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.

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?

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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

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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

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

This is a photo of 'Kevin', one of the horses at the Triple C Farm. Normally, Kevin is a quiet, carefree, easy go lucky kind of horse. Must be the change of weather today, because he was frisky and as active as can be!

Chasing Randy and Tonka around the paddock.

This isn't actually Gal Gadot.

What? Really? You were pretty sure about that to begin with?

The Mezco One:12 line is a relatively new toy line, popping up in recent years as a response to the various 1/6 figure companies becoming more and more expensive. Most of them retail for $80 USD, though of course there are probably come con exception.

Now, through the years I've read reviews of various figures, but never bought any due to the fact none of the characters were particularly appealing to me, and I had missed the Armoured Batman from the BvS movie.

I had ALMOST actually bought Wonder Woman here over Christmas during the Boxing Week sale at the Silver Snail, but held out, thinking that my $100 + tax would be better used towards what I thought was going my inaugural analysis, Hela, which still hasn't materialized yet.

Mezco, as far as I'm aware, is an American company. I don't typically purchase American toys, with the exception of Transformers, so I had no idea what to expect, though I know enough that in general that my expectations should be tempered as compared to Figma, Figuarts, or even the Storm Collectibles stuff.

At any rate, enough preamble - lets get on with the show. As this is my first One:12 product, I'm going to be whining about everything.

So the exterior box is shipped protected by various plastic tags and sheets to protect against scratching. The actual packaging itself was fairly functional, consisting of an inner windowed box with a slip cover. Graphics are clean and bright, though somewhat simplistic compared to the Hot Toys, Medicom, hell even the Figuarts and Figma boxes, though that glossy image of what I think is the Mezco logo is quite nice.

Actual cardboard is pretty average quality, being fairly lightweight with a natural matte finish. I understand that the convention exclusives and other more uncommon figures come in a metal tin, which reminds me very much of those metal tins you get Mooncakes in.

The actual contents of the box are mostly spelled out on the back of the box: the figure, an alternative head, four additional hands, coiled and uncoiled lasso, her Godkiller Sword, her shield, a base with arm for dynamic posing, as well as a Figma styled plastic bag for holding the various loose goodies in.

Actual cardboard is pretty average quality, being fairly lightweight with a natural matte finish. I understand that the convention exclusives and other more uncommon figures come in a metal tin, which reminds me very much of those metal tins you get Mooncakes in.

The actual contents of the box are mostly spelled out on the back of the box: the figure, an alternative head, four additional hands, coiled and uncoiled lasso, her Godkiller Sword, her shield, a base with arm for dynamic posing, as well as a Figma styled plastic bag for holding the various loose goodies in.

The figure is, as one would guess, a 1/12 figure, putting it roughly 6 inches high. The only other competition the Mezco figure has is that Mafex BvS Wonder Woman that I picked up last year. I'll make this as painless as possible - with the exception of one factor, albeit a very important one, the Mezco destroys the Mafex I own.

Off the bat, I'd like to note that with the exception of the very fine detailing on her face and maybe some smaller metallic features, the overall paint work is actually pretty good. No areas where overspray caused me to gawk, nor was there any areas with obviously poor masking or line work, though I will admit that the lines on her bracers come awfully close. Her skin tone is a bit on the bronze side, which can make photographing her using yellow lighting challenging.

It goes without saying that the work here is significantly better than that of your Marvel Legends figures, and probably even the Black series stuff. Of course, these do cost almost 4 times as much.

Her sword is seems about the right length and girth, but the shield is definitely smaller than what the prototype picture on the box itself shows.

Grasping hands were all of a soft rubber which is easily malleable, allowing for easy manipulation to hold the sword without fear of constant breakage. Fingers look kind of muddled on these hands, and there are concerns on my mind about overall longevity of painted rubber parts (i.e. the split head on my Microman Chun Li) but only time will actually address that.

One of the key selling points of the One:12 line are the tailored outfits that the characters wear. Wonder Woman, unfortunately, really only has fabric skirt, and as such, much like the Hot Toys version, her armour is a moulded and painted piece of plastic.

The bracers and her leather strap are separate pieces, which is nice. I couldn't find any instructions included with my figure, so I'm guessing they never made a way for you to actually strap the shield and her sword to her back.

Her lassos are functional, though to be honest i didn't play around with the uncoiled one at all.

The box proclaims over 30 points of articulation. I didn't bother counting them because my point is this - it certainly didn't feel like there were that many. Her outfit effectively removes the waist as a point of articulation, nor are there any any ab crunch options. Shoulders do not collapse, which basically makes doing the cross armed pose impossible. Legs can at most be raised 90 degrees from a vertical position thus making kneeling poses with the figure very unnatural looking. Similarly, crossing her legs isn't happening either, making more stylish or elegant poses very hard to pull off. Thigh swivel joints are quite unsightly.

Now that I think about it, the elbows didn't bend more than 90 degrees either.

All in all, the various other high end 1/12 ish Wonder Woman figures offer better articulation than this one. I'm hoping this body is not the base one used for their various figures, but rather like the Hot Toys seamless body, one they developed specifically for Wonder Woman. But looking at preview pictures for all of the other One:12, articulation may be limited like this for all of their product.

While we're on the subject, if this is a custom body, then Mezco needs to improve the silhouette a bit, and really improve their game on the muscle tone, particularly on the arms and her back.

We now come to one of the greatest points of controversy for this figure, the face/head. From what I have read, release of this figure was significantly delayed due to Mezco fiddling with the heads, and many accounts I read said the final product was a marked improvement over the prototypes. Some even claim that the sculpt looks exactly like Gal Gadot.

Hence "This is not actually Gal Gadot".

No matter which way I stare at it, I honestly don't see any aspect of her at all in any of these, and still stick with my original analysis of "she looks like Olivia Munn".

Another hot topic is "why the hell does she look like she has chipmunk cheeks?". Several factors.

First off, to my eye, the base of the back of the neck for the default head sculpt is way too thick, and as such, this serves to widen her already problematic face. To my eye, the back of the neck on the alternate sculpt (one where she has no bangs) is slimmer in this area which helps to given a more streamline look.

Secondly, the sculptors really didn't emphasize her cheek bones that well. It's there, but you really need to have the light shining the right way for them to appear. Because these cheek bones are not emphasized, her jaw looks like a continuation of a blob that starts from her forehead. I also feel a dash of contouring paint apps would have helped with this issue, and allowed for easier photographs.

Sculpting of the hair is pretty good, but I think they missed an opportunity to have one sculpt feature a head of hair that is blowing sideways as opposed to having one that is all behind her head.

So that was my first foray into the One:12 line. A bit of a mixed bag, with my real disappointment being the surprisingly limited articulation, particularly given what Figma, Figuarts, and Mafex figures can do at a slightly smaller size. I'm going to wait for Hela to tell me how good their tailored costumes are, and hopefully see why people are highly excited about these products.

Florenz - Piazza della Repubblica

Piazza della Repubblica (Italian pronunciation: [ˈpjattsa della reˈpubblika], Republic Square) is a city square in Florence, Italy. It was originally the site of the city's forum; then of its old ghetto, which was swept away during the improvement works, or Risanamento, initiated during the brief period when Florence was the capital of a reunited Italy—work that also created the city's avenues and boulevards. At that time, the Loggia del Pesce from the Mercato Vecchio was also moved to Piazza Ciompi. The square's Giubbe Rosse cafe has long been a meeting place for famous artists and writers, notably those of Futurism.

History

Roman forum

Piazza della Repubblica marks the site of the forum, the centre of the Roman city. The exact present site of the Colonna dell'Abbondanza marks the intersection of the axes of the cardo (now via Roma and via Calimala) and decumanus (now via degli Strozzi, via degli Speziali, and via del Corso). Foundations of a thermae complex on the south side and a religious building were found in the 19th-century demolition of the warren of medieval streets that had encroached upon the site. Via del Campidoglio and Via delle Terme, for example, were named after the archaeological remains beneath them.

The chronicler Giovanni Villani reported an oral tradition that there was a temple to Mars on or near this site, and that Mars was the city's patron god, which determined the city's warlike character. According to Villani, in the Middle Ages a statue of Mars was placed on the predecessor to the Ponte Vecchio, which, along with the bridge, was swept away in the flood of 1333.

Piazza del Mercato Vecchio and the Ghetto

In the early medieval period the forum area was densely inhabited. Before the closure of the fifth circle of city walls, chroniclers record that there was no longer a single garden or pasture in the city, and that urban crowding led to tenements with ever-rising floors, including case-torri (tower houses).

The area retained its function as a meeting place and market, which was institutionalised after 1000. As in other Italian towns, Florence came to define public space intended for commerce, with its complementary spaces nearby, the piazza del Duomo for religious affairs and a piazza del Comune, now Piazza della Signoria, for political and civil affairs. The construction of the Loggia del Mercato Nuovo near Ponte Vecchio in the 16th century led to the renaming of the market here to the Mercato Vecchio. The actual marketplace here was a long, low building in an oval rectilinear plan, with an overhanging roof to shelter the customers and the stalls placed on either side. Other shops and stalls were sited in the piazzetta.

The area was a maze tightly packed streets and buildings in addition to the marketplace. The Mercato Vecchio had numerous shrines and churches razed in the mid-18th century. On the piazzetta del Mercato were the churches of San Tommaso, and Santa Maria in Campidoglio. There was also the shrine of Santa Maria della Tromba, rebuilt in the north angle of Palazzo dell'Arte della Lana behind the Orsanmichele. The Jewish Ghetto imposed by Cosimo I collected the city's Jews into a portion of this space. The ghetto contained both an Italian and a Spanish or Levantine synagogue.

The sole surviving witness to the old piazza del Mercato is the Colonna della Dovizia or Colonna dell'Abbondanza (Column of Abundance, re-positioned in 1956) on a stepped base. Once considered to be the centre of the city, this column was erected at the crossing of the cardo and decumanus of the ancient Roman city. The present column dates to 1431, and is surmounted by a grey sandstone statue of Dovizia (or Abbondanza), by Giovan Battista Foggini, replacing an original by Donatello (found to be irreparably eroded in 1721. Today Foggini's original statue is in Palazzo della Cassa di Risparmio in via dell'Oriuolo, whilst on the column is a 1956 replica.

The piazza "risanata"

The present appearance of the square is the result of the city planning announced and carried out on the proclamation of Florence as the capital of Italy (1865–71), with particularly intense activity in this Piazza between 1885 and 1895. In this period, known as the Risanamento in the commemorative nineteenth-century terminology (or, by its detractors, the sventramento or ruining), large parts of the city centre were demolished.

The decision to broaden the square allowed the total destruction of buildings of great importance: medieval towers, churches, the corporate seats of the Arti, some palaces of noble families, as well as craftsmen's shops and residences. The demolition was presented as a necessity if the area's insanitary conditions were to be improved, but was in reality led above all to building speculation and to legitimization of the will of the emerging middle-class emergente, protagonist in the events immediately prior to unification.

The town in fact underwent an enormous loss, minimally compensated for by the rescue of monuments like Vasari's Loggia del Pesce that was dismantled and reassembled in Piazza dei Ciompi. The appearance of the square before the nineteenth-century demolitions is documented in prints, paintings and drawings in the Museo di Firenze com'era in Via dell'Oriuolo. A plentiful supply of works of art and architectural fragments fed the antiquarian market, and only some of them could be saved for the Museo nazionale di San Marco, whilst others were returned to the town as donations such as those that allowed the founding of the Museo Bardini and Museo Horne. Artists like Telemaco Signorini depicted with melancholy this disappearing part of town.

In 1888, after the demolition of the hovels in the center of the Mercato, the old piazza del Mercato Vecchio reappeared, with the Loggia, the Colonna dell'Abbondanza and the church of San Tommaso, but the shrewd restorers preferred to proceed with a more radical demolition yet.

On 20 September 1890, with the building-sites still open to rebuild the palazzoni in the square, the Equestrian Monument to Vittorio Emanuele II was inaugurated. This monument gave the piazza its original name. An old photograph taken on the day of the inauguration show the buildings of the square still incomplete and covered for the civil ceremony in scenery representing good luck. The statue, a commemorative and rather rhetorical work which did not please the Florentines, was mocked in a biting sonnet by Vamba, entitled Emanuele a corpo sciolto. Today the sculpture is in a Piazzale of the Parco delle Cascine.

The palaces that rose in the new square, painted bitterly by the young Telemaco Signorini, followed the eclectic fashion of the time and had been planned by already well-known architects: Vincenzo Micheli, Luigi Buonamici, Giuseppe Boccini. Following this transformation, the square became a kind of "lounge" for the town; since then refined palaces, luxury hotels, department stores and elegant cafes have sprung up around it, among which the known Caffè delle Giubbe Rosse, where famous scholars and artists met and clashed.

The porticos with the triumphal arch, called the "Arcone", was designed by Micheli and was inspired by the most courtly Florentine Renaissance architecture, even if its additions to that style seem to be distant from the true ancient style. The pompous inscription that dominates the square was dictated, it seems, from Isidoro del Lungo, or another literary source:

L'ANTICO CENTRO DELLA CITTÀ

DA SECOLARE SQUALLORE

A VITA NUOVA RESTITUITO

(The ancient centre of the city / restored from age-old squalor / to new life)

On top of the Arcone is an allegorical group of three women in plaster, representing Italy, Art and Science. The Florentines instead nicknamed them after three famous prostitutes of the era, la Starnotti, la Cipischioni e la Trattienghi. Having deteriorated, the group was removed in 1904.

The piazza today

The statue of Vittorio Emanuele II was removed in 1932 and moved to the Cascine. In the postwar period the name of the piazza was changed from Piazza Vittorio Emanuele II to piazza della Repubblica. In 1956 the Colonna dell'Abbondanza was re-sited. The piazza is today a theatre of street-artists and impromptu exhibitions.

The Cafès

Today piazza della Repubblica houses three caffès: Caffè Gilli, Paszkowski and Caffè Giubbe Rosse.

Description

North side

The north side is about 75 metres long and is made up of a single large building. On its ground floor are Caffè Gilli (to the right) and of the Caffè Paszkowski (on the left). Its east end is the connection between the piazza and via Roma, and at its west end is the piazza's connection with via Brunelleschi.

South side

The south side is made up of a single long building, containing the historical Caffè delle Giubbe Rosse. Entirely covered with photographs, drawings and memories of its famous patrons, the Caffè was the location for the brawl between the Milanese Futurists of Marinetti and the Florentine artists centred on the magazine La Voce di Ardengo Soffici.

At its two ends, it meets via Calimala (to the east) and via Pellicceria (to the west).

East side

The east side is made up of two buildings, between which via degli Speziali runs into the piazza.

The building on the left is the Savoy Hotel, built by Vincenzo Micheli. It has been a hotel ever since its inception and its facade is marked by an eclectic style based on the renewal of classical motifs in Florentine architecture. The Palazzo was the model for other palaces on the square which were constructed a few decades afterwards.

Along this side runs a road roadway that to the north is a continuation of via Roma and to the south runs into via Calimala.

West side

The west side is delimited by the porticos that run north along via Brunelleschi and south along via Pellicceria.

These two lengths of portico are united by a large triumphal arch of I triumph (Arcone) facing via degli Speziali, under which is via degli Strozzi's entrance onto the piazza.

The arcone and the portico Gambrinus, where Cafe Gambrinus (an important meeting place in nineteenth and twentieth century Florence) and Cinema Gambrinus used to be located, were planned and realized by Vincenzo Micheli; the building is designed as a monument sealing the nineteenth-century broadening of the square, as is celebrated by an inscription (quoting Isidoro del Lungo) above the arch.

At the sides of the central arcone the porticos are looser in design, typical of the building of the period, connecting on one side to Palazzo delle Poste (1917).

Festivals

With the piazza's demolition and reconstruction, the continuity of the area's festivals was broken. For example, the Palio dei barberi ceased in the 19th century, as did the two Easter day processions that led up to the Scoppio del Carro (the Brindellone procession drawn by oxen from near Porta al Prato, and the procession with the fire, solemnly lit in the church of the holy apostles. Its centrality in city life did not diminish, however, particularly in the first years of the twentieth century, when the cafes facing onto the piazza became a meeting-place for artists and men of letters.

(Wikipedia)

Die Piazza della Repubblica in Florenz ist ein im historischen Zentrum der Stadt gelegener, rechtwinkeliger Platz im Ausmaß von etwa 75 × 100 m, der als typisches Beispiel der städtebaulichen „Sanierungsanstrengungen“ der kurzen Hauptstadtperiode zwischen 1865 und 1871 und der darauf folgenden Gründerzeit gilt.

Geschichte

Hier befand sich schon in römischer Zeit das Stadtzentrum, der Treffpunkt der Achsen Cardo (heute via Roma, via Calimala und via Por Santa Maria), sowie Decumanus, heute Via del Corso, Via degli Speziali und Via degli Strozzi. Im Mittelalter befanden sich hier die Piazza del Mercato Vecchio und das Ghetto.

Der Mercato Vecchio war ein niedriges, langgestrecktes Gebäude. Hier siedelte Herzog Cosimo I. im 16. Jahrhundert die Juden der Stadt an. Es gab im Ghetto eine italienische und eine spanische oder levantinische Synagoge. Im Umfeld gab es auch zahlreiche kleinere Kirchen. Geblieben ist von diesem mittelalterlichen Ambiente nur die Colonna della Dovizia oder Colonna dell’Abbondanza, die als „Nabel der Stadt“ gilt.

Ab 1865 kam es nämlich zu einer „Sanierung“ des Viertels nach französischem Vorbild im Geiste von Georges-Eugène Haussmann. Der Schwerpunkt der Umgestaltung lag im Jahrzehnt 1885 bis 1895. Eine Reihe bedeutender historischer Gebäude wurde während dieser Schlüsselperiode der neueren Geschichte von Florenz geopfert.

