Is this the pod?

Danny's Pulsar GTI-R in Vancouver's Chinatown. July 14, 2007.

 

You might notice the posters in the background... yes, David Beckham will be coming to Vancouver on October 3, 2007 when the Los Angeles Galaxy play an exhibition game against the Vancouver Whitecaps. As a Whitecaps fan, I'm hoping the team can pull together and give Becks a damn good run for his money. "Come on Whitecaps, come on Whitecaps!"

Mandore (Hindi: मंडोर), is a town located 9 km north of Jodhpur city, in the Indian state of Rajasthan.

 

HISTORY

Mandore is an ancient town, and was the seat of the Mandorva branch of the Gurjar -Pratihara dynasty which ruled the region in the 6th century AD by King Nahar Rao Panwar.[citation needed] In 1395 AD, a Mohil princess of the Parihar rulers of Mandore married Chundaji, scion of the Rathore clan of Kshstriyas. This was during the era of rapid ascendency of the Rathore clan, and Chundaji received Mandore in dowry.[citation needed] The town remained the seat of the Rathore clan until 1459 AD, when Rao Jodha, a Rathore chief who united the surrounding region under his rule, shifted his capital to the newly founded city of Jodhpur.

 

Mandore was the capital of the erstwhile princely state of Marwar (Jodhpur State), before moving to Mehrangarh Fort in Jodhpur.

 

MONUMENTS

The historic town boasts several monuments. The now ruined Mandore fort, with its thick walls and substantial size, was built in several stages and was once a fine piece of architecture. A huge, now ruined temple is a highlight of the fort. The outer wall of the temple depicts finely carved botanical designs, birds, animals and planets.

 

The 'Mandore gardens', with its charming collection of temples and memorials, and its high rock terraces, is another major attraction. The gardens house the Chhatris (cenotaphs) of many rulers of Jodhpur state. Prominent among them is the chhatri of Maharaja Ajit Singh, built in 1793.

 

The Mandore Gardens also house a government museum, a 'Hall of Heroes' and a Hindu temple to 33 crore gods. Various artefacts and statues found in the area are housed at the museum. The 'Hall of Heroes' commemorates popular folk heroes of the region. It contains 16 figures carved out of a single rock. Next door is a larger hall called "The temple of 33 crore gods" which houses images of various Hindu deities.

 

FAIRS AND FESTIVALS

The Rao Festival

Hariyali Amavasya

Naag Panchami

Veerpuri Mela

BhogiShell Parikrama

________________________________________

 

A cenotaph is an "empty tomb" or a monument erected in honour of a person or group of people whose remains are elsewhere. It can also be the initial tomb for a person who has since been reinterred elsewhere. The word derives from the Greek: κενοτάφιον = kenotaphion (kenos, one meaning being "empty", and taphos, "tomb"). Although the vast majority of cenotaphs honour individuals, many noted cenotaphs are instead dedicated to the memories of groups of individuals, such as the lost soldiers of a country or of an empire.

 

HISTORY

Cenotaphs were common in the ancient world with many built in Ancient Egypt, Ancient Greece and across Northern Europe (in the shape of Neolithic barrows).

 

Sir Edwin Lutyens' cenotaph in Whitehall, London influenced the design of many other war memorials in Britain and the British sectors of the Western Front, as well as those in other Commonwealth nations.

 

The Church of Santa Engrácia, in Lisbon, Portugal, turned into a National Pantheon since 1966, holds six cenotaphs, namely to Luís de Camões, Pedro Álvares Cabral, Afonso de Albuquerque, Nuno Álvares Pereira, Vasco da Gama and Henry the Navigator.

 

The Basilica di Santa Croce in Florence, Italy, contains a number of cenotaphs including one for Dante Alighieri,who is buried in Ravenna.

 

CHHATRIS

In India, cenotaphs are a basic element of Hindu architecture, later used by Moghuls as seen in most of the mausoleums of Mughal Emperors which have two burial chambers, the upper one with a cenotaph, as in Humayun's Tomb, Delhi, or the Taj Mahal, Agra, while the real tomb often lies exactly below it, or further removed. The Chhatri(s) trace their origin at 2000 years ago at Fort Kangara. The term chhatri, used for these canopylike structures, comes from Hindustani word literally meaning umbrella, and are found throughout the northwestern region of Rajasthan as well as in Madhya Pradesh and Maharashtra. In the Shekhawati region of Rajasthan, chhatris are built on the cremation sites of wealthy or distinguished individuals. Chhatris in Shekhawati may consist of a simple structure of one dome raised by four pillars to a building containing many domes and a basement with several rooms. In some places, the interior of the chhatri is painted in the same manner as the Haveli.

 

Chhatris are elevated, dome-shaped pavilions used as an element in Indian architecture. Chhatris are commonly used to depict the elements of pride and honor in the Jat, Maratha and Rajput architecture. They are widely used, in palaces, in forts, or to demarcate funerary sites. Originating in Rajasthani architecture where they were memorials for kings and royalty, they were later adapted as a standard feature in all buildings in Maratha ruled states, Rajasthan, and most importantly in Mughal architecture. They are today seen on its finest monuments, Humayun's Tomb in Delhi and the Taj Mahal in Agra. Chhatris are basic element of Hindu as well as Mughal architecture. The term "chhatri" (Hindi: छतरी) means umbrella or canopy.

 

In the Shekhawati region of Rajasthan, chhatris are built on the cremation sites of wealthy or distinguished individuals. Chhatris in Shekhawati may consist of a simple structure of one dome raised by four pillars to a building containing many domes and a basement with several rooms. In some places, the interior of the chhatris is painted in the same manner as the Havelis (Mansions) of the region.

 

IN RAJASTHAN

Many other chhatris exist in other parts of Rajasthan. Their locations include:

 

- Jaipur - Gaitore Cenotaphs of the Maharajas of Jaipur. Set in a narrow valley, the cenotaphs of the former rulers of Jaipur consist of the somewhat typical chhatri or umbrella-shaped memorials. Sawai Jai Singh II's Chhatri is particularly noteworthy because of the carvings that have been used to embellish it.

 

- Jodhpur - White marble Chhatri of Maharaja Jaswant Singh II

- Bharatpur- the cenotaphs of the members of the Jat royal family of Bharatpur, who perished whilst fighting against the British in 1825, are erected in the town of Govardhan. The chhatri of Maharaja Suraj Mal of Bharatpur has fine frescos illuminating the life of Surajmal, vividly depicting darbar and hunting scenes, royal processions and wars.

 

- Udaipur, Rajasthan-. Flanked by a row of enormous stone elephants, the Lake Pichola island has an impressive chhatri carved from gray blue stone, built by Maharana Jagat Singh.

 

- Haldighati - a beautiful Chhatri with white marble columns, dedicated to Rana Pratap, stands here. The cenotaph dedicated to Chetak, Rana Pratap's famous horse, is also noteworthy.

 

- Alwar - Moosi Maharani ki Chhatri is a beautiful red sandstone and white marble cenotaph of the rulers of Alwar.

 

- Bundi - Suraj Chhatri and Mordi Ki Chhatri, Chaurasi Khambon ki Chhatri, Bundi and Nath Ji ki Chhatri are located in Bundi. Rani Shyam Kumari wife of Raja Chhatrasal on the northern hill constructed the Suraj Chhatri and Mayuri the second wife of Chhatrasal on the southern hill erected Mordi Ki Chhatri.

 

- Jaisalmer - Bada Bagh, a complex with chhatris of Jai Singh II (d. 1743) and subsequent Maharajas of Jaisalmer.

 

- Bikaner - Devi Kund near Bikaner is the royal crematorium place with a number of cenotaphs. The chhatri of Maharaja Surat Singh is most imposing. It has the spectacular Rajput paintings on the ceilings.

 

- Ramgarh - Seth Ram Gopal Poddar Chhatri

 

- Nagaur - Nath Ji ki Chhatri, Amar Singh Rathore-ki-Chhatri

 

IN SHEKHAWATI

Some of the best-known chhatris in the Shekhawati region of Rajasthan are located at the following cities and towns:

 

- Ramgarh - Ram Gopal Poddar Chhatri (Ram Gopal Poddar Chhatri )

- Bissau - The Raj ki Chhatri of the Shekhawat Thakurs

- Parsurampura - Thakur Sardul Singh Shekhawat's chhatri

- Kirori - Chhatri of Raja Todarmal (Ruler of Udaipurwati)

- Jhunjhunu - Chhatri of Shekhawat Rulers

- Dundlod - The beautiful chhatri of Ram Dutt Goenka

- Mukungarh - Shivdutta Ganeriwala Chhatri

- Churu - Taknet Chhatri

- Mahansar - The Sahaj Ram Poddar Chhatri

- Udaipurwati - Joki Das Shah ki Chhatri

- Fatehpur - Jagan Nath Singhania Chhatri

 

IN MADHYA PRADESH

The region of Madhya Pradesh is the site of several other notable chhatris of its famous Maratha rulers:

 

- Shujalpur - Tomb Of Ranoji Scindia, Founder Of Scindia Dynasty. Situated At Ranoganj, Shujalpur To Akodia Road.

- Shivpuri - Intricately embellished marble chhatris erected by the Scindia rulers in Shivpuri.

- Gwalior - Shrimati Balabai Maharaj Ladojirao Shitole Chhatri

- Gwalior - Rajrajendra Ramchandrarao Narsingh Shitole and wife Gunwantyaraje Ramchandrarao Shitole (princess of Gwalior)Chatri

- Orchha - Elaborate chhatris of local Hindu kings are not popular tourist attraction

- Gohad - The Jat rulers of Gohad constructed the chhatri of Maharaja Bhim Singh Rana on the Gwalior Fort.

- Indore and Maheshwar - Chhatris of Holkar rulers.

- Alampur - Maharani Ahilya Bai Holkar built the chhatri of Malhar Rao Holkar at Alampur in Bhind district in 1766 A.D.

 

IN KUTCH

Chhatris can also be found in the outskirts of Bhuj city belonging mainly to Jadeja rulers of Kutch. The chhatri of Rao Lakhpatji is very famous for its intricate designs & carvings. Most of them but have been destroyed in the earthquake of 26 January 2000. The restoration work is going on.

 

OUTSIDE INDIA

There are two notable chhatris in the United Kingdom, a country with strong historical links to India. One is a cenotaph in Brighton, dedicated to the Indian soldiers who died in the First World War. The other is in Arnos Vale Cemetery near Bristol and is a memorial to the distinguished Indian reformer Ram Mohan Roy, who died in the city.

 

WIKIPEDIA

“War is Indecent” says the sign held by one of the women of Breast not Bombs. I have seen many comments from friends in my journal as well as friends at deviantART and Flickr that believe this is silliness which accomplishes nothing and that it may even hurt the cause of ending the war in Iraq. I am actually torn in forming my own opinion because I just don’t know if it’s anything more then entertainment at best. I do know that the march in DC was very serious, people are very unhappy with so many aspects of our government and its domestic and global policies. Topless women carrying signs of anger and shouting ideas of different ways of thinking that in their opinion will make this world a better place, may just be the type of contrast and even comic relief the crowd of marchers needed. Most of us that went to DC on the 24th of September 2005 were all there for the same reason and although there were a couple dozen hippie hating pro-war and pro-Bush folks along the route, we were pretty much preaching to the choir and letting off steam. Maybe baring ones breast, holding signs of dissent and singing your mantra in the streets is way out there as far as making a real difference, but its got us talking about it and maybe that’s the point.

 

When: September 24th 2005

Where: Washington DC

What: The United for Peace and Justice Anti-War protest & march

Arriving at Haddon Hall - in the Lower Courtyard.

 

Haddon Hall is Grade I listed.

 

Haddon Hall, Nether Haddon

 

SK 26 NW PARISH OF NETHER HADDON HADDON ROAD

2/28 (North Side)

29.9.51 Haddon Hall

GV I

  

Large double courtyard, fortified manor house. Seat of the Dukes of Rutland

and built by the Vernon family. Fragments of C12 work but mainly of two periods

with the upper courtyard built mainly in the second quarter of Cl4 and the lower

courtyard built mostly in C15, but also with major refashionings and alterations

of C16 and C17 and a major restoration between 1920 and 1930, supervised by Mr

Leonard Stanhope, the Clerk of Works. Limestone and gritstone rubble and ashlar

gritstone with gritstone dressings and quoins. Leaded roof, mostly hidden by

embattled parapets with ridgeback copings, roofs and parapets mostly C20.

Numerous stone ridge and side wall stacks, mostly C20, some with crenellated tops,

plus massive late C15 external stacks to west side of Great Hall and, possibly

C14, corbelled out stone stacks to north walls. Two storeys with four storey

north-west gatetower, and three storey eastern Peveril Tower and north-east

lodgings to upper courtyard. Double courtyard plan on sloping site with upper

courtyard to north-east and lower courtyard to south-west. Upper courtyard has

Peveril's Tower, the original entrance, and the state bedroom to east range, Long

Gallery to south and the present Duke's apartments to north, whilst the lower

courtyard has the continuation of the private apartments and the north-west entrance

tower to north, offices and lodgings to west and the Chapel and the Earl's Bedroom

to south, between the two courtyards the Great Hall and its service rooms.

North elevation has late C15 entrance tower to west with C14 kitchen range to east

and beyond the Duke's apartments, mostly C17 but much restored. Entrance tower

has steps up to moulded, shallow pointed arch with hoodmould and double studded

oak doors. To west a slit window and beyond an ornate ashlar, stepped buttress with

relief carving to upper part. Above door a blank plaque with hoodmould and 3-light

cavetto moulded mullion window with pointed lights and incised spandrels, set in

ovolo moulded recess with hoodmould. Above again similar plaque, but decorated with

upturned acorns, and similar 3-light window. Similar blank plaque and window over

with large coat of arms immediately above, breaking through the moulded stringcourse

with gargoyles,on to the parapets. Beyond the C14 stacks to east, a Cl7 wing with

range of recessed and chamfered mullion windows. Attached to west corner of tower

an embattled ashlar wall with four-centred arched doorcase with hoodmould, under

large coat of arms of the 'Kings of the Peak', which has to either side a carved

frieze of the Vernons family shields. West side of tower has polygonal staircase

turret to south corner, corbelled out at first floor level.

Garden front to south of limestone and gritstone rubble with gritstone quoins and

continuous moulded sill bands to first floor windows and continuous moulded eaves

stringcourse. Four bay, early C17, section to east with advanced square, two

storey bay flanked by canted, two storey, bay windows with another window to east,

and attached to west a five bay C16 section, much refashioned in C17, with the Chapel

beyond to west. Eastern section has a range of recessed and ovolo moulded, double

transomed windows to Long Gallery at first floor level with recessed and chamfered

windows below. Lower section attached to west with two storey canted bay window

with large carved crest on parapets, beyond. To west again three, first floor,

oriel windows, each with recessed and ovolo moulded mullion and transomed windows,

central oriel with double angled sides. To extreme west, the Chapel, set at a

different angle, with Perp 5-light east window, two flat headed Perp chancel windows,

C13 lancets in the south aisle and C15 cusped clerestorey windows. To opposite

side of the Chapel in the lower courtyard stands a C15 octagonal bell turret with

cusped Y-tracery arches to all sides at the top. Attached to east end of the Chapel

the remains of C14 timber walling, now mainly enveloped in the late C16 rebuilding

of the Earl's Bedroom which has mullion and transomed canted bay windows at first

floor level. Great Hall to east range of the lower courtyard has C14, 2-light,

low transomed, windows with central quatrefoil over cusped lights, to either side

of late C15 external stack. To north C15 three storey porch and to south projecting

parlour wing.

Interior - the Chapel has two bay arcades of double chamfered pointed arches,

that to north on C15 capital and polygonal column, that to south on mutilated

late C12 scalloped capital and column. Fine 'grisailles' wall paintings to nave

and early C17 oak pews and furnishings, inscribed 'GM 1624'. C15 stained glass

to east, north and south windows, east one inscribed 'Ornate pro animabus Riccardi

Vernon et Benedicte uxoris eius qui fecerunt anno dni 1472'. Below east window

a C14 Nottingham alabaster reredos, introduced in C20. C12 plain circular font

with C17 cover of double curved scrolls meeting at central knob and 1894 marble

tomb to Robert Manners, with figure of dead boy to top and coats of arms and heads

of family to sides, to south side of nave. Opposite a C15 stoop on octagonal stem

with crenellated top. Great Hall has C15 timber screens passage with cusped

panelling and gallery over, also arched braced roof dated 1923, C16 panelled lobby

to south through to parlour and C16 panelling to the walls; large cavetto moulded

fireplace to west and four,four-centred arched doorcases to north of screens

passage, eastern one opens on to the staircase up to the gallery, whilst the other

three lead to the kitchen, pantry and buttery, all have original oak studded doors.

C14 kitchen has two massive segmental fireplaces, impressive C17 oak kitchen

furniture and C16 chamfered cross beam roof supported near centre by braced wooden

pier. Bakehouse beyond to east with breadovens and dough troughs, with slaughter

house beyond again to east. Parlour to south of the Great Hall has its original

cl500 painted ceiling, and panelling throughout,dated 1545, with carved frieze

next to ceiling. Above is the Earl's Bedroom, refashioned in C17, when plasterwork

frieze and ceiling, and panelling inserted. Beyond this room to west another

apartment with the remains of C14 timber walling still visible. Long Gallery

and State Bedroom to east, both C17. Long Gallery has classically inspired

panelling, hugh windows and plasterwork ceiling. State Bedroom beyond, has fireplace

with elborate plaster overmantle similar to those at Hardwick. Sources see

Country Life CVI (1949) December 23, pp 1884, 'Haddon Hall' by Christopher Hussey,

The Royal Archaeological Institute Journal Vol 118, 'Haddon Hall and Bolsover

Castle', pg 188 by P A Faulkner and the National Ancient Monument Review Vol I

'The reinstatement of Haddon Hall' by John Swarbrick pg 135.

  

Listing NGR: SK2348566368

  

This text is a legacy record and has not been updated since the building was originally listed. Details of the building may have changed in the intervening time. You should not rely on this listing as an accurate description of the building.

 

Source: English Heritage

 

Listed building text is © Crown Copyright. Reproduced under licence.

 

Located at the end of a sleepy little cul-de-sac in the leafy north east Melburnian suburb of Fairy Hills is a beautiful pebbledash Arts and Crafts style bungalow. Quiet and unassuming amid its well kept gardens, this bungalow is quite significant historically as it is the creation and home of nationally renowned husband and wife artists Christian and Napier Waller, and is known as the Waller House. Together they designed the house and much of its interior decoration and furnishings. Napier Waller lived in their purpose designed home for some fifty years. What is especially significant about the house is that both it and its contents are quite intact. Napier Waller's studios, examples of his art, that of his two wives and his niece, famous studio potter Klytie Pate, and items connected with his work remain exactly as he left them. Architecturally the house design is innovative in its internal use of space, specifically in the organisation of the studio cum living room and displays a high degree of artistic creativity in the interior decoration.

 

The Waller House in Fairy Hills is so named because it was the residence of Mervyn Napier Waller, the acclaimed artist who gained National fame from his water colours, stained glass, mosaic works and murals and his wife Christian, who was a distinguished artist and designer of stained glass in her own right. In particular Napier Waller's works adorn the Melbourne Town Hall, the Myer Emporium Mural Hall, the Victorian State Library and the Australian War Memorial. The Waller House is a split level house designed by Napier and his first wife Christian who intended the house to be both a home and a workplace. For this the design was conceived to accommodate the tall studies and pieces of the artist's work.

 

The Waller house was built by Phillip Millsom in 1922 and the architectural style of the house is a mixture of Interwar Arts and Crafts, Interwar Old English and Interwar California Bungalow. The house is constructed from reinforced concrete walls with a rough cast pebbledash finish. The roof is steeply pitched with a prominent half timbered gable over the front entrance and has Marseilles pattern terracotta tiles. There are small paned casement windows. There have been several additions to the original design over the years but these have all been sympathetic to the original design.

 

The house is entered from a two sided verandah into an entrance hall, panelled in Tasmanian wood. This has stairs leading to the different levels of the house interior. In one direction the hall leads to a main living hall which was Napier Waller's original studio and later used as the main living room in the house. This room has a high ceiling with casement windows, a musicians’ gallery and a broad brick fireplace flanked by fire-dogs and bellows made by the sculptress Ola Cohn (1892 – 1964). Like many of the other rooms in the house the studio is panelled and floored with Tasmanian hardwood and contains some of the studies for Napier Waller's murals: “The Five Lamps of Learning; the Wise and Foolish Virgins” a mosaic for the University of Western Australia and, “Peace After Victory” a study painting for the State Library of Victoria. Above the panelling the plaster walls are painted in muted colours in wood grain effect. The raftered plaster ceiling has been painted in marble effect with gold leaf. Book shelves, still containing the Wallers’ beautiful books, are built into the panelled walls. Furniture in the room includes a settee with a painted back panel featuring jousting knights, painted by Christian Waller, a leather suite and black bean sideboards and cupboards. This furniture was designed in the nineteen thirties by Napier Waller and by Percy Meldrum and a noted cabinet maker called Goulman. The studio cum hall also contains many ceramic works created by studio potter Klytie Pate who was Christian Waller’s niece and protégée. The entrance hall leads in the other direction to a guest room, known as the “Blue Room”. This was the idea of Napier's wife Christian and has simple built-in glass topped furniture and Napier's murals of the “Labours of Hercules” which include a self portrait of the artist. An alcove section of the room was constructed out of an extension to the verandah. Stairs lead from the entrance hall to the musicians’ gallery which has a window and overlooks the studio cum living room. The kitchen near the studio/hall is panelled and raftered with built-in cupboards conforming to the panelling. The ceiling is stencilled in a fleur-de-lys design by Napier. The dining room lies to the right of the studio cum hall and contains shoulder high panelling and raftered ceilings. It has an angled brick corner fireplace and the walls and ceiling have the same painted treatment as the studio cum living room. The oak dining furniture was designed by Napier. A small den with high window, furnished with leather chairs, opens off the dining room. Opening off the hall to the left is a long rectangular room known as the glass studio. This was added to the house by builder C. Trinck of Hampton in about 1931 and contains Napier Waller's kiln, paintbrushes and stained-glass tools on the benches, and stained glass designs and racks which are still stacked with radiant streaked glass from his work with stained glass windows. A bedroom and bathroom with attic pitched rafter ceiling and casement windows is situated on the upper level of the house. Another bedroom in ship's cabin style with flared wall light fittings and built in bunks opens off this first bedroom.

 

The house backs onto a courtyard enclosed by a long bluestone garden wall. The house is set in a three and a half acre site with cypress hedges and gravelled paths. The garden drops away to a hillside slope with manna gum trees. Set on the slope is a flat roofed studio built in 1937. It has an undercroft beneath a studio room and this contains a lithographic press and a printing press of 1849 for woodcuts and linocuts. This was used by Napier and his first wife Christian to produce prints in the 1930s. Napier was widowed and married his stained glass studio assistant Lorna Reyburn in 1958.

 

The Waller House has recently become famous for yet another reason. The exterior has been used as a backdrop in the ABC/ITV co-production television series, “The Doctor Blake Mysteries” (2013). The house serves as the residence of the program’s lead character, Doctor Lucien Blake (played by Australian actor Craig McLachlan), and the doctor’s 1930s tourer is often seen driving up to or away from the Waller House throughout the series. The Waller House is the only regular backdrop not filmed in the provincial Victorian gold rush city of Ballarat, in which the series is based.

 

The Waller House is still a private residence, even though it was bequeathed to the people of Victoria by Napier Waller under the proviso that it would not revert to state ownership until after the death of his second wife, Lorna. The current leasee of the Waller House is a well known Melbourne antique dealer, who was friends with Lorna Reyburn, and who acts as a loving informal caretaker. He was approached by the Napier Waller Committee of Management and keeps the house neat and tidy, and maintains the garden beautifully. I am very grateful to him for his willingness to open the Waller House, and for allowing me the opportunity to comprehensively photograph this rarely seen gem of Melbourne art, architecture and history.

 

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

 

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

 

Klytie Pate (1912 – 2010) was an Australian Studio Potter who emerged as an innovator in the use of unusual glazes and the extensive incising, piercing and ornamentation of earthenware pottery. She was one of a small group of Melbourne art potters which included Marguerite Mahood and Reg Preston who were pioneers in the 1930‘s of ceramic art nationwide. Her early work was strongly influenced by her aunt, the artist and printmaker, Christian Waller. Klytie’s father remarried when she was 13, so Klytie went to live with her aunt, Christian Waller. Christian and her husband Napier Waller encouraged her interest in art and printmaking. She spent time at their studio in Fairy Hills, and thus her work reflected Art Deco, Art Nouveau, the Pre Raphaelites, Egyptian art, Greek mythology, and Theosophy. Klytie made several plaster masks that were displayed by the Wallers in their home and experimented with linocut, a medium used by Christian in her printmaking. Her aunt further encouraged Klytie by arranging for her to study modelling under Ola Cohn, the Melbourne sculptor. Klytie became renowned for her high quality, geometric Art Deco designed pottery which is eagerly sought after today by museums, art galleries, collectors and auction houses.

 

Fairy Hills is a small north eastern suburb of Melbourne. Leafy, with streets lined with banks of agapanthus, it is an area well known for its exclusivity, affluence and artistic connections. It was designed along the lines of London’s garden suburbs, such as Hampstead and Highgate, where houses and gardens blended together to create an informal, village like feel. Many of Fairy Hills’ houses have been designed by well known architects of the early Twentieth Century such as Walter Burley Griffin (1876 – 1937) and have gardens landscaped by designers like Edna Walling (1895 – 1973). Fairy Hills is the result of a subdivision of an 1840s farm called “Fairy Hills” which was commenced in the years just before the First World War (1914 – 1918). “Lucerne Farm”, a late 1830s farm associated with Governor La Trobe, was also nearby.

  

Reference: Photo 24/(117)

 

From the Girdwood Collection held by the British Library.

This image is part of the Europeana Collections 1914-1918

 

Date: 25 Jul 1915

 

See also:

- View this at the British Library's site

 

- Browse this collection on Europeana

- and on Wikimedia Commons

 

Please consider donating to the British Library.

+++ DISCLAIMER +++

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

 

Some background:

The Gloster Meteor was the first British jet fighter and the Allies' first operational jet aircraft during the Second World War. The Meteor's development was heavily reliant on its ground-breaking turbojet engines, pioneered by Sir Frank Whittle and his company, Power Jets Ltd. Development of the aircraft itself began in 1940, although work on the engines had been underway since 1936. The Meteor first flew in 1943 and commenced operations in 1944 with the RAF.

 

Several major variants of the Meteor incorporated technological advances during the 1940s and 1950s. In order to replace the increasingly-obsolete de Havilland Mosquito as a night fighter, the Meteor was adapted to serve in the role as an interim aircraft. The new night fighter was designed to specification F.24/48 for a two seat, twin-engine, night fighter capable of intercepting contemporary bombers.

 

Gloster had initially proposed a night fighter design to meet the Air Ministry specification for the Mosquito replacement, based on the two-seater trainer variant of the Meteor, with the pilot in the front seat and the navigator in the rear. Once accepted however, work on the project was swiftly transferred to Armstrong Whitworth to perform both the detailed design process and production of the type; the first prototype flew on 31 May 1950.

 

Although based on the T.7 twin-seater, the night fighter used the fuselage and tail of the F.8 and the longer wings of the F.3. An extended nose contained the AI Mk 10 Air Intercept radar (the 1940s Westinghouse SCR-720). As a consequence the 20 mm cannons had to be moved from the fuselage flanks into the wings, outboard of the engines. A ventral fuel tank and wing mounted drop tanks completed the Armstrong Whitworth Meteor NF.11.

As radar technology developed, a new Meteor night fighter was developed to use the improved US-built APS-21 system. The NF.12 first flew on 21 April 1953. It was similar to the NF 11 but had a nose section 17 inches (43.2 cm) longer; the fin was enlarged to compensate for the greater keel area of the enlarged nose and to counter the airframe reaction to the "wig-wag" scan of the radar which affected the gunsight.

 

An anti-tramp motor operating on the rudder was fitted midway up the front leading edge of the fin. The NF.12 also had the new Rolls-Royce Derwent 9 engines and the wings were reinforced to handle the new engine. Deliveries of the NF.12 started in 1953, with the type entering squadron service in early 1954. The NF.12 was also exported, e. g. to Belgium, France or Denmark. In RAF service, however, the type was already replaced over 1958–59.

