STATUES AND SCULPTURES DEFACED IN THE UNREST. THIS SCULPTURE IS DOLOR (PAIN) 1892 BY CLEMENTE ISLAS ALLENDE ESCULTOR; NOTICE THE BURNT MOTORCYCLE PROTESTERS BURNED BEHIND THE SCULPTURE.

Saturday 1 December 2012 was inauguration day for the newly elected President of United Mexican States (MEXICO). While a friend and I were walking near where the inauguration was taking place, a small riot broke out around us; my friend being smarter than me immediately returned to the hotel while I stayed to take picture. A lot of young people showed up with bandanas covering much of their faces. The protesters were upset by the election of Pena Nieto, and believed election fraud had taken place. Several of the “rioters” identified themselves as belonging to Yo Soy 132.

Yo Soy 132 is an ongoing Mexican protest movement centered around the democratization of the country and its media. It began as opposition to the Institutional Revolutionary Party (PRI) candidate Enrique Peña Nieto and the Mexican media's allegedly biased coverage of the 2012 general election. The name Yo Soy 132, Spanish for "I Am 132", originated in an expression of solidarity with the protest's initiators.

en.wikipedia.org/wiki/Yo_Soy_132

More pictures of my Feeple60 Chloe boy~!! >w<

Davin is forever my favorite and whenever I feel like I'm starting to lose interest in him he strikes back and steals it all! If only he would let me spoil him with more clothes/stuff... ;A; It's just not in his character to be spoiled. TT^TT

Here is a new LEGO part idea prototype,

(made with LDD + Photoshop Layers & Mask)

If you think this piece will help you, add it to your favorites.

LEGO has read about this album and, your votes can direct them on the use of the production of these parts. (do we ever know)

Do not forget to look at the album on the right where are all the ideas of parts Prototype =>

Also find all my creations on the Flickr group "News LEGO Techniques".

This Flickr group includes:

- Ideas for new LEGO pieces

- Techniques for assembling bricks

- Tutorials for the manufacture of accessories, objects, ...

Under An Omen Moon - 17 images - Canon EOS 60D with Canon EF-S 55-250mm 1:4-5.6 IS STM (EOS Mount) - Canon EOS 30D with Canon EF 50mm 1:1.8 Prime (EOS mount) - Photographer Russell McNeil PhD (Physics) lives on Vancouver Island, where he works as a writer.

This is only the second Ponton I've ever got to see since I visited Mercedes-Benz's excellent museum at its home in Stuttgart, Germany. And the first presentable one - the previous one was a mere shell.

The Ponton ("pontoon") was a line of simple, rugged, reliable sedans for postwar West Germany and beyond, and helped rebuild Mercedes-Benz. The Ponton, the first unibody design from Mercedes-Benz, is the ancestor of all current Mercedes-Benz sedans, including the C, E, and S classes.

The 219 (chassis code W105) was an interesting model, built from 1956 to 1959. From the dashboard rearward, the car is identical to the 180/190 (W120), the original four-cylinder Ponton from 1953, complete with single-pane rear windows and the simpler instrumentation. But to the front is the longer nose of the 220, to house a bigger engine, a 2.2-liter single-carburetor 85-horsepower 6-cylinder. 27,845 were built. (Source: Wikipedia)

Grille detail, complete with Mercedes-Benz Stuttgart plaque.

Vallepietra is a comune (municipality) in the Province of Rome in the Italian region Lazio, located about 60 km east of Rome.Vallepietra borders the following municipalities: Camerata Nuova, Cappadocia, Filettino, Jenne, Subiaco, Trevi nel Lazio.Vallepietra (825 metres) is encircled from high mountains covered from forests where dominate in the higher zones the beech and the maple tree and in the low part the oak and the elce. Its territory is limited from the mount Tarino (m 1986) that separates it from the territory of Filettino, from the mount Author (m 1853) that it separates it from Camerata and Subiaco, the Capitello that marks the border with Jenne, from the plateau of Faito that limits the borders with Trevi and from the plateau Field of the Stone that separates it from Cappadocia (Abruzzo).

Small country in the valley of the Simbrivio River, affluent of the Aniene, can be caught up both passing for Jenne leaving from Subiaco and for Trevi leaving from Altipiani of Arcinazzo or from Filettino. The small village is rendered famous from the Sanctuary of the Saintest Trinità , that it recalls in the summer period a great number of pilgrims. The Vallepietra name in the ancient documents is called Vallis Pretarum and also Val de Preta: still today the old shepherds and mountain dwellers in call it Valle preta. Its more ancient part is around to the castle and the parochial church, while the modern part stretches to extend towards the road that connect to the Sanctuary. On the main public square, today Italy Public square, rises the parochial church and the rests of a baronial palace, represented currently from the tower and some premises incorporated in the town hall. The palace was wide and it extended to the current buildings of the schools and the municipium, until S. Francisco's square. The tower, restored in recent years, can be considered the symbol of the country; it introduces a square shape, it is high approximately twenty meters and it finishes with the merlons; it in origin was in the center of the palace and served like extreme shelter and defense.

The entrance was situated up, with one small door that gives income to the inside; over the door there is the marble coat of arms of the Caetani of the branch of Filettino, sayings then exactly of the Tower or of Anagni; the origin of this coat of arms is in the year 1299, when Roffredo III Caetani married Giovanna dell'Aquila: in sign of this union the Caetani quartered the white eagles (aquile, in italian) on blue background of dell'Aquila with own two twin waves in field gold. The inner plans of the tower completely are separated. There is a single window that watches the public square, while in sides the characteristic embrasures of defense appear. Currently under the merlons, in the side that regard the church of S. Francisco and in that one turned towards the Italy Public square has been placed the quadrants of the new public clock. The country conserve still two doors: the door of the Sun that opened on the road for Rome and that Neapolitan one on the way for Naples

Vallepietra è un comune di 323 abitanti della provincia di Roma. Sorge al centro dell'appennino ad un'altitudine di 824 metri sul livello del mare, arroccato su uno sperone del monte Faito. A meno di 100 metri dal fondo della valle del Simbrivio, è incorniciata dai Monti Simbruini con montagne alte fino a 2000 metri, come i monti Tarino, Tarinello, Autore e Tagliata.Dall'arco montuoso della Valle sorgono numerosissimi torrenti che forniscono acqua a moltissimi comuni, tanto da essere il bacino di sorgenti d'acqua più esteso d'Europa. Il torrente più grande è quello del Simbrivio, che riceve affluenti da tutta la valle e affluisce all'Aniene, che a sua volta solca l'omonima valle, attraversando i comuni di Subiaco, Tivoli e Roma. Una volta la diga Acea navigabile a fondo valle raccoglieva le acque del torrente.Dal fondo valle a 750 metri, interamente coltivato negli 11 secoli dell'esistenza del paese si sale agli 800 metri, arricchiti dal verde dei fitti boschi di latifoglie e conifere, oltre i 1300 metri i fitti boschi lasciano il posto ai radi pascoli erbosi e alle rocce nude rivestite di muschi e licheni.Negli ultimi anni le specie animali stanno nuovamente aumentando grazie allo spopolamento del paese, e all'abbandono delle attività agricole e pastorizie a causa dello sviluppo tecnologico e all'inurbamento nelle città più ambite dagli ex montanari, come Roma e le città dell'agro pontino. Sono presenti mammiferi erbivori come la Marmotta montana ad alte quote, onnivori come il cinghiale e l'orso Marsicano e carnivori come il tasso a fondo valle e il lupo appenninico, sono presenti rapaci come il falco pellegrino, l'aquila reale e la Quagliana dalla coda rossa.

Il monumento più rilevante di Vallepietra è senza dubbio il santuario della Santissima Trinità, probabile insediamento rupestre neolitico, luogo di antico culto popolare collegato agli insediamenti benedettini di Subiaco, ancor oggi mèta di pellegrinaggi di intere comunità - spesso condotti a piedi.

La sua collocazione ne fa il punto di convergenza di antichi percorsi di transumanza che collegavano i territori e le comunità montane di una parte rilevante delle odierne province di Roma e Frosinone, il che spiega la sua perdurante popolarità nonostante l'apparente isolamento del sito.

Ancora oggi il santuario, che è parte di un eremo, è aperto solo dal 1º maggio al 31 ottobre.Il centro del culto popolare è un affresco della Trinità (detta popolarmente "la Santissima") databile attorno al XII secolo, che, come gli altri del santuario e delle sue catacombe, denota forti connotazioni bizantine.

La festa della Santissima è mobile, cadendo la domenica dopo la Pentecoste, cioè circa 2 mesi (8 settimane) dopo Pasqua.

Vallepietra (825 m s.l.m.) è circondata da alte montagne ricoperte da boschi dove dominano nelle zone più alte il faggio e l'acero e nella parte bassa il carpino, la quercia e l'elce. Il suo territorio è limitato dal monte Tarino (m 1986) che lo separa dal territorio di Filettino, dal monte Autore (m 1853) che lo separa da Camerata e da Subiaco, dal Capitello che segna il confine con Jenne, dall'altipiano di Faito che limita i confini con Trevi e dall'altipiano Campo la Pietra che lo separa da Cappadocia (Abruzzo).Piccolo paese nella valle del Fiume Simbrivio, affluente dell'Aniene, può essereraggiunto sia passando per Jenne partendo da Subiaco e sia per Trevi parten do dagli Altipiani d'Arcinazzo o da Filettino. Il paesino è reso famoso dal Santuario della Santissima Trinità, che richiama nel periodo estivo un gran numero di pellegrini. Il nome Vallepietra nei documenti più antichi è chiamato Vallis Pretarum e anche Val de Preta: ancora oggi i vecchi pastori e montanari in dialetto la chiamano Valle preta. La sua parte più antica è intorno al castello ed alla chiesa parrocchiale, mentre la parte moderna tende ad estendersi verso la strada che porta nei pressi del Santuario.

Sulla piazza principale, oggi Piazza Italia, sorgono la chiesa parrocchiale ed i resti di un palazzo baronale, rappresentati attualmente dalla torre e da alcuni locali incorporati nel municipio. Il palazzo era ampio e si estendeva agli attuali edifici delle scuole e del comune, fino a Piazza S. Francesco. La torre, restaurata in questi ultimi anni, può considerarsi il simbolo del paese; presenta una forma quadrata, è alta circa venti metri e termina con i merli; essa in origine era nel centro del palazzo e serviva come estremo rifugio e difesa.

L'entrata era situata in alto, con una piccola porta che dà ingresso all'interno; al di sopra della porta vi è lo stemma marmoreo dei Caetani del ramo di Filettino, detti poi appunto della Torre o di Anagni; l'origine di questo stemma risale al 1299, quando Roffredo III Caetani sposò Giovanna dell'Aquila: in segno di questa unione i Caetani inquartarono le aquile bianche su sfondo azzurro dei dell'Aquila con le proprie due onde gemelle in campo oro. I piani interni della torre sono completamente separati. Vi è una sola finestra che guarda la piazza, mentre nei lati appaiono le caratteristiche feritoie di difesa. Attualmente al di sotto dei merli, nel lato che riguarda la chiesa di S. Francesco e in quello rivolto verso la Piazza Italia sono stati posti i quadranti del nuovo orologio pubblico. Il paese conserva ancora due porte: quella del Sole che si apriva sulla strada per Roma e quella Napoletana sulla via per Napoli; entrambe presentano lateralmente grosse cavità dove entrava il trave per sprangarle dal di dentro.

www.flickr.com/photos/luigistrano/4933521975/in/photostream/

MADURAI to THENI Vazhi ANDIPATTI Taluk,T.SUBBULAPURAM is our Native Place - We love our Native place and very proud to say about it - My Mother A.ALAGARSAMY Retd PC and My Mother A.ALAMELU AMMAL in my Colour Pencil Art - Artist VASU engira KARTHIKEYAN ( AniKartick,Chennai)Tamil Nadu,India

I studied my school time 7th Std to 10th Std in my Native place govt high school,then I finished my Higher secondary at Aundipatti Govt.Hr.Sec.School and I Finished my school studies I worked in Madurai as a Sign board Artist then I came to Chennai and I joined as a 2d Animation Trainee at Nest Communication,Valluvarkottam through my well wisher Mr.Nangaiappan and Preethi Paul ( Head of Nest Animation Studio ) and I developed my Anatomy Drawing skills through our Animation Head of Nest Animation Studios Mr.Siju Thomas Phoenix and One of my Best Friend MuthuKumarasamy.Later I developed my Animation skill through Millitoon Animations Studio - A Branch of Millimages,France,TIL Animation Studios in Chennai and DataQuest Animation Studio,Gameshastra in Hyderabad,Bluemoon studio,Aura Animation Studio,Shemanoor Animation Studio,I Power Animation Studio,Design works,Minveli Media works and Pyramid Animation Studio in Chennai.

In Animation Field I started my career as a In-between Artist,then Clean-up Artist,Asst.Animator,Animator, Animation Supervisor and Director from step by step.So now I am a Freelancing Animation Artist and Painter,Illustrator,Designer etc,

And Argentina Famous Animation Director and One of the Creator of Nickelodeon Animation Series Director and Supervisor Mr.Jaime Diaz appreciated my art and animation skill and he gave his one greeting card and he wrote on that 'A GREAT TALENT from TIL STUDIOS' and ALL THE BEST to KARTICK to me.And one more memorable is Skaramoose AAnimation Studios Creative People also appreciate my Animation level and Our Millitoon Team and Millimages team got BAFTA AWARDS for TV Serials and also Dataquest Animation Studio in Hyderabad,And our Team got National Award for SFX Visual Effects and Animations for ABHAY (ALAVANDAN Tamil and Hindi Version Movie}

So in my career Many of my friends and my teachers,parents and family members helped and helping till now to achieve my goals...Thanks a lot and I know this is not enough to them.So I dedicate my all works to them and also my Inspiration Artists of Famous Tamil Illustrators and Mr.Maruthi,Mr.Jayaraj,Mr.K.Madhavan,Mr.R.Natarajan,Mr.Gopulu,Mr.Ramu,M r.Maniam and his son Mr.Ma.Se.Mr.Silpi,Mr.Sivakumar (Popular Actor and Artist)Mr.Adhimoolam,Mr.Chandru,Mr.Trotsky Marudu,Mr.Chellam,Mr.Shyam,Mr.Shankar,Mr.Vinu,Mr.Latha,Mr.Umapathy,Mr. Madhan(cartoonist) Mr.Pathy,Mr.Maali,Mr.Karo,Mr.RaviVarma,Mr.Raju,Mr.KondalRaj,Mr.Murugak ani and my School drawing Master P.K.Kamatchi and my Father N.Alagarsamy and my elder Sisters R.Leelavathy,A.Dhanalaxmi,R.Rani,G.Dhavamani and my elder brother A.Jayachandran,A.Soundararajan and my friends Mr.S.Thangavel (T.Subbulapuram),V.Rajasekar and G.Paulpandi (Aundipatti) Mr.N.Tamilselvan,Mr.A.Sachithanandan,Mr.Naveen,Mr.SriKanta,Mr.G.Senthi lkumar,Mr.Suresh,Mr.Jay Kay,Mr.R.Anand,Mr.Saravanan and Mr.Muthu,Mr.Janakiraman,( Villivakkam,Chennai) Mr.Gudu,Mr.Sridhar and Mr.Paramasivam,Mr.Chandru and Mr.Balaji,Mr.Senthil,Mr.Munivel and Mr. Nithyanandan etc....etc and Also Art G of Madurai Mr.Venkatachalam my elder brother and his sons Mr.Ganesh,Mr.Senthil,Mr.Kumar and mr.Mani everyone is there in my way of Art life and I couldn't mention all here at this time and till now I learn a lot from lot of Inspiration Artists and great Artists through internet and books collections of our libraries..,

"Thanks a lot to all....!!!" - Artist Anikartick.BSc.Viscom ( Vasu engira Karthikeyan )

Hi my name is Andy and I am a newly rebuilt and restored Series 2A 109" 6 cylinder Land Rover.

I was first made in a factory in Solihull, Birmingham, England in 1969.

I had a hard life and worked very long hours for many years and eventually fell into disrepair.

One day some men came and took me away to Scotland where, where I was taken completely to bits. I got a new chassis, and my engine was taken to bits and re-machined. All my body parts and galvanised components were taken away and re-galvanised.

I don't remember much about it, it was like I had a very long sleep, and the one day I woke up and realised I was being put back together again with lots of new nuts and bolts and hundred of shiny new rivets.

Now I look like I did when I first rolled off the factory line 52 year ago.

I belong to Mr Hugh and my Doctor when I was being operated on was Mr Graham who put me back together again with great precision and attention to detail.

I am running in at the moment and can only go about 50 MPH.

My favourite drink is petrol and I drink a lot of it particularly when I am thirsty and working hard going up hills.

Mr Hugh has told me that he plans to take me on lots of adventures which, I look forward to sharing with you.

At the moment I am holiday down at St Abbs in Berwickshire, Scotland, which is very beautiful and has lots of boats, and people and seabirds.

I might even get some work on films and on the telly. I imagine that happening to me after all this years.

I feel like I am the luckiest Land Rover in the world.

The first time I went out, I got very hot and I lost a lot of oil as my main crankshaft oil seal failed, however Mr Hugh took me back and got me fixed, so I am all right now and looking forward to all my adventures to come.

The Ripon Rally Details have arrived:

Plaza Luis López Allué — often referred to as Huesca’s Main Square or Plaza del Mercado (Market Square) — is one of the most iconic and vibrant public spaces in the city of Huesca, Spain. Here's an English-language description:

________________________________________

️ Overview

Plaza Luis López Allué is the social and commercial heart of Huesca. With its arcaded facades, symmetrical buildings, and lively atmosphere, it has served as a marketplace and gathering spot for centuries. It’s located in the historic old town, just a short walk from the Cathedral.

________________________________________

🌆 Architectural Highlights

•Porticoed facades: The square is surrounded by traditional Aragonese buildings with stone arches and wooden balconies, preserving the charm of the 19th and early 20th centuries.

•La Confianza: A standout building on the square, this is Spain’s oldest grocery store, founded in 1871. Its art nouveau interior and rich history make it a beloved local landmark.

•Museum of Pedagogy (Museo Pedagógico de Aragón): Located nearby, this museum explores the history of education in Aragon.

________________________________________

️ History

•The square has long been known as the Plaza del Mercado (Market Square), since it was the city's main location for trade, fairs, and markets.

•In 1980, it was renamed in honor of Luis López Allué, a local writer, journalist, and politician.

•Market activity persisted here until 1976, when it was moved to other parts of the city.

________________________________________

🎉 Modern Use

•Today, the square hosts cultural events, fairs, concerts, and festivals, especially during the San Lorenzo festivities in August.

•Its cafés and restaurants under the arches provide popular spots for locals and tourists to relax.

•Family-friendly and pedestrian-only, it’s a perfect place for strolling and enjoying the historical center.

________________________________________

Why Visit?

•For its authentic Spanish plaza atmosphere.

•To admire its harmonious neoclassical architecture.

•To enjoy open-air dining and people-watching under the shade of its arcades.

•As a base to explore Huesca’s old town.

Top Hills ~ Situated 2,000 feet above sea level on the cool hills of Busay, it is an excellent sight seeing spot which offers breathtaking views of Metro Cebu and the islands of Mactan and Olango. Open kiosks are available for daytime picnics at the summit of this viewpoint. The City of Cebu is the capital city of Cebu and is the second city in the Philippines with the second most significant metropolitan centre and known as the oldest Spanish settlement in the country. The city is located on the eastern shore of Cebu and was the first Spanish settlement in the Philippines. Cebu is the Philippines' main domestic shipping port and is home to about 80% of the country's domestic shipping companies. Cebu also holds the second largest international flights in the Philippines and is a significant centre of commerce, trade and industry in the Visayas and Mindanao regions. Cebu City is the centre of a metropolitan area called Metro Cebu, which includes the cities of Carcar, Danao, Lapu-lapu, Mandaue, Naga, Talisay. Metro Cebu has a total population of about two million people. The Mactan-Cebu International Airport, located in Lapu-Lapu City is only a 20 minute drive away from Cebu City. To the northeast of the city is Mandaue City and the town of Consolacion, to the west is Toledo City, the towns of Balamban and Asturias, to the south is Talisay City and the town of Minglanilla. Across Mactan Strait to the east is Mactan Island where Lapu-Lapu City and an aquarium attraction are located.

