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On the way back from Oxfordshire, I thought about stopping off somewhere to take some church shots.
I'm sure Oxfordshire, Buckinghamshire, Surrey and Sussex have fine churches just off the motorway, but one had stuck in my head, back in Kent, and that Hever.
What I didn't realise is how hard it was to get too.
I followed the sat nav, taking me off the motorway whilst still in Sussex, then along narrow and twisting main roads along the edge of the north downs, through some very fine villages, but were in Sussex.
Would I see the sign marking my return to the Garden of England?
Yes, yes I would.
Edenbridge seemed quite an unexpectedly urban place, despite its name, so I didn't stop to search for an older centre, just pressing un until I was able to turn down Hever Road.
It had taken half an hour to get here.
St Peter stands by the gate to the famous castle, a place we have yet to visit, and even on a showery Saturday in March, there was a constant stream of visitors arriving.
I asked a nice young man who was directing traffic, where I could park to visit the church. He directed me to the staff car park, meaning I was able to get this shot before going in.
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Near the grounds of Hever Castle, medieval home of the Bullen family. Sandstone construction with a nice west tower and spire. There is a prominent chimney to the north chapel, although this is not the usual Victorian addition, but a Tudor feature, whose little fireplace may be seen inside! The church contains much of interest including a nineteenth-century painting of Christ before Caiphas by Reuben Sayers and another from the school of Tintoretto. The stained glass is all nineteenth and twentieth century and includes a wonderfully evocative east window (1898) by Burlisson and Grylls with quite the most theatrical sheep! The south chancel window of St Peter is by Hardman and dated 1877. In the north chapel is a fine tomb chest which displays the memorial brass of Sir Thomas Bullen (d. 1538), father of Queen Anne Boleyn. Just around the corner is a typical, though rather insubstantial, seventeenth-century pulpit with sounding board.
www.kentchurches.info/church.asp?p=Hever
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HEVER.
SOUTH-EASTWARD from Eatonbridge lies Hever, called in the Textus Roffensis, and some antient records, Heure, and in others, Evere.
This parish lies below the sand hill, and is consequently in that district of this county called The Weald.
There is a small part of it, called the Borough of Linckbill, comprehending a part of this parish, Chidingstone, and Hever, which is within the hundred of Ruxley, and being part of the manor of Great Orpington, the manerial rights of it belong to Sir John Dixon Dyke, bart. the owner of that manor.
THE PARISH of Hever is long, and narrow from north to south. It lies wholly below the sand hills, and consequently in the district of the Weald; the soil and face of the country is the same as that of Eatonbridge, last described, the oak trees in it being in great plently, and in general growing to a very large size. The river Eden directs its course across it, towards Penshurst and the Medway, flowing near the walls of Hever castle, about a quarter of a mile southward from which is the village of Hever and the parsonage; near the northern side of the river is the seat of Polebrooke, late Douglass's, now Mrs. Susannah Payne's; and a little farther, the hamlets of Howgreen and Bowbeach; part of Linckhill borough, which is in the hundred of Ruxley, extends into this parish. There is a strange odd saying here, very frequent among the common people, which is this:
Jesus Christ never was but once at Hever.
And then he fell into the river.
Which can only be accounted for, by supposing that it alluded to a priest, who was carrying the bost to a sick person, and passing in his way over a bridge, sell with it into the river.
Hever was once the capital seat and manor of a family of the same name, whose still more antient possessions lay at Hever, near Northfleet, in this county, who bore for their arms, Gules, a cross argent. These arms, with a lable of three points azure, still remained in the late Mote-house, in Maidstone, and are quartered in this manner by the earl of Thanet, one of whose ancestors, Nicholas Tuston, esq. of Northiam, married Margaret, daughter and heir of John Hever of this county. (fn. 1)
William de Heure. possessed a moiety of this place in the reign of king Edward I. in the 2d of which he was was sheriff of this county, and in the 9th of it obtained a grant of free warren within his demesne lands in Heure, Chidingstone, and Lingefield.
Sir Ralph de Heure seems at this time to have possessed the other moiety of this parish, between whose son and heir, Ralph, and Nicholas, abbot of St. Augustine's, there had been, as appears by the register of that abbey, several disputes concerning lands in Hever, which was settled in the 4th year of king Edward I. by the abbot's granting to him and his heirs for ever, the land which he held of him in Hever, to hold by the service of the fourth part of a knight's fee.
William de Hever, in the reign of king Edward III. became possessed of the whole of this manor, and new built the mansion here, and had licence to embattle it; soon after which he died, leaving two daughters his coheirs; one of whom, Joane, carried one moiety of this estate in marriage to Reginald Cobham, a younger son of the Cobhams of Cobham, in this county; (fn. 2) whence this part of Hever, to distinguish it from the other, acquired the name of Hever Cobham.
His son, Reginald lord Cobham, in the 14th year of that reign, obtained a charter for free warren within his demesne lands in Hever. (fn. 3) He was succeeded in this manor by his son, Reginald lord Cobham, who was of Sterborough castle, in Surry, whence this branch was stiled Cobhams of Sterborough.
The other moiety of Hever, by Margaret, the other daughter and coheir, went in marriage to Sir Oliver Brocas, and thence gained the name of Hever Brocas. One of his descendants alienated it to Reginald lord Cobham, of Sterborough, last mentioned, who died possessed of both these manors in the 6th year of king Henry IV.
His grandson, Sir Thomas Cobham, sold these manors to Sir Geoffry Bulleyn, a wealthy mercer of London, who had been lord mayor in the 37th year of king Henry VI. He died possessed of both Hever Cobham and Hever Brocas, in the 3d year of king Edward IV. leaving by Anne, his wife, eldest sister of Thomas, lord Hoo and Hastings, Sir William Bulleyn, of Blickling, in Norfolk, who married Margaret, daughter and coheir of Thomas Boteler, earl of Ormond, by whom he had a son and heir, Thomas, who became a man of eminent note in the reign of king Henry VIII. and by reason of the king's great affection to the lady Anne Bulleyn, his daughter, was in the 17th year of that reign, created viscount Rochford; and in the 21st year of it, being then a knight of the Garter, to that of earl of Wiltshire and Ormond; viz. Wiltshire to his heirs male, and Ormond to his heirs general.
He resided here, and added greatly to those buildings, which his grandfather, Sir Geoffry Bulleyn, began in his life time, all which he completely finished, and from this time this seat seems to have been constantly called HEVER-CASTLE.
He died in the 30th of the same reign, possessed of this castle, with the two manors of Hever Cobham and Brocas, having had by Elizabeth his wife, daughter of Thomas Howard, duke of Norfolk, one sonGeorge, executed in his life time; and two daughters, Anne, wife to king Henry VIII. and Mary, wife of William Carey, esquire of the body, and ancestor of the lords Hunsdon and the earls of Dover and Monmouth.
On the death of the earl of Wiltshire, without issue male, who lies buried in this church, under an altar tomb of black marble, on which is his figure, as large as the life, in brass, dressed in the robes of the Garter, the king seised on this castle and these manors, in right of his late wife, the unfortunate Anne Bulleyn, the earl's daughter, who resided at Hever-castle whilst the king courted her, there being letters of both extant, written by them from and to this place, and her chamber in it is still called by her name; and they remained in his hands till the 32d year of his reign, when he granted to the lady Anne of Cleves, his repudiated wife, his manors of Hever, Seale, and Kemsing, among others, and his park of Hever, with its rights, members, and appurtenances, then in the king's hands; and all other estates in Hever, Seale, and Kemsing, lately purchased by him of Sir William Bulleyn and William Bulleyn, clerk, to hold to her during life, so long as she should stay within the realm, and not depart out of it without his licence, at the yearly rent of 931. 13s. 3½d. payable at the court of augmention. She died possessed of the castle, manors, and estates of Hever, in the 4th and 5th year of king Philip and queen Mary, when they reverted again to the crown, where they continued but a short time, for they were sold that year, by commissioners authorised for this purpose, to Sir Edward Waldegrave and dame Frances his wife; soon after which the park seems to have have been disparked.
This family of Waldegrave, antiently written Walgrave, is so named from a place, called Walgrave, in the county of Northampton, at which one of them was resident in the reign of king John, whose descendants afterwards settled in Essex, and bore for their arms, Per pale argent and gules. Warine de Walgrave is the first of them mentioned, whose son, John de Walgrave, was sheriff of London, in the 7th year of king John's reign, whose direct descendant was Sir Edward Waldegrave, who purchased this estate, as before mentioned. (fn. 5) He had been a principal officer of the household to the princess Mary; at the latter end of the reign of king Edward VI. he incurred the king's displeasure much by his attachment to her interest, and was closely imprisoned in the Tower; but the king's death happening soon afterwards, queen Mary amply recompensed his sufferings by the continued marks of her favour and bounty, which she conferred on him; and in the 4th and 5th years of that reign, he obtained, as above mentioned, on very easy terms, the castle and manors of Hever Cobham and Brocas; and besides being employed by the queen continually in commissions of trust and importance, had many grants of lands and other favours bestowed on him. But on the death of queen Mary, in 1558, he was divested of all his employments, and committed prisoner to the Tower, (fn. 6) where he died in the 3d year of queen Elizabeth. He left two sons, Charles, his heir; and Nicholas, ancestor to those of Boreley, in Essex; and several daughters.
Charles Waldegrave succeeded his father in his estates in this parish; whose son Edward received the honour of knighthood at Greenwich, in 1607, and though upwards of seventy years of age, at the breaking out of the civil wars, yet he nobly took arms in the king's defence, and having the command of a regiment of horse, behaved so bravely, that he had conferred on him the dignity of a baronet, in 1643; after which he continued to act with great courage in the several attacks against the parliamentary forces, in which time he lost two of his sons, and suffered in his estate to the value of fifty thousand pounds.
His great grandson, Sir Henry Waldegrave, in 1686, in the 1st year of king James II. was created a peer, by the title of baron Waldegrave of Chewton, in Somersetshire, and had several offices of trust conferred on him; but on the Revolution he retired into France, and died at Paris, in 1689. (fn. 7) He married Henrietta, natural daughter of king James II. by Arabella Churchill, sister of John duke of Marlborough, by whom he had James, created earl of Waldegrave in the 3d year of king George II. who, in the year 1715, conveyed the castle and these manors to Sir William Humfreys, bart. who that year was lord mayor of the city of London. He was of Barking, in Essex, and had been created a baronet in 1714. He was descended from Nathaniel Humfreys, citizen of London, the second son of William ap Humfrey, of Montgomery, in North Wales, and bore for his arms two coats, Quarterly, 1st and 4th, sable, two nags heads erased argent; 2d and 3d, per pale or and gules, two lions rampant endorsed, counterchanged.
He died in 1735, leaving by his first wife, Margaret, daughter of William Wintour, of Gloucestershire, an only son and heir, Sir Orlando Humfreys, bart. who died in 1737, having had by Ellen, his wife, only child of colonel Robert Lancashire, three sons and two daughters; two of the sons died young; Robert, the second and only surviving son, had the castle and manors of Hever Cobham and Brocas, and died before his father possessed of them, as appears by his epitaph, in 1736, ætat. 28.
On Sir Orlando's death his two daughters became his, as well as their brother's, coheirs, of whom Mary, the eldest, had three husbands; first, William Ball Waring, of Dunston, in Berkshire, who died in 1746, without issue; secondly, John Honywood, esq. second brother of Richard, of Mark's-hall, who likewife died without issue, in 1748; and lastly, Thomas Gore, esq. uncle to Charles Gore, esq. M.P. for Hertfordshire; which latter had married, in 1741, Ellen Wintour, the only daughter of Sir Orlando Humfreys, above mentioned.
They, with their husbands, in 1745, joined in the sale of Hever-castle and the manors of Hever Cobham and Hever Brocas, to Timothy Waldo. He was descended from Thomas Waldo, of Lyons, in France, one of the first who publicly opposed the doctrines of the church of Rome, of whom there is a full account in the Atlas Geograph. vol. ii. and in Moreland's History of the Evangelical Churches of Piedmont. One of his descendants, in the reign of queen Elizabeth, to escape the persecution of the duke D'Alva, came over to England, where he and his descendants afterwards settled, who bore for their arms, Argent a bend azure, between three leopards heads of the second; of whom, in king Charles II.'s reign, there were three brothers, the eldest of whom, Edward, was knighted, and died without male issue, leaving two daughters his coheirs; the eldest of whom, Grace, married first Sir Nicholas Wolstenholme, bart. and secondly, William lord Hunsdon, but died without issue by either of them, in 1729. The second brother was of Harrow, in Middlesex; and Timothy, the third, was an eminent merchant of London, whose grandsons were Edward, who was of South Lambeth, esq. and died in 1783, leaving only one daughter; and Timothy, of Clapham, esquire, the purchaser of this estate, as above mentioned, who was afterwards knighted, and died possessed of it, with near thirteen hundred acres of land round it, in 1786; he married, in 1736, Miss Catherine Wakefield, by whom he left an only daughter and heir, married to George Medley, esq. of Sussex, lady Waldo surviving him is at this time intitled to it.
The castle is entire, and in good condition; it has a moat round it, formed by the river Eden, over which there is a draw bridge, leading to the grand entrance, in the gate of which there is yet a port cullis, within is a quadrangle, round which are the offices, and a great hall; at the upper end of which, above a step, is a large oak table, as usual in former times. The great stair case leads up to several chambers and to the long gallery, the cieling of which is much ornamented with soliage in stucco; the rooms are all wainscotted with small oaken pannels, unpainted. On one side of the gallery is a recess, with an ascent of two steps, and one seat in it, with two returns, capable of holding ten or twelve persons, which, by tradition, was used as a throne, when king Henry VIII. visited the castle. At the upper end of the gallery, on one side of a large window, there is in the floor a kind of trap door, which, when opened, discovers a narrow and dark deep descent, which is said to reach as far as the moat, and at this day is still called the dungeon. In a closet, in one of the towers, the window of which is now stopped up, there is an adjoining chamber, in which queen Anne Bulleyn is said to have been consined after her dis grace. The entrance to this closet, from the chamber, is now by a small door, which at that time was a secret sliding pannel, and is yet called Anne Bulleyn's pannel.
In the windows of Hever-castle are these arms; Argent, three buckles gules, within the garter; a shield of four coasts, Howard, Brotherton, Warren, and Mowbray, argent three buckles gules; a shield of eight coats, viz. Bulleyn, Hoo, St. Omer, Malmains, Wickingham, St. Leger, Wallop, and Ormond; and one, per pale argent and gules, for Waldegrave. (fn. 8)
It is reported, that when Henry VIII. with his attendants, came to the top of the hill, within sight of the castle, he used to wind his bugle horn, to give notice of his approach.
There was a court baron constantly held for each of the above manors till within these forty years, but at present there is only one, both manors being now esteemed but as one, the circuit of which, over the neighbouring parishes, is very extensive.
SEYLIARDS is an estate here which extends itself into the parishes of Brasted and Eatonbridge, but the mansion of it is in this parish, and was the antient seat of the Seyliards, who afterwards branched out from hence into Brasted, Eatonbridge, Chidingstone, and Boxley, in this county.
The first of this name, who is recorded to have possessed this place, was Ralph de Seyliard, who resided here in the reign of king Stephen.
Almerick de Eureux, earl of Gloucester, who lived in the reign of king Henry III. demised lands to Martin at Seyliard, and other lands, called Hedinden, to Richard Seyliard, both of whom were sons of Ralph at Seyliard, and the latter of them was ancestor to those seated here and at Delaware, in Brasted. (fn. 9)
This place continued in his descendants till Sir Tho. Seyliard of Delaware, passed it away to John Petley, esq. who alienated it to Sir Multon Lambarde, of Sevenoke, and he died possessed of it in 1758; and it is now the property of his grandson, Multon Lambarde, of Sevenoke, esq.
Charities.
A PERSON gave, but who or when is unknown, but which has time out of mind been distributed among the poor of this parish, the sum of 10s. yearly, to be paid out of land vested in the churchwardens, and now of that annual produce.
The Rev. JOHN PETER gave by will, about 1661, the sum of 10s. yearly, to be paid for the benefit of poor farmers only, out of land vested in the rector, the heirs of Wm. Douglass, and the heirs of Francis Bowty, and now of that annual produce.
The Rev. GEORGE BORRASTON, rector, and several of the parishioners, as appears by a writing dated in 1693, purchased, with money arising from several bequests, the names of the donors unknown, except that of WILLIAM FALKNER, to which the parishioners added 15l. a piece of land, the rent to be distributed yearly among the poor of the parish, vested in the rector and churchwardens, and of the annual produce of 3l. 12s.
Rev. THOMAS LANCASTER, rector, gave by will in 1714, for buying good books for the poor, and in case books are not wanting for the schooling of poor children at the discretion of the mimister, part of a policy on lives, which was exchanged for a sum of money paid by his executor, being 20l. vested in the minister and churchwardens.
SIR TIMOTHY WALDO gave by will in 1786, 500l. consolidated 3 per cent. Bank Annuities, one moiety of the interest of which to be applied for the placing of some poor boy of the parish apprentice to a farmer, or some handicraft trade, or to the sea service, or in cloathing such poor boy during his apprenticeship, and in case no such poor boy can be found, this moiety to be distributed among such of the industrious poor who do not receive alms. The other moiety to be laid out in buying and distributing flannel waistcoats, or strong shoes, or warm stockings, among such of the industrious or aged poor persons inhabiting within this parish, as do not receive alms, vested in the Salters Company.
HEVER is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester, and being a peculiar of the archbishop, is as such within the deanry of Shoreham. The church, which stands at the east end of the village, is a small, but neat building, consisting of one isle and two chancels, having a handsome spire at the west end of it. It is dedicated to St. Peter.
Among other monuments and inscriptions in it are the following:—In the isle is a grave-stone, on which is the figure of a woman, and inscription in black letter in brass, for Margaret, wife of William Cheyne, obt. 1419, arms, a fess wavy between three crescents.—In the chancel, a memorial for Robert Humfreys, esq. lord of the manor of Heaver, only son and heir of Sir Orlando Humfreys, bart. of Jenkins, in Effex, obt. 1736. Against the wall is a brass plate, with the figure of a man kneeling at a desk, and inscription in black letter for William Todde, schoolmaster to Charles Waldegrave, esq. obt. 1585.—In the north chancel, an altar tomb, with the figure on it at large in brass, of Sir Thomas Bullen, knight of the garter, earl of Wilcher and earl of Ormunde, obt. 1538. A small slab with a brass plate, for ........ Bullayen, the son of Sir Thomas Bullayen.—In the belsry, a stone with a brass plate, and inscription in black letter in French, for John de Cobham, esquire, obt. 1399, and dame Johane, dame de Leukenore his wife, and Renaud their son; near the above is an antient altar tomb for another of that name, on which is a shield of arms in brass, or, on a chevron, three eagles displayed, a star in the dexter point. These were the arms of this branch of the Cobhams, of Sterborough-castle. (fn. 10)
This church is a rectory, the advowson of which belonged to the priory of Combwell, in Goudhurst, and came to the crown with the rest of its possessions at the time of the surrendry of it, in the 7th year of king Henry VIII. in consequence of the act passed that year for the surrendry of all religious houses, under the clear yearly revenue of two hundred pounds. Soon after which this advowson was granted, with the scite of the priory, to Thomas Colepeper, but he did not long possess it; and it appears, by the Escheat Rolls, to have come again into the hands of the crown, and was granted by the king, in his 34th year, to Sir John Gage, to hold in capite by knights service; who exchanged it again with Tho. Colepeper, to confirm which an act passed the year after. (fn. 11) His son and heir, Alexander Colepeper, had possession granted of sundry premises, among which was the advowson of Hever, held in capite by knights service, in the 3d and 4th years of king Philip and queen Mary; the year after which it was, among other premises, granted to Sir Edward Waldegrave, to hold by the like tenure.
Charles Waldegrave, esq. in the 12th year of queen Elizabeth, alienated this advowson to John Lennard, esq. of Chevening, and being entailed to his heirs male, by the last will of Sampson Lennard, esq. his eldest son, under the word hereditament possessed it, and it being an advowson in gross, was never disentailed by Henry, Richard, or Francis, lords Dacre, his descendants, so that it came to Thomas lord Dacre, son of the last mentioned Francis, lord Dacre, afterwards earl of Sussex, in 1673, and at length sole heir male of the descendants of John Lennard, esq. of Chevening, above mentioned; and the same trial was had for the claim of a moiety of it, at the Queen's-bench bar, as for the rest of the earl's estates, and a verdict then obtained in his favour, as has been already fully mentioned before, under Chevening.
The earl of Sussex died possessed of it in 1715, (fn. 12) whose two daughters, his coheirs, on their father's death became entitled to this advowson, and a few years afterwards alienated the same.
It then became the property of the Rev. Mr. Geo. Lewis, as it has since of the Rev. Mr. Hamlin, whose daughter marrying the Rev. Mr. Nott, of Little Horsted, in Sussex, he is now intitled to it.
In the 15th year of king Edward I. this church of Heure was valued at fifteen marcs.
By virtue of a commission of enquiry, taken by order of the state, in 1650, issuing out of chancery, it was returned, that Hever was a parsonage, with a house, and twelve acres of glebe land, which, with the tithes, were worth seventy-seven pounds per annum, master John Petter being then incumbent, and receiving the profits, and that Francis lord Dacre was donor of it. (fn. 13)
This rectory was valued, in 1747, at 1831. per annum, as appears by the particulars then made for the sale of it.
It is valued, in the king's books, at 15l. 17s. 3½d. and the yearly tenths at 1l. 10s. 8¾d. It is now of the yearly value of about 200l.
¶The priory of Combwell, in Goudhurst, was endowed by Robert de Thurnham, the founder of that house, in the reign of king Henry II. with his tithe of Lincheshele and sundry premises in this parish, for which the religious received from the rector of this church the annual sum of 43s. 4d.
Includes a few old members who have found their way back to the flock.
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Irrigation At Lawn Pros Landscaping, we strive to give you a yard that you can be proud of! By combining your soil elements with the proper irrigation, provided by the highest quality parts and best sprinkler coverage, we guarantee a healthy, water-wise yard. Our sprinkler systems will provide optimum results utilizing the highest water efficiency.
Sod Care
Soil Preparation:
Proper soil preparation is the most important step for a successful lawn. The goal is to provide a good base in which the grass roots can vigorously establish and grow.
Begin by removing all old lawn, rocks, weeds and any other debris.
• Using a sod cutter, cut out all of the existing lawn. You can usually find a sod cutter at your local equipment rental store.
• Kill or pull all existing weeds.
• Remove all rocks or other debris.
Establish your rough grade, directing drainage away from any buildings and eliminating any low spots.
Spread 3 to 5 yards of soil amendment for every 1000 square feet. Rototill into your existing ground 4 to 6 inches deep.
• We recommend using a high grade of compost as your soil amendment which must be rototilled into the ground, it cannot be simply added as a layer above your existing soil. We use an organic Bio-compost fromA1 organics on all of our installs.
Rake and fine grade the surface to smooth uneven areas. Finished grade should be 1/2 inch below sidewalks, driveways, sprinkler heads and patios.
As a final step we use and recommend the use of a Starter Fertilizer which is at a rate of 4 lbs. per 1000 square feet on top of the final grade. This promotes healthy root growth to aid in faster establishment of the new turf and reduce the water needs of the turf due to the healthier and denser root growth.
Sod Installation:
Green side up!
Sod is a living plant and should be installed as soon as possible after delivery.
Begin installing sod along an edge, furthest away, to minimize the amount of traffic on the prepared soil and newly installed grass.
Stagger the sod in a brick like pattern so that the seams are offset. Keep ends and sides of the sod butted together tightly without overlapping. If you are installing sod on a sloped area the rolls should be laid perpendicular to the slope, as to prevent water run off.
Sod may be cut with a knife to conform to curved boundaries. It is easiest to cut from the dirt side of the sod.
In warm and dry conditions we recommending a light watering of the installed sod as you work to keep the sod from drying and shrinking during the installation. Once all the sod is down water completely per the guidelines below.
Watering Your Sod:
Water, Water, Water!
The following information is provided as a general guideline. Remember that no two lawns are exactly alike and conditions can vary greatly from one area of your lawn to another. Newly planted sod needs to be watered much differently than established lawns. It is highly recommended you have a sprinkler system in place before installing sod. Due to the increased water needs of the new sod, watering by hand or with a garden hose sprinkler will be very time consuming for the first few weeks.
Many factors will affect the water needs during the establishment and even after the sod is established. Areas of your lawn that are on higher ground and/or are more exposed to sun and wind will use significantly more water. Lower areas and areas that are well shaded and protected will not need as much water. Maintaining consistent moisture levels in all areas of the lawn will ensure proper establishment. In order to achieve consistent moisture levels fine tuning of the irrigation system and close observation will be required for success.
