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Ever wonder what those numbers under the locomotive number on the cab of the Union Pacific steam locomotives represent? If yes, well here you go:
4-8-8-4 - wheel arrangement
1 - series (group 1 4000-4019)
68 - driver diameter in inches
24 - cylinder diameter in inches
32 - piston stroke in inches
540 - locomotive weight on drivers in tons
DB - stoker type
Eastlink sculpture by Jos Van Hulsen.
The artist transforms discarded distance counters from the Victorian Railways into towers that are memorials to statistics of both distance and casualties. In a culture bombarded with numbers every day, Reverent Numbers seeks to provide a connection with these human tragedies by embedding the towers with mirrors. On closer inspection, the viewer can catch a glimpse of himself or herself, a friend or stranger, who are all a possible statistic.
WorldMax Prestige 14″ X 6.5″ Cast Brass Snare Drum. WMS MBR-1465.
Very Heavy, Weighs 18lbs.
WorldMax snare drums may be the best kept secret in the drum industry! They keep on knocking out of the park but this is a whole different animal. BEAST more like! Chunky, cast 3 mm Brass shell. Heavy duty shells like this were a thing of the ’80s and ’90s. Well guess what? They’re back! Contemporary heavy-hitters, such as Matt Halpern of Periphery, have once again popularised these heavy metal tubs. The best way to describe the sound, aside from going and listening to ‘Blood Eagle’, is; drier than you think, super solid, punchy attack, real thick mid to mid-high range with enhanced lows – when people talk about snare drums sounding like a gunshot, this is that drum! Unfortunately, such drums from Pearl, Sonor, VK and like typically cost the Earth. While this drum ain’t cheap, it’s still about £400 less than the cheapest offering from such companies. The build quality? We challenge you to tell the difference. Very limited numbers of these.
You’re looking at one of WorldMax’s fanciest drums here. The Prestige line. Chrome hardware, natural Brass shell, Die-Cast hoops – minimalist, understated and a serious heavy weight. The hardware choice and shell depth of this particular drum means that it is like hitting a brick wall, which, depending on your choice of heads, tuning and how you play it, means that, to your adoring fans, it’ll sound like they’re getting hit by a brick wall! Designed for serious volume and power.
Fantastic snare drum.
Features
Thick, cast 3 mm Brass shell with 5mm Integrated re-rings.
Chrome hardware
Die-Cast hoops
Ten lugs
Angular tube lugs
Traditional S-11 strainer
High quality snare wires
WorldMax/Remo heads
Once again, WorldMax bring you a serious quality snare drum at a fraction of the price of other manufacturer’s models. Make no mistake; it’s no coincidence or industry rumour that WorldMax supply their shells, and parts to other drum companies to badge up as ‘their own’ drums! We have tuned WorldMax Snare drums in-house and compared them to other world leading brands, often concluding that there really isn’t much, if any difference in sound between name badges.
Beautiful and rare SONY transistor radio, I was very lucky to find it at my favorite flea market. It was very dirty so I disassemble it to give it a good cleaning and now it looks great although it shows the passage of time and wear by the use. The cabinet has slightly trapezoid shape and the slide rule tuning dial has numbers and CD marks painted on the reverse side. But what sets it apart is the beautiful "V" -shaped brass plate topped with the SONY scutcheon.
The chassis has six SONY transistors (2T512, 2T520, 2T524, 2T66 and 2T84 x 2), as well as three SONY diodes (1T41 and 1T23 x 2); and requires three 1.5V "C" size batteries.
For more detailed information on this transistor radio, do not miss the RADIO WALLAH site.
Zion National Park Autumn Colors & Fall Foliage Fine Art Photography 45EPIC Dr. Elliot McGucken Fine Art Landscape and Nature Photography: Sony A7RII and Nikon D810!
www.facebook.com/Epic-Poetry-for-Epic-Landscape-Photograp...
Did you know that John Muir, Thoreau, and Emerson all loved epic poetry and poets including Shakespeare, Milton, Homer, and Robert Burns?
How inspiring the grandeur of Zion is! It reminds us of those entities greater than ourselves, such as Homer's Iliad and Odyssey and Light Time Dimension Theory!
I recently finished my fourth book on Light Time Dimension Theory, much of which was inspired by an autumn trip to Zion!
www.facebook.com/lightimedimensiontheory/
Via its simple principle of a fourth expanding dimension, LTD Theory provides a unifying, foundational *physical* model underlying relativity, quantum mechanics, time and all its arrows and asymmetries, and the second law of thermodynamics. The detailed diagrams demonstrate that the great mysteries of quantum mechanical nonlocality, entanglement, and probability naturally arise from the very same principle that fosters relativity alongside light's constant velocity, the equivalence of mass and energy, and time dilation.
Follow me on intsagram!
Join my new 45EPIC fine art landscapes page on facebook!
Fresh snow! More on my golden ratio musings: The Golden Number Ratio Principle: Why the Fibonacci Numbers Exalt Beauty and How to Create PHI Compositions in Art, Design, & Photography facebook.com/goldennumberratio
Best wishes on your epic hero's odyssey!:)
Zion National Park Winter Fine Art Photography 45EPIC Dr. Elliot McGucken Fine Art Landscape and Nature Photography
Loved hiking the Zion Narrows and visiting the Zion Subway!