Auf der Ostseite des Platzes befindet sich das berühmte Literatencafé Caffè Le Giubbe Rosse.

Die „Sanierung“

Mittelalterliche Türme, Kirchen, Adelspalais etc. mussten damals den urbanistischen Modernisierungsanstrengungen weichen. 1890 wurde ein Reiterstandbild von Vittorio Emmanuele II. enthüllt, nach dem der neu geschaffene Platz ursprünglich benannt war (es wurde später allerdings transferiert). Die umliegenden Bauten, im Stil des Historismus errichtet, stammen von Modearchitekten der Zeit wie Vincenzo Micheli, Luigi Buonamici, Giuseppe Boccini. In der Folge wurde die Piazza mit ihren repräsentativen Hotels, Cafés wie dem Caffè Paszkowski, Warenhäusern und anderen modernen Einrichtungen zu einem beliebten Treffpunkt der bürgerlichen Kreise der Stadt. Ein Triumphbogen, „Arcone“ genannt (Architekt Micheli) verweist mit seiner Inschrift stolz auf das von vielen betrauerte Sanierungswerk:

L'ANTICO CENTRO DELLA CITTÀ

DA SECOLARE SQUALLORE

A VITA NUOVA RESTITUITO

(in etwa: DAS ALTE STADTZENTRUM / NACH JAHRHUNDERTEN DES ELENDS / ZU NEUEM LEBEN ERWECKT. Der Ausdruck squallore ist ein stark negativer, erweckt Assoziationen mit Dunkelheit und Schmutz).

An der Spitze des Bogens befanden sich bis 1904 drei allegorische Frauengestalten, die Italien, die Kunst und die Wissenschaft symbolisieren sollten.

(Wikipedia)

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This is a photograph from the 4th Annual Meath Spring Half Marathon and 10KM Road Races hosted by Bohermeen AC on the 8th March 2015 at 12:00 at Bohermeen, Ardbraccan, Navan, Co. Meath, Ireland. A 10KM race was also held and started one hour before the half marathon. This event has grown quickly in popularity over the past few years with this year's entry of 1,168 with this being a record for both races. The half marathon had 843 entrants while the 10KM race had 325 entrants. This half marathon event is perfectly placed in the Irish running calendar as it provides runners of all levels and abilities an opportunity to test the half marathon distance in preparation for a Spring Marathon or as the first serious running goal in 2015. Bohermeen AC is steeped in Irish athletics history since 1927 and it is this experience and exceptional community spirit and volunteering which has made this event today so successful.

Want to use this photograph or share it? Please read/scroll down a little further to find out how - it's very easy!

The weather was very suitable for road racing with the exception of a strong headwind at certain parts of the course. However the cool, dry sunny conditions were suitable for fast times and PB performances from runners.

Our full set of photographs from today's event are available on Flickr at the following link https://www.flickr.com/photos/peterm7/sets/72157648897769373/. This set of photographs is mostly of the Half Marathon race but there are some from the 10KM event.

Don't forget to scroll down to see more information about the race and these photographs!

Event Management and Timing was provided by PRECISION TIMING. The results from today's events can be found on Precision Timing's website at this URL [www.precisiontiming.net/result.aspx?v=2457]. You can checkout their facebook page at www.facebook.com/davidprecisiontiming?fref=ts

The Satellite Navigation Coordinates to Bohermeen are [53.650882,-6.77989] and is accessible using the M3, N2 and N52

Some useful links to other web-resources related to this race

Bohermeen AC Facebook Page: www.facebook.com/bohermeen.ac?fref=ts

2015 Spring Half Marathon Route: www.runningmap.com/?id=641747

2015 Spring Half Marathon 10KM Race Option Route: www.runningmap.com/?id=641752

Google Streetview of the Race Start: goo.gl/maps/rtj1X

Google Streetview of the Race Finish and Race Headquarters: goo.gl/maps/qVttR

Internet Homepage for the Spring Half Marathon [www.meathspringhalfmarathon.com/]

Results from 2014 from Precision Timing: www.precisiontiming.net/result.aspx?v=1684

Results from 2013 from Precision Timing: www.precisiontiming.net/result.aspx?v=1115

Photographs from previous events

Our Flickr Photograph set from the 3rd Spring Marathon 2014: www.flickr.com/photos/peterm7/sets/72157641717197563

Our Flickr Photograph set from the 2nd Spring Marathon 2013: www.flickr.com/photos/peterm7/sets/72157632906920970/

Our Flickr set from the 1st Spring Marathon (2012) www.flickr.com/photos/peterm7/sets/72157629146137284/with...

Photographs from the 2013 event from our friend Paul Reilly [pjrphotography.zenfolio.com/p670974697]

USING OUR PHOTOGRAPHS - A QUICK GUIDE

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

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My personal blog: www.emilylowrey.com

Komsomolskaya (Russian: Комсомо́льская) is a Moscow Metro station in the Krasnoselsky District, Central Administrative Okrug, Moscow. It is on the Koltsevaya Line, between Prospekt Mira and Kurskaya stations.

The station is noted for its being located under the busiest Moscow transport hub, Komsomolskaya Square, which serves Leningradsky, Yaroslavsky and Kazansky railway terminals. Because of that the station is one of the busiest in the whole system and is the most loaded one on the line. It opened on 30 January 1952 as a part of the second stage of the line.

Architecture and decoration

Beginning with the large vestibule located among the former of the two train stations, the building features an immense octagonal dome topped by a cupola, and a spire crowned by a large star and imposing full-height portico with stylised Corinthian columns. Inside amid the Baroque-style ornaments, rich torchères and chandelier lights, two escalators descend, one leading to the old 1935 Komsomolskaya-Radialnaya station, and the second to this one.

Once on the platform level, the full details of this deep column station built to special design on a monolithic plan become apparent; there is an imposing Baroque ceiling, with accompanying friezes, painted yellow. Supporting the enlarged barrel vault are 68 octagonal columns faced with white marble, and topped with baroque pilasters. The platform is lit up by chandeliers and additional concealed elements in the niches of both the central and platform halls.

The theme of the design, the Historical Russian fight for freedom and independence, is expressed in eight large ceiling mosaics by Pavel Korin. Korin said that the inspiration came from Joseph Stalin's speech at the Moscow Parade of 1941, where he inspired the soldiers amid the catastrophic losses in the early period of World War II to remember the historical heroics of their Russian forefathers. The idea to design the art as a mosaic came from the Saint Sophia Cathedral in Kiev, where Korin saw that such artforms could last for eternity. Chronologically the mosaics are as following:

1242: Alexander Nevsky after the Battle on the Ice.

1380: Dmitry Donskoy after the Battle of Kulikovo.

1612: Kuzma Minin and Dmitry Pozharsky after the end of the Time of Troubles.

1799: Alexander Suvorov after the Crossing of the Alps.

1812: Mikhail Kutuzov after the Battle of Borodino.

1945: The original mosaic here was of Red Army troops on Red Square receiving the Guards banner from Soviet army command, yet because it contained images of some commanders whose careers and legacy would later be re-evaluated (including Joseph Stalin) most of the mosaic was replaced with that of Vladimir Lenin addressing a meeting in Red Square, thus moving the date of the artwork to a period between 1917 and 1922.

1945: Soviet Troops on the Reichstag building after the Battle of Berlin (according to some, the original banner had superimposed profiles of Lenin and Stalin: the latter was removed to leave just Lenin remaining).

1945: The original image was of a Victory parade with Soviet soldiers throwing captured Nazi banners in front of Lenin's mausoleum. However for the same reason as the sixth image, this image would hold the record for retouchings. First when Lavrenty Beria was arrested in 1953, his glasses were erased and then the whole figure was removed. Then in 1957, after the political crisis saw the end of the careers of Vyacheslav Molotov and Lazar Kaganovich, their images followed suit. Finally, after 1961 brought the end of Stalin's personality cult, in early 1963 the whole panel was taken down and Korin re-designed it by placing a maiden (symbolising Mother Russia) standing on the Nazi banners in front of the same mausoleum, holding a hammer and sickle in one hand and a palm branch in the other. This final one alone is made of more than 300 thousand mosaic tiles and takes up 31.5 square metres and weighs more than three tonnes.

However the artistic decoration does not stop there, for in between each of the mosaics there are further ones made of gilded smalt depicting various weaponry and armour: one set is focused on ancient Russian equipment, a second on the Napoleonic era, the third on WWII. At the end of the platform is a bust of Vladimir Lenin under an arch decorated with gilt floral designs and the Coat of arms of the Soviet Union.

In the centre of the red granite covered platform are two passageways, surrounded by marble balustrades with escalators that descend into a lobby with a main escalator tunnel upwards to the Sokolnicheskaya Line's Komsomolskaya station. On the wall opposite the escalator is a large fluorescent mosaic, also of Pavel Korin, depicting the Order of Victory surrounded by red and green banners and Georgian colours.

In 1951 both Pavel Korin and Alexey Schusev (posthumously) were awarded the Stalin Prize for their works on the station, and on 30 January 1952 the station was opened to the public as the first on the second stage of the Koltsevaya line. In 1958 the station was awarded the Grand Prix ("Grand Prize") title of Expo '58 in Brussels [Wikipedia.org]

Miami is a huge city, the skyscrapers go on and on, they are constantly building more. This view is from the north looking south and only shows a portion of the city. Compared to other major cities in the United States the downtown/uptown area is much larger than most. Only two come to mind that are larger and they would be New York City and Chicago.

today is a sunny day , i invited the pretty India girl Reena , she is very smart and got PHD in school , and she has talent about dace , so she teach dance in taiwan , sometime perform dace around the festival , and when we arrived the famous tour place of north taiwan , though it is friday not holiday , the rocks area still full of tourist , i coulnt take there for a long time , just pick some strange rocks for background , thank Reena , she dressed her india tranditional costume to show her dacing pose inspite many tourist watching and hot weather , for save time , i change to the other place quickly , we still got many wonderful photos there

Mars is visible above the horizon in the night sky above Kennedy Space Center in Florida on Monday, July 30, 2018. The Red Planet appeared the brightest from July 27 to July 30, making its closest approach to Earth on July 31. The next Mars close approach is Oct. 6, 2020. A close approach is when Mars and Earth come nearest to each other in their orbits around the Sun. Photo credit: NASA/Kim Shiflett

NASA image use policy.

Bessastaðir is the official residence of the President of Iceland. It is situated in Álftanes, about 15 kilometres from the capital city, Reykjavík

Canon EOS M5 - Canon EF-M 11-22mm f/4-5.6 IS STM

Pictured is the hatch entrance to the NATO Submarine Rescue System (NSRS).

The NSRS was having a crane launch trial at RNAD Coulport. The system is joint owned with three stake holders UK, France and Norway. Built by the company Perry Slingsby the operating contract is by Rolls Royce.

The NSRS is the worlds most advanced and strongest rescue system. Weighing in at 30 tonnes it has a max speed of 4.5kts, can dive to a depth of 610 metres pressurised to 5 bar, has a rescue angle of up to 60 degrees.

There are 3 crew members - 2 pilots and a rescue chamber operator it also hold up to 15 rescuees. The sub is transportable by air and can be craned from the stern of a ship with its own handling system and cradle that is welded to the ships deck. It works in conjunction with a 75 man TUP (Transportation Under Pressure).

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Photographer: LA(Phot) Chris Mumby

Image 45152364.jpg from www.defenceimages.mod.uk

Spring is sprung. Boys are excited. Two pairs of tundra swans are entangled in a group fight on Detroit River on their way back to arctic tundra

Hrithik Roshan ex- wife Suzzane Khan is going to remarry

www.bharatavarsha.in/hrithik-roshan-ex-wife-suzzane-khan-...

This is my edit of Will's photograph of Carly from our day out with her and Sarah on the way back from Iowa. This storm pretty much blew up out of nowhere and made the light pretty dramatic. It was Sarah's idea to get Carly up on the trunk lid, and later Will had the idea to tie this image to the song "Promised Land" by Bruce,which works phenomenally well, and to go for a stormy edit, and I was thrilled to take on the challenge. Hope everyone enjoy's this most recent collaboration, and as always a shout out goes to Sarah and Carly for hitting the road with us and helping us end up having some amazing adventures.

You can find Will's amazing stream here, so do check it out!

www.flickr.com/photos/acesandeightsphotography/

This is the Alexandra Theatre, near Holloway Circus.

It is mainly on Station Street.

This is the current entrance of Suffolk Street Queensway, designed by John Madin.

The Alexandra Theatre, commonly known as The Alex, is a theatre on Station Street in Birmingham, England. Construction of the theatre commenced in 1900 and was completed in 1901. The architects were Owen & Ward. The theatre was opened on 27 May 1901 as the Lyceum Theatre on John Bright Street however it was met with few theatre goers. As a result, it was sold to Lester Collingwood for £4,000, who renamed it Alexandra on 22 December 1902. Collingwood was killed in a road traffic accident in 1910 and was succeeded by Leon Salberg, who died in his office at the theatre in 1938. His ghost is said to inhabit the theatre. Other ghost sightings include that by a cleaner of a woman dressed in grey in 1987. It was rebuilt with a fine Art Deco auditorium in 1935 to a design by Roland Satchwell. Upon Leon Salberg's death, Derek Salberg took over the running of the theatre. The Salberg family ran the theatre from 1911 to 1977. Following World War II, the theatre became very popular with the local population. By 1950, 85% of season ticket holders lived within the boundaries of Birmingham. Although the main entrance was originally situated on John Bright Street, a new main entrance block was built on Suffolk Street between 1967-1969 to a design by the John Madin Design Group, with a wide bridge linking the two - from the inside, the appearance is that of a single building. Satchwell's interior was refurbished in 1992 by the Seymour Harris Partnership. The Alex was sold to Apollo Leisure in the 1990s. Derek Salberg's autobiography "Much Ado About Theatre" had its foreword written by Laurence Olivier. Under Leon Salberg, the Alex was famous for its pantomimes such as "Mother Goose". The theatre currently seats 1,347 and hosts a busy programme of touring drama, West End shows and stand-up comedy. It was the home of the D'Oyly Carte Opera Company between 1990 and 1997. Neville Chamberlain delivered a speech at the theatre on 13 October 1918. Arthur Lowe died of a stroke in his dressing room before a performance of Home at Seven on 15 April 1982 aged 66.

en.wikipedia.org/wiki/Alexandra_Theatre

Going hand-in-hand with my sandstone fetish is a craving for the kind of entertainment that only gambling casinos can deliver. Sitting in front of a slot machine for hours on end is almost as satisfying as hiking in fabulous terrain for hours on end. Thus when I arrived in Wells, Nevada, I sought the action that is only available indoors and this is what I found. Note how the ambiance of the place suits the Green Weenie. I was fortunate to arrive when the facility was not too busy, as I hate waiting in line for anything. I envisioned row-upon-row of gaming machines at my disposal, which caused me to salivate (excuse my overly-graphic description).

Sorry I cannot name the place---the sign had been removed years earlier. But the exterior decor was unmatched anywhere except for Bombay Beach, California. The welcoming entrance was flanked by exciting textures and variations on the "painted" theme. Signs clearly showed what amenities were available for weary or thrill-seeking travelers: "SHOW-LOUNGE" and "RESTAURANT." Although not specifically mentioned, a large portion of the interior was surely devoted to the thrills of gambling.

Normally I accept things as they are, but in this case I was a bit miffed by the absence not only of valet parking, but also lines in the parking lot delineating where one could park. (But at least there was plenty of room for parking!) Judging from all the cracks in the asphalt, Nevada must have a lot of earthquake activity. I had a blast here.

I lied. I don't have a sandstone fetish.

I lied again.

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This picture is part of a series shot on Kodak ColorPlus 200 film and a Kiev 4A (1963) camera.

Settings for this shot were not recorded (I started doing this later).

The pictures that compose this series are:

1 - Morning glow (flic.kr/p/2qv3ZGi)

2 - I'm spiderman (flic.kr/p/2quWXTt)

3 - Carousel (flic.kr/p/2quWXSS)

4 - Montevideo (flic.kr/p/2quWXSG)

5 - New roads (Nuevos Caminos) is the actual name of the statue by José Belloni (flic.kr/p/2qv3ZFX)

6 - Backlit building (flic.kr/p/2qv4ETF)

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Made this in PS for in my classroom

Oktoberfest is a 16–18 day beer festival held annually in Munich, Bavaria, Germany, running from late September to the first weekend in October. It is one of the most famous events in Germany and is the world's largest fair, with more than 5 million people attending every year. Ref: en.wikipedia.org/wiki/Oktoberfest

Matthias-Pschorr-Straße, Ludwigvorstadt-Kliniken, München, Bayern, Deutschland.

Camera: Canon EOS 5D Mark II

Lens: Zeiss Makro-Planar T* 2/100 ZE

Focal Length: 100 mm

Exposure: ¹⁄₆₄₀₀ sec at f/2.0

ISO: 100

This is a lovely Painted Tiger Moth (Arachnis picta, family Arctiidae) clutching a slender stem of native California Honeysuckle (Lonicera hispidula, Caprifoliaceae). I found her this morning in light rain, on front of our concrete block retaining wall. I moved the stem above the wall to get a better background, and only then discovered that she was ovipositing! See my [Previous] two photos. I hope I didn't interfere too much. Did you notice that tiny red mite walking over her hind leg? (San Marcos Pass, 2 November 2015)

We did get some rain today, but only about 1/10 inch. Most of the rain was to the north and west of us, but it was still good for the soul. It was rather cold today - in the 40s for most of the day. I know, that's not cold, but I'm spoiled because we just finished our warmest October ever in Santa Barbara, see this NWS page. (Look quick - I don't know how long these links last.)

