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Purchase this poster thru Amazon: www.amazon.com/gp/product/B003M8DCV6
Johnny "The Colonel" Maguire presents... The Colonel's Super Dooper Guitar Party! German Hall in Pawtucket, Rhode Island (October 16, 17, and 18, 2009) Full schedule & Ticket info at: www.ColonelsGuitarParty.com
Special guests: Miss Barbara Lynn, Sean Mencher, J. Geils, Brownbird Rudy Relic, Lester Peabody (Of Finland's The Barnshakers), Joe Beard, Duke Robillard, The Cobra-Matics, Orb Mellon, Guitar Zack Wiesinger, The Fathoms, Susquehannah Industrial Tool & Die Co., Gerry Beaudoin, Tim Ferarro, Denny Breau's Lenny Breau Tribute, and more! Live performances, Clinics, Signings, Giveaways, Food, Drink, Fun!
Are you a musician, band, clubowner, or promoter, who would like to have a classic custom event poster, webflyer, or CD package designed? Perhaps you would like to own an original print of one of the concert posters that you've seen here.... Please Visit my Website at www.AtomicJukebox.com
A new perspective of an acoustic guitar. You don't see the dust until it's on a large screen. I dusted this off, but there it still is....
100% Free HDR Pictures for Privat and Commercial use.
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Have Fun.
I've made many comments about writing music in the past online, and I decided that in 2015 I will be focusing on actually putting out projects instead of working silently and never releasing anything out of fear. It took me a while to become confident with photography and I've always been very private about the music I write but want to change that, so this year I plan on putting out 4-5 songs every 3-4 month from various projects while continuing to push myself with photography, the first being this.
"MOADS" is a hip-hop/ rap instrumental project where I basically just write beats in various styles, if you're a fan of instrumentals or rap/hip-hop, check this out! Free download if you click "buy now" and just write zero. If you're interested in leasing a track or having exclusive rights for a mixtape or album, message me here or email moadsmusicmtl@gmail.com for details
© 2014 Thousand Word Images by Dustin Abbott
There is something so compelling about instruments, particularly if you are a music lover. Craftsmanship. The loving shaping of something that is not only intrinsically beautiful but can produce such incredible music. This is the mandolin of a very talented musician who also happens to be a friend. A small instrument that can make some seriously big sound!
Technical information Canon EOS 6D, Zeiss APO Sonnar T 2/135mm ZE, Processed in Adobe Lightroom 5, Adobe Photoshop CC, and Alien Skin Exposure 6
Want to know more about me or make contact? Take a look at my website and find a lot of ways to connect and view my work.
Yo soy una partitura de violin ya escrita y mancillada por ciertas zonas inconexas.
Me gusta disfrutar de las variaciones, o abuso de los tonos agudos o desciendo y me revuelco por los graves.
Nunca poseo notas…neutrales.
¿Eso quiere decir que no soy armónica?
En mi opinión lo soy a mi manera, a ratos.
Pero claro, tal vez no soy de gusto de todos. Tal vez solo me escuchen los de gustos estrambóticos.
¿Eso no me hace más interesante?
Silencio, descuida, cuando quiero puedo ser invisible y dejar languidecer el sonido de mi voz.
Poco melódica he de admitir.
Pero…en mi, hay una zona que no es ni más ni menos que una partitura en blanco.
Y yo te dejo la oportunidad de que me ensucies con tus notas, solo tú y por una vez.
Dejaré que me reescriban y suene ligeramente diferente.
Vamos, atrévete, ya he dejado la puerta abierta sin dobleces.
My Takamine EG523SC-12 12-String guitar at 14mm in natural light. Best viewed large.
HERE'S what she sounds like!
The Jupiter factory in Pripyat is a legend. The official history is alleged that they made cassette recorders and other minor parts, but most of its shops made different products. Secretly (allegedly) in the factories they were developing and assembling military computers and “black boxes”, those products were mysteriously named “Product No:”. It is not officially known what the products were used for but We can only assume that most of them were used for military submarines, fighters and even in the space industry.