 

The final Meteor night fighter was the NF.14 (The NF.13 was a tropicalized variant of the NF.11, which served in Egypt, Syria and Israel). First flown on 23 October 1953, the NF.14 was based on the NF.12 but had an even longer nose, extended by a further 17 inches to accommodate new equipment, and a larger bubble canopy to replace the framed T.7 version.

 

Just 100 NF.14s were built; they first entered service in February 1954 beginning with RAF No. 25 Squadron and were being gradually replaced as early as 1956 with the Gloster Javelin. Overseas, they remained in service a little longer, serving with No. 60 Squadron at Tengah, Singapore, until 1961.

 

With only few flying hours on the clock several NF.14 were earmarked for being revamped and offered for export. 14 of these aircraft stayed in the UK, though, and were converted to training aircraft as NF(T).14 and given to No. 2 Air Navigation School on RAF Thorney Island where they served until 1965.

 

But some of the young NF.14s In 1955 Sweden ordered 22 of these surplus machines as replacement for its obsolete J30 (Mosquito NF.30) fleet that had entered service in 1948 and which was already due to be phased out. The Meteors were allocated only intended to act as stopgaps, though, just as in RAF service, while the Saab J32 Lansen (specifically its dedicated, radar-equipped all-weather fighter variant ‘B’) was still under development.

 

The batch of revamped Meteor NF.14s was gradually delivered and allocated to F 17 at Kallinge and F 21 at Luleå, starting in late 1956 when the first retired RAF aircraft trickled back to Armstrong Whitworth, and the last one was handed over to the Flygvapnet in mid-1957. In Swedish service the Meteor NF.14 received the domestic designation J31 (‘Jakt’). The machines differed only slightly from the RAF NF.14, main armament remained the four 20mm cannons in the wings. The external tanks were kept, too, in order to provide a sufficient range for patrol flights.

 

The J31s career was short and unspectacular, though. When the J32B finally reached the fighter units in 1958, the Swedish Meteors were gradually replaced and retired. Six machines were kept for radar operator training, and in this second line role six machines eventually served until 1965.

Strangely, none of the Swedish J31 Meteors were converted to target tugs. Instead Sweden bought several retired Meteors (T.7 and NF.11) from Denmark and used these aircraft with civil registrations through Svenska Flygtjanst as target tugs.

 

General characteristics:

Crew: 2

Length: Length: 51 ft 4 in (15.65 m)

Wingspan: Span: 43ft

Height: 13 ft 11 in (4.2 m)

Wing area: 350 ft² (32.52 m²)

Empty weight: 12.620 lb (5.725 kg)

Loaded weight: 21.200 lb (9.625 kg)

 

Powerplant:

2× Rolls-Royce Derwent 9 engines, rated at 3.800lb/16,9kN each

 

Performance:

Maximum speed: 585mph (511 knots, 942 km/h, Mach 0.8) at 10.000 ft (3.050 m)

Range: 875 mi (765 nmi, 1.408 km)

Service ceiling: 43,000 ft (13,100 m)

Rate of climb: 5,800ft/min at sea level

Wing loading: 44.9 lb/ft² (218.97 kg/m²)

Thrust/weight: 0.45

  

Armament:

4× 20 mm British Hispano Mk. V cannons in the outer wings

  

The kit and its assembly:

This whif is another tribute to fellow user SPINNERS at whatifmodelers.com who came up with a CG simulation of a Meteor NF.14 in Swedish colors. This looked VERY plausible - see the respective screenshots. I had a Matchbox/Revell Gloster Meteor NF.11, 12 and 14 night fighter in the pile without a real plan – until now!

SPINNERS’ screenshots basically became the design benchmark for my build, even though my hardware differs a bit in scheme and markings in order to match the narrow, historic slot for this whif.

 

Concerning the Matchbox kit there’s not much to say. It’s a simple kit that has been re-boxed several times and is also offered through Hannants under the Xtrakit brand. Fit is mediocre, how to mount the landing gear is up to the modeler, the cockpit is intended for pygmies (even though with nice dahsboard and radar equipment), you get several sink holes, and the fine, raised panels more or less disappear due to the unavoidable and extensive putty work all over the thing.

Since we have a NF.14 here, the kit was built OOB with the respective option parts. Even the belly and drop tanks are standard, only two pilot figures were added for the photo shooting.

 

Calling it J31 is a bit of a double, since the 31 had already been used for the Spitfire PR.19 photo reconnaissance variant, domestically called S31 (for ‘Spaning’). Therefore the J31 was theoretically ‘free’, even though not really correct. ;)

  

Painting and markings:

Basically, no surprises here, too, even though mimicking Swedish Air Force colors is a rather tricky task for the ambitious modeler. Especially the "mörk olivgrön/mörkblå/blågrå" scheme from the late 50ies is described with very contradictive suggestions concerning the tones to use, I even found “Blue Angel Blue” (FS 15050!) as serious paint suggestion from Hasegawa.

The colors themselves obviously varied considerably under light conditions and weathering influences: the blue could turn grey or even into a kind of turquoise, and depending on light and perspective the blue tone would even appear like a dull, very dark grey (think WWII German tank grey). The green, on the other side, also ranges from a dark green (FS 34079 is frequently suggested, but IMHO too "green") to a very dark olive drab, and in real life the tone could turn into an almost brownish khaki drab when thoroughly weathered. Much room for interpretation and speculation, even consulting pics of museum and service aircraft did not yield anything conclusive and consistent.

 

Well, I tried to find a compromise for the upper sides' basic colors for the and settled for Humbrol 163 (Extra Dark Slate Grey, it has that olive drab, reddish touch) and 77 (Navy Blue, which is discernable as a deep, greenish blue; Humbrol 123 is also often suggested, e. g. through Heller, but it’s IMHO too dark), while I used Model Master's "French Dark Grey Blue" (an authentic WWII tone; it is much less 'dark' than you'd expect) for the undersurfaces.

The authentic tone for the lower sides is supposed to be FS 36173 (US Neutral Grey), and pics from museum aircraft (e. g. close-ups from an J32E at the Linköping Swedish Air Force Museum) confirm that. But I think that the pure/original tone is much too dark for a 1:72 scale model kit. Pictures of real service aircraft rather appear like a pale bluish-grey, almost like RLM76?

 

The pattern itself was adapted from a late Saab J32 instead of SPINNERS’ RAF scheme with modified colors.

 

After basic painting the Meteor received serious dry-painting on the upper surfaces in order to create a worn and bleached look, e. g. with Humbrol 86 & 155 on the green, with Revell 79 and Humbrol 230 (PRU Blue!) on the blue as well as some "Italian Light Blue Grey" from Modelmaster on the lower surfaces. A black ink wash was also added to emphasize panel lines and other small details.

 

In order to add some color variation I painted the drop tanks in Aluminum. The radome was painted in satin black, the landing gear and the air intakes in various Aluminum shades. The cockpit was painted in very dark grey (Humbrol 184) with some medium grey dry painting. Gauges and instruments were added with black clear paint.

 

Roundels and tactical codes mostly come from an RBD aftermarket sheet from Sweden (great stuff!), which features many options for about a dozen J32 aircraft from all of the type's career. Most stencils come from the Matchbox sheet, though.

The red radome band is personal even though authentic addition. These nose colors were common practice in the Swedish Air Force, matching the tail letter code in earlier times that would indicate the aircraft's division (red for 1st, yellow for 2nd and blue for 3rd), even though this code would disappear with the change to individual aircraft numbers on the fin around 1960.

 

Finally, the kit was sealed with a coat of matt varnish.

  

Well, “Röd Niklas” is not a spectacular or complicated whif, rather just a color variant - realised in eactly one week from sprues to pics. But the Swedish colors and markings suit the Meteor SO well that it deserved to be taken to the hardware stage, at least as a 1:72 model kit. :D

 

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

The sun is shining, it's warm and the bees are busy.

 

Have a great week

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

  

The Ripon Rally Details have arrived:

  

Must View Large!

This is a shot of Eagle Cap from the old part of the trail. This is right before we began ascending into the trees again for the last push to the Lakes Basin. We went to the left after crossing the bridge over the East Fork of the Lostine River. The trail is still in spotless condition even with a lowered number of hikers using it. I think it was a shorter and better route too.

 

For purchasing information, check out my profile and get your prints!

  

The Plan:

Ever since my 2009 trip to Eagle Cap and the Lakes Basin, I have wanted to go back. Finally my dad and I got a trip planned for the end of August 2011. It was going to be my dad, his friend Wade, and me. The plan was to drive up to the trailhead on August 25th, then camp there. On the morning of the 26th, we were to begin the hike to Mirror Lake, set up camp and relax. We would spend the night at the lake on the 26th. My dad and I were going to get up on the 27th to climb Eagle Cap while Wade relaxed and did some fishing. We would again camp at the lake on the night of the 27th. We would begin our journey out and home early on the morning of the 28th.

 

The Story:

Day One: It was about mid-afternoon on Thursday, August 25th, 2011 when my mom came and got me from the fairgrounds so that dad, Wade and I could begin our trip to Eagle Cap. I got home and dad and I packed up the Durango and went off to Wade’s house so he could pack his stuff in. From there, we headed off into the afternoon just like last time. This time was a little different though, because I was driving. :) I don’t know what it is, but I just love to drive everywhere. My parents hardly ever drive anymore because of me. :) We made good time and arrived in Lostine, Oregon late in the afternoon. We ate a big and delicious dinner at the Lostine Tavern and started up the road toward the trailhead. Let me tell you, that 11 miles of dirt road was just as rough as I remembered it. We arrived at the parking lot awhile after sunset, so it was getting dark fast. I scouted out a nice spot down on the East fork of the Lostine River…. Funny thing is, it was the same spot that we had intended to camp on last time… But don’t worry! This time we had the tent poles! :) We set up camp and I got a fire going… everything was a bit damp, so I had help from some lighter fluid. :) Before long, we were all tired and the fire was going out, so we hit the sack for the night.

Day Two: We were up bright and early on the 26th. It was time to begin the 7 and a half mile hike up the East fork of the Lostine River to the Lakes Basin. The hike started off pretty well. I’d say we were probably the first ones on the trail and were making good time. It seemed like no time and we were up into the meadow with Eagle Cap in our sights. We started to pass people who were on their way out. One lady we talked to had been up there for five days and she said she had had an interesting trip. She said that Wednesday night (the 24th) some massive thunderstorms had rolled in with tons of rain, lightning, thunder and howling winds. I remember that night I was at the fairgrounds and could see all the lightning to the south. It must have been quite a storm! We continued on and decided to take a lunch break at the little bridge that crosses the Lostine River, which at this point is little more than a creek. It is also at the fork of the trail. The old trail (which has big rocks and logs hastily thrown into it in attempt to keep hikers away) is to the right and the new one to the left. While eating our lunch, a group of friends from the Tri-Cities as well came up. It was a pretty cool surprise. After lunch, it was time for the final push. We decided that since we took the new trail last time, we would take the old one this time. Dad and Wade were slowing down, and I was given permission to go my own pace. So I started on up the trail and soon lost everyone behind me. It is quite something to be hiking alone down an old trail, eventually over a bunch a granite rocks, guessing where the trail goes over those rocks. I found it quite serene and enjoyable at that. It really puts life into perspective. I loved it and arrived at the lake about a half hour or so ahead of the others. I went and scouted out the camp we stayed at back in ’09 then went backwards on the trail until I met up with dad and Wade. We all went and set up camp, got the stove going and relaxed a bit. I was soon running to the outlet stream to go get water to clean. It was so clear. Not a single floater in sight. We used a UV filter and never got sick. While hanging out at camp, a forest ranger wandered into camp. He was a really nice guy. He was just making sure we were keeping our garbage and gear where it should be and making sure we had a stove and didn’t plan on have a fire close to the lake. We talked for about an hour just exchanging hiking stories and making fun of freeze dried meals. :) He soon had to move on and complete his rounds though. I then went down to the lake and broke out the camera. I love taking pictures. There are so many angles to take one from and each is so different. It is quite relaxing to me. It was soon sunset and Mirror Lake really took to its name and went glassy smooth. After the last glow faded, I went up to camp and make myself some hot chocolate and watched as the stars came out. The stars out there at 7200 feet, crystal clear night air, and no light pollution are indescribable. You really just have to see it to comprehend it. The pictures I have don’t do it justice. As night fell, I started clicking away. I did continuous shots for about 2 hours before calling it a night.

Day Three: The next morning (the 27th) was D-day. I got all set to head up the mountain early in the morning. My dad and I set off with light packs while Wade went down to the lake to try some fishing. I was feeling good with such a light load, which was still a lot more than anybody else we saw because I had four bottles of water, too many snacks and 8 or so pounds of camera gear, but it was still good for me. :) The climb up isn’t too bad. You start off with a lot of switchbacks up to the Horton Pass area where is flattens out a bit. Then you quickly start on up the back of Eagle Cap. By this point, I was ready to go for it, but dad wasn’t quite as ready. I was again given permission to go on up the mountain. I met up with a group of guys from Spokane and some of their friends from Georgia. They were a great group of guys and were moving at my pace so I climbed with them. The guy from Georgia was amazed at us crazy westerners climbing our crazy mountains. Apparently The Great Smoky Mountains aren’t very steep…. Haha I’m not a fan of much on the east coast. The Smokies failed to impress me on my visit entirely. Before long… okay, who am I kidding? It was a long haul… we summited. Let me tell you, the view from up there is incredible. You have a wonderful 360 degree view for miles and miles around. I started clicking off panoramas and everything else I felt necessary while munching on a Nature Valley bar. When my dad summited, he checked his phone to find that he had some service. So we both made calls and talked to my mom a bit. Then I decided to make a call to my girlfriend who was back in the Tri-Cities at the fair riding horses. Also, there are a ton of ground squirrels up at the summit….. They are cheap entertainment if you have a few almonds to spare. :) The hike back to camp actually wasn’t bad at all. And let me tell you, it was nice to go dip my feet in the freezing cold lake, seeing as it was in the mid 80’s or so the days we were there. It was good to be back at camp to relax again. After eating some dinner, I once again broke out the camera and spent the remaining daylight down by the lake. I was glad to have shot so many photos of the lake the previous night because the water was less smooth this time around. While I was shooting, Wade, who was about 70 feet down the shoreline from me, caught a fish. It was only about 6 or 7 inches long, but a cool catch nonetheless. When night fell, I was a little less enthusiastic about taking more night shots considering I had more than 250 of them from the previous night. But I still spent about an hour or so trying some light painting on the trees and stuff like that. After that, it was time to hit the sack.

Day Four: The next morning, the 28th, everybody was a bit slow to get up and pack up. I didn’t really want to leave such a wonderful place, but it was time to reunite with civilization. The hike out went pretty smoothly and we were back to the Durango by midday. In the daylight, the dirt road was a little more fun too. The drive home was nice and it was also great to be home. I feel that we had a very successful trip.

 

Taken on August 26, 2011

Nikon D90

Nikkor 18-105mm VR lens

Dolica UV filter

Exposure Bias: 0EV

Exposure: 1/800sec.

Aperture: f/8

ISO: 200

18mm

 

Tripura is a small North-Eastern state of India.This erstwhile princely state is a paradise for tourists. With its variety of Flora & Fauna, its ancient & medieval temples, beautiful palaces, its cultural riches & natural beauty Tripura is unique.

Rudrasagar is a vast lake, situated about 50 K.M. from the state capital Agartala.

"Washington Square West is a neighborhood Center City Philadelphia, Pennsylvania. The neighborhood roughly corresponds to the area between 7th and Broad Streets and between Chestnut and South Streets, bordering on the Independence Mall tourist area directly northeast, Market East to the north, Old City and Society Hill to the East, Bella Vista directly south, Hawthorne to the southwest, and mid-town Philadelphia and Rittenhouse Square to the west. In addition to being a desirable residential community, it is considered a hip, trendy neighborhood that offers a diverse array of shops, restaurants, and coffee houses. Washington Square West contains many gay-friendly establishments and hosts annual events celebrating LGBT culture in Philadelphia including OutFest. The area takes its name from Washington Square, a historic urban park in the northeastern corner of the neighborhood.

 

Philadelphia's Antique Row lies in the area, as does the nation's oldest hospital, Pennsylvania Hospital, and Philadelphia's oldest Jewish burial ground, Mikveh Israel Cemetery. Educational and medical facilities associated with Thomas Jefferson University, a leading regional medical university and health care center, are located within the neighborhood. The one-time headquarters of the former Curtis Publishing Company and the University of the Arts lie at the edges of the neighborhood.

 

Washington Square West's real estate is mixed commercial, residential and service industries, characterized by two, three, and four-story rowhouses interspersed with condominiums, mid-rise apartments, hospitals and offices with ground-floor retail. The neighborhood follows William Penn's original grid layout for the city, with many one-lane and pedestrian side streets added later as the population became denser. In addition to the block-sized Washington Square Park to the East, the neighborhood contains the smaller Kahn Park, named after the Philadelphia architect Louis Kahn who resided in the neighborhood.

 

Philadelphia, often called Philly, is the largest city in the Commonwealth of Pennsylvania, the sixth-largest city in the U.S., the second-largest city in both the Northeast megalopolis and Mid-Atlantic regions after New York City, and the 68th-largest city in the world. Since 1854, the city has been coextensive with Philadelphia County, the most populous county in Pennsylvania and the urban core of the Delaware Valley, the nation's seventh-largest and world's 68th-largest metropolitan region, with 6.245 million residents as of 2020. The city's population as of the 2020 census was 1,603,797, and over 56 million people live within 250 mi (400 km) of Philadelphia.

 

Philadelphia was founded in 1682 by William Penn, an English Quaker. The city served as capital of the Pennsylvania Colony during the British colonial era and went on to play a historic and vital role as the central meeting place for the nation's founding fathers whose plans and actions in Philadelphia ultimately inspired the American Revolution and the nation's independence. Philadelphia hosted the First Continental Congress in 1774 following the Boston Tea Party, preserved the Liberty Bell, and hosted the Second Continental Congress during which the founders signed the Declaration of Independence, which historian Joseph Ellis has described as "the most potent and consequential words in American history". Once the Revolutionary War commenced, both the Battle of Germantown and the Siege of Fort Mifflin were fought within Philadelphia's city limits. The U.S. Constitution was later ratified in Philadelphia at the Philadelphia Convention of 1787. Philadelphia remained the nation's largest city until 1790, when it was surpassed by New York City, and served as the nation's first capital from May 10, 1775, until December 12, 1776, and on four subsequent occasions during and following the American Revolution, including from 1790 to 1800 while the new national capital of Washington, D.C. was under construction.

 

During the 19th and 20th centuries, Philadelphia emerged as a major national industrial center and railroad hub. The city’s blossoming industrial sector attracted European immigrants, predominantly from Germany and Ireland, the two largest reported ancestry groups in the city as of 2015. In the 20th century, immigrant waves from Italy and elsewhere in Southern Europe arrived. Following the end of the Civil War in 1865, Philadelphia became a leading destination for African Americans in the Great Migration. In the 20th century, Puerto Rican Americans moved to the city in large numbers. Between 1890 and 1950, Philadelphia's population doubled to 2.07 million. Philadelphia has since attracted immigrants from East and South Asia, Eastern Europe, and Latin America.

 

With 18 four-year universities and colleges, Philadelphia is one of the nation's leading centers for higher education and academic research. As of 2021, the Philadelphia metropolitan area was the nation's ninth-largest metropolitan economy with a gross metropolitan product (GMP) of US$479 billion. Philadelphia is the largest center of economic activity in Pennsylvania and the broader multi-state Delaware Valley region; the city is home to five Fortune 500 corporate headquarters as of 2022. The Philadelphia skyline, which includes several globally renowned commercial skyscrapers, is expanding, primarily with new residential high-rise condominiums. The city and the Delaware Valley are a biotechnology and venture capital hub; and the Philadelphia Stock Exchange, owned by NASDAQ, is the nation's oldest stock exchange and a global leader in options trading. 30th Street Station, the city's primary rail station, is the third-busiest Amtrak hub in the nation, and the city's multimodal transport and logistics infrastructure, including Philadelphia International Airport, the PhilaPort seaport, freight rail infrastructure, roadway traffic capacity, and warehouse storage space, are all expanding.

 

Philadelphia is a national cultural hub, hosting more outdoor sculptures and murals than any other American city. Fairmount Park, when combined with adjacent Wissahickon Valley Park in the same watershed, is 2,052 acres (830 ha), representing one of the nation's largest contiguous urban parks and the 45th largest urban park in the world. The city is known for its arts, culture, cuisine, and colonial and Revolution-era history; in 2016, it attracted 42 million domestic tourists who spent $6.8 billion, representing $11 billion in total economic impact to the city and surrounding Pennsylvania counties.

 

With five professional sports teams and a hugely loyal fan base, the city is often ranked as the nation's best city for professional sports fans. The city has a culturally and philanthropically active LGBTQ+ community. Philadelphia also has played an immensely influential historic and ongoing role in the development and evolution of American music, especially R&B, soul, and rock.

 

Philadelphia is a city of many firsts, including the nation's first library (1731), hospital (1751), medical school (1765), national capital (1774), university (by some accounts) (1779), stock exchange (1790), zoo (1874), and business school (1881). Philadelphia contains 67 National Historic Landmarks, including Independence Hall. From the city's 17th century founding through the present, Philadelphia has been the birthplace or home to an extensive number of prominent and influential Americans. In 2021, Time magazine named Philadelphia one of the world's greatest 100 places." - info from Wikipedia.

 

The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.

 

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Amer Fort (Hindi: आमेर क़िला, also spelled and pronounced as Amber Fort) is located in Amer, a town 11 kilometres (6.8 mi) from Jaipur, Rajasthan state, India. It is one of the principal tourist attractions in the Jaipur area, located high on a hill. Amer Fort was made by Meenas king Raja Alan Singh Chanda later occupied by Kachhawa Rajput . Amer Fort is known for its artistic style, blending both Hindu Rajput elements. The fort with its large ramparts, series of gates and cobbled paths, overlooks the Maota Lake, at its forefront.

 

The aesthetic ambiance of this formidable fort is seen within its walls on a four level (each with a courtyard) layout plan in well turned out opulent palace complex built with red sandstone and marble consisting of the Diwan-e-Aam or the "Hall of Public Audience", the Diwan-e-Khas or the "Hall of Private Audience", the Sheesh Mahal (mirror palace) or Jai Mandir, and the Sukh Niwas where a cool climate is artificially created by winds that blow over the water cascade within the palace. Hence, the Amer Fort is also popularly known as the Amer Palace. The palace was lived in by the Rajput Maharajas and their families. At the entrance to the palace near the fort’s Ganesh Gate, there is also a temple dedicated to Sila Devi, a goddess of the Chaitanya cult which was gifted to Raja Mansingh when he had defeated the Raja of Jessore in Bengal (Jessore is now in Bangladesh) in 1604.

 

Annual tourist visitation to the Amer Palace in Amer town was reported by the Superintendent of Department of Archaeology and Museums to the Amer Palace as 5000 visitors a day, and 1.4 million visitors were reported during 2007.

 

en.wikipedia.org/wiki/Amber_Fort

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

 

Lucius Annaeus Seneca: On entering a temple we assume all signs of reverence. How much more reverent then should we be before the heavenly bodies, the stars, the very nature of God!

 

John Muir: All the wild world is beautiful, and it matters but little where we go, to highlands or lowlands, woods or plains, on the sea or land or down among the crystals of waves or high in a balloon in the sky; through all the climates, hot or cold, storms and calms, everywhere and always we are in God's eternal beauty and love. So universally true is this, the spot where we chance to be always seems the best.

Love is Patient, love is kind...it always protects, always trusts, always hopes.

 

Love bears all things, believes all things,

hopes all things, endures all things.

 

Love never ends.

 

L o v e N e v e r F a i l s.

 

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St Margaret, Thrandeston, Suffolk

 

Thrandeston is a lovely village, with that illusion of remoteness which East Anglia does so well. I love coming back here. We are less than a hundred miles from central London, but we might as well be in the Middle Ages. As with several villages in this part of Suffolk, what looks at first sight as if it should be the village green is in fact unenclosed common pasture land, with the result that it is a nature reserve of some significance. The few houses of the village are scattered around this large triangle, and most of them are beautiful.

 

This was, I suppose, my half-dozenth visit. Away from the main roads, you can cycle for miles in this part of Suffolk without meeting a car, or even another human being. On one occasion as I cycled into Thrandeston, my eye was caught by a large adult male muntjac deer, watching me from beneath a tree in the hedgerow. Captivated, I stopped to watch. It looked like a tiny cow. It didn’t run, but stared at me insolently for a moment, before turning and trotting off towards the embankment, the white scut of its tail bobbing all the while.

 

Today, a big rabbit bolted across the common as I cycled past. This was all at ten o’clock on a Saturday morning, and such a contrast with the bustle I had left behind in Ipswich town centre. People who live in Thrandeston are very fortunate. The serenity of the village is reflected by the church and graveyard, which stand a little way from the green.

 

In fact, I had been here a couple of weeks previously, on the Sunday morning, hoping to revisit and rephotograph the church. But the Sunday morning service had just started and I must admit that I had been a bit disappointed (yes, I know that's what the churches are here for). But standing outside reminded me how lovely this church was, and so it was hard to resist coming back so soon.

 

The 15th century tower has a dedicatory inscription. It remembers that the Sulyards and the Cornwallises had it built. At the other end of the church, the chancel weeps more dramatically than that of any other Suffolk church, which is to say it is at a slight angle to the nave. This will be even more apparent inside, of course. It is a reminder that naves and chancels were built at different times by different people, often on the site of earlier ones. It should be more of a surprise to us that so few weep, rather than that any do at all. The porch and clerestory are typical Suffolk perpendicular, but on a small, intimate scale. Inside the church, the silence is punctuated only by the birdsong from the churchyard and the occasional passing car.

 

A 17th Century poor box stands in front of the late 15th Century font, symbols of the evangelists alternating with Tudor roses. The view east is to the rood screen, rough and rustic with little figures in the spandrels - crowned angels, two other angels blowing the wind, while yet another angel holds a spear, which you might think an instrument of the passion were it not for the fact he is defending himself against a dragon creeping up from the other spandrel. The nave benches are low and narrow, and it is easy to imagine the 19th century citizens of Thrandeston huddled together in them. The benches at the west end of the nave have lovely medieval carvings. St Peter holds his key, St John his poisoned chalice, and what must be a crouching St Bartholomew holding a flencing knife (or is it St St Simon, holding the tail of a broken fish?

 

These bench ends are somewhat overshadowed by those in the chancel, though. Here, parts of the rood loft and pieces of 17th Century panelling have been cobbled together to make a stall. In the central entrance stand two most extraordinary figures. They are female. One hitches up her skirt, and they both carry animals. One has a cat, the other what may be an owl. Mortlock says that it is hard to resist the notion that they are witches. But where do they come from, and why are they here? Almost certainly, they are 17th Century, and originally from a domestic setting. A similar figure is carved on a wooden mantelpiece at Christchurch Mansion in Ipswich, and I have come across several others on similar furnishings.

 

They have a misogynistic feel to them, and were no doubt originally inspired by the witch hunt hysteria of the middle of the 17th Century, which was a strong one in this part of East Anglia. Under Cromwell, the Commonwealth persecuted thousands of people to their death, many of whom were old women. Their crime? Perhaps they lived alone, and kept themselves apart from other people. Perhaps they practised natural medicine, or could be called upon if a woman was having difficulties in childbirth. Perhaps some of them were Catholics, and thus didn’t participate in the austere and lengthy services of the Puritan church. Whatever, they were considered witches, and therefore evil, and were drowned, or hung, or burnt. There is no one as superstitious as an extreme protestant.

 

With this rather sobering thought it is pleasant to turn to a window on the north side of the nave which contains a collection of fragments of medieval glass. Lots of churches have some like this, but these here are particularly pleasing. The feet of a bird, possibly the eagle of St John, the forked beard of God the Father, an angel hand plucking strings, a group of 15th century cockerels that might easily be roaming Thrandeston common but are probably from a heraldic shield, and below them part of an inscription that was once so common but is now so rare that you wouldn't know about it if it didn't exist in places like this: Orate pro Animabus, it reads, 'pray for our souls...'