The Cebu Provincial Capitol is dramatically positioned at the end of a grand perspective of a new avenue ( Osmeña Boulevard ) as conceived by William E. Parsons in his 1912 plan of Cebu, in the lines of the City Beautiful Movement. The building follows an H-shaped plan, one side opening to the terminus of Osmeña Boulevard. The main block or corps de logis, three stories high, is flanked by two secondary wings, symmetrically advancing to embrace a rectangular, elevated cour d'honneur that serves as an entrance podium. The elevation of the corps de logis is of typical neoclassical formula: a rusticated ground floor, containing minor rooms and offices, the piano nobile above, with the most important spaces, and finally the attic story. A heavy cornice and parapet caps the façade, with allegorical statues standing by its corners. The most distinctive part of the façade is the central concave pavilion, which creates the semi-circular main balcony and pulls together the entire mass, finally crowned by an austere dome upon an octagonal drum.

The piano nobile is reached by two staircases from the ground floor foyer. The first space, the art deco rotunda below the cupola, opens to the south the main balcony that faces Osmeña Boulevard, and to its north the ballroom (social hall). Two-stories high with full-length windows, the ballroom, also in art deco style, is reminiscent of a fairytale setting. Two enormous chandeliers fashioned in crystal and local capiz shells ( placuna placenta ) light the grand space

Cebu City is a significant cultural centre in the Philippines. The imprint of Spanish and Roman Catholic culture is evident. The city's most famous landmark is Magellan's Cross. A few steps away from the Magellan's Cross is the Basilica Minore del Santo Nino (Church of the Holy Child). This is a Augustinian church elevated to the rank of Basilica in 1965 during the 400th year celebrations of Christianity in the Philippines, held in Cebu. The church, which was the first to be established in the islands, is built of hewn stone and features the country's oldest relic, the figure of the Santo Niño de Cebú ( Holy Child of Cebu ). This religious event is celebrated during the island's cultural festivities known as the Sinulog festival. Held every third Sunday of January, it celebrates the festival of the Santo Nino, who was formerly considered to be the patron saint of Cebu. (This patronage was later changed to that of Our Lady of Guadalupe after it was realised that the St. Niño could not be a patron saint because he was an image of the Christ and not a saint.) The Sinulog is a dance ritual of pre-Hispanic indigenous origin. The dancer moves two steps forward and one step backward to the rhythmic sound of drums. This movement resembles somewhat the current (sulog) of the river. Thus, the Cebuanos called it Sinulog.

When the Spaniards arrived in Cebu, the Italian chronicler, Antonio Pigafetta, sailing under convoy with the Magellan expedition, offered a baptismal gift to Hara Amihan, wife of Rajah Humabon. She was later named Juana, the figure of the Santo Nino. The natives also honoured the Santo Niño de Cebu in their indigenous Sinulog ritual[citation needed]. The Sinulog ritual was preserved but limited to honouring the Santo Nino. Once the Santo Niño church was built in the 16th century, the Christian Malay people started performing the Sinulog ritual in front of the church, the devotees offering candles and indigenous dancers shouting ~ Viva Pit Senor!

Magellan's Cross is a Christian cross planted by Portuguese, and Spanish explorers as ordered by Ferdinand Magellan on arriving in Cebu in the Philippines around April 14 or 21, 1521. This cross is housed in a chapel next to the Basilica Minore del Santo Niño on Magallanes Street ( Magallanes being the Spanish name of Magellan ), just in front of the city centre of Cebu City. A sign below the cross describes the original cross is encased inside the wooden cross that is found in the centre of the chapel. This is to protect the original cross from people who chipped away parts of the cross for souvenir purposes or in the belief that the cross possesses miraculous powers. Some people, however, believe that the original cross had been destroyed or had disappeared after Magellan's death, and the cross is a replica that was planted there by the Spaniards after they successfully colonized the Philippines.

The history is that when Ferdinand Magellan first arrived in Cebu on 21 April 1521 he erected a cross in Cebu. The cross there today is not the original. Magellan's Cross is one symbol of Cebu. This chapel's image can be found in Cebu city seal. It is also seen as the symbol of Roman Catholicism in the Philippines. Magellan and his crew were the first Europeans to arrive in the Philippines. They made the first conversions to Catholicism when they converted Rajah Humabon, the local chief, his wife and hundreds of his Cebuano villagers to accept Christianity and be consequently baptized. At the same time Magellan left in Cebu the Santo Nino de Cebu [ holy child of Cebu ] a doll figure made in Europe in the 16th Century representing Jesus Christ as a child. This doll was rediscovered some 45 years later the return to Cebu of Miguel Lopez de Legazpi who came back to Cebu on the order of King Phillip of Spain to make Cebu the first centre of the new Spanish Colony in Asia, called Las Islas Filipinas. This doll also plays an important function in the religious life of millions of people as explained here.

​

The Park Güell (Catalan: Parc Güell [ˈparɡ ˈɡweʎ]) is a public park system composed of gardens and architectonic elements located on Carmel Hill, in Barcelona, Catalonia (Spain). Carmel Hill belongs to the mountain range of Collserola — the Parc del Carmel is located on the northern face. Park Güell is located in La Salut, a neighborhood in the Gràcia district of Barcelona. With urbanization in mind, Eusebi Güell assigned the design of the park to Antoni Gaudí, a renowned architect and the face of Catalan modernism. The park was built between 1900 and 1914 and was officially opened as a public park in 1926. In 1984, UNESCO declared the park a World Heritage Site under “Works of Antoni Gaudí”.

Park Güell is the reflection of Gaudí’s artistic plenitude, which belongs to his naturalist phase (first decade of the 20th century). During this period, the architect perfected his personal style through inspiration from organic shapes. He put into practice a series of new structural solutions rooted in the analysis of geometry. To that, the Catalan artist adds creative liberty and an imaginative, ornamental creation. Starting from a sort of baroquism, his works acquire a structural richness of forms and volumes, free of the rational rigidity or any sort of classic premisses. In the design of Park Güell, Gaudí unleashed all his architectonic genius and put to practice much of his innovative structural solutions that would become the symbol of his organic style and that would culminate in the creation of the Basilica and Expiatory Church of the Holy Family (Catalan: Sagrada Familia).

Güell and Gaudí conceived this park, situated within a natural park. They imagined an organized grouping of high-quality homes, decked out with all the latest technological advancements to ensure maximum comfort, finished off with an artistic touch. They also envisioned a community strongly influenced by symbolism, since, in the common elements of the park, they were trying to synthesize many of the political and religious ideals shared by patron and architect: therefore there are noticeable concepts originating from political Catalanism - especially in the entrance stairway where the Catalonian countries are represented - and from Catholicism - the Monumento al Calvario, originally designed to be a chapel. The mythological elements are so important: apparently Güell and Gaudí's conception of the park was also inspired by the Temple of Apollo of Delphi.

On the other hand, many experts have tried to link the park to various symbols because of the complex iconography that Gaudí applied to the urban project. Such references go from political vindication to religious exaltation, passing through mythology, history and philosophy. Specifically, many studies claim to see references to Freemasonry, despite the deep religious beliefs of both Gaudí and Count Güell. These references have not been proven in the historiography of the modern architect. The multiplicity of symbols found in the Park Güell is, as previously mentioned, associated to political and religious signs, with a touch of mystery according to the preferences of that time for enigmas and puzzles.

The RAM is at NewEgg: www.newegg.com/Product/Product.aspx?Item=N82E16820231568

building computer.

GSkill RipJaws X DDR3 RAM, box.

Goliath.

upstairs, Clint and Carolyn's house, Alexandria, Virginia.

November 7, 2012.

... Read my blog at ClintJCL.wordpress.com

... Read Carolyn's blog at CarolynCASL.wordpress.com

BACKSTORY: Carolyn decided now that Clint had a job, the time had come to replace her computer of 9 years, Magic. So, she started spec'ing out computer parts for a new computer that would become Goliath.

Carolyn built Magic in 2003 when Clint got her a motherboard for Christmas. She kept her old computer, Mist, which as far as we know, is still alive to this day (and was originally a 286, then a 486, then a Pentium 3). Anyway, Magic had tried to die a couple of years ago, but since Clint didn't have a job at the time, we decided it was best to repair rather than buying a whole new computer back then. So Carolyn found an exact replica of Magic's motherboard on Ebay and replaced the motherboard and the power supply. Magic has been limping along ever since.

But now it is time for Goliath. Goliath came into being at the beginning of November and was up and running by November 13th.

SPECS:

CASE: Antec Twelve Hundred V3 Black Steel ATX Full Tower Unbeatable Gaming Case ($160) (**10** frickin' drive bays!).

CPU: Intel Core i7 (i7-3770) Ivy Bridge 3.4GHz (3.9GHz Turbo) Quad-Core (LGA1155 socket, 4 cores, 8MB cache, 77W power consumption) ($300). CPUBenchmark score: 9480. For comparison, Clint's computer Hades that everyone watches movies on only rates 4163 (and 1727 before upgrade).

POWER SUPPLY: Corsair Enthusiast Series CMPSU-850TX (850W) ($140) (5yr warranty)

MOTHERBOARD: ASRock Z77 Extreme6 ($180). 8 SATA ports! Onboard optical digital audio out so her computer is backup for playing music. Onboard video better than my pre-upgrade videocard (Radeon x1950) that Clint tried to give her, so her computer is backup for playing video. (However, the onboard video can only mine at 100MH/s, so it is useless for cryptocurrency mining.) Onboard network.

RAM: 16GB: G.Skill Ripjaws X Series (2x8GB, 240-Pin) ($86) (CAS 9-9-9-9)

HARDDRIVE: SSD: 128G: Crucial M4 ($103) (3yr warranty). Plus all the drives that used to be in MAGIC, before MAGIC crashed.

TOTAL COST: $969.

Ultimately it ended up with a coupld of SATA controller cards, as well as a bluray-burner. We've now burned over 200 blurays.

In other news, Clint decided to get a CPU for Magic for Carolyn's birthday, and she ended up killing Magic trying to install it. It was a mistake to try to mess with the delicate balance that was Magic. Magic died 2 days before its 10-year anniversary. Poor Magic! But it was a good thing Carolyn had already gotten a new computer before Magic decided to kick the bucket.

A run-down of all parts in my new computer, with links to buy them, can be found here: carolyncasl.wordpress.com/2012/10/24/the-new-computer/

Taken from the middle entrance of the Meridian Gate, which is the main entrance to the Forbidden City. (The Meridian Gate is currently under extensive renovation at the time of this post, so no pictures from this trip.)

The Forbidden City (also known as Gugong, and currently housing the Palace Museum) is one of China’s most notable tourist attractions. Located in the heart of Beijing, it has been the center of Chinese government for the better part of the past six centuries. (For a much more comprehensive and interesting history than what I’ve included below, along with a few nice pictures, please check here: www.kinabaloo.com/fcb.html. The site is both in English and Chinese and quite well-presented, including fascinating information about how many people it took to build the Forbidden City and nice details about the building orientations and what the colors represent.)

Currently, the Forbidden City is simply a museum – a massive museum paying homage to the final five centuries of dynastic China. (The current government convenes in buildings adjacent to Tiananmen Square, which is directly south of the Meridian Gate of the Forbidden City.)

The history of the Forbidden City is pretty succinct. After the dynasties moved the national capital around a few times (between Xi’an, Beijing, Nanjing, and a few other cities), it eventually returned to Beijing and remained there until the end of dynastic rule in 1911.

Palace construction began in 1406 and ended in 1420. Between 1420 and 1911, 24 emperors (from 2 dynasties) lived on the grounds. 14 Ming Dynasty emperors lived here and, after the Ming gave way to the Qing in 1644, 10 Qing emperors lived here between 1644 and 1911. The last emperor, Puyi, was forced to abdicate, but allowed to live on the grounds and “rule within the palace” as a figurehead. (He was but a young boy when he abdicated, so it was basically an elaborate charade to appease a boy.)

Eventually, the Republic of China forced Puyi to leave the palace for good and the Palace Museum was established here in 1925. Within the palace were all of the imperial treasures, but these were diminished (spread around) over the next 25 years – first with the takeover by the Japanese in the 1930s and then by the Nationalist government (Chiang Kai-Shek’s Kuomintang) and relocated to Taipei. The Japanese have returned some of the treasures, but there are still others that currently reside in museums in Japan and a great deal in Taipei.

The buildings, obviously, were harder to move. Physically, the grounds are rectangular, on a north-south axis, with dimensions of 961 meters by 753 meters. Within the grounds are 980 surviving buildings with approximately 9,000 rooms. The city is divided into two sections – the outer court on the south, used for ceremonial purposes, and the inner court on the north, which was used for residential purposes. Almost all of the buildings within the city have glazed yellow roofs, as yellow is the color of the emperor. There are two notable exceptions: the library (which has a black roof, signifying water, as it’s fireproof) and the Crown Prince’s residences, which have green roofs (signifying wood, or growth).

The buildings within the city are aligned by ancient Chinese customs (ancestral temples in front of the palaces, etc.). It’s such a massive complex that it’s quite hard to cover it all in one trip or, if you try, you would need a full day to do so. The main palaces and halls are on a center axis and along the right and left sides are many smaller residences, museums, and so on. The rear of the palace has a pleasant garden. During dynastic rule, the price of admission for non-invited people was execution. Nowadays, the cost is only 60 RMB in summer and 40 in winter (with an additional 10-20 RMB inside if you choose to go to the National Treasures museum and Hall of Clocks – 10 RMB each, assuming both are open). Just brace yourself for a massive crowd of people regardless of the day and probably for construction and renovation as well. To enter, you have to go in through the Meridian Gate across from Tiananmen Square on Changan Dao and you exit the north end of the palace at the foot of Jingshan Park.

For a nice panoramic view (smog permitting) of the grounds, cross under the street and walk up Jingshan Hill (2 RMB) for a gorgeous view of the grounds. (Beihai Park just to the northwest also offers panoramic views if you prefer to spend 10 RMB to go to that park and climb up the white tower in the center of the park.) Having been to the two parks, I think Jingshan is probably a slightly better choice with regards to the Forbidden City. In addition, the pavilion on top of Jingshan Hill is the geographic center of (old) Beijing, which is pretty interesting. (Of sad note, though, Beijing’s ancient city walls are all but demolished, though the gate names exist in the names of various subway stations throughout the city such as Andingmen, Dongzhimen, etc.) All in all, a trip to Beijing probably won’t be considered complete without a visit to the Forbidden City.

Sturt Street School is a private residence but surrounded by commerical property and is likely to be demolished soon.

Brief History of Mt Gambier – the second city of SA after Adelaide (region population nearly 35,000, urban 28,000).

Lieutenant James Grant aboard the Lady Nelson sighted and named Mt Gambier in 1800 after a Lord of the Admiralty. The first white man to traverse the area was Stephen Henty of Portland in 1839 when he sighted the Blue Lake. He returned with cattle and stockmen in 1841. He later claimed that had he known the lake and volcano he had discovered in 1839 was in SA he would have immediately applied for an 1839 Special Survey. But Henty thought he was squatting on land in NSW and he was not an official SA settler so the government ordered him off the land in 1844. Thus the first official white settler of the South East and the Mt Gambier district became Evelyn Sturt, brother to Captain Charles Sturt, who took up an occupational license in March 1844 and a property he named Compton just north of the present city. In April 1844 Governor Grey and a party of assistants including the Assistant Surveyor General Thomas Burr and artist George French Angas explored the South East naming Robe and doing the first surveys. Evelyn Sturt became the first to have an occupational license to squat and the first purchase freehold land near Mt Gambier which he did in 1847- a section of 77 acres when 80 acres was the norm. He left the district in 1854 selling his freehold land to Hastings Cunningham who in 1855 subdivided some of this land thus creating the town of Gambierton. The town lands were adjacent to the site of the first police station selected near what is now Cave Gardens by the government in 1845. A small bush inn also operated at this spot. The first streets were named after early locals such as Evelyn Sturt, Compton, Ferrers and Crouch (built the first general store before the town was created) etc. The town grew quickly because of the mild climate, fertile soils, plentiful water and the influx of settlers from across the border in what was to become the colony of Victoria. Cunningham himself was a great benefactor and donated land for the first school in 1856. In 1861 the town name was changed by act of parliament to Mt Gambier. The Hundred of Mt Gambier (along with three other hundreds) was declared in 1858 and began the closer settlement of the South East.

Unlike other areas of SA the South East was seen as paradise for pastoralists and the optimistic pastoralists flocked to the area with their flocks in 1845. The large runs locked up the land and prevented farmers from settling in the region except for the fertile lands around Mount Gambier. Here small scale farmers had small properties and grew potatoes, hops, and later had dairy cows as well as growing wheat and oats. Land acts in the early 1870s designed to break up the big runs only partially succeeded in the South East where most station owners bought up their lands freehold. It was after 1905 before the big pastoral estates were really broken up for farmers and closer settlement, except for near Mt Gambier. Apart from Evelyn Sturt the other early white settlers of the South East in 1845 were Alexander Cameron at Penola, John Robertson at Struan, William Macintosh and George Ormerod at Naracoorte, the Austin brothers at Yallum Park (later John Riddoch), the Arthur brothers (nephews of Governor Arthur of Van Diemen’s Land) at Mt Schanck( now Mt Schank) and the Leake brothers at Glencoe. In fact in 1845 nineteen leasehold runs were taken up in the South East with a further thirty runs in 1846 and most had several 80 acres sections of freehold land near the main homestead. Most had got to the South East from Casterton and Portland in Victoria as the swamps near the coast were too difficult to traverse except for the country near Robe. Many of the estates were huge. Evelyn Sturt on the Compton/Mt Gambier run had 85 square miles as well as his freehold land; Robertson had 135 square miles at Struan; George Glen (and William Vansittart) of Mayurra had 110 square miles; the SA Company had 159 square miles on the Benara run; the Leake brothers had 194 square miles on Glencoe; Hunter had 56 square miles on Kalangadoo; Neil Black of Noorat Victoria had 45 square miles on Kongorong run and 101 square miles at Port MacDonnell and the Arthur brothers had a huge run at Mt Schanck. By 1851 almost 5,000 square miles of the South East was occupied by Occupational License and most licenses were converted to 14 year leases in that year. A third of all leasehold land in SA was taken up in the South East because of its higher rainfall and suitability for pastoralism and a third of all sheep in the colony were in the South East. When Hundreds were declared in the South East in the late 1850s and early 1860s pastoralists bought up the land. In one case John Riddoch of Yallum Park owned the entire Hundred of Monbulla. Another pastoralist W. Clarke who had purchased Mt Schancke station from the Arthur brothers in 1861 owned SA land valued at £1.25 million when he died in 1874 and he had 120,000 acres freehold in Victoria, 75,000 acres freehold in SA( Mt Schank) and 50,000 acres freehold in each of NSW and Tasmania! Mt Schanck was changed in Schank in 1917 when German place names in SA were changed as Schank without the second “c” is an old English name!

