The Zoo Tower is inspired by the Eiffel Tower, and opened in 1905 with its 182 steps from the ground to the top. Back in the day the entry fee was 15 øre if you climbed all the 182 steps yourself, and 30 øre if you took the lift. From the top you have a magnificent view over Copenhagen and all the way to Roskilde, and you can even see the beautiful Øresund Bridge.

www.flickr.com/search/?w=21728045@N08&q=Star%20fruit

 

Carambola, or star fruit, is the fruit of Averrhoa carambola, a species of tree native to Indonesia, the Philippines, and throughout Malesia.[1] The fruit is commonly consumed throughout Southeast Asia, the South Pacific, Micronesia, and parts of East Asia. The tree is cultivated throughout tropical areas.

 

The fruit has distinctive ridges running down its sides (usually five but can occasionally vary); when cut in cross-section, it resembles a star, hence its name.[1] The entire fruit is edible and is usually eaten out of hand. They may also be used in cooking and can be made into relishes, preserves, and juice drinks.

 

The original range of Averrhoa carambola is believed to be from Sri Lanka or Indonesia,[1] but has been cultivated in the Indian Subcontinent and Southeast Asia for hundreds of years. They remain a local favorite in those areas but have also recently gained popularity in parts of East Asiaand Queensland, Australia; as well as in the Pacific Islands, particularly Tahiti, New Caledonia, Papua New Guinea, Hawaii, and Guam. They are cultivated commercially in India, Southeast Asia, southern China, Taiwan, and the southern United States. They are also grown in Central America, Brazil, the Southwestern United States and Florida, and parts of Africa.[1][2] In other areas they are usually grown as ornamentals, rather than for consumption.[2]

 

The fruit is about 5 to 15 centimetres (2 to 6 inches) in length and is an oval shape. It usually has five prominent longitudinal ridges, but in rare instances it can have as few as four or as many as eight. In cross section, it resembles a star.[1] The skin is thin, smooth, and waxy and turns a light to dark yellow when ripe. The flesh is translucent and light yellow to yellow in color. Each fruit can have 10 to 12 flat light brown seeds about 6 to 13 mm (0.25 to 0.5 in) in width and enclosed in gelatinous aril. Once removed from the fruit, they lose viability within a few days.[3][4][5]

 

Like the closely related bilimbi, there are two main types of carambola: the small sour (or tart) type and the larger sweet type. The sour varieties have a higher oxalic acid content than the sweet type. A number of cultivars have been developed in recent years. The most common cultivars grown commercially include the sweet types "Arkin" (Florida), "Dah Pon" (Taiwan), "Ma fueng" (Thailand), "Maha" (Malaysia), and "Demak" (Indonesia) and the sour types "Golden Star", "Newcomb", "Star King", and "Thayer" (all from Florida). Some of the sour varieties like "Golden Star" can become sweet if allowed to ripen.[2][3][4]

 

including the slightly waxy skin. The flesh is crunchy, firm, and extremely juicy.[1] It does not contain fibers and has a texture similar in consistency to that of grapes. Carambolas are best consumed shortly after they ripen, when they are yellow with a light shade of green or just after all traces of green have disappeared. They will also have brown ridges at the edges and feel firm. Fruits picked while still slightly green will turn yellow in storage at room temperature, but will not increase in sugar content. Overripe carambola will be yellow with brown spots and can become blander in taste and soggier in consistency.[4][6]

 

Ripe sweet type carambolas are sweet without being overwhelming as they rarely have more than 4% sugar content. They have a tart, sour undertone, and an oxalic acid odor. The taste is difficult to match, but it has been compared to a mix of apple, pear, grape, and citrus family fruits. Unripe star fruits are firmer and sour, and taste like green apples.[3][7]

 

Ripe carambolas may also be used in cooking. In Southeast Asia, they are usually stewed in cloves and sugar, sometimes with apples. In China, they are cooked with fish. In Australia, they may be cooked as a vegetable, pickled, or made into jams. In Jamaica they are sometimes dried.[2]

 

Unripe and sour type carambolas can be mixed with other chopped spices to make relishes in Australia.[2] In the Philippines, unripe carambolas are eaten dipped in rock salt.[8] In Thailand, they are cooked together with shrimp.[2]

 

The juice from carambolas is also used in iced drinks, particularly the juice of the sour varieties. In the Philippines they can be used as seasoning. In India, the juice is bottled for drinking.[2]

 

Carambolas contain caramboxin[9] and oxalic acid.[10] Both substances are harmful to individuals suffering from kidney failure, kidney stones, or those under kidney dialysistreatment.[10] Consumption by those with kidney failure can produce hiccups, vomiting, nausea, mental confusion, and sometimes death.[11][12][13] Caramboxin is a neurotoxin which is structurally similar to phenylalanine, and is a glutamatergic agonist.[9]

 

Drug interactions

Edit

Like the grapefruit, carambola is considered to be a potent inhibitor of seven cytochrome P450 isoforms.[14][15] These enzymes are significant in the first-pass elimination of many medications, and, thus, the consumption of carambola or its juice in combination with certain prescription medications can significantly increase their effective dosage within the body.

 

The carambola is a tropical and subtropical fruit which can be grown at elevations up to 1,200 metres (4,000 feet). It prefers full sun exposure, but requires enough humidity and annual rainfall of at least 1,800 mm (70 in). It does not have a soil type preference, but requires good drainage.[citation needed]

 

Carambola trees are planted at least 6 m (20 ft) from each other and typically are fertilized three times a year. The tree grows rapidly and typically produces fruit at four or five years of age. The large amount of rain during spring actually reduces the amount of fruit, but, in ideal conditions, carambola can produce from 90 to 180 kilograms (200 to 400 pounds) of fruit a year. The carambola tree flowers throughout the year, with main fruiting seasons from April to June and October to December in Malaysia,[16]for example, but fruiting also occurs at other times in some other locales, such as South Florida.[4]

 

Growth and leaf responses of container-grown `Arkin' carambola (Averrhoa carambola L.) trees to long-term exposure of 25%, 50%, or 100% sunlight showed that shading increased rachis length and leaflet area, decreased leaflet thickness, and produced more horizontal branch orientation.[17]

 

Major pests are fruit flies, fruit moths, ants, and birds.[3][16] Crops are also susceptible to frost.[3]

 

Top producers of carambola in the world market include Australia, Guyana, India, Israel, Malaysia, the Philippines, Taiwan, and the United States.[4] Malaysia is a global leader in star fruit production by volume and ships the product widely to Asia and Europe.[16] Due to concerns over pests and pathogens, however, whole star fruits cannot yet be imported to the US from Malaysia under current United States Department of Agriculture regulations. In the United States, carambolas are grown in tropical and semitropical areas, including Texas, South Carolina, Louisiana, California, Virginia, Florida and Hawaii.[2][18]

 

In the United States, commercial cultivation and broad consumer acceptance of the fruit only dates to the 1970s, attributable to Morris Arkin, a backyard horticulturalist, in Coral Gables, Florida. The 'Arkin' variety represented 98% of the acreage in South Florida in the early 21st century.[19]

 

The trees are also grown as ornamentals for their abundant brightly colored and unusually shaped fruits, as well as for their attractive dark green leaves and their lavender to pink flowers.[4]

 

Like the bilimbi, the juice of the more acidic sour types can be used to clean rusty or tarnished metal (especially brass) as well as bleach rust stains from cloth. They may also be used as a mordant in dyeing.[2]

 

Etymology and vernacular names

Edit

The Portuguese word carambola, first known use 1598, was taken from Marathi karambalderived from Sanskrit karmaphala.[20] In Spanish, it is known as carambola. The carambola is called "star fruit" in English.

 

References

Edit

^ a b c d e f "Averrhoa carambola (carambola)". CABI. 27 September 2018. Retrieved 5 October 2018.

^ a b c d e f g h i Julia F. Morton (1987). "Carambola". In Julia F. Morton. Fruits of warm climates. pp. 125–128.

^ a b c d e "Averrhoa carambola L." California Rare Fruit Growers, Inc. Retrieved August 9, 2012.

^ a b c d e f Jonathan H. Crane (1994). The Carambola (Star Fruit) (PDF). Fact Sheet HS-12. Florida Cooperative Extension Service, University of Florida. Archived from the original(PDF) on 2012-11-19. Retrieved 2012-08-08.

^ "Star Fruit". Fruitsinfo. Retrieved August 9, 2012.

^ "How to Eat Star Fruit". Buzzle. Retrieved August 5, 2012.

^ "Carambola or Star Fruit". FloridaGardener.com. Archived from the original on July 27, 2012. Retrieved August 5, 2012.

^ "Balimbing / Carambola / Star Fruit". Market Manila. Retrieved August 5, 2012.

^ a b Garcia-Cairasco, N.; Moyses-Neto, M.; Del Vecchio, F.; Oliveira, J. A. C.; Dos Santos, F. L.; Castro, O. W.; Arisi, G. M.; Dantas, M. R.; Carolino, R. O. G.; Coutinho-Netto, J.; Dagostin, A. L. A.; Rodrigues, M. C. A.; Leão, R. M.; Quintiliano, S. A. P.; Silva, L. F.; Gobbo-Neto, L.; Lopes, N. P. (2013). "Elucidating the Neurotoxicity of the Star Fruit". Angewandte Chemie International Edition. 52 (49): 13067–70. doi:10.1002/anie.201305382. PMID 24281890.

^ a b Muthu, N.; Lee, S. Y.; Phua, K. K.; Bhore, S. J. (2016). "Nutritional, Medicinal and Toxicological Attributes of Star-Fruits (Averrhoa carambola L.): A Review". Bioinformation. 12 (12): 420–424. doi:10.6026/97320630012420. PMC 5357571. PMID 28405126.

^ Chang CT, Chen YC, Fang JT, Huang CC (2002). "Star fruit (Averrhoa carambola) intoxication: an important cause of consciousness disturbance in patients with renal failure". Ren Fail. 24 (3): 379–82. doi:10.1081/JDI-120005373. PMID 12166706.

^ Neto MM, da Costa JA, Garcia-Cairasco N, Netto JC, Nakagawa B, Dantas M (2003). "Intoxication by star fruit (Averrhoa carambola) in 32 uraemic patients: treatment and outcome". Nephrol Dial Transplant. 18 (1): 120–5. doi:10.1093/ndt/18.1.120. PMID 12480969.

^ Titchenal A & Dobbs J (2003-04-28). "Kidney patients should avoid star fruit". Nutrition ATC. Retrieved 2008-10-16.

^ "Abstracts: Metabolism and metabolic enzymes studies for the 8th National Congress on Drug and Xenobiotic Metabolism in China". Archived from the original on 2007-09-28. Retrieved 2007-04-23.

^ Potential Drug-Food Interactions with Pomegranate Juice Archived March 21, 2007, at the Wayback Machine

^ a b c Crop Protection & Plant Quarantine Services Division (2004). Technical Document for Market Access on Star Fruit (Carambola) (PDF). The Ministry of Agriculture and Agro-based Industry, Malaysia.[permanent dead link]

^ Marler, Thomas E.; Schaffer, Bruce; Crane, Jonathan H. (1994-07-01). "Developmental Light Level Affects Growth, Morphology, and Leaf Physiology of Young Carambola Trees". Journal of the American Society for Horticultural Science. 119 (4): 711–718. ISSN 0003-1062.

^ Hein Bijlmakers. "Star Fruit". Tropical Fruits. Archived from the original on 2012-06-26. Retrieved August 9, 2012.

^ Robert J. Knight; Jonathan H. Crane (2002). "The 'Arkin' Carambola in Florida" (PDF). Proc. Fla. State Hort. Soc. 115: 92–93.[permanent dead link]

Carambola - Definition of carambola by Merriam-Webster". merriam-webster.com.

The Khajuraho Group of Monuments is a group of Hindu and Jain temples in Madhya Pradesh, India, about 175 kilometres southeast of Jhansi. They are one of the UNESCO World Heritage Sites in India. The temples are famous for their nagara-style architectural symbolism and their erotic sculptures.

 

Most Khajuraho temples were built between 950 and 1050 by the Chandela dynasty. Historical records note that the Khajuraho temple site had 85 temples by 12th century, spread over 20 square kilometers. Of these, only about 20 temples have survived, spread over 6 square kilometers. Of the various surviving temples, the Kandariya Mahadeva Temple is decorated with a profusion of sculptures with intricate details, symbolism and expressiveness of ancient Indian art.

 

The Khajuraho group of temples were built together but were dedicated to two religions - namely Hinduism and Jainism - suggesting a tradition of acceptance and respect for diverse religious views among Hindus and Jains.

 

LOCATION

Khajuraho group of monuments are located in the Indian state of Madhya Pradesh, in Chhatarpur district, about 620 kilometres southeast of New Delhi. The temples are in a small town also known as Khajuraho, with a population of about 20,000 people (2001 Census).

 

Khajuraho is served by Civil Aerodrome Khajuraho (IATA Code: HJR), with services to Delhi, Agra, Varanasi and Mumbai. The site is also linked by Indian Railways service, with the railway station located approximately six kilometres from the monuments entrance.

 

The monuments are about 10 kilometres off the east-west National Highway 75, and about 50 kilometres from the city of Chhatarpur, that is connected to Bhopal - the state capital - by the SW-NE running National Highway 86.

 

HISTORY

The Khajuraho group of monuments was built during the rule of the Rajput Chandela dynasty. The building activity started almost immediately after the rise of their power, throughout their kingdom to be later known as Bundelkhand. Most temples were built during the reigns of the Hindu kings Yashovarman and Dhanga. Yashovarman's legacy is best exhibited by Lakshmana temple. Vishvanatha temple best highlights King Dhanga's reign. The largest and currently most famous surviving temple is Kandariya Mahadeva built in the reign of King Ganda from 1017-1029 CE. The temple inscriptions suggest many of the currently surviving temples were complete between 970 to 1030 CE, with further temples completed during the following decades.

 

The Khajuraho temples were built about 35 miles from the medieval city of Mahoba, the capital of the Chandela dynasty, in the Kalinjar region. In ancient and medieval literature, their kingdom has been referred to as Jijhoti, Jejahoti, Chih-chi-to and Jejakabhukti.

 

Khajuraho was mentioned by Abu Rihan-al-Biruni, the Persian historian who accompanied Mahmud of Ghazni in his raid of Kalinjar in 1022 CE; he mentions Khajuraho as the capital of Jajahuti. The raid was unsuccessful, and a peace accord was reached when the Hindu king agreed to pay a ransom to Mahmud of Ghazni to end the attack and leave.

 

Khajuraho temples were in active use through the end of 12th century. This changed in the 13th century, after the army of Delhi Sultanate, under the command of the Muslim Sultan Qutb-ud-din Aibak, attacked and seized the Chandela kingdom. About a century later, Ibn Battuta, the Moroccan traveller in his memoirs about his stay in India from 1335 to 1342 CE, mentioned visiting Khajuraho temples, calling them “Kajarra” as follows:

 

...near (Khajuraho) temples, which contain idols that have been mutilated by the Moslems, live a number of yogis whose matted locks have grown as long as their bodies. And on account of extreme asceticism they are all yellow in colour. Many Moslems attend these men in order to take lessons (yoga) from them.

— Ibn Battuta, about 1335 CE, Riḥlat Ibn Baṭūṭah, Translated by Arthur Cotterell

 

Central Indian region, where Khajuraho temples are, remained in the control of many different Muslim dynasties from 13th century through the 18th century. In this period, some temples were desecrated, followed by a long period when they were left in neglect. In 1495 CE, for example, Sikandar Lodi’s campaign of temple destruction included Khajuraho. The remoteness and isolation of Khajuraho protected the Hindu and Jain temples from continued destruction by Muslims. Over the centuries, vegetation and forests overgrew, took over the temples.

 

In the 1830s, local Hindus guided a British surveyor, T.S. Burt, to the temples and they were thus rediscovered by the global audience. Alexander Cunningham later reported, few years after the rediscovery, that the temples were secretly in use by yogis and thousands of Hindus would arrive for pilgrimage during Shivaratri celebrated annually in February or March based on a lunar calendar. In 1852, Maisey prepared earliest drawings of the Khajuraho temples.

 

NOMENCLATURE

The name Khajuraho, or Kharjuravāhaka, is derived from ancient Sanskrit (kharjura, खर्जूर means date palm, and vāhaka, वाहक means "one who carries" or bearer). Local legends state that the temples had two golden date-palm trees as their gate (missing when they were rediscovered). Desai states that Kharjuravāhaka also means scorpion bearer, which is another symbolic name for deity Shiva (who wears snakes and scorpion garlands in his fierce form).

 

Cunningham’s nomenclature and systematic documentation work in 1850s and 1860s have been widely adopted and continue to be in use. He grouped the temples into the Western group around Lakshmana, Eastern group around Javeri, and Southern group around Duladeva.

 

Khajuraho is one of the four holy sites linked to deity Shiva (the other three are Kedarnath, Kashi and Gaya). Its origin and design is a subject of scholarly studies. Shobita Punja has proposed that the temple’s origin reflect the Hindu mythology in which Khajuraho is the place where Shiva got married; with Raghuvamsha verse 5.53, Matangeshvara honoring ‘’Matanga’’, or god of love.

 

DESCRIPTION

The temple site is within Vindhya mountain range in central India. An ancient local legend held that Hindu deity Shiva and other gods enjoyed visiting the dramatic hill formation in Kalinjar area. The center of this region is Khajuraho, set midst local hills and rivers. The temple complex reflects the ancient Hindu tradition of building temples where gods love to play.

 

The temples are clustered near water, another typical feature of Hindu temples. The current water bodies include Sib Sagar, Khajur Sagar (also called Ninora Tal) and Khudar Nadi (river). The local legends state that the temple complex had 64 water bodies, of which 56 have been physically identified by archeologists so far.

 

All temples, except one (Chaturbhuja) face sunrise - another symbolic feature that is predominant in Hindu temples. The relative layout of temples integrate masculine and feminine deities and symbols highlight the interdependence. The art work symbolically highlight the four goals of life considered necessary and proper in Hinduism - dharma, kama, artha and moksha.

 

Of the surviving temples, 6 are dedicated to Shiva and his consorts, 8 to Vishnu and his affinities, 1 to Ganesha, 1 to Sun god, 3 to Jain Tirthanks. For some ruins, there is insufficient evidence to assign the temple to specific deities with confidence.

 

An overall examination of site suggests that the Hindu symbolic mandala design principle of square and circles is present each temple plan and design. Further, the territory is laid out in three triangles that converge to form a pentagon. Scholars suggest that this reflects the Hindu symbolism for three realms or trilokinatha, and five cosmic substances or panchbhuteshvara. The temple site highlights Shiva, the one who destroys and recycles life, thereby controlling the cosmic dance of time, evolution and dissolution. The temples have a rich display of intricately carved statues. While they are famous for their erotic sculpture, sexual themes cover less than 10% of the temple sculpture. Further, most erotic scene panels are neither prominent nor emphasized at the expense of the rest, rather they are in proportional balance with the non-sexual images. The viewer has to look closely to find them, or be directed by a guide. The arts cover numerous aspects of human life and values considered important in Hindu pantheon. Further, the images are arranged in a configuration to express central ideas of Hinduism. All three ideas from Āgamas are richly expressed in Khajuraho temples - Avyakta, Vyaktavyakta and Vyakta.

 

The Beejamandal temple is under excavation. It has been identified with the Vaidyanath temple mentioned in the Grahpati Kokalla inscription.

 

Of all temples, the Matangeshvara temple remains an active site of worship. It is another square grid temple, with a large 2.5 metres high and 1.1 metres diameter lingam, placed on a 7.6 metres diameter platform.

 

The most visited temple, Kandariya Mahadev, has an area of about 6,500 square feet and a shikhara (spire) that rises 116 feet. Jain templesThe Jain temples are located on east-southeast region of Khajuraho monuments. Chausath jogini temple features 64 jogini, while Ghantai temple features bells sculptured on its pillars.

 

ARCHITECTURE OF THE TEMPLES

Khajuraho temples, like almost all Hindu temple designs, follow a grid geometrical design called vastu-purusha-mandala. This design plan has three important components - Mandala means circle, Purusha is universal essence at the core of Hindu tradition, while Vastu means the dwelling structure.

 

The design lays out a Hindu temple in a symmetrical, concentrically layered, self-repeating structure around the core of the temple called garbhagriya, where the abstract principle Purusha and the primary deity of the temple dwell. The shikhara, or spire, of the temple rises above the garbhagriya. This symmetry and structure in design is derived from central beliefs, myths, cardinality and mathematical principles.

 

The circle of mandala circumscribe the square. The square is considered divine for its perfection and as a symbolic product of knowledge and human thought, while circle is considered earthly, human and observed in everyday life (moon, sun, horizon, water drop, rainbow). Each supports the other. The square is divided into perfect 64 sub-squares called padas.

 

Most Khajuraho temples deploy the 8x8 padas grid Manduka Vastupurushamandala, with pitha mandala the square grid incorporated in the design of the spires. The primary deity or lingas are located in the grid’s Brahma padas.

The architecture is symbolic and reflects the central Hindu beliefs through its form, structure and arrangement of its parts. The mandapas as well as the arts are arranged in the Khajuraho temples in a symmetric repeating patterns, even though each image or sculpture is distinctive in its own way. The relative placement of the images are not random but together they express ideas, just like connected words form sentences and paragraphs to compose ideas. This fractal pattern that is common in Hindu temples. Various statues and panels have inscriptions. Many of the inscriptions on the temple walls are poems with double meanings, something that the complex structure of Sanskrit allows in creative compositions. All Khajuraho temples, except one, face sunrise, and the entrance for the devotee is this east side.Above the vastu-purusha-mandala of each temple is a superstructure with a dome called Shikhara (or Vimana, Spire). Variations in spire design come from variation in degrees turned for the squares. The temple Shikhara, in some literature, is linked to mount Kailash or Meru, the mythical abode of the gods.In each temple, the central space typically is surrounded by an ambulatory for the pilgrim to walk around and ritually circumambulate the Purusa and the main deity. The pillars, walls and ceilings around the space, as well as outside have highly ornate carvings or images of the four just and necessary pursuits of life - kama, artha, dharma and moksa. This clockwise walk around is called pradakshina. Larger Khajuraho temples also have pillared halls called mandapa. One near the entrance, on the east side, serves as the waiting room for pilgrims and devotees. The mandapas are also arranged by principles of symmetry, grids and mathematical precision. This use of same underlying architectural principle is common in Hindu temples found all over India. Each Khajuraho temple is distinctly carved yet also repeating the central common principles in almost all Hindu temples, one which Susan Lewandowski refers to as “an organism of repeating cells”.

 

CONSTRUCTION

The temples are grouped into three geographical divisions: western, eastern and southern.

 

The Khajuraho temples are made of sandstone, with a granite foundation that is almost concealed from view. The builders didn't use mortar: the stones were put together with mortise and tenon joints and they were held in place by gravity. This form of construction requires very precise joints. The columns and architraves were built with megaliths that weighed up to 20 tons. Some repair work in the 19th Century was done with brick and mortar; however these have aged faster than original materials and darkened with time, thereby seeming out of place.

 

The Khajuraho and Kalinjar region is home to superior quality of sandstone, which can be precision carved. The surviving sculpture reflect fine details such as strands of hair, manicured nails and intricate jewelry.

 

While recording the television show Lost Worlds (History Channel) at Khajuraho, Alex Evans recreated a stone sculpture under 4 feet that took about 60 days to carve in an attempt to develop a rough idea how much work must have been involved. Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone. They concluded that these temples would have required hundreds of highly trained sculptors.

 

CHRONOLOGY

The Khajuraho group of temples belong to Vaishnavism school of Hinduism, Saivism school of Hinduism and Jainism - nearly a third each. Archaeological studies suggest all three types of temples were under construction at about the same time in late 10th century, and in use simultaneously. Will Durant states that this aspect of Khajuraho temples illustrates the tolerance and respect for different religious viewpoints in the Hindu and Jain traditions. In each group of Khajuraho temples, there were major temples surrounded by smaller temples - a grid style that is observed to varying degrees in Hindu temples in Angkor Wat, Parambaran and South India.

 

The largest surviving Saiva temple is Khandarya Mahadeva, while the largest surviving Vaishnava group includes Chaturbhuja and Ramachandra.

 

Kandariya Mahadeva Temple plan is 109 ft in length by 60 ft, and rises 116 ft above ground and 88 ft above its own floor. The central padas are surrounded by three rows of sculptured figures, with over 870 statues, most being half life size (2.5 to 3 feet). The spire is a self repeating fractal structure.

 

ARTS AND SCULPTURE

The Khajuraho temples feature a variety of art work, of which 10% is sexual or erotic art outside and inside the temples. Some of the temples that have two layers of walls have small erotic carvings on the outside of the inner wall. Some scholars suggest these to be tantric sexual practices. Other scholars state that the erotic arts are part of Hindu tradition of treating kama as an essential and proper part of human life, and its symbolic or explicit display is common in Hindu temples. James McConnachie, in his history of the Kamasutra, describes the sexual-themed Khajuraho sculptures as "the apogee of erotic art": "Twisting, broad-hipped and high breasted nymphs display their generously contoured and bejewelled bodies on exquisitely worked exterior wall panels. These fleshy apsaras run riot across the surface of the stone, putting on make-up, washing their hair, playing games, dancing, and endlessly knotting and unknotting their girdles....Beside the heavenly nymphs are serried ranks of griffins, guardian deities and, most notoriously, extravagantly interlocked maithunas, or lovemaking couples."

 

The temples have several thousand statues and art works, with Kandarya Mahadeva Temple alone decorated with over 870. Some 10% of these iconographic carvings contain sexual themes and various sexual poses. A common misconception is that, since the old structures with carvings in Khajuraho are temples, the carvings depict sex between deities; however the kama arts represent diverse sexual expressions of different human beings. The vast majority of arts depict various aspects the everyday life, mythical stories as well as symbolic display of various secular and spiritual values important in Hindu tradition. For example, depictions show women putting on makeup, musicians making music, potters, farmers, and other folks in their daily life during the medieval era. These scenes are in the outer padas as is typical in Hindu temples.

 

There is iconographic symbolism embedded in the arts displayed in Khajuraho temples. Core Hindu values are expressed in multitude of ways. Even the Kama scenes, when seen in combination of sculptures that precede and follow, depict the spiritual themes such as moksha. In the words of Stella Kramrisch,

 

This state which is “like a man and woman in close embrace” is a symbol of moksa, final release or reunion of two principles, the essence (Purusha) and the nature (Prakriti).

— Stella Kramrisch, 1976

 

The Khajuraho temples represent one expression of many forms of arts that flourished in Rajput kingdoms of India from 8th through 10th century CE. For example, contemporary with Khajuraho were the publications of poems and drama such as Prabodhacandrodaya, Karpuramanjari, Viddhasalabhanjika and Kavyamimansa. Some of the themes expressed in these literary works are carved as sculpture in Khajuraho temples. Some sculptures at the Khajuraho monuments dedicated to Vishnu include the Vyalas, which are hybrid imaginary animals with lions body, and are found in other Indian temples. Some of these hybrid mythical art work include Vrik Vyala (hybrid of wolf and lion) and Gaja Vyala (hybrid of elephant and lion). These Vyalas may represent syncretic, creative combination of powers innate in the two.

 

TOURISM AND CULTURAL EVENTS

The temples in Khajuraho are broadly divided into three parts: the Eastern group, the Southern Group and the Western group of temples of which the Western group alone has the facility of an Audio guided tour wherein the tourists are guided through the seven eight temples. There is also an audio guided tour developed by the Archaeological Survey of India which includes a narration of the temple history and architecture.

 

The Khajuraho Dance Festival is held every year in February. It features various classical Indian dances set against the backdrop of the Chitragupta or Vishwanath Temples.

 

The Khajuraho temple complex offers a light and sound show every evening. The first show is in English language and the second one in Hindi. It is held in the open lawns in the temple complex, and has received mixed reviews.

 

The Madhya Pradesh Tourism Development has set up kiosks at the Khajuraho railway station, with tourist officers to provide information for Khajuraho visitors.

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Der Tempelbezirk von Khajuraho umfasst eine Gruppe von etwa 20 Tempeln im Zentrum und in der näheren Umgebung der Stadt Khajuraho im indischen Bundesstaat Madhya Pradesh. Sie zählen zum UNESCO-Welterbe.

 

GESCHICHTE

Nahezu alle Tempel Khajurahos wurde von den Herrschern der Chandella-Dynastie zwischen 950 und 1120 erbaut. Die Chandellas waren ein zwischen dem 10. und 16. Jahrhundert regierender Rajputen-Klan, welcher sich um 950 in Gwalior festsetzte. Im 10. und 11. Jahrhundert waren die Chandellas die führende Macht in Nordindien, wenngleich sie formell noch bis 1018 Vasallen der Pratihara waren.

 

Nach dem Niedergang der Dynastie im 12. Jahrhundert wurden die Tempel kaum noch oder gar nicht mehr benutzt und blieben dem Wuchs des Dschungels überlassen. Der politisch, militärisch und wirtschaftlich bedeutungslos gewordene Ort lag abseits aller Wege und blieb somit auch in der Zeit des islamischen Vordringens in Nordindien von Zerstörungen verschont. Im 18. und 19. Jahrhundert zählte die einstmals bedeutsame Stadt nur noch etwa 300 Einwohner. Im 19. Jahrhundert wurden die Tempel von den Briten 'wiederentdeckt'. Zu Beginn des 20. Jahrhunderts begannen systematische Sicherungs- und Restaurierungsarbeiten, die schließlich zur Wiederherstellung dieses einzigartigen Architektur-Ensembles führten.

 

TEMPEL

Ursprünglich gab es in Khajuraho etwa 80 Tempelbauten verstreut auf einer Gesamtfläche von ca. 21 Quadratkilometer, heutzutage sind davon nur noch etwa 20 erhalten, von denen die meisten in zwei Gruppen stehen. Die Mehrzahl der Tempel ist den hinduistischen Hauptgöttern geweiht, einige den Jaina-Tirthankaras. Buddhistische Bauten gab es wohl nicht, jedenfalls wurden keine buddhistischen Skulpturen entdeckt.

 

Alle Tempel stehen auf 1,50 bis 3 Meter hohen Plattformen (jagatis), die das Bauwerk vor Witterungseinflüssen (Monsunregen) und freilaufenden Tieren schützten. Hinzu kommt eine Sockelzone, die bei den späteren Tempeln (ab ca. 950) mehrfach gestuft ist und durchaus nochmals 3 Meter hoch sein kann. Plattform und Sockel tragen natürlich auch zu einer 'Erhöhung' des aufstehenden Bauwerks im übertragenen Sinn bei.

 

Die Mehrzahl der Tempeleingänge sind nach Osten, also in Richtung der aufgehenden Sonne ausgerichtet, d. h. die Cella (garbhagriha) liegt im Westen. Bei zwei Tempeln ist es umgekehrt: sie orientieren sich nach Westen, d. h. in Richtung der untergehenden Sonne (Lalguan-Mahadeva-Tempel und Chaturbuja-Tempel). Beide Ausrichtungen sind bei indischen Tempeln seit Jahrhunderten möglich und üblich. Die vorderen zwei Begleitschreine des Lakshmana-Tempels liegen einander gegenüber und sind nach Süden bzw. Norden ausgerichtet.

 

WESTGRUPPE (Hindu-Tempel)

- Matangeshvara-Tempel (ca. 950)

- Varaha-Tempel (ca. 950)

- Lakshmana-Tempel (ca. 950)

- Devi-Tempel

- Vishvanatha-Tempel (ca. 1000)

- Nandi-Schrein

- Parvati-Schrein

- Jagadambi-Tempel

- Chitragupta-Tempel

- Kandariya-Mahadeva-Tempel (1. Hälfte 11. Jh.)

 

OSTGRUPPE (Jain-Tempel)

- Parsvanatha-Tempel (ca. 960)

- Adinatha-Tempel (ca. 1050)

- Shantinatha-Tempel

- Ghantai-Tempel (ca. 990)

 

EINZELTEMPEL (Hindu-Tempel)

- Chausath-Yogini-Tempel (ca. 875)

- Lalguan-Mahadeva-Tempel (ca. 920)

- Brahma-Tempel (ca. 930)

- Khakra-Math-Tempel (ca. 980)

- Vamana-Tempel (ca. 1050)

- Javari-Tempel (ca. 1100)

- Chaturbuja-Tempel (ca. 1120)

- Duladeo-Tempel (ca. 1120)

 

ARCHITEKTUR

Die Tempel von Khajuraho bieten die Möglichkeit, auf engstem Raum die Entwicklung der indischen Baukunst in einer Zeitspanne von etwa 200 Jahren zu verfolgen − von kleinen (wenig gegliederten, einräumigen und geschlossenen) Tempeln hin zu großen (stark gegliederten, mehrräumigen und offenen) Bauten. Auch die Höhe der Bauten erfährt während dieser Zeit eine enorme Steigerung. Gemeinsam ist nahezu allen Bauten (Ausnahme: Chausath-Yogini-Tempel), dass sie über Dachaufbauten (Shikhara-Türme oder Pyramidendächer) verfügen, die von gerippten amalaka-Steinen und kalasha-Krügen bekrönt werden.

 

FRÜHZEIT

Abgesehen vom Chausath-Yogini-Tempel, dem ältesten und vollkommen anderen baulichen Traditionen verpflichteten Tempelbau in Khajuraho, bestehen die frühen Tempel nur aus einer − von einem gestuften Pyramidendach bedeckten − Cella (garbhagriha), der im Fall des Brahma-Tempels noch ein Portalvorbau (antarala), im Fall des Varaha-Tempels und des Matangesvara-Tempels jeweils ein kleiner offener Vorraum (mandapa) vorgesetzt ist. Die Außenwände sind nur geringfügig gegliedert und überwiegend steinsichtig.

 

BLÜHTZEIT

Die Blütezeit der Tempelarchitektur in Khajuraho beginnt mit dem Lakshmana-Tempel (ca. 930−950), der wahrscheinlich vom Maladevi-Tempel in Gyaraspur und von früheren Tempelbauten in Rajasthan beeinflusst ist, die ihrerseits wiederum allesamt auf die beim Bau des Kalika-Mata-Tempels in Chittorgarh (ca. 700) erstmals entwickelten baulichen Innovationen zurückgeführt werden können. Diese sind im Wesentlichen: mehrere hintereinander liegende, aber harmonisch miteinander verbundenen Bauteile (mandapas, antarala und garbhagriha); gleiche Grundfläche von großer Vorhalle (mahamandapa) und Sanktumsbereich; Cella als eigenständiger Baukörper im Innern; Pfeiler − und nicht mehr Wände − als tragende Stützelemente für die Dachaufbauten − dadurch wurde es möglich, die Räume nach außen hin durch balkonähnliche Vorbauten zu öffnen; mehrfache Abstufung und Gliederung der verbliebenen Wandteile außen wie innen − dadurch treten sie gar nicht mehr als 'Wand' in Erscheinung; Fortsetzung der Außenwandgliederung im Dachaufbau.

 

Beim Lakshmana-Tempel ist die Cella als eigener, innenliegender Baukörper gestaltet und von einem Umgang (pradakshinapatha) umgeben. Der gesamte Sanktumsbereich sowie seine vier Nebenschreine werden − erstmals in Khajuraho − von steil und hoch aufragenden Shikhara-Türmen überhöht; die weniger wichtigen Vorhallen werden auch weiterhin von den insgesamt flacheren, pyramidenförmigen Dächern bedeckt, so dass eine architektonische Steigerung der Tempel − einem Gebirge durchaus vergleichbar − hin zur Cella erreicht wird.