 

Contemporary with the glass is an inscription for one of the Cornwallises set in brass in the chancel wall. It is for Elizabeth Cornwaleys. It begins Of your charitie, pray for the sowle of Mistress Elizabeth Cornwaleys. It was missing from this church for three hundred years, thanks to vandals or collectors, but was returned here in the mid-19th century. There are a couple of other, later, brass inscriptions in the chancel.

 

The chancel windows contain some interesting 19th Century glass by William Wailes. They commemorate two children of the Lee-French family. Hugh Spencer Lee-French died in 1860 at the age of 22 months. He is depicted in one light being held by Christ as a demonstration of the Kingdom of God, and in the other being somewhat dramatically borne up by an angel from the globe of the earth to the lights of heaven above. The other is to Thomas Broadley Lee-French, who died at the age of 11 in 1866. In one light he is depicted as the young Samuel telling the priest Eli that he has heard the voice of God, and in the other as the young Christ being found by his parents teaching in the temple. A third window is in a similar style, the Good Samaritan pouring healing oils on to the beaten man's wounds, as St Peter falls to his knees as he watches Christ walk on water, but it is not of the same quality and may even not be by the same workshop.

 

Looking down on all this, the 19th Century corbels to the roof depict a diverse array of heads. A Moor and a Negro are perhaps tributes to the Victorian empire, while the woman in a wimple harks back to the 14th Century. By the chancel arch, a man whose arms seem to grow from his head cackles manically. At the other end of the nave, an ugly man gurns, perhaps suffering from toothache, a popular late medieval depiction.

 

A church full of drama, then, fascinating and lovely.

The black pot on the left was found in Mexico.

 

Japanese metal incense burner with a black patina, identical to another that I have with a green patina. This one is raised on a Chinese wooden base. At the bottom right corner is a cherry wood covered box which holds one of my old pocket watches.

 

Incense is aromatic biotic material that releases fragrant smoke when burned. The term refers to the material itself, rather than to the aroma that it produces. Incense is used for aesthetic reasons, and in therapy, meditation, and ceremony. It may also be used as a simple deodorant or insectifuge.

 

Incense is composed of aromatic plant materials, often combined with essential oils. The forms taken by incense differ with the underlying culture, and have changed with advances in technology and increasing number of uses.

 

Incense can generally be separated into two main types: "indirect-burning" and "direct-burning". Indirect-burning incense (or "non-combustible incense") is not capable of burning on its own, and requires a separate heat source. Direct-burning incense (or "combustible incense") is lit directly by a flame and then fanned or blown out, leaving a glowing ember that smoulders and releases a smoky fragrance. Direct-burning incense is either a paste formed around a bamboo stick, or a paste that is extruded into a stick or cone shape.

 

HISTORY:

 

The word incense comes from Latin incendere meaning "to burn".

 

Combustible bouquets were used by the ancient Egyptians, who employed incense in both pragmatic and mystical capacities. Incense was burnt to counteract or obscure malodorous products of human habitation, but was widely perceived to also deter malevolent demons and appease the gods with its pleasant aroma. Resin balls were found in many prehistoric Egyptian tombs in El Mahasna, giving evidence for the prominence of incense and related compounds in Egyptian antiquity. One of the oldest extant incense burners originates from the 5th dynasty. The Temple of Deir-el-Bahari in Egypt contains a series of carvings that depict an expedition for incense.

 

The Babylonians used incense while offering prayers to divining oracles. Incense spread from there to Greece and Rome.

 

Incense burners have been found in the Indus Civilization (3300–1300 BCE). Evidence suggests oils were used mainly for their aroma. India also adopted techniques from East Asia, adapting the formulation to encompass aromatic roots and other indigenous flora. This was the first usage of subterranean plant parts in incense. New herbs like Sarsaparilla seeds, frankincense, and cypress were used by Indians.

 

At around 2000 BCE, Ancient China began the use of incense in the religious sense, namely for worship. Incense was used by Chinese cultures from Neolithic times and became more widespread in the Xia, Shang, and Zhou dynasties. The earliest documented use of incense comes from the ancient Chinese, who employed incense composed of herbs and plant products (such as cassia, cinnamon, styrax, and sandalwood) as a component of numerous formalized ceremonial rites. Incense usage reached its peak during the Song dynasty with numerous buildings erected specifically for incense ceremonies.

 

Brought to Japan in the 6th century by Korean Buddhist monks, who used the mystical aromas in their purification rites, the delicate scents of Koh (high-quality Japanese incense) became a source of amusement and entertainment with nobles in the Imperial Court during the Heian Era 200 years later. During the 14th-century Ashikaga shogunate, a samurai warrior might perfume his helmet and armor with incense to achieve an aura of invincibility (as well as to make a noble gesture to whoever might take his head in battle). It wasn't until the Muromachi period during the 15th and 16th century that incense appreciation (kōdō) spread to the upper and middle classes of Japanese society.

 

COMPOSITION:

 

A variety of materials have been used in making incense. Historically there has been a preference for using locally available ingredients. For example, sage and cedar were used by the indigenous peoples of North America. Trading in incense materials comprised a major part of commerce along the Silk Road and other trade routes, one notably called the Incense Route.

 

Local knowledge and tools were extremely influential on the style, but methods were also influenced by migrations of foreigners, such as clergy and physicians.

 

COMBUSTIBLE BASE:

 

The combustible base of a direct burning incense mixture not only binds the fragrant material together but also allows the produced incense to burn with a self-sustained ember, which propagates slowly and evenly through an entire piece of incense with such regularity that it can be used to mark time. The base is chosen such that it does not produce a perceptible smell. Commercially, two types of incense base predominate:

 

Fuel and oxidizer mixtures: Charcoal or wood powder provides the fuel for combustion while an oxidizer such as sodium nitrate or potassium nitrate sustains the burning of the incense. Fragrant materials are added to the base prior to shaping, as in the case of powdered incense materials, or after, as in the case of essential oils. The formula for charcoal-based incense is superficially similar to black powder, though it lacks the sulfur.

 

Natural plant-based binders: Gums such as Gum Arabic or Gum Tragacanth are used to bind the mixture together. Mucilaginous material, which can be derived from many botanical sources, is mixed with fragrant materials and water. The mucilage from the wet binding powder holds the fragrant material together while the cellulose in the powder combusts to form a stable ember when lit. The dry binding powder usually comprises about 10% of the dry weight in the finished incense. These include:

Makko (incense powder) made from the bark of various trees in the genus Persea (such as Persea thunbergii) Xiangnan pi (made from the bark of trees of genus Phoebe such as Phoebe nanmu or Persea zuihoensis.

 

Jigit: a resin based binder used in India

Laha or Dar: bark based powders used in Nepal, Tibet, and other East Asian countries.

 

Typical compositions burn at a temperature between 220 °C and 260 °C.

 

TYPES:

 

Incense is available in various forms and degrees of processing. They can generally be separated into "direct-burning" and "indirect-burning" types. Preference for one form or another varies with culture, tradition, and personal taste. The two differ in their composition due to the former's requirement for even, stable, and sustained burning.

 

INDIRECT-BURNING:

 

Indirect-burning incense, also called "non-combustible incense", is an aromatic material or combination of materials, such as resins, that does not contain combustible material and so requires a separate heat source. Finer forms tend to burn more rapidly, while coarsely ground or whole chunks may be consumed very gradually, having less surface area. Heat is traditionally provided by charcoal or glowing embers. In the West, the best known incense materials of this type are the resins frankincense and myrrh, likely due to their numerous mentions in the Bible. Frankincense means "pure incense", though in common usage refers specifically to the resin of the boswellia tree.

 

Whole: The incense material is burned directly in raw form on top of coal embers.

Powdered or granulated: Incense broken into smaller pieces burns quickly and provides brief but intense odor.

 

Paste: Powdered or granulated incense material is mixed with a sticky incombustible binder, such as dried fruit, honey, or a soft resin and then formed to balls or small pastilles. These may then be allowed to mature in a controlled environment where the fragrances can commingle and unite. Much Arabian incense, also called "Bukhoor" or "Bakhoor", is of this type, and Japan has a history of kneaded incense, called nerikō or awasekō, made using this method. Within the Eastern Orthodox Christian tradition, raw frankincense is ground into a fine powder and then mixed with various sweet-smelling essential oils.

 

DIRECT-BURNING:

 

Direct-burning incense, also called "combustible incense", is lit directly by a flame. The glowing ember on the incense will continue to smoulder and burn the rest of the incense without further application of external heat or flame. Direct-burning incense is either extruded, pressed into forms, or coated onto a supporting material. This class of incense is made from a moldable substrate of fragrant finely ground (or liquid) incense materials and odourless binder. The composition must be adjusted to provide fragrance in the proper concentration and to ensure even burning. The following types are commonly encountered, though direct-burning incense can take nearly any form, whether for expedience or whimsy.

 

Coil: Extruded and shaped into a coil without a core, coil incense can burn for an extended period, from hours to days, and is commonly produced and used in Chinese cultures.

 

Cone: Incense in this form burns relatively quickly. Incense cones were invented in Japan in the 1800s.

 

Cored stick: A supporting core of bamboo is coated with a thick layer of incense material that burns away with the core. Higher-quality variations have fragrant sandalwood cores. This type of incense is commonly produced in India and China. When used in Chinese folk religion, these are sometimes known as "joss sticks".

 

Dhoop or solid stick: With no bamboo core, dhoop incense is easily broken for portion control. This is the most commonly produced form of incense in Japan and Tibet.

 

Powder: The loose incense powder used for making indirect burning incense is sometimes burned without further processing. Powder incense is typically packed into long trails on top of wood ash using a stencil and burned in special censers or incense clocks.

 

Paper: Paper infused with incense, folded accordion style, is lit and blown out. Examples include Carta d'Armenia and Papier d'Arménie.

Rope: The incense powder is rolled into paper sheets, which are then rolled into ropes, twisted tightly, then doubled over and twisted again, yielding a two-strand rope. The larger end is the bight, and may be stood vertically, in a shallow dish of sand or pebbles. The smaller (pointed) end is lit. This type of incense is easily transported and stays fresh for extremely long periods. It has been used for centuries in Tibet and Nepal.

 

Moxa tablets, which are disks of powdered mugwort used in Traditional Chinese medicine for moxibustion, are not incenses; the treatment is by heat rather than fragrance.

 

Incense sticks may be termed joss sticks, especially in parts of East Asia, South Asia and Southeast Asia. Among ethnic Chinese and Chinese-influenced communities these are traditionally burned at temples, before the threshold of a home or business, before an image of a religious divinity or local spirit, or in shrines, large and small, found at the main entrance of every village. Here the earth god is propitiated in the hope of bringing wealth and health to the village. They can also be burned in front of a door or open window as an offering to heaven, or the devas. The word "joss" is derived from the Latin deus (god) via the Portuguese deos through the Javanese dejos, through Chinese pidgin English.

 

PRODUCTION:

 

The raw materials are powdered and then mixed together with a binder to form a paste, which, for direct burning incense, is then cut and dried into pellets. Incense of the Athonite Orthodox Christian tradition is made by powdering frankincense or fir resin, mixing it with essential oils. Floral fragrances are the most common, but citrus such as lemon is not uncommon. The incense mixture is then rolled out into a slab approximately 1 cm thick and left until the slab has firmed. It is then cut into small cubes, coated with clay powder to prevent adhesion, and allowed to fully harden and dry. In Greece this rolled incense resin is called 'Moskolibano', and generally comes in either a pink or green colour denoting the fragrance, with pink being rose and green being jasmine.

 

Certain proportions are necessary for direct-burning incense:

 

Oil content: an excess of oils may prevent incense from smoldering effectively. Resinous materials such as myrrh and frankincense are typically balanced with "dry" materials such as wood, bark and leaf powders.

 

Oxidizer quantity: Too little oxidizer in gum-bound incense may prevent the incense from igniting, while too much will cause the incense to burn too quickly, without producing fragrant smoke.

Binder: Water-soluble binders such as "makko" ensure that the incense mixture does not crumble when dry, dilute the mixture.

 

Mixture density: Incense mixtures made with natural binders must not be combined with too much water in mixing, or over-compressed while being formed, which would result in either uneven air distribution or undesirable density in the mixture, causing the incense to burn unevenly, too slowly, or too quickly.

 

Particulate size: The incense mixture has to be well pulverized with similarly sized particulates. Uneven and large particulates result in uneven burning and inconsistent aroma production when burned.

 

"Dipped" or "hand-dipped" direct-burning incense is created by dipping "incense blanks" made of unscented combustible dust into any suitable kind of essential or fragrance oil. These are often sold in the United States by flea-market and sidewalk vendors who have developed their own styles. This form of incense requires the least skill and equipment to manufacture, since the blanks are pre-formed in China or South East Asia.

 

Incense mixtures can be extruded or pressed into shapes. Small quantities of water are combined with the fragrance and incense base mixture and kneaded into a hard dough. The incense dough is then pressed into shaped forms to create cone and smaller coiled incense, or forced through a hydraulic press for solid stick incense. The formed incense is then trimmed and slowly dried. Incense produced in this fashion has a tendency to warp or become misshapen when improperly dried, and as such must be placed in climate-controlled rooms and rotated several times through the drying process.

 

Traditionally, the bamboo core of cored stick incense is prepared by hand from Phyllostachys heterocycla cv. pubescens since this species produces thick wood and easily burns to ashes in the incense stick. In a process known as "splitting the foot of the incense stick", the bamboo is trimmed to length, soaked, peeled, and split in halves until the thin sticks of bamboo have square cross sections of less than 3mm. This process has been largely replaced by machines in modern incense production.

 

In the case of cored incensed sticks, several methods are employed to coat the sticks cores with incense mixture:

 

Paste rolling: A wet, malleable paste of incense mixture is first rolled into a long, thin coil, using a paddle. Then, a thin stick is put next to the coil and the stick and paste are rolled together until the stick is centered in the mixture and the desired thickness is achieved. The stick is then cut to the desired length and dried.

 

Powder-coating: Powder-coating is used mainly to produce cored incense of either larger coil (up to 1 meter in diameter) or cored stick forms. A bundle of the supporting material (typically thin bamboo or sandalwood slivers) is soaked in water or a thin water/glue mixture for a short time. The thin sticks are evenly separated, then dipped into a tray of incense powder consisting of fragrance materials and occasionally a plant-based binder. The dry incense powder is then tossed and piled over the sticks while they are spread apart. The sticks are then gently rolled and packed to maintain roundness while more incense powder is repeatedly tossed onto the sticks. Three to four layers of powder are coated onto the sticks, forming a 2 mm thick layer of incense material on the stick. The coated incense is then allowed to dry in open air. Additional coatings of incense mixture can be applied after each period of successive drying. Incense sticks produced in this fashion and burned in temples of Chinese folk religion can have a thickness between 2 and 4 millimeters.

 

Compression: A damp powder is mechanically formed around a cored stick by compression, similar to the way uncored sticks are formed. This form is becoming more common due to the higher labor cost of producing powder-coated or paste-rolled sticks.

 

BURNING INCENSE:

 

Indirect-burning incense burned directly on top of a heat source or on a hot metal plate in a censer or thurible.

 

In Japan a similar censer called a egōro (柄香炉) is used by several Buddhist sects. The egōro is usually made of brass, with a long handle and no chain. Instead of charcoal, makkō powder is poured into a depression made in a bed of ash. The makkō is lit and the incense mixture is burned on top. This method is known as sonae-kō (religious burning).

 

For direct-burning incense, the tip or end of the incense is ignited with a flame or other heat source until the incense begins to turn into ash at the burning end. The flame is then fanned or blown out, leaving the incense to smolder.

 

CULTURAL VARIATIONS:

 

ARABIAN:

 

In most Arab countries, incense is burned in the form of scented chips or blocks called bakhoor (Arabic: بخور‎ [bɑˈxuːɾ, bʊ-]. Incense is used on special occasions like weddings or on Fridays or generally to perfume the house. The bakhoor is usually burned in a mabkhara, a traditional incense burner (censer) similar to the Somali Dabqaad. It is customary in many Arab countries to pass bakhoor among the guests in the majlis ('congregation'). This is done as a gesture of hospitality.

 

CHINESE:

 

For over two thousand years, the Chinese have used incense in religious ceremonies, ancestor veneration, Traditional Chinese medicine, and daily life. Agarwood (chénxiāng) and sandalwood (tánxiāng) are the two most important ingredients in Chinese incense.

 

Along with the introduction of Buddhism in China came calibrated incense sticks and incense clocks. The first known record is by poet Yu Jianwu (487-551): "By burning incense we know the o'clock of the night, With graduated candles we confirm the tally of the watches." The use of these incense timekeeping devices spread from Buddhist monasteries into Chinese secular society.

Incense-stick burning is an everyday practice in traditional Chinese religion. There are many different types of stick used for different purposes or on different festive days. Many of them are long and thin. Sticks are mostly coloured yellow, red, or more rarely, black. Thick sticks are used for special ceremonies, such as funerals. Spiral incense, with exceedingly long burn times, is often hung from temple ceilings. In some states, such as Taiwan,

 

Singapore, or Malaysia, where they celebrate the Ghost Festival, large, pillar-like dragon incense sticks are sometimes used. These generate so much smoke and heat that they are only burned outside.

 

Chinese incense sticks for use in popular religion are generally odorless or only use the slightest trace of jasmine or rose, since it is the smoke, not the scent, which is important in conveying the prayers of the faithful to heaven. They are composed of the dried powdered bark of a non-scented species of cinnamon native to Cambodia, Cinnamomum cambodianum. Inexpensive packs of 300 are often found for sale in Chinese supermarkets. Though they contain no sandalwood, they often include the Chinese character for sandalwood on the label, as a generic term for incense.

 

Highly scented Chinese incense sticks are used by some Buddhists. These are often quite expensive due to the use of large amounts of sandalwood, agarwood, or floral scents used. The sandalwood used in Chinese incenses does not come from India, its native home, but rather from groves planted within Chinese territory. Sites belonging to Tzu Chi, Chung Tai Shan, Dharma Drum Mountain, Xingtian Temple, or City of Ten Thousand Buddhas do not use incense.

 

INDIAN:

 

Incense sticks, also known as agarbathi (or agarbatti) and joss sticks, in which an incense paste is rolled or moulded around a bamboo stick, are the main forms of incense in India. The bamboo method originated in India, and is distinct from the Nepali/Tibetan and Japanese methods of stick making without bamboo cores. Though the method is also used in the west, it is strongly associated with India.

 

The basic ingredients are the bamboo stick, the paste (generally made of charcoal dust and joss/jiggit/gum/tabu powder – an adhesive made from the bark of litsea glutinosa and other trees), and the perfume ingredients - which would be a masala (spice mix) powder of ground ingredients into which the stick would be rolled, or a perfume liquid sometimes consisting of synthetic

 

ingredients into which the stick would be dipped. Perfume is sometimes sprayed on the coated sticks. Stick machines are sometimes used, which coat the stick with paste and perfume, though the bulk of production is done by hand rolling at home. There are about 5,000 incense companies in India that take raw unperfumed sticks hand-rolled by approximately 200,000 women working part-time at home, and then apply their own brand of perfume, and package the sticks for sale. An experienced home-worker can produce 4,000 raw sticks a day. There are about 50 large companies that together account for up to 30% of the market, and around 500 of the companies, including a significant number of the main ones, including Moksh Agarbatti and Cycle Pure, are based in Mysore.

 

JEWISH TEMPLE IN JERUSALEM:

 

KETORET:

 

Ketoret was the incense offered in the Temple in Jerusalem and is stated in the Book of Exodus to be a mixture of stacte, onycha, galbanum and frankincense.

 

TIBETAN:

 

Tibetan incense refers to a common style of incense found in Tibet, Nepal, and Bhutan. These incenses have a characteristic "earthy" scent to them. Ingredients vary from cinnamon, clove, and juniper, to kusum flower, ashvagandha, and sahi jeera.

 

Many Tibetan incenses are thought to have medicinal properties. Their recipes come from ancient Vedic texts that are based on even older Ayurvedic medical texts. The recipes have remained unchanged for centuries.

 

JAPANESE:

 

In Japan incense appreciation folklore includes art, culture, history, and ceremony. It can be compared to and has some of the same qualities as music, art, or literature. Incense burning may occasionally take place within the tea ceremony, just like calligraphy, ikebana, and scroll arrangement. The art of incense appreciation, or koh-do, is generally practiced as a separate art form from the tea ceremony, and usually within a tea room of traditional Zen design.

 

Agarwood (沈香 Jinkō) and sandalwood (白檀 byakudan) are the two most important ingredients in Japanese incense. Agarwood is known as "jinkō" in Japan, which translates as "incense that sinks in water", due to the weight of the resin in the wood. Sandalwood is one of the most calming incense ingredients and lends itself well to meditation. It is also used in the Japanese tea ceremony. The most valued Sandalwood comes from Mysore in the state of Karnataka in India.

 

Another important ingredient in Japanese incense is kyara (伽羅). Kyara is one kind of agarwood (Japanese incense companies divide agarwood into 6 categories depending on the region obtained and properties of the agarwood). Kyara is currently worth more than its weight in gold.

 

Some terms used in Japanese incense culture include:

 

Incense arts: [香道, kodo]

Agarwood: [ 沈香 ] – from heartwood from Aquilaria trees, unique, the incense wood most used in incense ceremony, other names are: lignum aloes or aloeswood, gaharu, jinko, or oud.

Censer/Incense burner: [香爐] – usually small and used for heating incense not burning, or larger and used for burning

Charcoal: [木炭] – only the odorless kind is used.

Incense woods: [ 香木 ] – a naturally fragrant resinous wood.

 

USAGE:

 

PRACTICAL:

 

Incense fragrances can be of such great strength that they obscure other less desirable odours. This utility led to the use of incense in funerary ceremonies because the incense could smother the scent of decay. An example, as well as of religious use, is the giant Botafumeiro thurible that swings from the ceiling of the Cathedral of Santiago de Compostela. It is used in part to mask the scent of the many tired, unwashed pilgrims huddled together in the Cathedral of Santiago de Compostela.

 

A similar utilitarian use of incense can be found in the post-Reformation Church of England. Although the ceremonial use of incense was abandoned until the Oxford Movement, it was common to have incense (typically frankincense) burned before grand occasions, when the church would be crowded. The frankincense was carried about by a member of the vestry before the service in a vessel called a 'perfuming pan'. In iconography of the day, this vessel is shown to be elongated and flat, with a single long handle on one side. The perfuming pan was used instead of the thurible, as the latter would have likely offended the Protestant sensibilities of the 17th and 18th centuries.

 

The regular burning of direct-burning incense has been used for chronological measurement in incense clocks. These devices can range from a simple trail of incense material calibrated to burn in a specific time period, to elaborate and ornate instruments with bells or gongs, designed to involve multiple senses.

 

Incense made from materials such as citronella can repel mosquitoes and other irritating, distracting, or pestilential insects. This use has been deployed in concert with religious uses by Zen Buddhists who claim that the incense that is part of their meditative practice is designed to keep bothersome insects from distracting the practitioner. Currently, more effective pyrethroid-based mosquito repellent incense is widely available in Asia.

 

Papier d'Arménie was originally sold as a disinfectant as well as for the fragrance.

 

Incense is also used often by people who smoke indoors and do not want the smell to linger.

 

AESTHETIC:

 

Many people burn incense to appreciate its smell, without assigning any other specific significance to it, in the same way that the foregoing items can be produced or consumed solely for the contemplation or enjoyment of the aroma. An example is the kōdō (香道), where (frequently costly) raw incense materials such as agarwood are appreciated in a formal setting.

 

RELIGIOUS:

 

Religious use of incense is prevalent in many cultures and may have roots in the practical and aesthetic uses, considering that many of these religions have little else in common. One common motif is incense as a form of sacrificial offering to a deity. Such use was common in Judaic worship and remains in use for example in the Catholic, Orthodox, and Anglican churches, Taoist and Buddhist Chinese jingxiang (敬香 "offer incense), etc.

 

Aphrodisiac Incense has been used as an aphrodisiac in some cultures. Both ancient Greek and ancient Egyptian mythology suggest the usage of incense by goddesses and nymphs. Incense is thought to heighten sexual desires and sexual attraction.

 

Time-keeper Incense clocks are used to time social, medical and religious practices in parts of eastern Asia. They are primarily used in Buddhism as a timer of mediation and prayer. Different types of incense burn at different rates; therefore, different incense are used for different practices. The duration of burning ranges from minutes to months.

 

Healing stone cleanser Incense is claimed to cleanse and restore energy in healing stones. The technique used is called “smudging” and is done by holding a healing stone over the smoke of burning incense for 20 to 30 seconds. Some people believe that this process not only restores energy but eliminates negative energy.

 

HEALTH RISK FROM INCENSE SMOKE:

 

Incense smoke contains various contaminants including gaseous pollutants, such as carbon monoxide (CO), nitrogen oxides (NOx), sulfur oxides (SOx), volatile organic compounds (VOCs), and adsorbed toxic pollutants (polycyclic aromatic hydrocarbons and toxic metals). The solid particles range between ~10 and 500 nm. In a comparison, Indian sandalwood was found to have the highest emission rate, followed by Japanese aloeswood, then Taiwanese aloeswood, while Chinese smokeless sandalwood had the least.

 

Research carried out in Taiwan in 2001 linked the burning of incense sticks to the slow accumulation of potential carcinogens in a poorly ventilated environment by measuring the levels of polycyclic aromatic hydrocarbons (including benzopyrene) within Buddhist temples. The study found gaseous aliphatic aldehydes, which are carcinogenic and mutagenic, in incense smoke.

 

A survey of risk factors for lung cancer, also conducted in Taiwan, noted an inverse association between incense burning and adenocarcinoma of the lung, though the finding was not deemed significant.

 

In contrast, epidemiologists at the Hong Kong Anti-Cancer Society, Aichi Cancer Center in Nagoya, and several other centers found: "No association was found between exposure to incense burning and respiratory symptoms like chronic cough, chronic sputum, chronic bronchitis, runny nose, wheezing, asthma, allergic rhinitis, or pneumonia among the three populations studied: i.e. primary school children, their non-smoking mothers, or a group of older non-smoking female controls. Incense burning did not affect lung cancer risk among non-smokers, but it significantly reduced risk among smokers, even after adjusting for lifetime smoking amount." However, the researchers qualified their findings by noting that incense burning in the studied population was associated with certain low-cancer-risk dietary habits, and concluded that "diet can be a significant confounder of epidemiological studies on air pollution and respiratory health."

 

Although several studies have not shown a link between incense and lung cancer, many other types of cancer have been directly linked to burning incense. A study published in 2008 in the medical journal Cancer found that incense use is associated with a statistically significant higher risk of cancers of the upper respiratory tract, with the exception of nasopharyngeal cancer. Those who used incense heavily also were 80% more likely to develop squamous-cell carcinomas. The link between incense use and increased cancer risk held when the researchers weighed other factors, including cigarette smoking, diet and drinking habits. The research team noted that "This association is consistent with a large number of studies identifying carcinogens in incense smoke, and given the widespread and sometimes involuntary exposure to smoke from burning incense, these findings carry significant public health implications."

 

In 2015, the South China University of Technology found toxicity of incense to Chinese hamsters' ovarian cells to be even higher than cigarettes.

 

Incensole acetate, a component of Frankincense, has been shown to have anxiolytic-like and antidepressive-like effects in mice, mediated by activation of poorly-understood TRPV3 ion channels in the brain.

Ajanta is a renowned name in the world of architecture.Amidst a picturesque landscape of Deccan basalt,101 km north of Aurangabad in Maharashtra,there occurs a small hamlet-Ajanta.It has 30 Buddhist rock-cut caves,unique sculptures,carvings and mural paintings. The Ajanta caves possess an invaluable treasure of Indian art which imbibes inspiration in the art-loving people of all generations.The facades of the Chaitya halls show intense ornamentation and carvings.Rocks were hewn out to make figures of classic qualities.The entire course of the evolution of Buddhist architecture can be traced in Ajanta.During this time,images of Buddha on his different life stories and several types of human and animal figures were carved out of in-situ rock.All sections of people of the contemporary society from kings to slaves,woman,man and children are seen in the Ajanta murals interwoven with flowers,plants,fruits,birds and beasts.There are also the figures of Yakshas,Kinnas(half human and half bird),Gandharvas(divine musicians),Apsaras(heavenly dancers)which were of concern to the people of that time.One thousand years of neglect,and exposure to the hostile elements of nature have damaged many of the beautiful works of the past but those which have survived in caves 1,2,16 and 17 can be ranked high among the greatest artistic works of the contemporary world. The Ajanta caves are excavated in a semicircular scarp of 75 m height overlooking a meandering stream,Waghora that descends as a steep ravine with seven leaps.The caves have a horse-shoe pattern of arrangement covering a stretch of 550 m.Their floor levels are not uniform and they have got no symmetry in their subsurface distribution probably due to their excavation in different times.The individual caves were earlier isolated but are now connected by steps [www.softronindia.com]

PORCELAIN ROOM FROM THE PALAIS Dubský IN BRNO

Vienna, around 1740

Ke 6201/1912

In 1700 the installation of so-called "porcelain cabinets" in Europe becomes modern. Have they been reliant on European fayences, so were these ones replaced over time by Chinese export goods and from 1700 on also by Japanese porcelains. The Porcelain Room from the Brno Palais Dubsky is one of the first room amenities with European porcelain.

