Midnight Order

Jan. 20th to Feb. 20th

Midnight Order will bring the best of Dark/Goth/Macabre, etc. from all across the grid.

maps.secondlife.com/secondlife/Syndicate/192/187/32

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Events Gifts

There was no real reason to do gifts this round, it wasn't an anniversary or near a holiday, but I decided to anyway.

I give a lot of things for free over the year, last year alone was insane. I did price these at L$1 each, hopefully that doesn't bother anyone too much.

I always try to be fair, so whatever I make something just for the ladies, I try to at least do a fun recolour of something else that fits the events theme for the guys.

©SB

Hospital N

Philippe's

Los Angeles, CA

Order of the Eastern Star Temple, 48 West Main Street, Chillicothe, Ohio. The Order of the Eastern Star is a Freemasonry-related fraternal organization open to both men and women. It was established in 1850 by Boston, Massachusetts lawyer and educator Rob Morris, a former Freemason official. The order is based on teachings from the Bible, but is open to people of all religious beliefs. It has approximately 10,000 chapters in twenty countries and approximately 500,000 members under its General Grand Chapter.

Biennalist :

Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.

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

links about Biennalist :

Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

en.wikipedia.org/wiki/Emergency_Room_(art)

www.emergencyrooms.org/formats.html

www.colonel.dk/

—--Biennale from wikipedia —--

The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.

Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).

Characteristics[edit]

According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]

The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.

A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.

The Venice Biennale as an archetype[edit]

The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.

The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.

Biennials after the 1990s[edit]

The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.

International biennales[edit]

In the term's most commonly used context of major recurrent art exhibitions:

Adelaide Biennial of Australian Art, South Australia

Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Athens Biennale, in Athens, Greece

Bienal de Arte Paiz, in Guatemala City, Guatemala[4]

Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)

Bamako Encounters, a biennale of photography in Mali

Bat-Yam International Biennale of Landscape Urbanism

Beijing Biennale

Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)

Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no

Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China

Bienal de Arte de Ponce in Ponce, Puerto Rico

Biënnale van België, Biennial of Belgium, Belgium

BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.

Biennial of Hawaii Artists

Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]

Biwako Biennale [ja], in Shiga, Japan

La Biennale de Montreal

Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola

Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal

Bucharest Biennale in Bucharest, Romania

Bushwick Biennial, in Bushwick, Brooklyn, New York

Canakkale Biennial, in Canakkale, Turkey

Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]

Changwon Sculpture Biennale in Changwon, South Korea

Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal

Documenta, contemporary art exhibition held every five years in Kassel, Germany

Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France

EVA International, biennial in Limerick, Republic of Ireland

Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]

Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan

Gwangju Biennale, Asia's first and most prestigious contemporary art biennale

Havana biennial, in Havana, Cuba

Helsinki Biennial, in Helsinki, Finland

Herzliya Biennial For Contemporary Art, in Herzliya, Israel

Incheon Women Artists' Biennale, in Incheon, South Korea

Iowa Biennial, in Iowa, USA

Istanbul Biennial, in Istanbul, Turkey

International Roaming Biennial of Tehran, in Tehran and Istanbul

Jakarta Biennale, in Jakarta, Indonesia

Jerusalem Biennale, in Jerusalem, Israel

Jogja Biennale, in Yogyakarta, Indonesia

Karachi Biennale, in Karachi, Pakistan

Keelung Harbor Biennale, in Keelung, Taiwan

Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India

Kortrijk Design Biennale Interieur, in Kortrijk, Belgium

Kobe Biennale, in Japan

Kuandu Biennale, in Taipei, Taiwan

Lagos Biennial, in Lagos, Nigeria[10]

Light Art Biennale Austria, in Austria

Liverpool Biennial, in Liverpool, UK

Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]

Manifesta, European Biennale of contemporary art in different European cities

Mediations Biennale, in Poznań, Poland

Melbourne International Biennial 1999

Mediterranean Biennale in Sakhnin 2013

MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada

MOMENTUM [no], in Moss, Norway[12]

Moscow Biennale, in Moscow, Russia

Munich Biennale, new opera and music-theatre in even-numbered years

Mykonos Biennale

Nakanojo Biennale[13]

NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia

October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]

OSTEN Biennial of Drawing Skopje, North Macedonia[15]

Biennale de Paris

Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]

São Paulo Art Biennial, in São Paulo, Brazil

SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]

Prospect New Orleans

Seoul Biennale of Architecture and Urbanism

Sequences, in Reykjavík, Iceland[18]

Shanghai Biennale

Sharjah Biennale, in Sharjah, UAE

Singapore Biennale, held in various locations across the city-state island of Singapore

Screen City Biennial, in Stavanger, Norway

Biennale of Sydney

Taipei Biennale, in Taipei, Taiwan

Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.

Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]

Dream city, produced by ART Rue Association in Tunisia

Vancouver Biennale

Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]

Venice Biennale, in Venice, Italy, which includes:

Venice Biennale of Contemporary Art

Venice Biennale of Architecture

Venice Film Festival

Vladivostok biennale of Visual Arts, in Vladivostok, Russia

Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA

Web Biennial, produced with teams from Athens, Berlin and Istanbul.

West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.

WRO Biennale, in Wrocław, Poland[22]

Music Biennale Zagreb

[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.

—---Venice Biennale from wikipedia —

The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]

Organization[edit]

Art Biennale

Art Biennale

International Art Exhibition

1895

Even-numbered years (since 2022)

Venice Biennale of Architecture

International Architecture Exhibition

1980

Odd-numbered years (since 2021)

Biennale Musica

International Festival of Contemporary Music

1930

Annually (Sep/Oct)

Biennale Teatro

International Theatre Festival

1934

Annually (Jul/Aug)

Venice Film Festival

Venice International Film Festival

1932

Annually (Aug/Sep)

Venice Dance Biennale

International Festival of Contemporary Dance

1999

Annually (June; biennially 2010–16)

International Kids' Carnival

2009

Annually (during Carnevale)

History

1895–1947

On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]

A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]

The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.

The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).

During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.

1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.

In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.

In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.

During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]

1948–1973[edit]

The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.

1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.

In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.

1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.

The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]

In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").

Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]

1974–1998[edit]

1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.

On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]

In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.

In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]

The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.

For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]

1999–present[edit]

In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.

In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).

The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.

The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.

In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.

Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".

The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".

The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]

Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]

The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]

The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]

The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]

The Biennale has an attendance today of over 500,000 visitors.[30][31][32]

Role in the art market[edit]

When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]

Central Pavilion and Arsenale[edit]

The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.

Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]

A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi.[37]

National pavilions[edit]

Main article: National pavilions at the Venice Biennale

The Giardini houses 30 permanent national pavilions.[13] Alongside the Central Pavilion, built in 1894 and later restructured and extended several times, the Giardini are occupied by a further 29 pavilions built at different periods by the various countries participating in the Biennale. The first nation to build a pavilion was Belgium in 1907, followed by Germany, Britain and Hungary in 1909.[13] The pavilions are the property of the individual countries and are managed by their ministries of culture.[38]

Countries not owning a pavilion in the Giardini are exhibited in other venues across Venice. The number of countries represented is still growing. In 2005, China was showing for the first time, followed by the African Pavilion and Mexico (2007), the United Arab Emirates (2009), and India (2011).[39]

The assignment of the permanent pavilions was largely dictated by the international politics of the 1930s and the Cold War. There is no single format to how each country manages their pavilion, established and emerging countries represented at the biennial maintain and fund their pavilions in different ways.[38] While pavilions are usually government-funded, private money plays an increasingly large role; in 2015, the pavilions of Iraq, Ukraine and Syria were completely privately funded.[40] The pavilion for Great Britain is always managed by the British Council[41] while the United States assigns the responsibility to a public gallery chosen by the Department of State which, since 1985, has been the Peggy Guggenheim Collection.[42] The countries at the Arsenale that request a temporary exhibition space pay a hire fee per square meter.[38]

In 2011, the countries were Albania, Andorra, Argentina, Australia, Austria, Bangladesh, Belarus, Belgium, Brazil, Bulgaria, Canada, Chile, China, Congo, Costa Rica, Croatia, Cuba, Cyprus, Czechia and Slovakia, Denmark, Egypt, Estonia, Finland, France, Georgia, Germany, Greece, Haiti, Hungary, Iceland, India, Iran, Iraq, Ireland, Israel, Italy, Japan, Korea, Latvia, Lithuania, Luxembourg, Macedonia, Mexico, Moldova, Montenegro, Netherlands, New Zealand, Norway, Poland, Portugal, Romania, Russia, San Marino, Saudi Arabia, Serbia, Singapore, Slovenia, South Africa, Spain, Sweden, Switzerland, Syrian Arab Republic, Taiwan, Thailand, Turkey, Ukraine, United Arab Emirates, United Kingdom, United States of America, Uruguay, Venezuela, Wales and Zimbabwe. In addition to this there are two collective pavilions: Central Asia Pavilion and Istituto Italo-Latino Americano. In 2013, eleven new participant countries developed national pavilions for the Biennale: Angola, Bosnia and Herzegowina, the Bahamas, Bahrain, the Ivory Coast, Kosovo, Kuwait, the Maldives, Paraguay, Tuvalu, and the Holy See. In 2015, five new participant countries developed pavilions for the Biennale: Grenada,[43] Republic of Mozambique, Republic of Seychelles, Mauritius and Mongolia. In 2017, three countries participated in the Art Biennale for the first time: Antigua & Barbuda, Kiribati, and Nigeria.[44] In 2019, four countries participated in the Art Biennale for the first time: Ghana, Madagascar, Malaysia, and Pakistan.[45]

As well as the national pavilions there are countless "unofficial pavilions"[46] that spring up every year. In 2009 there were pavilions such as the Gabon Pavilion and a Peckham pavilion. In 2017 The Diaspora Pavilion bought together 19 artists from complex, multinational backgrounds to challenge the prevalence of the nation state at the Biennale.[47]

The Internet Pavilion (Italian: Padiglione Internet) was founded in 2009 as a platform for activists and artists working in new media.[48][49][50] Subsequent editions were held since,[51] 2013,[51] in conjunction with the biennale.[52]

-----

وینسVenetsiya

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venice biennale Venezia Venedig biennalen Bienal_de_Venecia Venise Venecia Bienalo Bienal Biënnale Venetië Veneza Μπιενάλε της Βενετίας ヴェネツィ ア・ビエンナーレ 威尼斯双年展 Venedik Bienali Venetsian biennaali Wenecji biennial #venicebiennale #venicebiennial biennalism

Veneziako Venecija Venècia Venetië Veneetsia Venetsia VenedigΒ ενετία Velence Feneyjar Venice Venēcija Venezja Venezia Wenecja VenezaVeneția Venetsiya Benátky Benetke Fenisוועניס Վենետիկ ভেনি স威尼斯 威尼斯 ვენეციისવે નિસवेनिसヴ ェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya Italy italia

--------key words

headband protest fashion protestfashion artistic intervention performance artformat action installation critical critic critique institutional critic choregraphy scenography

#venicebiennale #biennalist #artformat #biennale #artbiennale #biennial

#BiennaleArte2024 #artformat

In order to drop the Christmas bulge I am back fasting again, due to my work schedule I decided to do my two fast days together, it was actually not difficult at all. The breakfast from the hospital restaurant was very nice.

New Order

⚫️

Book :

Bridget Riley

Paintings

Serpentine Gallery

1999

Cover Painting . The Kiss . 1961

CD :

Alog

Red Shift Swing

Rune Grammofon

RG11

Design . Kim Hiorthøy

iMusic :

New Order

The Kiss Of Death

Factory

FAC123

GMA XO ...

Her Majesty’s Theatre in Ballarat’s Lydiard Street is one of the most intact, commercial nineteenth century theatres in Australia. Originally opened as the Ballarat Academy of Music in order to avoid the negative moral connotations associated with theatres at the time, Her Majesty’s was completed in 1875 to a design by architect George Browne. The Academy had a flat floored auditorium suitable for respectable dances and dinners, and a fully equipped stage. It was built to supersede Ballarat's Theatre Royal (built in 1858), which stood in Sturt Street. While very grand, the Royal had become outdated and no longer met the technical requirements of the touring companies.

The Academy was built by the wealthy Clarke family at the initiative of a group of local people who felt that Ballarat, as the premier city of the Victorian goldfields, should have a theatre worthy of its status. They guaranteed to rent it from the Clarkes at 10% of the construction cost, which was £13,000.

Built over a disused mineshaft, the original timber theatre initially comprised a theatre with rectangular auditorium, a steep lyre-shaped gallery, three entries leading to separate parts of the auditorium and two shops facing Lydiard Street.

Ballarat's handsome new theatre was ready ahead of schedule, and was opened on 7th June 1875. The first production was a comic opera by the French composer Lecocq, "La Fille de Madame Angot," presented by the Royal Opera Bouffe Company run by W. S. Lyster, Australia's first opera impresario.

Soon after the Academy opened, the large Supper Room above Lydiard Street was leased to William Bridges, a former miner, who ran it as an art gallery, displaying an excellent collection of European and Australian artworks, including his own tapestries. After Bridges moved his operations to Melbourne in 1883, the Ballarat Fine Art Gallery was formed. The Gallery Society ran the Gallery from the Academy from 1884 until 1890, when the present Art Gallery in Lydiard Street North was opened.

For the next twenty five years, the Academy of Music was unchallenged as Ballarat's main theatrical venue. It was never as popular as the old Theatre Royal, however, as the rather cavernous hall lacked the intimacy of the older playhouse. In 1898, when Sir William Clarke died, the building was bought by a local consortium and transformed into the delightful theatrical space we know today.

The new owners commissioned Australia's leading theatre architect, William Pitt (1855 – 1918), to remodel the interior and improve the stage facilities. William, who had been apprenticed to George Browne, also designed Melbourne's Princess Theatre amongst many other buildings. The present layout of the auditorium with sloping floor and double balconies, is Pitt's creation. The colour scheme is a recreation of the interior decoration undertaken at that time by Hugh Paterson, one of Melbourne's leading designers.

Paterson also decorated the dome and proscenium arch with murals. The mural in the dome depicted a carnival scene, with dancers in fanciful costumes; Comedy and Tragedy were featured on either side of the proscenium arch, with Shakespeare over the top. Unfortunately all the murals were destroyed in 1907 when Government regulations required the proscenium wall to be replaced with a solid firewall. The dome was removed at the same time for structural reasons, and was restored in 1990. The Dress Circle Lobby also dates from 1907.

