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This is my very first star trail attempt. I know there's nothing interesting in the foreground, but I wanted to see how to make star trails with nothing else to contend with initially. For those more experienced with this, please let me know if there are things I should be doing differently or if I'm off on the right foot. I like the results, but if I can improve, that'd be great! 14mm (28mm in 35mm-format), f3.5, 30 seconds, ISO 800, 120 stacked images using StarStaX. I took this with a full moon, and didn't center at any one location in the sky, so it really was a "fly by the seat of your pants" first attempt.
+++ 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 North American Aviation P-51 Mustang was an American long-range, single-seat fighter and fighter-bomber used during World War II, the Korean War and other conflicts.
The Mustang was conceived, designed and built by North American Aviation (NAA) in response to a specification issued directly to NAA by the British Purchasing Commission. The prototype NA-73X airframe was rolled out on 9 September 1940, 102 days after the contract was signed and, with an engine installed, first flew on 26 October.
The Mustang was originally designed to use the Allison V-1710 engine, which had limited high-altitude performance. It was first flown operationally by the Royal Air Force (RAF) as a tactical-reconnaissance aircraft and fighter-bomber (Mustang Mk I).
The addition of the Rolls-Royce Merlin to the P-51B/C (Mustang Mk III) model transformed the Mustang's performance at altitudes above 15,000 ft, giving it a much better performance that matched or bettered almost all of the Luftwaffe's fighters at altitude.
The definitive USAF version, which saw use in any late WWII theatre, the P-51D (Mustang Mk IV), was powered by the Packard V-1650-7, a license-built version of the Rolls-Royce Merlin 60 series two-stage two-speed supercharged engine, and armed with six .50 caliber (12.7 mm) M2 Browning machine guns.
Anyway, the Mustang’s development was kept up by North American as well as in Great Britain. There, the Mustang was developed into the Mustang V (a lightweight fighter of which only one prototype reached England), the Mustang VI (a high altitude fighter version which was produced in small numbers and kept in RAF service until 1951) and the Mustang VII, a radical modification for the South East Asia Command.
The Mustang VII was intended as a replacement for the Hawker Hurricanes and early Spitfire variants deployed to India and Burma. One of these types’ biggest concerns had been the engine, or, more specifically, its cooling system. The Merlin’s liquid cooled system had been designed for the mild European climate, but, in the hot and humid Asian environment, the aircraft frequently faced engine problems. An air-cooled, radial engine was regarded as the more appropriate means of propulsion, and with the Bristol Centaurus a powerful option was readily available and earmarked for the Hawker Tempest.
Apart from the new engine and cowling, the Mustang VII prototypes were similar to the P-51D. The Centaurus engine was tightly cowled and the exhaust stacks were grouped behind and on either side of the engine. Behind these were air outlets with automatic sliding "gills".
New air intakes on the inner leading edges of both wings fed the carburetor and an oil cooler. The radial engine installation owed much to examinations of a captured Focke-Wulf Fw 190, and was clean and effective. The bigger frontal area was partly compensated by the removal of the Mustang’s characteristic, ventral radiator tunnel.
This modification also kept the overall increment of weight to only ~90 lb (41 kg) – even though the aircraft became remarkably nose-heavy and handled much different from the Merlin-powered versions. Longitudinal stability also deteriorated slightly.
The first Mustang Mk. VIII, PE883, flew on 28 June 1944 powered by a Centaurus I (2,000 hp/1,490 kW) driving a four-blade propeller, followed by the second, PE884. From the start, the Mustang VII was "tropicalized" for service in the South-East Asian theatre.
Orders were placed in September 1944 for 300 Mustang VIIs, and they were directly deployed to India and Burma. There, the Mustang VII replaced the Spitfire II and Vs in the fighter role, relegating the new RAF Thunderbolts in the region to ground attack, a task for which that type was well suited.
Once the Mustang VIIs were cleared for use, they were used against the Japanese in Burma by four RAF squadrons of the South East Asia Command from India. Operations with army support (operating as "cab ranks" to be called in when needed), attacks on enemy airfields and lines of communication, and escort sorties.
They proved devastating in tandem with Thunderbolts during the Japanese breakout attempt at the Sittang Bend in the final months of the war. The Mustangs were armed with two 500 lb (227 kg) bombs or, in some cases, British RP-3 rocket projectiles. The Mustang VIIs also flew escort for RAF Liberators in the bombing of Rangoon.
The type remained in RAF service until October 1946. After that the RAF passed 60 machines to the Indian Air Force in 1947, together with other piston fighters.
General characteristics:
Crew: 1
Length: 32 ft 8 1/4 in (9.97 m)
Wingspan: 48 ft 9½ in (14.90 m)
Height: 14 ft 6 in (4.39 m)
Wing area: 235 sq ft (21.83 m²)
Airfoil: NAA/NACA 45-100 / NAA/NACA 45-100
Empty weight: 7,725 lb (3,505 kg)
Loaded weight: 9,290 lb (4,220 kg)
Max. takeoff weight: 12,200 lb (5,515 kg)
Maximum fuel capacity: 419 US gal (349 imp gal; 1,590 l)
Powerplant:
1× Bristol Centaurus 1 18-cylinder twin-row radial engine, 2,000 hp (1,490 kW) at take-off
Performance:
Maximum speed: 432 mph (695 km/h) at 18,400 ft (5,608 m)
Cruise speed: 362 mph (315 kn, 580 km/h)
Range: 740 mi (1,190 km) on internal fuel
Service ceiling: 36,500 ft (11,125 m)
Rate of climb: 4,700 ft/min (23.9 m/s)
Armament:
4× 0.787 caliber (20mm) Hispano Mk. II cannons with 200 RPG in the outer wings
Underwing hardpoints for up to 2.000 lb (907 kg) of external ordnance,
including drop tanks, a pair of bombs of up to 1.000 lb (454 kg) caliber, or six unguided missiles
The kit and its assembly:
This conversion was based on the rather academic question: how could a Mustang with a radial engine look like? A weird idea, if you look at the sleek aircraft. But then there was the rather handsome Fw 190 A/F, the Hawker Tempest carried both liquid-cooled and air-cooled engines, and I saw a model of a Merlin Spitfire mated with a Fw 190 BMW engine some time ago. So, why not re-do the Mustang?
Working things out was complex, though. Initially I wanted to graft an R-2800 onto the Mustang’s nose – I had a spare fuselage from a late Italeri F4U at hand, as well as a Matchbox P-51D... After some measuring I was certain: yes, this transplant could work!
Said and done, the Corsair’s front section including the engine was cut out and tailored to fit over the shortened Mustang nose which lost its Merlin. At first I retained the original belly radiator, since it would be a convenient fairing for the oil coolers. The project made good progress, but… the result did not look good, because the R-2800 is rather wide. The aircraft looked very tadpole-like.
So, while in the middle of body sculpting, I decided to change the project, switching to a British Centaurus - a featureless piece from a PM Model Sea Fury with some more changes.
The Centaurus’ selling point was the more slender cowling, and it goes well onto a F4U’s nose section, proven by several conversions of this kind. In order to keep the aircraft as slender as possible I removed the belly tunnel and re-located the oil coolers and air intakes into the wing roots, closer to the engine and more like the installation on the Tempest or the Sea Fury. These extended wing root fairings were created from sprue pieces and putty.
It is amazing how this further modification changed the Mustang’s look – the thing reminds a lot of a La-9/11 now, even though wings, tail and most of the fuselage, including the canopy, were not modified at all? I am also reminded of the F8F Bearcat?
Furthermore, after the new propeller (cuffed blades from a P-47 Thunderbolt, IIRC, with trimmed tips) with a massive spinner from a Hawker Tempest was mounted on its metal axis, this mutant Mustang looked more and more like a Reno Unlimited Class racer? Weird, but sexy!
Otherwise, only minor things were changed, e. g. the landing gear covers were replaced through 0.5mm styrene sheet, a dashboard was added to the cockpit and the thick canopy cut into two pieces. The six 0.5” machine guns were replaced by four short Hispano cannons made from brass.
Painting and markings:
With the Centaurus implant the background story and the operator idea changed. I used this opportunity to paint the aircraft in a late/post WWII SEAC livery – inspired by P-47s operated in this region.
The bare metal finish with dark blue ID stripes and the SEAC roundels already looked nice, but as a twist I incorporated remnants of a former Dark Green/Dark Earth camouflage, on the fuselage and the wings’ leading edges, as anti-glare panels, while the area in front of the cockpit was painted in opaque dark olive drab – a practice to be found on several RAF aircraft of that time are area.
The interior surface were painted with USAF Cockpit Green (Humbrol 224 and 150) and slightly dry-brushed, then the whole kit received a basic coat of Revell Acrylic Aluminum. Later, some panels were painted with different shades of Aluminum and Steel (including Metallizer and normal metallic paint). Some wet sanding blurred the outlines and enhanced the worn look.
Decals come from various SEAC sheets, including the blue ID stripes on wings and tail. The corresponding blue cowling ring was painted with a mix of Humbrol 15 and 104, and pretty flaky around the engine cowling.
As finishing touches some oil stains were added with Tamiya “Smoke” and some soot stains around the exhausts and the guns were added. Finally, the camouflaged areas were sealed under a matt varnish while the bare metal parts received a semi-gloss acrylic coat.
A weird project – one of the few of my models that somehow changed dramatically along the way, even though still true to the original idea of a radial engine Mustang. However, the result was envisioned differently, but I am still happy with the outcome. Even though there’s visually little Mustang breed left…
977993 is a High Speed Track Recording Train coach and forms part of the NMT which is is fitted with a pantograph, lights and cameras to allow engineers to examine the condition of the OHLE
#AdventCalendar Day Seventeen
LoLo is helping out and thinks these little gifts of gift boxes are so tasty looking. They have tiny tiny sunglasses and bows which he thinks he'll give to the kittens (the tiny baby kittens not a BEEG Kitten like himself :) ) "Hey babies come get your prezzies" They loved them!
Here are links with gift ideas for the animal lover in your life
iheartdogs.com/top-16-gift-ideas-for-dog-lovers-in-2016/
This is from '15 but I checked most of the gifts are still being done this year too! These are gifts that give money to help shelters with their sale
iheartdogs.com/18-gifts-that-help-dogs-in-need/
More gift ideas to wrap up your holiday shopping and make it count toward the pets who need it most!
theanimalrescuesite.greatergood.com/store/ars/category/27...
theanimalrescuesite.greatergood.com/store/ars/category/25...
www.humanesociety.org/shop/?credit=web
Search the web for more gift ideas that benefit shelter pets.
Remember too your local shelters always need the gift of blankets and other things you may just throw away! Go to the site of your local shelter or stop by and ask them what their WISH LIST is :)
Check in on Wag Aware too!! Their Charm drive ends on the 19th :)
www.facebook.com/OscarMadisonNYC/videos/1216114835139663/
Oscar's LEGO Ideas page
ideas.lego.com/projects/131852
Oscar and Tiki are doing the LEGO Advent Calendar and sharing fun memories from the past as they do. Check out their Facebook page for all the fun
www.facebook.com/OscarMadisonNYC/
VIEW the whole fun set in the Advent Calendar Album
Launch Lake Wallis at completion of the hull (1940/41); she was brought around from the beach on a cradle and launched near the main Tuncurry wharf. The tug assisting is believed to be the Forster; Henry Miles (with hat) on deck and Harry Avery (braces) assisting.
Other images of the Lake Wallis can be found in the Album Lake Wallis
The ferry Lake Wallis operated out of Forster for a long period and was well-known to both holidaymakers and schoolchildren as she plied the waters of Wallis Lake.
UPDATED OCTOBER 2018
Lake Wallis built by Harry Avery
Recent information supplied by Peter Emmerson, son of Albert CARL Emmerson, indicates that his father had the Lake Wallis built specifically for use on Wallis Lake by John Wright & Co. Ltd's chief shipwright, Harry Avery. Commenced circa 1940 and launched circa 1941/2 she was built prior to the time when Wright's shipyard was contracted to building a large number of vessels for the US Army and the Australian Army. While the timbers used in construction are unknown, the planking was of White Beech (Gmelina leichhardtii) sourced from the Comboyne Plateau.
From the images provided by Peter Emmerson it is clear that the hull was completed with timber frame to allow later finishing as a ferry; she was taken by cradle further upstream to an area adjacent to the Tuncurry coal-loader.
Albert CARL Emmerson fits out the Lake Wallis
It appears likely that Carl Emmerson bought the hull only and fitted her with steering gear and a 2 cyl. J2 Kelvin Diesel with petrol assist start. Petrol and spark plugs was used ignite the chamber and thus assist the flywheel to turn; this was an essential component of the starting procedure in cold weather. Carl fitted out the launch with anything that was available. In 1943, equipment and components were unavailable with invasion by Japanese forces appearing almost inevitable. Carl's innovative approach included using the steering wheel of an old Dodge truck. The new launch, named the Lake Wallis replaced his previous launch the ex-cream boat Dorrie May.
Carl Emmerson obtained a Special Lease to build a wharf on Wallis Lake and operated the Lake Wallis as the official mail boat, passenger ferry, delivery launch and later for excursionists. Carl operated his launch service at 9 am Monday, Wednesday and Friday (3h return trip). From Forster the launch travelled to Green Point (Lach Fraser’s dairy); then South to Charlotte Bay Creek then NW to Whoota; then to Coomba Park (Beddington’s) then to Sointu's wharf (John Sointu and Ida Niemi) on the SW side of Wallis Island and finally back to Forster. On the other days he operated his bus service to Elizabeth Beach, Booti Booti, Charlottte Bay and back to Forster. Carl also delivered boxes of butter from the Cape Hawke Co-operative Butter factory in Tuncurry to stores in Forster, three days a week.
Carl Emmerson starts tourist trips around Wallis lake
After the War, when people were again able to travel, Carl commenced a tourist operation taking visitors around the extensive Wallis Lake. His wife, Mollie, acted as deckhand and morning tea maker - pleasing everyone with her home-made shortbread biscuits.
In 1967 Carl sold his entire operation (including the Lake Wallis, the Special Lease, the established tourist route and wharf facilities to Stan Croad.
Stan Croad
The Master of the Lake Wallis from 1967 was Stan Croad, both a ferryman and film operator at the Regent Theatre in Forster. Stanley Osbourne Croad was born in Kempsey in 1912 and moved to Forster around 1937 when the Regent Theatre opened and he commenced work as film operator.
Prior to purchase of the Lake Wallis he operated a launch - name unknown. In 1944, newspaper reports show that Stan had secured a contract to transport schoolchildren from areas around Wallis Lake to Forster. In 1946 he sought a Special Lease from the Lands Board Office to operate his launch service, “carrying school children to and from school per motor launch, and conducting scenic tours of Wallis Lakes” - as indicated by this notice in the Northern Champion.
“It is notified in the Government Gazette of 19th and 26th September and 3rd and 10th October, 1947, that application has been made by Stanley Osbourne Croad, for Special Lease No. 47/37, Land District of Taree, for Jetty, containing about 2 perches below high water mark of Wallis Lake at Forster, between portions 297 and 343 and south of and adjoining the area applied for as Special Lease 46/62 (The Northern Champion (Taree, NSW: 1913 - 1954 Sat 11 Oct 1947).
Croad operated from Emmerson's Lease 38/21 post 1967 but the precise details of his earlier operation is unknown: According to Carl's son, Peter, the relationship between Carl Emmerson and Stan Croad was not a happy one. It was Stan Croad who replaced the Kelvin J2 diesel with the more powerful Lister diesel motor.
In 1975 the Wallis Lake was registered to carry 39 persons and provide life-saving devices for 18 persons. She was described only as 29 ft 3 inches long and only licenced to travel on CAPE HAWKE HARBOUR – Smooth Water only. Graeme Andrews recorded her dimensions as 9 ft 10 inches breadth and 5.3 tonnes.
AFLOAT MAGAZINE ARTICLE
The best description of Stan’s operation was published in the magazine AFLOAT. It was written by Graeme and Winsome Andrews in 1976. Excerpts are included below:
“Stan Croad of Forster is a throw-back. In 1976 he is probably the last of the travelling storemen who once could be seen on most of Australia’s waterways. These water-borne carriers could be found on any river. They brought stores and religion. They collected produce outbound and replaced it with passengers inbound.
Stan still does something like that. Along with his tourist passengers he carries beer, bread, mail and vegetables and at various wharves around the lake he is met by the locals. Meanwhile his passengers watch the process with interest, probably unaware of just what they are watching.
Stan’s small well-deck ferry Lake Wallis is one of the last of the small working craft of the Forster area, her lineage goes back to the time when Forster was a thriving coastal shipping port. The days of the small ferry are numbered as Forster’s population is increasing and new waterfront businesses are growing, along with bigger, faster and more obvious cruise boats. Stan reckons he will not be able to compete but he and his little boat might last long enough, particularly as her shallow draft allows her to reach places out of bounds to bigger craft.
In 1976 only one other boat competed with Stan for the tourist trade. The ex-river milk boat Sun with her liquor license and great size carried a different load to Stan and their paths rarely crossed. [In 2016 Sun is based in Brooklyn on the Hawkesbury River and services Dangar Island and the settlements such as Little Wobby.]
Stan collects his goods and passengers from almost the heart of Forster. The trip is advertised as starting at 0900hrs but Lake Wallis and her amiable Master are no longer young and not in any hurry. The ferry seems to have been built about 1944. She carries up to 38 passengers with a crew of one. A Lister diesel can give her about eight knots but six or seven will do her unless the wind and the lake look like whipping up. When we travelled with Stan he was contemplating buying a newer and bigger boat but was bothered that this would mean he would have to increase his prices.
At about 0920 the Lister rumbles into life and Lake Wallis moves away from her berth with perhaps 20 adults with a dozen or so kids. Passengers and crew are seated low in the hull. She is like an old private launch with the engine covered by a large flat-topped box, slap in the middle of the boat.
Nearing the Forster - Tuncurry Bridge the launch swings sharply to port and skirts a steep sand island where kids are sliding down the sand dune to end up with a great splash. The launch crosses the next channel past low-lying Cockatoo Island towards the ‘Cut’ which is the entrance to the Wallamba River. A considerable tidal outflow can be felt there and the Lister picks up a few revs to cope. Stan has done this many times but he still keeps his ship’s head lined up on the various official and local knowledge navigation markers and piles.
Along the top of Wallis Island the ferry plods. In the area between Regatta Island and Wallis Island the local people once held picnic regattas. Paddle steamers, early motor launches and sail craft of all types – private and commercial- competed in picnic races while the families ashore tucked into the goodies and egged on the contestants.
At Coomba, a hamlet on the western shores of Wallis Lake, a small jetty pokes out from the shore. Here a cluster of people await their purchases. A run-down public toilet attracts some sighs of relief from some of the intrepid passengers. Coomba was to be a glamour development but something went wrong and the 20 or so homes house retirees in considerable peace. Stores and money change hands and Lake Wallis backs carefully out into the channel and heads onwards.
On the south-western end of Wallis Island is a grand and remarkable two-storey house. It is obviously old and apparently houses a Finnish family who have crops, cattle and the obligatory sauna. Their ‘wharf’ consists of the remains of the steam paddle lighter, or ‘drogher’ Queen. About 40 m long by 10 or 12 m wide, this craft is a wooden boat enthusiast’s dream. Much of the exposed timber remains showing grown timbers and adzed wood working. Stores and monies change hands and off we go again.
Out in the middle of the lake the Lister’s muted growl suddenly fades into silence. Skipper Croad puts down his microphone, takes off his Captain’s hat and replaces it with a chef’s hat. A white apron mysteriously appears, while from a large white locker, good china cups and saucers appear. Within a few minutes Stan is passing around, via the ladies, cups of very hot tea or coffee, biscuits for those that want them and scones for those who prefer. The children get cold soft drinks and or cordial.
As the boat drifts Stan tells us more about the lake, his boat and of the locals. Fifteen minutes after ‘Tea-Oh!’ the diesel awakes, tea remnants disappear into the locker, the tablecloth leaves the top of the engine box and we press on somewhat refreshed and impressed.
The homeward, northward run takes us into shallows. Clumps of weeds slide past close to the hull and Stan keeps his eyes on his marks. He tells us about ‘The Step’. Between the mainland at Wallis Point and Wallis Island is a sand bank known as ‘The Step’. Here the incoming tide rolls over the edge of the Stockyards Channel and forms a sand ‘lip’. Here it is that deeper-draft vessels baulk but the little launch slides up and over, the Lister going flat out. All aboard feel the bow then the rest of the boat lift and then drop as we bump into deeper water. Lake Wallis has nearly completed her run.
She swings to starboard off the rarely-used airfield on Wallis Island and heads down Breckenridge Channel. Past Godwin Island Stan swings to starboard and eases in towards his pile berth. Lake Wallis’s stem settles into the low-tide shore-line mud as Stan secures his berthing lines before waving us ashore over a plank that is strong enough but makes one wonder anyway. Stan makes his personal farewell to every person leaving and then, as we straggle away, turns to and cleans up his place of work.
Stan Croad and his comfortable little launch provided one of the best-value tourist dollars the Grey Wanderers have ever had. More than 30 years later we sometimes talk of him, wondering what became of him. Perhaps one of Afloat’s amazing knowledgeable readers can complete the tale?
A more recent publication by the Coomba Progress Association describes Stan as follows:
“For many years people in Coomba had relied for mail delivery on the services of men like Stan Croad, who had operated excellent ferry services, and delivered so cheerfully and willingly not only their basic needs, but would even shop and bring back a grocery order without charging for this extra service.
Stan Croad sold his operation in 1978 to William and Noni Coombe who only ran the Lake Wallis for a couple of times when they replaced her with the younger and larger vessel - Amaroo. Matt Coombe, William Coombe's son noted "This paved the way for bigger and better vessels, all given the prestigious name of ‘Amaroo’" Manning-Great Lakes Focus BLOG 1st June 2010
Stan died in 1994.
Acknowledgements: We would like to thank Graeme and Winsome Andrews for their contribution and AFLOAT magazine for allowing us to extract a large part of the material in Tea and Scones on Lake Wallis in 1976
Image Source: Peter Emmerson
All Images in this photostream are Copyright - Great Lakes Manning River Shipping and/or their individual owners as may be stated above and may not be downloaded, reproduced, or used in any way without prior written approval.
GREAT LAKES MANNING RIVER SHIPPING, NSW - Flick Group --> Alphabetical Boat Index --> Boat builders Index --> Tags List
My little man is now 2 months old...he says he's too old to take neki pictures anymore so the diaper had to stay on. I went with a completely different post process than what I usually do. I played with the RGB curves, raising the black point to get that softer gray look and light split toning using a blue for shadow and orange/yellow tint for highlights. The alternate version continues the chalkboard theme I started last month, you can find that picture here:
www.flickr.com/photos/davidmattos/8794005011/in/photostream/
Camera Info:
Nikon D7000, 28mm 1.8g @ f/5, 1/250th sec. ISO 100, approximately 7-8 feet above
Strobist Info:
SB-28 @ 1/1 Westcott Apollo 28", Camera Right, 2' away
SB-28 @ 1/1 Westcott Apollo Stripbox as fill, Camera Right, 5' away
Triggered with Pocketwizard Plus III's
Processing:
LR4 & PS CS6
Blog Post:
Palkhi is a 1000 — year old tradition which was started by some saints of Maharashtra (India). and is still continued by their followers called as Varkaris (people who follow a Vari, a fundamental ritual). People collectively go singing and dancing, chanting Dnyanba-Tukaram in what are called as Dindis (organised group of Varkaris) to the holy town of Pandharpur (a small town in the district of Solapur) in Hindu months of Ashadh (June-July) and Karthik (November-December).
The Palkhi starts in the month of Jyeshth (June) and the whole process lasts a total of 22 days. Every year on the eleventh day of the first half of the month of Ashadh, the Palkhi reaches Pandharpur. Every saint, right from Sant Dnyaneshwar to Sant Tukaram was following the Vari tradition.
In the year 1685, Narayan baba, the youngest son of Tukaram was a man of innovative spirit and decided to bring about a change in the dindi-wari tradition by introducing the Palkhi, which is a sign of social respect. He put the silver padukas (footsteps) of Tukaram in the Palkhi and proceeded with his dindi to Alandi where he put the padukas of Dnyaneshwar in the same Palkhi. This tradition of twin Palkhis went on every year, but in 1830 there were some disputes in the family of Tukaram, concerned with rights and privileges. Following this, some thoughtful persons decided to break-up the tradition of twin Palkhis and organise here after, two separate Palkhis Tukaram Palkhi from Dehu (Pune Maharashta) and the Dnyaneshwar Palkhi from Alandi (Pune Maharashta).
From that time till date, both the Palkhis meet in Pune for a brief halt and then diverge at Hadapsar to meet again at Wakhri, a village nearby to Pandharpur.
In course of time, this tradition is becoming popular day by day. A total of approximately 2 lakh devotees proceed along with the Sant Tukaram Palkhi from Dehu village, while a total of 4 lakh devotees march along with the Sant Dnyaneshwar Palkhi from alandi village. At present a total of 43 Palkhis including the above two visit Pandharpur village every year.
Thousands of people called ‘Varkari’ reach Pandharpur from Alandi or Dehu after walking for about 250kms in Aashad (a hindu month which coincides with June/ July) Ekadashi (11th day of the moon). They walk with palkhis (chariots) carrying paduka (sandals) of the saints singing sacred songs. Varkaris are a Hindu religion sect who workship Vithoba (or Vitthal), an incarnation of Krishna.
Devotee chants the name of “Mauli Vittal” all the way & completes the yatra by feet on Ashadi Ekadashi at Pandharpur. Around 8 lakhs of warkaris flocked the city and their chants of “Ram Krishna Hari, jai jai Ram Krishna Hari” and Dnyanba-Tukaram (the famous Maharashtrian saints, Dnyaneshwar and Tukaram) reverberated on the streets.
This is mini Saru Rururu. He is the cutest plushie I have ever seen, and I just got him in the mail (well, last week). He's reminding me to water my plants (or else!). A million thanks to kayen.c for introducing him to me.
Please check out her amazingly creative and adorable set 365 Saru Rururu, I guarantee you will be smiling for hours :)
Chamba is an ancient town in the Chamba district in the state of Himachal Pradesh, in northern India at an altitude of 996 metres (3,268 ft) above mean sea level, the town is situated on the banks of the Ravi River. In 920, Raja Sahil Varman shifted the capital of the kingdom to Chamba, following the specific request of his daughter Champavati (Chamba was named after her). From the Beginning 67 Rajas of Verman dynasty have ruled over Chamba until it finally merged with the Indian Union in April 1948.
Day 109/365
Shane is getting ready for the spring
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Sandal Castle is a ruined medieval castle in Sandal Magna, a suburb of the city of Wakefield in West Yorkshire, England, overlooking the River Calder. It was the site of royal intrigue and the setting for a scene in one of William Shakespeare's plays.
History
The Warennes
William de Warenne, 2nd Earl of Surrey (1081–1138) was granted the Sandal estates in 1107. The 2nd earl built the first Sandal Castle of timber. He supported Robert Curthose against Henry I and was banished from the kingdom for two years. Later he was given the Wakefield manor. William de Warenne, 3rd Earl of Surrey (1119–1148) spent little time at Sandal, having taken crusading vows and joined the Second Crusade. He had one daughter, Isabel de Warenne (1137–1199), who married William of Blois, son of King Stephen, who became the 4th earl. He died in 1159, leaving no children. Isabel, his widow, next married Hamelin (1129–1202), the 5th earl. He was the son of Geoffrey of Anjou and assumed the Warrene name on his marriage in 1164. Hamelin is thought to have built the early Norman stone fortifications at Conisbrough Castle and also begun to replace the wooden fortifications at Sandal with stone.
William de Warenne, 5th Earl of Surrey (1166–1240) married Maud Marshal in 1225. He was loyal to his cousin, King John and is one of the four nobles whose name appears in the Magna Carta for John. On King John's death in 1216 he supported Henry III. Maud de Warenne, William's widow, held the Wakefield Manor from 1240 until their son John de Warenne, 6th Earl of Surrey (1231–1304) came of age in 1252. John married Alice de Lusignan in 1247. In 1296 the 6th Earl was appointed warden for Scotland by Edward I and in 1299, the Earl and his royal master were triumphant over the Scots at the Battle of Falkirk.
William de Warrene (1256–1286) was killed at a tournament in Croydon pre-deceasing his father. His son John de Warenne, 7th Earl of Surrey (1286–1347) was born in the year of his death. John married Joan of Bar but lived adulterously with Maud de Nereford from a village near Castle Acre in Norfolk. In 1347, the 7th Earl died. His sons John and Thomas became Knights Hospitaller in the Holy Land, predeceasing their mother. The lands passed to Edward III. The Warennes had castles at Lewes in Sussex and Reigate in Surrey, Castle Acre Castle in Norfolk and Conisbrough in Yorkshire.
The Dukes of York
In 1347, Edward III granted Sandal to his fifth son Edmund of Langley who was six years old at the time. His elder brother John of Gaunt held Pontefract and Knaresborough Castles, Edmund was granted Wark Castle near Coldstream in the Scottish Borders, and in 1377 Fotheringhay Castle in Northamptonshire which was to become his home, and for the next 75 years the family seems to have spent little time at Sandal, leaving it to the management of constables or stewards.
In 1385 Edmund was made Duke of York as a reward for his support for his nephew, Richard II of England. He was succeeded by his son, also Edward who campaigned in Ireland and died at the Battle of Agincourt in 1415. Edward was succeeded by his nephew, Richard Plantagenet, 3rd Duke of York.
The Battle of Wakefield
Early in 1460, during the Wars of the Roses, Richard Plantagenet made a bid for the throne. He was initially not well-received, but an Act of Accord made in October 1460 recognised him as heir to the throne and named him Protector of the Realm. In December Richard went to Sandal Castle, either to consolidate his position or to counter Lancastrian dissent. He had an army of 3,000–8,000 men but on 30 December in the Battle of Wakefield, he was outnumbered and outmaneuvered by Queen Margaret's army, coming from nearby Pontefract. Richard suffered a crushing defeat and both he and his younger son Edmund, Earl of Rutland were killed (although only two months later Richard's eldest son Edward became king).
Richard III
The castle's last brush with royalty came in 1483 when Richard's eighth son (and twelfth child) Richard III chose it as a northern base and ordered significant investments. This hope was short lived however as Richard was killed in the Battle of Bosworth in 1485. After this the castle was maintained a little, but gradually declined, with the building of Wakefield Prison in the 1590s leaving it even less useful.
The English Civil War
During the English Civil War Sandal Castle was Royalist, although its neglected state left it out of the major conflicts. In 1645 however it was besieged at least three times by Parliamentarian troops. Butler recounts: Having been assured that they would receive a safe passage to Welbeck House in north Nottinghamshire they surrendered the castle at 10 o'clock on 1 October 1645. The garrison was then 10 officers and 90 men with two of the men called "seniors" implying that they were professional soldiers rather than just non-commissioned officers. They also surrendered 100 muskets, 50 pikes, 20 halberds, 150 swords and two barrels of gunpowder: no pieces of artillery are mentioned.
As a result of this capitulation, only Bolton Castle in Wensleydale and Skipton Castle remained in Royalist hands in Yorkshire, but Sandal "was the most resolute of all the three northern garrisons" and its fall caused great rejoicing among the parliamentarian forces. By the siege's end, it was a ruin. The following year, Parliament ordered that it be made untenable.
The castle
The motte at Sandal Castle
The castles built by William the Conqueror's followers were self-sufficient strongholds, some of which were tax-gathering points, some controlled the larger towns, river crossings or passes through hills. Two castles were built near Wakefield, one at Lowe Hill on the north bank of the Calder and Sandal on the south bank. The first castles were probably started and completed in the early 12th century by William de Warenne, 2nd Earl of Surrey after he had been granted the manor of Wakefield by Henry I.
Sandal and Lowe Hill were motte-and-bailey earthwork castles with wooden towers on the mound and baileys with timber palisades and deep ditches. Sandal is built on a natural sandstone ridge, the Oaks Rock. The motte was raised to 10 metres (33 ft) with the 7 metres (23 ft) deep moat surrounding it. Only Sandal survived and during the 13th century the keep, curtain wall and other buildings were rebuilt in stone, probably started by either the sixth or seventh Earls Warenne.[Timber motte and bailey castles were often converted into stone if they were in use for long periods; Sandal is a particularly good example of this.
The stone keep was circular with four towers each four storeys high; two of them close together formed a gatehouse, and the east tower contained a well, 37 metres (121 ft) deep. The double-walled keep would have had guardrooms, storerooms and servants' quarters on the ground floor, the main hall above and private apartments on the second floor. The tower rooms had garderobes, (lavatories) that discharged on the outer walls of the keep. The curtain wall was 6 metres (20 ft) high with a wall walk along its length, it enclosed the bailey and crossed the moat twice to reach the keep.
The barbican at Sandal was inside the bailey; it was a three-storey tower with a moat opposite two drum towers at the entrance to the keep, all of which were constructed in the early 1270s. The barbican with its own gate and portcullis added an extra line of defence between the main entrance gate and the keep. Attackers entering the barbican had to make a right-angled turn to enter the keep, which was protected by a drawbridge between the drum towers. A stairway from the barbican led to a sally port.
The bailey lay to the south-east of the keep with the main gatehouse on the north-east side. It was crescent shaped, about 71 metres (233 ft) long and 52 metres (171 ft) wide. Inside the bailey there was a 12 metres (39 ft) deep well and two privy shafts, one of which is 8 metres (26 ft) deep.
The ruins
The ruins were a source of stone for local building and became a place for locals to relax. They were depicted in the foreground of a drawing of Wakefield from the south by Samuel Buck in 1719 or 1722, and in 1753 an engraving was published of an Elizabethan survey drawing.
The ruins were first excavated by the Yorkshire Archaeological Society in 1893. A more detailed project began in the summer of 1964 and was a partnership between Wakefield Corporation, Wakefield Historical Society and the University of Leeds. This project started as an experiment in adult education, but with the help of over a hundred local volunteers it grew into a complete and rigorous excavation that continued for nine years. Whilst excavating the bailey, archaeologists found remains of flint tools suggesting a Mesolithic encampment was there in about 5,000 BC.
In 2003, a wooden walkway was provided to allow access to the summit of the motte without causing erosion: it was subsequently closed as unsafe. A visitor centre was constructed about 110 yards (100 m) from the castle. There have been historical re-enactments and "living history" days, including commemoration of the Battle of Wakefield and the deaths of Richard Duke of York and his son Edmund. In February 2015 Wakefield Council announced that due to budget constraints they were considering plans to either close the visitor centre or reduce its opening hours. The centre has since closed.
The castle is a Scheduled Monument, which means it is a "nationally important" historic building and archaeological site which has been given protection against unauthorised change. It is also a Grade II* listed building.
The Basilica is dedicated to the Fourteen Holy Helpers, a group of saints venerated together in Roman Catholicism, especially in Germany at the time of the Black Death. The late Baroque, Rococo basilica is located near the town of Bad Staffelstein near Bamberg, in Bavaria, Germany. The structure, designed by Balthasar Neumann, was constructed between 1743 and 1772.
On 24 September 1445, Hermann Leicht, the young shepherd of a nearby Franciscan monastery, saw a crying child in a field that belonged to the nearby Cistercian monastery of Langheim. As he bent down to pick up the child, it abruptly disappeared. A short time later, the child reappeared in the same spot. This time, two candles were burning next to it. In June 1446, Leicht saw the child a third time. This time, the child bore a red cross on its chest and was accompanied by thirteen other children. The child said: "We are the fourteen helpers and wish to erect a chapel here, where we can rest. If you will be our servant, we will be yours!" Shortly after, Leicht saw two burning candles descending to this spot. It is alleged that miraculous healings soon began, through the intervention of the fourteen saints.
(c) Wikipedia
This is the original building at Knox Presbyterian Church, built in 1909.
From Wikipedia:
In 1820 the first Presbyterian congregation in Toronto (then the Town of York) was formed, and after the donation of land from Jessie Ketchum, built a church on Richmond Street. This church was known as First Presbyterian Congregation of York, Upper Canada, and James Harris (later to be Ketchum’s son in law) became minister.
In 1830, the larger St. Andrew’s Church was founded, and it quickly became the city's primary Presbyterian Church. St. Andrew's was aligned with the Church of Scotland; the Canadian Synod was formed in 1831.
This Richmond Street church was more evangelical, and had become independent of the United Synod of the Canadas in 1834, and remained apart from any other group (including the United Presbyterian Church of Scotland who started their Toronto congregation in 1838) until 1844.
In 1843, the Church of Scotland split, when many of the evangelicals led by Thomas Chalmers, withdrew to form the Free Church of Scotland, in a dispute called the Disruption of 1843. This dispute hit the Canadas the following year at the respective Synod Meetings in Kingston and Nova Scotia; a faction broke off from St. Andrew’s, who remained in the “Auld” Kirk.
This group was approached by the York congregation, and the two groups decided to join and become a stronger and united Free Church congregation presence in Toronto that they named Knox’s Church, after the Scottish Church reformer John Knox; they called an experienced minister from Paisley, Scotland, Rev. Dr. Robert Burns, to become their first minister. Burns was the former Secretary of the Glasgow Missionary Society, a friend of Chalmers, and uncle of another well-known minister and missionary, William Chalmers Burns. Burns was initially a lecturer, then later full-time professor, in the nearby Knox Free Church Theological College. Mr. Harris retired from the York congregation, and remained connected with the congregation until his death in 1874.
In 1847 the old York Church was destroyed by a fire. The congregation built a new larger church on the same lot, this time facing Queen Street West between Yonge and Bay. Knox quickly became the leading Free Church congregation in Canada, helping to spread the movement throughout the colony. One of the most prominent members of this church was George Brown founder of the Toronto Globe and also the Banner, and an eventual member of the Fathers of Confederation, upon formation of the Dominion of Canada in 1867.
From the split (“the disruption”) in the Church of Scotland and in the Canadas, Knox took an active role in the reunion of all the Presbyterian groups in Canada. In 1861, the Free Church of which Knox belonged to, and the Canada Synod of the United Presbyterian Church of Scotland joined; and in 1875, the Presbyterian Church in Canada, uniting the “Auld Kirk” and “Free Kirk”.
Over time, Knox’s location had become more commercial with fewer residents in the area. At the time Toronto had strict Lord’s Day laws that prevented public transit from running on Sundays, making it imperative that churches be located near to the population.
In 1895, the church was severely damaged by a fire that began at the Robert Simpson Building next door. This fire destroyed the steeple, which was never fully rebuilt. It was eventually decided to move the church in 1906, and in January 1909, the church officially moved into its present home at 630 Spadina Avenue just west of the University of Toronto, at Harbord Street; the memorial stones cited in the enclosed article (1886 Profile), were also moved into the new building.
The mixed Romanesque Revival and Gothic Revival building was designed by congregation member James Wilson Gray.
In June 1925, Knox was instrumental in maintaining the continuity of the Presbyterian Church in Canada, as it was from this building, that the midnight vigil was held, led by the 79 Ministers and Elders who voted against the consummation of the union (in nearby College Street Church) that formed the United Church of Canada, as they maintained continuity with their General Assembly. As a congregation, Knox had voted against Union earlier that year, by a vote of 20-788. There were gains to the congregation from some of those in the surrounding congregations that went into the Union.
In the 1950s, the congregation was challenged to leave the community, as post World War II suburban expansion greatly affected Toronto, and the Spadina Expressway (later abandoned) was proposed to run along Spadina Avenue. Under the leadership of Rev. Dr. William Fitch, who arrived in early 1955 from the Springburn area of Glasgow, Scotland, the congregation built an adjoining hall (Knox Fellowship Centre) in 1961, and expanded its ministries into the inner city (Evangel Hall at 573 Queen Street West had been run by Knox since 1913), the Universities (including Ryerson and York, and community colleges such as nearby George Brown College), and during the summer months, began the weekly Knox Summer Fellowship, Wednesday Evening Services that brought (or introduced) renowned speakers from around the world.
The congregation is reflective of a changing demographic in a multicultural community; ESL classes are offered, and has also developed a broad support group with many Christian missionaries under their support and care. There is an “Out of the Cold” programme for street youth in the winter, and continues to be blessed with well-attended Sunday Morning and Evening worship services.
There is also a great support and tradition for missionaries, both on the home and International scenes. There is a current roster of 46 (19 couples), as well as 17 “Phase 2” Missionaries (4 couples) who are supported in their retirement years; along with others who have been linked through liaisons with other recognized organizations including the Presbyterian Church.
This High Dynamic Range 360° panorama was stitched from 100 bracketed photographs with PTGUI Pro, tone-mapped with Photomatix, processed with Color Efex, and finally touched up in Aperture.
Original size: 20000 × 10000 (200.0 MP; 1006.56 MB).
Location: Toronto, Ontario, Canada
This is for the Macro Monday Challange.. Monochrome.. How I love this little beauty..Got this for my TTV, but yet have to make a contraption.. :(
The Kodak Duaflex is a 620 roll film pseudo TLR made by Kodak in the US and UK. The original versions were available from December 1947 - September 1950 in the US, and 1949-1955 in the UK; the Duaflex IV was finally discontinued in the US in March 1960.
Textures by Kim Klassen and Hilde Wegner!
Original Caption: D'aug Days (Pronounced Dog) Is a Month Long Presentation of All the Arts at Downtown Cincinnati's Immensely Popular Public Plaza, Fountain Square. Sunday Afternoon Crowd Watches Performance by the Chicago Street Theater 08/1973
U.S. National Archives’ Local Identifier: 412-DA-10828
Photographer: Hubbard, Tom, 1931-
Subjects:
Cincinnati (Hamilton county, Ohio, United States) inhabited place
Environmental Protection Agency
Project DOCUMERICA
Persistent URL: catalog.archives.gov/id/553287
Repository: Still Picture Records Section, Special Media Archives Services Division (NWCS-S), National Archives at College Park, 8601 Adelphi Road, College Park, MD, 20740-6001.
For information about ordering reproductions of photographs held by the Still Picture Unit, visit: www.archives.gov/research/order/still-pictures.html
Reproductions may be ordered via an independent vendor. NARA maintains a list of vendors at www.archives.gov/research/order/vendors-photos-maps-dc.html
Buy copies of selected National Archives photographs and documents at the National Archives Print Shop online: gallery.pictopia.com/natf/photo/
Access Restrictions: Unrestricted
Use Restrictions: Unrestricted
St Peter, Theberton, Suffolk
Theberton is a sizeable village strung out along the main road to the north of the town of Leiston. The church has one of Suffolk's prettiest round towers, and loveliest thatched roofs. Gargoyles grin down from the late medieval south aisle, a 1483 bequest by Sir William Jenney, but substantially restored, perhaps even largely rebuilt, in the 1840s by Lewis Cottingham for Charles Doughty, who was not only the rector but also the wealthy owner of Theberton Hall. He intended it as a family aisle, in one of those 19th Century conceits which tried to imitate the pretensions of the medieval landed gentry, and the relatively early date of the restoration might explain its rather jolly pre-ecclesiological gothicky feel.
But Theberton is also home to a rather grimmer tale. On the night of 17th June 1917, on the edge of this village, German Zeppelin airship L48 was brought down, with the agonising death of 16 of its crew. Finding yourself on fire and falling through the air cannot fill you with much hope of your survival, but remarkably some of the crew did survive, to be rounded up by the local constable, who I like to imagine arriving on his bike. The dead were buried in the graveyard extension here, before being moved to a military cemetery 60 years later, but their memorial remains. In the porch there is part of the superstructure of the giant airship, incongruous in a glass case. The story below it makes fascinating if slightly harrowing reading. Within the time I've lived in Suffolk I've met locals who still talked about the Theberton airship crash, although of course they must all be dead by now, but many must be the households in the parish which still retain part of the skeleton of the ship.
The south porch was restored at the same time as the aisle, but the most memorable part of the 1840s restoration becomes evident as you step into the nave, for the south arcade has been painted with extravagant stencilling, as if it had been tattooed. We know that much wood and stonework was painted in medieval times with geometric designs, and some survives in Suffolk at Kedington and Westhorpe. It is interesting to see an early 19th century interpretation. It is said that Cottingham based the scheme on traces of paint found on the arcades. The work was carrie dout by Thomas Willement, better known for his glass, which is also here, depicting St Peter and St Paul flanked by the evangelistic symbols in the south windows of the aisle.
The arcade lends the interior a somewhat idiosyncratic feel, as you may imagine, but it does help distract from what is certainly not the best early 20th century glass in Suffolk. The Ward & Hughes memorial window to Charles Hotham Montagu Doughty, who was killed leading a charge in the Dardanelles in 1915, is particularly bad, depicting the portly, balding Doughty as St George, his slayed dragon beside him, kneeling at the foot of what appears to be a plywood cross as the sun comes out. Extraordinary to think that it is contemporary with the fabulous work of Ninian Comper and Christopher Whall elsewhere in Suffolk, both then at the height of their powers. Worth seeing, if only to see how bad the work of the Ward & Hughes workshop got as the 20th Century progressed. The east window, also by Ward & Hughes, is earlier and a bit livelier. It depicts the Resurrection, with Christ rising from the tomb above the sleeping soldiers, the angels looking on. Mortlock admired it for its colour and draughtsmanship, although it does unfortunately look as if Christ is knocking on the ceiling with his cross, perhaps shouting "Can you keep the noise down please? We're trying to sleep down here!"
As you might expect, the work of the highest quality here is in the south aisle. There is a spectacular memorial to Frederica Doughty, who died in 1843, on the west wall. The date seems incredibly early for such confident, vibrant High Victorian work. Beside it is a simple memorial to the explorer and poet Charles Doughty, author of the 1888 work Travels in Arabia Deserta. As Doughty's biographer on Wikipedia observes, it is written in an extravagant and mannered style, largely based on the King James Bible, but constantly surprising with verbal turns and odd inventiveness. This book was much admired by two remarkable writers, each very different from the other: TE Lawrence wrote a gushing introduction to the republication of 1922, and the author Henry Green wrote an essay about the influence of Doughty's work on him, most obviously in his novel Living. Their joint patronage has helped ensure that Doughty's work has gone in and out of print ever since.
Several display cases are devoted to this parish's links with the city of Adelaide in Australia. Colonel William Light, who came from Theberton, surveyed the site for the city, and one of its suburbs is called Thebarton. The vestry door is kept open so you can see the Norman north doorway, and the 15th Century font nearby is similar to those at several neighbouring parishes.
But my favourite thing of all is outside the south porch. It is a table tomb against the wall, and commemorates John Fenn, the Laudian Rector here in the early 17th century, who was hounded out as a scandalous minister (that is to say, a theological liberal) by the Puritans. He was lucky to escape with his life, for the Rector at Brandeston was found guilty of witchcraft, and hung.
Fenn survived the Commonwealth, and died here after the Restoration of the Church of England. The inscription reads: Here is a stone to sitt upon under which lies in hopes to rise to y day of blisse and happinesse honest John Fenn, the sonne of William Fenn, Clarke and late Rector of this parish. Being turned out of this living and sequestered for his loyalty to the late King Charles the First hee departed this life the 22 day of October anno domini 1678. This request for us to rest would have been profoundly disapproved of by his puritan persecutors. Rarely is it so easy to strike back at religious fundamentalism, but here one can do so simply by sitting down.
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The Corbin Building is located adjacent to the Fulton Center. It was originally slated to be demolished, the building was instead restored as a part of the Fulton Center project and incorporated to the overall transit complex. It opened in 1888 and was designed by Francis H. Kimball in the Romanesque Revival style. The Corbin Building is on the National Register #03001302. The Fulton Center is a complex of buildings, entrances and pedestrian tunnels utilized as a transit center and retail complex at the intersection of Fulton Street and Broadway in Lower Manhattan. It was designed by Grimshaw and James Carpenter Design Associates and opened in November 2014. At the heart of the center is the Sky Reflector-Net which bounces daylight four stories deep. The complex connects the Fulton Street station on the 2 3 trains on the IRT Broadway – Seventh Avenue Line, the Fulton Street station on the 4 5 trains on the IRT Lexington Avenue Line, the Fulton Street station on the A C trains on the IND Eighth Avenue Line, the Fulton Street station on the J Z trains on the BMT Nassau Street Line, the Cortlandt Street station on the N R trains on the BMT Broadway Line, and in the future will also connect to the World Trade Center PATH station, as well as the Cortlandt Street station on the 1 train on the IRT Broadway – Seventh Avenue Line, and the World Trade Center station on the E train on the IND Eighth Avenue Line through the World Trade Center Transportation Hub.
Sakiちゃん！うれしいちゅわ！わしわいわい！どうもち！めちゃほんまにかわいいときれいやわ～～！ビックリドンキーうふ！！Ｓａｋｉちゃんいちばんすきな！わいわい！！Ｍａｒｉｇｏｌｄちゃんありがとう！！
Today is cloudy and cold and horrid weather- but she still looks Dreamy to me!
This is the Mesquite High School "L Building". This section was one of the original structures of the MHS. Sadly, It was demolished around April of 2017 to make way for a new structure.
► "Stormy the Skeeter" is the school mascot for the school's various athletic teams (all known with some variant of the word "Skeeter") and the school's colors are Maroon and White. In the March 1901, the Mesquite Independent School District was incorporated at the behest of the citizens of Mesquite Texas to serve the primary and secondary educational needs of the city. The first school was established at the current site of MHS in 1902 with an enrollment of approximately 200 students. A new high school was built on the property in June 1923. MHS was officially recognized as an accredited high school in June 1924 by the Texas State Department of Education, thus allowing its students to attend Texas colleges and universities without having to take remedial coursework. Additional expansions occurred during 1938 and 1939 as a part of the Works Progress Administration created by President Roosevelt. A historical marker can be found at the street side of L. building and an WPA placard can be found on the outside of the art room to mark these significant events in MHS' history.
MHS students became known as "Skeeters" in 1944. This was a simplification of the traditional "Mesquiters" which had been the previous mascot name for the school. 1954 marked a significant change at MHS when the district relocated all its other existing grade levels to other sites within the city and the campus was solely dedicated to high school education. Integration of the school began in 1964 when area African-American students were allowed to enroll at MHS for the first time. During 1966, a six phase renovation project plan began. The final phase of construction was completed in 1999.
►From en.wikipedia.org/wiki/Mesquite_High_School_(Mesquite,_Texas) ..
Photo Taken: March 4 2017
Photo Taken By: Randy A. Carlisle
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Church of Ss Peter & Paul, Aston from Holborn Hill.
The New Years Day walk into Nechells.
Villa Park, home of Aston Villa FC behind.
The Britannia put on the left (Lichfield Road).
The church is on Witton Lane and near Aston Hall Road.
Grade II* listed building.
Anglican Church of Ss Peter and Paul, Birmingham
997/7/94 WITTON LANE
25-APR-52 WITTON
Anglican Church of SS Peter and Paul
(Formerly listed as:
WITTON LANE B6
WITTON
PARISH CHURCH OF ST PETER AND ST PAUL)
(Formerly listed as:
WITTON LANE
WITTON
PARISH CHURCH OF ST PETER AND ST PAUL)
II*
997/7/94 WITTON LANE
25-APR-52 WITTON
Anglican Church of SS Peter and Paul
(Formerly listed as:
WITTON LANE B6
WITTON
PARISH CHURCH OF ST PETER AND ST PAUL)
(Formerly listed as:
WITTON LANE
WITTON
PARISH CHURCH OF ST PETER AND ST PAUL)
II*
An Anglican parish church, originating before 1086, though nothing visible survives from this date. The west tower dates from the C15, with its spire renewed in 1776-7 by John Cheshire (circa 1739-1812); otherwise the church dates from 1879-90, with the south porch added in 1908, all to designs by Julius Alfred Chatwin (1830-1907). The church is constructed from brownish-grey sandstone, under slate roofs.
PLAN: The plan has nave, apsidal chancel, north and south aisles, north organ chamber and south chancel chapel, and south porches. Attached to the north and extending westwards is a late-C20 church centre (not of special interest).
EXTERIOR: The building is set on a moulded sandstone plinth, and has angle buttresses and pitched roofs. There is a west tower of four stages with angle buttresses, three-light windows and an unusual treatment of the bell stage, which has rows of segment-headed recesses with two tiers of trefoil-headed panels; the central pair are louvred, those flanking are blind. The stages are marked by moulded string courses. The tower is surmounted by an elegant, broachless octagonal spire. The tower, nave and chancel have unifying crenellations. The aisle windows and those to the south (Erdington) chapel have simple Y-tracery, with drip moulds and some head stops, in part to accommodate stained glass from the earlier church. The clerestory has windows of three lights, with cusped heads and trefoils in Decorated tracery above. The nave and chancel are continuous, the transition between the two marked by large pinnacles with gargoyles at their bases. The high, five-sided chancel has tall buttresses with multiple off-sets, and three-light windows with continuous mullions, those to the sides with similar tracery to those in the clerestory. Nave, chancel and chapel have gargoyles and moulded detailing.
INTERIOR: The interior is long and high, dominated by the apsidal east end; there is no chancel arch. The nave and chancel have a continuous hammer-beam roof, adapted to the apsidal chancel. There is parquet flooring to the nave and aisles, and mosaic floors in geometric designs to the chancel and the Erdington chapel. The west entrance under the tower gives access to the body of the church. The high C15 tower arch has four continuous chamfers. Immediately in front of it is the font, with elaborate cover; designed by Chatwin, it was installed in 1881. The seven-bay nave arcades are formed from pointed arches carried on alternating round and octagonal piers, with shallow capitals with foliate carving. Although there is no structural break between the nave and chancel, the decoration becomes more sumptuous at the east end. The hammer-beam roof has a wealth of carved timber angels, and punched decoration to the trusses. The elaborate two-bay chancel arcades have ogival arches, with rich embellishments including crocketing, cusping, angel figures and pinnacles. The apse has five fine stained glass windows by Hardman and Co, dating from 1885, depicting the Adoration of the Lamb. Below, the sanctuary is clad in marble, with rich carved and pierced decoration, incorporating canopied sedilia. The reredos has three similar marble canopies, over a stone relief triptych. These, and the other furnishings, were all designed by Chatwin, including the pulpit, which is situated at the eastern end of the nave; installed in 1885, it is of alabaster and marble, with biblical scenes in relief, and is integral with the truncated remains of the chancel screen. The Erdington chapel has a timber barrel-vaulted roof, mosaic floor and houses monuments to the Erdington family. In addition to the Hardman windows at the east end, there is further stained glass of the mid- and late C19 to the north and south aisles, Erdington chapel, and tower. Makers include Hardman and Co, Lavers and Barraud, Alexander Gibbs and Heaton, Butler and Bayne. A window of the C18, by Francis Eginton, is resited above the north door, now leading to the attached church centre.
MONUMENTS: The church has an important collection of effigies and mural monuments, dating in a wide range from the medieval period to the C19. In general, those to the Holte family of Aston Hall are situated in the north aisle, and those to the Erdingtons in the Erdington Chapel. There are further mural monuments sited in the north and south aisles, the Erdington Chapel, and under the tower. The monuments include the following, though the list is not exhaustive. An alabaster knight of circa 1360 and a sandstone lady of circa 1490 lying together on a tomb chest; said to be a C16 amalgamation of the two original tomb chests, possibly commemorating Ralph Arden and Elizabeth, wife of Robert Arden, and probably moved here from Maxstoke, his home. Sir Thomas Erdington (died 1433) and wife Joan or Anne Harcourt (died 1417); he is in armour, she in a long skirt and mantle, set on a chest tomb with carved shields and angels; probably erected circa 1460. Another similar effigy, probably to Sir William Harcourt (died 1482 or later), on a chest tomb with carved angels. William Holte (died 1514) and his wife, both effigies in sandstone, on a chest tomb. Portrait bust of 1883 of John Rogers, MA (died 1555); born in Deritend, Birmingham in 1500, Rogers was instrumental in the translation and revision of the Matthews Bible, which became the standard translation in 1537; he was burned at the stake in 1555 as part of Mary Tudor's persecution of Protestants. A mural monument with the kneeling figures of Edward Holte (died 1592) and his wife, Dorothy, set in a recess with Corinthian columns. Effigies of Sir Edward Devereux (died 1622) and his wife Katherine, on an altar tomb, in black marble and alabaster, under a pediment carried on Corinthian columns. A fine monument of the early C18, with weeping putti, to Sir Thomas Holte (died 1654) who built nearby Aston Hall. A draped tablet to Henry Charles (died 1700), servant to the Holte family for 33 years. A highly architectural monument to Sir John Bridgman (died 1710) by James Gibbs, 1726. Mural monument in the Baroque style, to Sir Charles Holte (died 1722). Mural monument to Robert Holden (died 1730) and wife Laetitia (died 1751) by Michael Rysbrack, 1753, with angel heads. A portrait medallion with mourner to Sir Charles Holte (died 1782). A sarcophagus on lion feet, to Sir Lister Holte, by Westmacott, 1794. John Feeney (1809-1899), benefactor of the church, an Arts and Crafts plaque with classical surround and figures, by George Frampton, 1901.
HISTORY: A church at Aston is recorded in the Domesday Book (1086), when Aston was a much more significant settlement than Birmingham, valued at 100 shillings as opposed to Birmingham's 20 shillings. At times during the Middle Ages the advowson was held by members of the de Erdington family; Thomas de Erdington founded a chantry in the church in 1449, and the family are commemorated in the Erdington Chapel in the current church. From the mid-C16 until 1818, the advowson descended with the manor of Aston, falling to the prominent Holte family who built nearby Aston Hall in the early C17 and remained lords of the manor for some 200 years. Members of the Holte family have monuments in the present church. Later in the C19, the advowson was with the Aston Trustees, with whom it has stayed.
The earliest surviving part of the current church is a small amount of C14 stonework set in the north aisle wall, though this is not legible as part of the earlier church building. The west tower was built during the C15, and its spire renewed by John Cheshire in 1776-7. Drawings indicate that during the early C19, the church had a chancel with an east window of circa 1300 of three lights and intersecting tracery, and with three south windows. The nave had a low-pitched roof, and the blocked head of a former chancel arch showed above the low-pitched chancel roof. The south aisle had three south lancet windows and C18 or early-C19 east window, above which was the blocked pointed head of the earlier east window. The mullions of the aisle and clerestory windows had been removed in 1790 when the roof and interior of the church had been restored.
Julius Alfred Chatwin, the foremost church architect in Birmingham in the later C19, set about rebuilding the church during the later C19; construction was carried out in phases from 1879. The construction of the chancel and Erdington Chapel was anonymously funded by John Feeney, owner of the Birmingham Post; Feeney was buried at the church, and is commemorated with a memorial by George Frampton, RA. The chancel and south chapel were complete by 1883, and the nave finished in 1889. The final elements, including the south porch, were not completed until 1908, the year after Chatwin's death. The building incorporated embellishments from the earlier church on the site, including some C19 stained glass, and fragments of the medieval phases, including a C14 piscina, resited in the south aisle. The south chapel was created as the Erdington Chapel, to house monuments to that family. A wide range of monuments from the earlier church was incorporated into the new building, ranged along the north and south aisles, north and south sides of the chancel, and in the Erdington Chapel.
A glass and metal-framed meeting room was inserted into the north aisle during the later C20. A church centre was built to the north-west in 1980, linked to the church on the north side. In 2009, a cruciform baptismal pool was added to the dais in front of the chancel.
SOURCES: Colvin, H, A Biographical Dictionary of British Architects (4th edn, 2008), 249-50
Foster, A, Pevsner Architectural Guides: Birmingham (2007), 279-81
Griffin, P and Griffin, P, Aston Parish Church: A History and Guide (2009)
Pevsner, N and Wedgwood, A, The Buildings of England: Warwickshire (1966), 146-8
History of the County of Warwick (Victoria County History), Volume 7: City of Birmingham (1964), 374-6
REASONS FOR DESIGNATION: The Anglican Church of SS Peter and Paul, Aston, is designated at Grade II*, for the following principal reasons:
* The west tower is an impressive, substantial survival from the C15, with an elegant spire added in 1776-7 by John Cheshire
* The remainder of the church, built to designs by J A Chatwin in 1879-1908, is a high-quality composition in a Gothic style, large in scale and rich in detail
* The interior has a sumptuous east end with a wealth of carved decoration, and an excellent suite of furnishings designed by Chatwin, complemented by good stained glass windows in opulent colours by Hardman and Co
* Its important relationship to Aston Hall and its owners, the Holte family, for whom this was their family church, and numbers of whom are commemorated here
* The church houses a large number of funerary monuments dating from the medieval period to the C19, all of good quality, and unusual in their spread and the extent of their survival
Source: English Heritage
Listed building text is © Crown Copyright. Reproduced under licence.
She is so photogenic...
I know I say this about all my dolls, but I've been really lucky with them lately!
You know how you see a doll at the manufacturer's website and find her amazing, but when you get her she is not *that* beautiful? That's happened to me before, but not lately - I am in love with all my current doll family.
And talk about meant to be: this Yisol belonged to a fellow doll collector. I always wanted one, but she was sold out.
Then that collector sold her to someone who made an offer right before I did.
Now she is mine! :D
This horse belongs to the owners of Camelot and I think she is just stunning! She's a Rocky Mountain Horse and the 3 year old champion of her breed and man, does she loves to pose. She will turn her head from side to side and just hold the pose - she totally knows that her pic is being taken!
I'm going out to ride on Sunday afternoon (YAY!!!) and Flickr friend Kelly (flair4hair) has decided to come down to go riding with me - should be a fun day at the ranch! Her first time to Camelot - and is she in for a treat!!
All work is done by hand, in The People's Garden at the U.S. Department of Agriculture (USDA), Washington D.C., on Thursday, March 17, 2011. Volunteers pitch in several times a week, to weed, mulch, plant, water and what ever it takes to grow a wide variety of produce. Although a few are ornamental, most are destined for charity kitchens. Located on the corner of Jefferson Drive, SW and 12th St. SW, people often stop to ask questions about the garden. Part of the volunteers’ training is to be a spokesperson for the People's Garden Initiative, an effort by the USDA that challenges its employees to establish People's Gardens at USDA facilities worldwide or help communities create gardens. People's Gardens vary in size and type, but all have a common purpose - to help the community and the environment. USDA photo by Lance Cheung.
This is Kaycee in the final shot from the Delta GammaSorority Shoot at ASU.... a differant spot than the other photo shoots I photogrphed this year.
Here is what spot A looks like Spot A
© Adam Nollmeyer - AcmePhotography.net
Deze foto is gemaakt in Trapani.
De kerk van S. Agostino is een van de oudste kerken die het historische centrum van Trapani perfect bewaart.
Voormalig Tempeliers kapel, gewijd in 1101 aan St. Johannes de Doper, werd door Frederick III van Aragon toegekend aan de paters Augustijnen dat de geherstructureerd en uitgebreid waardoor het zijn huidige verschijning met een enkel schip en veelhoekige apsis, gevel en een groot roosvenster.
This photo is made in Trapani.
The church of S. Agostino is one of the oldest churches that perfectly preserves the historic center of Trapani.
Former Templars chapel, dedicated in 1101 to St. John the Baptist, was granted by Frederick III of Aragon to the Augustijnen priests that it restructured and expanded giving it its present appearance with a single nave and polygonal apse, facade and a large rose window.
...and this is my favorite site on the Flickr!
Aquí teneis a mi Bara después de los cambios! Mass Effect es mi videojuego favorito y me hacía muchísima ilusión tener a mi comandante Shepard en pullip *________*
Buscaba un modelo que no tuviese mucho maquillaje, así que me decidí por Bara porque me parece preciosa y con mucho carácter. Lo único que no me convencía era el color de sus cejas, pero como no se ven con la peluca no importa xD
En comentarios os dejo una captura de mi Shepard para que veais como es en realidad <3
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Here´s my Bara after the changes! Mass Effect is my favorite game and I was thrilled to have a pullip of my own Commander Shepard *_______*
I was looking for a pullip who didn´t have a lot of makeup, so I chose Bara because I find her beautiful and full of character. The only thing that did concern me was the color of his eyebrows, but with the wig it doesn´t matter xD
In comments I leave a capture of my Shepard so you can see how she really is <3
This papercraft is Finn, a human male who served as a First Order stormtrooper, designation FN-2187 and known to his fellow soldiers as Eight-Seven, from the Star Wars franchise, the papercraft is created by Calvin Nicholas Lin.
Finn was considered one of the group's best stormtroopers before he ...
www.papercraftsquare.com/star-wars-finn-free-paper-toy-do...
1015 is one of five original San Francisco double-ended cars that are noticeably wider than the rest of the fleet. The livery is that of St Louis operator Illinois Terminal. The wreath on the dash is a Holiday decoration, for family reasons most of my visits in recent years have been around Christmas/New Year.
The KOM League
Flash Report
For
August 4, 2020
For those with the courage to open another edition of the KOM League news it is posited at:
www.flickr.com/photos/60428361@N07/50171270986/
This being primary election day, in Missouri, my duty as a citizen was exercised twenty minutes after the polls opened. There was no sign of a crowd so I was in and out, quickly. With a little steam left from the exhausting trip to the voting site it was decided to send out the selection day report.
Please give it your best shot to consume some of this report. It took a whole bunch of effort to piece it together due to the vicissitudes of life. Bet you all know what that means and have experienced similar challenges.
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Feedback regarding recent article.
Hey John. Thank you for this latest report. I have to say that this was both a fascinating story about the life of James Wesley and a great piece of detective work on your part. In my humble opinion, it is probably one of the best pieces from you that I've read. Entertaining and inspirational at the same time. So glad you decided to head down the stairs.
As far as the raccoon goes, I feel bad about the birds but I also think that the raccoon has a good argument that his actions were justified by the laws of nature. I would go easy on him. Stay well and keep up the faith. Mark Santo—Son of Stan Santo—1951 Ponca City Dodgers
Ed comments:
In the story regarding James Wesley the account of his time with the 1946 Miami Blues was not cited. Thus, the note from Santo prompted me to put a little more effort into finding it. On August 6 of the initial year of the KOM league the Bartlesville Oilers were in Miami for a twi-light doubleheader.
Game summary--Note that all items in parenthesis were added by the editor of this report.
In the second inning Miami scored three times on singles by (Loren) Packard, (Oscar) Engel, (Dale) Burich and (Laverne) Dennis and a walk to (Bill) Chandler. In the fourth, the Blues added three more on bingles by Engel, Burich, (Ralph) Marler and (Jimmy) Cooke and an outfield error by (Whitey) Woods. The final tally in the ninth came on a walk to Cooke, (Newt) Keithley's infield single, a passed ball and Packard's infield safety. Joe (actually Oscar Engel and Loren Packard led the visitors at the plate, each pounding out three hits in five attempts. Manager (Adolph) Arlitt of the Cards, the league's No. 1 hitter most of the season, was blanked last night, failing to connect in four attempts. N. A. Keithley (Stood for Newton Arthur), who has been closing in rapidly on the big first sacker for batting honors,
The Blues didn't yield, however, scoring two runs which were driven across by N. A Keithley and Joe (Oscar) Engel. Joe (Oscar) batted in four runs in all with his three base hits. Each club scored once in the tenth, but the Oilers clinched the argument in the top half of the 13th, when outfielder (Gerald) Cross singled with the bases loaded to plate a pair of teammates.
James Wesley makes his Miami debut
Fans who stuck out the full program, which began at 6:30 p. m., got a glimpse of all three new mound prospects, including James Wesley, righthander from Wetumka; Bob Dennany, southpaw hailing from Paris, Ill., and the right-handed (Robert) Chambers of Sapulpa (Okla.). Of the three, only Wesley lasted more than two innings, his appearance coming in the second game after Dennany was greeted with a five-run attack in the initial stanza. Chambers lasted less than two heats in the first game, during which Ralph MarIcr sparkled in a relief role until a leg injury forced him to retire. Bill Morgan also showed to advantage in the opener after being nicked for a couple of earned runs in the seventh.
On August 10 Dennany was on his way home and it is believed Wesley left the club about the same time. Never do Wesley and Dennany show up in another Miami box score. Thus, it could be said that Wesley never appeared in a KOM league game although he pitched three innings of the second game of the August 6th doubleheader. That second game was called because of the curfew and the game was to be replayed from the start, ten days later, when Bartlesville made a return visit. By that time only Chambers, of the three new pitchers appearing on August 6th, was still on the roster.
On August 6, Ralph Marler pitched well for Miami and a week later he was featured in a Miami News Record feature article. This game summary was presented for August 13 after another win by Marler. “Blasting Oscar Walterman, Carthage's ace pitcher, for eight hits in the first four innings, the Miami Blues took a commanding lead and went on to win handily, 7 to 3, last night for the Sooners' sixth straight KOM league victory. The triumph left the Blues only one and one-half games out of the lead since Chanute was rained out with Bartlesville. Ralph Marler kept five Card hits well-spaced in seven innings on the mound and was credited with the victory. Joe Beran hurled the final two frames. After Walterman was driven out, newcomer Cloyd Boyer, young right-hander, toiled four innings for the Cardinals was relieved in the ninth by Buzz Arlitt after developing a sore shoulder.”
Items on the August 13th sports page that few would notice and connect.
Ralph Marler most likely first saw Walterman when the Carthage hurler was a member of the 1941 Springfield, Mo. Cardinals. One of Walterman’s teammates went by the name of Stan Musial and the clubhouse boy at the time was Joe Garagiola who the St. Louis Cardinals were trying to hide from other teams. Also in that July 13th edition of the Miami News-Record was a column that featured Musial taking over the batting lead in the National league. So, Marler beat a pitcher he most likely saw play as a 17 year old and maybe read about Musial’s accomplishments of leading the league in hitting. But, and that is a very big “but,” he may have missed the sports column entirely for there was story on that same page dedicated solely to him and not much of anything in it related to baseball.
Trial run
Prior to placing the article in this report, written by a 21 year-old young lady, it was shared with a lady I have known for 60 years and has never been hesitant to give her opinion when asked. Sometimes she doesn’t even need that much urging. The article follows and the readers who are prone to respond can share with me what they think. For those sharing their opinion they will in turn be rewarded with the comment my “First Wife” made.
Special note:
Nearly a week ago a photo of Ralph Marler, from 1949, was posted on the Flickr site announcing the next edition would feature this former player. His name wasn’t mentioned and anyone finding that site, quite by accident, was offered a special citation if they could guess his identity. Well, very few people came across that item. However, the fellow who gave up major league baseball for 2020 in favor of reading these reports over and over spotted it. Your attention is directed to the comment section as the terminus of this report if you have quit watching MLB. Which brings up the question, how do you spell MLB backward?
Ralph Marler Toils Hard On Mound for the Blues-- BY BERNADINE LOWE
(Photo of Marler taken circa. 1949 is the feature photo of this report)
On Jan. 29, 1925 in Springfield, Mo., a poet was born He is Ralph Wesley Marler. There is poetry in his eloquent brown eyes, and when he speaks it is like listening to a haunting melody. He is sharply aware that he is too impractical for this world and has begun to fight against his lack of initiative, determination and his indecision, He lives in a dream world because he says in that he can accomplish what he thinks he cannot in reality, He thinks life is wonderful arid wants to wring every iota of happiness out of every minute,' for once a moment passes, it is forever lost. He realizes that he works so hard at trying to enjoy his life that he defeats his purpose. Music is one of the most important things in his life. He thinks "Claire DeLune" is the most beautiful piece of music ever written. He loves people and likes to study them. He will enter college this fall to study to be a psychiatrist. Any subject appeals to Ralph until he has mastered it. He works hard to achieve something, then when it is within his reach, he finds he doesn't want it anymore. He is never completely happy. Reading provides for him an escape from reality, and he likes to read of unusual people possessed of strong character. Shakespeare is one of his favorites. He likes an imaginative girl with expressive eyes and the ability to understand him. To begin a perfect day, he would stand on a high hill and watch the sun rise. Then he would like to stroll through the country, talking with someone who understands him. He sees beauty in the heavens, in every tree, in every blade of grass, in the common dirt of the road, life is so precious to him. He would like to travel in Egypt and China, the cradle of civilization. He spent three years in the Army, eleven months in combat in Europe. The Army brought him disillusionment and stark reality. In sharp contrast to his predominant personality, he loves to pitch, thrills to applause, loves to be noticed. He works hard to win, for he is exuberant in victory, but the slightest defeat will plunge him into deepest despair. He wants to be someone of great renown; a great poet, a great composer of music, a great writer, a brilliant psychiatrist. He should be an outstanding success as a writer, for his method of expression is sheer beauty.
Curiosity aroused;
After reading the Bernadine Lowe article curiosity took over and it had to be determined if Marler lived up to the expectations she espoused.
An advantage of writing about history many questions are answered about predictions and assumptions made many decades previous. What this source knew about Ralph Wesley Marler was that he was born January 29, 1924 in Springfield, Mo., not 1925 as the article by Miss Lowe stated. He passed away July 3, 1978 in Springfield.
Following his stint at Miami, in 1946, Marler was off to Independence, Kansas in 1947. That was brought about since Tom Greenwade was the Yankee scout at Willard, Missouri and Goldie Howard from nearby Branson, Mo. were close friends and both of those guys knew about Marler’s ability from his Springfield high school days as well as his time playing against Howard’s 1946 Chanute team. This is his Sporting News card.
digital.la84.org/digital/collection/p17103coll3/id/166021...
Marler was initially signed by Tom Greenwade, as a third baseman in 1946, and sent to Joplin, Mo along with other local Springfield boys such as; Lou Michels, Sam Richisen and Don Harliss. All those young men had made a name for themselves with local teams such as Springfield General Tire (Thus known as the Springfield Generals.) Later in history Whitey Herzog would also play on that team when he was stationed at Fr. Leonard Wood during the Korean War.
Arriving at Joplin on April 13, Marler was fighting for a roster spot along with other guys such as Kansas Citian, Harry Bright. Over a decade later (13 years) Bright finally saw the “bright lights” of big league baseball Marler, along with Lou Michels, Robert Cobb and Hercules Varellas were cut from the Joplin team on April 28 and were escorted by Jim Adlam-manager to their new team, the Fond du Lac Panthers of the Wisconsin State league. One can’t pass commenting on a famous name. For those wondering how large Hercules was, in this case he was 5’ 8” and weighed 164. He was from Chicago and a high school all-sport athlete including wrestling.
Marler, after starting the 1946 season at Fond du Lac, was on his way to Miami, Okla. by the middle of May..
Probably the best scorecard format in KOM league history was that of the 1946 Miami club On the front cover were 15 photos of the individual team members. In my possession are various versions of that cover. When the season opened the photo in the middle of the fourth row belonged to Robert Field of Hutchinson, Kansas. (On 8/27/2020 Bob Field, the oldest living former KOM leaguer, will celebrate his 98th birthday.) Three weeks into the season the photo occupying that spot was that of Ralph Marler. For those owning a purchased, borrowed or stolen copy of the “great tome” The KOM League Remembered, that photo is depicted on page 12. If you don’t have that book you might find it by searching the Internet since some pages of the book are displayed for free. www.google.com/search?q=The+KOM+League+Remembered+arcadia
Miami had a working agreement with the Brooklyn Dodgers, in 1946, but Marler was never affiliated with the Dodgers. He would only have been had they selected him as one of the six Miami players they wished to retain as a result of the working agreement.
Going backward
Prior to World War II about all that could be learned of Ralph Marler was his days at Springfield Central High School where he played all sports. The school’s yearbook was called “Ozarko” and he was in it many times. One of the more interesting items was his high school baseball team in 1940. In glancing at it the first couple of times not much attention was paid to the other names. Then, a name finally popped out at me. It was R. F. Smalley. Sure that was familiar. R. F. graduated from high school a couple of years after Marler. When Marler was fighting in Europe the not as yet old enough to enter the army, R. F., was in Los Angeles playing for the Angels. R. F. was in the army shortly thereafter and returned to civilian life and took over the shortstop position for the Chicago Cubs. Everyone then knew him as Roy Frederick Smalley, Jr. www.google.com/search?q=Roy+Smalley%20sr. (Note: The record books show Smalley graduating from a Catholic high school in Springfield. However, in 1940 he was in the public Springfield Central high school. (If memory serves me correctly the Catholic school was called Greenwood and later changed to St. Agnes. If memory doesn’t serve me that well then I’ll get mail from the masses.)
With the exception of a former KOM leaguer, Chris Kitsos, Smalley held that position until Ernie Banks came along. Phil Cavaretta lost his job over the Kitsos/Smalley issue. Mr. Wrigley announced at the start of the season Banks was his choice and Cavaretta said Kitsos was his man. History and common sense tells you who won that argument. Cavaretta lost his job over someone he wasn’t “banking” on.
When Marler got back from his army service he tried baseball during the summer and attending Southwest Missouri State in the fall and winter sessions. While in college he became the point guard for teams 1946 through 1949. At SMS the team played at the NAIA level and was a powerhouse. The star of that team was Preston Ward who made his home in Springfield after his birth right here in Columbia, Missouri. He happened to enter the world in “Mizzou City” for his parents, both teachers, were attending summer school.
A number of former KOM leaguers were also members of athletic teams at SMS during that era and could play any sport except baseball. Included on the basketball teams with Marler and Ward were Frank Hungerford and Bob Gott. Baseball scouts from the Dodgers, Yankees, Cardinals and Browns were frequent visitors to “The Queen City of the Ozarks—Springfield.”
For a few hours of fun at the old computer it would be easy to enter names such as all those just listed along with Jerry Lumpe, Norm Sieburn, Bob Speake, Dale Ward and learn more of the rich history of baseball in the Ozarks.
Totally unrelated to baseball is another fellow who was playing football at SMS and his senior picture is on the same page with Marler’s. That person was a coach at the high school I attended from 1953-57. The coach also taught social studies. In his classes he told of playing college football and delved into issues of a political nature. There are not many class sessions that are memorable from my high school years but that coach and teacher, Jim Mentis, posed a question one day. It went something like “Who will be the Russian leader remembered longer than any of the others?” Hands shot up from the class and Joe Stalin, Vladimir Lenin, Nikita Khrushchev all got votes. Mentis disagreed and asked for more guesses. Mine right hand went into the air and he asked my opinion and when I uttered “V. M. Molotov” he said I was right. Of course, that was due to V. M’s fame as the advocate of using the simple bottle of gasoline with a rag as a wick. Looking around the world and this country, currently, maybe the teacher and student were prescient.
In a strange bit of coincidence Mentis was born in Mt. Vernon, Ohio and died in a veterans home at Mt. Vernon, Missouri
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Coming to the end
Find A Grave—https://www.findagrave.com/memorial/81094506
Did Marler follow the path predicted for him in the Miami-News Record of 8/13/1946? Read for yourself.
Springfield News Leader July 4, 1978--Ralph Marler
Ralph Wesley Marler, 54, of 2002 Swallow, died about 6 a. m. Monday in St. John’s Hospital of a heart ailment.
Mr. Marler was a building contractor and member of Covenant Presbyterian Church. The Springfield native was a veteran of World War II.
He graduated from Southwest Missouri State University, where he was a basketball letterman. Mr. Marler received his master’s degree from University of Missouri.
Survivors include his with, Ginger, a son, Mark Wesley of the home, and a daughter, Mrs. Nancy Shea, Kirkwood; his parents Mr. and Mrs. Henry W. Marler, 1712 S. National; two sisters, Mrs. Virginia Coon, 2111 S. Luster, and Mrs. Marilyn Coon, Boute 1, Sparta, and a grandchild.
Memorial donation to be made to the SMS Educational Foundation.
Graveside services will be at 10:320 a. m. Wednesday in Maple Park Cemetery with Rev. Curtis a March officiating. Burial will follow under direction of German-Scharpf-Abbot.
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First baseman for the 1947 Carthage Cardinals passes away.
Nicholas Frederick Casaletto passed away April 9, 2020 in Summit, Illinois. His cause of death was listed as Coronavirus. He was born 2/9/1926 in Lyons, Illinois
Most of what is shared regarding the first baseman for the 1947 Carthage, Missouri Cardinals is found in the form of URL’s. Read it over and if there are any questions regarding his life, let me know. He was contacted in the early days of researching the KOM league and had many fond memories of playing minor league baseball after his days as a Marine in World War II.
www.foranfuneralhome.com/obituaries/Nicholas-Casaletto/#!...
Obituary for Nicholas F. Casaletto
Nicholas F. Casaletto, Veteran Marine Corps. World War II, Beloved Husband of the late Eleanor, nee Master. Loving Father of Gregory (Elaine), Candace, and Kenneth (Sherry) Casaletto. Proud Grandfather of Nicole, Brian (Sara) and Matthew. Dear Great-Grandfather of Grace and Emily. Cherished Son of the late Rocco and late Victoria, nee Dziadura, Casaletto. Fond Brother of Jerry (Linda) and the late Eugene (late Pat) Casaletto.
Due to the COVID-19 concerns Nichols’ family is having a private burial. A Celebration of Nicholas’ Life with a Memorial will be scheduled for a later date.
www.baseball-reference.com/register/player.fcgi?id=casale...
This is the link to his Sporting News card. digital.la84.org/digital/collection/p17103coll3/id/7846/r...
With the passing of Casaletto only two roster members of the 1947 Carthage Cardinals remain. They are Hank Zich and Christopher Haughey. John E. O’Grady has never been located so his fate has not been determined.
Since O’Grady was mentioned in the previous paragraph, as “missing,” an all-out effort has been made to determine his whereabouts or fate. The list has been narrowed to two people and for sure when the determination is made it will be regarding O’Grady’s fate, not whereabouts.
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Voronezh is a city and the administrative centre of Voronezh Oblast in southwestern Russia straddling the Voronezh River, located 12 kilometers (7.5 mi) from where it flows into the Don River. The city sits on the Southeastern Railway, which connects western Russia with the Urals and Siberia, the Caucasus and Ukraine, and the M4 highway (Moscow–Voronezh–Rostov-on-Don–Novorossiysk). In recent years the city has experienced rapid population growth, rising in 2021 to 1,057,681, up from 889,680 recorded in the 2010 Census, making it the 14th-most populous city in the country.
For many years, the hypothesis of the Soviet historian Vladimir Zagorovsky dominated: he produced the toponym "Voronezh" from the hypothetical Slavic personal name Voroneg. This man allegedly gave the name of a small town in the Chernigov Principality (now the village of Voronizh in Ukraine). Later, in the 11th or 12th century, the settlers were able to "transfer" this name to the Don region, where they named the second city Voronezh, and the river got its name from the city. However, now many researchers criticize the hypothesis, since in reality neither the name of Voroneg nor the second city was revealed, and usually the names of Russian cities repeated the names of the rivers, but not vice versa.
A comprehensive scientific analysis was conducted in 2015–2016 by the historian Pavel Popov. His conclusion: "Voronezh" is a probable Slavic macrotoponym associated with outstanding signs of nature, has a root voron- (from the proto-Slavic vorn) in the meaning of "black, dark" and the suffix -ezh (-azh, -ozh). It was not “transferred” and in the 8th - 9th centuries it marked a vast territory covered with black forests (oak forests) - from the mouth of the Voronezh river to the Voronozhsky annalistic forests in the middle and upper reaches of the river, and in the west to the Don (many forests were cut down). The historian believes that the main "city" of the early town-planning complex could repeat the name of the region – Voronezh. Now the hillfort is located in the administrative part of the modern city, in the Voronezh upland oak forest. This is one of Europe's largest ancient Slavic hillforts, the area of which – more than 9 hectares – 13 times the area of the main settlement in Kyiv before the baptism of Rus.
In it is assumed that the word "Voronezh" means bluing - a technique to increase the corrosion resistance of iron products. This explanation fits well with the proximity to the ancient city of Voronezh of a large iron deposit and the city of Stary Oskol. As well as the name of Voroneț Monastery known for its blue shade.
Folk etymology claims the name comes from combining the Russian words for raven (ворон) and hedgehog (еж) into Воронеж. According to this explanation two Slavic tribes named after the animals used this combination to name the river which later in turn provided the name for a settlement. There is not believed to be any scientific support for this explanation.
In the 16th century, the Middle Don basin, including the Voronezh river, was gradually conquered by Muscovy from the Nogai Horde (a successor state of the Golden Horde), and the current city of Voronezh was established in 1585 by Feodor I as a fort protecting the Muravsky Trail trade route against the slave raids of the Nogai and Crimean Tatars. The city was named after the river.
17th to 19th centuries
In the 17th century, Voronezh gradually evolved into a sizable town. Weronecz is shown on the Worona river in Resania in Joan Blaeu's map of 1645. Peter the Great built a dockyard in Voronezh where the Azov Flotilla was constructed for the Azov campaigns in 1695 and 1696. This fleet, the first ever built in Russia, included the first Russian ship of the line, Goto Predestinatsia. The Orthodox diocese of Voronezh was instituted in 1682 and its first bishop, Mitrofan of Voronezh, was later proclaimed the town's patron saint.
Owing to the Voronezh Admiralty Wharf, for a short time, Voronezh became the largest city of South Russia and the economic center of a large and fertile region. In 1711, it was made the seat of the Azov Governorate, which eventually morphed into the Voronezh Governorate.
In the 19th century, Voronezh was a center of the Central Black Earth Region. Manufacturing industry (mills, tallow-melting, butter-making, soap, leather, and other works) as well as bread, cattle, suet, and the hair trade developed in the town. A railway connected Voronezh with Moscow in 1868 and Rostov-on-Don in 1871.
This is the mate to the male I posted yesterday. I think they will make beautiful babies. She looks so much like Winona who graced our pond for a month or so in the fall.
My computer died yesterday with all of my images. I have a second drive on that computer where I backed up my pix - I just hope that is in tact - otherwise I'm not going to be a happy camper. Luckily I uploaded a few pix on flickr and didn't make them public. This is one of them.
Coventry's Cathedral is a unique synthesis of old a new, born of wartime suffering and forged in the spirit of postwar optimism, famous for it's history and for being the most radically modern of Anglican cathedrals. Two cathedral's stand side by side, the ruins of the medieval building, destroyed by incendiary bombs in 1940 and the bold new building designed by Basil Spence and opened in 1962.
It is a common misconception that Coventry lost it's first cathedral in the wartime blitz, but the bombs actually destroyed it's second; the original medieval cathedral was the monastic St Mary's, a large cruciform building believed to have been similar in appearance to Lichfield Cathedral (whose diocese it shared). Tragically it became the only English cathedral to be destroyed during the Reformation, after which it was quickly quarried away, leaving only scant fragments, but enough evidence survives to indicate it's rich decoration (some pieces were displayed nearby in the Priory Visitors Centre, sadly since closed). Foundations of it's apse were found during the building of the new cathedral in the 1950s, thus technically three cathedrals share the same site.
The mainly 15th century St Michael's parish church became the seat of the new diocese of Coventry in 1918, and being one of the largest parish churches in the country it was upgraded to cathedral status without structural changes (unlike most 'parish church' cathedrals created in the early 20th century). It lasted in this role a mere 22 years before being burned to the ground in the 1940 Coventry Blitz, leaving only the outer walls and the magnificent tapering tower and spire (the extensive arcades and clerestoreys collapsed completely in the fire, precipitated by the roof reinforcement girders, installed in the Victorian restoration, that buckled in the intense heat).
The determination to rebuild the cathedral in some form was born on the day of the bombing, however it wasn't until the mid 1950s that a competition was held and Sir Basil Spence's design was chosen. Spence had been so moved by experiencing the ruined church he resolved to retain it entirely to serve as a forecourt to the new church. He envisaged the two being linked by a glass screen wall so that the old church would be visible from within the new.
Built between 1957-62 at a right-angle to the ruins, the new cathedral attracted controversy for it's modern form, and yet some modernists argued that it didn't go far enough, after all there are echoes of the Gothic style in the great stone-mullioned windows of the nave and the net vaulting (actually a free-standing canopy) within. What is exceptional is the way art has been used as such an integral part of the building, a watershed moment, revolutionising the concept of religious art in Britain.
Spence employed some of the biggest names in contemporary art to contribute their vision to his; the exterior is adorned with Jacob Epstein's triumphant bronze figures of Archangel Michael (patron of the cathedral) vanquishing the Devil. At the entrance is the remarkable glass wall, engraved by John Hutton with strikingly stylised figures of saints and angels, and allowing the interior of the new to communicate with the ruin. Inside, the great tapestry of Christ in majesty surrounded by the evangelistic creatures, draws the eye beyond the high altar; it was designed by Graham Sutherland and was the largest tapestry ever made.
However one of the greatest features of Coventry is it's wealth of modern stained glass, something Spence resolved to include having witnessed the bleakness of Chartres Cathedral in wartime, all it's stained glass having been removed. The first window encountered on entering is the enormous 'chess-board' baptistry window filled with stunning abstract glass by John Piper & Patrick Reyntiens, a symphony of glowing colour. The staggered nave walls are illuminated by ten narrow floor to ceiling windows filled with semi-abstract symbolic designs arranged in pairs of dominant colours (green, red, multi-coloured, purple/blue and gold) representing the souls journey to maturity, and revealed gradually as one approaches the altar. This amazing project was the work of three designers lead by master glass artist Lawrence Lee of the Royal College of Art along with Keith New and Geoffrey Clarke (each artist designed three of the windows individually and all collaborated on the last).
The cathedral still dazzles the visitor with the boldness of it's vision, but alas, half a century on, it was not a vision to be repeated and few of the churches and cathedrals built since can claim to have embraced the synthesis of art and architecture in the way Basil Spence did at Coventry.
The cathedral is generally open to visitors most days. For more see below:-
This is a lifer bird for me. The shots are not very good - I was too far away, but I will always post a lifer if the species is discernable. I can always hope to get a better one.
According to the Atlas of Breeding Birds of Alberta, The Prairie Falcon is a bird of the dry open country. In Alberta it is found in the vicinity of canyons and coulees of the badlands, or above the cliffs of southern river valleys where it hunts in the adjacent grasslands.
The Prairie Falcon is as large as the Peregrine Falcon, but is much paler in colour. Its favorite prey is ground squirrels, mice, insects and birds. It may hunt from a perch or from low level flight where it flushes prey close up, or it may make a rapid vertical swoop. Most prey is taken from the ground.
They generally winter throughout the breeding range. The individual I found yesterday was attacking Pigeons at the Government Grain Elevator in Edmonton.
Edmonton, Alberta. January 14, 2012
I added recent shots of a Northern Hawk Owl and Snowy Owl that were also a bit too far away, but I hope are Ok. I also added a shot taken by Richard Chamberland with my camera of me and that same Hawk Owl on the day he invited me out to observe an Owl banding. Richard already posted that image, so some of my contacts have seen it. That is as close to a Hawk Owl as I will ever get. It was a great experience - thanks Richard!
Member of the Flickr Bird Brigade
Activists for birds and wildlife
The humpback whale (Megaptera novaeangliae) is a species of baleen whale. One of the larger rorqual species, adults range in length from 12–16 metres (39–52 ft) and weigh approximately 36,000 kilograms (79,000 lb).
The humpback has a distinctive body shape, with unusually long pectoral fins and a knobbly head. An acrobatic animal known for breaching and slapping the water with its tail and pectorals, it is popular with whale watchers off the coasts of Australasia and the Americas.
Males produce a complex song lasting 10 to 20 minutes, which they repeat for hours at a time. Its purpose is not clear, though it may have a role in mating. Found in oceans and seas around the world, humpback whales typically migrate up to 25,000 kilometres (16,000 mi) each year.
Humpbacks feed only in summer, in polar waters, and migrate to tropical or subtropical waters to breed and give birth in the winter. During the winter, humpbacks fast and live off their fat reserves. Their diet consists mostly of krill and small fish.
Humpbacks have a diverse repertoire of feeding methods, including the bubble net feeding technique. Like other large whales, the humpback was and is a target for the whaling industry. Once hunted to the brink of extinction, its population fell by an estimated 90% before a moratorium was introduced in 1966. While stocks have since partially recovered, entanglement in fishing gear, collisions with ships, and noise pollution continue to impact the 80,000 humpbacks worldwide.
A humpback whale can easily be identified by its stocky body with an obvious hump and black dorsal coloring. The head and lower jaw are covered with knobs called tubercles, which are hair follicles, and are characteristic of the species. The fluked tail, which it lifts above the surface in some dive sequences, has wavy trailing edges.
The four global populations, all under study, are: North Pacific, Atlantic, and Southern Ocean humpbacks, which have distinct populations which complete a migratory round-trip each year, and the Indian Ocean population, which does not migrate, prevented by that ocean's northern coastline.
The long black and white tail fin, which can be up to a third of body length, and the pectoral fins have unique patterns, which make individual whales identifiable. Several hypotheses attempt to explain the humpback's pectoral fins, which are proportionally the longest fins of any cetacean.
The two most enduring mention the higher maneuverability afforded by long fins, and the usefulness of the increased surface area for temperature control when migrating between warm and cold climates. Humpbacks have 270 to 400 darkly colored baleen plates on each side of their mouths.
The plates measure from a mere 18 inches (46 cm) in the front to approximately 3 feet (0.91 m) long in the back, behind the hinge. Ventral grooves run from the lower jaw to the umbilicus about halfway along the underside of the whale. These grooves are less numerous (usually 14–22) than in other rorquals but are fairly wide.
The stubby dorsal fin is visible soon after the blow when the whale surfaces, but disappears by the time the flukes emerge. Humpbacks have a 3 metres (9.8 ft), heart-shaped to bushy blow, or exhalation of water through the blowholes.
Because humpback whales breathe voluntarily, the whales possibly shut off only half of their brains when sleeping. Early whalers also noted blows from humpback adults to be 10–20 feet (3.0–6.1 m) high.
This image was taken on the North Sailing "Nattfari" Whale Watching Boat from Husavik in Iceland
This is a waterfall using a longer exposure the Riverside Walk Trail . / Gateway to the Narrows Trail as it approaches "The Narrows". The Narrows is one of the most popular hikes in Zion NP. This is the North Fork of the Virgin River that carves its way through Zion NP. This is at the far north end of the Zion Canyon Shuttle at the Temple of Sinewava stop. Easy little hike, great for families.
We went on a camping and hiking trip to Zion National Park and Bryce Canyon National Park.
IMG_0405
... this is a long - and - short series of black and white photographs taken in Rome (Italy), a few days ago ...
...questa una serie, lunga - e - corta, di fotografie in bianco e nero, realizzate in Roma, qualche giorno fa ...
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Qi Bo's photos on Flickr Hive Mind
www.worldphoto.org/sony-world-photography-awards/winners-...
www.fotografidigitali.it/gallery/2726/opere-italiane-segn...
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What craziness is this, a day in that London on a weekday? Well, working one day last weekend, and another next weekend, meant I took a day in Lieu.
So there.
And top of my list of places to visit was St Magnus. This would be the fifth time I have tried to get inside, and the first since I wrote to the church asking whether they would be open a particular Saturday, and then any Saturday. Letters which were ignored
So, I walked out of Monument Station, down the hill there was St Magnus: would it be open?
It was, and inside it was a box, nay a treasure chest of delights.
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St Magnus the Martyr, London Bridge is a Church of England church and parish within the City of London. The church, which is located in Lower Thames Street near The Monument to the Great Fire of London,[1] is part of the Diocese of London and under the pastoral care of the Bishop of London and the Bishop of Fulham.[2] It is a Grade I listed building.[3] The rector uses the title "Cardinal Rector". [4]
St Magnus lies on the original alignment of London Bridge between the City and Southwark. The ancient parish was united with that of St Margaret, New Fish Street, in 1670 and with that of St Michael, Crooked Lane, in 1831.[5] The three united parishes retained separate vestries and churchwardens.[6] Parish clerks continue to be appointed for each of the three parishes.[7]
St Magnus is the guild church of the Worshipful Company of Fishmongers and the Worshipful Company of Plumbers, and the ward church of the Ward of Bridge and Bridge Without. It is also twinned with the Church of the Resurrection in New York City.[8]
Its prominent location and beauty has prompted many mentions in literature.[9] In Oliver Twist Charles Dickens notes how, as Nancy heads for her secret meeting with Mr. Brownlow and Rose Maylie on London Bridge, "the tower of old Saint Saviour's Church, and the spire of Saint Magnus, so long the giant-warders of the ancient bridge, were visible in the gloom". The church's spiritual and architectural importance is celebrated in the poem The Waste Land by T. S. Eliot, who adds in a footnote that "the interior of St. Magnus Martyr is to my mind one of the finest among Wren's interiors".[10] One biographer of Eliot notes that at first he enjoyed St Magnus aesthetically for its "splendour"; later he appreciated its "utility" when he came there as a sinner.
The church is dedicated to St Magnus the Martyr, earl of Orkney, who died on 16 April in or around 1116 (the precise year is unknown).[12] He was executed on the island of Egilsay having been captured during a power struggle with his cousin, a political rival.[13] Magnus had a reputation for piety and gentleness and was canonised in 1135. St. Ronald, the son of Magnus's sister Gunhild Erlendsdotter, became Earl of Orkney in 1136 and in 1137 initiated the construction of St. Magnus Cathedral in Kirkwall.[14] The story of St. Magnus has been retold in the 20th century in the chamber opera The Martyrdom of St Magnus (1976)[15] by Sir Peter Maxwell Davies, based on George Mackay Brown's novel Magnus (1973).
he identity of the St Magnus referred to in the church's dedication was only confirmed by the Bishop of London in 1926.[16] Following this decision a patronal festival service was held on 16 April 1926.[17] In the 13th century the patronage was attributed to one of the several saints by the name of Magnus who share a feast day on 19 August, probably St Magnus of Anagni (bishop and martyr, who was slain in the persecution of the Emperor Decius in the middle of the 3rd century).[18] However, by the early 18th century it was suggested that the church was either "dedicated to the memory of St Magnus or Magnes, who suffer'd under the Emperor Aurelian in 276 [see St Mammes of Caesarea, feast day 17 August], or else to a person of that name, who was the famous Apostle or Bishop of the Orcades."[19] For the next century historians followed the suggestion that the church was dedicated to the Roman saint of Cæsarea.[20] The famous Danish archaeologist Professor Jens Jacob Asmussen Worsaae (1821–85) promoted the attribution to St Magnus of Orkney during his visit to the British Isles in 1846-7, when he was formulating the concept of the 'Viking Age',[21] and a history of London written in 1901 concluded that "the Danes, on their second invasion ... added at least two churches with Danish names, Olaf and Magnus".[22] A guide to the City Churches published in 1917 reverted to the view that St Magnus was dedicated to a martyr of the third century,[23] but the discovery of St Magnus of Orkney's relics in 1919 renewed interest in a Scandinavian patron and this connection was encouraged by the Rector who arrived in 1921
A metropolitan bishop of London attended the Council of Arles in 314, which indicates that there must have been a Christian community in Londinium by this date, and it has been suggested that a large aisled building excavated in 1993 near Tower Hill can be compared with the 4th-century Cathedral of St Tecla in Milan.[25] However, there is no archaeological evidence to suggest that any of the mediaeval churches in the City of London had a Roman foundation.[26] A grant from William I in 1067 to Westminster Abbey, which refers to the stone church of St Magnus near the bridge ("lapidee eccle sci magni prope pontem"), is generally accepted to be 12th century forgery,[27] and it is possible that a charter of confirmation in 1108-16 might also be a later fabrication.[28] Nonetheless, these manuscripts may preserve valid evidence of a date of foundation in the 11th century.
Archaeological evidence suggests that the area of the bridgehead was not occupied from the early 5th century until the early 10th century. Environmental evidence indicates that the area was waste ground during this period, colonised by elder and nettles. Following Alfred's decision to reoccupy the walled area of London in 886, new harbours were established at Queenhithe and Billingsgate. A bridge was in place by the early 11th century, a factor which would have encouraged the occupation of the bridgehead by craftsmen and traders.[30] A lane connecting Botolph's Wharf and Billingsgate to the rebuilt bridge may have developed by the mid-11th century. The waterfront at this time was a hive of activity, with the construction of embankments sloping down from the riverside wall to the river. Thames Street appeared in the second half of the 11th century immediately behind (north of) the old Roman riverside wall and in 1931 a piling from this was discovered during the excavation of the foundations of a nearby building. It now stands at the base of the church tower.[31] St Magnus was built to the south of Thames Street to serve the growing population of the bridgehead area[32] and was certainly in existence by 1128-33.[33]
The small ancient parish[34] extended about 110 yards along the waterfront either side of the old bridge, from 'Stepheneslane' (later Churchehawlane or Church Yard Alley) and 'Oystergate' (later called Water Lane or Gully Hole) on the West side to 'Retheresgate' (a southern extension of Pudding Lane) on the East side, and was centred on the crossroads formed by Fish Street Hill (originally Bridge Street, then New Fish Street) and Thames Street.[35] The mediaeval parish also included Drinkwater's Wharf (named after the owner, Thomas Drinkwater), which was located immediately West of the bridge, and Fish Wharf, which was to the South of the church. The latter was of considerable importance as the fishmongers had their shops on the wharf. The tenement was devised by Andrew Hunte to the Rector and Churchwardens in 1446.[36] The ancient parish was situated in the South East part of Bridge Ward, which had evolved in the 11th century between the embankments to either side of the bridge.[37]
In 1182 the Abbot of Westminster and the Prior of Bermondsey agreed that the advowson of St Magnus should be divided equally between them. Later in the 1180s, on their presentation, the Archdeacon of London inducted his nephew as parson.
Between the late Saxon period and 1209 there was a series of wooden bridges across the Thames, but in that year a stone bridge was completed.[39] The work was overseen by Peter de Colechurch, a priest and head of the Fraternity of the Brethren of London Bridge. The Church had from early times encouraged the building of bridges and this activity was so important it was perceived to be an act of piety - a commitment to God which should be supported by the giving of alms. London’s citizens made gifts of land and money "to God and the Bridge".[40] The Bridge House Estates became part of the City's jurisdiction in 1282.
Until 1831 the bridge was aligned with Fish Street Hill, so the main entrance into the City from the south passed the West door of St Magnus on the north bank of the river.[41] The bridge included a chapel dedicated to St Thomas Becket[42] for the use of pilgrims journeying to Canterbury Cathedral to visit his tomb.[43] The chapel and about two thirds of the bridge were in the parish of St Magnus. After some years of rivalry a dispute arose between the church and the chapel over the offerings given to the chapel by the pilgrims. The matter was resolved by the brethren of the chapel making an annual contribution to St Magnus.[44] At the Reformation the chapel was turned into a house and later a warehouse, the latter being demolished in 1757-58.
The church grew in importance. On 21 November 1234 a grant of land was made to the parson of St Magnus for the enlargement of the church.[45] The London eyre of 1244 recorded that in 1238 "A thief named William of Ewelme of the county of Buckingham fled to the church of St. Magnus the Martyr, London, and there acknowledged the theft and abjured the realm. He had no chattels."[46] Another entry recorded that "The City answers saying that the church of ... St. Magnus the Martyr ... which [is] situated on the king's highway ... ought to belong to the king and be in his gift".[47] The church presumably jutted into the road running to the bridge, as it did in later times.[48] In 1276 it was recorded that "the church of St. Magnus the Martyr is worth £15 yearly and Master Geoffrey de la Wade now holds it by the grant of the prior of Bermundeseie and the abbot of Westminster to whom King Henry conferred the advowson by his charter.
In 1274 "came King Edward and his wife [Eleanor] from the Holy Land and were crowned at Westminster on the Sunday next after the Feast of the Assumption of Our Lady [15 August], being the Feast of Saint Magnus [19 August]; and the Conduit in Chepe ran all the day with red wine and white wine to drink, for all such as wished."[50] Stow records that "in the year 1293, for victory obtained by Edward I against the Scots, every citizen, according to their several trade, made their several show, but especially the fishmongers" whose solemn procession including a knight "representing St Magnus, because it was upon St Magnus' day".
An important religious guild, the Confraternity de Salve Regina, was in existence by 1343, having been founded by the "better sort of the Parish of St Magnus" to sing the anthem 'Salve Regina' every evening.[51] The Guild certificates of 1389 record that the Confraternity of Salve Regina and the guild of St Thomas the Martyr in the chapel on the bridge, whose members belonged to St Magnus parish, had determined to become one, to have the anthem of St Thomas after the Salve Regina and to devote their united resources to restoring and enlarging the church of St Magnus.[52] An Act of Parliament of 1437[53] provided that all incorporated fraternities and companies should register their charters and have their ordinances approved by the civic authorities.[54] Fear of enquiry into their privileges may have led established fraternities to seek a firm foundation for their rights. The letters patent of the fraternity of St Mary and St Thomas the Martyr of Salve Regina in St Magnus dated 26 May 1448 mention that the fraternity had petitioned for a charter on the grounds that the society was not duly founded.
In the mid-14th century the Pope was the Patron of the living and appointed five rectors to the benefice.[56]
Henry Yevele, the master mason whose work included the rebuilding of Westminster Hall and the naves of Westminster Abbey and Canterbury Cathedral, was a parishioner and rebuilt the chapel on London Bridge between 1384 and 1397. He served as a warden of London Bridge and was buried at St Magnus on his death in 1400. His monument was extant in John Stow's time, but was probably destroyed by the fire of 1666.[57]
Yevele, as the King’s Mason, was overseen by Geoffrey Chaucer in his capacity as the Clerk of the King's Works. In The General Prologue of Chaucer's The Canterbury Tales the five guildsmen "were clothed alle in o lyveree Of a solempne and a greet fraternitee"[58] and may be thought of as belonging to the guild in the parish of St Magnus, or one like it.[59] Chaucer's family home was near to the bridge in Thames Street.
n 1417 a dispute arose concerning who should take the place of honour amongst the rectors in the City churches at the Whit Monday procession, a place that had been claimed from time to time by the rectors of St Peter Cornhill, St Magnus the Martyr and St Nicholas Cole Abbey. The Mayor and Aldermen decided that the Rector of St Peter Cornhill should take precedence.[61]
St Magnus Corner at the north end of London Bridge was an important meeting place in mediaeval London, where notices were exhibited, proclamations read out and wrongdoers punished.[62] As it was conveniently close to the River Thames, the church was chosen by the Bishop between the 15th and 17th centuries as a convenient venue for general meetings of the clergy in his diocese.[63] Dr John Young, Bishop of Callipolis (rector of St Magnus 1514-15) pronounced judgement on 16 December 1514 (with the Bishop of London and in the presence of Thomas More, then under-sheriff of London) in the heresy case concerning Richard Hunne.[64]
In pictures from the mid-16th century the old church looks very similar to the present-day St Giles without Cripplegate in the Barbican.[65] According to the martyrologist John Foxe, a woman was imprisoned in the 'cage' on London Bridge in April 1555 and told to "cool herself there" for refusing to pray at St Magnus for the recently deceased Pope Julius III.[66]
Simon Lowe, a Member of Parliament and Master of the Merchant Taylors' Company during the reign of Queen Mary and one of the jurors who acquitted Sir Nicholas Throckmorton in 1554, was a parishioner.[67] He was a mourner at the funeral of Maurice Griffith, Bishop of Rochester from 1554 to 1558 and Rector of St Magnus from 1537 to 1558, who was interred in the church on 30 November 1558 with much solemnity. In accordance with the Catholic church's desire to restore ecclesiastical pageantry in England, the funeral was a splendid affair, ending in a magnificent dinner.
Lowe was included in a return of recusants in the Diocese of Rochester in 1577,[69] but was buried at St Magnus on 6 February 1578.[70] Stow refers to his monument in the church. His eldest son, Timothy (died 1617), was knighted in 1603. His second son, Alderman Sir Thomas Lowe (1550–1623), was Master of the Haberdashers' Company on several occasions, Sheriff of London in 1595/96, Lord Mayor in 1604/05 and a Member of Parliament for London.[71] His youngest son, Blessed John Lowe (1553–1586), having originally been a Protestant minister, converted to Roman Catholicism, studied for the priesthood at Douay and Rome and returned to London as a missionary priest.[72] His absence had already been noted; a list of 1581 of "such persons of the Diocese of London as have any children ... beyond the seas" records "John Low son to Margaret Low of the Bridge, absent without licence four years". Having gained 500 converts to Catholicism between 1583 and 1586, he was arrested whilst walking with his mother near London Bridge, committed to The Clink and executed at Tyburn on 8 October 1586.[73] He was beatified in 1987 as one of the eighty-five martyrs of England and Wales.
Sir William Garrard, Master of the Haberdashers' Company, Alderman, Sheriff of London in 1553/53, Lord Mayor in 1555/56 and a Member of Parliament was born in the parish and buried at St Magnus in 1571.[74] Sir William Romney, merchant, philanthropist, Master of the Haberdashers' Company, Alderman for Bridge Within and Sheriff of London in 1603/04[75] was married at St Magnus in 1582. Ben Jonson is believed to have been married at St Magnus in 1594.[76]
The patronage of St Magnus, having previously been in the Abbots and Convents of Westminster and Bermondsey (who presented alternatively), fell to the Crown on the suppression of the monasteries. In 1553, Queen Mary, by letters patent, granted it to the Bishop of London and his successors.[77]
The church had a series of distinguished rectors in the second half of the 16th and first half of the 17th century, including Myles Coverdale (Rector 1564-66), John Young (Rector 1566-92), Theophilus Aylmer (Rector 1592-1625), (Archdeacon of London and son of John Aylmer), and Cornelius Burges (Rector 1626-41). Coverdale was buried in the chancel of St Bartholomew-by-the-Exchange, but when that church was pulled down in 1840 his remains were removed to St Magnus.[78]
On 5 November 1562 the churchwardens were ordered to break, or cause to be broken, in two parts all the altar stones in the church.[79] Coverdale, an anti-vestiarian, was Rector at the peak of the vestments controversy. In March 1566 Archbishop Parker caused great consternation among many clergy by his edicts prescribing what was to be worn and by his summoning the London clergy to Lambeth to require their compliance. Coverdale excused himself from attending.[80] Stow records that a non-conforming Scot who normally preached at St Magnus twice a day precipitated a fight on Palm Sunday 1566 at Little All Hallows in Thames Street with his preaching against vestments.[81] Coverdale's resignation from St Magnus in summer 1566 may have been associated with these events. Separatist congregations started to emerge after 1566 and the first such, who called themselves 'Puritans' or 'Unspottyd Lambs of the Lord', was discovered close to St Magnus at Plumbers' Hall in Thames Street on 19 June 1567.
St Magnus narrowly escaped destruction in 1633. A later edition of Stow's Survey records that "On the 13th day of February, between eleven and twelve at night, there happened in the house of one Briggs, a Needle-maker near St Magnus Church, at the North end of the Bridge, by the carelessness of a Maid-Servant setting a tub of hot sea-coal ashes under a pair of stairs, a sad and lamentable fire, which consumed all the buildings before eight of the clock the next morning, from the North end of the Bridge to the first vacancy on both sides, containing forty-two houses; water then being very scarce, the Thames being almost frozen over."[83] Susannah Chambers "by her last will & testament bearing date 28th December 1640 gave the sum of Twenty-two shillings and Sixpence Yearly for a Sermon to be preached on the 12th day of February in every Year within the Church of Saint Magnus in commemoration of God's merciful preservation of the said Church of Saint Magnus from Ruin, by the late and terrible Fire on London Bridge. Likewise Annually to the Poor the sum of 17/6."[84] The tradition of a "Fire Sermon" was revived on 12 February 2004, when the first preacher was the Rt Revd and Rt Hon Richard Chartres, Bishop of London.
Parliamentarian rule and the more Protestant ethos of the 1640s led to the removal or destruction of "superstitious" and "idolatrous" images and fittings. Glass painters such as Baptista Sutton, who had previously installed "Laudian innovations", found new employment by repairing and replacing these to meet increasingly strict Protestant standards. In January 1642 Sutton replaced 93 feet of glass at St Magnus and in June 1644 he was called back to take down the "painted imagery glass" and replace it.[86] In June 1641 "rail riots" broke out at a number of churches. This was a time of high tension following the trial and execution of the Earl of Strafford and rumours of army and popish plots were rife. The Protestation Oath, with its pledge to defend the true religion "against all Popery and popish innovation", triggered demands from parishioners for the removal of the rails as popish innovations which the Protestation had bound them to reform. The minister arranged a meeting between those for and against the pulling down of the rails, but was unsuccessful in reaching a compromise and it was feared that they would be demolished by force.[87] However, in 1663 the parish resumed Laudian practice and re-erected rails around its communion table.[88]
Joseph Caryl was incumbent from 1645 until his ejection in 1662. In 1663 he was reportedly living near London Bridge and preaching to an Independent congregation that met at various places in the City.[89]
During the Great Plague of 1665, the City authorities ordered fires to be kept burning night and day, in the hope that the air would be cleansed. Daniel Defoe's semi-fictictional, but highly realistic, work A Journal of the Plague Year records that one of these was "just by St Magnus Church"
Despite its escape in 1633, the church was one of the first buildings to be destroyed in the Great Fire of London in 1666.[91] St Magnus stood less than 300 yards from the bakehouse of Thomas Farriner in Pudding Lane where the fire started. Farriner, a former churchwarden of St Magnus, was buried in the middle aisle of the church on 11 December 1670, perhaps within a temporary structure erected for holding services.[92]
The parish engaged the master mason George Dowdeswell to start the work of rebuilding in 1668. The work was carried forward between 1671 and 1687 under the direction of Sir Christopher Wren, the body of the church being substantially complete by 1676.[93] At a cost of £9,579 19s 10d St Magnus was one of Wren's most expensive churches.[94] The church of St Margaret New Fish Street was not rebuilt after the fire and its parish was united to that of St Magnus.
The chancels of many of Wren’s city churches had chequered marble floors and the chancel of St Magnus is an example,[95] the parish agreeing after some debate to place the communion table on a marble ascent with steps[96] and to commission altar rails of Sussex wrought iron. The nave and aisles are paved with freestone flags. A steeple, closely modelled on one built between 1614 and 1624 by François d'Aguilon and Pieter Huyssens for the church of St Carolus Borromeus in Antwerp, was added between 1703 and 1706.[97] London's skyline was transformed by Wren's tall steeples and that of St Magnus is considered to be one his finest.[98]
The large clock projecting from the tower was a well-known landmark in the city as it hung over the roadway of Old London Bridge.[99] It was presented to the church in 1709 by Sir Charles Duncombe[100] (Alderman for the Ward of Bridge Within and, in 1708/09, Lord Mayor of London). Tradition says "that it was erected in consequence of a vow made by the donor, who, in the earlier part of his life, had once to wait a considerable time in a cart upon London Bridge, without being able to learn the hour, when he made a promise, that if he ever became successful in the world, he would give to that Church a public clock ... that all passengers might see the time of day."[101] The maker was Langley Bradley, a clockmaker in Fenchurch Street, who had worked for Wren on many other projects, including the clock for the new St Paul's Cathedral. The sword rest in the church, designed to hold the Lord Mayor's sword and mace when he attended divine service "in state", dates from 1708.
Duncombe and his benefactions to St Magnus feature prominently in Daniel Defoe's The True-Born Englishman, a biting satire on critics of William III that went through several editions from 1700 (the year in which Duncombe was elected Sheriff).
Shortly before his death in 1711, Duncombe commissioned an organ for the church, the first to have a swell-box, by Abraham Jordan (father and son).[103] The Spectator announced that "Whereas Mr Abraham Jordan, senior and junior, have, with their own hands, joinery excepted, made and erected a very large organ in St Magnus' Church, at the foot of London Bridge, consisting of four sets of keys, one of which is adapted to the art of emitting sounds by swelling notes, which never was in any organ before; this instrument will be publicly opened on Sunday next [14 February 1712], the performance by Mr John Robinson. The above-said Abraham Jordan gives notice to all masters and performers, that he will attend every day next week at the said Church, to accommodate all those gentlemen who shall have a curiosity to hear it".[104]
The organ case, which remains in its original state, is looked upon as one of the finest existing examples of the Grinling Gibbons's school of wood carving.[105] The first organist of St Magnus was John Robinson (1682–1762), who served in that role for fifty years and in addition as organist of Westminster Abbey from 1727. Other organists have included the blind organist George Warne (1792–1868, organist 1820-26 until his appointment to the Temple Church), James Coward (1824–80, organist 1868-80 who was also organist to the Crystal Palace and renowned for his powers of improvisation) and George Frederick Smith FRCO (1856–1918, organist 1880-1918 and Professor of Music at the Guildhall School of Music).[106] The organ has been restored several times - in 1760, 1782, 1804, 1855, 1861, 1879, 1891, 1924, 1949 after wartime damage and 1997 - since it was first built.[107] Sir Peter Maxwell Davies was one of several patrons of the organ appeal in the mid-1990s[108] and John Scott gave an inaugural recital on 20 May 1998 following the completion of that restoration.[109] The instrument has an Historic Organ Certificate and full details are recorded in the National Pipe Organ Register.[110]
The hymn tune "St Magnus", usually sung at Ascensiontide to the text "The head that once was crowned with thorns", was written by Jeremiah Clarke in 1701 and named for the church.
Canaletto drew St Magnus and old London Bridge as they appeared in the late 1740s.[112] Between 1756 and 1762, under the London Bridge Improvement Act of 1756 (c. 40), the Corporation of London demolished the buildings on London Bridge to widen the roadway, ease traffic congestion and improve safety for pedestrians.[113] The churchwardens’ accounts of St Magnus list many payments to those injured on the Bridge and record that in 1752 a man was crushed to death between two carts.[114] After the House of Commons had resolved upon the alteration of London Bridge, the Rev Robert Gibson, Rector of St Magnus, applied to the House for relief; stating that 48l. 6s. 2d. per annum, part of his salary of 170l. per annum, was assessed upon houses on London Bridge; which he should utterly lose by their removal unless a clause in the bill about to be passed should provide a remedy.[115] Accordingly, Sections 18 and 19 of 1756 Act provided that the relevant amounts of tithe and poor rate should be a charge on the Bridge House Estates.[116]
A serious fire broke out on 18 April 1760 in an oil shop at the south east corner of the church, which consumed most of the church roof and did considerable damage to the fabric. The fire burnt warehouses to the south of the church and a number of houses on the northern end of London Bridge.
As part of the bridge improvements, overseen by the architect Sir Robert Taylor, a new pedestrian walkway was built along the eastern side of the bridge. With the other buildings gone St Magnus blocked the new walkway.[117] As a consequence it was necessary in 1762 to 1763 to remove the vestry rooms at the West end of the church and open up the side arches of the tower so that people could pass underneath the tower.[118] The tower’s lower storey thus became an external porch. Internally a lobby was created at the West end under the organ gallery and a screen with fine octagonal glazing inserted. A new Vestry was built to the South of the church.[119] The Act also provided that the land taken from the church for the widening was "to be considered ... as part of the cemetery of the said church ... but if the pavement thereof be broken up on account of the burying of any persons, the same shall be ... made good ... by the churchwardens"
Soldiers were stationed in the Vestry House of St Magnus during the Gordon Riots in June 1780.[121]
By 1782 the noise level from the activities of Billingsgate Fish Market had become unbearable and the large windows on the north side of the church were blocked up leaving only circular windows high up in the wall.[122] At some point between the 1760s and 1814 the present clerestory was constructed with its oval windows and fluted and coffered plasterwork.[123] J. M. W. Turner painted the church in the mid-1790s.[124]
The rector of St Magnus between 1792 and 1808, following the death of Robert Gibson on 28 July 1791,[125] was Thomas Rennell FRS. Rennell was President of Sion College in 1806/07. There is a monument to Thomas Leigh (Rector 1808-48 and President of Sion College 1829/30,[126] at St Peter's Church, Goldhanger in Essex.[127] Richard Hazard (1761–1837) was connected with the church as sexton, parish clerk and ward beadle for nearly 50 years[128] and served as Master of the Parish Clerks' Company in 1831/32.[129]
In 1825 the church was "repaired and beautified at a very considerable expense. During the reparation the east window, which had been closed, was restored, and the interior of the fabric conformed to the state in which it was left by its great architect, Sir Christopher Wren. The magnificent organ ... was taken down and rebuilt by Mr Parsons, and re-opened, with the church, on the 12th February, 1826".[130] Unfortunately, as a contemporary writer records, "On the night of the 31st of July, 1827, [the church's] safety was threatened by the great fire which consumed the adjacent warehouses, and it is perhaps owing to the strenuous and praiseworthy exertions of the firemen, that the structure exists at present. ... divine service was suspended and not resumed until the 20th January 1828. In the interval the church received such tasteful and elegant decorations, that it may now compete with any church in the metropolis.
In 1823 royal assent was given to ‘An Act for the Rebuilding of London Bridge’ and in 1825 John Garratt, Lord Mayor and Alderman of the Ward of Bridge Within, laid the first stone of the new London Bridge.[132] In 1831 Sir John Rennie’s new bridge was opened further upstream and the old bridge demolished. St Magnus ceased to be the gateway to London as it had been for over 600 years. Peter de Colechurch[133] had been buried in the crypt of the chapel on the bridge and his bones were unceremoniously dumped in the River Thames.[134] In 1921 two stones from Old London Bridge were discovered across the road from the church. They now stand in the churchyard.
Wren's church of St Michael Crooked Lane was demolished, the final service on Sunday 20 March 1831 having to be abandoned due to the effects of the building work. The Rector of St Michael preached a sermon the following Sunday at St Magnus lamenting the demolition of his church with its monuments and "the disturbance of the worship of his parishioners on the preceeding Sabbath".[135] The parish of St Michael Crooked Lane was united to that of St Magnus, which itself lost a burial ground in Church Yard Alley to the approach road for the new bridge.[136] However, in substitution it had restored to it the land taken for the widening of the old bridge in 1762 and was also given part of the approach lands to the east of the old bridge.[137] In 1838 the Committee for the London Bridge Approaches reported to Common Council that new burial grounds had been provided for the parishes of St Michael, Crooked Lane and St Magnus, London Bridge.
Depictions of St Magnus after the building of the new bridge, seen behind Fresh Wharf and the new London Bridge Wharf, include paintings by W. Fenoulhet in 1841 and by Charles Ginner in 1913.[139] This prospect was affected in 1924 by the building of Adelaide House to a design by John James Burnet,[140] The Times commenting that "the new ‘architectural Matterhorn’ ... conceals all but the tip of the church spire".[141] There was, however, an excellent view of the church for a few years between the demolition of Adelaide Buildings and the erection of its replacement.[142] Adelaide House is now listed.[143] Regis House, on the site of the abandoned King William Street terminus of the City & South London Railway (subsequently the Northern Line),[144] and the Steam Packet Inn, on the corner of Lower Thames Street and Fish Street Hill,[145] were developed in 1931.
By the early 1960s traffic congestion had become a problem[147] and Lower Thames Street was widened over the next decade[148] to form part of a significant new east-west transport artery (the A3211).[149] The setting of the church was further affected by the construction of a new London Bridge between 1967 and 1973.[150] The New Fresh Wharf warehouse to the east of the church, built in 1939, was demolished in 1973-4 following the collapse of commercial traffic in the Pool of London[151] and, after an archaeological excavation,[152] St Magnus House was constructed on the site in 1978 to a design by R. Seifert & Partners.[153] This development now allows a clear view of the church from the east side.[154] The site to the south east of The Monument (between Fish Street Hill and Pudding Lane), formerly predominantly occupied by fish merchants,[155] was redeveloped as Centurion House and Gartmore (now Providian) House at the time of the closure of old Billingsgate Market in January 1982.[156] A comprehensive redevelopment of Centurion House began in October 2011 with completion planned in 2013.[157] Regis House, to the south west of The Monument, was redeveloped by Land Securities PLC in 1998.[158]
The vista from The Monument south to the River Thames, over the roof of St Magnus, is protected under the City of London Unitary Development Plan,[159] although the South bank of the river is now dominated by The Shard. Since 2004 the City of London Corporation has been exploring ways of enhancing the Riverside Walk to the south of St Magnus.[160] Work on a new staircase to connect London Bridge to the Riverside Walk is due to commence in March 2013.[161] The story of St Magnus's relationship with London Bridge and an interview with the rector featured in the television programme The Bridges That Built London with Dan Cruickshank, first broadcast on BBC Four on 14 June 2012.[162] The City Corporation's 'Fenchurch and Monument Area Enhancement Strategy' of August 2012 recommended ways of reconnecting St Magnus and the riverside to the area north of Lower Thames Street.
A lectureship at St Michael Crooked Lane, which was transferred to St Magnus in 1831, was endowed by the wills of Thomas and Susannah Townsend in 1789 and 1812 respectively.[164] The Revd Henry Robert Huckin, Headmaster of Repton School from 1874 to 1882, was appointed Townsend Lecturer at St Magnus in 1871.[165]
St Magnus narrowly escaped damage from a major fire in Lower Thames Street in October 1849.
During the second half of the 19th century the rectors were Alexander McCaul, DD (1799–1863, Rector 1850-63), who coined the term 'Judaeo Christian' in a letter dated 17 October 1821,[167] and his son Alexander Israel McCaul (1835–1899, curate 1859-63, rector 1863-99). The Revd Alexander McCaul Sr[168] was a Christian missionary to the Polish Jews, who (having declined an offer to become the first Anglican Bishop in Jerusalem)[169] was appointed professor of Hebrew and rabbinical literature at King's College, London in 1841. His daughter, Elizabeth Finn (1825–1921), a noted linguist, founded the Distressed Gentlefolk Aid Association (now known as Elizabeth Finn Care).[170]
In 1890 it was reported that the Bishop of London was to hold an inquiry as to the desirability of uniting the benefices of St George Botolph Lane and St Magnus. The expectation was a fusion of the two livings, the demolition of St George’s and the pensioning of "William Gladstone’s favourite Canon", Malcolm MacColl. Although services ceased there, St George’s was not demolished until 1904. The parish was then merged with St Mary at Hill rather than St Magnus.[171]
The patronage of the living was acquired in the late 19th century by Sir Henry Peek Bt. DL MP, Senior Partner of Peek Brothers & Co of 20 Eastcheap, the country's largest firm of wholesale tea brokers and dealers, and Chairman of the Commercial Union Assurance Co. Peek was a generous philanthropist who was instrumental in saving both Wimbledon Common and Burnham Beeches from development. His grandson, Sir Wilfred Peek Bt. DSO JP, presented a cousin, Richard Peek, as rector in 1904. Peek, an ardent Freemason, held the office of Grand Chaplain of England. The Times recorded that his memorial service in July 1920 "was of a semi-Masonic character, Mr Peek having been a prominent Freemason".[172] In June 1895 Peek had saved the life of a young French girl who jumped overboard from a ferry midway between Dinard and St Malo in Brittany and was awarded the bronze medal of the Royal Humane Society and the Gold Medal 1st Class of the Sociâetâe Nationale de Sauvetage de France.[173]
In November 1898 a memorial service was held at St Magnus for Sir Stuart Knill Bt. (1824–1898), head of the firm of John Knill and Co, wharfingers, and formerly Lord Mayor and Master of the Plumbers' Company.[174] This was the first such service for a Roman Catholic taken in an Anglican church.[175] Sir Stuart's son, Sir John Knill Bt. (1856-1934), also served as Alderman for the Ward of Bridge Within, Lord Mayor and Master of the Plumbers' Company.
Until 1922 the annual Fish Harvest Festival was celebrated at St Magnus.[176] The service moved in 1923 to St Dunstan in the East[177] and then to St Mary at Hill, but St Magnus retained close links with the local fish merchants until the closure of old Billingsgate Market. St Magnus, in the 1950s, was "buried in the stink of Billingsgate fish-market, against which incense was a welcome antidote".
A report in 1920 proposed the demolition of nineteen City churches, including St Magnus.[179] A general outcry from members of the public and parishioners alike prevented the execution of this plan.[180] The members of the City Livery Club passed a resolution that they regarded "with horror and indignation the proposed demolition of 19 City churches" and pledged the Club to do everything in its power to prevent such a catastrophe.[181] T. S. Eliot wrote that the threatened churches gave "to the business quarter of London a beauty which its hideous banks and commercial houses have not quite defaced. ... the least precious redeems some vulgar street ... The loss of these towers, to meet the eye down a grimy lane, and of these empty naves, to receive the solitary visitor at noon from the dust and tumult of Lombard Street, will be irreparable and unforgotten."[182] The London County Council published a report concluding that St Magnus was "one of the most beautiful of all Wren's works" and "certainly one of the churches which should not be demolished without specially good reasons and after very full consideration."[183] Due to the uncertainty about the church's future, the patron decided to defer action to fill the vacancy in the benefice and a curate-in-charge temporarily took responsibility for the parish.[184] However, on 23 April 1921 it was announced that the Revd Henry Joy Fynes-Clinton would be the new Rector. The Times concluded that the appointment, with the Bishop’s approval, meant that the proposed demolition would not be carried out.[185] Fr Fynes-Clinton was inducted on 31 May 1921.[186]
The rectory, built by Robert Smirke in 1833-5, was at 39 King William Street.[187] A decision was taken in 1909 to sell the property, the intention being to purchase a new rectory in the suburbs, but the sale fell through and at the time of the 1910 Land Tax Valuations the building was being let out to a number of tenants. The rectory was sold by the diocese on 30 May 1921 for £8,000 to Ridgways Limited, which owned the adjoining premises.[188] The Vestry House adjoining the south west of the church, replacing the one built in the 1760s, may also have been by Smirke. Part of the burial ground of St Michael Crooked Lane, located between Fish Street Hill and King William Street, survived as an open space until 1987 when it was compulsorily purchased to facilitate the extension of the Docklands Light Railway into the City.[189] The bodies were reburied at Brookwood Cemetery.
The interior of the church was restored by Martin Travers in 1924, in a neo-baroque style,[191] reflecting the Anglo-Catholic character of the congregation[192] following the appointment of Henry Joy Fynes-Clinton as Rector.[193] Fr Fynes, as he was often known, served as Rector of St Magnus from 31 May 1921 until his death on 4 December 1959 and substantially beautified the interior of the church.[194]
Fynes-Clinton held very strong Anglo-Catholic views, and proceeded to make St Magnus as much like a baroque Roman Catholic church as possible. However, "he was such a loveable character with an old-world courtesy which was irresistible, that it was difficult for anyone to be unpleasant to him, however much they might disapprove of his views".[195] He generally said the Roman Mass in Latin; and in personality was "grave, grand, well-connected and holy, with a laconic sense of humour".[196] To a Protestant who had come to see Coverdale's monument he is reported to have said "We have just had a service in the language out of which he translated the Bible".[197] The use of Latin in services was not, however, without grammatical danger. A response from his parishioners of "Ora pro nobis" after "Omnes sancti Angeli et Archangeli" in the Litany of the Saints would elicit a pause and the correction "No, Orate pro nobis."
In 1922 Fynes-Clinton refounded the Fraternity of Our Lady de Salve Regina.[198] The Fraternity's badge[199] is shown in the stained glass window at the east end of the north wall of the church above the reredos of the Lady Chapel altar. He also erected a statue of Our Lady of Walsingham and arranged pilgrimages to the Norfolk shrine, where he was one of the founding Guardians.[200] In 1928 the journal of the Catholic League reported that St Magnus had presented a votive candle to the Shrine at Walsingham "in token of our common Devotion and the mutual sympathy and prayers that are we hope a growing bond between the peaceful country shrine and the church in the heart of the hurrying City, from the Altar of which the Pilgrimages regularly start".[201]
Fynes-Clinton was General Secretary of the Anglican and Eastern Orthodox Churches Union and its successor, the Anglican and Eastern Churches Association, from 1906 to 1920 and served as Secretary to the Archbishop of Canterbury's Eastern Churches Committee from 1920 to around 1924. A Solemn Requiem was celebrated at St Magnus in September 1921 for the late King Peter of the Serbs, Croats and Slovenes.
At the midday service on 1 March 1922, J.A. Kensit, leader of the Protestant Truth Society, got up and protested against the form of worship.[202] The proposed changes to the church in 1924 led to a hearing in the Consistory Court of the Chancellor of the Diocese of London and an appeal to the Court of Arches.[203] Judgement was given by the latter Court in October 1924. The advowson was purchased in 1931, without the knowledge of the Rector and Parochial Church Council, by the evangelical Sir Charles King-Harman.[204] A number of such cases, including the purchase of the advowsons of Clapham and Hampstead Parish Churches by Sir Charles, led to the passage of the Benefices (Purchase of Rights of Patronage) Measure 1933.[205] This allowed the parishioners of St Magnus to purchase the advowson from Sir Charles King-Harman for £1,300 in 1934 and transfer it to the Patronage Board.
St Magnus was one of the churches that held special services before the opening of the second Anglo-Catholic Congress in 1923.[207] Fynes-Clinton[208] was the first incumbent to hold lunchtime services for City workers.[209] Pathé News filmed the Palm Sunday procession at St Magnus in 1935.[210] In The Towers of Trebizond, the novel by Rose Macauley published in 1956, Fr Chantry-Pigg's church is described as being several feet higher than St Mary’s Bourne Street and some inches above even St Magnus the Martyr.[211]
In July 1937 Fr Fynes-Clinton, with two members of his congregation, travelled to Kirkwall to be present at the 800th anniversary celebrations of St Magnus Cathedral, Kirkwall. During their stay they visited Egilsay and were shown the spot where St Magnus had been slain. Later Fr Fynes-Clinton was present at a service held at the roofless church of St Magnus on Egilsay, where he suggested to his host Mr Fryer, the minister of the Cathedral, that the congregations of Kirkwall and London should unite to erect a permanent stone memorial on the traditional site where Earl Magnus had been murdered. In 1938 a cairn was built of local stone on Egilsay. It stands 12 feet high and is 6 feet broad at its base. The memorial was dedicated on 7 September 1938 and a bronze inscription on the monument reads "erected by the Rector and Congregation of St Magnus the Martyr by London Bridge and the Minister and Congregation of St Magnus Cathedral, Kirkwall to commemorate the traditional spot where Earl Magnus was slain, AD circa 1116 and to commemorate the Octocentenary of St Magnus Cathedral 1937"
A bomb which fell on London Bridge in 1940 during the Blitz of World War II blew out all the windows and damaged the plasterwork and the roof of the north aisle.[213] However, the church was designated a Grade I listed building on 4 January 1950[214] and repaired in 1951, being re-opened for worship in June of that year by the Bishop of London, William Wand.[215] The architect was Laurence King.[216] Restoration and redecoration work has subsequently been carried out several times, including after a fire in the early hours of 4 November 1995.[217] Cleaning of the exterior stonework was completed in 2010.
Some minor changes were made to the parish boundary in 1954, including the transfer to St Magnus of an area between Fish Street Hill and Pudding Lane. The site of St Leonard Eastcheap, a church that was not rebuilt after the Great Fire, is therefore now in the parish of St Magnus despite being united to St Edmund the King.
Fr Fynes-Clinton marked the 50th anniversary of his priesthood in May 1952 with High Mass at St Magnus and lunch at Fishmongers' Hall.[218] On 20 September 1956 a solemn Mass was sung in St Magnus to commence the celebration of the 25th anniversary of the restoration of the Holy House at Walsingham in 1931. In the evening of that day a reception was held in the large chamber of Caxton Hall, when between three and four hundred guests assembled.[219]
Fr Fynes-Clinton was succeeded as rector in 1960 by Fr Colin Gill,[220] who remained as incumbent until his death in 1983.[221] Fr Gill was also closely connected with Walsingham and served as a Guardian between 1953 and 1983, including nine years as Master of the College of Guardians.[222] He celebrated the Mass at the first National Pilgrimage in 1959[223] and presided over the Jubilee celebrations to mark the 50th anniversary of the Shrine in 1981, having been present at the Holy House's opening.[224] A number of the congregation of St Stephen's Lewisham moved to St Magnus around 1960, following temporary changes in the form of worship there.
In 1994 the Templeman Commission proposed a radical restructuring of the churches in the City Deanery. St Magnus was identified as one of the 12 churches that would remain as either a parish or an 'active' church.[226] However, the proposals were dropped following a public outcry and the consecration of a new Bishop of London.
The parish priest since 2003 has been Fr Philip Warner, who was previously priest-in-charge of St Mary's Church, Belgrade (Diocese in Europe) and Apokrisiarios for the Archbishop of Canterbury to the Serbian Orthodox Church. Since January 2004 there has been an annual Blessing of the Thames, with the congregations of St Magnus and Southwark Cathedral meeting in the middle of London Bridge.[227] On Sunday 3 July 2011, in anticipation of the feast of the translation of St Thomas Becket (7 July), a procession from St Magnus brought a relic of the saint to the middle of the bridge.[228]
David Pearson specially composed two new pieces, a communion anthem A Mhànais mo rùin (O Magnus of my love) and a hymn to St Magnus Nobilis, humilis, for performance at the church on the feast of St Magnus the Martyr, 16 April 2012.[229] St Magnus's organist, John Eady, has won composition competitions for new choral works at St Paul's Cathedral (a setting of Veni Sancte Spiritus first performed on 27 May 2012) and at Lincoln Cathedral (a setting of the Matin responsory for Advent first performed on 30 November 2013).[230]
In addition to liturgical music of a high standard, St Magnus is the venue for a wide range of musical events. The Clemens non Papa Consort, founded in 2005, performs in collaboration with the production team Concert Bites as the church's resident ensemble.[231] The church is used by The Esterhazy Singers for rehearsals and some concerts.[232] The band Mishaped Pearls performed at the church on 17 December 2011.[233] St Magnus featured in the television programme Jools Holland: London Calling, first broadcast on BBC2 on 9 June 2012.[234] The Platinum Consort made a promotional film at St Magnus for the release of their debut album In the Dark on 2 July 2012.[235]
The Friends of the City Churches had their office in the Vestry House of St Magnus until 2013.
Martin Travers modified the high altar reredos, adding paintings of Moses and Aaron and the Ten Commandments between the existing Corinthian columns and reconstructing the upper storey. Above the reredos Travers added a painted and gilded rood.[237] In the centre of the reredos there is a carved gilded pelican (an early Christian symbol of self-sacrifice) and a roundel with Baroque-style angels. The glazed east window, which can be seen in an early photograph of the church, appears to have been filled in at this time. A new altar with console tables was installed and the communion rails moved outwards to extend the size of the sanctuary. Two old door frames were used to construct side chapels and placed at an angle across the north-east and south-east corners of the church. One, the Lady Chapel, was dedicated to the Rector's parents in 1925 and the other was dedicated to Christ the King. Originally, a baroque aumbry was used for Reservation of the Blessed Sacrament, but later a tabernacle was installed on the Lady Chapel altar and the aumbry was used to house a relic of the True Cross.
The interior was made to look more European by the removal of the old box pews and the installation of new pews with cut-down ends. Two new columns were inserted in the nave to make the lines regular. The Wren-period pulpit by the joiner William Grey[238] was opened up and provided with a soundboard and crucifix. Travers also designed the statue of St Magnus of Orkney, which stands in the south aisle, and the statue of Our Lady of Walsingham.[239]
On the north wall there is a Russian Orthodox icon, painted in 1908. The modern stations of the cross in honey-coloured Japanese oak are the work of Robert Randall and Ashley Sands.[240] One of the windows in the north wall dates from 1671 and came from Plumbers' Hall in Chequer Yard, Bush Lane, which was demolished in 1863 to make way for Cannon Street Railway Station.[241] A fireplace from the Hall was re-erected in the Vestry House. The other windows on the north side are by Alfred Wilkinson and date from 1952 to 1960. These show the arms of the Plumbers’, Fishmongers’ and Coopers’ Companies together with those of William Wand when Bishop of London and Geoffrey Fisher when Archbishop of Canterbury and (as noted above) the badge of the Fraternity of Our Lady de Salve Regina.
The stained glass windows in the south wall, which are by Lawrence Lee and date from 1949 to 1955, represent lost churches associated with the parish: St Magnus and his ruined church of Egilsay, St Margaret of Antioch with her lost church in New Fish Street (where the Monument to the Great Fire now stands), St Michael with his lost church of Crooked Lane (demolished to make way for the present King William Street) and St Thomas Becket with his chapel on Old London Bridge.[242]
The church possesses a fine model of Old London Bridge. One of the tiny figures on the bridge appears out of place in the mediaeval setting, wearing a policeman's uniform. This is a representation of the model-maker, David T. Aggett, who is a Liveryman of the Worshipful Company of Plumbers and was formerly in the police service.[243]
The Mischiefs by Fire Act 1708 and the Fires Prevention (Metropolis) Act 1774 placed a requirement on every parish to keep equipment to fight fires. The church owns two historic fire engines that belonged to the parish of St Michael, Crooked Lane.[244] One of these is in storage at the Museum of London. The whereabouts of the other, which was misappropriated and sold at auction in 2003, is currently unknown.
In 1896 many bodies were disinterred from the crypt and reburied at the St Magnus's plot at Brookwood Cemetery, which remains the church's burial ground.
Prior to the Great Fire of 1666 the old tower had a ring of five bells, a small saints bell and a clock bell.[246] 47 cwt of bell metal was recovered[247] which suggests that the tenor was 13 or 14 cwt. The metal was used to cast three new bells, by William Eldridge of Chertsey in 1672,[248] with a further saints bell cast that year by Hodson.[249] In the absence of a tower, the tenor and saints bell were hung in a free standing timber structure, whilst the others remained unhung.[250]
A new tower was completed in 1704 and it is likely that these bells were transferred to it. However, the tenor became cracked in 1713 and it was decided to replace the bells with a new ring of eight.[251] The new bells, with a tenor of 21 cwt, were cast by Richard Phelps of the Whitechapel Bell Foundry. Between 1714 and 1718 (the exact date of which is unknown), the ring was increased to ten with the addition of two trebles given by two former ringing Societies, the Eastern Youths and the British Scholars.[252] The first peal was rung on 15 February 1724 of Grandsire Caters by the Society of College Youths. The second bell had to be recast in 1748 by Robert Catlin, and the tenor was recast in 1831 by Thomas Mears of Whitechapel,[253] just in time to ring for the opening of the new London Bridge. In 1843, the treble was said to be "worn out" and so was scrapped, together with the saints bell, while a new treble was cast by Thomas Mears.[254] A new clock bell was erected in the spire in 1846, provided by B R & J Moore, who had earlier purchased it from Thomas Mears.[255] This bell can still be seen in the tower from the street.
The 10 bells were removed for safe keeping in 1940 and stored in the churchyard. They were taken to Whitechapel Bell Foundry in 1951 whereupon it was discovered that four of them were cracked. After a long period of indecision, fuelled by lack of funds and interest, the bells were finally sold for scrap in 1976. The metal was used to cast many of the Bells of Congress that were then hung in the Old Post Office Tower in Washington, D.C.
A fund was set up on 19 September 2005, led by Dickon Love, a member of the Ancient Society of College Youths, with a view to installing a new ring of 12 bells in the tower in a new frame. This was the first of three new rings of bells he has installed in the City of London (the others being at St Dunstan-in-the-West and St James Garlickhythe). The money was raised and the bells were cast during 2008/9 by the Whitechapel Bell Foundry. The tenor weighed 26cwt 3qtr 9 lbs (1360 kg) and the new bells were designed to be in the same key as the former ring of ten. They were consecrated by the Bishop of London on 3 March 2009 in the presence of the Lord Mayor[256] and the ringing dedicated on 26 October 2009 by the Archdeacon of London.[257] The bells are named (in order smallest to largest) Michael, Margaret, Thomas of Canterbury, Mary, Cedd, Edward the Confessor, Dunstan, John the Baptist, Erkenwald, Paul, Mellitus and Magnus.[258] The bells project is recorded by an inscription in the vestibule of the church.
The first peal on the twelve was rung on 29 November 2009 of Cambridge Surprise Maximus.[260] Notable other recent peals include a peal of Stedman Cinques on 16 April 2011 to mark the 400th anniversary of the granting of a Royal Charter to the Plumbers' Company,[261] a peal of Cambridge Surprise Royal on 28 June 2011 when the Fishmongers' Company gave a dinner for Prince Philip, Duke of Edinburgh at their hall on the occasion of his 90th birthday[262] and a peal of Avon Delight Maximus on 24 July 2011 in solidarity with the people of Norway following the tragic massacre on Utoeya Island and in Oslo.[263] On the latter occasion the flag of the Orkney Islands was flown at half mast. In 2012 peals were rung during the Thames Diamond Jubilee Pageant on 3 June and during each of the three Olympic/Paralympic marathons, on 5 and 12 August and 9 September.
The BBC television programme, Still Ringing After All These Years: A Short History of Bells, broadcast on 14 December 2011, included an interview at St Magnus with the Tower Keeper, Dickon Love,[264] who was captain of the band that rang the "Royal Jubilee Bells" during the Thames Diamond Jubilee Pageant on 3 June 2012 to celebrate the Diamond Jubilee of Queen Elizabeth II.[265] Prior to this, he taught John Barrowman to handle a bell at St Magnus for the BBC coverage.
The bells are currently rung every Sunday around 12:15 (following the service) by the Guild of St Magnus.
Every other June, newly elected wardens of the Fishmongers' Company, accompanied by the Court, proceed on foot from Fishmongers' Hall[267] to St Magnus for an election service.[268] St Magnus is also the Guild Church of The Plumbers' Company. Two former rectors have served as master of the company,[269] which holds all its services at the church.[270] On 12 April 2011 a service was held to commemorate the 400th anniversary of the granting of the company's Royal Charter at which the Bishop of London, the Rt Revd and Rt Hon Richard Chartres KCVO, gave the sermon and blessed the original Royal Charter. For many years the Cloker Service was held at St Magnus, attended by the Coopers' Company and Grocers' Company, at which the clerk of the Coopers' Company read the will of Henry Cloker dated 10 March 1573.[271]
St Magnus is also the ward church for the Ward of Bridge and Bridge Without, which elects one of the city's aldermen. Between 1550 and 1978 there were separate aldermen for Bridge Within and Bridge Without, the former ward being north of the river and the latter representing the City's area of control in Southwark. The Bridge Ward Club was founded in 1930 to "promote social activities and discussion of topics of local and general interest and also to exchange Ward and parochial information" and holds its annual carol service at St Magnus.
Lisbon is the largest city and capital of Portugal with a population of 547,631 within its administrative limits on a land area of 84.8 km2 (33 sq mi). The urban area of Lisbon extends beyond the administrative city limits with a population of over 3 million on an area of 958 km2 (370 sq mi), making it the 11th most populous urban area in the European Union. About 3,035,000 people live in the Lisbon Metropolitan Area (which represents approximately 27% of the population of the country). Lisbon is the westernmost large city located in Europe, as well as its westernmost capital city and the only one along the Atlantic coast. It lies in the western Iberian Peninsula on the Atlantic Ocean and the River Tagus.
Lisbon is recognised as a global city because of its importance in finance, commerce, media, entertainment, arts, international trade, education and tourism. It is one of the major economic centres on the continent, with a growing financial sector and the largest/second largest container port on Europe's Atlantic coast. Lisbon Portela Airport serves over 15.3 million passengers annually (2012); the motorway network and the high-speed rail system of (Alfa Pendular) link the main cities of Portugal. The city is the seventh-most-visited city in Southern Europe, after Istanbul, Rome, Barcelona, Madrid, Athens and Milan, with 1,740,000 tourists in 2009. The Lisbon region is the wealthiest region in Portugal, GDP PPP per capita is 26,100 euros (4.7% higher than the average European Union's GDP PPP per capita). It is the tenth richest metropolitan area by GDP on the continent amounting to 110 billion euros and thus €39,375 per capita, 40% higher than the average European Union's GDP per capita. The city occupies 32nd place of highest gross earnings in the world. Most of the headquarters of multinationals in the country are located in the Lisbon area and it is the 9th city in the world in terms of quantity of international conferences. It is also the political centre of the country, as seat of Government and residence of the Head of State. The seat of the district of Lisbon and the centre of the Lisbon region.
Lisbon is one of the oldest cities in the world, and the oldest city in Western Europe, predating other modern European capitals such as London, Paris and Rome by hundreds of years. Julius Caesar made it a municipium called Felicitas Julia, adding to the name Olissipo. Ruled by a series of Germanic tribes from the 5th century, it was captured by the Moors in the 8th century. In 1147, the Crusaders under Afonso Henriques reconquered the city and since then it has been a major political, economic and cultural centre of Portugal. Unlike most capital cities, Lisbon's status as the capital of Portugal has never been granted or confirmed officially – by statute or in written form. Its position as the capital has formed through constitutional convention, making its position as de facto capital a part of the Constitution of Portugal.
Lisbon hosts two agencies of the European Union: the European Monitoring Centre for Drugs and Drug Addiction (EMCDDA) and the European Maritime Safety Agency (EMSA). Called the "Capital of the Lusophone world", the Community of Portuguese Language Countries has its headquarters in the city, in the Palace of the Counts of Penafiel.
Lisbon has two sites listed by UNESCO as a World Heritage Site: Belém Tower and Jerónimos Monastery. Furthermore, in 1994, Lisbon was the European Capital of Culture and in 1998 organised an Expo '98
LISBON CITY CENTRE AUTUMN 2013
Portrait of a Friend....
"Old pirates, yes, they rob i;
Sold I to the merchant ships,
Minutes after they took i
From the bottomless pit.
But my hand was made strong
By the and of the almighty.
We forward in this generation
Triumphantly.
Wont you help to sing
These songs of freedom? -
cause all I ever have:
Redemption songs;
Redemption songs. ...."
Bob Marley.
There is another shot that I want to take which is the antithesis of the idea and spirit of this photo if the opportunity presents itself.
Namely 'Skin Bleaching'
This is the evening role-playing game where Nikolai decides some random object will play the part of the "Egg-Stealing-Monster (tm)" and he will fiercely get in its face as "Defender of the Nest". It is just like a kitten with a bit of string mostly. He picks the strangest objects for this game - once he chose a banana. That ended badly for everyone involved.
Must View Large!
This is a shot of Sunbeam Falls in Mt. Rainier National Park. This is a relatively small roadside waterfall, but it is my favorite in the park by far! It is about 15 or 20 feet tall, but is just an awesome little waterfall. Also, you can climb up the creek a little way and there you will find an upper falls that is beautiful as well. This particular year the water level was pretty high, so my comps were much more limited since I didn't have waders. and my knee high boots would fill up with water. This is a must see waterfall if you are going to Paradise or anywhere near the Reflection Lakes!
Be sure to check out what this waterfall looked like last year (2010) here and here. And as you can see, the water was much lower then.
I saw a photo of Franklin Falls here on Flickr and instantly had to find out where it was. Little did I know, it was literally right off of I-90, literally as in, you can see the highway from the falls. I also wanted to get another trip to Mt. Rainier in. So a month or so later, I had my trip planned. My mom, brother and I were going to drive up to Franklin Falls on I-90 in the morning, do that hike, then get back on I-90 and go to Seattle and eat lunch there. From Seattle, I was going to take I-5 South to Puyallup, then hit Highway 706 and drive into Mt. Rainier national park and shoot some of the waterfalls in the park and make a stop at Paradise. As everyone that has been there knows that Mt. Rainier is always a toss-up with weather. It turns out that on the drive on I-90 in the morning, the sky was crystal clear and sunny. It killed me to not hit the 410 exit at Yakima, but I decided to stick to my plan. We got to Franklin Falls to see overcast weather, which is no big deal for waterfalls. Then later as we headed to Seattle, things cleared up again. So I was optimistic once again. Heading into Mt. Rainier National Park killed that optimism as it became overcast, completely blocking any view of Rainier possible. So I should have gone away from my plan and stopped at Rainier first, but I still had a great trip with my family!
Taken on July 26, 2011
Nikon D90
Tokina 11-16mm f/2.8 Lens
Tiffen UV filter
Dolica 0.6 ND Neutral Density Filter
Exposure Bias: 0EV
Exposure: 1/2 sec.
Aperture: f/22
ISO: 200
13mm
The Mobile Emergency Room is a project by Thierry Geoffroy/Colonel, a participating artist of the Maldives Pavilion working with art formats developed around the notion of emergency.
Emergency Room is a format providing space for artists to engage in urgent debates, address societal dysfunctions and express emergencies in the now, today, before it is too late. Geoffroy’s approach allows immediate artistic intervention and displaces the contemporary to the status of delayed comment on yesterday’s world.
Taking as point of departure climate change and the Maldives, Geoffroy developed a scenario of disappearance and translated actual emergencies and hospitality needs into artistic interventions. In this context he activated his penetration format in order to transform “rigid exhibition spaces” into “elastic and generous exhibition spaces”.
An intervention facilitated by curator Christine Eyene, the Mobile Emergency Room was set up at the Zimbabwe Pavilion during the opening week of the biennale with the hospitality of commissioner Doreen Sibanda and curator Raphael Chikukwa. The first pieces presented in this room consisted in Geoffroy’s tent and an installation by Polish artist Christian Costa. Since then it has been animated online and has extended from being a space for artists expressing emergencies about climate change, to encompassing various emergency topics.
From 24 to 28 August, Geoffroy was in Venice collaborating with Danish artists Nadia Plesner, Mads Vind Ludvigsen, who created new work everyday, raising various emergencies and concerns, with a daily change of exhibition (“passage”) at 3.00 pm. For his last day in Venice, Geoffroy addressed the Syrian situation.
The work produced during this intervention is displayed until 30 September. The presentation is based on Geoffroy's concept of "Delay Museum" where art created for past emergencies is exhibited, while new work enters the Mobile Emergency Room.
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the Emergency Room Mobile at the Zimbabwe pavilion / Venice Biennale has now been completed with some work from the The Delay Museum ,Please visit the pavilion when you go the Venice Biennale this is part of the PENETRATIONS formats ( the Zimbabwe pavilion gave hopsitality for a period of several monthes ) the displayed art works in the Delay Museum are still "boiling " as they are from last week . ( Nadia Plesner / Mads Vind Ludvigsen , COLONEL ) ( this project is a convergence with BIENNALIST / Emergency Room ) more on Christine Eyene blog as she facilated and work within ....This penetration was in connection with my participation in the Maldives pavilion " CAN A NATION WELCOME ANOTHER NATION ?"CAN EMERGENCIES BE RANKED " .Thank you also for the work by David Marin , @Guillaume Dimanche and Christian Costa
venice-biennale-biennalists.blogspot.dk/2013/09/recents-w...
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VENICE BIENNALE / VENEZIA BIENNIAL 2013 : BIENNALIST
www.emergencyrooms.org/biennalist.html
Biennalist is an Art Format by Thierry Geoffroy / Colonel debating with artistic tools on Biennales and other cultural managed events . Often those events promote them selves with thematics and press releases faking their aim . Biennalist take the thematics of the Biennales very seriously , and test their pertinance . Artists have questioned for decade the canvas , the pigment , the museum ... since 1989 we question the Biennales .Often Biennalist converge with Emergency Room providing a burning content that cannot wait ( today before it is too late )
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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Countries( nations ) that participate at the Venice Biennale 55 th ( 2013 Biennale di Venezia ) in Italy ( at Giardini or Arsenale or ? ) , Encyclopedic Palace is curated by Massimiliano Gioni
Albania, Andorra, Argentina, Australia, Austria, Azerbaijan, Bangladesh, Belarus, Belgium, Brazil, Bulgaria,
Costa Rica, Croatia, Cuba, Cyprus, Czech , Slovenia, South Africa, Spain, Canada, Chile, China, Congo,
Slovak Republic, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia,
Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore
Sweden, Switzerland, Syrian Arab Republic, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Zimbabwe
the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay
Eight countries will also participate for the first time in next year's biennale: the Bahamas, the Kingdom of Bahrain, the Republic of Kosovo, Kuwait, the Maldives, Côte d'Ivoire, Nigeria and Paraguay. In 2011, 89 international pavilions, the most ever, were accessible in the Giardini and across the city.
please contact before using the images : Thierry Geoffroy / Colonel 1@colonel.dk
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lists of artists participating at the Venice Biennale
Hilma af Klint, Victor Alimpiev, Ellen Altfest, Paweł Althamer, Levi Fisher Ames, Yuri Ancarani, Carl Andre, Uri Aran, Yüksel Arslan, Ed Atkins, Marino Auriti, Enrico Baj, Mirosław Bałka, Phyllida Barlow, Morton Bartlett, Gianfranco Baruchello, Hans Bellmer, Neïl Beloufa, Graphic Works of Southeast Asia and Melanesia, Hugo A. Bernatzik Collection, Ștefan Bertalan, Rossella Biscotti, Arthur Bispo do Rosário, John Bock, Frédéric Bruly Bouabré, Geta Brătescu, KP Brehmer, James Lee Byars, Roger Caillois, Varda Caivano, Vlassis Caniaris, James Castle, Alice Channer, George Condo, Aleister Crowley & Frieda Harris, Robert Crumb, Roberto Cuoghi, Enrico David, Tacita Dean, John De Andrea, Thierry De Cordier, Jos De Gruyter e Harald Thys, Walter De Maria, Simon Denny, Trisha Donnelly, Jimmie Durham, Harun Farocki, Peter Fischli & David Weiss, Linda Fregni Nagler, Peter Fritz, Aurélien Froment, Phyllis Galembo, Norbert Ghisoland, Yervant Gianikian & Angela Ricci Lucchi, Domenico Gnoli, Robert Gober, Tamar Guimarães and Kasper Akhøj, Guo Fengyi, João Maria Gusmão & Pedro Paiva, Wade Guyton, Haitian Vodou Flags, Duane Hanson, Sharon Hayes, Camille Henrot, Daniel Hesidence, Roger Hiorns, Channa Horwitz, Jessica Jackson Hutchins, René Iché, Hans Josephsoh, Kan Xuan, Bouchra Khalili, Ragnar Kjartansson, Eva Kotátková, Evgenij Kozlov, Emma Kunz, Maria Lassnig, Mark Leckey, Augustin Lesage, Lin Xue, Herbert List, José Antonio Suárez Londoño, Sarah Lucas, Helen Marten, Paul McCarthy, Steve McQueen, Prabhavathi Meppayil, Marisa Merz, Pierre Molinier, Matthew Monahan, Laurent Montaron, Melvin Moti, Matt Mullican, Ron Nagle, Bruce Nauman, Albert Oehlen, Shinro Ohtake, J.D. ‘Okhai Ojeikere, Henrik Olesen, John Outterbridg, Paño Drawings, Marco Paolini, Diego Perrone, Walter Pichler, Otto Piene, Eliot Porter, Imran Qureshi, Carol Rama, Charles Ray, James Richards, Achilles G. Rizzoli, Pamela Rosenkranz, Dieter Roth, Viviane Sassen, Shinichi Sawada, Hans Schärer, Karl Schenker, Michael Schmidt, Jean-Frédéric Schnyder, Friedrich Schröder-Sonnenstern, Tino Sehgal, Richard Serra, Shaker Gift Drawings, Jim Shaw, Cindy Sherman, Laurie Simmons e Allan McCollum, Drossos P. Skyllas, Harry Smith, Xul Solar, Christiana Soulou, Eduard Spelterini, Rudolf Steiner, Hito Steyerl, Papa Ibra Tall, Dorothea Tanning, Anonymous Tantric Paintings, Ryan Trecartin, Rosemarie Trockel, Andra Ursuta, Patrick Van Caeckenbergh, Stan VanDerBeek, Erik van Lieshout, Danh Vo, Eugene Von Bruenchenhein, Günter Weseler, Jack Whitten, Cathy Wilkes, Christopher Williams, Lynette Yiadom-Boakye, Kohei YoshiyUKi, Sergey Zarva, Anna Zemánková, Jakub Julian Ziółkowski ,Artur Żmijewski.
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other pavilions at Venice Biennale
Andorra
Artists: Javier Balmaseda, Samantha Bosque, Fiona Morrison
Commissioner: Henry Périer
Deputy Commissioners: Francesc Rodríguez, Ermengol Puig, Ruth Casabella
Curators: Josep M. Ubach, Paolo De Grandis
Venue: Arsenale di Venezia, Nappa 90
Angola
Artist: Edson Chagas
Commissioner: Ministry of Culture
Curators: Beyond Entropy (Paula Nascimento, Stefano Rabolli Pansera), Jorge Gumbe, Feliciano dos Santos
Venue: Palazzo Cini, San Vio, Dorsoduro 864
Argentina
Artist: Nicola Costantino
Commissioner: Magdalena Faillace
Curator: Fernando Farina
Venue: Pavilion at Arsenale
Armenia
Artist: Ararat Sarkissian
Commissioner: Ministry of Culture
Curator: Arman Grogoryan
Venue: Isola di San Lazzaro degli Armeni, everyday from 2:30 p.m. to 5:30 p.m.
Australia
Artist: Simryn Gill
Commissioner: Simon Mordant
Deputy Commissioner: Penelope Seidler
Curator: Catherine de Zegher
Venue: Pavilion at Giardini
Austria
Artist: Mathias Poledna
Commissioner/Curator: Jasper Sharp
Venue: Pavilion at Giardini
Azerbaijan
Artists: Rashad Alakbarov, Sanan Aleskerov, Chingiz Babayev, Butunay Hagverdiyev, Fakhriyya Mammadova, Farid Rasulov
Commissioner: Heydar Aliyev Foundation
Curator: Hervé Mikaeloff
Venue: Palazzo Lezze, Campo S. Stefano, San Marco 2949
Bahamas
Artist: Tavares Strachan
Commissioner: Nalini Bethel, Ministry of Tourism
Curators: Jean Crutchfield, Robert Hobbs
Deputy Curator: Stamatina Gregory
Venue: Arsenale, Tese Cinquecentesche
Bangladesh
Chhakka Artists’ Group: Mokhlesur Rahman, Mahbub Zamal, A. K. M. Zahidul Mustafa, Ashok Karmaker, Lala Rukh Selim, Uttam Kumar Karmaker. Dhali Al Mamoon, Yasmin Jahan Nupur, Gavin Rain, Gianfranco Meggiato, Charupit School
Commissioner/Curator: Francesco Elisei.
Curator: Fabio Anselmi.
Venue: Officina delle Zattere, Dorsoduro 947
Bahrain
Artists: Mariam Haji, Waheeda Malullah, Camille Zakharia
Commissioner: Mai bint Mohammed Al Khalifa, Minister of Culture
Curator: Melissa Enders-Bhatiaa
Venue: Pavilion at Arsenale
Belgium
Artist: Berlinde De Bruyckere
Commissioner: Joke Schauvliege, Flemish Minister for Environment, Nature and Culture
Curator: J. M. Coetzee
Deputy Curator: Philippe Van Cauteren
Venue: Pavilion at Giardini
Bosnia and Herzegovina
Artist: Mladen Miljanovic
Commissioners: Sarita Vujković, Irfan Hošić
Venue: Palazzo Malipiero, San Marco
Brazil
Artists: Hélio Fervenza, Odires Mlászho, Lygia Clark, Max Bill, Bruno Munari
Commissioner: Luis Terepins, Fundação Bienal de São Paulo
Curator: Luis Pérez-Oramas
Deputy Curator: André Severo
Venue: Pavilion at Giardini
Canada
Artist: Shary Boyle
Commissioner: National Gallery of Canada / Musée des beaux-arts du Canada
Curator: Josée Drouin-Brisebois
Venue: Pavilion at Giardini
Central Asia
Artists: Vyacheslav Akhunov, Sergey Chutkov, Saodat Ismailova, Kamilla Kurmanbekova, Ikuru Kuwajima, Anton Rodin, Aza Shade, Erlan Tuyakov
Commissioner: HIVOS (Humanist Institute for Development Cooperation)
Deputy Commissioner: Dean Vanessa Ohlraun (Oslo National Academy of the Arts/The Academy of Fine Art)
Curators: Ayatgali Tuleubek, Tiago Bom
Scientific Committee: Susanne M. Winterling
Venue: Palazzo Malipiero, San Marco 3199-3201
Chile
Artist: Alfredo Jaar
Commissioner: CNCA, National Council of Culture and the Arts
Curator: Madeleine Grynsztejn
Venue: Pavilion at Arsenale
China
Artists: He Yunchang, Hu Yaolin, Miao Xiaochun, Shu Yong, Tong Hongsheng, Wang Qingsong, Zhang Xiaotao
Commissioner: China Arts and Entertainment Group (CAEG)
Curator: Wang Chunchen
Venue: Pavilion at Arsenale
Costa Rica
Artists: Priscilla Monge, Esteban Piedra, Rafael Ottón Solís, Cinthya Soto
Commissioner: Francesco Elisei
Curator: Francisco Córdoba, Museo de Arte y Diseño Contemporáneo (Fiorella Resenterra)
Venue: Ca’ Bonvicini, Santa Croce
Croatia
Artist: Kata Mijatovic
Commissioner/Curator: Branko Franceschi.
Venue: Sala Tiziano, Opera don Orione Artigianelli, Fondamenta delle Zattere ai Gesuati 919
Cuba
Artists: Liudmila and Nelson, Maria Magdalena Campos & Neil Leonard, Sandra Ramos, Glenda León, Lázaro Saavedra, Tonel, Hermann Nitsch, Gilberto Zorio, Wang Du, H.H.Lim, Pedro Costa, Rui Chafes, Francesca Leone
Commissioner: Miria Vicini
Curators: Jorge Fernández Torres, Giacomo Zaza
Venue: Museo Archeologico Nazionale di Venezia, Palazzo Reale, Piazza San Marco 17
Cyprus
Artists: Lia Haraki, Maria Hassabi, Phanos Kyriacou, Constantinos Taliotis, Natalie Yiaxi, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister
Commissioner: Louli Michaelidou
Deputy Commissioners: Angela Skordi, Marika Ioannou
Curator: Raimundas Malašauskas
Czech Republic & Slovak Republic
Artists: Petra Feriancova, Zbynek Baladran
Commissioner: Monika Palcova
Curator: Marek Pokorny
Venue: Pavilion at Giardini
Denmark
Artist: Jesper Just in collaboration with Project Projects
Commissioners: The Danish Arts Council Committee for International Visual Arts: Jette Gejl Kristensen (chairman), Lise Harlev, Jesper Elg, Mads Gamdrup, Anna Krogh
Curator: Lotte S. Lederballe Pedersen
Venue: Pavilion at Giardini
Egypt
Artists: Mohamed Banawy, Khaled Zaki
Commissioner: Ministry of Culture
Venue: Pavilion at Giardini
Estonia
Artist: Dénes Farkas
Commissioner: Maria Arusoo
Curator: Adam Budak
Venue: Palazzo Malipiero, San Marco 3199, San Samuele
Finland
Artist: Antti Laitinen
Commissioner: Raija Koli
Curators: Marko Karo, Mika Elo, Harri Laakso
Venue: Pavilion at Giardini
France
Artist: Anri Sala
Commissioner: Institut français
Curator: Christine Macel
Venue: Pavilion of Germany at the Giardini
Georgia
Artists: Bouillon Group,Thea Djordjadze, Nikoloz Lutidze, Gela Patashuri with Ei Arakawa and Sergei Tcherepnin, Gio Sumbadze
Commissioner: Marine Mizandari, First Deputy Minister of Culture
Curator: Joanna Warsza
Venue: Pavilion at Arsenale
Germany
Artists: Ai Weiwei, Romuald Karmakar, Santu Mofokeng, Dayanita Singh
Commissioner/Curator: Susanne Gaensheimer
Venue: Pavilion of France at Giardini
Great Britain
Artist: Jeremy Deller
Commissioner: Andrea Rose
Curator: Emma Gifford-Mead
Venue: Pavilion at Giardini
Greece
Artist: Stefanos Tsivopoulos
Commissioner: Hellenic Ministry of Education and Religious Affairs, Culture and Sports
Curator: Syrago Tsiara
Venue: Pavilion at Giardini
Holy See
Artists: Lawrence Carroll, Josef Koudelka, Studio Azzurro
Curator: Antonio Paolucci
Venue: Pavilion at Arsenale
Hungary
Artist: Zsolt Asztalos
Commissioner: Kunstahalle (Art Hall)
Curator: Gabriella Uhl
Venue: Pavilion at Giardini
Iceland
Artist: Katrín Sigurðardóttir
Commissioner: Dorotheé Kirch
Curators: Mary Ceruti , Ilaria Bonacossa
Venue: Lavanderia, Palazzo Zenobio, Collegio Armeno Moorat-Raphael, Fondamenta del Soccorso, Dorsoduro 2596
Indonesia
Artists: Albert Yonathan Setyawan, Eko Nugroho, Entang Wiharso, Rahayu Supanggah, Sri Astari, Titarubi
Commissioner: Soedarmadji JH Damais
Deputy Commissioner: Achille Bonito Oliva
Assistant Commissioner: Mirah M. Sjarif
Curators: Carla Bianpoen, Rifky Effendy
Venue: Pavilion at Arsenale
Iraq
Artists: Abdul Raheem Yassir, Akeel Khreef, Ali Samiaa, Bassim Al-Shaker, Cheeman Ismaeel, Furat al Jamil, Hareth Alhomaam, Jamal Penjweny, Kadhim Nwir, WAMI (Yaseen Wami, Hashim Taeeh)
Commissioner: Tamara Chalabi (Ruya Foundation for Contemporary Culture)
Deputy Commissioner: Vittorio Urbani
Curator: Jonathan Watkins.
Venue: Ca' Dandolo, San Tomà, Venezia
Ireland
Artist: Richard Mosse
Commissioner, Curator: Anna O’Sullivan
Venue: Fondaco Marcello, San Marco 3415
Israel
Artist: Gilad Ratman
Commissioners: Arad Turgeman, Michael Gov
Curator: Sergio Edelstein
Venue: Pavilion at Giardini
Italy
Artists: Francesco Arena, Massimo Bartolini, Gianfranco Baruchello, Elisabetta Benassi, Flavio Favelli, Luigi Ghirri, Piero Golia, Francesca Grilli, Marcello Maloberti, Fabio Mauri, Giulio Paolini, Marco Tirelli, Luca Vitone, Sislej Xhafa
Commissioner: Maddalena Ragni
Curator: Bartolomeo Pietromarchi
Venue: Italian Pavilion, Tese delle Vergini at Arsenale
Ivory Coast
Artists: Frédéric Bruly Bouabré, Tamsir Dia, Jems Koko Bi, Franck Fanny
Commissioner: Paolo De Grandis
Curator: Yacouba Konaté
Venue: Spiazzi, Arsenale, Castello 3865
Japan
Artist: Koki Tanaka
Commissioner: The Japan Foundation
Curator: Mika Kuraya
Venue: Pavilion at Giardini
Kenya
Artists: Kivuthi Mbuno, Armando Tanzini, Chrispus Wangombe Wachira, Fan Bo, Luo Ling & Liu Ke, Lu Peng, Li Wei, He Weiming, Chen Wenling, Feng Zhengjie, César Meneghetti
Commissioner: Paola Poponi
Curators: Sandro Orlandi, Paola Poponi
Venue: Caserma Cornoldi, Castello 4142 and San Servolo island
Korea (Republic of)
Artist: Kimsooja
Commissioner/Curator: Seungduk Kim
Deputy Commissioner: Kyungyun Ho
Venue: Pavilion at Giardini
Kosovo
Artist: Petrit Halilaj
Commissioner: Erzen Shkololli
Curator: Kathrin Rhomberg
Venue: Pavilion at Arsenale
Kuwait
Artists: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi (National Council of Culture, Arts and Letters)
Curator: Ala Younis
Venue: Palazzo Michiel, Sestriere Cannaregio, Strada Nuova
Latin America
Istituto Italo-Latino Americano
Artists:
Marcos Agudelo, Miguel Alvear & Patricio Andrade, Susana Arwas, François Bucher, Fredi Casco, Colectivo Quintapata (Pascal Meccariello, Raquel Paiewonsky, Jorge Pineda, Belkis Ramírez), Humberto Díaz, Sonia Falcone, León & Cociña, Lucía Madriz, Jhafis Quintero, Martín Sastre, Guillermo Srodek-Hart, Juliana Stein, Simón Vega, Luca Vitone, David Zink Yi.
Harun Farocki & Antje Ehmann. In collaboration with: Cristián Silva-Avária, Anna Azevedo, Paola Barreto, Fred Benevides, Anna Bentes, Hermano Callou, Renata Catharino, Patrick Sonni Cavalier, Lucas Ferraço Nassif, Luiz Garcia, André Herique, Bruna Mastrogiovanni, Cezar Migliorin, Felipe Ribeiro, Roberto Robalinho, Bruno Vianna, Beny Wagner, Christian Jankowski
Commissioner: Sylvia Irrazábal
Curator: Alfons Hug
Deputy Curator: Paz Guevara
Venue: Pavilion at Arsenale
Latvia
Artists: Kaspars Podnieks, Krišs Salmanis
Commissioners: Zane Culkstena, Zane Onckule
Curators: Anne Barlow, Courtenay Finn, Alise Tifentale
Venue: Pavilion at Arsenale
Lebanon
Artist: Akram Zaatari
Commissioner: Association for the Promotion and Exhibition of the Arts in Lebanon (APEAL)
Curators: Sam Bardaouil, Till Fellrath
Venue: Pavilion at Arsenale
Lithuania
Artist: Gintaras Didžiapetris, Elena Narbutaite, Liudvikas Buklys, Kazys Varnelis, Vytaute Žilinskaite, Morten Norbye Halvorsen, Jason Dodge, Gabriel Lester, Dexter Sinister
Commissioners: Jonas Žokaitis, Aurime Aleksandraviciute
Curator: Raimundas Malašauskas
Venue: Palasport Arsenale, Calle San Biagio 2132, Castello
Luxembourg
Artist: Catherine Lorent
Commissioner: Clément Minighetti
Curator: Anna Loporcaro
Venue: Ca’ del Duca, Corte del Duca Sforza, San Marco 3052
Macedonia
Artist: Elpida Hadzi-Vasileva
Commissioner: Halide Paloshi
Curator: Ana Frangovska
Venue: Scuola dei Laneri, Santa Croce 113/A
Maldives
Participants: Paul Miller (aka DJ Spooky), Thierry Geoffrey (aka Colonel), Gregory Niemeyer, Stefano Cagol, Hanna Husberg, Laura McLean & Kalliopi, Tsipni-Kolaza, Khaled Ramadan, Moomin Fouad, Mohamed Ali, Sama Alshaibi, Patrizio Travagli, Achilleas Kentonis & Maria Papacaharalambous, Wooloo, Khaled Hafez in collaboration with Wael Darwesh, Ursula Biemann, Heidrun Holzfeind & Christoph Draeger, Klaus Schafler
Commissioner: Ministry of Tourism, Arts & Culture
Curators: CPS – Chamber of Public Secrets (Alfredo Cramerotti, Aida Eltorie, Khaled
Ramadan)
Deputy Curators: Maren Richter, Camilla Boemio
Venue: Gervasuti Foundation, Via Garibaldi
Mexico
Artist: Ariel Guzik
Commissioner: Gastón Ramírez Feltrín
Curator: Itala Schmelz
Venue: Ex Chiesa di San Lorenzo, Campo San Lorenzo
Montenegro
Artist: Irena Lagator Pejovic
Commissioner/Curator: Nataša Nikcevic
Venue: Palazzo Malipiero, San Marco 3078-3079/A, Ramo Malipiero Venezia – Ground Floor
The Netherlands
Artist: Mark Manders
Commissioner: Mondriaan Fund
Curator: Lorenzo Benedetti
Venue: Pavilion at Giardini
New Zealand
Artist: Bill Culbert
Commissioner: Jenny Harper
Deputy Commissioner: Heather Galbraith
Curator: Justin Paton
Venue: Santa Maria della Pietà, Calle della Pietà, Castello
Nordic Pavilion (Finland, Norway)
Finland:
Artist: Terike Haapoja
Commissioner: Raija Koli
Curators: Marko Karo, Mika Elo, Harri Laakso
Venue: Pavilion at Giardini
Norway:
Artists: Edvard Munch, Lene Berg
Commissioner: Office for Contemporary Art Norway (OCA)
Curators: Marta Kuzma, Pablo Lafuente, Angela Vettese
Venue: Galleria di Piazza San Marco, Fondazione Bevilacqua La Masa
Paraguay
Artists: Pedro Barrail, Felix Toranzos, Diana Rossi, Daniel Milessi
Commissioner: Elisa Victoria Aquino Laterza
Deputy Commissioner: Nori Vaccari Starck
Curator: Osvaldo González Real
Venue: Palazzo Carminati, Santa Croce 1882
Poland
Artist: Konrad Smolenski
Commissioner: Hanna Wróblewska
Curators: Agnieszka Pindera, Daniel Muzyczuk
Venue: Pavilion at Giardini
Portugal
Artist: Joana Vasconcelos
Commissioner: Direção-Geral das Artes/Secretário de Estado da Cultura, Governo de Portugal
Curator: Miguel Amado
Venue: Riva dei Partigiani
Romania
Artists: Maria Alexandra Pirici, Manuel Pelmus
Commissioner: Monica Morariu
Deputy Commissioner: Alexandru Damian
Curator: Raluca Voinea
Venue: Pavilion at Giardini
Artists: Anca Mihulet, Apparatus 22 (Dragos Olea, Maria Farcas,Erika Olea), Irina Botea, Nicu Ilfoveanu, Karolina Bregula, Adi Matei, Olivia Mihaltianu, Sebastian Moldovan
Commissioner: Monica Morariu
Deputy Commissioner: Alexandru Damian
Curator: Anca Mihulet
Venue: Nuova Galleria dell'Istituto Romeno di Venezia, Palazzo Correr, Campo Santa Fosca, Cannaregio 2214
Russia
Artist: Vadim Zakharov
Commissioner: Stella Kasaeva
Curator: Udo Kittelmann
Venue: Pavilion at Giardini
Serbia
Artists: Vladimir Peric, Miloš Tomic
Commissioner: Maja Ciric
Venue: Pavilion at Giardini
Singapore
Cancelled the participation
Slovenia
Artist: Jasmina Cibic
Commissioner: Blaž Peršin
Curator: Tevž Logar
Venue: Galleria A+A, San Marco 3073
South Africa
Contemporary South African Art and the Archive
Commissioner: Saul Molobi
Curator: Brenton Maart
Venue: Pavilion at Arsenale
Spain
Artist: Lara Almarcegui
Commissioner/Curator: Octavio Zaya
Venue: Pavilion at Giardini
Switzerland
Artist: Valentin Carron
Commissioners: Pro Helvetia - Sandi Paucic and Marianne Burki
Deputy Commissioner: Pro Helvetia - Rachele Giudici Legittimo
Curator: Giovanni Carmine
Venue: Pavilion at Giardini
Syrian Arab Republic
Artists: Giorgio De Chirico, Miro George, Makhowl Moffak, Al Samman Nabil, Echtai Shaffik, Giulio Durini, Dario Arcidiacono, Massimiliano Alioto, Felipe Cardena, Roberto Paolini, Concetto Pozzati, Sergio Lombardo, Camilla Ancilotto, Lucio Micheletti, Lidia Bachis, Cracking Art Group, Hannu Palosuo
Commissioner: Christian Maretti
Curator: Duccio Trombadori
Venue: Isola di San Servolo
Taiwan
Artists: Bernd Behr, Chia-Wei Hsu, Kateřina Šedá + BATEŽO MIKILU
Curator: Esther Lu
Organizer: Taipei Fine Arts Museum
Venue: Palazzo delle Prigioni, Castello 4209, San Marco
Thailand
Artists: Wasinburee Supanichvoraparch, Arin Rungjang
Commissioner: Office of Contemporary Art and Culture, Ministry of Culture
Curators: Penwadee Nophaket Manont, Worathep Akkabootara
Venue: Santa Croce 556
Turkey
Artist: Ali Kazma
Commissioner: Istanbul Foundation for Culture and Arts
Curator: Emre Baykal
Venue: Pavilion at Arsenale
Tuvalu
Artist: Vincent J.F.Huang
Commissioners: Apisai Ielemia, Minister of Foreign Affair, Trade, Tourism, Environment & Labour; Tapugao Falefou, Permanent Secretary of Foreign Affairs, Tourism, Environment & Labour
Curators: An-Yi Pan, Szu Hsien Li, Shu Ping Shih
Venue: Forte Marghera, via Forte Marghera, 30
Ukraine
Artists: Ridnyi Mykola, Zinkovskyi Hamlet, Kadyrova Zhanna
Commissioner: Victor Sydorenko
Curators: Soloviov Oleksandr, Burlaka Victoria
Venue: Palazzo Loredan, Istituto Veneto di Scienze, Lettere ed Arti, Campo Santo Stefano
United Arab Emirates
Artist: Mohammed Kazem
Commissioner: Dr. Lamees Hamdan
Curator: Reem Fadda
Venue: Pavilion at Arsenale, Sale d'Armi
Uruguay
Artist: Wifredo Díaz Valdéz
Commissioner: Ricardo Pascale
Curators: Carlos Capelán, Verónica Cordeiro
Venue: Pavilion at Giardini
USA
Artist: Sarah Sze
Commissioners/Curators: Carey Lovelace, Holly Block
Venue: Pavilion at Giardini
Venezuela
Colectivo de Artistas Urbanos Venezolanos
Commissioner: Edgar Ernesto González
Curator: Juan Calzadilla
Venue: Pavilion at Giardini
Zimbabwe
Artists: Portia Zvavahera, Michele Mathison, Rashid Jogee, Voti Thebe, Virginia Chihota
Commissioner: Doreen Sibanda
Curator: Raphael Chikukwa
Venue: Santa Maria della Pietà, Calle della Pietà, Castello 3701
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IR HDR. IR converted Canon Rebel XTi. AEB +/-2 total of 3 exposures processed with Photomatix. Levels adjusted in PSE.
High Dynamic Range (HDR)
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
en.wikipedia.org/wiki/High-dynamic-range_imaging
Infrared Photography
In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)
When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.
The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.
Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.
Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.
Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.
False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.
Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.
Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.
Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.
As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.
Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.
Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.
In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.
There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.
Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.
In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.
Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.
An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.
Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.
While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.
Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.
Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.
Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".
Phase One digital camera backs can be ordered in an infrared modified form.
Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.
Medan is the capital city of the Indonesian province of North Sumatra. It is the largest city in Sumatra and outside of Java, the country's most populous island, as well as the fourth most populous urban centre in Indonesia. Located along the northeastern coast of Sumatra, Medan is a multicultural metropolis with a total of 2,097,610 inhabitants according to the 2010 census.[2] The Medan metropolitan area is known as Mebidangro. Medan is a busy trading city bordered by the Strait of Malacca, which is one of the most important shipping lanes in the world. A gateway to the western part of Indonesia, Medan is supported by the Port of Belawan and Kualanamu International Airport, both of which are connected to the city centre via toll road and railway.