Based on the attached above the pillar mirror Emblem of Czobor of Szent-Mihály, the decor of the room can be traced back to the years after 1724. Back then acquired Countess Maria Antonia of Czobor, lady on Göding, née Princess of Liechtenstein, the subsequent Palais Dubsky in Brno (Brno, today Czech Republic). From this time also stem the porcelains of the Vienna Porcelain Manufactory Du Paquier (1718-44).

Investigations on the integrated wall paneling of the room as well as the fact that the chimney already in Brno had been bricked without smoke outlet and therefore was not heatable, however, have shown that the facilities originally must have been manufactured for a different, right now yet unknown location and only later was adjusted to the smaller dimensions in Brno Palais. However, unclear remains to this day the time gap between the early, emerged before 1730 Vienna porcelains and the earliest in the forties datable ornamentation of the wall panels and a part of the furniture.

1745 the palace passes into the possession of Johann Georg von Piati from which it inherits his son Emanuel Piati of Tirnowitz 1762. The coat of arms of this family was originally painted with oil paint over that of Czobor and only in 1912 it was removed on the occasion of the acquisition of the room by the museum. From the time of the Piati, around 1790, also stems the decor of the room with paintings and the wall clock signed by Brno master watchmaker Sebastian Kurz.

Its current name the palace obtained finally on the ocassion of the wedding of Emanuela of Piati, the daughter of Johann Georg, with Franz Dubsky of Trebomyslic in 1805. As is apparent from later made additions by porcelains of Herend (Hungary) Porcelain Factory (founded in 1839) and by dated with 1847 pieces from the Vienna Porcelain Manufactory, must have been carried out around 1850 a larger restoration and new adaptation of the room. Back then most probably also emerged the seating furnitures as well as the console table of long wall and the canapé table.

 

PORZELLANZIMMER AUS DEM PALAIS DUBSKY IN BRÜNN

Wien, um 1740

Ke 6201/1912

Um 1700 wird das Einrichten so genannter „Porzellan-Cabinette“ in Europa modern. War man zuerst auf europäische Fayencen angewiesen, so wurden diese mit der Zeit durch chinesische Exportware und ab 1700 auch durch japanische Porzellane ersetzt. Das Porzellanzimmer aus dem Brünner Palais Dubsky ist eine der ersten Zimmerausstattungen mit europäischem Porzellan.

Anhand des über dem Pfeilerspiegel angebrachten Wappens der Czobor von Szent-Mihály lässt sich die Ausstattung des Zimmers bis in die Jahre nach 1724 zurückverfolgen. Damals erwarb Gräfin Maria Antonia von Czobor, Frau auf Göding, geb. Fürstin von Liechtenstein, das nachmalige Palais Dubsky in Brünn (Brno, heute: Tschechische Republik). Aus dieser Zeit stammen auch die Porzellane der Wiener Manufaktur Du Paquier (1718–44).

Untersuchungen an der wandfesten Vertäfelung des Raumes sowie die Tatsache, dass der Kamin bereits in Brünn ohne Rauchabzug gemauert und daher nicht beheizbar war, haben jedoch gezeigt, dass die Ausstattung ursprünglich für einen anderen, heute noch unbekannten Ort verfertigt worden sein muss und erst später den kleineren Dimensionen im Brünner Palais angepasst wurde. Unklar bleibt aber bis heute die zeitliche Diskrepanz zwischen den frühen, vor 1730 entstandenen Wiener Porzellanen und der frühestens in die vierziger Jahre datierbaren Ornamentik der Wandvertäfelungen und eines Teils des Mobiliars.

1745 geht das Palais in den Besitz des Johann Georg von Piati über, von dem es sein Sohn Emanuel Piati von Tirnowitz 1762 erbt. Das Wappen dieser Familie war ursprünglich mit Ölfarbe über jenes der Czobor gemalt und erst 1912 anlässlich der Erwerbung des Zimmers durch das Museum entfernt worden. Aus der Zeit der Piati, um 1790, stammt auch die Ausstattung des Zimmers mit Bildern und der vom Brünner Uhrmachermeister Sebastian Kurz signierten Wanduhr.

Seinen heutigen Namen erhielt das Palais schließlich anlässlich der Hochzeit von Emanuela von Piati, der Tochter Johann Georgs, mit Franz Dubsky von Trebomyslic im Jahr 1805. Wie aus später vorgenommenen Ergänzungen durch Porzellane der Herender Porzellanfabrik (gegründet 1839) und durch 1847 datierte Stücke aus der Wiener Porzellanmanufaktur hervorgeht, muss um 1850 eine größere Restaurierung und Neuadaptierung des Zimmers erfolgt sein. Damals entstanden höchstwahrscheinlich auch die Sitzmöbel ebenso wie der Konsoltisch der Längswand und der Kanapeetisch.

 

The history of the Austrian Museum of Applied Art/Contemporary Art

1863 / After many years of efforts by Rudolf Eitelberger decides emperor Franz Joseph I on 7 March on the initiative of his uncle archduke Rainer, following the model of the in 1852 founded South Kensington Museum (now the Victoria and Albert Museum, London) the establishment of the "k.u.k. Austrian Museum for Art and Industry" and appoints Rudolf von Eitelberger, the first professor of art history at the University of Vienna director. The museum should be serving as a specimen collection for artists, industrialists, and public and as a training and education center for designers and craftsmen.

1864/ on 12th of May, opened the museum - provisionally in premises of the ball house next to the Vienna Hofburg, the architect Heinrich von Ferstel for museum purposes had adapted. First exhibited objects are loans and donations from the imperial collections, monasteries, private property and from the k.u.k. Polytechnic in Vienna. Reproductions, masters and plaster casts are standing value-neutral next originals.

1865-1897 / The Museum of Art and Industry publishes the journal Communications of Imperial (k.u.k.) Austrian Museum for Art and Industry .

1866 / Due to the lack of space in the ballroom the erection of an own museum building is accelerated. A first project of Rudolf von Eitelberger and Heinrich von Ferstel provides the integration of the museum in the project of imperial museums in front of the Hofburg Imperial Forum. Only after the failure of this project, the site of the former Exerzierfelds (parade ground) of the defense barracks before Stubentor the museum here is assigned, next to the newly created city park at the still being under development Rind Road.

1867 / Theoretical and practical training are combined with the establishment of the School of Applied Arts. This will initially be housed in the old gun factory, Währinger street 11-13/Schwarzspanier street 17, Vienna 9.

1868 / With the construction of the building at Stubenring is started as soon as it is approved by emperor Franz Joseph I. the second draft of Heinrich Ferstel.

1871 / The opening of the building at Stubering takes place after three years of construction, 15 November. Designed according to plans by Heinrich von Ferstel in the Renaissance style, it is the first built museum building at the Ring. Objects from now on could be placed permanently and arranged according to main materials. / / The School of Arts and Crafts (Kunstgewerbeschule) moves into the house at Stubenring. / / Opening of Austrian arts and crafts exhibition.

1873 / Vienna World Exhibition. / / The Museum of Art and Industry and the Vienna School of Arts and Crafts are exhibiting together at Stubenring. / / Rudolf von Eitelberger organizes in the framework of the World Exhibition the worldwide first international art scientific congress in Vienna, thus emphasizing the orientation of the Museum on teaching and research. / / During the World Exhibition major purchases for the museum from funds of the Ministry are made, eg 60 pages of Indo-Persian Journal Mughal manuscript Hamzanama.

1877 / decision on the establishment of taxes for the award of Hoftiteln (court titels). With the collected amounts the local art industry can be promoted. / / The new building of the School of Arts and Crafts, adjoining the museum, Stubenring 3, also designed by Heinrich von Ferstel, is opened.

1878 / participation of the Museum of Art and Industry as well as of the School of Arts and Crafts at the Paris World Exhibition.

1884 / founding of the Vienna Arts and Crafts Association with seat in the museum. Many well-known companies and workshops (led by J. & L. Lobmeyr), personalities and professors of the School of Arts and Crafts join the Arts and Crafts Association. Undertaking of this association is to further develop all creative and executive powers the arts and craft since the 1860s has obtained. For this reason are organized various times changing, open to the public exhibitions at the Imperial Austrian Museum for Art and Industry. The exhibits can also be purchased. These new, generously carried out exhibitions give the club the necessary national and international resonance.

1885 / After the death of Rudolf von Eitelberger, Jacob von Falke, his longtime deputy, is appointed manager. Falke plans all collection areas al well as publications to develop newly and systematically. With his popular publications he influences significantly the interior design style of the historicism in Vienna.

1888 / The Empress Maria Theresa exhibition revives the contemporary discussion with the high Baroque in the history of art and in applied arts in particular.

1895 / end of directorate of Jacob von Falke. Bruno Bucher, longtime curator of the Museum of metal, ceramic and glass, and since 1885 deputy director, is appointed director.

1896 / The Vienna Congress exhibition launches the confrontation with the Empire and Biedermeier style, the sources of inspiration of Viennese Modernism.

1897 / end of the directorate of Bruno Bucher. Arthur von Scala, director of the Imperial Oriental Museum in Vienna since its founding in 1875 (renamed Imperial Austrian Trade Museum 1887), takes over the management of the Museum of Art and Industry. / / Scala wins Otto Wagner, Felician of Myrbach, Koloman Moser, Josef Hoffmann and Alfred Roller to work at the museum and School of Arts and Crafts. / / The style of the Secession is crucial for the Arts and Crafts School. Scala propagates the example of the Arts and Crafts Movement and makes appropriate acquisitions for the museum's collection.

1898 / Due to differences between Scala and the Arts and Crafts Association, which sees its influence on the Museum wane, archduke Rainer puts down his function as protector. / / New statutes are written.

1898-1921 / The Museum magazine Art and Crafts replaces the Mittheilungen (Communications) and soon gaines international reputation.

1900 / The administration of Museum and Arts and Crafts School is disconnected.

1904 / The Exhibition of Old Vienna porcelain, the to this day most comprehensive presentation on this topic, brings with the by the Museum in 1867 definitely taken over estate of the "k.u.k. Aerarial Porcelain Manufactory" (Vienna Porcelain Manufactory) important pieces of collectors from all parts of the Habsburg monarchy together.

1907 / The Museum of Art and Industry takes over the majority of the inventories of the Imperial Austrian Trade Museum, including the by Arthur von Scala founded Asia collection and the extensive East Asian collection of Heinrich von Siebold .

1908 / Integration of the Museum of Art and Industry in the Imperial and Royal Ministry of Public Works.

1909 / separation of Museum and Arts and Crafts School, the latter remains subordinated to the Ministry of Culture and Education. / / After three years of construction, the according to plans of Ludwig Baumann extension building of the museum (now Weiskirchnerstraße 3, Wien 1) is opened. The museum thereby receives rooms for special and permanent exhibitions. / / Arthur von Scala retires, Eduard Leisching follows him as director. / / Revision of the statutes.

1909 / Archduke Carl exhibition. For the centenary of the Battle of Aspern. / / The Biedermeier style is discussed in exhibitions and art and arts and crafts.

1914 / Exhibition of works by the Austrian Art Industry from 1850 to 1914, a competitive exhibition that highlights, among other things, the role model of the museum for arts and crafts in the fifty years of its existence.

1919 / After the founding of the First Republic it comes to assignments of former imperial possession to the museum, for example, of oriental carpets that are shown in an exhibition in 1920. The Museum now has one of the finest collections of oriental carpets worldwide.

1920 / As part of the reform of museums of the First Republic, the collection areas are delimited. The Antiquities Collection of the Museum of Art and Industry is given away to the Museum of Art History.

1922 / The exhibition of glasses of classicism, the Empire and Biedermeier time offers with precious objects from the museum and private collections an overview of the art of glassmaking from the former Austro-Hungarian Empire. / / Biedermeier glass serves as a model for contemporary glass production and designs, such as of Josef Hoffmann.

1922 / affiliation of the museal inventory of the royal table and silver collection to the museum. Until the institutional separation the former imperial household and table decoration is co-managed by the Museum of Art and Industry and is inventoried for the first time by Richard Ernst.

1925 / After the end of the directorate of Eduard Leisching, Hermann Trenkwald is appointed director.

1926 / The exhibition Gothic in Austria gives a first comprehensive overview of the Austrian panel painting and of arts and crafts of the 12th to 16th Century.

1927 / August Schestag succeeds Hermann Trenkwald as director.

1930 / The Werkbund (artists' organization) Exhibition Vienna, a first comprehensive presentation of the Austrian Werkbund, takes place on the occasion of the meeting of the Deutscher (German) Werkbund in Austria, it is organized by Josef Hoffmann in collaboration with Oskar Strnad, Josef Frank, Ernst Lichtblau and Clemens Holzmeister.

1931 / August Schestag concludes his directorate.

1932 / Richard Ernst is new director.

1936 and 1940 / In exchange with the Kunsthistorisches Museum (Museum of Art History), the museum at Stubenring gives away part of the sculptures and takes over arts and crafts inventories of the collection Albert Figdor and the Kunsthistorisches Museum.

1937 / The Collection of the Museum of Art and Industry is newly set up by Richard Ernst according to periods. / / Oskar Kokoschka exhibition on the 50th birthday of the artist.

1938 / After the "Anschluss" (annexation) of Austria by Nazi Germany, the museum is renamed into "National Museum of Arts and Crafts in Vienna".

1939-1945 / The museums are taking over numerous confiscated private collections. The collection of the "State Museum of Arts and Crafts in Vienna" in this way also is enlarged.

1945 / Partial destruction of the museum building by impact of war. / / War losses on collection objects, even in the places of rescue of objects.

1946 / The return of the outsourced objects of art begins. A portion of the during the Nazi time expropriated objects is returned in the following years.

1947 / The "State Museum of Arts and Crafts in Vienna" is renamed into "Austrian Museum of Applied Arts".

1948 / The "Cathedral and Metropolitan Church of St. Stephen" organizes the exhibition The St. Stephen's Cathedral in the Museum of Applied Arts. History, monuments, reconstruction.

1949 / The Museum is reopened after repair of the war damages.

1950 / As last exhibition under director Richard Ernst takes place Great art from Austria's monasteries (Middle Ages).

1951 / Ignaz Schlosser is appointed manager.

1952 / The exhibition Social home decor, designed by Franz Schuster, makes the development of social housing in Vienna again the topic of the Museum of Applied Arts.

1955 / The comprehensive archive of the Wiener Werkstätte (workshop) is acquired.

1955-1985 / The Museum publishes the periodical ancient and modern art .

1956 / Exhibition New Form from Denmark, modern design from Scandinavia becomes topic of the museum and model.

1957 / On the occasion of the exhibition Venini Murano glass, the first presentation of Venini glass in Austria, there are significant purchases and donations for the collection of glass.

1958 / End of the directorate of Ignaz Schlosser

1959 / Viktor Griesmaier is appointed as new director.

1960 / Exhibition Artistic creation and mass production of Gustavsberg, Sweden. Role model of Swedish design for the Austrian art and crafts.

1963 / For the first time in Europe, in the context of a comprehensive exhibition art treasures from Iran are shown.

1964 / The exhibition Vienna around 1900 (organised by the Cultural Department of the City of Vienna) presents for the frist time after the Second World War, inter alia, arts and crafts of Art Nouveau. / / It is started with the systematic work off of the archive of the Wiener Werkstätte. / / On the occasion of the founding anniversary offers the exhibition 100 years Austrian Museum of Applied Arts using examples of historicism insights into the collection.

1965 / The Geymüllerschlössel (small castle) is as a branch of the Museum angegliedert (annexed). Simultaneously with the building came the important collection of Franz Sobek - old Viennese clocks, made between 1760 and the second half of the 19th Century - and furniture from the years 1800 to 1840 in the possession of the MAK.

1966 / In the exhibition Selection 66 selected items of modern Austrian interior designers (male and female ones) are brought together.

1967 / The Exhibition The Wiener Werkstätte. Modern Arts and Crafts from 1903 to 1932 is founding the boom that continues until today of Austria's most important design project in the 20th Century.

1968 / To Viktor Griesmaier follows Wilhelm Mrazek as director.

1969 / The exhibition Sitting 69 shows at the international modernism oriented positions of Austrian designers, inter alia by Hans Hollein.

1974 / For the first time outside of China Archaeological Finds of the People's Republic of China are shown in a traveling exhibition in the so-called Western world.

1979 / Gerhart Egger is appointed director.

1980 / The exhibition New Living. Viennese interior design 1918-1938 provides the first comprehensive presentation of the spatial art in Vienna during the interwar period.

1981 / Herbert Fux follows Gerhart Egger as director.

1984 / Ludwig Neustift is appointed interim director. / / Exhibition Achille Castiglioni: designer. First exhibition of the Italian designer in Austria

1986 / Peter Noever is appointed director and starts with the building up of the collection contemporary art.

1987 / Josef Hoffmann. Ornament between hope and crime is the first comprehensive exhibition on the work of the architect and designer.

1989-1993 / General renovation of the old buildings and construction of a two-storey underground storeroom and a connecting tract. A generous deposit for the collection and additional exhibit spaces arise.

1989 / Exhibition Carlo Scarpa. The other city, the first comprehensive exhibition on the work of the architect outside Italy.

1990 / exhibition Hidden impressions. Japonisme in Vienna 1870-1930, first exhibition on the theme of the Japanese influence on the Viennese Modernism.

1991 / exhibition Donald Judd Architecture, first major presentation of the artist in Austria.

1992 / Magdalena Jetelová domestication of a pyramid (installation in the MAK portico).

1993 / The permanent collection is newly put up, interventions of internationally recognized artists (Barbara Bloom, Eichinger oder Knechtl, Günther Förg, GANGART, Franz Graf, Jenny Holzer, Donald Judd, Peter Noever, Manfred Wakolbinger and Heimo Zobernig) update the prospects, in the sense of "Tradition and Experiment". The halls on Stubenring accommodate furthermore the study collection and the temporary exhibitions of contemporary artists reserved gallery. The building in the Weiskirchner street is dedicated to changing exhibitions. / / The opening exhibition Vito Acconci. The City Inside Us shows a room installation by New York artist.

1994 / The Gefechtsturm (defence tower) Arenbergpark becomes branch of the MAK. / / Start of the cooperation MAK/MUAR - Schusev State Museum of Architecture Moscow. / / Ilya Kabakov: The Red Wagon (installation on MAK terrace plateau).

1995 / The MAK founds the branch of MAK Center for Art and Architecture in Los Angeles, in the Schindler House and at the Mackey Apartments, MAK Artists and Architects-in-Residence Program starts in October 1995. / / Exhibition Sergei Bugaev Africa: Krimania.

1996 / For the exhibition Philip Johnson: Turning Point designs the American doyen of architectural designing the sculpture "Viennese Trio", which is located since 1998 at the Franz-Josefs-Kai/Schottenring.

1998 / The for the exhibition James Turrell. The other Horizon designed Skyspace today stands in the garden of MAK Expositur Geymüllerschlössel. / / Overcoming the utility. Dagobert Peche and the Wiener Werkstätte, the first comprehensive biography of the work of the designer of Wiener Werkstätte after the Second World War.

1999 / Due to the Restitution Act and the Provenance Research from now on numerous during the Nazi time confiscated objects are returned.

2000 / Outsourcing of Federal Museums, transformation of the museum into a "scientific institution under public law". / / The exhibition Art and Industry. The beginnings of the Austrian Museum of Applied Arts in Vienna is dealing with the founding history of the house and the collection.

2001 / In the course of the exhibition Franz West: No Mercy, for which the sculptor and installation artist developed his hitherto most extensive work, the "Four lemurs heads" are placed at the bridge Stubenbrücke, located next to the MAK. / / Dennis Hopper: A System of Moments.

2001-2002 / The CAT Project - Contemporary Art Tower after New York, Los Angeles, Moscow and Berlin is presented in Vienna.

2002 / Exhibition Nodes. symmetrical-asymmetrical. The historical Oriental Carpets of the MAK presents the extensive rug collection.

2003 / Exhibition Zaha Hadid. Architecture. / / For the anniversary of the artist workshop, takes place the exhibition The Price of Beauty. 100 years Wiener Werkstätte. / / Richard Artschwager: The Hydraulic Door Check. Sculpture, painting, drawing.

2004 / James Turrell's MAKlite is since November 2004 permanently on the facade of the building installed. / / Exhibition Peter Eisenmann. Barefoot on White-Hot Walls, large-scaled architectural installation on the work of the influential American architect and theorist.

2005 / Atelier Van Lieshout: The Disciplinator / / The exhibition Ukiyo-e Reloaded presents for the first time the collection of Japanese woodblock prints of the MAK on a large scale.

2006 / Since the beginning of the year, the birthplace of Josef Hoffmann in Brtnice of the Moravian Gallery in Brno and the MAK Vienna as a joint branch is run and presents annually special exhibitions. / / The exhibition The Price of Beauty. The Wiener Werkstätte and the Stoclet House brings the objects of the Wiener Werkstätte to Brussels. / / Exhibition Jenny Holzer: XX.

2007/2008 / Exhibition Coop Himmelb(l)au. Beyond the Blue, is the hitherto largest and most comprehensive museal presentation of the global team of architects.

2008 / The 1936 according to plans of Rudolph M. Schindler built Fitzpatrick-Leland House, a generous gift from Russ Leland to the MAK Center LA, becomes with the aid of a promotion that granted the Bureau of Educational and Cultural Affairs of the U.S. Department the MAK Center, center of the MAK UFI project - MAK Urban Future Initiative. / / Julian Opie: Recent Works / / The exhibition Recollecting. Looting and Restitution examines the status of efforts to restitute expropriated objects from Jewish property from museums in Vienna.

2009 / The permanent exhibition Josef Hoffmann: Inspiration is in the Josef Hoffmann Museum, Brtnice opened. / / Exhibition Anish Kapoor. Shooting into the Corner / / The museum sees itself as a promoter of Cultural Interchange and discusses in the exhibition Global:lab Art as a message. Asia and Europe 1500-1700 the intercultural as well as the intercontinental cultural exchange based on objects from the MAK and from international collections.

2011 / After Peter Noever's resignation, Martina Kandeler-Fritsch takes over temporarily the management. / /

Since 1 September Christoph Thun-Hohenstein is director of the MAK and declares "change through applied art" as the new theme of the museum.

2012 / With future-oriented examples of mobility, health, education, communication, work and leisure, shows the exhibition MADE4YOU. Designing for Change, the new commitment to positive change in our society through applied art. // Exhibition series MAK DESIGN SALON opens the MAK branch Geymüllerschlössel for contemporary design positions.

2012/2013 / opening of the newly designed MAK Collection Vienna 1900. Design / Decorative Arts from 1890 to 1938 in two stages as a prelude to the gradual transformation of the permanent collection under director Christoph Thun-Hohenstein

2013 / SIGNS, CAUGHT IN WONDER. Looking for Istanbul today shows a unique, current snapshot of contemporary art production in the context of Istanbul. // The potential of East Asian countries as catalysts for a socially and ecologically oriented, visionary architecture explores the architecture exhibition EASTERN PROMISES. Contemporary Architecture and production of space in East Asia. // With a focus on the field of furniture design NOMADIC FURNITURE 3.0. examines new living without bounds? the between subculture and mainstream to locate "do-it-yourself" (DIY) movement for the first time in a historical context.

2014 / Anniversary year 150 years MAK // opening of the permanent exhibition of the MAK Asia. China - Japan - Korea // Opening of the MAK permanent exhibition rugs // As central anniversary project opens the dynamic MAK DESIGN LABORATORY (redesign of the MAK Study Collection) exactly on the 150th anniversary of the museum on May 12, 2014 // Other major projects for the anniversary: ROLE MODELS. MAK 150 years: from arts and crafts to design // // HOLLEIN WAYS OF MODERN AGE. Josef Hoffmann, Adolf Loos and the consequences.

www.mak.at/das_mak/geschichte

The Chair

See that thing over there? That, my friend, is a chair.

 

It might be made out of wood. It has four legs like it should.

It is there for moments such you don’t feel like standing very much.

 

At the table while you eat use your chair to take a seat!

At the office working fast your chair is there to make your feet last.

 

While at school learning stuff your chair will keep you comfortable enough.

 

But the best thing about a chair it’s made to hold your derriere.

 

Birdtown Comics – Birdtown2020.blogspot.com

 

TAKEN at Colleton County Courthouse. Walterboro, SC

BUTT x BETTER IS BAAACK!!!

Ash is a large village, now almost a town, now bypassed by the Canterbury to Sandwich road.

 

St Nicholas is a large church, and sits on a low mound above the High Street and houses.

 

The church itself is cruciform in shape, and previously stated, large.

 

It is furnished with serval monuments and brasses, all of a very high standard.

 

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A large and impressive church of mainly thirteenth century date over restored in 1847 by the irrepressible William Butterfield. The scale of the interior is amazing - particularly in the tower crossing arches which support the enormous spire. They are an obvious insertion into an earlier structure. The best furnishing at Ash is the eighteenth century font which stands on an inscribed base. For the visitor interested in memorials, Ash ahs more than most ranging from the fourteenth century effigy of a knight to two excellent alabaster memorials to Sir Thomas Harfleet (d 1612) and Christopher Toldervy (d 1618). Mrs Toldervy appears twice in the church for she accompanies her husband on his memorial and may also be seen as a `weeper` on her parents` memorial! On that she is one of two survivors of what was once a group of seven daughters - all her weeping brothers have long since disappeared.

 

www.kentchurches.info/church.asp?p=Ash+2

 

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ASH

LIES adjoining to the last-described parish of Staple northward. It is written in Domesday, Ece, and in other antient records, Aisse, and is usually called Ash, near Sandwich, to distinguish it from Ash, near Wrotham.

 

The parish of Ash is very large, extending over a variety of soil and country, of hill, dale, and marsh lands, near four miles across each way, and containing more than six thousand acres of land, of which about one half is marsh, the river Stour being its northern bounday, where it is very wet and unwholesone, but the southern or upland part of the parish is very dary, pleasant and healthy. The soil in general is fertile, and lets on an average at about one pound an acre; notwithstanding, there is a part of it about Ash-street and Gilton town, where it is a deep sand. The village of Ash, commonly called Ash-street, situated in this part of it, on high ground, mostly on the western declivity of a hill, having the church on the brow of it, is built on each side of the road from Canterbury to Sandwich, and contains about fifty houses. On the south side of this road, about half a mile westward, is a Roman burial ground, of which further mention will be taken hereaster, and adjoining to it the hamlet of Gilton town, formerly written Guildanton, in which is Gilton parsonage, a neat stuccoed house, lately inhabited by Mr. Robert Legrand, and now by Mrs. Becker. In the valley southward stands Mote farm, alias Brooke house, formerly the habitation of the Stoughtons, then of the Ptoroude's and now the property of Edward Solly, esq. of London.

 

There are dispersed throughout this large parish many small hamlets and farms, which have been formerly of more consequence, from the respective owners and in habitants of them, all which, excepting East and New Street, and Great Pedding, (the latter of which was the antient residence of the family of solly, who lie buried in Ash church-yard, and bore for their arms, Vert, a chevron, per pale, or, and gules, between three soles naiant, argent, and being sold by one of them to dean Lynch, is now in the possession of lady Lynch, the widow of Sir William Lynch, K. B.) are situated in the northern part of the parish, and contain together about two hundred and fifty houses, among them is Hoden, formerly the residence of the family of St. Nicholas; Paramour-street, which for many years was the residence of those of that name, and Brook-street, in which is Brook-house, the residence of the Brooke's, one of whom John Brooke, esq. in queen Elizabeth's reign, resided here, and bore for his arms, Per bend, vert and sable, two eagles, counterchanged.