Salamis (Ancient Greek: Σαλαμίς, Greek: Σαλαμίνα) is an ancient Greek city-state on the east coast of Cyprus, at the mouth of the river Pedieos, 6 km north of modern Famagusta. According to tradition, the founder of Salamis was Teucer, son of Telamon, who could not return home after the Trojan war because he had failed to avenge his brother Ajax.

Contents

1History

1.1Early history

1.2In the Greek period

1.3Resistance to Persian rule

1.4Alexander the Great and the Roman Empire

1.5In the Roman and Byzantine periods

1.6Christianity

2Excavations

3Notes

4References

5External links

History

Early history

The earliest archaeological finds go back to the eleventh century BC (Late Bronze Age III). The copper ores of Cyprus made the island an essential node in the earliest trade networks, and Cyprus was a source of the orientalizing cultural traits of mainland Greece at the end of the Greek Dark Ages, hypothesized by Walter Burkert in 1992. Children's burials in Canaanite jars indicate a Phoenician presence. A harbour and a cemetery from this period have been excavated. The town is mentioned in Assyrian inscriptions as one of the kingdoms of Iadnana (Cyprus).[1] In 877 BC, an Assyrian army reached the Mediterranean shores for the first time. In 708 BC, the city-kings of Cyprus paid homage to Sargon II of Assyria (Burkert). The first coins were minted in the 6th century BC, following Persian prototypes.

The theatre in Salamis

Cyprus was under the control of the Assyrians at this time but the city-states of the island enjoyed a relative independence as long as they paid their tribute to the Assyrian king. This allowed the kings of the various cities to accumulate wealth and power. Certain burial customs observed in the "royal tombs" of Salamis relate directly to Homeric rites, such as the sacrifice of horses in honor of the dead and the offering of jars of olive oil. Some scholars have interpreted this phenomenon as the result of influence of the Homeric Epics in Cyprus. Most of the grave goods come from the Levant or Egypt.

According to the foundation myth, the founder of Salamis is said to be Teucer, son of Telamon, who could not return home after the Trojan war because he had failed to avenge his brother Ajax. There is however some evidence that the area had been occupied long before the alleged arrival of Mycenaeans (at Enkomi) and the town of Salamis was developed as a replacement when Engkomi was isolated from the sea. There is otherwise little direct evidence to support the foundation myth.

In the Greek period

In the 11th century BC, the town was confined to a rather small area around the harbour but soon expanded westwards to occupy the area, which today is covered by forest. The cemetery of Salamis covers a large area from the western limits of the forest to the Monastery of St. Barnabas to the west, to the outskirts of the village of Ayios Serghios to the north, and to the outskirts of Enkomi village to the south. It contains tombs dating from the 9th century BC down to the Early Christian period. The earlier tombs are within the forest area, near the boundary of the early town.

Though Salamis maintained direct links with the Near East during the 8th and 7th centuries BC, there were bonds with the Aegean as well. One royal tomb contained a large amount of Greek Geometric pottery and this has been explained as the dowry of a Greek princess who married into the royal family of Salamis. Greek pottery was also found in tombs of ordinary citizens. At this time the Greeks were embarking on an eastward expansion by founding colonies in Asia Minor and Syria; Salamis must have served as an intermediate station; it has even been suggested that Cypriots helped the Greeks in their venture.

Resistance to Persian rule

In 450 BC, Salamis was the site of a simultaneous land and sea battle between Athens and the Persians. (This is not to be confused with the earlier Battle of Salamis in 480 BC between the Greeks and the Persians at Salamis in Attica.)

The history of Salamis during the early Archaic and Classical periods is reflected in the narrations of the Greek historian Herodotus and the much later speeches of the Greek orator Isocrates. Salamis was afterwards besieged and conquered by Artaxerxes III. Under King Evagoras (411-374 BC) Greek culture and art flourished in the city and it would be interesting one day when the spade of the archaeologist uncovers public buildings of this period. A monument, which illustrates the end of the Classical period in Salamis, is the tumulus, which covered the cenotaph of Nicocreon, one of the last kings of Salamis, who perished in 311 BC. On its monumental platform were found several clay heads, some of which are portraits, perhaps of members of the royal family who were honoured after their death on the pyre.

Marguerite Yon (archaeologist) claims that "Literary texts and inscriptions suggest that by the Classical period, Kition [in present-day Larnaca] was one of the principal local powers, along with its neighbor Salamis."[2]

Alexander the Great and the Roman Empire

Map showing the ten ancient city Kingdoms of Cyprus

After Alexander the Great conquered the Persian Empire, Ptolemy I of Egypt ruled the island of Cyprus. He forced Nicocreon, who had been the Ptolemaic governor of the island, to commit suicide in 311 BC, because he did not trust him any more. In his place came king Menelaus, who was the brother of the first Ptolemy. Nicocreon is supposed to be buried in one of the big tumuli near Enkomi. Salamis remained the seat of the governor.

In 306 BC, Salamis was the site of a naval battle between the fleets of Demetrius I of Macedon and Ptolemy I of Egypt. Demetrius won the battle and captured the island.

In Roman times, Salamis was part of the Roman province of Cilicia. The seat of the governor was relocated to Paphos. The town suffered heavily during the Jewish rising of AD 116–117. Although Salamis ceased to be the capital of Cyprus from the Hellenistic period onwards when it was replaced by Paphos, its wealth and importance did not diminish. The city was particularly favoured by the Roman emperors Trajan and Hadrian, who restored and established its public buildings.

In the Roman and Byzantine periods

Columns of the gymnasium

The "cultural centre" of Salamis during the Roman period was situated at the northernmost part of the city, where a gymnasium, theatre, amphitheatre, stadium and public baths have been revealed. There are baths, public latrines (for 44 users), various little bits of mosaic, a harbour wall, a Hellenistic and Roman agora and a temple of Zeus that had the right to grant asylum. Byzantine remains include the basilica of Bishop Epiphanos (AD 367–403). It served as the metropolitan church of Salamis. St. Epiphanios is buried at the southern apse. The church contains a baptistry heated by hypocausts. The church was destroyed in the 7th century and replaced by a smaller building to the south.

There are very extensive ruins. The theatre, and the gymnasium have been extensively restored. Numerous statues are displayed in the central court of the gymnasium most of which are headless. While a statue of Augustus originally belonged here, some columns and statues originally adorned the theatre and were only brought here after an earthquake in the 4th century. The theatre is of Augustean date. It could house up to 15.000 spectators but was destroyed in the 4th century.

The town was supplied with water by an aquaeduct from Kyhrea, destroyed in the 7th century. The water was collected in a large cistern near the Agora. The necropolis of Salamis covers ca. 7 km² to the west of the town. It contains a museum showing some of the finds. Burials date from the geometric to the Hellenistic period. The best known burials are the so-called Royal-Tombs, containing chariots and extremely rich grave gifts, including imports from Egypt and Syria. A tomb excavated in 1965 by the French Mission of the University of Lyon brought to light an extraordinary wealth of tomb-gifts, which also attest trade relations with the Near East.

Christianity

In what is known as the "First Missionary Journey", Paul the apostle and the Cypriot-born Barnabas made Salamis their first destination, landing there after heading out from Antioch of Syria. There they proclaimed Christ in the Jewish synagogues before proceeding through the rest of the island (Acts 13:1-5). Tradition says that Barnabas preached in Alexandria and Rome, and was stoned to death at Salamis in about 61 CE. He is considered the founder of the Church of Cyprus. His bones are believed to be located in the nearby monastery named after him.

Several earthquakes led to the destruction of Salamis at the beginning of the 4th century. The town was rebuilt under the name of Constantia by Constantius II (337–361) and became an Episcopal seat, the most famous occupant of which was Saint Epiphanius. Emperor Constantius II helped the Salaminians not only for the reconstruction of their city but also he helped them by relieving them from paying taxes for a short period and thus the new city, rebuilt on a smaller scale, was named Constantia. The silting of the harbour led to a gradual decline of the town. Salamis was finally abandoned during the Arab invasions of the 7th century after destructions by Muawiyah I ( reigned 661-680 ). The inhabitants moved to Arsinoë (Famagusta).

Excavations

Archaeological excavations at the site began in the late nineteenth century under the auspices of the Cyprus Exploration Fund.[3] Many of these finds are now in the British Museum in London.[4]

Excavations at Salamis started again in 1952 and were in progress until 1974. Before the Turkish invasion there was much archaeological activity there; one French Mission was excavating at Enkomi, another at Salamis and the Department of Antiquities was busy almost throughout the year with repairs and restorations of monuments and was engaged in excavations at Salamis. After the Turkish invasion the international embargo has prevented the continuation of the excavations. The site and the museums are maintained by the antiquities service. Important archaeological collections are kept in the St. Barnabas monastery. In the District Archaeological Museum there are marble statues from the gymnasium and the theatre of Salamis, Mycenaean pottery and jewellery from Enkomi and other objects representative of the rich archaeological heritage of the whole district. Several of the statues and sculptures from antiquity are disfigured, headless or mutilated, likely by Christian zealots in late antiquity [5] during the persecution of pagans in the late Roman Empire.

The public buildings uncovered at the city site of Salamis date to the post-Classical period. The Temple of Zeus Salaminios, whose cult was established, according to tradition, by Teucer himself, must have existed since the foundation of the city; the extant remains date to the late Hellenistic period. Early excavators discovered in the esplanade of the Temple of Zeus an enormous marble capital carved on each side with a caryatid figure standing between the foreparts of winged bulls. Now in the British Museum's collection,[6] the function of the capital remains unclear, although it does indicate influence from Achaemenid art and is consequently dated to between 300 and 250 BC.

The Bund (simplified Chinese: 外滩) is a waterfront area in central Shanghai. The area centres on a section of Zhongshan Road (East-1 Zhongshan Road) within the former Shanghai International Settlement, which runs along the western bank of the Huangpu River, facing Pudong, in the eastern part of Huangpu District. The Bund usually refers to the buildings and wharves on this section of the road, as well as some adjacent areas. It is one of the most famous tourist destinations in Shanghai. Building heights are restricted in this area.

The City God Temple or Chenghuang Miao (Chinese: 上海城隍庙) is a temple located in Shanghai, China, within the old walled city. Today the "City God Temple" not only refers to the large temple complex, but also the traditional district of commerce in the city, surrounding the temple. There are over a hundred stores and shops in this area, and most of these store buildings are nearly a century old. The temple connects to the Yuyuan Garden, another landmark of the old city.

More information about the Bund.

The Shanghai Bund has dozens of historical buildings, lining the Huangpu River, that once housed numerous banks and trading houses from the United Kingdom, France, the United States, Italy, Russia, Germany, Japan, the Netherlands and Belgium, as well as the consulates of Russia and Britain, a newspaper, the Shanghai Club and the Masonic Club. The Bund lies north of the old, walled city of Shanghai. It was initially a British settlement; later the British and American settlements were combined in the International Settlement. Magnificent commercial buildings in the Beaux Arts style sprung up in the years around the turn of the 20th century as the Bund developed into a major financial center of East Asia. Directly to the south, and just northeast of the old walled city, the former French Bund (the quai de France, part of the Shanghai French Concession) was of comparable size to the Bund but functioned more as a working harbourside.

By the 1940s the Bund housed the headquarters of many, if not most, of the major financial institutions operating in China, including the "big four" national banks in the Republic of China era. However, with the Communist victory in the Chinese civil war, many of the financial institutions were moved out gradually in the 1950s, and the hotels and clubs closed or converted to other uses. The statues of colonial figures and foreign worthies which had dotted the riverside were also removed.

In the late 1970s and early 1980s, with the thawing of economic policy in the People's Republic of China, buildings on the Bund were gradually returned to their former uses. Government institutions were moved out in favour of financial institutions, while hotels resumed trading as such. Also during this period, a series of floods caused by typhoons motivated the municipal government to construct a tall levee along the riverfront, with the result that the embankment now stands some 10 metres higher than street level. The Bunds revitalization began in 1986 with a new promenade by the Dutch Architect Paulus Snoeren and has dramatically changed the streetscape of the Bund. In the 1990s, Zhongshan Road (named after Sun Yat-sen), the road on which the Bund is centred, was widened to ten lanes. As a result, most of the parkland which had existed along the road disappeared. Also in this period, the ferry wharves connecting the Bund and Pudong, which had served the area's original purpose, were removed. A number of pleasure cruises still operate from some nearby wharves.

In the 1990s the Shanghai government attempted to promote an extended concept of the Bund to boost tourism, and land value in nearby areas, as well as to reconcile the promotion of "colonial relics" with the Socialist ideology. In its expanded form, the term "Bund" (as "New Bund" or "Northern Bund") was used to refer to areas south of the Yan'an Road, and a stretch of riverfront north of the Suzhou River (Zhabei). Such use of the term, however, remains rare outside of tourism literature.

From 2008, a major reconfiguration of traffic flow along the Bund was carried out. The first stage of the plan involved the southern end of the Bund, and saw the demolition of a section of the Yan'an Road elevated expressway, including removal of the large elevated expressway exit structure that formerly dominated the confluence of Yan'an Road and the Bund. A second phase involved the year-long restoration of the century-old Waibaidu Bridge at the northern end of the Bund. In a third stage, the former 10-lane Bund roadway was reconstructed in two levels, with six lanes carried in a new tunnel. The vacated road space was used to widen the landscaped promenade along the waterfront. The new concrete bridge that was built in 1991 to relieve traffic on Waibaidu Bridge was rendered obsolete by the new double-levelled roadway, and demolished.

The Bund was re-opened to the public on Sunday 28 March 2010 after restoration.

Text form the Wikipedia article the Bund.

Once upon a time, I guess Kingsnorth was a small leafy village, set in loamy countryside, rarely visited. Indeed this is what Hasted suggests.

Set a mile or two outside Ashford, all was calm and peaceful until the railways came to Ashford and the town grew and grew.

In the 21st century, Kingsnorth is found from the main road into the town centre, along a busy road to where the old village pub still sits. And opposite is the start of Church Hill, at the top, not surprisingly, sits the church.

Inbetween now is a large and modern housing estate, and beside the church, a busy school, even busy on a Saturday morning due to football practice and the fleet of MPVs and Soccer Moms taking their darlings for a kickabout.

It is the modern way, after all.

St Michael sits quietly next door to the school, the end of a footpath leading to another housing development on the Brenzett road, were an old friend once had a house. And I can remember him leading us on a walk over the fields through clouds of Gatekeepers where we found, as today, the church open.

I took a few shots then, but am back now to complete the task.

First highlight was the 17th century graffiti in the porch.

In truth it is a small and simple church, mostly clear what looks like modern glass, though a single panel of ancient glass is in one of the north have windows and a single panel of wall painting on the side of the north chancel arch.

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KINGSNOTH,

THE next parish south-eastward is Kingsnoth, sometimes called Kingsnode, and by Leland written Kinges-snode.

THIS PARISH is so obscurely situated as to be but little known, the soil in it is throughout a deep miry clay; it is much interspersed with woodlands, especially in the south-east part of it, the whole face of the country here is unpleasant and dreary, the hedge rows wide, with spreading oaks among them; and the roads, which are very broad, with a wide space of green swerd on each side, execrably bad; insomuch, that they are dangerous to pass except in the driest time of summer; the whole of it is much the same as the parishes adjoining to it in the Weald, of which the church, which stands on the hill nearly in the middle of the parish, is the northern boundary, consequently all that part of it southward is within that district. There is no village, the houses standing single, and interspersed throughout it At no great distance eastward from the church is the manor house of Kingsnoth, still called the Park-house, the antient mansion, which stood upon a rise, at some distance from the present house, seems from the scite of it, which is moated round, to have been large, remains of Mosaic pavement, and large quantities of stone have been at times dug up from it. South-eastward from the church is Mumfords, which seems formerly to have been very large, but the greatest part of it has been pulled down and the present small farm-house built out of it; westward from the church stands the court-lodge, now so called, of East Kingsnoth manor, it is moated round, and seems likewise to have been much larger than it is at present, and close to the western boundary of the parish is the manor-house of West Halks, which has been a large antient building, most probably of some consequence in former times, as there appears to have been a causeway once from it, wide enough for a carriage, which led through the courtlodge farm towards Shadoxhurst, Woodchurch, and son on to Halden, remains of which are often turned up in ploughing the grounds. In the low grounds, near the meadows, is the scite of the manor of Moorhouse, moated round. The above mansions seem to have been moated round not only for defence, but to drain off the water from the miry soil on which they were built, which was no doubt the principal reason why so many of the antient ones, in this and the like situations were likewise moated round. There is a streamlet, which rises in the woods near Bromley green, and slows along the eastern par to this parish northward, and joining the Postling branch of the Stour near Sevington, runs with it by Hockwood barn and under Alsop green, towards Ashford. Leland in his Itinerary says, vol. vii. p. 145, "The river of Cantorbury now cawled Sture springeth at Kinges Snode the which standeth sowthe and a lytle by west fro Cantorbury and ys distant of Cant. a xiiii or xv myles."