The 1898 theatre was constructed in brick with timber roof construction sheeted with iron. The main body is brick with piers both inside and out. The hipped trussed roof covers both the three-level auditorium and the stage with dressing rooms below. The ground floor and foyer have been considerably altered at various times but the auditorium and stage structure are original as is much of the auditorium ceiling and pilastered walls. The roof over the stage also dates from 1875 and the later inclusion of a fly tower stage in 1898 is fitted around the original trusses. The flying system is the only manual (non counterweight) system in existence in Australia. In the auditorium roof there appears to have been two domes, a small one dating from before 1898 for which the horizontal shutters and tube structure to a former sliding ventilated roof are still in existence. When 1898 dome was removed a false octagonal ceiling was fitted in its place. Internally the circle and gallery levels are horseshoe shaped in plan and are carried on cast iron columns. The balcony balustrading is swag bellied and decorated. It is believed that the wall pilasters, panelled ceilings and proscenium are original decorations and some traces of art nouveau decorative motifs are to be seen where later alterations have been made. The two balconies were constructed in 1898, but one balcony front is the reused 1874 front while the second was made to match. The balconies and cast-iron supporting posts are typical for auditoria design in the late Nineteenth and early Twentieth Centuries. The double balcony, supported on columns, is now the last of this form of theatre in Victoria. The facade of this building is two storeyed in height with stucco ornamentation in a somewhat florid Classical style. The upper storey windows are round headed with archivolts supported by slender columns as are the two ground floor subsidiary entrances. The highly decorated curved entrance has now been lost. The ground floor facade has been much altered and a street awning has been added. The first floor facade is intact but the parapet balustrading and ornamentation has been destroyed.

From the First World War on, the Theatre was increasingly used for cinema presentations. A Bio Box (projection room) was built above the Dress Circle Lobby in 1916, and the Theatre was wired for sound in 1930. In 1928, the Hoyts cinema chain took over control over the building through its local subsidiary, Ballarat Theatres Limited, which ran Her Majesty's in tandem with the Regent Theatre (purposely built as a cinema).

In 1936, Her Majesty's was leased and operated by Ballarat Amusements, part of the Woodrow Distributing Company, presenting MGM and Paramount movies. Ballarat Amusements ran it until the early 1960s.

During the silent movie era, a theatre orchestra provided the film accompaniment. The Ballarat Theatre Organ Society installed the Theatre's Compton Theatre Organ in 1982.

Even when Her Majesty's was primarily a cinema, it was always available, to a lesser or greater degree, for live performances. It was used regularly by J. C. Williamson's and other touring companies as well as local groups. Throughout the 1940s and 1950s huge crowds came to see the annual pantomimes staged by the Wavie Williams Pantomime Company. For the last forty years, the Theatre has been used to stage locally produced musical comedies.

Television came to Ballarat in 1962, and had an immediate impact on attendances at the local cinemas. Ballarat Amusements decided to cease screenings and Hoyts put the building on the market.

In 1965, the Theatre was bought by the Royal South Street Society as the home for its Annual Competitions.The Bolte State Government gave the Society £20,000 towards the purchase price and a further grant towards the adaptation of the building for the Competitions. Further assistance towards both purposes came from local businessman, Alf Reid. It was clearly understood at the time that the Society would be managing the Theatre as a community facility.

The Society renamed Her Majesty's the Memorial Theatre, a move which made donations to its renovation appeal tax deductable.

The Society was unable to adequately maintain the upkeep of the building, however, and gifted it to the then City of Ballaarat in 1987, reserving the right to hold competitions in the Theatre every year between August and November.

The City of Ballarat undertook a major renovation, seeking funding from a wide range of businesses, individuals and organisations. The Theatre reopened as Her Majesty's on the 1st of November, 1990.

Digital ordering at a local sushi bar. Yokohama, Japan

"I'll have the Chicken Tikka Masala Burrito, please."

Overheard at an Off The Grid food truck at the Civic Center, San Francisco, CA.

EF 35mm f/2 on a 1Ds

[ 1/800 | ƒ/2 | ISO 100 | 35 mm ]

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note all pictures are copyright to British fire rescue pics. none of these pictures can be printed, displayed or saved to any kind of retrieval system without my prior knowledge or consent. as follows uk and world copyright law any one found to breeching this law is liable for prosecution. www.britishfirerescuepics.webs.com/

+++ DISCLAIMER +++

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

Some background

The Étendard's history begins with two design requirements in the early 1950s. One was for a light jet fighter for the French Air Force, the other for a light fighter to serve as standard equipment with NATO air forces (from which Fiat's G.91 eventually emerged). Dassault used variations of the same basic design to produce prototypes for both these specifications, designated the Étendard II and Étendard VI respectively, but neither of which led to any orders. At the same time, the company evolved a larger and more powerful variant, originally designated Mystère XXIV, as a private venture.

From 1997 on, with an order for twelve Su-30K fighters from Russia and more modern and economical BAe Hawk Mk. 109 and 209 available for the strike role, the vintage Étendards were quickly and ultimately phased out. The last Étendard IVS made its final flight from Juanda Air Base on Surabaya on August 5th 2001.

General characteristics:

Crew: 1

Length: 14.40 m (47 ft 3 in)

Wingspan: 9.60 m (31 ft 6 in)

Height: 3.79 m (12 ft 6 in)

Wing area: 29 m² (312 ft²)

Empty weight: 5.960 kg (13.130 lb)

Loaded weight: 8.380 kg (18,470 lb)

Max. take-off weight: 10,750 kg (23,700 lb)

Wing loading: 282 kg/m² (57 lbs/ft²)

Thrust/weight: 0.54

Performance:

Maximum speed: 1,000 km/h (637 knots, 733 mph) at low level,

1,099 km/h (700 knots, 806 mph) at height

Range: 1.820 km (983 nmi, 1.130 mi)

Combat radius: 850 km (460 nmi, 530 mi) w. external stores & two drop tanks, hi-lo-hi profile

Service ceiling: 15,500 m (50,900 ft)

Rate of climb: 100 m/s (19,700 ft/min)

Powerplant:

1× Non-afterburning Pratt & Whitney J52-P-408 turbojet rated at 11,200 lbf (50 kN) of thrust

Armament:

2× 30 mm (1.18 in) DEFA 552 cannons with 150 rounds per gun;

1.500 kg (3,300 lb) of payload on four external hardpoints, including a variety of guided and unguided bombs, Matra rocket pods with 18× SNEB 68 mm rockets each, drop tanks and AIM-9 Sidewinder or Matra Magic AAMs.

The kit and its assembly

Actually, I never liked the Étendard as a plane, it's IMHO dead boring. Furthermore, there's only a single, vintage Heller kit available in 1:72 scale, which was relaunched in early 2012. I recently also came across an aftermarket decal sheet with various national markings from TL Modellbau and the included and rather exotic Indonesian Navy insignia stirred my fantasy. Which plane could go with them? A Skyhawk? Plausible, but that would almost be real life. An A-7 Corsair II? Too big! Finally, I chose the dull 1st generation Étendard as a simple and naval basis and created a whiffy "après Aéronavale" story for it - and this became the first entry to the 2016 "In The Navy" Group Build at whatifmodelerd.com.

The kit is the original, vintage Heller offering, dug out somewhere in Australia, long before the recent re-issue hit the shelves. For its age it is nevertheless a good model, with the typical good fit of the Heller kits. Panel lines are mostly raised, but very fine - it's IMHO a very good model of the aircraft.

The Étendard was built mostly OOB, but both ends were modified. On the front end I changed the nose for the new/slightly bigger radome for the new radar (actually, it's a reversed nose from an Italeri IAI Kfir with the pitot fairing on the top side, converted into a retracted refuelling probe) and I added the scratched laser range finder under the nose, replacing the stabilizer fin. For the different jet engine I improvised a longer tail section with a smaller exhaust, inspired by the IDF's Sa'ar/converted SMB2 Super Mystères which have a tail construction that is very similar to the Étendard's. I used a former air intake from a Matchbox A.W. Meteor NF.11 as fuselage extension and added internally a pipe. Some antennae and wire pitots were added, too.