The dimensions of the factory are huge. While the majority of the population of Pripyat were working at the Power plant, the remaining residents were employed by this factory. Jupiter had been functioning up until the moment when power generation was halted at the Powerplant. Chernobyl NPP was the main source of power for the factory.
Today it is abandoned. Even though people left it not so long ago, it still has many Soviet machines, devices and other stuff.
Named for the nearby Pripyat River, Pripyat was founded on 4 February 1970, the ninth nuclear city in the Soviet Union, for the Chernobyl Nuclear Power Plant. It was officially proclaimed a city in 1979, and had grown to a population of 49,360 before being evacuated a few days after the 26 April 1986 Chernobyl disaster.
Though Pripyat is located within the administrative district of Ivankiv Raion, the abandoned city now has a special status within the larger Kiev Oblast (province), being administered directly from Kiev. Pripyat is also supervised by Ukraine's Ministry of Emergencies, which manages activities for the entire Chernobyl Exclusion Zone.
Access to Pripyat, unlike cities of military importance, was not restricted before the disaster as nuclear power stations were seen by the Soviet Union as safer than other types of power plants. Nuclear power stations were presented as being an achievement of Soviet engineering, where nuclear power was harnessed for peaceful projects. The slogan "peaceful atom" (Russian: ?????? ????, mirnyj atom) was popular during those times. The original plan had been to build the plant only 25 km (16 mi) from Kiev, but the Ukrainian Academy of Sciences, among other bodies, expressed concern about it being too close to the city. As a result, the power station and Pripyat were built at their current locations, about 100 km (62 mi) from Kiev. After the disaster the city of Pripyat was evacuated in two days.
A 35 man (plus guides) trip to the Ukraine exploring Chernobyl, the village, Duga 3, Pripyat and Kiev including Maidan (Independence Square) and observing the peaceful protests underway.
Some new faces, some old, made new friends and generally we were in our elements.
Rhetorical question but did we have a blast? You bet!
Amazing group, top guys. Till the next time!
My blog:
timster1973.wordpress.com
Also on Facebook
www.Facebook.com/TimKniftonPhotography
online store: www.artfinder.com/tim-knifton
Early-model Boeing 707 Flight Engineer station. Pretty sure this unit was a training simulator. In storage at Aviation Warehouse. Total darkness, Protomachines flashlight, 2 colors from 3 directions.
January 20, 2011. Day 20.
Strobist Info
Flash (580EX) camera left, snooted. Shot across the face of the guitar. RF602 trigger.
The Regional Seas Conventions and Action Plans are instrumental in supporting the implementation of the GPA at regional levels and have developed, or are in the process of developing, regional sea action plans on marine litter. The regional plans take into account the environmental, social and economic situation of each regional sea and they vary in the detail and extent of actions recommended to the states (UNEP, 2016a). While, for example, in the Mediterranean the strategic framework includes legally binding measures, the regional action plans for the Baltic and North Atlantic are built around a set of fundamental principles and, similar to the G7 Action Plan, a series of regional and national actions to address land-based and sea-based sources, priority removal actions and priority actions on education, research and outreach. Otherwise in the Pacific marine debris has been identified as a priority area in the broader Pacific Regional Waste and Pollution Management Strategy 2015–2016.
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This photo has been graciously provided to be used in the GRID-Arendal resources library by: Maphoto/Riccardo Pravettoni
Vintage postcard by Image Media, no. 32 bis. Photo: Essel Investments.
English singer Peter Gabriel (1950) rose to fame as the original lead singer and frontman of the progressive rock band Genesis. After leaving Genesis in 1975, Gabriel launched a successful solo career with the hit 'Solsbury Hill'. His album, 'So' (1986), is his best-selling release. The single, 'Sledgehammer', won a record nine MTV Awards in 1987 and was MTV's most played music video of all time. AllMusic has described Gabriel as "one of rock's most ambitious, innovative musicians, as well as one of its most political".