 

William, lord Latimer, anno 38 Edward III. obtained a market to be held at Ash, on a Thursday; and a fair yearly on Lady-day, and the two following ones. A fair is now held in Ash-street on Lady and Michaelmas days yearly.

 

In 1473 there was a lazar house for the infirm of the leprosy, at Eche, near Sandwich.

 

¶The manor of Wingham claims paramount over this parish, subordinate to which there were several manors in it, held of the archbishop, to whom that manor belonged, the mansions of which, being inhabited by families of reputation and of good rank in life, made this parish of much greater account than it has been for many years past, the mansions of them having been converted for a length of time into farmhouses to the lands to which they belong.

 

f this manor, (viz. Wingham) William de Acris holds one suling in Fletes, and there he has in demesne one carucate and four villeins, and one knight with one carucate, and one fisbery, with a saltpit of thirty pence. The whole is worth forty shillings.

 

This district or manor was granted by archbishop Lanfranc, soon after this, to one Osberne, (fn. 7) of whom I find no further mention, nor of this place, till king Henry III.'s reign, when it seems to have been separated into two manors, one of which, now known by the name of the manor of Gurson Fleet, though till of late time by that of Fleet only, was held afterwards of the archbishop by knight's service, by the family of Sandwich, and afterwards by the Veres, earls of Oxford, one of whom, Robert de Vere, earl of Oxford, who died anno 3 Edward III. was found by the escheat-rolls of that year, to have died possessed of this manor of Fleet, which continued in his descendants down to John de Vere, earl of Oxford, who for his attachment to the house of Lancaster, was attainted in the first year of king Edward IV. upon which this manor came into the hands of the crown, and was granted the next year to Richard, duke of Gloucester, the king's brother, with whom it staid after his succession to the crown, as king Richard III. on whose death, and the accession of king Henry VII. this manor returned to the possession of John, earl of Oxford, who had been attainted, but was by parliament anno I Henry VII. restored in blood, titles and possessions. After which this manor continued in his name and family till about the middle of queen Elizabeth's reign, when Edward Vere, earl of Oxford, alienated it to Hammond, in whose descendants it continued till one of them, in the middle of king Charles II.'s reign, sold it to Thomas Turner, D. D. who died possessed of it in 1672, and in his name and descendants it continued till the year 1748, when it was sold to John Lynch, D. D. dean of Canterbury, whose son Sir William Lynch, K. B. died possessed of it in 1785, and by his will devised it, with the rest of his estates, to his widow lady Lynch, who is the present possessor of it. A court baron is held for this manor.

 

Archbishop Lanfranc, on his founding the priory of St. Gregory, in the reign of the Conqueror, gave to it the tithe of the manor of Fleet; which gift was confirmed by archbishop Hubert in Richard I.'s reign. This portion of tithes, which arose principally from Gurson Fleet manor, remained with the priory at its dissolution, and is now part of Goldston parsonage, parcel of the see of Canterbury, of which further mention has been made before.

 

The other part of the district of Fleet was called, to distinguish it, and from the possessors of it, the manor of Nevills Fleet, though now known by the name of Fleet only, is situated between Gurson and Richborough, adjoining to the former. This manor was held in king John's reign of the archbishop, by knight's service, by Thomas Pincerna, so called probably from his office of chief butler to that prince, whence his successors assumed the name of Butler, or Boteler. His descendant was Robert le Boteler, who possessed this manor in king Ed ward I.'s reign, and from their possession of it, this manor acquired for some time the name of Butlers Fleet; but in the 20th year of king Edward III. William, lord Latimer of Corbie, appears to have been in the possession of it, and from him it acquired the name of Latimers Fleet. He bore for his arms, Gules, a cross flory, or. After having had summons to parliament, (fn. 8) he died in the begening of king Richard II.'s reign, leaving Elizabeth his sole daughter and heir, married to John, lord Nevill, of Raby, whose son John bore the title of lord Latimer, and was summoned to parliament as lord Latimer, till the 9th year of king Henry VI. in which he died, so that the greatest part of his inheritance, among which was this manor, came by an entail made, to Ralph, lord Nevill, and first earl of Westmoreland, his eldest, but half brother, to whom he had sold, after his life, the barony of Latimer, and he, by seoffment, vested it, with this manor and much of the inheritance above-mentioned, in his younger son Sir George Nevill, who was accordingly summoned to parliament as lord Latimer, anno 10 Henry VI. and his grandson Richard, lord Latimer, in the next regin of Edward IV. alienated this manor, which from their length of possession of it, had acquired the name of Nevill's Fleet, to Sir James Cromer, and his son Sir William Cromer, in the 11th year of king Henry VII, sold it to John Isaak, who passed it away to Kendall, and he, in the beginning of king Henry VIII.'s reign, sold it to Sir John Fogge, of Repton, in Ashford, who died possessed of it in 1533, and his son, of the same name, before the end of it, passed it away to Mr. Thomas Rolfe, and he sold it, within a few years afterwards, to Stephen Hougham, gent. of this parish, who by his will in 1555, devised it to his youngest son Rich. Hougham, of Eastry, from one of whose descendants it was alienated to Sir Adam Spracklin, who sold it to one of the family of Septvans, alias Harflete, in which name it continued till within a few years after the death of king Charles I. when by a female heir Elizabeth it went in marriage to Thomas Kitchell, esq. in whose heirs it continued till it was at length, about the year 1720, alienated by one of them to Mr. Thomas Bambridge, warden of the Fleet prison, upon whose death it became vested in his heirs-at-law, Mr. James Bambridge, of the Temple, attorney at-law, and Thomas Bambridge, and they divided this estate, and that part of it allotted to the latter was soon afterwards alienated by him to Mr. Peter Moulson, of London, whose only daughter and heir carried it in marriage to Mr. Geo. Vaughan, of London, and he and the assignees of Mr. James Bambridge last mentioned, have lately joined in the conveyance of the whole fee of this manor to Mr. Joseph Solly, gent. of Sandwich, the present owner of it. There is not any court held for this manor.

 

In this district, and within this manor of Fleet lastmentioned, there was formerly a chapel of cose to the church of Ash, as that was to the church of Wingham, to which college, on its foundation by archbishop Peckham in 1286, the tithes, rents, obventions, &c of this chapel and district was granted by him, for the support in common of the provost and canons of it, with whom it remained till the suppression of it, anno I king Edward VI. The tithes, arising from this manor of Fleet, and the hamlet of Richborough, are now a part of the rectory of Ash, and of that particular part of it called Gilton parsonage, parcel of the possessions of the see of Canterbury, of which further mention will be made hereafter. There have not been any remains left of it for a long time part.

 

Richborough is a hamlet and district of land, in the south-east part of this parish, rendered famous from the Roman fort and town built there, and more so formerly, from the port or haven close adjoining to it.

 

It was in general called by the Romans by the plural name of Rutupiæ; for it must be observed that the æstuary, which at that time separated the Isle of Thanet from the main land of Kent, and was the general passage for shipping,had at each mouth of it, towards the sea, a fort and haven, called jointly Rutupiæ. That at the northern part and of it being now called Reculver, and that at the eastern, being the principal one, this of Richborough.

 

The name of it is variously spelt in different authors. By Ptolemy it is written [Patapiaia (?)] urbem; by Tacitus, according to the best reading, Portus, Rutupensis; by Antonine, in his Itinerary, Ritupas, and Ritupis Portum; by Ammianus, Ritupiæ statio; afterwards by the Saxons, Reptacester, and now Richborough.

 

The haven, or Portus Rutupinus, or Richborough, was very eminent in the time of the Romans, and much celebrated in antient history, being a safe and commodious harbour, stationem ex adverso tranquillam, as Ammianus calls it, situated at the entrance of the passage towards then Thamas, and becoming the general place of setting sail from Britain to the continent, and where the Roman fleets arrived, and so large and extensive was the bay of it, that it is supposed to have extended far beyond Sandwich on the one side, almost to Ramsgate cliffs on the other, near five miles in width, covering the whole of that flat of land on which Stonar and Sandwich were afterwards built, and extending from thence up the æstuary between the Isle of Thanet and the main land. So that Antonine might well name it the Port, in his Itinerary, [Kat exochin], from there being no other of like consequence, and from this circumstance the shore for some distance on each side acquired the general name of Littus Rutupinum, the Rutupian shore. (fn. 9) Some have contended that Julius Cæsar landed at Richborough, in his expeditions into Britain; but this opinion is refuted by Dr. Hasley in Phil, Trans. No. 193, who plainly proves his place of landing to have been in the Downs. The fort of Richborough, from the similarity of the remains of it to those of Reculver, seems to have been built about the same time, and by the same emperer, Serveris, about the year 205. It stands on the high hill, close to a deep precipice eastward, at the soot of which was the haven. In this fortress, so peculiarly strengthened by its situation, the Romans had afterwards a stationary garrison, and here they had likewise a pharos, of watch tower, the like as at Reculver and other places on this coast, as well to guide the shipping into the haven, as to give notice of the approach of enemies. It is by most supposed that there was, in the time of the Romans, near the fort, in like manner as at Reculver, a city or town, on the decline of the hill, south-westward from it, according to custom, at which a colony was settled by them. Prolemy, in his geography, reckons the city Rutpia as one of the three principal cities of Kent. (fn. 10) Orosius. and Bede too, expressly mention it as such; but when the haven decayed, and there was no longer a traffic and resort to this place, the town decayed likewise, and there have not been, for many ages since, any remains whatever of it left; though quantities of coins and Roman antiquities have been sound on the spot where it is supposed to have once stood.

 

During the latter part of the Roman empire, when the Saxons prevented all trade by sea, and insefted these coasts by frequent robberies, the second Roman legion, called Augusta, and likewise Britannica, which had been brought out of Germany by the emperor Claudius, and had resided for many years at the Isca Silurum, in Wales, was removed and stationed here, under a president or commander, præpositus, of its own, who was subordinate to the count of the Saxon shore, and continued so till the final departure of the Romans from Britain, in the year 410, when this fortress was left in the hands of the Britons, who were afterwards dispossessed of it by the Saxons, during whose time the harbour seems to have began to decay and to swerve up, the sea by degrees entirely deserting it at this place, but still leaving one large and commodious at Sandwich, which in process of time became the usual resort for shipping, and arose a flourishing harbour in its stead, as plainly appears by the histories of those times, by all of which, both the royal Saxon fleets, as well as those of the Danes, are said to sail for the port of Sandwich, and there to lie at different times; (fn. 11) and no further mention is made by any of them of this of Rutupiæ, Reptachester, or Richborough; so that the port being thus destroyed, the town became neglected and desolate, and with the castle sunk into a heap of ruins. Leland's description of it in king Henry VIII.'s reign, is very accurate, and gives an exceeding good idea of the progressive state of its decay to that time. He says, "Ratesburg otherwyse Richeboro was, of ever the ryver of Sture dyd turn his botom or old canale, withyn the Isle of the Thanet, and by Iykelyhod the mayn se came to the very foote of the castel. The mayn se ys now of yt a myle by reason of wose, that has there swollen up. The scite of the town or castel ys wonderful fair apon an hille. The walles the wich remayn ther yet be in cumpase almost as much as the tower of London. They have bene very hye thykke stronge and wel embateled. The mater of them is flynt mervelus and long brykes both white and redde after the Britons fascion. The sement was made of se sand and smaul pible. Ther is a great lykelyhod that the goodly hil abowte the castel and especially to Sandwich ward hath bene wel inhabited. Corne groweth on the hille yn bene mervelous plenty and yn going to plowgh ther hath owt of mynde fownd and now is mo antiquities of Romayne money than yn any place els of England surely reason speketh that this should be Rutupinum. For byside that the name sumwhat toucheth, the very near passage fro Cales Clyves or Cales was to Ratesburgh and now is to Sandwich, the which is about a myle of; though now Sandwich be not celebrated by cawse of Goodwine sandes and the decay of the haven. Ther is a good flyte shot of fro Ratesburg toward Sandwich a great dyke caste in a rownd cumpas as yt had bene for sens of menne of warre. The cumpase of the grownd withyn is not much above an acre and yt is very holo by casting up the yerth. They cawle the place there Lytleborough. Withyn the castel is a lytle paroche chirch of St. Augustine and an heremitage. I had antiquities of the heremite the which is an industrious man. Not far fro the hermitage is a cave wher men have sowt and digged for treasure. I saw it by candel withyn, and ther were conys. Yt was so straite that I had no mynd to crepe far yn. In the north side of the castel ys a hedde yn the walle, now fore defaced with wether. They call it queen Bertha hedde. Nere to that place hard by the wal was a pot of Romayne mony sownd."

 

The ruins of this antient castle stand upon the point of a hill or promontory, about a mile north-west from Sandwich, overlooking on each side, excepting towards the west, a great flat which appears by the lowness of it, and the banks of beach still shewing themselves in different places, to have been all once covered by the sea. The east side of this hill is great part of it so high and perpendicular from the flat at the foot of it, where the river Stour now runs, that ships with the greatest burthen might have lain close to it, and there are no signs of any wall having been there; but at the north end, where the ground rises into a natural terrace, so as to render one necessary, there is about 190 feet of wall left. Those on the other three sides are for the most part standing, and much more entire than could be expected, considering the number of years since they were built, and the most so of any in the kingdom, except Silchester. It is in shape an oblong square, containing within it a space of somewhat less than five acres. They are in general about ten feet high within, but their broken tops shew them to have been still higher. The north wall, on the outside, is about twice as high as it is within, or the other two, having been carried up from the very bottom of the hill, and it seems to have been somewhat longer than it is at present, by some pieces of it sallen down at the east end. The walls are about eleven feet thick. In the middle of the west side is the aperture of an entrance, which probably led to the city or town, and on the north side is another, being an entrance obliquely into the castle. Near the middle of the area are the ruins of some walls, full of bushes and briars, which seem as if some one had dug under ground among them, probably where once stood the prætorium of the Roman general, and where a church or chapel was afterwards erected, dedicated to St. Augustine, and taken notice of by Leland as such in his time. It appears to have been a chapel of ease to the church of Ash, for the few remaining inhabitants of this district, and is mentioned as such in the grant of the rectory of that church, anno 3 Edward VI. at which time it appears to have existed. About a furlong to the south, in a ploughed field, is a large circular work, with a hollow in the middle, the banks of unequal heights, which is supposed to have been an amphitheatre, built of turf, for the use of the garrison, the different heights of the banks having been occasioned by cultivation, and the usual decay, which must have happened from so great a length of time. These stations of the Romans, of which Richborough was one, were strong fortifications, for the most part of no great compass or extent, wherein were barracks for the loding of the soldiers, who had their usual winter quarters in them. Adjoining, or at no great distance from them, there were usually other, buildings forming a town; and such a one was here at Richborough, as has been already mentioned before, to which the station or fort was in the nature of a citadel, where the soldiers kept garrison. To this Tacitus seems to allude, when he says, "the works that in time of peace had been built, like a free town, not far from the camp, were destroyed, left they should be of any service to the enemy." (fn. 12) Which in great measure accounts for there being no kind of trace or remains left, to point out where this town once stood, which had not only the Romans, according to the above observation, but the Saxons and Danes afterwards, to carry forward at different æras the total destruction of it.

 

The burial ground for this Roman colony and station of Richborough, appears to have been on the hill at the end of Gilton town, in this parish, about two miles south-west from the castle, and the many graves which have been continually dug up there, in different parts of it, shew it to have been of general use for that purpose for several ages.

 

The scite of the castle at Richborough was part of the antient inheritance of the family of the Veres, earls of Oxford, from which it was alienated in queen Elizabeth's reign to Gaunt; after which it passed, in like manner as Wingham Barton before-described, to Thurbarne, and thence by marriage to Rivett, who sold it to Farrer, from whom it was alienated to Peter Fector, esq. of Dover, the present possessor of it. In the deed of conveyance it is thus described: And also all those the walls and ruins of the antient castle of Rutupium, now known by the name of Richborough castle, with the scite of the antient port and city of Rutupinum, being on and near the lands before-mentioned. About the walls of Richborough grows Fæniculum valgare, common fennel, in great plenty.

 

It may be learned from the second iter of Antonine's Itinerary, that there was once a Roman road, or highway from Canterbury to the port of Richborough, in which iter the two laft stations are, from Durovernum, Canterbury, to Richborough, ad portum Rutupis, xii miles; in which distance all the different copies of the Itinerary agree. Some parts of this road can be tracted at places at this time with certainty; and by the Roman burial-ground, usually placed near the side of a high road, at Gilton town, and several other Roman vestigia thereabouts, it may well be supposed to have led from Canterbury through that place to Richborough, and there is at this time from Goldston, in Ash, across the low-grounds to it, a road much harder and broader than usual for the apparent use of it, which might perhaps be some part of it.

 

Charities.

A person unknown gave four acres and an half of land, in Chapman-street, of the annual produce of 5l. towards the church assessments.

 

Thomas St. Nicholas, esq. of this parish, by deed about the year 1626, gave an annuity of 11. 5s. to be paid from his estate of Hoden, now belonging to the heirs of Nathaniel Elgar, esq. to be distributed yearly, 10s. to the repairing and keeping clean the Toldervey monument in this church, and 15s. on Christmas-day to the poor.

 

John Proude, the elder, of Ash, yeoman, by his will in 1626, ordered that his executor should erect upon his land adjoining to the church-yard, a house, which should be disposed of in future by the churchwardens and overseers, for a school-house, and for a storehouse, to lay in provision for the church and poor. This house is now let at 1l. per annum, and the produce applied to the use of the poor.

 

Richard Camden, in 1642, gave by will forty perches of land, for the use of the poor, and of the annual produce of 15s. now vested in the minister and churchwardens.

 

Gervas Cartwright, esq. and his two sisters, in 1710 and 1721, gave by deed an estate, now of the yearly value of 50l. for teaching fifty poor children to read, write, &c. vested in the minister, churchwardens, and other trustees.

 

The above two sisters, Eleanor and Anne Cartwright, gave besides 100l. for beautifying the chancel, and for providing two large pieces of plate for the communion service; and Mrs. Susan Robetts added two other pieces of plate for the same purpose.

 

There is a large and commodious workhouse lately built, for the use of the poor, to discharge the expence of which, 100l. is taken yearly out of the poor's rate, till the whole is discharged. In 1604, the charges of the poor were 29l. 15s. 11d. In 1779. 1000l.

 

There is a charity school for boys and girls, who are educated, but not cloathed.

 

The poor constantly relieved are about seventy-five, casually fifty-five.

 

This parish is within the ecclesiastical jurisdiction of the dioceseof Canterbury, and deanry of Bridge.

 

The church, which is dedicated to St. Nicholas, is a handsome building, of the form of a cross, consisting of two isles and two chancels, and a cross sept, having a tall spire steeple in the middle, in which are eight bells and a clock. It is very neat and handsome in the inside. In the high or south chancel is a monument for the Roberts's, arms, Argent, three pheons, sable, on a chief of the second, a greybound current of the first; another for the Cartwrights, arms, Or, a fess embattled, between three catherine wheels, sable. In the north wall is a monument for one of the family of Leverick, with his effigies, in armour, lying cross-legged on it; and in the same wall, westward, is another like monument for Sir John Goshall, with his effigies on it, in like manner, and in a hollow underneath, the effigies of his wife, in her head-dress, and wimple under her chin. A gravestone, with an inscription, and figure of a woman with a remarkable high high-dress, the middle part like a horseshoe inverted, for Jane Keriell, daughter of Roger Clitherow. A stone for Benjamin Longley, LL. B. minister of Ash twenty-nine years, vicar of Eynsford and Tonge, obt. 1783. A monument for William Brett, esq. and Frances his wife. The north chancel, dedicated to St. Nicholas, belongs to the manor of Molland. Against the north wall is a tomb, having on it the effigies of a man and woman, lying at full length, the former in armour, and sword by his side, but his head bare, a collar of SS about his neck, both seemingly under the middle age, but neither arms nor inscription, but it was for one of the family of Harflete, alias Septvans; and there are monuments and several memorials and brasses likewise for that family. A memorial for Thomas Singleton, M. D. of Molland, obt. 1710. One for John Brooke, of Brookestreet, obt. 1582, s. p. arms, Per bend, two eagles.—Several memorials for the Pekes, of Hills-court, and for Masters, of Goldstone. A monument for Christopher Toldervy, of Chartham, obt. 1618. A memorial for Daniel Hole, who, as well as his ancestors, had lived upwards of one hundred years at Goshall, as occupiers of it. In the north cross, which was called the chapel of St. Thomas the Martyr, was buried the family of St. Nicholas. The brass plates of whom, with their arms, are still to be seen. A tablet for Whittingham Wood, gent. obt. 1656. In the south cross, a monument for Richard Hougham, gent. of Weddington, and Elizabeth his wife, daughter of Edward Sanders, gent. of Norborne. An elegant monument for Mary, wife of Henry Lowman, esq. of Dortnued, in Germany. She died in 1737, and he died in 1743. And for lieutenant colonel Christopher Ernest Kien, obt. 1744, and Jane his wife, their sole daughter and heir, obt. 1762, and for Evert George Cousemaker, esq. obt. 1763, all buried in a vault underneath, arms, Or, on a mount vert, a naked man, bolding a branch in his hand, proper, impaling per bend sinister, argent and gules, a knight armed on borjeback, holding a tilting spear erect, the point downwards, all counterchanged. On the font is inscribed, Robert Minchard, arms, A crescent, between the points of it a mullet. Several of the Harfletes lie buried in the church-yard, near the porch, but their tombs are gone. On each side of the porch are two compartments of stone work, which were once ornamented with brasses, most probably in remembrance of the Harfleets, buried near them. At the corner of the church-yard are two old tombs, supposed for the family of Alday.

 

In the windows of the church were formerly several coats of arms, and among others, of Septvans, alias Harflete, Notbeame, who married Constance, widow of John Septvans; Brooke, Ellis, Clitherow, Oldcastle, Keriell, and Hougham; and the figures of St. Nicholas, Keriell, and Hougham, kneeling, in their respective surcoats of arms, but there is not any painted glass left in any part of the church or chancels.

 

John Septvans, about king Henry VII.'s reign, founded a chantry, called the chantry of the upper Hall, as appears by the will of Katherine Martin, of Faversham, sometime his wife, in 1497. There was a chantry of our blessed Lady, and another of St. Stephen likewise, in it; both suppressed in the 1st year of king Edward VI. when the former of them was returned to be of the clear yearly certified value of 15l. 11s. 1½d. (fn. 13)

 

The church of Ash was antiently a chapel of east to that of Wingham, and was, on the foundation of the college there in 1286, separated from it, and made a distinct parish church of itself, and then given to the college, with the chapels likewise of Overland and Fleet, in this parish, appurtenant to this church; which becoming thus appropriated to the college, continued with it till the suppression of it in king Edward VI.'s reign, when this part of the rectory or parsonage appropriate, called Overland parsonage, with the advowson of the church, came, with the rest of the possessions of the college, into the hands of the crown, where the advowson of the vicarage, or perpetual curacy of it did not remain long, for in the year 1558, queen Mary granted it, among others, to the archbishop. But the above-mentioned part of the rectory, or parsonage appropriate of Ash, with those chapels, remained in the crown, till queen Elizabeth, in her 3d year, granted it in exchange to archbishop Parker, who was before possessed of that part called Goldston parsonage, parcel of the late dissolved priory of St. Gregory, by grant from king Henry VIII. so that now this parish is divided into two distinct parsonages, viz. of Overland and of Goldston, which are demised on separate beneficial leases by the archbishop, the former to the heirs of Parker, and the latter, called Gilton parsonage, from the house and barns of it being situated in that hamlet, to George Gipps, esq. M. P. for Canterbury. The patronage of the perpetual curacy remains parcel of the possessions of the see of Canterbury.

 

¶At the time this church was appropriated to the college of Wingham, a vicarage was endowed in it, which after the suppression of the college came to be esteemed as a perpetual curacy. It is not valued in the king's books. The antient stipend paid by the provost, &c. to the curate being 16l. 13s. 4d. was in 1660, augmented by archbishop Juxon with the addition of 33l. 6s. 8d. per annum; and it was afterwards further augmented by archbishop Sheldon, anno 28 Charles II. with twenty pounds per annum more, the whole to be paid by the several lessees of these parsonages. Which sum of seventy pounds is now the clear yearly certified value of it. In 1588 here were communicants five hundred; in 1640, eight hundred and fifty. So far as appears by the registers, the increase of births in this parish is almost double to what they were two hundred years ago.

 

www.british-history.ac.uk/survey-kent/vol9/pp191-224

This is my second MOC. I built it as a recreation from Arboretum.

 

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The outpost of Nuphar Lagoon stands on the outskirts of Arboretum, hidden from view by the abundant vegetation typical from the region. It lays at the foot of a small hill around which runs a network of rivers and stagnant pools forming a lagoon renowned for its fluorescent water lilies, also known as Nuphars.

The outpost is not only a storeroom for rare commodities; it also serves as a monitoring station for biological and botanical study.

 

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While trying to apprehend the difficult arcanes of LEGO photography, and just after finishing my first MOC in the form of a tropical castle (Arboretum), I decided to try and build something more focused on landscaping.

The first idea was to build a hill without using too many pieces. After a bit of thinking, I grabbed my daughter's DUPLO and began building the main bulk. Covering the DUPLO bricks with layer upon layer of LEGO brick was only a matter of patience.

I then built the main outpost building. It was fun having to build something stable and symmetrical on an uneven and sloped ground.

The lagoon water actually came later in the build. The tree and cascade came last, together with minifigs taking life in this wacky environment.

 

Hope you enjoy Nuphar Lagoon!

 

Is there a pun about a Rhinoceros Auklet being …some wordplay about horn…..nah too corny…

Anyways … to next shots...

 

Saanichton Spit

(At the tip)

Central Saanich BC

  

At 21:47 GMT, the equinox happened, and so from then on, light is destined to win over darkness. Which meant, of course, that the day before then was the shortest "day", or amount of daylight.

 

This is the end of the year, the build up and excitement before Christmas, and at the same time, looking back at the year, and what has happened in the previous 50 or so weeks. So, a time of mixed emotions, good and bad, happy and sad.

 

But I was on vacation, or not going to work.

 

I am not up to date, but I did all the tasks I was supposed to do, threw a few electronic grenades over the walls, and was now happy not to think of that shit for two whole weeks.

 

For Jools, however, there was half a day to do, and then her employers paid for all those employed at the factory to go to a fancy place in Folkestone for lunch, drinks at the bar and a bottle of wine between four folks.

 

It was, in short, a time for celebration. Something I realise has not happened in my job since I left operational quality, to be happy and give thanks to those we work with. And be recognised for the good job we do.

 

So, I was to take Jools to work, and have the car for the day.

 

Jools was conscious that my plan for the day involved driving to the far west of Kent, so realised I needed an early start, and not dropping her off in Hythe at seven.

 

We left after coffee just after six, driving through Dover and Folkestone on the main road and motorway before turning over the downs into Hythe. I dropped her off in the town, so she could get some walking in. She always didn't walk, as waves of showers swept over the town, and me as I drove back home for breakfast and do all the chores before leaving on a mini-churchcrawl.

 

So, back home for breakfast, more coffee, wash up, do the bird feeders and with postcodes, set out for points in the extreme west. Now, Kent is not a big county, not say, Texas big, but it takes some time to get to some parts of the west of the county. Main roads run mainly from London to the coast, so going cross-country or cross-county would take time.

 

At first it was as per normal up the A20 then onto the motorway to Ashford then to Maidstone until the junction before the M26 starts. One of the reasons for going later was to avoid rush hours in and around Maidstone, Tonbridge and Tunbridge Wells.

 

As it was, after turning down the A road, things were fine until I got to Mereworth, but from there the road began to twist and turn until it lead me into Tonbridge. Once upon a time, this was a sleepy village or small town. The the railways came and it became a major junction. The road to Penshurt took me though the one way system, then down the wide High Street, over the river Medway and up the hill the other side.

 

Two more turns took me to my target, through what were once called stockbroker mansions, then down a hill, with the village laid out before me just visible through the trees.

 

The village was built around the outskirts of Penshurst Place, home to the Sidney family since Tudor times. Just about everything is named the Leicester something, the village having its own Leicester Square, though with no cinemas, and all timber framed houses and painfully picturesque.

 

The church lays behind the houses, the tower in golden sandstone topped with four spirelets.

 

I parked the car, and armed with two cameras, several lenses and a photographer's eye, walked to the church.