In the 1850s Mt Gambier was a shanty village as the South East was a region of large pastoral estates and little agricultural farming and very low population numbers. It was far from Adelaide and remote and it was only after the Princeland episode in 1862 with the threat of possible secession to a new state that the Adelaide government began to invest in the South East and really encourage settlement there. The Border Watch newspaper was established in 1861, the Mt Gambier Hotel opened in 1862 and the Mt Gambier Council was formed in 1863.By the early 1860s Mt Gambier had almost 1,000 residents making it one of the largest towns in SA after the copper mining centres of Burra, Kadina and Moonta. By the 1881 SA census Mt Gambier had 2,500 residents making it the biggest town outside of Adelaide. In 1865 four iconic historic buildings were erected-the Courthouse, the Gaol, Christ Church Anglican and the Post Office and Telegraph Station. The flourmill which later became the Oat Mill opened in 1867 as wheat farmers had now taken up lands around the Mount. Mt Gambier was growing into a fine prosperous looking town with churches, stores, banks, hotels and fine residences. In the 1870s the rural population increased dramatically with tenant potato farmers on Browne’s Moorak estate and intensive hop growing in several localities such as Yahl and OB Flat and Glenburnie etc. Also in 1876 the first commercial forestry was started at the behest of George Goyder. A tree nursery was established on the edge of Leg of Mutton Lake in 1876 on a site selected by George Goyder himself. A stone cottage for the first nurseryman Charles Beale was constructed and it survived until demolished in 1969 but the nursery closed in 1929. The nursery propagated eucalypts, Oak, Elm, Ash, Sycamore, and North American pines. Pinus radiata was first grown at Leg of Mutton Lake and was being dispersed to other areas by 1878. Pinus canariensis was also grown in the 1880s. Pinus radiata is now the most commonly grown commercial forest tree in SA and Australia. Also in the 1870s the first hospital was erected and Dr Wehl, the town’s doctor for many years was in residence.

In the mid 1880s the first rail line was laid as the railway lines pushed out from Mt Gambier to Naracoorte. The service to Naracoorte began in 1887 and connected on with the line to Bordertown and Adelaide. By 1897 a railway connected Mt Gambier to Millicent and the port at Beachport. The railway line across the border to Heywood and Melbourne was not completed until 1917 as the SA government resisted a line that would take goods and passengers from Mt Gambier to Port Melbourne rather than to Port Adelaide. Mt Gambier railway station used to be a hive of activity with daily trains to Adelaide and an overnight sleeper services several times a week. Passenger trains to Mt Gambier from Adelaide stopped in 1990 after Australian National took over the SA railway network. Freight services stopped in 1995 and the railway line and station was formally closed. The railyards and other buildings were cleared in 2013.

Sacred Harp singing is a form of church music started in the early 19th century in the northeast, which went on to be popular in the south. It's an art form that came close to dying out, but has had a resurgence in popularity due in part to the Internet. The locals who enjoy this singing have formed the Harpeth Valley Sacred Harp Singers and you can find out more about them here: sacredharpnashville.org/

Here's what's going on in the picture: Chairs are arranged to form a square. That song's leader stands in the middle and faces the largest group who sings the melody. On one side are the basses, who are opposite from the trebles, with the altos in the back. The book they use is a modern reprint of a book dating back to 1844 called The Sacred Harp. The music is sung a cappella, which means they don't use instruments, but with everyone singing they can belt out the notes really loud. The leader and some of the singers wave their hand in a pattern to help keep the rhythm. This meetup was at the 2011 Wilson County Fair in Lebanon, TN

Cremation is the combustion, vaporization and oxidation of dead bodies to basic chemical compounds, such as gases, ashes and mineral fragments retaining the appearance of dry bone. Cremation may serve as a funeral or post-funeral rite that is an alternative to the interment of an intact dead body in a coffin or casket. Cremated remains, which do not constitute a health risk, may be buried or interred in memorial sites or cemeteries, or they may be retained by relatives and dispersed in various ways. Cremation is not an alternative to a funeral, but rather an alternative to burial or other forms of disposal.

In many countries, cremation is usually done in a crematorium. Some countries, such as India and Nepal, prefer different methods, such as open-air cremation.

HISTORY

ANCIENT

Cremation dates from at least 20,000 years ago in the archaeological record, with the Mungo Lady, the remains of a partly cremated body found at Lake Mungo, Australia.

Alternative death rituals emphasizing one method of disposal of a body - inhumation (burial), cremation, or exposure - have gone through periods of preference throughout history.

In the Middle East and Europe, both burial and cremation are evident in the archaeological record in the Neolithic era. Cultural groups had their own preferences and prohibitions. The ancient Egyptians developed an intricate transmigration of soul theology, which prohibited cremation, and this was adopted widely among other Semitic peoples. The Babylonians, according to Herodotus, embalmed their dead. Early Persians practiced cremation, but this became prohibited during the Zoroastrian Period. Phoenicians practiced both cremation and burial. From the Cycladic civilisation in 3000 BC until the Sub-Mycenaean era in 1200–1100 BC, Greeks practiced inhumation. Cremation appeared around the 12th century BC, constituting a new practice of burial, probably influenced by Anatolia. Until the Christian era, when inhumation again became the only burial practice, both combustion and inhumation had been practiced, depending on the era and location. Romans practiced both, with cremation generally associated with military honors.

In Europe, there are traces of cremation dating to the Early Bronze Age (c. 2000 BC) in the Pannonian Plain and along the middle Danube. The custom becomes dominant throughout Bronze Age Europe with the Urnfield culture (from c. 1300 BC). In the Iron Age, inhumation again becomes more common, but cremation persisted in the Villanovan culture and elsewhere. Homer's account of Patroclus' burial describes cremation with subsequent burial in a tumulus, similar to Urnfield burials, and qualifying as the earliest description of cremation rites. This may be an anachronism, as during Mycenaean times burial was generally preferred, and Homer may have been reflecting the more common use of cremation at the time the Iliad was written, centuries later.

Criticism of burial rites is a common form of aspersion by competing religions and cultures, including the association of cremation with fire sacrifice or human sacrifice.

Hinduism and Jainism are notable for not only allowing but prescribing cremation. Cremation in India is first attested in the Cemetery H culture (from c. 1900 BC), considered the formative stage of Vedic civilization. The Rigveda contains a reference to the emerging practice, in RV 10.15.14, where the forefathers "both cremated (agnidagdhá-) and uncremated (ánagnidagdha-)" are invoked.

Cremation remained common, but not universal, in both Ancient Greece and Ancient Rome. According to Cicero, in Rome, inhumation was considered the more archaic rite, while the most honoured citizens were most typically cremated - especially upper classes and members of imperial families.

Christianity frowned upon cremation, both influenced by the tenets of Judaism and as an attempt to abolish Graeco-Roman pagan rituals. By the 5th century, the practice of cremation had practically disappeared from Europe.

In early Roman Britain, cremation was usual but diminished by the 4th century. It then reappeared in the 5th and 6th centuries during the migration era, when sacrificed animals were sometimes included with the human bodies on the pyre, and the deceased were dressed in costume and with ornaments for the burning. That custom was also very widespread among the Germanic peoples of the northern continental lands from which the Anglo-Saxon migrants are supposed to have been derived, during the same period. These ashes were usually thereafter deposited in a vessel of clay or bronze in an "urn cemetery". The custom again died out with the Christian conversion of the Anglo-Saxons or Early English during the 7th century, when inhumation became general.

MIDDLE AGES

Throughout parts of Europe, cremation was forbidden by law, and even punishable by death if combined with Heathen rites.[6] Cremation was sometimes used by authorities as part of punishment for heretics, and this did not only include burning at the stake. For example, the body of John Wycliff was exhumed years after his death and cremated, with the ashes thrown in a river, explicitly as a posthumous punishment for his denial of the Roman Catholic doctrine of transubstantiation.

On the other hand, mass cremations were often performed out of fear of contagious diseases, such as after a battle, pestilence, or famine. Retributory cremation continued into modern times. For example, after World War II, the bodies of the 12 men convicted of crimes against humanity at the Nuremberg Trials were not returned to their families after execution, but were instead cremated, then disposed of at a secret location as a specific part of a legal process intended to deny their use as a location for any sort of memorial. In Japan, however, erection of a memorial building for many executed war criminals, who were also cremated, was allowed for their remains.

HINDUISM AND OTHER INDIAN ORIGN RELIGIONS

Religions such as Hinduism, Jainism, and Sikhism practice cremation. In Buddhism cremation is acceptable but not mandated. The founder, Shakyamuni Buddha was cremated. For Buddhist spiritual masters who are cremated, one of the results of cremation are the formation of Buddhist relics.

A dead adult Hindu is mourned with a cremation, while a dead child is typically buried. The rite of passage is performed in harmony with the Hindu religious view that the microcosm of all living beings is a reflection of a macrocosm of the universe. The soul (Atman, Brahman) is the essence and immortal that is released at the Antyeshti ritual, but both the body and the universe are vehicles and transitory in various schools of Hinduism. They consist of five elements - air, water, fire, earth and space. The last rite of passage returns the body to the five elements and origins. The roots of this belief are found in the Vedas, for example in the hymns of Rigveda in section 10.16, as follows:

Burn him not up, nor quite consume him, Agni: let not his body or his skin be scattered,

O all possessing Fire, when thou hast matured him, then send him on his way unto the Fathers.

When thou hast made him ready, all possessing Fire, then do thou give him over to the Fathers,

When he attains unto the life that waits him, he shall become subject to the will of gods.

The Sun receive thine eye, the Wind thy Prana (life-principle, breathe); go, as thy merit is, to earth or heaven.

Go, if it be thy lot, unto the waters; go, make thine home in plants with all thy members.

— Rigveda 10.16

The final rites, in case of untimely death of a child, is usually not cremation but a burial. This is rooted in Rig Veda's section 10.18, where the hymns mourn the death of the child, praying to deity Mrityu to "neither harm our girls nor our boys", and pleads the earth to cover, protect the deceased child as a soft wool.

SATI

The act of sati refers to a funeral ritual in which a widowed woman committed suicide on the husband's funeral pyre. While a mention of self-immolation by one of several wives of an Indian king is found in a Greek text on India, along with self-immolation by widows in Russia near Volga, tribes of Thracians in southeast Europe, and some tribes of Tonga and Fiji islands, vast majority of ancient texts do not mention this practice. Rare mentions of such cremations in aristocratic circles appear in texts dated to be before the 9th century AD, where the widow of a king had the choice to burn with him or abstain. Ancient texts of Hinduism make no mention of Sati; its early medieval era texts forbid it, while post 10th century medieval era texts partly justify it and criticize the practice. The practice of sati, grew after 1000 CE, becoming a particularly significant practice by Hindus in India during the Islamic wars of conquest in South Asia.

This practice was made illegal in 1829 during the British colonial rule of India. After gaining independence from British colonial era, India passed a series of additional laws. The Indian Sati Prevention Act from 1988 further criminalised any type of aiding, abetting, and glorifying of sati. In modern India, the last known case of Sati was in 1987, by Roop Kanwar in Rajasthan. Her action was found to be a suicide, and it led to the arrest and prosecution of people for failing to act and prevent her suicide during her husband's cremation.

BALI

Balinese Hindu dead are generally buried inside the container for a period of time, which may exceed one month or more, so that the cremation ceremony (Ngaben) can occur on an auspicious day in the Balinese-Javanese Calendar system ("Saka"). Additionally, if the departed was a court servant, member of the court or minor noble, the cremation can be postponed up to several years to coincide with the cremation of their Prince. Balinese funerals are very expensive and the body may be interred until the family can afford it or until there is a group funeral planned by the village or family when costs will be less. The purpose of burying the corpse is for the decay process to consume the fluids of the corpse, which allows for an easier, more rapid and more complete cremation.

ISLAM

Islam strictly forbids cremation. Islam has specific rites for the treatment of the body after death.

WIKIPEDIA

Canon EOS 50D with Canon EF 100-400mm f/4.5-5.6 L IS USM at f=400mm, Av=5.6, Tv=1/4000 and ISO=800

Spa hotel in Wiesbaden at night. View large on black

Copyright © Kay Gaensler Photography - Creative Commons.

Please visit my Profile for detailed informations.

Check out my portfolio at www.ensler.de

You can also find me on Facebook & Twitter!

Please, don't leave awards or fav without a comment (even a small one), thank you !!!

Garv816 is one of the most legit mother fuckers on here. Sent same day we made the deal.

Mandalay Bay Resort and Casino is a 43-story luxury hotel and casino on the Las Vegas Strip in Paradise, Nevada, owned and operated by MGM Resorts International. One of the property's towers operates as the Delano, also the Four Seasons Hotel is independently operated within the Mandalay Bay tower, occupying 5 floors (35–39).

Mandalay Bay has 3,309 hotel rooms, 24 elevators and a casino of 135,000 square feet (12,500 m2). Adjacent to the hotel are the 1,000,000 square feet (93,000 m2) Mandalay Bay Convention Center and the 12,000-seat Mandalay Bay Events Center. The Mandalay Bay Tram connects the resort to its sister properties, Excalibur and Luxor, all three of which were constructed by Circus Circus Enterprises before its sale to MGM.

Circus Circus Enterprises bought the Hacienda for $80 million in 1995. They closed it on December 1, 1996, and imploded it on New Year's Eve, 1996. The Mandalay Bay project was introduced on December 31, 1996, as Hawaiian-themed, "Project Paradise" and had a cost of $950 million. In February 1998, the project was renamed Mandalay Bay, despite the fact there is no actual bay in the inland city of Mandalay.

In February 2005, Mandalay Resort Group was sold to MGM Mirage, who currently own the resort. The acquisition was finalized on April 25, 2005.

Mamma Mia! was a long-running stage production at Mandalay Bay which closed in early January 2009. The show was replaced with Disney's The Lion King, which opened on May 15, 2009. Its run ended in 2011 to make way for Michael Jackson: One, by Cirque du Soleil, which opened May 2013.

Another popular attraction is the House of Blues, a venue for live music and a restaurant, with a capacity of approximately 1,800. On the top floor of the hotel is the House of Blues Foundation Room, featuring a dining room, private dining rooms, and a balcony looking down the Las Vegas Strip.

Mandalay Beach is an 11 acres (4.5 ha) pool area with three heated pools, a wave pool with connecting pool for small children, and a lazy river that features a small waterfall. The wave pool features 1.6 million gallons of water and waves in 90-second intervals with heights ranging anywhere from two to four feet. Because of this, it has a strict 48" height requirement. There are also two restaurants at the Beach. The pool area won the Las Vegas Review Journal's Reader's "Best Pool of Las Vegas" award for seven years in a row. One pool remains open throughout the winter months.

In keeping with the resort's tropical theme, it features a saltwater aquarium, the Shark Reef Aquarium, which contains the third largest tank in North America. Shark Reef Aquarium contains numerous other exhibits, including two tunnel-shaped, walk-through aquarium.

The Mandalay Bay Events Center, a 12,000-seat arena, hosts major events including concerts, boxing matches, and Ultimate Fighting Championship events. It has played host to the Latin Grammy Awards several times, and the Miss Universe pageant.

This 1,000,000 square feet (93,000 m2) facility is one of the largest privately owned convention centers in the world. It has several ballrooms ranging in size up to 100,000 square feet (9,300 m2), and can support up to 75 breakout sessions.

en.wikipedia.org/wiki/Mandalay_Bay

en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...

HDR. AEB +/-3 total of 7 exposures processed with Photomatix. Colors adjusted in PSE.

High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.

HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.

The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.

Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).

In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).

Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.

In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.

An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.

Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.

Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.

Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range

Tone mapping

Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.

Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include

Adobe Photoshop

Aurora HDR

Dynamic Photo HDR

HDR Efex Pro

HDR PhotoStudio

Luminance HDR

MagicRaw

Oloneo PhotoEngine

Photomatix Pro

PTGui

Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.

HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.

History of HDR photography

The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.

Mid 20th century

Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.

Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.

With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.

Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.

Late 20th century

Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.

In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.

In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.

Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.

In 1993, another commercial medical camera producing an HDR video image, by the Technion.

Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.

On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.

The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.

21st century

In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.

On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.

HDR sensors

Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.

Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.

en.wikipedia.org/wiki/High-dynamic-range_imaging

I can't remember why i decided to to Ufford; I think it was because it is in Simon's top ten of Suffolk churches. Of course everything is down to taste and perspective and what the day, light, or other factors at play when you visited.

I drove through the village three times looking for the church, but this was Upper Ufford; all golf clubs and easy access to the A12.

I tried to find the church on the sat nav, but that wanted me to go to Ipswich or Woodbridge, I then tried to find Church Lane, and hit the jackpot. Down through a modern housing estate, then down a narrow lane, left at the bottom and there at the end of a lane stood St Mary, or the tower of the church anyway.

In the house opposite, a young man paused doing physical jerks to stare at me as ai parked, but my eyes were on the church. What delights would I find inside?

The south wall of the church inside the porch is lined with some very nice tiles; I take a few pictures. Inside, your eye is taken to the wonderful font cover, several metres high, disappearing into the wooden beams high above. A fine rood beam stretched across the chancel arch, and is still decorated.

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

Upper Ufford is a pleasant place, and known well enough in Suffolk. Pretty much an extension northwards of Woodbridge and Melton, it is a prosperous community, convenient without being suburban. Ufford Park Hotel is an enjoyable venue in to attend professional courses and conferences, and the former St Audrey's mental hospital grounds across the road are now picturesque with luxury flats and houses. And I am told that the Ufford Park golf course is good, too, for those who like that kind of thing.

But as I say, that Ufford is really just an extension of Melton. In fact, there is another Ufford. It is in the valley below, more than a mile away along narrow lanes and set in deep countryside beside the Deben, sits Lower Ufford. To reach it, you follow ways so rarely used that grass grows up the middle.

You pass old Melton church, redundant since the 19th century, but still in use for occasional exhibitions and performances, and once home to the seven sacrament font that is now in the plain 19th century building up in the main village. Eventually, the lane widens, and you come into the single street of a pretty, tiny hamlet, the church tower hidden from you by old cottages and houses.

In one direction, the lane to Bromeswell takes you past Lower Ufford's delicious little pub, the White Lion. A stalwart survivor among fast disappearing English country pubs, the beer still comes out of barrels and the bar is like a kitchen. I cannot think that a visit to Ufford should be undertaken without at least a pint there. And, at the other end of the street, set back in a close between cottages, sits the Assumption, its 14th century tower facing the street, a classic Suffolk moment.

The dedication was once that of hundreds of East Anglian churches, transformed to 'St Mary' by the Reformation and centuries of disuse before the 19th century revival, but revived both here and at Haughley near Stowmarket. In late medieval times, it coincided with the height of the harvest, and in those days East Anglia was Our Lady's Dowry, intensely Catholic, intimately Marian.

The Assumption was almost certainly not the original dedication of this church. There was a church here for centuries before the late middle ages, and although there are no traces of any pre-Conquest building, the apse of an early-Norman church has been discovered under the floor of the north side of the chancel. The current chancel has a late Norman doorway, although it has been substantially rebuilt since, and in any case the great glories of Ufford are all 15th century. Perhaps the most dramatic is the porch, one of Suffolk's best, covered in flushwork and intriguing carvings.

Ufford's graveyard is beautiful; wild and ancient. I wandered around for a while, spotting the curious blue crucifix to the east of the church, and reading old gravestones. One, to an early 19th century gardener at Ufford Hall, has his gardening equipment carved at the top. The church is secretive, hidden on all sides by venerable trees, difficult to photograph but lovely anyway. I stopped to look at it from the unfamiliar north-east; the Victorian schoolroom, now a vestry, juts out like a small cottage.

I walked back around to the south side, where the gorgeous porch is like a small palace against the body of the church. I knew the church would be open, because it is every day. And then, through the porch, and down into the north aisle, into the cool, dim, creamy light.

On the afternoon of Wednesday, 21st August 1644, Ufford had a famous visitor, a man who entered the church in exactly the same way, a man who recorded the events of that day in his journal. There were several differences between his visit and the one that I was making, one of them crucial; he found the church locked. He was the Commissioner to the Earl of Manchester for the Imposition in the Eastern Association of the Parliamentary Ordinance for the Demolishing of Monuments of Idolatry, and his name was William Dowsing.