Immediately after all the sod is installed, water the lawn until it is good and soaked, usually 45 to 60 minutes. This is the most important watering because the ground is dry, the soil amendment is dry and the sod itself is dry. This initial watering is vital to ensure the sod and soil beneath are good and soaked.
During the first 2 weeks, while the sod's root system is being established, heavy watering is necessary. The new sod needs to stay moist 24 hours a day. We recommend watering a MINIMUM of 2 times per day for at least 20 to 40 minutes. Variations in soil conditions, temperature and sprinkler type will affect the number of cycles and length of time that your sprinklers should run. The key is maintaining consistent moisture throughout the lawn.
Also during this time any use of the lawn should be avoided to give the roots an opportunity to become established and to insure the lawn will remain smooth. On hot days (90 degrees and over) or windy days you may need to water 3 to 4 times a day so that the sod is not allowed to dry out between watering. During the 3rd and 4th week you should be transitioning from heavy watering to a normal routine. Begin by eliminating one run cycle of the system every 4-5 days until you have reached one per day and then begin gradually eliminating days from the schedule until you have reached your preferred watering schedule. We recommend an every other day schedule, watering early in the morning.
It is important to note that areas of your lawn that are well shaded will use significantly less water so be careful to not over-water these areas. Over-watering will keep the sod from growing roots which will lead to dead spots.
Watch your sod closely for signs of dehydration (not enough water). Signs include: a purplish tint, blades turn gray and footprints are left when walked upon, the sod rolls begin to shrink and gaps form between rolls, or grass blades turn straw in color. If any of these signs are prevalent, the sod is not getting enough water, increase your watering times!
If you are not convinced your issues are due to lack of watering, try this test. Place like-sized containers in the problem area and another in a good and green area. Water for 15 to 30 minutes then measure and compare both containers. If the problem area is not getting the same amount of water than your sprinkler heads and system may need adjustments.
The 1st mowing should occur within the first 10 to 14 days after installation. Do not let the lawn get too long where the blades begin to lay down or your mower cannot handle the job. It is necessary to stop watering for a period of time to allow grass to dry and the ground to firm up enough to be mowed.
It may also be necessary to mow the lawn in two passes for the first mowing, you do not want to mow more than the top 3rd of the blade at one time. So if it is very long, raise the blade on the mower and mow, then lower the blade (no shorter that 3 inches) and mow again. Mowing off too much of the blade at one time can cause shock to the lawn and may create a dead spot in the lawn. If the grass appears yellow after mowing you are cutting off too much.
New sod should not be fertilized for at least 6 weeks following installation and we do not recommend use of any starter fertilizer with the installation.
Special considerations for fall sod installations:
Sod installed late in the season will likely not have a chance to become fully established before the winter sets in. In these instances you will need to be sure to water the sod several times over the winter especially during extended periods or dry weather. You do not need a heavy watering as the frozen ground will not absorb much water but keeping the surface moist will insure that the sod is ready to go when spring arrives. Even established lawns can die during a dry winter so a little water in these times will ensure a healthy lawn the next spring.
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A Report to the Michigan Bird Records Committee
1. Species.
Spotted Redshank, Tringa erythropus
2. Number of individuals.
One
3. Date and time of sighting. (Please be sure to indicate how long your observations lasted.)
On 2 November 2018, discovered at 4:20 PM (DST) and last observed at 5:00 PM (DST), within this time span observed and photographed for at least 23 minutes
4. County.
Washtenaw County
5. Exact location. (Please be as specific as possible, including nearest crossroads; include GPS coordinates if known, as well as coordinate system and receiver type.)
Southeast of Scio Church Road and Parker Road intersection in Section 6, Lodi Township and northeast of this intersection in Section 31, Scio Township.
6. Detailed description of appearance. (Please be as specific as you can, and include if possible: size; shape; bill, eye and leg characteristics; color and pattern of plumage; and any other features that you observed. This is the most important part of your submission.)
A dusky, smoky-brown shorebird with long orange-red legs caught Margaret Jewett's eyes. It was on a mud flat in a marshy pond located about 150 feet to the east of Parker Road in Section 6 of Lodi Township. It had a typical Tringa shape and a long, fine straight bill; its size appeared somewhat smaller than that of an accompanying Greater Yellowlegs Tringa melanoleuca. With effort Margaret called my attention to this bird; at the time I was contemplating taking photos of a Pectoral Sandpiper Calidris melanotos. As soon as I had focused my binoculars on Margaret's bird, it took flight, revealing an oval white back patch that clearly contrasted with the dusky mantle, dusky wings and gray tail. These characteristics plus the orange-red tarsi clinched its immediate identification. Nevertheless I found it hard to believe what I had just seen. With binoculars I followed its flight to where it landed beyond a curtain of cattails and brush at the extreme north end of the marsh in Section 31 of Scio Township. Once relocated, I observed and photographed it at distances of 60 to 100 feet as it foraged, preened and dozed.
By direct comparison with eight Greater Yellowlegs, its overall form appeared more delicate and its movements more elegant than that of the yellowlegs. It frequently waded up to its belly, sometimes even swimming for several feet. Ongoing photographs viewed through my camera's LCD and later through Margaret's scope revealed the so-called kink or droop near the tip of the upper mandible. The bill was between 1.25 times to 1.3 times the length of the head in lateral profile. The basal one-third to almost one-half of the lower mandible was orange-red, but the hue was less intense than the orange-red of the tarsi. The rest of the bill was almost black. Also, photos revealed the hind toe and the small web between the outer two toes.
The Spotted Redshank was a hatch-year bird for the most part in first-basic plumage and it was in preformative molt: some of the scapulars of the bird's left and right side, as well as some of the mantle feathers, exhibited the plain-gray feathers of fresh formative plumage.
The white super-loral stripe was a notable facial feature, separating the dark brown lores from the gray-brown forehead. Above the postocular line was a patch of white post-ocular spots. A white upper and lower eye arc framed the dark eye. The ear coverts were marbled light gray.
The cream-white vent, flanks and under tail-coverts were closely barred with gray, whereas the cream-white belly had sparse gray barring. The throat, neck and breast were streaked gray and white. The forehead, crown and nape were gray-brown with delicate white streaks or tiny spots. The mantle was gray-brown with small white spots. The darker margins of the gray-brown scapulars, tertials and greater coverts had white notches. Likewise, the upper wing coverts were gray-brown with white marginal notches or spots.
Three primary tips extended beyond the tertials and fell short of the tail tip. Rectrix one and two (the top of the tail) were gray; their margins had white notches, between which black blobs extended as faded dark-gray bars toward the shaft. The margins of the closed lower rectrices appeared as a pattern of black and white spots.
7. Description of voice.
Sometimes, when taking flight across a stretch of water to rejoin the Greater Yellowlegs, the Spotted Redshank called with a brief series of disyllabic notes of changing tone, the rising inflection of which was utterly different than that of the single monotonic “teu” notes of the yellowlegs.
8. Behaviors observed.
My patience, a necessity for photography, coupled with six-and-a-half decades of bird observation, transformed this encounter into an experience of sheer pleasure, the kind that only an unimaginable surprise gives—almost nothing went unnoticed as a bit of the Palaearctic world unfolded before my eyes. During my slow, extremely cautious approach of stop and go, the Spotted Redshank stood stark still and alert with head held high, giving the occasional characteristic head-nod of the Tringa genus. I stood behind my tripod with mounted camera and lens in order to partially shield from view my upright stance. Except for slight movements of my head and hands for photography, I remained motionless throughout my observation. After accepting my presence, the bird foraged actively where patches of muddy shoreline protruded into open water, often wading up to its belly, even swimming across narrow stretches of deeper water. Foraging was by bill-probing into water or mud. Small prey items, usually pea size or smaller, were extracted with the bill and immediately swallowed. Two prey items were identified, each being a leech Hirudinea, one of which upon being snatched coiled itself around the bird's bill only to be swallowed whole.
Sometimes the Spotted Redshank foraged in loose association with one of eight Greater Yellowlegs. It seemed to have a subordinate position, for its tendency was to give way to the direct advances of any of the Greater Yellowlegs. After actively foraging, the Spotted Redshank became stationary, preening its body plumage, then dozing intermittently with eyes closed and head pulled in. Upon becoming active again, it foraged on a mud flat among the prostrate branches of a long-dead, fallen tree. As a result I could no longer take unobstructed photos nor continuously view it. Therefore I returned to Parker Road and rejoined Margaret Jewett. Together we relocated the bird from Scio Church Road and through her scope watched it forage, rest and preen.
9. Habitat
Habitat is a small wetland surrounded by agrarian fields and partitioned by two paved highways. A portion of the wetland is a pond at very low-water stage having broken stretches of mud flat. The marshy portions have patches of Typha and some shrubbery such as Salix, Cornus and Cephalanthus, as well as collapsed dead trees and standing stubs. A thick growth of Calamagrostis, Phalaris and Bidens partially covers the soggy outer edges of the marsh.
10. Similar Species and how eliminated
The possibility of the observed bird being an aberrant yellowlegs with orange tarsi was ruled out. Yellowlegs lack the following three characteristics which this Spotted Redshank had.
First, the bill structure did not conform to that of a Lesser Yellowlegs, being far too long in comparison to that of the head length. Nor did the bill conform to that of the Greater Yellowlegs, being far too thin and terminating into that peculiar droop which the Spotted Redshank is noted for. Furthermore, the basal portion of the lower mandible was notably orange-red and extended for a little over one-third the bill length, a colorful feature that yellowlegs lack.
Second, the oval white patch reaching up the back as revealed in flight is something that yellowlegs lack.
Third, the vent and belly of yellowlegs lack the gray barring that this juvenile Spotted Redshank had.
Last but not least, the Spotted Redshank lacked the stunning white secondaries of the Common Redshank Tringa totanus.
11. Previous experience with this species and similar species.
I’ve studied Spotted Redshanks as wintering birds in Morocco and as spring arrivals in Finland. I’ve observed Common Redshanks within a span of 27 years in Iceland, Denmark, Norway, Sweden, Finland, Morocco and Japan. My experience with both species of yellowlegs reaches back to 1960 in North America.
12. Distance from bird(s) and how measured or estimated (indicate which).
Observation distances ranged from 60 to 100 feet. A Google Earth map at a 50-foot scale was used to approximate these distances.
13. Optical equipment used.
Swarovski EL 10X42 binoculars; Canon Lens EF 500mm with Extender 1.4x and Canon camera EOS 5D Mark IV; Margaret Jewett’s Leica 10X42 binoculars and her Swarovski 25X-60X 85mm spotting scope.
14. Light (sunny versus cloudy, position of sun in relation to bird[s] and you).
The entire sky was low with clouds.
As I faced the bird, its position in the marsh ranged from due east to north by northeast from me. As Margaret Jewett and I faced the bird, its position from us on Scio Church road was north by northwest. Therefore, the sun’s position would have been on the right side of my back in the marsh and on the left side of our backs while on the road (considering the Sun’s southward position on that date and time).
15. Other observers:
Margaret Jewett.
Subsequently, there were hundreds of other observers from around the country.
16. Did the others agree with your identification? (Please give contact information)
Margaret Jewett agreed with my identification. Her description of field marks as seen through her scope was submitted to eBird and included: Shorebird smaller than greater yellowlegs with striking red legs and lower mandible; long, thin bill with a slight droop at tip of bill(seen in photographs); brownish gray tertials with white margins interrupted by black notches looking like stitching; white fore-supercilium and red lower mandible highlighting pre-ocular black line connecting the eye to the black upper mandible; in combination with the red legs, the diagnostic white elliptical patch on the back observed when preening; first calendar year bird showing several all gray formative feathers on the upper scapulars and juvenile barring along the flanks.
Subsequently, hundreds of other observers from around the country agreed with this identification.
17. When did you first write down notes describing the bird(s) in question? (If you have field notes or notes written within a few days after returning from the field, then please include scans or photocopies of them with your submission.)
I did not take field notes. I have 177 photos ranging from very good to excellent showing all aspects of the bird in detail. Margaret took note of the field characteristics as I outlined them to her in the field. She submitted her description (above) to eBird within 24 hours of the sighting.
18. Books and other references consulted.
I did not need to consult books and references. The primary reference was the photos of the bird. Margaret Jewett referred to her Sibley’s and National Geographic Field Guides as well as Shorebirds: an identification guide by Peter Hayman, John Marchant, and Tony Prater.
19. Were the references consulted before or after you first wrote down a description?
Margaret looked at the field guides in her car for a general description after first spotting the shorebird with the red legs. The guides were not in hand when she viewed the bird and observed its characteristics.
20. How did the references influence the description?
The references did not influence the description. The references, in conjunction with the photographs, corroborated the identification.
21. Were photographs obtained?
One hundred seventy-seven photographs were obtained
22. Your name.
Alan J Ryff
Date you filled out this form.
10 November 2018
Wigan is one of the four oldest boroughs in Lancashire, receiving a charter from Henry III in 1246. It is believed to have started life as the Roman garrison town of Coccium. Some of the town's charters are on display in Wigan History Shop, a former Victorian library designed by Alfred Waterhouse, the celebrated architect of Manchester town hall and the Natural History Museum.
Famous Wigan food products include Heinz baked beans, Pataks Indian foods, Potters herbal remedies, Uncle Joe’s Mint Balls, and De Roma ice cream.
Other well known Wigan firms include Girobank, the Tote, JJB Sports, US glass fibre manufacturers PPG, and carpet firm Milliken. Wigan is also the home of the North West Tourist Board and the Tidy Britain Group.
Once the centre of the Lancashire coalfield - in the late 1800s there were 1,000 pit shafts within five miles of the town centre - Wigan no longer has any collieries. The last pit, Bickershaw, closed in 1992.
Wigan was a key battle ground during the Civil War in the 17th century, and Cromwell’s troops passed through the town twice. The town stayed loyal to the king, and was later rewarded with a ceremonial sword. Until local government reorganisation its motto was ‘Ancient and Loyal’.
The Verve, whose split was announced recently became Wigan’s most famous musical export since ... George Formby! The band were all from the Wigan area and met while at Winstanley College, a sixth form centre on the outskirts of town.
Other notable Wigan bands include the Railway Children and folk-rockers the Tansads. Wigan Youth Jazz Orchestra is known the world over, while Andy Prior - dubbed the new Sinatra - owes his success to his formative years with WYJO. Nearby Leigh - part of the borough of Wigan - is the birthplace of Georgie Fame.
In the 1960s and 70s, Wigan Casino was the spiritual home of ‘Northern Soul’ music, attracting thousands to its famous all-nighters. The casino burnt down in the early 1980s. In the 90s the town gained a reputation as a centre for jazz and now hosts an international jazz festival every summer.
Well-known Wigan-born figures include entertainers George Formby, Roy Kinnear, Ted Ray and Frank Randle; miners’ leader Joe Gormley; and former Chief Constable of Greater Manchester Sir James Anderton. Actor Sir Ian McKellen grew up in the town in a house opposite Mesnes Park.
Contemporary Wiganers of note include Kay Burley of Sky News; DJ, journalist and TV film critic Stuart Maconie; former Hollyoaks actress Davinia Murphy (who played Jude Cuningham), and Coronation Street’s Georgia Taylor (Toyah Battersby) and Eva Pope (barmaid Tanya Pooley). Local MP Ian McCartney is currently a high flier in Tony Blair’s New Labour government as Trade Minister.
Wigan Rugby League FC are the UK’s top club side. In 1990/91 they won all the major trophies, and hold the record for the number of successive cup and league wins. In soccer, 2nd division Wigan Athletic are about to move into a new 25,000 seat stadium at the town's Robin Park, which they will share with the Wigan Warriors rugby club. It has been paid for by...
Wigan Athletic’s multi-millionaire chairman Dave Whelan, the boss of JJB Sports, whose phenomenally successful chain of sportswear stores is one of the UK’s retailing success stories.
Literary links include George Orwell, whose unflattering portrait of the town at the height of the depression in the 1930s, The Road to Wigan Pier, angered many, and American thriller writer Martin Cruz Smith, whose 1996 novel Rose was set in Victorian Wigan.
For a town with an industrial image, Wigan’s countryside is a constant source of amazement to visitors. The borough has three country parks (including Haigh), more Sites of Special Scientific Interest than anywhere else in the region, and a wealth of wildlife and rare plants.
Wigan Pier, once a musical hall joke, has been restored as one of the UK’s top heritage attractions, winning 15 national tourism awards for its portrait of local life at the turn of the century.
The name is thought to have first been used by George Formby Senior, a popular local entertainer in his own right. It described not a seaside pier but a small jetty, projecting over the side of the Leeds-Liverpool canal, which was used for tipping coal from railway trucks into barges.
Thomas Beecham first manufactured his famous pills in Wigan. Marks and Spencer was born in Wigan when Michael Marks joined forces with Thomas Spencer in 1894. For three years the town was the firm’s headquarters.
In 1698 travel writer Celia Fiennes described Wigan as a ‘pretty market town built of stone and brick.’ Almost three hundred years later the American travel writer Bill Bryson wrote: "Such is Wigan’s perennially poor reputation that I was truly astounded to find it has a handsome and well-maintained town centre".
invasives include Hedera, Ilex, and Rubus
my lichen photos by genus - www.flickr.com/photos/29750062@N06/collections/7215762439...
my photos arranged by subject, e.g. mountains - www.flickr.com/photos/29750062@N06/collections
As always NEoN celebrates its festival with a late night party. Acts include Plastique Fantastique, Verity Brit & Musician U, Fallope & The Tubes and Resident DJ RHL. With a pop up bar and performances amongst our large group exhibition the vast factory space West Ward Works, this night promises to be a visual audible delight.
Plastique Fantastique (UK)
A performance fiction envisaged as a group of human and non-human avatars delivering communiqués from the past and the future. The communiqués are channelled through installations, writing, comics and sound and moving image work and performances, addressing technology, popular and mass media and sacred cultures and also human-machine animals and non-human entities and agents. Over several years, numerous people have produced Plastique Fantastique but there is also a core group producing the performance fiction. Plastique Fantastique was first presented by David Burrows and Simon O’Sullivan and developed with long-term collaborators Alex Marzeta and Vanessa Page, and more recently with Mark Jackson. For NE0N 2017, this group will call forth and trap a bit-coin-fairy-spirit to ask it seems questions. The performance – Plastique Fantastique Protocols for the Society for Cutting Up Mun-knee-snakers (S.C.U.M.): I-Valerie-Solaris-AKA-@32ACP-Amazon.co.uk-recommends-‘Pacific-Rim’ may/may-not shoot b1t-c0in-f@iry-sp1r1t) – uses drone-folk-songs, moving image projection, reliquaries and ritual to manifest the block-chain-spirit.
David Burrows, Alex Marzeta, Vanessa Page and Mark Jackson will be performing.
Rites of the Zeitgeber, Verity Brit & Musician ‘U’ (UK)
9 channel video installation, live score performed by musician ‘U’
The Zeitgeber (‘time giver’ or ‘synchroniser’) is honoured by a triadic henge of stacked CRT monitors in which past durations collide with future vacuums. Strange extra-terrestrial topographies are traversed across geological time and the internet. Curious substances are unearthed and lost languages resurrected. Fragments from Mina Loy, J. G. Ballard and Henri Bergson emerge amongst an archaeology of media from Super 8, VHS, to HD. Time bends from matter, history is up-set and the clock is obsolete.
Verity Birt an artist based in London. She studied an MA in Moving Image at the Royal College of Art (2013–2015) and BA in Art Practice at Goldsmiths University of London (2008–2011). She is involved with collaborative research groups; The Future is a Collective Project, Reconfiguring Ruins and a founding member of women artists collective Altai. This summer, Verity was artist in residence at BALTIC and The Newbridge Project in Newcastle. Previous exhibitions include: Our House of Common Weeds; Res. Gallery, London (2017); Relics from the De-crypt | Gossamer Fog Gallery London (2017), Altai in Residence, Experiments in Collective Practice, Dyson Gallery, London (2017); Chemhex Extract, Peacock Visual Arts, Aberdeen (2016); Feeling Safer, IMT Gallery, London and Gallery North, New York (2016); Come to Dust, Generator Projects, Dundee (2016)
Fallopé & The Tubes (UK)
A weirdo-punk performance band. Each live show features live humans! film and visuals! costumes! sculpture! visual props! and music/a sequence of sounds!
Fallopé and The Tubes is a fluctuating live musical and performative event with contributions from Sarah Messenger, Ruby Pester, Nadia Rossi, Rachel Walker, Catherine Weir, Emma McIntyre and Skye Renee Foley. The group are made up of Scottish based artists and musicians that are also filmmakers, festival organisers, librarians, boatbuilders and more who work collaboratively to devise live performances. Drawing influence from a wide range of fringe and mainstream musical genres, exploring sexuality, elements of social satire, self promotion and leftist political ideologies.
The group was established in January 2014 at Insriach Bothy, Aviemore and have developed their practice during numerous residency experiences across Scotland. By living and working together ‘off grid’ the group have developed experimental techniques to create a collective energy. Fallopé & The Tubes draw influence from a wide range of fringe and mainstream musical genres, as well as sexuality, elements of social satire and self promotion and leftist political ideologies. Soakin Records
DJ RHL (UK)
Resident NEoN DJ has been entertaining us since 2010. Djing for about 25 years, he predominately plays Techno but you often find him playing anything dance music related. Spinning old school vinyl sets containing an eclectic mix of old and new stuff. RHL just likes making people dance. Check here for past performances.
Accompanying DJ RHL is ‘The Wanderer‘ aka Naomi Lamb. Naomi works layers of diverse video loops into an ever evolving collage colours textures and shape and intuitively mixies visuals live. She improvises, freestyles and channels the room, customising the ephemeral moving collage in response to the tone of the happening.
For the past 20 years Naomi has been a prolific live video art performer utilising techniques and process that is often associated with the ever growing subculture of VJing and presents under the name of ‘The Wander’. Naomi has an intimate knowledge of not only the process of live video performance but also an wide reaching connections within the VJ community and has performed at many of the leading outdoor music and art festivals in New Zealand with a debut at two English Festivals this summer and she is super please for her first time mixing it up in Scotland to be at NEoN. “
AGK Booth
Yuck ’n Yum hereby invites you to attend the Annual General Karaoke booth at this year’s NEoN at Night. The AGK is a fiercely contested karaoke video competition, getting creative types to make videos that will shock, delight and confound its audience. First staged back in 2010, over the years the AGK has built up a sizeable back catalogue of singalong anthems encompassing everything from pop classics to the most extreme avant garde out there. Now Yuck ’n Yum will bring the AGK archive to NEoN revellers in an audiovisual extravaganza that will overturn everything you ever thought you knew about karaoke convention. This November, Yuck ’n Yum together with NEoN are making a song and dance about it.
About the Artists Yuck ‘n Yum is a curatorial collective formed in Dundee 2008. Until 2013 its main raison d’etre was to make zines and distribute art. The AGK booth is the first of three projects that will kick start a period of activity after a couple of years of hibernation.
Yuck ‘n Yum are Andrew Maclean, Gayle Meikle, Ben Robinson, Alexandra Ross, Alex Tobin, Becca Clark and Morgan Cahn.
WEST WARD WORKS
Guthrie Street
DD1 5BR
Images: NEoN
As always NEoN celebrates its festival with a late night party. Acts include Plastique Fantastique, Verity Brit & Musician U, Fallope & The Tubes and Resident DJ RHL. With a pop up bar and performances amongst our large group exhibition the vast factory space West Ward Works, this night promises to be a visual audible delight.
Plastique Fantastique (UK)
A performance fiction envisaged as a group of human and non-human avatars delivering communiqués from the past and the future. The communiqués are channelled through installations, writing, comics and sound and moving image work and performances, addressing technology, popular and mass media and sacred cultures and also human-machine animals and non-human entities and agents. Over several years, numerous people have produced Plastique Fantastique but there is also a core group producing the performance fiction. Plastique Fantastique was first presented by David Burrows and Simon O’Sullivan and developed with long-term collaborators Alex Marzeta and Vanessa Page, and more recently with Mark Jackson. For NE0N 2017, this group will call forth and trap a bit-coin-fairy-spirit to ask it seems questions. The performance – Plastique Fantastique Protocols for the Society for Cutting Up Mun-knee-snakers (S.C.U.M.): I-Valerie-Solaris-AKA-@32ACP-Amazon.co.uk-recommends-‘Pacific-Rim’ may/may-not shoot b1t-c0in-f@iry-sp1r1t) – uses drone-folk-songs, moving image projection, reliquaries and ritual to manifest the block-chain-spirit.
David Burrows, Alex Marzeta, Vanessa Page and Mark Jackson will be performing.
