press and public first laid eyes on a daring new concept from Maserati. The Quattroporte realized Maserati’s vision of an all new 4 door luxury sports sedan with the heart and soul of the race cars it succeeds and the luxury appointments and workmanship only the Italians can produce. Huge success and acclaim of the first Quattroporte led to the Series two, developed under the Citroen ownership of the early 1970’s. Before approval on the project the partnership dissolved and the Series 2 Quattroporte was no longer an option, only 12 were ever made. At the 1977 Turin Motor Show, Maserati unveiled the Quattroporte III. Once again Maserati received huge critical acclaim, all of the magazines gave praise to the gorgeous shape and well balanced chassis. The then familiar 4.9 quad cam V8 race proven engine was underneath the hood giving the Quattroporte 3 true heart and soul. Just 2,155 Maserati Quattroporte III’s were made worldwide making this automobile a very rare and special automobile.
“Buy It Now” price is set at $10,500 and even open to offers
European Motor Studio is proud to offer this very rare and limited production Crème on Pumpkin leather 1982 Maserati Quattroporte III. This Maserati has traveled only 36,950 miles from brand new and in beautiful running and driving condition. The Quattroporte was hand built and left Maserati’s Modena factory in December of 1981. The car was then invoiced to North America and was imported into the US through the Maserati Import Company in California. The car was sent to one of the oldest European automobile dealerships in the business, British Motor Car Distributors Inc on Van Ness in San Francisco. The car sold to its first owner for over $60,000 and stayed in the bay area until 2001 when the second owner purchased the car and moved to southern California. The 3rd owner purchased the car and moved to Palm Springs/Scottsdale where the car has been until European Motor Studio acquired the car from the third owner. This outstanding 1982 Maserati has been extremely well cared for and has a very extensive service history documenting all of the maintenance performed. Original owners manuals, warranty books, leather case, service manuals, original spare and jack, a whole book on past articles from numerous automotive magazines, past Maserati club records and two sets of original Maserati keys. The car is completely original minus the upgraded radio (nothing was damaged when the radio was installed) even the original Campagnolo’s are in perfect condition with original badging and stickers. The signature pumpkin leather interior is gorgeous, showing almost no sings of wear on the front seats, the backseats look as if they have never been used, the original hand sewn headliner looks perfect, and all of the leather trim, chrome, hand finished maple wood and switch gear look excellent. All of the electronics work, interior, dash lights, headlights, side marker lights, taillights, all four windows, trunk release switch(sometimes gas door flap sticks) AC blows well and heat works well and all of the seat switches work. The engine starts right up and runs outstanding. That glorious 4.9 litre Maserati four cam has a great sound and idles beautifully. I have driven the car about 40 miles around town in the heat and have not had any issues with overheating or running hot. The cooling fans kick on at mid temperature point and keep the large V8 running cool. The steering and suspension feel nice and tight, no play in the wheel or drifting. There are no unusual sounds coming from the suspension, the car has newer looking tires with excellent tread, in the corners the car feels solid and poised thanks to its sophisticated sports car heritage. The brakes feel great and do not squeak and grind. The transmission has been rebuilt in the last year and feels great; it shifts through all of the gears without any hesitation. The paint and body of the car look excellent, the original factory color looks very nice free of any damage or fade. There are only a couple tiny imperfections (one hairline scratch on the hood and one small ding on the roof of the car) the body of this Maserati looks exceptional. This has been a southern California car its whole life and just recently moved to AZ so there is no rust of any kind found on this car and the body is free of any damage or dents. The chrome, rubber trim, bumpers and badges all look great without any damage. This Maserati has never been involved in any kind of accident and has a clean and clear AZ title with Box A Actual miles. This is your opportunity to own an increasingly rare very nicely preserved Maserati Quattroporte III. With only 2,155 made worldwide these are very hard to find in this kind of condition with its original 4.9 V8 intact and running and with provenance.
Has two spots on the lower left that won't blow off. You can see the shadow of one of them through the low pass filter
View from the N of Rosendale Road railway bridge "No.2" (Herne Hill and West Dulwich, London) carrying suburban line services to and from London Bridge terminus.
The green and grey bridge has recently replaced an older one, during work carried out in the early hours of January 19th 2014. The previous bridge (1950s-1960s) replaced an even older one (1866) supported on the same cast iron columns (not visible here but see accompanying photos in this series). During the present replacement work, the columns were then also removed forever.
The railway plaque is the original one, mounted on a new concrete replacement capital. The plaque bears the coat-of-arms of the London, Brighton and South Coast Railway on the L, and of the Dulwich Estate on the R. The Dulwich Estate own, or owned, much of the land in this area, including, I assume, the land on which this bridge was built. The shield in the middle of the plaque carries the date "1866", the date of construction the original bridge, though the main span has been replaced at least twice since then. The initials "AC"on the central shield stand for Alleyn College, the former name of Dulwich College (founded 1619 by the Shakespearean actor-manager, Edward Alleyn.)
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ROSENDALE ROAD RAILWAY BRIDGES
There were three railway bridges over Rosendale Road, two of which still exist. They don't appear to have names, so I have numbered them arbitrarily.
"No.1" is the most northern one, close to Brockwell Park, behind the camera viewpoint. It currently carries suburban line services of the Thameslink network between Wimbledon and Sutton and central London (and beyond).
This view shows "No.2" orignally built in 1866 for the London Brighton and South Coast Railway. It rested on brick abutments and on red cast iron columns. But the girder bridge itself, and its railings, must have been younger, having apparently replaced the older, more ornate, structure some time after 1952 (compare the photo of its more ornate predecessor in Edwin Course's article, below). The original bridge was designed by Charles Barry Junior. The large sums paid by the then railway company (London, Brighton and South Coast Railway) for construction of its line across the Dulwich Estate, with other bridges matching this one, enabled the Estate to build the present main building of Dulwich College (1857-1866). There were a pair ornamental plaques on each side of the road on this N side of Rosendale Railway bridge, each on its own pilaster - four in all. Some or all of the upper parts of the older pillasters were removed and replaced by modern concrete ones, but the old plaques were retained and remounted on the new pilasters (as here, upper R). It seems that the pilasters had to be replaced by narrower ones (i.e. as measured in the direction away from the camera) to allow for the installation of the access walkway (in grey undercoat on the L) along the outside of the bridge proper.
This view also shows the site of "No.3". This bridge was demolished some time after 1966. It was very ornate in cast iron and ran across the road here, in the background immediately beyond "No.2", supported on brick abutments and cast iron columns. The eastern abutment can just be seen through the bridge in the distance (lower L) (see also notes on the picture). The bridge carried coal trains of the former London and North Western Railway into Knight's Hill Sidings and its former coal depot. The sidings included the former bridge, which was therefore much wider than "No.2". The sidings extended to the R beyond the R side of this view behind the embankment of the nearer bridge, where they are now covered by houses of the Lairdale Estate of the London Borough of Lambeth (one of these houses can be seen upper R). Although the depot was an LNWR one, the abutments for the demolished bridge actually bear plaques (not visible here) with the coat-of-arms of the London, Brighton and South Coast Railway and the Dulwich Estate, and the date "1866" - just as on "No.2". It is clear from the photo in Course's article that the original designs of both bridges also matched each other. However, an iron plaque on the bridge proper bore the date 1891.
--- belowtheriver.co.uk/wednesday-picture-the-bridges-of-west...
--- Course, Edwin, 1960. The foreign goods depots of South London. Railway Magazine [vol?] (for November 1960), pp. 761-766. www.semgonline.com/RlyMag/ForeignDepotsofSthLondon.pdf
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RAILWAY BRIDGE REPLACEMENT WORK IN DULWICH & HERNE HILL, JANUARY-FEBRUARY 2014 (32/39)
This bridge, and two further sister bridges carrying the same line over neighbouring streets, had been in poor condition for some time. After a period of preparation work, the replacement work happening here began in January 2014. Two neighbouring streets, one of them a busy main road, were closed to traffic concurrently for about two weeks, and another was closed for work on the third bridge shortly afterwards. To minimise disruption to train services, the main replacement work was carried out night and day in continuous shifts over two weekends. Huge hydraulic cranes had to come from Scotland (James Jack, Ainscough) to do this engineering work because there were no cranes available nearer to London capable of handling the old and new bridges.
--- belowtheriver.co.uk/wednesday-picture-the-bridges-of-west...
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for COMMUTE ROUTE set:
SERIES 1. MY USUAL ROUTE (& POINTS IN COMMON TO ALL ROUTES).
This view looks in the direction of returning to our house. (I've uploaded many other photos of this bridge replacement work, but for the 'Commute Route' set here, I have included only those that I took on the way to work.)
My standard outward commuting route:
home > (walk) > Rosendale Road > (walk) > Brockwell Park > (walk) > Herne Hill station > (National Rail suburban service) > London Victoria station > (District/Circle Line) > South Kensington > (walk) > Natural History Museum.
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Photo
© Darkroom Daze Creative Commons.
If you would like to use or refer to this image, please link or attribute.
ID: DSC_8701 - Version 2
The kit and its assembly:
Well, this build has been lingering for almost 25 years in the back of my mind. It just took so long that a suitable IP kit (with a reasonable price tag) would materialize!
The original inspiration struck me with a VF-4 profile in the source book "This is animation special: Macross PLUS" from 1994, which accidently fell into my hands in a local Japanese book store. Among others, a side and top view profile of an aggressor VF-4 in an all-brown, Soviet-style paint scheme was featured. At that time I found the idea and the scheme pretty cool, so much that I even built a modified 1:100 VF-1 as a ground attack aircraft in this paint scheme.
However, the original VF-4 profile from the source book had always been present, but for years there had been no affordable kit. There have been garage/resin kits, but prices would start at EUR 250,-, and these things were and are extraordinarily rare.
Things changed for the better when WAVE announced an 1:72 VF-4 kit in late 2016, and it eventually materialized in late 2017. I immediately pre-ordered one from Japan (in a smart move, this even saved money) and it eventually turned up here in Germany in early 2018. Patience pays out, it seems...
I had preferred a 1:100 kit, though, due to space issues and since almost any other Macross variable fighter model in my collection is in this small scale, but I am happy that a decent VF-4 kit at all appeared after so many years!
Concerning the WAVE kit, there’s light and shadow. First of all, you have to know that you get a VF-4A. This is mentioned nowhere on the box, but might be a vital information for hardcore modelers. The early VF-4A is a rather different aircraft than the later VF-4G, with so fundamental differences that it would warrant a completely new kit! On the other side, with a look at the kit’s parts, I could imagine that a VF-4B two-seater could be easily realized in the future, too.
The kit is a solid construction, a snap-fit kit molded in different colors so that it can be built without painting. This sounds toy-like, but - like many small scale Bandai Valkyrie kits - anything you ask for is actually there. When you use glue and put some effort into the kit and some donor parts, you can make a very good model from it.
The kit's box is pretty oversized, though (any sprue is shrink-wrapped, horrendous garbage pile and wasted space!), and the kit offers just a single decal (water-slide decals, not stickers) option for a Skull Squadron VF-4A – AFAIK it’s Hikaru Ichijoe’s machine that appears in one of the Macross Flash Back 2012 music videos, as it escorts the SDF-02 “Megaroad” colonial ship after launch from Earth towards the center of our Galaxy.
The parts are crisply molded, and I actually like the fact that the kit is not as uber-engineered as the Hasegawa Valkyries. You can actually call the WAVE kit simple - but in a positive sense, because the parts number is reduced to a minimum, material strength is solid and the kit's construction is straightforward. Fit is excellent – I just used some putty along the engine gondolas due to their complex shape, but almost anything else would either fit almost perfectly or just call for some sanding. Impressive!
Surface details etc. are rather basic, but very crisp and emphasized enough that anything remains visible after adding some paint. However, after all, this aircraft is just a fictional animation mecha, and from this perspective the kit is really O.K..
After building the kit I most say that it's nothing that leaves you in awe, and for a retail price of currently roundabout EUR 50-70,- (I was lucky to get it for an early bird deal at EUR 40,-, but still pricey for what I got) the kit is pretty expensive and has some weaknesses:
The model comes with a decent (= simple) cockpit and a very nice and large pilot figure, but with no ordnance except for the semi-recessed long-range missiles (see below). The cockpit lacks any side consoles, floor or side wall details. If you put the pilot into the cockpit as intended, this is not a big issue, since the figure blocks any sight into the cockpit’s lower regions. However, the side sticks are molded into the pilot’s hands, so that you have to scratch a lot if you want to present the cockpit open and with an empty seat.