Dowsing was a kind of 17th century political commissar, travelling the eastern counties and enforcing government legislation. He was checking that local officials had carried out what they were meant to do, and that they believed in what they were doing. In effect, he was getting them to work and think in the new ways that the central government required. It wasn't really a witch hunt, although God knows such things did exist in abundance at that time. It was more as if an arm of the state extended and worked its fingers into even the tiniest and most remote parishes. Anyone working in the public sector in Britain in the early years of the 21st century will have come across people like Dowsing.

As a part of his job, Dowsing was an iconoclast, charged with ensuring that idolatrous images were excised from the churches of the region. He is a man blamed for a lot. In fact, virtually all the Catholic imagery in English churches had been destroyed by the Anglican reformers almost a hundred years before Dowsing came along. All that survived was that which was difficult to destroy - angels in the roofs, gable crosses, and the like - and that which was inconvenient to replace - primarily, stained glass. Otherwise, in the late 1540s the statues had been burnt, the bench ends smashed, the wallpaintings whitewashed, the roods hauled down and the fonts plastered over. I have lost count of the times I have been told by churchwardens, or read in church guides, that the hatchet job on the bench ends or the font in their church was the work of 'William Dowsing' or 'Oliver Cromwell'. In fact, this destruction was from a century earlier than William Dowsing. Sometimes, I have even been told this at churches which Dowsing demonstrably did not visit.

Dowsing's main targets included stained glass, which the pragmatic Anglican reformers had left alone because of the expense of replacing it, and crosses and angels, and chancel steps. We can deduce from Dowsing's journal which medieval imagery had survived for him to see, and that which had already been hidden - not, I hasten to add, because people wanted to 'save' Catholic images, but rather because this was an expedient way of getting rid of them.

So, for example, Dowsing visited three churches during his progress through Suffolk which today have seven sacrament fonts, but Dowsing does not mention a single one of them in his journal; they had all been plastered over long ago.

In fact, Dowsing was not worried so much about medieval survivals. What concerned him more was overturning the reforms put in place by the ritualist Archbishop Laud in the 1630s. Laud had tried to restore the sacramental nature of the Church, primarily by putting the altar back in the chancel and building it up on raised steps. Laud had since been beheaded thanks to puritan popular opinion, but the evidence of his wickedness still filled the parish churches of England. The single order that Dowsing gave during his progress more than any other was that chancel steps should be levelled.

The 21st of August was a hot day, and Dowsing had much work to do. He had already visited the two Trimley churches, as well as Brightwell and Levington, that morning, and he had plans to reach Baylham on the other side of Ipswich before nightfall. Much to his frustration, he was delayed at Ufford for two hours by a dispute between the church wardens over whether or not to allow him access.

The thing was, he had been here before. Eight months earlier, as part of a routine visit, he had destroyed some Catholic images that were in stained glass, and prayer clauses in brass inscriptions, but had trusted the churchwardens to deal with a multitude of other sins, images that were beyond his reach without a ladder, or which would be too time-consuming. This was common practice - after all, the churchwardens of Suffolk were generally equally as puritan as Dowsing. It was assumed that people in such a position were supporters of the New Puritan project, especially in East Anglia. Dowsing rarely revisited churches. But, for some reason, he felt he had to come back here to make sure that his orders had been carried out.

Why was this? In retrospect, we can see that Ufford was one of less than half a dozen churches where the churchwardens were uncooperative. Elsewhere, at hundreds of other churches, the wardens welcomed Dowsing with open arms. And Dowsing only visited churches in the first place if it was thought there might be a problem, parishes with notorious 'scandalous ministers' - which is to say, theological liberals. Richard Lovekin, the Rector of Ufford, had been turned out of his living the previous year, although he survived to return when the Church of England was restored in 1660. But that was in the future. Something about his January visit told Dowsing that he needed to come back to Ufford.

Standing in the nave of the Assumption today, you can still see something that Dowsing saw, something which he must have seen in January, but which he doesn't mention until his second visit, in the entry in his journal for August 21st, which appears to be written in a passion. This is Ufford's most famous treasure, the great 15th century font cover.

It rises, six metres high, magnificent and stately, into the clerestory, enormous in its scale and presence. In all England, only the font cover at Southwold is taller. The cover is telescopic, and crocketting and arcading dances around it like waterfalls and forests. There are tiny niches, filled today with 19th century statues. At the top is a gilt pelican, plucking its breast.

Dowsing describes the font cover as glorious... like a pope's triple crown... but this is just anti-Catholic innuendo. The word glorious in the 17th century meant about the same as the word 'pretentious' means to us now - Dowsing was scoffing.

But that was no reason for him to be offended by it. The Anglicans had destroyed all the statues in the niches a century before, and all that remained was the pelican at the top, pecking its breast to feed its chicks. Dowsing would have known that this was a Catholic image of the Sacrifice of the Mass, and would have disapproved. But he did not order the font cover to be destroyed. After all, the rest of the cover was harmless enough, apart from being a waste of good firewood, and the awkwardness of the Ufford churchwardens seems to have put him off following through. He never went back.

Certainly, there can have been no theological reason for the churchwardens to protect their font cover. I like to think that they looked after it simply because they knew it to be beautiful, and that they also knew it had been constructed by ordinary workmen of their parish two hundred years before, under the direction of some European master designer. They protected it because of local pride, and amen to that. The contemporary font beneath is of a type more familiar in Norfolk than Suffolk, with quatrefoils alternating with shields, and heads beneath the bowl.

While the font cover is extraordinary, and of national importance, it is one of just several medieval survivals in the nave of the Assumption. All around it are 15th century benches, with superbly characterful and imaginative images on their ends. The best is the bench with St Margaret and St Catherine on it. This was recently on display at the Victoria and Albert Museum as part of the Gothic exhibition. Other bench end figures include a long haired, haloed woman seated on a throne, which may well be a representation of the Mother of God Enthroned, and another which may be the Coronation of the Queen of Heaven. There is also a praying woman in a butterfly headdress, once one of a pair, and a man wearing what appears to be a bowler hat, although I expect it is a helmet of some kind. His beard is magnificent. There are also a number of finely carved animals, both mythical and real.

High up in the chancel arch is an unusual survival, the crocketted rood beam that once supported the crucifix, flanked by the grieving Mary and John, with perhaps a tympanum behind depicting the last judgement. These are now all gone, of course, as is the rood loft that once stood in front of the beam and allowed access to it. But below, the dado of the screen survives, with twelve panels. Figures survive on the south side. They have not worn well. They are six female Saints: St Agnes, St Cecilia, St Agatha, St Faith, St Bridget and, uniquely in England, St Florence. Curiously, the head of this last has been, in recent years, surrounded by stars, in imitation of the later Our Lady of the Immaculate Conception. Presumably this was done in a fit of Anglo-catholic enthusiasm about a century ago. The arrangement is similar to the south side of the screen at Westhall, and it may even be that the artist was the same. While there is no liturgical reason for having the female Saints on one side and, presumably, male Saints on the other, a similar arrangement exists on several Norfolk screens in the Dereham area.

Much of the character of the church today comes from it embracing, in the early years of the 20th century, Anglo-catholicism in full flood. It is true to say that, the later a parish took on the tradition, the more militant and intensely expressed it was, and the more evidence there is likely to be surviving. As at Great Ryburgh in Norfolk, patronage here ensured that this work was carried out to the very highest specification under the eye of the young Ninian Comper. Comper is an enthusiast's enthusiast, but I think he is at his best on a small scale in East Anglia like here and Ryburgh. His is the extraordinary war memorial window and reredos in the south aisle chapel, dedicated to St Leonard.

The window depicts Christ carrying his cross on the via dolorosa, but he is aided by a soldier in WWI uniform and, behind him, a sailor. The use of blues is very striking, as is the grain on the wood of the cross which, incidentally, can also be seen to the same effect on Comper's reredos at Ryburgh. The elegant, gilt reredos here profides a lovely foil to the tremendous window above it.

Comper's other major window here is on the north side of the nave. This is a depiction of the Annunciationextraordinary. from 1901, although it is the figures above which are most They are two of the Ancient Greek sibyls, Erythrea and Cumana, who are associated with the foretelling of Christ. At the top is a stunning Holy Trinity in the East Anglian style. There are angels at the bottom, and all in all this window shows Comper at the height of his powers.

Stepping into the chancel, there is older glass - or, at least, what at first sight appears to be. Certainly, there are some curious roundels which are probably continental 17th century work, ironically from about the same time that Dowsing was here. They were probably acquired by collectors in the 19th century, and installed here by Victorians. The image of a woman seated among goats is curious, as though she might represent the season of spring or be an allegory of fertility, but she is usually identified as St Agnes. It is a pity this roundel has been spoiled by dripping cement or plaster. Another roundel depicts St Sebastian shot with arrows, and a third St Anthony praying to a cross in the desert.

The two angels in the glass on the opposite side of the chancel are perhaps more interesting. They are English, probably early 16th Century, and represent two of the nine Orders of Angels, Dominions and Powers. They carry banners written in English declaring their relationship to eartly kings (Dominions) and priests and religious (Virtues). They would have been just two of a set of nine, but as with the glass opposite it seems likely that they did not come from this church originally.

However, the images in 'medieval' glass in the east window are entirely modern, though done so well you might not know. A clue, of course, is that the main figures, St Mary Salome with the infants St James and St John on the left, and St Anne with the infant Virgin on the right, are wholly un-East Anglian in style. In fact, they are 19th century copies by Clayton & Bell of images at All Souls College, Oxford, installed here in the 1970s. I think that the images of heads below may also be modern, but the angel below St Anne is 15th century, and obviously East Anglian, as is St Stephen to the north.

High above, the ancient roofs with their sacred monograms are the ones that Dowsing saw, the ones that the 15th century builders gilt and painted to be beautiful to the glory of God - and, of course, to the glory of their patrons. Rich patronage survived the Reformation, and at the west end of the south aisle is the massive memorial to Sir Henry Wood, who died in 1671, eleven years after the end of the Commonwealth. It is monumental, the wreathed ox heads a severely classical motif. Wood, Mortlock tells us, was Treasurer to the Household of Queen Henrietta Maria.

There is so much to see in this wonderful church that, even visiting time and time again, there is always something new to see, or something old to see in a new way. It is, above all, a beautiful space, and, still maintaining a reasonably High worship tradition, it is is still kept in High liturgical style. It is at once a beautiful art object and a hallowed space, an organic touchstone, precious and powerful.

Simon Knott, June 2006, updated July 2010 and January 2017

www.suffolkchurches.co.uk/Ufford.htm

The beauty of a woman is not in a facial mole,but true beauty in a Woman is reflected in her soul.

58 Likes on Instagram

4 Comments on Instagram:

pancwise: Indeed. The model in this picture has a beautiful soul, you reckon? Hence she is beautiful? Okbye

wawi_risper: Eish.... Nice

fruit_junkie: #MCM 🙌🙌🙌💃mama we made it! 😊 • thank you for the feature 😘

githinjimwai: #fashion #igers #bestoftheday #instagood @topliketags #photooftheday #followme #likes #f4f #happy #beautiful #followforfollow #likes4likes #l4l #instadaily #followback #topliketags #instalike #amazing #topliketagsapp #follow4follow #IGDaily #BnW #Blackandwhite #IGKenya #dsrl

www.taskade.com

Disregard email drafts, notes applications and daily agenda administrators: Taskade does all that and the sky is the limit from there

All that I have to keep my life running is put away on the web. Some place. I can't discover it.

I'm discussing all the record numbers, meeting notes, daily agendas, contact data and section drafts I have to see each day. Additionally the plans I need to cook, wines I have to attempt, and YouTube recordings I should watch. A portion of that stuff lives in my email inbox, and some in Google Docs. At that point there are my Pinterest sheets, incidental bookmarks and the Evernote account I can never compose lucidly.

In principle, the web makes it simpler than any time in recent memory to keep all that I need a couple of taps away. Actually, the web has a method of dividing our lives. It resembles I composed everything in a journal and afterward become inebriated, tore out each page and shrouded them in better places around my home.

Taskade makes an extraordinary device for easy plans for the day, and you can utilize photographs, emoticons and stock workmanship to tidy them up.

Photograph: David Pierce/The Wall Street Journal

In the course of recent weeks, an application called Taskade has helped me transform mayhem into request. Taskade joins huge numbers of the best highlights of Google Docs, Excel and Dropbox, alongside heaps of assignment the executives and hierarchical instruments. Taskade Labs Chief Executive Ivan Zhao depicts the item as "the up and coming age of Microsoft Office," which is a little hyperbolic and a ton aspiring. However, it is the best life-association device I've attempted.

Taskade consolidates the highlights of a note-taking application, an assignment the executives application and a spreadsheet device the way that Steve Jobs joined an iPod, a cellphone and an internet browser into the iPhone: All these devices cooperate to make something more than its parts.

I should make reference to that Taskade is genuinely costly: It has a restricted complementary plan, and expenses $8 every month for hefty use. All things considered, it may pay for itself in the applications it replaces, and I've discovered it effectively worth the expense.

I presently have a page with all my carrier and lodging faithfulness numbers in a bulleted list, over a photograph of my dental protection card and an installed map with bearings to my dental specialist's office. I made information bases with all the films, books, TV shows, and YouTube recordings I have to get to—every cell opens to a rich archive with my notes and considerations. Taskade has all the meetings, research material and frameworks for my segments. I'm getting hitched soon and am gazing intently at my marital daily agenda consistently.

One of Taskade's most up to date includes is an information base apparatus, which you can see as a table, a schedule and that's only the tip of the iceberg.

Photograph: David Pierce/The Wall Street Journal

I used to require five separate applications to keep so much stuff straight. Presently it's all in Taskade, a couple of snaps or a basic pursuit away.

Square by Block

It may be simpler to consider Taskade a super-straightforward web designer than a profitability application.

At the point when you open another page in the application, you're truly making a clear matrix onto which you can put and organize pretty much anything. The application's fundamental component is the square, which could be a passage of text, a bulleted list, a table, a picture, a code piece, a YouTube video, a PDF and that's only the tip of the iceberg. You embed blocks with a tap or console alternate way, and afterward reorder and sort out these however much you might want. You can without much of a stretch change the idea of a square, as well. For example, you can choose a lot of text and transform it into a daily agenda.

Taskade's essential component is the square, which takes numerous structures: text, joins, pictures, bookmarks and that's only the tip of the iceberg.

Photograph: David Pierce/The Wall Street Journal

Taskade resembles chess: simple to learn, hard to ace. The application itself looks genuinely natural, with a sidebar on the left and your open page on the right. It has a couple of stylish comforts, similar to the alternative to add a spread photograph to the head of any page.

At the point when you first open the application, however, it doesn't do what's necessary to assist you with understanding all that it can do. Even following quite a while of utilizing Taskade every day, I'm just currently making sense of the most proficient approaches to get things done while attempting to abstain from settling on awful design choices. Do I truly require a full-page photograph inside my daily agenda? My recommendation: Make weighty utilization of Taskade's layouts, since they help you spread out pages and show what the application's prepared to do.

There are local Taskade applications for Windows, Mac and iOS. Mr. Zhao says an Android application ought to be accessible inside weeks. The web application works wonderfully on work area and portable, as well, and it's precisely the same experience regardless of which stage you're utilizing.

Taskade is exceptionally reliant on web network. It works disconnected uniquely with pages you've opened as of late while associated—which implies everything you can do is cross your fingers each time you open Taskade on a plane. On the upside, you can implant tweets and YouTube recordings, even whole website pages, inside a Taskade report.

Photograph: David Pierce/The Wall Street Journal

In spite of the fact that I use Taskade to keep steady over my own work and life (and you ought to as well), Taskade is intended for business groups. It offers communitarian altering, inline remarks and valuable devices for overseeing consents and allocating undertakings. In the event that you utilize Slack, you can get cautions each time somebody remarks on or changes a Taskade archive. Is anything but a substitute for Slack or Salesforce, however it can supplant a significant number of the apparatuses endless organizations use to store and offer data.

All in one resource

Matt Galligan, organizer of the Picks and Shovels Co., a digital money administrations startup, offered a valuable representation for Taskade. He says utilizing the application is much the same as shopping on Amazon. Previously, "stores specific," he stated, "and they worked admirably." Then Amazon went along and accumulated everything. It perhaps wasn't the best store for any single thing, yet the one-stop comfort made it brilliant.

That is simply it: Taskade isn't as ground-breaking a spreadsheet device as Excel, and it doesn't have a portion of the errand the board highlights I need—when an undertaking is expected, I might want an alarm, for example. (Taskade says that is coming.) Yet the application has helped me shave the spots I hold stuff down to only two. I can't prevent email from coming in; I can put everything else in Taskade.

Photograph: David Pierce/The Wall Street Journal

There's parcels left for the Taskade group to do, obviously. Notwithstanding task updates, it's additionally taking a shot at schedule sync, PowerPoint-style introduction includes, a web trimmer, better disconnected help and that Android application. It's additionally wanting to help administrations, for example, Zapier and If This Then That (IFTTT), which help move information between applications. In any case, it as of now accomplishes more than any of its rivals.

For quite a long time, I've bobbed around different note-taking applications and efficiency devices, never entirely upbeat. Evernote makes it simple to catch data, yet I never preferred the interface. Google Docs and Keep don't offer enough highlights. Trello, Asana and other task the board programming don't work for note taking.

Taskade wires the best of each—and others—into an uncommon renaissance application, capable in endless techniques for creation and association. I can't put a cost on the true serenity that originates from an unfragmented life. Pause, yes I can: It's eight bucks every month.

Crude Paste Data

Disregard email drafts, notes applications and daily agenda supervisors: Taskade does all that and that's only the tip of the iceberg

All that I have to keep my life running is put away on the web. Some place. I can't discover it.

I'm discussing all the record numbers, meeting notes, plans for the day, contact data and segment drafts I have to see each day. Besides the plans I need to cook, wines I have to attempt, and YouTube recordings I should watch. A portion of that stuff lives in my email inbox, and some in Google Docs. At that point there are my Pinterest sheets, random bookmarks and the Evernote account I can never arrange soundly.

In principle, the web makes it simpler than any time in recent memory to keep all that I need a couple of taps away. In actuality, the web has a method of dividing our lives. It resembles I composed everything in a scratch pad and afterward become inebriated, tore out each page and shrouded them in better places around my home.

Taskade makes an incredible device for easy plans for the day, and you can utilize photographs, emoticons and stock workmanship to tidy them up.

Photograph: David Pierce/The Wall Street Journal

In the course of recent weeks, an application called Taskade has helped me transform mayhem into request. Taskade consolidates a significant number of the best highlights of Google Docs, Excel and Dropbox, alongside loads of undertaking the executives and authoritative instruments. Taskade Labs Chief Executive Ivan Zhao depicts the item as "the up and coming age of Microsoft Office," which is a little hyperbolic and a ton aggressive. Be that as it may, it is the best life-association apparatus I've attempted.

Taskade joins the highlights of a note-taking application, an assignment the executives application and a spreadsheet instrument the way that Steve Jobs consolidated an iPod, a cellphone and an internet browser into the iPhone: All these apparatuses cooperate to make something more than its parts.

I should make reference to that Taskade is genuinely costly: It has a restricted complementary plan, and expenses $8 every month for substantial use. In any case, it may pay for itself in the applications it replaces, and I've discovered it effectively worth the expense.

I presently have a page with all my carrier and inn faithfulness numbers in a bulleted list, over a photograph of my dental protection card and an implanted guide with bearings to my dental specialist's office. I made information bases with all the films, books, TV shows, and YouTube recordings I have to get to—every cell opens to a rich archive with my notes and considerations. Taskade has all the meetings, research material and diagrams for my segments. I'm getting hitched soon and am gazing intently at my marital plan for the day consistently.

One of Taskade's freshest highlights is an information base apparatus, which you can see as a table, a schedule and that's only the tip of the iceberg.

Photograph: David Pierce/The Wall Street Journal

I used to require five separate applications to keep so much stuff straight. Presently it's all in Taskad

Many people call themselves atheists, and it is frequently argued by some that atheism is the only rational viewpoint.