Rites of the Zeitgeber, Verity Brit & Musician ‘U’ (UK)
9 channel video installation, live score performed by musician ‘U’
The Zeitgeber (‘time giver’ or ‘synchroniser’) is honoured by a triadic henge of stacked CRT monitors in which past durations collide with future vacuums. Strange extra-terrestrial topographies are traversed across geological time and the internet. Curious substances are unearthed and lost languages resurrected. Fragments from Mina Loy, J. G. Ballard and Henri Bergson emerge amongst an archaeology of media from Super 8, VHS, to HD. Time bends from matter, history is up-set and the clock is obsolete.
Verity Birt an artist based in London. She studied an MA in Moving Image at the Royal College of Art (2013–2015) and BA in Art Practice at Goldsmiths University of London (2008–2011). She is involved with collaborative research groups; The Future is a Collective Project, Reconfiguring Ruins and a founding member of women artists collective Altai. This summer, Verity was artist in residence at BALTIC and The Newbridge Project in Newcastle. Previous exhibitions include: Our House of Common Weeds; Res. Gallery, London (2017); Relics from the De-crypt | Gossamer Fog Gallery London (2017), Altai in Residence, Experiments in Collective Practice, Dyson Gallery, London (2017); Chemhex Extract, Peacock Visual Arts, Aberdeen (2016); Feeling Safer, IMT Gallery, London and Gallery North, New York (2016); Come to Dust, Generator Projects, Dundee (2016)
Fallopé & The Tubes (UK)
A weirdo-punk performance band. Each live show features live humans! film and visuals! costumes! sculpture! visual props! and music/a sequence of sounds!
Fallopé and The Tubes is a fluctuating live musical and performative event with contributions from Sarah Messenger, Ruby Pester, Nadia Rossi, Rachel Walker, Catherine Weir, Emma McIntyre and Skye Renee Foley. The group are made up of Scottish based artists and musicians that are also filmmakers, festival organisers, librarians, boatbuilders and more who work collaboratively to devise live performances. Drawing influence from a wide range of fringe and mainstream musical genres, exploring sexuality, elements of social satire, self promotion and leftist political ideologies.
The group was established in January 2014 at Insriach Bothy, Aviemore and have developed their practice during numerous residency experiences across Scotland. By living and working together ‘off grid’ the group have developed experimental techniques to create a collective energy. Fallopé & The Tubes draw influence from a wide range of fringe and mainstream musical genres, as well as sexuality, elements of social satire and self promotion and leftist political ideologies. Soakin Records
DJ RHL (UK)
Resident NEoN DJ has been entertaining us since 2010. Djing for about 25 years, he predominately plays Techno but you often find him playing anything dance music related. Spinning old school vinyl sets containing an eclectic mix of old and new stuff. RHL just likes making people dance. Check here for past performances.
Accompanying DJ RHL is ‘The Wanderer‘ aka Naomi Lamb. Naomi works layers of diverse video loops into an ever evolving collage colours textures and shape and intuitively mixies visuals live. She improvises, freestyles and channels the room, customising the ephemeral moving collage in response to the tone of the happening.
For the past 20 years Naomi has been a prolific live video art performer utilising techniques and process that is often associated with the ever growing subculture of VJing and presents under the name of ‘The Wander’. Naomi has an intimate knowledge of not only the process of live video performance but also an wide reaching connections within the VJ community and has performed at many of the leading outdoor music and art festivals in New Zealand with a debut at two English Festivals this summer and she is super please for her first time mixing it up in Scotland to be at NEoN. “
AGK Booth
Yuck ’n Yum hereby invites you to attend the Annual General Karaoke booth at this year’s NEoN at Night. The AGK is a fiercely contested karaoke video competition, getting creative types to make videos that will shock, delight and confound its audience. First staged back in 2010, over the years the AGK has built up a sizeable back catalogue of singalong anthems encompassing everything from pop classics to the most extreme avant garde out there. Now Yuck ’n Yum will bring the AGK archive to NEoN revellers in an audiovisual extravaganza that will overturn everything you ever thought you knew about karaoke convention. This November, Yuck ’n Yum together with NEoN are making a song and dance about it.
About the Artists Yuck ‘n Yum is a curatorial collective formed in Dundee 2008. Until 2013 its main raison d’etre was to make zines and distribute art. The AGK booth is the first of three projects that will kick start a period of activity after a couple of years of hibernation.
Yuck ‘n Yum are Andrew Maclean, Gayle Meikle, Ben Robinson, Alexandra Ross, Alex Tobin, Becca Clark and Morgan Cahn.
WEST WARD WORKS
Guthrie Street
DD1 5BR
Images: Kathryn Rattray Photography
SIGHTSEEING IN VARNA
Pictures include:
- Monument of the Bulgarian-Soviet Friendship
- Dormition of the Theotokos Cathedral
- Officer’s Beach
- Baths Varna
- Naval Museum, etc
Varna, Bulgaria July 2022 #itravelanddance
Pūjā is a prayer ritual performed by Hindus to host, honour and worship one or more deities, or to spiritually celebrate an event. Sometimes spelled phonetically as Pooja or Poojah, it may honour or celebrate the presence of special guest(s), or their memories after they pass away. The word Pūjā (Devanagari: पूजा) comes from Sanskrit, and means reverence, honour, homage, adoration, and worship. Puja rituals are also held by Buddhists, Jains and Sikhs.
In Hinduism, puja is done on a variety of occasions, frequency and settings. It may include daily puja done in the home, to occasional temple ceremonies and annual festivals, to few lifetime events such as birth of a baby or a wedding, or to begin a new venture. The two main areas where puja is performed are in the home and at temples to mark certain stages of life, events or some festivals such as Durga Puja and Lakshmi Puja. Puja is not mandatory; it may be a routine daily affair for some Hindus, periodic ritual for some, and infrequent for other Hindus. In some temples, various pujas may be performed daily at various times of the day; in other temples, it may be occasional.
Puja varies according to the school of Hinduism. Within a given school, puja may vary by region, occasion, deity honored, and steps followed. In formal Nigama ceremonies, a fire may be lit in honour of deity Agni, without an idol or image present. In contrast, in Agama ceremonies, an idol or image of deity is present. In both ceremonies, a diya or incense stick may be lit while a prayer is chanted or hymn is sung. Puja is typically performed by a Hindu worshipper alone, though sometimes in presence of a priest who is well versed in procedure and hymns. In temples and priest-assisted event puja, food, fruits and sweets may be included as offerings to the deity, which, after the prayers, becomes prasad - blessed food shared by all present at the puja.
Both Nigama and Agama puja are practiced in Hinduism in India. In Hinduism of Bali Indonesia, Agama puja is most prevalent both inside homes and in temples. Puja is sometimes called Sembahyang in Indonesia.
ETYMOLOGY
Puja (Sanskrit: पूजा) is an ancient word, with unclear origins. Joshi claims the word puja was first used in vedic times when Sūtra were composed, to describe prayers and worship before yajna or homa - fire deity, Agni. Charpentier suggests the origin of the word Puja may lie in the Dravidian languages. Two possible Tamil roots have been suggested: Poosai "to smear with something" and Poochei "to do with flowers".
ORIGNS
According to scholars, one of the earliest mentions of Pūjā is in the Grihya Sutras, which provide rules for domestic rites. These Sutras, dated to be about 500 BC, use the term puja to describe the hospitality to honor priests who were invited to one’s home to lead rituals for departed ancestors. As Hindu philosophy expanded and diversified, with developments such as the bhakti movement, the vedic puja ritual were modified and applied to the deities. As with vedic times, the general concept of puja remained the same, but expanded to welcoming the deity along with the deity's spiritual essence as one's honored guest. The Puranic corpus of literature, dating from about 6th century CE, contain extensive outline on how to perform deity puja (deva pūjā). Deity puja thus melds Vedic rites with devotion to deity in its ritual form. As with many others aspects of Hinduism, both Vedic puja and devotional deity puja continued, the choice left to the Hindu.
As a historical practice, Pūjā in Hinduism, has been modeled around the idea of hosting a deity, or important person, as an honored and dearest guest in the best way one can, given one's resources, and receiving their happiness and blessing in return. Paul Thieme suggests from passages in the Rāmāyaṇa that the word pūjā referred to the hospitable reception of guests and that the things offered to guests could be offered to the gods and their dwellings. The rituals in question were the "five great sacrifices" or pañcamahāyajña recorded in the Gṛhyasūtra texts (for this literature, see Kalpa). The development of pūjā thus emerged from Vedic domestic traditions and was carried into the temple environment by analogy: just as important guests had long been welcomed in well-to-do homes and offered things that pleased them, so too were the gods welcomed in temple-homes and offered things that pleased them. Copper-plate charters recording grants of lands to temples show that this religious practice was actively encouraged from the mid-4th century.
SIGNIFICANCE OF PUJA
In the earliest texts describing Vedic puja, the significance of puja was to host the priest so that he could make direct requests to the gods. An example petition prayer made during a Vedic puja, according to Wade Wheelock, is:
Indra-Agni, slayers of Vrtra with the beautiful thunderbolt, prosper us with new gifts;
O Indra, bring treaures with your right hand;
O Agni grant the enjoyments of a good household;
Give (us) vigor, wealth in cattle, and possession of good horses.
- ÄsvSü
In contrast to Vedic pujas, the significance of deity pujas shifted from petitions and external goals to the experience of oneness with the deities and their spiritual essence. It became a form of yoga whose final result aimed to be the consciousness of god through homage to god. Nevertheless, even with this evolved theoretical spiritual significance, for many people, puja continued to be a vehicle to petition desires and appeals, such as for good health of one's child, speedy recovery from illness, success in venture envisioned or such. In the structure and practice of puja, the mantras and rituals focus on spirituality, and any petitions and appeals are tacked only to the end of the puja.
Zimmer relates puja to yantras, with the rituals helping the devotee focus on the spiritual concepts. Puja in Hinduism, claims Zimmer, is a path and process of transformation of consciousness, where the devotee and the spiritual significance of the deity are brought together. This ritual puja process, in different parts of India, is considered to be liberating, releasing, purifying and a form of yoga of spirit and emotions.
Puja in Hinduism sometimes involves themes beyond idols or images. Even persons, places, rivers, concrete objects or anything is seen as manifestations of divine reality by some Hindus. The access to the divine is not limited to renunciatory meditation as in yoga school of Hinduism or idols in bhakti school. For some the divine is everywhere, without limit to its form, and a puja to these manifestations signifies the same spiritual meaning to those who choose to offer a prayer to persons, places, rivers, concrete objects or anything else.
TEMPLE PUJA
Temple (Mandir) pūjā is more elaborate than the domestic versions and typically done several times a day. They are also performed by a temple priest, or pujari. In addition, the temple deity (patron god or goddess) is considered a resident rather than a guest, so the puja is modified to reflect that; for example the deity is "awakened" rather than "invoked" in the morning. Temple pujas vary widely from region to region and for different sects, with devotional hymns sung at Vaishnava temples for example. At a temple puja, there is often less active participation, with the priest acting on behalf of others.
ELABORATE PUJA
A full home or temple puja can include several traditional upacaras or "attendances". The following is an example puja; these steps may vary according to region, tradition, setting, or time particularly in ways the deity is hosted. In this example, the deity is invited as a guest, the devotee hosts and takes care of the deity as an honored guest, hymns and food are offered to the deity, after an expression of love and respect the host takes leave and with affection expresses good bye to the deity. Indologist Jan Gonda has identified 16 steps (shodasha upachara) that are common in all varieties of puja:
1. Avahana (“invocation”). The deity is invited to the ceremony from the heart.
2. Asana. The deity is offered a seat.
3. Padya. The deity’s feet are symbolically washed.
4. Water is offered for washing the head and body
5. Arghya. Water is offered so the deity may wash its mouth.
6. Snana or abhisekha. Water is offered for symbolic bathing.
7. Vastra (“clothing”). Here a cloth may be wrapped around the image and ornaments affixed to it.
8. Upaveeda or Mangalsutra. Putting on the sacred thread.
9. Anulepana or gandha. Perfumes and ointments are applied to the image. Sandalwood paste or kumkum is applied.
10. Pushpa. Flowers are offered before the image, or garlands draped around its neck.
11. Dhupa. Incense is burned before the image.
12. Dipa or Aarti. A burning lamp is waved in front of the image.
13. Naivedya. Foods such as cooked rice, fruit, clarified butter, sugar, and betel leaf are offered.
14. Namaskara or pranama. The worshipper and family bow or prostrate themselves before the image to offer homage.
15. Parikrama or Pradakshina. Circumambulation around the deity.
16. Taking leave.
Sometimes additional steps are included:
1. Dhyana (“Meditation”). The deity is invoked in the heart of the devotee.
2. Acamanıya. Water is offered for sipping.
3. Aabaran. The deity is decorated with ornaments.
4. Chatram. Offering of umbrella.
5. Chamaram Offering of fan or fly-whisk (Chamara).
6. Visarjana or Udvasana. The deity is moved from the place.
There are variations in this puja method such as:
1. Pancha upachara pooja (puja with 5 steps).
2. Chatushasti upachara puja (puja with 64 steps).
The structure of elaborate puja also varies significantly between temples, regions and occasions.
QUICK PUJA
A quick puja has the same structure as acts ordinary people would perform for a quick reception, hospitality and affectionate interaction with a beloved guest. First the deity is greeted, acknowledged by name and welcomed, sometimes with a diya or lighted incense stick. The devotee proceeds to connect with the spiritual manifestation by meditating (a form of darshan), or chanting hymns and mantras, then personal prayers follow. After prayer is finished, the spiritual visitor as guest is affectionately thanked and greeted good bye. A quick meditative puja is sometimes offered by some Hindus without an idol or image. According to Fuller, Hindu texts allow flexibility and abbreviated puja according to occasion, needs and personal preferences.
PUJA IN BALINESE HINDUISM
In Hinduism of Bali Indonesia, puja is sometimes called Sembahyang. The word originates from two words in old Javanese: sembah and hyang. Sembah means to respect and bow down; Hyang means divine, God/Shang Hyang Widhi, holy man, and ancestors. So to pray means to respect, bow down, surrender to the divine and ancestors.
Sembahyang (Puja) is an obligation for Balinese Hindus, the prayers and hymns are derived from the Vedas. A family typically offers prayers everyday, with Kewangen and other offerings. Kewangen means aromatic, and it is made from leaves and flowers in form of auspicious Vedic symbols. Balinese use kewangen to worship the divine, both in form of Purusha (soul) and Pradana (body). As with India, Balinese make offerings, including symbolic inclusion of fire, incense and mantras.
GURU PUJA
In the case of great spiritual masters, there is also a custom to perform puja for a living person. Gurus are sometimes chosen as objects of puja and honored as living gods or seen the embodiment of specific deities. Gurus are sometimes adorned with symbolic clothes, garlands and other ornaments, and celebrated with incense, washing and anointing their feet, giving them fruits, food and drinks and meditating at their feet, asking for their blessing.
PUJA AS A SOCIAL, HUMAN RIGHTS EVENT
As with Church services in Christianity, Pūjā in Hinduism has served as a means for Hindu communities outside India to gather, socialize, discover new friends and sometimes discuss ways to address social discrimination of Hindus. For example, Marion O'Callaghan reports that the Hindu diaspora brought as indentured laborers to Trinidad by the British colonial government, suffered discriminatory laws that did not recognize traditional Hindu marriages or inheritance rights of children from a traditional Hindu marriage, nor did the non-Hindu majority government allow pyre cremation or construction of crematorium. These Hindu rituals were considered pagan and uncivilized. Pujas offered a way for Hindus to meet, socially organize and petition their human rights. Over time, pujas became as much as social and community recreational event, as a religious event.
CRITIQUE OF PUJA IN THE PURVA MIMAMSAKA SCHOOL
Although pūjā is accepted as a valid religious activity by Hindus at large, it has long been criticised by Mīmāṃsā thinkers. The foundational work of this school is the Karmamīmāṃsāsūtra or "Aphorisms for Enquiry into the Act," composed by Jaimini. The earliest surviving commentary is by Śabara who lived around the end of the fourth century. Śabara's commentary, known as Śabarabhāṣya holds pride of place in Mīmāṃsā in that Sabara's understanding is taken as definitive by all later writers. In his chapter entitled Devatādikaraṇa (9 : 1: 5: 6-9), Śabara examines the popular understanding of the gods and attempts to refute the belief that they have material bodies, are able to eat the offerings made to them, and are capable of being pleased and so able to reward worshippers. Basing himself on the Vedas (he refused to accept the Mahābhārata, Purāṇa texts or even the Smṛti literatures as valid sources of authority), Śabara concludes that the gods are neither corporeal nor sentient and thus unable to enjoy offerings or own property. For this he appeals to empirical observation, noting that offerings do not decrease in size when given to the gods; any decrease is simply due to exposure to the air. Likewise he argues that substances are offered to gods not according to the wishes of the gods, but that "what is vouched for by direct perception is that the things are used according to the wishes of the temple servants (pratyakṣāt pramāṇāt devatāparicārakāṇām abhiprāyaḥ). In the course of his discussion, Śabara's asserts that "there is no relation between the case of guests and the sacrificial act." This incidental remark provides sound historical proof that pūjā was built on analogy with atithi, the ancient Vedic tradition of welcoming guests. What Śabara is maintaining is that this analogy is not valid. While the Mīmāṃsakas continued to maintain this interpretation for centuries, their defeat in debate at the hands of Śaṅkarācārya led to theirs being a minority view. It is a remarkable testament to the plurality and tolerance of Indian civilization that Mīmāṃsakas flourished even into the 17th century, as evidenced by the commentaries of Nīlakaṇṭha.
REGIONAL NAMES
Puja, sometimes spelled pooja, is called பூஜை in Tamil, and bucha (บูชา) in Thai.
WIKIPEDIA
Spa Gardens is a beautiful park right in the heart of Ripon. It has been recognised for its high-quality maintenance and facilities and has been awarded Green Flag status.
In the centre of the park is a splendid Victorian bandstand, where band concerts take place on Sunday afternoons throughout the summer. For birdwatchers, carefully sited nesting boxes have encouraged many varieties to make a home in the gardens. There is also a cafe serving home cooked food and cakes, and you can enjoy a round of crazy golf or try playing bowls.
Tree sculpture
The newest addition to Spa Gardens is a series of tree sculptures depicting characters from Lewis Carroll's Alice's Adventures in Wonderland. Carroll spent time as a choirboy at Ripon Cathedral and is said to have been inspired to create the characters by the cathedral's animal carvings.
Chainsaw Mick was commissioned to create the carvings, using the trunks of a cypress tree. As well as a very lifelike Alice, these garden sculptures include the Caterpillar, Mad Hatter and the White Rabbit.
Restoration
In 2011, the Friends of Spa Gardens worked with us to secure funding for the restoration of the war memorial and the Marquess of Ripon statue.
The war memorial, at the entrance to Spa Gardens, has been named the best war memorial in the town class several times in the Yorkshire in Bloom awards.
Facilities include:
Sun Parlour café
Victorian bandstand
band concerts - Sunday afternoons from May to August
statue of the Marquess of Ripon
war memorial
colourful seasonal bedding displays
toilets with disabled access
nine-hole crazy golf
18-hole putting green
flat bowling green
three tennis courts in Spa Park
tree trail and quiz
Green Man trail - more than 30 Green Man plaques are hidden among trees and flowerbeds in the gardens. See how many you can find and record them on the trail sheet
refurbished play area in Spa Park
Ripon is a cathedral city and civil parish in North Yorkshire, England. The city is located at the confluence of two tributaries of the River Ure, the Laver and Skell. Within the boundaries of the historic West Riding of Yorkshire, the city is noted for its main feature, Ripon Cathedral, which is architecturally significant, as well as the Ripon Racecourse and other features such as its market.
The city was originally known as Inhrypum. Bede records that Alhfrith, king of the Southern Northumbrian kingdom of Deira, gave land at Ripon to Eata of Hexham to build a monastery and the abbot transferred some of his monks there, including a young Saint Cuthbert who was guest-master at Ripon abbey. Both Bede in his Life of Cuthbert and Eddius Stephanus in his Life of Wilfred state that when Eata was subsequently driven out by Alhfrith, the abbey was given to Saint Wilfrid who replaced the timber church with a stone built church. This was during the time of the Anglian kingdom of Northumbria, a period during which it enjoyed prominence in religious importance in Great Britain. It was for a period under Viking control, and later suffered under the Normans. After a brief period of building projects under the Plantagenets, the city emerged with a prominent wool and cloth industry. Ripon became well known for its production of spurs during the 16th and 17th centuries, but would later remain largely unaffected by the Industrial Revolution.
Ripon is the third-smallest city in England and the smallest in Yorkshire, by population. According to the 2011 United Kingdom Census it had a population of 16,702, an increase on the 2001 United Kingdom Census figure of 15,922. It is located 11 miles (18 km) south-west of Thirsk, 16 miles (26 km) south of Northallerton and 12 miles (19 km) north of Harrogate. As well as its racecourse and cathedral, Ripon is a tourist destination because of its proximity to the UNESCO World Heritage Site which consists of the Studley Royal Park and Fountains Abbey.
During its pre-history the area which later became Ripon was under the control of the Brigantes, a Brythonic tribe. Three miles (5 km) north at Hutton Moor there is a large circular earthwork created by them. The Romans did not settle Ripon, but they had a military outpost around five miles (8 km) away at North Stainley. Solid evidence for the origins of Ripon can be traced back to the 7th century, the time of the Anglian kingdom of Northumbria. The first structure built in the area, known at the time as Inhrypum, was a Christian church dedicated to St Peter, with the settlement originating in 658.This was founded by a Northumbrian nobleman known as Wilfrid, who later became Archbishop of York; he was granted the land by King Alhfrith.
The earliest settlers were stonemasons, glaziers and plasterers that Wilfrid brought over to help construct the Ripon monastery, from Lyon in Francia and Rome which was then under Byzantine rule. The years following the death of Wilfrid are obscure in Ripon's history. After the invasion of the Great Heathen Army of Norse Vikings in Northumbria, the Danelaw was established and the Kingdom of Jórvík was founded in the Yorkshire area. In 937 Athelstan, then King of England, granted the privilege of sanctuary to Ripon, for a mile around the church. One of his successors was less well-disposed: after the Northumbrians rebelled against English rule in 948, King Edred had the buildings at Ripon burned. Prosperity was restored by the end of the 10th century, as the body of Saint Cuthbert was moved to Ripon for a while, due to the threat of Danish raids.
After the Norman conquest, much of the north rebelled in 1069, even trying to bring back Danish rule; the suppression that followed was the Harrying of the North, which resulted in the death of approximately one-third of the population of the North of England. Ripon is thought to have shrunk to a small community around the church following the suppression. The lands of the church were transferred to St Peter's Church at York as the Liberty of Ripon and it was during this time that a grand Collegiate Church was built on top of the ruins of Wilfrid's building. Eventually developed in the Gothic style, the project owed much to the work of Roger de Pont L'Evêque and Walter de Gray, two Archbishops of York during the Plantagenet era. During the 12th century Ripon built up a booming wool trade, attracting Italian trade merchants, especially Florentines, who bought and exported large quantities.
Ripon's proximity to Fountains Abbey, where the Cistercians had a long tradition of sheep farming and owned much grazing land, was a considerable advantage. After English people were forbidden from wearing foreign cloth in 1326, Ripon developed a cloth industry which was third in size in Yorkshire after York and Halifax. Due to conflict with Scotland, political emphasis was on the North during the time of Edward I and Edward II, as Scottish invaders attacked numerous northern English towns. Ripon had a wakeman to make sure the residents were safely home by curfew and law and order was maintained, yet it was forced to pay 1,000 marks to the Scots to prevent them from burning down the town on one occasion.
Ripon, which relied heavily on its religious institutions, was badly affected by the English Reformation under the Tudor king Henry VIII. The Abbot of Fountains, William Thirske, was expelled by Henry and replaced; Thirske went on to become one of the leaders of the Pilgrimage of Grace popular rising. The people of Northern England were quite traditional in their beliefs and were unhappy about Henry's intention to break with Rome; the Pilgrimage of Grace was the manifestation of this sentiment. The revolt failed and Henry followed through with the break from Rome and the Dissolution of the Monasteries, which included Fountains Abbey.
After Mary, Queen of Scots, fled Scotland to Northern England she stayed at Ripon on her journey. The mainly Catholic North supported her, and there was another popular rising known as the Rising of the North; this began six miles (10 km) away at Topcliffe and was led by Thomas Percy, the 7th Earl of Northumberland and Charles Neville, the 6th Earl of Westmorland. The rebels stayed at Ripon on 18 November 1569, but the rising eventually failed resulting in 600 people being executed, 300 of whom were hanged at Gallows Hill in Ripon during January 1570.