As armament, the TNI-AL machine received a pair of IR-guided 340 kg bombs (from a Hasegawa JASDF weapon set) against naval targets, and due to the Étendard's rather limited payload I also gave it smaller drop tanks, these belong to an Airfix G.91, IIRC. A pilot was also added, too, in order to make the kit look more lively. For the same reason the ventral air brakes and the flaps were lowered - an OOB option, no conversion.

Painting and markings:

The typical French Étendard looks boring, even in the more modern low-viz paint scheme. One major argument for a semi-authentic Indonesian version were pictures from TNI-AU's A-4E, F-5E and esp. early F-16A, which, for some time, bore a rather flashy wrap-around air superiority paint scheme in blues and greys, partly with low-viz markings. Since this livery would fit the timeline and the plane's purpose, I went for this option - known as 'Grape' aggressor paint scheme in the USAF - which consists, AFAIK, of three Federal Standard tones:

● FS 35414 Light Blue (very similar to RLM 65, Modelmaster 2033)

● FS 35164 Intermediate Blue (Humbrol 144)

● FS 35109 Blue (Modelmaster 2032)

Real life pics show rather bright colours on clean/well-kept planes like the A-4’s, but the paint must have weathered quickly, with diminishing contrast - esp. on the TNI-AU's F-5Es, which frequently lack contrast between the two lighter grey-blue shades.

The pattern was taken over from an early Indonesian F-16 and re-interpreted on the more compact Étendard. All in all the bluish-grey livery is nothing fancy, but it makes a nice contrast to the red and white pentagonal insignia and the colourful badge on the tail fin. And it's seriously different from the classic blue/white livery you are used to on this aircraft.

The interior was painted according to the instructions and with some reference pictures from French Navy Étendards: cockpit in dark grey, an aluminum landing gear and primed, chrome yellow landing gear wells.

The IR-guided bombs received standard olive drab bodies, but the guidance package became light grey, as an extra color contrast.

Markings come mostly from the scrap box. The Indonesian Navy insignia were taken from a roundel aftermarket sheet from TL Modellbau. The registration code and the "TNI AL" markings on wings and fuselage were improvised with single black letters from the same manufacturer too. Inscriptions and the like come from the original decal sheet and other sources with French reference.

After decals had been applied, some grinded soft pencil mine was rubbed onto the surfaces for weathering, and light dry brushing with light grey shades was done to simulate sun-bleached paint. I wanted to emphasize the harsh climate conditions under which this fictional machine would operate, as well as its overall age.

An exotic project, and what originally started just as a fictional livery option turned into more with the bigger nose and the elongated tail. But I think this effort was worthwhile, in order to set this Étendard with a second life apart from its dull French origin. The wrap-around camouflage looks odd, and the TNI-AL's markings just underline the oddness of this whif model. :D

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In order to be one must #pass a #physical and the dreaded #spirometerTest

The nurse or assistant will say “ blow fast and hard, continue to blow air until you hear the beeping from the spirometer” good luck 🍀

Art installation display by Fiona Seow (Singapore) at the Esplanade Community Wall (Level 3).

Carle Place

I can't remember why i decided to to Ufford; I think it was because it is in Simon's top ten of Suffolk churches. Of course everything is down to taste and perspective and what the day, light, or other factors at play when you visited.

I drove through the village three times looking for the church, but this was Upper Ufford; all golf clubs and easy access to the A12.

I tried to find the church on the sat nav, but that wanted me to go to Ipswich or Woodbridge, I then tried to find Church Lane, and hit the jackpot. Down through a modern housing estate, then down a narrow lane, left at the bottom and there at the end of a lane stood St Mary, or the tower of the church anyway.

In the house opposite, a young man paused doing physical jerks to stare at me as ai parked, but my eyes were on the church. What delights would I find inside?

The south wall of the church inside the porch is lined with some very nice tiles; I take a few pictures. Inside, your eye is taken to the wonderful font cover, several metres high, disappearing into the wooden beams high above. A fine rood beam stretched across the chancel arch, and is still decorated.

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

Upper Ufford is a pleasant place, and known well enough in Suffolk. Pretty much an extension northwards of Woodbridge and Melton, it is a prosperous community, convenient without being suburban. Ufford Park Hotel is an enjoyable venue in to attend professional courses and conferences, and the former St Audrey's mental hospital grounds across the road are now picturesque with luxury flats and houses. And I am told that the Ufford Park golf course is good, too, for those who like that kind of thing.

But as I say, that Ufford is really just an extension of Melton. In fact, there is another Ufford. It is in the valley below, more than a mile away along narrow lanes and set in deep countryside beside the Deben, sits Lower Ufford. To reach it, you follow ways so rarely used that grass grows up the middle.

You pass old Melton church, redundant since the 19th century, but still in use for occasional exhibitions and performances, and once home to the seven sacrament font that is now in the plain 19th century building up in the main village. Eventually, the lane widens, and you come into the single street of a pretty, tiny hamlet, the church tower hidden from you by old cottages and houses.

In one direction, the lane to Bromeswell takes you past Lower Ufford's delicious little pub, the White Lion. A stalwart survivor among fast disappearing English country pubs, the beer still comes out of barrels and the bar is like a kitchen. I cannot think that a visit to Ufford should be undertaken without at least a pint there. And, at the other end of the street, set back in a close between cottages, sits the Assumption, its 14th century tower facing the street, a classic Suffolk moment.

The dedication was once that of hundreds of East Anglian churches, transformed to 'St Mary' by the Reformation and centuries of disuse before the 19th century revival, but revived both here and at Haughley near Stowmarket. In late medieval times, it coincided with the height of the harvest, and in those days East Anglia was Our Lady's Dowry, intensely Catholic, intimately Marian.

The Assumption was almost certainly not the original dedication of this church. There was a church here for centuries before the late middle ages, and although there are no traces of any pre-Conquest building, the apse of an early-Norman church has been discovered under the floor of the north side of the chancel. The current chancel has a late Norman doorway, although it has been substantially rebuilt since, and in any case the great glories of Ufford are all 15th century. Perhaps the most dramatic is the porch, one of Suffolk's best, covered in flushwork and intriguing carvings.

Ufford's graveyard is beautiful; wild and ancient. I wandered around for a while, spotting the curious blue crucifix to the east of the church, and reading old gravestones. One, to an early 19th century gardener at Ufford Hall, has his gardening equipment carved at the top. The church is secretive, hidden on all sides by venerable trees, difficult to photograph but lovely anyway. I stopped to look at it from the unfamiliar north-east; the Victorian schoolroom, now a vestry, juts out like a small cottage.

I walked back around to the south side, where the gorgeous porch is like a small palace against the body of the church. I knew the church would be open, because it is every day. And then, through the porch, and down into the north aisle, into the cool, dim, creamy light.

On the afternoon of Wednesday, 21st August 1644, Ufford had a famous visitor, a man who entered the church in exactly the same way, a man who recorded the events of that day in his journal. There were several differences between his visit and the one that I was making, one of them crucial; he found the church locked. He was the Commissioner to the Earl of Manchester for the Imposition in the Eastern Association of the Parliamentary Ordinance for the Demolishing of Monuments of Idolatry, and his name was William Dowsing.