 

Die wichtigsten Nachfolgebauten des Lakshmana-Tempels sind der Vishvanatha-Tempel (ca. 1000) und der Kandariya-Mahadeva-Tempel (ca. 1050), bei denen wegen der vielfältigen architektonischen Gliederungen und des dichten Skulpturenprogramms eine Stein- bzw. Wandsichtigkeit nicht mehr wahrzunehmen ist.

 

SKULPTUREN

Auch im Hinblick auf die Entwicklung der indischen Skulptur bieten die Tempel von Khajuraho einen Überblick über ca. 200 Jahre indischer Kunstgeschichte − von den in Architekturelemente eingebundenen und eher unbewegt und statisch erscheinenden Reliefdarstellungen der Frühzeit bis hin zu den beinahe freiplastisch gearbeiteten und durch ihre Posenvielfalt nahezu lebendig wirkenden Figuren.

 

FRÜHZEITLICHE SKULPTUREN

Die nur wenig gegliederten Außenwände der frühen Tempel von Khajuraho zeigen kaum figürlichen oder ornamentalen Schmuck. Dieser ist, noch stark reliefgebunden, auf die Portale (Lalguan-Mahadeva-Tempel, Brahma-Tempel) sowie auf einige Fensternischen (Matangeshvara-Tempel) beschränkt. Erotische Skulpturen sind in den frühen Tempeln noch nicht zu finden.

 

SKULPTUREN DER BLÜHTEZEIT

Auch hier ist es der Lakshmana-Tempel, der für Khajuraho neue Zeichen setzt: Während die Außenwände der Vorhallen nur wenig figürliche Reliefs zeigen, sind die Wände des Sanktums überreich mit Skulpturen geschmückt. Darunter finden sich Götterfiguren (devas oder devis), „schöne Mädchen“ (surasundaris) und Liebespaare (mithunas); auch die ersten erotischen Skulpturen sind in den unteren (erdnahen) Feldern der Mittelregister sowie im Figurenfries der Plattform zu sehen. Die mittleren Felder zeigen dagegen zärtliche Liebespaare mit kleineren Begleitfiguren, die oberen Götterfiguren. Eine Hierarchie der Figurenanordnung ist also deutlich wahrnehmbar. Bei den unmittelbaren Nachfolgebauten (Vishvanatha-Tempel, Jagadambi-Tempel und Kandariya-Mahadeva-Tempel) nimmt die Anzahl der Figuren und somit auch der erotischen Darstellungen zu.

 

Bei den Jain-Tempeln und den späteren Hindu-Tempeln sind kaum noch erotisch-sexuelle Darstellungen zu finden; hier überwiegt die Anzahl der Götterfiguren manchmal sogar die der „schönen Mädchen“.

 

ARCHÄOLOGISCHES MUSEUM

Zu den Sehenswürdigkeiten im Bereich des Tempelbezirks von Khajuraho gehört auch das im Ortskern gelegene Archäologische Museum (auch Rani Durgavati-Museum genannt). Es beherbergt einige sehr schöne Skulpturen, die im Rahmen der Ausgrabungs- und Restaurierungsarbeiten gefunden und hierher verbracht wurden, weil sie keinem der erhaltenen Tempelbauten direkt zuzuordnen waren.

 

WIKIPEDIA

Another box on my tour of the Medway Valley. This one was reached after a 3 mile walk from East Farleigh,alongside the River Medway.

This is another example of the many Grade II listed signal boxes in the area, and Historic England quotes the following reasons for this:

 

"Maidstone West "A" signal box was an Evans, O'Donnell & Company standard design, fitted with a 115 lever Evans, O'Donnell & Company Tappet frame, and was built for the South Eastern and Chatham Railway. It opened 4th June 1899, replacing an 1892 built signal box located a short distance to the south. The signal box was renamed Maidstone West "A" soon after opening and was further renamed Maidstone West on 29th September 1929 after the closure of Maidstone West "B" signal box.

 

The form of the signal box was influenced by the station's location on the side of a hill and on a bend which required the box to be raised up to give the signal man better vision along the line.

 

On 3 August 1944 the signal box suffered damage when a doodle bug landed nearby. The steel steps and toilet were added later."

 

23rd May 2017.

Luigina is the big sister and Maddalena is the one in the cradle. This sculpture is also by Giuseppe Sartorio.

They have just returned after a long period of restoration which was necessary due to vandalism in 2012. Exactly the same fate befell Sartorio's work of the little girl with the circle.

 

Luigina è la sorella grande e Maddalena quella nella culla. Anche questa scultura è di Giuseppe Sartorio.

Sono appena rientrate dopo un lungo periodo di restauro che fu necessario a causa di atti vandalici del 2012. Esattamente lo stesso destino toccato all'opera del Sartorio della bambina col cerchio.

 

Manheim is a district of Kerpen in the Rhine-Erft district in North Rhine-Westphalia. Manheim is located in the mining zone of the Hambach open-cast mine and must give way to it by 2022 according to RWE's plans.

 

Manheim ist ein Stadtteil von Kerpen im Rhein-Erft-Kreis in Nordrhein-Westfalen. Manheim liegt in der Abbauzone des Tagebaus Hambach und muss diesem nach den Plänen von RWE bis zum Jahr 2022 weichen.

 

de.wikipedia.org/wiki/Manheim

 

de.wikipedia.org/wiki/St._Albanus_und_Leonhardus_(Manheim)

This is Catch Photo #55 I'm playing with My husband Darek (aka blankspace321).We each take turns adding one thing to the photo. We limit ourselves to a total of 10 additions. This is my 7th addition of my 10. Now it's Darek's turn.

 

To see the photo Darek started this game with: CLICK HERE!

 

To see my D & J Photo Catch Folder (1-20): CLICKE HERE!

 

To see my D & J Photo Catch Folder (21-40): CLICKE HERE!

 

As of August 29, 2019 we have been doing Catch Photos for ten (10) years.

   

This is my best friend in sl her name is Tahisha Fairplay, I have known Tahisha for about 6 years and shes always happy to talk to me and she looks after me when some are mean to me.

 

More latex land links below.

Latex beings of latex land

Latex furrys

Latex land dolls

Sexy shiny me

bubblegum casting modeling

10jr17_354

This is a detail shot of one of my Christmas cards from this year. It was part of the splatter painting batch. I masked the area outside the snowman and splattered the snowman and ground. I used white, silver, glitter, and mod podge. Then I added the scarf and ear muffs cut from patterned paper and the arms from brown textured paper. The nose is part of an orange metallic paint sample.

 

See current cards available for sale here: www.etsy.com/shop/23and10

Looks real doesn't it? This is a huge, life-sized stuffed animal sheep dog.

It is on the floor of a parking garage in Rolling Hills Estates, CA.

When I first pulled into the garage there were 30 or so junior high boys and their skateboards. They were using the stuffed animal as an object to jump over. They have to play somewhere. I walked across the street to the mall. There were well over 100 junior high boys and their skateboards hanging out in the open air mall. It was Friday night, this is the place they have where they can meet. I went to Borders and bought a book. When I came out, there was a sheriff's car parked at the curb and no kids. Not a one. I went back over to the parking garage and the kids were gone as well. But the shaggy dog remained. I had to grab a photo of it.

I parked my car so that the headlights would shine on the dog. And here is the shot I got from my iPhone. Here we are in a very wealthy community with a top school district and yet there is no skate board park for the kids. Therefore, they skate on the street with no helmets. It's kind of sad that a town with highly rated schools and a ton of money is really not kid-friendly.

This is moment the idea for a skatepark was born.

Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.

 

It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.

 

The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).

 

The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.

 

Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.

 

Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.

 

However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).

 

The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.

 

The cathedral is generally open to visitors most days. For more see below:-

www.coventrycathedral.org.uk/

redheadedphotographer.com/

 

From the archives of last year.

 

I'm heading up to Milwaukee tomorrow to see UofL play Marquette on Saturday, so I won't be back for a minute or four. I'm taking both cameras in hopes that I can find inspiration outside of Louisville .. so wish me luck!!

 

I hope everyone has a nice weekend!!

This is my favorite comp of this fall but my friend Miles told me to Never Never Never delete a sunstar :) I didn't get to elaborate on my story earlier cuz I was pressed for time. I can see why everyone loves shooting with M cuz when I looked up and saw her hunched over framing her target her thongs were playing peekaboo with my eyes. Not something I see very often but I think shooting with her my chances will greatly increase ;) She's a trooper for sure and she gets her comps with or without a functioning tripod! Once again, thank you Gary for the detailed instructions, I'll remember you come April 1st!

Heritage Weekend is more than just the Saturday. In fact its more than one weekend. And the website for the weekend listed many intersting places to go, but few in east Kent on the Sunday, but St Margaret's being open was one of them.

 

So, after we had left St Mildred in Canterbury, we drove up the M2, and then through the usual strip malls and urban spread that is the Medway Towns.

 

The sat nav took us down narrow streets, across a main road, and up a slight hill, and announced we had arrived.

 

Nothing churchy leaped out at me.

 

I thought maybe down the narrow lane in front. It was then I saw the wall.

 

The wall looked chuchy. And beyond was an early 19th century building that had heritage bunting strung out.

 

Bingo.

 

The first view had the tower hidden by a tree, I thought perhaps it didn't have one.

 

But nearer to the church I could see it did have a tower, an a medieval one at that, it looked like an unhappy coupling.

 

I was given a very warm welcome, and the history of the church was explained:

 

the original church was in a ruinous state at the start of the 19th century, and when Army and Naval officers began to have houses built in the area, they wanted a nice fashionable church.

 

So the nave and chancel were taken down, and the current nave put in its place.

 

Built before the English Gothic fervour took hold.

 

The east and west windows have been replaced since the church was built.

 

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THE PARISH OF ST. MARGARET is of large extent, and contains all the lands without the walls on the south side of the city, that are within the bounds of its jurisdiction. It is stiled in some records, St. Margaret's in Suthgate, (fn. 22) and in those of the city, the Borough of Suthgate. (fn. 23)

 

There are two streets of houses in this parish, the one called St. Margaret's-street, leading from Bully-hill to the church, and so on to Borstall and Woldham southward; the other at some distance from it called St. Margaret's-bank, being a long row of houses, situated on a high bank at the north-east boundary of the parish, on the south side of the great London road to Dover, between St. Catherine's hospital in Rochester, and the Victualling-office, in Chatham. These houses are within the manor of Larkhill.

 

THERE are SEVERAL MANORS within the bounds of this parish, the most eminent of which is that of

 

BORSTALL, which was given to the church of Rochester and bishop Beornmod, in the year 811, by Cænulf, king of Mercia, as three plough lands.

 

This manor seems to have continued part of the possessions of the church of Rochester, without any interruption, till the time of the conquest. It is thus described in the general survey of Domesday, taken in the year 1080, under the general title of Terra Epi Rovecestre, i. e. the lands of the bishop of Rochester.

 

In the hundred of Rochester, the same bishop (of Rochester) holds Borchetelle. In the time of king Edward the Confessor it was taxed at two sulings, and now for one suling and an half. The arable land is four carucates. In demesne there are two carucates, and six villeins with three carucates. There are 50 acres of meadow, and two mills of 20 shillings. In the time of king Edward, and afterwards, it was worth six pounds, and now 10 pounds.

 

In Rochester the bishop had, and yet has, 24 plats of ground, which belong to Frindsbury and Borstal, his own manors. In the time of king Edward the Confessor, and afterwards, they were worth three pounds, now they are worth eight pounds, and yet they yield yearly 11 pounds and 13 shillings and four-pence.

 

When bishop Gundulph was elected to this see in the time of the Conqueror, and after the example of his patron, archbishop Lanfranc, separated his own revenues from those of his convent, this manor in the division was allotted to the bishop and his successors.

 

On a taxation of the bishop of Rochester's manors, in 1255, it appears that the bishop had in the manor of Borstalle one hundred and forty acres of arable, estimated each acre at 4d. forty acres of salt meadow at 8d. each, and fourteen acres of salt pasture, each at 6d. which, with the rents of assise, made the total value of the whole manor 9l. 10s. 3d. the repair of the buildings yearly amounting to twenty shillings. (fn. 24)

 

This manor still continues in the possession of the bishop of Rochester; but the demesne lands are leased out by him to Mrs. Vade, of Croydon, in Surry.

 

By the agreement made between John Lowe, bishop of Rochester, and the bailiff and citizens of Rochester, in the 27th year of king Henry VI. concerning the limits of the jurisdiction of the city, according to the charter then lately made to them, this borough and manor of Borstall was declared to be exempt from the precinct of the hundred of Rochester, and the law-day of it, and from all payments, fines, suits forfeitures and amerciaments due on that account, as being within the liberty of the bishop, and his church. (fn. 25)

 

The monks of Rochester priory had several grants of TYTHES, and other premises made to them within this manor and hamlet.

 

Robert Ernulf and Eadric de Borstalle, gave the tithes of their lands in Borstalle to the priory, which were confirmed to it by several bishops of Rochester, and others (fn. 26) In which confirmations they are described, as the whole tithe of Borstalle of corn, and two parts of the tithes of the land of Ralph de Borstalle. (fn. 27) Eadric de Hescenden, with his wife and two sons, entered into the society of the monks of this priory, upon condition, that when they died, the monks should say a service for them, as for their brethren; and the monks were to have for ever the tithes of their lands in Borestealle and Freondesberie, but in corn only.

 

Several parcels of land, &c. lying within the manor or hamlet of Borstall, were likewise at times given to these monks. All these premises continued part of the possessions of the priory till the dissolution of it, in 1549, when they were surrendered into the king's hands, and were settled by him, three years afterwards, on his new founded dean and chapter of Rochester, where they remain at present.

 

This manor, with others in this neighbourhood, was bound antiently to contribute to the repair of the first pier of Rochester-bridge.

 

NASHENDEN is a manor in this parish, which lies about three-quarters of a mile south-eastward from Borstall. In the Textus Roffensis it is called Hescenden, and in Domesday, Essedene.

 

This manor was part of those vast possessions, with which William the Conqueror enriched his half-brother Odo, the great bishop of Baieux; accordingly it is thus entered, under the title of that prelate's lands, in the general survey of Domesday:

 

Rannulf de Columbels holds of the bishop (of Baieux) Essedene. It was taxed at one suling. The arable land is . . . . In demesne there is one carucate, and 19 villeins, with three borderers having three carucates. There are three servants, and 8 acres of meadow. In the time of king Edward the Confessor, it was worth three pounds, when he received it four pounds, now five pounds. Earl Leuuin held it.

 

It appears by the red book of the exchequer, that this estate in the reign of king Henry II. was held by Thomas de Nessingden, of Daniel de Crevequer, as one knight's fee of the old feoffment.

 

In the reign of king Edward I. this manor was become the property of Jeffry Haspale, whose descendant, John de Aspale, for so the name was then spelt, died possessed of Nashenden in the 31st year of that reign, holding it of the king in capite. After which it appears to have come into the name of Basing, and from thence quickly after into that of Charles.

 

Richard Charles, as appears by the inquisition taken after his death, anno 1 Richard II. died possessed of the manor of Naseden, which he held of the king in capite by knight's service, excepting forty acres of pasture and wood, which he held of the lord Grey, as of his manor of Aylesford; whose nephew, Richard, son of his brother Roger Charles, died possessed of it in the 11th year of that reign, holding it of the king in capite, as of his honor of Peverel and Hagenet, by knight's service.

 

Nicholas Haut afterwards possessed this manor, in right of his wife Alice, who was a descendant of the above-mentioned family. She held it for the term of her life with remainder to James Peckham, who on her death, in the 1st year of king Henry IV. came into the possession of it. He obtained the king's licence two years afterwards, to give and amortize to the wardens of Rochester-bridge, and their successors, this manor, and also one hundred acres of pasture, with their appurtenances in Ellesford, the manor then being worth yearly, and above all reprises 6l. 13s. 4d. per annum. (fn. 28) Since which it has continued part of the possessions of the wardens and commonalty of the said bridge, for the support and repair of it. The present lessees of this manor are Leonard Bartholemew and Phil. Boghurst, esqrs.

 

An account of the tithes of this manor will be given, with those of Little Delce in this parish. (fn. 29)

 

There was a chapel at this place, dependent on the parish church of St. Margaret. (fn. 29)

 

GREAT DELCE is a manor which, with the estate now called LOWER DELCE, lies on the eastern side of this parish, about half a mile southward from Eastgate, in Rochester. It was formerly called Much Delce and Delce Magna, or Great Delce, and was given by William the Conqueror to Odo, bishop of Baieux, his halfbrother, under the title of whose lands it is thus entered in the general survey of Domesday:

 

In the lath of Aylesford, in Rochester hundred, the son of William Tabum holds Delce of the bishop (of Baieux). It was taxed at one suling and one yoke. The arable land is . . . . . There is one carucate in demesne, and five villeins having five carucates. There are 12 acres of meadow, wood for the pannage of one bog. In the time of king Edward the Confessor, and afterwards, it was worth three pounds, and now 70 shillings. Godric held it of king Edward.

 

This manor afterwards came into the possession of a family, to which it gave name. Herebert, Gosfrid, and Hugo de Delce possessed it in successive generations. After which it passed to Buckerel, and the heirs of Thomas Buckerel, in the latter end of the reign of king Henry III. held it as two knights fees and a half, of Bertram de Criol. (fn. 30) After which this estate seems to have been separated into parcels, for Geoffry de Haspale held this manor as the fourth part of a knight's fee only, at the time of his death, in the 15th year of king Edward I. as appears by the inquisition taken for that purpose.

 

The next family who succeeded, as appears by the original deeds of this estate, was that of Molineux, descended from those of Sefton, in Lancashire; but they did not keep possession of it long, for by the evidence of an antient court roll, Benedict de Fulsham was lord of it in the 30th year of king Edward III. His descendant, Richard Fulsham, held it of the king in capite, as the fourth part of a knight's fee, at his death in the 5th year of king Henry V. Soon after which this name seems to have become extinct here; for in the 9th year of that reign, Reginald Love died possessed of it, and his successor held it till the latter end of king Henry VI's reign, when it passed by sale to William Venour, whose arms were, Argent, on a fess sable five escallops or, three and two, and who died possessed of this manor in the 1st year of king Edward IV. After which it was within a few months conveyed by sale to Markham, descended from an antient family of that name in Nottinghamshire, in which name it staid but a very short time before it was sold to Tate, who passed it away to Sir Richard Lee, citizen of London, and grocer, who served the office of lord-mayor in the 39th year of king Henry VI. and the 9th year of king Edward IV. (fn. 31) He was the eldest son of John Lee, of Wolksted, in Surry, and grandson of Symon Lee, who was descended of ancestors in Worcestershire, and bore for his arms, Azure, on a sess cotized or, three leopard's faces gules. He lies buried in the church of St. Stephen, Walbrook, his arms are remaining in East-Grinsted church, and in that of St. Dionis Backchurch, in London, with those of several marriages of his posterity; his son Richard Lee seems to have had this manor of Great Delce by gift of his father during his life-time, and kept his shrievalty at this mansion in the 19th year of the latter reign, his son Richard, who was both of Delce and of Maidstone, left two sons, the youngest of whom, Edward, was archbishop of York, (fn. 32) and the eldest Richard, was of Delce, whose only surviving son, Godfrey, in the 31st year of Henry VIII. procured his lands to be disgavelled, by the general act passed for this purpose, (fn. 33) after which his descendants continued to reside here for several generations, but Richard Lee, esq. about the latter end of queen Anne's reign, passed away the whole of this estate, excepting the manor, and forty acres of land, to Thomas Chiffinch, esq. of Northfleet, in this county, from which time this seat and estate acquired the name of Lower Delce.

 

Thomas Chiffinch, esq. died in 1727, and was succeeded by Thomas Chiffinch, esq. his only son and heir, who died without issue in 1775, and by his will bequeathed this, among his other estates, to his niece and heir-at-law, Mary, the daughter of his sister Elizabeth Comyns, who afterwards carried them in marriage to Francis Wadman, esq. of the Hive, in Northfleet, and he is the present possessor of Lower Delce.

 

THE MANOR OF GREAT DELCE, and the forty acres of land above-mentioned, together with a farm, called King's Farm, continued in the possession of Richard Lee, esq. who died possessed of them in 1724, and his grandson, Richard Lee, esq. of Clytha, in Wales, now possesses this manor; but in 1769, he alienated all the demesnes of it, together with King's farm, to Mr. Sampson Waring, of Chatham, who died possessed of them in 1769, leaving his brother, Mr. Walter Waring, and his sister, Mrs. Smith, of Lower Delce, his executors, who are at this time entitled to the profits of them. The court for the manor of Great Delce has not been held for some years.

 

The manor is held by castle-guard rent of Rochester castle; but when the mansion and most part of the lands were sold, as above mentioned, from Lee to Chiffinch, the former expressly charged the whole of that rent on the premises bought by Chiffinch, and entirely exonerated that part which he reserved to himself from paying any portion of it.

 

An account of the tithes of this manor, given to the priory of Rochester, may be seen under the following description of Little Delce manor.

 

LITTLE DELCE, or DELCE PARVA, now known by the name of UPPER DELCE, is a manor in this parish, situated in the high road between Rochester and Maidstone, somewhat more than a quarter of a mile from the former. This likewise, as well as that of Great Delce, was given by William the Conqueror to his half brother Odo, bishop of Baieux; under the general title of whose lands it is thus described in the book of Domesday:

 

In Rochester hundred, Ansgotus de Roucestre holds Delce of the bishop (of Baieux). It was taxed at one suling. The arable land is two carucates, and there are in demesne . . . . . . . with one villein, and five borderers, and six servants. There are 12 acres of meadow, and 60 acres of pasture. In the time of king Edward the Confessor, and afterwards, and now, it was, and is worth 100 shillings. Osuuard held it of king Edward.

 

This estate, on the disgrace of bishop Odo, most probably reverted again into the king's hands; and seems afterwards to have been in the possession of a family, who assumed their name, De Delce, from it, and held it of William de Say, as one knight's fee. (fn. 34)

 

In the reign of king John, this manor was in the possession of Jeffry de Bosco, a Norman; but when that province was seized by the king of France, the lands of the Normans, in this kingdom, became vested in the crown, by way of escheat or seizure, under the title of, Terra Normanorum; thus the manor of Little Delce was seized by king John, in the 5th year of his reign, who gave it to William de Ciriton, the sheriff, for two hundred pounds, two palfreys, and two gols hawks, (fn. 35) on condition, that if the said Jeffry should return to his allegiance, he should, without delay, again possess the same. (fn. 36) But this never happened, and this manor continued in the desendants of William de Ciriton. Odo de Ciriton died possessed of it it in the 31st year of king Henry III. holding it of the king in capite, by the service of one knight's fee. (fn. 37) This family was extinct here before the middle of the reign of king Edward I. for in the 9th year of that reign, as appears by Kirkby's Inquest. Richard Pogeys held this manor. At the latter end of the reign of king Edward III. it was possessed by the family of Basing, from which name it went into that of Charles. Richard Charles died possessed of the manor of Little Delce, in the 1st year of king Richard II. leaving his brother's sons, Richard and John, his next heirs; the former of whom died possessed of it, anno 11 Richard II. and left a son, Robert Charles, who dying without issue, his two sisters became his coheirs, viz. Alice, married to William Snayth, and Joan to Richard Ormskirk; and on the division of their estates, this manor fell to the share of William Snayth, commonly called Snette, in right of his wife, Alice, the eldest of them. Soon after which, Charles and William Snette, for so the name is spelt in the bridge archives, gave and amortized this manor of Little Delce, of the yearly value of six marcs, above all reprises, to the wardens of Rochester bridge and their successors, for the support and repair of the same. Since which it has acquired the name of Upper Delce, by which it is now only known, and it continues at this time part of the possessions of the wardens and commonalty of the said bridge, for the purposes above mentioned. The present lessees of this manor are Leonard Bartholomew and Philip Boghurst, esqrs.

 

The tithes of Great and Little Delce, Borstal, and Nashenden, were given, in the time of bishop Gundulph, to the priory of Rochester.

 

Gosfrid de Delce, together with his wife and children, on their being admitted to be partakers of the benefits received from the prayers of the monks, gave the whole of the tithes of Little Delce, both great and small, to the priory of St. Andrew.

 

Ansgotus de Rovecestre accepted of the like benefit from the church of St. Andrew, and the monks there, in the time of bishop Gundulph, and gave to the church and monks there, all his tithes, both great and small, of Great Delce, and in like manner the whole of his tithe mill, and of a certain piece of land included within the wall of the monks, towards the south, and five acres of land near Prestefelde, and at their request, gave them, on his death bed, cloathing, and they performed service for him as for a monk.

 

Uulmer, the tenant of Arnulf de Hesdine, by the advice of Adelold, brother of Baldwin, monk of St. Andrew, accepted the benefit of that society, and gave to it his whole tithe, worth ten shillings yearly. Robert de St. Armand gave his tithes of Neschendene and Borstelle to St. Andrew's priory. These several tithes were confirmed to the priory by various bishops of Rochester; by Theobald, archbishop, and Ralph, prior, and the convent of Canterbury. They remained part of the possessions of the priory till their dissolution in 1540; three years after which they were settled on the new founded dean and chapter of Roter, where they still remain.

 

The PARISH of St. MARGARET, is Rochester, is within the ECCLESIASTICAL JURISDICTION of the diocese and deanry of Rochester. The church is situated at the south extremity of St. Margaret's-street; it consists of one nave and two chancels on the south side of much later date than the church. That towards the east end was built and long supported by the family of Lee, of Great Delce, whose remains lie in a large vault under this chancel; but since the alienation of their mansion here, the repair of this part of the fabric has devolved on the parishioners. The chancel, at the east end of the church, belongs to the appropriator, who consequently repairs it. At the west end of the church is a tower, containing five bells; it is entirely covered with ivy to the top of it, which makes a most beautiful and picturesque appearance. Against the east wall, in the south chancel, is the antient bust of a man in robes, with a coronet on his head. (fn. 38) In the reign of king Charles II. a coronet, set round with precious stones, was dug up in this church yard; and the report of the parish has been, that one of our Saxon kings was buried here.

 

Among other monuments and inscriptions in this church are the following: In the chancel, a brass for Syr James Roberte Preess, obt. Sep. 24, 1540. A monument, arms, Head, impaling quarterly a chevron between three hawks belled or, for Francis Head, esq. eldest son of Sir Richard Head. bart. obt. 1678; he married the only daughter of Sir George Ent. In the north window, Argent. three crosses bottony fitchee sable, and argent on a bend quarterly, an efcallop gules. In a pew, partly in the chancel and partly in the nave, Argent on a bend gules, between two peliers, three swans proper. In the nave, a brass for Tho. Cod. vicar, a benefactor to the steeple of this church, obt. Nov. 1465. In the chancel, south of the rectors, a monument, arms, Argent, a right hand couped sable, impaling Lee, for Thomas Manly, esq the third son and heir of George Manly, of Lach, esq. he married Jane, second daughter of Richard Lee, esq. of Delce, and left one only son and two daughters, obt. 1690. In the east window, arms of Lee, Azure on a fess cotized, or three leopards heads gules. In a chapel, west of the Lee chancel, in the east wall, a bust of a person with a crown on his head, much defaced. (fn. 39)

 

At the time of bishop Gundulph's coming to the see of Rochester, and for almost a century afterwards, this church or chapel of St. Margaret, for it is frequently mentioned by both names, was accounted only as an appendage to the parochial altar of St. Nicholas in the cathedral, and the one underwent the same changes as the other; (fn. 40) and Walter, bishop of Rochester, in 1147, confirmed the above mentioned parochial altar, together with this church of St. Margaret, which belonged as a chapel to it, to the monks of this priory, and appropriated it to them. This grant was set aside by bishop Gilbert de Glanville, in the beginning of the reign of king Richard I. who not only separated this church from the altar of St. Nicholas, and divested the monks of all manner of right to it; but on the foundation of his hospital at Stroud about the same time, he gave, in pure and perpetual alms, among other premises, this church of St. Margaret to the master and brethren of it, and appropriated it to them, reserving only half a marc yearly to be paid to the priory, in lieu of the oblations which the monks used to receive from it. (fn. 41)

 

The monks by no means acquiesced in this gift, but seized every opportunity of asserting their right to this church, and after several appeals to the pope from time to time, and confirmation and decrees made in favour of each party, (fn. 42) the dispute seems to have been finally settled in 1255, when the pope adjudged, that this church of St. Margaret, with all its appurtenances, should for the future belong to the prior and chapter of Rochester; accordingly from the above time they kept possession of it.

 

From the time of bishop Walter's appropriation of the profits of the parochial altar of St. Nicholas, with this church appendant to it, to the prior and convent, to the divesting them of it by bishop Glanville, it is likely, instead of a curate being appointed, the duty of this parish was discharged by some member of the society, as it was probably afterwards, whilst in the possession of the hospital, by one of the priests of that foundation; however, within a few years after the convent recovered the permanent possession of St. Margaret's, a vicar was certainly appointed, for William Talevez occurs by that title in 1272.

 

The vicars seem to have had only a yearly stipend from the convent for their pains, for more than a century afterwards; but in 1401, the prior and chapter came into a composition with the vicar for the endowment of this church; in which they agreed, that the vicar and his successors should for the future have, for their maintenance, and the support of the burthens therein mentioned, a mansion with its appurtenances, to be assigned for the vicarage of it, and the accustomed and entire altarage of it, and all the small tithes of the three manors of Nessenden and Great and Little Delce, and of all goods and lands, except the tithes of mills, within the parish, and except the tithes, great, small, and mixed, arising from the lands, cattle, and other things belonging to the religious; and that he and his successors should have three quarters of wheat with three heaps, and three quarters of barley with three heaps, to be taken yearly at their barn, at the times therein mentioned, and the tithes of sheaves, which should arise in gardens not cultivated with the plough; and that the vicar and his suc cessors, content with the above portion, should not demand any thing further of the religious or their successors; and further, that he and they should undergo, at their own proper costs and charges, the burthens of repairing, maintaining, and new building, as often as need should be, the buildings, with their appurtenances, and all other things belonging to the said mansion, with its appurtenances, as well as all things belonging to the celebration of divine services, and the administration of the sacraments and sacramentals to the parishioners, and the finding of bread and wine, lights, books, vestments, and other ornaments necessary to the celebration of divine services, which of custom or right ought to belong to the secular rectors of this church; and also the procurations and subsidies, according to the taxation of his and their portion; but all other things whatsoever, belonging or which in future should belong to this church, as well as all tithes whatsoever, arising or to arise from the lands and possessions of the prior and convent within the parish, even though they should be let or sold to laymen, they the said prior and convent should take and have, who should likewise maintain and repair the chancel, except as before excepted, at their own proper costs and charges. Notwithstanding the stipulation of the vicar for himself and his successors, not to require any increase of their portion from the prior and convent, Edmund Harefelde, vicar of this church, did not consider this clause as obligatory upon him; for in 1488, he petitioned the bishop for an augmentation of his vicarial portion, who decreed, that the vicar and his successors should yearly receive, as the portion of his vicarage, from the prior and convent, five marcs in money; and out of the tithes and profits of this church, appropriated to the prior and convent, four quarters of wheat with four heaps, and four quarters of barley with four heaps, to be taken yearly at their barns of the Upper court, in Harreat, with liberty of entry and distress on the parsonage on non-payment; and he decreed, that the endowment of the vicarage, over and above the portion above mentioned, should be as follows, that the vicar for the time being should have the mansion of the vicarage of this church, with the garden adjoining, for his habitation, which they used to have of old time there, and then had; and all manner of oblations whatsoever within the bounds of the parish, and all manner of tithes whatsoever, as of hay, lambs, wool, mills, calves, chicken, pigs, geese, ducks, eggs, bees, honey, wax, cheese, milk, the produce of the dairy, flax, hemp, pears, apples, swans, pidgeons, merchandizes, fisheries, pastures, onions, garlics, and saffrons whatsoever arising and coming; and also the tithes of sheaves in gardens, whether cultivated with the plough or dug with the foot, increasing within the parish; and the tithes also of firewood, woods, thorns, silva cedua, as well as of all billets, faggots, and fardels whatsoever, within the limits of the parish; and he further decreed, that the burthens of repairing, amending, and new building the mansion, with every appurtenance belonging to it, and the celebration and ministration of the sacraments and the sacramentals to the parishioners, of the finding of bread and wine, and lights to the church, either of right or custom due, should belong to and be borne by the vicar and his successors, as well as all episcopal burthens of the said church, according to the taxation of his portion. But that the burthen of repairing and amending the chancel of the church, as well within as without, as also the finding and repairing of books, vestments, and other ornaments, for the celebration of those divine rights, which of old, either by right or custom, belonged to the rectors of the church, should in future be borne by the prior and convent and their successors, at their own proper charge and expence; and that all other burthens, ordinary and extraordinary, of the vicarage, and to the vicar belonging, by reason of tha same, except as before excepted, should belong to him and his successors, to be borne and supported at his and their own proper costs and charges; saving to the bishop and his successors, a right of augmenting and diminishing this vicarage, and of correcting, amending, and explaining the above decree, whenever he or they should think it expedient so to do; and saving to himself and his successors, all episcopal right, (fn. 43) &c.

 

The appropriation of this church, and the patronage of the vicarage, continued part of the possessions of the prior and convent till the dissolution of the monastery, in 1540, when it was surrendered into the king's hands, who three years after, by his dotation charter, settled this appropriation and vicarage on his new founded dean and chapter of Rochester, where they remain at this time.

 

Adjoining to the north wall of the church yard is a piece of ground, which has probably belonged to the vicars of this parish ever since their first institution here; an antient court roll mentions their being possessed of it in the year 1317.

 

In the 5th year of king Edward III. John de Folkstan, vicar of St. Margaret's, held a messuage, with its appurtenances, adjoining to the church yard, by the assignment of the prior and convent, with the ordination of the bishop, as belonging to the portion of his vicarage; which messuage, with its appurtenances, was held of the master and brethren of the hospital of Stroud, by fealty, and the service of two shillings yearly, and also the payment of twelvepence to them, after the death of each vicar. (fn. 44)

 

The vicars, I am told, now hold this piece of land of the dean and chapter, as of their manor of Ambree, on their paying a small acknowledgment.

 

The vicarage house being from age become irreparable, was taken down, with an intention of erecting a convenient and substantial dwelling in the room of it; for which purpose Mr. Lowth, the late vicar, for several years deposited an annual sum with the dean and chapter, towards defraying the charges of it; and about 1781, erected on this spot a neat and convenient house, built of brick and sashed, with proper offices adjoining, for the use of himself and his successors, vicars of this parish. By an agreement between John Ready, vicar of it, and the dean and chapter, the former, in consideration of several benefits and benevolences done to him by the latter, consented to take an annual payment of 5l. 6s. 8d. instead of the pension in money and corn, granted by the composition made in 1488. Some recompence indeed has since been made for this unjust bargain by the dean and chapter, who have settled on it a larger augmentation than on any other church in their patronage. The vicarage of St. Margaret is valued in the king's books at 10l. and the yearly tenths at 1l. (fn. 45)

 

¶In the survey, taken after the death of Charles I. in 1649, of the church livings within this diocese, by the powers then in being, on the intended abolition of deans and chapters, it was returned, that there were belonging to this rectory or parsonage, a parsonagehouse, two barns, one stable, and other houshings, and also certain tithes, profits, &c. belonging to it, together with certain glebe land, called Court-hill and Court hill marsh, containing together nine acres, and and one marsh, lying in the parish of St. Nicholas, Rochester, called Cow marsh, with the waste ground called salts, containing together seven acres, and all that piece of ground called Upper court, alias Hogshaw, containing one acre; in all seventeen acres, worth together 130l. per annum, viz. the house and lands, 12l. per annum, and the tithes 118l. per ann. all which were let, among other premises, by Henry King, late dean of the cathedral church of Rochester, by his indenture, in 1639, to George Newman, esq. for twenty-one years, at the yearly rent, for Preestfield and Stroud marsh, of 4s. 4d. per annum, and for all the other premises twelve quarters of wheat, heaped, making together the yearly rent of 31l. 1s. 8d. Next the vicarage was, in like manner surveyed, and returned at the yearly value of 30l. (fn. 46)

 

www.british-history.ac.uk/survey-kent/vol4/pp153-182

This is the Earl Grey Inn and London Silk Mill at Leek, Staffordshire, England, UK. Its UK OS Grid Reference is SJ989563.