Plans were drawn up to make Ripon a centre of education, a University of the North, to rival Oxford and Cambridge. Although chief advisers Lord Burghley and Archbishop Sandys supported the idea, Elizabeth I did not follow it through. The scheme was revived in 1604 by Sandys' widow Cicely, under the patronage of Anne of Denmark and Bess of Hardwick without success.
Ripon replaced its old textiles industry with one for the manufacture of spurs during the 16th century. They were so widely known that they gave rise to the proverb "as true steel as Ripon Rowels". At the time, spurs did not just serve as functional riding accessories, they were also fashionable; an expensive pair was made for King James I when he stayed at Ripon in 1617 It was James who granted Ripon a Royal Charter in 1604 and created the first Mayor of Ripon. After the Bishops' Wars in Scotland, a treaty was signed at Ripon in 1640 to stop the conflict between Charles I and the Scottish Covenanters. Although Ripon was not in the main line of fighting which was to the east, it remained loyal and royalist during the English Civil War. There was an incident in 1643, when parliamentarian forces under Thomas Mauleverer entered Ripon and damaged the Minster, but John Mallory and the royalist forces soon settled the matter after a skirmish in the Market Place. The royalists were eventually defeated in the Civil War and Charles I spent two nights as a prisoner in Ripon. Oliver Cromwell visited the city twice on his way to battle, once on the way to the Preston and also on the way to the Battle of Worcester.
By the time of the English Restoration, several strains of non-conformist Christian practices had appeared, although they were not common in Ripon, the majority of people being Anglicans with a Catholic minority. After the Revolution of 1688 which overthrew James II, there were Jacobite risings in the British Isles; some Riponmen were jailed in February 1746 upon "suspicion of corresponding with Prince Charles Edward Stuart". The founder of Methodism, John Wesley, preached in Ripon and a small community of followers was established. During the Georgian era Ripon, unlike several other cities, was not significantly affected by the Industrial Revolution despite the existence of various guilds. Although more widely known for his activities outside of Ripon, John Aislabie, during his time as Member of Parliament for Ripon, created the Studley Royal Park with its water garden and erected the Ripon Obelisk (designed by Nicholas Hawksmoor). Newby Hall was also created during this period by Christopher Wren.
Communications were improved with the opening of Ripon railway station in May 1848. During the First World War a large military training camp was built in Ripon, the local community offering hospitality not only to soldiers' wives but to the Flemish refugees who became part of Ripon's community. The racecourse south-east of the city also served as an airfield (RFC Ripon) for the Royal Flying Corps (and latterly, the Royal Air Force). The racecourse was also used as a demobilisation centre for troops returning from France well into 1919.
The town had a similar though smaller role during the Second World War and, in recognition of this, the Royal Engineers were presented with the Freedom of the City in 1947. Since the War, Ripon has gone through some remodelling and has grown in size; it attracts thousands of tourists each year who come to see its famous buildings with their long Christian heritage, nearby Studley Park, Ripon Racecourse, and in recent times the theme park Lightwater Valley.
Ripon was the first Church of England diocese to be created after the English Reformation, as it was recognised that existing dioceses were unsuited for the large increases in population caused particularly by the Industrial Revolution of the 18th century in central England. It was deemed that new cathedral building on a national scale was not viable and so Ripon, containing a high status parish church, was created from the existing Chester and York dioceses in 1836, with the building promoted to cathedral status. Ripon council presumed this had elevated the town to the rank of city, and started referring to itself as such. The next diocese Manchester was promoted similarly, but doubts as to its use of the title were raised. With the subsequent clearer understanding of needing to petition the monarch, Manchester did so and obtained the status in 1853. Ripon was encouraged to follow suit, with its own status being recognised by the parliamentary City of Ripon Act in 1865.
In 1974 Ripon borough (see Governance) was abolished and a parish council established as part of wider local government reform. The award of city status is typically granted to a local authority, whose administrative area is then considered to be the formal borders of the city, the grant in this case being removed at the same time and bestowed onto the parish. By this definition, the whole parish council area of Ripon, including its settlement and surrounding rural area containing a tiny portion of the Nidderdale AONB to the north west, is considered to be the limits of the city. It contains the third lowest population of all the cities in England, however it falls to seventh place when taking the whole of the UK into consideration. Using 2011 ONS census statistics, Ripon has the third smallest city council area but the fourth lowest urban area of any city in England.
Ripon became a municipal borough of the West Riding of Yorkshire with its headquarters at Ripon Town Hall in 1835, and remained an independent borough until 1974. That year, following the Local Government Act 1972, the former area of Ripon borough was merged with Harrogate borough and several rural districts of the West Riding to form an enlarged Harrogate borough in the ceremonial county of North Yorkshire.
The lowest tier of governance in Ripon is the Ripon City Council, a parish council with twelve members, three for each of four wards. In 2019, four councillors are Conservative, and the rest are independent.
Ripon was represented by the Member of Parliament for Yorkshire until it had its own parliamentary borough established on a permanent basis in 1553. Ripon was able to elect two MPs to represent its parliamentary borough; the right of election was vested not in the population as a whole, but in the burgesses (originally meaning freemen of the borough or freeholders) until the Great Reform Act of 1832. The next Reform Act which came into force at the 1868 election, reduced Ripon's representation from two MPs to one. Some of the more notable MPs of Ripon were John Aislabie, Frederick John Robinson and George Cockburn. The Reform Act of 1885 abolished the borough of Ripon, but the county constituency in which the town was placed as a result was named Ripon, and this continued as a single member constituency, albeit with some boundary changes, until it was abolished before the 1983 general election. Since 1983, Ripon has been part of the Skipton and Ripon constituency, a Conservative Party stronghold.
Ripon lies at the confluence of two rivers, the Laver and the Skell, which meet in the west of the city. As they flow through the city, the Skell feeds water into the basin of Ripon Canal. East of the city, the Skell meets the River Ure, and both the Ure and canal head south-eastwards towards Boroughbridge. The Ure was the traditional boundary between the old West and North Ridings of Yorkshire.
As the city is at the meeting point of three rivers, it has flooded often in the 20th and 21st centuries; notable floods have occurred in 1982, 1991, 1995, 2000, 2005 and 2007. This prompted spending over £14 million on the building of flood defences for the city and a storage area upstream of the city which can hold 53,000,000 cubic feet (1,500,000 m3) of water.
Much of the geology of the district is magnesian limestone, part of the Permian rocks which extend southwards from Darlington to Wetherby. The area has pockets of gypsum underlying the surface soils. Water has dissolved the gypsum, leaving the area prone to sinkholes, especially north of the city and on the northern side of the Ure.
The main feature of Ripon is an English Gothic style cathedral, originally founded by Irish monks but refounded by Saint Wilfrid in 672. It has been rebuilt many times, and the only original building is the Saxon crypt. It is home to Wilfrid’s grave.
Ripon is home to Ripon Grammar School which is a selective intake, state secondary school. The school claims to take roots from the school which was attached to the Collegiate Church, founded during the time of the Angle kingdom of Northumbria by Saint Wilfrid. The refoundation date for the school was during the reign of Queen Mary I in 1555. The school has several notable alumni, known as Old Riponians, including theologian Bishop Beilby Porteus, historian Bishop William Stubbs, fashion designer Bruce Oldfield and television presenter Richard Hammond. In the modern day the school hosts around 800 pupils, gaining engineering status in 2006, it receives favourable reports from the Ofsted, being either good or outstanding. Opposite Ripon Grammar on Clotherholme Road is the non-selective Outwood Academy Ripon (formerly Ripon College, a secondary comprehensive school), which was also known as Ripon City School until 1999. It has around 630 pupils and is exceeding the national average of GCSE and A-Level results.
On the site of the Old Ripon Racecourse in Whitcliffe Lane was St Olave's Preparatory School. This site was taken over by an independent co-ed preparatory school founded in 1960 called the Cathedral Choir School. The choir school closed in 2012 and the site has now had approval for the building of new residential dwellings. Ripon previously had higher education facilities in the form of the College of Ripon and York St John until 2001. This college had its roots in two Anglican teacher training colleges, which were founded in York in 1841 for men and 1846 for women. The women's college moved to Ripon in 1862. Over the next century, the colleges gradually diversified their education programmes. The colleges merged in 1974 to form the College of Ripon and York St John. The combined institution became a college of the University of Leeds in 1990. Between 1999 and 2001, all activities were transferred to York and the college received the name York St John University. One of York St John's buildings on its Lord Mayor's Walk campus was renamed 'Ripon' in June 2018 to commemorate Ripon Training College's "contribution to women's education" over 123 years of service.
Evolve, a small, inclusive post-16 college is based in the centre of Ripon, which works alongside Craven College, which is based in Skipton.
On the outskirts of Ripon there is the specialist autism education school called Spring Hill. The school offers day and boarding places. Current pupil numbers are 22. These include 17 boys, 5 girls, and 6 boarders. Spring Hill is owned by Cambian group PLC which is a large UK provider of specialist provision for children and adults. Spring Hill was previously in the ownership of the charity Barnardos. The current headteacher is Samantha Campbell, the head of care is Rebecca Sharp, The deputy headteacher is Christine Sherman, the head of education is currently vacant and the transitions and admissions coordinator is currently vacant.
Christianity is the largest religious affiliation in Ripon; 79.3% of the people in the area polled as part of the United Kingdom Census 2001 professed the Christian faith. Ripon Cathedral is the main religious building in the city and contains a tomb said to contain the bones of Saint Wilfrid who founded a monastery here and with it the town. The Venerable William Gibson is another noted local figure, a Catholic martyr who was one of the eighty-five martyrs of England and Wales.
The Church of England is in the majority, with two parishes: the ancient Ripon Cathedral and Holy Trinity Church. Ripon was the episcopal see of the Diocese of Ripon and Leeds represented by the Bishop of Ripon and Leeds, created in 1836 with just Ripon in its title but adapted to include Leeds in 2000. In 2014 it became part of the Diocese of Leeds, with Ripon Cathedral serving as one of its three cathedrals of equal status. During the time of the kingdom of Northumbria there was a short-lived Diocese of Ripon, with Eadhedus the only bishop. There is also a Medieval chapel located on Magdalens Road, which was once part of a leper hospital. The Chapel of St Mary Magdalen is still used for regular worship and is a grade I listed building.
There is a Roman Catholic parish in Ripon called St Wilfrid's; it is covered by the Diocese of Leeds in the Harrogate deanery and the church is an architecturally significant building. There are also around two places of worship for Methodism in Ripon, as well as a couple of evangelical churches including Bethel Church and Zion Baptist Church.
Market day is held on a Thursday, and there are 120 stalls.[76] In celebration of the city's founder the Wilfrid Procession is held every year; it originated in 1108 when King Henry I granted the privilege of holding a fair for him. At the procession there are various decorated floats which make their way through the city with locals in costume. Part of the tradition represents the return of Wilfrid to Ripon, a decorated dummy (sometimes a man in costume instead) dressed as Wilfrid is sat on a horse, accompanied by two musicians with another man carrying St Wilfrid's hat around. Ripon also has dancing traditions such as the Long Sword dance and Morris dance.
The market square is the site of the Ripon Obelisk, erected in 1702 by John Aislabie and designed by Nicholas Hawksmoor. It stands 80 ft (24 m) in height and is capped with a weathervane bearing a representation of the wakeman's horn. It is Grade I listed and reputed to be the oldest in England.
The tradition of the Ripon Hornblower has endured since 886 and continues on to this day. It originates with the wakeman of Ripon, whose job in the Middle Ages was similar to that of a mayor, although he had more responsibilities in the keeping of law and order. Every day at 9:00 pm the horn is blown at the four corners of the obelisk in Ripon Market. The horn has become the symbol of the city and represents Ripon on the Harrogate borough coat of arms. There are three museums in Ripon collectively known as the Yorkshire Law and Order Museums; it includes the Courthouse, the Prison and Police and the Workhouse Museums.
In terms of sport, the most noted field of participation is horse racing with the Ripon Racecourse. The sport has a long history in Ripon, with the first recorded meeting on Bondgate Green in 1664, while its current location has been used as a racetrack since 1900. Ripon staged Britain's first race for female riders in 1723. The city is also home to Ripon Rugby Union Football Club who were founded in 1886 and currently play in Yorkshire 2, the eighth tier of the English Rugby Union league.
Local news and television programmes are provided by BBC Yorkshire and BBC North East and Cumbria on BBC One & ITV Yorkshire and ITV Tyne Tees on ITV1. Television signals can be received from either Emley Moor or Bilsdale TV transmitters.
Local radio stations are BBC Radio York, Greatest Hits Radio Yorkshire (formerly Stray FM), 'Your Harrogate' which broadcast from Harrogate and BFBS that provides radio programmes for His Majesty's Armed Forces.
The city was previously served by Ripon railway station on the Leeds-Northallerton Line that ran between Leeds and Northallerton. It was once part of the North Eastern Railway and then London & North Eastern Railway. The Ripon to Harrogate Line was closed in the 1960s as part of the Beeching cuts. Today much of the route of the line through the city is now a relief road and although the former station still stands, it is now surrounded by a new housing development. The issue remains a significant one in local politics and there are movements wanting to restore the line. Reports suggest the reopening of a line between Ripon and Harrogate would be economically viable, costing £40 million and could initially attract 1,200 passengers a day, rising to 2,700.
By road Ripon is well connected; it is accessible from the north and south via the A1(M) motorway which connects to Ripon by the B6265. Ripon is accessible from the east and west via the A61 which is the main road running through the city.
Harrogate Bus Company's route 36 links the city to Harrogate and Leeds, and there are also regular bus routes to Boroughbridge, York, Thirsk, Northallerton, Leyburn, Richmond and others
The Ripon Canal was proposed by John Smeaton in 1766, to connect the city centre to part of the River Ure; it was used for the transportation of coal from the Durham coalfields into the city. Although abandoned in 1956, a conservationist campaign saw it partly reopened in 1988, and fully in 1996.
Town twinning
Foix in France 1957.
Freedom of the City
Individuals
Charles, Prince of Wales: 24 October 2002.
Military units
The Royal Engineers: 27 July 1949.
RAF Leeming: 14 September 2015.
Shoreditch London Old Street and City Road Silicon Roundabout Major Road Works.
This was due to be completed Autumn 2022 which has been delayed until Early 2024. The project commenced way back in 2019.
This cycle lane change was initially a three-year project. Now Five Years. The road is the inner ring road for London. They have blocked one of the tube entrances which includes the underpass. Ironically, cyclist do not even use this route since they blocked off the backstreets to traffic. They are trying to sabotage London. The situation is disgusting.
This amazing set includes 10 monochrome minifigures, made with original LEGO pieces* and complete of accessories.
HARRY - BLACK with his Firebolt
DEATH EATER - DARK BLUISH GREY with a knife
PROFESSOR DUMBLEDORE - LIGHT BLUISH GREY with his classic beard
VOLDEMORT - WHITE with a cape and the Elder's Wand
DRACO MALFOY - TAN with a Golden Snitch
RON WEASLEY - YELLOW with his Deluminator
GINNY WEASLEY - RED with the quidditch cape and a Quaffle
HERMIONE GRANGER - REDDISH BROWN with the book "Tales of Beedle the Bard"
PROFESSOR MCGONAGALL - GREEN with a feather
PROFESSOR TRELAWNEY - BLUE with a tea cup to predict the future
Write me a message to order -> m.me/potterbrick
Price: 60€
Payment is possible with Paypal or Bank transfer
Shipping worldwide is 10€ tracked (preferred), 6€ untracked (at your risk).
*I always used new LEGO pieces when possible, however some of them are used in very good condition because unavailable as new.
The capes are top-quality custom capes.
Check out the Prehistoric Trackways National Monument just outside of Las Cruces, New Mexico, as a preview of cool things to come. The Monument includes a major deposit of Paleozoic Era fossilized footprint mega-trackways from a time that predates even the dinosaurs.
The trackways contain footprints of numerous amphibians, reptiles, and insects (including previously unknown species) as well as plants and petrified wood dating back 280 million years. These fossils collectively provide new opportunities to understand animal behaviors and environments. The site contains one of the most scientifically significant Early Permian track sites in the world. Visitors can view trackways displays at the New Mexico Museum of Natural History in Albuquerque.
And any trip to the Prehistoric Trackways and Las Cruces area should include the must-see Organ Mountains-Desert Peaks National Monument, just a stone’s throw away from across the Rio Grande Valley, and one of New Mexico’s most breathtaking landscapes. The area offers hiking, camping, rock climbing and nature study right in the back yard of the community.
Photo by Bob Wick, BLM.
Entity Cosmetics for LeLutka Head
Includes LeLutka applier for cosmetics layers on LeLutka mesh head.
See store for matching body & head appliers for your body type!
maps.secondlife.com/secondlife/Wild%20Orchid%20Main/186/1...
marketplace.secondlife.com/p/Entity-Eyeshadow-Pack-2-LeLu...
www.allbendoregon.com/sunriver_oregon/
Located just 16 miles southwest of Bend off Highway 97, the beautiful resort community of Sunriver attracts visitors from all over who come to relax and enjoy a variety of outdoor recreation opportunities.
Overview
Sunriver, Oregon is one of the Northwest’s most popular year round vacation destinations. Approximately 16 miles southwest of Bend, the resort community of Sunriver offers world class golf and easy access to perhaps the best skiing in the Pacific Northwest. Additionally, visitors to Sunriver have a vast playground right outside their front door which includes hiking, biking, fishing, climbing, and whitewater rafting amidst the breathtaking scenery of Central Oregon.
Location
Sunriver, OR is located 16 miles southwest of Bend, just west of Highway 97.
Lodging and Services
Although there are no hotels in Sunriver, lodging options are plentiful. Visitors can stay at the beautiful Sunriver Resort or rent one of over 3,000 private homes or 1,000 condominiums. Dining options include a handful of restaurants and cares offering a variety of cuisine.
Activities
Winter Sports – Visitors to Sun River, Oregon can enjoy downhill skiing or snowboarding at nearby Mt. Bachelor Ski Resort. Cross country skiing, backcountry skiing, snowshoeing, and snowmobiling are also popular winter activities.
Hiking, Biking, Horseback Riding - During the warmer months, visitors can explore miles of trails in the surrounding area, or bike 35 miles of paved trails in Sunriver.
Fishing and Whitewater Rafting - The nearby Deschutes River is a popular place for fly fishing and whitewater rafting.
Golf - Sunriver Resort has three 18-hole championship golf courses, making it one of best places in the Northwest for golf.
Attractions
Newberry National Volcanic Monument – This beautiful monument covers over 55,500 acres northwest of Sunriver and has several lakes, fascinating lava flows, and interesting rock formations.
High Desert Museum – This museum has fascinating wildlife exhibits as well as authentic displays that depict life in Central Oregon back in the late 1800s.
Getting Here
It's really easy to get to Bend from Sunriver. Start by going east on S. Century Drive to Hwy 97. Turn north on Hwy 97, which goes right through Bend. Along the way you may glimpse some of the native wildlife, including deer, elk, coyotes, and eagles.
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Belem ’s background includes strong French and Irish links. It was built at Chantenay-sur-Loire, near Nantes, and on its maiden voyage in 1896-7, it transported a cargo of “she-mules” from Montevideo to the Brazilian city after which it was named. Sadly, after its safe berthing, a fire destroyed the hold and killed all the animals, so the ship had to return to Nantes for repairs.
As a merchant vessel, it crossed the Atlantic 33 times from 1896 to 1913, bearing Brazilian cocoa, West Indian rum and sugar.
In 1914, it was sold to the Duke of Westminster, who converted it to a private yacht and had it fitted with engines and a main deckhouse. In 1921, it was acquired by Arthur Ernest Guinness, whose father, Edward, was chairman of the family brewery.
Guinness renamed it Fantome II and, in 1923, he undertook a global circumnavigation with his wife, Marie Clotilde, and three daughters, nicknamed the “Golden Guinness girls”. When he died in 1949, the yacht, moored at Seattle, Washington, was passed to his family, but the state of Washington claimed part of its value as inheritance tax.
The ship was sold to the Italian Cini Foundation in 1951, and it became a training vessel. However, it returned to the French flag with its original name in 1979, when it was acquired by a special foundation, sponsored by the French bank Caisses d’Epargne.
Much of the barque is true to its original, although its wooden masts have been replaced by steel. Permanent crew comprises 16 experienced officers and men, chosen from the ranks of the French merchant navy to work with up to 48 trainees at any time.
In 1896 the first Olympic Games of the modern era took place in Greece. That same year, approximately 2,000 kilometres away at a shipyard in France, the Belem was born.
More than a century later, the Games will finally bring them together.
On 27 April, the Olympic flame will leave Greece aboard the Belem, Europe's oldest three-masted barque, and set sail towards France, the host country of the Olympic Games Paris 2024.
The 12-day voyage between Piraeus and Marseille will add another chapter to the remarkable story of the ship, which was honoured as a historic monument 40 years ago.
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The Ajanta Caves (Ajiṇṭhā leni; Marathi: अजिंठा लेणी) in Aurangabad district of Maharashtra, India are about 30 rock-cut Buddhist cave monuments which date from the 2nd century BCE to about 480 or 650 CE. The caves include paintings and sculptures described by the government Archaeological Survey of India as "the finest surviving examples of Indian art, particularly painting", which are masterpieces of Buddhist religious art, with figures of the Buddha and depictions of the Jataka tales. The caves were built in two phases starting around the 2nd century BCE, with the second group of caves built around 400–650 CE according to older accounts, or all in a brief period of 460 to 480 according to the recent proposals of Walter M. Spink. The site is a protected monument in the care of the Archaeological Survey of India, and since 1983, the Ajanta Caves have been a UNESCO World Heritage Site.
The caves are located in the Indian state of Maharashtra, near Jalgaon and just outside the village of Ajinṭhā 20°31′56″N 75°44′44″E), about 59 kilometres from Jalgaon railway station on the Delhi – Mumbai line and Howrah-Nagpur-Mumbai line of the Central Railway zone, and 104 kilometres from the city of Aurangabad. They are 100 kilometres from the Ellora Caves, which contain Hindu and Jain temples as well as Buddhist caves, the last dating from a period similar to Ajanta. The Ajanta caves are cut into the side of a cliff that is on the south side of a U-shaped gorge on the small river Waghur, and although they are now along and above a modern pathway running across the cliff they were originally reached by individual stairs or ladders from the side of the river 35 to 110 feet below.
The area was previously heavily forested, and after the site ceased to be used the caves were covered by jungle until accidentally rediscovered in 1819 by a British officer on a hunting party. They are Buddhist monastic buildings, apparently representing a number of distinct "monasteries" or colleges. The caves are numbered 1 to 28 according to their place along the path, beginning at the entrance. Several are unfinished and some barely begun and others are small shrines, included in the traditional numbering as e.g. "9A"; "Cave 15A" was still hidden under rubble when the numbering was done. Further round the gorge are a number of waterfalls, which when the river is high are audible from outside the caves.
The caves form the largest corpus of early Indian wall-painting; other survivals from the area of modern India are very few, though they are related to 5th-century paintings at Sigiriya in Sri Lanka. The elaborate architectural carving in many caves is also very rare, and the style of the many figure sculptures is highly local, found only at a few nearby contemporary sites, although the Ajanta tradition can be related to the later Hindu Ellora Caves and other sites.
HISTORY
Like the other ancient Buddhist monasteries, Ajanta had a large emphasis on teaching, and was divided into several different caves for living, education and worship, under a central direction. Monks were probably assigned to specific caves for living. The layout reflects this organizational structure, with most of the caves only connected through the exterior. The 7th-century travelling Chinese scholar Xuanzang informs us that Dignaga, a celebrated Buddhist philosopher and controversialist, author of well-known books on logic, lived at Ajanta in the 5th century. In its prime the settlement would have accommodated several hundred teachers and pupils. Many monks who had finished their first training may have returned to Ajanta during the monsoon season from an itinerant lifestyle.
The caves are generally agreed to have been made in two distinct periods, separated by several centuries.
CAVES OF THE FIRST (SATAVAHANA) PERIOD
The earliest group of caves consists of caves 9, 10, 12, 13 and 15A. According to Walter Spink, they were made during the period 100 BCE to 100 CE, probably under the patronage of the Satavahana dynasty (230 BCE – c. 220 CE) who ruled the region. Other datings prefer the period 300 BCE to 100 BCE, though the grouping of the earlier caves is generally agreed. More early caves may have vanished through later excavations. Of these, caves 9 and 10 are stupa halls of chaitya-griha form, and caves 12, 13, and 15A are vihāras (see the architecture section below for descriptions of these types). The first phase is still often called the Hinayāna phase, as it originated when, using traditional terminology, the Hinayāna or Lesser Vehicle tradition of Buddhism was dominant, when the Buddha was revered symbolically. However the use of the term Hinayana for this period of Buddhism is now deprecated by historians; equally the caves of the second period are now mostly dated too early to be properly called Mahayana, and do not yet show the full expanded cast of supernatural beings characteristic of that phase of Buddhist art. The first Satavahana period caves lacked figurative sculpture, emphasizing the stupa instead, and in the caves of the second period the overwhelming majority of images represent the Buddha alone, or narrative scenes of his lives.