The landing gear is simple, too, and the wells are very shallow (even though they feature interior details). As a special feature, you can switch with some extra parts between an extended or retracted landing gear, and there are extra parts that allow the air intakes and some vectoring nozzles to be closed/extended for orbital operations. However, detail fetishists might replace the OOB parts with the landing gear from an 1:72 F-18 for an overall better look.
Provisions for underwing hardpoints are actually molded into the lower fuselage part (and could be punched/drilled open - another indication that more VF-4 boxings with extra sprues might follow?), but the kit does not come with any pylons or other ordnance than the dozen fuselage-mounted AAMs. Furthermore, the semi-recessed missiles are just that: you only get the visible halves of the only provided ordnance, which are simply stuck into slits on the model’s surface. As a consequence, you have to mount them at any rate – building a VF-4 for a diorama in which the missiles are about to be loaded would require massive scratch-building efforts and modifications.
Another problem indirectly arises when you put some effort into the kit and want to clean and pre-paint the missiles before assembly: every missile is different and has its allocated place on the VF-4 hull. The missiles are numbered – but only on the sprue! Once you cut them out, you either have to keep them painstakingly in order, or you will spend a long evening figuring out where which missile belongs! This could be easily avoided if the part number would be engraved on the missiles’ back sides – and that’s what I actually did (with a water-proof pen, though) in order to avoid trouble.
The clear canopy is another issue. The two parts are crystal-clear, but, being a snap-fit kit, the canopy parts have to be clipped into the fuselage (rear part) and onto a separate canopy frame (front part). In order to fit, the clear parts have cramps molded into their bases – and due to the excellent transparency and a magnifier effect, you can see them easily from the outside – and on the inside, when you leave the cockpit open. It’s not a pretty solution, despite the perfect fit of the parts.
One option I can think of is to carefully sand the cramps and the attachment points away, but I deem this a hazardous stunt. I eventually hid the cramps behind a thin line of paint, which simulates a yellow-ish canopy seal. The extra windscreen framing is not accurate, but the simplest solution that hides this weak point.
The kit itself was built OOB, because it goes together so well. I also refrained from adding pylons and ordnance – even though you can easily hang anything from Hasegawa’s VF-1 weapon set under the VF-4’s wings and fuselage. A final, small addition was a scratched, ventral adapter for a 3.5 mm steel rod, as a display for the flight scene beauty pic.
The Disney Store's Aurora Disney Film Collection Doll has been completely deboxed. She is posed standing, supported by a Kaiser doll stand. She is photographed from all angles, in diffuse daylight.
She is wearing an outfit based on the her Coronation outfit in the movie. She looks very lovely and regal in her golden headband and golden gown and train, golden slippers, and flowing golden hair. Her features are very lifelike and a good likeness of Aurora as portrayed by Elle Fanning in the movie. Her small, narrow blue eyes are gazing straight ahead. Her mouth is closed, her skin is pale and lightly rouged on her cheeks. She has a serious, thoughtful expression on her face that is very endearing. Her face looks like that of a real person no matter what angle it is viewed, and is very beautiful. Her waist length hair is very fine and smooth, and is curled below her neck. There is a gold leaf plastic headband around her head that is tacked down in both sides of her head, and has a snap closure in the back.
Her golden gown is two layered. The outer layer is gold mesh with gold thread and brocade floral decorations. Under that is gold satin. The two layers are sewn together at the hem and the waist. It has full length sleeves. There are white bristles as the trim of the collar and her cuffs. There is a false belt sewn around the waist, and tiny shiny gold buttons down the center of the bodice.
She has the same body construction as that of the 2012 Disney Classic Princess 12'' dolls. She stands 11 1/2'' tall in her slippers. She has 13 points of articulation, with ball jointed neck, shoulders, elbows, wrists, hips and ankes, and hinge jointed knees. The legs are made of hard plastic, but the knee joints are not stiff enough to prevent her legs from being slightly bowed. Also because of her hip construction, her legs splay out when they are bent at the hips for her to sit down.
The artwork on the box is very beautiful, and the the backing has scenery from the movie, with a cardboard tree in the front of the box framing the scene. The box was easy to take apart, and can also be easily put back together to be reused.
I am very impressed by this doll, even more so after deboxing her. I think she is well worth the $35 price, which is more than double the price of a Classic Princess doll.
On Tuesday May 13, 2014, I received my online order from the Disney Store of the newly released The Disney Maleficent Movie Dolls. The dolls are the Maleficent and Aurora 12'' dolls of the Disney Film Collection. I ordered them last Tuesday, when the dolls were released online, so it took exactly one week to arrive. Both dolls look very good, but I'm liking Aurora more at this point, mainly because I like her face more than Maleficent's. I think the Dark Beauty Maleficent doll by Jakks Pacific is a better likeness of Angelina Jolie as Maleficent. I will post photos of both dolls boxed, then during deboxing, and finally fully deboxed. I will also show them side by side with other comparable dolls, especially the Jakks versions.
Aurora Disney Film Collection Doll - Maleficent - 12''
US Disney Store
Released and Purchased Online 2014-05-06
Received 2014-05-13
$34.95
Item No. 6070040901005P
Golden age
Once upon a dream comes the golden vision of Princess Aurora as she appears in Disney's new live-action film Maleficent. Finely detailed with her beautiful hair and elegant gown, this Aurora doll is part of the Disney Film Collection.
Magic in the details...
• Fully articulated
• Deluxe costume
• Satin gown with mesh top layer
• Brocade trim with gold foil thread detailing
• Rooted hair
• Finely sculptured head with fern leaf headband
• Scenic packaging
• Part of the Disney Film Collection
The bare necessities
• Ages 3+
• Plastic / polyester
• 12'' H
• Imported
Safety
WARNING: CHOKING HAZARD - Small Parts. Not for children under 3 years.
This car has been purchased by a small private Peugeot Museum in Saasveld, and is fully restored now.
see also: www.teamvcctwente.nl/index.php/foto/category/13-30-jaar-p...
The 205 Berline was designed by Gerhard Welter and introduced in August 1983. So this one pictured is one from the first generation.
In the early 80s Peugeot was facing hard economic times. The new 205 was a selling hit right from the start, and brought Peugeot back to black figures.
1124cc,
770 kgs.
Amsterdam-N., Joh. van Hasseltweg, July 27, 2012.
© 2012 Sander Toonen Amsterdam | All Rights Reserved
Some of you may have noticed that, unfortunately, owing to the fact that a certain person who sells truck photos on eBay commercially has been lifting my images from this album and selling them I have had to remove 2300 photos that didn't have a watermark. I have now run around 1700 through Lightroom and added a watermark with the intention of bulk uploading them again. Rather than watermark the existing (hidden) files in Flickr one at a time it will be easier to do it this way. I definitely won’t be adding individual tags with the make and model of each vehicle I will just add generic transport tags. Each photo is named after the vehicle and reg in any case. For anyone new to these images there is a chapter and verse explanation below. It is staggering how many times I get asked questions that a quick scan would answer or just as likely I can’t possibly answer – I didn’t take them, but, just to clarify-I do own the copyright- and I do pursue copyright theft.
This is a collection of scanned prints from a collection of photographs taken by the late Jim Taylor A number of years ago I was offered a large number of photographs taken by Jim Taylor, a transport photographer based in Huddersfield. The collection, 30,000 prints, 20,000 negatives – and copyright! – had been offered to me and one of the national transport magazines previously by a friend of Jim's, on behalf of Jim's wife. I initially turned them down, already having over 30,000 of my own prints filed away and taking space up. Several months later the prints were still for sale – at what was, apparently, the going rate. It was a lot of money and I deliberated for quite a while before deciding to buy them. I did however buy them directly from Jim’s wife and she delivered them personally – just to quash the occasional rumour from people who can’t mind their own business. Although some prints were sold elsewhere, particularly the popular big fleet stuff, I should have the negatives, unfortunately they came to me in a random mix, 1200 to a box, without any sort of indexing and as such it would be impossible to match negatives to prints, or, to even find a print of any particular vehicle. I have only ever looked at a handful myself unless I am scanning them. The prints are generally in excellent condition and I initially stored them in a bedroom without ever looking at any of them. In 2006 I built an extension and they had to be well protected from dust and moved a few times. Ultimately my former 6x7 box room office has become their (and my own work’s) permanent home.
I hope to avoid posting images that Jim had not taken his self, however should I inadvertently infringe another photographers copyright, please inform me by email and I will resolve the issue immediately. There are copyright issues with some of the photographs that were sold to me. A Flickr member from Scotland drew my attention to some of his own work amongst the first uploads of Jim’s work. I had a quick look through some of the 30 boxes of prints and decided that for the time being the safest thing for me to do was withdraw the majority of the earlier uploaded scans and deal with the problem – which I did. whilst the vast majority of the prints are Jims, there is a problem defining copyright of some of them, this is something that the seller did not make clear at the time. I am reasonably confident that I have since been successful in identifying Jims own work. His early work consists of many thousands of lustre 6x4 prints which are difficult to scan well, later work is almost entirely 7x5 glossy, much easier to scan. Not all of the prints are pin sharp but I can generally print successfully to A4 from a scan.
You may notice photographs being duplicated in this Album, unfortunately there are multiple copies of many prints (for swapping) and as I have to have a system of archiving and backing up I can only guess - using memory - if I have scanned a print before. The bigger fleets have so many similar vehicles and registration numbers that it is impossible to get it right all of the time. It is easier to scan and process a print than check my files - on three different PC’s - for duplicates. There has not been, nor will there ever be, any intention to knowingly breach anyone else's copyright. I have presented the Jim Taylor collection as exactly that-The Jim Taylor Collection- his work not mine, my own work is quite obviously mine.
Unfortunately, many truck spotters have swapped and traded their work without copyright marking it as theirs. These people never anticipated the ease with which images would be shared online in the future. I would guess that having swapped and traded photos for many years that it is almost impossible to control their future use. Anyone wanting to control the future use of their work would have been well advised to copyright mark their work (as many did) and would be well advised not to post them on photo sharing sites without a watermark as the whole point of these sites is to share the image, it is very easy for those that wish, to lift any image, despite security settings, indeed, Flickr itself, warns you that this is the case. It was this abuse and theft of my material that led me to watermark all of my later uploads. I may yet withdraw non-watermarked photos, I haven’t decided yet. (I did in the end)
To anyone reading the above it will be quite obvious that I can’t provide information regarding specific photos or potential future uploads – I didn’t take them! There are many vehicles that were well known to me as Jim only lived down the road from me (although I didn’t know him), however scanning, titling, tagging and uploading is laborious and time consuming enough, I do however provide a fair amount of information with my own transport (and other) photos. I am aware that there are requests from other Flickr users that are unanswered, I stumble across them months or years after they were posted, this isn’t deliberate. Some weekends one or two “enthusiasts” can add many hundreds of photos as favourites, this pushes requests that are in the comments section ten or twenty pages out of sight and I miss them. I also have notifications switched off, I receive around 50 emails a day through work and I don’t want even more from Flickr. Other requests, like many other things, I just plain forget – no excuses! Uploads of Jim’s photos will be infrequent as it is a boring pastime and I would much rather work on my own output.
Ninja Warrior Remo has also been tagged, so I have some info on our handsome boy below!!!! Happy Birthday sweet boy you have added so much love and joy to our home and I thank you!!!
1.) We adopted Remo from pet protectors and we had to guess on his age!!! he was picked up on the side of a highway as a young kitten!!! He ran to us in the basement of the foster home and started rubbing all over us!! WE all instantly fell in love!!!
2.) He eats , breaths,loves and lives for my sweet daughter Meghan!!! They bonded ten years ago and are now joined at the hip!!! He sleeps with Meghan every night and follows her around the yard like a dog would!!! He even watches Meg get on the bus every morning and he knows when the bus arrives each afternoon !!! When she gets off he runs to greet her and then rubs all over her backpack, it is so heartwarming to watch each day!!!
3.) Remo is not afraid of anything, fire works, loud lawn mowers!! He has even chased strange dogs off our property!!! He even keeps Lexi at bay and she does not like cats~~ but she stays away from Remo!! He is a true warrior!!!
4.) He loves to be outside, a bored indoor cat usually is a stressed cat and he is far from bored!!! He loves to run in the snow, sleet, rain and sun!!! He is very street smart and woods savy, he knows how to stay away from danger and is always on alert!!!
5.) He is a very clean cat, and prefers to use the great outdoors for his litter box!!! No scooping up after Remo, he is so easy to care for and very neat!!!!!