THE ROYAL MANOR OF WYE claims paramount over this parish. The lord of that manor, George Finch Hatton, esq. of Eastwell, holds a court leet here for the borough of East Kingsnoth, which claims over this parish, at which a borsholder is yearly appointed; subordinate to which is THE MANOR OF KINGSNOTH, which in early times was the residence of a family to which it gave name, who bore for their coat armour, as appeared by seals appendant to their antient deeds, Ermine, upon a bend, five chevronels; and John de Kingsnoth, who lived here about the latter end of king Edward I. sealed with that coat of arms; yet I find that Bartholomew de Badlesmere, who was attainted about the 17th year of king Edward II had some interest in this manor, which upon his conviction escheated to the crown, and remained there until Richard II. granted it to Sir Robert Belknap, the judge, who had, not long before, purchased that proportion of this manor which belonged to the family of Kingsnoth, by which he became possessed of the whole of it; but he being attainted and banished in the 11th year of that reign, that part which had belonged to Badlesmere, and was granted by the king to Sir Robert Belknap, returned again to the crown, a further account of which may be seen hereafter. (fn. 1) But the other part of this estate, which belonged to the family of Kingsnoth likewise, henceforward called the manor of Kingsnoth, which seems to have been the greatest part of it, on the petition of Hamon Belknap his son to parliament, to be enabled in blood and lands to his father, notwithstanding the judgement against him, was restored to him, and he was found by inquisition to die possessed of it in the 7th year of king Henry VI. Soon after which I find Sir Thomas Browne, of Beechworth castle, treasurer of the king's houshold, to have become possessed of it; for in the 27th year of that reign, he obtained licence for a fair in this parish, on the feast of St. Michael, and that same year he had another to embattle his mansion here and to inclose a park, and for freewarren in all his demesne lands within this manor; and in a younger branch of his descendants this manor continued down to Richard Browne, esq. of Shingleton, in Great Chart, who married Elizabeth, daughter of Sir William Andrews, of Lathbury, in Buckinghamshire, and dying soon after the death of king Charles I. Elizabeth, their only daughter and heir, carried it in marriage to Thomas, lord Leigh, of Stoneleigh, who afterwards alienated it again to Andrews, in which name it continued till Alexander Andrews, executor and devisee of William Andrews, in 1690, conveyed this manor, with the farm called the Park, the manor of Morehouse, and other lands in this parish, being enabled so to do by act of parliament, to the company of haberdashers of London, as trustees, for the support of the hospital at Hoxton, commonly called Aske's hospital, in whom they are now vested. There is not any court held for this manor.

THE OTHER PART of the above-mentioned estate, which had formerly belonged to the family of Badlesmere, and had escheated to the crown on the attainder of Bartholomew de Badlesmere in the 17th year of king Edward II. remained there until Richard II. granted it to Sir Robert Belknap, on whose attainder and banishment in the 11th year of that reign it returned again to the crown, whence it seems, but at what time I have not found, to have been granted to the abbot and convent of Battel, in Sussex, by the name of THE MANOR OF EAST KINGSNOTH, together with the manors of West Kingenoth, in Pluckley; Morehouse, in this parish; and Wathenden, in Biddenden, lately belonging to that monastery, in as ample a manner as the late abbot, or any of his predecessors had possessed them, (fn. 2) and they continued part of the possessions of it till its dissolution in the 30th year of Henry VIII. when they came into the hands of the crown, where they staid but a short time; for the king that year granted these manors to Sir Edw. Ringsley for his life, without any rent or account whatsoever; and four years afterwards the king sold the reversion of them to Sir John Baker, one of his council, and chancellor of the first fruits and tenths, to hold in capite by knight's service. He died in 1558, possessed of this manor, with the advowson of the church of Kingsnoth, and the manors of West Kingsnoth and Morehouse, held in capite, in whose descendants the manor of East Kingsnoth, with the advowson of the church, descended down to Sir John Baker, bart. who, in the reign of king Charles I. passed it away by sale to Mr. Nathaniel Powell, of Ewehurst, in Sussex, and afterwards of Wiarton, in this county, who was in 1661 created a baronet; and in his descendants it continued down to Sir Christopher Powell, bart. who died possessed of it in 1742, s.p. leaving his widow surviving, whose trustees sold this manor and advowson, after her death, to Mrs. Fuller, widow of Mr. David Fuller, of Maidstone, attorney-at-law, who in 1775 devised them by will to her relation William Stacy Coast, esq. now of Sevenoke, the present owner of them. There is not any court held for this manor.

MUMFORDS, as it is now called, though its proper and more antient name is Montfort's, is a manor in this parish, which was once the residence of the family of Clerc, written in antient deeds le Clerc, and afterwards both Clerke and Clarke, in which it continued till about the latter end of the reign of king Edward I. when Henry le Clerc leaving no issue male, Susan his daughter and heir carried it, with much other inheritance, in marriage to Sir Simon de Woodchurch, whose descendants, out of gratitude for such increase of fortune, altered their paternal name from Woodchurch to Clerke, and in several of their deeds subsequent to this marriage, were written Clerke, alias Woodchurch. They resided at Woodchurch till Humphry Clerke, esq. removed hither in Henry VIII.'s reign. (fn. 3) His son Humphry Clerke, about the end of queen Elizabeth's reign, sold this manor to John Taylor, son of John Taylor, of Willesborough, who afterwards resided here. His son John Taylor, gent. of Winchelsea, alienated it, about the beginning of king Charles I.'s reign, to Edward Wightwick, gent. descended of a family originally of Staffordshire, who bore for their arms, Argent, on a chevron, argent, between three pheons, or, as many crosses patee, gules, granted in 1613. He afterwards resided here, as did his descendants, till at length Humphry Wightwick, gent. about the beginning of king George II.'s reign removed to New Romney, of which town and port he was jurat, in whose descendants this manor became afterwards vested in several undivided shares. At length Mr. William Whitwick, the only surviving son of Humphry, having purchased his mother's life estate in it, as well as the shares of his brother Martin's children, lately sold the whole property of it to Mr. Swaffer, the present possessor and occupier of it.

WEST HALKS, usually called West Hawks, is a manor, situated near the western bounds of this parish, being held of the manor of Kenardington; it formerly was the residence of a family of the name of Halk, who bore on their seals a fess, between three bawks, and sometimes only one, and were of no contemptible account, as appears by old pedigrees and writings, in which they are represented as gentlemen for above three hundred years. Sampson de Halk, gent. died possessed of this manor about the year 1360, and held besides much other land at Petham and the adjoining parishes; but about the latter end of king Henry VI.'s reign, this manor had passed from this family into that of Taylor, in which name it continued till the latter end of king Henry VII. when it was alienated to Clerc, whose descendant Humphry Clerke, esq. about the end of queen Elizabeth's reign, passed it away to Robert Honywood, esq, of Charing, who settled it on his fourth son by his second marriage Colonel Honywood. How long it continued in his descendants, I cannot learn; but it has been for some length of time in the name of Eaton, of. Essex, Mr. Henry Eaton being the present owner of it.

Charities.

HUMPHRY CLARKE, gent. of this parish, left by will in 1637, a parcel of land, called Pightland, containing about three acres, in the eastern part of this parish, for the benefit of the poor of it.

MRS. ELIZABETH MAY, in 1721, gave by will 9l. every third year, chargeable on Bilham farm, to be paid, clear of all deductions, to this parish in turn, during a term of years therein mentioned, to be applied yearly towards the binding out a child an apprentice, of the poorest people in three parishes in turn, as has been already mentioned more at large under Sevington. One girl only has as yet been put out apprentice from this charity, by this parish.

The number of poor constanly relieved are about twentyfive, casually twelve.

KINGSNOTH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Limne.

The church, which is dedicated to St. Michael, is small, consisting only of one isle and one chancel, having a square tower steeple at the west end, in which are five bells. In the isle is an antient gravestone, coffin-shaped, with old French capitals round it, now illegible. In the chancel is a stone, with an inscription on it in brass, for Thomas Umfrey, rector, no date; and a monument for Thomas Reader, A. M. son of Thomas Reader, gent. of Bower, in Maidstone, obt. 1740. Against the north wall is the tomb of Humphry Clarke, esq. made of Bethersden marble, having the figures of him and his wife remaining in brass on it, and underneath four sons and five daughters. Over the tomb, in an arch in the wall, is an inscription to his memory, set up by his daughter's son Sir Martin Culpeper, over it are the arms of Clarke, Two pales wavy, ermine, impaling Mayney. In the glass of the south window of the isle are several heads remaining, and in the north-west window the figure of St. Michael with the dragon. The north chancel fell down about thirty years ago. It belonged to the manor of Mumfords, and in it were interred the Wightwicks, owners of that manor; the gravestones of them, nine in number, yet remain in the church-yard, shut out from the church; and on one next to theirs, formerly within this chancel, is the figure of a knight in armour, with a lion under his feet, and an inscription in brass, for Sir William Parker, son of William Parker, esq. citizen and mercer of London, obt. 1421; arms, On a fess, three balls.

The advowson of the rectory of this church was formerly parcel of the possessions of the priory of Christ-church, and at the dissolution of it in the 31st year of Henry VIII. came into the king's hands, where it remained till that king in his 34th year, granted it in exchange, among other premises, to archbp. Cranmer, (fn. 4) who did not keep it long; for four years afterwards, he reconveyed it, with the consent of his chapter, back again to the king, (fn. 5) who soon afterwards granted it to Sir John Baker, one of his council, and chancellor of his first-fruits and tenths, who died possessed of the manor of East Kingsnoth, together with the advowson of this church, in the year 1558, in whose descendants it continued down to Sir John Baker, bart. who in the reign of king Charles I. alienated it, with that manor, to Mr. Nathaniel Powell. Since which this advowson has continued in the like succession of ownership with that manor, as may be seen more fully in the account of it before, to the present patron of it, William Stacy Coast, esq. now of Sevenoke.

There was formerly a pension of forty shillings payable from this church to the abbot of Battel.

¶This rectory is valued in the king's books at 11l. 9s. 9½d. and the yearly tenths at 1l. 2s. 11¼d. In 1578 it was valued at sixty pounds, communicants one hundred. In 1640 it was valued at fifty pounds only, and there were the like number of communicants. It is now worth about one hundred and forty pounds per annum. The rector takes no tithes of wood below the hill southward. There are about seventeen acres of glebe land.

www.british-history.ac.uk/survey-kent/vol7/pp583-592

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There has been a Church in Kingsnorth from Saxon Times but the present building probably dates from the 11thC. There are examples of 13thC and 14thC stained glass remaining in some of the windows. The chancel was rebuilt in the 18thC following a storm and the two side chapels were demolished at this time. Major restoration was carried out in the 19thC at which time the stained glass in the East Window was installed. At this time and again in the 1920s work was carried out to try and cure the problem of rising damp due to the high water table. In 2006 major restoration was once again required and in addition to repairs to the tower and external stonework it was decided that an extension would be built on the site of the old chantry chapel on the north side of the building and that the interior of the church would be re-ordered. This involved digging out the interior of the church and laying a new suspended floor to try and cure the problem of the rising damp (This has been largely successful). The old pews and choir stalls were replaced with modern stackable pews to enable a more flexible use of the space, new lighting and a new heating system was installed. This has resulted in a light airy user friendly building. At the back of the church a glass screen was erected forming a separate area. This provides a space where parents can take their children if they become restless during the services. The ground floor of the extension consists of a large meeting room with kitchenette plus toilet. On the first floor there is a choir vestry and church office. There are currently plans to install a second toilet on this floor. On the second floor there is a further small meeting room and a store room.

www.kandschurches.org.uk/

I seek refuge in Allah from Satan, the outcast.

In the name of Allah, the Beneficent, the Merciful.

Allah’s peace be upon Prophet Muhammad (S.A.W), the glorious Prophet of Islam, and on his Companions and his followers.

TASAWWUF

"There is no doubt that Tasawwuf is an important branch of Islam. The word itself may have been derived form the Arabic word "Soof" (Wool) or from "Safa" (cleanliness), but its foundation lies in one’s personal sincerity in seeking Allah’s nearness and trying to live a life pleasing to Him. Study of the Quran, the Hadith, and the practical life of the holy Prophet Muhammad (S.A.W) and his faithful Companions provide unmistakable support to this reality." (Hazrat Moulana Allah Yar Khan (R.A)

SUFISM, AN ESSENTIAL PART OF ISLAM

Doubts exist not only in the minds of the Muslim faithful but also among the Ulema, notably the exoteric about Tasawwuf and its votaries. Often they lead to misunderstanding, as if Shariah and Tariqah were two separate entries, or that Tasawwuf was some obscure discipline foreign to Islam, or that it was altogether above the established laws and injunctions of our Religion. To help remove these misgivings and to reassure seekers, as well as scholars, our Sheikh Hazrat Moulana Allah Yar Khan (R.A), Sheikh Silsila Naqshbandia Awaisia, wrote Al-Jamal Wal Kamal, Aqaid-O-Kamalaat Ulmai-e-Deoband, Binat-e-Rasool (S.A.W), Daamad-e-Ali (R.A), Dalael-us-Salook, Ejaad-e-Mazhab Shia, Hayat-un-Nabi (S.A.W), Hayat Barzakhia, Ilm-o-Irfan, Niffaz-e-Shariat Aur Fiqah-e-Jaferia, Saif-e-Owaisi, Shikast-e-Ahdai Hussain and Tahkeek Halal Haram books.

BIOGRAPHY

Sheikh Allah Yar Khan was born in Chakrala, a remote village of Mianwali District of Pakistan, in 1904. He completed his religious education in 1934. The very year, he met Shaykh Abdul Rahim, who took him to the shrine of Shaykh Allah Deen Madni. By Divine Will his spiritual connection was right away established with the saint of the 10th century Hijra (sixteenth century) and he started receiving spiritual beneficence. His sublime education in Sufism, signifying progressive spiritual growth and advancement, continued for about twenty-five years. In 1962 he was directed to carry out the propagation of Prophetic blessings - a noble mission that he accomplished with singular enthusiasm and devotion for a period spanning half a century. Anybody who visited him was duly rewarded with a share of spiritual bliss as per his/her sincerity and capacity. Shaykh Allah Yar Khan's mission produced men and women of deep spiritual vision and distinction.

Although Hazrat Moulana Allah Yar Khan (R.A) have lived a major portion of his life as a scholar, with the avowed mission of illuminating the truth of Islam and the negation of fallacious sects, and this would appear quite removed from Tasawwuf, yet the only practical difference between the two, namely the use of the former as a media to expound the truth, and the latter to imbue people with positive faith. Nevertheless, people are amazed that a man, who until the other day, was known as a dialectician and a preacher of Islam, is not only talking of Mystic Path, but is also claiming spiritual bonds with the veteran Sufi Masters of the Past. This amazement is obviously out of place in the view of Quranic injunction: This is the bounty of Allah which He gives to whom He wills. (62:4)

THE PURIFICATION OF THE SOUL

The purification of the soul always formed part of the main mission of the Prophets; that is, the dissemination and propagation of the Devine Message. This responsibility later fell directly on the shoulders of the true Ulema in the Ummah of the last Prophet Muhammad (S.A.W), who, as his genuine successors, have continued to shed brave light in every Dark Age of materialism and sacrilege. In the present age of ruinous confusion, the importance of this responsibility has increased manifold; of the utter neglect of Islam by Muslims has not only driven them to misery, but also grievously weakened their bonds of faith in Allah and His Prophet Muhammad (S.A.W). The decay in their belief and consequent perversion in their conduct has reached a stage that any attempt to pull them out of the depth of ignominy and the heedless chaos of faithlessness, attracts grave uncertainties and apprehensions rather than a encouraging will to follow the Shariah, to purify the soul and to reform within. The Quranic Verse: Layers upon layers of darkness… (24:40) provides the nearest expression of their present state.

SHARIAH & SUFISM

Any action against the Sunnah (Prophet’s way of life) cannot be called Sufism. Singing and dancing, and the prostration on tombs are not part of Sufism. Nor is predicting the future and predicting the outcome of cases in the courts of law, a part of Sufism. Sufis are not required to abandon their worldly possessions or live in the wilderness far from the practical world. In fact these absurdities are just its opposites. It is an established fact that Tazkiyah (soul purification) stands for that inner purity which inspires a person’s spirit to obey the holy Prophet Muhammad (S.A.W). If a false claimant of Sufism teaches tricks and jugglery, ignoring religious obligations, he is an impostor. A true Sheikh will lead a believer to the august spiritual audience of the holy Prophet Muhammad (S.A.W). If you are fortunate enough to be blessed with the company of an accomplished spiritual guide and Sheikh of Sufism, and if you follow his instructions, you will observe a positive change in yourself, transferring you from vice to virtue.

ISLAM, AS A COMPLETE CODE OF LIFE

Islam, as a complete code of life or Deen, was perfected during the life of the Holy Prophet Muhammad (S.A.W). He was the sole teacher and his mosque was the core institution for the community. Although Islam in its entirety was practiced during that blessed era, the classification and compilation of its knowledge into distinct branches like ‘Tafsir’ (interpretation of the Quran), Hadith (traditions or sayings of the holy Prophet- SAWS), Fiqh (Islamic law), and Sufism (the soul purification) were undertaken subsequently. This Deen of Allah passed from the holy Prophet Muhammad (S.A.W) to his illustrious Companions in two ways: the outward and the inward. The former comprised the knowledge defined by speech and conduct, i.e., the Quran and Sunnah. The latter comprised the invisible blessings or the Prophetic lights transmitted by his blessed self. These blessings purified the hearts and instilled in them a passionate desire to follow Islam with utmost love, honesty and loyalty.