Spink believes that some time after the Satavahana period caves were made the site was abandoned for a considerable period until the mid-5th century, probably because the region had turned mainly Hindu
CAVES OF THE LATER OR VAKATAKA PERIOD
The second phase began in the 5th century. For a long time it was thought that the later caves were made over a long period from the 4th to the 7th centuries CE, but in recent decades a series of studies by the leading expert on the caves, Walter M. Spink, have argued that most of the work took place over the very brief period from 460 to 480 CE, during the reign of Emperor Harishena of the Vakataka dynasty. This view has been criticized by some scholars, but is now broadly accepted by most authors of general books on Indian art, for example Huntington and Harle.
The second phase is still often called the Mahāyāna or Greater Vehicle phase, but scholars now tend to avoid this nomenclature because of the problems that have surfaced regarding our understanding of Mahāyāna.
Some 20 cave temples were simultaneously created, for the most part viharas with a sanctuary at the back. The most elaborate caves were produced in this period, which included some "modernization" of earlier caves. Spink claims that it is possible to establish dating for this period with a very high level of precision; a fuller account of his chronology is given below. Although debate continues, Spink's ideas are increasingly widely accepted, at least in their broad conclusions. The Archaeological Survey of India website still presents the traditional dating: "The second phase of paintings started around 5th – 6th centuries A.D. and continued for the next two centuries". Caves of the second period are 1–8, 11, 14–29, some possibly extensions of earlier caves. Caves 19, 26, and 29 are chaitya-grihas, the rest viharas.
According to Spink, the Ajanta Caves appear to have been abandoned by wealthy patrons shortly after the fall of Harishena, in about 480 CE. They were then gradually abandoned and forgotten. During the intervening centuries, the jungle grew back and the caves were hidden, unvisited and undisturbed, although the local population were aware of at least some of them.
REDISCOVERY
On 28 April 1819, a British officer for the Madras Presidency, John Smith, of the 28th Cavalry, while hunting tiger, accidentally discovered the entrance to Cave No. 10 deep within the tangled undergrowth. There were local people already using the caves for prayers with a small fire, when he arrived. Exploring that first cave, long since a home to nothing more than birds and bats and a lair for other larger animals, Captain Smith vandalized the wall by scratching his name and the date, April 1819. Since he stood on a five-foot high pile of rubble collected over the years, the inscription is well above the eye-level gaze of an adult today. A paper on the caves by William Erskine was read to the Bombay Literary Society in 1822. Within a few decades, the caves became famous for their exotic setting, impressive architecture, and above all their exceptional, all but unique paintings. A number of large projects to copy the paintings were made in the century after rediscovery, covered below. In 1848 the Royal Asiatic Society established the "Bombay Cave Temple Commission" to clear, tidy and record the most important rock-cut sites in the Bombay Presidency, with John Wilson, as president. In 1861 this became the nucleus of the new Archaeological Survey of India. Until the Nizam of Hyderabad built the modern path between the caves, among other efforts to make the site easy to visit, a trip to Ajanta was a considerable adventure, and contemporary accounts dwell with relish on the dangers from falls off narrow ledges, animals and the Bhil people, who were armed with bows and arrows and had a fearsome reputation.
Today, fairly easily combined with Ellora in a single trip, the caves are the most popular tourist destination in Mahrashtra, and are often crowded at holiday times, increasing the threat to the caves, especially the paintings. In 2012, the Maharashtra Tourism Development Corporation announced plans to add to the ASI visitor centre at the entrance complete replicas of caves 1, 2, 16 & 17 to reduce crowding in the originals, and enable visitors to receive a better visual idea of the paintings, which are dimly-lit and hard to read in the caves. Figures for the year to March 2010 showed a total of 390,000 visitors to the site, divided into 362,000 domestic and 27,000 foreign. The trends over the previous few years show a considerable growth in domestic visitors, but a decline in foreign ones; the year to 2010 was the first in which foreign visitors to Ellora exceeded those to Ajanta.
PAINTINGS
Mural paintings survive from both the earlier and later groups of caves. Several fragments of murals preserved from the earlier caves (Caves 9 and 11) are effectively unique survivals of court-led painting in India from this period, and "show that by Sātavāhana times, if not earlier, the Indian painter had mastered an easy and fluent naturalistic style, dealing with large groups of people in a manner comparable to the reliefs of the Sāñcī toraņa crossbars".
Four of the later caves have large and relatively well-preserved mural paintings which "have come to represent Indian mural painting to the non-specialist", and fall into two stylistic groups, with the most famous in Caves 16 and 17, and apparently later paintings in Caves 1 and 2. The latter group were thought to be a century or more later than the others, but the revised chronology proposed by Spink would place them much closer to the earlier group, perhaps contemporary with it in a more progressive style, or one reflecting a team from a different region. The paintings are in "dry fresco", painted on top of a dry plaster surface rather than into wet plaster.
All the paintings appear to be the work of painters at least as used to decorating palaces as temples, and show a familiarity with and interest in details of the life of a wealthy court. We know from literary sources that painting was widely practised and appreciated in the courts of the Gupta period. Unlike much Indian painting, compositions are not laid out in horizontal compartments like a frieze, but show large scenes spreading in all directions from a single figure or group at the centre. The ceilings are also painted with sophisticated and elaborate decorative motifs, many derived from sculpture. The paintings in cave 1, which according to Spink was commissioned by Harisena himself, concentrate on those Jataka tales which show previous lives of the Buddha as a king, rather than as an animal or human commoner, and so show settings from contemporary palace life.
In general the later caves seem to have been painted on finished areas as excavating work continued elsewhere in the cave, as shown in caves 2 and 16 in particular. According to Spink's account of the chronology of the caves, the abandonment of work in 478 after a brief busy period accounts for the absence of painting in caves such as 4 and 17, the later being plastered in preparation for paintings that were never done.
COPIES
The paintings have deteriorated significantly since they were rediscovered, and a number of 19th-century copies and drawings are important for a complete understanding of the works. However, the earliest projects to copy the paintings were plagued by bad fortune. In 1846, Major Robert Gill, an Army officer from Madras presidency and a painter, was appointed by the Royal Asiatic Society to replicate the frescoes on the cave walls to exhibit these paintings in England. Gill worked on his painting at the site from 1844 to 1863 (though he continued to be based there until his death in 1875, writing books and photographing) and made 27 copies of large sections of murals, but all but four were destroyed in a fire at the Crystal Palace in London in 1866, where they were on display.
Another attempt was made in 1872 when the Bombay Presidency commissioned John Griffiths, then principal of the Bombay School of Art, to work with his students to make new copies, again for shipping to England. They worked on this for thirteen years and some 300 canvases were produced, many of which were displayed at the Imperial Institute on Exhibition Road in London, one of the forerunners of the Victoria and Albert Museum. But in 1885 another fire destroyed over a hundred paintings that were in storage. The V&A still has 166 paintings surviving from both sets, though none have been on permanent display since 1955. The largest are some 3 × 6 metres. A conservation project was undertaken on about half of them in 2006, also involving the University of Northumbria. Griffith and his students had unfortunately painted many of the paintings with "cheap varnish" in order to make them easier to see, which has added to the deterioration of the originals, as has, according to Spink and others, recent cleaning by the ASI.
A further set of copies were made between 1909 and 1911 by Christiana Herringham (Lady Herringham) and a group of students from the Calcutta School of Art that included the future Indian Modernist painter Nandalal Bose. The copies were published in full colour as the first publication of London's fledgling India Society. More than the earlier copies, these aimed to fill in holes and damage to recreate the original condition rather than record the state of the paintings as she was seeing them. According to one writer, unlike the paintings created by her predecessors Griffiths and Gill, whose copies were influenced by British Victorian styles of painting, those of the Herringham expedition preferred an 'Indian Renascence' aesthetic of the type pioneered by Abanindranath Tagore.
Early photographic surveys were made by Robert Gill, who learnt to use a camera from about 1856, and whose photos, including some using stereoscopy, were used in books by him and Fergusson (many are available online from the British Library), then Victor Goloubew in 1911 and E.L. Vassey, who took the photos in the four volume study of the caves by Ghulam Yazdani (published 1930–1955).
ARCHITECTURE
The monasteries mostly consist of vihara halls for prayer and living, which are typically rectangular with small square dormitory cells cut into the walls, and by the second period a shrine or sanctuary at the rear centred on a large statue of the Buddha, also carved from the living rock. This change reflects the movement from Hinayana to Mahāyāna Buddhism. The other type of main hall is the narrower and higher chaitya hall with a stupa as the focus at the far end, and a narrow aisle around the walls, behind a range of pillars placed close together. Other plainer rooms were for sleeping and other activities. Some of the caves have elaborate carved entrances, some with large windows over the door to admit light. There is often a colonnaded porch or verandah, with another space inside the doors running the width of the cave.
The central square space of the interior of the viharas is defined by square columns forming a more or less square open area. Outside this are long rectangular aisles on each side, forming a kind of cloister. Along the side and rear walls are a number of small cells entered by a narrow doorway; these are roughly square, and have small niches on their back walls. Originally they had wooden doors. The centre of the rear wall has a larger shrine-room behind, containing a large Buddha statue. The viharas of the earlier period are much simpler, and lack shrines. Spink in fact places the change to a design with a shrine to the middle of the second period, with many caves being adapted to add a shrine in mid-excavation, or after the original phase.
The plan of Cave 1 shows one of the largest viharas, but is fairly typical of the later group. Many others, such as Cave 16, lack the vestibule to the shrine, which leads straight off the main hall. Cave 6 is two viharas, one above the other, connected by internal stairs, with sanctuaries on both levels.
The four completed chaitya halls are caves 9 and 10 from the early period, and caves 19 and 26 from the later period of construction. All follow the typical form found elsewhere, with high ceilings and a central "nave" leading to the stupa, which is near the back, but allows walking behind it, as walking around stupas was (and remains) a common element of Buddhist worship (pradakshina). The later two have high ribbed roofs, which reflect timber forms, and the earlier two are thought to have used actual timber ribs, which have now perished. The two later halls have a rather unusual arrangement (also found in Cave 10 at Ellora) where the stupa is fronted by a large relief sculpture of the Buddha, standing in Cave 19 and seated in Cave 26. Cave 29 is a late and very incomplete chaitya hall.
The form of columns in the work of the first period is very plain and un-embellished, with both chaitya halls using simple octagonal columns, which were painted with figures. In the second period columns were far more varied and inventive, often changing profile over their height, and with elaborate carved capitals, often spreading wide. Many columns are carved over all their surface, some fluted and others carved with decoration all over, as in cave 1.
The flood basalt rock of the cliff, part of the Deccan Traps formed by successive volcanic eruptions at the end of the Cretaceous, is layered horizontally, and somewhat variable in quality, so the excavators had to amend their plans in places, and in places there have been collapses in the intervening centuries, as with the lost portico to cave 1. Excavation began by cutting a narrow tunnel at roof level, which was expanded downwards and outwards; the half-built vihara cave 24 shows the method. Spink believes that for the first caves of the second period the excavators had to relearn skills and techniques that had been lost in the centuries since the first period, which were then transmitted to be used at later rock-cut sites in the region, such as Ellora, and the Elephanta, Bagh, Badami and Aurangabad Caves.
The caves from the first period seem to have been paid for by a number of different patrons, with several inscriptions recording the donation of particular portions of a single cave, but according to Spink the later caves were each commissioned as a complete unit by a single patron from the local rulers or their court elites. After the death of Harisena smaller donors got their chance to add small "shrinelets" between the caves or add statues to existing caves, and some two hundred of these "intrusive" additions were made in sculpture, with a further number of intrusive paintings, up to three hundred in cave 10 alone.
A grand gateway to the site, at the apex of the gorge's horsehoe between caves 15 and 16, was approached from the river, and is decorated with elephants on either side and a nāga, or protective snake deity.
ICONOGRAPHY OF THE CAVES
In the pre-Christian era, the Buddha was represented symbolically, in the form of the stupa. Thus, halls were made with stupas to venerate the Buddha. In later periods the images of the Buddha started to be made in coins, relic caskets, relief or loose sculptural forms, etc. However, it took a while for the human representation of the Buddha to appear in Buddhist art. One of the earliest evidences of the Buddha's human representations are found at Buddhist archaeological sites, such as Goli, Nagarjunakonda, and Amaravati. The monasteries of those sites were built in less durable media, such as wood, brick, and stone. As far as the genre of rock-cut architecture is concerned it took many centuries for the Buddha image to be depicted. Nobody knows for sure at which rock-cut cave site the first image of the Buddha was depicted. Current research indicates that Buddha images in a portable form, made of wood or stone, were introduced, for the first time, at Kanheri, to be followed soon at Ajanta Cave 8 (Dhavalikar, Jadhav, Spink, Singh). While the Kanheri example dates to 4th or 5th century CE, the Ajanta example has been dated to c. 462–478 CE (Spink). None of the rock-cut monasteries prior to these dates, and other than these examples, show any Buddha image although hundreds of rock-cut caves were made throughout India during the first few centuries CE. And, in those caves, it is the stupa that is the object of veneration, not the image. Images of the Buddha are not found in Buddhist sailagrhas (rock-cut complexes) until the times of the Kanheri (4th–5th century CE) and Ajanta examples (c. 462–478 CE).
The caves of the second period, now all dated to the 5th century, were typically described as "Mahayana", but do not show the features associated with later Mahayana Buddhism. Although the beginnings of Mahāyāna teachings go back to the 1st century there is little art and archaeological evidence to suggest that it became a mainstream cult for several centuries. In Mahayana it is not Gautama Buddha but the Bodhisattva who is important, including "deity" Bodhisattva like Manjushri and Tara, as well as aspects of the Buddha such as Aksobhya, and Amitabha. Except for a few Bodhisattva, these are not depicted at Ajanta, where the Buddha remains the dominant figure. Even the Bodhisattva images of Ajanta are never central objects of worship, but are always shown as attendants of the Buddha in the shrine. If a Bodhisattva is shown in isolation, as in the Astabhaya scenes, these were done in the very last years of activities at Ajanta, and are mostly 'intrusive' in nature, meaning that they were not planned by the original patrons, and were added by new donors after the original patrons had suddenly abandoned the region in the wake of Emperor Harisena's death.
The contrast between iconic and aniconic representations, that is, the stupa on one hand and the image of the Buddha on the other, is now being seen as a construct of the modern scholar rather than a reality of the past. The second phase of Ajanta shows that the stupa and image coincided together. If the entire corpus of the art of Ajanta including sculpture, iconography, architecture, epigraphy, and painting are analysed afresh it will become clear that there was no duality between the symbolic and human forms of the Buddha, as far as the 5th-century phase of Ajanta is concerned. That is why most current scholars tend to avoid the terms 'Hinayana' and 'Mahayana' in the context of Ajanta. They now prefer to call the second phase by the ruling dynasty, as the Vākāţaka phase.
CAVES
CAVE 1
Cave 1 was built on the eastern end of the horse-shoe shaped scarp, and is now the first cave the visitor encounters. This would when first made have been a less prominent position, right at the end of the row. According to Spink, it is one of the latest caves to have been excavated, when the best sites had been taken, and was never fully inaugurated for worship by the dedication of the Buddha image in the central shrine. This is shown by the absence of sooty deposits from butter lamps on the base of the shrine image, and the lack of damage to the paintings that would have been happened if the garland-hooks around the shrine had been in use for any period of time. Although there is no epigraphic evidence, Spink believes that the Vākāţaka Emperor Harishena was the benefactor of the work, and this is reflected in the emphasis on imagery of royalty in the cave, with those Jakata tales being selected that tell of those previous lives of the Buddha in which he was royal.
The cliff has a more steep slope here than at other caves, so to achieve a tall grand facade it was necessary to cut far back into the slope, giving a large courtyard in front of the facade. There was originally a columned portico in front of the present facade, which can be seen "half-intact in the 1880s" in pictures of the site, but this fell down completely and the remains, despite containing fine carving, were carelessly thrown down the slope into the river, from where they have been lost, presumably carried away in monsoon torrents.
This cave has one of the most elaborate carved façades, with relief sculptures on entablature and ridges, and most surfaces embellished with decorative carving. There are scenes carved from the life of the Buddha as well as a number of decorative motifs. A two pillared portico, visible in the 19th-century photographs, has since perished. The cave has a front-court with cells fronted by pillared vestibules on either side. These have a high plinth level. The cave has a porch with simple cells on both ends. The absence of pillared vestibules on the ends suggest that the porch was not excavated in the latest phase of Ajanta when pillared vestibules had become a necessity and norm. Most areas of the porch were once covered with murals, of which many fragments remain, especially on the ceiling. There are three doorways: a central doorway and two side doorways. Two square windows were carved between the doorways to brighten the interiors.
Each wall of the hall inside is nearly 12 m long and 6.1 m high. Twelve pillars make a square colonnade inside supporting the ceiling, and creating spacious aisles along the walls. There is a shrine carved on the rear wall to house an impressive seated image of the Buddha, his hands being in the dharmachakrapravartana mudra. There are four cells on each of the left, rear, and the right walls, though due to rock fault there are none at the ends of the rear aisle. The walls are covered with paintings in a fair state of preservation, though the full scheme was never completed. The scenes depicted are mostly didactic, devotional, and ornamental, with scenes from the Jataka stories of the Buddha's former existences as a bodhisattva), the life of the Gautama Buddha, and those of his veneration. The two most famous individual painted images at Ajanta are the two over-life size figures of the protective bodhisattvas Padmapani and Vajrapani on either side of the entrance to the Buddha shrine on the wall of the rear aisle (see illustrations above). According to Spink, the original dating of the paintings to about 625 arose largely or entirely because James Fegusson, a 19th-century architectural historian, had decided that a scene showing an ambassador being received, with figures in Persian dress, represented a recorded embassy to Persia (from a Hindu monarch at that) around that date.
CAVE 2
Cave 2, adjacent to Cave 1, is known for the paintings that have been preserved on its walls, ceilings, and pillars. It looks similar to Cave 1 and is in a better state of preservation.
Cave 2 has a porch quite different from Cave one. Even the façade carvings seem to be different. The cave is supported by robust pillars, ornamented with designs. The front porch consists of cells supported by pillared vestibules on both ends. The cells on the previously "wasted areas" were needed to meet the greater housing requirements in later years. Porch-end cells became a trend in all later Vakataka excavations. The simple single cells on porch-ends were converted into CPVs or were planned to provide more room, symmetry, and beauty.
The paintings on the ceilings and walls of this porch have been widely published. They depict the Jataka tales that are stories of the Buddha's life in former existences as Bodhisattva. Just as the stories illustrated in cave 1 emphasize kingship, those in cave 2 show many "noble and powerful" women in prominent roles, leading to suggestions that the patron was an unknown woman. The porch's rear wall has a doorway in the center, which allows entrance to the hall. On either side of the door is a square-shaped window to brighten the interior.
The hall has four colonnades which are supporting the ceiling and surrounding a square in the center of the hall. Each arm or colonnade of the square is parallel to the respective walls of the hall, making an aisle in between. The colonnades have rock-beams above and below them. The capitals are carved and painted with various decorative themes that include ornamental, human, animal, vegetative, and semi-divine forms.
Paintings appear on almost every surface of the cave except for the floor. At various places the art work has become eroded due to decay and human interference. Therefore, many areas of the painted walls, ceilings, and pillars are fragmentary. The painted narratives of the Jataka tales are depicted only on the walls, which demanded the special attention of the devotee. They are didactic in nature, meant to inform the community about the Buddha's teachings and life through successive rebirths. Their placement on the walls required the devotee to walk through the aisles and 'read' the narratives depicted in various episodes. The narrative episodes are depicted one after another although not in a linear order. Their identification has been a core area of research since the site's rediscovery in 1819. Dieter Schlingloff's identifications have updated our knowledge on the subject.
CAVE 4
The Archeological Survey of India board outside the caves gives the following detail about cave 4: "This is the largest monastery planned on a grandiose scale but was never finished. An inscription on the pedestal of the buddha's image mentions that it was a gift from a person named Mathura and paleographically belongs to 6th century A.D. It consists of a verandah, a hypostylar hall, sanctum with an antechamber and a series of unfinished cells. The rear wall of the verandah contains the panel of Litany of Avalokiteśvara".
The sanctuary houses a colossal image of the Buddha in preaching pose flanked by bodhisattvas and celestial nymphs hovering above.
CAVES 9-10
Caves 9 and 10 are the two chaitya halls from the first period of construction, though both were also undergoing an uncompleted reworking at the end of the second period. Cave 10 was perhaps originally of the 1st century BCE, and cave 9 about a hundred years later. The small "shrinelets" called caves 9A to 9D and 10A also date from the second period, and were commissioned by individuals.
The paintings in cave 10 include some surviving from the early period, many from an incomplete programme of modernization in the second period, and a very large number of smaller late intrusive images, nearly all Buddhas and many with donor inscriptions from individuals. These mostly avoided over-painting the "official" programme and after the best positions were used up are tucked away in less prominent positions not yet painted; the total of these (including those now lost) was probably over 300, and the hands of many different artists are visible.
OTHER CAVES
Cave 3 is merely a start of an excavation; according to Spink it was begun right at the end of the final period of work and soon abandoned. Caves 5 and 6 are viharas, the latter on two floors, that were late works of which only the lower floor of cave 6 was ever finished. The upper floor of cave 6 has many private votive sculptures, and a shrine Buddha, but is otherwise unfinished. Cave 7 has a grand facade with two porticos but, perhaps because of faults in the rock, which posed problems in many caves, was never taken very deep into the cliff, and consists only of the two porticos and a shrine room with antechamber, with no central hall. Some cells were fitted in.
Cave 8 was long thought to date to the first period of construction, but Spink sees it as perhaps the earliest cave from the second period, its shrine an "afterthought". The statue may have been loose rather than carved from the living rock, as it has now vanished. The cave was painted, but only traces remain.
SPINK´S DETAILED CHRONOLOGY
Walter M. Spink has over recent decades developed a very precise and circumstantial chronology for the second period of work on the site, which unlike earlier scholars, he places entirely in the 5th century. This is based on evidence such as the inscriptions and artistic style, combined with the many uncompleted elements of the caves. He believes the earlier group of caves, which like other scholars he dates only approximately, to the period "between 100 BCE – 100 CE", were at some later point completely abandoned and remained so "for over three centuries", as the local population had turned mainly Hindu. This changed with the accession of the Emperor Harishena of the Vakataka Dynasty, who reigned from 460 to his death in 477. Harisena extended the Central Indian Vakataka Empire to include a stretch of the east coast of India; the Gupta Empire ruled northern India at the same period, and the Pallava dynasty much of the south.
According to Spink, Harisena encouraged a group of associates, including his prime minister Varahadeva and Upendragupta, the sub-king in whose territory Ajanta was, to dig out new caves, which were individually commissioned, some containing inscriptions recording the donation. This activity began in 462 but was mostly suspended in 468 because of threats from the neighbouring Asmaka kings. Work continued on only caves 1, Harisena's own commission, and 17–20, commissioned by Upendragupta. In 472 the situation was such that work was suspended completely, in a period that Spink calls "the Hiatus", which lasted until about 475, by which time the Asmakas had replaced Upendragupta as the local rulers.
Work was then resumed, but again disrupted by Harisena's death in 477, soon after which major excavation ceased, except at cave 26, which the Asmakas were sponsoring themselves. The Asmakas launched a revolt against Harisena's son, which brought about the end of the Vakataka Dynasty. In the years 478–480 major excavation by important patrons was replaced by a rash of "intrusions" – statues added to existing caves, and small shrines dotted about where there was space between them. These were commissioned by less powerful individuals, some monks, who had not previously been able to make additions to the large excavations of the rulers and courtiers. They were added to the facades, the return sides of the entrances, and to walls inside the caves. According to Spink, "After 480, not a single image was ever made again at the site", and as Hinduism again dominated the region, the site was again abandoned, this time for over a millennium.
Spink does not use "circa" in his dates, but says that "one should allow a margin of error of one year or perhaps even two in all cases".
IMPACT ON MODERN INDIAN PAINTINGS
The Ajanta paintings, or more likely the general style they come from, influenced painting in Tibet and Sri Lanka.
The rediscovery of ancient Indian paintings at Ajanta provided Indian artists examples from ancient India to follow. Nandlal Bose experimented with techniques to follow the ancient style which allowed him to develop his unique style. Abanindranath Tagore also used the Ajanta paintings for inspiration.