 

The reason for coming was I can only remember a little about my previous visit, but the Leicester name thing triggered in my head the thought the memorials and tombs might be worth a revisit.

 

So there I was.

 

Gilbert Scott was very busy here, so there is little of anything prior to the 19th century, but the memorials are there. Including one which features the heads of the children of Robert Sidney (d1702) in a cloud. Including the eldest son who died, apparently, so young he wasn't named, and is recorded as being the first born.

 

This is in the Sidney Chapel where the great and good are buried and remembered, it has a colourful roof, or roof beams, and heraldic shields. It has a 15th century font, which, sadly, has been brightly painted so is gaudy in the extreme.

 

I go around getting my shots, leave a fiver for the church. Go back to the car and program Speldhurst into the sat nav.

 

Its just a ten minute drive, but there is no place to park anywhere near the church. I could see from my slow drive-by the porch doors closed, and I convinced myself they were locked and not worth checking out.

 

I went on to Groombridge, where there is a small chapel with fabulous glass. I had been here before too, but wanted to redo my shots.

 

It was by now pouring with rain, and as dark as twilight, I missed the church on first pass, went to the mini-roundabout only to discover that it and the other church in the village were in Sussex. I turned round, the church looked dark and was almost certainly locked. I told myself.

 

I didn't stop here either, so instead of going to the final village church, I went straigh to Tunbridge Wells where there was another church to revisit.

 

I drove into the town, over the man road and to the car park with no waiting in traffic, how odd, I thought.

 

It was hard to find a parking space, but high up in the parking house there were finally spaced. I parked near the stairs down, grabbed my cameras and went down.

 

I guess I could have parked nearer the church, but once done it would be easier to leave the town as the road back home went past the exit.

 

I ambled down the hill leading to the station, over the bridge and down the narrow streets, all lined with shops. I think its fair to say that it is a richer town than Dover because on one street there were three stores offering beposke designer kitchens.

 

The church is across the road from the Georgian square known at The Pantiles, but it was the church I was here to visit.

 

I go in, and there is a service underway. I decide to sit at the back and observe.

 

And pray.

 

I did not take communion, though. The only one there who didn't.

 

About eight elderly parishioners did, though.

 

I was here to photograph the ceiling, and then the other details I failed to record when we were last here over a decade ago.

 

I was quizzed strongly by a warden as to why I was doing this. I had no answer other than I enjoyed it, and for me that is enough.

 

After getting my shots, I leave and begin the slog back up to the car, but on the way keeping my promise to a young man selling the Big Issue that I would come back and buy a copy. I did better than that in that I gave him a fiver and didn't take a copy.

 

He nearly burst into tears. I said, there is kindness in the world, and some of us do keep our promises.

 

By the time I got to the car park, it was raining hard again. I had two and a half hours to get to Folkestone to pick up Jools after her meal.

 

Traffic into Tunbridge Wells from this was was crazy, miles and miles of queues, so I was more than happy going the other way.

 

I get back to the M20, cruise down to Ashford, stopping at Stop 24 services for a coffee and something to eat. I had 90 minutes to kill, so eat, drink and scroll Twitter as I had posted yet more stuff that morning. In other news: nothing changed, sadly.

 

At quarter past four I went to pick up Jools, stopping outside the restaurant. When she got in she declared she had been drinking piña coladas. Just two, but she was bubby and jabbering away all the way home.

 

With Jools having eaten out, and with snacks I had, no dinner was needed, so when suppertime came round, we dined on cheese and crackers, followed by a large slice of Christmas cake.

 

She was now done for Christmas too.

 

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A large sandstone church of nave, aisles, chancel and chapels that was restored by Sir George Gilbert Scott in 1864. It stands in an excellent position set back from the street in a large well-kept churchyard. The tower is of three stages with four pinnacles strangely set well back from the corners. Inside it is obvious that there have been many rebuildings and repairs, leaving a general character of the Victorian period. The good chancel screen is by Bodley and Garner and dates from 1897. Whilst it is well carved the florid design is more suited to a West Country church than to the Garden of England. The fifteenth-century font has been painted in bold colours in a way that can never have been imagined when it was new! Nearby is the Becket window designed by Lawrence Lee in 1970. It is quite unlike any other window in Kent and has an emphasis on heraldry - the figure of Becket and three knights are almost lost in the patchwork effect. Under the tower is the famous Albigensian Cross, a portion of thirteenth-century coffin lid with the effigy of a woman at prayer. The south chapel, which belongs to Penshurst Place, was rebuilt by Rebecca in 1820 and has a lovely painted ceiling. It contains some fine monuments including Sir Stephen de Pencester, a damaged thirteenth-century knight. Nearby is the large standing monument to the 4th Earl of Leicester (d. 1704) designed by William Stanton. It is a large urn flanked by two angels, above which are the heads of the earls children's floating in the clouds!

 

www.kentchurches.info/church.asp?p=Penshurst

 

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PENSHURST.

THE next parish eastward from Chidingstone is Penhurst, called in the Textus Roffenfis, Pennesherst. It takes its name from the old British word Pen, the height or top of any thing, and byrst, a wood. (fn. 1) It is called in some antient records, Pen cestre, and more vulgarly, Penchester, from some sortified camp or fortress antiently situated here.

 

There is a district in this parish, called Hallborough, which is within the lowy of Tunbridge, the manerial rights of which belong to Thomas Streatfeild, esq. and there is another part of it, comprehending the estate of Chafford, which is within the jurisdiction of the duchy court of Lancaster.

 

THIS PARISH lies in the Weald, about four miles Southward from the foot of the sand hills, and the same distance from Tunbridge town, and the high London road from Sevenoke. The face of the country is much the same as in those parishes last described, as is the soil, for the most part a stiff clay, being well adapted to the large growth of timber for which this parish is remarkable; one of these trees, as an instance of it, having been cut down here, about twenty years ago, in the park, called, from its spreading branches, Broad Oak, had twenty-one ton, or eight hundred and forty feet of timber in it. The parish is watered by the river Eden, which runs through the centre of it, and here taking a circular course, and having separated into two smaller streams, joins the river Medway, which flows by the southern part of the park towards Tunbridge. At a small distance northward stands the noble mansion of Penshurst-place, at the south west corner of the park, which, till within these few years, was of much larger extent, the further part of it, called North, alias Lyghe, and South parks, having been alienated from it, on the grounds of the latter of which the late Mr. Alnutt built his seat of that name, from whence the ground rises northward towards the parish of Lyghe. Close to the north west corner of Penshurst-park is the seat of Redleaf, and at the south west corner of it, very near to the Place, is the village of Penshurst, with the church and parsonage. At a small distance, on the other side the river, southward, is Ford-place, and here the country becomes more low, and being watered by the several streams, becomes wet, the roads miry and bad, and the grounds much covered with coppice wood; whence, about a mile southward from the river, is New House, and the boroughs of Frendings and Kingsborough; half a mile southward from which is the river Medway; and on the further side of it the estate of Chafford, a little beyond which it joins the parish of Ashurst, at Stone cross. In a deep hole, in the Medway, near the lower end of Penshurst-park, called Tapner's-hole, there arises a spring, which produces a visible and strong ebullition on the surface of the river; and above Well-place, which is a farm house, near the south-east corner of the park, there is a fine spring, called Kidder's-well, which, having been chemically analized, is found to be a stronger chalybeate than those called Tunbridge-wells; there is a stone bason for the spring to rise in, and run to waste, which was placed here by one of the earls of Leicester many years ago. This parish, as well as the neighbouring ones, abounds with iron ore, and most of the springs in them are more or less chalybeate. In the losty beeches, near the keeper's lodge, in Penshurst-park, is a noted beronry; which, since the destruction of that in lord Dacre's park, at Aveley, in Effex, is, I believe, the only one in this part of England. A fair is held here on July I, for pedlary, &c.

 

The GREATEST PART of this parish is within the jurisdiction of the honour of Otford, a subordinate limb to which is the MANOR of PENSHURST HALIMOTE, alias OTFORD WEALD, extending likewise over parts of the adjoining parishes of Chidingstone, Hever, and Cowden. As a limb of that of honour, it was formerly part of the possessions of the see of Canterbury, and was held for a long time in lease of the archbishops, by the successive owners of Penhurst manor, till the death of the duke of Buckingham, in the 13th year of king Henry VIII. in the 29th year of which reign, Thomas Cranmer, archbishop of Canterbury, exchanging Otford with the crown, this, as an appendage, passed with it, and it remained in the hands of the crown till the death of king Charles I. 1648; after which the powers then in being, having seised on the royal estates, passed an ordinance to vest them in trustees, to be sold, to supply the necessities of the state; when, on a survey made of this manor, in 1650, it appeared that the quit-rents due to the lord, from the freeholders in free socage tenure, were 16l. 18s. 3½d. and that they paid a heriot of the best living thing, or in want thereof, 3s. 4d. in money. That there were copyholders holding of it, within this parish, by rent and fine certain; that there was a common fine due from the township or borough of Halebury, and a like from the township of Penshurst, a like from the townships or boroughts of Chidingstone, Standford, and Cowden; and that there was a court baron and a court leet. The total rents, profits, &c. of all which amounted to 23l. and upwards. (fn. 2) After this the manor was sold by the state to colonel Robert Gibbon, with whom it remained till the restoration of king Charles II. when the possession and inheritance of it returned to the crown, where it remains, as well as the honour of Otford, at this time, his grace the duke of Dorset being high steward of both; but the see farm rents of it, with those of other manors belonging to the above mentioned honour, were alienated from the crown in king Charles II.'s reign, and afterwards became the property of Sir James Dashwood, bart. in whose family they still continue.

 

SOON AFTER the reign of William the Conqueror Penshurst was become the residence of a family, who took their name from it, and were possessed of the manor then called the manor of Peneshurste; and it appears by a deed in the Registrum Roffense, that Sir John Belemeyns, canon of St. Paul, London, was in possession of this manor, as uncle and trustee, in the latter part of king Henry III.'s reign, to Stephen de Peneshurste or Penchester, who possessed it in the beginning of the reign of king Edward I. He had been knighted, and made constable of Dover castle and warden of the cinque ports by Henry III. in which posts he continued after the accession of king Edward I. (fn. 3) He died without issue male, and was buried in the south chancel of this church, under an altar tomb, on which lay his figure in armour, reclining on a cushion. He left Margery, his second wife, surviving, who held this manor at her death, in the 2d year of king Edward II. and two daughters and coheirs; Joane, married to Henry de Cobham of Rundale, second son of John de Cobham, of Cobham, in this county, by his first wife, daughter of Warine Fitz Benedict; (fn. 4) and Alice to John de Columbers, as appears by an inquisition, taken in the 3d year of king Edward II. His arms, being Sable, a bend or, a label of three points argent, still remain on the roof of the cloisters of Canterbury cathedral. Alice, above mentioned, had this manor, with that of Lyghe adjoining, assigned to her for her proportion of their inheritance; soon after which these manors were conveyed to Sir John de Pulteney, son of Adam de Pulteney of Misterton, in Leicestershire, by Maud his wife. In the 15th year of that reign he had licence to embattle his mansion houses of Penshurst, Chenle in Cambridgeshire, and in London. (fn. 5) In the 11th year of king Edward III. Thomas, son of Sir John de Columbers of Somersetshire, released to him all his right to this manor and the advowson of the chapel of Penshurst; (fn. 6) and the year following Stephen de Columbers, clerk, brother of Sir Philip, released to him likewise all his right in that manor and Yenesfeld, (fn. 7) and that same year he obtained a grant for free warren within his demesne lands within the former. He was a person greatly esteemed by that king, in whose reign he was four times lord mayor of London, and is noticed by our historians for his piety, wisdom, large possessions, and magnificent housekeeping. In his life time he performed several acts of public charity and munificence; and among others he founded a college in the church of St. Laurence, since from him named Poultney, in London. He built the church of Little Allhallows, in Thamesstreet, and the Carmelites church, and the gate to their monastery, in Coventry; and a chapel or chantry in St. Paul's, London. Besides which, by his will, he left many charitable legacies, and directed to be buried in the church of St. Laurence above mentioned. He bore for his arms, Argent a fess dancette gules, in chief three leopards heads sable.

 

By the inquisition taken after his death, it appears, that he died in the 23d year of that reign, being then possessed of this manor, with the advowson of the chapel, Lyghe, South-park, and Orbiston woods, with lands in Lyghe and Tappenash, and others in this county. He left Margaret his wife surviving, who married, secondly, Sir Nicholas Lovaine; and he, in her right, became possessed of a life estate in this manor and the others above mentioned, in which they seem afterwards jointly to have had the see; for Sir William Pulteney, her son, in his life time, vested his interest in these manors and estates in trustees, and died without issue in the 40th year of the same reign, when Robert de Pulteney was found to be his kinsman and next heir, who was ancestor to the late earl of Bath. The trustees afterwards, in the 48th year of it, conveyed them, together with all the other estates of which Sir John Pulteney died possessed, to Sir Nicholas Lovaine and Margaret his wife, and their heirs for ever. Sir Nicholas Lovaine above mentioned was a descendant of the noble family of Lovaine, a younger branch of the duke of Lorraine. Godfrey de Lovaine, having that surname from the place of his birth, possessed lands in England in right of his mother, grand daughter of king Stephen, of whose descendants this Nicholas was a younger branch. He bore for his arms, Gules, a fess argent between fourteen billets or; which arms were quartered by Bourchier earl of Bath, and Devereux earl of Essex. (fn. 8) He died possessed of this manor, leaving one son, Nicholas, who having married Margaret, eldest daughter of John de Vere, earl of Oxford, widow of Henry lord Beaumont, died without issue, and a daughter Margaret, who at length became her brother's heir.

 

Margaret, the widow of Nicholas the son, on his death, possessed this manor for her life, and was afterwards re-married to Sir John Devereux, who in her right held it. He was descended from a family which had their surname from Eureux, a town of note in Normandy, and there were several generations of them in England before they were peers of this realm, the first of them summoned to parliament being this Sir John Devereux, who being bred a soldier, was much employed in the wars both of king Edward III. and king Richard II. and had many important trusts conferred on him. In the 11th year of the latter reign, being then a knight banneret, he was made constable of Dover castle and warden of the cinque ports. In the 16th year of that reign, he had licence to fortify and embattle his mansion house at Penshurst, the year after which he died, leaving Margaret his wife, surviving, who had an assignation of this manor as part of her dower. She died possessed of it, with Yensfield, and other lands, about the 10th year of king Henry IV. and was succeeded in them by Margaret, sister and heir of her husband, Nicholas Lovaine, who was twice married, first to Rich. Chamberlayn, esq. of Sherburn, in Oxfordshire; and secondly to Sir Philip St. Clere, of Aldham, St. Clere, in Ightham. (fn. 9) Both of these, in right of their wife, seem to have possessed this manor, which descended to John St. Clere, son of the latter, who conveyed it by sale to John duke of Bedford, third son of king Henry IV. by Mary his wife, daughter and coheir of Humphry de Bohun, earl of Hereford, Essex, and Northampton.

 

The duke of Bedford was the great support and glory of this kingdom in the beginning of the reign of his infant nephew, king Henry VI. his courage was unequalled, and was followed by such rapid success in his wars in France, where he was regent, and commanded the English army in person, that he struck the greatest terror into his enemies. The victories he acquired so humbled the French, that he crowned king Henry VI. at Paris, in which city he died greatly lamented, in the 14th year of that reign, (fn. 10) and was buried in the cathedral church of Roan. He was twice married, but left issue by neither of his wives. He died possessed of the manors of Penshurst, Havenden-court, and Yensfield, as was then found by inquisition; in which he was succeeded by his next brother, Humphry duke of Gloucester, fourth son of king Henry IV. by Mary his wife, daughter and coheir of Humphry de Bohun, earl of Hereford, &c. who in the 4th year of king Henry V. had had the offices of constable of Dover castle and warden of the cinque ports, granted to him for the term of his life; and in the 1st year of king Henry VI. was, by parliament, made protector of England, during the king's minority; and the same year he was constituted chamberlain of England, at the coronation of that prince was appointed high steward of England.

 

The duke was, for his virtuous endowments, surnamed the Good, and for his justice was esteemed the father of his country, notwithstanding which, after he had, under king Henry VI. his nephew, governed this kingdom twenty-five years, with great applause, he was, by the means of Margaret of Aujou, his nephew's queen, who envied his power, arrested at the parliament held at St. Edmundsbury, by John lord Beaumont, then high constable of England, accompanied by the duke of Buckingham and others; and the night following, being the last of February, anno 25 king Henry VI. he was found dead in his bed, it being the general opinion that he was strangled; though his body was shewn to the lords and commons, with an account of his having died of an apoplexy or imposthume; after which he was buried in the abbey of St. Alban, near the shrine of that proto-martyr, and a stately monument was erected to his memory.

 

This duke married two wives; first Jaqueline, daughter and heir of William duke of Bavaria, to whom belonged the earldoms of Holand, Zeland, and Henault, and many other rich seignories in the Netherlands; after which he used these titles, Humphrey, by the grace of God, son, brother, and uncle to kings; duke of Gloucester; earl of Henault, Holand, Zeland, and Pembroke; lord of Friesland; great chamberlain of the kingdom of England; and protector and defender of the kingdom and church of England. But she having already been married to John duke of Brabant, and a suit of divorce being still depending between them, and the Pope having pronounced her marriage with the duke of Brabant lawful, the duke of Gloucester resigned his right to her, and forthwith, after this, married Eleanor Cobham, daughter of Reginald, lord Cobham of Sterborough, who had formerly been his concubine. A few years before the duke's death she was accused of witchcrast, and of conspiring the king's death; for which she was condemned to solemn pennance in London, for three several days, and afterwards committed to perpetual imprisonment in the isle of Man. He built the divinity schools at Oxford, and laid the foundation of that famous library over them, since increased by Sir Thomas Bodley, enriching it with a choice collection of manuscripts out of France and Italy. He bore for his arms, Quarterly, France and England, a berdure argent. (fn. 11)

 

By the inquisition, taken after his death, it appears, that he died possessed of the manors of Penshurst, Havenden-court, and Yensfield, in this county, and that dying, without issue, king Henry VI. was his cousin and next heir.

 

¶The manor of Penshurst thus coming into the hands of the crown, was granted that year to Humphrey Stafford, who, in consideration of his near alliance in blood to king Henry VI. being the son of Edmund earl of Stafford, by Anne, eldest daughter of Thomas of Woodstock, duke of Gloucester, sixth and youngest son of king Edward III. Mary, the other daughter and coheir, having married Henry of Bullingbroke, afterwards king Henry IV. and grandfather of king Henry VI. (fn. 12) as well as for his eminent services to his country, had been, in the 23d year of that reign, created duke of Buckingham. He was afterwards slain in the battle of Northampton, sighting valiantly there on the king's part. By the inquisition, taken after his death, it appears that he died in the 38th year of that reign possessed of this manor of Penshurst, among others in this county and elsewhere; which afterwards descended down to his great grandson, Edward duke of Buckingham, but in the 13th year of Henry VIII. this duke being accused of conspiring the king's death, he was brought to his trial, and being found guilty, was beheaded on Tower-hill that year. In the par liament begun April 15, next year, this duke, though there passed an act for his attainder, yet there was one likewise for the restitution in blood of Henry his eldest son, but not to his honors or lands, so that this manor, among his other estates, became forseited to the crown, after which the king seems to have kept it in his own hands, for in his 36th year, he purchased different parcels of land to enlarge his park here, among which was Well-place, and one hundred and seventy acres of land, belonging to it, then the estate of John and William Fry, all which he inclosed within the pale of it, though the purchase of the latter was not completed till the 1st year of king Edward VI. (fn. 13) who seems to have granted the park of Penshurst to John, earl of Warwick, for that earl, in the 4th year of that reign, granted this park to that king again in exchange for other premises. In which year the king granted the manor of Penshurst, with its members and appurtenances, late parcel of the possessions of the duke of Buckingham, to Sir Ralph Fane, to hold in capite by knight's service, being the grandson of Henry Vane, alias Fane, of Hilsden Tunbridge, esq. but in the 6th year of that reign, having zealously espoused the interests of the duke of Somersee, he was accused of being an accomplice with him, and being found guilty, was hanged on Tower-hill that year.

  

PENSHURST is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester, and being a peculiar of the archbishop of Canterbury, is as such within the deanry of Shoreham.

 

The church, which is a large handsome building, is dedicated to St. John Baptist. It consists of three isles, a cross isle, and three chancels, having a tower steeple at the west end.

 

Among other monuments and inscriptions in this church are the following:—In the middle isle, a grave-stone, with the figure of a man and his two wives, now torn off, but the inscription remains in black letter, for Watur Draynowtt, and Johanna and Anne his wives, obt. 1507; beneath are the figures of four boys and three girls, at top, arms, two lions passant, impaling or, on a chief, two lions heads erased; a memorial for Oliver Combridge, and Elizabeth his wife, obt. 1698. In the chancel, memorials on brass for Bulman and Paire; within the rails of the altar a gravestone for William Egerton, LL. D. grandon of John, earl of Bridgwater, rector of Penshurst and Allhallows, Lombard-street, chancellor and prebendary of Hereford, and prebendary of Can terbury, he left two daughters and one son, by Anne, daughter of Sir Francis Head, obt. Feb. 26, 1737; on the south side of the altar, a memorial in brass for John Bust, God's painful minister in this place for twenty-one years; on the north side a mural monument for Gilbert Spencer, esq. of Redleafe-house, obt. 1709, arms, Spencer, an escutcheon of pretence for Combridge; underneath is another stone, with a brass plate, and inscription for William Darkenol, parson of this parish, obt. July 12, 1596; on grave-stones are these shields in brass, the figures and inscriptions on which are lost, parted per fess, in chief two lions passant guardant in base, two wolves heads erased; on another, the same arms, impaling a chevron between three padlocks; another, a lion rampant, charged on the shoulder with an annulet, and another, three lions passant impaling parted per chevron, the rest defaced. In the south chancel, on a stone, the figures of a man and woman in brass, and inscription in black letter, for Pawle Yden, gent. and Agnes his wife, son of Thomas Yden, esq. obt. 1564, beneath is the figure of a girl, arms, four shields at the corner of the stone, the first, Yden, a fess between three helmets; two others, with inscriptions on brass for infant children of the Sidney family; a small grave-stone, on which is a cross gradated in brass, and inscription in black letter, for Thomas Bullayen, son of Sir Thomas Bullayen; here was lately a monument for lady Mary . . . . . . eldest daughter of the famous John, duke of Northumberland, and sister to Ambrose, earl of Warwick, Robert, earl of Leicester, and Catharine, countess of Huntingdon, wife of the right hon. Sir Henry Sidney, knight of the garter, &c. at the west end of the chancel, a mural monument for Sir William Coventry, youngest son of Thomas, lord Coventry, he died at Tunbridge-wells, 1686; on the south side a fine old monument of stone, under which is an altar tomb, and on the wall above it a brass plate, with inscription in black letter, for Sir William Sidney, knightbanneret, chamberlain and steward to king Edward VI. and the first of the name, lord of the manor, of Penshurst, obt. 1553; on the front are these names, Sir William Dormer, and Mary Sidney, Sir William Fitzwilliam, Sir James Haninngton, Anne Sidney, and Lucy Sidney; on the south side a handsome monument, with the arms and quarterings of the Sidney family, and inscription for lord Philip Sidney, fifth earl of Leicester, &c. obt. 1705, and was succeeded by John, his brother and heir; for John, sixth earl of Leicester, cosin and heir of Henry Sidney, earl of Romney, &c. obt. 1737, his heirs Mary and Elizabeth Sidney, daughters and heirs of his brother the hon. Thomas Sidney, third surviving son of Robert, earl of Leicester, became his joint heirs, for Josceline, seventh earl of Leicester, youngest brother and heir male of earl John, died s. p. in 1743, with whom the title of earl of Leicester expired; the aforesaid Mary and Elizabeth, his nieces, being his heirs, of whom the former married Sir Brownlow Sherard, bart. and Elizabeth, William Perry, esq. on the monument is an account of the several personages of this noble family, their descent, marriages and issue, too long by far to insert here; on the north side is a fine monument for several of the infant children of this family, and beneath is an urn and inscriptions for Frances Sidney, fourth daughter, obt. 1692, æt. 6; for Robert Sidney, earl of Leicester, &c. fourth earl of this family, who married lady Elizabeth Egerton, by whom he had fifteen children, of whom nine died young, whose figures, as cherubims, are placed above, obt. 1702; Robert, the eldest son, obt. 1680, æt. 6; Elizabeth, countess of Leicester, obt. 1709, and buried here in the same vault with her lord. In the same chancel is a very antient figure in stone of a knight in armour, being for Sir Stephen de Penchester, lord warden and constable of Dover-castle in the reign of king Edward I. It was formerly laid on an altar tomb in the chancel, but is now placed erect against the door on the south side, with these words painted on the wall above it, SIR STEPHEN DE PENCHESTER. In the fourth window of the north isle, are these arms, very antient, within the garter argent a fess gules in chief, three roundels of the second, being those of Sir John Devereux, K. G. lord warden and constable, and steward of the king's house in king Richard II's reign; near the former was another coat, nothing of which now remains but the garter. In the same windows are the arms of Sidney; in the second window is this crest, a griffin rampant or. In the east window of the great chancel are the arms of England. In the east window of the south chancel are the arms of the Sidney family, with all the quarterings; there were also, though now destroyed, the arms of Sir Thomas Ratcliff, earl of Sussex, and lady Frances Sidney.

 

This church was of the antient patronage of the see of Canterbury, and continued so till the 3d year of queen Elizabeth, when Matthew, archbishop of Canterbury, granted it to that queen in exchange for the parsonage of Earde, alias Crayford; and though in the queen's letters patent dated that year, confirming this exchange, there is no value expressed, yet in a roll in the queen's office, it is there set down, the tenth deducted, at the clear yearly value of 32l. 1s. 9d. (fn. 24)

 

¶Soon after which the queen granted the church of Penshurst to Sir Henry Sidney, whose descendants, earls of Leicester, afterwards possessed it; from whom it passed, in like manner as Penshurst manor and place, to William Perry, esq. who died possessed of it in 1757, leaving Elizabeth his wife surviving, who continued proprietor of the advowson of this church at the time of her death in 1783; she by her last will devised it to trustees for the use of her eldest grandson, John Shelley, esq who has since taken the name of Sidney, and is the present owner of it.

 

In the 15th year of king Edward I. this church was valued at thirty marcs. By virtue of the commission of enquiry into the value of ecclesiastical livings, taken in 1650, issuing out of chancery, it was returned that the tithes belonging to the parsonage of Penshurst were one hundred and ten pounds per annum, and the parsonage house and glebe lands about fifty pounds per annum, the earl of Leicester being patron, and master Mawdell, minister, who received the profits for his salary. (fn. 25)

 

The annual value of it is now esteemed to be four hundred pounds and upwards. The rectory of Penshurst is valued in the king's books at 30l. 6s. 0½d. and the yearly tenths at 3l. 0s. 7½d. (fn. 26)

 

John Acton, rector of this parish, in 1429, granted a lease for ninety-nine years, of a parcel of his glebe land, lying in Berecroft, opposite the gate of the rectory, containing one acre one rood and twelve perches, to Thomas Berkley, clerk, Richard Hammond, and Richard Crundewell, of Penshurst, for the purpose of building on, at the yearly rent of two shillings, and upon deaths and alienations, one shilling to be paid for an heriot, which lease was confirmed by the archbishop and by the dean and chapter of Canterbury. (fn. 27)

 

www.british-history.ac.uk/survey-kent/vol3/pp227-257

... this is a long and short series of photographs taken in Sicily (Italy) a few days ago ...

  

...questa una serie, lunga e corta, di fotografie realizzate in Sicilia, qualche giorno fa ...

  

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man is he adoooorable!! but i keep wishing for a tan cookie. In this tan. And the only ones around are FG cookies :/

Anyways, still thinking if he'll stay or if he'll go, while i keep trying to grow the money tree

 

Gargoyle is a mouth for ejected words of sweeping Lucifer this took other angels that had the seed of desire planted within them, for it is selfish desires that fuel the ego. He was expelled from the higher regions because he no longer had the Christic virtues but had the ego crystallized instead. Since we assert that selfish desires and interests strengthen the egos hold on us, it is also true that altruistic, compassionate service vivify the Christic force within us that stirs us to self-sacrifice for humanity (The hanged man). Can 'Lucifer' be the Hanged Man #12 card ? Here are a few depictions of the card for reference first: The Hanged Man...also known as Perspective....now also known as "Lucifer"....here's why I think this is an awesome pictorial for the meaning. What is the central meaning for the Hanged Man?