WHAT’S SUFISM

Sufism is the attempt to attain these Barakah (Blessings). The Companions handed down Prophet Muhammad (S.A.W) teachings as well as blessings to the Taba’een. Their strong hearts were capable of infusing these blessings into the hearts of their followers. Both aspects of Islam were similarly passed on by the Taba’een to the Taba Taba’een. The compilation of knowledge and its interpretation led to the establishment of many schools of religious thought; famous four being the Hanafi, the Hanbali, the Maliki, and the Shafa'i, all named after their founders. Similarly, in order to acquire, safeguard and distribute his blessings, an organized effort was initiated by four schools of Sufism: The Naqshbandia, the Qadria, the Chishtia, and the Suharwardia. These schools were also named after their organizers and came to be known as Sufi Orders. All these Orders intend to purify the hearts of sincere Muslims with Prophetic lights. These Sufi Orders also grew into many branches with the passage of time and are known by other names as well. The holy Quran has linked success in this life and the Hereafter with Tazkiyah (soul purification). He, who purified, is successful. (87: 14) Sufi Orders of Islam are the institutions where the basics of Tazkiyah (soul purification) and its practical application are taught. They have graded programs in which every new seeker is instructed in Zikr-e Lisani (oral Zikr) and is finally taught the Zikr-e Qalbi (Remembrance in heart).

ZIKR-E QALBI

However, in the Naqshbandia Order, Zikr-e Qalbi is practiced from the very beginning. Adherence to the Sunnah (Prophet’s way of life) is greatly emphasized in this Order, because the seeker achieves greater and quicker progress through its blessings. The essence of Zikr is that the Qalb should sincerely accept Islamic beliefs and gain the strength to follow the Sunnah with even greater devotion. ‘If the heart is acquainted with Allah and is engaged in His Zikr; then it is filled with Barakaat-e Nabuwwat (Prophetic blessings) which infuse their purity in the mind and body. This not only helps in controlling sensual drives but also removes traces of abhorrence, voracity, envy and insecurity from human soul. The person therefore becomes an embodiment of love, both for the Divine and the corporeal. This is the meaning of a Hadith, “There is a lump of flesh in the human body; if it goes astray the entire body is misguided, and if it is reformed the entire body is reformed. Know that this lump is the Qalb”.’

PAS ANFAS

Recent History Khawajah Naqshband (d. 1389 CE) organized the Naqshbandia Order at Bukhara (Central Asia). This Order has two main branches – the Mujaddidia and the Owaisiah. The former is identified with Sheikh Ahmed Sirhindi, known as Mujaddid Alif Sani (literally: reviver of the second Muslim millennium), a successor to Khawajah Baqi Billah, who introduced the Order to the Indo- Pakistan sub-continent. The Owaisiah Order employs a similar method of Zikr but acquires the Prophetic blessings in the manner of Khawajah Owais Qarni, who received this beneficence from the Holy Prophet Muhammad (S.A.W) without a formal physical meeting. The Zikr employed by the Naqshbandia is ‘Zikr-e Khafi Qalbi’ (remembrance of Allah’s Name within the heart) and the method is termed ‘Pas Anfas’, which (in Persian) means guarding every breath. The Chain of Transmission of these Barakah, of course, emanates from the holy Prophet- SAWS.

SPIRITUAL BAI’AT (OATH OF ALLEGIANCE

It is necessary in all Sufi Orders that the Sheikh and the seekers must be contemporaries and must physically meet each other for the transfer of these blessings. However, the Naqshbandia Owaisiah Order goes beyond this requirement and Sufis of this Order receive these Barakah regardless of physical meeting with their Sheikh or even when the Sheikh is not their contemporary. Yet, it must be underscored that physical meeting with the Sheikh of this Order still holds great importance in dissemination of these Barakah. Sheikh Sirhindi writes about the Owaisiah Order in his book ‘Tazkirah’: ‘It is the most sublime, the most exalted, and the most effective…and the highest station of all others is only its stepping stone.’ By far the greatest singular distinction of the Naqshbandia Owaisiah Order is the honor of Spiritual Bai’at (Oath of Allegiance) directly at the blessed hands of the holy Prophet Muhammad (S.A.W).

SHEIKH HAZRAT MOULANA ALLAH YAR KHAN (R.A)

The Reviver Sheikh Allah Yar Khan was born in Chikrala, a remote village of Mianwali District of Pakistan, in 1904. He completed his religious education in 1934. The same year, he met Sheikh ‘Abdul Rahim, who took him to the shrine of Sheikh Allah Deen Madni. By Divine Will his spiritual connection was immediately established with the saint of the 10th century Hijra (sixteenth century CE) and he started receiving spiritual beneficence. His sublime education in Sufism, signifying progressive spiritual growth and advancement, continued for about twenty-five years, after which he was directed to undertake the propagation of Prophetic blessings - a noble mission that he accomplished with singular zeal and dedication for a period spanning half a century. Anybody who visited him was duly rewarded with a share of spiritual bliss commensurate with his/her sincerity and capacity. Sheikh Allah Yar Khan’s mission produced men and women of deep spiritual vision and eminence. He authored eighteen books, the most distinguished being Dalael us-Sulook (Sufism - An Objective Appraisal), Hayat-e Barzakhiah (Life Beyond Life) and Israr ul- Haramain (Secrets of the two holy Mosques). He was undoubtedly one of the most distinguished Sufi saints of the Muslim Ummah and a reviver of the Naqshbandia Owaisiah Order. He passed away on 18 February 1984 in Islamabad at the age of eighty.

THE CHAIN OF TRANSMISSION OF NAQSHBANDIA OWAISIAH

1. Hazrat Muhammad ur-Rasool Allah (Sall Allah-o Alaihi wa Sallam), 2. Hazrat Abu Bakr Siddiq (Radhi Allah-o Unho), 3. Hazrat Imam Hassan Basri (Rahmat Ullah Alaihi), 4. Hazrat Daud Tai (Rahmat Ullah Alaihi), 5. Hazrat Junaid Baghdadi (Rahmat Ullah Alaihi), 6. Hazrat Ubaid Ullah Ahrar (Rahmat Ullah Alaihi), 7. Hazrat Abdur Rahman Jami (Rahmat Ullah Alaihi), 8. Hazrat Abu Ayub Muhammad Salih (Rahmat Ullah Alaihi), 9. Hazrat Allah Deen Madni (Rahmat Ullah Alaihi), 10. Hazrat Moulana Allah Yar Khan (Rahmat Ullah Alaihi).

THE SPIRIT OR RUH

The spirit or Ruh of every person is a created reflection of the Divine Attributes and it originates in Alam-e Amar (Realm of Command). Its food is the Light of Allah or the Divine Refulgence, which it acquires from the Realm of Command through the holy Prophet Muhammad (may Allah’s choicest favors and peace be upon him), whose status in the spiritual world is like that of the sun in the solar system. The Quran refers to him as the ‘bright lamp’. Indeed, he is the divinely selected channel of all Barakah. All Exalted Messengers themselves receive these Barakah from him.

LATAIF

The human Ruh also possesses vital organs like the physical body; through which it acquires its knowledge, food and energy. These are called Lataif (singular Latifah: subtlety). Scholars of various Sufi Orders have associated them with specific areas of the human body. The Naqshbandia Owaisiah Order identifies these Lataif as follows. First - Qalb: This spiritual faculty is located within the physical heart. Its function is Zikr. Its strength increases one’s capacity for Allah’s Zikr. Second – Ruh: The site of this Latifah, which is a distinct faculty of the human Ruh, is on the right side of the chest at the level of Qalb. Its primary function is concentration towards Allah. Third – Sirri: This is located above the Qalb and functions to make possible Kashf. Forth – Khaffi: This is located above the Ruh and functions to perceive the omnipresence of Allah. Fifth – Akhfa: This is located in the middle of chest, at the centre of the first four Lataif and makes it possible for the Ruh to perceive the closeness of Allah, Who is closer to us than our own selves. Sixth – Nafs: This Latifah is located at the forehead and functions to purify the human soul. Seventh – Sultan al-Azkar: This Latifah is located at the top centre of the head and serves to absorb the Barakah of Allah into the entire body, so that every cell resonates with Zikr.

FIVE EXALTED MESSENGERS OF GOD

There are Five Exalted Messengers among the many known and unknown Messengers of Allah. They are Hazrat Muhammad, Hazrat Nuh (Noah), Hazrat Ibrahim (Abraham), Hazrat Musa (Moses), and Hazrat Esa (Jesus), peace be upon them all. Hazrat Adam is the first Prophet of Allah and the father of mankind. Each Latifah is associated with a particular Prophet. The Barakah and lights from Hazrat Adam (peace be upon him), descend on the first Latifah Qalb; its lights are reflected from the first heaven and are yellowish. The second Latifah is associated with Hazrat Nuh and Hazrat Ibrahim (peace be upon them). Its lights descend from the second heaven and appear as golden red. The lights descending upon the third Latifah are from Hazrat Musa (peace be upon him) and are white. One the fourth Latifah, the lights of Hazrat Esa (peace be upon him) descend from the fourth heaven and are deep blue. The fifth Latifah receives its Barakah directly from the holy Prophet Muhammad (may Allah’s choicest favors and peace be upon him). The lights associated with this Latifah are green, descend from the fifth heaven, and overwhelm all the first four Lataif. The Lights descending upon the sixth and seventh Lataif are the Divine Lights, whose color and condition cannot be determined. These are like flashes of lightening that defy comprehension. If Allah blesses a seeker with Kashf, he can observe all of this. The vision is slightly diffused in the beginning, but gradually the clarity improves.

SULOOK

Stages of the Path After all seven Lataif of a seeker have been illuminated with Divine Lights through Tawajjuh of the Sheikh and his Ruh has acquired the ability to fly, the Sheikh initiates its journey on the sublime Path of Divine nearness. The Path is known as Sulook, and its stages are not hypothetical imaginations but real and actually existing stations on the spiritual Path. These are also referred to as Meditations, because a seeker mentally meditates about a station while his/her Ruh actually ascends towards it. The first three stations that form the base of whole Sulook are described as; Ahadiyyat, a station of Absolute Unity of Divinity. It is above and beyond the seven heavens. It is so vast a station that the seven heavens and all that they encompass are lost within Ahadiyyat as a ring is lost in a vast desert. Its lights are white in color. Maiyyat station denotes Divine Company, ‘He is with you, wherever you might be.’ This station is so vast that Ahadiyyat along with the seven heavens beneath are lost within it as a ring is lost in a desert. Its lights are green in color. Aqrabiyyat station denotes Divine Nearness, ‘He is nearer to you than your life- vein.’ Again, Aqrabiyyat is vast as compared to Maiyyat in the same proportion. Its lights are golden red and are reflected from the Divine Throne. It is indeed the greatest favor of Almighty Allah that He blesses a seeker with an accomplished Sheikh, who takes him to these sublime stations. The final station that a seeker attains to during his/her lifetime becomes his/her Iliyyeen (blessed abode) in Barzakh and his/her Ruh stays at this station after death.

ZIKR

Why is Zikr Necessary for Everyone? Allah ordains every soul in the Quran to Perform Zikr. This not only means reciting the Quran and Tasbeeh but also Zikr-e Qalb. It is only through Zikr-e Qalbi that Prophetic Lights reach the depths of human soul and purify it from all vice and evil. Zikr infuses a realization of constant Divine Presence and a seeker feels great improvement in the level of sincerity and love towards Allah and the holy Prophet- SAWS. Such levels of sincerity, love and feelings of Divine Presence can never be obtained without Zikr. It would be a mistake to believe that Zikr may be a requirement only for the very pious and virtuous people. Zikr provides the Prophetic blessings which are in effect the life line of every human soul. It transforms even the most corrupted humans into virtuous souls by bringing out the best in them. The fact is that Zikr is the only way to achieve true contentment and satisfaction in life. The holy Quran has pointed to this eternal fact that it is only through Zikr Allah that hearts can find satisfaction. Such satisfaction and peace are the ultimate requirements of every person, regardless of religion, race and ethnicity. Practicing Zikr regularly removes all traces of anxiety and restlessness, and guides the human soul to eternal bliss and peace.

KHALIFA MAJAZEEN

Hazrat Moulana Allah Yar Khan (R.A), during his life time in 1974, presented a nomination list to Prophet Muhammad (S.A.W), during Maraqba, of expected Khalifa Majazeen for Silsila Naqshbandia Awaisia. Prophet Muhammad (S.A.W) approved some names, deleted some of the names, and added down the name of Major Ghulam Muhammad as also Khalifa Majaaz of Silsila Naqshbandia Awaisia (which was not previously included in the list)

The approved names at that time included:

1. Mr. Muhammad Akram Awan Sahib,

2. Mr. Sayed Bunyad Hussain Shah Sahib,

3. Mr. Major Ahsan Baig Sahib,

4. Mr. Col. Matloob Hussain Sahib,

5. Mr. Major Ghulam Muhammad Sahib of Wan Bhachran Mianwali,

6. Mr. Molvi Abdul Haq Sahib,

7. Mr. Hafiz Abdul Razzaq Sahib,

8. Mr. Hafiz Ghulam Qadri Sahib,

9. Mr. Khan Muhammad Irani Sahib,

10. Mr. Maolana Abdul Ghafoor Sahib,

11. Mr. Syed Muhammad Hassan Sahib of Zohb.

These Majazeen were authorized to; held Majalis of Zikar (Pas Anfas) in their respective areas, arrange Majalis of Zikar in neighboring areas, train them on the way of Sulook, prepare them for Spiritual Bai’at (Oath of Allegiance), and present them to Sheikh Hazrat Moulana Allah Yar Khan for Spiritual Bai’at at the Hand of Prophet Muhammad (S.A.W), in the life of Hazrat Moulana Allah Yar Khan (R.A), and were all equal in status as Khalifa Majaaz of Hazrat Moulana Allah Yar Khan (R.A).

Presently we are following Hazrat Major ® Ghulam Muhammad Sahib, Khalifa Majaaz of Hazrat Moulana Allah Yar Khan (R.A).

Stay-Puft: PINK AND GREEN GO GOOD TOGETHER!!

P: 0_o

Pudding got a little help from the office toys today when she started decorating the little Charlie Brown tree I got for my desk.

You can't really see it too well, but Pudding is wearing one of our first TheFuture dresses. We love it!

Here is a distant, hazy look at a United Airlines Boeing 737 classic that will not be taking to the skies ever again.

United acquired a large fleet of Boeing 737-300 aircraft in the late 1980s, to replace its fleet of early Boeing 727-100s; this particular example was delivered new in December 1989. United also started acquiring the Boeing 737-500 from 1991, as replacements for the aging 737-200s. In the mid-1990s, this aircraft, alongside many other 737-300s and 737-500s, became part of the Shuttle by United low-cost division, until the Shuttle was disbanded in 2001.

United continued to operate this aircraft until 2009, when the entire 737 fleet was retired for cost savings and capacity adjustment; this particular aircraft was decommissioned at San Francisco then ferried to Victorville on 26 October 2009. That ended United's continuous 41-year operation of the 737, dating back to being the launch customer of the 737-200 back in 1968, and United operated the Airbus A320 family instead.

United is now a major 737 operator again, but its current fleet is all inherited from Continental Airlines and its outstanding orders. None of Continental's 737-300s ever entered United service, and Continental's 737-500 fleet exited the United fleet by May 2013; all Boeing 737s remaining in United service today are of the newer -NG variety (-700, -800, -900, -900ER), with postmerger United ordering additional -900ERs and MAX 9s.

In the distance can be seen a few other aircraft in various stages of dismantling/decay, including a 737-200 formerly of Air Caribbean.

N375UA, Boeing 737-300

© Don't use without my permission.

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NO IMAGES AND BANNER IN COMMENTS PLEASE.

Prospect is only about an hour and a half from my home, but today was my first visit. In addition to doing some bracketing to play with Enfuse, I also pulled out my B&W 110 to try long exposures while the tide started to roll in. This one is 30 seconds, but the clouds are still very defined. I think it's because it was a still evening, but this is just a guess.

Upfest is Europe's largest Street Art and Graffiti Festival.

Upfest is a as a multi-venue urban festival with the 1.3km stretch of North Street in Bedminster at it's centre, connecting venues and painting locations. The multi-venue urban setting has given the festival it's transient feel, with visitors encouraged to explore and find whats around the next corner.

The Festival takes place from the 23rd to the 25th July this year and attracts over 300 artists painting 28 venues throughout Bedminster & Southville, Bristol.

Talented artists travel from 25 countries and across the UK to paint live on 30,000sqft of surfaces in front of 25,000 visitors.

My blog:

timster1973.wordpress.com

Also on Facebook

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online store: www.artfinder.com/tim-knifton

affordable metal prints: displate.com/timster1973/

My instagram: www.instagram.com/Timster_1973

Gold Butte National Monument is a United States national monument located in Clark County, Nevada, northeast of Las Vegas and south of Mesquite and Bunkerville. The monument protects nearly 300,000 acres of desert landscapes featuring a wide array of natural and cultural resources, including rock art, sandstone towers, and important wildlife habitat for species including the Mojave Desert tortoise (a threatened species), bighorn sheep, and mountain lion. The area also protects historic ranching and mining sites such as the ghost town of Gold Butte, although little but mine openings, cement foundations, and a few pieces of rusting equipment remains. The monument is managed by the Bureau of Land Management.

The monument consists of 296,937 acres (120,166 ha). The Gold Butte National Monument fills a gap between Lake Mead National Recreation Area and Grand Canyon-Parashant National Monument, creating a continuous swath of conserved land and establishing a wildlife corridor. Significant wildlife within the borders of the park include Mojave Desert tortoise (a threatened species), bighorn sheep, and mountain lion, as well as Gambel's quail and chukar partridge. Important cultural and natural resources within the monument include rock art and sandstone formations. Within the park, "weather-chiseled red sandstone is incised with ancient rock art, and the remains of rock shelters and hearths, agave roasting pits and projectile points" may be found.

Source: Wikipedia

en.wikipedia.org/wiki/Gold_Butte_National_Monument

This is another direct positive paper, this time developed in Caffenol (instant coffee developer).

I shot this using my Deardorf V8, with my 300mm Nikor lens, at f/16 for 15 seconds.