6.) He never makes a sound, no loud crying unless Pete bites his back, he will whine !!! He is very kind to everyone, he never bites or scratches any humans!! He rubs on strangers that we welcome into our home~!!!!
7.) He loves to purr, he purrs when he is sleeping, when he is eating, when he is running all day long!!! He purrs the most when he sees Meghan!!!
8.) He is not a picky eater, and he will eat any dry, wet, canned food that you feed him!! He loves to sit next to Meg and he waits for her to give him some cheese off her sandwich!!!
9.)Remo still gets frisky !! Pete & Remo will run around the house like two horses!!! He is the boss and he lets Pete know that by pinning him down!!!
10.) Remo loves to sleep in our canoe that is tipped and covered in our back yard!!! If we cannot find him we look there and he jumps out and starts purring!!! He is the best cat that I have ever owned!!! He knows when the garage door opens that someone is coming home and he waits on the sidewalk!!! he never gets locked in the garage he knows to run in or out when he hears the door moving!!!
(for further information please click on the link at the end of page!)
Palais Daun-Kinsky
If the Freyung once has been one of the most prestigious residential addresses in town, so for it was next to the Palais Harrach especially the Grand Palais Kinsky responsible. In its place in the middle ages were two parcels, each with a small building. The front part of the Freyung was since the 16th Century always in aristocratic in hands (Bernhard Menesis Freiherr von Schwarzeneck, Countess Furstenberg, Counts Lamberg). 1686 acquired Karl Ferdinand Count Waldstein the house of Count Lamberg. His son bought also the adjacent house in Rose Street (Rosengasse) and united both plots to one parcel. He had three granddaughters, who sold the site in 1709 to Wirich Philipp Laurenz Graf Daun. This came from an old Rhenish nobility. His ancestors were mostly working for the Elector of Trier as officers. In the battle of the Habsburgs against the Turks, Spanish and Frenchmen, he acquired great military merit. He brought it to the General Feldzeugmeister (quartermaster) and Viceroy of Naples. In 1713 he had the house at the Freyung demolished and by Johann Lukas von Hildebrandt built in its place until 1716 a palace, him serving as Vienna's city residence. Down may have been Antonio Beduzzi requested the creation of reconstruction plans, but was eventually Hildebrandt entrusted with the work. In 1719, the palace was largely completed. Daun lived there but rarely because he stayed a lot in Italy and in Austria preferred his country castles Ladendorf, Kirchstetten and Pellendorf. In 1746 acquired Johann Joseph Count von Khevenhüller the Palais from Leopold Joseph von Daun, the son of the owner, who happened to be in financial difficulty. The Reichsgraf (count of empire) was appointed in 1763 by the Empress Maria Theresa for his services to the Lord Steward and Lord Chamberlain, and raised to the hereditary imperial princes (princes of the Holy Roman Empire).
Door knocker
He sold the palace in 1764 to the Imperial Councilor President Ferdinand Bonaventura Harrach Count II. This worked as a diplomat, especially in Holland and Italy. At times of Maria Theresa, the building was inhabited by her Swiss Guards until they 1784 moved to their new quarters in Hofstallgebäude (court stable building). Ferdinand Bonaventura's daughter Rosa brought the palace in 1790 into her marriage to Josef Graf Kinsky. Whose family belonged to the Bohemian nobility. Its members appear at the beginning of the 13th Century documented. Wilhelm Freiherr von Kinsky was a colonel and friend of Wallenstein. He was murdered with this 1634 in Eger. His confiscated estates were divided among the assassins. Only two masteries (Chlumez and Bohemian Kamnitz ) remained through the timely change of front of his nephew, Johann Octavian with the family. The Kinsky but succeeded soon to rise again. They occupied again high positions in the administration and the military. 1798 the had modernized their Viennese palace by the architect Ernst Koch inside. Thus, the original Baroque interior was lost. As in 1809 the Frenchmen had occupied Vienna, a french Marshal and General were billeted in the palace. Prince Ferdinand Kinsky was a great patron of Beethoven, which he paid an annual salary of 4,000 florins for life along with two other nobles. In 1856, the Palace was refurbished in the interior by the architect Friedrich Stache. In the 19th Century lived the Princes Kinsky mostly on their Bohemian goods or in Prague. The building was therefore temporarily rented to some posh tenants. So lived here temporarily Field Marshal Radetzky and Archduke Albrecht. 1904 redecorated the French interior designer Armand Decour the piano nobile.
Staircase - second floor
With the end of World War II began a tough time for the Kinsky family. Almost all goods and industrial holdings, with the exception of the hunting lodge Rosenhof at Freistadt lay in Bohemia. By 1929, 50 % of the extensive Bohemian possessions were expropriated. There were still about 12,000 acres, a sugar factory and breweries. 1919 had to be a part of Vienna's Palais force-let. During World War II it was requisitioned by the German army. For fear of air raids the in the palace remaining objects of art were transferred to some Bohemian castles. The Palais Kinsky was not destroyed, its art treasures but remained in Bohemia. After the Second World War, the remaining Czech possessions were lost by nationalization for the family. In the Viennese palace were temporarily housed the embassies of China and Argentina. In 1986 it was sold by Franz Ulrich Prince Kinsky. After several short-term owners, the palace was acquired by the Karl Wlaschek private foundation in 1997. It was generously restored from 1998 to 2000 and adapted for offices and shops. The Grand Ballroom is often used because of its excellent acoustics as a concert hall. Since 1992, acclaimed art auctions are held at the Palais.
The Palais Kinsky is probably next to the Belvedere the most prominent secular work of the great Baroque architect and one of the best preserved baroque palaces in Vienna. Despite multiple changes of ownership and of numerous rearrangements inside the main components such as Baroque facade, vestibule, staircase, hall and gallery remained largely unchanged. The building extends between Freyung and Rosengasse. The property is only 30 meters wide, but three times longer. It was therefore not an easy task to build on it a representative palace with a grand staircase. Hildebrandt but has brilliantly overcome by putting up four floors at 24 m height, and yet preserving the proportions. He grouped the construction with two long side wings and a cross section around two consecutive large courtyards. The pomp and living rooms of the palace are mounted around the first courtyard, while the second contained carriage houses and stables. Here have yet been preserved the marble wall panels with the animal waterings made of cast iron and enamel from the late 19th century. Hildebrandt integrated various parts of the previous building into the new building. The seven-axle face side at the Freyung is divided several times. Stability is procured by the rusticated ground floor with its inserted diamond blocks. On it sit the two residential floors. They are embraced by Corinthian Riesenpilaster (giant pilasters). The mezzanine floor above it features in comparison with the underlying main floor tiny windows.
Hercules
The large windows on the main floor are particularly detailed designed. While the outer pairs of windows possess pagoda-like over roofings, those of the three windows of the central projection are round-arched. The trophies and weapons depicted in the lintel fields refer to the military profession of the owner. Vertically is the extensive looking facade accented by the slightly protruding, tri-part central risalite, the pilasters are decorated much richer than that of the side projections. In the Fantasiekapitelle (fantasy capital) of the pilasters are diamond lattices incorporated, an important component of the coat of arms of the Counts Down. The with figures and trophies decorated attica is over the central part formed as balustrade. The sculptures are believed to originate from Joseph Kracker, representing the gods Minerva, Juno, Hercules, Neptune, Diana and Constantia. Very elegant looks the plastically protruding portal. Its composition goes back to Johann Lukas von Hildebrandt. It is considered one of the most beautiful Baroque portals of Vienna. The draft was submitted in 1713 and carried out until 1715. The richly decorated wooden gate dates from the period around 1856, when it was renewed. It is outside flanked by two, obliquely placed Doric columns that match the rusticated ground floor. Sloped to the inside carry two, on pillar stumps standing atlases (also from Kracker) the entablature with the overlying structured segment gable. On it sit the stone figures of Prudence and Justice. The middle window in between is much richer decorated than the rest of the window openings on the first floor. Instead of the usual trapezoidal over roofings here it is crowned by a cartouche held by two putti. The originally thereon located coat of arms of the owner was replaced after the change of ownership by that of the Kinsky family with three boar's teeth. Above the shield hangs an chain with the Order of the Golden Fleece. Both the gusset of the archway as well as the overlying triglyph frieze are decorated with trophies.
Banquet Hall
If someone passes the portal, so one gets into one, by strong pillars divided three-aisled gatehouse. The massive spatial impression is something mitigated by the large sculptures in the niches. They were created by Joseph Kracker. Among the somewhat restrained stucco decorations you can see the coat of arms of the owner, with its characteristic diamond motif. At this gate hall adjoins the widely embedded and more than twice as high vestibule with its domed ceiling. This transverse oval space is divided by pilasters and Doric columns. The rich stucco decoration of the ceiling provided with lunettes could come from Alberto Camesina or from his workshop. The here used motifs are again relating to the career of the client as a commander. For instance, in the lunette caps are reliefs of Roman soldiers. On the left side of the vestibule leads an anteroom to the grand staircase. It is dominated by a vault carrying Hercules, a work by Lorenzo Mattielli. As the monogram of Charles VI proves, with it the Emperor was meant to be worshiped. In two oval niches stand above the two double doors of the Treppenvorhauses (stairway hall way) busts of Caesar and Emperor Titus Flavius Vespasian. The elongated stairway occupies almost the entire length of the left wing of the first courtyard. In the stairwell are eleven statues of Roman deities in stucco niches. The relatively narrow, crossed grand stairway is considered one of the most beautiful of Vienna. It overall design might go back to Antonio Beduzzi. On the second floor stand on the from winded perforated volute forms constructed stone balustrade four groups of playing or scrapping putti. They serve in part as a lantern holders, partly just as a decoration. The statue cycle in the staircase is a work of Lorenzo Mattielli, but the cherubs are believed to stem from Joseph Kracker. This type of decoration already points to the coming Rococo. A fresco by Carlo Innocenzo Carlone adorns the ceiling. The simulated architecture painted Antonio Beduzzi. The large wall mirror of the staircase were added after 1907 .
Staircase/ceiling fresco
The somewhat playful balustrade leads to the reception rooms on the second floor. The large oval ballroom above the entrance hall is oriented towards the courtyard. Its allegorical ceiling painting stems from Carlo Innocenzo Carlone. The other frescoes are of him and Marcantonio Chiarini. The walls are covered with marble. The room was several times, most recently in 1904 changed structurally. In front of the banquet hall is the former dining room. It is now called Yellow Salon. In 1879/80 was installed in it a choir stalls from the Pressburg Cathedral by Georg Raphael Donner ( 1736) and partly completed. The also acquired confessionals were converted into boxes that are in the antechamber of the second floor today. In the chapel, designed by Hildebrandt, was until 1741 as altarpiece Francesco Solimena's "Holy Family with the Infant John the Baptist". 1778 the sacred space, however, was already desecrated. The altarpiece is already since the 18th Century in Wiener Neustadt Neuklosterkirche (church in Lower Austria). In the cross-section between the first and the second courtyard lay the paneled gallery whose spatial effect in 1856 by an attached conservatory was changed something. Its vaulted ceiling is decorated with frescoes by Carlo Innocenzo Carlone. Marcantonio Chiarini created 1716/18 the quadrature paintings. At it followed a larger hall in which Francesco Solimena's oil painting "Phaeton and Apollo" was located. It can be admired today in the National Gallery in Prague. The hall was later used as a library. Part of the state rooms 1714 was equipped with ceiling paintings by Peter Strudel. In the course of a radical redesign of the building's interior Ernest Koch has cut off all stucco ceilings of the staterooms 1798-1800 and also redesigned the walls. Since 1879 Carl Gangolf Kayser tried to restore the original spatial impression by the of Rudolf von Weyr created new Neo-Baroque stucco ceilings. Only in a few areas (vestibule, staircase, ballroom), the original substance remained. In the palace there are numerous Mamorkamine (marble fireplaces) and stoves from the 18th and 19th Century. The star parquet floors and many original door fittings date from the third quarter of the 19th Century. The facades of the first courtyard are structured by Tuscan pilasters. The arcades on the ground floor have already been closed in 1753. The with a mascaron decorated wall fountain is a work of Rudolf von Weyr. The second courtyard is kept simple. Remarkable at it rear end is the cenotaph for the current owner Karl Wlaschek.
Location/Address: 1010 Vienna, Freyung 4
Activities: The courtyards are freely accessible, the staircase usually also. A look at the state rooms is only possible if these are not just rented.
It has been being deep in the sea in Guam, US. They say many bottles are sleeping in water and were what navy soldiers threw from ships. This bottle has number 45 which means 1945 I guess, the year of WWⅡwas ended.
Malta 2007 , tidy AWD/Bedford recovery lorry , these do not seem to be so common in Malta these days .
Webb has pinpointed three galaxies actively forming when our 13.8 billion-years-old universe was in its infancy. The galaxies are surrounded by gas suspected to be almost purely hydrogen and helium, the earliest elements to exist in the cosmos.
These galaxies belong to the Era of Reionization, only several hundred million years after the big bang. During this period, gas between stars and galaxies was largely opaque. Stars contributed to heating and ionizing gas, eventually turning the gas transparent one billion years after the big bang.
By matching Webb’s data to models of star formation, researchers found that these galaxies are a unique window into future star formation. They primarily have populations of young stars, and the gas around them suggests they haven’t formed most of their stars yet.
More on this breakthrough: science.nasa.gov/missions/webb/galaxies-actively-forming-...
Galaxy artist concept credit: NASA, ESA, CSA, Joseph Olmsted (STScI)
Image Description: This illustration is awash in bright blues, with only areas of the black background of space peeking out near the edges. Just above center is a large white spiral galaxy that is forming within a large cloud of blue gas. Its spiral arms twirl clockwise. Immediately around the galaxy’s edges are larger light blue dots. The gas appears thicker and brighter blue below the galaxy and toward the bottom left in what looks like a loose, extended column. Other wispy blue gas appears all around the galaxy, extending to every edge of the illustration. There are two additional spiral galaxies, though they are about half the size of the one at the center. They appear toward the top left and bottom right, and both are connected to regions of blue gas. Several bright knots dot the brightest blue areas near the center, and toward the top right. The background is clearer and more obviously black along a wider area at the left edge, a sliver along the top right, and in triangles toward the bottom right corner. In the bottom left is “Artist Concept” in white text.
This image: This artist concept shows a galaxy forming only a few hundred million years after the big bang, when gas was a mix of transparent and opaque during the Era of Reionization. Data from NASA’s James Webb Space Telescope show that there is a lot of cold, neutral gas in the neighborhood of these early galaxies – and that the gas may be more dense than anticipated.
Webb observed these galaxies as part of its Cosmic Evolution Early Release Science (CEERS) Survey a few months after it began taking observations in 2022. CEERS includes both images and data known as spectra from the microshutters aboard its NIRSpec (Near-Infrared Spectrograph). Data from CEERS were released immediately to support discoveries like this as part of Webb’s Early Release Science (ERS) program.
The area where I live has a very healthy mountain lion population. Both the foothills to east and west are home to the big cats but you would never know it, they are elusive and rarely spotted. Oh but when someone does spot one the excitement ensues! Mostly in the form of terrified homeowner who live in wooded areas.
Last week a couple of them were spotted in the woods west of my house in an area we call Castle Hill..cause the homes up there tend to be extremely large. So now these signs are posted all around the neighborhood. They suspect these two are a mother and older cub. I'm hoping that they'll move further into the mountains, away from so many people, where they can live out their lives in peace.
A number of years ago a mountain lion and two sixty pound cubs made their way down off the mountains and into a backyard at house the next street over from mine. The people in the house freaked out which is normal I suppose. In their panic they attracted the attention of the mother who was watching them through a sliding glass door. About that time the cops showed up. The mother lion felt that her cubs were in danger when the people started beating on the glass trying to get the cat to leave so instead of leaving she pounced at the sliding glass door and was shot and killed by the cops. One of the cubs bolted, jumped the fence and ran out into the street that was on the other side. It was hit and killed by a car. Then animal control dispatched the second cub. I was reminded of this when I was headed up Castle Hill and saw two cop cars coming down. Fortunately they didn't see any lions up there.
I've logged countless hours and miles hiking in my lifetime and most of it has been in areas where mountain lions are known to live. Yet I've never spotted a mountain lion in all that time. Ive seen tracks but no cat and I would love to see one...ya know..from a safe distance, just once. I'm just hoping that if I ever do spot one that it will be alive.
I am so thrilled to have this stunning girl home! Velia is an Aki, created by kind and incredibly talented Akh. :3
Alas, my camera (or, I should say, my poor camera skills) had a really difficult time capturing this lovely girl. I will have to give it another try with better lighting!
My daughter has had this dolly for 36 years. She named her Pink Baby. I think her Madame Alexander name was Mommie's Pet, or something like that. Even though she is technically my daughter's doll, I have always kept her at my place. My granddaughter came along, and at about, age 5 or 6 she named her Jennifer. That is *my* daughter's and *her* Mom's name. I said she already had a name of Pink Baby. So Anna named her Pink Baby Jennifer.
The bed was made in an amusement/folk craft type park in Silver Dollar City, Missouri. Or else it was in Branson, Missouri and was named Silver Dollar City. It was very nice, and for example, though it was just a small dolly bed mattress, it had real mattress ticking. I actually watched the craftsman carve my daughter's name in the wooden foot board. There was a little blanket/quilt, not shown, and and embroidered sheet and pillow case. They are adorable. They barely show in this picture, but are shown close up somewhere in the last 5 - 10 images I posted. There also was a little pink dust ruffle. I made the patchwork flannel comforter. I am not a great seamstress, but is is cute and has lasted all these years, through many moves. The flannel has gotten little "pills" all over, and I wonder if some of you that sew a lot know of a soft material, like flannel, except it doesn't pill up? I might try to make another little comforter some day. I don't care for polyester.
(DSCN6562-madamealexanderdollindollybedinit)
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For ABCs and 123s group, this is *M* for Madame Alexander Doll.
Originally intended for Leicester, York has taken delivery of Wright Streetdeck SK17 HHD - this is a demonstrator for various First fleets as it is a series 3 Micro Hybrid with stop-start technology. The main driveline is as a Euro 6 compliant diesel bus, but the air compressor is electric (not driven off the driveshaft as is usually the case) and a second alternator is present - when the brakes are applied the energy that would otherwise be lost in braking is recovered, stored, and used to power the compressor and saloon lighting; as this saves those items not having to be powered from the engine it gives fuel efficiency savings of about 10-15%.
It has been at York for 2 weeks currently, however this is to be at York for about 4 months to stand in for Gemini 2HEV's 39001-4 which are to be returned to Wrights one by one in order to have their batteries replaced and some electricial issues looked at. An unusual working for it on July 1st was a run on the White Line 3 P&R service to Askham Bar - driver Alex was rostered to take a final journey on the 3 to scoop up any passenger which the 20.05 service may have left behind in the chaos around the event at the racecourse, a 'city' bus had to be used in case it was needed on another service afterward and the choice was either this or a 2HEV and so he chose this. It's worth noting he was then called on to work service 14 to and from haxby West Nooks and Woodthorpe - though sadly I missed that. Here are some interior views of York's newest double decker bus.
The last weekend of the month, and the first after pay day, which means I could order some socks. And at Tesco I could replenish the wine stocks with a box of 3l of te cheapest red.
Being the end of January, it is now getting light when we set off for Tesco, the neon lights of the retail park at Whitfield as daylight grows stronger. Somehow we had used double the fuel as last week, with only an half hour's drive to Stodmarsh last week being the extra driving we did.
Tesco has Valentine's cards, presents and also Easter eggs and other stuff celebrating days in the forthcoming months.
We had a list of stuff to get, not just beer and wine, and lots of vegetables as we are having Jen, Mike and his new girlfriend over for lunch on Sunday.
If I remember to get the chicken out of the freezer, of course.
That all done, and somehow, ten quid cheaper than last week even with wine and Belgian beer, we headed home for first breakfast, coffee, then bacon butties and more brews once we had put the shopping away.
At ten we went out, only for a warning light to come on as the engine turned over. It seems a bulb in the headlight had gone, but the car knew which one it was. On the way to Lyminge, there is a Halfords, now that the one on Dover closed over the pandemic, so we tootled along the A20, over the top of Shakespeare Down and into town.
Jools found the bulb and a nice young lady fitted it for us, getting access from the wheelarch via a small panel. All done in ten minutes for fifteen quid.
And road legal again.
Back onto the motorway for the one junction before taking the turning for the back road to Hythe, though we headed inland through Etchinghill to Lyminge. And I realised it was years since we had driven this road, as we have been coming to the orchid fields through Barham usually, not from Folkestone.
The road climbs and turns round the foot of the downs before levelling out as it approaches Lyminge.
We go through the village, past the rows of the parked cars, and the small library in the building of the village railway station once the line from Folkestone to Canterbury closed at the end of the 50s.
The village of Lyminge stretches along the main road and around the former station, but the church is situated a short way along Church Street (of course), on a low mound, from under which the largest winterbourne, The Nailbourne, rises. It has been a site of worship since Roman times, maybe even before then.
We were here because in 2019, major excavations revealed the remains of the 7th century chapel of Queen Ethelburga. It was uncovered under the path that now leads under the single flying buttress to the porch, and since the dig ended, the path relaid, but with the outline of the chapel clearly showing in different colour tarmac.
I photographed the stained glass, as the ongoing plan to revisit churches already done, but with the big lens as I always seem to find something new to do in them. This time the glass through the big glass of the zoom lens.
Before leaving we walk down to the Well to revisit the source of the Nailbourne, some twenty feet below the road, the clear and cold waters of the bourne come bubbling out of the ground before meandering across the verdant meadow.
Just up the valley is Elham itself, I have photographed it well in the past, but the plan is to redo with windows with the big lens and the fittings too.
The church sits to the south of a small square, one of the village pubs is opposite, though is currently closed for renovation. The church was unlocked, and the door ajar, so I went in.
The church is ancient, but most of what you notice is from work done in the first decade of the 20th century, giving it the feeling of being "high".
We set the sat nav for home, and it leads us down to the bottom of the valley and up the other side through Acris. The bed of the Nailbourne was already dry, despite it being just a mile from the source, because the water table isn't high enough, and the water seeps through the chalk bedrock instead.
We travel down lanes that got ever narrower, with grass growing between the wheeltracks. The road much less travelled for sure.
At Swingfield, we were greeted by the sweep of a hedge made of native dogwood, its new shoots showing starkly red in the sunshine against the clear blue sky. We stop to take shots.
We get home in time for a brew and a chocolate bar before the football was going to start. But I had other plans, as I made tagine for our early dinner. Which, we ate before four as it smelled so darned good bubbling away in the oven.
Some flavoured couscous to go with it, and a glass of red vin out of the box.
Lovely.
Scully and I sit on the sofa until half seven in the evening, either listening to the reports of the three o'clock games, or watching the evening kick off.
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The church stands in the village square removed from the main road. The flint rubble construction and severe restoration of the exterior does not look welcoming, but the interior is most appealing with plenty of light flooding through the clerestory windows. The rectangular piers of both north and south arcades with their pointed arches and boldly carved stops are of late twelfth-century date. Between them hang some eighteenth-century text boards. The character of the church is given in the main by late nineteenth- and early twentieth-century work. The high altar has four charmingly painted panels by John Ripley Wilmer in Pre-Raphaelite style, executed in 1907. At the opposite end of the church are the organ loft, font cover and baptistry, all designed by F.C. Eden, who restored the church in the early 1900s. He also designed the west window of the south aisle as part of a larger scheme which was not completed. In the south chancel wall are two windows of great curiosity. One contains a fifteenth-century figure of St Thomas Becket while the other shows figures of David and Saul. This dates from the nineteenth century and was painted by Frank Wodehouse who was the then vicar's brother. The face of David was based on that of Mme Carlotta Patti, the opera singer, while Gladstone and Disraeli can be identified hovering in the background! It is a shame that it has deteriorated badly.
www.kentchurches.info/church.asp?p=Elham
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ELEHAM,
OR, as it is as frequently written, Elham, lies the next parish south-eastward from Stelling. It was written in the time of the Saxons both Uleham and Æiham, in Domesday, Albam. Philipott says, it was antiently written Helham, denoting the situation of it to be a valley among the hills, whilst others suppose, but with little probability, that it took its name from the quantity of eels which the Nailbourn throws out when it begins to run. There are Seven boroughsin it, of Bladbean, Boyke, Canterwood, Lyminge, Eleham, Town, Sibton, and Hurst.