Letting go...as in accepting God's Will (give me a chance to explain...just a little more)

Giving up control

Accepting what is

Putting others first

NOW WAIT A MINUTE, ERIC !! You said this would all make sense....Lucifer isn't this way!

...TRUE.....and that's my point. He is the card's "shadow side" (or Reversed). The shadow side of every card is the not-so-well known or publicized meanings that are just as much true as the upright meanings...just from a different 'perspective' (like how i tied that all in...LOL)

Lucifer...Satan....the Devil....whoever you may call him....he IS the Hanged Man's other half to complete the whole story.

Let's look at the original card again...upside down or Shadow side: This way what does the card suggest? The man is now grounded again, able to walk on his OWN TWO FEET, under his OWN power. What about his head? It's still a-glow with enlightenment ! But wait....I thought the man got his enlightenment while hanging upside and submitting? He did....but he also CAN on his own...

...just like Lucifer did !

Remember the first card above said "New Vision"? The figure was 'standing tall' with wings spread, leaving the corpse on the ground that was a slave to the 'old ways'. Keeping these images in mind lets see the meanings of the Hanged Man again...as it's 'True' other "Shadow"

Reversing...turning the world around...overturning old priorities

Seeing things from a new angle or perspective

Up-Ending the old order...doing an about-face

Living in the moment...for the NOW !

Defiance

Self-assertion

Sound more like the Lucifer you know? Let's look again: What we are witnessing is the moment Lucifer made his choice to rebel...and just BE HIMSELF ! On the left...heaven...his appointment there, where he was told what to do and had limited choice. On the right, FREEDOM as not a PLACE, but an IDEA....where he stretches his hand out in acceptance (notice the other is more closed with a "shackle of light" restricting it's movement).

Notice, also, the color of his wings: white on left from that of God's control, dark on right to show expansive freedom like that of space. In-between there is a struggle for control, for power, and for self-enlightenment. Both God and now Lucifer know this....the time for a new perspective has come...and Lucifer chose FREE WILL.

Whether I believe in Lucifer or not is unimportant...only the symbolism here to help see the relationship of the meanings of both Light and Shadow...neither one more important than the other....both necessary to the True meaning of the Hanged Man card.

Which side are you? Do you submit to what others tell you is right...or do you find you listen to what your heart tells you? You may have more in common with this card than you previously thought ! Cheers !

Eric "MoonLightTrucker"

“Esoterically, the Hanged Man is the human spirit which is suspended from heaven by a single thread. Wisdom, not death, is reward for this voluntary sacrifice during which the human soul, suspended above the world of illusion, and meditating upon its unreality, is rewarded by the achievement of self-realization.” – Manly P. Hall, The Secret Teachings of All Ages.

In the Tarot with the twelfth (12th) card called ‘The Hanged Man”or in French, “Le Pendu.” The Hanged Man (XII) is the twelfth trump or Major Arcana card in most traditional Tarot decks.

 

This card portrays a young man hanging upside down by his left leg from a horizontal beam, the latter supported by two tree trunks from each of which six branches have been removed. The right leg of the youth is crossed in back of the left and his arms are folded behind his back in such a way as to form a cross surmounting a downward pointing triangle. According to Elphias Levi, the Hanged Man thus forms an inverted symbol of sulphur. Elphias Levi had stated in his book, Transcendental Magic; ” It is also implied fantastically that the Roman alphabet is related to Tarot cards, but whereas the Hebrew Mem answers to the card of Death the Roman M is referred to the Hanged Man, Resh to the Judgement card but R to the Blazing Star.” Levi likens the hanged man to the legend of Prometheus, the titan who gave fire to mankind and in turn suffered the wrath of Zeus by becoming the eternal sufferer, not just by being bound to a rock, but to also have his liver fed upon by an eagle each day. the Egyptian Tarot the hanged man is hung upside down between two palm trees, which is said to signify the Sun God who dies perennially for his world. In some Tarot decks, the figure in the 12th card carries under each arm a money bag from which coins are escaping. Some people have said that this latter card is that of Judas Iscariot who is said to have gone forth and hanged himself, the money bags representing the payment he received for his crime. The Hanged Man is a form of Pittura infamante;

 

(Italian for “defaming portrait”; plural pitture infamanti) is a genre of defamatory painting and relief, common in Renaissance Italy. It came to be regarded as a form of art rather than effigy; the power of the genre derived from a feudal-based code of honor, where shame was one of the most significant social punishments. Common themes of pittura infamante—which were meant to be humiliating—include depicting the subject as wearing a mitre or hanging upside down, being in the presence of unclean animals such as pigs or donkeys or those deemed evil like snakes; pittura infamante would also contain captions listing the offenses of the subject.Pittura infamante could originate as more favorable depictions, only to be transformed after the subject had fallen out of favor.

By T. W. Windeatt. (Read at Torquay, July, 1893.)

 

The little town and ancient borough of Totnes has during its lengthened history been the birthplace of men, not a few of whom have made their mark in the world, and not the least of these is one born in the present century – Wills, the Australian explorer – whose name deserves to be enshrined in the Transactions of this Association.

 

William John Wills was born in Totnes on the 5th January, 1834, being the son of William Wills, a surgeon then practising in Totnes, and Sarah, youngest daughter of William Galley, an old and respected inhabitant.* They both spent the latter part of their lives in and died at Torquay. As a boy Wills seems to have early developed an enquiring and thoughtful mind. His father says he was never a child in the common acceptation of the term, as he gave early indication of diligence and discretion scarcely compatible with the helplessness and simplicity of such tender years. He was educated at the Ashburton Grammar School, where he went as a boarder when eleven years of age, and of which school Mr. Paige, who still survives, was then the head master. A deep cutting in one of the benches in the old chapel of St Lawrence, then and now the schoolhouse, “W. J. WILLS” is still to be seen and records his sojourn there. Mr. Fabyan Amery, one of his schoolfellows, speaks of him as having always been a very scientific boy, and very observant of natural phenomena, which he always tried to get some scientific reason for. There appears to have been nothing remarkable in his progress at school, though his master commended his steady diligence and uniform propriety of conduct Mr. Paige remarked on one occasion to his father, “It vexes me that John does not take a top prize, for I see by his countenance that he understands as much, if not more, than any boy in my school; yet from want of readiness in answering he allows very inferior lads to win the tickets from him.”

 

* Henry Le Visconte, who was first lieutenant in the Erebus, and perished in the Franklin Expedition, was first cousin to Mrs. Wills.

 

He left school when sixteen and commenced to study medicine in his father’s surgery. In 1852 he studied practical chemistry under Dr. John Stenhouse at St. Bartholomew’s Hospital, who spoke of him as one of his most promising pupils, and ventured the assurance that in two years he would be second to none in England in practical chemistry.

 

In 1852 Dr. Wills determined to join the exodus then pouring out from England to Australia, engaged as medical attendant on board the Ballaarat, and arranged to take out the subject of my sketch, and a younger brother Tom with him. A few days after this arrangement was made Wills came to his father, and with that expression in his countenance so peculiarly his own, said, “My dear father, I have a favour to ask of you. I see my mother is grieving, although she says nothing, at our all leaving her together. Let Tom and me go alone. I will pledge myself to take care of him.” After a consultation this new plan was agreed upon. Dr. Wills released himself from his engagement with Messrs. Simpkins and Marshall for the Ballaarat, and secured two berths for the boys in one of Mr. W. S. Lindsay’s ships, which at that time were conveying living freights to Melbourne, their Channel port of departure being Dartmouth.

 

Wills’s love of knowledge in its details is evidenced by a story told by his father of him at this time. “I found,” he said, “that William had shortly before sailing expended some money on a quantity of stuff rolled up like balls of black rope-yarn, and exclaimed with astonishment, ‘In the name of goodness, are you going to chew or smoke all the way to Australia?'” for the commodity was the good old pigtail tobacco. He said smiling, “This is to make friends with the sailors. I intend to learn something about a ship by the time we reach our destination.” His mode of proceeding, as he told his father, was first to secure the good graces of the crew through the persuasive medium of the pigtail; then to learn the name and use of every rope, and of every part of the ship’s tackle from stem to stern. He thus soon acquired the art of splicing and reefing, and was amongst the first to go aloft in a storm, and to lend a hand in taking in topsails.

 

On arriving in Australia the two lads obtained situations as shepherds at Deniliquin, about 200 miles from Melbourne, at £30 a year and their rations. In August, 1853, Dr. Wills reached Melbourne, but it was some two months after landing before he ascertained his sons’ location, and joined them at their sheep station. William subsequently removed to Ballarat with his father, where he remained twelve months attending to patients in his father’s absence, and opening a gold office, where he perfected a plan of his own for weighing specimens containing quartz and gold in water, so as to find the quantity of each component. His thoughts and conversation were, however, constantly reverting to the interior of the great continent, and to the hope that he would some day undertake the journey to the Gulf of Carpentaria. In 1856 Wills obtained an appointment under Mr. F. Byerly, a gentleman in the Survey Department, and under him he commenced to learn surveying. A letter of advice as to the study of science written to his youngest brother at Totnes while he was engaged on a survey at an out station (St. Arnaud) evidenced his earnest love of science, and the following paragraph in it, referring to the study of astronomy, which I venture to think worth quoting, shows he had no difficulty in reconciling science and religion:

 

“As the great object of the science is the correction of error and the investigation of truth, it necessarily leads all those that feel an interest in it to a higher appreciation and desire for truth; and you will easily perceive that a man having a knowledge of all these vast worlds, so much more extensive than our own, must be capable of forming a far higher estimate of that Almighty Being who created all these wonders than one who knows nothing more than the comparatively trifling things that surround us on earth.”

 

Another paragraph at the end of this letter speaks for itself, and gives us the key to the man:

 

“One other piece of advice I must give you before I shut up; that is, never try to show off your knowledge, especially in scientific matters. It is a sin that certain persons we know have been guilty of. The first step is to learn your own ignorance, and if ever you feel inclined to make a display, you may be sure you have as yet learned nothing.”

 

In 1860 an expedition was organized by the colony of Victoria for the exploration of Australia, and to ascertain the nature of the interior of the great continent, which was then a sealed book; for up to that time the efforts towards exploration had been confined to lonely wanderings through the outer boundaries of the unknown continent, and opinions varied as to whether the interior was a vast inland sea, as Oxley and the first of the explorers believed, or whether it was a stony desert unfit for man and beast, as Sturt concluded.

 

Mr. Ambrose Kyte, whose name was, however, concealed from the public at the time, offered £1,000 as an inducement to the Government and others to come forward and raise funds for the exploration. Parliament voted £6,000, and subscriptions from the public raised the fund to £9,000. A Committee of the Royal Society undertook the superintendence of the arrangements. Twenty-four camels were imported from India with native drivers, and provisions and stores for twelve months were provided. After considerable delay the choice of a leader fell upon Robert O’Hara Burke. He was forty years of age, an Irishman from county Galway. When quite a youth he served in an Austrian cavalry regiment, and subsequently in the Irish Constabulary and the Police Force of Victoria; possessing bravery and dauntless courage, he had no special aptitude or scientific training to lead such an Expedition. He was enthusiastic and impulsive but was unfortunately without the indispensable experience of a seasoned bushman.

 

The appointment of second in command fell upon Mr. G. I. Landells, who owed his preferment to the circumstance of his having been employed to bring the camels from India, an appointment, however, which, as the sequel shows, was a most unfortunate one. Wills, who by this time was a seasoned bushman, with great powers of endurance, tendered his services as astronomer and guide without thinking of any distinct post of command, his object being exclusively scientific. Dr. Ludwick Becker was appointed naturalist and artist, Dr. Herman Beckler as botanist and medical adviser. Ten white men, among whom was John King (a private soldier) and three sepoys, were appointed to accompany the Expedition.

 

The explorers left Melbourne on the 20th August, 1860, amid considerable enthusiasm; nearly the whole population suspending ordinary business, and turning out to witness the start. The mayor of Melbourne publicly addressed them, and wished them God-speed, and through the settled districts their progress, which was slow, was a kind of triumphal march. The route marked out for them was to strike the river Darling, then the lower Barcoo (Cooper’s Creek), and from that point to go northwards to the Gulf of Carpentaria.

 

Swan Hill, on the Murray, which, properly speaking, was the northern boundary of the colony of Victoria, was reached on September 8th. At Balranald, beyond the Murray, Burke found it impossible to get on any longer with his foreman (Ferguson) and discharged him. He had, however, no sooner rid himself of this troublesome man than Mr. Landells, his second in command, began to sow dissension, and to exhibit insubordination in an unmistakable manner. This reached a crisis by the time they came to Menindie, on the Darling, and after a violent scene Landells resigned, returning to Melbourne full of violent complaints against Burke, and Dr. Beckler was foolish enough to follow Landells’ example of resigning, on the alleged ground that he did not like the way Burke spoke to Landells. Fortunately for Burke’s reputation a very full account of all that took place was written at the time by Wills to Professor Neumayer, and the committee expressed their entire approbation of Burke’s conduct, an opinion shared in by the general public, as evidenced by the newspapers of that date. Burke, on the resignation of Mr. Landells, immediately promoted Wills to the post he had vacated, which appointment the committee confirmed. Here there was perfect union and reciprocal understanding. Neither had petty jealousies or reserved views. The success of the expedition was their object, not personal glory their aim. The leader had every confidence in his second, and the second was proud of his leader. But Mr. Burke committed an error in the selection of Mr. Wright for the third position in command, without any previous knowledge or experience of his capabilities. In this he acted from his impulsive nature, and the consequences bore heavily on his own and Wills’ fate.

 

Burke then made his second mistake by dividing his party, and on 19th October left Menindie, where he had formed a depot, with about one half of his number, leaving the others behind, and made a rush to the Barcoo. He reached Torowota on 29th October, and from that encampment forwarded a despatch, and an exhaustive surveying report from Wills, to the secretary of the expedition. In his own despatch Burke said:

 

“I consider myself very fortunate in having Mr, Wills as my second in command. He is a capital officer, zealous and untiring in the performance of his duties, and I trust he will remain my second as long as I am in charge of the expedition.”

 

Burke sent Wright back to Menindie with instructions to follow him up with the remainder of the camels to Cooper’s Creek, and Wright himself admitted he gave Burke his word to take the remainder of the party out as soon as he arrived at Menindie. This, however, he omitted to do, and unaccountably delayed making any start until the 26th January, 1861, and to this criminal delay may be attributed the whole of the crushing disaster which subsequently overtook the expedition.

 

Cooper’s Creek, where a camp was formed, was reached on the 11th November. In a letter to one of his sisters from there Wills describes the place as follows:–

 

“To give you an idea of Cooper’s Creek, fancy extensive flat, sandy plains, covered with herbs dried like hay, and imagine a creek or river, somewhat similar in appearance and size to the Dart above the Weir, winding its way through these flats, having its banks densely clothed with gum trees and other evergreens. So far there appears to be a considerable resemblance, but now for the difference. The water of Cooper’s Creek is only a number of waterholes. In some places it entirely disappears, the water in flood-time spreading all over the flats, and forming no regular channel.”

 

While awaiting the arrival of the tardy Wright, short explorations of the adjoining country were made, chiefly by Wills, with the view of examining two or three promising routes to the Gulf of Carpentaria. On the last of these trips Wills penetrated eighty miles, and would have gone further, but the men in charge of the camels fell asleep and let them escape, and the return had to be done on foot in a broiling sun of 146 degrees, no shade, and very little water.

 

Impatient at Wright’s delay, and irritated almost to madness in waiting for him, and seeing the time slipping by, Burke and Wills determined to make a dash for the Gulf of Carpentaria while the opportunity still remained to them.

 

Burke again divided his small party, and taking Wills, King, and Grey, one horse, six camels, and three months’ provisions, started on Sunday, the 16th December, for a dash across the continent. Four men – Brahe, Patten, McDonnough, and Dost Mahomet – with six camels and twelve horses, were left at the camp at Cooper’s Creek, which was made a depot, and Brahe placed in charge until the arrival of Wright or some other person duly appointed by the committee to take command of the remainder of the expedition at Menindie. A surveyor was expected to be sent on to assist Wills, and plenty of work was laid out for all until the return of Burke and Wills – Brahe receiving the most positive orders to remain at Cooper’s Creek until this took place, three or four months being named as the possible time of absence.

 

Wills strongly advised a direct course northward for the exploring party, but Burke hesitated to adopt it unless he could feel confident of a supply of water. The more westerly course was therefore adopted at the commencement of the journey; but after a day or two they turned to the east, and scarcely deviated throughout from the 141st degree of east longitude.

 

Wills kept a diary giving a full account of the journey to the Gulf from the start to February, 1861, which contains very interesting details of each day’s progress. The first point the explorers made for was Eyre’s Creek, and on their first day’s journey they came upon a large tribe of blacks, who, Wills says, came pestering them to go to their camp and have a dance, and nothing but a threat to shoot them would keep them away. They were fine-looking men, but decidedly not of a warlike nature. The explorers crossed Sturt’s supposed “stony desert”, and did not find it the melancholy waste or bad travelling they were led to expect.

 

On 20th December they came upon a large camp of not less that forty or fifty blacks, who brought them presents of fish, for which they gave them beads and matches. On Christmas-eve they reached Gray’s Creek, and took a day’s rest to celebrate the festival. Their camp was really an agreeable place, an oasis in the desert; for there they had all the advantage of food and water attendant on the position of a large creek or river, free from the annoyance of the ants, flies, and mosquitoes invariably met with amongst timber or heavy scrub. The following day they struck a magnificent creek coming from the N.N.W., and this they followed until the 30th, by which time it had tended considerably to the N.E. This stream has since received the name of “Burke’s Creek”. The country adjacent they found an alternation of sand ridges and grassy plains. On 8th January they came into green and luxuriant country, improving at every step. Flocks of pigeons rose and flew, and fresh plants and rich vegetation met the eye on every side. On the 10th, passing over fine open plains, they came to the main creek in those flats, “Patten’s Creek”, flowing along the foot of a stony range. From here they pushed on over fairly good country, coming repeatedly upon blacks in their way, some of whom, being surprised by the explorers coming suddenly upon them, fled, dreadfully frightened. On the 30th January, 1861, having got to within a comparatively short distance of the shores of Carpentaria, Burke and Wills determined to leave Gray and King in charge of the camels, one of whom, having got logged in the creek, had already been left behind, and to proceed onwards on foot, leading the horse. The river or creek down which they passed, and which was quite salt, is named in the journal the Cloncurry. The channel making a sudden turn. Wills remarked that it might be a new river. “If it should prove so,” said Burke, “we will call it after my old friend Lord Cloncurry.”

 

In crossing Billy’s Creek the horse got bogged in a quicksand, and was with difficulty rescued. They came again on blacks, who shuffled off, and near their fire was a fine hut, the best they had ever seen, built on the same principle as those at Cooper’s Creek, but much larger and more complete. Hundreds of wild geese, plovers, and pelicans were enjoying themselves in the watercourses on the marshes, the water of which was too brackish to be drunk. They then soon came to a channel through which the sea-water entered. Here they passed three blacks, who pointed out unasked the best way down. Next morning they started at daybreak for the sea, leaving the horse behind short hobbled. Here Wills’ diary, from which I have been quoting, abruptly ends, and was not resumed until the 19th February, when they had already started on their fatal homeward journey. Burke did not keep any regular journal, but in his notes, under date of the 28th March, 1861, he says: “At the conclusion of the report it would be as well to say that we reached the sea, but could not obtain a view of the open ocean, although we made every endeavour to do so.” There is no doubt whatever that the two explorers reached the verge of the northern ocean.*

 

* In the account of McKinlay’s Expedition from Adelaide, in August, 1861, it is mentioned that when he, in the following February, found himself on the Gulf of Carpentaria, dense walls of mangrove barred his way to the shore, and there can he little doubt that it was the same obstacle which prevented Burke and Wills from viewing the open sea.

 

Having thus accomplished the grand object of their expedition Burke and Wills rejoined Gray and King, where they had left them with the camels, and the four proceeded together on the return journey on the 13th February. Wills’ notes on their scamper back to Cooper’s Creek are brief but powerful. An incessant rainfall made the country boggy, and added to their troubles. On the 2nd March, at Salt-bush Camp, they found Golah, the camel which they had been obliged to leave behind on the outward journey. It was thin and miserable, and had fretted at finding itself left behind, but began to eat as soon as it saw the other camels.

 

On 5th March Burke became ill from eating part of a large snake which they had killed, and poor Golah, being completely done up, and unable to come on, even when pack and saddle were taken off, had to be finally left behind. On 13th March it rained so heavily that Wills had to put his watch and field-book in the pack to keep them dry. All the creeks became flooded, and the poor travellers had to seek shelter under some fallen rocks. Their journey was now slow, as they had to keep on the stony ridge instead of following the flats, which were very boggy owing to the rain. On the 20th they commenced to lighten the loads of the camels by leaving 60 lbs. weight of things behind. Rain continued to fall in torrents, and the ground they passed over was at times either full of water or covered with slimy mud. The names given to some of their camps by Wills – viz., “Humid Camp”, “Muddy Camp”, “Mosquito Camp”, show some of the trials they had to encounter. Gray, who had been complaining of dysentery, stole some of the flour, and was punished by Burke. Five days after this (March 30th) the camel Boocha was killed for food at a place which by gentle irony they called “Boocha’s Rest”; and on the 10th April the horse, which was reduced and knocked up from want of food, was killed also. Down to the 17th nothing very noteworthy is recorded.

 

On that day – the beginning of the end – Wills records the death of Gray, whom the others had thought to be shamming. The survivors sorrowfully buried him in the lonely bush: they were so weak that it was with difficulty they could dig a grave sufficiently deep to lay him in. After a day’s delay to rest their wearied limbs they pushed on, but in a most exhausted state, straining every nerve to reach the goal of their arduous labours, their legs almost paralysed, so that it was a trying task to walk a few yards. Four days afterwards they were cheered by the sight of the familiar landmarks of their old camp at Cooper’s Creek. King describes in vivid language the delight of Burke when he thought he saw the depot camp. “There they are!” he shouted. “I see them.” But, alas! the wish was father to the thought. There was no one there. Lost and bewildered in amazement, he appeared like one stupefied when the horrible truth that the camp had been deserted burst upon him. He was quite overwhelmed, and flung himself on the ground broken-hearted. Wills looked about him in all directions, and presently turning to King said, “They are gone”, and pointing a short way off added, “There are the things they have left.” Calm and quiet as ever, he never once, as King testified, showed the slightest anger or loss of command of himself.

 

On a tree was marked “Dig 21st April”, and from under it a box was extracted containing provisions, and a bottle with a note from Brahe conveying the mortifying intelligence that he had only seven hours before abandoned the depot, and was encamped fourteen miles away, that he had remained four months at Cooper’s Creek, and that Wright had not turned up with the supplies. The explorers felt that, exhausted as they were, it was useless to attempt to overtake Brahe. They rested for two days, and on the morning of Thursday, April 23rd, Burke, Wills, and King, strengthened by the provisions they had found, resumed their journey. Wills and King were desirous of following their track out from Menindie, but unfortunately Burke preferred striking for the South Australian stations, having heard it positively stated at a meeting of the Royal Society that there were settlers within 100 miles of Cooper’s Creek. Wills deferred to his leader, and so they went to their destruction, making for Adelaide via Mount Hopeless (ominous name). There was, in fact, nothing to commend this route, while everything was in favour of that by the Darling. The one road they knew nothing of, the other was familiar to them, and as a matter of fact the nearest police station on the Adelaide line of march was distant between four and five hundred miles. Before starting Wills’ journals were buried in the cache, with the following note from Burke:

 

“Depot No. 2, Cooper’s Creek Camp, 65.

“The return party from Carpentaria, consisting of myself, Wills, and King (Grey dead), arrived here last night and found that the depot party had only started on the same day. We proceed on to-morrow, slowly down the creek towards Adelaide by Mount Hopeless, and shall endeavour to follow Gregory’s track; but we are very weak. The two camels are done up, and we shall not be able to travel faster than four or five miles a day. Grey died on the road from exhaustion and fatigue. We have all suffered much from hunger. The provisions left here will, I think, restore our strength. We have discovered a practicable route to Carpentaria, the chief position of which lies in the 140° of east longitude. There is some good country between this and the Stony Desert. From thence to the tropics the land is dry and stony. Between the Carpentaria a considerable portion is rangy, but well watered and richly grassed. We reached the shores of Carpentaria on the 11th of February, 1861. Greatly disappointed at finding the party here gone.

 

“(Signed) Robert O’Hara Burke, Leader.

“April 22nd, 1861.

“P.S. – The camels cannot travel, and we cannot walk, or we should follow the other party. We shall move very slowly down the creek.”

 

By slow stages the doomed explorers moved on day by day through what was little better than a desert. The second and third days they came upon some friendly blacks, who gave them fish. On 28th April one of the two remaining camels got bogged by the side of a water hole, and it being impossible to get him out, he was shot the next day, his flesh providing them with food. On May 7th the remaining camel would not rise even without any load on its back, and after making every attempt to get him up they had to leave him to himself. Burke and Wills then went down the creek to reconnoitre, and fortunately fell in with some blacks fishing, who gave them food and took them to their camp, where they passed two nights. Some days after, being pressed for food, several excursions were made to find the blacks again, but without success. On May 17th, however, King unexpectedly came upon the nardoo plant, the seed of which is powdered by the natives and baked into a cake. This discovery raised their spirits, as they considered that with this food they would be able to support themselves, even if they had to remain on the creek and wait for assistance from town. On 27th May Wills started alone to the depot at Cooper’s Creek to see if any relief had arrived.

 

Brahe – who, it will be remembered, deserted his post at the depot only seven hours before the wearied explorers returned there – fell in with Wright’s party at Balloo on his way to the Darling on the 28th or 29th April, and on the 3rd May Wright started with him for the depot, which they actually reached on the 9th. It seemed fated, however, that blunder should succeed blunder, for here they remained but a quarter of an hour, and casting but a hurried glance around came to the conclusion that the depot had not been visited in the interval, and with fatal and criminal neglect never even opened the cache. Had they done so the papers and letters deposited would have been found, and all would yet have been well. Wills, who had met natives on the way, and been given food by them, arrived at Cooper’s Creek on this return visit on the 30th May, and naturally enough failed to discover it had been re-visited by Wright and Brahe, who had left no record behind them. He opened the cache, buried the remainder of his journal and letters, with the following touching note:–

 

“Depot Camp, May 30th.

“We have been unable to leave the creek. Both camels are dead, and our provisions are exhausted. Mr. Burke and King are down the lower part of the creek. I am about to return to them, when we shall probably come up this way. We are trying to live the best way we can, like the blacks, but find it hard work. Our clothes are going to pieces fast. Send provisions and clothes as soon as possible.

“W. J. Wills.”

 

“The depot party having left contrary to instructions, has put us in this fix. I have deposited some of my journals here for fear of accident. “W. J. W.”

 

Wills then started to rejoin Burke and King. He received kindly assistance on the way from the blacks, and rejoined his companions on 6th June. His diary which he continued to keep was brief but expressive. They had little but nardoo to live upon, and though it allayed the pangs of hunger, it contained little nourishment; the poor fellows were literally starving to death. In his diary under date of 21st June Wills says:–

 

“I feel much weaker than ever, and can scarcely crawl out of the mia-mia. Unless relief comes in some form or other I cannot possibly last more than a fortnight. It is a great consolation at least, in this position of ours, to know that we have done all we could, and that our deaths were rather be the result of the mismanagement of others than of any rash act of our own. Had we come to grief elsewhere, we could only have blamed ourselves; but here we are returned to Cooper’s Creek, where we had every reason to look for provisions and clothing, and yet have to die of starvation, in spite of the explicit instructions given by Mr. Burke, that the depot party should await our return, and the strong recommendation by the Committee ‘that we should be followed up by a party from Menindie.'”

 

He suffered much from cold, his clothing was reduced to a wide awake, a merino shirt, a regatta shirt without sleeves, the remains of a pair of flannel trousers, two pairs of socks in rags, and a waistcoat. Wills finding his weakness increasing, it was resolved that Burke and King, as the only chance of saving the party, should go in search of natives, and having collected and pounded sufficient nardoo seed to last Wills for eight days, they constructed a rude shelter of boughs for him, placed water and firewood within his reach, and took a sorrowful farewell of him, Wills giving Burke a letter and his watch for his father, and telling King if he survived Burke to carry out his last wishes. In a postscript to this letter Wills says, “I think to live about four or five days. My spirits are excellent.” On the 29th June Wills made his last entry in his diary, shewing that he maintained his calmness of spirit and resignation to the last.