Development was in Delta-STD caffenol for 4 mins. Fixed in Ilford rapid fix for 60 seconds, and washed in plain water for 5 minutes.

The tones are as accurate as I can get from my scanner.

Samarkand - the Capital of Tamerlane

Samarkand is situated in the valley of the river Zarafshan. It is the second largest city of Uzbekistan and is of the same age as the city of Babylon or Rome. The history of Samarkand is about 2,500 years old and has witnessed a lot of upheavals during the times of Alexander the Great, the Arabic Conquest, Genghis-Khan Conquest and lastly Tamerlane's. Hence, the culture of Samarkand was developed and mixed together with the Iranian, Indian, Mongolian and a bit of the Western and Eastern cultures. Majestic and beautiful city Samarkand has a marvelous and attractive power. Poets and historians of the past called it "Rome of the East, The beauty of sublunary countries, The pearl of the Eastern Moslem World". Its advantageous geographical position in Zarafshan valley put Samarkand to the first place among cities of the Central Asia.

Registan Square, Samarkand

During centuries Registan Square was the center of Samarkand. The word Registan means “sand place”. There was a river running there many ages ago, before building the first Madrassah on the square. Years passed, the river dried out and left lots of sank there, that was the first place where the first Madrassah was built in the beginning of the 15th century and named Registan square. As the Madrassah was first built, all the holidays, parades, festivals and Sunday bazaars took place. The ensemble consists of three Madrassah: Ulugbek Madrassah (15th century), Sher – Dor Madrassah (17th century) and Tilla-Kari Madrassah (gold covered)(17th century). Madrassah– is the Muslim high educational institution. Only the boys from reach families studied there. The training lasted for 10, 12, 20 years. It was up to the discipline the student selected. The main discipline for all of them was Learning Koran. The rest of the subjects were not obligatory and could be selected by students.The Ulugbek Madrassah was built by the Ulugbek’s order and guidance. It lasted only three years from 1417 to 1420. When the medresse was constructed, Ulugbek gave lectures on mathematics and astronomy till his death. Two years later, the ruler of Samarkand Yalangtush Bahadur ordered to build the copy of the Madrassah, and the second Sher-Dor Madrassah was built opposite it. The only difference was that it had two more winter teaching halls, but the main structure was the same as in Ulugbek Madrassah. Several years later, the same ruler of Samarkand ordered the third Tilla-Kari Madrassah. It’s outward is the same as those two other medresses, but coming in you’ll see a one story building. To make the architectural ensemble, the architecture made two floors on the outside but only one inside. Madrassah was always built by one project – four-cornered yard with four terraces and cells along the whole perimeter. The main entrance was always locked with lattice and two other entrances were used by purpose. The doors in cell were always low because “Islam” means “obedience”, that is why everyone who entered or went out of cell always had to bow, it was like greeting and wishing health to everyone. Only Tilla-Kari Madrassah was bult like medresse, but was used mostly as mosque; just looking at minarets can see this, Tilla-Kari has low minarets to call people to pray. In 17th century Till-Kari mosque and Madrassah was the biggest mosque in Samarkand. Right up to 19th century Madrassah and Madrassah-mosque was used by purpose, and only from the beginning of 20th century till now they serve as monuments. “Eden of Ancient East”, “Precious Pearl of Islam World”, “ Rome of East”, “Rui Zamin”-“Face of Earth”-with such magnificent names poets, historians, medieval geographers of Iran, India, China, Byzantium, Egypt called Samarkand. Even though of such magnificent description Samarkand saw many sites of fire and destructions, which left their sign in history. During centuries Samarkand was gained by different nomadic and half nomadic generations, which always were destroying, sacking, and leaving ruins after them. Samarkand saw three the largest tragedies. 1. The first ine is related to the time of Aleksandr Macedonian’s gains in 329 year BC; the city was fully destroyed, citizens were exterminated. After reconstruction of the city there was a development of different crafts, the east and Greek cultures mixed together, and this left its sign in the history of Samarkand. 2. The second tragedy is related to 8th century, when Arabs were gaining the Central Asia. Stating from 8th century Islam became main religion in Central Asia. Before that time there were different religions in Central Asia but the main was zoroastrism. And only Arabs with sword and fire, destroying people brought new religion Islam to Central Asia. And till now it is still main religion here. 3. Third tragedy is related to 13th century, when Chigiz han was gaining the Central Asia. When the city was destroyed, Samarkand ame to the new decline. And only in 14th century when Timur came to the power Samarkand was reconstructed. 14-15th centuries are called the Renaissance because Timur brought scientists from each aggressive crusade. In particular he was assisted in development of different sciences in Central Asia. Samarkand reached the highest level of development only during Timur’s government, though he is described as cruel gainer in history. All this was happened because during 35 year he brought with him mathematicians, astronomers, architectures, and musicians from his aggressive campaigns to his country. Architectures from many countries participated in the construction of many monuments. Picture of rising sun with lions chasing after fallow-deers is the illustration of it. It is not allow illustrating animals and people in Islam. But Sher-Dor medresse is decorated exactly with pictures of animals. What is concerned about decoration of the whole ensemble, here it is possible to see the difference in designing of tympanums of every medresse. If in Ulugbek medresse cable is often repeating, but in 17th century medresse no picture is repeated because it was prohibited in that time to repeat the pictures in architectures work. Geometric, letter design, and crockets were used in designing.

Various Artists

Wednesday 6 - Friday 8 November, Check listing for times

Various Locations

Various Locations

Street Talks is a series of quickfire public talks, part of the Re@ct: Social Change Art Technology Symposium. Rather than your typical poster session, these talks will take place on the streets of Dundee in various locations. Free speech is essential to political and social change – these artists are quite literally taking it to the streets to share their creative practices.

Luisa Charles & Elke Reinhuber –Wednesday 6th November, 2pm, Slessor Gardens

Luisa Charles – discusses the intersections of disability and design, and how novel bespoke design practices could offer a solution to designing for all needs, where universal design could not. These design ideologies, that include co-design, individual centred design, mass customisation, and mass personalisation, are exemplified by case studies from pop culture design media, such as the Fixperts and BBC’s Big Life Fix. She analyses the social, technological, and economical shifts that are required for these practices to become mainstream, and the capability of bespoke design to cause enough disruption within the design economy to create a shift in capitalism.

Elke Reinhuber – The Urban Beautician moved recently from the speckless city state of Singapore, where she already developed her retirement plans, across the South China Sea, to protest-ridden Hong Kong. There, she observed how much effort the cleaners put up to keep these megapolises scrubbed and tidy. As they are frequently overlooked, the Urban Beautician captured some of them during their relentless daily routine. While they have adapted themselves to their particular duties, their skills are hardly ever honoured or even acknowledged. Paying homage to their Sisyphean challenge, they can be positioned now anywhere through Augmented Reality and venerated as perpetualised sculptures of our everyday heroes.The Urban Beautician tries to improve neglected details in our urban environment with interventions in public space and performances to camera. Since more than a decade she cares for things most people are oblivious to.

Ibarieze Abani and Daisy Abbott & Anders Zanichkowsky – Thursday 7th November, 1:30pm, Albert Square, by McManus Gallery Steps

Ibarieze Abani and Daisy Abbott – Transmedia storytelling uses multiple delivery channels to convey a narrative in order to provide a more immersive entertainment experience (Jenkins, 2009). Transmedia activism can be very broadly defined as using storytelling to “effect social change by engaging multiple stakeholders on multiple platforms to collaborate toward appropriate, community-led social action” (Srivastava, 2009). Activism depends on participation and collaboration within a community to avoid unsustainable or inappropriate top-down interventions. A similar concept, transmedia mobilization, uses transmedia storytelling to engage “the social base of a movement in participatory media making practices across multiple platforms” (Constanza-Chock, 2013) and also requires interaction from diverse voices from within the community.

Anders Zanichkowsky –“I Am in Your Hands: Smartphones and the erotics of the future”Social media artist and queer anarchist Anders Zanichkowsky will present excerpts and reflections from his current Grindr project, “Queen of Hearts,” as well as other recent projects reading Tarot cards on hookup apps and go-go dancing for a remote audience on Instagram. During this talk, Anders will use the same social media platforms that are the subject of his presentation, inviting you into the theory behind the work, and into the work itself. Equal parts cultural criticism, performance art, and experimental public speaking, this street talk will level the hierarchy of physical presence over virtual appearance, and scandalously suggest how thirst traps and sexting with strangers can indeed point us towards a radical future of queer intimacy and counterculture.

Mohammad Namazi & Matteo Preabianca – Friday 8th November, 1:30pm, Wellgate Centre, Victoria Road entrance

Mohammad Namazi – An Archive of Audio Disobedience, intervenes into the public realm, and collaborates with individuals, to construct a live-event. The event manifests through utilising a net-based sound archive, capable of involving participants in a collective form of sound-action, -publication, -demonstration, -performance, and -play.

The archive comprises various audio effects, sound segments, words, and computer-generated speeches – to stage a critical symphony, rooted in and derived from, socio-political concerns.

Matteo Preabianca – Mantra Marx is the eighth album for the NonMiPiaceIlCirco! Project. NonMiPiaceIlCirco! is a musical project that has been on since 2004, the year of the first album. Since then, the line-up has been in a constant change, with Matteo Preabianca the only member from the beginning. So they took The Capital from the shelf to read again. But who remembers it, especially young people? Let’s get rid of guitars and songs to give a didactic approach to the music. 25 tracks, one for each of the First Book’s 25 chapters. They use the lyrics as Hinduist mantras, where repetition is the key for a deep understanding of our life, and Marx as well. Its music, besides being lo-fi and badly made, is just an excuse. The lyrics are a summarized version of the aforementioned book, spoken by 25 different Mandarin native voices, completely unaware of the reason behind the recording. Still time to die as a Marxist(?). Developed and recorded in China.

About the Artists

Daisy Abbott is an interdisciplinary researcher and research developer based in the School of Simulation and Visualisation at The Glasgow School of Art. Daisy’s current research focusses on game-based learning, 3D visualisation, and issues surrounding digital interaction, documentation, preservation, and interpretation in the arts and humanities. She also collaborates with artists on works aiming to explore the nature of digital interactivity and digital art.

Luisa Charles is an interaction designer, multidisciplinary artist, and filmmaker. Having been exhibited in the Science Museum, Science Gallery London, London Design Festival, and various film festivals, amongst others, her work spans many themes across science and technology, social politics, and personal narratives. She specialises in installation design and physical computing, experience design, fabrication, and videography, and her work often comes under the umbrella of speculative and critical design. Her work focuses heavily on research processes, and forms itself organically through investigation and experimentation.

Ibarieze Abani is a recent Masters graduate in Serious Games and Virtual Reality at the Glasgow School of Art, where she has carried out projects about cultural heritage, gender inequality, transmedia storytelling and climate policy. She is an advocate of the capabilities of interactive digital media as a tool for opening up dialogues surrounding large scale themes such as climate justice, social justice and intersectionality. She has a keen interest in working with people using digital media to make meaningful and tangible differences on a societal scale.

Mohammad Namazi (b. 1981. Tehran) is an artist, educator and researcher based in London. Mohammad works through means of de-construction, collaboration, process, unlearning, and telematics systems within social and cultural realms. The studio operates as a research-lab for inter-disciplinary projects that can span video, sound, liveevents, graphics, photography, sculptural structures, and internet-based projects. He received his doctorate from UAL research in 2019, and currently teaches as visiting lecturer at Wimbledon, and Chelsea College of Arts. Mohammad is a member of research cluster Critical Practice.

Matteo Preabianca- Music and Languages…Music and Languages? How come? Matteo starts playing violin when he was a child, but he did not like it, especially when he tried to beat it on the table. It did not make any good sound. So, better drumming, right? Meanwhile playing and spending a lot his mum’s money to buy records he realised even speaking other languages was not so bad. Especially when he invented his own. Step by step, he turned into a music and languages teacher.

Elke Reinhuber is not your average artist, because she became a specialist on choice, decision making and counterfactual thoughts in media arts. Currently, Reinhuber teaches and researches at the School of Creative Media, CityU Hing Kong and is affiliated with the School of Art, Design and Media at NTU in Singapore. In her artistic practice, she investigates on the correlation between decisions and emotions and explores different strategies of visualisation and presentation, working with immersive environments, mixed reality, imaging technologies and performance. In addition, her alter ego, the ‘Urban Beautician’ is pursuing a life which Elke didn’t follow.

Anders Zanickowsky is an American artist and activist who uses platforms like Grindr and Instagram as actual sites for performances about desire, uncertainty, and vulnerability. He is committed to José Esteban Muñoz’s concept of queer futurity in which artists refuse the oppressive confines of the present and reach instead towards what can only be imagined. He has an MFA from the University of Wisconsin-Madison (2019) and was a resident with The Arctic Circle program in Svalbard (2016). Since 2008 he has worked in movements for housing justice, prison abolition, and HIV/AIDS.

Photography Kathryn Rattray

Gerani (Greek: Γεράνι, literally 'Geranium', Turkish: Turnalar) is a village in the Famagusta District of Cyprus, located 8 km (5.0 mi) northeast of Trikomo. It is under the de facto control of Northern Cyprus.

Northern Cyprus, officially the Turkish Republic of Northern Cyprus (TRNC), is a de facto state that comprises the northeastern portion of the island of Cyprus. It is recognised only by Turkey, and its territory is considered by all other states to be part of the Republic of Cyprus.

Northern Cyprus extends from the tip of the Karpass Peninsula in the northeast to Morphou Bay, Cape Kormakitis and its westernmost point, the Kokkina exclave in the west. Its southernmost point is the village of Louroujina. A buffer zone under the control of the United Nations stretches between Northern Cyprus and the rest of the island and divides Nicosia, the island's largest city and capital of both sides.

A coup d'état in 1974, performed as part of an attempt to annex the island to Greece, prompted the Turkish invasion of Cyprus. This resulted in the eviction of much of the north's Greek Cypriot population, the flight of Turkish Cypriots from the south, and the partitioning of the island, leading to a unilateral declaration of independence by the north in 1983. Due to its lack of recognition, Northern Cyprus is heavily dependent on Turkey for economic, political and military support.

Attempts to reach a solution to the Cyprus dispute have been unsuccessful. The Turkish Army maintains a large force in Northern Cyprus with the support and approval of the TRNC government, while the Republic of Cyprus, the European Union as a whole, and the international community regard it as an occupation force. This military presence has been denounced in several United Nations Security Council resolutions.

Northern Cyprus is a semi-presidential, democratic republic with a cultural heritage incorporating various influences and an economy that is dominated by the services sector. The economy has seen growth through the 2000s and 2010s, with the GNP per capita more than tripling in the 2000s, but is held back by an international embargo due to the official closure of the ports in Northern Cyprus by the Republic of Cyprus. The official language is Turkish, with a distinct local dialect being spoken. The vast majority of the population consists of Sunni Muslims, while religious attitudes are mostly moderate and secular. Northern Cyprus is an observer state of ECO and OIC under the name "Turkish Cypriot State", PACE under the name "Turkish Cypriot Community", and Organization of Turkic States with its own name.

Several distinct periods of Cypriot intercommunal violence involving the two main ethnic communities, Greek Cypriots and Turkish Cypriots, marked mid-20th century Cyprus. These included the Cyprus Emergency of 1955–59 during British rule, the post-independence Cyprus crisis of 1963–64, and the Cyprus crisis of 1967. Hostilities culminated in the 1974 de facto division of the island along the Green Line following the Turkish invasion of Cyprus. The region has been relatively peaceful since then, but the Cyprus dispute has continued, with various attempts to solve it diplomatically having been generally unsuccessful.

Cyprus, an island lying in the eastern Mediterranean, hosted a population of Greeks and Turks (four-fifths and one-fifth, respectively), who lived under British rule in the late nineteenth-century and the first half of the twentieth-century. Christian Orthodox Church of Cyprus played a prominent political role among the Greek Cypriot community, a privilege that it acquired during the Ottoman Empire with the employment of the millet system, which gave the archbishop an unofficial ethnarch status.

The repeated rejections by the British of Greek Cypriot demands for enosis, union with Greece, led to armed resistance, organised by the National Organization of Cypriot Struggle, or EOKA. EOKA, led by the Greek-Cypriot commander George Grivas, systematically targeted British colonial authorities. One of the effects of EOKA's campaign was to alter the Turkish position from demanding full reincorporation into Turkey to a demand for taksim (partition). EOKA's mission and activities caused a "Cretan syndrome" (see Turkish Resistance Organisation) within the Turkish Cypriot community, as its members feared that they would be forced to leave the island in such a case as had been the case with Cretan Turks. As such, they preferred the continuation of British colonial rule and then taksim, the division of the island. Due to the Turkish Cypriots' support for the British, EOKA's leader, Georgios Grivas, declared them to be enemies. The fact that the Turks were a minority was, according to Nihat Erim, to be addressed by the transfer of thousands of Turks from mainland Turkey so that Greek Cypriots would cease to be the majority. When Erim visited Cyprus as the Turkish representative, he was advised by Field Marshal Sir John Harding, the then Governor of Cyprus, that Turkey should send educated Turks to settle in Cyprus.

Turkey actively promoted the idea that on the island of Cyprus two distinctive communities existed, and sidestepped its former claim that "the people of Cyprus were all Turkish subjects". In doing so, Turkey's aim to have self-determination of two to-be equal communities in effect led to de jure partition of the island.[citation needed] This could be justified to the international community against the will of the majority Greek population of the island. Dr. Fazil Küçük in 1954 had already proposed Cyprus be divided in two at the 35° parallel.