WIKIPEDIA
The Qalawun complex is a massive complex in Cairo, Egypt that includes a madrasa, a hospital and a mausoleum. It was built by the Sultan Al-Nasir Muhammad Ibn Qalawun in the 1280s; some thirty surviving mosques were built during his time.
The Qalawun Complex was built over the ruins of the Fatimid Palace of Cairo, with several halls in the Palace. It was sold to several people until it was finally bought by the Sultan Qalawun in 1283 AD. The structure resides in the heart of Cairo, in the Bayn al-Qasrayn, and has been a center for important religious ceremonies and rituals of the Islamic faith for years, stretching from the Mamluk dynasty through the Ottoman Empire.
The Mausoleum of Sultan Qalawun in Cairo is considered by many to be the second most beautiful mausoleum, succeeded only by the Taj Mahal in India.
Al-Nuwayri (an Arab Historian), has said in his book Nihayet al Irab (The Utmost Desire), that the Mausoleum was not intended to become a buriel site, but a Mosque and a school, and that it was first used as a tomb when he died, and hosted his body. His body was kept in the Cairo Citadel for two months until the tomb was ready to replace the Citadel's Burial location, later when Qalawun's son died, he too was buried in the Mausoleum. The mihrab of the mausoleum is often considered as the most lavish of its kind. This is in contrast to the mihrab of the madrasa, which is less grand in size and general esthetics. With a horse-shoe profile the mihrab is flanked by three columns made of marble. The Mausoleum later on, and under the mamluks included a Museum for Royal Cloths of those buried in it.
The Mausoleum of Qalawun is significant in that it’s dome served as a ceremonial center for the investing of new emirs. Indeed the dome was a symbol of new power, a changing of the guard, signifying a new center of Mamluk power, which enjoyed great prosperity at the time. The Mausoleum's Dome was demolished by the Ottoman Governor over Egypt Abdul-Rahman Katkhuda and was then rebuilt in Ottoman architecture, However the Comite for reservation of Arab monuments built another dome to replace that in 1908 [Wikipedia.org]
A tactic will be used by officers in the City Centre to disrupt criminal activity.
GMP is adopting Project Servator in the City Centre this week, after a trial of the policing tactic, which has been running at Manchester Airport for the past year.
Project Servator will see officers use a tactic working with partners to target offenders of all levels, from petty criminals to terrorists. These include highly visible and unpredictable patrols that can turn up anywhere and at any time across the city.
They will involve both uniformed and plain clothes officers, who are specially trained to spot the tell-tale signs that a person is planning or preparing to commit a criminal act, as well as a range of other tactics including search dogs and horses, police vehicles and utilising CCTV across the City Centre.
Officers will also be encouraging security staff, retailers and the public to be extra eyes and ears and report anything that doesn’t feel right
The project follows 17 other police forces, including the City of London Police which was the first to trial Project Servator in 2014.
Superintendent Chris Hill from GMP’s City of Manchester team said: “Project Servator is very much business as usual for the Force but we don’t want people to worry when they see extra officers out and about or more checks taking place.
“We are relying on the support of the public and local businesses to be our eyes and ears and help us to keep the city centre safe for everyone.
“This is all about working together to send a clear message to potential criminals - we are here, we’re watching and we will stop you.
“The patrols will happen anywhere across Greater Manchester at any time.
“Officers will also be handing out information about Project Servator to encourage people to remain vigilant and report anything that doesn’t feel right.
“If you have any concerns please talk to them or call us on 101. Always call 999 in an emergency. Alternatively you can report any suspicious activity at www.gov.uk/ACT or to the confidential hotline on 0800 789 321.”
The city-wide initiative was launched at Manchester Arndale on Tuesday morning.
David Allinson, Centre Director at Manchester Arndale, said: “We have a close working relationship with Greater Manchester Police (GMP) and are pleased to support the roll-out of Project Servator – a police patrol designed to provide visible reassurance to Manchester’s residents and visitors.
"We look forward to building on our long-standing partnership with GMP and supporting officers as they patrol the centre and other key locations across the city.”
Deputy of Greater Manchester Bev Hughes said: “This is a positive police operation that has proved successful in other areas, so I’m pleased to see it launched in Manchester city centre. The public have been telling us that they want to see more visible policing and this operation will help to reassure them that the police are committed to keeping us safe, whilst sending a strong message to criminals that they are not welcome here.
“I also encourage the public to work with the police and report anything suspicious. By working together we can make our streets and communities safer and more secure.”
GMP is encouraging everyone to follow national ACT (Action Counters Terrorism) guidance. More information on what to look out for and how to contact police can be found at www.gov.uk/ACT
Earth Designs Garden Design and Build were asked to created a landscape and propose garden design in Acton, London*. Here are the details of the project
Brief: The plot for this design was a mid-size family garden, which had recently benefited from the addition of a large sunroom on the back of the property. It was a fairly blank canvas, with nothing of note to be retained in the re-design. The garden had side access and worn boundary fences which required replacing. There was no clear brief other than that the design include a seating area and some lawn, and that the transition from sunroom to garden be fairly seamless.
Solution: The focus of this design was to create an exterior space that serves as an extension to the interior, featuring several distinct and versatile areas that can be adapted to a variety of uses.
The garden's boundaries were replaced with new fencing to provide a uniform and attractive backdrop to the transformation within, while the long sideway down the right of the house was renovated with the addition of attractive 'bamboo' slate tile flooring in a random lay pattern.
The first section of the space comprises a large area of Western Red Cedar decking adjoining the house, and offers ample room for entertaining, with a long L-shaped fixed-bench seat stretching width-ways across the space from the left-hand side to the centre. This was backed with a rendered block raised bed, planted with fragrant lavender and capped with 'bamboo' slate tile, to provide a sense of enclosure and separation from the rest of the garden.
A decked walkway running down the right hand side of the space provides access to a 'spa' area, featuring a large square hot tub housed upon a reinforced paved hard-standing and nestled between existing and additional trees, shrubs and foliage to provide a secluded and intimate area for bathing throughout the seasons. Hidden behind mature and new planting in the bottom left corner, a large shed provides ample storage for the client's garden accessories. The middle of the space has been given over to a large lawn edges with slate.
A purple and yellow planting scheme of soft, cottage-style evergreen shrubs and flowering perennials will help to bring year round lightness and subtle colouring to the space.
After-dark hot tub bathing is enhanced by several strings of pea-lights woven through the existing shrubbery. Deck lights demark the main area of decking and guide one's journey along the decked walkway. Finally, spot lights in the beds highlight certain area while providing a gentle wash throughout the space.
Testimonial: "After months of planning and a full year of having builders everywhere, we had finally got the house into good shape but the garden was a nightmare. It had been somewhat overgrown before the builders moved in, but after a year of being used as a builders yard, it needed shock treatment.
We needed help fast so we searched the web. We were looking for garden designers with creative ideas for smaller London gardens. We didn't want anything too traditional but at the same time, nothing too extreme.
Earth Designs fitted the bill and after a design session with Katrina, we engaged them for the project. They had offered us a design service only, but as we only had a 4 week window in which to complete the job, we gave them the whole project.
We had built a new extension with wide glass doors that opened out into the garden, so the brief to Earth Designs was to "bring the outside, inside" and create a strong link between the new room and the garden beyond. The actual garden space was not large so we wanted to use the space as an extension of the living space - to be an "outside room".
Monday 18th April and three very charming men arrived on our doorstep at 8.0am sharp. Arlo was the project manager, ably aided and abetted by Paul and Phillip. They worked brilliantly as a team and always hit all the deadlines. In particular they did a great job in working with our neighbours to ensure the whole project ran smoothly.
The first week involved clearing the site - no mean feat with 30-year-old ivy stems that looked more like tree trunks.
The second week involved levelling the garden, putting up new fencing, building the corner seating base and planters, plus marking out the garden shape. It was good to be able to make minor changes to the design on the ground at this stage. The hot tub arrived too and was winched into place for connection later.
Week 3 saw the decking and seating built.
Then in week four the turf arrived, the lawn went down and on the last day, Katrina arrived with a truckload of wonderful specimens (and Matt) and we had a wonderful time planting. Ground Force Mk II - a complete garden from start to finish in just 4 weeks!
There were a few things that needed to be sorted out after the main work was complete. Earth Designs were great about coming back until all was complete and finished.
Our thanks to Katrina, Matt, Arlo, Paul and Phillip for a great job, completed on time and on budget with a great looking result."
If you dig this and would like to find out more about this or any of other of our designs, please stop by our web-site and have a look at our work.
Earth Designs is a bespoke London Garden Design and build company specialising in classic, funky and urban contemporary garden design.
Our Landscape and Garden build teams cover London, Essex and parts of South East England, while garden designs are available nationwide.
Please visit www.earthdesigns.co.uk to see our full portfolio. If you would like a garden designer in London or have an idea of what you want and are looking for a landscaper London to come and visit your garden, please get in touch.
Follow our Bespoke Garden Design and Build and Blog to see what we get up to week by week, our free design clinic as well as tips and products we recommend for your garden projects www.earthdesigns.co.uk/blog/.
Earth Designs is located in East London, but has built gardens in Essex , gardens in Hertfordshire Hertfordshire and all over the South East. Earth Designs was formed by Katrina Wells in Spring 2003 and has since gone from strength to strength to develop a considerable portfolio of garden projects. Katrina, who is our Senior Garden Designer, has travelled all over the UK designing gardens. However we can design worldwide either through our postal garden design service or by consultation with our senior garden designer. Recent worldwide projects have included garden designs in Romania. Katrina’s husband. Matt, heads up the build side of the company, creating a unique service for all our clients.
If you a not a UK resident, but would like an Earth Designs garden, Earth Designs has a worldwide design service through our Garden Design Postal Design Vouchers. If you are looking for an unique birthday present or original anniversary present and would like to buy one of our Garden Design Gift Vouchers for yourself or as a present please our sister site www.gardenpresents.co.uk. We do also design outside of the UK, please contact us for details.
Hannahville Indian School students planted apple and cedar saplings in April 2012 at the Hannahville Indian Community as part of the U.S. Forest Service-funded Zaagkii Wings and Seeds Project in Michigan’s Upper Peninsula
Photos by Greg Peterson
Nonprofit Cedar Tree Institute
Volunteer Media Advisor
906-401-0109
ZaagkiiProject@gmail.com
(Wilson, Michigan) – Students from the Hannahville Indian School (Nah Tah Wahsh PSA) enjoyed planting saplings including apple trees on April 12, 2012 at the Hannahville Indian Community nation as part of the USFS-funded Zaagkii Wings and Seeds Project
With smiles on their faces and dirt on their hands, the students had fun planting the apple tree and cedar tree saplings.
The planting of apple and cedar trees was the culmination of a native plants restoration and pollinator protection workshop at the Hannahville Indian Community in Michigan’s Upper Peninsula.
Kinomaagewin-Aki: Teachings from the Earth
Videos about the workshop that include the children can be found at:
During the Hannahville workshop, a northern Michigan Native American elder said he believes something is amiss in nature and encouraged tribal communities to join with non-tribal partners for pollinator protection and the restoration of native plants.
A crisis is imminent.
Honeybees and native pollinators such as bumblebees are declining at alarming rates as the native plants that sustain them are decreasing due to habitat loss via non-native invasive plants.
“It is your responsibility – as well as ours – to be tenders of the garden,” said Earl Meshigaud, Hannahville Potawatomi Indian Community Tribal Council Member and Culture Department Director. “That’s what we were put here for – to take care of God’s Creation.”
The workshop and other related projects like a tribal greenhouse are examples of Native American tribes and the U.S. Forest Service working together to restore native plants and protect pollinators.
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The workshop was entitled:
Kinomaagewin-Aki
Teachings from the Earth
A Native Plants Restoration and Pollinator Protection Workshop – For Native American Tribal Communities in Northern Michigan
Insights into traditional Native cultural teachings, medicinal plants and challenges facing native plants restoration efforts in Indian country
An overview of native plant restoration and pollinator protection efforts among Native American tribal communities
Perspectives from the U.S. Forest Service on grant possibilities and technical support
Sponsored by the Cedar Tree Institute in collaboration with the U.S. Forest Service and the Hannahville Indian Community
Representatives of 5 tribal communities attended the April 2012 pollinator protection and native plants restoration workshop hosted by the Hannahville Indian Community
Represented at the workshop:
The Hannahville Indian Community
The Keweenaw Bay Indian Community (KBIC)
The Sault Ste. Marie Band of Chippewa Indians
Lac Vieux Desert Band of Lake Superior Chippewa Indians
Menominee Indian Tribe of Wisconsin (MITW)
Center for Native American Studies at Northern Michigan University
The Hannahville meeting was the third in a series of Zaagkii Project/U.S. Forest Service tribal workshops in northern Michigan.
Prior workshops were held in July 2012 at KBIC and July 2011 at Presque Isle Park in Marquette.
The fourth workshop will be on Thursday, Sept. 13 and Friday, Sept., 14, 2012 at Lac Vieux Desert (LVD) near Watersmeet, Michigan.
The LVD workshop will include pollinator protection and native plants restoration information with a focus on wild rice, among other topics.
Zaagkii Project sponsors include Keweenaw Bay Indian Community, United States Forest Service (USFS), Marquette County Juvenile Court, U.P. Children's Museum and the Center for Native American Studies at Northern Michigan University
The Zaagkii Project is coordinated by the Cedar Tree Institute, a nonprofit organization that provides services and initiates projects in the areas of mental health, religion and the environment.
For more info:
Nonprofit Cedar Tree Institute (CTI)
Rev. Jon Magnuson
Director
Cedar Tree Institute
906-228-5494
magnusonx2@charter.net
Tom Biron, Sault Ste. Marie Band of Chippewa Indians
tom@reinhardtassociates.net
Zaagkii Wings and Seeds Project:
Pollinator protection and native plants restoration project with the U.S. Forest Service, U.P. Native American tribes, The Cedar Tree Institute, The Center for Native American Studies at Northern Michigan University, Marquette County Juvenile Court
Zaagkii is Anishinaabe for “The love that comes from the Earth”
WingsAndSeeds.org/2011/08/05/efforts-plant-restoration-un...
Kinomaagewin-Aki: Teachings from the Earth
wingsandseeds.org/2012/03/08/kinomaagewin-aki-teachings-f...
“There’s always been one deep conviction underlying the Zaagkii Project,” Magnuson says. “Restoring the earth is inextricably linked to a healing of the human spirit.”
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The USDA United States Forest Service:
Larry Stritch
USDA U.S. Forest Service
National Botanist
Washington, D.C.
1-202-205-1279 (office)
email USFS National Botanist Larry Stritch
lstritch@fs.fed.us
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Jan Schultz, USFS
Botany, Non-native Invasive Species
Special Forest Products Program Leader
USDA Forest Service Eastern Region
Milwaukee, WI
1-414-297-1189 (office)
email USFS regional botanist Jan Schultz
jschultz@fs.fed.us
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USFS Eastern Region Native Plant Materials Accomplishments
Zaagkii Wings & Seeds Project: A Native Plants & Pollinator Protection Initiative
www.fs.usda.gov/Internet/FSE_DOCUMENTS/stelprdb5353195.pdf
www.fs.fed.us/wildflowers/nativeplantmaterials/documents/...
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The Pollinator Partnership:
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Workshop host:
Hannahville Indian Community:
“Keepers of the Fire”
Hannahville Indian Community
N14911 Hannahville B-1 Road
Wilson, Michigan
49896
906-723-2270 (office)
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Hannahville Indian School
Nah Tah Wahsh PSA
Wilson, Michigan
906-466-2952 (office)
Hannahville Potawatomi Indian Community Department of Culture, Language and History: Potawatomi Language website
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Scott Wieting
Environmental Programs Coordinator for the Hannahville Indian Community
906-723-2295
swieting@hannahville.org
hannahville.net/services/details/309
Wieting oversees the implementation and management of all tribal environmental protection programs.
He oversees the tribes’ environment-related federal grant programs.
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Workshop Presenters/Related Info:
Earl Meshigaud, Hannahville Potawatomi Indian Community Tribal Council Member and Culture Department Director
(Contact info above)
2012 Zaagkii Project: "Be tenders of the garden" - Hannahville Potawatomi Elder Earl Meshigaud
www.youtube.com/watch?v=ZvOCHCaM-r8&list=UUL8j3hNz2Xa...
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Dr. Scott Herron, PhD.,
Ethnobotanist (Odawa, Anishinaabe)
Biology professor at Ferris State University
Program Coordinator Wild Rice/Ethnobiology Lab
www.ferris.edu/HTMLS/colleges/artsands/Biological-Science...
231-591-2087
herrons@ferris.edu
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Jan Schultz, Botanist
U.S. Forest Service Eastern Region Botanist
(Contact info above)
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Dr. Martin Reinhardt, Ph.D.,
Assistant Professor
Center for Native American Studies at Northern Michigan University
906-227-1397 (office)
mreinhar@nmu.edu
www.nmu.edu/nativeamericanstudies
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Karen Anderson
KBIC Greenhouse Staff
Keweenaw Bay Indian Community
Lake Superior Band of Chippewa Indians
906-524-5757
906-353-6623
The Keweenaw Bay Indian Community 16-foot geodesic dome solar-powered native plants greenhouse was built in cooperation with the USDA U.S. Forest Service, Zaagkii Wings and Seeds Project and nonprofit Cedar Tree Institute in Marquette, Michigan
The wide-range of indigenous plants includes:
Evening primrose, Black-eyed Susan and bee balm
www.fs.fed.us/r9/ssrs/story?id=5336
www.fs.fed.us/r9/ssrs/story?id=5499
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Stephanie Blumer
USFS Eastern Zone Botanist
Hiawatha National Forest
Escanaba, Michigan
906-643-7900 ext. 155
sblumer@fs.fed.us
---
Nicole Shutt
USFS Biological Science Technician
Chequamegon–Nicolet National Forest
Lakewood Ranger Station
Lakewood, Wisconsin
715-276-6333
nshutt@fs.fed.us
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Melissa Simpson
USFS Ecologist
Chequamegon-Nicolet National Forest
Florence, Wisconsin
715-528-4464 ext. 139
mdsimpson@fs.fed.us
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Nathan Wright
Sault Ste. Marie Band of Chippewa Indians
Herbal Lodge, owner
Petoskey, Michigan
www.linkedin.com/in/nathanjohnwright
---
Laura Bermudez
Hannahville Potawatomi Indian Community
www.facebook.com/profile.php?id=1558516746&sk=wall
---
Cherice Williams
Hannahville Potawatomi Indian Community
Fitness Center Aide
hannahville.net/files/documents/Issue_5_May_2011.pdf
www.facebook.com/profile.php?id=100001272622067
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Sweet Sixteen Apple Tree Saplings:
www.apples.umn.edu/varieties.html
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Include： scar breakaway head with beautiful make up , Active Line boy body(Normal Body or Muscular Body) , hands , box . And some stochastic outfit and wig.
PRICE：$450+shipping
Lawn Pros provides complete custom landscape & gardening services for homes & businesses in Colorado Springs & surrounding areas. From concept to completed project, Lawn Pro's can handle the design and installation of your new landscape. Services include property maintenance, full custom design/build landscaping, fire mitigation, snow removal, and more! We are dedicated to providing professional, dependable service at a reasonable price.
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After initial consultation with our designers, we will develop a unique landscape design for your property. With your input, we will then tailor this design to your specific likes. Once the design aspect has been completed, our properly trained and equipped crews will install your new landscape to your satisfaction. For those who have a pre-design project, Lawn Pro's will deliver a quote and continue through the installation process.
Landscape Design
The design is the foundation of creating a functional landscape. Your landscape is an extension of your home and style, so it should be perfect. We design comprehensive and sustainable landscaping that makes the most of your home and property, using natural features and adding personalized enhancements. Lawn Pros Landscape’s vision, insight, creativity, and knowledge and experience of the regions soil conditions will provide you with the results you expect. we take great pride in designing and shaping your project into a one of a kind landscape masterpiece. Whether it is project renovation or new home construction, we guarantee a peaceful and beautiful new outdoor living environment that will provide you with years of enjoyment and solitude. More importantly, the design gives you a refuge. A place to relax and unwind. And, you will be the envy of the neighborhood!
Plants
From colorful spring blooms to blazing fall colors, nature’s plants are the true highlight to any outdoor space. Plant materials are the most beneficial component to your landscape. Our hand selected trees, shrubs, ground covers and perennials bring texture, scale and color to your yard while providing a relaxing serene and tranquil environment. Plants provide us with shade, help cool our homes, filter dust and increase the value of our property more than many other investments.
Irrigation At Lawn Pros Landscaping, we strive to give you a yard that you can be proud of! By combining your soil elements with the proper irrigation, provided by the highest quality parts and best sprinkler coverage, we guarantee a healthy, water-wise yard. Our sprinkler systems will provide optimum results utilizing the highest water efficiency.
Sod Care
Soil Preparation:
Proper soil preparation is the most important step for a successful lawn. The goal is to provide a good base in which the grass roots can vigorously establish and grow.
Begin by removing all old lawn, rocks, weeds and any other debris.
• Using a sod cutter, cut out all of the existing lawn. You can usually find a sod cutter at your local equipment rental store.
• Kill or pull all existing weeds.
• Remove all rocks or other debris.
Establish your rough grade, directing drainage away from any buildings and eliminating any low spots.
Spread 3 to 5 yards of soil amendment for every 1000 square feet. Rototill into your existing ground 4 to 6 inches deep.
• We recommend using a high grade of compost as your soil amendment which must be rototilled into the ground, it cannot be simply added as a layer above your existing soil. We use an organic Bio-compost fromA1 organics on all of our installs.
Rake and fine grade the surface to smooth uneven areas. Finished grade should be 1/2 inch below sidewalks, driveways, sprinkler heads and patios.
As a final step we use and recommend the use of a Starter Fertilizer which is at a rate of 4 lbs. per 1000 square feet on top of the final grade. This promotes healthy root growth to aid in faster establishment of the new turf and reduce the water needs of the turf due to the healthier and denser root growth.
Sod Installation:
Green side up!
Sod is a living plant and should be installed as soon as possible after delivery.
Begin installing sod along an edge, furthest away, to minimize the amount of traffic on the prepared soil and newly installed grass.
Stagger the sod in a brick like pattern so that the seams are offset. Keep ends and sides of the sod butted together tightly without overlapping. If you are installing sod on a sloped area the rolls should be laid perpendicular to the slope, as to prevent water run off.
Sod may be cut with a knife to conform to curved boundaries. It is easiest to cut from the dirt side of the sod.
In warm and dry conditions we recommending a light watering of the installed sod as you work to keep the sod from drying and shrinking during the installation. Once all the sod is down water completely per the guidelines below.
Watering Your Sod:
Water, Water, Water!
The following information is provided as a general guideline. Remember that no two lawns are exactly alike and conditions can vary greatly from one area of your lawn to another. Newly planted sod needs to be watered much differently than established lawns. It is highly recommended you have a sprinkler system in place before installing sod. Due to the increased water needs of the new sod, watering by hand or with a garden hose sprinkler will be very time consuming for the first few weeks.
Many factors will affect the water needs during the establishment and even after the sod is established. Areas of your lawn that are on higher ground and/or are more exposed to sun and wind will use significantly more water. Lower areas and areas that are well shaded and protected will not need as much water. Maintaining consistent moisture levels in all areas of the lawn will ensure proper establishment. In order to achieve consistent moisture levels fine tuning of the irrigation system and close observation will be required for success.
Immediately after all the sod is installed, water the lawn until it is good and soaked, usually 45 to 60 minutes. This is the most important watering because the ground is dry, the soil amendment is dry and the sod itself is dry. This initial watering is vital to ensure the sod and soil beneath are good and soaked.
During the first 2 weeks, while the sod's root system is being established, heavy watering is necessary. The new sod needs to stay moist 24 hours a day. We recommend watering a MINIMUM of 2 times per day for at least 20 to 40 minutes. Variations in soil conditions, temperature and sprinkler type will affect the number of cycles and length of time that your sprinklers should run. The key is maintaining consistent moisture throughout the lawn.
Also during this time any use of the lawn should be avoided to give the roots an opportunity to become established and to insure the lawn will remain smooth. On hot days (90 degrees and over) or windy days you may need to water 3 to 4 times a day so that the sod is not allowed to dry out between watering. During the 3rd and 4th week you should be transitioning from heavy watering to a normal routine. Begin by eliminating one run cycle of the system every 4-5 days until you have reached one per day and then begin gradually eliminating days from the schedule until you have reached your preferred watering schedule. We recommend an every other day schedule, watering early in the morning.
It is important to note that areas of your lawn that are well shaded will use significantly less water so be careful to not over-water these areas. Over-watering will keep the sod from growing roots which will lead to dead spots.