Dowsing was a kind of 17th century political commissar, travelling the eastern counties and enforcing government legislation. He was checking that local officials had carried out what they were meant to do, and that they believed in what they were doing. In effect, he was getting them to work and think in the new ways that the central government required. It wasn't really a witch hunt, although God knows such things did exist in abundance at that time. It was more as if an arm of the state extended and worked its fingers into even the tiniest and most remote parishes. Anyone working in the public sector in Britain in the early years of the 21st century will have come across people like Dowsing.

As a part of his job, Dowsing was an iconoclast, charged with ensuring that idolatrous images were excised from the churches of the region. He is a man blamed for a lot. In fact, virtually all the Catholic imagery in English churches had been destroyed by the Anglican reformers almost a hundred years before Dowsing came along. All that survived was that which was difficult to destroy - angels in the roofs, gable crosses, and the like - and that which was inconvenient to replace - primarily, stained glass. Otherwise, in the late 1540s the statues had been burnt, the bench ends smashed, the wallpaintings whitewashed, the roods hauled down and the fonts plastered over. I have lost count of the times I have been told by churchwardens, or read in church guides, that the hatchet job on the bench ends or the font in their church was the work of 'William Dowsing' or 'Oliver Cromwell'. In fact, this destruction was from a century earlier than William Dowsing. Sometimes, I have even been told this at churches which Dowsing demonstrably did not visit.

Dowsing's main targets included stained glass, which the pragmatic Anglican reformers had left alone because of the expense of replacing it, and crosses and angels, and chancel steps. We can deduce from Dowsing's journal which medieval imagery had survived for him to see, and that which had already been hidden - not, I hasten to add, because people wanted to 'save' Catholic images, but rather because this was an expedient way of getting rid of them.

So, for example, Dowsing visited three churches during his progress through Suffolk which today have seven sacrament fonts, but Dowsing does not mention a single one of them in his journal; they had all been plastered over long ago.

In fact, Dowsing was not worried so much about medieval survivals. What concerned him more was overturning the reforms put in place by the ritualist Archbishop Laud in the 1630s. Laud had tried to restore the sacramental nature of the Church, primarily by putting the altar back in the chancel and building it up on raised steps. Laud had since been beheaded thanks to puritan popular opinion, but the evidence of his wickedness still filled the parish churches of England. The single order that Dowsing gave during his progress more than any other was that chancel steps should be levelled.

The 21st of August was a hot day, and Dowsing had much work to do. He had already visited the two Trimley churches, as well as Brightwell and Levington, that morning, and he had plans to reach Baylham on the other side of Ipswich before nightfall. Much to his frustration, he was delayed at Ufford for two hours by a dispute between the church wardens over whether or not to allow him access.

The thing was, he had been here before. Eight months earlier, as part of a routine visit, he had destroyed some Catholic images that were in stained glass, and prayer clauses in brass inscriptions, but had trusted the churchwardens to deal with a multitude of other sins, images that were beyond his reach without a ladder, or which would be too time-consuming. This was common practice - after all, the churchwardens of Suffolk were generally equally as puritan as Dowsing. It was assumed that people in such a position were supporters of the New Puritan project, especially in East Anglia. Dowsing rarely revisited churches. But, for some reason, he felt he had to come back here to make sure that his orders had been carried out.

Why was this? In retrospect, we can see that Ufford was one of less than half a dozen churches where the churchwardens were uncooperative. Elsewhere, at hundreds of other churches, the wardens welcomed Dowsing with open arms. And Dowsing only visited churches in the first place if it was thought there might be a problem, parishes with notorious 'scandalous ministers' - which is to say, theological liberals. Richard Lovekin, the Rector of Ufford, had been turned out of his living the previous year, although he survived to return when the Church of England was restored in 1660. But that was in the future. Something about his January visit told Dowsing that he needed to come back to Ufford.

Standing in the nave of the Assumption today, you can still see something that Dowsing saw, something which he must have seen in January, but which he doesn't mention until his second visit, in the entry in his journal for August 21st, which appears to be written in a passion. This is Ufford's most famous treasure, the great 15th century font cover.

It rises, six metres high, magnificent and stately, into the clerestory, enormous in its scale and presence. In all England, only the font cover at Southwold is taller. The cover is telescopic, and crocketting and arcading dances around it like waterfalls and forests. There are tiny niches, filled today with 19th century statues. At the top is a gilt pelican, plucking its breast.

Dowsing describes the font cover as glorious... like a pope's triple crown... but this is just anti-Catholic innuendo. The word glorious in the 17th century meant about the same as the word 'pretentious' means to us now - Dowsing was scoffing.

But that was no reason for him to be offended by it. The Anglicans had destroyed all the statues in the niches a century before, and all that remained was the pelican at the top, pecking its breast to feed its chicks. Dowsing would have known that this was a Catholic image of the Sacrifice of the Mass, and would have disapproved. But he did not order the font cover to be destroyed. After all, the rest of the cover was harmless enough, apart from being a waste of good firewood, and the awkwardness of the Ufford churchwardens seems to have put him off following through. He never went back.

Certainly, there can have been no theological reason for the churchwardens to protect their font cover. I like to think that they looked after it simply because they knew it to be beautiful, and that they also knew it had been constructed by ordinary workmen of their parish two hundred years before, under the direction of some European master designer. They protected it because of local pride, and amen to that. The contemporary font beneath is of a type more familiar in Norfolk than Suffolk, with quatrefoils alternating with shields, and heads beneath the bowl.

While the font cover is extraordinary, and of national importance, it is one of just several medieval survivals in the nave of the Assumption. All around it are 15th century benches, with superbly characterful and imaginative images on their ends. The best is the bench with St Margaret and St Catherine on it. This was recently on display at the Victoria and Albert Museum as part of the Gothic exhibition. Other bench end figures include a long haired, haloed woman seated on a throne, which may well be a representation of the Mother of God Enthroned, and another which may be the Coronation of the Queen of Heaven. There is also a praying woman in a butterfly headdress, once one of a pair, and a man wearing what appears to be a bowler hat, although I expect it is a helmet of some kind. His beard is magnificent. There are also a number of finely carved animals, both mythical and real.

High up in the chancel arch is an unusual survival, the crocketted rood beam that once supported the crucifix, flanked by the grieving Mary and John, with perhaps a tympanum behind depicting the last judgement. These are now all gone, of course, as is the rood loft that once stood in front of the beam and allowed access to it. But below, the dado of the screen survives, with twelve panels. Figures survive on the south side. They have not worn well. They are six female Saints: St Agnes, St Cecilia, St Agatha, St Faith, St Bridget and, uniquely in England, St Florence. Curiously, the head of this last has been, in recent years, surrounded by stars, in imitation of the later Our Lady of the Immaculate Conception. Presumably this was done in a fit of Anglo-catholic enthusiasm about a century ago. The arrangement is similar to the south side of the screen at Westhall, and it may even be that the artist was the same. While there is no liturgical reason for having the female Saints on one side and, presumably, male Saints on the other, a similar arrangement exists on several Norfolk screens in the Dereham area.

Much of the character of the church today comes from it embracing, in the early years of the 20th century, Anglo-catholicism in full flood. It is true to say that, the later a parish took on the tradition, the more militant and intensely expressed it was, and the more evidence there is likely to be surviving. As at Great Ryburgh in Norfolk, patronage here ensured that this work was carried out to the very highest specification under the eye of the young Ninian Comper. Comper is an enthusiast's enthusiast, but I think he is at his best on a small scale in East Anglia like here and Ryburgh. His is the extraordinary war memorial window and reredos in the south aisle chapel, dedicated to St Leonard.

The window depicts Christ carrying his cross on the via dolorosa, but he is aided by a soldier in WWI uniform and, behind him, a sailor. The use of blues is very striking, as is the grain on the wood of the cross which, incidentally, can also be seen to the same effect on Comper's reredos at Ryburgh. The elegant, gilt reredos here profides a lovely foil to the tremendous window above it.

Comper's other major window here is on the north side of the nave. This is a depiction of the Annunciationextraordinary. from 1901, although it is the figures above which are most They are two of the Ancient Greek sibyls, Erythrea and Cumana, who are associated with the foretelling of Christ. At the top is a stunning Holy Trinity in the East Anglian style. There are angels at the bottom, and all in all this window shows Comper at the height of his powers.

Stepping into the chancel, there is older glass - or, at least, what at first sight appears to be. Certainly, there are some curious roundels which are probably continental 17th century work, ironically from about the same time that Dowsing was here. They were probably acquired by collectors in the 19th century, and installed here by Victorians. The image of a woman seated among goats is curious, as though she might represent the season of spring or be an allegory of fertility, but she is usually identified as St Agnes. It is a pity this roundel has been spoiled by dripping cement or plaster. Another roundel depicts St Sebastian shot with arrows, and a third St Anthony praying to a cross in the desert.

The two angels in the glass on the opposite side of the chancel are perhaps more interesting. They are English, probably early 16th Century, and represent two of the nine Orders of Angels, Dominions and Powers. They carry banners written in English declaring their relationship to eartly kings (Dominions) and priests and religious (Virtues). They would have been just two of a set of nine, but as with the glass opposite it seems likely that they did not come from this church originally.

However, the images in 'medieval' glass in the east window are entirely modern, though done so well you might not know. A clue, of course, is that the main figures, St Mary Salome with the infants St James and St John on the left, and St Anne with the infant Virgin on the right, are wholly un-East Anglian in style. In fact, they are 19th century copies by Clayton & Bell of images at All Souls College, Oxford, installed here in the 1970s. I think that the images of heads below may also be modern, but the angel below St Anne is 15th century, and obviously East Anglian, as is St Stephen to the north.

High above, the ancient roofs with their sacred monograms are the ones that Dowsing saw, the ones that the 15th century builders gilt and painted to be beautiful to the glory of God - and, of course, to the glory of their patrons. Rich patronage survived the Reformation, and at the west end of the south aisle is the massive memorial to Sir Henry Wood, who died in 1671, eleven years after the end of the Commonwealth. It is monumental, the wreathed ox heads a severely classical motif. Wood, Mortlock tells us, was Treasurer to the Household of Queen Henrietta Maria.

There is so much to see in this wonderful church that, even visiting time and time again, there is always something new to see, or something old to see in a new way. It is, above all, a beautiful space, and, still maintaining a reasonably High worship tradition, it is is still kept in High liturgical style. It is at once a beautiful art object and a hallowed space, an organic touchstone, precious and powerful.

Simon Knott, June 2006, updated July 2010 and January 2017

www.suffolkchurches.co.uk/Ufford.htm

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took this photo for my concentration and it reminded me of the colourful screen when there is nothing on the channel

View On Black

Strange Matter

January 5th, 2016

Richmond, VA

Stock Shot | Forza Motorsport 7

Order Trichoptera (Caddisfly) larvae which look like sticks and a Rana cascadae Cascades Frog tadpole, I based my shaky ID on photos from California Herps Eggs and Tadpoles of Cascades Frog - Rana cascadae and the fact that: "Cascade frog (Rana cascadae) was the most widely distributed and

abundant amphibian species in lentic habitats of MORA" according to Inventory of Aquatic Breeding Amphibians, Mount Rainier National Park, 1994-1999

Seen in a small pond between Meadowatch Plot 4 and Plot 5

Lakes Trail, Mount Rainier National Park

Elevation 1665 meters (5470 feet)

Hiking and botanize in Reflection Lakes and Paradise area of Mount Rainier as part of MeadoWatch

104

In the year 2057 the world is ruled by a mysterious council called The Order. The Order banned all sorts of things from almost all technology and owning weapons to laughter. Those who disobey the laws are dealt with swiftly by The Templars, the military branch of Order. People are sick of Order and rumor has it that people are starting to rebel. Here you see a sniper targeting a noble. I built this to show that the dragon knights aren't always evil

Some things are more empty than you wished for, especially on a monday morning.

This is my contribution to Fotosöndag, the theme is "Empty".

Custom order for pullip

www.ronmielshop.com

Wood/Carolina Duck on Quarry Lake, Phoenix Park, Dublin

[order] Anseriformes | [family] Anatidae | [latin] Aix sponsa | [UK] Wood Duck | [FR] Canard branchu | [DE] Brautente | [ES] Pato de la Florida | [IT] Anatra sposa | [NL] Carolinaeend

Measurements

spanwidth min.: 70 cm

spanwidth max.: 73 cm

size min.: 47 cm

size max.: 54 cm

Breeding

incubation min.: 31 days

incubation max.: 35 days

fledging min.: 56 days

fledging max.: 70 days

broods 1

eggs min.: 9

eggs max.: 14

Physical characteristics

Wood Ducks are intermediate in size, between the Mallard and Blue-winged Teal; on average, males weigh 680 g and females weigh 460 g. From a distance, the male Wood Duck on the water appears as a dark-bodied, dark-breasted, light-flanked duck with a striped crested head and a light-coloured throat. At close range, its iridescent plumage, red eyes, and black, red, and white bill are conspicuous. A white eye-ring, light-coloured throat, and fine crest distinguish the female from both the male Wood Duck and females of other species. Both sexes usually show a downward pointing crest at the back of the head, and their long broad square tails are distinctive features in flight.

The wings of Wood Ducks are highly characteristic. The primary wing feathers, which are the 10 outermost flight feathers attached to the wing beyond the wrist, are dark in colour. The outer vanes of these feathers look as if they have been sprayed with aluminum paint. The Wood Duck is the only North American duck so marked.

In most cases it is possible to distinguish immature from mature ducks and to tell males from females by their wings alone. In the Wood Duck, as in other ducks, the feathers of that year's young are finer, more pointed and worn, and less colourful than those of adults. Females show a few small feathers on the upper surface of the wing that are purplish and have the same lustre as oil on water. These feathers are absent in males. The white tips on the feathers along the trailing edge of the wing are usually teardrop-shaped in the female, but either straight or V-shaped in the male. By studying the wings of ducks taken by hunters, biologists can determine the ratio of young to adult ducks in the population and thereby measure waterfowl production.

The Wood Duck is a distinctively North American species. Its only close relative is the Mandarin Duck of eastern Asia. Evidently the Wood Duck originated in North America, as fossil remains have been found only in widely scattered locations in the eastern part of the continent.

Habitat

Like other perching ducks, Wood Ducks nest in trees. Preferred nesting sites are holes in hollow trunks or large branches that result from broken limbs, fire scars, lightning and logging damage. They also use cavities created by large woodpeckers such as the Pileated Woodpecker. Nests are situated from 1 to 15 m above ground, in trees more than 40 cm in diameter. They are usually found close to water, although females sometimes select trees some distance from water.

Other details

In Canada, the Wood Duck nests in scattered locations in the southern parts of all provinces; however, there is only one breeding record for Newfoundland and Labrador. The most extensive breeding ranges are in Ontario, Quebec, New Brunswick, and British Columbia. This duck occurs over a much wider area in late summer and early autumn, as a result of post-breeding dispersal. Although most Wood Ducks migrate to the United States, a few may spend the winter in extreme southern Ontario and southeastern British Columbia.

The Wood Duck is much more widely distributed in the United States, where it nests in areas east of the Mississippi River, along the lower Missouri River into South Dakota, in eastern Texas, along the Pacific coast, and in a few other places. It winters mainly along the Atlantic coast from New York south, along the Gulf coast into central Texas, to the lower Mississippi River valley and western California. A few winter in Mexico south to Distrito Federal. In Europe all sightings are of escaped birds.

Feeding

The Wood Duck is mainly a herbivore, or vegetarian, with plant foods making up about 90 percent of its diet. Foods vary according to their local availability, but duckweeds, cypress seeds, sedges, grasses, pondweeds, and acorns are among the more important foods throughout North America. In recent years corn has assumed a greater importance as small groups of Wood Ducks engage in field feeding behaviour similar to that of dabbling ducks, such as Mallards.

Ducklings require a high protein diet for rapid growth. Invertebrates such as dragonflies, bugs, beetles, and spiders are important foods during the first few weeks of life, so high populations of these small creatures are essential in habitats where the young will hatch and develop.

Conservation

This species has a large range, with an estimated global Extent of Occurrence of 6,200,000 km². It has a large global population estimated to be 3,500,000 individuals (Wetlands International 2002). Global population trends have not been quantified, but the species is not believed to approach the thresholds for the population decline criterion of the IUCN Red List (i.e. declining more than 30% in ten years or three generations). For these reasons, the species is evaluated as Least Concern. [conservation status from birdlife.org]

Breeding

The female Wood Duck breeds when one year old. She lines the nest with down, or fine feathers, taken from her breast, and lays eight to 15 dull-white to cream-coloured eggs. She incubates, or keeps the eggs warm, for 28 to 30 days until they hatch. During unusually cold weather, or if the female is away from the nest for an abnormally long time, incubation may require a few extra days.

Upon hatching, usually in June in eastern Canada, the young use their sharp claws to climb up the inside of the nesting cavity to its entrance, then jump and flutter to the ground, generally landing unharmed. The female guides them to the nearest water, where they will spend the next eight to nine weeks hunting for food together.

Shortly after the female begins incubation the male loses interest in family affairs and spends more time away from the nest. He joins other males, which eventually form large groups. As mid-summer approaches, the males begin the move to remote, undisturbed, sheltered places to moult, or shed old feathers. To reach these areas, they may travel great distances; many thousands migrate to southeastern Canada from breeding grounds in the northern states. On arrival the moult begins, and by August the brilliant spring feathers of the male have been replaced by a plumage similar to that of the female. Then, all at once, the flight feathers are moulted, leaving the male flightless for approximately four weeks while new feathers grow in.

Soon after the ducklings have fledged, or taken their first flight, usually by mid-August in eastern Canada, the females leave their broods, move a short distance, and undergo their moult. Like the males, they too seek out remote, undisturbed swamps and marshes and become flightless for a short period.

In late summer and early autumn, the young with their newly acquired powers of flight and the adults with their recently replaced flight feathers move in a leisurely way about the northern parts of their range. Their principal concern is to store up energy, in the form of fat, in preparation for the soon-to-come fall migration.

Migration

Wood Ducks migrate north to their Canadian breeding grounds, arriving there by April. Pair formation may occur on the wintering grounds before or during spring migration, or on the breeding grounds if one of the pair is lost. Mated pairs seek out secluded swamps or beaver ponds that provide water, nesting sites, brooding habitat, and feeding areas. Females often return to the same general area in which they were hatched.

By the first severe frost, usually in late September or early October in eastern Canada, Wood Ducks begin to head for the southeastern United States. Southern populations of Wood Ducks, particularly females, are less migratory. Populations in the interior of British Columbia migrate to the west coast, whereas Wood Ducks that live on the coast do not migrate at all. Has occurred Bermuda (regular), Azores and Alaska. Many sightings from Europe, presumed escapes.

For a little girl celebrating her birthday at the Bukit Timah Saddle Club.

And finally...the new Lego 10251 Brick Bank sets are on their way to me!!

Rainbow Basin, California

Papoted

We ordered 25 chicks through the mail. They arrived in a shoebox. And didn't even take up all the space.

Fountains Abbey is one of the largest and best preserved ruined Cistercian monasteries in England. It is located approximately 3 miles (5 kilometres) south-west of Ripon in North Yorkshire, near to the village of Aldfield. Founded in 1132, the abbey operated for 407 years becoming one of the wealthiest monasteries in England until its dissolution in 1539 under the order of Henry VIII.

The abbey is a Grade I listed building owned by the National Trust and part of the designated Studley Royal Park including the Ruins of Fountains Abbey UNESCO World Heritage Site.

Foundation

After a dispute and riot in 1132 at the Benedictine house of St Mary's Abbey, in York, 13 monks were expelled (among them Saint Robert of Newminster) and, after unsuccessful attempts to form a new monastery were taken under the protection of Thurstan, Archbishop of York. He provided them with land in the valley of the River Skell, a tributary of the Ure. The enclosed valley had all the natural features needed for the creation of a monastery, providing shelter from the weather, stone and timber for building, and a supply of running water. After enduring a harsh winter in 1133, the monks applied to join the Cistercian order which since the end of the previous century was a fast-growing reform movement that by the beginning of the 13th century was to have over 500 houses. So it was that in 1135, Fountains became the second Cistercian house in northern England, after Rievaulx. The Fountains monks became subject to Clairvaux Abbey, in Burgundy which was under the rule of St Bernard. Under the guidance of Geoffrey of Ainai, a monk sent from Clairvaux, the group learned how to celebrate the seven Canonical Hours according to Cistercian usage and were shown how to construct wooden buildings in accordance with Cistercian practice.

Consolidation

After Henry Murdac was elected abbot in 1143, the small stone church and timber claustral buildings were replaced. Within three years, an aisled nave had been added to the stone church, and the first permanent claustral buildings built in stone and roofed in tile had been completed.

In 1146 an angry mob, annoyed at Murdac for his role in opposing the election of William FitzHerbert as archbishop of York, attacked the abbey and burnt down all but the church and some surrounding buildings.The community recovered swiftly from the attack and founded four daughter houses. Henry Murdac resigned as abbot in 1147 upon becoming the Archbishop of York and was replaced first by Maurice, Abbot of Rievaulx then, on the resignation of Maurice, by Thorald. Thorald was forced by Henry Murdac to resign after two years in office. The next abbot, Richard, held the post until his death in 1170 and restored the abbey's stability and prosperity. In 20 years as abbot, he supervised a huge building programme which involved completing repairs to the damaged church and building more accommodation for the increasing number of recruits. Only the chapter house was completed before he died and the work was ably continued by his successor, Robert of Pipewell, under whose rule the abbey gained a reputation for caring for the needy.

The next abbot was William, who presided over the abbey from 1180 to 1190 and he was succeeded by Ralph Haget, who had entered Fountains at the age of 30 as a novice, after pursuing a military career. During the European famine of 1194 Haget ordered the construction of shelters in the vicinity of the abbey and provided daily food rations to the poor enhancing the abbey's reputation for caring for the poor and attracting more grants from wealthy benefactors.

In the first half of the 13th century Fountains increased in reputation and prosperity under the next three abbots, John of York (1203–1211), John of Hessle (1211–1220) and John of Kent (1220–1247). They were burdened with an inordinate amount of administrative duties and increasing demands for money in taxation and levies but managed to complete another massive expansion of the abbey's buildings. This included enlarging the church and building an infirmary.