Lindley Dan, from Notre Dame University, spotted the roots of intercommunal violence to different visions among the two communities of Cyprus (enosis for Greek Cypriots, taksim for Turkish Cypriots). Also, Lindlay wrote that "the merging of church, schools/education, and politics in divisive and nationalistic ways" had played a crucial role in creation of havoc in Cyprus' history. Attalides Michael also pointed to the opposing nationalisms as the cause of the Cyprus problem.

By the mid-1950's, the "Cyprus is Turkish" party, movement, and slogan gained force in both Cyprus and Turkey. In a 1954 editorial, Turkish Cypriot leader Dr. Fazil Kuchuk expressed the sentiment that the Turkish youth had grown up with the idea that "as soon as Great Britain leaves the island, it will be taken over by the Turks", and that "Turkey cannot tolerate otherwise". This perspective contributed to the willingness of Turkish Cypriots to align themselves with the British, who started recruiting Turkish Cypriots into the police force that patrolled Cyprus to fight EOKA, a Greek Cypriot nationalist organisation that sought to rid the island of British rule.

EOKA targeted colonial authorities, including police, but Georgios Grivas, the leader of EOKA, did not initially wish to open up a new front by fighting Turkish Cypriots and reassured them that EOKA would not harm their people. In 1956, some Turkish Cypriot policemen were killed by EOKA members and this provoked some intercommunal violence in the spring and summer, but these attacks on policemen were not motivated by the fact that they were Turkish Cypriots.

However, in January 1957, Grivas changed his policy as his forces in the mountains became increasingly pressured by the British Crown forces. In order to divert the attention of the Crown forces, EOKA members started to target Turkish Cypriot policemen intentionally in the towns, so that Turkish Cypriots would riot against the Greek Cypriots and the security forces would have to be diverted to the towns to restore order. The killing of a Turkish Cypriot policeman on 19 January, when a power station was bombed, and the injury of three others, provoked three days of intercommunal violence in Nicosia. The two communities targeted each other in reprisals, at least one Greek Cypriot was killed and the British Army was deployed in the streets. Greek Cypriot stores were burned and their neighbourhoods attacked. Following the events, the Greek Cypriot leadership spread the propaganda that the riots had merely been an act of Turkish Cypriot aggression. Such events created chaos and drove the communities apart both in Cyprus and in Turkey.

On 22 October 1957 Sir Hugh Mackintosh Foot replaced Sir John Harding as the British Governor of Cyprus. Foot suggested five to seven years of self-government before any final decision. His plan rejected both enosis and taksim. The Turkish Cypriot response to this plan was a series of anti-British demonstrations in Nicosia on 27 and 28 January 1958 rejecting the proposed plan because the plan did not include partition. The British then withdrew the plan.

In 1957, Black Gang, a Turkish Cypriot pro-taksim paramilitary organisation, was formed to patrol a Turkish Cypriot enclave, the Tahtakale district of Nicosia, against activities of EOKA. The organisation later attempted to grow into a national scale, but failed to gain public support.

By 1958, signs of dissatisfaction with the British increased on both sides, with a group of Turkish Cypriots forming Volkan (later renamed to the Turkish Resistance Organisation) paramilitary group to promote partition and the annexation of Cyprus to Turkey as dictated by the Menderes plan. Volkan initially consisted of roughly 100 members, with the stated aim of raising awareness in Turkey of the Cyprus issue and courting military training and support for Turkish Cypriot fighters from the Turkish government.

In June 1958, the British Prime Minister, Harold Macmillan, was expected to propose a plan to resolve the Cyprus issue. In light of the new development, the Turks rioted in Nicosia to promote the idea that Greek and Turkish Cypriots could not live together and therefore any plan that did not include partition would not be viable. This violence was soon followed by bombing, Greek Cypriot deaths and looting of Greek Cypriot-owned shops and houses. Greek and Turkish Cypriots started to flee mixed population villages where they were a minority in search of safety. This was effectively the beginning of the segregation of the two communities. On 7 June 1958, a bomb exploded at the entrance of the Turkish Embassy in Cyprus. Following the bombing, Turkish Cypriots looted Greek Cypriot properties. On 26 June 1984, the Turkish Cypriot leader, Rauf Denktaş, admitted on British channel ITV that the bomb was placed by the Turks themselves in order to create tension. On 9 January 1995, Rauf Denktaş repeated his claim to the famous Turkish newspaper Milliyet in Turkey.

The crisis reached a climax on 12 June 1958, when eight Greeks, out of an armed group of thirty five arrested by soldiers of the Royal Horse Guards on suspicion of preparing an attack on the Turkish quarter of Skylloura, were killed in a suspected attack by Turkish Cypriot locals, near the village of Geunyeli, having been ordered to walk back to their village of Kondemenos.

After the EOKA campaign had begun, the British government successfully began to turn the Cyprus issue from a British colonial problem into a Greek-Turkish issue. British diplomacy exerted backstage influence on the Adnan Menderes government, with the aim of making Turkey active in Cyprus. For the British, the attempt had a twofold objective. The EOKA campaign would be silenced as quickly as possible, and Turkish Cypriots would not side with Greek Cypriots against the British colonial claims over the island, which would thus remain under the British. The Turkish Cypriot leadership visited Menderes to discuss the Cyprus issue. When asked how the Turkish Cypriots should respond to the Greek Cypriot claim of enosis, Menderes replied: "You should go to the British foreign minister and request the status quo be prolonged, Cyprus to remain as a British colony". When the Turkish Cypriots visited the British Foreign Secretary and requested for Cyprus to remain a colony, he replied: "You should not be asking for colonialism at this day and age, you should be asking for Cyprus be returned to Turkey, its former owner".

As Turkish Cypriots began to look to Turkey for protection, Greek Cypriots soon understood that enosis was extremely unlikely. The Greek Cypriot leader, Archbishop Makarios III, now set independence for the island as his objective.

Britain resolved to solve the dispute by creating an independent Cyprus. In 1959, all involved parties signed the Zurich Agreements: Britain, Turkey, Greece, and the Greek and Turkish Cypriot leaders, Makarios and Dr. Fazil Kucuk, respectively. The new constitution drew heavily on the ethnic composition of the island. The President would be a Greek Cypriot, and the Vice-President a Turkish Cypriot with an equal veto. The contribution to the public service would be set at a ratio of 70:30, and the Supreme Court would consist of an equal number of judges from both communities as well as an independent judge who was not Greek, Turkish or British. The Zurich Agreements were supplemented by a number of treaties. The Treaty of Guarantee stated that secession or union with any state was forbidden, and that Greece, Turkey and Britain would be given guarantor status to intervene if that was violated. The Treaty of Alliance allowed for two small Greek and Turkish military contingents to be stationed on the island, and the Treaty of Establishment gave Britain sovereignty over two bases in Akrotiri and Dhekelia.

On 15 August 1960, the Colony of Cyprus became fully independent as the Republic of Cyprus. The new republic remained within the Commonwealth of Nations.

The new constitution brought dissatisfaction to Greek Cypriots, who felt it to be highly unjust for them for historical, demographic and contributional reasons. Although 80% of the island's population were Greek Cypriots and these indigenous people had lived on the island for thousands of years and paid 94% of taxes, the new constitution was giving the 17% of the population that was Turkish Cypriots, who paid 6% of taxes, around 30% of government jobs and 40% of national security jobs.

Within three years tensions between the two communities in administrative affairs began to show. In particular disputes over separate municipalities and taxation created a deadlock in government. A constitutional court ruled in 1963 Makarios had failed to uphold article 173 of the constitution which called for the establishment of separate municipalities for Turkish Cypriots. Makarios subsequently declared his intention to ignore the judgement, resulting in the West German judge resigning from his position. Makarios proposed thirteen amendments to the constitution, which would have had the effect of resolving most of the issues in the Greek Cypriot favour. Under the proposals, the President and Vice-President would lose their veto, the separate municipalities as sought after by the Turkish Cypriots would be abandoned, the need for separate majorities by both communities in passing legislation would be discarded and the civil service contribution would be set at actual population ratios (82:18) instead of the slightly higher figure for Turkish Cypriots.

The intention behind the amendments has long been called into question. The Akritas plan, written in the height of the constitutional dispute by the Greek Cypriot interior minister Polycarpos Georkadjis, called for the removal of undesirable elements of the constitution so as to allow power-sharing to work. The plan envisaged a swift retaliatory attack on Turkish Cypriot strongholds should Turkish Cypriots resort to violence to resist the measures, stating "In the event of a planned or staged Turkish attack, it is imperative to overcome it by force in the shortest possible time, because if we succeed in gaining command of the situation (in one or two days), no outside, intervention would be either justified or possible." Whether Makarios's proposals were part of the Akritas plan is unclear, however it remains that sentiment towards enosis had not completely disappeared with independence. Makarios described independence as "a step on the road to enosis".[31] Preparations for conflict were not entirely absent from Turkish Cypriots either, with right wing elements still believing taksim (partition) the best safeguard against enosis.

Greek Cypriots however believe the amendments were a necessity stemming from a perceived attempt by Turkish Cypriots to frustrate the working of government. Turkish Cypriots saw it as a means to reduce their status within the state from one of co-founder to that of minority, seeing it as a first step towards enosis. The security situation deteriorated rapidly.

Main articles: Bloody Christmas (1963) and Battle of Tillyria

An armed conflict was triggered after December 21, 1963, a period remembered by Turkish Cypriots as Bloody Christmas, when a Greek Cypriot policemen that had been called to help deal with a taxi driver refusing officers already on the scene access to check the identification documents of his customers, took out his gun upon arrival and shot and killed the taxi driver and his partner. Eric Solsten summarised the events as follows: "a Greek Cypriot police patrol, ostensibly checking identification documents, stopped a Turkish Cypriot couple on the edge of the Turkish quarter. A hostile crowd gathered, shots were fired, and two Turkish Cypriots were killed."

In the morning after the shooting, crowds gathered in protest in Northern Nicosia, likely encouraged by the TMT, without incident. On the evening of the 22nd, gunfire broke out, communication lines to the Turkish neighbourhoods were cut, and the Greek Cypriot police occupied the nearby airport. On the 23rd, a ceasefire was negotiated, but did not hold. Fighting, including automatic weapons fire, between Greek and Turkish Cypriots and militias increased in Nicosia and Larnaca. A force of Greek Cypriot irregulars led by Nikos Sampson entered the Nicosia suburb of Omorphita and engaged in heavy firing on armed, as well as by some accounts unarmed, Turkish Cypriots. The Omorphita clash has been described by Turkish Cypriots as a massacre, while this view has generally not been acknowledged by Greek Cypriots.

Further ceasefires were arranged between the two sides, but also failed. By Christmas Eve, the 24th, Britain, Greece, and Turkey had joined talks, with all sides calling for a truce. On Christmas day, Turkish fighter jets overflew Nicosia in a show of support. Finally it was agreed to allow a force of 2,700 British soldiers to help enforce a ceasefire. In the next days, a "buffer zone" was created in Nicosia, and a British officer marked a line on a map with green ink, separating the two sides of the city, which was the beginning of the "Green Line". Fighting continued across the island for the next several weeks.

In total 364 Turkish Cypriots and 174 Greek Cypriots were killed during the violence. 25,000 Turkish Cypriots from 103-109 villages fled and were displaced into enclaves and thousands of Turkish Cypriot houses were ransacked or completely destroyed.

Contemporary newspapers also reported on the forceful exodus of the Turkish Cypriots from their homes. According to The Times in 1964, threats, shootings and attempts of arson were committed against the Turkish Cypriots to force them out of their homes. The Daily Express wrote that "25,000 Turks have already been forced to leave their homes". The Guardian reported a massacre of Turks at Limassol on 16 February 1964.

Turkey had by now readied its fleet and its fighter jets appeared over Nicosia. Turkey was dissuaded from direct involvement by the creation of a United Nations Peacekeeping Force in Cyprus (UNFICYP) in 1964. Despite the negotiated ceasefire in Nicosia, attacks on the Turkish Cypriot persisted, particularly in Limassol. Concerned about the possibility of a Turkish invasion, Makarios undertook the creation of a Greek Cypriot conscript-based army called the "National Guard". A general from Greece took charge of the army, whilst a further 20,000 well-equipped officers and men were smuggled from Greece into Cyprus. Turkey threatened to intervene once more, but was prevented by a strongly worded letter from the American President Lyndon B. Johnson, anxious to avoid a conflict between NATO allies Greece and Turkey at the height of the Cold War.

Turkish Cypriots had by now established an important bridgehead at Kokkina, provided with arms, volunteers and materials from Turkey and abroad. Seeing this incursion of foreign weapons and troops as a major threat, the Cypriot government invited George Grivas to return from Greece as commander of the Greek troops on the island and launch a major attack on the bridgehead. Turkey retaliated by dispatching its fighter jets to bomb Greek positions, causing Makarios to threaten an attack on every Turkish Cypriot village on the island if the bombings did not cease. The conflict had now drawn in Greece and Turkey, with both countries amassing troops on their Thracian borders. Efforts at mediation by Dean Acheson, a former U.S. Secretary of State, and UN-appointed mediator Galo Plaza had failed, all the while the division of the two communities becoming more apparent. Greek Cypriot forces were estimated at some 30,000, including the National Guard and the large contingent from Greece. Defending the Turkish Cypriot enclaves was a force of approximately 5,000 irregulars, led by a Turkish colonel, but lacking the equipment and organisation of the Greek forces.

The Secretary-General of the United Nations in 1964, U Thant, reported the damage during the conflicts:

UNFICYP carried out a detailed survey of all damage to properties throughout the island during the disturbances; it shows that in 109 villages, most of them Turkish-Cypriot or mixed villages, 527 houses have been destroyed while 2,000 others have suffered damage from looting.

The situation worsened in 1967, when a military junta overthrew the democratically elected government of Greece, and began applying pressure on Makarios to achieve enosis. Makarios, not wishing to become part of a military dictatorship or trigger a Turkish invasion, began to distance himself from the goal of enosis. This caused tensions with the junta in Greece as well as George Grivas in Cyprus. Grivas's control over the National Guard and Greek contingent was seen as a threat to Makarios's position, who now feared a possible coup.[citation needed] The National Guard and Cyprus Police began patrolling the Turkish Cypriot enclaves of Ayios Theodoros and Kophinou, and on November 15 engaged in heavy fighting with the Turkish Cypriots.

By the time of his withdrawal 26 Turkish Cypriots had been killed. Turkey replied with an ultimatum demanding that Grivas be removed from the island, that the troops smuggled from Greece in excess of the limits of the Treaty of Alliance be removed, and that the economic blockades on the Turkish Cypriot enclaves be lifted. Grivas was recalled by the Athens Junta and the 12,000 Greek troops were withdrawn. Makarios now attempted to consolidate his position by reducing the number of National Guard troops, and by creating a paramilitary force loyal to Cypriot independence. In 1968, acknowledging that enosis was now all but impossible, Makarios stated, "A solution by necessity must be sought within the limits of what is feasible which does not always coincide with the limits of what is desirable."

After 1967 tensions between the Greek and Turkish Cypriots subsided. Instead, the main source of tension on the island came from factions within the Greek Cypriot community. Although Makarios had effectively abandoned enosis in favour of an 'attainable solution', many others continued to believe that the only legitimate political aspiration for Greek Cypriots was union with Greece.

On his arrival, Grivas began by establishing a nationalist paramilitary group known as the National Organization of Cypriot Fighters (Ethniki Organosis Kyprion Agoniston B or EOKA-B), drawing comparisons with the EOKA struggle for enosis under the British colonial administration of the 1950s.

The military junta in Athens saw Makarios as an obstacle. Makarios's failure to disband the National Guard, whose officer class was dominated by mainland Greeks, had meant the junta had practical control over the Cypriot military establishment, leaving Makarios isolated and a vulnerable target.

During the first Turkish invasion, Turkish troops invaded Cyprus territory on 20 July 1974, invoking its rights under the Treaty of Guarantee. This expansion of Turkish-occupied zone violated International Law as well as the Charter of the United Nations. Turkish troops managed to capture 3% of the island which was accompanied by the burning of the Turkish Cypriot quarter, as well as the raping and killing of women and children. A temporary cease-fire followed which was mitigated by the UN Security Council. Subsequently, the Greek military Junta collapsed on July 23, 1974, and peace talks commenced in which a democratic government was installed. The Resolution 353 was broken after Turkey attacked a second time and managed to get a hold of 37% of Cyprus territory. The Island of Cyprus was appointed a Buffer Zone by the United Nations, which divided the island into two zones through the 'Green Line' and put an end to the Turkish invasion. Although Turkey announced that the occupied areas of Cyprus to be called the Federated Turkish State in 1975, it is not legitimised on a worldwide political scale. The United Nations called for the international recognition of independence for the Republic of Cyprus in the Security Council Resolution 367.

In the years after the Turkish invasion of northern Cyprus one can observe a history of failed talks between the two parties. The 1983 declaration of the independent Turkish Republic of Cyprus resulted in a rise of inter-communal tensions and made it increasingly hard to find mutual understanding. With Cyprus' interest of a possible EU membership and a new UN Secretary-General Kofi Annan in 1997 new hopes arose for a fresh start. International involvement from sides of the US and UK, wanting a solution to the Cyprus dispute prior to the EU accession led to political pressures for new talks. The believe that an accession without a solution would threaten Greek-Turkish relations and acknowledge the partition of the island would direct the coming negotiations.