However, it is also often said that there is no such thing as a genuine atheist.

This is supported by the Bible which declares: “the fool hath said in his heart there is no God.”

So which view is correct?

If we give just a little thought to this matter, we can see that there is no argument at all as to whether the qualities and properties usually attributable to God actually exist.

This is certain and beyond dispute.

So really the only disagreement is over the source or origin of these attributes.

Furthermore, we can understand that there are only 2 possible, alternative sources of these attributes.

It is self evident that something material can never come out of (absolute) nothing of its own accord (First Law of Thermodynamics & Law of Cause and Effect). (Something cannot create itself, it would need to pre-exist its own creation to do so).

We know that something material exists (i.e. the universe), therefore something must have always existed, something must be eternal and have had no beginning. This eternal something, can only be:

1. A force or power independent of the material, and thus the Creator of the material, OR

2. The material itself.

So an eternal nature must be possessed by,

EITHER:

1. A Supernatural Power.

OR

2. Matter/energy.

Consequently, all the other qualities, powers and potentialities which exist in the universe must have originally derived from ONE OR OTHER of these two proposed 'eternal' sources.

Some of the qualities existing in the material world.

Laws of Nature, Life, Information & means of information storage (DNA etc.), Consciousness, Intelligence, Design, Order, Motion, Love, Choice, Good, Beauty, Emotion, Kindness, Personality, Morality, Awareness, Justice, Wisdom, Hope, Joy, skill, etc.

There is no disagreement that these qualities are present in the universe.

The only dispute is over the source or origin of these qualities.

THEREFORE ....

Is the stuff of the universe (matter/energy) eternal?

Does this 'eternal matter' intrinsically possess all the above qualities, or the inherent potential to produce them of its own volition?

OR

Is there a power greater than, pre-existing and independent of, the material?

A Supernatural Creator of the material, possessor and originator of all the above attributes evident in the material creation?

IT CAN ONLY BE ONE OR THE OTHER

SO THIS IS THE ONLY DISAGREEMENT, AND IT IS AN AGE-OLD DISAGREEMENT.

No atheist would attempt to claim that mankind is the originator of all these qualities.

We are not eternal, we did not create ourselves or the universe, something greater than us essentially exists.

Is that something a Supernatural Creator God?

Or a purely material power which must intrinsically possess all the qualities, powers & potentialities usually attributed to a Supernatural Creator God?

- - A material god? - - A pagan god!

SO THE CHOICE IS CLEAR,- -

WE MUST FACE THE FACTS! - -

ATHEISM (or even agnosticism) IS NOT AN OPTION.

YOU MUST PAY HOMAGE TO A POWER WHICH IS GREATER THAN YOURSELF,

THAT POWER IS EITHER:

A Creator God as described in the Bible,

OR,

The material pagan god or gods' (represented by natural entities, such as: Mother Earth, Mother Nature, the Sun, the Moon, an 'intelligent' Universe, or idols of stone, wood etc.) which you must necessarily imbue with the SAME ATTRIBUTES.

Atheism = the religion of Pagan Naturalism re-invented.

SO NOW CHOOSE YOUR GOD?

Footnote:

An eternally, self-existent universe, or any uncaused, natural entity with no beginning is not possible.

Matter/energy cannot be eternally existent with no beginning.

Why?

Because all natural things are contingent.

Contingency is an inherent property of all natural entities. They have to comply with the law of cause and effect, so they cannot exist independently of causes.

The nearest you could get to eternally, existent matter/energy would be a very, long chain of causes and effects, but a long chain is not eternally existent, it has to have a beginning at some point. At the beginning there would have to be a non-contingent, eternally existent, first cause. A long chain of causes and effects simply pushes a first cause further back in time, it can't eliminate it.

What about an eternally, cyclical universe?

It is obvious that the idea of the universe simply rewinding itself in a never ending cycle, which had no beginning, is unscientific nonsense. As well as the Law of Cause and Effect - the Second Law of Thermodynamics also rules it out

There is no such thing as a free lunch, the idea of a rewinding universe is tantamount to applying the discredited notion of perpetual motion - on a grand scale, to the universe.

Contingent things don't just rewind of their own accord.

Where does the renewed power or renewed energy potential come from?

If you wind up a clock, it doesn't rewind itself after it has stopped.

The universe had a beginning and it will have an end. That is what science tells us, it cannot rewind itself.

The Second Law of Thermodynamics tells us the universe certainly had a beginning and will have an end. The energy potential of the universe is decreasing from an original peak at the beginning of the universe. Even the most fundamentalist atheists seem to accept that. Which is why most of them believe in some sort of beginning event, such as a big bang explosion.

So an eternally existent, god of 'matter/energy' is demonstrably IMPOSSIBLE... that leaves only one POSSIBLE choice of god - the supernatural, creator God, as described in the Bible.

Essential characteristics of the first cause.

Consider this short chain of causes and effects:

A causes B, - B causes C, - C causes D, - D causes E.

'A, B, C & D' are all causes and may all look similar, but they are not, there is an enormous and crucial difference between them.

Causes B, C & D are fundamentally different from cause A.

Why?

Because A is the very first cause and thus had no previous cause. It exists without a cause. It doesn’t rely on anything else for its existence, it is completely independent of causes - while B, C & D would not exist without A. They are entirely dependent on A.

Causes; B, C & D are also effects, whereas A is not an effect, only a cause.

So we can say that the first cause ‘A’ is both self-existent and necessary. It is necessary because the rest of the chain of causes and effects could not exist without it. We also have to say that the subsequent causes and effects B, C, D and E are all contingent. That is; they are not self-existent they all depend entirely on other causes to exist.

We can also say that A is eternally self-existent, i.e. it has always existed, it had no beginning. Why? Because if A came into being at some point, there must have been something other than itself that brought it into being … which would mean A was not the first cause (A could not create A) … the something that brought A into being would be the first cause. In which case, A would be contingent and no different from B, C, D & E.

We can also say that A is adequate to produce all the properties of B, C, D & E.

Why?

Well in the case of E we can see that it relies entirely on D for its existence, E can in no way be superior to D because D had to contain within it everything necessary to produce E. The same applies to D it cannot be superior to C, but furthermore neither E or D can be superior to C, because both rely on C for their existence, and C had to contain everything necessary to produce D & E.

Likewise with B, which is responsible for the existence of C, D & E.

As they all depend on A for their existence and all their properties, abilities and potentials, none can be superior to A whether singly or combined. A had to contain everything necessary to produce B, C, D & E including all their properties, abilities and potentials.

Thus we deduce that; nothing in the universe can be superior in any way to the very first cause of the universe, because the whole universe, and all material things that exist, depend entirely on the abilities and properties of the first cause to produce them.

So to sum up … a first cause must be uncaused, must have always existed and cannot be in any way inferior to all subsequent causes and effects. In other words, the first cause of the universe must be eternally, self-existent and omnipotent (greater than everything that exists). No natural entity can have those attributes, that is why a Supernatural, Creator God MUST exist.

What about polytheism, can there be more than one God or Creator.

It is patently obvious there can only be one supernatural first cause.

The first cause is infinite - and logically, there cannot be more than one infinite entity.

If there were two infinite entities, for example, A and B. The qualities and perfections that are the property of B would be a limitation on the qualities and perfections of A. and vice versa, so neither would be infinite.

If A & B had identical qualities and perfections they would not be two different entities, they would be identical and therefore the same entity, i.e. a single, infinite, first cause. So there can be only one infinite being or entity, only one supernatural, first cause and creator of the universe.

So when atheists keep repeating the claim - that there is no reason to believe the monotheistic, Christian God is any different from the multiple, gods of pagan religions, it simply displays their ignorance and lack of reasoning.

FOUNDATIONS OF SCIENCE

The Law of Cause and Effect. Dominant Principle of Classical Physics. David L. Bergman and Glen C. Collins

www.thewarfareismental.net/b/wp-content/uploads/2011/02/b...

This is a photograph from the Castlepollard 5KM Road Race and Fun Run 2014 which was held in Castlepollard, Co. Westmeath, Ireland on Wednesday 13th August 2014 at 20:00. The race is hosted by North Westmeath Athletic Club. The race has grown in stature and popularity over the years and is now one of the most well attended road races in the midlands. The race offers prizes in all categories. Castlepollard 5KM Road Race attempts to support young runners and walkers by organising a range of underage races around the town square before the adult race at 20:00. Profits from the race go towards grassroots athletics in the region - North Westmeath Athletics, Schools Cross Country, and local community games.

Reading on a Smartphone or tablet? Don't forget to scroll down further to read more about this race and see important Internet links to other information about the race! You can also find out how to access and download these photographs.

The Castlepollard 5KM can be considered as the final major race in summer road racing in the midlands as with the fading light of the late summer comes less opportunities to hold races in the evening time. Castlepollard is a small town located in North County Westmeath amongst the lakes of Lough Lene and Lough Derravagh. One of the enduring symbols of the Castlepollard 5KM is the tireless work of Andy MacEoin of North Westmeath AC who has been a visitor to almost every road race in the Midlands and beyond over the past number of months to publicize the event. Many of the participants tonight will have seen Andy's strategically placed advertising signs around other road race routes. Certainly this work, and that of many other members of North Westmeath AC, has paid off well.

The race begins near the center of the town square and proceeds directly out the R395 towards Coole and Edgeworthstown. The first KM is flat and quick allowing the field to spread out. The race then enters the Tullynally Castle estate and proceeds up the tree-lined avenue. The gardens, like the castle are on a grand scale, taking in nearly 12 acres. This allows the race to make a big loop of the gardens with a quick downhill stretch followed by a sharp climb before the race rejoins it's outgoing path for the final 1.5KM of the race. The final 1100M from the gate of the Castle grounds to the finish is as the first - fast and flat and allows for a great finish passing the GAA grounds with finish line just outside the local Fire Station.

One of the show pieces of the race landscape is Tullynally Castle. The name Tullynally is an adaption of 'Tulaigh an Eallaigh' – the Hill of the Swan. The hill overlooks Lough Derravaragh, the legendary lake of the Children of Lir who were turned into swans. Tullynally Castle is still a family home to this day. Details of visitor times and other information is available on the links below.

This year over 450 participants took part in the race. This represented another great attendance. Last year's Castlepollard 5KM set the bar very high for future races with a record participation of just under 470 on the night. The race in 2013 showed an increase of over 100 participants from the previous record of 366 set at the 2012 event. It goes without saying that the Castlepollard 5KM has become one of the "must do" road race events in the midlands. Everything that is good about club road racing in Ireland can be found here.

We have a large set of photographs from the event today. The full set is accessible at: www.flickr.com/photos/peterm7/14714159280/ - They were taken at the start and finish of the event.

2014 Castlepollard 5KM Results: www.precisiontiming.net/result.aspx?v=2115

2013 Castlepollard 5KM Results: www.precisiontiming.net/result.aspx?v=1444

2012 Castlepollard 5KM Results: www.precisiontiming.net/result.aspx?v=960

Our Flickr Photographs from Castlepollard 5KM 2013: www.flickr.com/photos/peterm7/sets/72157645912529346/

Our Flickr Photographs from Castlepollard 5KM 2011: www.flickr.com/photos/peterm7/sets/72157627404031092/

Our Flickr Photographs from Castlepollard 5KM 2010: www.flickr.com/photos/peterm7/sets/72157624655001130/

Our Flickr Photographs from Castlepollard 5KM 2009: www.flickr.com/photos/peterm7/sets/72157622023529006/

Timing and event management was provided by Precision Timing. Results are available on their website at www.precisiontiming.net/result.aspx?v=2100 with additional material available on their Facebook page (www.facebook.com/davidprecisiontiming?fref=ts) See their promotional video on YouTube: www.youtube.com/watch?v=c-7_TUVwJ6Q

Reading on a Smartphone or tablet? Don't forget to scroll down further to read more about this race and see important Internet links to other information about the race! You can also find out how to access and download these photographs.

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

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, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.

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: (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.

I want to download these pictures to my computer or device?

You can download the photographic image here direct to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. However - look for a symbol with three dots 'ooo' or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.

I want get full resolution, print-quality, copies of these photographs?

If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.

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 - If you are using the photographs online 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 and time. 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 are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.

I 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 or in other circumstances 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.

We use Creative Commons Licensing for these photographs

We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?

The explaination is very simple.

Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.

ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.

Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/

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 http://www.flickr.com/peterm7/sets

Hope is a waking dream.

Aristotle

Have a great day/night everyone.

Copyright© 2013 Kim Hojnacki

This image is protected under the United States and International Copyright laws and may not be downloaded, reproduced, copied, transmitted or manipulated without written permission.

Facebook | Website

Phone cases | laptop skins

Found in Western Victoria near Stawell. The labellum is quite variable, with parallel bands of red callii on a labellum ranging from deep red to pale green in colour. Flowers can be up to 20+ cm from the tip of the dorsal to the bottom of the lateral sepals.

Something different. Thoup 2009

This is my winter song, December never felt so wrong

youtu.be/d2WlwKmBRDU

This is a boxer that came in this morning. He's a powerful boy, all sinewy and muscled up. Unfortunately, he has a terrible underbite, which has resulted in him losing his front lower teeth. He was a sweet boy, though, well-behaved, and only showed his boxer-ness while I was brushing him out, with his butt wiggling (his tail was just a stump) 90-outta-nothin the whole time.

This is a creative commons image, which you may freely use by linking to this page. Please respect the photographer and his work.

John Sloan (1871-1951) better known as a member of the Ashcan School of painting (urban realism) began as an illustrator. This is a poster advertisement (1895) for the journal The Echo. It’s located at the Virginia Museum of Fine Arts in Richmond.

This work is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License

This image is a scan of the cover of the Altjringa Annual 1961, Magazine of the Newcastle Teachers' College.

The original document is held in Cultural Collections, Auchmuty Library, the University of Newcastle, Australia.

If you have any information about the image you would care to share, please contact us or leave a comment.

This image can be used for study and personal research purposes. If you wish to reproduce this image for any other purpose you must obtain permission by contacting the University of Newcastle's Cultural Collections

This is my first wedding cake! My first big three tier cake covered in pale pink fondant. Roses and blossoms all made with fondant. Top tier is lemon, middle tier is chocolate and the bottom tier is vanilla.

This was very nerve wracking for me as it was my first wedding cake. I had to assemble on site as the reception location was up several flights of stairs so I was not able to transport the cake stacked. And thank goodness I didn't have to transport this cake assembled cake as it was sooo heavy!

I got there about 4 hours before the reception started and thank goodness I started early as I got the assembly done and just started on the decorating as a huge flurry of people came to decorate the place, set up speakers and balloons and arches in the same area. At times it was hard to stay focused with loud hip hop music blasting from the speakers :) And at times it was hard for me to decorate under the scrutiny of people watching me.

Overall I was really pleased with the way the cake turned out but of course I can see all the flaws and would definitely change things if I had to do it over again. Lots of lessons learned!

Sorry to see that since I last photographed Edward's family grave and memorial on 2 March 2008, the headstone is now sitting off its plinth :o(

Those photos are in the comments section below.

11 Jan 2022: Julia and Edward's GG Granddaughter kindly sent me the image of Julia's grave shortly after she had died in 1898. It can be seen here:

flic.kr/p/2mWyAhr

Rifleman Edward Henry VAZEY M.M. (Military Medal)

‘Eddie’

Beloved son of

Edward & the late Julia VAZEY

Who was Killed in Action, Messines, France

22 June 1917 - aged 19 years

And of his chum

Rifleman Hector WALKER

Killed in Action 7 June 1917

Aged 22 years

Until we meet again

Edward’s parents & siblings headstone to the right:

In loving memory of

Julia

The beloved wife of

Edward H VAZEY

Died March 17 1898

Aged 39 years

Also Ruby and Pearl

Twin children of the above

Born November 16th, 1894

Died February 15th and 27th 1895

Also to the memory of

Edward H VAZEY

Beloved husband of the above

Died 27 January 1925

Aged 76* years

JULIA

ANGLICAN DIVISION C Row 3, Plot 20

Auckland Star, Volume XXX, Issue 64, 17 March 1899, Page 8

In loving remembrance of my dear wife Julia, who died March 17, 1898 at Auckland.

We miss thee from our home, dear mother,

We miss thee from thy place,

A shadow o’er our life is cast,

We MISS the sunshine of thy face.

We miss thy kind and willing hand,

Thy fond and earnest care,

Our home is dark without thee,

We miss thee everywhere.

Inserted by her loving husband and children. – Edward H. Vazey, Boston Road, Auckland.

[other memorial notices inserted by her daughters Nelly and Katie; and her sister Mrs HAYNES of Mercer] [4]

Julia gave birth to:

1877 George John; died 15 April 1955 aged 77, marine engineer buried Waikumete PROTESTANT LAWN A Row 8, Plot 44

1881 Frances Kate married Sidney Francis ASHBY c1907

1883 Charles Edward

1885 Eva married Harold William John HARPER c1911

1887 Julia married George SOLOMON c1920

1891 Henrietta

1892 Mildred May died 14 Oct 1962 aged 70, buried Waikumete ANGLICAN DIVISION C Row 3, Plot 18

1895 Ruby died 1895

1895 Pearl died 1895

1898* Edward Henry Patrick died 1917

EDWARD junior

Born: 17 March 1896* [sic – military records], Auckland and registered as Edward Henry Patrick when birth registered

Military number: 26718

Occupation at enlistment: Stereotyper for Brett Printing Co.

Fair complexion; blue eyes; light brown hair

July 1916 suffered influenza

Awarded the M.M. for acts of gallantry in the field

Auckland Star, Volume XLVIII, Issue 227, 22 September 1917, Page 4

HOW RIFLEMAN VAZEY DIED.

MILITARY MEDAL WELL WON.

Mr. E. H. Vazey, of Edwin Street, Newton, by last mail received a letter from Lieut. A. J. F. Berry, N.Z. Rifle Brigade, relating certain facts connected with the death of the former gentleman's son at the battle of Messines. Rifleman Edward Henry Vazey was born in Auckland, and went away with the Seventeenth reinforcements when 19 years of age. Prior to going to the war he was an employee of the Brett Printing and Publishing Co. The following is the letter from Lieut. Berry:—

"Perhaps a word or two from one who knew your son, and was with him when his end came, will help in your sorrow. I was your son's platoon commander, from the time he joined until he met his death, and knowing him as I did I can sympathise with you in your loss. As a soldier be was always very keen and most reliable. It was during the fighting at Messines that he showed his real worth, and for his excellent work done during those operations I recommended him for a decoration which, alas! he will never wear. When I told him how, pleased I was with the work he had done he replied that he had only tried to do his job. On the morning of the advance on Messines he received a slight wound in the forearm, tout had no thought of turning back, as the sergeant in charge of his section had also been slightly wounded, but was still leading his men. Some days later, in a night attack on the Hun trenches, your son again distinguished himself. When we had gained our objective he went out and got into touch with the units on our right and left and later took a message back through a very heavy artillery barrage. He was absolutely fearless, and seemed to revel in doing a job that had a spice of danger about it. We were all very sorry when he was fatally shot in the head by a machine-gun bullet. His Military Medal was deservedly won, and is a fitting tribute to the work which he did as a soldier." [1]

Auckland Star, Volume XLVIII, Issue 160, 6 July 1917, Page 2

AUCKLAND RECIPIENTS.

Private Edward Vazey. who is reported as having been killed in action, gained the Military Cross for gallantry in the field, he was born in Auckland, his father being Mr. Edward Vazey, a well-known resident of Newton and a veteran of the Maori War. Private Vazey left with the 17th Reinforcements and was with the Rifle Brigade when he met his death. He was only nineteen years of age, but being of particularly good physique, enlisted when he was seventeen years of age being then a member of the staff of the stereotyping department of the Star.[3]

A photo of him is available at the national museum:

“Killed in action at Messines (22.6.17) Rifleman Vazey came of a fighting family. His father fought and was wounded in the Maori War and his grandfather was a veteran of the Crimean War, having served in H.M. 58th Regiment.”

ndhadeliver.natlib.govt.nz/delivery/DeliveryManagerServle...