Watch your sod closely for signs of dehydration (not enough water). Signs include: a purplish tint, blades turn gray and footprints are left when walked upon, the sod rolls begin to shrink and gaps form between rolls, or grass blades turn straw in color. If any of these signs are prevalent, the sod is not getting enough water, increase your watering times!
If you are not convinced your issues are due to lack of watering, try this test. Place like-sized containers in the problem area and another in a good and green area. Water for 15 to 30 minutes then measure and compare both containers. If the problem area is not getting the same amount of water than your sprinkler heads and system may need adjustments.
The 1st mowing should occur within the first 10 to 14 days after installation. Do not let the lawn get too long where the blades begin to lay down or your mower cannot handle the job. It is necessary to stop watering for a period of time to allow grass to dry and the ground to firm up enough to be mowed.
It may also be necessary to mow the lawn in two passes for the first mowing, you do not want to mow more than the top 3rd of the blade at one time. So if it is very long, raise the blade on the mower and mow, then lower the blade (no shorter that 3 inches) and mow again. Mowing off too much of the blade at one time can cause shock to the lawn and may create a dead spot in the lawn. If the grass appears yellow after mowing you are cutting off too much.
New sod should not be fertilized for at least 6 weeks following installation and we do not recommend use of any starter fertilizer with the installation.
Special considerations for fall sod installations:
Sod installed late in the season will likely not have a chance to become fully established before the winter sets in. In these instances you will need to be sure to water the sod several times over the winter especially during extended periods or dry weather. You do not need a heavy watering as the frozen ground will not absorb much water but keeping the surface moist will insure that the sod is ready to go when spring arrives. Even established lawns can die during a dry winter so a little water in these times will ensure a healthy lawn the next spring.
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An hour to kill in Worthing while my glasses were being "re-glazed" - a tweak to the reading prescription on my varifocals.
Item: Chichi Pin Up Girl 2, cc0138
*Complete avatar outfit includes hat, hairs, shoes, etc.
* Combi Mini Dress, jacket and short shorts outfit.
*Rich detail, high definition textures
About Chichi ‘Pinup Girl’
Chichi’s ‘Pin Up Girl’ is a tribute to an Iconic 20th Century Art Form. Pin Up Girl 2 is our own vampy interpretation of a post war Soviet Union style woman’s ceremonial officer uniform, in two sassy versions-mini dress and short shorts/ jacket combi. Outfit comes complete with cute sailor hat, hairs, heels, and combi wardrobe. A timeless and va-va- voom Creation, from Chichi of London!
In the Box:
~Hat
~Jacket
~Prim Skirt
~Panties
~Suspender Belt
~Stockings
~Boots
~Weapons assortment
Chichi of London- walk in a Customer…walk out a Star!
About Pin Up Art & Fashion:
During World War II pin-up pictures of scantily clad movie stars were extremely popular among US servicemen. Whether it was a painted calendar, advertisement, or the photo pinups that the G.I.s pinned on their locker doors,and which later adorned the noses of their bomber planes in WW2.
Pinup art continued to grow in popularity, and sophistication through the 1950s. Movies were made about Pinup Artists and models, and most actresses of the time were considered pinups first then actresses. Marilyn Monroe was Earl Morans’ favorite model before and after she became a movie star. Numerous celebrities posed for pinup and glamour artists.
Playboy was instrumental in changing the world of glamour photography as the first magazine that both focused on nude models and targeted the mainstream consumer. In December 1953, Hugh Hefner published the first edition of Playboy with Marilyn Monroe on the cover and nude photos of Monroe inside.
After Playboy broke through, many magazines followed and this was instrumental in opening the market for the introduction of glamour photography into modern society.
Blogged at:
Ensconced In Velvet
City Palace, Jaipur, which includes the Chandra Mahal and Mubarak Mahal palaces and other buildings, is a palace complex in Jaipur, the capital of the Rajasthan state, India. It was the seat of the Maharaja of Jaipur, the head of the Kachwaha Rajput clan. The Chandra Mahal palace now houses a museum but the greatest part of it is still a royal residence. The palace complex, which is located northeast of the centre of the grid patterned Jaipur city, incorporates an impressive and vast array of courtyards, gardens and buildings. The palace was built between 1729 and 1732, initially by Sawai Jai Singh II, the ruler of Amber. He planned and built the outer walls, and later additions were made by successive rulers right up to the 20th century.
The palace complex lies in the heart of Jaipur city, to the northeast of the very centre, located at 26.9255°N 75.8236°E. The site for the palace was located on the site of a royal hunting lodge on a plain land encircled by a rocky hill range, five miles south of Amber (city). The history of the city palace is closely linked with the history of Jaipur city and its rulers, starting with Maharaja Sawai Jai Singh II who ruled from 1699-1744. He is credited with initiating construction of the city complex by building the outer wall of the complex spreading over many acres. Initially, he ruled from his capital at Amber, which lies at a distance of 11 kilometres (6.8 mi) from Jaipur. He shifted his capital from Amber to Jaipur in 1727 because of an increase in population and increasing water shortage. He planned Jaipur city in six blocks separated by broad avenues, on the classical basis of principals of Vastushastra and other similar classical treatise under the architectural guidance of Vidyadar Bhattacharya, a man who was initially an accounts-clerk in the Amber treasury and later promoted to the office of Chief Architect by the King.
Sarcophagus of Wereshnefer
Period:
Dynasty 30–early Ptolemaic Period
Dynasty:
Dynasty 30
Date:
380–300 B.C.
Geography:
Egypt, Memphite region, Saqqara; includes the Serapeum, Tomb of Wereshnefer
Wereshnefer was a priest of the goddesses Mut, Nephthys, Sekhmet, Neith, and Satis. Although his offices were in temples from Aswan to Koptos in Upper Egypt, his tomb, from which this unusually large sarcophagus comes, was in the northern Egyptian necropolis of Saqqara. The scenes and texts on the sarcophagus and its lid belong to funerary literature originally composed for royalty more than a thousand years earlier. The body of the sarcophagus is inscribed inside and out with descriptions of the sun's passage through the netherworld at night. Its lid is decorated with scenes and texts relating to the sun's rebirth and journey through the day sky. Together, the sarcophagus and its lid form a powerful metaphor of the journey from death to life that Wereshnefer hoped to achieve each day in company with the sun.
The body of this sarcophagus represents the netherworld. Its scenes, from the book known as Amduat, describe the voyage of the sun god through the twelve hours of night. The middle register shows the god in a shrine on his night boat; above and below are the various beings who dwell in the netherworld. The first hour is on the exterior head (rounded end) of the sarcophagus and the others follow through hour 7, in order, to the right. Hours 9 through 12 are on the interior; hour 8 was omitted.
Depiction of the World from the Sarcophagus of Wereshnefer
This is one of the first known representations of the world as round. It is framed by the body of Nut, goddess of the sky, who is supported by the outstretched arms of Shu, the atmosphere. At her feet lies the earth, represented by the uplifted arms on two legs, a rebus for the name of the earth god Geb. The world is shown in the center of this frame as three concentric circles. The outer-most circle is bordered on the left and right by goddesses representing the east (by Nut's leg) and west; before them stand the gods and peoples of the deserts that border Egypt on the east and west. At the top (south) is a symbolic depiction of the Nile and the caverns that were believed to be its source. The ovals at the bottom (north) represent the islands and shorelands of the Mediterranean Sea. The second ring represents Egypt itself. It contains the emblems of Egypt's forty-two nomes, or states, arranged from south (top) to north and east to west, reflecting the actual geographical divisions of the country. The innermost circle shows both the night and day skies (the former with stars) and is meant to be viewed at ninety degrees to the outer rings.
Lid of the Sarcophagus of Wereshnefer
The lid of this sarcophagus represents the day sky. At its foot, the boat that carries the sun through the night meets the day boat; between them rises the newborn sun.
The scene on the head (rounded end) shows the day boat floating on the waters of the sky, with the sun elevated by the god Shu (the atmosphere). To either side are four pairs of male (frog-headed) and female (snake-headed) deities representing the four qualities of the primeval waters; inert, infinite, negative, and inaccessible.
The sides are inscribed with the Litany of Re, addressed to the seventy-four forms of the sun god. The left side shows Wereshnefer, at the head end, worshiping the first thirty-seven of these forms plus the ancestral kings of Upper Egypt. On the right side Wereshnefer faces the last thirty-seven forms plus the ancestral kings of Lower Egypt.
The top of the lid has two scenes. The foot end and center depict the sun's rays resurrecting the mummy of Osiris, lying in its shrine in the depths of the netherworld, just as Wereshnefer hoped they would revive his body lying in the sarcophagus. At the head end, oriented in the opposite direction, the goddess Nut (the day sky) bends over a depiction of the world.
24 Postcards produced by the Cairo Postcard Trust ca 1914-1918 depicting scenes of the City of Cairo, Egypt and surrounding area. Scenes include pyramids and surrounding waterways.
Postcards were enormously popular during World War I, millions were sent to and from those at war and those at home. They often carried sentimental or patriotic messages, being designed to promote patriotism and encourage enlistment.
Enquiries: Yarra Plenty Regional Library
The Qalawun complex is a massive complex in Cairo, Egypt that includes a madrasa, a hospital and a mausoleum. It was built by the Sultan Al-Nasir Muhammad Ibn Qalawun in the 1280s; some thirty surviving mosques were built during his time.
The Qalawun Complex was built over the ruins of the Fatimid Palace of Cairo, with several halls in the Palace. It was sold to several people until it was finally bought by the Sultan Qalawun in 1283 AD. The structure resides in the heart of Cairo, in the Bayn al-Qasrayn, and has been a center for important religious ceremonies and rituals of the Islamic faith for years, stretching from the Mamluk dynasty through the Ottoman Empire.
The Mausoleum of Sultan Qalawun in Cairo is considered by many to be the second most beautiful mausoleum, succeeded only by the Taj Mahal in India. Al-Nuwayri (an Arab Historian), has said in his book Nihayet al Irab (The Utmost Desire), that the Mausoleum was not intended to become a buriel site, but a Mosque and a school, and that it was first used as a tomb when he died, and hosted his body. His body was kept in the Cairo Citadel for two months until the tomb was ready to replace the Citadel's Burial location, later when Qalawun's son died, he too was buried in the Mausoleum. The mihrab of the mausoleum is often considered as the most lavish of its kind. This is in contrast to the mihrab of the madrasa, which is less grand in size and general esthetics. With a horse-shoe profile the mihrab is flanked by three columns made of marble. The Mausoleum later on, and under the mamluks included a Museum for Royal Cloths of those buried in it.
The Mausoleum of Qalawun is significant in that it’s dome served as a ceremonial center for the investing of new emirs. Indeed the dome was a symbol of new power, a changing of the guard, signifying a new center of Mamluk power, which enjoyed great prosperity at the time. The Mausoleum's Dome was demolished by the Ottoman Governor over Egypt Abdul-Rahman Katkhuda and was then rebuilt in Ottoman architecture, However the Comite for reservation of Arab monuments built another dome to replace that in 1908 [Wikipedia.org]
Arizona CBP Operations, to include aerials of CBP locations, canine inspections, ports of entry and exit, border patrols, OFO operations and inspections, apprehensions, drug seizures, and check points.
The Šárka Valley denominates the part of the Litovice (here already Šárka) Brook between the Džbán swimming pool and the Vltava, deeply and sharply cut into solid Proterozoic rocks. The Šárka region includes also the open valley of the tributary from the airport, the valley of the Nebušice creek and the brook coming from Housle near Lysolaje. The area is characterized by relatively great differences of elevation from 180 m at the brook inlet into the Vltava to 364 m above sea level on the top of the Kozák Rock and the Žabák which soar above the surrounding plateau as knobs. The whole area is included in the Šárka natural monument and its most valuable parts have been declared small protected areas.
Šárka Valley
The Šárka Valley is the best preserved natural region northwest of Prague, which is due to its diversely articulated ground relief on resistant rocks appearing in numerous outcrops. Thanks to this also relatively large forest areas have been preserved, recently extended by tree planting, as well as xerothermal rocks and slopes. Also extensive wet meadows in the fluvial plain are significant. The area includes also the sites of important primeval settlements and pilgrimage places of later date, such as St. Mathew’s. Its popularity increased also by the Smetana’s symphonic poem of the same name forming part of the symphonic cycle My Country, as well as the former National Theatre stage below the Dívčí Skok (Girl’s Jump).
In the framework of Prague Šárka provides a magnificent section of the Kralupy-Zbraslav group of the Barrandian Proterozoic characterized here by extraordinary representation of silicites - lydites cropping out in the form of wildly cleft rock masses and forming the unique gorge of Džbán, the entrance gate to the Šárka Valley. Also Proterozoic shales and greywackes crop out in many places being overlain by almost horizontally bedden Cretaceous formations along the upper edge - Cenomanian sandstones covered by sandy marlites, best uncovered in the broader environs of Nebušice. Also the lower Ordovician formations crop out near the Džbán swimming pool and in the right-hand valley slope near Jenerálka. The Quaternary is represented by thick loess drifts, once exploited for brick manufacture, and boulder screes below lydite rocks. Near the Čertův Mlýn (Devil’s Mill) the right-hand slope is covered with open boulder scree, the only one in Prague territory. Also the fluvial plain sediments are well developed, interspersed locally with limestone incrustations. Remarkable is also the Housle clough cut in loesses, sandy marlites and sandstones underlain by proterozoic shaks affected by tropical weathering.
The area, situated in the margin of a the chernozem region, is characterized by the prevalence of brown soils of different nutrition value and rankers on rock outcrops and sheer slopes. On loesses there are typical brown earths in the valley and chernozems along the northern margin in the lower part.
The whole Šárka area forms part of the ancient settlement region where man has influenced vegetation development for seven thousand years. That is why the whole area has been covered with a mosaic of forests, bushes and open areas of different kind since time immemorial. With the exception of rocky steppes on inaccessible sites all surfaces have been influenced by the activities of man - herdsman, user of wood and farmer.
Initial woods were of xerothermal character and comprized oak and hornbeam woods, acid, partly dwarfed oak woods with relatively small areas of scree woods and fluvial plains. On sheer slopes facing the north also beeches could be found. Only very little has been preserved from these original woods, the biggest remainder being the Nebušice Grove. Untill last century the area had a prevalence of pastures and extensive orchards with varying quota of xerothermal elements. Important part was played by rocky steppes and thermophilous heaths on top of lydites. An entirely specific formation consists in the rocky steppes of the Džbán gorge the diversity of species and structure of which is due to its enrichment by primeval hillforts erected on these rocks.
At present the forest cover of the area is relatively large thanks to the trees planted at the end of last century with the prevalence of alien wood species, such as false acacia, austrian pine, red oak as well as spruce - an entirely unsuitable species for this dry area. In the course of the past decade the area is becoming spontaneously overgrown with trees and bushes, at present forming a continuous cover of surfaces entirely bare as late as the Second World War. Also some invasion elements have penetrated here such as touch-me-not (Impatiens glandulifera) in the Džbán. This development has resulted in considerable empoverishment of the initial floral wealth of the Šárka Valley.
The vertebrate fauna comprises the species occurring in the whole Prague area, although some animals which had not lived here for a long time, such as the wild boar, seem to be returning here. Woods and bushes provide ample nesting opportunity for a number of birds. Important are also minor insects and other invertebrates on rocky slopes and rocks as well as in moist valley meadows to bogs. Until recently some species, known in the environs of Prague only from this area, have been living here, such as the minor spring snail (Bythinella austriaca) on Jenerálka and in the Nebušice Creek.
The original woods, managed mostly as sprout woods were affected significantly by various interference, such as pasturing and litter raking, as a result of which they have lost the major part of their herb layer. At present newly planted woods prevail the composition of which differs considerably from original woods. They are managed as special-purpose suburban woods and are desolate in the parts of difficult access. The herb layer often is of ruderal character.
The Šárka area has been settled continuously since primeval times. Middle Paleolithic men dwelt along the Vltava and a younger Paleolithic settlement was ascertained e.g. in the brickworks on the Jenerálka. Since the Neolithic settlements of farming and pasturing types were continous. Important buildings dating from that time are the hillforts on the Šesták and Kozák Rocks as well as the Slavonic hillfort in the Šárka Valley of a later date, which covered a considerable area. In the lower part of the valley, the so-called Upper and Lower Šárka, as well as Lysolaje, the buildings form a continuous chain at present. Higher up in the valley there is a chain of flour mills (e.g. Devil’s Mill) and farms, such as Želivka or Vizerka. Below the Dívčí Skok (Girl’s Jump) a small swimming pool was built, above the valley entrance the Džbán dam with a reservoir and recreation facilities. Continuous urban construction has approached the valley from the south. There are no major industrial enterprises in the Šárka Valley or its adjacent valleys. Minor brickworks (Jenerálka, Dubový Mlýn) exploited loess drifts. Otherwise the area was influenced by adjacent communities.
In the past fruit orchards flourished here and the meadows were mown regularly. At present these activities have stopped mostly. The wide Šárka Brook is polluted considerably, as in its upstream part it flows through extensive neighbourhood units and intensively exploited agricultural areas. The pollution is contributed to also by the nearby airport. Šárka has become an important suburban recreation area in which some activities, particularly mountaineering, exceed the limits of its capacity. At present it is covered by a network of small protected areas in Šárka protecting the most valuable areas, primarily the rocky steppes and xerothermal slopes. Of no smaller value is its geomorphology including the instructive exposures of Proterozoic rocks. Although its living nature has suffered considerable losses, Šárka still is a rich and remarkable area requiring special nature protection.
Located on the Colorado Plateau in northern Arizona, Vermilion Cliffs National Monument includes the Paria Canyon-Vermilion Cliffs Wilderness. The Monument borders Kaibab National Forest to the west and Glen Canyon National Recreation Area to the east.
This remote and unspoiled, 280,000-acre Monument is a geologic treasure, containing a variety of diverse landscapes from the Paria Plateau, Vermilion Cliffs, Coyote Buttes, and Paria Canyon. Elevations range from 3,100 to 7,100 feet.
Visitors will enjoy scenic views of towering cliffs and deep canyons. Paria Canyon offers an outstanding three to five day wilderness backpacking experience. The colorful swirls of cross-bedded sandstone in Coyote Buttes are an international hiking destination. There are also opportunities to view wildlife, including California condors. There are two developed campgrounds just outside the Monument: Stateline and White House. Dispersed camping is allowed outside the wilderness area in previously disturbed areas.
A permit is required for hiking in Coyote Buttes North (the Wave), Coyote Buttes South, and for overnight trips within Paria Canyon.
Learn more at: www.blm.gov/az/st/en/prog/blm_special_areas/natmon/vermil...
Photo: Bob Wick, BLM California
As always NEoN celebrates its festival with a late night party. Acts include Plastique Fantastique, Verity Brit & Musician U, Fallope & The Tubes and Resident DJ RHL. With a pop up bar and performances amongst our large group exhibition the vast factory space West Ward Works, this night promises to be a visual audible delight.
Plastique Fantastique (UK)
A performance fiction envisaged as a group of human and non-human avatars delivering communiqués from the past and the future. The communiqués are channelled through installations, writing, comics and sound and moving image work and performances, addressing technology, popular and mass media and sacred cultures and also human-machine animals and non-human entities and agents. Over several years, numerous people have produced Plastique Fantastique but there is also a core group producing the performance fiction. Plastique Fantastique was first presented by David Burrows and Simon O’Sullivan and developed with long-term collaborators Alex Marzeta and Vanessa Page, and more recently with Mark Jackson. For NE0N 2017, this group will call forth and trap a bit-coin-fairy-spirit to ask it seems questions. The performance – Plastique Fantastique Protocols for the Society for Cutting Up Mun-knee-snakers (S.C.U.M.): I-Valerie-Solaris-AKA-@32ACP-Amazon.co.uk-recommends-‘Pacific-Rim’ may/may-not shoot b1t-c0in-f@iry-sp1r1t) – uses drone-folk-songs, moving image projection, reliquaries and ritual to manifest the block-chain-spirit.
David Burrows, Alex Marzeta, Vanessa Page and Mark Jackson will be performing.
Rites of the Zeitgeber, Verity Brit & Musician ‘U’ (UK)
9 channel video installation, live score performed by musician ‘U’
The Zeitgeber (‘time giver’ or ‘synchroniser’) is honoured by a triadic henge of stacked CRT monitors in which past durations collide with future vacuums. Strange extra-terrestrial topographies are traversed across geological time and the internet. Curious substances are unearthed and lost languages resurrected. Fragments from Mina Loy, J. G. Ballard and Henri Bergson emerge amongst an archaeology of media from Super 8, VHS, to HD. Time bends from matter, history is up-set and the clock is obsolete.
Verity Birt an artist based in London. She studied an MA in Moving Image at the Royal College of Art (2013–2015) and BA in Art Practice at Goldsmiths University of London (2008–2011). She is involved with collaborative research groups; The Future is a Collective Project, Reconfiguring Ruins and a founding member of women artists collective Altai. This summer, Verity was artist in residence at BALTIC and The Newbridge Project in Newcastle. Previous exhibitions include: Our House of Common Weeds; Res. Gallery, London (2017); Relics from the De-crypt | Gossamer Fog Gallery London (2017), Altai in Residence, Experiments in Collective Practice, Dyson Gallery, London (2017); Chemhex Extract, Peacock Visual Arts, Aberdeen (2016); Feeling Safer, IMT Gallery, London and Gallery North, New York (2016); Come to Dust, Generator Projects, Dundee (2016)
Fallopé & The Tubes (UK)
A weirdo-punk performance band. Each live show features live humans! film and visuals! costumes! sculpture! visual props! and music/a sequence of sounds!
Fallopé and The Tubes is a fluctuating live musical and performative event with contributions from Sarah Messenger, Ruby Pester, Nadia Rossi, Rachel Walker, Catherine Weir, Emma McIntyre and Skye Renee Foley. The group are made up of Scottish based artists and musicians that are also filmmakers, festival organisers, librarians, boatbuilders and more who work collaboratively to devise live performances. Drawing influence from a wide range of fringe and mainstream musical genres, exploring sexuality, elements of social satire, self promotion and leftist political ideologies.
The group was established in January 2014 at Insriach Bothy, Aviemore and have developed their practice during numerous residency experiences across Scotland. By living and working together ‘off grid’ the group have developed experimental techniques to create a collective energy. Fallopé & The Tubes draw influence from a wide range of fringe and mainstream musical genres, as well as sexuality, elements of social satire and self promotion and leftist political ideologies. Soakin Records
DJ RHL (UK)
Resident NEoN DJ has been entertaining us since 2010. Djing for about 25 years, he predominately plays Techno but you often find him playing anything dance music related. Spinning old school vinyl sets containing an eclectic mix of old and new stuff. RHL just likes making people dance. Check here for past performances.
Accompanying DJ RHL is ‘The Wanderer‘ aka Naomi Lamb. Naomi works layers of diverse video loops into an ever evolving collage colours textures and shape and intuitively mixies visuals live. She improvises, freestyles and channels the room, customising the ephemeral moving collage in response to the tone of the happening.
For the past 20 years Naomi has been a prolific live video art performer utilising techniques and process that is often associated with the ever growing subculture of VJing and presents under the name of ‘The Wander’. Naomi has an intimate knowledge of not only the process of live video performance but also an wide reaching connections within the VJ community and has performed at many of the leading outdoor music and art festivals in New Zealand with a debut at two English Festivals this summer and she is super please for her first time mixing it up in Scotland to be at NEoN. “
AGK Booth
Yuck ’n Yum hereby invites you to attend the Annual General Karaoke booth at this year’s NEoN at Night. The AGK is a fiercely contested karaoke video competition, getting creative types to make videos that will shock, delight and confound its audience. First staged back in 2010, over the years the AGK has built up a sizeable back catalogue of singalong anthems encompassing everything from pop classics to the most extreme avant garde out there. Now Yuck ’n Yum will bring the AGK archive to NEoN revellers in an audiovisual extravaganza that will overturn everything you ever thought you knew about karaoke convention. This November, Yuck ’n Yum together with NEoN are making a song and dance about it.
About the Artists Yuck ‘n Yum is a curatorial collective formed in Dundee 2008. Until 2013 its main raison d’etre was to make zines and distribute art. The AGK booth is the first of three projects that will kick start a period of activity after a couple of years of hibernation.
Yuck ‘n Yum are Andrew Maclean, Gayle Meikle, Ben Robinson, Alexandra Ross, Alex Tobin, Becca Clark and Morgan Cahn.
WEST WARD WORKS
Guthrie Street
DD1 5BR
Images: Kathryn Rattray Photography
As always NEoN celebrates its festival with a late night party. Acts include Plastique Fantastique, Verity Brit & Musician U, Fallope & The Tubes and Resident DJ RHL. With a pop up bar and performances amongst our large group exhibition the vast factory space West Ward Works, this night promises to be a visual audible delight.