Inveraray Highland Games 2014
The Inveraray Highland Games were said to have started in 1563, when Mary Queen of Scots visited her half-sister The Countess of Argyll and was shown a display of athletics by the young men of the area. The next recorded games were in 1844 when Lady Elizabeth Levenson-Gower was the Duchess of Argyll and the Games were known as the Inveraray Regatta and Sports Club.
The Duke of Argyll was appointed Chieftain of the Games in 1904, a position still held today, which involves the Duke leading the marching bands, Games officials and supporters through the town before officially opening the Games for the day.
The Inveraray Highland Games have been held on the first Tuesday of Glasgow Fair ever since, apart from during the Second World War, and are now at the Winterton Park, loaned by the Duke for the occasion.
The Games consist of traditional solo piping, highland dancing, heavy, field and track events and wrestling, demonstrated by some of the finest in their fields from all over Great Britain and overseas. One of the highlights of the Inveraray Games is the Challenge Caber, one of the longest cabers in the Games circuit measuring 21 feet and 6 inches. The caber is thrown and judged on the style of the throw, rather than the distance. Since 2009 the World Caber Championship has been held at the Highland Games
Banteay Srei or Banteay Srey (Khmer: ប្រាសាទបន្ទាយស្រី) is a 10th-century Cambodian temple dedicated to the Hindu god Shiva. Located in the area of Angkor in Cambodia. It lies near the hill of Phnom Dei, 25 km north-east of the main group of temples that once belonged to the medieval capitals of Yasodharapura and Angkor Thom. Banteay Srei is built largely of red sandstone, a medium that lends itself to the elaborate decorative wall carvings which are still observable today. The buildings themselves are miniature in scale, unusually so when measured by the standards of Angkorian construction. These factors have made the temple extremely popular with tourists, and have led to its being widely praised as a "precious gem", or the "jewel of Khmer art."
HISTORY
FOUNDATION & DEDICATION
Consecrated on 22 April 967 A.D., Bantãy Srĕi was the only major temple at Angkor not built by a monarch; its construction is credited to a courtier named Yajnavaraha / Yajñavarāha (modern Khmer: យជ្ញវរាហៈ), who served as a counsellor to king Rajendravarman II (modern Khmer: ព្រះបាទរាជេន្រ្ទវរ្ម័ន).The foundational stela says that Yajnavaraha, grandson of king Harsavarman I, was a scholar and philanthropist who helped those who suffered from illness, injustice, or poverty. His pupil was the future king Jayavarman V (r. 968- ca. 1001). Originally, the temple was surrounded by a town called Īśvarapura.
Yajñavarāha's temple was primarily dedicated to the Hindu god Śiva. Originally, it was carried the name Tribhuvanamaheśvara - great lord of the threefold world - in reference to the Shaivite linga that served as its central religious image. However, the temple buildings appear to be divided along the central east-west axis between those buildings located south of the axis, which are devoted to Śiva, and those north of the axis, which are devoted to Viṣṇu.
The temple's modern name, Bantãy Srĕi - citadel of the women, or citadel of beauty - is probably related to the intricacy of the bas relief carvings found on the walls and the tiny dimensions of the buildings themselves. Some have speculated that it relates to the many devatas carved into the walls of the buildings.
EXPANSION & REDICATION
Bantãy Srĕi was subject to further expansion and rebuilding work in the eleventh century. At some point it came under the control of the king and had its original dedication changed; the inscription K 194 from Phnoṃ Sandak, dated Monday, the 14th or 28 July 1119 A.D. records (line B 13) the temple being given to the priest Divākarapaṇḍita and being rededicated to Śiva. It remained in use at least until the fourteenth century according to the last known inscription K 569, dated Thursday, 8 August 1303 A.D.
RESTAURATION
The temple was rediscovered only in 1914, and was the subject of a celebrated case of art theft when André Malraux stole four devatas in 1923 (he was soon arrested and the figures returned). The incident stimulated interest in the site, which was cleared the following year, and in the 1930s Banteay Srei was restored through the first important use of anastylosis at Angkor whereby a ruined building or monument is restored using the original architectural elements to the greatest degree possible. Until the discovery of the foundation stela in 1936, it had been assumed that the extreme decoration indicated a later date than was in fact the case. To prevent the site from water damage, the joint Cambodian-Swiss Banteay Srei Conservation Project installed a drainage system between 2000 and 2003. Measures were also taken to prevent damage to the temples walls from nearby trees.
Unfortunately, the temple has been ravaged by pilfering and vandalism. When toward the end of the 20th century authorities removed some original statues and replaced them with concrete replicas, looters took to attacking the replicas. A statue of Shiva and his shakti Uma, removed to the National Museum in Phnom Penh for safekeeping, was assaulted in the museum itself.
MATERIALS & STYLE
Banteay Srei is built largely of a hard red sandstone that can be carved like wood. Brick and laterite were used only for the enclosure walls and some structural elements. The temple is known for the beauty of its sandstone lintels and pediments.
A pediment is the roughly triangular space above a rectangular doorway or openings. At Banteay Srei, pediments are relatively large in comparison to the openings below, and take a sweeping gabled shape. For the first time in the history of Khmer architecture, whole scenes of mythological subject-matter are depicted on the pediments.
A lintel is a horizontal beam spanning the gap between two posts. Some lintels serve a structural purpose, serving to support the weight of the superstructure, while others are purely decorative in purpose. The lintels at Banteay Srei are beautifully carved, rivalling those of the 9th century Preah Ko style in quality.
Noteworthy decorative motifs include the kala (a toothy monster symbolic of time), the guardian dvarapala (an armed protector of the temple) and devata (demi-goddess), the false door, and the colonette. Indeed, decorative carvings seem to cover almost every available surface. According to pioneering Angkor scholar Maurice Glaize, "Given the very particular charm of Banteay Srei – its remarkable state of preservation and the excellence of a near perfect ornamental technique – one should not hesitate, of all the monuments of the Angkor group, to give it the highest priority." At Banteay Srei, wrote Glaize, "the work relates more closely to the art of the goldsmith or to carving in wood than to sculpture in stone".
THE SITE
The site consists of three concentric rectangular enclosures constructed on an east-west axis. A causeway situated on the axis leads from an outer gopura, or gate, to the third or outermost of the three enclosures. The inner enclosure contains the sanctuary, consisting of an entrance chamber and three towers, as well as two buildings conventionally referred to as libraries.
THE OUTER GOPURA
The gopura is all that remains of the outer wall surrounding the town of Isvapura. The wall is believed to have measured approximately 500 m square, and may have been constructed of wood. The gopura's eastern pediment shows Indra, who was associated with that direction, mounted on his three-headed elephant Airavata. The 67 m causeway with the remains of corridors on either side connects the gopura with the third enclosure. North and south of this causeway are galleries with a north-south orientation.
THE THIRD (OUTER) ENCLOSURE
The third enclosure is 95 by 110 m; it is surrounded by a laterite wall breached by gopuras at the eastern and western ends. Neither pediment of the eastern gopura is in situ. The west-facing pediment is now located in the Musée Guimet in Paris. It depicts a scene from the Mahabhārata in which the Asura brothers Sunda and Upasunda fight over the Apsara Tilottama. The east-facing pediment is lying on the ground. It depicts a scene from the Rāmāyaṇa in which a demon seizes Rama's wife Sita. Most of the area within the third enclosure is occupied by a moat divided into two parts by causeways to the east and west.
THE SECOND ENCLOSURE
The second enclosure sits between an outer laterite wall measuring 38 by 42 m, with gopuras at the eastern and western ends, and a brick inner enclosure wall, measuring 24 by 24 m. The western gopura features an interesting bas relief depicting the duel of the monkey princes Vāli and Sugriva, as well as Rāma's intervention on Sugrīva's behalf. The inner enclosure wall has collapsed, leaving a gopura at the eastern end and a brick shrine at the western. The eastern pediment of the gopura shows Śiva Nataraja; the west-facing pediment has an image of Durga. Likewise, the laterite galleries which once filled the second enclosure (one each to north and south, two each to east and west) have partially collapsed. A pediment on one of the galleries shows the lion-man Narasiṃha clawing the demon Hiranyakashipu.
THE FIRST (INNER) ENCLOSURE
Between the gopuras on the collapsed inner wall are the buildings of the inner enclosure: a library in the south-east corner and another in the north-east corner, and in the centre the sanctuary set on a T-shaped platform 0.9 m high. Besides being the most extravagantly decorated parts of the temple, these have also been the most successfully restored (helped by the durability of their sandstone and their small scale). In 2010, the first enclosure is open to visitors again, but the inner temples are roped off and inaccessible.
THE LIBRARIES
The two libraries are of brick, laterite and sandstone. Each library has two pediments, one on the eastern side and one on the western. According to Maurice Glaize, the four library pediments, "representing the first appearance of tympanums with scenes, are works of the highest order. Superior in composition to any which followed, they show true craftsmanship in their modelling in a skilful blend of stylisation and realism."
The east-facing pediment on the southern library shows Śiva seated on the summit of Mount Kailāsa, his mythological abode. His consort Umā sits on his lap and clings anxiously to his torso. Other beings are also present on the slopes of the mountain, arranged in a strict hierarchy of three tiers from top to bottom. In the top tier sit bearded wise men and ascetics, in the middle tier mythological figures with the heads of animals and the bodies of humans, and in the bottom tier large animals, including a number of lions. In the middle of the scene stands the ten-headed demon king Rāvaṇa. He is shaking the mountain in its very foundations as the animals flee from his presence and as the wise men and mythological beings discuss the situation or pray. According to the legend, Śiva stopped Rāvaṇa from shaking the mountain by using his toe to press down on the mountain and to trap Rāvana underneath for 1000 years.
The west-facing pediment on southern library shows Śiva again seated on the summit of Mount Kailāsa. He is looking to his left at the god of love Kāma, who is aiming an arrow at him. Umā sits to Śiva's right; he is handing her a chain of beads. The slopes of the mountain are crowded with other beings, again arranged in a strict hierarchy from top to bottom. Just under Śiva sit a group of bearded wise men and ascetics, under whom the second tier is occupied by the mythological beings with the heads of animals and the bodies of humans; the lowest tier belongs the common people, who mingle sociably with tame deer and a large gentle bull. According to the legend, Kāma fired an arrow at Śiva in order to cause Śiva to take an interest in Umā. Śiva, however, was greatly angered by this provocation, and punished Kāma by gazing upon him with his third eye, frying Kāma to cinders.
The east-facing pediment on the northern library shows the god of the sky Indra creating rain to put out a forest fire started by the god of fire Agni for purposes of killing the nāga king Takshaka who lived in Khandava Forest. The Mahābhāratan heroes Kṛṣṇa and Arjuna are shown helping Agni by firing a dense hail of arrows to block Indra's rain. Takṣaka's son Aśvasena is depicted attempting to escape from the conflagration, while other animals stampede about in panic.
The west-facing pediment on the southern library depicts Kṛṣṇa slaying his wicked uncle Kamsa.
THE SANCTUARY
The sanctuary is entered from the east by a doorway only 1.08 m in height: inside is an entrance chamber (or maṇḍapa) with a corbelled brick roof, then a short corridor leading to three towers to the west: the central tower is the tallest, at 9.8 m. Glaize notes the impression of delicacy given the towers by the antefixes on each of their tiers. The six stairways leading up to the platform were each guarded by two kneeling statues of human figures with animal heads; most of those now in place are replicas, the originals having been stolen or removed to museums.
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Angkor is a region of Cambodia that served as the seat of the Khmer Empire, which flourished from approximately the 9th to 15th centuries. The Angkorian period began in AD 802, when the Khmer Hindu monarch Jayavarman II declared himself a universal monarch and god-king, and lasted until the late 14th century, first falling under Ayutthayan suzerainty in 1351. A Khmer rebellion resulted in the 1431 sacking of Angkor by Ayutthaya, causing its population to migrate south to Longvek.
The ruins of Angkor are located amid forests and farmland to the north of the Great Lake (Tonlé Sap) and south of the Kulen Hills, near modern-day Siem Reap city, in Siem Reap Province. The temples of the Angkor area number over one thousand, ranging in scale from nondescript piles of brick rubble scattered through rice fields to the magnificent Angkor Wat, said to be the world's largest single religious monument. Many of the temples at Angkor have been restored, and together, they comprise the most significant site of Khmer architecture. Visitor numbers approach two million annually, and the entire expanse, including Angkor Wat and Angkor Thom is collectively protected as a UNESCO World Heritage Site. This popularity of the site among tourists presents multiple challenges to the preservation of the ruins.
In 2007, an international team of researchers using satellite photographs and other modern techniques concluded that Angkor had been the largest preindustrial city in the world, with an elaborate infrastructure system connecting an urban sprawl of at least 1,000 square kilometres to the well-known temples at its core. The closest rival to Angkor, the Mayan city of Tikal in Guatemala, was between 100 and 150 square kilometres in total size. Although its population remains a topic of research and debate, newly identified agricultural systems in the Angkor area may have supported up to one million people.
The Angkorian period may be said to have begun shortly after 800 AD, when the Khmer King Jayavarman II announced the independence of Kambujadesa (Cambodia) from Java and established his capital of Hariharalaya (now known as Roluos) at the northern end of Tonlé Sap. Through a program of military campaigns, alliances, marriages and land grants, he achieved a unification of the country bordered by China to the north, Champa (now Central Vietnam) to the east, the ocean to the south and a place identified by a stone inscription as the land of cardamoms and mangoes to the west. In 802, Jayavarman articulated his new status by declaring himself universal monarch and, in a move that was to be imitated by his successors and that linked him to the cult of Siva, taking on the epithet of god-king (devaraja). Before Jayavarman, Cambodia had consisted of a number of politically independent principalities collectively known to the Chinese by the names Funan and Chenla.
In 889, Yasovarman ascended to the throne. A great king and an accomplished builder, he was celebrated by one inscription as "a lion-man; he tore the enemy with the claws of his grandeur; his teeth were his policies; his eyes were the Veda." Near the old capital of Hariharalaya, Yasovarman constructed a new city, called Yasodharapura. In the tradition of his predecessors, he also constructed a massive reservoir called baray. The significance of such reservoirs has been debated by modern scholars, some of whom have seen in them a means of irrigating rice fields, and others of whom have regarded them as religiously charged symbols of the great mythological oceans surrounding Mount Meru, the abode of the gods. The mountain, in turn, was represented by an elevated temple, in which the "god-king" was represented by a lingam. In accordance with this cosmic symbolism, Yasovarman built his central temple on a low hill known as Phnom Bakheng, surrounding it with a moat fed from the baray. He also built numerous other Hindu temples and ashrams, or retreats for ascetics.
Over the next 300 years, between 900 and 1200, the Khmer Empire produced some of the world's most magnificent architectural masterpieces in the area known as Angkor. Most are concentrated in an area approximately 24 km east to west and 8.0 km north to south, although the Angkor Archaeological Park, which administers the area, includes sites as far away as Kbal Spean, about 48 km to the north. Some 72 major temples or other buildings are found within this area, and the remains of several hundred additional minor temple sites are scattered throughout the landscape beyond. Because of the dispersed, low-density nature of the medieval Khmer settlement pattern, Angkor lacks a formal boundary, and its extent is therefore difficult to determine. However, a specific area of at least 1,000 qkm beyond the major temples is defined by a complex system of infrastructure, including roads and canals that indicate a high degree of connectivity and functional integration with the urban core. In terms of spatial extent (although not in terms of population), this makes it the largest urban agglomeration in human history prior to the Industrial Revolution, easily surpassing the nearest claim, that of the Mayan city of Tikal.
The principal temple of the Angkorian region, Angkor Wat, was built between 1113 and 1150 by King Suryavarman II. Suryavarman ascended to the throne after prevailing in a battle with a rival prince. An inscription says that, in the course of combat, Suryavarman leapt onto his rival's war elephant and killed him, just as the mythical bird-man Garuda slays a serpent.
WIKIPEDIA
It is five years since I was lat at St Andrew. That was on Heritage Day, when it is always a hectic day and blur getting round.
I was back this morning because it was the closest church I felt I needed to revisit, although from previous visits I know this is rarely open outside of Heritage weekend, but I found out later it is open most days now.
Tilmanstone is a former mining village, you would hardly know that now, as has reseverted back to a quiet and leafy place, with the Sandwich road passing close by, but the noise sheltered by trees.
Parking here is always difficult, as the church is on a single track lane, just round the corner there is just about enough room to park outside a cottage.
I take my camera bag up the slope to the church, and through the well-tended churchyard to find the door locked with a combination lock.
I take these shots, then on the way back to the car, the dog in the yard opposite was being very noisy, the owner came to see the source and asked me if I wanted to go inside the church?
Yes please.
He took me back to the porch, diddled the numbers and the porch door was opened.
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TILMANSTONE.
NORTH-eastward from Barson, the parish of Eythorne only intervening, lies that of Tilmanstone, in the survey of Domesday written Tilemanestone; but is now usually pronounced Tilmeston.
There are two boroughs in this parish, viz. Tilmanstone and Craythorne. The borsholder for Tilmanstone borough is chosen at North Court, it comprehends within its bounds the church and all the northern part of the parish, viz. the upper street and the three manor-houses of Dane-court, North-court, and Southcourt. The borsholder for Craythorne borough is chosen at Eastry-court, and comprehends within its bounds the southern part of this parish, viz. Lower street and Barfield farm, in all nine houses, over all which the manor of Eastry claims paramount.
THIS PARISH is pleasantly situated in a vale, adjoining to an open uninclosed country, with which the contiguous parishes abound. The soil, like that of the neighbourhood, is variable; the vallies more fertile than the higher grounds, which are generally thin and light. The northern part of the parish is more fertile than the southern part of it; the whole contains more than 1100 acres of land, 44 houses, and about 240 inhabitants; it is esteemed exceedingly healthy. This appears from the parish register, in which the ages of numbers of persons buried are from 80 to 100 years, on an average, throughout it, and the births exceed the burials full a third part in number.
There are two streets, or villages, called Upper and Lower Street, in the former of which is the church. The parish is long and narrow, being about a mile from east to west, and near two miles the other way. It is rather an unfrequented place, and has nothing further remarkable in it. There is no fair in it.
William Boys, esq. third son of William Boys, esq. of Nonington, by Mary Ringeley, resided in this parish in queen Elizabeth's time, in the 31st year of which reign, he served in parliament for Queenborough, and died s. p.
THIS PLACE was part of the antient possessions of the fee of Canterbury, and at the time of taking the survey of Domesday, in the 15th year of the Conqueror's reign, was held of the archbishop by knight's service, by William Folet, and it is thus accordingly entered in that record, under the general title of Terra Militum Archiepi.
William (Folet) holds of the archbishop Tilemanestone. It was taxed at one suling. In demesne there are two carucates, and five borderers, formerly it was worth twenty shillings, now it is worth thirty shillings.
After the name of Folet was extinct here, this manor appears to have been held in separate moieties, and in king Henry III.'s reign was in the possession of Sir John de Tiddenden, and Sir Roger de Tilmanstone, who held it of the archbishop by knight's service.
THAT PART OF IT, which was held by the former, afterwards descended down to William de Tiddenden, who died possessed of it in the beginning of king Edward III.'s reign. After which it appears to have come into the name of Warden, as will be further mentioned hereafter. THE OTHER PART, on the death of Sir Roger de Tilmanstone, in king Edward I.'s reign, s. p. was carried by Matilda, his sister and coheir, in marriage to John de Sandhurst, (fn. 1) who made a claim of liberties for this manor in king Edward I.'s reign, the 6th year of it; whose son, John de Sandhurst, of Knolton, succeeded him in it, and died possessed of it in the beginning of king Edward III.'s reign.
¶AFTER WHICH these moieties, from their respective situations, acquired the names of the manors of NORTH and SOUTH COURT; THE FORMER of which was carried by Christian, daughter and heir of John de Sandhurst, in marriage to William Langley, descended out of Warwickshire, whose son William de Langley was afterwards, in her right, of Knolton; and in the 37th year of king Edward III.'s reign had the former liberties granted to this manor confirmed by inspeximus; after which it passed in like manner as Knolton, to the Peytons, in which it continued till Sir Thomas Peyton, bart. alienated it to Sir John Narborough, admiral of the British navy, whose daughter and at length sole surviving heir Elizabeth, married to Sir Thomas D'Aeth, bart. succeeded to this manor among the rest of her inheritance, and their grandson, Sir Narborough D'Aeth, bart. now of Knolton, is the present owner of it. A court leet and court baron is held for this manor.
A dark and atmospheric church on a steep hill above the village-end. Built of flint with stone and brick work of later periods it has changed little in a hundred years. The Victorian benefactors who refurnished the church did us a great favour – keeping the best of the old whilst giving us the best of the new. Most windows are by Kempe and some are uncommonly good – especially King David in the low side window of the nave. Both nave altars had their own arch and window and the Victorian Rood Screen creates a medieval effect. In the chancel is a fine late medieval brass to one of the owners of Dane Court – the big house of the village, because it has always been on the wall it is in pristine condition. The gorgeous reredos by Powell’s showing Christ the Alpha and Omega is especially fine. Outside the gate is a good set of village stocks!
www.kentchurches.info/church.asp?p=Tilmanstone
The church, which is dedicated to St. Andrew, is a small mean building, consisting of a body and chancel, with a square tower at the west end, very low, but formerly higher, having been taken down a few years ago; there is one bell in it. In the chancel, against the east wall, is a brass plate, on it are the figures of a man and woman, on his side one son, on her's three daughters, all kneeling, with the arms of Fogg, with a label of three points, impaling Sackville, with a crescent, for Richard Fogg, esq. and Anne his wife; he died in 1598. A gravestone for Richard Fogg, esq. father of fourteen children, famous for his poetry, and skill in heraldry, obt. 1680. A gravestone for Jane, daughter of the Rev. Strangford Viol, late rector of Upminster, in Essex, and Jane his wife, daughter of Richard Fogg, esq. obt. 1719; she married Edward Jacob, surgeon, of Canterbury, who died in 1756. In the east window are three shields of painted glass; the first, the field gone, On a chief, azure, three lions rampant, or; on the sides in black letter, Sir John Lisle, knt. The field was probably or; second, Gules, a cross, argent; third, azure, a bend cotized, argent, between six martlets of the second, under which was formerly this legend, Orate p aia Wi. Tonge, now obliterated. In the north window are remaining four figures; first, a man in armour with a shield, having a plain cross on it, on his breast, in the attitude of thrusting a lance through the jaws of a beast lying at his feet; probably, by the cross designed for St. George; second, a young man crowned; third, an older man crowned, with a globe and sceptre in his hands, and seemingly weeping; fourth, an antient man kneeling, full bearded, on his shoulder a child holding a globe and sceptre, to which he is looking up. In the south window is the figure of a man bearded, with a palmer's bonnet on, and staff, holding in his right hand a book. In the body of the church, a marble monument against the north wall, near the chancel, and inscription, shewing that in the vault underneath are deposited the remains of Michael Hatton, esq. of Dane-court, obt. 1776; also Mrs. Alice Hatton, his widow, obt. 1791; arms, Azure, a chevron, between three wheat sheaves, or, impaling gules, three lilies, argent, stalked and leaved, vert. A monument against the same wall for Thomas Michael Tierney, late student of Brazen Noze college, Oxford, and son of Thomas Tierney, of London, by Savine his wife, obt. 1770, at Arras, in France, on his return to England, æt. 19. On seven different gravestones are memorials for the Smiths, resident at Thornton, from the year 1632 to 1664. In the windows of this church were formerly much more painted glass, both of figures and coats of arms.
This church was antiently part of the possessions of the knights hospitallers of St. John of Jerusalem, to whom it was appropriated by archbishop Langton, about the end of king John's reign; the archbishop reserving to himself and successors, the nomination and institution of a vicar, and at the same time he endowed the vicarage, decreeing that the vicar should receive the whole altarage, and the moiety of all the tithes belonging to this church, and a certain messuage, &c. belonging to it; (fn. 3) in which state the appropriation and vi carage of this church remained until the dissolution of the above order, in the 32d year of king Henry VIII.'s reign, when they both came into the king's hands, and remained there till the year 1558, being the last of Philip and Mary, when the advowson of the vicarage was granted among others to the archbishop; and the appropriation likewise in the third year of queen Elizabeth, this rectory being then valued at six pounds per annum; since which both the appropriation and advowson have remained part of the possessions of the see of Canterbury, the archbishop being now possessed of them. The vicarage of Tilmanstone is valued in the king's book at 7l. 12s. 6d. It is now a discharged living, and is of the yearly value of forty-five pounds. In 1588 here were one hundred and nine communicants, in 1640 there were the like number of communicants, and it was valued at fifty pounds. In 1740 it was of the value of sixty pounds.
Archbishop Wake, in 1719, on the petition of Nicholas Carter, vicar of this church, gave licence for him to take down the old vicarage-house and to erect a new one. (fn. 4) This vicarage is at present endowed with one half of the great tithes, with a vicarage-house, and garden only, for the vicar's use. The remaining half of the great tithes belongs to the parsonage, with twenty-four acres of glebe land, held on a beneficial lease from the archbishop, by the two sons of the late Mr. John Curling, of Ham. There are fifteen acres of land in this parish allotted as a glebe to Eastry parsonage.
In the parish register (the antient part of it) are the names of Cocks, Fogg, very numerous, Arden, Willford, Billingsley, Bargrave, Pattinson, Burville, Capell, Boys, Picks, and Ower.
After spending a week in the hospital (for elective surgery) and not being able to work on my app for my cell phone, I finally got enough energy back to do so. I thought of an idea with respect to making the numbers of the clock disappear - by having the numbers move away (or back to) their home positions in a spiral path.
My spiral path algorithm needs work (right now, it only seems to work if the point starts at 0° - clearly a bug in my implementation - I stared and stared at the code and just couldn't figure it out, so for now, I have a workaround that does the following: generate the path for 0° then rotate each point for each hour position with a simple trigonometric calculation - ugly, but it works for now) and the timing needs refinement, but it's close to what I wanted.
This is a test of the numbers spiraling way from the circumference of the clock face - eg, outwards beyond the visible screen. The numbers also spiral back to their home locations.
The IORY 4008 leads the 4011 (off camera left) across US 41, US 24 and US 52. and I sure a few numbered state roads. and a Ford F150 turns left. Oh Yea,and a $185.00 speeding ticket on the way home. Now Thats a lot of Numbers!
The Golden Ratio in Dr. Elliot McGucken's Fine Art Ballet Photography!
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Dr. E's: Golden Number Ratio Principle--Why the Fibonacci Numbers Exalt Beauty: The golden ratio exalts beauty because the number is a characteristic of the mathematically and physically most efficient manners of growth and distribution, on both evolutionary and purely physical levels. The golden ratio ensures that the proportions and structure of that which came before provide the proportions and structure of that which comes after, thusly providing symmetry over not only space but time, and exalting life’s foundational dynamic symmetry. Robust, ordered, symmetric growth is naturally associated with health and beauty, and thus we evolved to perceive the golden ratio harmonies as inherently beautiful, as we saw and felt their presence in all vital growth and life—in the salient features and proportions of humans and nature alike, from the distribution of our facial features and bones to the arrangements of petals, leaves, and sunflowers seeds. As ratios between Fibonacci Numbers offer the closest whole-number approximations to the golden ratio, and as seeds, cells, leaves, bones, and other physical entities appear in whole numbers, the Fibonacci Numbers oft appear in the arrangement of nature’s discrete elements as “growth’s numbers.” From the dawn of time, humanity sought to salute their gods in art and temples exalting the same proportion by which they and all their vital sustenance, as well as all the flowers and nature’s epic beauty, had been created—the golden ratio.
Fine Art Ballet Photography: Nikon D810 Elliot McGucken Fine Art Ballerina Dancer Dancing Classical Ballet Seascape Landscape Photography!
Fine Art Ballet Photography: Nikon D810 Elliot McGucken Fine Art Ballerina Dancer Dancing Classical Ballet Seascape Landscape Photography!
White leotard and flowy dress!
Dancing for Dynamic Dimensions Theory dx4/dt=ic: The fourth dimension is expanding relative to the three spatial dimensions at the rate of c!
New ballet & landscape instagrams!
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Nikon D810 Epic Fine Art Ballerina Goddess Dancing Ballet! Dr. Elliot McGucken Fine Art Ballet!
Marrying epic landscape, nature, and urban photography to ballet!
Nikon D810 with the Nikon MB-D12 Multi Battery Power Pack / Grip for D800 and D810 Digital Cameras allows one to shoot at a high to catch the action FPS! Ballerina Dance Goddess Photos! Pretty, Tall Ballet Swimsuit Bikini Model Goddess! Captured with the AF-S NIKKOR 70-200mm f/2.8G ED VR II from Nikon, and the Sigma 50mm f/1.4 DG HSM Art Lens for Nikon! Love them both!
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A pretty goddess straight out of Homer's Iliad & Odyssey!
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The 45EPIC landscapes and goddesses are straight out of Homer's Iliad & Odyssey!
I'm currently updating a translation with the Greek names for the gods and goddesses--will publish soon! :)
"RAGE--Sing, O goddess, the anger of Achilles son of Peleus, that brought countless ills upon the Achaeans. Many a brave soul did it send hurrying down to Hades, and many a hero did it yield a prey to dogs and vultures, for so were the counsels of Zeus fulfilled from the day on which the son of Atreus, king of men, and great Achilles, first fell out with one another. " --Homer's Iliad capturing the rage of the 45EPIC landscapes and seascapes! :)
Ludwig van Beethoven: "Music/poetry/art should strike fire from the heart of man, and bring tears from the eyes of woman."
2015 By The Numbers:
The amount of fuel we saved by recycling aluminum cans could fill 53,125 average mid-sized sedan fuel tanks
We recycled enough paper products to save 21,621 mature trees from being cut down. Stacking 21,621 trees one on top of the other would equal the height of 2,069 Calgary Towers!
The amount of cardboard and paper products we recycled saved 157,959 kilograms of carbon dioxide from being released into the atmosphere.
The total recyclables we kept out o fthe landfill is equivalent to the weight of 411 adult male elephants.
By recycling cardboard, we saved enough water to fill 564,054 water cooler jugs.
We recylced enough glass bottles to provide electricity to continously power an LCD television for 30 years
The amount of plastic bottles we recycled can be made into 12,081 extra-large polyester t-shirts.
We recycled enough aluminum cans to continously power an LCD television for 578 years.
By recycling cardboard we saved enough water to fill 4 olympic size swimming pools.
21,746 fiber-filled jackets can be made from the plastic bottles we recycled.
Dallmeyer serial numbers are now available on line at - www.samackenna.co.uk/Dallmeyer/index.html - this is the extensive work of the late Sean MacKenna.... Above is a transcribed section from page 219 in the stereo lens production book, the book covers Jan 1863 to 1866, lens numbers 4638 to 10759, these are all 4,3/4 inch Petzvals, #820 lenses, #410 stereo pairs !! The other 'missing' numbers will be other types of lenses and can be found in the other books. The lenses are made in batches of 12, 10 or 8 probably the number mounted at one time on the grinding head..... My lens, 8358, the optical grinding was started Sept 27 1864 by Mr Bicknell, the brass turning by Mr Dillow was finished Oct 15th 1864.
Feel free to use this image, just link to www.SeniorLiving.Org This microstock required lots of post processing to get the blue tint. I also needed a bounce card to get more detail in the glasses.
A montage of the photos to follow, taken on a day where numbers seemed to jump out at me from everywhere
Made in Germany , in 1939 . Numbers made (according to Coe) : 5.107 . This one with serial number 362437K . Developed from the Retina II (type 142) , with a redesigned mechanism cover with accessory shoe . Compur--Rapid shutter , Xenon f/2 50mm lens . Also redesigned lens cover , and with carrying strap fittings .
On 9th March 2018, ESCP Europe's London School and Campus hosted its 13th Annual Gala Dinner Dance.
Staged at The Landmark London five-star hotel, the event attracted record numbers for what is a highlight of the Campus' annual programme and calendar.
With 10 different degree programmes represented and over 350 guests, focus was placed on the School's achievements over the preceding 12 months and the success of its diverse student community.
A highlight of the evening was the award for London Student Society of the Year based on a student vote linked to four core values: Student Life, Community Building, Creativity and ESCP Europe Spirit. The award was shared by the Eventures Association-Regatta and UNITED, the London arm of the diplomatic society that organises the School's participation in the Model UN conference in New York. Both teams won a case of fine wine, generously donated by Tannin and Oak in West Hampstead.
In presenting the evening's awards, Prof. Mercado, Dean of the London Campus, also highlighted two other Societies for their activism and initiative throughout the year: Cheer Up, the society campaigning for patients with cancer; and the Women in Finance Society, who we celebrated on our Facebook page to coincide with International Women's Day on 8th March.
Guests unanimously agreed that the Gala was a huge success, with many already looking forward to next year's event.
'I flew from Paris to live the Gala experience organised by the London campus. I was very impressed by the location and I enjoyed very much the reception. During dinner I caught up with the friends I met in my first year of the Master in Management who are now studying in London, and this was definitely the best part. A memorable location with the best company!' – Alba, Master in Management student
'This event was absolutely amazing. I'm participated for the first time and I found it astonishing. I truly felt that I was taking part in something special, surrounded by incredible smart people and with a magic atmosphere. It was a pleasure to have the chance to network with students from other masters and to strengthen friendships. The Gala represents for me a sense of belonging to the ESCP Europe community. I will definitely participate again.' – Davide, MSc in Marketing and Creativity student
'Our journey at ESCP Europe has only just begun, but the London Campus Gala marked a milestone on our journey. It is easy to say that dressing up in an impressive location alongside your best friends regardless of the occasion is always a pleasure; however, what made this evening special was the atmosphere created by the range of guests, from students to academic staff.' Pascal, Bachelor in Management (BSc) student
Thank you to everyone who joined us at this very special event and dressed to impress!
1. Lego Duplo Brick 1, 2. Lego Duplo Brick 2, 3. Lego Duplo Brick 3, 4. Lego Duplo Brick 4, 5. Lego Duplo Brick 5, 6. Lego Duplo Brick 6, 7. Lego Duplo Brick 7, 8. Lego Duplo Brick 8, 9. Lego Duplo Brick 9
Created with fd's Flickr Toys