Eleham is said to be the largest parish in the eastern parts of this county, extending itself in length from north to south, through the Nailbourn valley, about three miles and an half; and in breadth five miles and a half, that is, from part of Stelling-minnis, within the bounds of it, across the valley to Eleham down and Winteridge, and the southern part of Swinfield-minnis, almost up to Hairn-forstal, in Uphill Folkestone. The village, or town of Eleham, as it is usually called, is situated in the above-mentioned valley, rather on a rise, on the side of the stream. It is both healthy and pleasant, the houses in it being mostly modern and wellbuilt, of brick and fashed. As an instance of the healthiness of this parish, there have been within these few years several inhabitants of it buried here, of the ages of 95, 97, and 99, and one of 105; the age of 40 years being esteemed that of a young person, in this parish. The church, with the vicarage on the side of the church-yard, is situated on the eastern side of it, and the court lodge at a small distance from it. This is now no more than a small mean cottage, thatched, of, I believe, only two rooms on a floor, and unsit for habitation. It appears to be the remains of a much larger edifice, and is built of quarry-stone, with small arched gothic windows and doors, the frames of which are of ashlar stone, and seemingly very antient indeed. It is still accounted a market-town, the market having been obtained to it by prince Edward, afterwards king Edward I. in his father's life-time, anno 35 Henry III. to be held on a Monday weekly, which, though disused for a regular constancy, is held in the market-house here once in five or six years, to keep up the claim to the right of it; besides which there are three markets regularly held, for the buying and selling of cattle, in every year, on Palm, Easter, and Whit Mondays, and one fair on Oct. 20th, by the alteration of the stile, being formerly held on the day of St. Dionis, Oct. 9, for toys and pedlary. The Nailbourn, as has been already mentioned before, in the description of Liminage, runs along this valley northward, entering this parish southward, by the hamlet of Ottinge, and running thence by the town of Eleham, and at half a mile's distance, by the hamlet of North Eleham, where there are several deep ponds, in which are from time to time quantities of eels, and so on to Brompton's Pot and Wingmere, at the northern extremity of this parish. The soil in the valley is mostly an unfertile red earth, mixed with many flints; but the hills on each side of it, which are very frequent and steep, extend to a wild romantic country, with frequent woods and uninclosed downs, where the soil consists mostly of chalk, excepting towards Stelling and Swinfield minnis's, where it partakes of a like quality to that of the valley, tance,by the hamlet of North Eleham, where there only still more poor and barren. At the north-west corner of the parish, on the hill, is Eleham park, being a large wood, belonging to the lord of Eleham manor.
Dr. Plot says, he was informed, that there was the custom of borough English prevailing over some copyhold lands in this parish, the general usage of which is, that the youngest son should inherit all the lands and tenements which his father had within the borough, &c. but I cannot find any here subject to it. On the contrary, the custom here is, to give the whole estate to the eldest son, who pays to the younger ones their proportions of it, as valued by the homage of the manor, in money.
At the time of taking the survey of Domesday, anno 1080, this place was part of the possessions of the bishop of Baieux, under the general title of whose lands it is thus entered in it:
In Honinberg hundred, the bishop of Baieux holds in demesne Alham. It was taxed at six sulins. The arable land is twenty-four carucates. In demesne there are five carucates and forty-one villeins, with eight borderers having eighteen carucates. There is a church, and eight servants, and two mills of six shillings, and twenty eight acres of meadow. Wood for the pannage of one hundred hogs. In the time of king Edward the Confessor, and afterwards, it was worth thirty pounds, now forty, and yet it yields fifty pounds. Ederic held this manor of king Edward.
Four years after the bishop was disgraced, and all his possessions were consiscated to the crown, whence this manor seems to have been granted to William de Albineto, or Albini, surnamed Pincerna, who had followed the Conqueror from Normandy in his expedition hither. He was succeeded by his son, of the same name, who was made Earl of Arundel anno 15 king Stephen, and Alida his daughter carried it in marriage to John, earl of Ewe, in Normandy, whose eldest son Henry, earl of Ewe, was slain at the siege of Ptolemais in 1217, leaving Alice his sole daughter and heir, who entitled her husband Ralph D'Issondon to the possession of this manor, as well as to the title of earl of Ewe. She died in the reign of king Henry III. possessed of this manor, with the advowson of the church, and sealed with Barry, a label of six points, as appears by a deed in the Surrenden library; after which it appears to have come into the possession of prince Edward, the king's eldest son, who in the 35th year of it obtained the grant of a market on a Monday, and a fair, at this manor, (fn. 1) and afterwards, in the 41st year of that reign, alienated it to archbishop Boniface, who, left he should still further inflame that enmity which this nation had conceived against him, among other foreigners and aliens, by thus increasing his possessions in it, passed this manor away to Roger de Leyborne, who died possessed of it in the 56th year of that reign, at which time it appears that there was a park here; (fn. 2) and in his name it continued till Juliana de Leyborne, daughter of Thomas, became the sole heir of their possessions, from the greatness of which she was usually called the Infanta of Kent. She was thrice married, yet she had no issue by either of her husbands, all of whom she survived, and died in the 41st year of king Edward III. upon which this manor, among the rest of her estates, escheated to the crown, there being no one who could make claim to them, by direct or even by collateral alliance. (fn. 3) Afterwards it continued in the crown till king Richard II. vested it in feoffees in trust, towards the endowment of St. Stephen's chapel, in his palace of Westminster, which he had in his 22d year, completed and made collegiate, and had the year before granted to the dean and canons this manor, among others, in mortmain. (fn. 4) All which was confirmed by king Henry IV. and VI. and by king Edward IV. in their first years; the latter of whom, in his 9th year, granted to them a fair in this parish yearly, on the Monday after Palm-Sunday, and on the Wednesday following, with all liberties, &c. In which situation it continued till the 1st year of king Edward VI. when this college was, with all its possessions, surrendered into the king's hands, where this manor did not continue long; for the king in his 5th year, granted it to Edward, lord Clinton and Saye, and he reconveyed it to the crown the same year. After which the king demised it, for the term of eighty years, to Sir Edward Wotton, one of his privy council, whose son Thomas Wotton, esq. sold his interest in it to Alexander Hamon, esq. of Acrise, who died in 1613, leaving two daughters his coheirs, the youngest of whom Catherine, married to Sir Robert Lewknor, entitled him to it; he was at his death succeeded by his son Hamon Lewknor, esq. but the reversion in see having been purchased of the crown some few years before the expiration of the above-mentioned term, which ended the last year of king James I.'s reign, to Sir Charles Herbert, master of the revels. He at the latter end of king Charles I.'s reign, alienated it to Mr. John Aelst, merchant, of London; after which, I find by the court rolls, that it was vested in Thomas Alderne, John Fisher, and Roger Jackson, esqrs. who in the year 1681 conveyed it to Sir John Williams, whose daughter and sole heir Penelope carried it in marriage to Thomas Symonds, esq. of Herefordshire, by the heirs of whose only surviving son Thomas Symonds Powell, esq. of Pengethley, in that county, it has been lately sold to Sir Henry Oxenden, bart. who is now entitled to it.
A court leet and court baron is held for this manor, which is very extensive. There is much copyhold land held of it. The demesnes of it are tithe-free. There is a yearly rent charge, payable for ever out of it, of 87l. 13s. 1d. to the ironmongers company, in London.
Shottlesfield is a manor, situated at the southeast boundary of this parish, the house standing partly in Liminge, at a small distance southward from the street or hamlet of the same name. It was, as early as the reign of king Edward II. the inheritance of a family called le Grubbe, some of whom had afterwards possessions about Yalding and Eythorne. Thomas le Grubbe was possessed of it in the 3d year of that reign, and wrote himself of Shottlesfeld, and from him it continued down by paternal descent to John Grubbe, who in the 2d year of king Richard III. conveyed it by sale to Thomas Brockman, of Liminge, (fn. 5) whose grandson Henry Brockman, in the 1st year of queen Mary, alienated it to George Fogge, esq. of Braborne, and he, in the beginning of queen Elizabeth's reign, sold it to Bing, who, before the end of that reign, passed it away to Mr. John Masters, of Sandwich, from whom it descended to Sir Edward Masters, of Canterbury, who at his decease, soon after the death of Charles I. gave it to his second son, then LL. D. from whose heirs it was alienated to Hetherington, whose last surviving son the Rev. William Hetherington, of North Cray place, died possessed of it unmarried in 1778, and by will devised it, among his other estates, to Thomas Coventry, esq. of London, who lately died possessed of it s. p. and the trustees of his will are now entitled to it.
The manor of Bowick, now called Boyke, is situated likewise in the eastern part of this parish, in the borough of its own name, which was in very antient times the residence of the Lads, who in several of their old evidences were written De Lad, by which name there is an antient farm, once reputed a manor, still known, as it has been for many ages before, in the adjoining parish of Acrise, which till the reign of queen Elizabeth, was in the tenure of this family. It is certain that they were resident here at Bowick in the beginning of king Henry VI.'s reign, and in the next of Edward IV. as appears by the registers of their wills in the office at Canterbury, they constantly stiled themselves of Eleham. Thomas Lade, of Bowick, died possessed of it in 1515, as did his descendant Vincent Lade in 1563, anno 6 Elizabeth. Soon after which it passed by purchase into the name of Nethersole, from whence it quickly afterwards was alienated to Aucher, and thence again to Wroth, who at the latter end of king Charles I.'s reign sold it to Elgar; whence, after some intermission, it was sold to Thomas Scott, esq. of Liminge, whose daughter and coheir Elizabeth, married to William Turner, esq. of the Friars, in Canterbury, at length, in her right, became possessed of it; his only surviving daughter and heir Bridget married David Papillon, esq. of Acrise, and entitled him to this manor, and his grandson Thomas Papillon, esq. of Acrise, is the present owner of it.
Mount and Bladbean are two manors, situated on the hills, on the opposite sides of this parish, the former near the eastern, and the latter near the western boundaries of it; the latter being antiently called Bladbean, alias Jacobs-court, a name now quite forgotten. Both these manors appear to have been in the reign of the Conqueror, part of the possessions of Anschitillus de Ros, who is mentioned in Domesday as holding much land in the western part of this county, their principal manor there being that of Horton, near Farningham. One of this family made a grant of it to the Cosentons, of Cosenton, in Aylesford, to hold of their barony of Ros, as of their manor of Horton before-mentioned, by knight's service. In the 7th year of Edward III. Sir Stephen de Cosenton obtained a charter of freewarren for his lands here. He was the son of Sir William de Cosenton, sheriff anno 35 Edward I. and was sometimes written of Cosenton, and sometimes of Mount, in Eleham. At length his descendant dying in the beginning of king Henry VIII.'s reign, without male issue, his three daughters, married to Duke, Wood, and Alexander Hamon, esq. became his coheirs, and shared a large inheritance between them, and upon their division of it, the manor of Bladbean, alias Jacobs-court, was allotted to Wood, and Mount to Alexander Hamon.
The manor of Bladbean, alias Jacobs-court, was afterwards alienated by the heirs of Wood to Thomas Stoughton, esq. of St. Martin's, near Canterbury, who by will in 1591 (fn. 6) gave this manor, with its rents and services, to Elizabeth his daughter and coheir, married to Thomas Wilde, esq. of St. Martin's, whose grandson Colonel Dudley Wilde, at his death in 1653, s. p. devised it to his widow, from whom it went by sale to Hills, and Mr. James Hills, in 1683, passed it away to Mr. Daniel Woollet, whose children divided this estate among them; a few years after which John Brice became, by purchase of it at different times, possessed of the whole of it, which he in 1729 conveyed by sale to Mr. Valentine Sayer, of Sandwich, who died possessed of it in 1766, and the heirs of his eldest son Mr. George Sayer, of Sandwich, are now entitled to it.
The manor of Mount, now called Mount court, which was allotted as above-mentioned, to Alexander Hamon, continued down to his grandson, of the same name, who died possessed of it in 1613, leaving two daughters his coheirs, the youngest of whom, Catherine, entitled her husband Sir Robert Lewknor, to it, in whose descendants it continued till Robert Lewknor, esq. his grandson, in 1666, alienated it, with other lands in this parish, to Thomas Papillon, esq. of Lubenham, in Leicestershire, whose descendant Thomas Papillon, esq. of Acrise, is the present proprietor of it.
Ladwood is another manor in this parish, lying at the eastern boundary of it, likewise on the hills next to Acrise. It was written in old evidences Ladswood, whence it may with probability be conjectured, that before its being converted into a farm of arable land, and the erecting of a habitation here, it was a wood belonging to the family of Lad, resident at Bowick; but since the latter end of king Edward III.'s reign, it continued uninterrupted in the family of Rolse till the reign of king Charles II. soon after which it was alienated to Williams, in which name it remained till Penelope, daughter of Sir John Williams, carried it in marriage to Thomas Symonds, esq. the heirs of whose only surviving son Thomas Symonds Powell, esq. sold it to David Papillon, esq. whose son Thomas Papillon, esq. now possesses it.
The manor of Canterwood, as appears by an old manuscript, seemingly of the time of Henry VIII. was formerly the estate of Thomas de Garwinton, of Welle, lying in the eastern part of the parish, and who lived in the reigns of Edward II. and III. whose greatgrandson William Garwinton, dying s. p. Joane his kinswoman, married to Richard Haut, was, in the 9th year of king Henry IV. found to be his heir, not only in this manor, but much other land in these parts, and their son Richard Haut having an only daughter and heir Margery, she carried this manor in marriage to William Isaak. After which, as appears from the court-rolls, which do not reach very high, that the family of Hales became possessed of it, in which it staid till the end of queen Elizabeth's reign, when it went by sale to Manwood, from which name it was alienated to Sir Robert Lewknor, whose grandson Robert Lewknor, esq. in 1666 sold it, with other lands in this parish already mentioned, to Thomas Papillon, esq. of Lu benham, in Leicestershire, whose descendant Thomas Papillon, esq. of Acrise, is the present owner of it.
Oxroad, now usually called Ostrude, is a manor, situated a little distance eastward from North Eleham. It had antiently owners of the same name; Andrew de Oxroad held it of the countess of Ewe, in the reign of king Edward I. by knight's service, as appears by the book of them in the king's remembrancer's office. In the 20th year of king Edward III. John, son of Simon atte Welle, held it of the earl of Ewe by the like service. After which the Hencles became possessed of it, from the reign of king Henry IV. to that of king Henry VIII. when Isabel, daughter of Tho. Hencle, marrying John Beane, entitled him to it, and in his descendants it continued till king Charles I.'s reign, when it was alienated to Mr. Daniel Shatterden, gent. of this parish, descended from those of Shatterden, in Great Chart, which place they had possessed for many generations. At length, after this manor had continued for some time in his descendants, it was sold to Adams, in which name it remained till the heirs of Randall Adams passed it away by sale to Papillon, in whose family it still continues, being now the property of Thomas Papillon, esq. of Acrise.
Hall, alias Wingmere, is a manor, situated in the valley at the northern boundary of this parish, next to Barham, in which some part of the demesne lands of it lie. It is held of the manor of Eleham, and had most probably once owners of the name of Wigmere, as it was originally spelt, of which name there was a family in East Kent, and in several antient evidences there is mention made of William de Wigmere and others of this name. However this be, the family of Brent appear to have been for several generations possessed of this manor, and continued so till Thomas Brent, of Wilsborough, dying in 1612,s. p. it passed into the family of Dering, of Surrenden; for in king James I.'s reign Edward Dering, gent. of Egerton, eldest son of John, the fourth son of John Dering, esq, of Surren den, who had married Thomas Brent's sister, was become possessed of it; and his only son and heir Thomas Dering, gent. in 1649, alienated it to William Codd, gent. (fn. 7) of Watringbury, who was succeeded in it by his son James Codd, esq. of Watringbury, who died s. p. in 1708, being then sheriff of this county, and being possessed at his death of this manor in fee, in gavelkind; upon which it came to the representatives of his two aunts, Jane, the wife of Boys Ore, and Anne, of Robert Wood, and they, in 1715, by fine levied, entitled Thomas Manley, and Elizabeth, his wife, to the possession of this manor for their lives, and afterwards to them in fee, in separate moieties. He died s. p. in 1716, and by will gave his moiety to John Pollard; on whose death s. p. it came, by the limitation in the above will, to Joshua Monger, whose only daughter and heir Rachael carried it in marriage to her husband Arthur Pryor, and they in 1750 joined in the sale of it to Mr. Richard Halford, gent. of Canterbury. The other moiety of this manor seems to have been devised by Elizabeth Manley above-mentioned, at her death, to her nephew Thomas Kirkby, whose sons Thomas, John, and Manley Kirkby, joined, in the above year, in the conveyance of it to Mr. Richard Halford above-mentioned, who then became possessed of the whole of it. He was third son of Richard Halford, clerk, rector of the adjoining parish of Liminge, descended from the Halfords, of Warwickshire, as appears by his will in the Prerogative-office, Canterbury, by which he devised to his several sons successively in tail, the estate in Warwickshire, which he was entitled to by the will of his kinsman William Halford, gent, of that county. They bear for their arms, Argent, a greybound passant, sable, on a chief of the second, three fleurs de lis, or. He died possessed of it in 1766, leaving by Mary his wife, daughter of Mr. Christopher Creed, of Canterbury, one son Richard Halford, gent. now of Canterbury; and two daughters, Mary married to Mr. John Peirce, surgeon, of Canterbury; and Sarah. In 1794, Mr. Peirce purchased the shares of Mr. Richard and Mrs. Sarah Halford, and he is now the present owner of this manor. He bears for his arms, Azure field, wavy bend, or, two unicorns heads, proper.
The manor OF Clavertigh is situated on the hills at the north-west boundary of this parish, next to Liminge, which antiently belonged to the abbey of Bradsole, or St. Radigund, near Dover, and it continued among the possessions of it till the 27th year of king Henry VIII. when by the act then passed, it was suppressed, as not having the clear yearly revenue of two hundred pounds, and was surrendered into the king's hands, who in his 29th year, granted the scite of this priory, with all its lands and possessions, among which this manor was included, with certain exceptions, however, mentioned in it, to archbishop Cranmer, who in the 38th year of that reign, conveyed this manor of Clavertigh, with lands called Monkenlands, late belonging to the same priory in this parish, back again to the king, who that same year granted all those premises to Sir James Hales, one of the justices of the common pleas, to hold in capite, (fn. 8) and he, in the beginning of king Edward VI.'s reign, passed them away to Peter Heyman, esq. one of the gentlemen of that prince's bedchamber who seems to have had a new grant of them from the crown, in the 2d year of that reign. He was succeeded by his eldest son, Ralph Heyman, esq. of Sellindge, whose descendant Sir Peter Heyman, bart. alienated the manor of Clavetigh to Sir Edward Honywood, of Evington, created a baronet in 1660, in whose descendants this manor has continued down to Sir John Honywood, bart. of Evington, who is the present possessor of it.
Charities.
Jonas Warley, D. D. gave by will in 1722, 50l. to be put out on good security, the produce to be given yearly in bread on every Sunday in the year, after divine service, to six poor widows, to each of them a two-penny loaf. The money is now vested in the vicar and churchwardens, and the produce of it being no more than 2l. 5s. per annum, only a three-halfpenny loaf is given to each widow.
Land in this parish, of the annual produce of 1l. was given by a person unknown, to be disposed of to the indigent. It is vested in the minister, churchwardens, and overseers.
Four small cottages were given to the parish, by a person unknown, and are now inhabited by poor persons. They are vested in the churchwardens and overseers.
Sir John Williams, by will in 1725, founded A CHARITY SCHOOL in this parish for six poor boys, legal inhabitants, and born in this parish, to be taught reading, writing, and accounts, to be cloathed once in two years; and one such boy to be bound out apprentice, as often as money sufficient could be raised for that use. The minister, churchwardens, and overseers to be trustees, who have power to nominate others to assist them in the management of it. The master has a house to live in, and the lands given to it are let by the trustees.
The poor constantly relieved are about seventy-five, casually fifty-five.
Eleham is within the ecclesiastical jurisdiction of the diocese of Canterbury, and deanry of its own name.
The church, which is dedicated to St. Mary, is large and handsome, consisting of three isles, the middle one having an upper range of windows, and one chancel, having a tower steeple, with a spire shast on it, at the west end, in which are eight bells, a clock, and chimes. Within the altar-rails is a memorial for John Somner, gent. son of the learned William Somner, of Canterbury, obt. 1695; arms, Ermine, a chevron voided. In the chancel a brass plate for Michael Pyx, of Folkestone, mayor and once high bailisf to Yarmouth, obt. 1601. Another for Nicholas Moore, gent. of Bettenham, in Cranbrooke; he died at Wingmer in 1577. In the middle isle a memorial for Captain William Symons, obt. 1674; arms, Parted per pale, and fess, three trefoils slipt. A brass plate for John Hill, dean and vicar of Eleham, obt. 1730. In this church was a lamp burning, called the light of Wyngmer, given before the year 1468, probably by one of the owners of that manor.
The church of Eleham was given by archbishop Boniface, lord of the manor of Eleham, and patron of this church appendant to it, at the instance of Walter de Merton, then canon of St. Paul's, and afterwards bishop of Rochester, to the college founded by the latter in 1263, at Maldon, in Surry. (fn. 9) After which the archbishop, in 1268, appropriated this church to the college, whenever it should become vacant by the death or cession of the rector of it, saving a reasonable vicarage of thirty marcs, to be endowed by him in it, to which the warden of the college should present to him and his successors, a fit vicar, as often as it should be vacant, to be nominated to the warden by the archbishop; otherwise the archbishop and his successors should freely from thence dispose of the vicarage for that turn. (fn. 10)
¶The year before this, Walter de Merton had begun a house in Oxford, whither some of the scholars were from time to time to resort for the advancement of their studies, to which the whole society of Maldon was, within a few years afterwards, removed, and both societies united at Oxford, under the name of the warden and fellows of Merton college. This portion of thirty marcs, which was a stated salary, and not tithes, &c. to that amount, was continued by a subsequent composition or decree of archbishop Warham, in 1532; but in 1559, the college, of their own accord, agreed to let the vicarial tithes, &c. to Thomas Carden, then vicar, at an easy rent, upon his discharging the college from the before-mentioned portion of thirty marcs: and this lease, with the like condition, has been renewed to every subsequent vicar ever since; and as an addition to their income, the vicars have for some time had another lease, of some wood grounds here, from the college. (fn. 11)
The appropriation or parsonage of this church is now held by lease from the warden and fellows, by the Rev. John Kenward Shaw Brooke, of Town-Malling. The archbishop nominates a clerk to the vicarage of it, whom the warden and fellows above-mentioned present to him for institution.
This vicarage is valued in the king's books at twenty pounds, (being the original endowment of thirty marcs), and the yearly tenths at two pounds, the clear yearly certified value of it being 59l. 15s. 2d. In 1640 it was valued at one hundred pounds per annum. Communicants six hundred. It is now of about the yearly value of one hundred and fifty pounds.
All the lands in this parish pay tithes to the rector or vicar, excepting Parkgate farm, Farthingsole farm, and Eleham-park wood, all belonging to the lord of Eleham manor, which claim a modus in lieu of tithes, of twenty shillings yearly paid to the vicar. The manor farm of Clavertigh, belonging to Sir John Honywood, bart and a parcel of lands called Mount Bottom, belonging to the Rev. Mr. Thomas Tournay, of Dover, claim a like modus in lieu of tithes.
“Behind my smile is a broken heart, behind my laugh I’m falling apart. Behind my eyes are tears at night, behind my body is a soul trying to fight.”
Bryggen has become a symbol of our cultural heritage and has gained a place on UNESCO's World Heritage List. The old Hanseatic wharf is architecturally unique and is perhaps one of the most familiar image in all of Norway.
Bryggen, the old wharf of Bergen, is a reminder of the town’s importance as part of the Hanseatic League’s trading empire from the 14th to the mid-16th century. Many fires, the last in 1955, have ravaged the characteristic wooden houses of Bryggen. Its rebuilding has traditionally followed old patterns and methods, thus leaving its main structure preserved, which is a relic of an ancient wooden urban structure once common in Northern Europe. Today, some 62 buildings remain of this former towns-cape. Bryggen is a significant part of the historic wooden city of Bergen.
Bryggen bears the traces of social organization and illustrates the use of space in a quarter of Hanseatic merchants that dates back to the 14th century. It is a type of northern “fondaco”, unequalled in the world, where the structures have remained within the cityscape and perpetuate the memory of one of the oldest large trading ports of Northern Europe.
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PORKERI.
Porkeri is a village in the Faroe Islands, situated north of Vágur on Suðuroy's east coast. As of 2004 it had a population of 332. It is located at61°28′59″N 6°44′36″W / 61.48306°N 6.74333°W / 61.48306; -6.74333.
Porkeri has been inhabited at least as early as the 14th century.
The wooden church is from 1847 and contains things donated by seamen who survived lethal storms on the sea, maintaining the tradition of almissu (seamen in danger promised - according to Nordic tradition - to donate churches, the material or such to God if they got back home alive).
In 1984 a new school was built in the village. It is built in a modern Faroese style and has grass on the roof. The old school in Porkeri was built in 1888. It was used as such for 96 years. It is now owned by "Porkeris Bygdasavn" which is a museum. The village also has a church, Porkeri Church with a graveyard.