Restrictions may apply: Special conditions apply to using or handling this record for preservation reasons.

CWGC site record: www.cwgc.org/search/casualty_details.aspx?casualty=1738369

Cenotaph website record [with photo]: muse.aucklandmuseum.com/databases/Cenotaph/RecordDetail.a...

Vazey's 'chum' also mentioned on the headstone has a Cenotaph record with portrait here:

muse.aucklandmuseum.com/databases/cenotaph/RecordDetail.a...

EDWARD senior

ANGLICAN DIVISION C Row 3, BETWEEN Plot 18-20

Auckland Star, Volume LVI, Issue 22, 28 January 1925, Page 4

FOUND DEAD ON LANDING.

BODY OF ELDERLY MAN, A MILKMAN'S DISCOVERY.

The body of an old man in a partial state of decomposition was the gruesome discovery of a milkman doing the rounds in the vicinity of Belgium Street, Newton, yesterday. Deceased was named Edward Vazey, and was one of the milkman's regular customers, residing at 12 Edwin Street. When making his usual call at about 7 o'clock yesterday morning, the milkman noticed that the milk he had left on the previous day had been left untouched and upon further investigation he discovered the dead body on the landing at the top of the stairs. The Newton police were informed and the body subsequently removed to the hospital mortuary. Deceased was 76 years of age and he had been receiving medical attention an inquest will not be necessary.

[2]

Occupation: Blacksmith

Aged stated as 77 on cemetery database

Update 11 Jan. 2022: Edward Senior was a Maori War Veteran, enrolled under the name of Edward ANDREWS** in the Armed Constabulary on 10 December 1868 and he voluntary discharged on 16 March 1870. He was wounded in the elbow at the taking of a pa and also fought in the Urewera. His military personnel record is available at:

www.archway.archives.govt.nz/ViewFullItem.do?code=22347673

There is a probate available for a Edward Henry VAZEY 1925 but additional archives description states “Avondale – Police Officer”

archway.archives.govt.nz/ViewFullItem.do?code=23091960

PEARL

ANGLICAN DIVISION C Row 3, Plot 20

Aged 10 weeks

Funeral director: “Family involved”

RUBY

ANGLICAN DIVISION C Row 3, Plot 20

Funeral director: “Family involved”

…at her parents’ residence. Anglesea street, Ponsonby, Ruby, twin daughter of Edward and Julia Vazey; aged 11 weeks. The Lord said “Suffer little children to come unto me.” Private interment.[3]

* according to NZ Dept Internal Affairs historic BDM indexes or transcription error on their part.

**his mothers second husband's surname but as an adult took back onboard VAZEY as his surname.

SOURCES:

Cemetery database

NZ Dept Internal Affairs Historic BDM indexes

[1]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&d=AS...

[2]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

[3]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

[4]

paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...

This is my brother also on vacation to the Philippines of last June 2011 . This was a taken during his last few days before his trip back to the US. I took this photo with the mat vendors at the local Sunday market . He bought a piece of handwoven mat as shown in this pic . I bought two ,errrrr , I meant to bring them back home with me but in the end I left them with my sister for nxt time , as my baggage gone over the weight limit of 33 kilos allowed of Qatar Airways . I don't like to take the risk .

This is what my office looks like now! I moved my desk out from one of the dark bedrooms to the freshly-painted living room. As you can tell, I have huge windows along one whole wall, and photos up on the other (though I'm not done putting frames up). I LOVE it.

(And if you're wondering about the paint cans - they hold the baby-gate in place so the dogs don't get in the kitchen.)

Other title's I thought of.

"Thin, Fat and Fatter"

"Ignore all those People, We are better than them"

"Stuck Up Sea Lions"

"Is that dinner I can smell"

Can you think of a good title.

This is a commissioned piece. Autobot X/Spike is non-transforming, and includes LEDs in his custom head and arm cannon. He stands approximately 10 inches tall. Autobot X has tons of details and articulation. In addition, the customer commissioned the signature table which Autobot X was built on. This table lights up with a continuous electroluminescent blue light wire, which has multiple settings (always on/blink/fast blink)

Rebkong is located in the Golden Valley of the Rongwu Guchu River in Malho prefecture southeast of Qinghai province, The valley is at about 2600m above sea-level, extends from the north to south, and is surrounded by several mountains. Rebkong is also famous for itâs Tibetan traditional arts and cultural preservation. The there are several large monasteries and villages scattering around the Rongwu town which is home to hundreds of artist. The most well known villages and monasteries are Sanggeshung Yago and Sanggeshung Mago(upper and lower Wutun), Gomar Gompa, Nyamtok village.etc. If you are interested in learning Tibetan culture and Tibetan traditional arts, Rebkong will be one of most recommend region.

blog.snowliontours.com/2012/11/amdo-region-of-tibet/

St Ethelbert, Hessett, Suffolk

Hessett is a fairly ordinary kind of village to the east of Bury St Edmunds, but its church is one of the most important in East Anglia for a number of reasons, which will become obvious. Consider for one moment, if you will, the extent to which the beliefs and practices of a religious community affect the architecture of its buildings. Think of a mosque, for instance. Often square, expressing the democracy of Islam, but without any imagery of the human figure, for such things are proscribed. Think of a synagogue, focused towards the Holy Scriptures in the Ark, but designed to enable the proclaiming of the Word, and the way that early non-conformist chapels echo this architecture of Judaism - indeed, those who built the first free churches, like Ipswich's Unitarian Chapel, actually called them synagogues.

The shape of a church, then, is no accident. A typical Suffolk perpendicular church of the 15th century has wide aisles, to enable liturgical processions, a chancel for the celebration of Mass, places for other altars, niches for devotional statues, a focus towards the Blessed Sacrament in the east, a roof of angels to proclaim a hymn of praise, a large nave for devotional and social activities, and wall paintings of the Gospels and hagiographies of Saints, of the catechism and teachings of the Catholic Church. As Le Corbusier might have said if he'd been around at the time, a medieval church is a machine for making Catholicism happen.

No longer, of course. The radical and violent fracture in popular religion in the middle years of the 16th century gave birth to the Church of England, and the new church inherited buildings that were quite unsuitable for the new congregational protestant theology, a problem that the Church of England has never entirely solved.

Over the centuries, the problem has been addressed in different ways. The early reformers celebrated communion at a table in the nave, for example, and blocked off the chancel for other uses. Although this was challenged by the Laudian party in the early part of the 17th century, it was the way that many parishes reinvented their buildings, and most were to stay like that until the middle years of the 19th century. Some went further. A pulpit placed halfway down the nave, or even at the back of the church, meant that the seating could be arranged so that it no longer focused towards the east, thus breaking the link with Catholic (and Laudian) sacramentalism. For several centuries, Anglican churches focused on the pulpit rather than the altar.

With the coming to influence of the 19th century Oxford Movement, all this underwent another dramatic change, with the great majority of our medieval parish churches having their interiors restored to their medieval integrity, reinventing themselves as sacramental spaces. This is the condition in which we find most of them today, and some Anglican theologians are asking the question that the Catholic Church asked itself at Vatican II in the 1960s - is a 19th century liturgical space really appropriate for the Church of the 21st century?

So, let us hasten at once to Hessett. The church sits like a glowing jewel in its wide churchyard, right on the main road through the village. It is pretty well perfect if you are looking for a fine Suffolk exterior. An extensive 15th century rebuilding enwraps the earlier tower, which was crowned by the donor of the rebuilding, John Bacon.The nave and aisles are deliciously decorated, reminding one rather of the church at neighbouring Rougham, although this is a smaller church, and the aisles make it almost square. A dedicatory inscription on the two storey vestry in the north east corner bids us pray for the souls of John and Katherine Hoo, who donated the chancel and paid for the trimmings to the aisles. Their inscription has been damaged by protestant reformers, who obviously did not believe in the efficacy of prayers for the dead.

Although not comparable with that at Woolpit, the dressed stone porch is a grand affair, and a bold statement. You may find the south door locked, but if this is the case then the priest's door into the chancel is usually open. And in a way it is a good church to enter via the chancel, because in this way St Ethelbert unfolds its treasures slowly.You step into relative darkness - or, at least, it seems so in comparison with the nave beyond the rood screen. This is partly a result of the abundance of dark wood, and in truth the chancel seems rather overcrowded. The most striking objects in view are the return stalls, which fill the two westerly corners of the chancel. These are in the style of a college or school of priests, with their backs to the rood screen, but then 'returning' around the walls to the east. They are fine, and are certainly 15th or 16th century. But one of the stalls, that to the north, is different to the others, and seems slightly out of place. It is elaborately carved with faces, birds and foliage.

Mortlock thought that it might have been intended for a private house. The stall in front of it has heads on it that appear to be wearing 18th century wigs. The sanctuary is largely Victorianised, with a great east window depicting Saints. The south windows of the chancel depict a lovely Adoration scene by the O'Connors. The chancel is separated from the nave by the 15th century rood screen, which is elegantly painted and gilt on the west side, the beautifully tracery intricately carved above. The rood screen has been fitted with attractive iron gates, presumably evidence of Anglo-catholic enthusiasm here in the early 20th century, and you step down through them into the light. A first impression is that you are entering a much older space than the one you have left. There is an 18th century mustiness, enhanced by the box pews that line the aisles. And, beyond, on walls and in windows, are wonderful things.

The number of surviving wall paintings in England is a tiny fraction of those which existed before the 15th and 16th centuries. All churches had them, and in profusion. It isn't enough to say that they were a 'teaching aid' of a church of illiterate peasants. In the main, they were devotional, and that is why they were destroyed. However, it is more complicated than that. Research in recent years has indicated that many wall paintings were destroyed before the Reformation, perhaps a century before. In some churches, they have been punched through with Perpendicular windows, which are clearly pre-Reformation. In the decades after the Black Death, there seems to have been a sea change in the liturgical use of these buildings, a move away from an individualistic, devotional usage to a corporate liturgical one. There is a change of emphasis towards more education and exegesis. This is the time that pulpits and benches appear, long before protestantism was on the agenda. What seems to happen is that many buildings were intended now to be full of light, and devotional wall paintings were either whitewashed, or replaced with catechetical ones.

The decoration of the nave was the responsibility of the people of the parish, not of the Priest. The wall paintings of England can be divided into roughly three groups. Roughly speaking, the development of wall paintings over the later medieval period is in terms of these three overlapping emphases.

Firstly, the hagiographies - stories of the Saints. These might have had a local devotion, although some saints were popular over a wide area, and most churches seem to have supported a devotion to St Christopher right up until the Reformation.

Secondly came those which illustrate incidents in the life of Christ and his mother, the Blessed Virgin. Although partly pedagogical, they were also enabling tools, since private devotions often involved a contemplation upon them, and at Mass the larger part of those present would have been involved in private devotions. These scriptural stories were as likely to have been derived from apocryphal texts like the Gospel of Pseudo-Matthew as from the actual Gospels themselves.

Lastly, there are catechetical wall paintings, illustrating the teachings of the Catholic church. It should not be assumed that these are dogmatic. Many are simply artistic representations of stories, and others are simplifications of theological ideas, as with the seven deadly sins and the seven cardinal virtues. Some warn against occasions of sin (gossiping, for example) and generally wall paintings provided a local site for discussion and exemplification.

To an extent, all the above is largely true of stained glass, as well, with the caveat that stained glass was more expensive, relied on local patronage, and often has this patronage as a subtext, hence the large number of heraldic devices and images of local worthies. But it was also devotional, and so it was also destroyed.

So - what survives at Hessett? The wall paintings first.

Starting in the south east corner of the nave, we have Suffolk's finest representation of St Barbara, presenting a tower. St Barbara was very popular in medieval times, because she was invoked against strikes by lightning and sudden fires. This resulted from her legend, for her father, on finding her to be a Christian, walled her up in a tower until she repented. As a result, he was struck by lightning, and reduced to ashes. She was also the patron saint of the powerful building trade, and as such her image graced their guild altars - perhaps that was the case here.

Above the south door is another figure, often identified as St Christopher, but I do not think that this can be the case. St Christopher is found nowhere else in Suffolk above a south door. The traditional iconography of this mythical saint is not in place here, and it is hard to see how this figure could ever have been interpreted as such. I suspect it is a result of an early account confusing the two images over the north and south doors, and the mistake being repeated in later accounts.

In fact, digital enhancement seems to suggest that there are two figures above the south door, overlapping each other slightly. The figure on the right is barefoot, that on the left is wearing a white gown. There appears to be water under their feet, and so I think this is an image of the Baptism of Christ. Perhaps it was once part of a sequence.

The wall painting opposite, above the north door, is St Christopher. Although it isn't as clear as himself at, say, nearby Bradfield Combust, he bestrides the river in the customary manner, staff in hand. The Christ child is difficult to discern, but you can see the fish in the water. Also in the water, and rather unusual, are two figures. They are rendered rather crudely, almost like gingerbread men. Could they be the donors of the north aisle, John and Katherine Hoo in person?

Moving along the north aisle, we come to the set of paintings for which Hessett is justifiably famous. They are set one above the other between two windows, at the point where might expect the now-vanished screen to a chapel to have been. The upper section was here first. It shows the seven deadly sins (described wrongly in some text books as a tree of Jesse, or ancestry of Christ). Two devils look on as, from the mouth of hell, a great tree sprouts, ending in seven images. Pride is at the top, and in pairs beneath are Gluttony and Anger, Vanity and Envy, Avarice and Lust. Mortlock suggests that some attempt has been made to erase the image for Lust, which may simply be mid-16th century puritan prurience on the part of some reformer here. This would suggest that this catechetical tool was here right up until the Reformation.

The idea of 'Seven Deadly Sins' was anathema to the reformers, because it is entirely unscriptural. Rather, as a catechetical tool, it is a way of drawing together a multitude of sins into a simplistic aide memoire. This could then be used in confession, taking each of them one at a time and examining ones conscience accordingly. It should not be seen simply as a 'warning' to ignorant peasants, for the evidence is that the ordinary rural people of late medieval England were theologically very articulate. Rather, it was a tool for use, in contemplation and preparation for the sacrament of reconciliation, which may well have ordinarily taken place in the chapel here.

The wall painting beneath the Sins is even more interesting. This is a very rare 'Christ of the Trades', and dates from the early 15th century, about a hundred years after the painting above. It is rather faded, and takes a while to discern, and not all of it is decodable. However, enough is there to be fascinating. The image of the 'Christ of the Trades' is known throughout Christendom, and contemporary versions with this can be found in other parts of Europe. It shows the risen Christ in the centre, and around him a vast array of the tools and symbols of various trades. One theory is that it depicts activities that should not take place on a Sunday, a holy day of obligation to refrain from work, and that these activities are wounding Christ anew.

Perhaps the most fascinating symbol, and the one that everyone notices, is the playing card. It shows the six of diamonds. Does it represent the makers of playing cards? If so, it might suggest a Flemish influence. Or could it be intended to represent something else? Whatever, it is one of the earliest representations of a playing card in England. Why is this here? It may very well be that there was a trades gild chantry chapel at the east end of the north aisle, and this painting was at its entrance.

At the east end of the north aisle now is the church's set of royal arms. Cautley saw it in the vestry in the 1930s, and identified it as a Queen Anne set. Now, with additions stripped away, it is revealed as a Charles II set from the 1660s, and a very fine one. It is fascinating to see it at such close range. Usually, they are set above the south door now, although they would originally have been placed above the chancel arch, in full view of the congregation, a gentle reminder of who was in charge.

And so to the glass, which on its own would be worth coming to Hessett to see. Few Suffolk churches have such an expanse, none have such a variety, or glass of such quality and interest. It consists essentially of two ranges, the life and Passion of Christ in the north aisle (although some glass has been reset across the church), and images and hagiographies of Saints in the south aisle.

In the north aisle, the scourging of Christ stands out, the wicked grins of the persecutors contrasting with the pained nobility of the Christ figure. In the next window, Christ rises from the dead, coming out of his tomb like the corpses in the doom paintings at Stanningfield, North Cove and Wenhaston. The Roman centurion sleeps soundly in the foreground.

The most famous image is in the east window of the south aisle. Apparently, it shows a bishop holding the chain to a bag, with four children playing at his feet. I say apparently, because there is rather more going on here than meets the eye. The reason that this image is so famous is that the small child in the foreground is holding what appears to be a golf club or hockey stick, and this would be the earliest representation of such an object in all Europe. The whole image has been said to represent St Nicholas, who was a Bishop, and whose legends include a bag of gold and a group of children.

Unfortunately, this is not the case. St Nicholas is never symbolised by a bag of gold, and there are three children in the St Nicholas legend, not four. In any case, the hand in the picture is not holding the chain to a bag at all, but a rosary, and the hockey stick is actually a fuller's club, used for dyeing clothes, and the symbol of St James the Less.

What has happened here is that the head of a Bishop has been grafted on to the body of a figure which is probably still in its original location. The three lights of this window contained a set of the Holy Kinship. The light to the north of the 'Bishop' contains two children playing with what ae apparently toys, but when you look closely you can see that one is holding a golden shell, and the other a poisoned chalice. They are the infant St James and St John, and the lost figure above them was their mother, Mary Salome.

This means that the figure with the Bishop's head is actually Mary Cleophas, mother of four children including St James the Less. The third light to the south, of course, would have depicted the Blessed Virgin and child, but she is lost to us.

Not only this, but Hessett has some very good 19th Century glass which complements and does not overly intrude. The best is beneath the tower, the west window in a fully 15th Century style of scenes by Clayton & Bell. The east window, depicting saints, is by William Warrington, and the chancel also has the O'Connor glass already mentioned.

If the windows and wall paintings were all there was, then Hessett would be remarkable enough. But there is something else, two things, actually, that elevate it above all other Suffolk churches, and all the churches of England. For St Ethelbert is the proud owner of two unique survivals. At the back of the church is a chest, no different from those you'll find in many a parish church. In common with those, it has three separate locks, the idea being that the Rector and two Churchwardens would have a key each, and it would be necessary for all three of them to be present for the chest to be opened. It was used for storing parish records and valuables.

At some point, one of the keys was lost. There is an old story about the iconoclast William Dowsing turning up here and demanding the chest be opened, but on account of the missing key it couldn't be. Unfortunately, this story isn't true, for Dowsing never recorded a visit Hessett. The chest was eventually opened in the 19th century. Inside were found two extraordinary pre-Reformation survivals. These are a pyx cloth and a burse. The pyx cloth was draped over the wooden canopy that enclosed the blessed sacrament (one of England's four surviving medieval pyxes is also in Suffolk, at Dennington) before it was raised above the high altar. The burse was used to contain the host before consecration at the Mass. They are England's only surviving examples, and they're both here. Or, more precisely they aren't, for both have been purloined by the British Museum, the kind of theft that no locked church can prevent.

But there are life-size photos of both either side of the tower arch. The burse is basically an envelope, and features the Veronica face of Christ on one side with the four evangelistic symbols in each corner. On the other is an Agnus Dei, the Lamb of God. The survival of both is extraordinary. It is one thing to explore the furnishings of lost Catholic England, quite another to come face to face with articles that were actually used in the liturgy.

In front of the pictures stands the font, a relatively good one of the early 15th century, though rather less exciting than everything going on around it. The dedicatory inscription survives, to a pair of Hoos of an earlier generation than the ones on the vestry.Turning east again, the ranks of simple 15th century benches are all of a piece with their church. They have survived the violent transitions of the centuries, and have seated generation after generation of Hessett people. They were new here when this church was alive with coloured light, with the hundreds of candles flickering on the rood beam, the processions, the festivals, and the people's lives totally integrated with the liturgy of the seasons. For the people of Catholic England, their religion was as much a part of them as the air they breathed. They little knew how soon it would all come to an end.

And so, there it is - one of the most fascinating and satisfactory of all East Anglia's churches. And yet, not many people know about it. We are only three miles from the brown-signed honeypot of Woolpit, where a constant stream of visitors come and go. I've visited Hessett many times, and never once encountered another visitor. Still, there you are, I suppose. Perhaps some places are better kept secret. But come here if you can, for here is a medieval worship space with much surviving evidence of what it was actually meant to be, and meant to do.

Early childhood education is the organized practice of educating those who are in early childhood, one of the most vulnerable stages in life. According to the NAEYC (National Association for the Education of Young Children), it spans the human life from birth to age eight.

Early childhood education often focuses on children learning through play.

The terms preschool education and kindergarten emphasize education around the ages of 3-6 years. The terms "early childhood learning," "early care," and "early education" are comparable with early childhood education. The terms Day care and Childcare do not embrace the educational aspects. Many childcare centers are now using more educational approaches. They are creating curricula and incorporating it into their daily routines to foster greater educational learning.

Researchers in the field and early childhood educators both view the parents as an integral part of the early childhood education process. Early childhood education takes many forms depending on the beliefs of the educator or parent.

Much of the first two years of life are spent in the creation of a child's first "sense of self" or the building of a first identity. This is a crucial part of children's makeup—how they first see themselves, how they think they should function, how they expect others to function in relation to them. For this reason, early care must ensure that in addition to employing carefully selected and trained caretakers, program policy must emphasize links with family, home culture, and home language, meaning caregivers must uniquely care for each child using Developmentally Appropriate Practice, Individually Appropriate Practice and Culturally Appropriate Practice. Care should support families rather than be a substitute for them.

If a young child doesn't receive sufficient nurturing, nutrition, parental/caregiver interaction, and stimulus during this crucial period, the child may be left with a developmental deficit that hampers his or her success in preschool, kindergarten, and beyond.

Worst-case scenarios such as those found in Russian and Romanian orphanages demonstrate how the lack of proper social interaction and development of attachment affect the developing child. Children must receive attention and affection to develop in a healthy manner.

Included in the photo is the case of a standard 50 caliber (0.5 inch) Browning machine-gun round I found on a mountainside on the Isle of Arran in 1968. At the time, there were two or three dozen of these cases and plenty other bits of wreckage littering the small coire below Beinn Nuis (792m, c 2600ft). This was 24 years after the accident.

After much reading, I am now certain that, having been found below Beinn Nuis, this exploded case came from the Boeing B-17G Flying Fortress “Skipper an’ The Kids” which, almost certainly, crashed in full flight into the eastern cliff face of the mountain when having navigation difficulties in thick cloud.

The aircraft had left its USAAF 8th Air Force base at Knettishall in Suffolk on 10th December 1944, on a cross-country navigation and familiarisation flight to Prestwick on the Ayrshire coast, Scotland.

Capt John N Littlejohn, his crew and passengers (11 souls in all) were all killed, their remains and the wreckage not being found until three months later when a local hillwalker saw a glint of metal and heard the odd sound of melting icicles falling onto it.

A tragic end to those lives and to an aircraft that had been cherished by previous crews as a “lucky ship”, having returned from missions as far away as Berlin, badly shot up at times, and with over 60 missions under its belt.

For an excellent, fuller account of this B-17’s life, its last mission, and the guys who flew in her, I do not hesitate in pointing you towards “Tail-End Charlies” by John Nichol (Gulf War pilot and POW) & Tony Rennell (Penguin 2005).

The mountains on Arran – all less than 2900 feet in height – regularly posed a hazard to aircraft approaching Prestwick Airport during World War 2 when thousands of American aircraft made landfall in the UK there. Tens of thousands of US built aircraft reached the European war theatre through the "lend-lease" agreement, via Prestwick. The mountains on Arran claimed the lives of dozens of fliers in the early 1940s when a pair of fully-laden Liberators and this B-17 flew into them in bad weather. Nichol & Rennell say “Skipper” was just one of seventeen planes that crashed on Arran in the war, including brand-new bombers arriving in Britain after crossing the Atlantic.

The modest mountains - in the track of Atlantic weather systems - catch up to about 2700 mm (90") of rainfall per year and are regularly covered by cloud. Turbulence and icing are enhanced, too. The mantra “high ground kills” still applies today for aviators, but it is difficult to conceive nowadays how dangerous flying was in poor weather in those times. It is said by some, that about half of the 55,000 aircrew of Bomber Command who died in WW2 were killed in accidents. We owe all those people and their families a great deal.

(The red markers on the map show the locations of Beinn Nuis and Prestwick.)

See a fine image of Beinn Nuis and its east face (along with other pictures of the, otherwise charming, Isle of Arran) on David Taylor's site:

www.flickr.com/photos/bellrockman2011/8183428756/in/set-7...

I have liven in Kent since 2007, and hadn't visited Sevenoaks before yesterday. It being one of Kent's major towns, this is something of a surprise, I even had to check my photostream on here to make sure: nothing for Sevenoaks.

For me, Sevenoaks is famous for two things: 1. the seven oaks destroyed in the 1987 "hurricane" and I suppose home to the chain of hi-fi shops, Sevenoaks Audio, though I didn't see a branch during my visit.

I don't know why I decided to visit here today, the idea had been to go to Nunhead to a large rambling and overgrown Victorian cemetery (more of that later), and the Southeastern website suggested the way there was via St Pancras and then on Thameslink. I thought there must have been a route across Kent, which is how I came to be in Sevenoaks, change here for Nunhead.

So, why not explore the town before travelling on?

So, I guess that's why I was here.

The spread of the new COVID variant meant I did consider cancelling the trip, but with no new lockdowns announced on Monday, and armed with a mask I set off, Jools dropping me off at Dover Priory at half six, withenough time for a gingerbread latte (with an extra shot) before my train pulled in.

Less than a dozen got in the 12 carriages, and there service trundled through Kent, Ashford, Pluckley, Marden, Staplehurst, Tonbdrige to deposit me here at Sevenoaks.

I and half a dozen people got off, I lingered to take a couple of shots before the long walk up the hill to the town centre.

Thanks to GSV, I had travelled up London Road to the centre of town, so knew it was a hike, but worth it. I mean, no point going somewhere if there was nothing of worth to snap, was there?

At first I walked past large houses, then at the major road junction, a sparkling Ferrari Dealership, not something we have in Dover, and not sure if Canterbury even has one. But Sevenoaks does, as well as on one, not two, but three dry cleaners, all looking busy.

The main shopping area had old pubs and coaching inns, clapboard houses and other with peg tiles decorating the outside, all got photographed, of course.

Att he top of the shopping streets, where the two A roads meet, there is a fine pre-warboys signpost that I snapped good and proper.

Finally, as the hill flattened out, the buildings got older still, before coming to the parish church, which I knew from research was almost impossible to get inside judging by the reviews left.

It wasn't yet nine, my back was complaining, so I took a seat in the chuchyard to wait.

Wait for what, I do not know.

The clocked chimed mournfully for nine, to the south, a couple of workmen repair the top of the substantial wall, and I guess the ownes comes into the churchyard to find bricks that have fallen from it. The wall is at least twenty feet high, separating the church from the grand house, I wonder what the owners thought were being kept out?

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

The church looks well from the main street, with its east end almost on the road. Built of local stone, the nave, aisles, chapels and tower are typical of fifteenth-century design. The church has been so often restored - in 1812, 1878, 1954 and most recently in 1994 when a crypt was built - that its historical interest is limited. However, the stained glass windows by Kempe and Heaton, Butler and Bayne are of excellent quality, especially those in the south aisle. There are also some interesting monuments, including one to William Lambarde (d. 1601), the first Kentish historian.

www.kentchurches.info/church.asp?p=Sevenoaks+1

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

SEVENOKE.

NEXT southward from Seale lies the parish and town of SEVENOKE, called, in the Textus Roffensis, SEOUENACCA, which name was given to it from seven large oaks, standing on the hill where the town is, at the time of its being first built. It is now commonly called SENNOCK.

THE PARISH of Sevenoke is situated partly above and partly below the great ridge of sand hills which runs across this county, and divides the upland from the Weald or southern district of it. It is divided into three districts, the Town Borough, Rotherhith or Rethered, now called Riverhead, and the Weald. The parish is of considerable extent, being five miles in length, from north to south, and about four miles in width. The soil of it varies much; at and about the town, it is a sand, as it is towards the hill southward, below which it is a stiff clay, and towards the low grounds, to Riverhead, a rich sertile soil. It reaches more than a mile below the hill, where there is a hamlet, called Sevenoke Weald, lying within that district, for it should be known, that all that part of this parish, which lies below the great range of sand hills southward, is in the Weald of Kent, the bound of which is the narrow road which runs along the bottom of them, and is called, to distinguish it, Sevenoke Weald; thus when a parish extends below, and the church of it is above the hill, that part below, has the addition of Weald to it, as Sevenoke Weald, Sundridge Weald, and the like.

THE TOWN of Sevenoke lies about thirty-three miles from London, on high ground above the sand hill, the church, which is situated at the south end of it, is a conspicuous object each way to a considerable distance. The high roads from Westram; and from London through Farnborough, meeting at about a mile above it; and that from Dartford through Farningham and Otford, at the entrance of the town; and leading from thence again both to Penshurst and Tunbridge. Between the town and the hill there is much coppice wood, and a common, called Sevenoke common, on which is a seat, called Ash-grove, belonging to Mrs. Smith. The town of Sevenoke is a healthy, pleasant situation, remarkable for the many good houses throughout it, inhabited by persons of genteel fashion and fortune, which make it a most desirable neighbourhood. In the middle of the High-Street is the house of the late Dr. Thomas Fuller, afterwards of Francis Austen, esq. clerk of the peace for this county; near which is the large antient market-place, in which the market, which is plentifully supplied with every kind of provisions, is held weekly on a Saturday; and the two fairs yearly, on July 10, and Oct. 12, and where the business of the assizes, when held at Sevenoke, as they were several times in queen Elizabeth's reign, and in the year before the death of king Charles I. and once since, has been usually transacted. At the south end of it is a seat, the residence of Multon Lambard, esq. at a small distance westward is the magnificent mansion and park of Knole; and eastward, a small valley intervening, the seat of Kippington; at a little distance northward of the town is an open space, called Sevenoke Vine, noted for being the place where the great games of Cricket, the provincial amusement of this county, are in general played; this joins to Gallows common, so called from the execution of criminals on it formerly. In the valley below it is Bradborne, and the famous silk mills, belonging to Peter Nonaille, esq. called Greatness, near which are the ruins of the hospital or chapel, dedicated to St. John, where this parish bounds to Otford.

About a mile north-west from the town, where the two roads from London and Westerham meet, is the large hamlet of Riverhead, bounded by the river Darent and the parish of Chevening; in which, among others, is the seat of Montreal; that of Mrs. Petley; and of the late admiral Amherst and others; most of which the reader will find described hereafter.

In the Account of the Roman Stations in Britain, written by Richard, a monk of Cirencester, published by Dr. Stukely, the station, called Vagniacæ, is supposed to have been at Sevenoke, which is there set down as eighteen miles distant both from Medum, Maidstone; and Noviomagus, Croydon; but in this opinion he has hardly been followed by any one.

THE MANOR OF SEVENOKE was always esteemed as an appendage to that of Otford, and as such was part of the possessions of the see of Canterbury, till it was exchanged with the crown for other premises, by archbishop Cranmer, in the 9th year of Henry VIII. as will be further mentioned below.

THE MANOR OF KNOLE, with that of Bradborne, in this parish, had, according to the earliest accounts, for some time the same owners as the manors of Kemsing, Seale, and Bradborne. Accordingly, in king John's reign, they were in the possession of Baldwin de Betun, earl of Albemarle, from whom they went in marriage into the family of the Mareschalls, earls of Pembroke. Whilst one of these, William Mareschal, earl of Pembroke, sided with the rebellious barons at the latter end of king John's, and beginning of king Henry III's reign, the king seized on his lands, as escheats to the crown; during which time these manors seem to have been granted to Fulk de Brent, a desperate fellow, as Camden calls him. He was a bastard by birth, of mean extraction, who had come out of the low countries, with some foreign auxiliaries and freebooters, to king John's assistance, and became a great favorite, both with that king and his son, Henry III. from both of whom he was invested with much power, and had the lands of many of the barons conferred on him; till giving loose to his natural inclination, he became guilty of many cruelties and oppressions, and at length sided with prince Lewis of France in his design of invading England. But failing in this, he fled into Wales, and the king seized on all his possessions throughout England; after which, returning and pleading for mercy, in consideration of his former services, he was only banished the realm, and died in Italy soon afterwards, as is said, of poison. After which, the earl returning to his obedience, obtained the possession of these manor's again. (fn. 1) Hence they passed again in like manner to Hugh Bigod, earl of Norfolk, whose heir in the 11th year of king Edward I. conveyed them to Otho de Grandison; on whose death without issue, William de Grandison, his brother, became his heir; his grandson, Sir Thomas Grandison, passed away Knole to Geoffry de Say, and Braborne, Kemsing, and Seale, to others, as may be seen under their respective descriptions.

Geoffry de Say was only son and heir of Geoffry de Say, by Idonea his wife, daughter of William, and sister and heir of Thomas lord Leyborne, and was a man of no small consequence, having been summoned to parliament in the 1st year of king Edward III. and afterwards constituted admiral of all the king's fleets, from the river Thames westward, being then a banneret. He died in the 33d year of king Edward III. leaving William, his son and heir, and three daughters. William de Say left issue a son, John, who died without issue in his minority, anno 6 king Richard II. and a daughter Elizabeth, who was first married to Sir John de Fallesley, and afterwards to Sir William Heron, but died s. p. in the 6th year of king Edward IV. (fn. 2) so that the three sisters of William de Say became coheirs to the inheritance of this family. (fn. 3)

¶How the manor of Knole passed from the family of Say I do not find; but in the reign of king Henry VI. it was in the possession of Ralf Leghe, who then conveyed it by sale to James Fienes, or Fenys, as the name came now to be called, who was the second son of Sir William Fynes, son of Sir William Fienes, or Fynes, who had married Joane, third sister and coheir of William de Say above-mentioned. He was much employed by king Henry V. and no less in favor with king Henry VI. who, in the 24th year of his reign, on account of Joane, his grandmother, being third sister and coheir to William de Say, by an especial writ that year summoned him to parliament as lord Say and Seale; and, in consideration of his eminent services, in open parliament, advanced him to the dignity of a baron, as lord Say, to him and his heirs male. After which he was made constable of Dover-castle, and warden of the five ports, lord chamberlain, and one of the king's council; and, in the 28th year of that reign, lord treasurer; which great rise so increased the hatred of the commons against him, that having arraigned him before the lord mayor and others, they hurried him to the standard in Cheapside, where they cut off his head, and carried it on a pole before his naked body, which was drawn at a horse's tail into Southwark, and there hanged and quartered.

Of the THREE DISTRICTS, into which this parish is divided, of which those of Town Borough and the Weald have already been described, the remaining one of Riverhead is by no means inconsiderable. It lies about a mile from Sevenoke town, and seems formerly to have been written both Rotherhith and Rothered, comprehending the western part of this parish; it contains the large hamlet of Riverhead, in which are situated lord Amherst's seat of Montreal; that of Cool Harbour, late admiral Amherst's; and Mrs. Petley's; through this hamlet the road branches on the one hand to Westerham, and on the other across the river Darent towards Farnborough and London; hence it extends beyond Bradborne to the bounds of this parish, north-eastward, at Greatness, which is within it.

In this hamlet was the antient mansion, called Brook's Place, Supposed to have been built by one of the family of Colpeper, out of the materials taken from the neighbouring suppressed hospital of St. John. It afterwards came into the possession of a younger branch of the family of Amherst. Jeffrey Amherst, esq. bencher of Gray's-inn, was owner of it, and resided here at the latter end of the last century. He was descended of ancestors, who had been seated at Pembury in the reign of king Richard II. from whom, in a direct line, descended Richard Amherst, esq. who left three sons; the eldest of whom, Richard, was sergeant at law, and of Bayhall, in Pembury, in the description of which a full account will be given of him and his descendants. Jeffry, the second, was ancestor of the Riverhead branch, as will be mentioned hereafter; and William, the third son, left an only daughter, Margaret, married to John Champs of Tunbridge.

Jeffry Amherst was rector of Horsemonden, and resided at Southes, in Sussex, where he died, and was buried in 1662; whose grandson, Jeffry Amherst, esq. was of Riverhead, as has been before mentioned. and a bencher of Gray's-inn, and dying in 1713, was buried at Pembury. By his first wife, Elizabeth, daughter of Henry Yates, esq. of Sussex, he had several children, of whom, Jeffry, the second son, only arrived at maturity, and was of Riverhead; he was a bencher of Gray's-inn, and dying in 1750, was buried in Sevenoke church, having married Elizabeth, daughter of Thomas Kerrill, esq. of Hadlow, by whom he had seven sons and two daughters, viz. Elizabeth, married to John Thomas, clerk, of Welford, in Gloucestershire; and Margaret, who died unmarried.

Of the sons, Sackville, the eldest, died unmarried in 1763, Jeffry the second, will be mentioned hereafter; John, the third, was of Riverhead, and viceadmiral of the blue squadron; he married Anne, daughter of Thomas Lindzee, of Portsmouth, by whom he had no issue; he died in 1778, and his widow re-married Thomas Munday, esq. The seventh son, William, was a lieutenant-general in the army, and married Elizabeth, daughter of Thomas Patterson, esq. of London. He died in 1781, leaving one son, William-Pitt, and a daughter, Elizabeth-Frances.

Jeffry Amherst, esq. the second son, became, at length, possessed of the mansion of Brooks, and attaching himself early in life to the prossession of a soldier, he acquired the highest military honours and preferments, after a six years glorious war in North America, of which he was appointed governor and commander in chief in 1760; which, when he resigned, the king, among other marks of his royal approbation of his conduct, appointed him governor of the province of Virginia.

¶The victorious atchievements of the British forces in North America, during Sir Jeffry Amherst's continuance there, cannot be better summed up than by giving two of the inscriptions on an obelisk, in the grounds of his seat at Montreal; viz.

www.british-history.ac.uk/survey-kent/vol3/pp60-105

"Halloween is a fun time for kids of all ages!"

~ Anonymous

follow this link to see the movement of this gif

Thanks for stopping by

and God Bless,

hugs, Chris

Angkor Wat or "Capital Temple" is a temple complex in Cambodia and the largest religious monument in the world. It was first a Hindu and later a Buddhist temple. It was built by the Khmer King Suryavarman II in the early 12th century in Yaśodharapura, present-day Angkor, the capital of the Khmer Empire, as his state temple and eventual mausoleum.

Breaking from the Shiva tradition of previous kings, Angkor Wat was instead dedicated to Vishnu. As the best-preserved temple at the site, it is the only one to have remained a significant religious center since its foundation. The temple is at the top of the high classical style of Khmer architecture. It has become a symbol of Cambodia, appearing on its national flag, and it is the country's prime attraction for visitors. Angkor Wat combines two basic plans of Khmer temple architecture: the temple-mountain and the later galleried temple, based on early Dravidian architecture, with key features such as the Jagati. It is designed to represent Mount Meru, home of the devas in Hindu mythology: within a moat and an outer wall 3.6 kilometres long are three rectangular galleries, each raised above the next. At the centre of the temple stands a quincunx of towers. Unlike most Angkorian temples, Angkor Wat is oriented to the west; scholars are divided as to the significance of this. The temple is admired for the grandeur and harmony of the architecture, its extensive bas-reliefs, and for the numerous devatas adorning its walls.

The modern name, Angkor Wat, means "Temple City" or "City of Temples" in Khmer; Angkor, meaning "city" or "capital city", is a vernacular form of the word nokor (នគរ), which comes from the Sanskrit word nagara (नगर). Wat is the Khmer word for "temple grounds" (Sanskrit: वाट vāṭa ""enclosure").

HISTORY

Angkor Wat lies 5.5 kilometres north of the modern town of Siem Reap, and a short distance south and slightly east of the previous capital, which was centred at Baphuon. It is in an area of Cambodia where there is an important group of ancient structures. It is the southernmost of Angkor's main sites.

According to one legend, the construction of Angkor Wat was ordered by Indra to act as a palace for his son Precha Ket Mealea.

According to the 13th century Chinese traveler Daguan Zhou, it was believed by some that the temple was constructed in a single night by a divine architect. The initial design and construction of the temple took place in the first half of the 12th century, during the reign of Suryavarman II (ruled 1113-C. 1150). Dedicated to Vishnu, it was built as the king's state temple and capital city. As neither the foundation stela nor any contemporary inscriptions referring to the temple have been found, its original name is unknown, but it may have been known as "Varah Vishnu-lok" after the presiding deity. Work seems to have ended shortly after the king's death, leaving some of the bas-relief decoration unfinished.

In 1177, approximately 27 years after the death of Suryavarman II, Angkor was sacked by the Chams, the traditional enemies of the Khmer. Thereafter the empire was restored by a new king, Jayavarman VII, who established a new capital and state temple (Angkor Thom and the Bayon respectively) a few kilometers to the north.

In the late 13th century, Angkor Wat gradually moved from Hindu to Theravada Buddhist use, which continues to the present day. Angkor Wat is unusual among the Angkor temples in that although it was somewhat neglected after the 16th century it was never completely abandoned, its preservation being due in part to the fact that its moat also provided some protection from encroachment by the jungle.

One of the first Western visitors to the temple was António da Madalena, a Portuguese monk who visited in 1586 and said that it "is of such extraordinary construction that it is not possible to describe it with a pen, particularly since it is like no other building in the world. It has towers and decoration and all the refinements which the human genius can conceive of."

In the mid-19th century, the temple was visited by the French naturalist and explorer, Henri Mouhot, who popularised the site in the West through the publication of travel notes, in which he wrote:

"One of these temples - a rival to that of Solomon, and erected by some ancient Michelangelo - might take an honorable place beside our most beautiful buildings. It is grander than anything left to us by Greece or Rome, and presents a sad contrast to the state of barbarism in which the nation is now plunged."

Mouhot, like other early Western visitors, found it difficult to believe that the Khmers could have built the temple, and mistakenly dated it to around the same era as Rome. The true history of Angkor Wat was pieced together only from stylistic and epigraphic evidence accumulated during the subsequent clearing and restoration work carried out across the whole Angkor site. There were no ordinary dwellings or houses or other signs of settlement including cooking utensils, weapons, or items of clothing usually found at ancient sites. Instead there is the evidence of the monuments themselves.

Angkor Wat required considerable restoration in the 20th century, mainly the removal of accumulated earth and vegetation. Work was interrupted by the civil war and Khmer Rouge control of the country during the 1970s and 1980s, but relatively little damage was done during this period other than the theft and destruction of mostly post-Angkorian statues.The temple is a powerful symbol of Cambodia, and is a source of great national pride that has factored into Cambodia's diplomatic relations with France, the United States and its neighbor Thailand. A depiction of Angkor Wat has been a part of Cambodian national flags since the introduction of the first version circa 1863. From a larger historical and even transcultural perspective, however, the temple of Angkor Wat did not become a symbol of national pride sui generis but had been inscribed into a larger politico-cultural process of French-colonial heritage production in which the original temple site was presented in French colonial and universal exhibitions in Paris and Marseille between 1889 and 1937. Angkor Wat's aesthetics were also on display in the plaster cast museum of Louis Delaporte called musée Indo-chinois which existed in the Parisian Trocadero Palace from C. 1880 to the mid-1920s. The splendid artistic legacy of Angkor Wat and other Khmer monuments in the Angkor region led directly to France adopting Cambodia as a protectorate on 11 August 1863 and invading Siam to take control of the ruins. This quickly led to Cambodia reclaiming lands in the northwestern corner of the country that had been under Siamese (Thai) control since 1351 AD (Manich Jumsai 2001), or by some accounts, 1431 AD. Cambodia gained independence from France on 9 November 1953 and has controlled Angkor Wat since that time.

ARCHITECTURE

SITE AND PLAN

Angkor Wat, located at 13°24′45″N 103°52′0″E, is a unique combination of the temple mountain, the standard design for the empire's state temples and the later plan of concentric galleries. The temple is a representation of Mount Meru, the home of the gods: the central quincunx of towers symbolises the five peaks of the mountain, and the walls and moat the surrounding mountain ranges and ocean. Access to the upper areas of the temple was progressively more exclusive, with the laity being admitted only to the lowest level. Unlike most Khmer temples, Angkor Wat is oriented to the west rather than the east. This has led many (including Maurice Glaize and George Coedès) to conclude that Suryavarman intended it to serve as his funerary temple.Further evidence for this view is provided by the bas-reliefs, which proceed in a counter-clockwise direction - prasavya in Hindu terminology - as this is the reverse of the normal order. Rituals take place in reverse order during Brahminic funeral services. The archaeologist Charles Higham also describes a container which may have been a funerary jar which was recovered from the central tower. It has been nominated by some as the greatest expenditure of energy on the disposal of a corpse. Freeman and Jacques, however, note that several other temples of Angkor depart from the typical eastern orientation, and suggest that Angkor Wat's alignment was due to its dedication to Vishnu, who was associated with the west.

A further interpretation of Angkor Wat has been proposed by Eleanor Mannikka. Drawing on the temple's alignment and dimensions, and on the content and arrangement of the bas-reliefs, she argues that the structure represents a claimed new era of peace under King Suryavarman II: "as the measurements of solar and lunar time cycles were built into the sacred space of Angkor Wat, this divine mandate to rule was anchored to consecrated chambers and corridors meant to perpetuate the king's power and to honor and placate the deities manifest in the heavens above." Mannikka's suggestions have been received with a mixture of interest and scepticism in academic circles. She distances herself from the speculations of others, such as Graham Hancock, that Angkor Wat is part of a representation of the constellation Draco.

STYLE

Angkor Wat is the prime example of the classical style of Khmer architecture - the Angkor Wat style - to which it has given its name. By the 12th century Khmer architects had become skilled and confident in the use of sandstone (rather than brick or laterite) as the main building material. Most of the visible areas are of sandstone blocks, while laterite was used for the outer wall and for hidden structural parts. The binding agent used to join the blocks is yet to be identified, although natural resins or slaked lime has been suggested. The temple has drawn praise above all for the harmony of its design. According to Maurice Glaize, a mid-20th-century conservator of Angkor, the temple "attains a classic perfection by the restrained monumentality of its finely balanced elements and the precise arrangement of its proportions. It is a work of power, unity and style." Architecturally, the elements characteristic of the style include: the ogival, redented towers shaped like lotus buds; half-galleries to broaden passageways; axial galleries connecting enclosures; and the cruciform terraces which appear along the main axis of the temple. Typical decorative elements are devatas (or apsaras), bas-reliefs, and on pediments extensive garlands and narrative scenes. The statuary of Angkor Wat is considered conservative, being more static and less graceful than earlier work. Other elements of the design have been destroyed by looting and the passage of time, including gilded stucco on the towers, gilding on some figures on the bas-reliefs, and wooden ceiling panels and doors.

FEATURES

OUTER ENCLOSURE

The outer wall, 1024 by 802 m and 4.5 m high, is surrounded by a 30 m apron of open ground and a moat 190 m wide. Access to the temple is by an earth bank to the east and a sandstone causeway to the west; the latter, the main entrance, is a later addition, possibly replacing a wooden bridge. There are gopuras at each of the cardinal points; the western is by far the largest and has three ruined towers. Glaize notes that this gopura both hides and echoes the form of the temple proper. Under the southern tower is a statue of Vishnu, known as Ta Reach, which may originally have occupied the temple's central shrine.Galleries run between the towers and as far as two further entrances on either side of the gopura often referred to as "elephant gates", as they are large enough to admit those animals. These galleries have square pillars on the outer (west) side and a closed wall on the inner (east) side. The ceiling between the pillars is decorated with lotus rosettes; the west face of the wall with dancing figures; and the east face of the wall with balustered windows, dancing male figures on prancing animals, and devatas, including (south of the entrance) the only one in the temple to be showing her teeth. The outer wall encloses a space of 820,000 square metres, which besides the temple proper was originally occupied by the city and, to the north of the temple, the royal palace. Like all secular buildings of Angkor, these were built of perishable materials rather than of stone, so nothing remains of them except the outlines of some of the streets. Most of the area is now covered by forest. A 350 m causeway connects the western gopura to the temple proper, with naga balustrades and six sets of steps leading down to the city on either side. Each side also features a library with entrances at each cardinal point, in front of the third set of stairs from the entrance, and a pond between the library and the temple itself. The ponds are later additions to the design, as is the cruciform terrace guarded by lions connecting the causeway to the central structure.

CENTRAL STRUCTURE

The temple stands on a terrace raised higher than the city. It is made of three rectangular galleries rising to a central tower, each level higher than the last. Mannikka interprets these galleries as being dedicated to the king, Brahma, the moon, and Vishnu.

Each gallery has a gopura at each of the points, and the two inner galleries each have towers at their corners, forming a quincunx with the central tower. Because the temple faces west, the features are all set back towards the east, leaving more space to be filled in each enclosure and gallery on the west side; for the same reason the west-facing steps are shallower than those on the other sides.

The outer gallery measures 187 by 215 m, with pavilions rather than towers at the corners. The gallery is open to the outside of the temple, with columned half-galleries extending and buttressing the structure. Connecting the outer gallery to the second enclosure on the west side is a cruciform cloister called Preah Poan (the "Hall of a Thousand Gods"). Buddha images were left in the cloister by pilgrims over the centuries, although most have now been removed. This area has many inscriptions relating the good deeds of pilgrims, most written in Khmer but others in Burmese and Japanese. The four small courtyards marked out by the cloister may originally have been filled with water.

North and south of the cloister are libraries.

Beyond, the second and inner galleries are connected to each other and to two flanking libraries by another cruciform terrace, again a later addition. From the second level upwards, devatas abound on the walls, singly or in groups of up to four. The second-level enclosure is 100 by 115 m, and may originally have been flooded to represent the ocean around Mount Meru.

Three sets of steps on each side lead up to the corner towers and gopuras of the inner gallery. The very steep stairways represent the difficulty of ascending to the kingdom of the gods. This inner gallery, called the Bakan, is a 60 m square with axial galleries connecting each gopura with the central shrine, and subsidiary shrines located below the corner towers. The roofings of the galleries are decorated with the motif of the body of a snake ending in the heads of lions or garudas. Carved lintels and pediments decorate the entrances to the galleries and to the shrines. The tower above the central shrine rises 43 m to a height of 65 m above the ground; unlike those of previous temple mountains, the central tower is raised above the surrounding four. The shrine itself, originally occupied by a statue of Vishnu and open on each side, was walled in when the temple was converted to Theravada Buddhism, the new walls featuring standing Buddhas. In 1934, the conservator George Trouvé excavated the pit beneath the central shrine: filled with sand and water it had already been robbed of its treasure, but he did find a sacred foundation deposit of gold leaf two metres above ground level.

DECORATION

Integrated with the architecture of the building, and one of the causes for its fame is Angkor Wat's extensive decoration, which predominantly takes the form of bas-relief friezes. The inner walls of the outer gallery bear a series of large-scale scenes mainly depicting episodes from the Hindu epics the Ramayana and the Mahabharata. Higham has called these, "the greatest known linear arrangement of stone carving".

From the north-west corner anti-clockwise, the western gallery shows the Battle of Lanka (from the Ramayana, in which Rama defeats Ravana) and the Battle of Kurukshetra (from the Mahabharata, showing the mutual annihilation of the Kaurava and Pandava clans). On the southern gallery follow the only historical scene, a procession of Suryavarman II, then the 32 hells and 37 heavens of Hindu mythology.

On the eastern gallery is one of the most celebrated scenes, the Churning of the Sea of Milk, showing 92 asuras and 88 devas using the serpent Vasuki to churn the sea under Vishnu's direction (Mannikka counts only 91 asuras, and explains the asymmetrical numbers as representing the number of days from the winter solstice to the spring equinox, and from the equinox to the summer solstice). It is followed by Vishnu defeating asuras (a 16th-century addition). The northern gallery shows Krishna's victory over Bana (where according to Glaize, "The workmanship is at its worst"). and a battle between the Hindu gods and asuras. The north-west and south-west corner pavilions both feature much smaller-scale scenes, some unidentified but most from the Ramayana or the life of Krishna. Angkor Wat is decorated with depictions of apsaras and devata; there are more than 1,796 depictions of devata in the present research inventory. Angkor Wat architects employed small apsara images (30–40 cm) as decorative motifs on pillars and walls. They incorporated larger devata images (all full-body portraits measuring approximately 95–110 cm) more prominently at every level of the temple from the entry pavilion to the tops of the high towers. In 1927, Sappho Marchal published a study cataloging the remarkable diversity of their hair, headdresses, garments, stance, jewelry and decorative flowers, which Marchal concluded were based on actual practices of the Angkor period.

CONSTRUCTION TECHNIQUES

The stones, as smooth as polished marble, were laid without mortar with very tight joints that are sometimes hard to find. The blocks were held together by mortise and tenon joints in some cases, while in others they used dovetails and gravity. The blocks were presumably put in place by a combination of elephants, coir ropes, pulleys and bamboo scaffolding. Henri Mouhot noted that most of the blocks had holes 2.5 cm in diameter and 3 cm deep, with more holes on the larger blocks. Some scholars have suggested that these were used to join them together with iron rods, but others claim they were used to hold temporary pegs to help manoeuvre them into place. The monument was made out of millions of tonnes of sandstone and it has a greater volume as well as mass than the Great Pyramid of Giza in Egypt. The Angkor Wat Temple consumes about 6 million to 10 million blocks of sandstone with an average weight of 1.5 tons each. In fact, the entire city of Angkor used up far greater amounts of stone than all the Egyptian pyramids combined, and occupied an area significantly greater than modern-day Paris. Moreover, unlike the Egyptian pyramids which use limestone quarried barely half a km away all the time, the entire city of Angkor was built with sandstone quarried 40 km (or more) away. This sandstone had to be transported from Mount Kulen, a quarry approximately 40 km to the northeast. The route has been suggested to span 35 kilometres along a canal towards Tonlé Sap lake, another 35 kilometres crossing the lake, and finally 15 kilometres upstream and against the current along Siem Reap River, making a total journey of 90 kilometres. However, Etsuo Uchida and Ichita Shimoda of Waseda University in Tokyo, Japan have discovered in 2012 a shorter 35-kilometre canal connecting Mount Kulen and Angkor Wat using satellite imagery. The two believe that the Khmer used this route instead.

Virtually all of its surfaces, columns, lintels even roofs are carved. There are miles of reliefs illustrating scenes from Indian literature including unicorns, griffins, winged dragons pulling chariots as well as warriors following an elephant-mounted leader and celestial dancing girls with elaborate hair styles. The gallery wall alone is decorated with almost 1000 square metres of bas reliefs. Holes on some of the Angkor walls indicate that they may have been decorated with bronze sheets. These were highly prized in ancient times and were a prime target for robbers. While excavating Khajuraho, Alex Evans, a stonemason and sculptor, recreated a stone sculpture under 1.2 m, this took about 60 days to carve. Roger Hopkins and Mark Lehner also conducted experiments to quarry limestone which took 12 quarrymen 22 days to quarry about 400 tons of stone. The labor force to quarry, transport, carve and install so much sandstone must have run into the thousands including many highly skilled artisans. The skills required to carve these sculptures were developed hundreds of years earlier, as demonstrated by some artifacts that have been dated to the seventh century, before the Khmer came to power.

ANGKOR WAT TODAY

The Archaeological Survey of India carried out restoration work on the temple between 1986 and 1992. Since the 1990s, Angkor Wat has seen continued conservation efforts and a massive increase in tourism. The temple is part of the Angkor World Heritage Site, established in 1992, which has provided some funding and has encouraged the Cambodian government to protect the site. The German Apsara Conservation Project (GACP) is working to protect the devatas and other bas-reliefs which decorate the temple from damage. The organisation's survey found that around 20% of the devatas were in very poor condition, mainly because of natural erosion and deterioration of the stone but in part also due to earlier restoration efforts. Other work involves the repair of collapsed sections of the structure, and prevention of further collapse: the west facade of the upper level, for example, has been buttressed by scaffolding since 2002, while a Japanese team completed restoration of the north library of the outer enclosure in 2005. World Monuments Fund began conservation work on the Churning of the Sea of Milk Gallery in 2008 after several years of conditions studies. The project restored the traditional Khmer roofing system and removed cement used in earlier restoration attempts that had resulted in salts entering the structure behind the bas-relief, discoloring and damaging the sculpted surfaces. The main phase of work ended in 2012, and the final component will be the installation of finials on the roof of the gallery in 2013. Microbial biofilms have been found degrading sandstone at Angkor Wat, Preah Khan, and the Bayon and West Prasat in Angkor. The dehydration and radiation resistant filamentous cyanobacteria can produce organic acids that degrade the stone. A dark filamentous fungus was found in internal and external Preah Khan samples, while the alga Trentepohlia was found only in samples taken from external, pink-stained stone at Preah Khan. Angkor Wat has become a major tourist destination. In 2004 and 2005, government figures suggest that, respectively, 561.000 and 677.000 foreign visitors arrived in Siem Reap province, approximately 50% of all foreign tourists in Cambodia for both years. The site has been managed by the private SOKIMEX group since 1990, which rented it from the Cambodian government. The influx of tourists has so far caused relatively little damage, other than some graffiti; ropes and wooden steps have been introduced to protect the bas-reliefs and floors, respectively. Tourism has also provided some additional funds for maintenance - as of 2000 approximately 28% of ticket revenues across the whole Angkor site was spent on the temples - although most work is carried out by foreign government-sponsored teams rather than by the Cambodian authorities. Since Angkor Wat has seen significant growth in tourism throughout the years UNESCO and its International Co-ordinating Committee for the Safeguarding and Development of the Historic Site of Angkor (ICC), in association with representatives from the Royal Government and APSARA, organized seminars to discuss the concept of "cultural tourism". Wanting to avoid commercial and mass tourism, the seminars emphasized the importance of providing high quality accommodation and services in order for the Cambodian government to benefit economically, while also incorporating the richness of Cambodian culture. In 2001, this incentive resulted in the concept of the "Angkor Tourist City" which would be developed with regard to traditional Khmer architecture, contain leisure and tourist facilities, and provide luxurious hotels capable of accommodating large amounts of tourists. The prospect of developing such large tourist accommodations has encountered concerns from both APSARA and the ICC, claiming that previous tourism developments in the area have neglected construction regulations and more of these projects have the potential to damage landscape features. Also, the large scale of these projects have begun to threaten the quality of the nearby town's water, sewage, and electricity systems. It has been noted that such high frequency of tourism and growing demand for quality accommodations in the area, such as the development of a large highway, has had a direct effect on the underground water table, subsequently straining the structural stability of the temples at Angkor Wat. Locals of Siem Reap have also voiced concern over the charming nature and atmosphere of their town being compromised in order to entertain tourism. Since this charming local atmosphere is the key component to projects like Angkor Tourist City, local officials continue to discuss how to successfully incorporate future tourism without sacrificing local values and culture. At the ASEAN Tourism Forum 2012, both parties have agreed Borobudur and Angkor Wat to become sister sites and the provinces will become sister provinces. Two Indonesian airlines are considering the opportunity to open a direct flight from Yogyakarta, Indonesia to Siem Reap.

WIKIPEDIA

Diamond Head Lighthouse is a United States Coast Guard facility located on Diamond Head in Honolulu, on the island of Oʻahu in the State of Hawaiʻi.

The lighthouse was listed on the National Register of Historic Places in 1980.

The Diamond Head Lighthouse was featured on a United States postage stamp in June 2007