Peter Brian Gabriel was born in 1950 in Woking, Surrey. He was raised in a middle-class family in Coxhill, a Victorian manor situated on Deep Pool Farm, outside Chobham. His father, Ralph Parton Gabriel, was an electrical engineer and his mother, Edith Irene Gabriel (née Allen), was from a musical family. At twelve Gabriel wrote his first song, 'Sammy the Slug'. Around this time, an aunt gave him money for professional singing lessons but Gabriel used it to buy the first Beatles album. In 1963 Gabriel started at Charterhouse School, a private school in Godalming. There, Gabriel formed the band Garden Wall in 1965 with school friends Tony Banks on piano and Chris Stewart on drums. In 1967, after Garden Wall had disbanded, Gabriel, Banks, and Stewart were invited by fellow pupils Anthony Phillips and Mike Rutherford to work on a demo tape of songs. Gabriel and Banks contributed 'She is Beautiful', the first song they wrote together. The tape was sent to former Charterhouse pupil turned musician Jonathan King, who was immediately enthusiastic largely due to Gabriel's vocals. He signed the group and suggested a band name of Gabriel's Angels, but it was unpopular with the other members. They settled on King's other suggestion, Genesis. After King suggested they stick towards more straightforward pop, Gabriel and Banks wrote 'The Silent Sun' as a pastiche of the Bee Gees, one of King's favourite bands. It became Genesis's first single in 1968. It was included on their first studio album, 'From Genesis to Revelation' (1968), which saw Gabriel play the flute. The second Genesis album, 'Trespass' (1970), marked Gabriel expanding his musical output with the accordion, tambourine, and bass drum, and incorporate his soul music influences. Both albums sold little. The shows supporting 'Foxtrot' (1972) marked a key development in Gabriel's stage performance. He had started to recite stories to introduce numbers as a way to cover the silence between songs, while the band tuned their instruments. During a gig in Dublin in September 1972, he disappeared from the set during the instrumental section of 'The Musical Box' and reappeared in his wife's red dress and a fox's head, mimicking the album's cover. He kept the idea to himself as he felt the band would have voted against it. The incident received front-page coverage in Melody Maker, giving them national exposure which allowed the group to double their performance fee. One of Gabriel's stories was printed on the liner notes of their live album, 'Genesis Live' (1973). Following the success of 'Selling England by the Pound' (1973), which centered around English themes and literary references, a typical Genesis show had Gabriel wear fluorescent make-up, a cape, and bat wings for 'Watcher of the Skies', a helmet, chest plate, and a shield for 'Dancing With the Moonlit Knight', various costumes for 'Supper's Ready', and an old man mask for 'The Musical Box'. 'The Lamb Lies Down on Broadway' (1974) was Gabriel's final album with Genesis. He devised its story of the spiritual journey of Rael, a Puerto Rican youth living in New York City, and the bizarre incidents and characters he meets on the way. Music critics often focused their reviews on Gabriel's theatrics and took the band's musical performance as secondary which irritated the rest of the band. His exit in May 1975 resulted in drummer Phil Collins reluctantly taking over on lead vocals after 400 singers were fruitlessly auditioned.
His album 'Peter Gabriel' was released in February 1977 and reached no. 7 in the UK and no. 38 in the US. Its lead single, 'Solsbury Hill', is an autobiographical song about a spiritual experience on top of Solsbury Hill in Somerset. Gabriel started recording the second 'Peter Gabriel' album in the Netherlands, with Fripp as a producer. Its 'Mother of Violence' was written by Gabriel and his first wife Jill. Released in June 1978, the album went to No. 10 in the UK and No. 45 in the US. Gabriel's tour for the album lasted from August to December 1978. On this tour, Gabriel and his band shaved their heads. Gabriel recorded the third 'Peter Gabriel' album in England in 1979. He had developed an interest in African music and drum machines and later hailed the record as his breakthrough. Gabriel signed with Mercury Records. Released in May 1980, the album went to no. 1 in the UK for three weeks. In the US, it peaked at no. 22. The singles 'Games Without Frontiers' went to no. 4 and 'Biko' went to no. 36 in the UK. On 'Peter Gabriel four', Gabriel took on greater responsibility over the production than before. He recorded it in 1981 and 1982, solely on digital tape, with a mobile studio parked at his home, Ashcombe House, in Somerset. The album hit no. 6 in the UK and no. 28 in the US. The second single, 'Shock the Monkey', became Gabriel's first top 40 hit in the US, reaching no. 29. In 1983, Gabriel developed the soundtrack for Alan Parker's film Birdy (1984).
In 1985, Peter Gabriel recorded his fifth studio album, 'So', which he co-produced with Daniel Lanois. 'So' was released in May 1986 and reached no. 1 in the UK and no. 2 in the US. It remains Gabriel's best selling album with over 5 million copies sold in the US alone. It produced three UK top 20 singles: 'Sledgehammer', 'Big Time', and 'Don't Give Up', a duet with Kate Bush. The former went to no. 1 on the US Billboard Hot 100, Gabriel's only single of his career to do so. It knocked off 'Invisible Touch' by Genesis from the top spot, also their only US number one hit. In the UK, the single went to no. 4. 'Sledgehammer's famed music video was a collaboration between director Stephen R. Johnson, Aardman Animations, and the Brothers Quay and won a record nine MTV Video Music Awards in 1987. In 1998, it was named MTV's number one animated video of all time. In 1988, Gabriel became involved as the composer for Martin Scorsese's film The Last Temptation of Christ (1988). Its soundtrack was released as 'Passion' in June 1989. It won Gabriel a Grammy Award for Best New Age Performance and a nomination for a Golden Globe for Best Original Score – Motion Picture. From 1989 to 1992, Gabriel recorded his follow-up to So, entitled Us. The album saw Gabriel address personal themes, including his failed first marriage, psychotherapy, and the growing distance between him and his eldest daughter at the time. Gabriel's introspection within the context of the album Us can be seen in the first single release "Digging in the Dirt" directed by John Downer. Accompanied by a disturbing video featuring Gabriel covered in snails and various foliage, this song made reference to the psychotherapy which had taken up much of Gabriel's time since the previous album. Gabriel describes his struggle to get through to his daughter in 'Come Talk To Me' directed by Matt Mahurin, which featured backing vocals by Sinéad O'Connor. O'Connor also lent vocals to 'Blood of Eden', directed by Nichola Bruce and Michael Coulson, the third single to be released from the album, and once again dealing with relationship struggles, this time going right back to Adam's rib for inspiration. The result was one of Gabriel's most personal albums. It met with less success than 'So', reaching no. 2 in the album chart on both sides of the Atlantic.In 1997, Gabriel was invited to participate in the direction and soundtrack of the Millennium Dome Show, a live multimedia performance staged in the Millennium Dome in London throughout 2000.
Peter Gabriel stuck with soundtrack work for his next project, scoring for the Australian film Rabbit-Proof Fence (2002) with worldbeat music. 'Long Walk Home: Music from the Rabbit-Proof Fence' (2002) received a Golden Globe Award nomination for Best Original Score – Motion Picture.
'Up', Gabriel's first full-length studio album in a decade, was also released in 2002. 'Up' reached no. 9 in the US and no. 11 in the UK, and was supported with a world tour with a band that included Gabriel's daughter Melanie on backing vocals. At the opening ceremony of the 2006 Winter Olympics in Turin, Gabriel performed John Lennon's 'Imagine'. In recognition of his many years of human rights activism, he received the Man of Peace award from the Nobel Peace Prize laureates in 2006, and Time magazine named him one of the 100 most influential people in the world in 2008. Gabriel contributed to the WALL-E (2008) soundtrack with Thomas Newman, including the film's closing song, 'Down to Earth', for which they received a Grammy Award. The song was also nominated for a Golden Globe and an Oscar for Best Original Song. In 2010, Gabriel released 'Scratch My Back', an album of cover songs by various artists including David Bowie, Lou Reed, and Neil Young. Gabriel has married twice and has four children. In 1971, at age 21, he married Jill Moore, daughter of Lord Moore of Wolvercote. They had two daughters, Anna-Marie (1974) and Melanie (1976). Anna-Marie is a filmmaker who filmed and directed Gabriel's live DVDs Growing Up on Tour: A Family Portrait and Still Growing Up: Live & Unwrapped. Melanie is a musician who has been a backing vocalist in her father's band since 2002. The marriage became increasingly strained, culminating in Moore's affair with David Lord, the co-producer of Gabriel's fourth album. It ended in divorce in 1987, and Gabriel went through a period of depression and attended therapy sessions for six years. For a time after his divorce, Gabriel lived with American actress Rosanna Arquette. In 2002, Gabriel married Meabh Flynn, 21 years his junior. They have two sons, Isaac Ralph (2001) and Luc (2008).
Source: Wikipedia.
More, more, more? Take a look at our postcard albums Vintage Pop Stars, French Pop Stars, British Pop Stars, and American Pop Stars!
Jawhe-Yato, the personification of darkness itself sought to increase his power and he finally found the answer; light cannot exist without darkness and vice-versa. Therefore, the dark being argued that by keeping light inside himself he could increase his own darkness, aswell as show to the world what he envisioned as the "truth" . However, the light was too strong for Jawhe-Yato to contain within himself and this he split himself into four beings in order to look for a fitting vessel to store all the light in. Eventually, the Avohkii was found on the island of Okoto and Jawhe-Yato reunited once more, ready to "liberate" the world from its light...
The four beings Jawhe-Yato split into in order to search for a vessel were individual versions of him, each representing a different variant of Evil.
They were:
Aptal: Stupid Evil
Hayali: Idealistic Evil
Alet: Instrumental Evil
Seytan: Demonic Evil.
These four kinds of evil have been basd off Philosopher Gottfried Wilhelm Leibniz, who concluded Demonic evil was purely mythical.
The moc itself is a full combiner, meaning that no pieces are left over in either separated or combined forms. For Jawhe-Yato, design was inspired by transformers Predaking (G1), Roman soldiers and general intimidation. His character is inspired by Vaatu.UnaVaatu from Legend of Korra, amongst other things.
This moc is my premier entry in the BFTGM, and I hope you all like it. Leave a comment of you will.
Cheers!
Bishop Dr Augustus Short of South Australia.
Anglican Bishop Short arrived in Port Adelaide in late 1847. At the time that he was created the Bishop of South Australia and Western Australia bishoprics were simultaneously created in Melbourne and Newcastle. In 1847 the Anglican Church (then known as the Church of England) had two bishops - Bishop Broughton, the Bishop of Australia (installed in 1836 when New South Wales was separated from the Diocese of Calcutta) based in Sydney and Bishop Nixon in Tasmania (installed in 1842.) After a round of social introductions and receptions Augustus Short was installed as Bishop in Trinity Church North Terrace Adelaide on the first of January 1848. He identified Trinity Church as his pro cathedral. Trinity Church had been built in 1838 as the first Anglican Church in the colony. There were few other Anglican churches in the colony in 1848 but those that existed included St John in the Wilderness, Halifax Street Adelaide (1841), St Marys at St Mary’s (1841 replaced with the current stone church in 1846), Port Adelaide (1841 a small wooden church which was replaced by a stone church in 1851), Blakiston (1846) and St George’s at Magill (1847). In 1848 St George’s at Gawler opened as did the first Anglican Church at Willunga where Bishop Short laid the foundation stone and the Walkerville church also opened in 1848.
So Bishop Short arrived on the other side of the world from his native England with few churches and even fewer clergy to be part of his empire except for the Colonial Chaplain Reverend James Farrell. But Augustus Short arrived in South Australia with a small retinue. Apart from his wife Millicent and children there was Reverend Hale, his first Archdeacon, Reverend Wilson the tutor of Short’s children who later became the first headmaster of Saint Peter’s Boys College, Canon Reverend Burnett and Reverend Bagshaw. Bishop Short was 45 years old when he arrived in Adelaide and he had first been ordained as a priest in 1827. He served as a curate for several years and received his first appointment as a vicar in 1835 aged 33 years. He remained in his Northampton vicarage until he was offered either Adelaide or Newcastle Bishopric in 1845.He chose Adelaide and was consecrated as Bishop in Westminster Cathedral in June 1847 and he arrived in Port Adelaide on December 28th 1847. He was to remain Bishop of Adelaide until the end of December 1881 upon which he returned to England. He died there in 1883. When he arrived he had three existing clergy (one was in the Swan River colony- Albany) and 6 churches but he left 91 churches and he oversaw the construction of 33 rectories, 13 schools including St Peters Boys College, the grand St Peters’ Cathedral, St Barnabas Seminary College which he dedicated in December 1881 and a group of about 50 clergymen. He was instrumental in the establishment of the University of Adelaide and he developed the Poonindie Aboriginal Mission settlement and he left consecrated Anglican cemeteries across the state and city. In addition to these religious achievements he left behind a range of prominent heritage buildings in South Australia ranging from his first private home, now Beaumont House, Bishops Court and rectory in North Adelaide, his pro cathedral Christ Church in North Adelaide and many of the historic buildings of St Peters Boys College. Part of the legacy of Trinity Church, now Holy Trinity Church and the Anglican movement in this state was the creation of the suburb of Trinity Gardens. In 1840 Trinity Church was granted by a local resident about one half section of land (about 40 acres) east of the city as a glebe lands with a frontage to Magill Road. The trust deed did not allow the lands to be sold so an act of parliament was necessary to change that. These lands were eventually sold in 1920 to create the suburb of Trinity Gardens.
Bishop Short also left a legacy to the state through his children. His wife Millicent had had ten children by 1851 but only three boys and three girls survived infancy. Daughter Millecent married George Glen of Mayura pastoral run. When a town was created out of the lands of the run in 1871 it was named Millicent (with changed spelling) after Bishop Short’s daughter. One of his sons Henry Short (born 1843) took over Buttamuck station near Black Rock in the lower north in 1858. Bishop Short leased the land from Philip Levi and Henry Short managed the sheep run. Eventually Henry Short returned to Adelaide on a property called Bickham Grange near Paradise where he was a market gardener and local councillor for Highercombe. He died in 1903 and was buried in the Short family plot at Magill Anglican cemetery. His descendants are still to be found in South Australia as he had seven children and three were boys. In the family plot are the graves of two of Henry Short’s sisters. When baby Caroline died in February 1848 just after Bishop short’s arrival in South Australia there was no consecrated Anglican cemetery in the state. The cemetery at Magill church was thus consecrated by the Bishop for the burial of Caroline who was just 12 months old. Two years later baby Alice was buried in the same plot. Several of Augustus Short’s daughters returned early to live in England. Surprisingly daughter Albinia Wilson (nee Short) who lived most of her life in England had one of her sons serve in the Second Australian Light Horse at Gallipoli where he was killed in 1915.
Hindmarsh All Saints Anglican Church.
This early Anglican Church has several associations with Bishop Augustus Short. Firstly it is a very early South Australian Anglican church and secondly he laid the foundation stone of this church (not the church hall) near the rectory in November 1849. He was assisted by Lady Augusta Young the wife of the Governor. It was part of Bishop Short’s move to have as many Anglican churches as possible erected and established. Thirdly this church is important as it was designed by the architect Henry Stuckey whom Bishop Short got to design or possibly redesign Bishops Court in North Adelaide and Christ Church and its rectory. It is one of just six known Anglican churches designed by Stuckey and of those six only four remain standing. Bishop Short brought architectural plans with him from England for Christ Church, the rectory and Bishops Court but he employed architect Henry Stuckey to supervise the construction of all buildings and to make alterations as needed. In the end it is not clear how much the English designs were altered and changed by Stuckey but certainly the local limestone and bricks gave all of the Stuckey supervised buildings a very South Australian appearance. This Hindmarsh Church is an excellent example of Stuckey’s work with the use of local limestone (even for the foundations) and red brick quoins and Romanesque windows. The rear part of the church, the chancel and vestry was added in 1872. Look and you will see that bluestone was then being used for foundations although the design of Stuckey was replicated beautifully for this addition. The same cannot be said for the slightly ugly red brick porch added in 1925. Next to the church is the early rectory with later additions half sunk into the ground for cooler rooms in the summer and the church hall built in 1883.The church hall was designed by architect Daniel Garlick. Both the hall and the church are now used as theatres. Henry Stuckey was the architect of several other early Anglican churches in South Australia before his death in 1851. They include St Marks at Penwortham, St Barnabas at Clare, St Thomas at Port Lincoln, St Pauls at Port Adelaide, the original St Peters at Glenelg and several Anglican rectories. He also designed the first Pirie Street Wesleyan Methodist Church.
Claremont House now Beaumont House.
When the Shorts first arrived in the colony they stayed at Government House with Governor Robe who was single and had sufficient room for this. They later rented a house at Kensington whilst they had a cottage built at Beaumont overlooking the plains and the gulf. Bishop Short bought the land from Samuel Davenport who had developed the village of Beaumont in 1848. The Bishop then set to work designing the house himself hoping that with verandas it would avoid the summer sun and catch the breezes from the hills. It was a single storey house with a flat roof hidden behind a battlement. The design was unusual as the focus was a living room with bedrooms opening off it from each side. There were steps between various sections of the house and the kitchens and staff quarters were in separate structures at the rear. In all the house contained three bedrooms, a servant’s hall and maid’s bedroom and outbuildings and stables. Work began on Claremont Cottage as Bishop Short named it in 1849. The Shorts did not move into the house until 1851. Around the time that the Shorts moved into Claremont Cottage young Henry Short had laid the foundation stone of Bishops Court in North Adelaide (1851). When that became the home of Bishop Short in 1856 he sold his residence at Beaumont to Samuel Davenport for £2,100. Davenport immediately renamed it Beaumont House. The Davenports resided there until the death of Sir Samuel Davenport in 1906. His nephew then sold the house and it had several owners until it was donated to the National Trust in 1968. A later owner added the arcaded veranda across the front of the house around 1911.
Christ Church the Pro Cathedral.
The residents of North Adelaide wanted an Anglican church of their own rather than having to travel south across the Torrens River to one of the two city of Adelaide churches in the 1840s( Trinity on North Terrace and St Johns in Halifax Street). Women started raising funds from 1841 but no attempt at building a church was started until 1847 just before Bishop Short arrived in Adelaide. Bishop Short early in 1848 purchased one acre in North Adelaide for a pro cathedral and a further plot from George Morphett for a bishop’s residence. Bishop Short laid the foundation stone of his pro cathedral, to be known as Christ Church, in June 1848 and the opening services were held in December 1849. An indication that this church was to be the pro cathedral was the size, grandeur, the two transepts and the porches that were unusual in the colony in 1848. Minor additions have been made since such as the organ chamber designed by Daniel Garlick an architect and worshipper at Christ Church and the replacement of the original slate roof which was also done by Daniel Garlick. The Bishop donated £120 of his own money to the church building fund. The plans for Christ Church, Bishops Court and the Rectory were all brought from England by Bishop Short on his voyage to South Australia. A local architect Henry Stuckey supervised the constructions and made some alterations until Edmund Wright took over after Stuckey’s death. (Wright then married Stuckey’s widow!) The limestone was quarried from Palmer Place and was used for the main construction with red brick quoins. The style was relatively simple in Norman style with rounded windows and a round apse over the altar. This ceiling is painted blue and studded with gold stars with side inscriptions of the Lord’s Prayer and the Ten Commandments. The original Bishops Throne remains in Christ Church and can be seen in the south transept. The original pipe organ was installed in 1855 until replaced with a new one in 1873. Ornamental pipes were added in 1899 and the organ was gradually enlarged and improved. It was totally rebuilt in 1955.
Opposite the Christ Church is the Christ Church Day School building. This opened in 1849 in North Adelaide. In 1866 funds were raised for a new school building in Jeffcott Street opposite the church. The new Gothic style building opened in 1869. Stables were added in 1872. The school closed with declining enrolments in 1963 and the buildings were leased to tenants. The mitre of the Bishop of Adelaide still adorns the front wall of the old school.
Bishops Court and the Christ Church Rectory.
Within weeks of his arrival in South Australia Bishop Short purchased a two acre block at North Adelaide from George Morphett adjoining the Christ Church land. Augustus Short saw this as the future Bishop’s Court residence next door to his pro cathedral. His eldest son the eight year old Henry Augustus Short laid the foundation stone of Bishops Court in January 1851. Work began on the Tudor Gothic residence in local limestone and red brick but workers disappeared in late 1851 and 1852 when news of the Victorian gold rushes reached the colony. So work was delayed. Bishop Short commissioned Henry Stuckey to design Bishops Court, its stables and the Rectory for Christ Church in 1850. Stuckey set up his architectural practice in 1848 and lived in Palmer Place very close to where Bishops Court is located. Stuckey received other commissions from Bishop Short for the early buildings of St Peters Boys College (The Old School House and the Big School Room) and the several Anglican churches in Clare, Penwortham, Hindmarsh, Port Adelaide, Port Lincoln and Glenelg. Stuckey died in 1851 so all of these churches were built around 1850 to 1852. Curiously after Stuckey died in 1851 his widow married Edmund Wright in 1852 and he was one of the great 19th century architects of South Australia. Edmund Wright advertised that he would supervise the completion all work started by Henry Stuckey. This included both Bishops Court in Palmer Place and Christ Church Rectory also in Palmer Place. The Christ Church Rectory was finished first and occupied around 1851 or 1852 and although Bishops Court was occupied in 1856 by Bishop Short when he started sometimes using Bishops Court for an overnight stay the final completion was later. Once a bedroom and library were finished he would stay there overnight to save the trip back to Claremont House at Beaumont. In October 1855 he held a reception for about 200 people including the Governor of South Australia at a luncheon at Bishops Court surrounded by builders and plasters. The house is a rather rustic example of a Tudor Gothic mansion with a steeply pitched roof, ornamental shaped chimneys, gables, shuttered windows, Gothic arches and a veranda.
Bishops Court has been little altered since its completion except for the addition of a chapel by Bishop Thomas in 1912. The architect for this addition was George Soward. On the north facing wall of this chapel there is one recent addition which is a huge wall sun dial in memory of Bishop Short. It was unveiled in 1996. Wall sun dials are not common in South Australia and this fine example is made of stainless steel on a north facing wall of course. It is three metres tall and designed around a Celtic Cross. Unfortunately the high stone wall and trees and shrubs of Bishops Court masks it from public view. A small plaque on the street wall indicates that it exists. The best views of it are available from a little private mews alley behind Bishops Court. The Anglican Rectory for Christ Church is also in Palmer Place and is similar to the design of Bishops Court reflecting the fact that Henry Stuckey designed or redesigned both buildings to complement each other.