 

In October 1685 the King of France had a bad idea.

 

He decided to issue The Edict of Fontainebleau that revoked the 1598 Edict of Nantes which had granted toleration to French Protestants: The Huguenots.

 

These Huguenots comprised a landless class of craftsmen in silk, silver, glass and furniture. As a result of the bloody persecution that resumed, half a million Huguenots took themselves and their skills to England. Settling at first in Spitalfields ( London ) and the Derby area, by the early eighteenth century a number of them had infiltrated the East Cheshire and North Staffordshire area to the South of Manchester.

 

Meanwhile, even in England, you could not vote unless you owned land and you could not own land unless you were a Confirmed and jurant member of The Church of England. The Commonwealth and the events of the last half of the seventeenth century had begotten numerous native Presbyterians and Quakers. None of these English or French non-conformists, and of course no Jew or Catholic, could attend a university, sit in judgment, obtain a commission, or in any way participate in civic life.

 

But they could work, and to such men the route to wealth and respect led through the shop.

 

By the 1670’s a silk industry had engendered in Leek.

 

Leek Friends’ Meeting had opened a house by 1700, as had the Baptists, whilst Leek Presbyterians had a meeting house by 1715.

 

During the 1730’s people with not-quite-English names like Myott, Lombe or Davenport set up in Leek as silk twisters or weavers, sometimes dabbling in mohair or linen as the winds of trade directed. By 1799, three thousand practiced silk manufacture in the town.

 

The spinners and weavers of Leek were by and large small independent craftsmen in their own premises. So they were reluctant to heed the wooing of the Right or the Left. When the Jacobite army passed by in 1745 the men of Leek greeted it with apathy and when fifty years later the Blanketeers stormed through to assault the capital our lads had little comfort for them or their Government pursuers.

 

Gradually the silk trade grew and in the 1820’s well-lit weavers’ houses were constructed around Albion Street in South-West Leek. This is now a cobbled conservation area and when in about 2004 some barmy official ordered his men to tear up the cobbles and lay tarmacadam, the residents told him to put the stones back in short order!

 

In 1816 Badnall and Langharn had introduced steam to their mill in Mill Street and by 1835 Leek had seven steam mills with 119 power looms served by 744 operatives of whom 477 were women or girls.

 

By 1818 there were in Leek 200 weavers on engine looms and 100 on hand looms, absorbing the output of the spinning mills. As in the Scottish silk town of Paisley, the introduction of the Jacquard loom, programmed with punched cards, introduced something of a revolution in patterned weaves. In addition to these numbers there were fifty broadloom weavers making handkerchiefs and shawls.

 

By 1839 over three hundred domestic looms worked full-time, either on ribbon or broad goods.

 

In the 1820’s there were plenty of mill owners and prosperous working men around Leek as around other industrial towns of the Midlands and the North. The few who were represented voted for county seats and their interest was swamped by the country landed and nabob retirees who could purchase votes, either in the shires or in decrepit rural townlets.

 

Many weavers were purchasing, or already had purchased, their modest premises with mutual finance. The Leek Building Society opened its doors in 1824 and was soon joined by several more, who with other co-operative institutions were to play a major role in the future of the town and of Britain.

 

On 15 November 1830, the Swing Riots precipitated a vote of no confidence in the Tory government of Arthur Wellesley, Duke of Wellington, and his government fell.

 

Two years previously Charles Grey, the 2nd Earl Grey and leader of the Whigs had attempted to enfranchise Manchester and Birmingham, at the respective expense of rotten boroughs Penryn and East Retford. He had failed.

 

Now the Whigs came to power and Grey introduced The Representation of the People Act 1832 ( “The Reform Act” ) to abolish the rotten boroughs, suppress electoral corruption and enfranchise the new industrial towns and cities. The suffrage doubled overnight from 200,000 to include all adult males who owned or rented land above a threshold rental value: Fourteen percent of males could now vote. It was not until 1867, however, that non-propertied men could vote.

 

And for an encore Grey and his Whigs abolished slavery in the British Empire.

 

Across the road the severely functional four-story structure is London Mill, built at a time when the Ashbourne Road it fronts was called London Road. It was built in 1853 for unknown silk spinners and was purchased in 1863 by Brough, Nicholson and Hall whose names are set in stone over the door. This firm moved from smaller premises in Union Street and traded at London Mill until around 1960 when they sold the mill to Job White and Sons Limited. The premises, derelict in 2002 is now ( May 2007 ) proposed for conversion to retail, business and residential uses. The exterior is substantially as built with nineteen bays, the three central of which support an elegant pediment.

 

The Earl Grey bar is perhaps the smallest I have seen anywhere. Three bar stools stand opposite three pull-pumps and there is standing room for a further eight or ten customers. Its doors were open to the street as I passed but no staff or customers were in evidence.

 

The last silk mill at Leek ceased working silk in 1994, though vestigial processing of artificial fibers remains in the town.

 

The largest employer in Leek today is The Britannia Building Society whose magnificent new World headquarters grace the Southern entrance to this homely and unpretentious Staffordshire town. It is the UK’s second biggest mutual building society with assets of £32.4 billion ( $ 65 billion ) and 4600 employees, of whom around 2400 work at Leek. The society has three million members.

 

In 2013 Thierry Geoffroy / Colonel is represented at the Malives pavilion at the Venice Biennale and then went further and received hospitality at the Zimbabwe pavilion with the Emergency Room Mobile

www.emergencyrooms.org/biennalist.html

Meanwhile Thierry Geoffroy is in Copenhagen the work about todays emergencies continue at the gallery Marianne Friis on the

ULTRACONTEMPOARY WARM UP Wall established for this occasion since 6sept 2013

thierrygeoffroy.blogspot.dk/2013/09/colonel-s-warm-up-wal...

www.emergencyrooms.org

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lists of artists participating at the Venice Biennale :

Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.

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other pavilions at Venice Biennale

 

Andorra Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison

Commissioner: Henry Périer Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella

Curators: Josep M. Ubach, Paolo De GrandisAngola Artist: Edson Chagas Commissioner: Ministry of Culture

Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos

Argentina Artist: Nicola Costantino Commissioner: Magdalena Faillace Curator: Fernando Farina

Armenia Artist: Ararat SarkissianCurator: Arman Grogoryan /AustraliaArtist: Simryn Gill Commissioner: Simon Mordant Deputy Commissioner: Penelope Seidler Curator: Catherine de Zegher /AustriaArtist: Mathias Poledna ,Curator: Jasper Sharp /AzerbaijanArtists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov /Commissioner: Heydar Aliyev FoundationCurator: Hervé Mikaeloff

Bahamas Artist: Tavares Strachan Commissioner: Nalini Bethel, Ministry of Tourism Curators: Jean Crutchfield, Robert HobbsDeputy Curator: Stamatina Gregory/BangladeshChhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School/Commissioner/Curator: Francesco Elisei. , Curator: Fabio Anselmi./BahrainArtists: Mariam Haji, Waheeda Malullah, Camille Zakharia /Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture /Curator: Melissa Enders-Bhatiaa/BelgiumArtist: Berlinde De Bruyckere

Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture .Curator: J. M. Coetzee ,Deputy Curator: Philippe Van Cauteren /Bosnia and Herzegovina

Artist: Mladen Miljanovic .Commissioners: Sarita Vujković, Irfan Hošić

Brazil Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari

Commissioner: Luis Terepins, Fundação Bienal de São Paulo,Curator: Luis Pérez-Oramas ,Deputy Curator: André Severo

CanadaArtist: Shary Boyle /Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada ,Curator: Josée Drouin-Brisebois/Central AsiaArtists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov

Commissioner: HIVOS (Humanist Institute for Development Cooperation)

Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)

Curators: Ayatgali Tuleubek, Tiago Bom

Scientific Committee: Susanne M. Winterling

ChileArtist: Alfredo JaarCommissioner: CNCA, National Council of Culture and the Arts Curator: Madeleine Grynsztejn

ChinaArtists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao

Commissioner: China Arts and Entertainment Group (CAEG) ,Curator: Wang Chunchen

Costa Rica Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto

Commissioner: Francesco EliseiCurator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)

Croatia Artist: Kata Mijatovic ,Commissioner/Curator: Branko Franceschi.

CubaArtists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone ,Commissioner: Miria ViciniCurators: Jorge Fernández Torres, Giacomo Zaza

CyprusArtists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister /Louli Michaelidou

Deputy Commissioners: Angela Skordi, Marika Ioannou/Curator: Raimundas Malašauskas

Czech Republic & Slovak RepublicArtists: Petra Feriancova, Zbynek Baladran ,Commissioner: Monika Palcova, Curator: Marek Pokorny /DenmarkArtist: Jesper Just in collaboration with Project ProjectsEgypt

Artists: Mohamed Banawy, Khaled Zaki

EstoniaArtist: Dénes Farkas ,Commissioner: Maria Arusoo ,Curator: Adam Budak

FinlandArtist: Antti Laitinen , Commissioner: Raija Koli , Curators: Marko Karo, Mika Elo, Harri Laakso

FranceArtist: Anri Sala ,Curator: Christine Macel

GeorgiaArtists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze/Commissioner: Marine Mizandari, First Deputy Minister of Culture Curator: Joanna Warsza

GermanyArtists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh Commissioner/Curator: Susanne Gaensheimer /Great BritainArtist: Jeremy Deller ,Commissioner: Andrea Rose , Curator: Emma Gifford-Mead

Holy SeeArtists: Lawrence Carroll, Josef Koudelka, Studio Azzurro ,Curator: Antonio Paolucci

Hungary , Artist: Zsolt Asztalos , Curator: Gabriella Uhl

Iceland , Artist: Katrín Sigurðardóttir ,Commissioner: Dorotheé Kirch

Curators: Mary Ceruti , Ilaria Bonacossa/IndonesiaArtists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi

Deputy Commissioner: Achille Bonito Oliva , Assistant Commissioner: Mirah M. Sjarif

Curators: Carla Bianpoen, Rifky Effendy

IraqArtists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)

Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)Curator: Jonathan Watkins.

IrelandArtist: Richard MosseCommissioner, Curator: Anna O’Sullivan

Israel , Artist: Gilad Ratman , Commissioners: Arad Turgeman, Michael GovCurator: Sergio Edelstein

ItalyArtists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa ,Commissioner: Maddalena Ragni

Curator: Bartolomeo Pietromarchi /Ivory Coast Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny

Commissioner: Paolo De Grandis , Curator: Yacouba Konaté

Japan ,Artist: Koki Tanaka ,Curator: Mika Kuraya

KenyaArtists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César MeneghettiCommissioner: Paola Poponi ,Curators: Sandro Orlandi, Paola Poponi /Korea (Republic of)Artist: Kimsooja

KosovoArtist: Petrit Halilaj ,Commissioner: Erzen Shkololli ,Curator: Kathrin Rhomberg

KuwaitArtists: Sami Mohammad, Tarek Al-Ghoussein

Commissioner: Mohammed Al-Asoussi ,Curator: Ala Younis /Latin AmericaIstituto Italo-Latino Americano

Artists:Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi. /Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski ,Commissioner: Sylvia Irrazábal ,Curator: Alfons Hug

Deputy Curator: Paz Guevara /Latvia Artists: Kaspars Podnieks, Krišs Salmanis ,Commissioners: Zane Culkstena, Zane Onckule ,Curators: Anne Barlow, Courtenay Finn, Alise Tifentale

LithuaniaArtist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter SinisterCommissioners: Jonas Žokaitis, Aurime Aleksandraviciute Curator: Raimundas Malašauskas /LuxembourgArtist: Catherine LorentCommissioner: Clément Minighetti Curator: Anna Loporcaro /MexicoArtist: Ariel Guzik ,Commissioner: Gastón Ramírez Feltrín ,Curator: Itala Schmelz

Montenegro ,Artist: Irena Lagator Pejovic .Commissioner/Curator: Nataša Nikcevic

The Netherlands ,Artist: Mark Manders

Commissioner: Mondriaan Fund ,Curator: Lorenzo Benedetti

New Zealand Artist: Bill Culbert ,Commissioner: Jenny Harper ,Deputy Commissioner: Heather Galbraith ,Curator: Justin Paton /Finland: ,Artist: Terike Haapoja ,Commissioner: Raija Koli ,Curators: Marko Karo, Mika Elo, Harri Laakso

Norway:Artists: Edvard Munch, Lene Berg

Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese

Paraguay Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi ,Commissioner: Elisa Victoria Aquino Laterza

Deputy Commissioner: Nori Vaccari Starck , Curator: Osvaldo González Real

Poland Artist: Konrad Smolenski Commissioner: Hanna Wróblewska Curators: Agnieszka Pindera, Daniel Muzyczuk

Portugal Artist: Joana Vasconcelos Curator: Miguel Amado

RomaniaArtists: Maria Alexandra Pirici, Manuel Pelmus Commissioner: Monica Morariu Deputy Commissioner: Alexandru Damia Curator: Raluca VoineaArtists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian MoldovanCommissioner: Monica Morariu ,Deputy Commissioner: Alexandru Damian ,Curator: Anca Mihulet

Russia Artist: Vadim Zakharov ,Commissioner: Stella Kasaeva ,Curator: Udo Kittelmann

Serbia Artists: Vladimir Peric, Miloš Tomic .Commissioner: Maja Ciric

SloveniaArtist: Jasmina CibicCommissioner: Blaž Peršin ,Curator: Tevž Logar

South Africa Commissioner: Saul Molobi ,Curator: Brenton Maart

Spain Artist: Lara Almarcegui , Commissioner/Curator: Octavio Zaya

Switzerland Artist: Valentin Carron Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki

Curator: Giovanni CarmineVenue: Pavilion at Giardini

Syrian Arab RepublicArtists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo

Commissioner: Christian Maretti Curator: Duccio Trombadori

Taiwan Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU Curator: Esther Lu

Thailand Artists: Wasinburee Supanichvoraparch, Arin Rungjang

Curators: Penwadee Nophaket Manont, Worathep Akkabootara

Turkey Artist: Ali Kazma Commissioner: Istanbul Foundation for Culture and Arts Curator: Emre Baykal

Ukraine Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna Commissioner: Victor Sydorenko

Curators: Soloviov Oleksandr, Burlaka Victoria

United Arab Emirates Artist: Mohammed Kazem /Commissioner: Dr. Lamees Hamdan Curator: Reem Fadda

Uruguay Artist: Wifredo Díaz Valdéz

Commissioner: Ricardo Pascale Curators: Carlos Capelán, Verónica Cordeiro

USA Artist: Sarah Sze Commissioners/Curators: Carey Lovelace, Holly Block

Venezuela Colectivo de Artistas Urbanos Venezolanos , Commissioner: Edgar Ernesto González Curator: Juan Calzadilla

 

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Encyclopedic Palace is curated by Massimiliano Gioni

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Other Biennales (Biennials ) : Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

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This is a 23m sandalwood statue of Maitreya Buddha.

 

Tibetan Buddhist monastery Yonghe Gong, located in Northeastern Bejing, was constructed in the XVIII century and belongs to the Geluk sect of Tibetan Buddhism. It was saved from the ravages of the Cultural Revolution by personal intervention of Zhou Enlai, Chinese Communists' second in command.

 

Это - 23-метровая статуя Будды Майтреи из сандалового дерева.

 

Ламаистский буддистский храм Юнхэгонг, расположенный в северо-востчном Пекине, был построен в первой половине XVIII века и принадлежит тибетской секте Гелуг. Монастырь был спасён от уничтожения во время Культурной Революции благодаря личному приказу Чжоу Энлая.

Graffiti (plural; singular graffiti or graffito, the latter rarely used except in archeology) is art that is written, painted or drawn on a wall or other surface, usually without permission and within public view. Graffiti ranges from simple written words to elaborate wall paintings, and has existed since ancient times, with examples dating back to ancient Egypt, ancient Greece, and the Roman Empire (see also mural).

 

Graffiti is a controversial subject. In most countries, marking or painting property without permission is considered by property owners and civic authorities as defacement and vandalism, which is a punishable crime, citing the use of graffiti by street gangs to mark territory or to serve as an indicator of gang-related activities. Graffiti has become visualized as a growing urban "problem" for many cities in industrialized nations, spreading from the New York City subway system and Philadelphia in the early 1970s to the rest of the United States and Europe and other world regions

 

"Graffiti" (usually both singular and plural) and the rare singular form "graffito" are from the Italian word graffiato ("scratched"). The term "graffiti" is used in art history for works of art produced by scratching a design into a surface. A related term is "sgraffito", which involves scratching through one layer of pigment to reveal another beneath it. This technique was primarily used by potters who would glaze their wares and then scratch a design into them. In ancient times graffiti were carved on walls with a sharp object, although sometimes chalk or coal were used. The word originates from Greek γράφειν—graphein—meaning "to write".

 

The term graffiti originally referred to the inscriptions, figure drawings, and such, found on the walls of ancient sepulchres or ruins, as in the Catacombs of Rome or at Pompeii. Historically, these writings were not considered vanadlism, which today is considered part of the definition of graffiti.

 

The only known source of the Safaitic language, an ancient form of Arabic, is from graffiti: inscriptions scratched on to the surface of rocks and boulders in the predominantly basalt desert of southern Syria, eastern Jordan and northern Saudi Arabia. Safaitic dates from the first century BC to the fourth century AD.

 

Some of the oldest cave paintings in the world are 40,000 year old ones found in Australia. The oldest written graffiti was found in ancient Rome around 2500 years ago. Most graffiti from the time was boasts about sexual experiences Graffiti in Ancient Rome was a form of communication, and was not considered vandalism.

 

Ancient tourists visiting the 5th-century citadel at Sigiriya in Sri Lanka write their names and commentary over the "mirror wall", adding up to over 1800 individual graffiti produced there between the 6th and 18th centuries. Most of the graffiti refer to the frescoes of semi-nude females found there. One reads:

 

Wet with cool dew drops

fragrant with perfume from the flowers

came the gentle breeze

jasmine and water lily

dance in the spring sunshine

side-long glances

of the golden-hued ladies

stab into my thoughts

heaven itself cannot take my mind

as it has been captivated by one lass

among the five hundred I have seen here.

 

Among the ancient political graffiti examples were Arab satirist poems. Yazid al-Himyari, an Umayyad Arab and Persian poet, was most known for writing his political poetry on the walls between Sajistan and Basra, manifesting a strong hatred towards the Umayyad regime and its walis, and people used to read and circulate them very widely.

 

Graffiti, known as Tacherons, were frequently scratched on Romanesque Scandinavian church walls. When Renaissance artists such as Pinturicchio, Raphael, Michelangelo, Ghirlandaio, or Filippino Lippi descended into the ruins of Nero's Domus Aurea, they carved or painted their names and returned to initiate the grottesche style of decoration.

 

There are also examples of graffiti occurring in American history, such as Independence Rock, a national landmark along the Oregon Trail.

 

Later, French soldiers carved their names on monuments during the Napoleonic campaign of Egypt in the 1790s. Lord Byron's survives on one of the columns of the Temple of Poseidon at Cape Sounion in Attica, Greece.

 

The oldest known example of graffiti "monikers" found on traincars created by hobos and railworkers since the late 1800s. The Bozo Texino monikers were documented by filmmaker Bill Daniel in his 2005 film, Who is Bozo Texino?.

 

In World War II, an inscription on a wall at the fortress of Verdun was seen as an illustration of the US response twice in a generation to the wrongs of the Old World:

 

During World War II and for decades after, the phrase "Kilroy was here" with an accompanying illustration was widespread throughout the world, due to its use by American troops and ultimately filtering into American popular culture. Shortly after the death of Charlie Parker (nicknamed "Yardbird" or "Bird"), graffiti began appearing around New York with the words "Bird Lives".

 

Modern graffiti art has its origins with young people in 1960s and 70s in New York City and Philadelphia. Tags were the first form of stylised contemporary graffiti. Eventually, throw-ups and pieces evolved with the desire to create larger art. Writers used spray paint and other kind of materials to leave tags or to create images on the sides subway trains. and eventually moved into the city after the NYC metro began to buy new trains and paint over graffiti.

 

While the art had many advocates and appreciators—including the cultural critic Norman Mailer—others, including New York City mayor Ed Koch, considered it to be defacement of public property, and saw it as a form of public blight. The ‘taggers’ called what they did ‘writing’—though an important 1974 essay by Mailer referred to it using the term ‘graffiti.’

 

Contemporary graffiti style has been heavily influenced by hip hop culture and the myriad international styles derived from Philadelphia and New York City Subway graffiti; however, there are many other traditions of notable graffiti in the twentieth century. Graffiti have long appeared on building walls, in latrines, railroad boxcars, subways, and bridges.

 

An early graffito outside of New York or Philadelphia was the inscription in London reading "Clapton is God" in reference to the guitarist Eric Clapton. Creating the cult of the guitar hero, the phrase was spray-painted by an admirer on a wall in an Islington, north London in the autumn of 1967. The graffito was captured in a photograph, in which a dog is urinating on the wall.

 

Films like Style Wars in the 80s depicting famous writers such as Skeme, Dondi, MinOne, and ZEPHYR reinforced graffiti's role within New York's emerging hip-hop culture. Although many officers of the New York City Police Department found this film to be controversial, Style Wars is still recognized as the most prolific film representation of what was going on within the young hip hop culture of the early 1980s. Fab 5 Freddy and Futura 2000 took hip hop graffiti to Paris and London as part of the New York City Rap Tour in 1983

 

Commercialization and entrance into mainstream pop culture

Main article: Commercial graffiti

With the popularity and legitimization of graffiti has come a level of commercialization. In 2001, computer giant IBM launched an advertising campaign in Chicago and San Francisco which involved people spray painting on sidewalks a peace symbol, a heart, and a penguin (Linux mascot), to represent "Peace, Love, and Linux." IBM paid Chicago and San Francisco collectively US$120,000 for punitive damages and clean-up costs.

 

In 2005, a similar ad campaign was launched by Sony and executed by its advertising agency in New York, Chicago, Atlanta, Philadelphia, Los Angeles, and Miami, to market its handheld PSP gaming system. In this campaign, taking notice of the legal problems of the IBM campaign, Sony paid building owners for the rights to paint on their buildings "a collection of dizzy-eyed urban kids playing with the PSP as if it were a skateboard, a paddle, or a rocking horse".

 

Tristan Manco wrote that Brazil "boasts a unique and particularly rich, graffiti scene ... [earning] it an international reputation as the place to go for artistic inspiration". Graffiti "flourishes in every conceivable space in Brazil's cities". Artistic parallels "are often drawn between the energy of São Paulo today and 1970s New York". The "sprawling metropolis", of São Paulo has "become the new shrine to graffiti"; Manco alludes to "poverty and unemployment ... [and] the epic struggles and conditions of the country's marginalised peoples", and to "Brazil's chronic poverty", as the main engines that "have fuelled a vibrant graffiti culture". In world terms, Brazil has "one of the most uneven distributions of income. Laws and taxes change frequently". Such factors, Manco argues, contribute to a very fluid society, riven with those economic divisions and social tensions that underpin and feed the "folkloric vandalism and an urban sport for the disenfranchised", that is South American graffiti art.

 

Prominent Brazilian writers include Os Gêmeos, Boleta, Nunca, Nina, Speto, Tikka, and T.Freak. Their artistic success and involvement in commercial design ventures has highlighted divisions within the Brazilian graffiti community between adherents of the cruder transgressive form of pichação and the more conventionally artistic values of the practitioners of grafite.

 

Graffiti in the Middle East has emerged slowly, with taggers operating in Egypt, Lebanon, the Gulf countries like Bahrain or the United Arab Emirates, Israel, and in Iran. The major Iranian newspaper Hamshahri has published two articles on illegal writers in the city with photographic coverage of Iranian artist A1one's works on Tehran walls. Tokyo-based design magazine, PingMag, has interviewed A1one and featured photographs of his work. The Israeli West Bank barrier has become a site for graffiti, reminiscent in this sense of the Berlin Wall. Many writers in Israel come from other places around the globe, such as JUIF from Los Angeles and DEVIONE from London. The religious reference "נ נח נחמ נחמן מאומן" ("Na Nach Nachma Nachman Meuman") is commonly seen in graffiti around Israel.

 

Graffiti has played an important role within the street art scene in the Middle East and North Africa (MENA), especially following the events of the Arab Spring of 2011 or the Sudanese Revolution of 2018/19. Graffiti is a tool of expression in the context of conflict in the region, allowing people to raise their voices politically and socially. Famous street artist Banksy has had an important effect in the street art scene in the MENA area, especially in Palestine where some of his works are located in the West Bank barrier and Bethlehem.

 

There are also a large number of graffiti influences in Southeast Asian countries that mostly come from modern Western culture, such as Malaysia, where graffiti have long been a common sight in Malaysia's capital city, Kuala Lumpur. Since 2010, the country has begun hosting a street festival to encourage all generations and people from all walks of life to enjoy and encourage Malaysian street culture.

 

The modern-day graffitists can be found with an arsenal of various materials that allow for a successful production of a piece. This includes such techniques as scribing. However, spray paint in aerosol cans is the number one medium for graffiti. From this commodity comes different styles, technique, and abilities to form master works of graffiti. Spray paint can be found at hardware and art stores and comes in virtually every color.

 

Stencil graffiti is created by cutting out shapes and designs in a stiff material (such as cardboard or subject folders) to form an overall design or image. The stencil is then placed on the "canvas" gently and with quick, easy strokes of the aerosol can, the image begins to appear on the intended surface.

 

Some of the first examples were created in 1981 by artists Blek le Rat in Paris, in 1982 by Jef Aerosol in Tours (France); by 1985 stencils had appeared in other cities including New York City, Sydney, and Melbourne, where they were documented by American photographer Charles Gatewood and Australian photographer Rennie Ellis

 

Tagging is the practice of someone spray-painting "their name, initial or logo onto a public surface" in a handstyle unique to the writer. Tags were the first form of modern graffiti.

 

Modern graffiti art often incorporates additional arts and technologies. For example, Graffiti Research Lab has encouraged the use of projected images and magnetic light-emitting diodes (throwies) as new media for graffitists. yarnbombing is another recent form of graffiti. Yarnbombers occasionally target previous graffiti for modification, which had been avoided among the majority of graffitists.

 

Theories on the use of graffiti by avant-garde artists have a history dating back at least to the Asger Jorn, who in 1962 painting declared in a graffiti-like gesture "the avant-garde won't give up"

 

Many contemporary analysts and even art critics have begun to see artistic value in some graffiti and to recognize it as a form of public art. According to many art researchers, particularly in the Netherlands and in Los Angeles, that type of public art is, in fact an effective tool of social emancipation or, in the achievement of a political goal

 

In times of conflict, such murals have offered a means of communication and self-expression for members of these socially, ethnically, or racially divided communities, and have proven themselves as effective tools in establishing dialog and thus, of addressing cleavages in the long run. The Berlin Wall was also extensively covered by graffiti reflecting social pressures relating to the oppressive Soviet rule over the GDR.

 

Many artists involved with graffiti are also concerned with the similar activity of stenciling. Essentially, this entails stenciling a print of one or more colors using spray-paint. Recognized while exhibiting and publishing several of her coloured stencils and paintings portraying the Sri Lankan Civil War and urban Britain in the early 2000s, graffitists Mathangi Arulpragasam, aka M.I.A., has also become known for integrating her imagery of political violence into her music videos for singles "Galang" and "Bucky Done Gun", and her cover art. Stickers of her artwork also often appear around places such as London in Brick Lane, stuck to lamp posts and street signs, she having become a muse for other graffitists and painters worldwide in cities including Seville.

 

Graffitist believes that art should be on display for everyone in the public eye or in plain sight, not hidden away in a museum or a gallery. Art should color the streets, not the inside of some building. Graffiti is a form of art that cannot be owned or bought. It does not last forever, it is temporary, yet one of a kind. It is a form of self promotion for the artist that can be displayed anywhere form sidewalks, roofs, subways, building wall, etc. Art to them is for everyone and should be showed to everyone for free.

 

Graffiti is a way of communicating and a way of expressing what one feels in the moment. It is both art and a functional thing that can warn people of something or inform people of something. However, graffiti is to some people a form of art, but to some a form of vandalism. And many graffitists choose to protect their identities and remain anonymous or to hinder prosecution.

 

With the commercialization of graffiti (and hip hop in general), in most cases, even with legally painted "graffiti" art, graffitists tend to choose anonymity. This may be attributed to various reasons or a combination of reasons. Graffiti still remains the one of four hip hop elements that is not considered "performance art" despite the image of the "singing and dancing star" that sells hip hop culture to the mainstream. Being a graphic form of art, it might also be said that many graffitists still fall in the category of the introverted archetypal artist.

 

Banksy is one of the world's most notorious and popular street artists who continues to remain faceless in today's society. He is known for his political, anti-war stencil art mainly in Bristol, England, but his work may be seen anywhere from Los Angeles to Palestine. In the UK, Banksy is the most recognizable icon for this cultural artistic movement and keeps his identity a secret to avoid arrest. Much of Banksy's artwork may be seen around the streets of London and surrounding suburbs, although he has painted pictures throughout the world, including the Middle East, where he has painted on Israel's controversial West Bank barrier with satirical images of life on the other side. One depicted a hole in the wall with an idyllic beach, while another shows a mountain landscape on the other side. A number of exhibitions also have taken place since 2000, and recent works of art have fetched vast sums of money. Banksy's art is a prime example of the classic controversy: vandalism vs. art. Art supporters endorse his work distributed in urban areas as pieces of art and some councils, such as Bristol and Islington, have officially protected them, while officials of other areas have deemed his work to be vandalism and have removed it.

 

Pixnit is another artist who chooses to keep her identity from the general public. Her work focuses on beauty and design aspects of graffiti as opposed to Banksy's anti-government shock value. Her paintings are often of flower designs above shops and stores in her local urban area of Cambridge, Massachusetts. Some store owners endorse her work and encourage others to do similar work as well. "One of the pieces was left up above Steve's Kitchen, because it looks pretty awesome"- Erin Scott, the manager of New England Comics in Allston, Massachusetts.

 

Graffiti artists may become offended if photographs of their art are published in a commercial context without their permission. In March 2020, the Finnish graffiti artist Psyke expressed his displeasure at the newspaper Ilta-Sanomat publishing a photograph of a Peugeot 208 in an article about new cars, with his graffiti prominently shown on the background. The artist claims he does not want his art being used in commercial context, not even if he were to receive compensation.

 

Territorial graffiti marks urban neighborhoods with tags and logos to differentiate certain groups from others. These images are meant to show outsiders a stern look at whose turf is whose. The subject matter of gang-related graffiti consists of cryptic symbols and initials strictly fashioned with unique calligraphies. Gang members use graffiti to designate membership throughout the gang, to differentiate rivals and associates and, most commonly, to mark borders which are both territorial and ideological.

 

Graffiti has been used as a means of advertising both legally and illegally. Bronx-based TATS CRU has made a name for themselves doing legal advertising campaigns for companies such as Coca-Cola, McDonald's, Toyota, and MTV. In the UK, Covent Garden's Boxfresh used stencil images of a Zapatista revolutionary in the hopes that cross referencing would promote their store.

 

Smirnoff hired artists to use reverse graffiti (the use of high pressure hoses to clean dirty surfaces to leave a clean image in the surrounding dirt) to increase awareness of their product.

 

Graffiti often has a reputation as part of a subculture that rebels against authority, although the considerations of the practitioners often diverge and can relate to a wide range of attitudes. It can express a political practice and can form just one tool in an array of resistance techniques. One early example includes the anarcho-punk band Crass, who conducted a campaign of stenciling anti-war, anarchist, feminist, and anti-consumerist messages throughout the London Underground system during the late 1970s and early 1980s. In Amsterdam graffiti was a major part of the punk scene. The city was covered with names such as "De Zoot", "Vendex", and "Dr Rat". To document the graffiti a punk magazine was started that was called Gallery Anus. So when hip hop came to Europe in the early 1980s there was already a vibrant graffiti culture.

 

The student protests and general strike of May 1968 saw Paris bedecked in revolutionary, anarchistic, and situationist slogans such as L'ennui est contre-révolutionnaire ("Boredom is counterrevolutionary") and Lisez moins, vivez plus ("Read less, live more"). While not exhaustive, the graffiti gave a sense of the 'millenarian' and rebellious spirit, tempered with a good deal of verbal wit, of the strikers.

 

I think graffiti writing is a way of defining what our generation is like. Excuse the French, we're not a bunch of p---- artists. Traditionally artists have been considered soft and mellow people, a little bit kooky. Maybe we're a little bit more like pirates that way. We defend our territory, whatever space we steal to paint on, we defend it fiercely.

 

The developments of graffiti art which took place in art galleries and colleges as well as "on the street" or "underground", contributed to the resurfacing in the 1990s of a far more overtly politicized art form in the subvertising, culture jamming, or tactical media movements. These movements or styles tend to classify the artists by their relationship to their social and economic contexts, since, in most countries, graffiti art remains illegal in many forms except when using non-permanent paint. Since the 1990s with the rise of Street Art, a growing number of artists are switching to non-permanent paints and non-traditional forms of painting.

 

Contemporary practitioners, accordingly, have varied and often conflicting practices. Some individuals, such as Alexander Brener, have used the medium to politicize other art forms, and have used the prison sentences enforced on them as a means of further protest. The practices of anonymous groups and individuals also vary widely, and practitioners by no means always agree with each other's practices. For example, the anti-capitalist art group the Space Hijackers did a piece in 2004 about the contradiction between the capitalistic elements of Banksy and his use of political imagery.

 

Berlin human rights activist Irmela Mensah-Schramm has received global media attention and numerous awards for her 35-year campaign of effacing neo-Nazi and other right-wing extremist graffiti throughout Germany, often by altering hate speech in humorous ways.

 

In Serbian capital, Belgrade, the graffiti depicting a uniformed former general of Serb army and war criminal, convicted at ICTY for war crimes and crimes against humanity, including genocide and ethnic cleansing in Bosnian War, Ratko Mladić, appeared in a military salute alongside the words "General, thank to your mother". Aleks Eror, Berlin-based journalist, explains how "veneration of historical and wartime figures" through street art is not a new phenomenon in the region of former Yugoslavia, and that "in most cases is firmly focused on the future, rather than retelling the past". Eror is not only analyst pointing to danger of such an expressions for the region's future. In a long expose on the subject of Bosnian genocide denial, at Balkan Diskurs magazine and multimedia platform website, Kristina Gadže and Taylor Whitsell referred to these experiences as a young generations' "cultural heritage", in which young are being exposed to celebration and affirmation of war-criminals as part of their "formal education" and "inheritance".