Over the course of two years a concrete plan, the Annan plan was formulated. In 2004 the fifth version agreed upon from both sides and with the endorsement of Turkey, US, UK and EU then was presented to the public and was given a referendum in both Cypriot communities to assure the legitimisation of the resolution. The Turkish Cypriots voted with 65% for the plan, however the Greek Cypriots voted with a 76% majority against. The Annan plan contained multiple important topics. Firstly it established a confederation of two separate states called the United Cyprus Republic. Both communities would have autonomous states combined under one unified government. The members of parliament would be chosen according to the percentage in population numbers to ensure a just involvement from both communities. The paper proposed a demilitarisation of the island over the next years. Furthermore it agreed upon a number of 45000 Turkish settlers that could remain on the island. These settlers became a very important issue concerning peace talks. Originally the Turkish government encouraged Turks to settle in Cyprus providing transfer and property, to establish a counterpart to the Greek Cypriot population due to their 1 to 5 minority. With the economic situation many Turkish-Cypriot decided to leave the island, however their departure is made up by incoming Turkish settlers leaving the population ratio between Turkish Cypriots and Greek Cypriots stable. However all these points where criticised and as seen in the vote rejected mainly by the Greek Cypriots. These name the dissolution of the „Republic of Cyprus", economic consequences of a reunion and the remaining Turkish settlers as reason. Many claim that the plan was indeed drawing more from Turkish-Cypriot demands then Greek-Cypriot interests. Taking in consideration that the US wanted to keep Turkey as a strategic partner in future Middle Eastern conflicts.

A week after the failed referendum the Republic of Cyprus joined the EU. In multiple instances the EU tried to promote trade with Northern Cyprus but without internationally recognised ports this spiked a grand debate. Both side endure their intention of negotiations, however without the prospect of any new compromises or agreements the UN is unwilling to start the process again. Since 2004 negotiations took place in numbers but without any results, both sides are strongly holding on to their position without an agreeable solution in sight that would suit both parties.

[polska wersja językowa niżej]

There is never too much of this canyon, even if here is only the entrance from the opposite side, not the gorge itself.

ST40s-17 with a second broad gauge "batman" (other nicknames are "badger" or "robogagar") with a loaded iron ore train "climbs" a local elevation up just past the passenger stop in Szozdy. As you can see from the trackside signs on the right, the locomotives will soon reach the top, so it means they currently have to overcome the greatest resistance given by the weight at the elevation. August 21, 2013.

Photo by Jarek / Chester

Kanionu nigdy za wiele, chociaż tu dopiero wjazd do niego z drugiej strony, a nie sam wąwóz.

ST40s-17 z drugim szerokim batmanem (czy borsukiem, czy robogagarem) z ładownym pociągiem z rudą wspina się na lokalne wzniesienie tuż za przystankiem w Szozdach. Jak widać, zaraz lokomotywy osiągną przewyższenie - czyli aktualnie pokonują największy opór dawany przez wzniesienie. 21 sierpnia 2013 roku.

Fot. Jarek / Chester

Bear Mountain is a nice training hike in the Red Rock Secret Mountain Wilderness northwest of Sedona and west of the Enchantment Resort in Boynton Canyon. Strenuous but well rewarding with great views. Fay Canyon to the eastsoutheast, Sedona to the southeast, San Francisco Peaks to the northeast.

www.fs.fed.us/r3/coconino/recreation/red_rock/bear-mounta...

hikearizona.com/decoder.php?ZTN=310

The hike to the top of the mountain is mostly unshaded, steep and difficult in places. Great views the whole way. The trail begins at a broad path at the parking area, crosses two washes and then starts a gradual ascent 1/4 mile to the wilderness boundary at the base of the mountain. The trail narrows and begins a 450 foot switchback that is steep and rocky in places. It levels out following narrow plateau area and then begins a steep rocky 500 foot climb in a narrow side canyon to a broad plateau. It crosses the plateau gradually ascending, dips down, and then climbs another 400 feet to a false summit. Fay canyon views are to the right (northeast). The trail continues a moderate climb to true summit. There are great panoramic views here. Continue over level ground another 200 yards to the Red Canyon overlook and a view of the San Francisco Peaks in the distance to the north. Return by the same route. Do not attempt this hike when there is significant snow on the mountain.

thehikehouse.com/trails/bear-mountain-trail

IMG_0274

Dining in the Docklands is to get a whole lot more interesting as a new wave of restaurants open in the south Docklands in time for summer.

Dieter Bergmann along with Szabi Csitari, Head Chef of the award winning restaurant, the Winding Stair, and Sirin Lewendon, a restaurateur from London, will lead the way with the opening of Riva on Hanover Quay in late April. Seating 70 customers, Riva will offer a continental menu using only organic ingredients and an extensive wine list.

Next door, the Herbstreet Bistro will open in May with dining space for approximately 50 customers inside and 20 more in an outdoor seated area, Herbstreet's focus will be on simply prepared, good value food in an urban waterfront setting. It will open early for breakfast and serve food all day until 11 pm. The restaurant will be putting a major emphasis on minimising its carbon footprint.

Real Gourmet Burger will offer a range of thirty organic gourmet burgers from Gallery Quay in July 2008. The restaurant will occupy 2000 square feet and accommodate up to 100 customers. This will be the third restaurant for Real Gourmet Burger with the other units located at the Pavilion, Dun Laoghaire and Ballsbridge.

The Crystal Boat, an Asian restaurant specialising in seafood, will also open during the summer period at Gallery Quay. The restaurant will occupy 2,000 square feet over two floors and will accommodate 90 customers.

The new restaurants will join ely hq, Milanos, Bridge Bar and Grill, Il Valentino, KC Peaches and Café Java already trading in the area.

The Grand Canal Dock area is already home to commercial tenants including McCann Fitzgerald, Matheson Ormsby Prentice, Beauchamps, PFPC Bank, Arup Consulting Engineers and Accenture who will be shortly joined by Hong Kong Shanghai Bank.

Grand Canal Square is the centrepiece of the Grand Canal Dock area and was designed by renowned landscape architect, Martha Schwartz. Grand Canal Square's red glowing angled light sticks and green lighted seating area has brought a significant "wow factor" to the area since its official opening in mid-2007. The Square will be one of the leading architectural and cultural hot-spots in the Docklands.

Facing onto Grand Canal Square will be the 2,200 seater Grand Canal theatre, which was designed by Studio Libeskind and is currently under construction. In addition, a five-star hotel, designed by renowned Portuguese architect Manuel Aires Mateus, is due to be completed later this year and will be operated by Monogram Hotels.

"The Grand Canal Dock area is really coming into its own with a solid range of restaurants and cafes. Ideally located in a busy commercial area and with major cultural and leisure facilities due to open there in 2009, Grand Canal Square will become one of the focal points of the city," said Paul Maloney, Chief Executive of the Docklands Authority.

The current house was commissioned in 1759 by Nathaniel Curzon and designed by Robert Adam.[11] George Nathaniel Curzon is Kedleston's first Marquess Curzon, the first son of the fourth Baron Scarsdale.[18] The second Baroness Ravensdale was Irene Mary Curzon (1896–1966).[citation needed] The third Baron Ravensdale (b. 1923), was Sir Nicholas Mosley, born to George Curzon's daughter, Cynthia Blanche Mosley (1898–1933).[19] The first Earl Howe included Curzon-Howe Richard William (1796–1870);[3] Curzon-Howe George Frederick (1821–1876).[20] The third Earl Howe going forward included the third, fourth, fifth, sixth and seventh Earl Howe as Curzon-Howe Richard William (1822–1900), Curzon Richard George (1861–1929), Curzon Francis Penn (1884–1964), Curzon Richard Assheton (1908–1984), and Curzon Frederick Richard (b. 1951), in that order.[5][21][16]

On the death of the second Viscount Scarsdale, Richard Curzon in 1977, expenses compelled the heir, his cousin (Francis Curzon), to transfer the property to the care of the National Trust.[22]

Places and facilities named after the Curzon family name include Curzon Street believed to have been named after the third Viscount Howe, Mr. George Howe, and later transferred to another member of the family whose last name was Curzon.[23] Curzon Avenue is a street in England's North West expanse, specifically Northwich, in the Weaver Vale constituency.[24] In the world of athletics, Curzon Ashton F.C. is a soccer club situated in Ashton-Under-Lyne, which traces its history to the family's name owing to a few members of the family who participated in football. The key parks bearing the Curzon family name include Roker Curzon Park (Sunderland), Curzon Park (in Chester),[25] and Curzon Park Abbey (a monastery of nuns).[26]

Exterior

Kedleston Hall was Brettingham's opportunity to prove himself capable of designing a house to rival Holkham Hall. The opportunity was taken from him by Robert Adam who completed the North front (above) much as Brettingham designed it, but with a more dramatic portico.

The design of the three-floored house is of three blocks linked by two segmentally curved corridors. The ground floor is rusticated, while the upper floors are of smooth-dressed stone. The central, corps de logis, the largest block, contains the state rooms and was intended only for formal entertaining. The East block was a self-contained country house in its own right, containing all the rooms for the family's private use, and the identical West block contained the kitchens and all other domestic rooms and staff accommodation.

Plans for two more pavilions (as the two smaller blocks are known), of identical size and similar appearance, were never executed. These further wings were intended to contain, in the south-east a music room, and in the southwest a conservatory and chapel. Externally these latter pavilions would have differed from their northern counterparts by large glazed Serlian windows on the piano nobile of their southern facades. Here the blocks were to appear as of two floors only; a mezzanine was to have been disguised in the north of the music room block. The linking galleries here were also to contain larger windows, than on the north, and niches containing classical statuary.

The north front, approximately 117 yards [107 m] in length, is Palladian in character, dominated by a massive, six-columned Corinthian portico; however, the south front (illustrated right) is pure neoclassical Robert Adam. This garden facade is divided into three distinct sets of bays; the central section is a four-columned, blind triumphal arch (based on the Arch of Constantine in Rome) containing one large, pedimented glass door reached from the rusticated ground floor by an external, curved double staircase. Above the door, at second-floor height, are stone garlands and medallions in relief.

The four Corinthian columns are topped by classical statues. This whole centre section of the facade is crowned by a low dome visible only from a distance. Flanking the central section are two identical wings on three floors, each three windows wide, the windows of the first-floor piano nobile being the tallest. Adam's design for this facade contains huge "movement" and has a delicate almost fragile quality.

Interior

A cross section through the hall and saloon

The neoclassical interior of the house was designed by Adam to be no less impressive than the exterior. Entering the house through the great north portico on the piano nobile, one is confronted by the marble hall designed to suggest the open courtyard or atrium of a Roman villa.

Marble Hall 1763, decoration completed in 1776-7

Twenty fluted alabaster columns with Corinthian capitals support the heavily decorated, high-coved cornice. Niches in the walls contain classical statuary; above the niches are grisaille panels. The floor is of inlaid Italian marble. Matthew Paine's original designs for this room intended for it to be lit by conventional windows at the northern end, but Adam, warming to the Roman theme, did away with the distracting windows and lit the whole from the roof through innovative glass skylight.

At Kedleston, the hall symbolises the atrium of the Roman villa and the adjoining saloon the vestibulum. The saloon, contained behind the triumphal arch of the south front, like the marble hall rises the full height of the house, 62 feet to the top of the dome, where it too is sky-lit through a glass oculus. Designed as a sculpture gallery, this circular room was completed in 1763. The decorative theme is based on the temples of the Roman Forum with more modern inventions: in the four massive, apse-like recesses are stoves disguised as pedestals for classical urns. The four sets of double doors giving entry to the room have heavy pediments supported by scagliola columns, and at second-floor height, grisaille panels depict classical themes.

A neoclassical drawing room at Kedleston photographed in 1915.

From the saloon, the atmosphere of the 18th-century Grand Tour is continued throughout the remainder of the principal reception rooms of the piano nobile, though on a slightly more modest scale. The "principal apartment", or State bedroom suite, contains fine furniture and paintings as does the drawing room with its huge Venetian window; the dining room, with its gigantic apse, has a ceiling that Adam based on the Palace of Augustus in the Farnese Gardens.

The theme carries on through the library, music room, down the grand staircase (not completed until 1922) onto the ground floor and into the so-called "Caesar's hall". On the departure of guests, it must sometimes have been a relief to vacate this temple of culture and retreat to the relatively simple comforts of the family pavilion.

Below the Rotunda is the Tetrastyle Hall, which was converted into a museum in 1927. The kitchen is an oblong shape with a balustraded gallery at one end. This links the room to other household offices on each side.

Also displayed in the house are many curiosities pertaining to George, Lord Curzon of Kedleston, who succeeded to the house in 1916 and who had earlier served as Viceroy of India from 1899 to 1905. Lord Curzon had amassed a large collection of subcontinental and Far Eastern artefacts. Also shown is Lady Curzon's Delhi Durbar Coronation dress of 1903. Designed by Worth of Paris, it was known as the peacock dress for the many precious and semi-precious stones sewn into its fabric. These have now been replaced by imitation stones; however, the effect is no less dazzling.

In addition to that described above, this great country house contains collections of art, furniture and statuary. Kedleston Hall's alternative name, The Temple of the Arts, is truly justified.

Gardens and grounds

A sketch by Robert Adam for the Fishing Room and Boat House at Kedleston. Circa 1769

Fishing Room and Boat House built 1770-72

The gardens and grounds, as they appear today, are largely the concept of Robert Adam. Adam was asked by Nathaniel Curzon in 1758 to "take in hand the deer park and pleasure grounds". The landscape gardener William Emes had begun work at Kedleston in 1756, and he continued in Curzon's employ until 1760; however, it was Adam who was the guiding influence. It was during this period that the former gardens designed by Charles Bridgeman were swept away in favour of a more natural-looking landscape. Bridgeman's canals and geometric ponds were metamorphosed into serpentine lakes.

The Bridge by Robert Adam built 1770-71

Adam designed numerous temples and follies, many of which were never built. Those that were include the North lodge (which takes the form of a triumphal arch), the entrance lodges in the village, a bridge, cascade and the Fishing Room. The Fishing Room is one of the most noticeable of the park's buildings. In the neoclassical style it is sited on the edge of the upper lake and contains a plunge pool and boat house below. Some of Adam's unexecuted design for follies in the park rivalled in grandeur the house itself.

A "View Tower" designed in 1760 – 84 feet high and 50 feet wide on five floors, surmounted by a saucer dome flanked by the smaller domes of flanking towers — would have been a small neoclassical palace itself. Adam planned to transform even mundane utilitarian buildings into architectural wonders. A design for a pheasant house (a platform to provide a vantage point for the game shooting) became a domed temple, the roofs of its classical porticos providing the necessary platforms; this plan too was never completed. Among the statuary in the grounds is a Medici lion sculpture carved by Joseph Wilton on a pedestal designed by Samuel Wyatt, from around 1760–1770.[27][28]

In the 1770s, George Richardson designed the hexagonal summerhouse, and in 1800 the orangery. The Long Walk was laid out in 1760 and planted with flowering shrubs and ornamental trees. In 1763, it was reported that Lord Scarsdale had given his gardener a seed from rare and scarce Italian shrub, the "Rodo Dendrone" (sic).

The gardens and grounds today, over two hundred years later, remain mostly unaltered. Parts of the park are designated as a Site of Special Scientific Interest, primarily because of the "rich and diverse deadwood invertebrate fauna" inhabiting its ancient trees.[29]

Later history

The Curzon family, whose name originates in Notre-Dame-de-Courson in Normandy, have been in Kedleston since at least 1297, and have lived in a succession of manor houses near to or on the site of the present Kedleston Hall. The present house was commissioned by Sir Nathaniel Curzon (later 1st Baron Scarsdale) in 1759. The house was designed by the Palladian architects James Paine and Matthew Brettingham and was loosely based on an original plan by Andrea Palladio for the never-built Villa Mocenigo.

At the time a relatively unknown architect, Robert Adam, was designing some garden temples to enhance the landscape of the park; Curzon was so impressed with his designs that Adam was quickly put in charge of the construction of the new mansion.

Second World War

In 1939, Kedleston Hall was offered by Richard Curzon, 2nd Viscount Scarsdale, for use by the War Office.[30] The Hall was used in various ways during the War, including as a mustering point and army training camp.

It also formed one of the Y-stations used to gather signals intelligence by collecting radio transmissions which, if encrypted, were subsequently passed to Bletchley Park for decryption.[31]

National Trust

By the 1970s Kedleston Hall had become too expensive for the Curzon family to maintain. When Richard Curzon, 2nd Viscount Scarsdale, died, his cousin Francis Curzon, 3rd Viscount Scarsdale, offered the house, park and gardens to the nation in lieu of death duties. A deal was agreed with the National Trust that it should take over Kedleston, along with an endowment, while still allowing the family to live rent-free in the 23-room Family Wing, which contained an adjoining garden and two rent-free flats for servants or other family members.[22] Richard Curzon and his family currently reside there.

In 2020, the Trust was working on a plan to include coverage about the owners of its properties who had links to colonialism and slavery. That had included Kedelston Hall; although Lord George Nathaniel Curzon had no links to slavery, he was president of The National League for Opposing Women's Suffrage and worked to prevent giving women the right to vote. Visitors to the Hall will find a display in the Billiard Room[32] exploring his role in the Anti-Suffrage movement.[33][34][35]

This is my interpretation of the 1970s California framebuilders' style and techniques: filleted lugs filed very thin, machined fork crown, drilled out track drop outs, and machined bottom bracket shell. Heavily influenced by Peter Johnson, DiNucci, Eisentraut, Bruce Gordon, Strawberry

Photos by John "Prolly" Watson.

prollyisnotprobably.com/2012/03/beautiful-bicycle-bishop-...

This is a wrap skirt (a la Sew What Skirts beach wrap). It's made from, of all things, a thrifted shower curtain. It's my third wrap ever, and the first one this year - I'm really pleased with it. It came together very quickly, in part because I was able to take advantage of some of the existing hems of the shower curtain. Blogged here.