Plastique Fantastique (UK)
A performance fiction envisaged as a group of human and non-human avatars delivering communiqués from the past and the future. The communiqués are channelled through installations, writing, comics and sound and moving image work and performances, addressing technology, popular and mass media and sacred cultures and also human-machine animals and non-human entities and agents. Over several years, numerous people have produced Plastique Fantastique but there is also a core group producing the performance fiction. Plastique Fantastique was first presented by David Burrows and Simon O’Sullivan and developed with long-term collaborators Alex Marzeta and Vanessa Page, and more recently with Mark Jackson. For NE0N 2017, this group will call forth and trap a bit-coin-fairy-spirit to ask it seems questions. The performance – Plastique Fantastique Protocols for the Society for Cutting Up Mun-knee-snakers (S.C.U.M.): I-Valerie-Solaris-AKA-@32ACP-Amazon.co.uk-recommends-‘Pacific-Rim’ may/may-not shoot b1t-c0in-f@iry-sp1r1t) – uses drone-folk-songs, moving image projection, reliquaries and ritual to manifest the block-chain-spirit.
David Burrows, Alex Marzeta, Vanessa Page and Mark Jackson will be performing.
Rites of the Zeitgeber, Verity Brit & Musician ‘U’ (UK)
9 channel video installation, live score performed by musician ‘U’
The Zeitgeber (‘time giver’ or ‘synchroniser’) is honoured by a triadic henge of stacked CRT monitors in which past durations collide with future vacuums. Strange extra-terrestrial topographies are traversed across geological time and the internet. Curious substances are unearthed and lost languages resurrected. Fragments from Mina Loy, J. G. Ballard and Henri Bergson emerge amongst an archaeology of media from Super 8, VHS, to HD. Time bends from matter, history is up-set and the clock is obsolete.
Verity Birt an artist based in London. She studied an MA in Moving Image at the Royal College of Art (2013–2015) and BA in Art Practice at Goldsmiths University of London (2008–2011). She is involved with collaborative research groups; The Future is a Collective Project, Reconfiguring Ruins and a founding member of women artists collective Altai. This summer, Verity was artist in residence at BALTIC and The Newbridge Project in Newcastle. Previous exhibitions include: Our House of Common Weeds; Res. Gallery, London (2017); Relics from the De-crypt | Gossamer Fog Gallery London (2017), Altai in Residence, Experiments in Collective Practice, Dyson Gallery, London (2017); Chemhex Extract, Peacock Visual Arts, Aberdeen (2016); Feeling Safer, IMT Gallery, London and Gallery North, New York (2016); Come to Dust, Generator Projects, Dundee (2016)
Fallopé & The Tubes (UK)
A weirdo-punk performance band. Each live show features live humans! film and visuals! costumes! sculpture! visual props! and music/a sequence of sounds!
Fallopé and The Tubes is a fluctuating live musical and performative event with contributions from Sarah Messenger, Ruby Pester, Nadia Rossi, Rachel Walker, Catherine Weir, Emma McIntyre and Skye Renee Foley. The group are made up of Scottish based artists and musicians that are also filmmakers, festival organisers, librarians, boatbuilders and more who work collaboratively to devise live performances. Drawing influence from a wide range of fringe and mainstream musical genres, exploring sexuality, elements of social satire, self promotion and leftist political ideologies.
The group was established in January 2014 at Insriach Bothy, Aviemore and have developed their practice during numerous residency experiences across Scotland. By living and working together ‘off grid’ the group have developed experimental techniques to create a collective energy. Fallopé & The Tubes draw influence from a wide range of fringe and mainstream musical genres, as well as sexuality, elements of social satire and self promotion and leftist political ideologies. Soakin Records
DJ RHL (UK)
Resident NEoN DJ has been entertaining us since 2010. Djing for about 25 years, he predominately plays Techno but you often find him playing anything dance music related. Spinning old school vinyl sets containing an eclectic mix of old and new stuff. RHL just likes making people dance. Check here for past performances.
Accompanying DJ RHL is ‘The Wanderer‘ aka Naomi Lamb. Naomi works layers of diverse video loops into an ever evolving collage colours textures and shape and intuitively mixies visuals live. She improvises, freestyles and channels the room, customising the ephemeral moving collage in response to the tone of the happening.
For the past 20 years Naomi has been a prolific live video art performer utilising techniques and process that is often associated with the ever growing subculture of VJing and presents under the name of ‘The Wander’. Naomi has an intimate knowledge of not only the process of live video performance but also an wide reaching connections within the VJ community and has performed at many of the leading outdoor music and art festivals in New Zealand with a debut at two English Festivals this summer and she is super please for her first time mixing it up in Scotland to be at NEoN. “
AGK Booth
Yuck ’n Yum hereby invites you to attend the Annual General Karaoke booth at this year’s NEoN at Night. The AGK is a fiercely contested karaoke video competition, getting creative types to make videos that will shock, delight and confound its audience. First staged back in 2010, over the years the AGK has built up a sizeable back catalogue of singalong anthems encompassing everything from pop classics to the most extreme avant garde out there. Now Yuck ’n Yum will bring the AGK archive to NEoN revellers in an audiovisual extravaganza that will overturn everything you ever thought you knew about karaoke convention. This November, Yuck ’n Yum together with NEoN are making a song and dance about it.
About the Artists Yuck ‘n Yum is a curatorial collective formed in Dundee 2008. Until 2013 its main raison d’etre was to make zines and distribute art. The AGK booth is the first of three projects that will kick start a period of activity after a couple of years of hibernation.
Yuck ‘n Yum are Andrew Maclean, Gayle Meikle, Ben Robinson, Alexandra Ross, Alex Tobin, Becca Clark and Morgan Cahn.
WEST WARD WORKS
Guthrie Street
DD1 5BR
Images: Kathryn Rattray Photography
Includes tracks by Benny Barnes, Joe Carson, Sonny Burns, Willie Nelson, Bill Carter, Glen Barber, Eddie Noack & Johnny Dollar.
1983!!
The year GI Joe expanded to include guys from other branches of the military!
We got a Marine, an Air Force captain, and a Navy SEAL!
Also, we got another woman and another black dude, a Native American a native Hawaaian and a Cajun! Joe was diverisifying in more ways than one!
The figures looked more diverse as well, gone was the generic, uniform look of the previous year, now each character had a very distinctive look. Hasbro now knew that they had a hit on their hands and wasn't shy about investing a little more into making the brand stand out.
The Joes got thier own HQ, an awesome fighter jet, a chopper ,a missile launching tank, an APC and a snowmobile.
Even Cobra finally got some vehicles: a tank a chopper.
As a kid I had all the Joes that came out this year except for some of the ones pictured here. I never had Airborne or Wild BIll (I didn't have the Dragonfly chopper). I also did not have the Wolverine or Cover Girl. I also didn't have Snow Job, but I had the Polar Battle Bear snowmobile ( I still have one and forgot to sneak it into this shot!). However I literally had everything else that came out this year for both the Joes and Cobras, even the carrying cases (remember the plastic "fanny pack" that you could put 3 Joes in? Ha!).
These are the only vintage Joes I have from that period now, all aquired in my adulthood. As an adult I only focus on getting back my favorite vintage Joes, or ones I could never find in stores as a kid, or never had because they came with a pricey vehicle my parents wouldn't get for me. oh and also ones that came out after I stopped collecting in 1987 that seemed like they were actually cool.
I also need to mention "swivel arm battle grip" ( in the world of GI Joe there is always some sort of "grip" we are supposed to be excited about). This was a revolution in action figure design that was the ultimate cure for the "broken thumb syndrome" that plagued virtually every '82 figure I had.
One other observation about this year, which might be a general cultural observation, is that this year the ratio of clean shaven or mustachioed characters to bearded characters firmly shifted away from favoring those with full beards and has never quite shifted back!
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A visit to the geysers at El Tatio, Atacama, Chile. A pre-dawn start to get there early for maximum steam effect in the cold, early morning air. The geysers are located at over 4000m above sea level.
Fence
The fence in its red-and-gold color scheme
At the time of establishment of the New Castle, several cast iron works have been commissioned. These include the long and high fence enclosing and protecting the entire area. The fence begins at the Palm House in the Castle garden (Burggarten) and encloses the Castle garden toward Goethegasse along the ring road passing the Corps de Logis, until the Castle gate and then along the Ring road around the People's garden (Volksgarten) to the Burgtheater. There it stretches along the Löwelstraße eastwards where it separates the People's garden from the Heroes Square and closing it. Thus, the public parks of the Castle garden, Heroes' Square and People's garden are directly related to the ensemble of the Hofburg. The decorated fence in the style of Neo-Baroque was originally painted red and partly gilded. The lanterns are decorated with the imperial crown. Over time the fence was completely painted black. The original color scheme reappeared in the course of restoration work in the 1990s. In doing so, the fence was up till the foundations completely disassembled and the sandstone base (Mannersdorfer stone) repaired. Rust damages were removed and replaced missing parts. After long investigations the fence could at least in the area of the Castle gate again shine in its original red-and-gold color scheme, the remaining portion, however, was again kept in black.
(further pictures and information are available by clicking on the link at the end of page!)
History of the Vienna Hofburg
First residence
With the elevation of Austria to Archduchy in 1156, Vienna became a city of residence. From the residence of the Babenberg dynasty, who was located on the present site "Am Hof", unfortunately, there do not exist any remains anymore. After the extinction of the Babenberg, Ottokar II of Bohemia (1230-1278) took over by marriage the rule in Vienna and began in 1275 with the construction of a castle within the city walls of Vienna. This castle was equipped with four towers around a rectangular court that is known as Schweizerhof today. In the battle for the German crown Ottokar was defeated at the Battle of Dürnkrut by Rudolf I of Habsburg (1218-1291) and killed during the retreat.
As the old residence of the Babenberg in 1276 burned down, Rudolf probably 1279 moved into the former castle of Ottokar. The descendants of Rudolf extended the castle only slightly: castle chapel (documentary mention in 1296), St. Augustine's Church (consecrated in 1349), reconstruction of the chapel (1423-1426). Due to the division of the lands of the Habsburg Vienna lost its importance and also lacked the financial resources to expand the castle.
Imperial residence
Under Frederick III. (1415-1493) the Habsburgs obtained the imperial title and Vienna became an imperial residence. But Friedrich and his successors used the Vienna Residence only rarely and so it happened that the imperial residence temporarily orphaned. Only under Ferdinand I (1503-1564) Vienna again became the capital of the Archduchy. Under Ferdinand set in a large construction activity: The three existing wings of the Swiss court were expanded and increased. The defensive wall in the northwest as fourth tract with the Swiss Gate (built in 1552 probably by Pietro Ferrabosco) was rebuilt. In the southwest, a tract for Ferdinand's children (the so-called "children Stöckl") was added. The newly constituted authorities Exchequer and Chancery were located in adjacent buildings at Castle Square. Were added in the castle an art chamber, a hospital, a passage from the castle to St. Augustine's Church and a new ballroom.
First major extensions of the residence
In the area of "desolate church" built Ferdinand from 1559 a solitary residence for his son. However, the construction was delayed, and Maximilian II (1527-1576) after his father's death in 1564 moved into the ancient castle. His residence he for his Spanish horses had converted into a Hofstallgebäude (Stallburg - stables) and increased from 1565 .
Ferdinand I decided to divide his lands to his three sons, which led to a reduction of Vienna as a residence. Moreover, stayed Maximilian II, who was awarded alongside Austria above and below the Enns also Bohemia and Hungary, readily in Prague and he moved also the residence there. In 1575 he decided to build a new building in front of the Swiss court for the royal household of his eldest son, Rudolf II (1552-1612). The 1577 in the style of the late Renaissance completed and in 1610 expanded building, which was significantly fitted with a turret with "welscher hood" and an astronomical clock, but by the governor of the Emperor (Archduke Ernst of Austria) was inhabited. However, the name "Amalienborg Castle" comes from Amalie of Brunswick-Wolfenbüttel (wife of Joseph I.), which in 1711 there installed her widow seat.
In the late 16th and early 17th Century only a few extensions were carried out: extension of a separate tract in the northeast of the castle for the Treasure and Art chamber (1583-1585) and setting up of a dance hall in the area of today's Redoutensäle (1629-1631).
Under Leopold I the dance hall by Ludovico Burnacini 1659/1660 was rebuilt into an at that time modern theater ("Comedy House"). 1666 Leopold I in the area of today's castle garden a new opera house with three tiers and a capacity of 5,000 people had built.
In the 1660-ies under Leopold I (1640-1705) after the plans of architect Filiberto Lucchese an elongated wing building between the Amalienborg Castle and the Schweizerhof, the so-called Leopoldine Wing, was built. However, since the tract shortly after the completion burned down, this by Giovanni Pietro Tencala was set up newly and increased. Architecturally, this tract still connects to the late Renaissance. The connection with the Amalienborg castle followed then under Leopold's son Joseph I (1678-1711).
After completion of the Leopoldine Wing the in the southeast of castle located riding school was renewed, the south tower of the old castle pulled down, the old sacristy of the chapel replaced by an extension. Under Charles VI. (1685-1740) the Gateway Building between cabbage market (Kohlmarkt) and Courtyard by Johann Lucas von Hildebrandt was transformed into a monumental triumphal arch as a representative sign of the imperial power. However, this construction does not exist anymore, it had to give way to the Michael tract.
Baroque redesign of the Hofburg
In the early 18th Century set in a buoyant construction activity. The emperor commissioned Johann Bernhard Fischer von Erlach with the construction of new stables outside the city walls and a new court library.
After the death of Johann Bernhard Fischer von Erlach, his son Joseph Emanuel Fischer von Erlach took over the construction management for the stables and the court library. 1725 the palatial front of the stables was completed. As already during the construction period has been established that the stables were dimensioned too small, the other wings were not realized anymore. The with frescoes by Daniel Gran and statues of Emperors by Paul Strudel equipped Court Library was completed in 1737.
Opposite the Leopoldine Wing a new Reich Chancellery should be built. 1723 was entrusted with the planning Johann Lucas von Hildebrandt. 1726, however, the supervision the Reich Chancellery was withdrawn and transferred to the Chancery and thus Joseph Emanuel Fischer von Erlach, who also designed the adjacent Court Chamber and the front to St. Michael's Church. 1728 the Court Chamber and the facade of the two buildings were completed. By Joseph Emanuel Fischer von Erlach was also the Michaelertrakt, the connection between the Winter Riding School and the Imperial Chancellery Wing planned. However, since the old Burgtheater the building was in the path, this was half done for a period of 150 years and was only completed in 1889-1893 by Ferdinand Kirschner .
Under Maria Theresia (1717-1780) the at St. Michael's Square located and only as remnants existing Ballhaus was adapted as a court theater. Beside the Emperor hospital in return a new ball house was built, being eponymous for the Ballhausplatz. Subsequently, there occured again and again conversions and adaptations: reconstruction of the comedy hall according to the plans of Jean Nicolas Jadot into two ballrooms, the small and large ball room (1744-1748). The transformation of the two halls (from 1760), repair of the Court Library, and from 1769 onwards the design of the Josephsplatz took place under Joseph Nicolas of Pacassi. These buildings were completed by the successor of Pacassi Franz Anton Hillebrandt. As an extension for the Court Library in the southeast the Augustinian tract was built.
Other structural measures under Maria Theresia: establishment of the court pharmacy into the Stallburg, relocation of the in the Stallburg housed art collection into the Upper Belvedere, razing of the two remaining towers of the old castle, the construction of two stairways (the ambassador stairway and the column stairways (Botschafter- and Säulenstiege).
Extensions in the 19th Century and early 20th century
Francis II (1768-1835) gave Duke Albert of Saxe-Teschen and his wife Marie Christine (daughter of Maria Theresa) the Palais Tarouca south of the Augustinian monastery. From 1800 this was remodeled by Louis Montoyer and extended by a wing building to today's Albertina.
1804, Francis II proclaimed the hereditary Empire of Austria and was, consequently, as Franz I the first Emperor of Austria. With the by Napoleon Bonaparte provoked abdication of the emperor in 1806 ended the Holy Roman Empire of the German Nation.
1809 part of the old bastions was blown up at the castle in consequence of the war with Napoleon, and after it blazed. Towards today's ring road, then new outworks were created (the so-called Hornwerkskurtine and the Escarpen). In the early 20-ies of the 19th Century were layed out three gardens: the private imperial castle garden with two of Louis Remy planned steel/glass- constructed greenhouses, Heroes Square (Heldenplatz) with avenues and the People's garden (Volksgarten) with the Theseus Temple (Pietro Nobile). At the same time, emerged also the new, 1821 by Luigi Cagnola began and 1824 by Pietro Nobile completed outer castle gate.
1846 was built a monumental memorial to Francis I in Inner Castle Square. In the turmoil of the 1848 revolution the Stallburg was stormed and fought fiercely at the outer castle square and the castle gate. As a result, the roof of the court library burned. The political consequences of the revolution were the abdication of Emperor Ferdinand I (1793-1875), the dismissal of the dreaded Chancellor Clemens Lothar Fürst Metternich and the enthronement of Ferdinand's nephew Franz Joseph.
In the first years of the reign of Emperor Franz Joseph I (1830-1916) the royal stables of Leopold Mayer have been redesigned and expanded. As part of the expansion of the city, the city walls were razed and instead of the fortifications arose place for a magnificent boulevard, the Ringstrasse. 1862, the idea of an Imperial Forum by architect Ludwig Förster was born. On the surface between the Hofburg and the Imperial Stables should arise court museums (Museum of Art History and Museum of Natural History).
At the outer Castle Square (today's Heldenplatz) were in the 60-ies of the 19th Century the by Anton Dominik Fernkorn created equestrian statues of Archduke Charles (victor over Napoleon at the Battle of Aspern) and Prince Eugene of Savoy (victor over the Turks in several battles) set up.
After an unsuccessful architectural competition on the design of the Heroes' Square area in 1869 Gottfried Semper could be won. This led to the involuntary and not frictionless collaboration with Carl Freiherr von Hasenauer. Planned was a two-wing complex beyond the ring road, with the two flanking twin museums (Art and Natural History Museum) and the old stables as a conclusion. 1871 was began with the Erdaushebungen (excavations) for the museums. 1889, the Museum of Natural History was opened, and in 1891, the Museum of Art History.
On a watercolor from 1873 by Rudolf Ritter von Alt (1812 - 1905) an overall view of the Imperial Forum is shown.
1888, the Old Court Theatre at St. Michael's Square was demolished, as the new KK Court Theatre (today's Burgtheater), built by Gottfried Semper and Carl Freiherr von Hasenauer, was finished. The since 150 years existing construction site at St. Michael's Square could be completed. The roundel got a dome, the concave curved Michaelertrakt was finalized by Ferdinand Kirschner. The once by Lorenzo Mattielli created cycle of statues on the facade of the Reich Chancellery was continued with four other "deeds of Hercules' at he side of the passage arches. 1893, the Hofburg had finally got its ostentatious show facade.
1901, the old greenhouses were demolished and replaced by an orangery with Art Nouveau elements according to plans by Friedrich Ohmann (completed in 1910). In 1907, the Corps de Logis, which forms the end of the Neue Burg, is completed. Since Emperor Franz Joseph I in budding 20th Century no longer was interested in lengthy construction projects and the heir to the throne Franz Ferdinand of Austria-Este (1863-1914) was against the establishment of a throne hall building, but was in favour for the construction of a smaller ballroom tract, the implementation of the second wing was dropped. After the assassination of Franz Ferdinand of Austria-Este in Sarajevo, the First World War broke out. Franz Joseph I died in 1916. A great-nephew of Franz Joseph I, Charles I (1887-1922), succeeded to the throne, however, he held only two years. The end of the First World War also meant the end of the Austro-Hungarian monarchy. On 11 November 1918 the First Republic was proclaimed. As Karl although renounced to government business, but not to the throne, he had to go into exile with his family.
The Imperial Palace in the 20th century
The interior design of the ballroom tract and the Neue Burg continued despite the end of the monarchy until 1926. By the end of the monarchy, many of the buildings lost their purpose. Furthermore used or operated was the Riding School. The stables were used from 1921 as an exhibition site of the Vienna Fair ("Fair Palace"). In 1928, the Corps de Logis, the Museum of Ethnology, until then part of the Natural History Museum, opened. In 1935 the collection of weapons (Court, Hunting and Armour Chamber) of the Kunsthistorisches Museum (Museum of Art History) came in the Neue Burg.
1933/1934 the outer castle gate by Rudolf Wondracek was transformed into the hero monument to the victims of the First World War. 1935 emerged on the left and on the right of the castle gate the pylon portals with eagle sculptures by William Frass. In March 1938, the Heroes Square and the balcony of the Neue Burg gained notoriety after Adolf Hitler to the cheering crowd at the Heldenplatz announced the annexation of Austria to the German Reich. The Nazis were planning a redesign of the Heroes' Square to a paved parade and ceremony space. The plans were not realized since 1943 a fire pond at Heldenplatz was dredged and the place was later used for agriculture. In the Trade Fair Palace during the period of Nazism propaganda events were held.
During the war, the Hofburg (Imperial Stables, St. Augustine's Church, Albertina, the official building of the Federal President, the current building of the Federal Chancellery) was severely damaged by bombing: The first President of the Second Republic, Dr. Karl Renner, in 1946 the Office of the President moved into the Leopoldine Wing (in the former living quarters of Maria Theresa and Joseph II).
During the occupation time the seat of the Inter-Allied Commission was housed in the Neue Burg.
1946 first events were held in the Exhibition Palace again, and were built two large halls in the main courtyard of the Exhibition Palace. In the course of the reconstruction war damages were disposed and the Imperial Palace was repaired, the barn castle (Stallburg) erected again. In 1958, in the ballroom wing the convention center has been set up.
1962-1966 the modern Library of the Austrian National Library is housed in the Neue Burg.
1989 emerged for the first time the notion of a "Museum Quarter". The museum quarter should include contemporary art and culture. The oversized design by Laurids and Manfred Ortner but was downsized several times after resistance of a citizens' initiative. It was implemented a decade later.
1992 the two Redoutensäle (ball rooms) burned out completely. Yet shortly after the fire was started with reconstruction. The roof was reconstructed and the little ball room (Kleiner Redoutensaal) could be restored. The big ball room, however, was renovated and designed with paintings by Josef Mikl. In 1997 the two halls were reopened.
From 1997-2002 the Museum Quarter (including Kunsthalle Wien, Leopold Collection) was rebuilt and the old building fabric renovated.
Was began in 1999 with the renovation of the Albertina. The by a study building, two exhibit halls and an underground storage vault extended Museum was reopened in 2003. The Albertina ramp was built with an oversized shed roof by Hans Hollein.
In 2006, additional rooms for the convention center were created by the boiler house yard.
(Source: Trenkler, Thomas: "The Hofburg Wien", Vienna, 2004)
www.burghauptmannschaft.at/php/detail.php?ukatnr=12185&am...
Includes a photo I took at the Boland's Mills site in Dublin displayed on the monitor and taken so I could do the overlay in-camera (plus another image of some architectural lighting..) ... Then perked up in LR messed up some more...
I caught the late stages of a cricket match at Buckingham Park. Southwick & Shoreham vs. Forest Row. The home team were batting, but fell short of their target.
Shared servant bedrooms and living quarters In Castle de Haar , Kasteel de Haar near the suburb of Vleuten that includes village of Haarzuilen rebuild by architect Pierre Cuyper Project was finished in around 1912 took 20 years to be finished , Martin’s photograph , Utrecht , the Netherlands , June 5. 2019
Old steam heater
Servant living quarters
A outside service walk way inside the castle
Fireplace with beautiful screen and mantel
Beautiful formal gardens with piramide shaped trees
Beautiful staircase
Beautiful staircase in castle , Kasteel de Haar
Staircase
Narrow passage inside the castle
Formal gardens
Stairway critters sculptures in Castle
Stairway sculptures
Spiral stairway
Central Station in Amsterdam , build by architect Pierre Cuyper
de Rijks Museum in Amsterdam build by architect Pierre Cuyper
de Rijks Museum in Amsterdam
Central Station in Amsterdam
Amsterdam
Lavet bad tub
Lavet bad tub and washing machine
main door
Beautiful staircase
Kasteel de Haar near the suburb of Vleuten that includes village of Haarzuilen
architect Pierre Cuyper
Martin’s photograph
Utrecht
the Netherlands
Nederland
June 2019
Favourites
IPhone 6
Village of Haarzuilen
Kasteel de Haar
Castle the Haar
Kasteel de Haar was rebuild by architect Pierre Cuyper Project was finished in around 1912 took 20 years to be finished
city of Utrecht in the province Utrecht
Beautiful staircase in Kasteel de Haar
Door knocker
Beautiful window and seating
A small gable