 

There are numerous examples of genocide denial through celebration and affirmation of war criminals throughout the region of Western Balkans inhabited by Serbs using this form of artistic expression. Several more of these graffiti are found in Serbian capital, and many more across Serbia and Bosnian and Herzegovinian administrative entity, Republika Srpska, which is the ethnic Serbian majority enclave. Critics point that Serbia as a state, is willing to defend the mural of convicted war criminal, and have no intention to react on cases of genocide denial, noting that Interior Minister of Serbia, Aleksandar Vulin decision to ban any gathering with an intent to remove the mural, with the deployment of riot police, sends the message of "tacit endorsement". Consequently, on 9 November 2021, Serbian heavy police in riot gear, with graffiti creators and their supporters, blocked the access to the mural to prevent human rights groups and other activists to paint over it and mark the International Day Against Fascism and Antisemitism in that way, and even arrested two civic activist for throwing eggs at the graffiti.

 

Graffiti may also be used as an offensive expression. This form of graffiti may be difficult to identify, as it is mostly removed by the local authority (as councils which have adopted strategies of criminalization also strive to remove graffiti quickly). Therefore, existing racist graffiti is mostly more subtle and at first sight, not easily recognized as "racist". It can then be understood only if one knows the relevant "local code" (social, historical, political, temporal, and spatial), which is seen as heteroglot and thus a 'unique set of conditions' in a cultural context.

 

A spatial code for example, could be that there is a certain youth group in an area that is engaging heavily in racist activities. So, for residents (knowing the local code), a graffiti containing only the name or abbreviation of this gang already is a racist expression, reminding the offended people of their gang activities. Also a graffiti is in most cases, the herald of more serious criminal activity to come. A person who does not know these gang activities would not be able to recognize the meaning of this graffiti. Also if a tag of this youth group or gang is placed on a building occupied by asylum seekers, for example, its racist character is even stronger.

By making the graffiti less explicit (as adapted to social and legal constraints), these drawings are less likely to be removed, but do not lose their threatening and offensive character.

 

Elsewhere, activists in Russia have used painted caricatures of local officials with their mouths as potholes, to show their anger about the poor state of the roads. In Manchester, England, a graffitists painted obscene images around potholes, which often resulted in them being repaired within 48 hours.

 

In the early 1980s, the first art galleries to show graffitists to the public were Fashion Moda in the Bronx, Now Gallery and Fun Gallery, both in the East Village, Manhattan.

 

A 2006 exhibition at the Brooklyn Museum displayed graffiti as an art form that began in New York's outer boroughs and reached great heights in the early 1980s with the work of Crash, Lee, Daze, Keith Haring, and Jean-Michel Basquiat. It displayed 22 works by New York graffitists, including Crash, Daze, and Lady Pink. In an article about the exhibition in the magazine Time Out, curator Charlotta Kotik said that she hoped the exhibition would cause viewers to rethink their assumptions about graffiti.

 

From the 1970s onwards, Burhan Doğançay photographed urban walls all over the world; these he then archived for use as sources of inspiration for his painterly works. The project today known as "Walls of the World" grew beyond even his own expectations and comprises about 30,000 individual images. It spans a period of 40 years across five continents and 114 countries. In 1982, photographs from this project comprised a one-man exhibition titled "Les murs murmurent, ils crient, ils chantent ..." (The walls whisper, shout and sing ...) at the Centre Georges Pompidou in Paris.

 

In Australia, art historians have judged some local graffiti of sufficient creative merit to rank them firmly within the arts. Oxford University Press's art history text Australian Painting 1788–2000 concludes with a long discussion of graffiti's key place within contemporary visual culture, including the work of several Australian practitioners.

 

Between March and April 2009, 150 artists exhibited 300 pieces of graffiti at the Grand Palais in Paris.

 

Spray paint has many negative environmental effects. The paint contains toxic chemicals, and the can uses volatile hydrocarbon gases to spray the paint onto a surface.

 

Volatile organic compound (VOC) leads to ground level ozone formation and most of graffiti related emissions are VOCs. A 2010 paper estimates 4,862 tons of VOCs were released in the United States in activities related to graffiti.

 

In China, Mao Zedong in the 1920s used revolutionary slogans and paintings in public places to galvanize the country's communist movement.

 

Based on different national conditions, many people believe that China's attitude towards Graffiti is fierce, but in fact, according to Lance Crayon in his film Spray Paint Beijing: Graffiti in the Capital of China, Graffiti is generally accepted in Beijing, with artists not seeing much police interference. Political and religiously sensitive graffiti, however, is not allowed.

 

In Hong Kong, Tsang Tsou Choi was known as the King of Kowloon for his calligraphy graffiti over many years, in which he claimed ownership of the area. Now some of his work is preserved officially.

 

In Taiwan, the government has made some concessions to graffitists. Since 2005 they have been allowed to freely display their work along some sections of riverside retaining walls in designated "Graffiti Zones". From 2007, Taipei's department of cultural affairs also began permitting graffiti on fences around major public construction sites. Department head Yong-ping Lee (李永萍) stated, "We will promote graffiti starting with the public sector, and then later in the private sector too. It's our goal to beautify the city with graffiti". The government later helped organize a graffiti contest in Ximending, a popular shopping district. graffitists caught working outside of these designated areas still face fines up to NT$6,000 under a department of environmental protection regulation. However, Taiwanese authorities can be relatively lenient, one veteran police officer stating anonymously, "Unless someone complains about vandalism, we won't get involved. We don't go after it proactively."

 

In 1993, after several expensive cars in Singapore were spray-painted, the police arrested a student from the Singapore American School, Michael P. Fay, questioned him, and subsequently charged him with vandalism. Fay pleaded guilty to vandalizing a car in addition to stealing road signs. Under the 1966 Vandalism Act of Singapore, originally passed to curb the spread of communist graffiti in Singapore, the court sentenced him to four months in jail, a fine of S$3,500 (US$2,233), and a caning. The New York Times ran several editorials and op-eds that condemned the punishment and called on the American public to flood the Singaporean embassy with protests. Although the Singapore government received many calls for clemency, Fay's caning took place in Singapore on 5 May 1994. Fay had originally received a sentence of six strokes of the cane, but the presiding president of Singapore, Ong Teng Cheong, agreed to reduce his caning sentence to four lashes.

 

In South Korea, Park Jung-soo was fined two million South Korean won by the Seoul Central District Court for spray-painting a rat on posters of the G-20 Summit a few days before the event in November 2011. Park alleged that the initial in "G-20" sounds like the Korean word for "rat", but Korean government prosecutors alleged that Park was making a derogatory statement about the president of South Korea, Lee Myung-bak, the host of the summit. This case led to public outcry and debate on the lack of government tolerance and in support of freedom of expression. The court ruled that the painting, "an ominous creature like a rat" amounts to "an organized criminal activity" and upheld the fine while denying the prosecution's request for imprisonment for Park.

 

In Europe, community cleaning squads have responded to graffiti, in some cases with reckless abandon, as when in 1992 in France a local Scout group, attempting to remove modern graffiti, damaged two prehistoric paintings of bison in the Cave of Mayrière supérieure near the French village of Bruniquel in Tarn-et-Garonne, earning them the 1992 Ig Nobel Prize in archeology.

 

In September 2006, the European Parliament directed the European Commission to create urban environment policies to prevent and eliminate dirt, litter, graffiti, animal excrement, and excessive noise from domestic and vehicular music systems in European cities, along with other concerns over urban life.

 

In Budapest, Hungary, both a city-backed movement called I Love Budapest and a special police division tackle the problem, including the provision of approved areas.

 

The Anti-social Behaviour Act 2003 became Britain's latest anti-graffiti legislation. In August 2004, the Keep Britain Tidy campaign issued a press release calling for zero tolerance of graffiti and supporting proposals such as issuing "on the spot" fines to graffiti offenders and banning the sale of aerosol paint to anyone under the age of 16. The press release also condemned the use of graffiti images in advertising and in music videos, arguing that real-world experience of graffiti stood far removed from its often-portrayed "cool" or "edgy'" image.

 

To back the campaign, 123 Members of Parliament (MPs) (including then Prime Minister Tony Blair), signed a charter which stated: "Graffiti is not art, it's crime. On behalf of my constituents, I will do all I can to rid our community of this problem."

 

In the UK, city councils have the power to take action against the owner of any property that has been defaced under the Anti-social Behaviour Act 2003 (as amended by the Clean Neighbourhoods and Environment Act 2005) or, in certain cases, the Highways Act. This is often used against owners of property that are complacent in allowing protective boards to be defaced so long as the property is not damaged.

 

In July 2008, a conspiracy charge was used to convict graffitists for the first time. After a three-month police surveillance operation, nine members of the DPM crew were convicted of conspiracy to commit criminal damage costing at least £1 million. Five of them received prison sentences, ranging from eighteen months to two years. The unprecedented scale of the investigation and the severity of the sentences rekindled public debate over whether graffiti should be considered art or crime.

 

Some councils, like those of Stroud and Loerrach, provide approved areas in the town where graffitists can showcase their talents, including underpasses, car parks, and walls that might otherwise prove a target for the "spray and run".

 

Graffiti Tunnel, University of Sydney at Camperdown (2009)

In an effort to reduce vandalism, many cities in Australia have designated walls or areas exclusively for use by graffitists. One early example is the "Graffiti Tunnel" located at the Camperdown Campus of the University of Sydney, which is available for use by any student at the university to tag, advertise, poster, and paint. Advocates of this idea suggest that this discourages petty vandalism yet encourages artists to take their time and produce great art, without worry of being caught or arrested for vandalism or trespassing.[108][109] Others disagree with this approach, arguing that the presence of legal graffiti walls does not demonstrably reduce illegal graffiti elsewhere. Some local government areas throughout Australia have introduced "anti-graffiti squads", who clean graffiti in the area, and such crews as BCW (Buffers Can't Win) have taken steps to keep one step ahead of local graffiti cleaners.

 

Many state governments have banned the sale or possession of spray paint to those under the age of 18 (age of majority). However, a number of local governments in Victoria have taken steps to recognize the cultural heritage value of some examples of graffiti, such as prominent political graffiti. Tough new graffiti laws have been introduced in Australia with fines of up to A$26,000 and two years in prison.

 

Melbourne is a prominent graffiti city of Australia with many of its lanes being tourist attractions, such as Hosier Lane in particular, a popular destination for photographers, wedding photography, and backdrops for corporate print advertising. The Lonely Planet travel guide cites Melbourne's street as a major attraction. All forms of graffiti, including sticker art, poster, stencil art, and wheatpasting, can be found in many places throughout the city. Prominent street art precincts include; Fitzroy, Collingwood, Northcote, Brunswick, St. Kilda, and the CBD, where stencil and sticker art is prominent. As one moves farther away from the city, mostly along suburban train lines, graffiti tags become more prominent. Many international artists such as Banksy have left their work in Melbourne and in early 2008 a perspex screen was installed to prevent a Banksy stencil art piece from being destroyed, it has survived since 2003 through the respect of local street artists avoiding posting over it, although it has recently had paint tipped over it.

 

In February 2008 Helen Clark, the New Zealand prime minister at that time, announced a government crackdown on tagging and other forms of graffiti vandalism, describing it as a destructive crime representing an invasion of public and private property. New legislation subsequently adopted included a ban on the sale of paint spray cans to persons under 18 and increases in maximum fines for the offence from NZ$200 to NZ$2,000 or extended community service. The issue of tagging become a widely debated one following an incident in Auckland during January 2008 in which a middle-aged property owner stabbed one of two teenage taggers to death and was subsequently convicted of manslaughter.

 

Graffiti databases have increased in the past decade because they allow vandalism incidents to be fully documented against an offender and help the police and prosecution charge and prosecute offenders for multiple counts of vandalism. They also provide law enforcement the ability to rapidly search for an offender's moniker or tag in a simple, effective, and comprehensive way. These systems can also help track costs of damage to a city to help allocate an anti-graffiti budget. The theory is that when an offender is caught putting up graffiti, they are not just charged with one count of vandalism; they can be held accountable for all the other damage for which they are responsible. This has two main benefits for law enforcement. One, it sends a signal to the offenders that their vandalism is being tracked. Two, a city can seek restitution from offenders for all the damage that they have committed, not merely a single incident. These systems give law enforcement personnel real-time, street-level intelligence that allows them not only to focus on the worst graffiti offenders and their damage, but also to monitor potential gang violence that is associated with the graffiti.

 

Many restrictions of civil gang injunctions are designed to help address and protect the physical environment and limit graffiti. Provisions of gang injunctions include things such as restricting the possession of marker pens, spray paint cans, or other sharp objects capable of defacing private or public property; spray painting, or marking with marker pens, scratching, applying stickers, or otherwise applying graffiti on any public or private property, including, but not limited to the street, alley, residences, block walls, and fences, vehicles or any other real or personal property. Some injunctions contain wording that restricts damaging or vandalizing both public and private property, including but not limited to any vehicle, light fixture, door, fence, wall, gate, window, building, street sign, utility box, telephone box, tree, or power pole.

 

To help address many of these issues, many local jurisdictions have set up graffiti abatement hotlines, where citizens can call in and report vandalism and have it removed. San Diego's hotline receives more than 5,000 calls per year, in addition to reporting the graffiti, callers can learn more about prevention. One of the complaints about these hotlines is the response time; there is often a lag time between a property owner calling about the graffiti and its removal. The length of delay should be a consideration for any jurisdiction planning on operating a hotline. Local jurisdictions must convince the callers that their complaint of vandalism will be a priority and cleaned off right away. If the jurisdiction does not have the resources to respond to complaints in a timely manner, the value of the hotline diminishes. Crews must be able to respond to individual service calls made to the graffiti hotline as well as focus on cleanup near schools, parks, and major intersections and transit routes to have the biggest impact. Some cities offer a reward for information leading to the arrest and prosecution of suspects for tagging or graffiti related vandalism. The amount of the reward is based on the information provided, and the action taken.

 

When police obtain search warrants in connection with a vandalism investigation, they are often seeking judicial approval to look for items such as cans of spray paint and nozzles from other kinds of aerosol sprays; etching tools, or other sharp or pointed objects, which could be used to etch or scratch glass and other hard surfaces; permanent marking pens, markers, or paint sticks; evidence of membership or affiliation with any gang or tagging crew; paraphernalia including any reference to "(tagger's name)"; any drawings, writing, objects, or graffiti depicting taggers' names, initials, logos, monikers, slogans, or any mention of tagging crew membership; and any newspaper clippings relating to graffiti crime.

This is a VERY small Christmas Tree in London's Victoria train station. Did they run out of money? Even the lights are powered by people on as bicycle (there were people on a bike I did not want to hang around to photograph an empty bike).

 

A collection pf photographs of the 2019 Christmas lights in central London. Locations visited / photographed.. Oxford Street, Regent Street, Carnaby Street, Brewer Street, Chinatown, Leicester Square, Trafalgar Square, Covent Garden.

 

Photographed on 23 December 2019, weather was dry.

Heres information about central florida broadcast stations

 

Broadcast Tower,WFTT-TV is the Telefutura affiliate for Tampa Bay, owned by Univision and operated by Entravision, owners of WVEA-TV. The station, which broadcasts on UHF channel 50, is based at WVEA's studios on Hillsborough Avenue in Tampa, and transmits from Riverview. WFTT can be seen on cable throughout the Bay Area on Bright House channel 5, and on Comcast in Sarasota County on channel 23.

 

With the completion of the 442.550 repeater in Riverview at 805ft in January, the western pointing antenna on the 442.825 repeater caused a expected overlap that was unnecessary. Since 442.550 now blankets Hillsborough County, we have as of April 11th taken the antenna off the west leg of the Pebbledale tower site at 800ft and moved it to the east leg of the tower. What does mean for users? The tower has a 7 foot wide face, which creates a null that is created behind the antenna. This null used to face a huge portion of Polk County. By moving this antenna to the east, the null is now facing essentially Brandon/Riverview, where 442.550 is now located at 805ft. So far we have gotten incredible results from users in eastern Polk County. Some users in Sebring reporting almost full scale signal, and mobile users with hand helds on 27 at 5 watts can use 442.825 now. None of this was previously possible. So with this move, expect to hear more Polk, Osceola and I-4 corridor area users making it into the network.

 

A nother tower WVEA (channel 62) is Tampa Bay, Florida's first Spanish-language TV station, which had its start in the early-1980s as low-powered W50AC ch.50, which offered programming from the Spanish International Network (SIN), the forerunner of today's Univision. In 1988, to make way for new HSN flagship WBHS (now WFTT-TV), the station relocated to channel 61 and became W61BL. In the mid-1990s, the station was re-called "WVEA-LP". In 2000, WVEA's parent company, Entravision, acquired Sarasota English independent WBSV channel 62, with the intent of moving the transmitter from Venice to the antenna farm at Riverview. WBSV signed on May 3, 1991 as the Sarasota area's own independent station, designed to compete against WWSB and the other stations in the Tampa Bay and nearby Ft. Myers markets. Licensed to Venice, Florida the call letters stood for Bradenton, Sarasota, Venice, the three cities it primarily served. WBSV had a variety of syndicated and local programming, plus infomercials and home shopping programs. early on, they also had its own newscast. But, WBSV was eternally in red ink, and relied more on home shopping and infomercials to keep the station afloat....

 

And then,WTVT, channel 13, is a television station in Tampa, Florida. It is an owned and operated station of the Fox Broadcasting Company, a subsdiary of the News Corporation. WTVT's studios are located in Tampa, and its transmitter is located in Riverview, Florida.

 

Overall the WUSF (89.7 FM) is an NPR-member radio station licensed to Tampa, Florida, USA. The station is currently owned by the University of South Florida. WUSF signed on in 1963, seven years after USF's founding in 1956.

 

WOPX channel 56 is a television station based in Orlando, Florida, USA. An affiliate of the ION Television network, it transmits its analog signal on UHF channel 56 and its digital signal on UHF channel 48, both from a transmitter located near Holopaw. The station signed on the air in 1986.

 

WIWA (1160 AM) is a radio station broadcasting a Spanish language Christian format. Licensed to St. Cloud, Florida, USA, it serves the greater Orlando area. The station is currently owned by Centro De La Familia Cristiana Inc.

 

WAFZ-FM (92.1 FM) is a radio station broadcasting a Regional Mexican format. Licensed to Immokalee, Florida, USA, the station is currently owned by Glades Media Company LLC. WAFZ's programming is also heard on WAFZ AM 1490 in Immokalee.

 

WTVY or WTVY News 4 is a CBS-affiliated television station broadcasting on channel 4 in Dothan, Alabama, owned by Gray Television. The station's signal, originating from a transmitter in Holmes County, Florida, reaches large portions of Alabama, Georgia and Florida. WTVY is also the designated CBS affiliate for the Panama City, Florida market, where Gray also owns that city's NBC affiliate, WJHG-TV. In exchange, WJHG is available in Dothan on cable since Dothan does not have its own NBC affiliate. In fact, WTVY's transmitter is located within the Panama City market. WTVY-DT uses digital subchannels to operate MyNetworkTV affiliate My 4 and CW affiliate Dothan's CW.

 

WJED (91.1 FM) is a radio station broadcasting a Christian radio format. Licensed to Dogwood Lakes Estate, Florida, USA. The station is currently owned by Bethany Bible College.

 

WTVJ, channel 6, is the NBC owned-and-operated television station for South Florida, licensed to Miami. Its analog transmitter is located in Redland. The station's digital transmitter is located near Dolphin Stadium in north Miami-Dade County. Owned by NBC Universal, the station is sister to South Florida's Telemundo owned-and-operated station, WSCV. The two share studios at Peacock Plaza in Miramar.

 

WOIR (1430 AM) is a radio station broadcasting a Spanish News/Talk format. Licensed to Homestead, Florida, USA, the station serves the Miami area. The station is currently owned by Amanecer Christian Network, Inc..

 

WTLH is a Fox television affiliate licensed to Bainbridge, Georgia and serves the Tallahassee, Florida television market. It broadcasts its analog signal on UHF channel 49 and its digital signal on UHF channel 50. The station began operations on November 25, 1989. Its transmitter is located in Metcalf, Georgia. The Station is owned by CP Media, LLC. The station runs a duopoly with WFXU, The CW station in Tallahassee. WTLH programming is also seen on a low-powered, Class-A repeater, WBVJ-LP channel 35 in Valdosta.

 

WTXL-TV is the ABC affiliate station for Tallahassee, Florida, Thomasville, Georgia, and Valdosta, Georgia, broadcasting on channel 27. The station is owned by Calkins Media, Inc., a Pennsylvania-based mass media company that owns several small newspapers in Pennsylvania and two other television stations: WWSB in Sarasota and WAAY-TV in Huntsville, Alabama. It was previously owned by Media Ventures Management, and operated by the Sinclair Broadcast Group pursuant to an outsourcing agreement (See: [1]), the first of its kind in the United States. This agreement merged virtually all of WTXL-TV's operations with that of Sinclair's NBC affiliate WTWC. Denis LeClair, General Manager of WTXL-TV and WBXT-TV at the time, was made General Manager for WTXL, WBXT and WTWC under this agreement. He would be followed by Chris Butterick and then Bob Franklin. Eventually, Kim Urbuteit (who was fired in May, 2007) would be named General Manager of WTXL only as Bob Franklin (now in Mobile, AL) oversaw WTWC. Gary Wordlaw is the current General Manager of WTXL-TV.

 

WFSU is the callsign (or variations thereon) for public radio stations operated by Florida State University in Tallahassee, Florida. WFSU also operates 3 radio stations that serve northern Florida: * WFSU-FM 88.9 FM: Tallahassee-based news/talk/public affairs station carrying several NPR programs and overnight BBC World Service programming. Also heard on these low-powered repeaters: * 97.1 - Carrabelle * 106.1 - Marianna * 96.7 - Apalachicola * 93.7 - Downtown Tallahassee (necessary because the main WFSU transmitter must conform its signal to protect WTSU in Troy, Alabama) * WFSQ-FM 91.5 FM: Tallahassee-based classical music station. Also heard on WFSL-FM 90.7 in Thomasville, Georgia, and on low-powered 92.7 FM in the northeast portion of the city of Tallahassee. * WFSW-FM 89.1 FM: Panama City-based news/talk/public affairs station. Offers many of the same programs as WFSU. Also heard on low-powered 91.1 FM in the Port St. Joe area along the Gulf of Mexico, as well as 94.5 FM in Fort Walton Beach.

 

WESH is the NBC affiliate in Orlando, Florida. It is licensed to Daytona Beach, with studio facilities in Winter Park. It transmits its analog signal on VHF channel 2 and its digital signal on VHF channel 11, when viewed over the air PSIP will display 2.1 for WESH DT and 2.2 for WESH Weather Plus. It is currently owned by Hearst-Argyle Television along with the area's CW affiliate, WKCF. WESH's transmitter is located in Orange City, Florida. The tower is the tallest man-made structure in Florida, at 1,740 feet (530 m). The station also serves as the default NBC affiliate for the Gainesville market, and can be seen on the fringes of the Tampa Bay and Jacksonville markets. WESH was the first station in Orlando to carry an on-site RADAR facility, SuperDoppler 2 as opposed to relying on National Weather Service RADARs. It is installed on top of the tower located at the Winter Park broadcast studio. Today it also promotes a VIPIR 3D RADAR system, taking advantage of the fact that the RADARs at Melbourne, Tampa, Jacksonville and Miami can all reach Orlando, in addition to SuperDoppler 2. The primary news anchors at WESH are Martha Sugalski and Jim Payne....

 

WOMX is a radio station located in the Orlando, Florida area and broadcasts at 105.1. WOMX 105.1 plays the "Best MIX of the 80s, 90s and Today," though the station programming focuses mostly on rock and modern rock music from the 90's and 2000's. Every Friday from 5:00 p.m. to 12:00 a.m., Mix 105.1 presents Friday Night 80's. The "Saturday Night Party MIX" airs every Saturday night from 7 p.m. to midnight. The "Saturday Night Party MIX" replaced the Orlando heritage show "Seventies Saturday Night" in 2005.

 

WOTF-TV Channel 43 is the TeleFutura station serving the Orlando/Daytona Beach/Melbourne, Florida television market. It is owned by Univision and managed by Entravision which owns Univision affiliate WVEN-TV 26 and radio station WNUE 98.1 FM and offers a Spanish language entertainment format featuring movies, dramas, comedy shows, and kids shows. The studios are located in Altamonte Springs which is also shared by WVEN.

 

WOFL, "Fox 35", is the Fox owned-and-operated television station serving the Orlando, Florida metropolitan area. It is licensed to Orlando, with studios located in Lake Mary. It broadcasts its analog signal on UHF channel 35, and its digital signal on UHF channel 22. Its transmitter is located in Bithlo, Florida. Its Digital TV transmitter has a power of 1,000 kW. Its Analog TV transmitter has a power of 2,570 kW. WOFL and sister station WTVT of the bordering Tampa market commonly share reporters and footage, as other station groups do.

 

WFTV channel 9 is a television station based in Orlando, Florida, affiliated with the ABC network. It transmits its analog signal on VHF channel 9 from a transmitter located in Bithlo, Florida, and its digital signal on UHF channel 39 from a transmitter located in Christmas, Florida. It is owned by Cox Enterprises along with independent station WRDQ TV 27. The primary news anchors at WFTV are Bob Opsahl and Martie Salt. They anchored the main afternoon newscasts from 1984 through 1994, when Ms. Salt transferred to WFTS, a TV station in Tampa (where she was known as "Martie Tucker"). She returned to anchor WFTV's news again with Opsahl in 2003. Opsahl is one of the longest-serving (at one station) local news anchors in Florida. Barbara West, a 20 year veteran at WFTV and the station's medical reporter is paired with Opsahl at 5:30. Marla Weech, a former anchor for WFTV, was paired up with Bob Opsahl during most of Salt's absence. Weech currently works for WKMG. Tom Terry is the "Chief Meteorologist". WFTV's Severe Weather Center 9 includes WFTV's own doppler weather radar station located at Joint Venture TV Tower Bithlo. Its radar has features that are...

 

WRBW-TV is the MyNetworkTV owned and operated station serving the Orlando/Daytona Beach/Melbourne, Florida television market. It is owned by the Fox Television Stations Group, along with Fox station WOFL Channel 35. Known on-air as "My65", the station offers sitcoms, cartoons, court shows, and talk/reality shows. Its transmitter is located in Christmas, Florida.

 

WNTF (1580 AM) is a radio station broadcasting a News Talk Information format. Licensed to Bithlo, Florida, USA, it serves the Orlando area. The station is currently owned by Rama Communications, Inc.

 

WBCC is an educational television station serving the Orlando television market. It broadcasts on UHF channel 68, with a digital signal on channel 30. It is one of the Orlando market's PBS member stations. WBCC's digital signal, on channel 30, offers programming from the University of Central Florida (channel 68.2) and BPS-TV from Brevard Public Schools (channel 68.3), in addition to WBCC's standard programming.

 

WRDQ, channel 27, is an independent television station in Orlando, Florida. Its analog transmitter is located in northeastern Osceola County. The station's digital transmitter is located in Christmas. Onwed by Cox Enterprises, WRDQ is sister to ABC affiliate WFTV. The two stations share studios on East South Street in downtown Orlando. WRDQ offers the Retro Television Network on its second digital subchannel. It can also be seen on Bright House digital channel 1028. Syndicated programming on WRDQ includes: South Park, Scrubs, Merv Griffin's Crosswords, Oprah, According to Jim, and George Lopez. The station can be considered an alternate ABC affiliate. As such, it may take on the responsibility of airing ABC programs whenever WFTV may not be able to do so as in a news-related emergency.

 

WXPX is a television station licensed to Bradenton, Florida. Operating on channel 66, it is an ION Television affiliate, owned and operated by ION Media Networks (formerly Paxson Communications), which has owned the station since its founding in 1994. Current programming on WXPX is virtually the same as other ION affiliates -- infomercials throughout the day and during the overnights, plus ION programming in the evenings. WXPX also shows Tampa Bay Lightning hockey, Orlando Magic basketball, some college football and Tampa Bay Rays baseball, though most of these games are in the evenings only, as WXPX tend to reserve non-prime-time hours for infomercials. Rays games air in high definition on WXPX in the 720p format, the same format as FSN Florida, the producers of the games (See: [1]). The only local programming on WXPX is i on Tampa (public affairs) and the aforementioned Rays and Magic games. The station once aired Miccosukee Magazine along with WPXM Miami and WPXP West Palm Beach, but no longer airs the program. (the latter two stations still do, along with WOPX Orlando) WXPX started in 1994 as WFCT, which featured infomercials at all hours under...

 

Wesh News Cast Bay News 9 Cast Weather Channel

Kristina

 

Abernathy

 

Stephanie

 

Abrams

 

Natalie

 

Allen

 

Tetiana

 

Anderson

 

Adam

 

Berg

 

Mike

 

Bettes

 

Vivian

 

Brown

 

Jim

 

Cantore

 

Jennifer

 

Carfagno

 

Kelly

 

Cass

 

Betty

 

Davis

 

Kristin

 

Dodd

 

Jorma

 

Duran

 

Dr Marcus

 

Eriksen

 

Paul

 

Goodloe

 

Ryan

 

Goswick

 

Rich

 

Johnson

 

Bill

 

Keneely

 

Danny

 

Lipford

 

Warren

 

Madden

 

Mark

 

Mancuso

 

Dr Anna

 

Marie

 

Julie

 

Martin

 

Jeff

 

Mielcarz

 

Jarod

 

Miller

 

Nicole

 

Mitchell

 

Samantha

 

Mohr

 

Jeff

 

Morrow

 

Carl

 

Parker

 

Kim

 

Perez

 

Sharon

 

Resultan

 

Kevin

 

Robinson

 

Marshall

 

Seese

 

Mike

 

Seidel

 

Alexandra

 

Steele

 

Heather

 

Tesch

 

Nick

 

Walker

 

Alex

 

Wallace

Dr Steve Lyons

 

Dr Greg Forbes

 

Dr Heidi Cullen

 

Stu Ostro

Aixa Diaz (NEWS ANCHORS

Jen Holloway

Al Ruechel

Leigh Moody

Erica Riggins

Rick Elmhorst

 

(METEOROLOGISTS)

Mike Clay

Juli Marquez

Josh Linker

Diane Kacmarik

Brian McClure

Alan Winfield

 

(NEWS REPORTERS

Jennifer Anderson

Dalia Dangerfield

Laurie Davison

Melissa Eichman

Samantha Hayes

Chuck Johnson

Troy Kinsey

Jason Lanning

Emily Maza

Carol Minn Vacca

Jonathan Petramala

Josh Rojas

Summer Smith

Kathryn Simmons

Melanie Snow

Melissa Sogegian

Anna Tataris

Ferdinand

Zogbaum

 

(EN ESPANOL

Lydia Guzmán

Roy De Jesús

Sandra Pinto

 

Jim Payne

Syan Rhodes

Martha Sugalski

Scott Walker

Eryka Washington

  

Weather:

Jason Brewer

Tony Mainolfi

Malachi Rodgers

Amy Sweezey

 

WESH.com Web Staff:

Jeff Cousins

Managing Editor

Jessica Seeley

   

Washington Reporters:

 

Sally Kidd

Nikole Killion

Laurie Kinney

 

Orlando Sentinel:

Roger Moore

Movie Critic

 

Sports:

 

Pat Clarke

Guy Rawlings

   

Reporters:

Danielle Bellini

Dan Billow

Greg Fox

Bob Kealing

Jeff Lennox

Craig Lucie

Dave McDaniel

Michelle Meredith

Claire Metz

Amanda Ober

Kendra Oestreich

Gail Paschall-Brown

Tim Trudell

Todd Wilson

 

Other Talent:

Jason Chepenik

Financial Analyst

Dr. Todd Husty

Dan McCarthy

Chopper 2 Pilot

Kimberly Williams

Traffic Reporter

As my guys didn't arrive in time for me to celebrate their wedding day on 8th June I decided to go straight to the reception and party! I am sure they will spend some time looking over some photos from their big day though, so we will certainly be seeing some photos of their guests. In the meantime my guys seems to have most definitely got into the spirit of celebration and most definitely into each other...hopefully they will be heading to the honeymoon suite soon (get a room guys!)

This is a Westland WS-61 Sea King, a British licence-built version of the American Sikorsky S-61 helicopter of the same name. The advantage of the Folkestone Air Show was that the planes could fly over the sea with no risk to the crowds below. In case of an accident however a lifeboat was always on hand, and the Coast Guard not far away. This was just a demonstration however. I think the Sea Kings have now been replaced by more modern choppers.

 

Tomorrow is Jose’s last day in our lab because he’s moving on to a better (well, more profitable anyway) job. We’re having a luncheon for him and I agreed to make a Chocolate Espresso Flan. Oops…

 

As I type this, there’s a batch of almond brownies baking in the oven. Sorry buddy, I know brownies are a far cry from flan, but you just never know when my klutzy side will rear it’s ugly head. You know how even-tempered I normally am, even under pressure. But when I dropped this thing, the wife thought the world was coming to an end for all the swearing she heard coming out of the kitchen. For a moment, I was tempted to go back to the store for the ingredients and stay up half the night baking another one. But if any residual klutziness caused me to drop that one too, my head probably would have exploded.

 

I’ve made many a flan of different varieties in my days, but never chocolate espresso. Now I’m really sorry I’m not going to get to taste it. For those adventurous enough to try it, the recipe follows.

   

1 c Sugar

1/4 c water

1 3/4 c Sweetened Condensed Milk

4 oz Good quality semi-sweet

chocolate, chopped

1/4 c Heavy cream

6 lg Eggs

7 lg Egg yolks

2 c Half-and-half

3/4 c Packed brown sugar

1/2 c Brewed espresso

1/4 c Kahlua or other coffee

-liqueur

 

Stir sugar and water over high heat until it caramelizes to a golden brown color. Pour into a two-quart heatproof glass baking dish and tilt to coat the bottom and sides. Set aside to cool. Preheat oven to 350 degrees. Place a heatproof mixing bowl over simmering water or use a double boiler. Add condensed milk, chocolate and heavy cream. Stir occasionally until the chocolate is melted and smooth. Remove from heat. In a large mixing bowl combine the remaining ingredients. Beat until well blended. Pour in the melted chocolate mixture. Stir to combine. Pass through a fine strainer into the sugar-coated dish. Place pan in a hot water bath and bake for 1 hour, until the center just feels firm when pressed.

 

NOW HERE IS THE REALLY CRITICAL STEP!

 

Remove from the hot water WITHOUT DROPPING IT and let cool to room temperature. Cover with plastic wrap and refrigerate overnight. Invert onto a serving plate.

 

Explore 09/04/08

 

Surf Photography is Poetry in Motion! Beautiful & Talented Professional Surf Girl Goddess! Athletic Bikini Swimsuit Wetsuit Models! Nikon D810 & Tamron SP 150-600mm f/5-6.3 Di VC USD G2! Surfing Trestles Beach, San Clemente California! Catching Waves Surf's Up! Epic Sports Surf Photography!

 

Exalt the goddess archetype in the fine art of photography! My Epic Book: Photographing Women Models!

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Portrait, Swimsuit, Lingerie, Boudoir, Fine Art, & Fashion Photography Exalting the Venus Goddess Archetype: How to Shoot Epic ... Epic! Beautiful Surf Fine Art Portrait Swimsuit Bikini Models!

 

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Epic Poetry inspires all my photography: geni.us/9K0Ki Epic Poetry for Epic Landscape Photography: Exalt Fine Art Nature Photography with the Poetic Wisdom of John Muir, Emerson, Thoreau, Homer's Iliad, Milton's Paradise Lost & Dante's Inferno Odyssey

 

Exalt your photography with Golden Ratio Compositions!