Tradition says that once in the old days a dispute of field boundaries between Porkeri and the neighbouring village Hov was sorted out by a walking-race between one man from each village.
www.visitsuduroy.fo/index.asp?pID={73D54A4D-C1A6-4EA5-B35F-96F47E05F95A}
Weirdly, the seller just calls this a Micra instead of giving it its full title. Here's the description;
Nissan Micra (Bolero March) 1.3 twin cam 16v 1998 model in metallic gray/silver. This car has been well looked after and with 80k miles on the clock. Engine pulls well with no rattles or squeaks. The car is in very good condition and drives spot on.
The car comes with the following specification:
- 13” Genuine Nissan alloys in good condition.
- Air Conditioning.
- Funky Japanese car mats (5 in total).
- Remote central locking.
- Kenwood CD player.
- Chrome trims front and rear.
- Chrome wing mirrors.
- Cream Cloth interior in good condition.
- Electric windows.
- Electric mirrors.
- Power steering.
- Lightly tinted windows.
- Wind deflectors
- Over Drive function.
- Front fog lights.
- Built in Cup holders.
- 1.3L twin cam 16v engine (chain driven)
- ABS
- Driver and passenger airbags
- 4 colour coded mud guards
The car has just been serviced with new CV joint and oil changed. Runs fine and drives very well. 6 months tax, 12 months MOT. The only bad points are the driver door has been filled and front wing has been dented. There is NO rust on the arches or the wings. Extremely Rare car and ideal for Enthusiasts or shows...
may P/X with civic or try me.
www.ebay.co.uk/itm/Nissan-Micra-JDM-Import-AC-Alloys-Full...
When I lookd the bid was at £1,295, with three offers.
seller just calls this a Micra instead of giving it its full title. Here's the description;
Nissan Micra (Bolero March) 1.3 twin cam 16v 1998 model in metallic gray/silver. This car has been well looked after and with 80k miles on the clock. Engine pulls well with no rattles or squeaks. The car is in very good condition and drives spot on.
The car comes with the following specification:
- 13” Genuine Nissan alloys in good condition.
- Air Conditioning.
- Funky Japanese car mats (5 in total).
- Remote central locking.
- Kenwood CD player.
- Chrome trims front and rear.
- Chrome wing mirrors.
- Cream Cloth interior in good condition.
- Electric windows.
- Electric mirrors.
- Power steering.
- Lightly tinted windows.
- Wind deflectors
- Over Drive function.
- Front fog lights.
- Built in Cup holders.
- 1.3L twin cam 16v engine (chain driven)
- ABS
- Driver and passenger airbags
- 4 colour coded mud guards
The car has just been serviced with new CV joint and oil changed. Runs fine and drives very well. 6 months tax, 12 months MOT. The only bad points are the driver door has been filled and front wing has been dented. There is NO rust on the arches or the wings. Extremely Rare car and ideal for Enthusiasts or shows...
may P/X with civic or try me.
www.ebay.co.uk/itm/Nissan-Micra-JDM-Import-AC-Alloys-Full...
When I looked it was at £1,295 with three offers.
"Yesterday the Age of Steam Roundhouse Museum in Sugarcreek, Ohio, safely unloaded its newest acquisition, a rare Reading Railroad “Camelback” steam locomotive #1187 constructed in 1903. It is the 23rd steam locomotive acquired for Age of Steam Roundhouse Museum’s collection, and is one of only three Camelbacks still existing, all the others being scrapped and melted down by the mid-1950s."
May require a good "buffing" before being put on display....
Photo credit: Age of Steam Roundhouse Museum
The new Maserati Quattroporte VI has become a really popular car and a good seller for Maserati, but the idea for a four-door Maserati is one that goes all the way back to 1963 and kept on progressing all the way to 2013. Somewhere in the middle was the Quattroporte III, a machine that was styled by Italdesign and introduced in 1979. Like today’s Quattroporte, it was a Maserati for the businessman, and before it’s discontinuation in 1989 over 2,000 examples of the Quattroporte III left the factory.
This three-owner 1982 car located in Mesa, Arizona, is one of them and is now offered at a suspiciously low price.
It seems to have been really well taken care of and the seller claims that all of the electrics work (possibly because Bosch did the electronics in these). It also has the 4.9 liter quad-cam V-8, with 280 hp. If it’s advertised honestly, this is a very nice Quattroporte III priced like a mediocre Quattroporte III. It’s even more tempting when you realize that you could have this massive piece of Italian magnificence for the price of a well-used Camry. Yes, operating costs will start to catch up after a while, but such a low initial cost still really makes you wonder.
This 1982 Maserati Quattroporte III “Buy It Now” price (eBay) is set at $10,500 and even open to offers.
Describtion Maserati Quattroporte III
Mileage: 35,630
Exterior Color: Creme
Interior Color: Pumpkin
Transmission: 4-Speed Automatic
Engine: 4.9L 4930CC V8 GAS DOHC Naturally Aspirated
Number of Cylinders:8
For Sale By: Dealer, CA/AZ Owner well documented and in excellent condition
Seller Notes: "Couple small stone chips on the front nose and lower skirt underneath the front bumper. Driver and passenger seat are in outstanding condition but does show a little bit of use. The rear deck leather does show a little shrinking from the sun."
Heritage “The World’s Four Fastest Seats”
Turin Motor Show 1963, the press and public first laid eyes on a daring new concept from Maserati. The Quattroporte realized Maserati’s vision of an all new 4 door luxury sports sedan with the heart and soul of the race cars it succeeds and the luxury appointments and workmanship only the Italians can produce. Huge success and acclaim of the first Quattroporte led to the Series two, developed under the Citroen ownership of the early 1970’s. Before approval on the project the partnership dissolved and the Series 2 Quattroporte was no longer an option, only 12 were ever made. At the 1977 Turin Motor Show, Maserati unveiled the Quattroporte III. Once again Maserati received huge critical acclaim, all of the magazines gave praise to the gorgeous shape and well balanced chassis. The then familiar 4.9 quad cam V8 race proven engine was underneath the hood giving the Quattroporte 3 true heart and soul. Just 2,155 Maserati Quattroporte III’s were made worldwide making this automobile a very rare and special automobile.
“Buy It Now” price is set at $10,500 and even open to offers
European Motor Studio is proud to offer this very rare and limited production Crème on Pumpkin leather 1982 Maserati Quattroporte III. This Maserati has traveled only 36,950 miles from brand new and in beautiful running and driving condition. The Quattroporte was hand built and left Maserati’s Modena factory in December of 1981. The car was then invoiced to North America and was imported into the US through the Maserati Import Company in California. The car was sent to one of the oldest European automobile dealerships in the business, British Motor Car Distributors Inc on Van Ness in San Francisco. The car sold to its first owner for over $60,000 and stayed in the bay area until 2001 when the second owner purchased the car and moved to southern California. The 3rd owner purchased the car and moved to Palm Springs/Scottsdale where the car has been until European Motor Studio acquired the car from the third owner. This outstanding 1982 Maserati has been extremely well cared for and has a very extensive service history documenting all of the maintenance performed. Original owners manuals, warranty books, leather case, service manuals, original spare and jack, a whole book on past articles from numerous automotive magazines, past Maserati club records and two sets of original Maserati keys. The car is completely original minus the upgraded radio (nothing was damaged when the radio was installed) even the original Campagnolo’s are in perfect condition with original badging and stickers. The signature pumpkin leather interior is gorgeous, showing almost no sings of wear on the front seats, the backseats look as if they have never been used, the original hand sewn headliner looks perfect, and all of the leather trim, chrome, hand finished maple wood and switch gear look excellent. All of the electronics work, interior, dash lights, headlights, side marker lights, taillights, all four windows, trunk release switch(sometimes gas door flap sticks) AC blows well and heat works well and all of the seat switches work. The engine starts right up and runs outstanding. That glorious 4.9 litre Maserati four cam has a great sound and idles beautifully. I have driven the car about 40 miles around town in the heat and have not had any issues with overheating or running hot. The cooling fans kick on at mid temperature point and keep the large V8 running cool. The steering and suspension feel nice and tight, no play in the wheel or drifting. There are no unusual sounds coming from the suspension, the car has newer looking tires with excellent tread, in the corners the car feels solid and poised thanks to its sophisticated sports car heritage. The brakes feel great and do not squeak and grind. The transmission has been rebuilt in the last year and feels great; it shifts through all of the gears without any hesitation. The paint and body of the car look excellent, the original factory color looks very nice free of any damage or fade. There are only a couple tiny imperfections (one hairline scratch on the hood and one small ding on the roof of the car) the body of this Maserati looks exceptional. This has been a southern California car its whole life and just recently moved to AZ so there is no rust of any kind found on this car and the body is free of any damage or dents. The chrome, rubber trim, bumpers and badges all look great without any damage. This Maserati has never been involved in any kind of accident and has a clean and clear AZ title with Box A Actual miles. This is your opportunity to own an increasingly rare very nicely preserved Maserati Quattroporte III. With only 2,155 made worldwide these are very hard to find in this kind of condition with its original 4.9 V8 intact and running and with provenance.
Had to attend a meeting in Daventry today, on the way home I decided to visit a random church, I chose this one purely because I spotted it from across the fields. It has a strange collection of bits and bobs (worth a Google), the chancel was just boarded up! you could still get there, just via another door. There was an amazing oak effigy in there of Sir Thomas le Latymer. Met a lovely lady in there who was on flower duty. Amongst other things she told me a few Braybrooke facts, one was that the wooden effigy is a place of pilgrimage!! Then she told me how they used to do total submersion baptisms in the River Jordan (just outside the church) Then she went on to mention the tale that featured Braybrooke Castle (also just over the road) and a ghost called Isabelle!! I had a quick Google and found this:
In England during the fifteenth century (those were troubled times), there was a civil war in progress (The war of the Roses). After which, Edward IV needed and was grateful for any support which he could muster from the Barons. Such a person was John, Lord Seagrave and he stood tall in the King's favour. When Lord Seagrave passed through a town or a village he was cheered by the Yorkist followers and spurned by the Lancastrians.Burton and Barton were Yorkist places, this was because no one dare cross the powerful Lord Seagrave. The two villages Gave him a huge welcome on his return from the wars tributes of huge feasts and arches of white roses (the symbol of the Yorkists)to honour his triumph.
One man who did not take part in the war was Lord Latimer of Braybrook, for he stayed at his home which was the castle at Braybrook peacefully with his two children Isabel and Robert, his wife having died many years previously. Upon return from Cambridge for the vacation, Robert brought back a friend, Hugh Neville, and soon Hugh and Isabel were in love.
The Manor House at Burton was owned by Lord Latimer,and, whilst he was staying there with friends, Lord Seagraves entourage passed through Burton from London. With the Manor House facing the road along which the entourage was to pass, the lovers, Hugh and Isabel Stood under the white rose decorated porch, the beautiful Isabel stood amidst the decoration with an expectant look on her face.
The cheering grew ever louder as Lord Seagrave passed by the Manor House. Looking toward the group on the porch,he raised his hat.Isabel blushed because she know that John Seagrave was staring at her.The image of Isabel on the porch in all her beauty did not leave John Seagrave's mind that day and he could not forget her, this made him morose because he knew only too well that there would be a great deal of difficulty in arranging a union between himself and the beautiful Isabel.
Throwing caution to the wind, the following day he sent forth Sir Henry Clopton with a message for Lord Latimer. The message was an invitation to Lord Latimer to dine at Barton Castle. Should he accept, he would pehaps discuss the subject of a marriage between himself and Isabel. Lord Latimer gave his answer in no uncertain terms...He
would never accept the hospitality of Seagrave!
Lord Seagrave was seathing with anger upon hearing the response to his invitation and he was determined to gain his revenge upon Lord Latimer for such an insult. Lord Latimer himself became fearful of Isabel's kidnap as rumours spread of Lord Seagrave's great anger, and as a precaution, he returned to the castle at Braybrook and made sure that Isabel was accompanied every inch of the way.
Barton Seagrave had a huge, strong fortress surrounded by a deep moat and the surrounding countryside was wild and woody, a far cry from the Barton Seagrave of today. Due to his standing as a favorite of the King, The owner of the castle was in effect a law unto himself. A few weeks passed with no movement nor provocation on the part of Lord Seagrave and thus Latimer relaxed enough to perhaps brush aside all the speculation, perhaps he was being too cautious, perhaps he should afterall return to Burton Manor...upon consideration, he did.
Upon Latimer and Isabel's return, they settled back into Burton Manor, unfortunately, upon retiring to bed that first night, he heard screams coming from Isabel's bedroom...rushing to Isabel's quarters Hugh Neville found only an open window revealing the devastating scene of Isabel herself being kidnapped by a man on horseback.
Neville abandoned any caution he had and mounted his horse and persued them into the night. There was a storm that night and the rain was fierce and accompanied by the loud clapping of thunder...on and on he rode never quite catching them, he would only catch glimpses of them in the distance, until both Isabel and the unknown horseman dissapeared over the drawbridge and into the fortress at Barton Seagrave. Neville continued undaunted perhaps onward until he was brought from his horse by an arrow which was fired from one of the turrets striking him in the arm. He was rescued and brought back to Burton by the sad Lord Latimer and his son Robert.
The only person at that time with whom it should be said had any power over Seagrave
was that of the King, and Latimer spared no time in petitioning the King for the restoration of his precious daughter Isabel, but Seagrave was able to influence the King in such a way as to steer the King into not complying with Latimer's wishes. Latimer, failing this even resorted to trying to persuade neighbours into helping him in his plight,
but no one dared cross the powerful Lord Seagrave, this left poor Isabel at the mercy of
her captor.
During her captivity, Isabel was only fed bread and water and her health soon began to falter, luckily for her, the warder in charge of her was endowed with a little compassion and gave her a little extra food and somehow was able to allow her to communicate with her family, for he could not bear to see her in such a sorry state. After time, the warder realised that there was little or no hope for Isabel for he knew that there would be no chance for release for her and she could not survive living in such an awful place...his compassion for her grew such that he decided to help her escape the clutches of Lord Seagrave.
Choosing the right time, he waited for one particular night when Lord Seagrave had gone to the village of Pychley, the warder took hold of poor Isabel and carried her to the
drawbridge of the fortress and into the arms of Hugh Neville and her brother Robert.
after a joyful reunion they quickly whisked Isabelle onto the back of Robert's horse and
they rode with great haste toward the direction of Braybrook Castle hoping to use the
track leading through Kettering which crossed the river Ise. Upon approaching the ford at a place which now houses the A6 road which allows traffic to pass between Kettering
and Burton Latimer the waters being swollen after many days of torrential rain they
forged onward and urged their horses through the river.
Coming upon them rapidly was the dreaded figure of Lord Seagrave, they tried in vain to not be recognised, but to no avail...and Lord Seagrave met them half way across the ford. Lord Seagrave let loose his sword and with a fearsome blow slashed at Robert and killed him instantly. Hugh would not lose Isabel again...he would fight...the two men prepared to fight each other.
Isabel was so weak due to her captivity and was terrified...and in her panicked state fell from her horse into the swollen waters and was drowned before her beloved Hugh could save her. In desperation, Hugh began slashing at Lord Seagrave's horse and managed to dismount him, but Seagrave struck at Hugh and for a long time they fought in the mist and the darkness in the middle of the river. Hugh was still in a weakened state as his arm had not healed from the arrow which struck him from Seagrave's stronghold, Seagrave struck and slashed Neville's leg which sent him down into the waters where Seagrave ran him through with his sword...leaving his body to the mercy of the unforgiving waters which now enveloped and engulfed his lifeless form.
Enraged, Seagrave sped back to the castle, found the warden who had helped Isabel escape and had him hung, his body displayed upon the battlements and three other conspirers were buried within the walls of the castle, but Seagrave feared that Latimer might inform the King of his misdoings and have him punished, but alas, poor Lord Latimer, upon hearing of the events which had transpired died of a broken heart...
So The Legend Goes...
For three nights John Seagrave could not sleep, when at last he did, he was awoken to the sound of clashing helmets, the ghostly apparitions of Hugh and Robert stood pointing accusing fingers at him...then upon their vanishing, a hand was said to clasp a burning sword was thrust through the wall of his chamber, the light from this burning sword shed flickering light upon his ceiling illuminating the spectral head of the warder...The severed head let out a terrifying scream and dropped to the floor...
The sword Vanished and all was silence...
Still shaking, Seagrave then saw the ghostly figure of the beautiful Isabel who uttered the words " Oh Seagrave be warned, I shall appear before you at the ford, where I fell and drowned, If thou cross at night beware that death is approaching. When thou art dead I shall return to the ford every fortieth year, for the space of three hundred years. I shall come till thy castle is destroyed and grass covers thy halls. I come as a warning to repent thee of thy evil ways..." So saying, the apparition of Isabel dissapeared.
For some time, the rememberence of that grizzly night kept John Seagrave in check, but on one fated night upon returning from a caroose at Rockingham he approached Kettering. Upon crossing the river he remembered Isabel's curse. Surely enough, Isabel appeared, her shadowed ghostly figure spoke to Seagrave, uttering the words "Seagrave take heed" So shocked was John Seagrave from this point that he gave one half of his property to his son and the other to the church, then from that point he went into reclusion within a monastery.
Grass now grows where once stood the halls of Seagrave Castle and the three hundred year curse passed in 1771...
...Isabel walks the ford no more...
This page from a website developed by: gary catlin
Portland,Dorset.UK
The Old Lower Lighthouse is a disused lighthouse on the Isle of Portland, Dorset, England. The lighthouse is situated close to the currently functioning Portland Bill Lighthouse, and found along the eastern side of Portland Bill. The lighthouse, including its boundary walls and coastguard house, became Grade II Listed in September 1978.
The Old Lower Lighthouse was opened on 29 September 1716 and had been rebuilt two times since, once in 1789 and again in 1869. It worked in tandem with the nearby Old Higher Lighthouse, which was built at the same time. The Old Lower Lighthouse was the first lighthouse in the world to use a true lenses. The remaining rebuilt version of the lighthouse seen today was built in 1869. Since 1961 the lighthouse has been the home of the Portland Bird Observatory.
Kyrenia has been created and been around since the 10th century BC. Excavations have revealed Greek traces that date back to the 7th century BC, but the site was developed into a city under Roman rule.
Kyrenia Castle
Research carried out at the site suggests that the Byzantines built the original castle in the 7th Century to guard the city against the new Arab maritime threat. The first historical reference to the castle occurs in 1191, when King Richard the Lionheart of England captured it on his way to the Third Crusade. He did so by defeating Isaac Comnenus, an upstart local governor who had proclaimed himself emperor.
After a short period, Richard sold the island to the Knights Templar, and then to his cousin Guy de Lusignan, the former king of Jerusalem. This began the 300 years of the Frankish Lusignan Kingdom of Cyprus (1192–1489). Initially the castle was quite small. John d'Ibelin enlarged it between 1208 and 1211. The Castle's main function was military and the improvements consisted of a new entrance, square and horseshoe-shaped towers, embrasures for archers, and dungeons.
The castle was subjected to several sieges. A Genoese attack in 1373 almost destroyed the castle, and the longest amongst the sieges, in the 15th century, lasted nearly four years and reduced the unfortunate occupants to eating mice and rats. By 1489 the Venetians had taken control of Cyprus and in 1540 they enlarged the castle, giving it its present-day appearance. The chief changes, such as the addition of thick walls and embrasures for cannons, were adaptations to changes in warfare in the form of gunpowder artillery. The Venetians also installed gun ports at three levels so that they could direct cannon fire against attackers from the land, suggesting that they were more afraid of an attack from the Cypriots than from the sea. Inside the castle, they built huge long ramps so as to be able to drag artillery up on the walls. When the work on the castle was finished, its walls also encompassed the small church of St. George, which the Byzantines may have built in the 11th or 12th century.
Kyrenia Castle's courtyard
In 1570, Kyrenia surrendered to the Ottomans. The Ottomans too made changes to the castle, but the British removed these during their occupation. The castle contains the tomb of the Ottoman Admiral Sadik Pasha. The British used the castle as a police barracks and training school. They also used the castle as a prison for members of the Greek Cypriot EOKA organization.
The Kyrenia Department of Antiquities took over custodianship of the castle in 1950, though it reverted to British control during the EOKA turmoil. The Department regained control in 1959 and since 1960 the castle has been open to the public. However, during the period from 1963 to 1967 the Cypriot National Guard used the castle as a military headquarters. Following the Turkish invasion of Cyprus, in 1974 the Girne Department of Antiquities and Museums took over responsibility for the castle's preservation and use. The Department is keeping icons that were collected from churches in the Kyrenia area pre-1974 and has stored them in the castle's locked rooms for safekeeping. Some of these are now on display in the Archangel Michael Church.
The square has been a hub for artists since the French Revolution, attracting famous names like Picasso and Monet.
During the Belle Époque from 1872 to 1914, many artists lived and worked in Montmartre, where the rents were low and the atmosphere congenial. Pierre-Auguste Renoir rented space at 12 rue Cortot in 1876 to paint Bal du moulin de la Galette, showing a dance at Montmartre on a Sunday afternoon. Maurice Utrillo lived at the same address from 1906 to 1914, and Raoul Dufy shared an atelier there from 1901 to 1911. The building is now the Musée de Montmartre. Pablo Picasso, Amedeo Modigliani and other artists lived and worked in a building called Le Bateau-Lavoir during the years 1904–1909, where Picasso painted one of his most important masterpieces, Les Demoiselles d'Avignon. Several composers, including Erik Satie, lived in the neighbourhood. Most of the artists left after the outbreak of World War I, the majority of them going to the Montparnasse quarter.
Artists' associations such as Les Nabis and the Incohérents were formed and individuals including Vincent van Gogh, Pierre Brissaud, Alfred Jarry, Jacques Villon, Raymond Duchamp-Villon, Henri Matisse, André Derain, Suzanne Valadon, Edgar Degas, Henri de Toulouse-Lautrec, Théophile Steinlen, and African-American expatriates such as Langston Hughes worked in Montmartre and drew some of their inspiration from the area.
The last of the bohemian Montmartre artists was Gen Paul (1895–1975), born in Montmartre and a friend of Utrillo. Paul's calligraphic expressionist lithographs, sometimes memorializing picturesque Montmartre itself, owe a lot to Raoul Dufy.
Among the last of the neighborhood's bohemian gathering places was R-26, an artistic salon frequented by Josephine Baker, Le Corbusier and Django Reinhardt. Its name was commemorated by Reinhardt in his 1947 tune "R. vingt-six.
During the 1950s, Paris continued to thrive as a hub for artistic innovation, building upon the foundations laid by the avant-garde movements of the early 20th century. The city’s art scene was characterized by a mix of established and emerging artists, galleries, and institutions.
La Ruche and the School of Paris
La Ruche, a complex of studio apartments and facilities in Montparnasse, served as a creative hub for many artists, including those associated with the School of Paris. This group, active from the 1940s to the 1970s, was known for its abstract and figurative styles, often blending elements of Cubism, Fauvism, and Surrealism. Notable artists affiliated with the School of Paris include Arthur Aeschbacher, Jean Bazaine, Leonardo Cremonini, Olivier Debré, Chu Teh-Chun, and Zao Wou-ki.
Photographers of the 1950s Paris
Several photographers, such as Sabine Weiss, Christer Strömholm, Peter Miller, and Maurice Sapiro, captured the essence of 1950s Paris through their lenses. Strömholm, a Swedish photographer, lived in Paris for extended periods between 1946 and 1964, documenting the city’s streets, walls, and shadows. Sapiro, an American-born artist, focused on painting and photography, often capturing scenes along the Seine River and in the city’s historic neighborhoods.
Galleries and Exhibitions
The 1950s saw the establishment of new galleries, such as Perrotin and Templon, which showcased the work of both established and emerging artists. The Salon de Mai, founded in 1947, continued to feature exhibitions by prominent artists, including those associated with the School of Paris. The Galerie de France, another prominent venue, hosted exhibitions that helped launch the careers of many artists.
Artistic Ferment
The post-war period brought a renewed sense of artistic ferment to Paris. The city’s art scene was characterized by a mix of traditional and avant-garde styles, as well as a growing interest in abstract art. The influx of foreign artists, including those from the United States, Great Britain, and Eastern Europe, contributed to the city’s vibrant cultural landscape.
Key Locations
Montparnasse, with its iconic La Ruche complex, remained a hub for artists, while the Left Bank, particularly the 6th and 14th arrondissements, continued to attract creatives. The Champs-Élysées and the Seine River provided popular settings for street performers, artists, and photographers. The historic neighborhoods of Saint-Germain-des-Prés and Montmartre remained popular destinations for art lovers and enthusiasts.
Legacy
The 1950s Parisian art scene laid the groundwork for the city’s continued status as a global art hub. The period saw the emergence of new artistic movements, the establishment of prominent galleries and institutions, and the continued innovation of artists from around the world. Today, Paris remains a city where art, culture, and creativity thrive, building upon the foundations of the 1950s and beyond.