 

“Friday, 29th June, 1861. — Clear, cold night; slight breeze from the east; day beautifully warm and pleasant. Mr. Burke suffers greatly from the cold, and is getting extremely weak. He and King start to-morrow up the creek to look for the blacks; it is the only chance we have of being saved from starvation. I am weaker than ever, although I have a good appetite, and relish the nardoo much; but it seems to give us no nutriment, and the birds here are so shy as not to be got at. Even if we got a good supply of fish, I doubt whether we could do much work on them and the nardoo alone. Nothing now but the greatest good luck can save any of us; and as for myself I may live four or five days if the weather continues warm. My pulse is at forty-eighty and very weak, and my legs and arms are nearly skin and bone. I can only look out, like Mr. Micawber, ‘for something to turn up.’ Starvation on nardoo is by no means very unpleasant, but for the weakness one feels, and the utter inability to move one’s self; for as far as the appetite is concerned it gives the greatest satisfaction. Certainly fat and sugar would be more to one’s taste; in fact, those seem to me to be the great stand-by for one in this extraordinary continent – not that I mean to depreciate the farinaceous food, but the want of sugar and fat in all substances obtainable here is so great that they become almost valueless to us as articles of food without the addition of something else.

 

(Signed) “W. J. Wills.”

 

We are now, alas ! nearing the end of this ill-fated expedition. Burke and King had not travelled many miles when, on the second day from leaving Wills, Burke gave in from sheer weakness, and died early the next morning. King remained two days to recover strength, and then returned to where they had left Wills, taking back with him three crows he had shot, and nardoo he had discovered, and was shocked to find Wills lying dead in his gunwah, where he would appear to have sunk quietly to rest, but in utter loneliness, a few hours after Burke and King had left him. King buried the corpse with sand, and remained there some days prostrated at the death of his companions, and at being left alone in the vast wilderness. The nardoo running short, and being unable to gather it, he tracked some of the natives by their footprints in the sand, and eventually fell in with a number of them, who were kindly disposed, and so was preserved from the fate of his companions.

 

The Exploration Committee at Melbourne seem by their supineness to have helped on the final catastrophe. Although informed of the criminal delay of Wright at Menindie, they took no steps to urge his departure from there. Dr. Wills, our hero’s father, unable to bear the suspense in the month of June, walked with a small pack on his shoulders, and a stick in his hand, from Ballarat to Melbourne, a distance of seventy-five miles, and his energetic appeals led to a search party, under Mr. A. W. Howitt, being sent out.

 

Two of the three camels lost on one of the excursions at Cooper’s Creek on the way out were discovered in South Australia and brought to Adelaide. News of this reaching Melbourne excited the interest of the public, and doubtless contributed to the awakened energy of the Committee. In connection with this Mr. Fabyan Amery has contributed a strange and interesting story. He tells me that a Mr. James Wills, who had been a servant at the Ashburton Grammar School, in special attendance upon the boarders, whilst Wills was a pupil there, was, in 1861, residing with his wife, whom he had married in the Colony, on the banks of the Murray river; and one morning Mrs. Wills, casting her eyes around the horizon, spied in the far distance two animals, which with quick feminine decision she declared to be camels. This she mentioned to her husband, who ridiculed the idea, as no camels were ever known in Australia. She persisted in her opinion, and started towards them to satisfy her curiosity. Sure enough they proved to be two camels, undoubtedly two of those who had escaped from the ill-fated expedition, and which, with the wonderful instinct of their species, had sniffed the water at a great distance, and in an almost exhausted state were making for the river. Mrs. Wills went up to them, when the youngest came and ate out of her hand. Her husband immediately gave information to the police, which he understood was forwarded to the Governor of Victoria, and which he always believed led to the despatch of the Relief Expedition. Howitt started early in July, 1861, taking Brahe with him, who had come down with Wright’s despatches, and made all speed to Cooper’s Creek. On 13th September he arrived at the fatal depot, and on the 15th King was discovered sitting in a hut which the natives had made for him. He presented a melancholy appearance, wasted to a shadow, and only distinguishable as a civilized being by the remnants of clothes upon him. As soon as King was well enough to accompany them the relief party proceeded down to the place where Wills died. The remains were found, carefully collected, and interred where they lay, Howitt reading that sublime chapter – 1 Corinthians xi. – and cutting the following inscription on a tree close by to mark the spot:

 

W. J. WILLS

XLV Yds

W.N.W.

A. H.

 

Burke’s remains were subsequently discovered and buried, wrapped in a Union Jack. Howitt then returned to Melbourne, taking King with him. He subsequently went back again, disinterred the remains of Burke and Wills, and brought them to Melbourne, where, after lying solemnly in state, they were accorded a public funeral, and so –

 

“After life’s fitful fever they sleep well.”

 

No one who has read the simple records of this great expedition, with all its blunders – so successful as far as its great object was concerned, but so fatal as regards the precious lives of the explorers – but must admire the character, actions, and quiet heroism of Wills. None of the blunders which led to the disaster which befell the Expedition are traceable to him. Throughout the toilsome journey he maintained his quiet, equable temperament. Loyal to his leader he deferred to his wishes, never complained of or reflected on others, continued and carefully recorded his scientific observations to the last, and laid himself down to die in utter loneliness in the vast wilderness with perfect resignation and calmness, as if he were but falling asleep in his father’s arms; and “his works do follow him”; for they opened up the way to the march of civilization, and have been rich in results. The greater part of the country he explored is now in a state of cultivation, with homesteads containing prosperous settlers in all directions, and so early as 1867 a stage coach was running not many miles from where he and Burke laid down their lives. The testimony of the colonists to Wills was on all sides that of admiration for his devoted heroism, appreciation of the scientific results achieved by him, and deep regret at the sacrifice of his young and promising life.

 

Sir Henry Barkly, the Governor of Victoria, in a letter to his mother, said of Wills: “You may rely upon it that the name of William John Wills will go down to posterity, both at home and in this colony, amongst the brightest of those who have sacrificed their lives for the advancement of scientific knowledge and the good of their fellow-creatures.” Dr. Mueller, of the Melbourne Botanical Gardens, who as a tribute to his memory named a new plant in the Australian Flora Eremophila Willsii, “to record by botany the glory never to be forgotten of the intrepid and talented but most unfortunate Wills”, maintained that it was only by his skilful guidance and scientific talents that the great geographic success of the expedition was achieved.

 

A portion of the city was directed to be thereafter named Wills Street by order of the Governor. A massive obelisk was erected to the memory of the two martyrs in the cemetery where they were buried; and on April 21st, 1866, a monument raised to them by the Victorian Legislature at a cost of £4,000, consisting of a statue of each of these two distinguished explorers, was unveiled by the Governor in Collins Street, one of the principal thoroughfares of Melbourne. The day chosen for the ceremony was the fourth anniversary of the return of Burke and Wills to Cooper’s Creek, and their surviving companion King was present on the occasion, which to him must have been one of mingled sorrow and pleasure.

 

Wills was not forgotten in his native town. The inhabitants, aided by the contributions of Devonshire men in Australia, erected a granite obelisk on the plains containing this inscription:Inscription on obelisk to W. J. Wills in Totnes

And though more than thirty years have passed since his death Wills is not forgotten in the colony; for only last year one of the colonists from Devon, Mr. Angel, who returned from South Australia on a visit to Totnes, and to his native parish of Littlehempstone, finding the inscription on the memorial becoming obliterated had it renewed on a tablet of white marble let into the granite,* that the coming race may not be unmindful of the patient and courageous life and heroic death of this Devonshire hero, the martyred Wills.

 

* Since this paper was written Mr. F. Horn, marble mason, of Totnes, has executed a successful medallion of Wills, which has been let into the obelisk above the tablet."

 

devonassoc.org.uk/devoninfo/wills-the-australian-explorer...

That is the Bay of Skaill beyond the Kirk. That is also the North Atlantic Ocean out there - at the same overall latitude as the Gulf of Alaska!

 

Due to the overall shortage of trees in Orkney there are numerous opportunities to catch various "Scapes" in the Island Archipeligo - Skyscapes; Seascapes; Landscapes - Lochscapes etc.

Here is another photo from Santiago. I’m probably going to blast through these – they’re interesting to me but I’m sure people really want to see the photos from Patagonia.

 

This is a picture of an office chair in the Mapocho river. It shows a major issue in Santiago: pollution. The city is very smoggy (reminding me of growing up in Los Angeles) and the water in the river is extremely dirty. From Wikipedia (en.wikipedia.org/wiki/Mapocho_River):

"The Mapocho River remains contaminated by household, agricultural and industrial sewage, and by upstream copper-mining waste (from the several copper mines in the Andes, east of Santiago), being dumped unfiltered into the river.[4] Laws force industry and local governments to process all their wastewater, but are loosely enforced.[5] There are now a number of large wastewater processing and recycling plants under construction. There are ongoing plans to decontaminate the river[6] and make it navigable.[7]"

 

Other areas of the world have proven that large scale water improvements are possible (the Charles River in Boston comes to mind), so hopefully Santiago can achieve their improvement goals as well.

A skipper is a butterfly of the family Hesperiidae (superfamily Hesperioidea), named after their quick, darting flight habits. There are more than 3500 recognized species of skippers and they occur worldwide,but with the greatest diversity occurring in the tropical regions of Central and South America.

 

Skippers differ in several important ways from the remaining butterflies, which are classified in the superfamily Papilionoidea and the neotropical superfamily Hedyloidea. Collectively, these three groups of butterflies share several characteristics especially in the egg, larval and pupal stage. However, skippers have the antennae clubs hooked backward like a crochet hook, whilst butterflies have club-like tips to their antennae and hedylids have feathered or pectinate antennae giving them an even more moth-like appearance than skippers. Skippers also have generally stockier bodies than the other two groups, with stronger wing muscles. Hesperioidea is very likely the sister group of Papilionoidea, and together with Hedyloidea constitute a natural group or clade.

This is an yearly event held via a collaberation from the Netherlands biggest Renault themed clubs.

 

Held at van Kesteren Renault, Kampen the Netherlands this is one of the biggest gatherings for sporty and special Renault cars from all over the Benelux and maybe even further.

 

Last year there were close to 300 cars from the Netherlands, Germany, Belgium and Luxemburg. Are you gonna be there next year? Follow our facebookpage for more info.

 

www.facebook.com/RenaultTuningClub/

 

And subscribe to our event.

 

www.facebook.com/events/155679968386525/

Cayenne is one of my favorite boarders and he really lives up to his name. We have a tenuous understanding - I feed him and he doesn't try to eat me.

 

The main photo is a close up of him in his carrier, the picture below shows the context. The top picture isn't cropped, just zoomed in more closely.

 

This really must be seen enlarged and on black.

This is a photograph from the 35th Michael Manning Memorial "Dunshaughlin 10KM" Road Race and Fun Run which took place in Dunshaughlin, Co. Meath, Ireland on Saturday 21st June 2014 at 19:30. This race is widely acknowledged in the running community as one of the best races in Ireland. It is also one of the oldest 10KM races in Ireland. The numbers for this race have exceeded expectations year on year for the past number of years. In 2008 a record field of 306 took to the start line but by 2012 this number had more than doubled with 647 runners taking part. The starting numbers in 2013 topped this again at 668. Then this year the numbers rocketed to a new record of 883. Who knows but this race could reach 1,000 entrants next year. The work of the organising committee must be commended on making this event possible. The Dunshaughlin 10KM has earned it's place at the top of the pedestal of Irish running through the sheer hard work of Dunshaughlin AC over the years. Well done to all.

 

We have an extensive set of photographs from the race tonight taken at the 1 mile mark and then at the 400M and 600M to go mark. The full set is available at: www.flickr.com/photos/peterm7/sets/72157645329098733/

 

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

 

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

 

Some useful links

 

2014 Results: www.precisiontiming.net/result.aspx?v=2037

2013 Results: www.precisiontiming.net/result.aspx?v=1320

2012 Results: www.precisiontiming.net/result.aspx?v=891

History of the Dunshaughlin 10KM www.dunshaughlinac.com/10k.asp

Dunshaughlin AC on Facebook: www.facebook.com/dunshaughlin.athleticclub?fref=ts

 

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

15.5.09

 

We're driving towards the orphanage. The highway is lonely, save for a few languid trucks ambling along. It is damp too, and a thick fog covers the countryside: a single light here or there provides the only hint of civilization amidst the interminable verdure. Inside the van, the smoke of cigarettes past wafts in the air, lingering like a lost soul. I inhale, and quickly cough. I subsequently open the window to the enveloping darkness outside, so slightly as to not disturb my companions in the back. The roar of the road echoes in my ears.

 

An unexpected wrench was thrown into our travel plans today. The trip began expediently enough as the bus on which Candy and I rode reached the Shenzhen airport with hours to spare; however, the unscheduled hiccups soon followed. We received an announcement over the public address system notifying us of a flight delay, due to a mysterious military maneuver, we deduced, high in the Shenzhen skies. Several more sonorous reminders came in punctual succession over the next six hours. It seemed as though we would be stuck, stranded really, at the airport forever, or for the day at least. Thankfully, after the police arrested some of the more aggrieved passengers, we finally boarded the plane and took off for central China. We were blessed to be on our way at last, none of us having blown a gasket during the afternoon tedium.

 

One more pitch black road awaited, down a single lonely lane lined with swarthy trees, standing as though sentries, and at length we arrived at the orphanage. The car stopped in a clearing, and we stepped out, onto a cement lot with soft puddles spread silently beneath our feet. We squinted into the twilight, our eyes trying to make sense of the surroundings. Our bags were unloaded, we made our way to the rooms, and soon enough fell asleep. I think we all enjoyed the repose, rendered especially comfortable by the new guest rooms in which we were staying.

 

16.5.09

 

We have only been here for barely 24 hours, yet it feels as though we have been here for much longer, as if time at some point in our journey decided to slow itself to a crawl. Maybe it was because of the litany of activities that we packed into the span of several hours, or perhaps it was the lack of worldly distractions, allowing us to focus solely on our mission, that caused us to suspend the hands of that imaginary clock in our mind. Whatever the case, we've enjoyed every minute at the orphanage; it is time definitely well spent in service!

 

Morning call was at 6:20; and after a prayer meeting we went down to finally visit the kids. They were playing on the vast driveway of the orphanage, savoring their moment of freedom before breakfast. To see so many friendly faces, in spite of their precarious physical and filial circumstance was definitely encouraging. I made a multitude of new friends; and did my best throughout the day to impact those kids with joy, honesty and patience. It is a powerful cocktail which brings love immediately to many.

 

The food at the orphanage is without processing, as natural as victuals can be in these days of impersonal industrial production. Large chunks of mantou, steaming bowls of soupy congee, and salty vegetables with slivers of meat have characterized our meals. It is the kind of humble stuff that lengthens life spans, and disciplines the palate.

 

We presented a wide range of activities - structured and unstructured; whole class and small group - to the kids, in the hope that we would manage them as much as amuse. In the morning, as though breaking the ice once were not enough, we ran through a series of dizzying, if not at times totally incoherent, activities designed to familiarize our dispositions to each other. Later, we established a makeshift fun fair, at which we ushered the children to rooms filled with (board) games, and puzzles, and other, more colorful activities such as face painting and balloon making. The kids couldn't at length contain their enthusiasm, busting into and out of rooms with impunity, soaking in the rapturous atmosphere. In the afternoon, our team attempted to tire them out: running topped the agenda, and by leaps and bounds, the activities, whether straightforward relays or schoolyard classics like duck duck goose and red light, green light, indeed began to tucker our charges out. We, too, were pretty beat by the time night began to creep over the horizon!

 

17.5.09

 

Yesterday evening, we surprised the students with a musical performance, followed by forty minutes of bubble-blowing madness; to be sure, the students could not appreciate our somewhat accurate rendition of Amazing Grace so much as the innocent madness of dipping one's hands in a solution of dish detergent and corn syrup and then whispering a bubble to life; and indeed, the moment the Disney branded bubble-making machines churned the first batch of bubbles into the air, with much rapidity weaving their frenetic pattern of fun, chaos erupted in the room. The students stormed the soap basin, and almost overwhelmed my teammates who valiantly held the Snitch and Pooh high above the heads of the clamoring kids.

 

During the evening's festivities, I grew progressively ill, until at last I dashed out of the room to sneeze. Outside, in the cool of the night, under a cloud of stars beaming so far away in the deep of space, I exploded in a rancor of sneezing. The fit lasted for five minutes, an inexorable depression in my system which sent both my body and my esteem tumbling down. I felt bad, not only for my exceedingly rickety health, but for my teammates and the children who may have been exposed to my sickness as it incubated within me; furthermore, everyone in the classroom was saying goodbye and all I could do was rid myself of a sniffle here and there, in between rounds of bursting from nostrils and sinuses. I was impotent, as though one of my insignificant droplets on the floor!

 

18.5.09

 

We are in a car heading towards a famous historical site in Henan. The driver's drawl slips slowly from his mouth, and what he says resonates intelligibly in our ears. Candy, Tanya and the driver are discussing Chinese mythology, and history, which, for better or for worse seem to be inextricably intertwined. We narrowly just now missed hitting an idle biker in the middle of the road; in dodging our human obstacle, the car swerved into the oncoming traffic, sending us flying inside the cabin. Reciting a verse from a worship song calmed our frazzled nerves.

 

How to describe the children? Many of them smiled freely, and were so polite when greeted that undoubtedly they had been trained well at some point in the tumult of their life education. Precociousness was also a common characteristic shared by the kids, whose stunted bodies belied the mature, perspicacious thoughts hiding just underneath the skin. Of course, in our time together we were more merry than serious, that quality being best left for the adults working silently in their rooms; and to that effect, the kids brought out their funny bones and jangled them in the air to stir up the excitement and to destroy by a jocular clamor any hint of a dull moment – we really laughed a lot. At last, although not all of them seemed interested in our staged activities – rather than feign enthusiasm and eagerness, some skipped our events altogether – those who did participate, most of them in fact, enjoyed themselves with abandon, helping to create that delightful atmosphere where the many sounds of elation reign.

 

Of the students whom I had the opportunity to know personally, several still stick out in my mind, not the least for my having christened a few of them with English names! David was bold, and courageous, willing to soothe crying babes as much as reprimand them when their capricious actions led them astray; he had a caring heart not unlike a shepherd who tends to his young charges. Edward, who at 13 was the same age as David, definitely grew emotionally, not to mention physically attached to me. He was by my side for much of the weekend, grabbing onto my hand and not letting go, to the point where I in my arrogance would detach my fingers within his, ever so slightly, as if to suggest that a second more would lead to a clean break - I know now that with the cruel hands of time motoring away during the mission, I shouldn't have lapsed into such an independent, selfish state; he should have been my son. Another child who became so attached to the team as to intimate annoyance was the boy we deemed John's son, because the boy, it seemed, had handcuffed himself to our teammate, and would only free himself to cause insidious mischief, which would invariably result in an explosion of hysterics, his eyes bursting with tears and his mouth, as wide as canyon, unleashing a sonorous wail when something went wrong. On the other hand, Alice remained in the distance, content to smile and shyly wave her hand at our team while hiding behind her sisters. And last but not least, of our precious goonies, Sunny undoubtedly was the photographer extraordinaire, always in charge of the school's camera, snapping away liberally, never allowing any passing moment to escape his shot.

 

That I learned on this trip so much about my teammates verily surprised me, as I thought the relationships that we had established were already mature, not hiding any new bump, any sharp edge to surprise us from our friendly stupor. So, consider myself delightfully amazed at how a few slight changes in the personality mix can bring out the best, the most creative and the strangest in the group dynamic: admittedly, Candy and Tanya were the ideal foils for John, they eliciting the most humorous observations and reactions from my house church leader, they expertly constructing a depth of character that even last week, in the wake of the Guangdong biking trip, I never knew existed! Most of all, I'm glad to have been a part of such a harmonious fellowship, for the fact that we could prayer together as one, and encourage each other too, and all the more as we saw the day approaching.

Hearn is a place of visual chaos, but amongst the chaos there's a great deal of pattern and of repetition to be found. Here is the only artificial lighting source in this entire massive complex - a welder who left a string of work-lights on perhaps by accident I think.

 

Despite being inactive and empty of machinery and people, this huge building generates a tremendous amount of noise on a windy day as the metal roof is covered in vents that slam and clang, and massive corrugated garage doors which open and close seemingly by an unknown force... but its only the wind.

Here is my first exploration with my Mamiya M645. It takes place in a abandoned castle Château chasseur. The owner died at the age of 60. From now on, this mansion is falling apart by inches. A tower is already down.

 

Shot with Mamiya M645 + Mamiya Sekor-C 45mm f/2.8, Kodak Vericolor III (expired in 1992), lightmetered with M645 CdS prism. Developed by Photon photo lab (Toulouse). Scanned with Epson Perfection 2450.

 

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Acireale Cathedral is a Roman Catholic cathedral in the city of Acireale in Sicily, province of Catania, Italy. It was declared the seat of the Bishop of Acireale in 1870. The present cathedral building, which is located in the Piazza Duomo, was constructed as a simple parish church between 1597 and 1618 that was greatly enlarged a few years later when it received the relics of Saint Venera, one of the two patron saints of the city,[2] which are still located here. It survived the earthquake of 1693, and the present cathedral is a 17th century building with significant additions from each succeeding century.Of particular note are the Baroque portal representing the Annunciation by Placido Blandamonte of Messina, dating from 1668, combined with a Neo-Gothic west front by Giovan Battista Filippo Basile, completed after his death in 1891 to his plans, of c.1900. The two campaniles, in Mannerist style with octagonal bases, although identical in appearance, are centuries apart in construction: the one to the south is from 1655, as is the cupola, while the one to the north, as well as the rose window, are from 1890. The interior is 17th century Baroque.

 

La cattedrale di Acireale è ubicata nell'articolata piazza del Duomo, su cui prospetta anche la basilica dei Santi Pietro e Paolo.Dedicata a Maria Santissima Annunziata, è il luogo del culto, introdotto nel 1651, di Santa Venera, patrona di Acireale, di cui conserva le reliquie in una fastosa cappella. Fu elevata a cattedrale nel 1872, anno in cui venne istituita la diocesi di Acireale.Nel XV secolo il primo edificio era costituito da una sola cappella a tre mura, contigua all'edificio attuale sul lato nord, dove si venerava un'immagine dell'Annunziata.Nel 1532 si procedette all'abbattimento della cappella e alla sua ricostruzione in forme più ampie, con navate laterali e torre campanaria.La costruzione del Duomo attuale fu deliberata dal municipio l'8 ottobre 1597, iniziando poi l'anno successivo. Tutto il complesso ha subito dal 1598 continui ampliamenti e modifiche, fino a raggiungere l'aspetto attuale con le ultime modifiche concluse nel 1889.La chiesa è a croce latina, a tre navate e, dopo l'erezione della diocesi, è stata congiunta nel 1874-1878 da un cavalcavia alPalazzo vescovile a nord, progettato dall'architetto Carlo Cocuccio. Il prospetto venne realizzato a partire dal XVII secolo. Il gruppo scultorio del portale marmoreo, rappresentante l'Annunciazione, fu realizzato nella bottega messinese di Placido Blandamonte nel 1668-1672, portato per mare fino a Santa Maria La Scala e da qui trainato ad Aci per le impervie salite.I due campanili svettanti ai lati della facciata, pur identici, non sono coevi. Il campanile a destra del prospetto, che richiama stilemi gotico-normanni, di cui si hanno notizie dal 1544, ha seguito tutte le vicende costruttive della chiesa ed ebbe anche funzione di torre d'avvistamento. Il campanile del lato nord, a sinistra, il rosone e le restanti decorazioni del prospetto sono invece in stile neogotico, realizzati nel 1887-1889 su progetti di Sebastiano Ittar e Giovan Battista Filippo Basile (padre del maestro del liberty siciliano Ernesto Basile).La cupola, iniziata nel 1655, fu completata solo nel 1732, su progetto dell'architetto Paolo Amico. L'interno è stato modificato nello stile predominante nel XVIII secolo, anche in seguito al terremoto del 1693 e a quello del 1783.Nella cappella di Santa Venera (risalente al 1658 e decorata poi con ricche cornici e modanature dal romano Girolamo Baragioli intorno al 1697) si conservano le reliquie e la statua della santa, opera di Mario D'Angelo (1651-1655). In altra cappella è esposto il fercolo di argento cesellato, in stile barocco, realizzato tra il 1659 e il 1783.Gli affreschi della cappella di Santa Venera sono stati realizzati nel 1712 da Antonio Filocamo. Gli affreschi del transetto e dei pennacchi della cupola vennero realizzati da Pietro Paolo Vasta, fra il 1736 ed il 1737 (Gloria di Santa Venera , Nozze di Cana, Caino e Abele, Abramo e Isacco).Permangono nel transetto piccole zone con gli affreschi di Venerando Costanzo Varbazza. I quadri ad olio presenti nella chiesa sono: Madonna del Rosario del messinese Antonio Catalano; Natività di Nostro Signore, Sant'Anna e San Nicolò da Bari di Pietro Paolo Vasta; Angelo Custode, Sant'Antonio di Padova e San Tommaso Apostolo di Giacinto Platania ma riformati da Pietro Paolo Vasta; Immacolata Concezione di Antonino Bonaccorsi. La volta della navata centrale fu invece affrescata da Giuseppe Sciuti (entro il 1907).Nel pavimento del transetto si trova una meridiana realizzata da Christian Heinrich Friedrich Peters (1843) ed ornata con i simboli dello zodiaco da Giovan Francesco Boccaccini.La cattedrale accoglie inoltre monumenti funebri di alcuni personaggi legati alla storia della città, tra cui quelli dei vescovi Ottavio Branciforte (vescovo di Catania rifugiatosi in Acireale, morto nel 1646) e Salvatore Russo (vescovo di Acireale, morto nel 1964).

 

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www.youtube.com/watch?v=DNpuC28ZtJo

There is a whole subset of still life painting devoted to decayed or wilting flowers. Many famous painters, such as Jan Brueghel the Elder worked in this vein. I have occasionally seen bonsai with wilted flowers in photographs, but I doubt this was intentional, though, I don’t know for sure.

  

Anyway, here is my contribution to the Wilted Flowers subset featuring my Utamaro Flowering Quince bonsai.

  

This image is a stereogram.

 

This is a photograph is one of a set of photographs from the Castlepollard 5KM Road Race and Fun Run 2013 which was held in Castlepollard, Co. Westmeath, Ireland on Wednesday 13th August 2014 at 20:00. The race is hosted by North Westmeath Athletic Club. The race has grown in stature and popularity over the years and is now one of the most well attended road races in the midlands. The race offers prizes in all categories. Castlepollard 5KM Road Race attempts to support young runners and walkers by organising a range of underage races around the town square before the adult race at 20:00. Profits from the race go towards grassroots athletics in the region - North Westmeath Athletics, Schools Cross Country, and local community games.

 

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

 

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

 

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

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

 

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

 

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

 

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

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

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

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

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

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

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

 

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

 

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

 

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

 

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

 

We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

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

 

We use Creative Commons Licensing for these photographs

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

The explaination is very simple.

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

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

 

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

 

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

 

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

 

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

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

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

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

  

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

 

Don't like your photograph here?

That's OK! We understand!

 

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

 

I want to tell people about these great photographs!

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

is dark and gritty and red

Shooting in Heidelberg, 2013

This is a 2024 upload of a scanned image from my collection. Probably 95% come from slides, the remaining 5% are prints or negatives. They include my own Kodachrome slides, as well as other photographers, which are noted accordingly when the identity is known. All have been collected over the past 40+ years of shooting, exchanging, and purchasing. I was fortunate enough to trade with some of the best aircraft photographers in the world.

 

This archive was first created in 2017, to easily view my collection in an accessible venue.

 

REGISTRATION : C-FACD

MFR TYPE & SERIES : DeHavilland DHC-8-102

MSN : 150

OPERATOR : Air BC

AIRPORT (WHEN KNOWN) : Calgary YYC

DATE (WHEN KNOWN) :

PHOTOGRAPHER (WHEN KNOWN) :

REMARKS: