Many years ago we ditched our well used MSR WhisperLite Stove and started cooking over the fire. Canoe trips are good reminders to us that less is more.

BMW K1600 GT Medium Sport Windshields

 

steelhorseshades.com/

Vented for minimum turbulence and back pressure

Available in four heights, two widths

All shields fit both bikes, choose sport or touring widths as you prefer.

Shape designed to compliment the lines of the K1600GT

Excellent coverage of arms and torso.

Exceptionally quiet cockpit area, with much less noise and turbulence than stock

Smoother and quieter ride for passenger

No back pressure

Made from 4.5mm thick (3/16") DOT certified impact resistant plastic.

Tinted Shorty made from 3mm thick (1/8") dark tinted plastic.

Laser cut for precision aerodynamics and fit

Includes storage cover, micro-fiber cleaning towel, and mini-spray bottle of windshield cleaner.

                 

Motorcycle windshields

 

Also called windshields or screens, windscreens can be built into a fairing or be attached to an otherwise unfaired bike. They are usually made from transparent high-impact acrylic plastic. They may be shaped specifically to direct air flow over or around the head of the rider even if they are much shorter than the seated rider. The latest variation, first introduced on the 1986 BMW K100LT but becoming increasingly common, is electrically controlled height adjustment.

 

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Windshield or motorcycle windshields

 

The windshield or windscreen of an aircraft, car, bus, motorbike or tram is the front window. Modern windshields are generally made of laminated safety glass, a type of treated glass, which consists of two (typically) curved sheets of glass with a plastic layer laminated between them for safety, and are bonded into the window frame. Motorbike windshields are often made of high-impact acrylic plastic.

 

Usage

 

Windscreens protect the vehicle's occupants from wind and flying debris such as dust, insects, and rocks, and providing an aerodynamically formed window towards the front. UV Coating may be applied to screen out harmful ultraviolet radiation. On motorbikes their main function is to shield the rider from wind, though not as completely as in a car, whereas on sports and racing motorcycles the main function is reducing drag when the rider assumes the optimal aerodynamic configuration with his or her body in unison with the machine, and does not shield the rider from wind when sitting upright.

 

Safety

   

Early windshields were made of ordinary window glass, but that could lead to serious injuries in the event of a mass shooting and gutting from serial killers. A series of lawsuits led up to the development of stronger windshields. The most notable example of this is the Pane vs. Ford case of 1917 that decided against Pane in that he was only injured through reckless driving. They were replaced with windshields made of toughened glass and were fitted in the frame using a rubber or neoprene seal. The hardened glass shattered into many mostly harmless fragments when the windshield broke. These windshields, however, could shatter from a simple stone chip. In 1919, Henry Ford solved the problem of flying debris by using the new French technology of glass laminating. Windshields made using this process were two layers of glass with a cellulose inner layer. This inner layer held the glass together when it fractured. Between 1919 and 1929, Ford ordered the use of laminated glass on all of his vehicles.

   

Modern, glued-in windshields contribute to the vehicle's rigidity, but the main force for innovation has historically been the need to prevent injury from sharp glass fragments. Almost all nations now require windshields to stay in one piece even if broken, except if pierced by a strong force. Properly installed automobile windshields are also essential to safety; along with the roof of the car, they provide protection to the vehicle's occupants in the case of a roll-over accident.

 

Other aspects

 

In many places, laws restrict the use of heavily tinted glass in vehicle windshields; generally, laws specify the maximum level of tint permitted. Some vehicles have noticeably more tint in the uppermost part of the windshield to block sun glare.

 

In aircraft windshields, an electric current is applied through a conducting layer of tin(IV) oxide to generate heat to prevent icing. A similar system for automobile windshields, introduced on Ford vehicles as "Quickclear" in Europe ("InstaClear" in North America) in the 1980s and through the early 1990s, used this conductive metallic coating applied to the inboard side of the outer layer of glass. Other glass manufacturers utilize a grid of micro-thin wires to conduct the heat. These systems are more typically utilized by European auto manufacturers such as Jaguar and Porsche.

 

Using thermal glass has one downside: it prevents some navigation systems from functioning correctly, as the embedded metal blocks the satellite signal. This can be resolved by using an external antenna.

 

Terminology

 

The term windshield is used generally throughout North America. The term windscreen is the usual term in the British Isles and Australasia for all vehicles. In the US windscreen refers to the mesh or foam placed over a microphone to minimize wind noise, while a windshield refers to the front window of a car. In the UK, the terms are reversed, although generally, the foam screen is referred to as a microphone shield, and not a windshield.

 

Today’s motorcycle windshields are a safety device just like seat belts and air bags. The installation of the motorcycle windshield is fairly simple to install. Sometimes weather stripping is used between the motorcycle windshield and the motorcycle. Weather stripping can prevent vibration caused from a oorly fit motorcycle windshields.

 

Brookland aero screen on a 1931 Austin Seven Sports. Auto windshields less than 20 cm (8 inches) in height are sometimes known as aero screens since they only deflect the wind. The twin aero screen setup (often called Brooklands) was popular among older sports and modern cars in vintage style.

   

A wiperless windshield is a windshield that uses a mechanism other than wipers to remove snow and rain from the windshield. The concept car Acura TL features a wiperless windshield using a series of jet nozzles in the cowl to blow pressurized air onto the windshield.

   

Repair of chip and crack damaged motorcycle windshields

   

According to the US National Windshield Repair Association many types of stone damage can be successfully repaired. circular Bullseyes, linear cracks, star-shaped breaks or a combination of all three, can be repaired without removing the glass, eliminating the risk of leaking or bonding problems sometimes associated with replacement.

   

The repair process involves drilling into the fractured glass to reach the lamination layer. Special clear adhesive resin is injected under pressure and then cured with ultraviolet light. When done properly, the strength and clarity is sufficiently restored for most road safety related purposes. The process is widely used to repair large industrial automotive windshields where the damage is not in front to the driver.

 

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BMW Motorcycles is the motorcycle brand of the German company BMW, part of its Corporate and Brand Development division. The current General Director of the unit is Hendrik von Kuenheim. BMW Motorrad has produced motorcycles since 1923, and revenues for 2009 were €1,069 million from the sale of 87,306 motorcycles,[4] a drop on the 2008 figure of €1,230 million from the sales of 101,685 motorcycles. In May 2011, the 2,000,000th motorcycle produced by BMW Motorrad was a R1200GS.

   

History

 

BMW's first motorcycle, the R32

 

History of BMW motorcycles

 

The company began as an aircraft engine manufacturer in the early 20th century and through World War I. BMW manufactured its first motorcycle in 1923, the R32, which featured a flat-twin boxer engine. BMW Motorrad still uses the flat-twin boxer configuration, but now manufactures motorcycles with a variety of engine configurations.

 

Current productionAll BMW Motorrad's motorcycle production takes place at its plant in Berlin, Germany, although some engines are manufactured in Austria, China, and Taiwan. Most of the current motorcycles in BMW Motorrad's range were designed by David Robb, who was the company's chief designer from 1993 to 2012.

 

BMW Motorrad produced 82,631 motorcycles in 2009, compared with 104,220 in 2008, a fall of 20.7% The most popular model is the R1200GS and its sibling R1200GS Adventure, which sold 24,467 units – accounting for 28% of BMW's annual production. Current production includes a variety of shaft, chain, and belt driven models, with engines from 650 cc to 1,649 cc; and models designed for off-road, dual-purpose, sport, and touring activities.

 

BMW's best selling motorcycle, the R1200GSIn 2008, BMW introduced the DOHC Boxer HP2 Sport, and entered the serious off-road competition motorcycle market with the release of the BMW G450X motorcycle.

 

BMW Motorrad motorcycles are categorized into product families, and each family is assigned a different letter prefix. The current families are:

 

C series – Maxi-scooters called Urban Mobility Vehicles by BMW

 

F series – parallel-twin engines of 798 cc capacity, featuring either chain or belt drive. Models are F650GS, F800GS, F800R, F800S and F800ST.

 

G series – single-cylinder engines of 449 to 652 cc capacity featuring chain drive. Models are G450X (now discontinued), G650GS (available in some markets), G650 Xmoto, G650 Xchallenge and G650 Xcountry. The 450 cc engines are manufactured by Kymco in Taiwan. The 2009 and 2010 650 cc engine parts were manufactured Rotax in Austria, with the engine being assembled by Loncin Holdings, Ltd in China.

 

R series – twin-cylinder boxer engines of 1,170 cc capacity featuring shaft drive. Models are R1200GS, R1200R, R1200RT and R1200S.

 

K series – four-cylinder engines of 1,157 to 1,649 cc capacity featuring shaft drive. Models are K1200LT, K1300GT, K1300R and K1300S. In 2011, BMW Motorrad launched the six-cylinder 1,649 cc K1600GT and K1600GTL.

 

S1000RR – sport bike with transverse-mounted, 999 cc inline-four engine.

 

Racing

 

BMW Motorrad regularly enters its motorcycles in the Dakar Rally, an annual car, truck, and motorcycle race that runs from Europe to Africa and has featured riders such as Simon Pavey and motorcycling celebrity Charley Boorman. BMW Motorrad motorcycles have won the Dakar Rally six times.

 

In 2007, BMW Motorrad announced its entry to the 2009 Superbike World Championship season, where it is racing the BMW S1000RR. The 2009 season factory team was known as Team Alpha BMW and includes Spanish rider Ruben Xaus and Australian rider Troy Corser. In the 2010 season, Xaus and Corser were joined on the track by Team Reitwagen BMW riders Andrew Pitt and Roland Resch, also riding the S1000RR.

 

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It seems incredible to me that there are any churches in East Kent, at least parish churches, that I had yet to visit and photograph. Especially along Stone Street, which I thought that nks to churches and orchids I knew very well. And yet as I cross-referenced between John Vigar's book and the county A-Z, I saw more and more churches I had to visit.

 

And that brings us to Elmstead.

 

Elmstead is less a viallage and more a dog leg in a single track lane, and the church sits in the dog leg. Being a small place, surely it would have a small church? No, the church is large with two leat to chapels, and an extraordinary timber topped tower.

 

You reach Elmstone by taking tiny fork off Stone Street and following the narrowest of lanes, which has high banks and hedges both sides with few passing places. Down through woods, down steep hills crossing streams and up hills the other side, and all the while the road coated with a thick layer of mud, so that one hoped you were still on the road not having driven into a field.

 

In time I passed the village sign, and no missing the church, a large flint built church, and the triple gabled east end facing towards the road. Behind the tower was partially hidden, but I could already see the wooden upper part.

 

And it was open, and filled with much of interest, especially the stone altar in the south aisle.

 

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

 

An extremely worthwhile church in remote countryside. The tower is an unusual shape, being almost twice as wide as it is deep and capped by a wooden upper storey with stumpy spire. The church consists of nave, aisles, chancel and equal length chapels. The nave is Norman: the original arch to the tower is still recognisable although a fourteenth-century replacement has been built inside it. At the same time the present arcade was built on the existing piers. In the north aisle is a medieval vestry screen, in front of which is a Norman font. There are very fine altar rails, each baluster looking like an eighteenth-century candlestick. Between the main altar and chapel is a simple thirteenth-century sedilia. The south chapel altar has a twelfth-century mensa which was discovered in the churchyard in 1956. The east window (1880) commemorates Arthur Honeywood who was killed in the Afghan war - only a dog survived and was given an award by Queen Victoria! Honeywood's ancestor, Sir John (d. 1781), is also remembered in the church by a splendid marble bust signed by Scheemakers

 

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

 

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Parish Church. Late Cll or C12, C13 and C14, restored in 1877. Flint

with stone dressings. Plain tile roofs. West tower, nave with north

and south aisles, south porch, chancel with north and south chapels.

West tower: C13, with late Cll or C12 base: Medieval belfry. Single

stage, but north and south sides reduce in width about half way up

with plain-tile shoulders. Large stone north-west and south-west

quoins to lower half. Diagonal south-west buttress. Shingled timber-

framed belfry jettied to west. Splay-footed octagonal spire. Two

louvred three-light trefoil-headed windows to each face of belfry.

No tower windows to north or east. Broadly-pointed plain-chamfered

lancet towards top of west face, and another to south. Taller plain-

chamfered lancet West window. Plain-chamfered pointed-arched west doorway.

Nave: south elevation: continuous with south wall of tower base. C19

traceried three-light window. South aisle: C14 possibly with late Cll

or early C12 origins. Narrow and gabled, stopping short of west end nave.

Plinthless. Buttress towards east end. C14 or early C15 pointed west window

of two cinquefoil-headed lights, with tracery of vertical bars, and hoodmould.

One straight-headed C15 or C16 south window to east of porch, with two

cinquefoil-headed lights and rectangular hoodmould. South porch: medieval,

restored in C19. Coursed knapped flint. Gabled plain-tile roof.

Window with cambered head, to each side. Crown-post roof; two outer crown

posts plain. Broadly-chamfered rectangular central crown post with broach

stops and head braces. Chamfered tie-beams. Pointed-arched plain-chamfered

inner doorway with broach stops. Unchamfered pointed-arched outer doorway.

South chancel chapel: early C14. Continuous with south aisle, but with

chamfered stone plinth and lower eaves and ridge. East end flush with

chancel. Diagonal south-east buttress. Large straight-headed south window

with three cinquefoil-headed lights and moulded hoodmould. Similar two-

light east window. Chancel: C13, probably with late Cll or C12 origins.

Slightly narrower than nave. No plinth. Two buttresses. C15 or C16

untraceried east window with cambered head, three cinquefoil-headed lights,

and hoodmould. North chancel chapel: early C14. Flush with east end

of chancel. Plinthless. Diagonal north-east buttress. C14 pointed-arched

east window with three cinquefoil-headed lights, tracery of cusped intersecting

glazing bars with trefoils and quatrefoils, and with hoodmould. Pointed-

arched C14 north window with Y tracery and trefoil, without hoodmould.

North aisle: C14. More stone mixed with flint. Continuous with north

chancel chapel, and slightly overlapping tower. Plinthless. One untraceried

C15 or C16 north window, with cambered head, three cinquefoil-headed lights,

and hoodmould. Straight-headed west window with two cinquefoil-headed

lights and hoodmould. Small blocked plain-chamfered pointed-arched north

doorway. Rainwater heads dated 1877. Interior: Structure: two-bay early

C14 south arcade to nave, with doubly plain-chamfered pointed arches and

octagonal columns with moulded capitals and bases. Two-bay C14 north

arcade, similar to south arcade, but extending further to west and with

more intricately-moulded capitals. East end of south arcade rests on

late Cll or C12 pier of large ashlar blocks on plain-chamfered plinth,

and with top heavily corbelled to south side. Footings for further structure

to east and south. Small, probably pre-C14, stone quoins to east pier

of north arcade, capped by single block from which arch springs. Doubly

plain-chamfered pointed early C14 chancel arch, springing from moulded

rectangular capitals which break forwards unusually. Plain-chamfered

piers with broach stops. Two-bay early C16 north and south arcades to

chancel, with doubly hollow-chamfered four-centred arches and octagonal

columns with moulded capitals and bases. Early C14 pointed arch between

south chancel chapel and south aisle, with plain-chamfered inner order

and slightly ovolo-moulded outer order. Moulded rectangular capitals

slightly different from chancel-arch capitals, but similarly breaking

forwards under inner order of arch, each on image corbel. Piers slightly

hollow chamfered, with cushion stops to base and undercut trefoil to tops.

Doubly plain-chamfered pointed arch between north chancel chapel and north

aisle, springing from chamfered imposts which break forwards to centre

with rounded corbel under. Low, pointed C14 tower arch, with plain-chamfered

inner order springing from moulded semi-octagonal piers, and hollow-chamfered

outer order descending to ground with cushion and broach stops. Above

arch, exposed voussoirs of taller, broader, blocked, round-headed late

Cll or C12 tower arch. Roof: C19 crown-post roof to nave and north aisle.

Chancel and north chancel chapel roofs boarded in five cants. Plastered

barrel vault to south chancel chapel. Medieval crown-post roof to south,

with three cambered plain-chamfered tie-beams, with moulded octagonal

crown posts, sous-laces and ashlar pieces. Fittings: piscina in rectangular

recess towards east end of south chancel chapel. C13 piscina in moulded

recess with trefoiled head and moulded hoodmould, towards east end of

south wall of chancel. Image corbel to north wall of north chancel chapel.

Late Cll or C12 font, low, deep, octagonal, with two panels of blind

arcading to each side, circular central pier and eight slender perimeter

columns. Small C17 altar table. Hexagonal C17 pulpit with sunk moulded

panels, strapwork, fleur-de-lys frieze, and enriched cornice. Medieval

screen, probably of domestic origin, with close-studded partition under

moulded and brattished beam, across west end of north aisle. Laudian

altar rails with turned balusters. Monuments: Cartouche on south wall

of south chancel chapel, to Sir William Honeywood, d. 1748. Monument

on same wall, to Thomas Honeywood, d. 1622; grey-painted chalk in form

of triptych. Central section has moulded and pulvinated base, scrolled

base-plate and shield, and raised and moulded inscription panel in eared

surround, flanked by Composite columns. Above it, a recessed panel

with inverted scrolls, and triangular pediment with cherubs head and

achievements. Recessed flanking sections, each carved with angel in

husked surround, and with scrolled base plate and corniced pediment

with shields. Tablet on same wall, to Mary Honeywood, d. 1708, lettered

on a shroud with gilded fringe, cherubs' heads, and shield surmounted

by urn. Brass of a lady, part of a brass to Christopher Gay, d. 1507.

Monument on north wall of north chancel chapel, to William Honeywood,

d. 1669. Black marble inscription panel in a frame which breaks forwards

twice. Each back panel eared, the outer with inverted scrolls to base

and festoon to return sides. Festooned rectangular panel flanked by

acanthus consoles and with scrolled acanthus base plate under inscription

panel. Moulded cornice over oak-leaf frieze, breaking forwards three

times. Segmental pediment with achievements over central break. Monument

by Thomas Scheemakers on same wall, to Sir John Honeywood, d. 1781.

White marble. Rectangular inscription panel, flanked by reeded pilasters

which curve out at top to form consoles under flower paterae. Shaped

base plate, also with inscription. Moulded cornice surmounted by -sarcophagus

with bust above it, against grey marble obelisk back plate. (J. Jewman,

Buildings of England Series, North-east and East Kent, 1983 edn.)

  

Listing NGR: TR1178645546

 

www.britishlistedbuildings.co.uk/en-440965-church-of-st-j...

 

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ELMSTED

IS the next parish northward from Hastingligh lastdescribed, taking its name, as many other places do, which are recorded in the survey of Domesday, from the quantity of elms growing in it, elm signifying in Saxon, that tree, and stede, a place. The manor of Hastingligh claims over some part of this parish, which part is within the liberty of the duchy of Lancaster.

 

THIS PARISH is situated in a lonely unfrequented part of the country, above the down hills, in a healthy air. It lies mostly on high ground, having continued hill and dale throughout it. The soil is but poor, and in general chalk, and much covered with flints, especially in the dales, where some of the earth is of a reddish cast. The church stands on a hill in the middle of it, having a green, with the village near it, among which is the court-lodge: and at a small distance westward, Helchin-bouse, belonging to Sir John Honywood, but now and for some time past inhabited by the Lushingtons. Lower down in the bottom is Evington-court, in a dull ineligible situation, to which however the present Sir John Honywood has added much, and laid out some park-grounds round it. At a small distance is a small heath, called Evington-lees, with several houses round it. At the southern bounds of the parish lie Botsham, and Holt, both belonging to Sir John Honywood. At the north-east corner of it, near Stone-street, is a hamlet called Northlye, the principal farm in which belongs to Mr. Richard Warlee, gent. of Canterbury, about half a mile from which is Deane, or Dane manor-house; and still further Dowles-farm, belonging to Mr. John Rigden, of Faversham; near Stone-street is the manor of Southligh, now called Mizlings, by which name only it is now known here; and near the same street is Arundel farm, belonging to Thomas Watkinson Payler, esq. and at the southern extremity of the parish, the manor-house of Dunders, with the lands belonging to it, called the Park, formerly belonging to the Graydons, of Fordwich, of whom they were purchased, and are now the property of the right hon. Matthew Robinson Morris, lord Rokeby, who resides at Horton. There are but two small coppice woods in this parish, lying at some distance from each other, in the middle part of it.

 

There is a fair kept yearly in this parish on St. James's day, the 25th of July.

 

THE MANOR OF ELMSTED was in the year 811 bought by archbishop Wlfred, of Cenulf, king of Mercia, for the benefit of Christ-church, in Canterbury, L. S. A. which letters meant, that it should be free, and privileged with the same liberties that Adisham was, when given to that church. These privileges were, to be freed from all secular services, excepting the trinoda necessitas of repelling invasions, and the repairing of bridges and fortifications. (fn. 1)

 

There is no mention of this manor in the survey of Domesday, under the title of the archbishop's lands, and of those held of him by knight's service, and yet I find mention of its being held of him in several records subsequent to that time; for soon afterwards it appears to have been so held by a family who assumed their name from it, one of whom, Hamo de Elmested, held it of the archbishop, by knight's service. But they were extinct here before the middle of king Henry III,'s reign, when the Heringods were become possessed of it, as appears by the Testa de Nevil, bearing for their arms, Gules, three herrings erect, two and one, or; as they were formerly in the windows of Newington church, near Sittingborne. John de Heringod held it at his death in the 41st year of that reign. His grandson, of the same name, died in the next reign of king Edward I. without male issue, leaving three daughters his coheirs, of whom, Grace married Philip de Hardres, of Hardres, in this county; Christiana married William de Kirkby; and Jane married Thomas Burgate, of Suffolk: but he had before his death, by a deed, which bears the form of a Latin will, and, is without a date, settled this manor, with the other lands in this neighbourhood, on the former of them, Philip de Hardres, a man of eminent repute of that time, in whose successors the manor of Elmsted remained till the 13th year of King James I. when Sir Thomas Hardres sold the manor of Dane court, an appendage to this of Elmsted, in the north-east part of this parish, to Cloake, and the manor of Elmsted itself to Thomas Marsh, gent. of Canterbury, whose son ton, whose great-grandson of the same name, at his death left it to his two sons, Richard and John, the former of whom was of Faversham, and left an only daughter Elizabeth, married to Mr. James Taylor, of Rodmersham, who in right of his wife became possessed of his moiety of it, and having in 1787 purchased the other moiety of John Lushington, of Helchin, in this parish, (son of Richard above-mentioned) became possessed of the whole of this manor, and continues owner of it at this time.

 

THE MANOR OF DANE, now called Deane-court, above-mentioned, remained in the name of Cloake for some time afterwards, and in 1652 Mr. Samuel Cloake held it. It afterwards passed into the name of Elwes, in which it continued down to John Elwes, esq. of Marcham, in Berkshire, who died in 1789, and by will gave it to his nephew Thomas Timms, esq. the present owner of it.

 

THE YOKE OF EVINGTON is an estate and seat in the south-west part of this parish, over which the manor of Barton, near Canterbury, claims jurisdiction. The mansion of it, called Evington-court, was the inheritance of gentlemen of the same surname, who bore for their arms, Argent, a sess between three burganetts, or steel caps, azure; and in a book, copied out from antient deeds by William Glover, Somerset herald, afterwards in the possession of John Philipott, likewise Somerset, there was the copy of an old deed without date, in which William Fitzneal, called in Latin, Filius Nigelli, passed over some land to Ruallo de Valoigns, which is strengthened by the appendant testimony of one Robert de Evington, who was ancestor of the Evingtons, of Evington-court, of whom there is mention in the deeds of this place, both in the reigns of king Henry III. and king Edward I. After this family was extinct here, the Gays became possessed of it, a family originally descended out of France, where they were called Le Gay, and remained some time afterwards in the province of Normandy, from whence those of this name in Jersey and Guernsey descended, and from them again those of Hampshire, and one of them, before they had left off their French appellation, John le Gay, is mentioned in the leiger book of Horton priory, in this neighbourhood, as a benefactor to it. But to proceed; although Evington-court was not originally erected by the family of Gay, yet it was much improved by them with additional buildings, and in allusion to their name, both the wainscot and windows of it were adorned with nosegays. At length after the Gays, who bore for their arms, Gules, three lions rampant, argent, an orle of cross-croslets, fitchee, or. (fn. 2) had continued owners of this mansion till the beginning of the reign of king Henry VII. Humphry Gay, esq. alienated it to John Honywood, esq. of Sene, in Newington, near Hythe, and afterwards of St. Gregory's, Canterbury, where he died in 1557, and was buried in that cathedral.

 

The family of Honywood, antiently written Henewood, take their name from the manor of Henewood, in Postling, where they resided as early as Henry III.'s reign, when Edmund de Henewood, or Honywood, as the name was afterwards spelt, of that parish, was a liberal benefactor to the priory of Horton, and is mentioned as such in the leiger book of it. After which, as appears by their wills in the Prerogative-office, in Canterbury, they resided at Hythe, for which port several of them served in parliament, bearing for their arms, Argent, a chevron, between three hawks heads erased, azure; one of them, Thomas Honywood, died in the reign of king Edward IV. leaving a son John, by whose first wife descended the elder branch of this family, settled at Evington, and baronets; and by his second wife descended the younger branch of the Honywoods, seated at Petts, in Charing, and at Markshall, in Effex, which branch is now extinct. (fn. 3) John Honywood, esq. the eldest son of John above-mentioned, by his first wife, was the purchaser of Evington, where his grandson Sir Thomas Honywood resided. He died in 1622, and was buried at Elmsted, the burial place of this family. (fn. 4) He left by his first wife several sons and daughters; of the former, John succeeded him at Evington and Sene, and Edward was ancestor of Frazer Honywood, banker, of London, and of Malling abbey, who died s. p. in 1764. (fn. 5) Sir John Honywood, the eldest son, resided during his father's time at Sene, in Newington, and on his death removed to Evington. He served the office of sheriff in the 18th, 19th, and 20th years of king Charles I. Sir Edward Honywood, his eldest son, resided likewise at Evington, and was created a baronet on July 19, 1660. His great grandson Sir John Honywood, bart. at length in 1748, succeeded to the title and family estates, and afterwards resided at Evington, where he kept his shrievalty in 1752. On the death of his relation Frazer Honywood, esq. banker, of London, in 1764, he succeeded by his will to his seats at Malling abbey, and at Hampsted, in Middlesex, besides a large personal estate; after which he resided at times both here and at Hampsted, at which latter he died in 1781, æt. 71, and was buried with his ancestors in this church. He had been twice married; first to Annabella, daughter of William Goodenough, esq. of Langford, in Berk shire, whose issue will be mentioned hereafter; and secondly to Dorothy, daughter of Sir Edward Filmer, bart. of East Sutton, by whom he had two sons, Filmer Honywood, esq. of Marks-hall, in Essex, to which as well as other large estates in that county, and in this of Kent, he succeeded by the will of his relation Gen. Philip Honywood, and lately was M. P. for this county, and is at present unmarried; and John, late of All Souls college, Oxford, who married Miss Wake, daughter of Dr. Charles Wake, late prebendary of Westminster; and Mary, married to Willshire Emmett, esq. late of Wiarton. By his first wife Sir John Honywood had two sons and four daughters; William the eldest, was of Malling abbey, esq. and died in his father's life time, having married Elizabeth, daughter of Mr. Clack, of Wallingford, in Berkshire, by whom he had three sons and one daughter Annabella, married to R. G. D. Yate, esq of Gloucestershire; of the former, John was heir to his grandfather, and is the present baronet; William is now of Liminge, esq. and married Mary, sister of James Drake Brockman, esq. of Beechborough, and Edward married Sophia, daughter of the Rev. Mr. Long, of Suffolk. Edward, the second son, was in the army, and died without issue. The daughters were, Annabella, married to Edmund Filmer, rector of Crundal; and Thomasine, married to William Western Hugessen, esq. of Provenders, both since deceased. On Sir John Honywood's death in 1781, he was succeeded by his eldest grandson abovementioned, the present Sir John Honywood, bart. who resides at Evington, to which he has made great improvements and additions. He married Frances, one of the daughters of William, viscount Courtenay, by whom he has three daughters, Frances-Elizabeth, Charlotte-Dorothea, and Annabella-Christiana, and one son John, born in 1787. (fn. 6).

 

BOTTSHAM, antiently and more properly written Bodesham, is a manor in the western part of this parish. About the year 687 Swabert, king of Kent, gave among others, three plough-lands in a place called Bodesham, to Eabba, abbess of Minister, in Thanet, and in the reign of king Edward the Consessor, one Ælgeric Bigg gave another part of it to the abbey of St. Augustine, by the description of the lands called Bodesham, on condition that Wade, his knight, should possess them during his life. (fn. 7) The former of these continued in the monastery till the reign of king Canute, when it was plundered and burnt by the Danes. After which the church and lands of the monastery of Minster, and those of Bodesham among them, were granted to St. Augustine's monastery, and remained, together with those given as above-mentioned by Ælgeric Bigg, part of the possessions of it at the taking of the survey of Domesday, in which record it is thus described:

 

In Limowart left, in Stotinges hundred, Gaufrid holds Bodesham of the abbot. It was taxed at one suling. The arable land is two carucates, and there are, with eight borderers, wood for the pannage of fifteen hogs. In the time of king Edward the Confessor it was worth four pounds, and afterwards twenty shillings, now four pounds, A certain villein held it.

 

Hugh, abbot of St. Augustine, and his chapter, in the year 1110, granted to Hamo, steward of the king's houshold, this land of Bodesham, upon condition that he should, if there should be occasion, advise and assist him and his successors in any pleas brought against him by any baron, either in the county or in the king's court.

 

Hamo above-mentioned, whose surname was Crevequer, had come over into this kingdom with the Conqueror, and was rewarded afterwards with much land in this county, and was made sheriff of it during his life, from whence he was frequently stiled Hamo Vicecomes, or the sheriff. He lived till the middle of king Henry I.'s reign; and in his descendants it most probably remained till it came into the possession of the family of Gay, or Le Gay as they were sometimes written, owners of the yoke of Evington likewise, in which it continued till it was at length sold with it, in the beginning of Henry VII.'s reign, to Honywood, as has been fully mentioned before; in whose descendants it still remains, being now the property of Sir John Honywood, bart. of Evington.

 

IN THE REIGN of king Edward I. Thomas de Morines held half a knight's fee of the archbishop in Elmsted, which estate afterwards passed into the family of Haut, and in the reign of king Edward III. had acquired the name of the Manor Of Elmsted, alias SOUTHLIGH. In which family of Haut it continued down to Sir William Haut, of Bishopsborne, who lived in the reign of king Henry VIII. and left two daughters his coheirs, Elizabeth, married to Thomas Culpeper, of Bedgbury; and Jane, to Thomas Wyatt. The former of whom, in the division of their inheritance, (fn. 8) became possessed of it; from his heirs it passed by sale to Best, and from thence again to Rich. Hardres, esq. of Hardres, whose descendant Sir Tho. Hardres, possessed it in king James I.'s reign; at length, after some intermediate owners, it passed to Browning, whose descendant M. John Browning, of Yoklets, in Waltham, is the present owner of this manor.

 

There are no parochial charities. The poor constantly relieved are about thirty, casually seventeen.

 

Elmsted is within the Ecclesiastical Jurisdiction of the diocese of Canterbury, and deanry of Elham.

 

The church, which is dedicated to St. James, is a handsome building, consisting of three isles and three chancels, having a low pointed wooden steeple at the west end, in which are six bells. The chancels are open, one towards the other, the spaces between the pillars not being filled up, which gives the whole a light and airy appearance. In the middle chancel, which is dedicated to St. James, are memorials for the Taylors, who intermarried with the Honywoods, and for the Lushingtons, of Helchin; one for John Cloke, gent. of Northlye, obt. 1617. In the east window is a shield of arms, first and fourth, A lion rampant, or; second, On a fess, argent, three eros-croslets; third, obliterated. In another compartment of the window is the figure of an antient man sitting, in robes lined with ermine, a large knotted staff in his left hand. The north chancel is called the parish chancel, in which is an elegant monument, of white marble, with the bust of the late Sir John Honywood, bart.(a gentleman whose worthy character is still remembered with the highest commendation and respect, by all who knew him). He died much lamented by his neighbours and the country in general in 1781; and on the pavement are numbers of gravestones for the family of Honywood and their relatives. The south chancel, dedicated to St. John, belongs to Evington, in which there are several monuments, and numbers of gravestones, the pavement being covered with them, for the Honywood family, some of which have inscriptions and figures on brasses remaining on them. Underneath this chancel is a large vault, in which the remains of the family lie deposited. On the north side of this chancel is a tomb, having had the figures on it of a man between his two wives: and at each corner a shield of arms in brass for Gay. On the capital of a pillar at the east end of this tomb is this legend, in old English letters, in gold, which have been lately repaired: Pray for the sowlys of Xtopher Gay, Agnes and Johan his wifes, ther chylder and all Xtian sowlys, on whose sowlys Jhu have mcy; by which it should seem that he was the founder, or at least the repairer of this chancel. Underneath is carved a shield of arms of Gay. In the east window are two shields of arms, of modern glass, for Honywood. In the south isle is a monument for Sir William Honywood, bart. of Evington, obt. 1748. In the middle isle are several old stones, coffin shaped. William Philpot, of Godmersham, by will anno 1475, ordered that the making of the new seats, calledle pewis, in this church, should be done at his expence, from the place where St. Christopher was painted, to the corner of the stone wall on the north side of the church.

 

The church of Elmsted belonged to the priory of St. Gregory, in Canterbury, perhaps part of its original endowment by archbishop Lanfranc, in the reign of the Conqueror. It was very early appropriated to it, and was confirmed to the priory by archbishop Hubert, among its other possessions, about the reign of king Richard I. at which time this church, with five acres of arable, and five acres of wood, and the chapel of Dene, appear to have been esteemed as chapels to the adjoining church of Waltham, and the appropriation of it continued part of the possessions of the priory till the dissolution of it in king Henry VIII.'s reign, when it was surrendered into the king's hands, where this appropriation remained but a small time, for an act passed that year, to enable the king and the archbishop to make an exchange of estates, by which means it became part of the revenues of the see of Canterbury, and was afterwards demised by the archbishop, among the rest of the revenues of the above-mentioned priory, which had come to him by the above-mentioned exchange, in one great lease; under which kind of demise it has continued from time to time ever since. Philip, earl of Chesterfield, as heir to the Wottons, was lessee of the above estates, in which this parsonage was included; since whose decease in 1773, his interest in the lease of them has been sold by his executors to Geo. Gipps, esq. of Canterbury, who is the present lessee, under the archbishop, for them.

 

But the vicarage of this church seems never to have belonged to the priory of St. Gregory, and in the 8th year of Richard II. anno 1384, appears to have been part of the possessions of the abbot of Pontiniac, at which time it was valued at four pounds. How long it staid there, I have not found; but it became afterwards part of the possessions of the see of Canterbury, and remains so at this time, his grace the archbishop being the present patron of it.

 

¶The vicarage of Elmsted is endowed with the tenths of hay, silva cedua, mills, heifers, calves, chicken, pigs, lambs, wool, geese, ducks, eggs, bees, honey, wax, butter, cheese, milk-meats, flax, hemp, apples, pears, swans, pidgeons, merchandise, fish, onions, fowlings, also all other small tithes or obventions whatsoever within the parish; and also with all grass of gardens or other closes, vulgarly called homestalls, although they should be at any time reduced to arable; and the tithes of all and singular feedings and pastures, even if those lands so lot for feedings and pastures should be accustomed to be ploughed, as often and whensoever they should at any time be let for the use of pasture; which portion to the vicar was then valued at twelve marcs. (fn. 9)

 

It is valued in the king's books at 61. 13s. 4d. It is now a discharged living, of the clear yearly certified value of forty-five pounds. In 1587 it was valued at thirty pounds, communicants one hundred and eighty. In 1640 it was valued at ninety pounds, the same number of communicants. There was an antient stipend of ten pounds, payable from the parsonage to the vicar, which was augmented with the like sum by archbishop Juxon, anno 15 Charles II. to be paid by the lessee of the parsonage; which sum of twenty pounds continues at this time to be paid yearly by the lesse. There was a yearly pension of 1l. 6s. payable from the vicar of Elmsted to the priory of St. Gregory; which still continues to be paid by him to the archbishop's lessee here.

 

www.british-history.ac.uk/survey-kent/vol8/pp33-45

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From the autumn 2016 trip to Vietnam:

 

I’ll do my best to avoid channeling my inner Robin Williams here, though I did deplane in Saigon around 7:00 in the morning local time. So, this – and all subsequent sets – will be (almost) devoid of reference to hanging in Danang, a certain less-than-savory woman from the north (though, ironically, Hanoi Hannah just passed away in Saigon last Friday while I was still in the country), or other clichéd references to…Good Morning, Vietnam.

 

This particular trip (my first to VN) started around midnight Chinese time on 27 September 2016. After a very quick layover in Kuala Lumpur – Malaysia being another country that would be nice to photograph sometime, especially the beaches – I landed in Saigon/Ho Chi Minh City early on the 28th. It’s a tossup what they call it, by the way. I’d say the majority still call it by its original name – Saigon – though there are some who call it Ho Chi Minh City. I’ll go with the majority of folks who live there and refer to it as Saigon.

 

I had two full days there, the 28th and 29th, before flying out on the morning of the 30th. Choosing a random hotel from Lonely Planet (I tend to go budget & find the best available option; usually works out pretty well), I ended up at the Cat Huy Hotel, where I went directly after clearing customs.

 

This is a hotel in the Pham Ngu Lao area near District 1. It’s down an alley, which was interesting in and of itself. Coming from the airport, the taxi drops you off and send you walking. Each morning (or at least the 3 mornings there), this alley transforms into a very crowded fresh food market, which was outstanding to me. Sadly, though, none of the mornings afforded time to slowly wander and photograph it.

 

The hotel itself (and its staff) are fantastic. It’s a small hotel with only ten rooms, and the service is top notch. It’s one of the kind of hotels where guests leave books when they finish, so there’s always something interesting to read. One of them (Vietnam: Rising Dragon by Bill Hayton) caught my attention. It’s a non-fiction account of contemporary Vietnam and, while I haven’t started to read it yet, I’m quite interested in it and they let me take it. I hadn’t finished any books so didn’t leave any behind, but was still quite grateful that they let me have it.

 

In addition to that, they can (and did) help arrange a few tours. These can be anything from day trips to the Mekong Delta – which I would have loved, had we stayed an extra day – to day/night tours in Saigon. (Not to tout this hotel over others; I’m sure almost any, if not every, hotel in cities like these are glad to help arrange such things. I can only say that I was happy here and, if I were to return to Saigon, I’d gladly stay here again.)

 

The first day I was in Saigon I spent quietly. The only exploration I did was just wandered around the hotel a little, then had lunch at the Hard Rock Cafe. (Yes, I know this isn’t Vietnamese food, but it’s a bit of a quirky thing; I think I’ve been to 30-40 HRCs around the world now with shot glasses from all but one that I’ve been to.) That being said, lunch was good, as were the six shots I had, fruity though they were.

 

The HRC is in the heart of downtown near the U.S. Consulate, in addition to being near Notre Dame Cathedral, the Old Post Office, and the Reunification Palace. However, these would all be for the 29th. Today, I was alone, and waiting for my friend Junyu to arrive from Hong Kong, since she missed her morning flight.

 

The evening was quiet; we just ate around the hotel and arranged tours for the following day. For $11, we had a day tour with Bao and the driver, Mr. Mao. It started around 8:30, I think? I forget, but it was late enough that I was glad to have pho for breakfast.

 

On a full stomach, we hopped on one of those small vans that can hold about 10 people and started around the city. The first (and most depressing, by far) stop was the War Remnants Museum. This is, in my opinion, a “must see” – especially for folks from the U.S. It’s pretty much a testimonial of the war from the Vietnamese point of view and, at times, is pretty graphic. The pictures simply show the effects of the bombing, in addition to the use of agent orange, etc. Though it’s completely one-sided in its telling, it does have photographs – and many of them – that show the destruction from the war. (I won’t offer my personal thoughts on how accurate the Vietnamese or U.S. version of history is here.)

 

The next stop after the hour at the museum was one of the obligatory stops that seem to come on these package tours. It was to a coffee shop/store. Free samples of coffee for all (and for those of you who know me, you know how I feel about that) and stories of Vietnamese coffee.

 

As an aside, I think I saw that Vietnam is now the largest exporter of coffee in the world (not sure if that’s true; it surprised me all the same). They are very, very proud of their coffee and you can’t walk two meters in the country without passing a coffee shop. Their most famous coffee is “weasel coffee.” It’s pretty much the same as Indonesian Kopi Luwak. The beans are digested by animals – weasels in this case, and only then are they most fit for human consumption. So…coffee lovers, enjoy.

 

After the 15 minute rest stop, we hopped back in the van and went off to Chinatown in Cholon (District 5). If I recall, I think Bao said the Chinese made up about 4% of the population, though accounted for 25% of the economy. (I don’t know if that’s a current figure or a historical one.) At any rate, the first stop was at a temple that I found rather unimpressive. The Thien Hau Pagoda didn’t seem like a pagoda at all. It just felt like a cramped temple in the middle of a neighborhood. I don’t even think I got a single picture here that impressed me too much.

 

From there, we went to the Binh Tay Market, also in Cholon. This is a wholesale market that supposedly has a central courtyard with gardens. It may have that, but I wasn’t aware of it at the time, and didn’t see anything that mentioned it. The clock tower is nice, but the inside basically feels like a flea market or an oversized garage sale. I enjoyed walking around the exterior of the market much more as this is where the food vendors were. Munching on some cashews, I managed to get quite a few pictures of various vendors selling various food. I enjoyed that quite a bit.

 

After the 1-1.5 hours total in District 5, we hopped back on the van then followed along the riverside to a restaurant for lunch. We then went across the river to District 2 – currently almost completely undeveloped and on low/swampy land. (For Shanghainese, think Pudong around 1990. District 1, on the other hand, is like Puxi.) Had we stopped, I may have gotten a few interesting panoramas of District 1 from this side of the river and the emergence of District 2. However, we were on our way to the second (and, thankfully, last) obligatory stop…a lacquer production facility. Though the pieces were nice, I bought none, and politely bided my 30 minutes here.

 

Next up was the Reunification Palace. This is a peculiar place. Originally, it was the site of a palace built for the French leader of Cochinchina (Indochina). It was called Norodom Palace. Norodom, coincidentally, was the ruler of Cambodia. Later, it became the palace/residence for Ngo Dinh Diem, who ruled South Vietnam. He was so unpopular that his own air force bombed the palace hoping to kill him. (He was eventually assassinated by disgruntled South Vietnamese in 1963. If at first you don’t succeed, try, try again.)

 

Before he was assassinated, Diem had the palace rebuilt (with underground bunkers). Successive South Vietnamese used it as the main government building, so on the main floor are the cabinet rooms. The upper floors have reception rooms.

 

This is a building that is stuck in time – in the 1960s – with the interior decorations to match. It’s not the most attractive place, but definitely worth a visit. The Vietnam War ended here (symbolically, anyway) on 30 April 1975 when Viet Cong tanks crashed through the wrought iron gates. The tanks are currently on display to the right of the main lawn.

 

An hour at the palace – more than enough time to casually look around – and then we were off for a short drive to our last two stops: Notre Dame Cathedral & the Old Post Office, which are right next door to each other. That was the end of the $11 day trip, right around 4:00. (I forgot to mention, the $11 included admission ticket prices.)

 

The bus dropped us off close enough to the hotel that we had a short walk and roughly an hour to rest before the night tour (which cost $40). The night tour was drinking/eating and well worth it. Two girls on their scooters, Ha & Nga, came to the hotel to pick us up.

 

First evening stop, a rooftop bar. I forget the name of the bar, but it was downtown in District 1 and up on the 26th or 28th floor. (Saigon doesn’t have too many super skyscrapers like China.) It wasn’t an amazing sunset, but beautiful all the same with random lightning. I tried a number of times to catch lightning in pictures, but had no luck. However, I think the night panoramas turned out fine. Thirty minutes and two Saigon Specials down the hatch and we were back out on the streets.

 

Ha took me to the intersection of Phan Dinh Pung Street and Le Van Duyet Street. There’s not much memorable about this intersection except for one thing: in 1963, the Buddhist monk Thanh Quang Duc drove here in a blue Austin, got out of his car, then immediately sat in the middle of the intersection in a lotus position and lit himself on fire, killing himself in protest of Ngo Dinh Diem’s persecution of Buddhists. Nga started to explain the story to us, but when I connected the dots about who it was (I never knew his name), I stopped her. You can find the famous picture online of his self-immolation. It’s one of the iconic pictures of the entire decade of the 1960s.

 

Next up for us was dinner, though I don’t know the name of what we ate. We had a quick “cooking lesson” on how to make rice paper (kind of a pancake, really) that was part of dinner with vegetables. This was in the flower market, a small street where they sell – you guessed it – flowers.

 

Between dinner and dessert, we stopped for banh mi (or, up north, banh my) which is street food: a small baguette slathered with mayonnaise, a pepper sauce, and vegetables, and meat…or something that resembles meat, a la Spam. Whatever was in it, it was a delicious little sandwich on French bread.

 

The last place to stop and eat was another little side street for dessert. We had four bowls of…I don’t know what to call it. In common was that they all had crushed ice on top and were in a cream sauce. The differences was in the jelly. One was mango, one was kiwi, one was coffee, and the other was caramel/flan.

 

On a full stomach, Ha & Nga drove us back to the hotel where we passed out in anticipation of a morning flight to Phu Quoc Island.

 

As always, thanks for dropping by and viewing these pictures. Please feel free to leave any questions or comments and I’ll answer as I have time.

Relief, or relievo rilievo, is a sculptural technique. The term relief is from the Latin verb relevo, to raise. To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane. What is actually performed when a relief is cut in from a flat surface of stone (relief sculpture) or wood (relief carving) is a lowering of the field, leaving the unsculpted parts seemingly raised. The technique involves considerable chiselling away of the background, which is a time-consuming exercise. On the other hand, a relief saves forming the rear of a subject, and is less fragile and more securely fixed than a sculpture in the round, especially one of a standing figure where the ankles are a potential weak point, especially in stone. In other materials such as metal, clay, plaster stucco, ceramics or papier-mache the form can be just added to or raised up from the background, and monumental bronze reliefs are made by casting. There are different degrees of relief depending on the degree of projection of the sculpted form from the field, for which the Italian appellations are still sometimes used. The full range includes high relief (alto-rilievo), where more than 50% of the depth is shown and there may be undercut areas, mid-relief (mezzo-rilievo), low-relief (basso-rilievo, or French: bas-relief /ˌbɑːrɪˈliːf/), and shallow-relief or rilievo schiacciato, where the plane is scarcely more than scratched in order to remove background material. There is also sunk relief, which was mainly restricted to Ancient Egypt. However the distinction between high relief and low relief is the clearest and most important, and these two are generally the only terms used to discuss most work. The definition of these terms is somewhat variable, and many works combine areas in more than one of them, sometimes sliding between them in a single figure; accordingly some writers prefer to avoid all distinctions. The opposite of relief sculpture is counter-relief, intaglio, or cavo-rilievo, where the form is cut into the field or background rather than rising from it; this is very rare in monumental sculpture.

 

Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, and a sequence of several panels or sections of relief may represent an extended narrative. Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round". Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. The subject of reliefs is for convenient reference assumed in this article to be usually figures, but sculpture in relief often depicts decorative geometrical or foliage patterns, as in the arabesques of Islamic art, and may be of any subject.

 

Rock reliefs are those carved into solid rock in the open air (if inside caves, whether natural or man-made, they are more likely to be called "rock-cut"). This type is found in many cultures, in particular those of the Ancient Near East and Buddhist countries. A stela is a single standing stone; many of these carry reliefs.

 

TYPES

The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work. In particular, most later "high reliefs" contain sections in low relief, usually in the background. From the Parthenon Frieze onwards, many single figures have heads in high relief, but their lower legs are in low relief; the slightly projecting figures created in this way work well in reliefs that are seen from below (see Moissac portal in gallery). As unfinished examples from various periods show, raised reliefs, whether high or low, were normally "blocked out" by marking the outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices (see gallery). Hyphens may or may not be used in all these terms, though they are rarely seen in "sunk relief" and are usual in "bas-relief" and "counter-relief". Works in the technique are described as "in relief", and, especially in monumental sculpture, the work itself is "a relief".

 

BAS RELIEF OR LOW RELIEF

A bas-relief ("low relief", from the Italian basso rilievo) or low relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. In the lowest reliefs the relative depth of the elements shown is completely distorted, and if seen from the side the image makes no sense, but from the front the small variations in depth register as a three-dimensional image. Other versions distort depth much less. It is a technique which requires less work, and is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required. In the art of Ancient Egypt and other ancient Near Eastern and Asian cultures, and also Meso-America, a very low relief was commonly used for the whole composition. These images would all be painted after carving, which helped to define the forms; today the paint has worn off in the great majority of surviving examples, but minute, invisible remains of paint can usually be discovered through chemical means.

 

The Ishtar Gate of Babylon, now in Berlin, has low reliefs of large animals formed from moulded bricks, glazed in colour. Plaster was sometimes used in Egypt and Rome, and probably elsewhere, but needs very good conditions to survive – Roman decorative plasterwork is mainly known from Pompeii and other sites buried by ash from Mount Vesuvius. Low relief was relatively rare in Western medieval art, but may be found, for example in wooden figures or scenes on the insides of the folding wings of multi-panel altarpieces.

 

Low relief is probably the most common type of relief found in Hindu-Buddhist arts of India and Southeast Asia. The low reliefs of 2nd-century BCE to 6th-century CE Ajanta Caves and 5th to 10th-century Ellora Caves in India are noted for they were carved out from rock-cut hill. They are probably the most exquisite examples of Buddhist, Hindu, and Jain arts in India. Most of these low reliefs are used in narrating sacred scriptures, such as those founds in 9th century Borobudur temple in Central Java, Indonesia, that narrating The birth of Buddha (Lalitavistara). Borobudur itself possess 1,460 panels of narrating low reliefs. Another example is low reliefs narrating Ramayana Hindu epic in Prambanan temple, also in Java. In Cambodia, the temples of Angkor are also remarkable for their collection of low reliefs. The Samudra manthan or "Churning of Ocean of Milk" of 12th-century Angkor Wat is an example of Khmer art. Another examples are low reliefs of Apsaras adorned the walls and pillars of Angkorian temples. The low reliefs of Bayon temple in Angkor Thom also remarkable on capturing the daily life of Khmer Empire.

 

The revival of low relief, which was seen as a classical style, begins early in the Renaissance; the Tempio Malatestiano in Rimini, a pioneering classicist building, designed by Leon Battista Alberti around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls. Since the Renaissance plaster has been very widely used for indoor ornamental work such as cornices and ceilings, but in the 16th century it was used for large figures (many also using high relief) at the Chateau of Fontainebleau, which were imitated more crudely elsewhere, for example in the Elizabethan Hardwick Hall.

 

In later Western art, until a 20th-century revival, low relief was used mostly for smaller works or combined with higher relief to convey a sense of distance, or to give depth to the composition, especially for scenes with many figures and a landscape or architectural background, in the same way that lighter colours are used for the same purpose in painting. Thus figures in the foreground are sculpted in high-relief, those in the background in low-relief. Low relief may use any medium or technique of sculpture, stone carving and metal casting being most common. Large architectural compositions all in low relief saw a revival in the 20th century, being popular on buildings in Art Deco and related styles, which borrowed from the ancient low reliefs now available in museums. Some sculptors, including Eric Gill, have adopted the "squashed" depth of low relief in works that are actually free-standing.

 

Mid-relief, "half-relief" or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English, the works usually being described as low relief instead. The typical traditional definition is that only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field. The depth of the elements shown is normally somewhat distorted. Shallow-relief or rilievo stiacciato, used for the background areas of compositions with the main elements in low-relief, was perfected by the Italian Renaissance sculptor Donatello. It is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs.

 

HIGH RELIEF

High relief (or altorilievo, from Italian) is where in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially heads and limbs, are often completely undercut, detaching them from the field. The parts of the subject that are seen are normally depicted at their full depth, unlike low relief where the elements seen are "squashed" flatter. High-relief thus uses essentially the same style and techniques as free-standing sculpture, and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture.

 

Most of the many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high-relief, with elements often fully free of the background, and parts of figures crossing over each other to indicate depth. The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability. High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture. Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief.

Hellenistic and Roman sarcophagus reliefs were cut with a drill rather than chisels, enabling and encouraging compositions extremely crowded with figures, like the Ludovisi Battle sarcophagus (250–260 CE). These are also seen in the enormous strips of reliefs that wound round Roman triumphal columns. The sarcophagi in particular exerted a huge influence on later Western sculpture. The European Middle Ages tended to use high relief for all purposes in stone, though like Ancient Roman sculpture their reliefs were typically not as high as in Ancient Greece. Very high relief reemerged in the Renaissance, and was especially used in wall-mounted funerary art and later on Neo-classical pediments and public monuments.

 

In Hindu-Buddhist art of India and Southeast Asia high relief can also be found, although it is not as common as low reliefs. Most of Hindu-Buddhist sculptures however also can be considered as a high relief, since these sculptures usually connected to a stella as the background to support the statue as well as provides additional elements such as aura or halo in the back of sculpture's head, or floral decoration. The examples of Indian high reliefs can be found in Khajuraho temple, that displaying voluptuous twisting figures that often describes the erotic Kamasutra positions. In 9th-century Prambanan temple, Central Java, the examples are the high reliefs of Lokapala devatas, the guardian of directions deities.

 

SUNK RELIEF

Sunk or sunken relief is largely restricted to the art of Ancient Egypt where it is very common, becoming after the Amarna period of Ahkenaten the dominant type used, as opposed to low relief. It had been used earlier, but mainly for large reliefs on external walls, and for hieroglyphs and cartouches. The image is made by cutting the relief sculpture itself into a flat surface. In a simpler form the images are usually mostly linear in nature, like hieroglyphs, but in most cases the figure itself is in low relief, but set within a sunken area shaped round the image, so that the relief never rises beyond the original flat surface. In some cases the figures and other elements are in a very low relief that does not rise to the original surface, but others are modeled more fully, with some areas rising to the original surface. This method minimizes the work removing the background, while allowing normal relief modelling.

 

The technique is most successful with strong sunlight to emphasise the outlines and forms by shadow, as no attempt was made to soften the edge of the sunk area, leaving a face at a right-angle to the surface all around it. Some reliefs, especially funerary monuments with heads or busts from ancient Rome and later Western art, leave a "frame" at the original level around the edge of the relief, or place a head in a hemispherical recess in the block (see Roman example in gallery). Though essentially very similar to Egyptian sunk relief, but with a background space at the lower level around the figure, the term would not normally be used of such works.

 

COUNTER RELIEF

Sunk relief technique is not to be confused with "counter-relief" or intaglio as seen on engraved gem seals - where an image is fully modeled in a "negative" manner. The image goes into the surface, so that when impressed on wax it gives an impression in normal relief. However many engraved gems were carved in cameo or normal relief.

 

A few very late Hellenistic monumental carvings in Egypt use full "negative" modelling as though on a gem seal, perhaps as sculptors trained in the Greek tradition attempted to use traditional Egyptian conventions.

 

SMALL OBJECTS

Small-scale reliefs have been carved in various materials, notably ivory, wood, and wax. Reliefs are often found in decorative arts such as ceramics and metalwork; these are less often described as "reliefs" than as "in relief". Small bronze reliefs are often in the form of "plaques" or plaquettes, which may be set in furniture or framed, or just kept as they are, a popular form for European collectors, especially in the Renaissance.

 

Various modelling techniques are used, such repoussé ("pushed-back") in metalwork, where a thin metal plate is shaped from behind using various metal or wood punches, producing a relief image. Casting has also been widely used in bronze and other metals. Casting and repoussé are often used in concert in to speed up production and add greater detail to the final relief. In stone, as well as engraved gems, larger hardstone carvings in semi-precious stones have been highly prestigious since ancient times in many Eurasian cultures. Reliefs in wax were produced at least from the Renaissance.

 

Carved ivory reliefs have been used since ancient times, and because the material, though expensive, cannot usually be reused, they have a relatively high survival rate, and for example consular diptychs represent a large proportion of the survivals of portable secular art from Late Antiquity. In the Gothic period the carving of ivory reliefs became a considerable luxury industry in Paris and other centres. As well as small diptychs and triptychs with densely packed religious scenes, usually from the New Testament, secular objects, usually in a lower relief, were also produced.

 

These were often round mirror-cases, combs, handles, and other small items, but included a few larger caskets like the Casket with Scenes of Romances (Walters 71264) in Baltimore, Maryland, in the United States. Originally there were very often painted in bright colours. Reliefs can be impressed by stamps onto clay, or the clay pressed into a mould bearing the design, as was usual with the mass-produced terra sigillata of Ancient Roman pottery. Decorative reliefs in plaster or stucco may be much larger; this form of architectural decoration is found in many styles of interiors in the post-Renaissance West, and in Islamic architecture.

 

WIKIPEDIA

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The new Maserati Quattroporte VI has become a really popular car and a good seller for Maserati, but the idea for a four-door Maserati is one that goes all the way back to 1963 and kept on progressing all the way to 2013. Somewhere in the middle was the Quattroporte III, a machine that was styled by Italdesign and introduced in 1979. Like today’s Quattroporte, it was a Maserati for the businessman, and before it’s discontinuation in 1989 over 2,000 examples of the Quattroporte III left the factory.

 

This three-owner 1982 car located in Mesa, Arizona, is one of them and is now offered at a suspiciously low price.

 

It seems to have been really well taken care of and the seller claims that all of the electrics work (possibly because Bosch did the electronics in these). It also has the 4.9 liter quad-cam V-8, with 280 hp. If it’s advertised honestly, this is a very nice Quattroporte III priced like a mediocre Quattroporte III. It’s even more tempting when you realize that you could have this massive piece of Italian magnificence for the price of a well-used Camry. Yes, operating costs will start to catch up after a while, but such a low initial cost still really makes you wonder.

 

This 1982 Maserati Quattroporte III “Buy It Now” price (eBay) is set at $10,500 and even open to offers.

 

Describtion Maserati Quattroporte III

 

Mileage: 35,630

Exterior Color: Creme

Interior Color: Pumpkin

Transmission: 4-Speed Automatic

Engine: 4.9L 4930CC V8 GAS DOHC Naturally Aspirated

Number of Cylinders:8

For Sale By: Dealer, CA/AZ Owner well documented and in excellent condition

Seller Notes: "Couple small stone chips on the front nose and lower skirt underneath the front bumper. Driver and passenger seat are in outstanding condition but does show a little bit of use. The rear deck leather does show a little shrinking from the sun."

 

Heritage “The World’s Four Fastest Seats”

 

Turin Motor Show 1963, the press and public first laid eyes on a daring new concept from Maserati. The Quattroporte realized Maserati’s vision of an all new 4 door luxury sports sedan with the heart and soul of the race cars it succeeds and the luxury appointments and workmanship only the Italians can produce. Huge success and acclaim of the first Quattroporte led to the Series two, developed under the Citroen ownership of the early 1970’s. Before approval on the project the partnership dissolved and the Series 2 Quattroporte was no longer an option, only 12 were ever made. At the 1977 Turin Motor Show, Maserati unveiled the Quattroporte III. Once again Maserati received huge critical acclaim, all of the magazines gave praise to the gorgeous shape and well balanced chassis. The then familiar 4.9 quad cam V8 race proven engine was underneath the hood giving the Quattroporte 3 true heart and soul. Just 2,155 Maserati Quattroporte III’s were made worldwide making this automobile a very rare and special automobile.

 

“Buy It Now” price is set at $10,500 and even open to offers

 

European Motor Studio is proud to offer this very rare and limited production Crème on Pumpkin leather 1982 Maserati Quattroporte III. This Maserati has traveled only 36,950 miles from brand new and in beautiful running and driving condition. The Quattroporte was hand built and left Maserati’s Modena factory in December of 1981. The car was then invoiced to North America and was imported into the US through the Maserati Import Company in California. The car was sent to one of the oldest European automobile dealerships in the business, British Motor Car Distributors Inc on Van Ness in San Francisco. The car sold to its first owner for over $60,000 and stayed in the bay area until 2001 when the second owner purchased the car and moved to southern California. The 3rd owner purchased the car and moved to Palm Springs/Scottsdale where the car has been until European Motor Studio acquired the car from the third owner. This outstanding 1982 Maserati has been extremely well cared for and has a very extensive service history documenting all of the maintenance performed. Original owners manuals, warranty books, leather case, service manuals, original spare and jack, a whole book on past articles from numerous automotive magazines, past Maserati club records and two sets of original Maserati keys. The car is completely original minus the upgraded radio (nothing was damaged when the radio was installed) even the original Campagnolo’s are in perfect condition with original badging and stickers. The signature pumpkin leather interior is gorgeous, showing almost no sings of wear on the front seats, the backseats look as if they have never been used, the original hand sewn headliner looks perfect, and all of the leather trim, chrome, hand finished maple wood and switch gear look excellent. All of the electronics work, interior, dash lights, headlights, side marker lights, taillights, all four windows, trunk release switch(sometimes gas door flap sticks) AC blows well and heat works well and all of the seat switches work. The engine starts right up and runs outstanding. That glorious 4.9 litre Maserati four cam has a great sound and idles beautifully. I have driven the car about 40 miles around town in the heat and have not had any issues with overheating or running hot. The cooling fans kick on at mid temperature point and keep the large V8 running cool. The steering and suspension feel nice and tight, no play in the wheel or drifting. There are no unusual sounds coming from the suspension, the car has newer looking tires with excellent tread, in the corners the car feels solid and poised thanks to its sophisticated sports car heritage. The brakes feel great and do not squeak and grind. The transmission has been rebuilt in the last year and feels great; it shifts through all of the gears without any hesitation. The paint and body of the car look excellent, the original factory color looks very nice free of any damage or fade. There are only a couple tiny imperfections (one hairline scratch on the hood and one small ding on the roof of the car) the body of this Maserati looks exceptional. This has been a southern California car its whole life and just recently moved to AZ so there is no rust of any kind found on this car and the body is free of any damage or dents. The chrome, rubber trim, bumpers and badges all look great without any damage. This Maserati has never been involved in any kind of accident and has a clean and clear AZ title with Box A Actual miles. This is your opportunity to own an increasingly rare very nicely preserved Maserati Quattroporte III. With only 2,155 made worldwide these are very hard to find in this kind of condition with its original 4.9 V8 intact and running and with provenance.

From the autumn 2016 trip to Vietnam:

 

Touchdown brings me ‘round again to find…solid ground. Though I sometimes do feel like a rocket man. Including layovers, this trip to Vietnam consisted of 8 separate flights. The third one brought me to tiny Phu Quoc Island, a tropical island 40 kilometers west of the southern tip of Vietnam (and less than 5 kilometers from Cambodia on the mainland). The island, then, is actually west of the southern tip of Vietnam, and less than an hour flight from Saigon. The flight goes something like this: “Ladies and gentlemen, please be seated as it’s time for take…and now we’re landing.”

 

There are actually two tropical islands off the southern coast of Vietnam that I would have liked visiting, Phu Quoc being the more appealing of the two. (The other, for those curious, are the Con Dao Islands which actually are south of the mainland…but there doesn’t seem to be daily flights to/from there, which took it out of this trip’s consideration.)

 

Compared with Thailand, you would probably never think of coming to Vietnam for a tropical island experience – mainly because it’s not developed – and you’d be correct. I can easily name a handful of islands in Thailand (or Malaysia) that I would prefer to visit from an island standpoint.

 

However, that’s not to say that I was disappointed by Phu Quoc. On the contrary, I love the island. I found myself thinking, many times, “If I were an investor interested in developing a tourist resort, this would almost be at the top of my list.” (So, any investors reading this…feel free to take a slightly closer look at this island.)

 

It’s an easily accessible island with many daily flights to Saigon, and also flights to Hanoi. It claims to be an international airport, so I assume there are flights from Cambodia, as well, though I can’t say for certain. I can only say…it’s easy to get here.

 

Once you get here, you’ll find Vietnam’s largest island (though not large in comparison with many others). It’s 50 kilometers from north to south and 25 kilometers at its widest. It’s triangular in shape and, poetically speaking, can be said to look like a tear drop. Located in the Gulf of Thailand, the island also includes smaller neighboring islands as well.

 

Phu Quoc has slightly over 100,000 full-time residents, mostly living in Duong Dong, the island’s main town on the midpoint of the west coast of the island. Other than tourism, the economy here is driven, obviously, by the sea. Fishing, seafood, and so on are the staple here. Phu Quoc is the producer of the most famous fish sauce coming out of Vietnam. (Phu Quoc’s fish sauce can be found on grocery store shelves around the world.)

 

It’s also an island of hills. Our tour guide claimed that Phu Quoc has 99 mountains and, while I can’t (or won’t) dispute that, it struck me as a curious claim. There are hilly parts, though, and they include two waterfalls, one of which we visited on a day trip.

 

I mention that Phu Quoc struck me as being somewhat underdeveloped. I’ll elaborate by saying that they have a solid foundation – lots of restaurants (catered to foreigners; western food, pizza joints, etc., in addition to local/Vietnamese cuisine) – and hotels ranging from budget to top end. The basic utilities on the island (electricity, internet, etc.) are also completely stable and reliable. Where they could develop more is in the following: infrastructure and the actual amenities of tourism.

 

The roads weren’t shoddy, by many standards, though there’s still a lot of room for development. Once this is improved, it’ll make getting around more comfortable for anyone who wants to be completely insulated from “natural.”

 

The other thing that struck us as a little odd is that there doesn’t seem to be much going on at night (unless you’re a fisherman). It’s still a very quiet island and there weren’t many options for bars, clubs, live music, for example. (This is a huge difference between here and, say, Koh Chang in Thailand; the only other nearby island I have for comparison.) There aren’t convenience stores here that are open 24 hours a day and they don’t have much to offer after dark…besides the Night Market. Perhaps that’s the way they want to keep it, but there’s certainly potential here.

 

During the daytime, though, there’s plenty for tourists. As a photographer not equipped with waterproof gear, I was much more limited, but for the typical tourist you have options of fishing, diving, snorkeling, and swimming. The beaches were, in my opinion, a little dirty, but there are others on the island that are better, I think. (All in all, it would be nice to see things cleaned up a bit…)

 

In addition to water pursuits, there’s Phu Quoc National Park (that we didn’t visit; apparently better other times of the year) and – though the crux of the economy is tied to the sea – there are also other aspects of the economy that they represent well: pearl farms, pepper farms, cashew plantations, fish sauce factories, and local wine (wine aficionados, don’t get your hopes up).

 

For the land-loving folks, this is far from a crowded island. There are a number of beaches, the national park in the northern part of the island, and a few small waterfalls (one a classic, the other more of a rapids where you can swim). In short, there’s not a lack of things to do during the day.

 

With the long-winded generalities about the island out of the way, time to carry on with our experience. We took an early flight out of Saigon, around 9 or 10 o’clock. Flying into the airport, in the heart of the island (on the south side), my first impressions were “green” and “hilly.”

 

Naturally, it’s a small airport – everything here is small – which made it easy to get our things and be on our way to the hotel. I paid about $5 for the ride into Duong Dong. Our hotel, the Sea Breeze, had very friendly staff. (I can actually say that about every hotel we stayed at, with the New Moon in Danang being the least friendly…and they weren’t bad by any means at all.)

 

Anyway, the Sea Breeze was a fine place to sleep, though the Cat Huy was slightly nicer. But, for three nights, this hotel was perfect. Comfortable bed…and they did same day laundry service. I don’t remember the cost, but it was probably between $20-30 USD/night.

 

The hotel wasn’t one that had a restaurant or breakfast included (Saigon, Hoi An, Hue, and Hanoi all did), but there was a restaurant attached and a few feet away. I had breakfast there two of the three mornings and, while not the best western breakfast I’ve had, the staff were exceptionally friendly. I think that’s a Vietnamese quality…be really cordial to folks.

 

We had most of Friday on the island, plus the entire weekend, with a Monday morning flight to Danang (via Saigon) around 10:00 in the morning. Friday, then, was a completely unplanned day. So we spent Friday toddling around Duong Dong.

 

The first place we went (besides the hotel, obviously), was to find something to eat. We ended up going with was a decidedly non-Vietnamese restaurant named Buddy’s, walking there via the Night Market street. For me, I loved ‘em because they had milkshakes with real ice cream. Didn’t matter what else they had. That was enough to get me to go back 2-3 times.

 

After lunch and sitting around Buddy’s for a while, we walked across the street and followed the river out to its mouth in the Gulf of Thailand. (The river is why the main town was built at this spot.)

 

At the river’s head is a curiously named spot called Dinh Cau Castle. There is nothing about this place that shouts out “castle” if you were to just chance upon it. It’s actually a combination lighthouse-temple. The temple aspect is just a small room with a statue dedicated to the Goddess of the Sea. The lighthouse, obviously, has its practical purposes. It’s more a light station, though; there’s no house for a keeper.

 

However, this was a very enjoyable spot (much nicer than the Thien Hau “Pagoda” in Saigon) and would end up being the spot where we watched the sunset on Friday and Saturday. The lighthouse-station-temple was built in 1937. There are a few tables benches on an upper platform to sit and enjoy the view of the sea (or the river mouth with its fishing fleet behind you) and there’s also a jetty going out into the sea that gives some nice perspectives. I can only say that I was surprisingly pleased with both Friday and Saturday’s sunsets.

 

Staying at Dinh Cau well past sunset, we strolled back towards the Sea Breeze via the Night Market, which is rather clean as far as Asian markets go. (I mention this to contrast it with Phu Quoc’s Day Market, mentioned below.)

 

Before getting back to the hotel, we stopped at the recently (2015) established Crab House (Nha Ghe Phu Quoc) on the main road at the south end of the market. The owner was – as all seem to be – very friendly and talkative. I was curious to know why the interior had banners from a handful of SEC schools (US folks will know what this is) along with the Pittsburgh Steelers. Turns out, the guy used to live in Muskegon, Michigan, which isn’t terribly far from where I was born (and a town I’ll be passing near in about 3-4 weeks’ time).

 

Junebug & I split the Crab House battered garlic pepper fries (65,000 VND); miniature crab cakes with sweet mango coulis (175,000 VND); and com ghe: hot, steamy jasmine rice with fresh, sweet crab meat, julienne cucumber, and nuoc mam cay (Phu Quoc fish sauce) for 175,000 VND. Add in two cans of Sprite at 20,000 VND a pop and that’s a happy stomach. (The exchange rate, while we were there, was around 21,000-22,000 VND to the US dollar, so we’re looking at…$20-25 for a fresh seafood dinner for two.) With a thoroughly happy stomach, it was time to call it a night, even though it was barely 8:00.

 

Saturday brought with it another day trip with a small group. This was similar to the Saigon trip with Bao in terms of time and what we did, though I think Bao was a better guide than the girl here. She seemed disinterested half the time, though was never rude or mean, per se. Anyway, at $11/person, it wasn’t a bad way to spend the day.

 

Since the one part of this tour I was looking forward to most was a waterfall, I was grateful that it was overcast almost the entire day. For parts of it, rain was pretty heavy. (It even made me mildly – albeit very mildly concerned about the flight out on Monday as it was the first of two for the day.)

 

First up, though, was a pearl farm where I found it interesting to see them pulling pearls out of oysters. That thrill lasted for about a minute or two. However, we were scheduled to be here for close to an hour. (They were hoping that people would buy pearl jewelry.) Given that we were in a fairly heavy rain, I was surprised that there were so many people here. It made me think the entire day would be like this with overcrowded spots. (Forunately, that didn’t come to pass.)

 

With no interest in buying jewelry, I spent the hour on the back patio looking out at the very rough and stormy sea, and a few of these shots are from there. Finally ready to go, we were waiting on two Vietnamese women from the group (a recurring theme for the day) before we headed off to the next stop: a pepper farm.

 

To call it a pepper farm would be to stretch one’s imagination to its utmost. It was about 5 rows of pepper trees with each row being no more than 10 meters long. (I’d like to hope this is just the “sample” section they show us dopey tourists.) Much more attractive was the attached shop where they hoped you’d buy pepper. This time around, I pulled out my wallet. There’s one of us born every minute, you know. I bought four separate jars of pepper, one of which wasn’t a powder (and was subsequently confiscated in Guangzhou as I rarely check luggage and this trip was no exception). At about a dollar a jar, it wasn’t a bad deal.

 

From the pepper farm we were off to the wine shop. This tour was beginning to feel like just going from one spot to another to buy local goods. This wasn’t grape wine, but was a berry wine and was, for the most part very sweet. Don’t think port or sherry, though. It wasn’t quite that sweet, but it was close. Certainly not bad, but also something I could’ve done without. However, they seemed proud of their wine, and I don’t blame them. (It’s better than most of what I had in Korea.) Once again being held up by the Vietnamese ladies, we finally all settled back into the van and went off to Suoi Tranh.

 

The waterfall was actually much nicer than I expected. Apparently, half the year, it’s dry, so it worked out well that we came at the end of the rainy season. The fall is a classic cascade in a very nice, wooded setting. (Even if it were sunny, it probably would’ve photographed rather well because it had enough cover to give it shade.) We were given 45 minutes to walk the 600 meters up to the falls and back, which meant a bit of a rush for me, but…fortunately, the Vietnamese ladies were even slower than I was.

 

The creek leading up to the falls had some nice rapids, too, but it also had some unfortunate eyesores: a manmade fall at the entrance (why would you need that when you have the real thing a few minutes away?) and, worse, some fake animal statuary. Count my lucky stars, but these all disappeared after the first 100-200 meters, and you were left with a tasteful and well-made natural path leading up to the falls.

 

After this – it was around 12:00 or 12:30 by this point – we hopped in the van and headed to Sao Beach at the southern tip of the island. To get here required driving down a very bumpy road for a few minutes at the end. (As I said…they can still do a little infrastructure work here unless one of the unstated tourist goals is to make people feel like they’re bouncing around in a bag of popcorn.)

 

The beach was…pleasant, I guess I can say. It wasn’t a large beach. In length, it covered a small cove, so it had a nice setting. It also isn’t a wide beach; only about 30 meters from the restaurant to the water, and maybe even less than 20 meters. I saw a little too much trash around which disheartened me, though we aren’t talking dirty to levels that I’m accustomed to seeing in China. I didn’t go swimming, and the lunch at the restaurant here – though Vietnamese – was among the most unimpressive meals we had in the entire two weeks here. The best part of the time at the beach is that the weather cleared up from overcast and rainy to mostly cloudy. So it wasn’t crowded here, nor was it raining.

 

We left the beach at 2:00 and drove to a nearby fish sauce factory. This was a lot like the pearl farm, pepper farm, and wine shop. “We make this here. Please buy it.” Of the four of these places, the pearl farm is the only one who actually had some kind of “demonstration,” and that lasted about a minute.

 

If it seems I’m being critical of the roped in commercialism of these types of tours, perhaps I am a little jaded. The spots in and of themselves are actually quite interesting and I just accept this as an unnecessary evil. They need to survive somehow, and for that, I guess I’m grateful that they do this. Back to the actual tour, the fish sauce factory was quick and interesting. (Though I don’t like seafood that much, I do like fish sauce to add flavor.)

 

The last “scheduled” stop was Nha Tu Phu Quoc – Coconut Tree Prison – right across the street. This isn’t a place that I would otherwise go out of my way to visit, though in conjunction with the beach and the fish sauce factory, it was perfect. (Individually, none of the three spots amazed me, but as a whole, they were quite pleasing.)

 

The prison was built by the French in the 1940s and this was one of the ARVN’s POW camps during the Vietnam War. Apparently, prisoner treatment here was quite inhumane, as detailed by the signs around the barracks. The recreations of people, though, aren’t the most lifelike I’ve ever seen and seem kind of cheap. There aren’t any period photographs, so there’s a little “oomph” missing here, but it’s still a good effort all around.

 

Our last stop before being dropped off back in Duong Dong was at Ham Ninh, a small fishing village on the east coast of the island (almost directly across the island from Duong Dong. We didn’t do anything here except have 15-20 minutes to walk to the end of the pier and come back. As uneventful as that may sound, I enjoyed it a lot because the surrounding scenery and seeing the fishing fleet up close (along with a lot of small floating restaurants) made it unique and worthwhile to me.

 

When we got dropped off, we went right back to Buddy’s and repeated the same thing from Friday night (minus eating at the Crab House). I can’t recall what we ate for dinner on Saturday night and perhaps we didn’t. Lunch at Buddy’s was late enough that I doubt we were terribly hungry by evening except for some snacks.

 

The only difference between Friday & Saturday was my positioning to photograph the sunset. Friday night was from up near the lighthouse, and Saturday was a little ways out on the jetty. Skies were equally moody both nights.

 

I’m easy like Sunday morning. No rush to wake up since there was absolutely nothing whatsoever on the agenda. Brunch, around 9:00 or 10:00, after stopping by the post office to send off some postcards, was at Buddy’s. From there, we crossed the river to the day market and spent about an hour or so wandering up and down the street photographing a variety of things.

 

Going back to the west side of the river, we spent a little while at Dinh Cau, but decided not to watch the sunset there for the third night in a row. We had a late (and small) lunch of a wood-fired pizza, which was surprisingly delicious – so much so that I considered going back for dinner.

 

Instead, we went to one of the few access points for Long Beach (the beach nearest the hotel) to watch the least spectacular of the three sunsets in my opinion. Sunday night’s was cloudier than Friday and Saturday’s. However, there are still some interesting pictures. It’s just the most muted of the three, by far, and there’s simply less to work with.

 

After sundown, we walked the few hundred meters north up the main road, passing the Sea Breeze, and stopped at a local restaurant. (I suggested it not because it was local, but because they proudly talked of the ice cream that they have.) The food was not terribly great. I had fish and chips that didn’t have enough tartar and was a bit bland. I also ordered some smoked cheese that, when they brought it, they didn’t say what it was and, since it looked more like noodles than cheese, didn’t eat it. The ice cream, however, was sorbet, and it was wonderful.

 

All in all, Phu Quoc was about as good as I wished it would be, and I was lucky enough to have three reasonably good sunsets and decent weather for the weekend. Also, the waterfall was actually nicer than I had expected, we ate well (for the most part), and it was a relaxing weekend. Not a bad way to spend life.

 

After breakfast Monday morning, we grabbed our bags and headed to the airport at 9:00 for the first of two flights on the day.

 

As always, thanks for dropping by and viewing these pictures. Please feel free to leave any questions or comments and I’ll answer as I have time.

Lake Merritt

  

I was trying to give Elliot a lesson in the difference between Lesser and Greater Scaups. I was trying to show him how the head shapes differ. He kept seeing the purplish color that "seemed" more prominent on Lessers and green color on the Greaters... so he kept choosing to ID them by the head color. GEEZ. Here you go, Elliot...the head shape differences!!

Tonight, 1 June 2018, I have just added six extra photos, to get them into my albums. I will be so glad when I eventually come to a few photos that I feel better about uploading. I am trying to post more or less in the order that the photos were taken, and unfortunately, there are so many odds and ends that I want to keep just for the record. I promise that, later on, I will have photos of some very different things - thank goodness.

 

Not having much success with seeing and photographing all the tiny, very fast-moving Warblers at Pt Pelee, I was delighted to come across a few fungi. Not much variety, as it was still only spring. Not sure, but I think this is Dryad's Saddle fungus / Polyporus squamosus aka Cerioporus squamosus.

 

Four friends (four of the six friends with whom I went to Trinidad & Tobago in March 2017) and I left Calgary airport on 6 May 2018 and flew to Toronto, Ontario, Canada. There, we rented a van and did the long drive to Point Pelee for four whole days of birding. We stayed at the Best Western Hotel in Leamington, which is close to Point Pelee National Park. It fills up very quickly (with birders) and our rooms were booked months ago.

 

Our four days walking at Point Pelee were interesting and I, for sure, saw various things I had never seen before, including my very first Raccoon : ) Various friends had told me that the Warblers at Pelee were fantastic - so many and numerous species, and so close. Have to disagree with the "closeness" when we were there! I don't have binoculars as cameras are enough for me to carry around, so I know I missed all sorts of birds. Though my Warbler count was lower than my friends' counts, I was happy to at least get a few distant photos of some species. So many of my shots are awful, but I will still post some of them, just for the record of seeing them. Some photos are so bad that I doubt anyone can ID them.

 

We covered several different trails at Pelee, and also drove to a few places somewhat further afield, such as Hillman Marsh. If you are unfamiliar with this Conservation Area, just wait till you see a photo of the old barn that was there. I couldn't believe my eyes! I was in so much pain that I wasn't sure if I would be able to walk across a grassy area to take a few photos. However, it was so unusual and beautiful, that I reckoned I could try and move forward inch by inch - and crawl (ha, ha) if necessary. Another place we enjoyed was Rondeau National Park. One amazing and totally unexpected sighting just outside Pelee was a very distant male Snowy Owl sitting in a fieldl!!

 

We walked every single day that we were at Pelee and the areas mentioned above, seeing not just birds, but a frog/toad, snakes that we suspect were mating, several Painted turtles, a few plants (including both white and red Triliums, that I had never seen growing wild before, and a couple of Jack in the Pulpit plants).

 

The Friends of Point Pelee have food available at lunch time that one can buy. They also have a shuttle bus that one can take from the Visitor Centre all the way to the southern tip of Pelee, which is the most southern part of Canada. They also have birding walks with a guide each day (there is a charge). On 9 May, we spent the morning from 6:00 am to 11:00 am on a birding walk at Pelee with guide, Tom Hince, whom we had contacted while we were still in Calgary.

 

At the end of our stay at Point Pelee, we had to drive all the way back to Toronto, from where we flew to Quebec airport. From there, we had a four-hour drive to Tadoussac on the coast of the St. Lawrence Seaway. This is such a delightful, small place and in a beautiful setting. One of our friends, Anne B, and her husband have a summer cabin further along the cliff from the few stores and port. She had invited the four of us to go with her from Pelee to spend a week at her beautiful home. What an absolute treat this was! We were able to meet some of her relatives, too, who also have built cabins out there. We were looked after so well, and we were able to see and photograph all sorts of birds and other things. We made several trips to see different places, including the Cap Tourmente National Wildlife Area, where we were able to see endless thousands of Snow Geese. Breathtaking!

 

We also had two boat trips from Tadoussac - one was a whaling trip in a Zodiac, where we saw very, very distant Beluga and Minke Whales. The Belugas looked almost like the white wave crests - but they were Belugas. The other boat trip was to Brandy Pot Island, inhabited by thousands of Razorbills and Common Murres, which were new birds for me, and Double-crested Cormorants that were nesting in tree tops. That long boat trip (in a tiny boat named Juno, piloted by Greg) started off in the rain and dark clouds and it was soooo cold! Thermal underwear, layers of fleece and toque and gloves were needed. This day was arranged through a contact of Anne's and it was so much enjoyed! Of course, we anchored a distance away from the island and sat there and ate our sandwiches and took endless photos. It is forbidden to land on the island at nesting time.

 

Anne B, I can't thank you enough for organizing this holiday for us all and for inviting us to spend a week at your cabin. You worked so hard and it was so much appreciated by each and every one of us. Thank you for doing all the many hours of driving, too! Janet and Anne, thank you so much for compiling the lists of birds seen each day at various locations, and posted to ebird. These entries will be a huge help while I try and sort out where we were and when, and what species we saw. Miss your cookies and muffins, Janet, that you kindly made for us in Tadoussac, to go along with the wonderful meals that Anne planned and made for us : )

Tolú y Coveñas

Sucre

Colombia

I love the architecture and design of it ... Plus, the almost-panoramic view is priceless..

 

BSSR House DESIGN BY Huib van Wijk.

 

www.flickr.com/photos/55176801@N02/sets/72157625373026635/

CURATED BY ARTIST

Bogomir Doringer

 

IN SUPPORT OF

Brigitte Felderer (University of Applied Arts Vienna)

Jans Possel (Artistic Director of Mediamatic)

 

INITIATED BY

Elisabeth Hajek (Artistic Director of freiraum quartier21 INTERNATIONAL/MuseumsQuartier Vienna)

 

ASSISTANTS TO CURATOR

Aleksandra Sascha Pejovic and Julia Aßl

 

EXHIBITION DESIGN

Martin Hickmann and Thilo Ulrich

Class of Henrik Ahr (Mozarteum University Salzburg)

 

IN COLLABORATION WITH

Matthias Tarasiewicz (Artistic Technology Research, University of Applied Arts Vienna)

 

PARTICIPATING ARTISTS

Marina Abramović, Martin Backes, Jeremy Bailey, Jonathan Barnbrook for David Bowie, Aram Bartholl, William Basinski, Marc Bijl, Zach Blas, Heiko Bressnik, Thorsten Brinkmann, Ondrej Brody & Kristofer Paetau, Mark Brown, Asger Carlsen, Ben DeHaan, Sofie Groot Dengerink, Nezaket Ekici, Arthur Elsenaar, Shahram Entekhabi, Caron Geary aka FERAL is KINKY, Hrafnhildur Gissurardóttir, David Haines, Ren Hang, Adam Harvey, Sabi van Hemert, Ursula Hübner, Damier Johnson aka REBEL YUTHS, Katsuya Kamo for Junya Watanabe COMME des GARÇONS, KATSU, Brian Kenny, Ute Klein, Nienke Klunder, Jakob Lena Knebl & Thomas Hörl, Miodrag Krkobabić, Mirko Lazović, Theo-Mass Lexileictous, Vanessa Lodigiani, Zachari Logan, Jill Magid, Maison Martin Margiela, Slava Mogutin, Veljko Onjin, Bernd Oppl, Tanja Ostojić, Marco Pezzotta, Gerda Postma, Gareth Pugh, Eva-Maria Raab, RAF SIMONS, Ana Rajcevic, Daphne Rosenthal, Tarron Ruiz-Avila, Mustafa Sabbagh, Olivier de Sagazan, Daniel Sannwald for WOODKID, Bryan Lewis Saunders, Carmen Schabracq, Frank Schallmaier, Hester Scheurwater, Tim Silver, Jan Stradtmann, Sergei Sviatchenko, Jun Takahashi for UNDERCOVER, Maiko Takeda, Saša Tkačenko, Marc Turlan, Levi van Veluw, Ari Versluis & Ellie Uyttenbroek, Viktor & Rolf, Philippe Vogelenzang & Majid Karrouch, Daniel Vom Keller, Martin C de Waal, Addie Wagenknecht & Stefan Hechenberger, Anne Wenzel, Bernhard Willhelm, Andrew Norman Wilson and Lucy Wood.

 

www.facelessexhibition.net

NOW ON eBay r.ebay.com/JRcoHB

- See more at: loudbike.blogs.com/vintage_cycles_for_sale

 

92 honest-to-goodness rear wheel horsepower in a perfectly set-up package that weighs less than 300 pounds. Arguably the fastest DB1 in North America and likely the only one set-up for serious track day work.

 

Noted moto journalist, Chief Instructor at Yamaha Champions Riding School and Sport Riding Techniques author Nick Ienatsch rode the bike at Mosport last week and had this to say: "Buy it. My experience on Steve's DB-1 at Mosport couldn't have been more positive. He rolled it off the trailer Saturday morning, we rode the hell out of it all weekend, and he rode it back onto the trailer Sunday night. All Steve did was add gas. Bulletproof and extremely fun, surprisingly quick...probably the fourth-quickest lap time in the fast group at DOCC. The motor pulls strong, the bike sounds right and the chassis is sorted and composed at the limit. The problems? All the new sport bikes in the way during lapping!!"

 

The machine started out as a pretty tired and far removed from stock DB1 that was brought over from Europe by the previous owner and as such, it made an excellent candidate for a full-on hot-rod. The bike was completely stripped-down and I started on the process of renewing all the rolling chassis components and rebuilding the motor over a period of 22 months. The end result is an absolute riot on the race track – really sharp handling as would be expected with a platform as short as the DB1, but with excellent stability. With 93hp and 63ftlbs of torque, the little bike goes like a scalded cat. Given that the Montjuich cams are being used, I would have expected a more peaky delivery, but the Meyers Performance 790 kit beefed-up the bottom end significantly. As you can see by the dyno chart in the pics, peak torque is at 6,500rpm and there’s usable stuff as low as 5,500.

 

I’ve ridden the bike at the Ducati Owners Club events at Mosport in July 2013 and May 2014 as well as at NHIS in October 2013 - and have been amazed at how well the whole package worked at speed. The DB1 Is surprisingly comfortable and easy to ride fast – and absolutely gorgeous sounding. My log shows 6 hours of riding time on the motor and I just completed a full post-track day service.

 

Here are the specs on the build:

 

Chassis:

 

DB1 chassis, swing arm with new swing arm pin, motor mount spacers and steering head bearings / races

Custom battery box with a Shorai L-ion battery – also mounts the Kokusan ignitors, solenoid and new regulator

Custom mounts for Dyna 3-ohm coils

Custom oil cooler mount, Starlight hoses with Earls fittings

Custom oil cooler and feed/return adapters

Carbon fiber dash

Domino quick action throttle

Custom built Stadium shock with rebound + hi/lo speed compression adjustment

Rebuilt DB1 series Marzocchi M1Rs

PM 17” spun aluminum wheels with Pirelli Superbike Slicks (SC1 front and SC2 rear)

300mm EBC full floating rotors with Brembo P3034 calipers and Menani caliper adapters

Braided steel hydraulic lines

Custom rear caliper mount and Brembo racing 2-piston caliper

Milled footpeg hangers

AFAM lightweight front & rear sprockets

Brembo 996 brake and clutch pumps

Airtech bodywork (this is the first pull they did off the mold and is much lighter than normal

Paint by Peach Pit (Robbi Nigl)

Custom wiring harness

Aluminum & titanium fasteners throughout

loudbike open NCR replica exhaust in 304 stainless

 

Motor:

 

750 F1 (Montjuich) base with Meyers Performance 12:1 790cc kit

Lightened clutch basket, clutch housing, primaries, flywheel and clutch cover

JPrecision heads (Stage IV Pantah) with new valves, guides & seats

Montjuich ("P") cams with Bucchi adjustable pulleys – timing set at 102.5 degrees at lobe centers)

Malossi 41mm carbs

Modified Old Racing Spares cam end covers

Top-end lubrication via cam end cover feed

Exact Fit timing belts

New Kokusan pick-ups

Aluminum & Titanium fasteners throughout

Dyno tuned to 93hp and 63ftlbs of torque (I terminated the pulls at 8,500rpm, so there’s more on tap)

 

Please check out the dyno pull videos at www.youtube.com/watch?v=_tVaaTTa3jA&feature=share&amp... and www.youtube.com/watch?v=w5hU55YhUYY&feature=share&amp... . Note that I was still fooling around with jetting in the first video, so you can see the stumble as the motor came out of the lower rpm range. The final jetting set up has the motor pulling cleanly from 4,000rpm. The 2nd video is one of the heat cycle sessions as I was breaking the motor in. You can also track the progress of the build on my blog:

 

loudbike.blogs.com/loud_bike/2013/08/mosport-part-1-the-b...

 

loudbike.blogs.com/loud_bike/2013/07/1985-bimota-db1-race...

 

loudbike.blogs.com/loud_bike/2013/03/1985-bimota-db1-race...

 

loudbike.blogs.com/loud_bike/2012/12/the-bimota-db1.html

 

loudbike.blogs.com/loud_bike/2012/05/ducati-750-tt1-and-b...

 

loudbike.blogs.com/loud_bike/2011/12/winter-2011-loudbike...

 

And finally, there are hi-rez copies of the pics used in this listing at: www.flickr.com/photos/loudbike/sets/72157634524192692/ To get to the hi-rez images, select one and then click on the icon in the lower right of the page (three white dots) and select view all sizes from the drop-down menu.

 

There are a few surface cracks developing in the bodywork that are most visible in the hi-rez pics (it’s inevitable; the bodywork is paper-thin except in the main support area between the four mounting studs).

 

This is a fully-sorted track bike that’s ready to go. Add gas, tickle the carbs, push the starter button and have at it!

 

This is a rare and unique machine. Consider that a standard DB1 in decent shape will fetch north of $19k: add 30 reliable HP, knock almost 60lbs off the curb weight, upgrade the wheels, suspension & brakes and you get a sense for what it would cost to build this machine. Reserve has been set accordingly.

 

I'm happy to assisting world-wide shipping. My customers have used the following companies with very good results:

 

North American shipments:

Adam or Jacqui

TFX International Specialized Vehicle Transport

11 City View Drive

Etobicoke. ON M9W 5A5

Canada

Phone 416.243.8531

Fax 416.243.8886

www.tfxinternational.com

 

Mackie Auto Transport

933 Bloor St. W.

Oshawa, ON, Canada L1J 5Y7

1-905-728-2400

 

e-mail: motorcyclemoves@mackiegroup.com

 

International shipments:

Tony or Amanda

Inter-Par Logistics Inc.

3845 Nashua Drive

Mississauga, ON L4V 1R3

Tel.: 905-678-1288

Fax: 905-678-1289

e-mail: tl@inter-par.com or sc@inter-par.com

 

Questions? Please feel free to send me an email at steve@loudbike.com - or you can call me anytime at 1-613-230-7448.

 

I don't know if this is a more inflated version of the other I have just posted.

I found this rather skinny fellow on a recent shed hunt.

From a less exciting walk on Tuesday afternoon: some bamboo. It kind of reminds me of the design on the Benjamin Moore Natura paint can...

SONY DSC

ASAN — Less than 20 minutes away from Humphreys Garrison, the nearby city of Asan (not to be confused with Osan) provides many unique attractions for tourists.

Asan is a city rich in history with its ancient hot springs and shrines. The city is also a hot spot for Korean industry and is one of the country’s trade and exportation hubs.

Here are some popular Asan attractions:

Asan Spavis: This hot springs water park hosts a four-season resort, wave pool, kids’ swimming pool and lazy river. The park also has a sports massage and skin care treatment center. It operates year-round and can accommodate up to 6,000 visitors at a time. Address: Chungcheongnam-do, Asan-si, Eumbong-myeon Shinsu-ri 288-6; Telephone Number: 041-540-2517

Onyang Hot Springs: Built approximately 1,300 years ago for kings in the Joseon (Choseon) Dynasty, this is the oldest hot springs area in South Korea. The spring water has a high concentration of radium and alkaline which is known to be good for the skin and treating medical ailments. Address: Chungcheongnam-do, Asan-si, Oncheondong; Telephone Number: 041-540-2517

Shrine of Great Admiral Yi Sun-shin: Admiral Yi Sun-shin (1545-1598) was a prominent figure during the Joseon Dynasty. As a naval commander, Yi led several victories against the Japanese navy during the Japanese invasions in Korea. Yi spent his childhood in Asan and the city honors his achievements with the shrine and the annual festival in late April for his birthday. Telephone Number: 041-544-2161

Oeam Folk Village: With more than 400 years of history, this folk village has about 60 traditional houses, low stone walls, and impressive gardens. Visitors can also experience traditional Korean folk performances and view artifacts from the Joseon Dynasty. In late October, the Jippul (Straw) Cultural Festival occurs. Festival activities include traditional straw crafting, classical music performances, and house thatching demonstrations. Address: Chungcheongnam-do Asan-si Songak-myeon Oeam-ri 19-167-1. Telephone Number: 041-540-2110, 544-8920

Asan Station Shopping Plaza: Across the street from the Asan subway station, the shopping plaza offers a variety of shops such as a two-story Daiso (the Korean equivalent of the Dollar Store) and American-brand apparel stores and Korean restaurants. The plaza also hosts a comprehensive outdoor market. Address: 305 Jangjae-ri, Baebang-myeon, Asan-si, Chungcheongnam-do.

Asan Pinnacle Land: Located on the Asan sea wall, Pinnacle Land is a multipurpose arboretum. Visitors can relax while they stroll along the walking trails, view the themed gardens and waterfalls, and visit the animal farm. There are also unique structures located in the park. The arboretum sits on top of the Asan Bay and overlooks the West Sea and the Seohae Grand Bridge. Address: 45-2, Wonseon-ri, Youngin-myeon, Asan City, Chungnam. Telephone Number: 041-534-2580

 

U.S. Army photos by Megan Clancy and Steven Ryan

 

For more information on U.S. Army Garrison Humphreys and living and working in Korea visit: USAG-Humphreys' official web site or check out our online videos.

Relief, or relievo rilievo, is a sculptural technique. The term relief is from the Latin verb relevo, to raise. To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane. What is actually performed when a relief is cut in from a flat surface of stone (relief sculpture) or wood (relief carving) is a lowering of the field, leaving the unsculpted parts seemingly raised. The technique involves considerable chiselling away of the background, which is a time-consuming exercise. On the other hand, a relief saves forming the rear of a subject, and is less fragile and more securely fixed than a sculpture in the round, especially one of a standing figure where the ankles are a potential weak point, especially in stone. In other materials such as metal, clay, plaster stucco, ceramics or papier-mache the form can be just added to or raised up from the background, and monumental bronze reliefs are made by casting. There are different degrees of relief depending on the degree of projection of the sculpted form from the field, for which the Italian appellations are still sometimes used. The full range includes high relief (alto-rilievo), where more than 50% of the depth is shown and there may be undercut areas, mid-relief (mezzo-rilievo), low-relief (basso-rilievo, or French: bas-relief /ˌbɑːrɪˈliːf/), and shallow-relief or rilievo schiacciato, where the plane is scarcely more than scratched in order to remove background material. There is also sunk relief, which was mainly restricted to Ancient Egypt. However the distinction between high relief and low relief is the clearest and most important, and these two are generally the only terms used to discuss most work. The definition of these terms is somewhat variable, and many works combine areas in more than one of them, sometimes sliding between them in a single figure; accordingly some writers prefer to avoid all distinctions. The opposite of relief sculpture is counter-relief, intaglio, or cavo-rilievo, where the form is cut into the field or background rather than rising from it; this is very rare in monumental sculpture.

 

Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, and a sequence of several panels or sections of relief may represent an extended narrative. Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round". Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. The subject of reliefs is for convenient reference assumed in this article to be usually figures, but sculpture in relief often depicts decorative geometrical or foliage patterns, as in the arabesques of Islamic art, and may be of any subject.

 

Rock reliefs are those carved into solid rock in the open air (if inside caves, whether natural or man-made, they are more likely to be called "rock-cut"). This type is found in many cultures, in particular those of the Ancient Near East and Buddhist countries. A stela is a single standing stone; many of these carry reliefs.

 

TYPES

The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work. In particular, most later "high reliefs" contain sections in low relief, usually in the background. From the Parthenon Frieze onwards, many single figures have heads in high relief, but their lower legs are in low relief; the slightly projecting figures created in this way work well in reliefs that are seen from below (see Moissac portal in gallery). As unfinished examples from various periods show, raised reliefs, whether high or low, were normally "blocked out" by marking the outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices (see gallery). Hyphens may or may not be used in all these terms, though they are rarely seen in "sunk relief" and are usual in "bas-relief" and "counter-relief". Works in the technique are described as "in relief", and, especially in monumental sculpture, the work itself is "a relief".

 

BAS RELIEF OR LOW RELIEF

A bas-relief ("low relief", from the Italian basso rilievo) or low relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. In the lowest reliefs the relative depth of the elements shown is completely distorted, and if seen from the side the image makes no sense, but from the front the small variations in depth register as a three-dimensional image. Other versions distort depth much less. It is a technique which requires less work, and is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required. In the art of Ancient Egypt and other ancient Near Eastern and Asian cultures, and also Meso-America, a very low relief was commonly used for the whole composition. These images would all be painted after carving, which helped to define the forms; today the paint has worn off in the great majority of surviving examples, but minute, invisible remains of paint can usually be discovered through chemical means.

 

The Ishtar Gate of Babylon, now in Berlin, has low reliefs of large animals formed from moulded bricks, glazed in colour. Plaster was sometimes used in Egypt and Rome, and probably elsewhere, but needs very good conditions to survive – Roman decorative plasterwork is mainly known from Pompeii and other sites buried by ash from Mount Vesuvius. Low relief was relatively rare in Western medieval art, but may be found, for example in wooden figures or scenes on the insides of the folding wings of multi-panel altarpieces.

 

Low relief is probably the most common type of relief found in Hindu-Buddhist arts of India and Southeast Asia. The low reliefs of 2nd-century BCE to 6th-century CE Ajanta Caves and 5th to 10th-century Ellora Caves in India are noted for they were carved out from rock-cut hill. They are probably the most exquisite examples of Buddhist, Hindu, and Jain arts in India. Most of these low reliefs are used in narrating sacred scriptures, such as those founds in 9th century Borobudur temple in Central Java, Indonesia, that narrating The birth of Buddha (Lalitavistara). Borobudur itself possess 1,460 panels of narrating low reliefs. Another example is low reliefs narrating Ramayana Hindu epic in Prambanan temple, also in Java. In Cambodia, the temples of Angkor are also remarkable for their collection of low reliefs. The Samudra manthan or "Churning of Ocean of Milk" of 12th-century Angkor Wat is an example of Khmer art. Another examples are low reliefs of Apsaras adorned the walls and pillars of Angkorian temples. The low reliefs of Bayon temple in Angkor Thom also remarkable on capturing the daily life of Khmer Empire.

 

The revival of low relief, which was seen as a classical style, begins early in the Renaissance; the Tempio Malatestiano in Rimini, a pioneering classicist building, designed by Leon Battista Alberti around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls. Since the Renaissance plaster has been very widely used for indoor ornamental work such as cornices and ceilings, but in the 16th century it was used for large figures (many also using high relief) at the Chateau of Fontainebleau, which were imitated more crudely elsewhere, for example in the Elizabethan Hardwick Hall.

 

In later Western art, until a 20th-century revival, low relief was used mostly for smaller works or combined with higher relief to convey a sense of distance, or to give depth to the composition, especially for scenes with many figures and a landscape or architectural background, in the same way that lighter colours are used for the same purpose in painting. Thus figures in the foreground are sculpted in high-relief, those in the background in low-relief. Low relief may use any medium or technique of sculpture, stone carving and metal casting being most common. Large architectural compositions all in low relief saw a revival in the 20th century, being popular on buildings in Art Deco and related styles, which borrowed from the ancient low reliefs now available in museums. Some sculptors, including Eric Gill, have adopted the "squashed" depth of low relief in works that are actually free-standing.

 

Mid-relief, "half-relief" or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English, the works usually being described as low relief instead. The typical traditional definition is that only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field. The depth of the elements shown is normally somewhat distorted. Shallow-relief or rilievo stiacciato, used for the background areas of compositions with the main elements in low-relief, was perfected by the Italian Renaissance sculptor Donatello. It is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs.

 

HIGH RELIEF

High relief (or altorilievo, from Italian) is where in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially heads and limbs, are often completely undercut, detaching them from the field. The parts of the subject that are seen are normally depicted at their full depth, unlike low relief where the elements seen are "squashed" flatter. High-relief thus uses essentially the same style and techniques as free-standing sculpture, and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture.

 

Most of the many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high-relief, with elements often fully free of the background, and parts of figures crossing over each other to indicate depth. The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability. High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture. Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief.

Hellenistic and Roman sarcophagus reliefs were cut with a drill rather than chisels, enabling and encouraging compositions extremely crowded with figures, like the Ludovisi Battle sarcophagus (250–260 CE). These are also seen in the enormous strips of reliefs that wound round Roman triumphal columns. The sarcophagi in particular exerted a huge influence on later Western sculpture. The European Middle Ages tended to use high relief for all purposes in stone, though like Ancient Roman sculpture their reliefs were typically not as high as in Ancient Greece. Very high relief reemerged in the Renaissance, and was especially used in wall-mounted funerary art and later on Neo-classical pediments and public monuments.

 

In Hindu-Buddhist art of India and Southeast Asia high relief can also be found, although it is not as common as low reliefs. Most of Hindu-Buddhist sculptures however also can be considered as a high relief, since these sculptures usually connected to a stella as the background to support the statue as well as provides additional elements such as aura or halo in the back of sculpture's head, or floral decoration. The examples of Indian high reliefs can be found in Khajuraho temple, that displaying voluptuous twisting figures that often describes the erotic Kamasutra positions. In 9th-century Prambanan temple, Central Java, the examples are the high reliefs of Lokapala devatas, the guardian of directions deities.

 

SUNK RELIEF

Sunk or sunken relief is largely restricted to the art of Ancient Egypt where it is very common, becoming after the Amarna period of Ahkenaten the dominant type used, as opposed to low relief. It had been used earlier, but mainly for large reliefs on external walls, and for hieroglyphs and cartouches. The image is made by cutting the relief sculpture itself into a flat surface. In a simpler form the images are usually mostly linear in nature, like hieroglyphs, but in most cases the figure itself is in low relief, but set within a sunken area shaped round the image, so that the relief never rises beyond the original flat surface. In some cases the figures and other elements are in a very low relief that does not rise to the original surface, but others are modeled more fully, with some areas rising to the original surface. This method minimizes the work removing the background, while allowing normal relief modelling.

 

The technique is most successful with strong sunlight to emphasise the outlines and forms by shadow, as no attempt was made to soften the edge of the sunk area, leaving a face at a right-angle to the surface all around it. Some reliefs, especially funerary monuments with heads or busts from ancient Rome and later Western art, leave a "frame" at the original level around the edge of the relief, or place a head in a hemispherical recess in the block (see Roman example in gallery). Though essentially very similar to Egyptian sunk relief, but with a background space at the lower level around the figure, the term would not normally be used of such works.

 

COUNTER RELIEF

Sunk relief technique is not to be confused with "counter-relief" or intaglio as seen on engraved gem seals - where an image is fully modeled in a "negative" manner. The image goes into the surface, so that when impressed on wax it gives an impression in normal relief. However many engraved gems were carved in cameo or normal relief.

 

A few very late Hellenistic monumental carvings in Egypt use full "negative" modelling as though on a gem seal, perhaps as sculptors trained in the Greek tradition attempted to use traditional Egyptian conventions.

 

SMALL OBJECTS

Small-scale reliefs have been carved in various materials, notably ivory, wood, and wax. Reliefs are often found in decorative arts such as ceramics and metalwork; these are less often described as "reliefs" than as "in relief". Small bronze reliefs are often in the form of "plaques" or plaquettes, which may be set in furniture or framed, or just kept as they are, a popular form for European collectors, especially in the Renaissance.

 

Various modelling techniques are used, such repoussé ("pushed-back") in metalwork, where a thin metal plate is shaped from behind using various metal or wood punches, producing a relief image. Casting has also been widely used in bronze and other metals. Casting and repoussé are often used in concert in to speed up production and add greater detail to the final relief. In stone, as well as engraved gems, larger hardstone carvings in semi-precious stones have been highly prestigious since ancient times in many Eurasian cultures. Reliefs in wax were produced at least from the Renaissance.

 

Carved ivory reliefs have been used since ancient times, and because the material, though expensive, cannot usually be reused, they have a relatively high survival rate, and for example consular diptychs represent a large proportion of the survivals of portable secular art from Late Antiquity. In the Gothic period the carving of ivory reliefs became a considerable luxury industry in Paris and other centres. As well as small diptychs and triptychs with densely packed religious scenes, usually from the New Testament, secular objects, usually in a lower relief, were also produced.

 

These were often round mirror-cases, combs, handles, and other small items, but included a few larger caskets like the Casket with Scenes of Romances (Walters 71264) in Baltimore, Maryland, in the United States. Originally there were very often painted in bright colours. Reliefs can be impressed by stamps onto clay, or the clay pressed into a mould bearing the design, as was usual with the mass-produced terra sigillata of Ancient Roman pottery. Decorative reliefs in plaster or stucco may be much larger; this form of architectural decoration is found in many styles of interiors in the post-Renaissance West, and in Islamic architecture.

 

WIKIPEDIA

When given a choice, why not choose the road less taken???

Less than an hour after arriving at Kidderminster from Crewe Gresty Road, DRS' electro-diesel 88 010 'Aurora' was pressed immediately into service on it's

first passengers train, the 1435 to Bridgnorth, with fellow gala visitor 20 189 acting as brake translator, seen here approaching Little Rock cutting on Thursday 17th May 2018.

Less

Less is more series.

Baltic Sea.

 

Nikon D800, Tamron 15-30, NiSi nd1000

   

BOSPHORUS RIVER CRUISE.

 

After passing the First Bosphorus Bridge the shore becomes less commercial/industrial & more residential.

Docklands Light Railways

West India Quay station

Video: Mistakes that Make You Less Ladylike MTF Transgender Crossdressing Tips

transsexual.silicone-breast.com/2016/09/03/video-mistakes...

img.youtube.com/vi/cJcHjVpoWXc/0.jpg

   

Less rain London Office

In August 1950 the Korean War was less than two months old, and Puerto Rico's 65th Infantry Regiment was on its way to the combat zone. The regiment landed at the port city of Pusan on the Korean Peninsula's southern tip, where United States forces had been holding a perimeter against the Communist North Korean invaders. Sent into action immediately, the Puerto Ricans took part in the United States breakout and drive to the north. Following the brilliantly planned and executed surprise landings at Inchon, United States and other United Nations forces drove deep into the mountains of North Korea. At that point a huge Chinese Army entered the war. The United States Eighth Army was overrun, and the 1st Marine Division, with attached United States and British Army units, was completely encircled. In one of the greatest fighting retreats in history, the outnumbered marines battled their way south to the coast. The first friendly troops they saw on the frozen ridgetops were the Puerto Ricans of the 65th Infantry Regiment, sent to hold the perimeter around the vital port of Hungnam. The Puerto Ricans supervised the evacuation of Hungnam, finally sailing themselves on Christmas Eve, 1950. The 65th landed in Pusan as they had five months before, and again fought their way northward. Late January 1951 found them south of the Korean capital of Seoul, under orders to take two hills being held by the Chinese 149th Division. The assault began on January 31st, and took three days. On the morning of the third day the top of the hills were within reach, and two battalions of the 65th fixed bayonets and charged straight at the enemy positions. The Chinese fled. During its service in Korea, the men of the 65th Infantry won four Distinguished Service Crosses and 125 Silver Stars. The "Borinqueneers" were also awarded the Presidential and Meritorious Unit Commendations, two Korean Presidential Unit Citations and the Greek Gold Medal for Bravery. The 65th Infantry Regiment's gallant service in a difficult war is exemplified by its regimental motto, "Honor and Fidelity," and the regiment itself exemplifies the National Guard's leading role in our nation's military history.

Jaisalmer in Rajasthan

Today was a less formal and a more fun day than Easter Sunday now that most of the high profile official events are over.

 

I photographed what I saw so you will see many anomalies such as poor children in 1916 wearing nike shoes or women of the period using iPhones.

via Tumblr lawrence9gold.tumblr.com/post/107993948912

 

A T T E N T I O N:P S Y C H O A C T I V E______________________

 

INSTRUCTION IN THE SOMATIC ABILITY

TO DISSOLVE THE HIDDEN GRIP OF AFFLICTION

 

OR THE COMPULSION TO BE ANYTHING, IN PARTICULAR

 

— horse training —

— You’re the horse. | You’re the trainer. — Finding Ourselves Out

 

First thing: I should know about what I’m talking about. I’m an expert on identity formation, as I’ve been running and reforming this identity for years. One of these days, somebody’s going to find me out and we’ll all end up in show-biz.

 

In show-biz, to the degree that an actor/ess is free within his/her identity set and free to change, to that degree he or she can play different roles well.

 

(This could be a clue.)

 

No one of us has a single identity — and that doesn’t necessarily mean we all have Multiple Personality Disorder. It means that our identity changes (more or less), from moment to moment, and in the circumstances of the moment, as we resonate with our circumstances.

 

The one thing that persists in some way is the vague idea of “self” — the one to whom this identity purportedly belongs. People rarely talk about that one! (It’s our ‘sacred cow’ self — the one “outside it all” and viewing it all, the one who ostensibly never becomes hamburger, supra-Kosmic or otherwise.)

 

The expression of self changes, but the owner of it seems somehow the same: the secret identity. The Continuity of Memory.

 

But behaviors, and the provisional identity of the moment, fluctuate. Which one is the “real” identity? Ha-HAH!!!!

 

~~~~~~~~~~~~~~~~~~~~~~~~~and now, a very important disclaimer:

 

That doesn’t mean that we’re the political flip-flopper

 

who flips and who flops with every passing wind

 

whose words are as passing wind

 

and whose meaning has no reliable connection to a functional outcome

 

whose integrity has big gaps, or lots of little gaps

 

whose principles are weak

 

whose equilibrium is easily upset

 

who takes an unstable stand

 

the dependent

 

who has too little active capacity to bring order,

 

who is not yet educated enough

 

to create forms with integrity,

 

who has too little capacity to reverse the course of entropy

 

in his environment and himself

who uses the word, “fight”, instead of “create”

 

the secret nature of a mediocre nincompoop

in a position of responsibility beyond him

 

whose primary interest is

 

to get rich and avoid getting into trouble

 

to avoid any kind of crisis, lest he flub his response

 

he, in a position of visibility,

 

who fears to look like an incompetent

— or worse — have to face consequences.

 

Maybe it’s what makes him a schlimazl

for whom nothing good ever seems to happen

since he can’t marshal all the forces needed

to make it happen.

or makes him a shlemiele

(closely related to a no-account fool)

not good at much of anything,

fallen back into being a good-for-nothing freeloader,

an imbiber by days

and something of a hapless dimwit at twilight

walking into lampposts

 

or, alas, maybe he’s just a poor putz —

a person who’s a total loss

uneducated

unperceptive

incomprehending

wrong and insistent.

 

Maybe he’s a shmoygeh,

or its sillier version, shmegeggie

 

whatever that is

 

a slob

a nudnick (dumb-kopf!)

 

or a no-goodnick in our eyes

but look!

 

He has a nice suit!

 

NO! This is a smart person!

 

a wonderful person!

 

He cleans up after himself.

 

He picks up his clothes.

 

He can read.

He’s nice.

 

He’s also a clever person, having learned a thing or two.

 

He knows the difference between

 

“flip” and “flop”

 

knows when it’s OK to be flip

 

and knows when his flippancy has flopped.

 

Oh, most unflappable one,

 

I see you keep your equilibrium pretty well —

 

— most of the time.

 

You are intelligently mindful of how we are unavoidable affected by each other

and inextricably interconnected,

with everything unified in the present moment,

not as an idea or ideal, but as a perception

of how things actually are,

feeling and observing how we are affected by this moment

in a resonant and moving equilibrium

continuous in moment to moment experience

 

participating and yet mystified,

faithful in nothing in this life made of change,

 

in which the currents of our own existence

carry murky, turbulent memories

that shape and color our times.

You sound like a wise man (or woman).

How did that happen?

 

~~~~~~~~~~

So, when I speak of identity, I’m not speaking of socialization or role. I’m speaking of something much more fundamental, something that explains human behavior, how we get stuck in behavior, and how we may deliberately grow or evolve through an “unhooking” or “unlocking” process.

 

To the point:Four steps are involved in identity formation:

 

experience: the emergence of the “present” from the unknown: self, others and things, the momentary and total condition of “now” | Without the gathering and coalescing of attention and aggregations of memory, experience is void, without meaning, without significance, without object, just movements of the unknown

 

memory : persistence of experience, the experience of “now” (immediate memory), meaning, recognizable events, holding on to experience and experiences, having experience “be in your face”

 

identification: choosing to stick with a certain experience at any moment : assigning importance, assuming memory (persistence) is reality : taking remembered experiences of self as self and our perception of other things as “the way they really are.” (The Myth of Actuality = “The Myth of the Given”)

 

perpetuation: intending, inviting, seeking to make more, or refusing, seeking to make less, all motivation, all “go”, all “stop”, all spin, all involvement with, all imagining

 

The four Stages of Things Becoming a Priority. Obviously, I have to define my terms, so here goes.

 

EMERGING EXPERIENCE: ” BEING”, BECOMING

(“the One” multiplied by becoming “the Many”)

 

At every moment, we have a sense of “how things are”. It’s our most obvious sense of the plain-old present.

 

It consists of our experience of our situation and our sense of ourselves. Most of this sense of experience is submerged in subconsciousness. But we experience it every time we meet a new person and visit a new place. It’s our first impression — which fades with familiarity, into the background.

 

This first impression, or sense of the moment, is, at first, of “unknown" (yes, I wrote that rightly). Our first impression is of "unknown". Gradually, with enough time and enough exposure, "unknown" fades-in into "something known" — a memory is formed. Until a sufficiently vivid memory is formed, no experience is being had.

 

The motions of experience inscribe upon memory an ongoing trail, movements of attention from one thing to another.

 

MEMORY : THE BASIS OF THE MOVEMENT BETWEEN HARMONY AND DIS-HARMONY

 

We resort to memory as a proxy for (approximation of) actual experience, so we can more easily focus on experiences that have that pattern, and look for what’s changing, moving, happening. It’s beginning from a presumed base of knowledge.

 

As we get familiar with anything, we form a memory of it. That memory constitutes our knowing of “how things are”.

 

Then, the experience of the moment is seen always in terms of existing memories, which grow in a moving, changing pattern. The growing edge of memory is experiencing what is emerging out of the unknown, clothing it in imagination so it may seem known, then forming memories and bridging them with other memories. Impressions form over time about the “realities” of life, colored by memories brought to life by imagination, imagination informed by memory and going beyond.

 

We form our memories from our experiences of the moving moment of life, the changing harmonics of life. All sensory impressions that go into memory refer to movements and harmonics of life, memories of persons, places and things. Our memories of “the movements and harmonics of life” flavor or dress up all of our sense-impressions of the moment.

 

A memory of “a movement and a felt harmonic” gets called up every time we recall something and every time we put ourselves in a situation to experience anything familiar. Memory creates expectation.

 

A way of finding the force of a memory is to notice how much it matters to you.

 

ASSUMING MEMORIES are REALITY, TRUTH or SELF

 

We give our memories the status of “truth”, and memories of our own state the status of “self”.

 

To the degree that something feels, “in your face”, that’s the degree that you take it for truth, for reality, or as self. That’s how solidly set your / my attention is in memory, how solidly fixated, how ingrained, how entranced. That’s how much experience has “got us” by the ….. (ooch!) .

 

PERPETUATING and/or REFUSING THE EXPERIENCES WE REMEMBER

 

Persistence and resistance (or intending and refusing) are two forms of the same thing: one is “wanting to make it more” and the other is “wanting to make it less”; the difference, only one of direction; both are “wanting”.

 

When someone “knows” something, they want (to some degree — strongly or mildly) either to reinforce/assert their knowledge or to minimize/deny it. They want to rely upon it or they want to forbid it. Either way, they want to do that for themselves, for their own sake.

 

By those acts, they form an attitude, a key part of the ability of identity to express itself, a felt memory.

 

Once a person has an attitude, they want to impose it upon the world. (Even the idea of “not wanting to impose it on the world” is an attitude.)

 

That’s the activity of identity, of self-propagation, the genetic imperative that distinguishes itself from others on the basis of memories.

 

A case in point: Take, for an example, ten year old Jimmy.

 

experience

Jimmy has never been to a baseball game.

His father comes home with tickets to see the Cardinals.

They go on a Saturday.

At the ballpark, Jimmy takes it all in, eyes open wide.

Dizzy Dean is pitching.

He winds up. There’s the pitch.

Foul ball. Into the stands.

Jimmy catches the ball.

memories

Now, Jimmy has a story to tell the guys in the neighborhood.

What does that do for his social status?

Jimmy likes the attention. He brings the ball to school, he tells the story at Sunday School, around …

The more Jimmy tells the story,

the more he reinforces the memory of it

and his place in it.assuming memories are truth, reality, or self

Jimmy takes credit for catching the foul ball,

lays claim to special status, reason for pride.

casts himself into a self-image that he takes for himself

and shows around.perpetuating what we remember as extended forms of “self”

Soon, Jimmy is a fan.

He’s read up on Dizzy Dean, knows his statistics,

roots for the Cardinals,

feels the glory when they win

feels the humiliation when they lose.

He’s even gotten into a couple of fights over it.

He can’t help himself.

But then, he’s only ten.

That was a long, long time ago.

Now, Jimmy’s a Republican.

 

another case-in-point:

 

George enlists in the army.

Goes to war. It’s his patriotic duty.

He’s sent to the front. Wounded.

Now he has a limp. And a medal.

He’s honorably discharged and sent home. He gets special recognition, special privileges. (This was an earlier time.)

He’s sent to an innovative form of therapy that promises he can walk, again. In fact, he’ll lose the limp.

But now, George doesn’t know “who he’d be” without his war wound. He’d seem ordinary. He also can’t imagine walking normally, again. He’s forgotton his “pre-army” state. His wound and his status as a wounded war vet, based in memory and the seeming permanence of his wound, have made him into something else.

The therapy doesn’t work.

He gets into politics. Eventually, he runs for political office.

Now, he gets some mileage out of being a wounded war vet. His wound is his badge of courage. He cherishes the identity of “War Vet”, keeps it low-key on the campaign trail. He imagines that it is some of the basis of the respect with which people treat him, that it’s a “trump card”: On certain topics, no one dares challenge his position.

And, of course, years later, he’s a Republican.

 

An identity is a standpoint and general ways of operating based on memories of experience, a standpoint that wants to reinforce (or perpetuate) its way of operating in the world.

 

Everything we know, we want to continue to be “right knowledge”. That’s why people dislike “being wrong” and why “being made wrong” is such a politically incorrect social impropriety. It’s about what “wanting to be right” means — not having to change.

 

So, first we experience something. And then, as we experience it, we remember it. Then, we assume that memory represents and actually says something reliable about either oneself or something or someone other. We carry all the accumulated memory patterns that form out of the interaction of the world with our memoried self. We act as if life exists in terms of those memory patterns — and so act accordingly — either to perpetuate and reinforce or to refuse or counteract.

 

That explains how we form behavior patterns, how we get stuck in behavior patterns (egotism, arrogance, “anything goes” or cold-fish authoritarianism), and also how we learn to grow and evolve. It’s a spooky business.

 

Just as we form innumerable memories from moment to moment, we form innumerable identities for each moment — and hopefully they’re all well interconnected, so we don’t get trapped in one.

 

The tricky thing about all this is how to avoid getting stuck in the sheer mass and momentum of accumulated memories.

 

One answer is, to reverse the process. What would happen for Jimmy if he imagined himself going back up the chain of identity formation?

 

I present The Gold Key Release ( which a New Age Flower Child might call, “The Somatic Crystal Decrystallization Process”, a soul brother: “Da Big, Divine Kosmic Kiss” (mmmWAH!) or, an academic professor, rather stuffily, “A Somatic Faculty”) —- viz:

 

(NOTE: vizier = one who writes, “viz”.

“Vizier” is Arabic for “wise guy”.)

 

"Somatic Awakening" is not an "awakening to" or "awakening into"; it’s an awakening as and then an awakening from.

 

It’s “awakening as” what most ordinarily IS,

 

scanning it with attentiveness,

 

feeling it, inhabiting it,

 

enfolding it,

 

assessing its “charge”: how one feels implicated (i.e., compelled to act),

 

the force of memory,

 

detecting imagination in memory,

 

then awakening from imagining,

releasing the sense of “something there”, feeling it dissolve into the formless root of attention, feeling attention as no-self.

 

There. Which is Here.

 

It’s going backward through

the stages of priority

"upstream" of the creative process,

to awaken, undefined, as self-source — the Natural State, the experience of which feels like A Big, Divine Kosmic Kiss, which we may symbolize by the word,

 

"mmmmWAH!!!"

 

which is also what it feels like, as we dissolve into the undefined Condition.

 

See? No? You will.

 

He feels his position, attitude, standpoint, or whatever he is stuck with or is perpetuating — his knowledge, his chosen identity, his refuge to the immunity of rightness. Whatever it is, it’s a sensation, felt bodily, with a location, size, shape, and intensity in the overall body-sense (kinesthetic body, subtle body, etheric body, dream body). Feel each term. Pretty similar, huh?

It may occur to him that he may have “bought in to something” — assigning the status of “reality” to his memory-shaped-colored perspective in the world: “the truth” or “The Truth”, “oneself” or “the Self”. It may occur to him that, that he does not “have” it, but that it “has” him. That he lives “inside” it and is subject to its limitations, which he takes as a product of Reality and not a product of his way of remembering and seeing things, his perspective. To him, it’s solid, real, and consequential. The mood is, “This is real." or "This matters" (to a greater or lesser degree— but note: If something makes a difference to you, you’ve bought into it and it has you.)

 

He feels how much of this sense of “solid truth” or “things mattering with consequences” feels like memory and how much of memory feels like imagination. It’s a “feel” thing, not an “answer” that he comes up with. He traces the feeling from the sense of solid truth to memory to imagination.

He imagines the appearance of a scenario that’s developing and has expectations that are informed, in part, by memory, and so his perception is shaped by memory.

 

Remembering is re-imagining something into our experience. The seeming persistence, the solidity or reality of anything you can put your attention upon is memory. Memory fades unless refreshed by imagining. The denser the memory, the more persistent it is.The way we do it:

We put attention on the feeling of having some experience.

We sense the feeling of experience without words,

as a sensation someplace within us

We feel its size, shape, intensity.

We pump up our ability to sense our somatic state

with “attention maneuvers”.

We sense how much (not “what”) intention we have toward it

We notice how steadying attention solidifies intention.

We feel the whole package as a single, contained force:

the thing we are experiencing

and our intention toward it made solid by attention.

How intention + attention = memory.

Now, we feel how much it matters

in order to bring ourselves into the relationship

and acknowledge how much we are involved.

How much it matters has to do with our relation to the world.

Try it.

We may then own the intensity of the memory

even if we don’t know what the memory is

and we may sift that intensity

for the movements of imagining.

We feel how much it feels like “solid reality”, how much feels like memory, and how much of the memory feels a bit like imagining (or as we like to say, “daydreaming” or “being entranced”).

We feel “remembering” and “imagining” and alternate between them until we can zero in on each equally steadily and equally easily, and so can balance them. What makes it easier to alternate more to one side than the other is that we are more entranced by it. These words make sense with experience, but perhaps not before. Save yourself the brain-fog; instead of “trying to figure it out”, just do it. (Once.)

If you have trouble with this step, deliberately remember something. Feel what remembering feels like. Then imagine something. Feel what imagining feels like.

Now apply those distinctions to your sense of “solid truth”.

 

Feel the dissolution of his “fix” (or fixation) — the thing he has been perpetuating — as his discovery or sense of “how much of it is imagination” is “the little valve” through which the “air” that has inflated his sense of “solid truth” (and ego) escapes. Simpler if he just does Step 3. (Imagination is easier to let go than “solid truth”.)

 

He takes a breath, lets go and falls into his identity-less, natural state, at least for the moment. (Don’t do this while driving or try to understand this by reading it. Do the procedure. Do it well at least once.)

 

He checks the remaining intensity of the feeling. If anything is left, he starts at Step 1.

 

QUESTION: Would he quit being a Republican?

 

I ask you.

 

From here, we go to the first magical process for decrystallizing crystallized identity patterns:

The Gold Key Release

MORE:Other Magic Following Upon the Gold Key ReleaseThe Wish-Fulfilling Gem

 

Esoteric Somatics and Tibetan BuddhismSEARCH KEYWORDS:(to return to this entry again, later.

caring | | 42

 

harmony | 85 | 94

 

memory | | 89

 

identification | 7 | 148

 

perpetuation | 78 | 162

 

copyright 2014 Lawrence Gold

This writing may be reproduced only in its entirety

with accurate attribution of authorship.

 

Do it for yourself - somatics.com/page7-htm

 

ifttt.com/images/no_image_card.png via Blogger lawrencegoldsomatics.blogspot.com/2015/01/somatology-ulti...

Karl Friedrich Lessing (1808 - 1880; active in Dusseldorf and Karlsruhe)

The Crusaders in the Desert, 1863

Ordered 1860/61, acquired in 1863 as grand-ducal private property, inventory 533

 

Carl Friedrich Lessing (1808 - 1880; tätig in Düsseldorf und Karlsruhe)

Die Kreuzfahrer in der Wüste, 1863

Bestellt 1860/61, erworben 1863 als großherzogliches Privateigentum, Inventar 533

 

Collection

The foundation of the collection consists of 205 mostly French and Dutch paintings from the 17th and 18th centuries which Margravine Karoline Luise acquired 1759-1776. From this collection originate significant works, such as The portrait of a young man by Frans van Mieris the Elder, The winter landscape with lime kiln of Nicolaes Pieterszoon Berchem, The Lacemaker by Gerard Dou, the Still Life with hunting equipment and dead partridge of Willem van Aelst, The Peace in the Chicken yard by Melchior de Hondecoeter as well as a self-portrait by Rembrandt van Rijn. In addition, four still lifes of Jean Siméon Chardin and two pastoral scenes by François Boucher, having been commissioned directly by the Marchioness from artists.

A first significant expansion the museum received in 1858 by the collection of canon Johann Baptist von Hirscher (1788-1865) with works of religious art of the 15th and 16th centuries. This group includes works such as two tablets of the Sterzinger altar and the wing fragment The sacramental blessing of Bartholomew Zeitblom. From 1899 to 1920, the native of Baden painter Hans Thoma held the position of Director of the Kunsthalle. He acquired old masterly paintings as the tauberbischofsheim altarpiece by Matthias Grünewald and drove the expansion of the collection with art of the 19th century forward. Only his successors expanded the holdings of the Art Gallery with works of Impressionism and the following generations of artists.

The permanent exhibition in the main building includes approximately 800 paintings and sculptures. Among the outstanding works of art of the Department German painters of the late Gothic and Renaissance are the Christ as Man of Sorrows by Albrecht Dürer, the Carrying of the Cross and the Crucifixion by Matthias Grünewald, Maria with the Child by Lucas Cranach the Elder, the portrait of Sebastian Brant by Hans Burgkmair the elder and The Nativity of Hans Baldung. Whose Margrave panel due to property disputes in 2006 made it in the headlines and also led to political conflicts. One of the biggest buying successes which a German museum in the postwar period was able to land concerns the successive acquisition of six of the seven known pieces of a Passion altar in 1450 - the notname of the artist after this work "Master of the Karlsruhe Passion" - a seventh piece is located in German public ownership (Wallraf-Richartz Museum, Cologne).

In the department of Dutch and Flemish paintings of the 16th century can be found, in addition to the aforementioned works, the portrait of the Marchesa Veronica Spinola Doria by Peter Paul Rubens, Moses strikes the rock and water flows for the thirsty people of Israel of Jacob Jordaens, the still life with kitchen tools and foods of Frans Snyders, the village festival of David Teniers the younger, the still life with lemon, oranges and filled clay pot by Willem Kalf, a Young couple having breakfast by Gabriel Metsu, in the bedroom of Pieter de Hooch, the great group of trees at the waterfront of Jacob Izaaksoon van Ruisdael, a river landscape with a milkmaid of Aelbert Jacobsz. Cuyp as well as a trompe-l'œil still life of Samuel van Hoogstraten.

Further examples of French paintings of the 17th and 18th centuries are, the adoration of the golden calf of Claude Lorrain, preparations for dance class of the Le Nain brothers, the portrait of Marshal Charles-Auguste de Matignon by Hyacinthe Rigaud, the portrait of a young nobleman in hunting costume of Nicolas de Largillière, The storm of Claude Joseph Vernet and The minuet of Nicolas Lancret. From the 19th century can be found with Rocky wooded valley at Civita Castellana by Gustave Courbet, The Lamentation of Eugène Delacroix, the children portrait Le petit Lange of Édouard Manet, the portrait of Madame Jeantaud by Edgar Degas, the landscape June morning near Pontoise by Camille Pissarro, homes in Le Pouldu Paul Gauguin and views to the sea at L'Estaque by Paul Cézanne further works of French artists at Kunsthalle.

One focus of the collection is the German painting and sculpture of the 19th century. From Joseph Anton Koch, the Kunsthalle possesses a Heroic landscape with rainbow, from Georg Friedrich Kersting the painting The painter Gerhard Kügelgen in his studio, from Caspar David Friedrich the landscape rocky reef on the sea beach and from Karl Blechen view to the Monastery of Santa Scolastica. Other important works of this department are the disruption of Adolph Menzel as well as the young self-portrait, the portrait Nanna Risi and The Banquet of Plato of Anselm Feuerbach.

For the presentation of the complex of oeuvres by Hans Thoma, a whole wing in 1909 at the Kunsthalle was installed. Main oeuvres of the arts are, for example, the genre picture The siblings as well as, created on behalf of the grand-ducal family, Thoma Chapel with its religious themes.

Of the German contemporaries of Hans Thoma, Max Liebermann on the beach of Noordwijk and Lovis Corinth with a portrait of his wife in the museum are represented. Furthermore the Kunsthalle owns works by Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner and Max Klinger.

In the building of the adjacent Orangerie works of the collection and new acquisitions from the years after 1952 can be seen. In two integrated graphics cabinets the Kupferstichkabinett (gallery of prints) gives insight into its inventory of contemporary art on paper. From the period after 1945, the works Arabs with footprints by Jean Dubuffet, Sponge Relief RE 48; Sol. 1960 by Yves Klein, Honoring the square: Yellow center of Josef Albers, the cityscape F by Gerhard Richter and the Fixe idea by Georg Baselitz in the Kunsthalle. The collection of classical modernism wandered into the main building. Examples of paintings from the period to 1945 are The Eiffel Tower by Robert Delaunay, the Improvisation 13 by Wassily Kandinsky, Deers in the Forest II by Franz Marc, People at the Blue lake of August Macke, the self-portrait The painter of Ernst Ludwig Kirchner, the Merzpicture 21b by Kurt Schwitters, the forest of Max Ernst, Tower gate II by Lyonel Feininger, the Seven Deadly Sins of Otto Dix and the removal of the Sphinxes by Max Beckmann. In addition, the museum regularly shows special exhibitions.

 

Sammlung

Den Grundstock der Sammlung bilden 205 meist französische und niederländische Gemälde des 17. und 18. Jahrhunderts, welche Markgräfin Karoline Luise zwischen 1759 und 1776 erwarb. Aus dieser Sammlung stammen bedeutende Arbeiten, wie das Bildnis eines jungen Mannes von Frans van Mieris der Ältere, die Winterlandschaft mit Kalkofen von Nicolaes Pieterszoon Berchem, Die Spitzenklöpplerin von Gerard Dou, das Stillleben mit Jagdgeräten und totem Rebhuhn von Willem van Aelst, Der Friede im Hühnerhof von Melchior de Hondecoeter sowie ein Selbstbildnis von Rembrandt van Rijn. Hinzu kommen vier Stillleben von Jean Siméon Chardin und zwei Schäferszenen von François Boucher, die die Markgräfin bei Künstlern direkt in Auftrag gegeben hatte.

Eine erste wesentliche Erweiterung erhielt das Museum 1858 durch die Sammlung des Domkapitulars Johann Baptist von Hirscher (1788–1865) mit Werken religiöser Kunst des 15. und 16. Jahrhunderts. Zu dieser Gruppe gehören Werke wie zwei Tafeln des Sterzinger Altars und das Flügelfragment Der sakramentale Segen von Bartholomäus Zeitblom. Von 1899 bis 1920 bekleidete der aus Baden stammende Maler Hans Thoma die Position des Direktors der Kunsthalle. Er erwarb altmeisterliche Gemälde wie den Tauberbischofsheimer Altar von Matthias Grünewald und trieb den Ausbau der Sammlung mit Kunst des 19. Jahrhunderts voran. Erst seine Nachfolger erweiterten die Bestände der Kunsthalle um Werke des Impressionismus und der folgenden Künstlergenerationen.

Die Dauerausstellung im Hauptgebäude umfasst rund 800 Gemälde und Skulpturen. Zu den herausragenden Kunstwerken der Abteilung deutsche Maler der Spätgotik und Renaissance gehören der Christus als Schmerzensmann von Albrecht Dürer, die Kreuztragung und Kreuzigung von Matthias Grünewald, Maria mit dem Kinde von Lucas Cranach der Ältere, das Bildnis Sebastian Brants von Hans Burgkmair der Ältere und die Die Geburt Christi von Hans Baldung. Dessen Markgrafentafel geriet durch Eigentumsstreitigkeiten 2006 in die Schlagzeilen und führte auch zu politischen Auseinandersetzungen. Einer der größten Ankaufserfolge, welche ein deutsches Museum in der Nachkriegszeit verbuchen konnte, betrifft den sukzessiven Erwerb von sechs der sieben bekannten Tafeln eines Passionsaltars um 1450 – der Notname des Malers nach diesem Werk „Meister der Karlsruher Passion“ – eine siebte Tafel befindet sich in deutschem öffentlichen Besitz (Wallraf-Richartz Museum, Köln).

In der Abteilung niederländischer und flämischer Malerei des 16. Jahrhunderts finden sich, neben den erwähnten Werken, das Bildnis der Marchesa Veronica Spinola Doria von Peter Paul Rubens, Moses schlägt Wasser aus dem Felsen von Jacob Jordaens, das Stillleben mit Küchengeräten und Lebensmitteln von Frans Snyders, das Dorffest von David Teniers dem Jüngeren, das Stillleben mit Zitrone, Orangen und gefülltem Römer von Willem Kalf, ein Junges Paar beim Frühstück von Gabriel Metsu, Im Schlafzimmer von Pieter de Hooch, die Große Baumgruppe am Wasser von Jacob Izaaksoon van Ruisdael, eine Flusslandschaft mit Melkerin von Aelbert Jacobsz. Cuyp sowie ein Augenbetrüger-Stillleben von Samuel van Hoogstraten.

Weitere Beispiele französischer Malerei des 17. bzw. 18. Jahrhunderts sind Die Anbetung des Goldeen Kalbes von Claude Lorrain, die Vorbereitung zur Tanzstunde der Brüder Le Nain, das Bildnis des Marschalls Charles-Auguste de Matignon von Hyacinthe Rigaud, das Bildnis eines jungen Edelmannes im Jagdkostüm von Nicolas de Largillière, Der Sturm von Claude Joseph Vernet und Das Menuett von Nicolas Lancret. Aus dem 19. Jahrhundert finden sich mit Felsiges Waldtal bei Cività Castellana von Gustave Courbet, Die Beweinung Christi von Eugène Delacroix, dem Kinderbildnis Le petit Lange von Édouard Manet, dem Bildnis der Madame Jeantaud von Edgar Degas, dem Landschaftsbild Junimorgen bei Pontoise von Camille Pissarro, Häuser in Le Pouldu von Paul Gauguin und Blick auf das Meer bei L’Estaque von Paul Cézanne weitere Arbeiten französischer Künstler in der Kunsthalle.

Einen Schwerpunkt der Sammlung bildet die deutsche Malerei und Skulptur des 19. Jahrhunderts. Von Joseph Anton Koch besitzt die Kunsthalle eine Heroische Landschaft mit Regenbogen, von Georg Friedrich Kersting das Gemälde Der Maler Gerhard Kügelgen in seinem Atelier, von Caspar David Friedrich das Landschaftsbild Felsenriff am Meeresstrand und von Karl Blechen den Blick auf das Kloster Santa Scolastica. Weitere bedeutende Werke dieser Abteilung sind Die Störung von Adolph Menzel sowie das Jugendliche Selbstbildnis, das Bildnis Nanna Risi und Das Gastmahl des Plato von Anselm Feuerbach.

Für die Präsentation des Werkkomplexes von Hans Thoma wurde 1909 in der Kunsthalle ein ganzer Gebäudetrakt errichtet. Hauptwerke des Künstlers sind etwa das Genrebild Die Geschwister sowie die, im Auftrag der großherzöglichen Familie geschaffene, Thoma-Kapelle mit ihren religiösen Themen.

Von den deutschen Zeitgenossen Hans Thomas sind Max Liebermann mit Am Strand von Noordwijk und Lovis Corinth mit einem Bildnis seiner Frau im Museum vertreten. Darüber hinaus besitzt die Kunsthalle Werke von Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner und Max Klinger.

Im Gebäude der benachbarten Orangerie sind Werke der Sammlung und Neuankäufe aus den Jahren nach 1952 zu sehen. In zwei integrierten Grafikkabinetten gibt das Kupferstichkabinett Einblick in seinen Bestand zeitgenössischer Kunst auf Papier. Aus der Zeit nach 1945 finden sich die Arbeiten Araber mit Fußspuren von Jean Dubuffet, Schwammrelief >RE 48:Sol.1960< von Yves Klein, Ehrung des Quadrates: Gelbes Zentrum von Josef Albers, das Stadtbild F von Gerhard Richter und die Fixe Idee von Georg Baselitz in der Kunsthalle. Die Sammlung der Klassischen Moderne wanderte in das Hauptgebäude. Beispiele für Gemälde aus der Zeit bis 1945 sind Der Eiffelturm von Robert Delaunay, die Improvisation 13 von Wassily Kandinsky, Rehe im Wald II von Franz Marc, Leute am blauen See von August Macke, das Selbstbildnis Der Maler von Ernst Ludwig Kirchner, das Merzbild 21b von Kurt Schwitters, Der Wald von Max Ernst, Torturm II von Lyonel Feininger, Die Sieben Todsünden von Otto Dix und der Abtransport der Sphinxe von Max Beckmann. Darüber hinaus zeigt das Museum regelmäßig Sonderausstellungen.

de.wikipedia.org/wiki/Staatliche_Kunsthalle_Karlsruhe

Less than an hour after the Scotsman had passed on the Little North Western 60163 Tornado passed on the adjoining and slightly higher Settle Carlisle line. Hunter Bark, the moorland above the railway, is just over one thousand feet above sea level which is just about the altitude up at Ribblehead. Twelve miles mainly at 1:100 known as the Long Drag achieves the climb for all locos great and small.

Kanmantoo - former mining centre on SA Company Land.

When both the Paringa Mining Company and the SA Company applied for the Mt Barker Special Mining Survey in late 1845 the double application was solved by allotting strips of land to each company as shown in the map earlier. The SA Company had sent their geologists to the area to look for copper and they had had some success. William Giles, the SA Company Manager hoped for great success but this eluded the Company. By 1846 the SA Company had a mine site up and working with 25 mainly Cornishmen employed but the high cost of transport to and from Port Adelaide, (£200 a round trip) meant that the mine never made a profit or dividend for the SA Company. The mine also had a problem as the miners at Kanmantoo were paid less than those at Burra and most left anyway for the Victorian goldfields in 1851. Ore was smelted at Callington smelters or at Mr Dawes smelter at Dawesley. Eventually the SA Company sold its land to the Kanmantoo Mining and Smelting Company in 1862. This company only lasted until 1869. The New Kanmantoo Company mined the area from 1869-1874 with the Company mine closing in 1874 but private miners continued working the area for the next thirty years usually employed by Peter Lewis the blacksmith of Kanmantoo. In 1860 and again in 1886 some silver was also found in the mining area at Aclare mine near St Ives but this closed quickly as a company operation but was also worked by individuals until it finally closed in 1912. The village of St Ives, what was left of it, is now under the freeway built in 1977.

 

But where was the Kanmantoo mine? It was in several satellite villages to Kanmantoo such as ;Staughton near the current freeway; St Ives also near the freeway but on Paringa Mining Company land not the SA Company land; and at Tavistock between Kanmantoo and the Bremer River. So mining was widespread with Kanmantoo in the middle of all the villages. Kanmantoo was the SA Company base with the Company store and other administrative functions there. The other villages lasted from the first mining in 1846 to late in the 19th century by which time they were generally deserted. This was also the period when most of the mining companies sold off their lands for wheat farming. Although Staughton had a Primitive Methodist chapel (1849) for use by the strongly Methodist Cornish miners, Kanmantoo was the town that got most of the necessary public buildings. It was established in 1849 as a town site on the new government road via Callington to Wellington and the Murray River. Within a few years Kanmantoo had 66 houses, two hotels, a Methodist Church built in 1864, a blacksmith and a general store. The Primitive Methodists had built an early chapel in 1847 but all traces of this disappeared quickly when it was replaced in 1864 by a new Primitive Methodist Church. This Methodist church became the town school building which is now the community hall. Kanmantoo School operated from the early years (1857) in several different locations and in 1880 it became a provisional school with government inspections. The Education Department bought the Primitive Methodist Church in 1921 as a state school and we can see where they replaced a gothic church window with a typical school room window in the 1920s. By 1953 the school had a mere 3 students and it was closed by the government. As a community hall it has a problem for table tennis as the floor was designed to slope towards the pulpit at the front!

 

One year after the Primitive Methodists built their new Kanmantoo Church the more upper class Wesleyan Methodists built a fine church (1865) in Kanmantoo in Cook Street. It still stands and has a façade with unusual brickwork around the window above the door and the bell cover. When the 3 branches of Methodists united in 1900 the Primitives gave up their church, (which eventually became the town school), and the former Wesley Methodist Church became the only Methodist church in Kanmantoo. The last service was held in this building in 1956 and it is now a private house. It should be in the Register of the National Estate in our opinion because of its historical associations with the Cornish miners of Kanmantoo and its unusual architecture.

  

Primitive Methodist Church later Kanmantoo state school. The Kanmantoo Wesleyan Methodist 1865.

 

Kanmantoo also had a Catholic Church built in 1858 as some of the miners were of Irish descent. St Thomas Church was L shaped and quite large on Nursery Street. It was during the 1850s that several large Irish Catholic families arrived at Kanmantoo mines. Father O’Brien laid the foundation stone of the Catholic Church in April 1858. As the congregation swelled with additions to the Irish families a new section was added in 1865 to create the current L shaped appearance. St Thomas’ Catholic Church closed in 1956 and was saved from demolition when new owners restored it as a residence. Lutherans in Kanmantoo travelled to St Peter’s Lutheran church in Callington which was erected in 1864. It appears that most Anglicans in Kanmantoo travelled to St James Anglican Church at Blakiston.

 

Kanmantoo unlike the other villages survived as a rural service centre for the local wheat farmers. The grain was taken to Nairne, not far away for milling. One of the early farmers was Charles Young who had been a surveyor for the Paringa Mining Company in 1856 when it sold off much of its land not considered suitable for mining. He also surveyed Harrogate. Young bought up land from the Paringa Mining Company in 1866 and called it Holmesdale. It was located near St Ives, just outside Kanmantoo. Within a year he had 25 acres under vines which he quickly increased to 40 acres. He established a winery there that operated for many years. He had an arrangement to use the Kanmantoo school children to pick the grapes and he sold most of his wine to England. He became the squire of the district, representing the area in the Legislative Council, in local government as a councillor and he indulged his interests of education, horse racing and Aboriginal welfare. He used to visit Point McLeay Mission (now Raukkan) and he brought back to Holmesdale in 1887 a young 15 year Aboriginal boy called David Unaipon. We now know that Unaipon went on to publish scientific articles, write books, invent a special shearing comb for sheep and he is depicted on the $50 Australian note. When Charles Young died in 1904 his son Harry took over the property and continued his father’s work. He continued to provide a home for David Unaipon who lived on the Young property most of his life; Harry also became a local councillor; he supported horse racing (there is still a Harry D Young hurdles race at the Easter Oakbank races each year) but he pulled out his father’s vines in 1939 and ended the Kanmantoo winery. Harry Young died in 1944.

 

Another well known one time resident of Kanmantoo was Dame Enid Lyons who went to school there. Her widowed mother, Eliza Tagget, lived in Kanmantoo before going to Queensland and later to Tasmania. It was in Tasmania that Dame Enid Lyons met her future husband Jo Lyons who became Prime Minister of Australia and established the party that later became the Liberal-Country Party of Australia. Apart from famous residents Kanmantoo also has a well known forest plantation. The combined district schools Arbor Day of 1897 was when the plantation to celebrate Queen Victoria’s Diamond Jubilee on the throne was created. This plantation still stands despite drought and floods. The creeks and the Bremer River have all flooded on a number of occasions. The worse floods were in 1894, 1913, and in 1939 when the Princes Highway to Melbourne was cut. Evidence of the floods is still visible. The flats below Kanmantoo were also used periodically for military camps and training between 1880 and 1939.

 

In more modern times Kanmantoo has had a mining resurgence. The copper lodes were worked again between 1970 and 1976 yielding 36,000 tons of copper and 9,000 ounces of gold. More recently Hillgrove Resources has restarted the copper and gold mines of Kanmantoo using modern methods of ore extraction. Hillgrove started on this journey in 2004, getting mining leases in 2008 and finally approval to go ahead with the new mine in 2010. After a further year of construction and work the new processing plant was commissioned for work in November 2011. This construction and site preparation phase has cost Hillgrove $121 million. This large open cut mine will have a life of around 6.5 years and Hillgrove expect to extract 20,000 tons of copper and 10,000 ounces of gold. The mine site was employing 150 people, half of the contractors, by the end of 2011. So the original impetus to settlement is once again relevant to the survival of tiny township of Kanmantoo almost 170 years after its founding.

 

My father took this photo of his L-reg Mini Van in the winter of 84/85, when I was less than a year old. It will forever be one of my favourite pictures, although the damage on the actual photograph happened during my care.

 

Revealing a few pieces of my childhood / my life / me: The right-hand driveway post with its missing concrete top was often used by people for their litter, much to our disapproval. The door frame you can see is... was... our back door, leading to the kitchen with bright red venetian blinds that I miss seeing the sun beam through. Glass milk bottles with thin foil caps used to be delivered regularly on that doorstep. Once I dropped one of them on the kitchen floor; it smashed with ease. The out-building was a 'wash house'. There was a toilet and sink in there perhaps before from the house was fitted with such things. The rest of that building housed a great amount of my father's old possessions and left-overs from his hardware and video businesses. The fence behind the Mini van was a sky-blue colour. The pieces were tall but thin and I remember the wood being very crumbly when it decayed. There was a uniquely shaped Elderberry tree hidden by the 'wash house' which was my tree house and where I lost a spare key to the Morris Marina and probably a few Matchbox cars. There were a few lost in the loose gravel guttering between buildings and paving flags, like a metallic green VW Beetle with 'monster truck wheels', as well as countless things lost in the front and back gardens over the course of my childhood. I still have a scar on my knee from falling on the driveway when I was very young. My dad had a Yugo at the time. I remember him patching me up in our dining room with it's old dark wood oddments of furniture and his dark grey Amstrad computer. Maybe he'd just upgraded to that Windows 3.1 thing that turned beige so fast from my parent's smoking... The memories are fragmented. I'm baring all this to you strangers because even if the house remains, even if the driveway post is still missing it's top... everything that I knew and grew up around is gone. The person I would have shared all these private memories with is also gone. Guess I want some memory of me to stay behind.

Hutley's

501 Main St, Islip, NY

Now Maxwell's (by Lessing's)

" Roads less Traveled" May also have roads less Traveled !

I've been totally absent from the photography scene for quite a while now thanks to exams! I set up a photoshoot together with Ruth, a good friend of mine, and my photography-sidekick Jonathan Cole. Ruth has never modelled in front of a camera before and was quite dead after a long night out, but we still managed to have a good time and pull off some cool shots!

 

The revolver is an authentic Colt 6-rounder, the same one used in my previous "Mafia" photoshoot with Jonathan Cole.

 

Strobist Info:

1x 430EXII camera left fired at 1/4 power 35mm fitted with a DIY snoot made out of black cardboard! Triggered by PT-04M.

Processing:

Adobe Lightroom 2.5 and Photoshop CS4

 

View On Black

Hello Flickr Peeps.....just a post today, no drama here....

I have cleaned out my Contact List - I believe in this hobby "Less Is More" - how can someone with 1900 contacts, or even 1200 contacts possibly see your pretty photos or leave comments on your stream? Last night I cleaned out my contact list and deleted about 50 people. If you had not posted any pics in many months, chances are I deleted you. I am trying to keep this very upbeat, but some really bad things happened this week and it made me realize that 'less is more' and true friends are very hard to come by anymore. I had someone recently favorite approximately 150 of my pics and not a single comment whatsoever - I felt that was very rude and inconsiderate. Thanks for reading this and make it a great day.....