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Golden Ratio Compositions & Secret Sacred Geometry for Photography, Fine Art, & Landscape Photographers: How to Exalt Art with Leonardo da Vinci's, Michelangelo's!

 

Epic Landscape Photography:

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A Simple Guide to the Principles of Fine Art Nature Photography: Master Composition, Lenses, Camera Settings, Aperture, ISO, ... Hero's Odyssey Mythology Photography)

 

All my photography celebrates the physics of light! dx4/dt=ic! Light Time Dimension Theory: The Foundational Physics Unifying Einstein's Relativity and Quantum Mechanics: A Simple, Illustrated Introduction to the Physical: geni.us/Fa1Q

 

Ralph Waldo Emerson. The happiest man is he who learns from nature the lesson of worship.

The Global Learning and Observation to Benefit the Environment (GLOBE) program is a worldwide hands-on, primary and secondary school-based science and education program. Field Training Sessions took place at the Goddard Space Flight Center during The 17th GLOBE Annual Partner Meeting

 

Credit: NASA/Goddard/Bill Hrybyk

 

NASA image use policy.

 

NASA Goddard Space Flight Center enables NASA’s mission through four scientific endeavors: Earth Science, Heliophysics, Solar System Exploration, and Astrophysics. Goddard plays a leading role in NASA’s accomplishments by contributing compelling scientific knowledge to advance the Agency’s mission.

 

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I'm going to write right now my list of New Year's resolutions for 2009. It's going to be a long one, but there is so much to change, and for once I feel with good energy to fulfill it... May the heavens guide my hand and my destination to take me to good waters...

 

Christopher Columbus' statue pointing at the Americas, in Barcelona, Spain.

 

Here is the complete scene of the previous picture.

Just an insane man singing in the street as if he was a rock-star.

He was good looking, dressed properly, just sitting in the street and smoking some cigarettes. But, every five or ten minutes, he stood up and starded singing out loud in a very weird way, using his cellphone as if it was a microphone.... Almost every passers-by stoped walking and started to take pictures and videos. It was a sad meaningfull scene.

 

Please come and vote for the Post-Processing Challenge#2

  

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... more comforting and consoling than knowing you are right next to the one you love.

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Happy Anniversary dear Nancy !

Wish you lots of Love, Joy and Happiness !

Today and always!

 

www.flickr.com/photos/turtlemom_nancy/

 

Thank you Lenabem Anna for the texture

 

www.flickr.com/photos/lenabem-anna/5058565027/in/set-7215...

 

© ALL RIGHTS RESERVED. Use without permission is ille

This image is believed to be in the public domain and is from the National Archives. More information may be found below.

 

Search or Contact the National Archives.

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ARC Identifier: 194585

Title: President Nixon shaking hands with King Faisal of Saudi Arabia following talks at Riasa Palace, 07/15/1974

   

Large image (179117 Bytes)

   

Creator: President (1969-1974 : Nixon). White House Photo Office. (1969 - 1974) ( Most Recent)

 

Type of Archival Materials:

Photographs and other Graphic Materials

Level of Description:

Item from Collection NS-WHPO: White House Photo Office Collection, 01/20/1969 - 08/09/1974

 

Location: Nixon Presidential Materials Staff (NLNS), National Archives at College Park, 8601 Adelphi Road, Room 1320, College Park, MD 20740-6001 PHONE: 301-837-3290, FAX: 301-837-3202, EMAIL: nixon@nara.gov

Production Date: 07/15/1974

 

Part of: Series: Master Print File, 1969 - 1974

 

Scope & Content Note:

Pictured: Prince Faqqaz (Governor of Mecca, wearing glasses) ,?, Richard M. Nixon, King Faisal. Subject: Mideast Trip.

  

Access Restrictions:

Unrestricted

 

Use Restrictions: Unrestricted

 

Variant Control Number(s):

NAIL Control Number: NLNP-WHPO-MPF-E3030(25)

  

Copy 1

Copy Status: Preservation-Reproduction-Reference

Storage Facility: National Archives at College Park - Archives II (College Park, MD)

Media

Media Type: Photographic Print

  

Index Terms

   

Contributors to Authorship and/or Production of the Archival Materials

Knudsen, Robert L. (Robert LeRoy), 1929-1989, Photographer

 

Variations on a theme «...with a film across Moscow»

Russia, Moscow, Tverskaya street.

Photo taken: March 29, 2018

Camera: Fed Micron (№8110014)

Film: Lucky SHD 100 New Black & White 35mm film, dev. xtol

Scanner: Noritsu LS-1100

     

Fulufjället is een nationaal park in Dalarna in Midden-Zweden, op de grens met Noorwegen. De naam van het park komt van de berg Fulufjället, die ook in het park ligt en 1044 meter hoog is. Het park is 385 km² groot en is vooral bedekt met dicht naaldbos. Het park werd in 2002 door de Zweedse koning Karel XVI Gustaaf van Zweden geopend. Daarbij werd het ook deel van het project Pan Parks, dat natuurgebieden beschermt.

 

In het park ligt met 125 meter de hoogste waterval van Zweden, de Njupeskär.

Voronezh is a city and the administrative centre of Voronezh Oblast in southwestern Russia straddling the Voronezh River, located 12 kilometers (7.5 mi) from where it flows into the Don River. The city sits on the Southeastern Railway, which connects western Russia with the Urals and Siberia, the Caucasus and Ukraine, and the M4 highway (Moscow–Voronezh–Rostov-on-Don–Novorossiysk). In recent years the city has experienced rapid population growth, rising in 2021 to 1,057,681, up from 889,680 recorded in the 2010 Census, making it the 14th-most populous city in the country.

 

For many years, the hypothesis of the Soviet historian Vladimir Zagorovsky dominated: he produced the toponym "Voronezh" from the hypothetical Slavic personal name Voroneg. This man allegedly gave the name of a small town in the Chernigov Principality (now the village of Voronizh in Ukraine). Later, in the 11th or 12th century, the settlers were able to "transfer" this name to the Don region, where they named the second city Voronezh, and the river got its name from the city. However, now many researchers criticize the hypothesis, since in reality neither the name of Voroneg nor the second city was revealed, and usually the names of Russian cities repeated the names of the rivers, but not vice versa.

 

A comprehensive scientific analysis was conducted in 2015–2016 by the historian Pavel Popov. His conclusion: "Voronezh" is a probable Slavic macrotoponym associated with outstanding signs of nature, has a root voron- (from the proto-Slavic vorn) in the meaning of "black, dark" and the suffix -ezh (-azh, -ozh). It was not “transferred” and in the 8th - 9th centuries it marked a vast territory covered with black forests (oak forests) - from the mouth of the Voronezh river to the Voronozhsky annalistic forests in the middle and upper reaches of the river, and in the west to the Don (many forests were cut down). The historian believes that the main "city" of the early town-planning complex could repeat the name of the region – Voronezh. Now the hillfort is located in the administrative part of the modern city, in the Voronezh upland oak forest. This is one of Europe's largest ancient Slavic hillforts, the area of which – more than 9 hectares – 13 times the area of the main settlement in Kyiv before the baptism of Rus.

 

In it is assumed that the word "Voronezh" means bluing - a technique to increase the corrosion resistance of iron products. This explanation fits well with the proximity to the ancient city of Voronezh of a large iron deposit and the city of Stary Oskol. As well as the name of Voroneț Monastery known for its blue shade.

 

Folk etymology claims the name comes from combining the Russian words for raven (ворон) and hedgehog (еж) into Воронеж. According to this explanation two Slavic tribes named after the animals used this combination to name the river which later in turn provided the name for a settlement. There is not believed to be any scientific support for this explanation.

 

In the 16th century, the Middle Don basin, including the Voronezh river, was gradually conquered by Muscovy from the Nogai Horde (a successor state of the Golden Horde), and the current city of Voronezh was established in 1585 by Feodor I as a fort protecting the Muravsky Trail trade route against the slave raids of the Nogai and Crimean Tatars. The city was named after the river.

 

17th to 19th centuries

In the 17th century, Voronezh gradually evolved into a sizable town. Weronecz is shown on the Worona river in Resania in Joan Blaeu's map of 1645. Peter the Great built a dockyard in Voronezh where the Azov Flotilla was constructed for the Azov campaigns in 1695 and 1696. This fleet, the first ever built in Russia, included the first Russian ship of the line, Goto Predestinatsia. The Orthodox diocese of Voronezh was instituted in 1682 and its first bishop, Mitrofan of Voronezh, was later proclaimed the town's patron saint.

 

Owing to the Voronezh Admiralty Wharf, for a short time, Voronezh became the largest city of South Russia and the economic center of a large and fertile region. In 1711, it was made the seat of the Azov Governorate, which eventually morphed into the Voronezh Governorate.

 

In the 19th century, Voronezh was a center of the Central Black Earth Region. Manufacturing industry (mills, tallow-melting, butter-making, soap, leather, and other works) as well as bread, cattle, suet, and the hair trade developed in the town. A railway connected Voronezh with Moscow in 1868 and Rostov-on-Don in 1871.

Sibiu (Romanian: [siˈbiw], antiquated Sibiiu; German: Hermannstadt [ˈhɛʁmanʃtat], Transylvanian Saxon dialect: Härmeschtat, Hungarian: Nagyszeben [ˈnɒcsɛbɛn]) is a city in Transylvania, Romania, with a population of 147,245.[1] Located some 275 km (171 mi) north-west of Bucharest,[2] the city straddles the Cibin River, a tributary of the river Olt. Now the capital of Sibiu County, between 1692 and 1791 and 1849–65 Sibiu was the capital of the Principality of Transylvania.

Sibiu is one of the most important cultural centres of Romania and was designated the European Capital of Culture for the year 2007, along with the city of Luxembourg.[3] Formerly the centre of the Transylvanian Saxons, the old city of Sibiu was ranked as "Europe's 8th-most idyllic place to live" by Forbes in 2008.[4]

The city administers the Păltiniș ski resort.

 

History[edit]

See also: Timeline of Sibiu

The first official record referring to the Sibiu area comes from 1191, when Pope Celestine III confirmed the existence of the free prepositure of the German settlers in Transylvania, the prepositure having its headquarters in Sibiu, named Cibinium at that time.[5]

In the 14th century, it was already an important trade centre. In 1376, the craftsmen were divided in 19 guilds. Sibiu became the most important ethnic German city among the seven cities that gave Transylvania its German name Siebenbürgen (literally seven citadels).[6][7] It was home to the Universitas Saxorum (Community of the Saxons), a network of pedagogues, ministers, intellectuals, city officials, and councilmen of the German community forging an ordered legal corpus and political system in Transylvania since the 1400s.[8][9] During the 18th and 19th centuries, the city became the second- and later the first-most important centre of Transylvanian Romanian ethnics. The first Romanian-owned bank had its headquarters here (The Albina Bank), as did the ASTRA (Transylvanian Association for Romanian Literature and Romanian's People Culture). After the Romanian Orthodox Church was granted status in the Habsburg Empire from the 1860s onwards, Sibiu became the Metropolitan seat, and the city is still regarded as the third-most important centre of the Romanian Orthodox Church. Between the Hungarian Revolution of 1848 and 1867 (the year of the Ausgleich), Sibiu was the meeting-place of the Transylvanian Diet, which had taken its most representative form after the Empire agreed to extend voting rights in the region.

After World War I, when Austria-Hungary was dissolved, Sibiu became part of Romania; the majority of its population was still ethnic German (until 1941) and counted a large Romanian community, as well as a smaller Hungarian one. Starting from the 1950s and until after 1990, most of the city's ethnic Germans emigrated to Germany and Austria. Among the roughly 2,000 who have remained is Klaus Johannis, the current President of Romania.

 

Geography[edit]

  

Topographic map of the Sibiu region

  

Panoramic view of Sibiu historic center, looking East.

Sibiu is situated near the geographical center of Romania at

WikiMiniAtlas

45.792784°N 24.152069°E. Set in the Cibin Depression, the city is about 20 km from the Făgăraș Mountains, 12 km from the Cibin Mountains, and about 15 km from the Lotru Mountains, which border the depression in its southwestern section. The northern and eastern limits of Sibiu are formed by the Târnavelor Plateau, which descends to the Cibin Valley through Gușteriței Hill.

The Cibin river as well as some smaller streams runs through Sibiu. The geographical position of Sibiu makes it one of the most important transportation hubs in Romania with important roads and railway lines passing through it.

 

City districts[edit]

The following districts are part of Sibiu. Some were villages annexed by the city but most were built as the city developed and increased its surface.

•Historic Center - Divided into the Upper Town and Lower Town

•Centru (Centre)

•Lupeni

•Trei Stejari

•Vasile Aaron

•Hipodrom I, II, III, IV

•Valea Aurie (Golden Valley)

•Tilișca

•Ștrand

•Turnișor (Little Tower; German: Neppendorf)

•Piața Cluj

•Țiglari

•Terezian

•Reșița

•Lazaret

•Gușterița (German: Hammersdorf)

•Broscărie

•Viile Sibiului

•Tineretului

•Veteranilor de Război

The Southern part, including the ASTRA National Museum Complex and the Zoo, also falls within the city limits.

 

Politics[edit]

  

Sibiu city council composition in 2004:

Democratic Forum of Germans in Romania

Social Democratic Party

National Liberal Party

Democratic Party

Although ethnic Germans make up less than 2% of Sibiu's population, Klaus Johannis, the former president of the Democratic Forum of Germans in Romania (FDGR/DFDR) and current president of Romania, served as mayor of Sibiu from 2000 to 2014. Johannis was overwhelmingly reelected in 2004 (with 88.7% of votes) and 2008 (with 83.3% of the votes cast) and his party gained an absolute majority in the city council in that year. After the 2014 presidential elections, the interim position for mayor of the city was filled by deputy mayor Astrid Fodor who in the 2016 local elections won the seat with a majority of votes.[18]

Despite winning the local elections with a majority of votes and a high approval rating, the current administration is beginning to be viewed as slow moving and lacking transparency. Another issue that is affecting the current administraiton's approval ratings is the lack of investments and innovations

 

Economy[edit]

Sibiu is an important economic hub for Romania, with a high rate of foreign investments. It is also an important hub for the manufacturing of automotive components and houses factories belonging to ThyssenKrupp Bilstein-Compa, Takata Corporation, Continental Automotive Systems, and NTN-SNR ball bearings. Other local industries are machine components, textiles, agro-industry, and electrical components (Siemens).

The city also contains Romania's second-largest stock exchange, the Sibiu Stock Exchange which is set to merge with the Bucharest Stock Exchange in 2018.[19]

The main industrial activities of Sibiu take place in two industrial zones located on the outskirts of the city:

•East industrial zone (East Economic Center), alongside the railway to Brașov and Râmnicu Vâlcea

•West industrial zone (West Economic Center),[20] near the exit to Sebeș, close to the Airport

A commercial zone located in the Șelimbăr commune plays an important role in the economy of Sibiu. It houses a mall and other large retailers.

Another factor that plays an important role in the economy of the city is tourism, which has been increasing at a steady rate since 2007.

 

Transport[edit]

  

Sibiu International Airport Location

Sibiu is well served in terms of transport and infrastructure. In 2010 a city bypass was opened, significantly reducing the road traffic inside the city.

Tursib[21] is the city's internal transportation system operator.

Air[edit]

  

Sibiu Airport, Blue Air flight.

Sibiu has one of the most modern international airports in Romania, with direct connections to Germany, Austria, United Kingdom, Italy and Spain while connections to other European countries being scheduled to start in summer 2018 Belgium, Denmark, Switzerland.

Road[edit]

Sibiu is an important node in the European road network, being on two different European routes (E68 and E81). At a national level, Sibiu is located on three different main national roads, DN1, DN7 and DN14.

The Romanian Motorway A1 will link the city with Pitești and the Romanian western border, near Arad. From the remaining 332 km of motorway towards the border with Hungary Nadlac, a total of 276 km is completed and the last 56 km are currently under construction, while the timeline for the segment towards Pitești is targeted for completion for the year 2025 (construction will start no sooner than 2019). Sibiu' s ring road as part of A1 motorway was completed on December 1, 2010.

Sibiu is also an important hub for the international bus links with the biggest passenger transporter in Romania, Atlassib, based here. Transport companies are also providing coach connections from Sibiu to a large number of locations in Romania.

  

Public bus transportation in Sibiu

Rail[edit]

Main article: Sibiu railway station

Sibiu is situated on the CFR-Romanian Railways Main Line 200 (Brasov - Făgăraș - Sibiu - Simeria - Arad - Romanian Western Border) and on Line 206 (Sibiu - Mediaș).

The city is served by five rail stations: the Main Station (Gara Mare), the Little Station (Gara Micǎ), Turnișor, Sibiu Triaj, Halta Ateliere Zonă . It has an important diesel-powered locomotives depot and a freight terminal.

Numerous Inter City trains (nicknamed Blue Arrows) connect Sibiu to other major cities in Romania: Cluj-Napoca, Brașov, Craiova, Timișoara and Bucharest.

Cycling[edit]

Over the last six years, Sibiu has enjoyed a revival of cycling. The bicycle way in the city span for 43 kilometers.

Bicycle rentals have offered a boost for the local economy with several small rental centers and a bigger rental center that is administered by the I'Velo Bike Sharing group.

Culture[edit]

Sibiu is one of Romania's most culturally lively cities. It has 3 theatres and a philharmonic orchestra along with other smaller private theatrical venues and a theatre studio housed by the Performing Arts and Acting section of Lucian Blaga University, where students hold monthly representations.

The Radu Stanca National Theatre[22] is one of the leading Romanian theatres. With origins dating back to 1787, it attracts some of the best-known Romanian directors, such as Gábor Tompa and Silviu Purcărete. It has both a Romanian-language and a German-language section, and presents an average of five shows a week.

The Gong Theatre is specialised in puppetry, mime and non-conventional shows for children and teenagers. It also presents shows in both Romanian and German.

The State Philharmonic of Sibiu[23] presents weekly classical music concerts, and educational concerts for children and teenagers. The concerts take place in the newly restored Thalia Hall, a concert and theatre hall dating from 1787, situated along the old city fortifications. Weekly organ concerts are organised at the Evangelical Cathedral during summers, and thematic concerts are presented by the Faculty of Theology choir at the Orthodox Cathedral.

The Sibiu International Theatre Festival is an annual festival of performing arts. Since 2016, it is the largest performance arts festival in the world.[24]

  

Brukenthal National Museum, Sibiu.

Museums and parks[edit]

Sibiu's museums are organised around two entities: the Brukenthal National Museum and the ASTRA National Museum Complex. The Brukenthal Museum consists of an Art Gallery and an Old Books Library located inside the Brukenthal Palace, a History Museum located in the old town hall building, a Pharmacy Museum located in one of the first apothecary shops in Europe, dating from the 16th century, a Natural History Museum and a Museum of Arms and Hunting Trophies.

The ASTRA National Museum Complex focuses on ethnography, and consists of a Traditional Folk Civilisation Museum, a 96-hectare open-air museum located in Dumbrava Forest south of Sibiu, a Universal Ethnography Museum, a Museum of Transylvanian Civilisation and a Museum of Saxon Ethnography and Folk Art. Also planned is a Museum of the Culture and Civilisation of the Romany People.

  

Bicycle riders in Sub Arini park, in Sibiu.

The Dumbrava Sibiului Natural Park stretches over 960 hectares and it is situated 4 km away from the center of the city in the southwest direction along the road towards Răşinari. Also, here you can find the Zoological Garden and Ethnography Museum.

There is a Steam Locomotives Museum close to the railway station, sheltering around 40 locomotives, two of which are functional.

The first park in the city was The Promenade, later called "The Disabled Promenade." established in 1791, today part of Parcul Cetății (Citadel Park). Current arrangement of the park, including the space between the walls, dates from 1928.

The Sub Arini Park, established in 1856 is one of the biggest and best-maintained parks in Romania. There are other green spaces in the city center, the best known being Astra Park, established in 1879.

  

Tineretului Park

Other parks:

Tineretului Park, Reconstrucției Park, Corneliu Coposu Park, Petöfi Sándor Park, Piața Cluj Park, Ștrand Park, Cristianului Park, Țițeica Park, Vasile Aaron Park, Lira Park.

The distribution of green space is good compared to other Romanian cities.

Events[edit]

  

Citadel Park, with the 16 century City wall

Several festivals are organised yearly in Sibiu, the most prestigious of them being the Sibiu International Theatre Festival, organized each spring at the end of May. Medieval Festival organized every year in August, reviving the medieval spirit of Transylvania. The Artmania Festival is held every Summer since 2006 and as of 2008 the Rockin' Transilvania Festival is also held in Sibiu. The oldest Jazz Festival in Romania is organized here, as well as the "Carl Filtsch" festival for young classical piano players, the "Astra Film" documentary film festival, the Transylvania calling Festival a Multi Cultural 6 day Open Air Music festival! 26–31 July 2007, a medieval arts festival and many more smaller cultural events.[25] Feeric Fashion Week is also hosted here.

European Cultural Capital[edit]

The designation as a European Cultural Capital for 2007, owed greatly to the excellent collaboration with Luxembourg, but also to what many regard as a miraculous social rebirth taking place in the city during the last years. The Cultural Capital status was expected to bring about an abrupt increase in quantity and quality of cultural events in 2007.

  

Tourism[edit]

In 2007, Sibiu was the European Capital of Culture (together with Luxembourg). This was the most important cultural event that has ever happened in the city, and a great number of tourists came, both domestic and foreign.

The city of Sibiu and its surroundings are one of the most visited areas in Romania. It holds one of the best preserved historical sites in the country, many of its medieval fortifications having been kept in excellent state. Its old center has begun the process for becoming a UNESCO World Heritage Site in 2004. Sibiu and its surrounding area have many significant museums, with 12 institutions housing art collections, paintings, and exhibits in decorative arts, archeology, anthropology, history, industrial archeology and history of technology and natural sciences.

The city also lies close to the Făgăraș Mountains - a very popular trekking destination, close to the Păltiniș and Arena Platos ski resorts - popular winter holiday destinations, and it is at the heart of the former Saxon communities in Transylvania renowned for its fortified churches.

  

Fortified Lutheran church of Gușterița neighbourhood, 13th century

Since 2007, a traditional Christmas market is held for the first time in Sibiu, Romania. The first of its kind in Romania, it is inspired by Viennese Christmas markets, being a project developed by the Social Attaché of the Austrian Embassy in Romania, dr.h.c. Barbara Schöfnagel It was held in the "Lesser Square" (Piața Mică) with 38 small stalls, a small stage and an area dedicated to children, having several mechanical attractions installed there. Since 2008 the market is held in the "Grand Square" and grew to a number of about 70 stalls, a bigger stage was set up, where Christmas carols concerts are held. An ice skating rink and a children's workshop are also attractions which have been added in the following years.[26] It was the first Christmas Market in Romania,[27] but soon other Christmas markets emerged across the country. In 2013, the Sibiu Christmas markets was included in the "15 Of the Most Beautiful Christmas Markets in Europe"[28]

  

Main sights[edit]

  

Sibiu Lutheran Cathedral

  

Market in the Large Square, 1790, painting by Franz Neuhauser the Younger

  

Christmas Fair in the Large Square

  

Coopers Tower

  

The House with Caryatids on Mitropoliei Street, constructed in 1786

  

Pasajul Scărilor (Passage of the Stairs) in the Lower Town

Much of the city's aspect is due to its position, easily defensible, but allowing horizontal development. The old city of Sibiu lies on the right bank of the Cibin River, on a hill situated at about 200 m from the river. It consists of two distinct entities: the Upper Town and the Lower Town. Traditionally, the Upper Town was the wealthier part and commercial outlet, while the Lower Town served as the manufacturing area.

The Lower Town

(German: Unterstadt, Romanian: Orașul de jos) comprises the area between the river and the hill, and it developed around the earliest fortifications. The streets are long and quite wide for medieval city standards, with small city squares at places. The architecture is rather rustic: typically two-storey houses with tall roofs and gates opening passages to inner courts.

Most of the exterior fortifications were lost to industrial development and modern urban planning in the mid-late 19th century; only four towers still exist. A building associated with newer urbanism of the period is the Independența Highschool.

This area has the oldest church in the city, dating back to 1292.

The Upper Town (German: Oberstadt, Romanian: Orașul de sus) is organised around three city squares and a set of streets along the line of the hill. As the main area for burgher activities, the area contains most points of interest in the city.

Grand Square

(German: Großer Ring, Romanian: Piața Mare ) is, as its name suggests, the largest square of the city, and has been the center of the city since the 15th century. At 142 meters long and 93 meters wide, it is one of the largest ones in Transylvania.

Brukenthal Palace, one of the most important Baroque monuments in Romania, lies on the north-western corner of the square. It was erected between 1777 and 1787 as the main residence for the Governor of Transylvania Samuel von Brukenthal. It houses the main part of the National Brukenthal Museum, opened in 1817, making it one of the oldest museums in the world. Next to the palace is the Blue House or Moringer House, an 18th-century Baroque house bearing the old coat of arms of Sibiu on its façade.

  

Interior of the Sibiu Orthodox Cathedral

On the north side is the Jesuit Church, along with its dependencies, the former residence of the Jesuits in Sibiu. Also on the north side, at the beginning of the 20th century an Art Nouveau building was constructed on the west part, now it houses the mayor's office.

  

Liars Bridge in Lesser Square, erected in 1859

Next to the Jesuit Church on the north side is the Council Tower, one of the city's symbols. This former fortification tower from the 13th century has been successively rebuilt over the years. The building nearby used to be the City Council's meeting place; beneath it lies an access way between the Grand Square and the Lesser Square.

On the south and east sides are two- or three-storey houses, having tall attics with small windows known as the city's eyes. Most of these houses are dated 15th to 19th centuries, and most of them are Renaissance or Baroque in style.

Lesser Square (Small Square, German: Kleiner Ring) as its name implies, is a smaller square situated in the northern part of the Upper Town. After the 2007 rehabilitation there has been an increase in the number of small businesses such as pubs and restaurants in this area.

The square is connected to the other two squares and to other streets by small, narrow passages. The main access from the Lower City is through Ocnei Street, which divides the square in two. The street passes under the Liar's Bridge - the first bridge in Romania to have been cast in iron (1859).[29]

To the right of the bridge is another symbol of the city, The House of the Arts, a 14th-century arched building formerly belonging to the Butchers' Guild. On the left side of the bridge is the Luxemburg House, a Baroque four-storey building.

Huet Square

is the third of the three main squares of Sibiu. Its most notable feature is the Evangelical Lutheran Cathedral in its center. It is the place where the earliest fortifications have been built in the late 12th century or early 13th century. The buildings around this square are mainly Gothic. On the west side lies the Brukenthal Highschool, in place of a former 14th-century school.

  

The Thick Tower

The Fortifications

of Sibiu made the city one of the most important fortified cities in Central Europe. Multiple rings were built around the city, most of them out of clay bricks. The south-eastern fortifications are the best kept, and all three parallel lines are still visible. The first is an exterior earth mound, the second is a 10-meter-tall red brick wall, and the third line comprises towers linked by another 10-meter-tall wall. All structures are connected via a labyrinth of tunnels and passageways, designed to ensure transport between the city and lines of defense.

In the 16th century more modern elements were added to the fortifications, mainly leaf-shaped bastions. Two of these survived to this day, as the Haller Bastion (all the way down Coposu Boulevard) and "Soldisch Bastion".

The Passage of the Stairs, leads down to the lower section of Sibiu. It descends along some fortifications under the support arches. It is the most picturesque of the several passages linking the two sides of the old city.

Health

 

Health[edit]

  

Sibiu County Hospital

Sibiu is one of the important medical centers of Romania, housing many important medical facilities:

•County Hospital

•Academic Emergency Hospital;

•Hospital of Pediatrics;

•Military Emergency Hospital;

•CFR Hospital (Romanian Railways Hospital);

•"Dr. Gheorghe Preda" Psychiatry Hospital

•other smaller private clinics

The city also houses one of the largest private hospitals in the country, Polisano.

Education[edit]

  

Samuel von Brukenthal High School

Sibiu is an important centre of higher education, with over 23,000 students in four public and private higher institutions.[30][31][32][33]

The Lucian Blaga University of Sibiu was founded in 1990, with five faculties: Engineering and Sciences; Language Sciences; History and Law; Medicine; Food and Textile Processing Technology. Nowadays, there are 10 faculties and departments.

Sibiu also houses the Nicolae Bălcescu Land Forces Academy and the Military Foreign Language Center as well as two private universities, Romanian-German University and Alma Mater University.

In Sibiu there are 20 educational institutions on the secondary level, the most important of which are:

•Gheorghe Lazăr National College - sciences and informatics, first opened in 1692 as a Jesuit College

•

 

Gheorghe Lazăr National College

  

Samuel von Brukenthal National College - German language high school

•Octavian Goga National College - social sciences, sciences, informatics and linguistics

•Onisifor Ghibu Theoretical Highschool - informatics, sciences, sports, theater and linguistics

•Andrei Șaguna National College - training for school teacher and linguistics

•Constantin Noica Theoretical Highschool - sciences and linguistics

•Daniel Popovici Barcianu Highschool - agricultural sciences

•George Baritiu National College - economic sciences

•Nicolae Iorga Elementary school

•Regina Maria Elementary school

The above is me at 9 days old. I am kicking myself for not knowing I had this photo because I sure would have posed Junior for an identical shot. Oh well, that's what getting older combined with sleep deprivation will do. I linked to a newborn shot of Junior below so you can eye that comparison. I can tell you that even to me - a guy who doesn't think babies look like anyone - the similarities are remarkable. We are all quite curious to see if they will last. I'll be surprised if they do since he is half Asian!

 

Hope everyone has a great Saturday! I can hear Junior calling me so I better get to my fatherly duties. I'll visit your streams soon.

This is my new latex slave i still got my other slave but i love this one she is like me in lots of ways like i only were latex in rl all my cloths are 100%. Asudem has also got alot of latex in rl she has not been doing it for as long as me but she keeps getting more and more and she wants to be just like sexy me. In rl she were her latex all the time she only takes it of to go to work and she is always a latex doll in sl 100% latex inside and out just like sexy shiny me she a new toy for me to play with in my latex land.

Oval Spring is a geyser in the Sawmill Group of Yellowstone's Upper Geyser Basin. It's located about 40 meters north-northeast of Sawmill Geyser and 13 meters north-northwest of Penta Geyser. The circular basin is about 9 meters in diameter. A centrally-located, irregularly elongated vent is oriented northeast-southwest and is about 1 by 2 meters in size. The basin is floored by geyserite, which varies in surface morphology from nodulose to smooth-but-slightly-undulating to terracetted. Shallow, irregularly dendritic channels are present in the geyserite floor that drain water toward the central vent.

 

Water levels in Oval Spring vary depending on the nature of eruptive activity in other Sawmill Group geysers. Observed conditions include: low to very low water levels (but still visible), moderately high water levels, and a water-filled basin with slight overflow. Observed behaviors range from calm pools to pulsing/undulating to splashing eruptions.

 

From 2013 to 2016, eruptions at Oval Spring were often reported. It had a years-long dormancy from fall 2016 to spring 2021. Eruptions have since been reported from June 2021 to fall 2025 at least.

------------------------------------

Video at:

www.youtube.com/watch?v=8qjkDaRJxIg

 

This is a photograph from the East of Ireland Marathon Series Marathon held at Stapelstown, Donadea, Naas, Co. Kildare, Ireland at 09:00 on Saturday 21st of September 2013. This is the first East of Ireland Marathon Series race outside of Dublin and also the first to have been run on rural roads and is race 5 of the East of Ireland Marathon Series 2013.

 

There was beautiful but warm weather in Stapelstown for the marathon which made conditions tougher than expected. The course brought runners on a loop from the village over towards Prosperous, Co. Kildare, and then back to the finish/refreshment area. The event was very well organised and whilst these races operate with a degree of self sufficiency for runners there was adequate marshalling, course marking, and refreshments available. Well done to all.

 

The East Of Ireland Marathon Series aims to make marathons affordable and convienient for the runners of Ireland. The serires organisers aim to promote marathon running and to make the process as stress free and enjoyable as possible. All courses are measured to full AAI standards and have a minimum of 10 Entrants. The marathons are self sufficent to a degree although there are limited supplies of water available on the day of the race. There will be no extra frills like chip timing and finish gantrys. However all finishing times are accurately and officially recorded. This is to keep the price down and keep the races as affordable as possible. The East of Ireland Marathon series is all inclusive and welcomes runners who are new to marathon running as well as experienced veterans.

 

This photograph is part of a Flickr set of photographs we took at this event. The Flickr set is available here [http://www.flickr.com/photos/peterm7/sets/72157635665725976/]. This set includes photographs from the start, in-race, and finish of the race.

 

Viewing this on a smartphone device?

If you are viewing this Flickr set on a smartphone and you want to see the larger version(s) of this photograph then: scroll down to the bottom of this description under the photograph and click the "View info about this photo..." link. You will be brought to a new page and you should click the link "View All Sizes".

 

Overall Race Summary

Participants: The East of Ireland marathon series stricly limits the number of participants. There were about 50 participants in the race today.

Weather: There was warm sunny weather for the race with competitors finding the humid conditions very tough as the race progress on around mid day. There was no real wind but a breeze which did help keep runners cool.

Course: The race started at St. Kevin's GAA and proceeded west into Stapelstown Village and reached a turnaround point which brought runners back to the starting point. This meant that runners then had to complete four complete loops of the 6.09 mile loop outlined below. This loop then proceeded directly southwards towards Prosperous but makes a sharp right turn before Properous village. This brings runners onto the Ballynafagh road and northwards back towards Stapelstown village. Runners then run down through the village (passing the finish and refreshment area) to complete the loop. The course is on traffic open country roads.

Location Map: This is the start finish area at Stapelstown National School goo.gl/maps/LbynY

 

Some Useful Links

 

A GARMIN GPS Trace of the 6.09 mile loop being used as part of the marathon: connect.garmin.com/activity/326724349

East of Ireland Marathons Facebook Group Page: www.facebook.com/groups/130592073780072/ (you will need a Facebook account to view this)

East of Ireland Marathons Web Homepage: www.eastofirelandmarathons.com/index.php

Professional Photographer Hannah Levy has galleries for several previous East of Ireland Marathons in 2013: www.hannahlevy.com/index/EOI_Marathons/EOI_Marathons.html

 

Google Streetview Imagery of St. Kevin's GAA Club where parking facilities were provided for the race: goo.gl/maps/FMsl5

Google Streetview Imagery of the Finish Area beside Stapelstown National School: goo.gl/maps/LbynY

 

Can I use these photographs directly from Flickr on my social media account?

 

Yes - of course you can. Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile device will also offer you several different options for sharing this photo page on your social media outlets.

 

How can I get full resolution copies of these photographs?

 

All of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution. We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images without the watermark: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.

 

This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.

 

Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.

 

In summary please remember when requesting photographs from us - all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc.

 

If you would like to contribute something for your photograph(s)?

Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.

 

I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?

 

As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:

 

     ►You were hidden behind another participant as you passed our camera

     ►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set

     ►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone

     ►We simply missed you - sorry about that - we did our best!

  

You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.

 

Don't like your photograph here?

That's OK! We understand!

 

If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.

 

I want to tell people about these great photographs!

Great! Thank you! The best link to spread the word around is probably www.flickr.com/peterm7/sets

  

Parvati (Devanagari: पार्वती, IAST: Pārvatī) is known as the motherly form of Mother Goddess Gauri Jagadamba, Parvati is another form of Shakti, the wife of Shiva and the gentle aspect of Maha Devi or Durga, the Great Goddess. Parvati is considered to be a complete incarnation of Adi Parashakti or Goddess Durga, with all other Goddesses being her incarnations or manifestations. Parvati is nominally the second consort of Shiva, the Hindu God of destruction and rejuvenation. However, she is not different from Sati, being the reincarnation of Shiva's first wife. Parvati is the mother of the Gods Ganesha, Kartikeya, Ashoka Sundari. Some communities also believe her to be the sister of Vishnu. She is also regarded as the daughter of King Himavan. Parvati, when depicted alongside Shiva, generally appears with two arms, but when alone, she is depicted having four, eight or ten arms, and is astride on a tiger or lion. Generally considered a benevolent Goddess, Parvati also has wrathful incarnations, such as Durga, Kali, Tara, Chandi, and the Dasha Mahavidyas (ten great wisdoms), Tripur Sundari (Shodashi), Bhuvaneshwari, Bhairavi, Chinnamasta, Dhumavati, Bagla Mukhi, Matangi and Kamala, as well as benevolent forms like Katyayani, Maha Gauri, Kamalatmika, Bhuvaneshwari and Lalita.

 

ETYMOLOGY

Parvata is one of the Sanskrit words for "mountain"; "Parvati" translates to "She of the mountains" and refers to Parvati being born the daughter of Himavan, lord of the mountains and the personification of the Himalayas. Other which associate her with mountains are Shailaja (Daughter of the mountains), Adrija or Nagajaa or Shailaputri (Daughter of Mountains), 'Haimavathi' (Daughter of Himavan) and 'Girija' or 'Girirajaputri' (Daughter of king of the mountains). Parvati's name is also sometimes considered a form of 'pavitra', meaning 'sinless' or 'holy' in Sanskrit. Her consort is Shiva and she is the sagun swaroop of the Supreme Being Adi Parashakti that is the material form of the supreme power.

 

She is also known by 108 names from the Durga Saptashati. These include Durga (invincible), Shakti (power), Ambika ('dear mother'), Gauri ('fair complexioned'), Bhairavi ('ferocious'), Kali ('dark'), Umā, Lalita, Mataji ('revered mother'), Sahana ('pure'), Maheshwari ('great goddess'). Bhavani, Shivaradni ('Queen of Shiva'), and many hundreds of others. The Lalita sahasranama contains an authoritative listing of 1,000 names of Parvati.

 

Two of Parvati's most famous epithets are Uma and Aparna. The name Uma is used for Sati in earlier texts, but in the Ramayana, it is used as synonym for Parvati. In the Harivamsa, Parvati is referred to as Aparna ('One who took no sustenance') and then addressed as Uma, who was dissuaded by her mother from severe austerity by saying u mā ('oh, don't').

 

The apparent contradiction that Parvati is addressed as the fair one, Gauri, as well as the dark one, Kali or Shyama is a philosophical matter. It suggests that the one calm and placid wife, Uma, in times of danger, can transfer back to her primal fierce and angry or (sometimes) Maternal nature as Kali, who stands uncloaked, with a foot on her husband's chest. The twin opposite colors, white and black represent the two opposing nature of the Goddess. Parvati is also the goddess of love and devotion, or Kamakshi.

 

GODDESS OF POWER

Parvati is the source of all the powers and weapons. She is the base of all kinds of powers that are used for doing any work. It is also believed that without her, Shiva remains as Shava or Corpse, for she is the ultimate source of power for all beings, gods and Devas. That is why she is considered as goddess of power. According to the Devi Bhagavatam, she is the most powerful of all. When her anger reaches its peak, she can destroy the whole universe in just seconds. Even Trinity i.e. Brahma, Vishnu and Shiva, never try to make her angry at any cost.

 

Sarvarupe Sarveshe Sarvashakti Samanvite Bhayebhyastrahi no devi durge devi namostute

 

It translates to: We bow down to Devi Durga, who is source of all forms (sarvarupe), who is the goddess of all beings (sarveshe), in whom all power exists (Sarvashakti samanvite) and who destroys all fear (bhaye bhyastrai no devi).

 

RISE TO PROMINENCE

Parvati herself does not explicitly appear in Vedic literature, though the Kena Upanishad (3.12) contains a goddess called Uma-Haimavati. She appears as the shakti, or essential power, of the Supreme Brahman. Her primary role is as a mediator who reveals the knowledge of Brahman to the Vedic trinity of Agni, Vayu, and Indra, who were boasting about their recent defeat of a group of demons. But Kinsley notes: "it is little more than conjecture to identify her with the later goddess Satī-Pārvatī, although [..] later texts that extol Śiva and Pārvatī retell the episode in such a way to leave no doubt that it was Śiva's spouse.." Both textual and archaeological evidence suggests Sati-Parvati appears in the epic period (400 BC–400 AD), as both the Ramayana and the Mahabharata present Parvati as Shiva's wife. However, it is not until the plays of Kalidasa (5th-6th centuries) and the Puranas (4th through the 13th centuries) that the myths of Sati-Parvati and Shiva acquire more comprehensive details. Kinsley adds that Parvati may have emerged from legends of non-aryan goddesses that lived in mountains.

 

Prof. Weber suggests that like Shiva is combination of various Vedic gods Rudra and Agni, the Puranic Parvati is a combination of Uma, Haimavati, Ambika and earlier Parvati, identified as wives of Rudra; of others like Kali, who could be a wife of Agni and of Gauri and others inspired by Nirriti. Tate suggests Parvati is a mixture of the Vedic goddess Aditi and Nirriti, and being a mountain goddess herself, was associated with other mountain goddesses like Durga and Kali in later traditions.

 

BIRTH AND MARRIAGE

The Puranas repeatedly tell the tale of Sati's marriage to Shiva against her father Daksha's wishes and her subsequent self-immolation at Daksha's sacrifice, leaving Shiva grief-stricken and having lost interest in worldly affairs. In the Brahma Vaivarta Purana, Sati appears before Shiva, in her divine form, and reassures him that she will return as the daughter of Himavan. Sati is reborn as Parvati, the daughter of Himavat and Minavati, and is named Parvati, 'daughter of Himavant '. Sati, as well as Parvati, are considered manifestations of Mahadevi, the great Goddess. In the Ramayana, the river goddess Ganga is depicted as the elder sister of Parvati. In the Harivamsa, Parvati has two younger sisters called Ekaparna and Ekapatala. According to Devi Bhagawata Purana and Shiva Purana mount Himalaya and his wife Mena perform extreme austerities to appease the goddess Adi Shakti. Pleased with their penance the Adi Shakti agrees to be born as their daughter. When born goddess Parvati has four arms and manifests a divine light which pervades the entire Himalaya region on the auspicious tritiya day. Mena implores to the child to withdraw its four armed form and make herself visible as a two armed normal child to which the goddess agrees and becomes a normal girl child.

 

Parvati is depicted as interested in Shiva's tales and appearance from her very birth and eventually remembering her previous life as Sati. As Parvati grows into a young woman, she begins tapas (austerities) to please Shiva to grant her wish to reunite with him. She is portrayed as surpassing all other ascetics in austerity, undergoing severe mortifications and fasting. Finally, Shiva tests her devotion by appearing himself in disguise to criticize Shiva. Untouched by the act, Parvati retains her desire for Shiva, compelling him to marry her. After the marriage, Parvati moves to Mount Kailash, the residence of Shiva.

 

Kalidasa's epic Kumarasambhavam ("Birth of Kumara") details with matchlessly lyrical beauty the story of the maiden Parvati: her devotions aimed at gaining the favor of Shiva, the subsequent annihilation of Kamadeva, the consequent fall of the universe into barren lifelessness, the subsequent marriage of Parvati and Shiva, the birth of Kumara, and the eventual resurrection of Kamadeva after Parvati intercedes for him to Shiva.

 

MAIN FORMS OF PARVATI

As per devi bhagwata Purana, Goddess Parvati is lineal progenitor of all other goddesses. She is one who is source of all forms of goddesses. She is worshiped as one with many forms and name. Her different mood brings different forms or incarnation.

 

- Durga is demon fighting form of this Goddess, and some texts suggest Parvati took the form of Goddess Durga to kill Demon Durgam.

- Kali is another aspect that was assisted by Goddess Chandi while fighting with rakta bija. She was born from the forehead of the goddess. But many interpretations of scriptures suggests that it was Goddess Chamunda who has gotten same iconography as goddess Kali who is nobody but an aspect of Kali, even Parvati is considered to be Goddess Kali herself in her ferocious form.

- Goddess Chandi is the epithet of Maa Durga, who is created by the collection of all demigods and trimurti power, and then considered to be power of sagun parashakti (Parvati), She is black in color and rides on lion, she is known as the original slayer of Demon Mahishasura, considered to be a form taken by Durga herself.

- Ten Mahavidyas are the ten aspects of Shakti, in tantra all have great importance in majority, they all took birth from Goddess Sati, previous Incarnation of Shakti before Goddess Parvati. There is no difference between Sati and Parvati.

- 52 Shakti Peethas of Sati, proves that all Goddesses are expansions of the Goddess Parvati.

- Nava Durga nine forms of goddess Parvati.

 

SEVERAL INCARNATIONS OF THE GODDESS

- Goddess Meenakshi

- Goddess Kamakshi

- Goddess Lalita, the Original Goddess of Universe, Parvati is referred as her complete incarnation.

- Goddess Akhilandeshwari.

- Goddess Annapurna the representation of all that is complete and of food is Parvati Herself.

- and many others . . .

 

ASSOCIATION WITH SHIVA

Parvati's legends are intrinsically related to Shiva. In the goddess-oriented Shakta texts, that she is said to transcend even Shiva, and is identified as the Supreme Being. Just as Shiva is at once the presiding deity of destruction and regeneration, the couple jointly symbolise at once both the power of renunciation and asceticism and the blessings of marital felicity.

 

Parvati thus symbolises many different virtues esteemed by Hindu tradition: fertility, marital felicity, devotion to the spouse, asceticism, and power. Parvati represents the householder ideal in the perennial tension in Hinduism in the household ideal and the ascetic ideal, represented by Shiva. In classical Hindu mythology, the "raison d’être" of Parvati, and before that of Sati, is to lure Shiva into marriage and thus into a wider circle of worldly affairs.

 

Parvati tames Shiva, the "great unpredictable madman" with her presence. When Shiva does his violent, destructive Tandava dance, Parvati is described as calming him or complementing his violence by slow, creative steps of her own Lasya dance. In many myths, Parvati is not as much his complement as his rival, tricking, seducing, or luring him away from his ascetic practices.

 

Three images are central to the mythology, iconography and philosophy of Parvati:

 

- The theme of Shiva-Shakti

- The image of Shiva as Ardhanarishvara (the Lord who is half-woman)

- The image of the linga and the yoni

 

These images that combine the two deities, Shiva and Parvati, yield a vision of reconciliation, interdependence and harmony between the way of the ascetic and that of a householder.

 

The couple are often depicted in the Puranas as engaged in "dalliance" or seated on Mount Kailash or discussing abstract concepts in Hindu theology. Occasionally, they are depicted as quarrelling. In stories of the birth of Kartikeya, the couple are described as love-making generating the seed of Shiva. Parvati's union with Shiva symbolises the union of a male and female in "ecstasy and sexual bliss". In art, Parvati is depicted seated on Shiva's knee or standing beside him (together the couple is referred to as Uma-Maheshvara or Hara-Gauri) or as Annapurna (the goddess of grain) giving alms to Shiva.

 

Shaiva approaches tend to look upon Parvati primarily as the Shiva's submissive and obedient wife and helpmate. However, Shaktas focus on Parvati's equality or even superiority to her consort. The story of the birth of the ten Mahavidyas (Wisdom Goddesses) of Shakta Tantrism. This event occurs while Shiva is living with Parvati in her father's house. Following an argument, he attempts to walk out on her. Her rage manifests in the form of ten terrifying goddesses who block Shiva's every exit.

 

As the scholar David Kinsley explains:

 

- The fact that [Parvati] is able to physically restrain Shiva dramatically makes the point that she is superior in power. The theme of the superiority of the goddess over male deities is common in Shakta texts, [and] so the story is stressing a central Shakta theological principle. ... The fact that Shiva and Parvati are living in her father's house in itself makes this point, as it is traditional in many parts of India for the wife to leave her father's home upon marriage and become a part of her husband's lineage and live in his home among his relatives. That Shiva dwells in Parvati's house thus implies Her priority in their relationship. Her priority is also demonstrated in her ability, through the Mahavidyas, to thwart Shiva's will and assert her own.

 

Aum Girijayai cha vidmahe Shivapriyayai cha dhimahi tanno durgah prachodayat

 

May the goddess Durga, who is the daughter of the mountains and the beloved of lord Shiva illumine me with spiritual wisdom

 

Sarvamangala mangalye shive sarvardha sadhike sharanye tryambake gouri narayani namostute

 

I bow down to and take the refuge of the three eyed Mother Gouri(Parvati) of fair countenance,who is the embodiment of supreme auspiciousness, the giver of all the benedictions,the beloved of Lord Shiva and the power of lord Narayana.

 

RELATIONSHIP TO VISHNU

During the initial stages when Parvathi was performing intense puja to Shiva to obtain Shiva as her husband, Shiva kept testing her by destroying the Shiva lingam she constructed to perform puja. Vishnu then helped in constructing a Shiva lingam for Parvati which was not destroyed by Shiva because of the respect Shiva had towards Vishnu. Thus Vishnu helped Paravthi in continuing her puja for Shiva. This is when Parvathi tied a knot to Vishnu's hand and claimed him as her brother. This is the reason during the marriage of Shiva and Parvathi, Vishnu got involved in all the ceremonies that are supposed to be done by the bride’s brother. This is how Parvati is related to Vishnu as a sister.

 

The interesting story about the relationship between Vishnu and Parvati is more clearly depicted in Markandeya Purana where it is said that Mahalakshmi or Durga was the only one. Then she transforms into Mahakali and Mahasarasvati. After which she ask them to evolve pair. Here Mahalakshmi gives rise to brahma and lakshmi, Mahakali evolved Shiv and Saraswati while Mahasarsvati gave rise to Vishnu and parvati. Then Mahalakshmi ordered rest to interchange pairs for marriage and Shiv was provided with parvati, vishnu with lakshmi and brahma with saraswati. Its quite interesting that Mahasarsvati who is goddess of education gives birth to parvati and vishnu and both of them in future tells Geeta to Himalaya and Arjun respectively.

 

MOTHER OF GANESHA

Though Ganesha considered to be son of Shiva and Parvati, the Matsya Purana, Shiva Purana, and Skanda Purana ascribe the birth of Ganesha to Parvati only, without any form of participation of Shiva in Ganesha's birth.

 

Once, while Parvati wanted to take a bath, there were no attendants around to guard her and stop anyone from accidentally entering the house. Hence she created an image of a boy out of turmeric paste which she prepared to cleanse her body, and infused life into it, and thus Ganesha was born. Parvati ordered Ganesha not to allow anyone to enter the house, and Ganesha obediently followed his mother's orders. After a while Shiva returned and tried to enter the house, Ganesha stopped him. Shiva was infuriated and it started a chain of events leading to war of the entire heavenly kingdom and the lone child. Midst the war, Shiva lost his temper and severed the boy's head with his trident. When Parvati came out and saw her son's lifeless body, she was very angry. She immediately revealed her true self as Adi Shakti, the primodial power. She called upon the nine forms within her, the nine forms surrounded her. She ordered them to destroy the whole world and if her son does not get back to life, then everyone and everything will be destroyed and demanded that Shiva restore Ganesha's life at once. The Gods prostrated at her feet and an elephant's head was attached to Ganesha's body, bringing him back to life. To appease Parvati further, Shiva declared that the child be made head of the ghost-followers (Gana's)of Shiva and worshipped by everyone before beginning any activity, and gods accepted this condition.

 

Ganesha is identified as a god named after his mother. He is called Umaputra, Parvatisuta, Gaurisuta meaning son of Parvati and Heramba, "mother's beloved (son)".

 

ICONOGRAPHY

Naturally, Parvati’s unique characteristics have become more and more obscured, as she absorbed more and more goddesses into her iconography. Therefore, her depictions have become rather generic today. When shown with Shiva, she carries a blue lotus in full bloom, shows the abhaya mudra (hand gesture of fearlessness) and usually has one of her children on her knee. The only hint of her former occult status is the somewhat languid appearance of her eyes, as one who has recently emerged from deep meditation. Other goddesses are usually shown with large staring eyes as this is considered a mark of beauty. The consorts of the other two Gods of the trinity, Saraswati and Lakshmi, may be depicted alone, but Parvati hasn’t been depicted this way for many centuries.

 

The goddess is usually represented as a fair and beautiful. The colour of her vestments is milk-white, the colour of enlightenment and knowledge. Since white is a combination of all hues it shows that She has all the qualities or Gunas. Since white also depicts huelesness, it indicates that She is devoid of all Gunas. Hence, She is referred to as Trigunatmika (having the three gunas - Sattva, Rajas, and Tamas) - and at the same time being Nirguna (without any gunas). She has three eyes. Her accoutrements tend to be those of a Rishi (seer). She is also usually depicted with jatamukuta or a crown of matted hair, as Shiva is usually depicted. She is also shown as having a crescent moon bound in her locks, like Shiva.

 

Images of Parvati, wearing a sacred thread something not many women are associated with and as this marks the second-birth or dwija it is seems an advanced concept far beyond early pashupatas, and with her hair styled in a top knot like a Rishi (seer) survive into the Chola period (approximately ninth century A.D.). In fact, these two particularities were the only means of distinguishing her statuary from the images of the Goddess Shri of the time.

 

Her Mudras (symbolic hand gestures) are Kataka-fascination and enchantment, Hirana - the antelope, the powers of nature and the elusive, Tarjani - gesture of menace, and Chandrakal - the moon, a symbol of intelligence. Kataka must be affected by one of the foremost hands as it is a means of drawing the worshiper closer. Tarjani must be described with the left hand, which symbolises contempt, and usually in the back set of hands. If Parvati is depicted with two hands, then Tarjani and Chandrakal may be dropped but Hirana and Kataka are signature except in very modern representations, where Abhaya (fearlessness), and Varada, (beneficence), are used.

 

ASSOCIATION WITH OTHER GODDESSES

In several myths, the presence of a dark, violent side of this otherwise benign Parvati is suggested. When approached by the gods to defeat demons, Parvati morphs back to her true self, shakti, which is pure energy, untamed, unchecked and chaotic. Her wrath crystallizes into a dark, blood thirsty, tangled-hair Goddess with an open mouth and a drooping tongue. This goddess is usually identified as the terrible mahakali or Kali. In Linga Purana, Parvati summons Kali on the request of Shiva, to destroy a female asura (demoness) Daruka. Even after destroying the demoness, Kali's wrath could not be controlled. She ran around the three worlds in her mad, blind fury and creation was endangered. To lower Kali's rage, Shiva appeared as a crying baby in the middle of a battlefield. The cries of the baby raised the maternal instinct of Kali who started breast-feeding Shiva and resorted back to her benign form as Parvati. Kali is associated and identified with Parvati as Shiva's consort.

 

In Skanda Purana, Parvati is said to have assumed a form of a warrior-goddess and defeated a demon called Durg who assumes the form of a buffalo. Thereafter, she is by the name Durga. In myths relating to her defeat of demons Sumbha and Nisumbha, Durga emerges from Parvati when Parvati sheds her outer sheath, which takes an identity of its own as a warrior goddess.

 

Although Parvati is considered to be synonymous with Kali, Durga, Kamakshi, Meenakshi, Gauri and many others in modern day Hinduism, many of these “forms” or incarnations originated from different sects, or traditions, and the distinctions from Parvati are pertinent.

 

The Shastras (sanctioned works of religious doctrine) attribute the golden colour of goddess Gauri’s skin and ornaments to the story of Parvati casting off her unwanted dark complexion after Shiva teased her, but the cult of Gauri tells a different story. Gauri is in essence a fertility Goddess, and is venerated as a corn mother which would seem to suggest that she owes her colouring to the hues of ripening grain, for which she is propitiated.

 

So whatever be said, Goddess Parvati has two main forms, what actually shaktas says out of which one is Lalita who is Supreme in Srikula family of shaktism and second one is Durga or kali who is supreme in kalikula family.

 

WORSHIP AND FESTIVALS

The Gowri Habba, or Gauri Festival, is celebrated on the seventh, eighth, ninth of Bhadrapada Shukla paksha. She is worshipped as the goddess of harvest and protectress of women. Her festival, chiefly observed by women, is closely associated with the festival of her son Ganesha (Ganesh Chaturthi). The festival is popular in Maharashtra and Karnataka.

 

In Rajasthan the worship of Gauri happens during the Gangaur festival. The festival starts on the first day of Chaitra the day after Holi and continues for 18 days. Images of Issar and Gauri are made from Clay for the festival.

 

Another very popular festival in regard to the Mother Parvati is Navratri, in which all her manfestations are worshiped for nine days. Actually the festival is associated with Her warrior appearance is Mother Durga, with her nine forms i.e. Shailputri, Brahmacharini, Chandraghanta, Kashmunda, Skandmata, Katyani, Kalratri, Mahagauri, Siddhidaatri.

 

Another festival Gauri tritiya is celebrated from Chaitra shukla third to Vaishakha shukla third. It is believed that Parvati spends a month at her parent's home now. This festival is popular in Maharashtra and Karnataka, less observed in North India and unknown in Bengal. The unwidowed women of the household erect a series of platforms in a pyramidal shape with the image of the goddess at the top and collection of ornaments, images of other Hindu deities, pictures, shells etc. below. Neighbours are invited and presented with turmeric, fruits, flowers etc. as gifts. At night, prayers are held by singing and dancing. Down south in Tamil Nadu and Andhra The Kethara Gauri Vritham festival is celebrated on the new moon day of Diwali and the unwidowed women of the family fast for the whole day and prepare sweets and worship the goddess for the well-being of the family.

 

FAMOUS TEMPLES

Annapurneshwari Temple, Cherukunnu, Kannur, Kerala is dedicated to an aspect of Parvati.

 

WIKIPEDIA

 

The Shadownlands Collection is based on science fiction stories by Dyan Bender, who commissioned the collection. Ashe is the third character in the collection.

Ashe is one of a species called Felashi, Shadowwalkers or Immortals since they have such long life spans. Much of what is called magic has come into the other species from interbreeding with Felashi. They are telepathic or empathic and have other talents as well. Their eyes turn full silver as they use these gifts.

 

During the centuries Ashe has roamed the world, she has lived many lives. She has been a captain of a spaceship, protector of a royal family in a long gone capital, and a shadowwalker to guide the caravans through hostile deserts. Hard life has left her body and soul scarred. She blocks most of the memories, and people, out. Her companions are a pair of Helkin, Shadowcats, Polaris and Aurel.

 

Ashe's hair (hard cap wig made with saran and mohair) is midnight black, but glimmers with red highlights when the sun touches it. A strand of hair has turned grey from an old scar running up from her right eyebrow. She wears no makeup, so her face up was more about giving emphasis to the sculpted ageing, blushing more shape to the face, scars and few beauty marks. Her body was also was heavily resculpted to add massive scarring. The sculpted micro wrinkles concentrate on her hands and face, areas that would be exposed to the arid environment of the desert planet.

 

She wears armour patched together over time. Other characters assume it is Sanddragon skin, but parts of it are of a creature now extinct. I wet-sculpted ostrich and salmon leather to create this mythological armour. Since they are in a hot climate I took a gladiator approach to the side and left the back bare, covered in straps that display her gruesome scar from a star ship crash. A wound that would have killed a human. Ashe is a warrior and wears her weapons as other women wear jewellery. She has a Sanddragon fang sword, similar to Rahal's, only Ashe's has a decorative carving running down its side. She also carries a pair of honour blades and an array of smaller knives hidden all over her person. I even hid two throwing daggers into her hair piece. She also carries a quarterstaff with Sanddragon teeth embedded into it as a spiral, and ties her House colours onto this staff when approaching an Oasis deep in the desert.

Wimborne Minster, known locally as the Minster, is the parish church of Wimborne, Dorset, England. The Minster has existed for over 1300 years and is recognised for its unusual chained library (one of only four surviving chained libraries in the world. The Minster, a former monastery and Benedictine nunnery, is the resting place of King Ethelred of Wessex.

 

The Minster is dedicated to Saint Cuthburga, sister to Ina, King of the West Saxons, who founded a Benedictine abbey of nuns at the present day minster in circa A.D. 705. Saint Walpurga was educated in the monastery, where she spent twenty-six years before travelling to Germany, following the missionary call of her mother's brother Saint Boniface. Leoba was also educated in this place. A monastery for men was also built around this time, adjacent to the abbey. Over the next hundred years the abbey and monastery grew in size and importance. In 871 Alfred the Great buried his brother King Ethelred (not the Unready) in the minster. Note that both Alfred and Ethelred were Kings of Wessex.

The women's monastery was destroyed by the Danes in 1013 during one of their incursions into Wessex and never rebuilt, though the main abbey building survived. In 1043 Edward the Confessor founded a college of secular (non-monastic) canons, consisting of a dean, four prebends, four vicars, four deacons, and five singers at the minster. The minster was remodelled and rebuilt by the Normans between 1120 and 1180, to support that institution.

In 1318 Edward II issued a document that made the minster a Royal Peculiar which exempted it from all diocesan jurisdiction. The choir used to wear scarlet robes, a legacy of this 'Peculiar'. Similar robes of this type are worn in Westminster Abbey and St George's Chapel at Windsor Castle. In 1496 Lady Margaret Beaufort, granddaughter of John of Gaunt and mother of Henry VII, founded a small chapel in the minster. With the reign of Henry VIII the remaining parts of the monastery were adopted into part of the minster to avoid being destroyed. However much of the wealth of the minster was confiscated by King Henry VIII.

 

Sixty six years later in 1562 a grant was obtained from Queen Elizabeth I by which part of the property formerly belonging to the college, together with all ecclesiastical rights and prerogatives was returned to Wimborne and vested in twelve governors. The charter was surrendered to James I and a new charter was obtained from Charles I at a cost of £1000 with the addition of an organist and singing men. During the English Civil War, when Charles I was beheaded his coat of arms was painted out from the wall of the minster, but on the restoration of Charles II the arms were speedily replaced and have now been restored.

In 1846 the Royal Peculiar was abolished, and now all that remains of the old order is the control by 12 governors of some of the minster affairs. The church was renovated towards the end of the 19th century and its last addition, a vestry was added at the same time. Today the church is a place of visit and worship for the local community and visitors.

 

The central tower and nave were founded in Saxon times, but the surviving building is predominantly Norman in design and construction, with Gothic components from various periods. One of its more famous architectural features include a working astronomical clock, which rings every hour and is represented in the form of a colourful quarterjack. The minster is built in a combination of Dorset limestone and New Forest stone.

The central length of the minster is 198 feet. The width, except the transepts, varies from 23 feet in the nave to 21 in the choir. The western tower of the minster is 95 feet high. The smaller tower of the minster, above the transepts, is 84 feet. The thirteenth-century spire which once topped this tower fell down in a storm around 1600.

 

Until it was confiscated during Henry VIII's reign; the old Treasury held the wealth of the minster, and since 1686 it has housed an important chained library. The chained library was one of the first public libraries in the UK, and it remains the second largest.[2] Some of the collections of the library include a manuscript written on lambskin in 1343, a book bound for the Court of Henry VIII, an incunabulum printed in 1495 on the works of Saint Anselm, and a Paraphrase of Erasmus printed in 1522 with a title page designed by Holbein.

The library is run by volunteers and remains open to the public.

 

Since 1911 the west tower at the minster has been home to a ring of ten bells.[3] The original tenor bell was housed in the central tower and was cast in 1385. The central tower was considered too structurally weak to add much more additional weight, so in 1464 the west tower was constructed in order to house five bells.[3] In the 1629 the tenor bell was recast. Besides the tenor, the minster at this time was home to the 'Bell of St. Cuthburga', 'The Fyfer Bell', 'The Jesus Bell' and 'The Morrow Mass Bell'; presumably all housed in the west tower.

 

The organ was originally built in 1664 by Robert Hayward, of Bath. There are a number of ranks of pipes, still functioning in the present instrument, which date from this time. Originally, the organ stood upon a screen which separated the nave from the choir. However, in 1856 the organist at that time (Mr. F. Blount) removed the instrument and re-sited it in the south choir aisle. J. W. Walker & Sons rebuilt and enlarged the organ in 1866 and carried out further work in 1899, when a new case to house the Choir Organ was provided. This was designed by Walter J. Fletcher, F.R.I.B.A. In 1965, a major rebuilding and re-designing of the instrument took place, the work again being undertaken by J. W. Walker & Sons. Perhaps the most striking feature of the present instrument is the Orchestral Trumpet, which is mounted horizontally above the front pipes. The current specification of the organ can be found on the National Pipe Organ Register.

 

Wimborne Minster is the home of Wimborne Minster Astronomical Clock, one of a group of famous 14th to 16th century astronomical clocks to be found in the west of England. (See also Salisbury, Wells, Exeter, and Ottery St Mary.)

The clock's case was built in the Elizabethan era, but the face and dial are of a much greater age; the first documents relating to the clock concern repairs carried out in 1409.[4] The face utilizes a pre-Copernican display, with a centrally placed earth orbited by the sun and stars.

It is currently maintained by notable Wimborne resident Bruce Jensen.

 

The most important tomb in the church is that of King Ethelred, the brother of Alfred the Great. Ethelred was mortally wounded in a battle at Martin, near Cranborne. The exact location of the tomb however is unknown, though sources and legend indicate that it resides somewhere near the altar. A 14th-century metal brass memorial next to the altar states that the former king is buried in the wall and is the only brass to mark the burial site of an English monarch. Two other important tombs are also in the minster: they are those of John Beaufort, 1st Earl of Somerset, and his duchess, the maternal grandparents of King Henry VII of England, constructed out of alabaster and Purbeck Marble.

 

en.wikipedia.org/wiki/Wimborne_Minster_(church)

Chopwell is a village in the Gateshead district, in the county of Tyne and Wear, England, 3 miles (4.8 km) west of Rowlands Gill and 1 mile (1.6 km) north of Hamsterley. At the 2011 Census, it had a population of 9,395.

 

In 1150, Bishop Pudsey granted the Manor of Chopwell to the first Abbot of Newminster. Newminster Abbey retained possession of the manor until the dissolution of the Monasteries in 1536.

 

Traditionally an area of coal mining, Chopwell was nicknamed "Little Moscow" because of the strong support for the Communist Party. Chopwell counts "Marx Terrace" (after Karl Marx) and "Lenin Terrace" (after Vladimir Lenin) among its street names, and during the 1926 General Strike the Union Flag at the council offices was taken down and replaced with the Soviet flag. Another notable street, site of the former Chopwell Junior School, "Fannybush Lane", was renamed "Whittonstall Road" by the local authority in the 1990s after its street sign was repeatedly stolen.

 

In 1974, Chopwell became part of the metropolitan county of Tyne and Wear and the metropolitan borough of Gateshead, after previously being part of the administrative county of Durham.

 

Civil parish

Chopwell was formerly a township in the parish of Winlaton. From 1866 Chopwell was a civil parish in its own right, until on 1 April 1937 the parish was abolished to form Blaydon parish; in 1931 the population of the parish had been of 9,784.[

 

Gateshead is a constituency represented in the House of Commons of the UK Parliament since it was re-established in 2010 by Ian Mearns of the Labour Party.

 

Further to the completion of the 2023 Periodic Review of Westminster constituencies, the seat will be subject to boundary changes, losing the Felling, and Windy Nook and Whitehills wards to Jarrow (to be renamed Jarrow and Gateshead East) and gaining from the (to be abolished) constituency of Blaydon three wards which incorporate the community of Whickham. Accordingly, it will be renamed Gateshead Central and Whickham, to be first contested at the next general election.

 

History

First creation

The seat was first created by the Reform Act 1832 as a single-member parliamentary borough. It was abolished under the Representation of the People Act 1948 for the 1950 general election and split into Gateshead East and Gateshead West.[4]

 

Revival

As a result of the Boundary Commission's Fifth Periodic Review of Westminster constituencies, the seat was re-established for the 2010 general election, combining over half of the electorates of both of the abolished constituencies of Gateshead East and Washington West, and Tyne Bridge.

 

Boundaries

Under the Parliamentary Boundaries Act 1832, the contents of the borough were defined as the Parish of Gateshead and part of the Chapelry of Heworth in the Parish of Jarrow.

 

1918-1950

The County Borough of Gateshead.

No change to boundaries.

 

2010–present

The Metropolitan Borough of Gateshead wards of Bridges, Chowdene, Deckham, Dunston and Teams, Felling, High Fell, Lobley Hill and Bensham, Low Fell, Saltwell, and Windy Nook and Whitehills.

 

Constituency profile

Under the current boundaries, the constituency is overwhelmingly White, and working-class; with 95% of its electorate identifying as White British and being in the top decile of constituencies for routine work. The area's politics are influenced by these demographics; with the exception of Low Fell, all of the wards that make up the constituency are safely Labour areas, and the constituency voted overwhelmingly to leave the European Union, like the borough as a whole.

 

Members of Parliament

Among famous representatives are James Melville KC who was Solicitor General for England and Wales before he died, while holding the seat, and international statesman Konni Zilliacus who assisted in creating peaceful bilateral relations during the Cold War, including though work at the United Nations.

+++ DISCLAIMER +++

Nothing you see here is real, even though the model, the conversion or the presented background story might be based on historical facts. BEWARE!

  

Some background:

After the division of Czechoslovakia by Germany in 1939, Slovakia was left with a small air force composed primarily of Czechoslovak combat aircraft. This force defended Slovakia against Hungary in March 1939, in the Slovak–Hungarian War in March 1939 in which Hungary reoccupied Carpathian Ruthenia and parts of southern Slovakia. In this the SVZ suffered some losses against Royal Hungarian Air Force. Later, the SVZ also took part in the German Invasion of Poland. The SVZ took part in Axis offensives in the Ukraine and Russian Central front sectors of the Eastern Front under the lead of Luftwaffe in the Stalingrad and Caucasus operations. This engagement resulted in great losses of aircraft and personnel, though.

 

During the World War II, the Slovak Air force was charged with the defense of Slovak airspace, and, after the invasion of Russia, provided air cover for Slovak forces fighting against the Soviet Union on the Eastern Front. For the rest of the war the SVZ fought US Army Air Forces and Royal Air Force raids against Slovakia.

 

Among the many more or less outdated German aircraft types inherited from the Luftwaffe during the early stages of WWII was a small number of Hs 123 A-1 dive bombers. The Henschel Hs 123 was a small single-seat biplane dive bomber and close-support attack aircraft. The aircraft was designed to meet the 1933 dive bomber requirements for the reborn Luftwaffe. Both Henschel and rival Fieseler (with the Fi 98) competed for the production contract requirement, which specified a single-seat biplane dive bomber. The first prototype, the Hs 123 V1, was cleared for its maiden flight on 1 April 1935; General Ernst Udet, a World War I ace, flew it on its first public demonstration flight on 8 May 1935. The first three Henschel prototypes, with the first and third powered by 485 kW (650 hp) BMW 132A-3 engines and the second by a 574 kW (770 hp) Wright Cyclone, were tested at Rechlin in August 1936. Only the first prototype had "smooth" cowlings; from that point on, all aircraft had a tightly fitting, characteristic cowling that included 18 fairings covering the engine valves. The Henschel prototypes did away with bracing wires and although they looked slightly outdated with their single faired interplane struts and cantilever main landing gear legs attached to smaller (stub) lower wings, the Hs 123 featured an all-metal construction, clean lines and superior maneuverability. Its biplane wings were of a "sesquiplane" configuration, whereby the lower wings were significantly smaller than the top wings.

 

The overall performance of the Hs 123 V1 prototype prematurely eliminated any chance for the more conventional Fi 98, which was cancelled after a sole prototype had been constructed. During testing, the Hs 123 proved capable of pulling out of "near-vertical" dives; however, two prototypes subsequently crashed due to structural failures in the wings that occurred when the aircraft were tested in high-speed dives. The fourth prototype incorporated improvements to cure these problems; principally, stronger center-section struts were fitted. After it had been successfully tested, the Hs 123 was ordered into production with a 656 kW (880 hp) BMW 132Dc engine.

 

The Hs 123 was intended to replace the Heinkel He 50 biplane reconnaissance and dive bomber as well as acting as a "stop-gap" measure until the more modern and capable Junkers Ju 87 became available. As such, production was limited and no upgrades were considered, although an improved version, the Hs 123B, was developed by Henschel in 1938. A proposal to fit the aircraft with a more powerful 716 kW (960 hp) "K"-variant of its BMW 132 engine did not proceed beyond the prototype stage, the Hs 123 V5. The V6 prototype fitted with a similar powerplant and featuring a sliding cockpit hood was intended to serve as the Hs 123C prototype.

 

About 265 aircraft were produced and production of the Hs 123A ended in Autumn 1938. It was flown by the German Luftwaffe during the Spanish Civil War and the early to midpoint of World War II. At the outbreak of hostilities, Hs 123s were committed to action in the Polish Campaign. Screaming over the heads of enemy troops, the Hs 123s delivered their bombs with devastating accuracy. A frightening aspect of an Hs 123 attack was the staccato noise of its engine that a pilot could manipulate by changing rpm to create "gunfire-like" bursts. The Hs 123 proved rugged and able to take a lot of damage and still keep on flying. Operating from primitive bases close to the front lines, the type was considered by ground crews to be easy to maintain, quick to re-equip and reliable even under dire field conditions.

 

The Polish campaign was a success for an aircraft considered obsolete by the Luftwaffe high command. Within a year, the Hs 123 was again in action in the Blitzkrieg attacks through the Netherlands, Belgium and France. Often positioned as the Luftwaffe's most-forward based combat unit, the Hs 123s flew more missions per day than other units, and again proved their worth in the close-support role. With Ju 87s still being used as tactical bombers rather than true ground support aircraft and with no other aircraft capable of this mission in the Luftwaffe arsenal the Hs 123 was destined to continue in service for some time, although numbers were constantly being reduced by attrition.

 

The Hs 123 was not employed in the subsequent Battle of Britain as the English Channel proved an insuperable obstacle for the short-ranged aircraft, and the sole leftover operator, II.(Schl)/LG 2, went back to Germany to re-equip with the Messerschmitt Bf 109E fighter bomber (Jabo) variant. The Bf 109E fighter bomber was not capable of carrying any more bombs than the Hs 123. It did, however, have a greater range and was far more capable of defending itself. On the downside were the notoriously tricky taxiing, ground handling, and takeoff/landing characteristics of the Bf 109, which were exacerbated with a bomb load.

 

At the beginning of the Balkans Campaign, the 32 examples of the Hs 123 that had been retired after the fall of France were taken back into service and handed over to the Slovak Air Force to replace the heavy losses on the Eastern Front after combat fatigue and desertion had reduced the pilots' effectiveness. Most of Slovakia's obsolete biplanes were replaced with modern German combat aircraft, including the Messerschmitt Bf 109, so that the Hs 123s were initially regarded with distrust – but the machines proved their worth in the ensuing battles. The Slovak Hs 123s took part in the Battle of Kursk and supported ground troops, some were outfitted with locally designed ski landing gears which proved to be a very effective alternative to the Hs 123’s spatted standard landing gear which was prone to collect snow and mud and even block. After this deployment at the Russian front, the Slovak Air Force was sent back to defend Slovak home air space, primarily executed with Messerschmitt Bf 109 E and G types, Avia B-534, and some other interceptor types, also helped by Luftwaffe units active in the area.

Being confined to national borders, the Slovak Hs 123s were put in reserve and relegated to training purposes, even though they were occasionally activated to support German ground troops. From late August 1944 the remaining Hs 123s also actively took part in the suppression of the Slovak National Uprising against Germany.

 

Since Hs 123 production had already stopped in 1940 and all tools had been destroyed, the permanent attritions could not be replaced - due to a lack of serviceable airframes and spare parts the type’s numbers dwindled. When Romania and the Soviet Union entered Slovakia, they organized with some captured aircraft and defectors a local Insurgent Air Force to continue the fight against Axis forces in country, including the last operational Slovak Hs 123s. No aircraft survived the war.

  

General characteristics:

Crew: 1

Length: 8.33 m (27 ft 4 in)

Wingspan: 10.5 m (34 ft 5 in)

Height: 3.2 m (10 ft 6 in)

Wing area: 24.85 m² (267.5 sq ft)

Empty weight: 1,500 kg (3,307 lb)

Gross weight: 2,215 kg (4,883 lb)

 

Powerplant:

1× BMW 132Dc 9-cylinder air-cooled radial piston engine with 660 kW (880 hp),

driving a 2-bladed metal variable-pitch propeller

 

Performance:

Maximum speed: 341 km/h (212 mph, 184 kn) at 1,200 m (3,937 ft)

Range: 860 km (530 mi, 460 nmi) with a 100 l drop tank

Combat range: 480 km (300 mi, 260 nmi) with 200 kg (440.9 lb) of bombs

Service ceiling: 9,000 m (30,000 ft)

Rate of climb: 15 m/s (3,000 ft/min)

 

Armament:

2× 7.92 mm MG 17 machine guns, 400 rpg

Up to 450 kg (992.1 lb) of bombs under fuselage and wings

  

The kit and its assembly:

A relatively simple what-if project, and it took a while to figure out something to do with a surplus Airfix Hs 123 A kit in The Stash™ without a proper plan yet. The Hs 123 is an overlooked aircraft, and the fact that all airframes were used during WWII until none was left makes a story in Continental Europe a bit difficult. I also did not want to create a German aircraft – Finland was an early favorite, because I wanted to add a ski landing gear (see below), but since I won’t build anything with a swastika on it this option was a dead end. Then I considered an operator from the Balkans, e. g. Romania, Bulgaria, Croatia or Slovakia – and eventually settled for the latter because of the national markings.

 

The kit was built almost OOB, and the Airfix Hs 123 is a nice offering. Yes, it’s a simple kit, but its is IMHO a very good representation, despite the many rivets on the hull, a rather bleak interior and some sinkholes (e. g. on the massive outer wings struts). It goes together well, just a little PSR here and there. I just added a dashboard (scratched from styrene sheet) and modified the OOB 50 kg bombs with extended impact fuzes with a flat, round plate at the tip, so that the bomb itself explodes above soft ground or snow for a bigger blast radius.

The only major modification is a transplanted ski landing gear from a PM Model (Finnish) Fokker D.XXI, which had to be reduced in length to fit under the compact Hs 123. A small tail ski/skid was scratched from styrene sheet material.

 

Thankfully, the Hs 123 only calls for little rigging – just between the central upper wing supports and there is a characteristic “triangle” wiring in the cowling. All these, together with the wire antenna, were created with heated sprue material.

  

Painting and markings:

Finland had been a favorite because I would have been able to apply a more interesting paint scheme than the standard Luftwaffe RLM 70/71/65 splinter scheme with a low waterline that was typical for the Hs 123 during WWII. However, as a former Luftwaffe aircraft I retained this livery but decided to add a winter camouflage as a suitable thematic supplement to the skis.

The basic colors became Humbrol 65 underneath and 30 and 75 from above – the latter for a stronger contrast to the Dunkelgrün than Humbrol 91 (Schwarzgrün). Thanks to the additional whitewash mottles, which were inspired by a similar livery seen on a contemporary Bulgarian Avia B.534, I did not have to be too exact with the splinter camouflage.

 

The cockpit and cowling interior were painted with RLM 02 (Humbrol 240), the propeller blades became Schwarzgrün (Humbrol 91, further darkened with some black) and the bombs were painted in a dark grey (Revell 77) while the small 100 l drop tank became bare aluminum (Revell 99).

 

However, before the white mottles could be added, the kit received its decals so that they could be painted around the markings, just as in real life. The Slovak national markings had to be scratched, and I used standard white simplified German Balkenkreuze over a cross made from blue decal stripes. Later a separate red decal circle was placed on top of that. The only other markings are the red “7” codes, edged in white for better contrast (from a Heller Bf 109 K) and the fuel information triangles on the fuselage from the Hs 123’s OOB sheet. As an ID marking for an Eastern Front Axis aircraft, I retained the wide yellow fuselage stripe from the OOB, sheet, too, and added yellow tips on the upper wings’ undersides.

The whitewash camouflage was then created with white acrylic paint (Revell 05), applied with a soft brush with a rounded tip. Once this had dried, I treated the surfaces with fine wet sandpaper for a weathered/worn look.

 

Finally, after some soot stains behind the exhausts and around the machine gun nozzles, the kit was sealed with matt acrylic varnish and the rigging (see above) was done.

  

The Hs 123 might not be the sexiest aircraft of WWII, but I like this rugged pug which could not be replaced by its successor, the Ju 87, and served in its close support role until literally no aircraft was left. Putting one on skis worked quite well, and the exotic Slovak markings add a special touch – even though the national markings almost disappear among the disruptive whitewash camouflage! The result looks quite plausible, though, and the old Airfix kit is IMHO really underestimated.

Meamwhile Meanwhile the Venice Biennale 2019 is going on , here intervention from 23 august 2019 . Mors

 

www.emergencyrooms.org/

 

www.colonel.dk/

 

www.copenhagenbiennale.org/

 

www.emergencyrooms.org/biennalist.html

 

www.emergencyrooms.org/formats.html

  

more here about the Biennale :

 

Ralph Rugoff has declared: «May You Live in Interesting Times will no doubt include artworks that reflect upon precarious aspects of existence today, including different threats to key traditions, institutions and relationships of the “post-war order.” But let us acknowledge at the outset that art does not exercise its forces in the domain of politics. Art cannot stem the rise of nationalist movements and authoritarian governments in different parts of the world, for instance, nor can it alleviate the tragic fate of displaced peoples across the globe (whose numbers now represent almost one percent of the world’s entire population).»

 

ALBANIA

Maybe the cosmos is not so extraordinary

Commissioner: Ministry of Culture Republic of Albania. Curator: Alicia Knock.

Exhibitor: Driant Zeneli.

 

ALGERIA***

Time to shine bright

Commissioner/Curator: Hellal Mahmoud Zoubir, National Council of Arts and Letters Ministry of Culture. Exhibitors: Rachida Azdaou, Hamza Bounoua, Amina Zoubir, Mourad Krinah, Oussama Tabti.

Venue: Fondamenta S. Giuseppe, 925

 

ANDORRA

The Future is Now / El futur és ara

Commissioner: Eva Martínez, “Zoe”. Curators: Ivan Sansa, Paolo De Grandis.

Exhibitor: Philippe Shangti.

Venue: Istituto Santa Maria della Pietà, Castello 3701

 

ANTIGUA & BARBUDA

Find Yourself: Carnival and Resistance

Commissioner: Daryll Matthew, Minister of Sports, Culture, National Festivals and the Arts. Curator: Barbara Paca with Nina Khrushcheva. Exhibitors: Timothy Payne, Sir Gerald Price, Joseph Seton, and Frank Walter; Intangible Cultural, Heritage Artisans and Mas Troup.

Venue: Centro Culturale Don Orione Artigianelli, Dorsoduro 919

 

ARGENTINA

El nombre de un país / The name of a country

Commissioner: Sergio Alberto Baur Ambasciatore. Curator: Florencia Battiti. Exhibitor: Mariana Telleria.

Venue: Arsenale

 

ARMENIA (Republic of)

Revolutionary Sensorium

Commissioner: Nazenie Garibian, Deputy Minister. Curator: Susanna Gyulamiryan.

Exhibitors: "ArtlabYerevan" Artistic Group (Gagik Charchyan, Hovhannes Margaryan, Arthur Petrosyan, Vardan Jaloyan) and Narine Arakelian.

Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596

 

AUSTRALIA

ASSEMBLY

Commissioner: Australia Council for the Arts. Curator: Juliana Engberg. Exhibitor: Angelica Mesiti.

Venue: Giardini

 

AUSTRIA

Discordo Ergo Sum

Commissioner: Arts and Culture Division of the Federal Chancellery of Austria.

Curator: Felicitas Thun-Hohenstein. Exhibitor: Renate Bertlmann.

Venue: Giardini

 

AZERBAIJAN (Republic of )

Virtual Reality

Commissioner: Mammad Ahmadzada, Ambassador of the Republic of Azerbaijan.

Curators: Gianni Mercurio, Emin Mammadov. Exhibitors: Zeigam Azizov, Orkhan Mammadov, Zarnishan Yusifova, Kanan Aliyev, Ulviyya Aliyeva.

Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949

 

BANGLADESH (People’s Republic of)

Thirst

Commissioner: Liaquat Ali Lucky. Curators: Mokhlesur Rahman, Viviana Vannucci.

Exhibitors: Bishwajit Goswami, Dilara Begum Jolly, Heidi Fosli, Nafis Ahmed Gazi, Franco Marrocco, Domenico Pellegrino, Preema Nazia Andaleeb, Ra Kajol, Uttam Kumar karmaker.

Venue: Palazzo Zenobio – Collegio Armeno Moorat-Raphael, Dorsoduro 2596

 

BELARUS (Republic of)

Exit / Uscita

Commissioner: Siarhey Kryshtapovich. Curator: Olga Rybchinskaya. Exhibitor: Konstantin Selikhanov.

Venue: Spazio Liquido, Sestiere Castello 103, Salizada Streta

 

BELGIUM

Mondo Cane

Commissioner: Fédération Wallonie-Bruxelles. Curator: Anne-Claire Schmitz.

Exhibitor: Jos de Gruyter & Harald Thys.

Venue: Giardini

 

BOSNIA and HERZEGOVINA

ZENICA-TRILOGY

Commissioner: Senka Ibrišimbegović, Ars Aevi Museum for Contemporary Art Sarajevo.

Curators: Anja Bogojević, Amila Puzić, Claudia Zini. Exhibitor: Danica Dakić.

Venue: Palazzo Francesco Molon Ca’ Bernardo, San Polo 2184/A

 

BRAZIL

Swinguerra

Commissioner: José Olympio da Veiga Pereira, Fundação Bienal de São Paulo.

Curator: Gabriel Pérez-Barreiro. Exhibitor: Bárbara Wagner & Benjamin de Burca.

Venue: Giardini

 

BULGARIA

How We Live

Commissioner: Iaroslava Boubnova, National Gallery in Sofia. Curator: Vera Mlechevska.

Exhibitors: Rada Boukova , Lazar Lyutakov.

Venue: Palazzo Giustinian Lolin, San Marco 2893

 

CANADA

ISUMA

Commissioner: National Gallery of Canada. Curators: Asinnajaq, Catherine Crowston, Josée Drouin-Brisebois, Barbara Fischer, Candice Hopkins. Exhibitors: Isuma (Zacharias Kunuk, Norman Cohn, Paul Apak, Pauloosie Qulitalik).

Venue: Giardini

 

CHILE

Altered Views

Commissioner: Varinia Brodsky, Ministry of Cultures, Arts and Heritage.

Curator: Agustín Pérez. Rubio. Exhibitor: Voluspa Jarpa.

Venue: Arsenale

 

CHINA (People’s Republic of)

Re-睿

Commissioner: China Arts and Entertainment Group Ltd. (CAEG).

Curator: Wu Hongliang. Exhibitors: Chen Qi, Fei Jun, He Xiangyu, Geng Xue.

Venue: Arsenale

 

CROATIA

Traces of Disappearing (In Three Acts)

Commissioner: Ministry of Culture of the Republic of Croatia. Curator: Katerina Gregos.

Exhibitor: Igor Grubić.

Venue: Calle Corner, Santa Croce 2258

 

CUBA

Entorno aleccionador (A Cautionary Environment)

Commissioner: Norma Rodríguez Derivet, Consejo Nacional de Artes Plásticas.

Curator: Margarita Sanchez Prieto. Exhibitors: Alejandro Campins, Alex Hérnandez, Ariamna Contino and Eugenio Tibaldi. Venue: Isola di San Servolo

 

CYPRUS (Republic of)

Christoforos Savva: Untimely, Again

Commissioner: Louli Michaelidou. Curator: Jacopo Crivelli Visconti. Exhibitor: Christoforos Savva.

Venue: Associazione Culturale Spiazzi, Castello 3865

 

CZECH (Republic) and SLOVAK (Republic)

Stanislav Kolíbal. Former Uncertain Indicated

Commissioner: Adam Budak, National Gallery Prague. Curator: Dieter Bogner.

Exhibitor: Stanislav Kolibal.

Venue: Giardini

 

DOMINICAN (Republic) *

Naturaleza y biodiversidad en la República Dominicana

Commissioner: Eduardo Selman, Minister of Culture. Curators: Marianne de Tolentino, Simone Pieralice, Giovanni Verza. Exhibitors: Dario Oleaga, Ezequiel Taveras, Hulda Guzmán, Julio Valdez, Miguel Ramirez, Rita Bertrecchi, Nicola Pica, Marraffa & Casciotti.

Venue: Palazzo Albrizzi Capello, Cannaregio 4118 – Sala della Pace

 

EGYPT

khnum across times witness

Commissioner: Ministry of Culture. Curator: Ahmed Chiha.

Exhibitors: Islam Abdullah, Ahmed Chiha, Ahmed Abdel Karim.

Venue: Giardini

 

ESTONIA

Birth V

Commissioner: Maria Arusoo, Centre of Contemporary Arts of Estonia. Curators: Andrew Berardini, Irene Campolmi, Sarah Lucas, Tamara Luuk. Exhibitor: Kris Lemsalu.

Venue: c/o Legno & Legno, Giudecca 211

 

FINLAND (Alvar Aalto Pavilion)

A Greater Miracle of Perception

Commissioner: Raija Koli, Director Frame Contemporary Art Finland.

Curators: Giovanna Esposito Yussif, Bonaventure Soh Bejeng Ndikung, Christopher Wessels. Exhibitors: Miracle Workers Collective (Maryan Abdulkarim, Khadar Ahmed, Hassan Blasim, Giovanna Esposito Yussif, Sonya Lindfors, Bonaventure Soh Bejeng Ndikung, Outi Pieski, Leena Pukki, Lorenzo Sandoval, Martta Tuomaala, Christopher L. Thomas, Christopher Wessels, Suvi West).

Venue: Giardini

 

FRANCE

Deep see blue surrounding you / Vois ce bleu profond te fondre

Commissioner: Institut français with the Ministry for Europe and Foreign Affairs and the Ministry of Culture. Curator: Martha Kirszenbaum. Exhibitor: Laure Prouvost.

Venue: Giardini

 

GEORGIA

REARMIRRORVIEW, Simulation is Simulation, is Simulation, is Simulation

Commissioner: Ana Riaboshenko. Curator: Margot Norton. Exhibitor: Anna K.E.

Venue: Arsenale

 

GERMANY

Commissioner: ifa (Institut für Auslandsbeziehungen) on behalf of the Federal Foreign Office, Germany. Curator: Franciska Zólyom. Exhibitor: Natascha Süder Happelmann.

Venue: Giardini

 

GHANA ***

Ghana Freedom

Commissioner: Ministry of Tourism, Arts and Culture. Curator: Nana Oforiatta Ayim.

Exhibitors: Felicia Abban, John Akomfrah, El Anatsui, Lynette Yiadom Boakye, Ibrahim Mahama, Selasi Awusi Sosu.

Venue: Arsenale

 

GREAT BRITAIN

Cathy Wilkes

Commissioner: Emma Dexter. Curator: Zoe Whitley. Exhibitor: Cathy Wilkes.

Venue: Giardini

 

GREECE

Mr Stigl

Commissioner: Syrago Tsiara (Deputy Director of the Contemporary Art Museum - Metropolitan Organization of Museums of Visual Arts of Thessaloniki - MOMus).

Curator: Katerina Tselou. Exhibitors: Panos Charalambous, Eva Stefani, Zafos Xagoraris.

Venue: Giardini

 

GRENADA

Epic Memory

Commissioner: Susan Mains. Curator: Daniele Radini Tedeschi.

Exhibitors: Amy Cannestra, Billy Gerard Frank, Dave Lewis, Shervone Neckles, Franco Rota Candiani, Roberto Miniati, CRS avant-garde.

Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118

 

GUATEMALA

Interesting State

Commissioner: Elder de Jesús Súchite Vargas, Minister of Culture and Sports of Guatemala. Curator: Stefania Pieralice. Exhibitors: Elsie Wunderlich, Marco Manzo.

Venue: Palazzo Albrizzi-Capello (first floor), Cannaregio 4118

 

HAITI

THE SPECTACLE OF TRAGEDY

Commissioner: Ministry of Culture and Communication.

Curator: Giscard Bouchotte. Exhibitor: Jean Ulrick Désert.

Venue: Circolo Ufficiali Marina, Calle Seconda de la Fava, Castello 2168

 

HUNGARY

Imaginary Cameras

Commissioner: Julia Fabényi, Museo Ludwig – Museo d’arte contemporanea, Budapest.

Curator: Zsuzsanna Szegedy-Maszák. Exhibitor: Tamás Waliczky.

Venue: Giardini

 

ICELAND

Chromo Sapiens – Hrafnhildur Arnardóttir / Shoplifter

Commissioner: Eiríkur Þorláksson, Icelandic Ministry of Education, Science and Culture.

Curator: Birta Gudjónsdóttir. Exhibitor: Hrafnhildur Arnardóttir / Shoplifter.

Venue: Spazio Punch, Giudecca 800

 

INDIA

Our time for a future caring

Commissioner: Adwaita Gadanayak National Gallery of Modern Art.

Curator: Roobina Karode, Director & Chief Curator, Kiran Nadar Museum of Art. Exhibitors: Atul Dodiya, Ashim Purkayastha, GR Iranna, Jitish Kallat, Nandalal Bose, Rummana Hussain, Shakuntala Kulkarni.

Venue: Arsenale

 

INDONESIA

Lost Verses

Commissioner: Ricky Pesik & Diana Nazir, Indonesian Agency for Creative Economy.

Curator: Asmudjo Jono Irianto. Exhibitors: Handiwirman Saputra and Syagini Ratna Wulan.

Venue: Arsenale

 

IRAN (Islamic Republic of)

of being and singing

Commissioner: Hadi Mozafari, General Manager of Visual Arts Administration of Islamic Republic of Iran. Curator: Ali Bakhtiari.

Exhibitors: Reza Lavassani, Samira Alikhanzadeh, Ali Meer Azimi.

Venue: Fondaco Marcello, San Marco 3415

 

IRAQ

Fatherland

Commissioner: Fondazione Ruya. Curators: Tamara Chalabi, Paolo Colombo.

Exhibitor: Serwan Baran.

Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052

 

IRELAND

The Shrinking Universe

Commissioner: Culture Ireland. Curator: Mary Cremin. Exhibitor: Eva Rothschild.

Venue: Arsenale

 

ISRAEL

Field Hospital X

Commissioner: Michael Gov, Arad Turgeman. Curator: Avi Lubin. Exhibitor: Aya Ben Ron.

Venue: Giardini

 

ITALY

Commissioner: Federica Galloni, Direttore Generale Arte e Architettura Contemporanee e Periferie Urbane, Ministero dei Beni e delle Attività Culturali. Curator: Milovan Farronato.

Exhibitors: Enrico David, Liliana Moro, Chiara Fumai.

Venue: Padiglione Italia, Tese delle Vergini, Arsenale

 

IVORY COAST

The Open Shadows of Memory

Commissioner: Henri Nkoumo. Curator: Massimo Scaringella. Exhibitors: Ernest Dükü, Ananias Leki Dago, Valérie Oka, Tong Yanrunan.

Venue: Castello Gallery, Castello 1636/A

 

JAPAN

Cosmo-Eggs

Commissioner: The Japan Foundation. Curator: Hiroyuki Hattori. Exhibitors: Motoyuki Shitamichi, Taro Yasuno, Toshiaki Ishikura, Fuminori Nousaku.

Venue: Giardini

 

KIRIBATI

Pacific Time - Time Flies

Commissioner: Pelea Tehumu, Ministry of Internal Affairs. Curators: Kautu Tabaka, Nina Tepes. Exhibitors: Kaeka Michael Betero, Daniela Danica Tepes, Kairaken Betio Group; Teroloang Borouea, Neneia Takoikoi, Tineta Timirau, Teeti Aaloa, Kenneth Ioane, Kaumai Kaoma, Runita Rabwaa, Obeta Taia, Tiribo Kobaua, Tamuera Tebebe, Rairauea Rue, Teuea Kabunare, Tokintekai Ekentetake, Katanuti Francis, Mikaere Tebwebwe, Terita Itinikarawa, Kaeua Kobaua, Raatu Tiuteke, Kaeriti Baanga, Ioanna Francis, Temarewe Banaan, Aanamaria Toom, Einako Temewi, Nimei Itinikarawa, Teniteiti Mikaere, Aanibo Bwatanita, Arin Tikiraua.

Venue: European Cultural Centre, Palazzo Mora, Strada Nuova 3659

 

KOREA (Republic of)

History Has Failed Us, but No Matter

Commissioner: Arts Council Korea. Curator: Hyunjin Kim. Exhibitors: Hwayeon Nam, siren eun young jung, Jane Jin Kaisen.

Venue: Giardini

 

KOSOVO (Republic of)

Family Album

Commissioner: Arta Agani. Curator: Vincent Honore. Exhibitor: Alban Muja.

Venue: Arsenale

 

LATVIA

Saules Suns

Commissioner: Dace Vilsone. Curators: Valentinas Klimašauskas, Inga Lāce.

Exhibitor: Daiga Grantiņa.

Venue: Arsenale

 

LITHUANIA

Sun & Sea (Marina)

Commissioner: Rasa Antanavičıūte. Curator: Lucia Pietroiusti.

Exhibitors: Lina Lapelyte, Vaiva Grainyte and Rugile Barzdziukaite.

Venue: Magazzino No. 42, Marina Militare, Arsenale di Venezia, Fondamenta Case Nuove 2738c

 

LUXEMBOURG (Grand Duchy of)

Written by Water

Commissioner: Ministry of Culture of Luxembourg.

Curator: Kevin Muhlen. Exhibitor: Marco Godinho.

Venue: Arsenale

 

NORTH MACEDONIA (Republic of )

Subversion to Red

Commissioner: Mira Gakina. Curator: Jovanka Popova. Exhibitor: Nada Prlja.

Venue: Palazzo Rota Ivancich, Castello 4421

 

MADAGASCAR ***

I have forgotten the night

Commissioner: Ministry of Communication and Culture of the Republic of Madagascar. Curators: Rina Ralay Ranaivo, Emmanuel Daydé.

Exhibitor: Joël Andrianomearisoa.

Venue: Arsenale

 

MALAYSIA ***

Holding Up a Mirror

Commissioner: Professor Dato’ Dr. Mohamed Najib Dawa, Director General of Balai Seni Negara (National Art Gallery of Malaysia), Ministry of Tourism, Arts and Culture of Malaysia. Curator: Lim Wei-Ling. Exhibitors: Anurendra Jegadeva, H.H.Lim, Ivan Lam, Zulkifli Yusoff.

Venue: Palazzo Malipiero, San Marco 3198

 

MALTA

Maleth / Haven / Port - Heterotopias of Evocation

Commissioner: Arts Council Malta. Curator: Hesperia Iliadou Suppiej. Exhibitors: Vince Briffa, Klitsa Antoniou, Trevor Borg.

Venue: Arsenale

 

MEXICO

Actos de Dios / Acts of God

Commissioner: Gabriela Gil Verenzuela. Curator: Magalí Arriola. Exhibitor: Pablo Vargas Lugo.

Venue: Arsenale

 

MONGOLIA

A Temporality

Commissioner: The Ministry of Education, Culture, Science and Sports of Mongolia.

Curator: Gantuya Badamgarav. Exhibitor: Jantsankhorol Erdenebayar with the participation of traditional Mongolian throat singers and Carsten Nicolai (Alva Noto).

Venue: Bruchium Fermentum, Calle del Forno, Castello 2093-2090

 

MONTENEGRO

Odiseja / An Odyssey

Commissioner: Nenad Šoškić. Curator: Petrica Duletić. Exhibitor: Vesko Gagović.

Venue: Palazzo Malipiero (piano terra), San Marco 3078-3079/A, Ramo Malipiero

 

MOZAMBIQUE (Republic of)

The Past, the Present and The in Between

Commissioner: Domingos do Rosário Artur. Curator: Lidija K. Khachatourian.

Exhibitors: Gonçalo Mabunda, Mauro Pinto, Filipe Branquinho.

Venue: Palazzo Mora, Strada Nova, 3659

 

NETHERLANDS (The)

The Measurement of Presence

Commissioner: Mondriaan Fund. Curator: Benno Tempel. Exhibitors: Iris Kensmil, Remy Jungerman. Venue: Giardini

 

NEW ZEALAND

Post hoc

Commissioner: Dame Jenny Gibbs. Curators: Zara Stanhope and Chris Sharp.

Exhibitor: Dane Mitchell.

Venue: Palazzina Canonica, Riva Sette Martiri

 

NORDIC COUNTRIES (FINLAND - NORWAY - SWEDEN)

Weather Report: Forecasting Future

Commissioner: Leevi Haapala / Museum of Contemporary Art Kiasma / Finnish National Gallery, Katya García-Antón / Office for Contemporary Art Norway (OCA), Ann-Sofi Noring / Moderna Museet. Curators: Leevi Haapala, Piia Oksanen. Exhibitors: Ane Graff, Ingela Ihrman, nabbteeri.

Venue: Giardini

 

PAKISTAN ***

Manora Field Notes

Commissioner: Syed Jamal Shah, Pakistan National Council of the Arts, PNCA.

Curator: Zahra Khan. Exhibitor: Naiza Khan.

Venue: Tanarte, Castello 2109/A and Spazio Tana, Castello 2110-2111

 

PERU

“Indios Antropófagos”. A butterfly Garden in the (Urban) Jungle

Commissioner: Armando Andrade de Lucio. Curator: Gustavo Buntinx. Exhibitors: Christian Bendayán, Otto Michael (1859-1934), Manuel Rodríguez Lira (1874-1933), Segundo Candiño Rodríguez, Anonymous popular artificer.

Venue: Arsenale

 

PHILIPPINES

Island Weather

Commissioner: National Commission for Culture and the Arts (NCCA) / Virgilio S. Almario.

Curator: Tessa Maria T. Guazon. Exhibitor: Mark O. Justiniani.

Venue: Arsenale

 

POLAND

Flight

Commissioner: Hanna Wroblewska. Curators: Łukasz Mojsak, Łukasz Ronduda.

Exhibitor: Roman Stańczak.

Venue: Giardini

 

PORTUGAL

a seam, a surface, a hinge or a knot

Commissioner: Directorate-General for the Arts. Curator: João Ribas. Exhibitor: Leonor Antunes.

Venue: Fondazione Ugo e Olga Levi Onlus, Palazzo Giustinian Lolin, San Marco 2893

 

ROMANIA

Unfinished Conversations on the Weight of Absence

Commissioner: Attila Kim. Curator: Cristian Nae. Exhibitor: Belu-Simion Făinaru, Dan Mihălțianu, Miklós Onucsán.

Venues: Giardini and New Gallery of the Romanian Institute for Culture and Humanistic Research (Campo Santa Fosca, Palazzo Correr, Cannaregio 2214)

 

RUSSIA

Lc 15:11-32

Commissioner: Semyon Mikhailovsky. Curator: Mikhail Piotrovsky. Exhibitors: Alexander Sokurov, Alexander Shishkin-Hokusai.

Venue: Giardini

 

SAN MARINO (Republic of)

Friendship Project International

Commissioner: Vito Giuseppe Testaj. Curator: Vincenzo Sanfo. Exhibitors: Gisella Battistini, Martina Conti, Gabriele Gambuti, Giovanna Fra, Thea Tini, Chen Chengwei, Li Geng, Dario Ortiz, Tang Shuangning, Jens W. Beyrich, Xing Junqin, Xu de Qi, Sebastián.

Venue: Palazzo Bollani, Castello 3647; Complesso dell’Ospedaletto, Castello 6691

 

SAUDI ARABIA

After Illusion بعد توهم

Commissioner: Misk Art Insitute. Curator: Eiman Elgibreen. Exhibitor: Zahrah Al Ghamdi.

Venue: Arsenale

 

SERBIA

Regaining Memory Loss

Commissioner: Vladislav Scepanovic. Curator: Nicoletta Lambertucci. Exhibitor: Djordje Ozbolt.

Venue: Giardini

 

SEYCHELLES (Republic of)

Drift

Commissioner: Galen Bresson. Curator: Martin Kennedy.

Exhibitors: George Camille and Daniel Dodin.

Venue: Palazzo Mora, Strada Nova, 3659

 

SINGAPORE

Music For Everyone: Variations on a Theme

Commissioner: Rosa Daniel, Chief Executive Officer, National Arts Council (NAC).

Curator: Michelle Ho. Exhibitor: Song-Ming Ang.

Venue: Arsenale

 

SLOVENIA (Republic of)

Here we go again... SYSTEM 317

A situation of the resolution series

Commissioner: Zdenka Badovinac, Director Moderna galerija / Museum of Modern Art, Ljubljana. Curator: Igor Španjol. Exhibitor: Marko Peljhan.

Venue: Arsenale

 

SOUTH AFRICA (Republic of)

The stronger we become

Commissioner: Titi Nxumalo, Console Generale. Curators: Nkule Mabaso, Nomusa Makhubu. Exhibitors: Dineo Seshee Bopape, Tracey Rose, Mawande Ka Zenzile.

Venue: Arsenale

 

SPAIN

Perforated by Itziar Okariz and Sergio Prego

Commissioner: AECID Agencia Espanola de Cooperacion Internacional Para El Desarrollo. Ministerio de Asuntos Exteriores, Union Europea y Cooperacion. Curator: Peio Aguirre.

Exhibitors: Itziar Okariz, Sergio Prego.

Venue: Giardini

 

SWITZERLAND

Moving Backwards

Commissioner: Swiss Arts Council Pro-Helvetia: Marianne Burki, Sandi Paucic, Rachele Giudici Legittimo. Curator: Charlotte Laubard. Exhibitors: Pauline Boudry/Renate Lorenz.

Venue: Giardini

 

SYRIAN ARAB (Republic)

Syrian Civilization is still alive

Commissioner/Curator: Emad Kashout. Exhibitors: Abdalah Abouassali, Giacomo Braglia, Ibrahim Al Hamid, Chen Huasha, Saed Salloum, Xie Tian, Saad Yagan, Primo Vanadia, Giuseppe Biasio.

Venue: Isola di San Servolo; Chiesetta della Misericordia, Campo dell'Abbazia, Cannaregio

 

THAILAND

The Revolving World

Commissioner: Vimolluck Chuchat, Office of Contemporary Art and Culture, Ministry of Culture, Thailand. Curator: Tawatchai Somkong. Exhibitors: Somsak Chowtadapong, Panya Vijinthanasarn, Krit Ngamsom.

Venue: In Paradiso 1260, Castello

 

TURKEY

We, Elsewhere

Commissioner: IKSV. Curator: Zeynep Öz. Exhibitor: İnci Eviner.

Venue: Arsenale

 

UKRAINE

The Shadow of Dream cast upon Giardini della Biennale

Commissioner: Svitlana Fomenko, First Deputy Minister of Culture. Curators: Open group (Yurii Biley, Pavlo Kovach, Stanislav Turina, Anton Varga). Exhibitors: all artists of Ukraine.

Venue: Arsenale

 

UNITED ARAB EMIRATES

Nujoom Alghanem: Passage

Commissioner: Salama bint Hamdan Al Nahyan Foundation.

Curators: Sam Bardaouil and Till Fellrath. Exhibitor: Nujoom Alghanem.

Venue: Arsenale

 

UNITED STATES OF AMERICA

Martin Puryear: Liberty

Commissioner/Curator: Brooke Kamin Rapaport. Exhibitor: Martin Puryear.

Venue: Giardini

 

URUGUAY

“La casa empática”

Commissioner: Alejandro Denes. Curators: David Armengol, Patricia Bentancur.

Exhibitor: Yamandú Canosa.

Venue: Giardini

 

VENEZUELA (Bolivarian Republic of)

Metaphore of three windows

Venezuela: identity in time and space

Commissioner/Curator: Oscar Sottillo Meneses. Exhibitors: Natalie Rocha Capiello, Ricardo García, Gabriel López, Nelson Rangelosky.

Venue: Giardini

 

ZIMBABWE (Republic of)

Soko Risina Musoro (The Tale without a Head)

Commissioner: Doreen Sibanda, National Gallery of Zimbabwe. Curator: Raphael Chikukwa. Exhibitors: Georgina Maxim, Neville Starling , Cosmas Shiridzinomwa, Kudzanai Violet Hwami.

Venue: Istituto Provinciale per L’infanzia “Santa Maria Della Pietà”. Calle della Pietà Castello n. 3701 (ground floor)

 

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invited artist :

Lawrence Abu Hamdan (Jordan / Beirut)

Njideka Akunyili Crosby (Nigeria / USA),Halil Altındere (Turkey),Michael Armitage (Kenya / UK),Korakrit Arunanondchai (Thailand / USA),Alex Gvojic (USA),Ed Atkins (UK / Germany / Denmark),Tarek Atoui (Lebanon / France),

Darren Bader (USA),Nairy Baghramian (Iran / Germany,

Neïl Beloufa (France),Alexandra Bircken (Germany),Carol Bove (Switzerland / USA,

Christoph Büchel (Switzerland / Iceland,

Ludovica Carbotta (Italy / Barcelona),Antoine Catala (France / USA),Ian Cheng (USA),George Condo (USA

Alex Da Corte (USA),Jesse Darling (UK / Germany),Stan Douglas (Canada),Jimmie Durham (USA / Germany),Nicole Eisenman (France / USA,

Haris Epaminonda (Cyprus / Germany),Lara Favaretto (Italy),Cyprien Gaillard (France / Germany), Gill (India),Dominique Gonzalez-Foerster (France),Shilpa Gupta (India),Soham Gupta (India),Martine Gutierrez (USA),Rula Halawani (Palestine),Anthea Hamilton (UK),Jeppe Hein (Denmark / Germany),Anthony Hernandez (USA),Ryoji Ikeda (Japan / France),Arthur Jafa (USA),Cameron Jamie (USA / France / Germany),Kahlil Joseph (USA),Zhanna Kadyrova (Ukraine),Suki Seokyeong Kang (South Korea),Mari Katayama (Japan),Lee Bul (South Korea),Liu Wei (China),Maria Loboda (Poland / Germany),Andreas Lolis (Albania / Greece),Christian Marclay (USA / London),Teresa Margolles (Mexico / Spain),Julie Mehretu (Ethiopia / USA),Ad Minoliti (Argentina),Jean-Luc Moulène (France),Zanele Muholi (South Africa),Jill Mulleady (Uruguay / USA),Ulrike Müller (Austria / USA),Nabuqi (China),Otobong Nkanga (Nigeria / Belgium),Khyentse Norbu (Bhutan / India),Frida Orupabo (Norway),Jon Rafman (Canada).Gabriel Rico (Mexico),Handiwirman Saputra (Indonesia),Tomás Saraceno (Argentina / Germany),Augustas Serapinas (Lithuania),Avery Singer (USA),Slavs and Tatars (Germany),Michael E. Smith (USA),Hito Steyerl (Germany),Tavares Strachan (Bahamas / USA),Sun Yuan and Peng Yu (China),Henry Taylor (USA),Rosemarie Trockel (Germany),Kaari Upson (USA),Andra Ursuţa (Romania),Danh Vō (Vietnam / Mexico),Kemang Wa Lehulere (South Africa),Apichatpong Weerasethakul (Thailand) and Tsuyoshi Hisakado (Japan),Margaret Wertheim and Christine Wertheim (Australia / USA) ,Anicka Yi (South Korea/ USA),Yin Xiuzhen (China),Yu Ji (China / Austria)

  

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other Biennale :(Biennials ) :Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

  

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Thierry Geoffroy / Colonel

The village of Rolvenden sits above the shallow valley through which the Kent and East Sussex Railway now runs, although this was once part of the national network, of course. Now it is a preserved line. and the line's headquarters and engine sheds are in Rolvenden.

 

St Mary sits next to the main junction in the centre of the village, inbetween the village's two pubs.

 

St Mary is a large and impressive church, most noticeable for the family pews situated in a gallery above the floor of the church in the south east corner. The family is Gybbon, and also, wonderfully, the Moneypennies. No sign of any Bonds though.

 

At the west end, the impressive organ also sits on a gallery, with another family pew beside it. Both are open to visit and take pictures from.

 

Beneath the Gybbon gallery/pew, there is a small family chapel, it's roof made so low by the gallery, one has to stoop to walk through, but one is then faced with the impressive family monuments and memorials.

 

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Standing high on a rise to the south of the village street, this is a prominent sandstone building of thirteenth- and fourteenth-century date. The most interesting feature is the eighteenth century family pew. It stands on a gallery and comes complete with tables and chairs! The screen beneath it was added by W.D. Caroe in the 1920s. In the arch to the opposite chapel is a memorial to Lt Tennant designed by Lutyens. There are three holy water stoups in the church and a very good piscina in the chancel. The font is of about the same date and shows the arms of two prominent medieval families, the Guilfords and the Culpepers. The church contains a seventeenth-century wooden alms box and on the south door-frame is a medieval mass dial.

 

www.kentchurches.info/church.asp?p=Rolvenden

 

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Rolvenden is three miles south west of Tenterden on the A28.

 

It was first mentioned in the Domesday book as Rovindene. This was changed to Riolvinden in the reign of Edward III. Then changed again to Rounden in the late 17th century.

 

It is a busy little village with an unusually wide high street.

 

The C M Booth Motor Museum is to be found in the High Street.

Here you may view a unique collection of Morgan 3 wheelers, along with other various vintage cars, motorcycles, bicycles, and displays of toy and model cars, signs and other automobilia.

 

Great Maytham Hall which was the inspiration for Frances Hodgson Burnetts 'The Secret Garden' can be found by taking the Wittersham road by the church.

 

If you travel about 1 mile away from the village also on the Wittersham road you find the small station of Wittersham Road, which is on the Kent and East Sussex steam railway, with trains travelling to Tenterden , and Northiam .

 

The church of St Mary the Virgin, lies on a low mound on the southern end of the village. The earliest surviving part of the church may be seen in the chancel, and dates from around 1210.

 

Most of the church is 14th and 15th century, and has remained structurally the same since 1470.

 

The church has 8 bells, which date from 1819, and were made by Thomas Mears II of London. The clock on the north side of the tower dates from 1810, and bears the name 'Thomas Ollive of Cranbrook'. There are many unusual and attractive memorials to be seen in the churchyard. The War Memorial was designed by Sir Edwin Lutyens and was dedicated to the Archbishop of Canterbury on November 11th 1922.

 

The font stands at the western end of the South Aisle. It is of an uncommon shape, being hexagonal. It dates from the 14th century and is emblazoned with the arms of Guldeforde and Culpepper. The wooden cover is 18th century. Part of the hasps for securing the font cover with a lock can be seen on two sides.

 

This was for securing the Holy Water from being stolen by Witches.

 

kent.villagenet.co.uk/rolvenden.php

 

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LIES the next parish eastward from Benenden. It is universally called, and in general spelt Rounden. The court of the bailiwic of the Seven Hundreds claims paramount over this parish.

 

THE PARISH of Rolvenden is pleasantly situated, most of it in a dry and healthy country, the soil of it being much the same as that of Benenden last described. It had formerly the mansions of many respectable families resident in it, interspersed in almost every part of it, but they are now several of them converted into farm-houses; the high turnpike road from thence towards Tenterden leading through it. There are about one hundred houses and five hundred inhabitants in it. The village, with the church, stands on high ground, nearly in the centre of the parish, the above road passing along the northern part of it; it is watered by two or three streamlets, which crossing this parish at small distances from each other, run on eastward, and joining a stream from Tenterden, separate the two parishes, and from the eastern boundary of this of Rolvenden. There is but little wood in this parish, what there is, being near the southern boundaries of it.

 

About half a mile south-eastward from the church, on the opposite side of the road, is a seat called KingsGate-House, which has been for some generations in the possession of the family of Weller. Alexander Weller owned it in the reign of king Charles I. and his descendant John Weller, esq. rear-admiral of the navy, died here possessed of it in 1772, he gave it by will to his brother Nicholas, who died in the East-Indies, and his son Mr. Robert Weller, is the present possessor of it.

 

A branch of the family of Maplesden, clothiers, were settled here, at the manor of Maplesden in this parish, in the reign of Henry VIII. which now belongs to John Beardsworth, esq.

 

THE RIVER ROTHER, which divides the parishes of Sandhurst and Newenden from Sussex, and those of Rolvenden, Tenterden, and Apledore, from the Isle of Oxney, about the year 1736, was so swarved, that the proprietors of the adjoining marsh lands were obliged to purchase and cut a new channel through Wittresham level, from Maytham-ferry to Blackwall on the south side of the island, for the passage of the waters; whereupon the course of that river, for the space of five miles or more, became inverted, and instead of running from Maytham to Smalhyth and Reading, in Ebony parish, to the east, now runs from thence to Maytham westward, and thence goes into the new channel.

 

Many commissions were issued formerly, on the complaints of several of the owners of lands hereabouts, for the safety of the marshes in this and the adjoining parishes, and to oblige the other respective land owners to repair and keep the banks, &c. against the sea, from the reign of king Edward I. to that of king Henry VI. and among others, those especially near the sea coast, between Smalhede and Mayhamme; between the latter and Newenden, and Bodisham bridge, and between Maytham and a certain place called the Pendyng, in Rolvynden and Tenterden, all which may be seen at large in Dugdale's History of Imbanking, &c. p. 40, 42, 47, 83.

 

SUBORDINATE to the court of the Seven Hundreds is the Manor Of Lambin, alias Halden, which is situated in the north-east part of this parish, and had the former of those names from the antient proprietor of it, Lambin de Langham, who held it by knight's service, as appears by the Testa de Nevil, in the 20th year of Henry III. His descendants continued in the possession of it till the beginning of king Edward III.'s reign, when it went by purchase into the family of Halden, who fixed their name on it, in addition to its former one of Lambin; and William, son of John de Halden, died possessed of it in the 50th year of that reign, and lies buried in the nave of this church. His son John de Halden died in the reign of Henry IV. and was buried near his father, leaving an only daughter and heir Joane, who carried this manor in marriage to William Guldeford, esq. of Hemsted, whose descendants, though they continued possessed of their more antient seat of Hemsted, in the adjoining parish of Benenden, yet removed to this mansion of Halden, and made it their principal residence, and from time to time kept their shrievalties here. At length Sir Richard Guldeford, knight-banneret and of the garter, died possessed of it about the year 1500, leaving by his first wife, two sons, Edward, to whom he gave this manor of Halden; and George, to whom he gave that of Hemsted. Sir Edward Guldeford, the eldest son, was a man of much eminence and distinction, being marshal of Calais, lord warden and constable of Dovercastle. He had a son Richard, who died in Spain, s. p. and a daughter Jane, who became her brother's heir, and married Sir John Dudley, afterwards duke of Northumberland, who in her right became entitled to this manor; which he appears to have been possessed of in the 28th year of Henry VIII. Soon after which, either by purchase or exchange, it came into the hands of the crown, where it staid some time; the mansion and park continuing in the king's own occupation; and the demesne lands of it being demised for a term by the king to Sir John Baker, his attorney-general; to whom this manor of Halden itself, (the scite of the mansion, together with the demesne lands belonging to it being excepted) was granted some years afterwards in fee. The park was disparked by Sir John Baker soon after his grant of it. In the mean time king Edward VI. in his first year, had granted the manor of Halden, with its appurtenances, late parcel of the possessions of Sir Thomas Cromwell, earl of Essex, attainted, to John, earl of Warwick, which on his attainder in the 1st year of queen Mary, came again into the hands of the crown, and was then granted to Sir John Baker as above-mentioned. Since which this manor continued in his descendants, in like manner as Sissinghurst, in Cranbrooke, till it was at length sold with it, not many years ago, to the trustees of Sir Horace Mann, bart. who is the present owner of it.

 

There are twelve dennes which hold of this manor of Lambyns-court, alias Halden; and on the court-day there are elected twelve officers, called beadles, to collect the rents of assise or quit-rents due from them to it. These dennes lie in Rolvenden, Benenden, Sandhurst, High Halden, Woodchurch, Tenterden, Stone, and in Wittersham.

 

BUT THE SCITE OF THE MANSION OF HALDEN, alias LAMBYNS-COURT, together with the greatest part of the demesne lands of this manor, which had been demised for a term to Sir John Baker as above-mentioned, were afterwards granted in fee to Sir Henry Sidney, who had married Mary, eldest daughter of John, duke of Northumberland, and he died possessed of these lands in the 28th year of queen Elizabeth. His son Sir Robert Sidney, created earl of Leicester, sold them, at the latter end of that reign, to Sir Thomas Smith, of London, second son of Customer Smith, of Westenhanger, whose grandson Robert Smith, esq. of Bidborough, in the reign of Charles II. alienated them to Robert Gybbon, esq. of Hole in this parish. Since which they have continued down with that seat, in a like succession of ownership, to John Beardsworth, esq. of London, who is the present proprietor of them.

 

Halden place is now only a large farm house, situated about a mile and a quarter north from the church. The arms of Guldeford still remain, carved in stone, on the stables belonging to it.

 

The Hole is a seat in this parish, about a mile north-west from the church, situated within the denne of that name. It had antiently owners of that surname, one of whom, Henry at Hole, in the year 1340, demised this place by deed to his two sisters Honor and Alice. How long it continued in their descendants, I have not found; but in the reign of Henry VIII. it was become the property of Mr. Rob. Gybbon, a wealthy clothier, who then exercised that trade here, as did his son John Gybbon, who died possessed of Hole in the 5th year of Edward VI. anno 1550, and there were some of this name, who held lands in this parish as early as the year 1340. A branch of this family was of Pump-house, in the adjoining parish of Benenden; another of it was of Frid, in Bethersden, and ended in two daughters and coheirs, married to Harlestone and Chowte, and from this branch issued those of Charlton, in Bishopsborne. In the descendants of John Gybbon above-mentioned, it continued down to colonel Robert Gybbon, who was possessed of it at the latter end of king Charles I.'s reign. His son Major John Gybbon died in 1707, and was succeeded in it by his brother Robert Gybbon, esq. who was of Hole, where he died in 1719, leaving by Elizabeth his wife, daughter and heir of John Phillips, gent. of Middlesex, one son Phillips, and a daughter Mary, married to James Monnypenny, esq. of this parish. Phillips Gybbon, esq. succeeded his father in this seat, which he resided at, and died here in 1762, bearing for his arms, Azure, a lion rampant-guardant, between three escallops, argent; but in the windows of the hall at Hole, the arms of Gybbon are painted in antient glass, Or, a lion rampant, sable, charged on the shoulder with an escarbuncle, pomettee and florettee of the first; which glass was brought from the seat of Pumphouse, in Benenden, where it had been for a great length of time. Guillim. p. 359, says, Or, a lion rampant, sable, between three pellets, was borne by the name of Gybbon, and was confirmed to Edmund Gybbon, son and heir of Thomas Gybbon, gent. of Rolvenden, by Sir William Segar, in 1629, anno 5 Charles I. but when they altered their bearing to the present coat, I have not found. Phillips Gibbon left an only surviving daughter and heir, married to Philip Jodrel, esq. whom she survived, and dying possessed of this seat in 1775, s. p. she by will gave it, among her other estates in this county, in tail to Mrs. Jefferson, who since marrying with John Beardsworth, esq. of London, he is in her right, entitled to the possession of it.

 

KEINSHAM, corruptly so called for Cassingham, its proper name, was once accounted a manor here, and was in very early times held by a family so called from their possessing this estate, as well as much other land in this parish, on the denne of Cassingham. William de Cassinghame held it in the reign of Henry III. (fn. 1) in the 20th year of which he paid aid for it, together with Orlovingden, another inconsiderable manor here, as appears by the Testa de Nevil, at the marriage of Isabel the king's sister, as holding it by knight's service, notwithstanding which, part of it, containing one hundred and twenty acres of land, appears by other certain records to have been held at that time by the same William de Cassinghame, of Edmund, archbishop of Canterbury, in gavelkind; for that archbishop being empowered so to do by the charter granted by king John to archbishop Hubert, his predecessor, changed the tenure of these lands from gavelkind to knight's service, to hold to the said William and his heirs of the archbishop and his successors, by knight's service, and the rent of 10s. 2d. per annum, and the addition of the same liberties as other knights had of the see of Christchurch, Canterbury. He was succeeded in this estate by his son Ralph de Cassinghame, who left two daughters and coheirs, Petronelia, married to Nicholas Aucher; and Benet, to Bertram de Wylmyngton, against whom the archbishop brought a suit for cutting down his oak and beech in this and the adjoining dennes, to which they pleaded the above change of service, and that the owners had constantly felled them. But the jury sound that the trees were the archbishop's, and that he and his predecessors had always felled them, without let of the owners, and had always taken amends for any trespass of this kind; and that they had in time before, and he did then, take a moiety of the pannage in the said woods.

 

There remains at this day no footsteps of this right, the reason of which is well accounted for by Mr. Somner as follows, in his Roman Ports, p 112:—In the times of king Edward III. and Richard II the archbishops of Canterbury and prior and convent of Christchurch respectively, among other like lords and owners of the Wealdish dens, finding themselves aggrieved by their tenants there and others, in cutting down and wasting their woods, which on former grants they had expressly reserved from their tenants to themselves, (though it is more probable their title to them was from the above-mentioned custom) in order to free themselves from further care and trouble on this account, entered into a composition, and for a new annual rent of assise, over and above the former services, by indenture of seossment, made the wood over to them in perpetuity, either to be cut down or left standing at the tenants choice. Since which the interest of the lord so compounding has been gone, as to the wood itself, and nothing left but this rent of assise, together with the former services.

 

And a custom of a contrary nature is set up at present in most manors, if not throughout the whole Weald, under the name of landpeerage, i. e. landownership; by which the owners of the lands on each side of the highway claim to exclude the lord from the property of the soil of the way, and of the trees growing on it.

 

Notwithstanding the account of the coheirs of Cassingham becoming entitled to this manor, yet the family of Cassinghame was still remaining here a long time afterwards, as appears by the will of Peter Cassingham, of Rolvenden, proved anno 1 Edward IV. 1461, in which he mentions his principal messuage, in which he then dwelt, with his lands in this parish, upon the dennes of Casynghame and Hachysdene, and at Maythame.

 

Bertram de Wylmyngton above-mentioned, appears by the escheat-rolls to have died possessed of lands here anno 2 Henry IV. Soon after which the Mores, of Benenden, are mentioned in the court-rolls as being owners of it until the reign of Henry VIII. when it was alienated in that reign by John More, esq. to John Gybbon, of this parish, clotheir, who by will in the 5th year of Edward VI. gave this manor, with its lands, rents, and services, to his son John; from whom, in the beginning of queen Elizabeth's reign, as appears by the same court-rolls, it went into the possession of William de la Hay, who, in the records of that time, is said to have held one knight's fee of the archbishop in Cassingham, in right of his wife. From this name it went, in the reign of James I. into the name of Everden, or Everinden, a branch of the Everindens, of Everinden-house, in Biddenden, where they are recorded by the private deeds of it to have been resident many hundred years, until the 2d year of queen Mary, when they alienated it; and thence again, in the next reign, to Munn, from whom it passed, in 1685, to Attained Smith, who gave it by will to Attained and Richard Hoare, the latter of whom having come into the possession of the whole of it, by will in 1757 settled it on Mr. William Gibbs, the present possessor of it.

 

The manor house was formerly very large; but it has been most of it pulled down, so that now it makes but a mean appearance. The Largest House at this time in this hamlet of Keinsham, is one which formerly belonged to John Kadwell, esq. of this parish, whose daughter and coheir Sarah carried it in marriage to the Rev. Thomas Chamberlaine, of Charlton, near Greenwich, who was succeeded in it by Mr. Thomas Chamberlain, his only son, the present possessor of it.

 

There has not been any court held for this manor for many years.

 

GREAT MAYTHAM is a manor in the southern part of this parish, which was antiently held by a family who took their name from it. Orable de Maytham, who with her sister Elwisa, held much land in these parts, appears to have been possessed of it in the reign of Edward I. Soon after which it was become the property of John de Malmains, who died possessed of it anno 10 Edward II. In the 20th year of the next reign of Edward III. the heirs of Thomas Malmayns, of Hoo, held this manor by knight's service. Soon after which the Carews, of Beddington, in Surry, were come into the possession of it. Nicholas Carew, esq. of that place, owned it at the latter end of the reign of Richard II. and in this name it continued till the reign of Henry VIII. when by the attainder of Sir Nicholas Carew, by act of parliament in the 31st year of that reign, it came into the hands of the crown, whence it was granted, with other lands in this parish, immediately afterwards, to Thomas, lord Cromwell, earl of Essex, on whose attainder next year, anno 32 king Henry VIII. it came again to the crown, and was again granted, the year after, to Sir Thomas Wyatt, to hold in capite by knight's service, who that same year, with the king's licence, alienated it to Walter Hendley, esq. and his heirs. He was afterwards knighted, and made king's sergeant-at-law, and dying in the 6th year of king Edward VI. without male issue, his three daughters became his coheirs, and this manor, by the marriage of Helen, the second daughter, with Thomas Colepeper, esq. of Bedgebury, became his property, whose lands were disgavelled by the act of the 2d and 3d year of Edward VI. His grandson Sir Anthony Colepeper, of Bedgebury, included this manor in a settlement which he made of it in 1613; and it was sold, under the limitation of that settlement, by one of his descendants, in 1714, to James Monypenny, esq. descended from an antient family of this name at Pitmilly, in Scotland, who bore for their arms, Vert, a dolphin erect, or. He in 1721 began the foundation of a seat here, within this manor and within the borough of Maytham, though not on the demesne lands of it, which he named MAYTHAM-HALL, which his eldest son Robert Monypenny, esq. finished in 1760, and resided here till his death in 1772. He died unmarried, and was succeeded in both manor and seat by his only surviving brother James Monypenny, esq. the present possessor of them, who now resides here. There is no house on this manor, nor any court held for it.

 

LOWDEN MANOR, formerly called also Little Maytham, as being situated within the borough of that name, was in the reign of Edward I. held by Elwisa de Maytham, as half a knight's fee. In the 20th year of Edward III. it was in the possession of the family of Aucher, for Henry Aucher then paid aid for it as holding it by knight's service, as did his grandson Henry Aucher, esq. of Losenham, in the 4th year of king Henry IV. at the marriage of Blanch, the king's sister, (fn. 2) and his grandson, of the same name, leaving an only daughter and heir Anne, she, in the reign of king Henry VII. carried this manor in marriage to Walter Colepeper, esq. of Bedgebury, whose grandson John Colepeper, esq. of Salehurst, in Sussex, alienated it in 1565 to John Wildgose, gent. of that place, and his descendant Robert Wildigos, esq. sold it in 1637 to Mary Barker, widow, who gave it by will to Samuel Sandys, of Ombersley, in Worcestershire, and he in 1663 conveyed it to George Kadwell, esq. of Gatehouse, in Rolvenden, whose descendants Felix, John, and George Kadwell, the sons under age of Thomas Kadwell, esq. becoming possessed of this manor of Lowden, and other lands, of the nature of gavelkind, lying in Rolvenden, Benenden, and Sandhurst. They by their guardians prayed a writ of partition, which was executed by the sheriff, and this manor of Lowden, with its appurtenances, was allotted to the eldest of them. (fn. 3) Felix Kadwell, esq. of this parish, dying in 1748, without male issue, by will gave this manor, wich the farm and lands called Lowden, in tail male, to his grandson Jeremiah Curteis, eldest son of Samuel Curteis, gent. by Mary his wife, his eldest daughter and coheir, (who died in her father's life-time) leaving three sons, Jeremiah, before-mentioned; Samuel, and Felix Kadwell Curteis; and one daughter Sarah). Jeremiah Curteis before-mentioned, was of Rye, gent. and died s. p. upon which it came to his next brother Mr. Samuel Curteis, gent. now of Tenterden, who is the present possessor of it.

 

There is no house now remaining on this manor; but the scite of the antient mansion, and the moat round it, are still visible. A court baron is held for it.

 

FRENSHAM, as it is now usually called, through its more proper name is Fresingham, or Fersingham, as it was sometimes written, was antiently accounted a manor, though it has long since lost all pretensions to one. It had been, in the 20th year of Henry III. as appears by the Testa de Nevil, in the possession of a family of the same name. John de Fresingham, or Fersingham, which name was afterwards contracted to that of Frencham, held it then, and paid aid for it, as holding it by knight's service, at the marriage of Isabel, that prince's sister; and in his descendants it continued till the latter end of the reign of Edward III. when it went by sale to Northwood, though there was a family of the name of Frencham remaining here so late as queen Elizabeth's reign, as appears by their wills in the Prerogative-office, Canterbury. In the name of Northwood it remained till that of king Edward IV. and then, as appeared by the old rolls of this manor, it was conveyed to Sir John Guldeford, of Halden, whose son Sir Richard Guldeford settled it on his second son Geo. Guldeford, esq. of Hemsted, whose son Sir John Guldeford alienated it to Mr. John Fowle, of Sandhurst, who gave it to his second son Alexander Fowle, and he sold it to Sir Edward Hales, knight and baronet, who died possessed of it in 1654, and was succeeded by his grandson Sir Edward Hales, bart. (fn. 4) from one of whose descendants it passed by sale to Mr. Gilbert, afterwards chief baron of the exchequer, who bequeathed it by will to Phillips Gybbon, esq. of Hole, since which it has passed, in like manner as that seat, to John Beardsworth, esq. the present possessor of it. This manor is held of the manor of Swanscombe, by castle-guard rent to the castle of Rochester, and is called, in the rolls of that manor, Fraxingham.

 

FRENSHAM, alias THE GATEHOUSE, is a seat here, situated on Lain-green, which seems to have been once the antient mansion and scite of the above-mentioned manor, from which it has been alienated many years since. It was once the property of the family of Pointz. Sir John Pointz owned it in 1610. His son Sir Robert Pointz, of Iron Acton, in Gloucestershire, K. B. sold it in 1640 to George Kadwell, esq. who had resided here as tenant to it, as had his father Thomas Kadwell, who died in 1631. This family was originally spelt Caldwell, and afterwards Cadwell; one of them, John Caldwell, was of this parish in the reign of Henry VIII. and was a great occupier of lands in this parish and Benenden, as appears by the inrolments in the Augmentation-office; they bore for their arms, Azure, a cross formee, fitchee, between eight estroiles, or. George Kadwell, esq. before-mentioned, who purchased this seat, dying in 1660, left a son Thomas Kadwell, who succeeded him in it, and afterwards rebuilt the mansion of it, where he kept his shrievalty for this county in 1677. He died in 1880, leaving three sons, of whom Felix Kadwell, esq. the eldest, succeeded him here, and died in 1748, having had a numerous issue, of whom only two daughters survived, who became his coheirs; of whom Elizabeth, the eldest, married Josias Pattenson, gent. of Biddenden, and Mary married Samuel Curteis, gent. of Tenterden. Josias Pattenson left several children, of whom Kadwell Pattenson, esq. the eldest, succeeded to this seat on his grandfather's death, and died s. p. in 1750, leaving his widow surviving; since married to the Rev. Mr. Williams, but this seat, with several other estates in this parish, devolved to his brother Mr Josias Pattenson, of Brook-place, in Ashford, who is at present entitled to it.

 

Since the Kadwells resided here, more than a third part of the house has been pulled down, and yet there is a large house remaining.

 

FORSHAM, alias Nether Forsham, lies in the southern part of this parish, and was once accounted a manor. It had formerly owners of the same name; for Osbert de Forshamme possessed it in the 18th year of king Edward I. Sir John de Forsham held it, as appears by old dateless deeds, in very early times. His successor Stephen de Forsham, in the 11th year of king Edward III. found a man-at-arms for guard of the sea coast; the arms they bore, appears by a deed in the Surrenden library, the seal appendant to which has three crosses, fusilly, the legend, S. STEPHANI DE FORSHAM. After this name was extinct here, the Northwoods succeeded to it, and then the Guldefords, from one of whom, in the reign of queen Elizabeth, it was sold to Dyke, of Sussex; from whose descendants, by their trustees, it was alienated, at the latter end of king Charles I.'s reign, to Mr. Thomas Bromfield, merchant, of London; from which name it afterwards passed to the Moyses, in which it continued till Mary, only daughter and heir of William Moyse, gent. of Berenden, carried it in marriage to Moyle Breton, esq. of Elmes, near Dover, who died possessed of it in 1735, and his grandson the Rev. Moyle Breton, of Kennington, alienated it a few years since to James Monypenny, esq. of Maytham hail, in this parish, who is the present possessor of it.

 

On this manor there were within memory, the ruins of an antient stone structure, supposed by some to have been the remains of a sort of some strength, and by others to have been only a chapel, for the use of the antient possessors of the mansion of it.

 

Charities.

 

JOHN GYBBON, ESQ. late of Charter-house yard, in Middlesex, by will in 1707, gave to the inhabitants of Rolvenden, three Exchequer annuities, amounting in all to 42l. per annum, in trust, for the churchwardens and overseers for the time being, to expend in the schooling and education of boys and girls of such of the poor inhabitants of this parish, as receive alms, or are excused from paying the parish rates, and to apply the remainder, if any, in apprenticing so many of the poor boys and girls as it would amount to. He further bequeathed two other Exchequer annuities, amounting together to 170l. per annum, to the said inhabitants in trust, for the churchwardens and overseers for the time being, to expend partly in the purchase of wool, flax, and hemp, for setting the poor to work on the linen or woollen manufacture, and paying them for the same; and partly for cloathing boys and girls of the said poor above the age of seven years, and poor men and women of the age of fifty years and upwards. These annities, by a decree in chancery, in 1763, were converted by sale and transfer into three per cent. consolidated Bank Stock, viz. the former into 921l. 4s. and the latter into 3778l. 15s. now of the annual produce of 113l. 7s. 3d. and of 27l. 12s. 9d.

 

ALEXANDER WELIER, gent. in 1723, conveyed by deed of gift, a certain field called Well field, to the vicar and churchwardens of Rolvenden, and their successors for ever, in trust, that the rent of it should be applied in the first place to the cleansing, repairing, preserving, restoring, and upon occasion rebuilding the tombstones erected by him in the church yard here; and the remainder, if any, to be distributed yearly on Christmas-day, among the poor of this parish, not receiving alms.

 

EDMUND GYBBON, gent. in 1677, gave an annual rent charge of 50s. per annum, issuing out of certain lands in Rolvynden, now in the possession of John Elphen, and payable yearly on the feast of St. Andrew, to be distributed by the minister and churchwardens amongst the poor of this parish, not receiving alms.

 

LAURENCE PETERS, in 1777, gave by will 100l. to this parish, the interest of it to be said out, in the first place, to maintain the rails about his grave; and if no such repairs were necessary, then to be distributed one moiety at Christmas, and the other on Good Friday, in good bakers bread and good cheese, to the poor, vested in the vicar and churchwardens, and of the annual produce of 4l.

 

A PIECE OF LAND, called the Well-field, containing five acres, now of the annual produce of 5l. for the use and benefit of the poor, is vested in the minister and churchwardens.

 

The poor relieved annually are about fifty; casually twenty.

 

ROLVENDEN is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Charing.

 

The Church, which is dedicated to St. Mary, is large and handsome, having three isles and three chancels, and a tower steeple with a beacon turret at the west end. In the east window there are remains of good painted glass. Kilburne, p. 131, says, that in the first of the five windows in the great chancel, was the effigies of Carew, esq. in the second, that of Sir John Guldeford; what was in the third was quite defaced; in the fourth was the effigies of Henry Aucher and Elizabeth his wife; and in the fifth that of More; all of them considerable owners of lands in this parish. The font is of an octagon form, on which are these coats of arms: first, a bordure; second, a bend engrailed; third, a saltier, between four martlets; the fourth is hidden by the pews. By a brass plate against the south wall of the south chapel of this church, it appears that it was founded by Edward Guldeford, esq. on the day of St. Tiburtius and Valerianus, martyrs, April '4, anno 1444. In this church lie buried several of the Gybbons's, of Hole, and the Monypenny's. Clement Frencham was buried, as appears by his will, anno 1533, in Skott's chancel. In the church-yard are several tombstones of the Kadwells, and one near them for Kadwell Pattenson, anno 1750.

 

The rectory of this church was antiently part of the possessions of the eminent family of Cobham, with which it remained till at length it was given, about the beginning of king Richard II.'s reign, being then valued at sixty marcs, by John, lord Cobham, as an addition to the revenues of the college, founded by him at Cobham; which gift was confirmed by pope Urban VI. in his 10th year; and he at the same time confirmed the appropriation of this church to the use of the college, on the death or the cession of the rector of it, reserving, nevertheless, out of the rents and profits of it, a competent portion for a perpetual vicar to serve in it, by which he might be fitly maintained, pay his episcopal rights, and support the other burthens incumbent on it. In which state this appropriation, with the patronage of the vicarage, remained till the reign of Henry VIII. when the master and brethren of the college of Cobham soreseeing their approaching dissolution, in the 30th year of it, with the king's consent, sold the scite with all the lands and possessions belonging to it, to George, lord Cobham, and they were, by an especial clause in the act, anno 31 Henry VIII. excepted out of it to the lord Cobham and his heirs. Notwithstanding which, it appears that this church, with the patronage of the vicarage, came into the king's hands, who by his dotation charter, (fn. 5) in the 33d year of his reign, settled them both on his new-erected dean and chapter of Rochester, where they continue at this time.

 

¶By the survey taken in 1649, after the dissolution of the dean and chapter, this parsonage appears to have consisted of a barn, house, &c. and sixty-eight acres and two roods of land, at the improved rent of 120l. per annum, let by the late dean and chapter, anno 14 Charles I. to Edmund Hamond, esq. for twenty-one years, at 7l. 12s. The present tenants of the parsonage are Mr. Thomas and James Goble.

 

The vicarage is a discharged living in the king's books, of the clear yearly value of forty-four pounds, the yearly tenths of which are 1l. 11s. 4d. In 1578 here were communicants three hundred and sixty. In 1640 it was valued at sixty pounds. Communicants four hundred and thirty three.

 

There is an augmentation of ten pounds per annum paid to this vicarage by the dean and chapter of Rochester. There are about seven acres and an half of glebe land belonging to it.

 

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