Difficulties

In the second half of the 13th century the abbey was in more straitened circumstances. It was presided over by eleven abbots, and became financially unstable largely due to forward selling its wool crop, and the abbey was criticised for its dire material and physical state when it was visited by Archbishop John le Romeyn in 1294. The run of disasters that befell the community continued into the early 14th century when northern England was invaded by the Scots and there were further demands for taxes. The culmination of these misfortunes was the Black Death of 1348–1349. The loss of manpower and income due to the ravages of the plague was almost ruinous.

A further complication arose as a result of the Papal Schism of 1378–1409. Fountains Abbey along with other English Cistercian houses was told to break off any contact with the mother house of Citeaux, which supported a rival pope. This resulted in the abbots forming their own chapter to rule the order in England and consequently they became increasingly involved in internecine politics. In 1410, following the death of Abbot Burley of Fountains, the community was riven by several years of turmoil over the election of his successor. Contending candidates John Ripon, Abbot of Meaux, and Roger Frank, a monk of Fountains were locked in conflict until 1415 when Ripon was finally appointed, ruling until his death in 1434. Under abbots John Greenwell (1442–1471), Thomas Swinton (1471–8), John Darnton (1478–95), who undertook some much needed restoration of the fabric of the abbey, including notable work on the church, and Marmaduke Huby (1495–1526) Fountains regained stability and prosperity.

At Abbot Huby's death he was succeeded by William Thirsk who was accused by the royal commissioners of immorality and inadequacy and was dismissed as abbot. He was replaced by Marmaduke Bradley, a monk of the abbey who had reported Thirsk's supposed offences, testified against him and offered the authorities six hundred marks for the post of abbot. In 1539 it was Bradley who surrendered the abbey when its seizure was ordered under Henry VIII at the Dissolution of the Monasteries.

The abbey precinct covered 70 acres (28 ha) surrounded by an 11-foot (3.4 m) wall built in the 13th century, some parts of which are visible to the south and west of the abbey. The area consists of three concentric zones cut by the River Skell flowing from west to east across the site. The church and claustral buildings stand at the centre of the precinct north of the Skell, the inner court containing the domestic buildings stretches down to the river and the outer court housing the industrial and agricultural buildings lies on the river's south bank. The early abbey buildings were added to and altered over time, causing deviations from the strict Cistercian type. Outside the walls were the abbey's granges.[citation needed]

The original abbey church was built of wood and "was probably" two stories high; it was, however, quickly replaced in stone. The church was damaged in the attack on the abbey in 1146 and was rebuilt, in a larger scale, on the same site. Building work was completed c.1170.[11] This structure, completed around 1170, was 300 ft (91 m) long and had 11 bays in the side aisles. A lantern tower was added at the crossing of the church in the late 12th century. The presbytery at the eastern end of the church was much altered in the 13th century. The church's greatly lengthened choir, commenced by Abbot John of York, 1203–11, and carried on by his successor terminates, like that of Durham Cathedral, in an eastern transept, the work of Abbot John of Kent, 1220–47. The 160-foot-tall (49 m) tower, which was added not long before the dissolution, by Abbot Huby, 1494–1526, is in an unusual position at the northern end of the north transept and bears Huby's motto 'Soli Deo Honor et Gloria'. The sacristry adjoined the south transept.

The cloister, which had arcading of black marble from Nidderdale and white sandstone, is in the centre of the precinct and to the south of the church. The three-aisled chapter-house and parlour open from the eastern walk of the cloister and the refectory, with the kitchen and buttery attached, are at right angles to its southern walk. Parallel with the western walk is an immense vaulted substructure serving as cellars and store-rooms, which supported the dormitory of the conversi (lay brothers) above. This building extended across the river and at its south-west corner were the latrines, built above the swiftly flowing stream. The monks' dormitory was in its usual position above the chapter-house, to the south of the transept. Peculiarities of this arrangement include the position of the kitchen, between the refectory and calefactory, and of the infirmary above the river to the west, adjoining the guest-houses.

The abbot's house, one of the largest in all of England,is located to the east of the latrine block, where portions of it are suspended on arches over the River Skell.It was built in the mid-twelfth century as a modest single-storey structure, then, from the fourteenth century, underwent extensive expansion and remodelling to end up in the 16th century as a grand dwelling with fine bay windows and grand fireplaces. The great hall was an expansive room 52 by 21 metres (171 by 69 ft).

Among other apartments, for the designation of which see the ground-plan, was a domestic oratory or chapel,

1⁄2-by-23-foot (14 by 7 m), and a kitchen, 50-by-38-foot (15 by 12 m)

Medieval monasteries were sustained by landed estates that were given to them as endowments and from which they derived an income from rents. They were the gifts of the founder and subsequent patrons, but some were purchased from cash revenues. At the outset, the Cistercian order rejected gifts of mills and rents, churches with tithes and feudal manors as they did not accord with their belief in monastic purity, because they involved contact with laymen. When Archbishop Thurstan founded the abbey he gave the community 260 acres (110 ha) of land at Sutton north of the abbey and 200 acres (81 ha) at Herleshowe to provide support while the abbey became established. In the early years the abbey struggled to maintain itself because further gifts were not forthcoming and Thurstan could not help further because the lands he administered were not his own, but part of the diocesan estate. After a few years of impoverished struggle to establish the abbey, the monks were joined by Hugh, a former dean of York Minster, a rich man who brought a considerable fortune as well as furniture and books to start the library.

By 1135 the monks had acquired only another 260 acres (110 ha) at Cayton, given by Eustace fitzJohn of Knaresborough "for the building of the abbey". Shortly after the fire of 1146, the monks had established granges at Sutton, Cayton, Cowton Moor, Warsill, Dacre and Aldburgh all within 6 mi (10 km) of Fountains. In the 1140s the water mill was built on the abbey site making it possible for the grain from the granges to be brought to the abbey for milling.Tannery waste from this time has been excavated on the site.

Further estates were assembled in two phases, between 1140 and 1160 then 1174 and 1175, from piecemeal acquisitions of land. Some of the lands were grants from benefactors but others were purchased from gifts of money to the abbey. Roger de Mowbray granted vast areas of Nidderdale and William de Percy and his tenants granted substantial estates in Craven which included Malham Moor and the fishery in Malham Tarn. After 1203 the abbots consolidated the abbey's lands by renting out more distant areas that the monks could not easily farm themselves, and exchanging and purchasing lands that complemented their existing estates. Fountains' holdings both in Yorkshire and beyond had reached their maximum extent by 1265, when they were an efficient and very profitable estate. Their estates were linked in a network of individual granges which provided staging posts to the most distant ones. They had urban properties in York, Yarm, Grimsby, Scarborough and Boston from which to conduct export and market trading and their other commercial interests included mining, quarrying, iron-smelting, fishing and milling.

The Battle of Bannockburn in 1314 was a factor that led to a downturn in the prosperity of the abbey in the early fourteenth century. Areas of the north of England as far south as York were looted by the Scots. Then the number of lay-brothers being recruited to the order reduced considerably. The abbey chose to take advantage of the relaxation of the edict on leasing property that had been enacted by the General Chapter of the order in 1208 and leased some of their properties. Others were staffed by hired labour and remained in hand under the supervision of bailiffs. In 1535 Fountains had an interest in 138 vills and the total taxable income of the Fountains estate was £1,115, making it the richest Cistercian monastery in England.

After the Dissolution

The Gresham family crest

The Abbey buildings and over 500 acres (200 ha) of land were sold by the Crown, on 1 October 1540, to Sir Richard Gresham, at the time a Member of Parliament and former Lord Mayor of London, the father of Sir Thomas Gresham. It was Richard Gresham who had supplied Cardinal Wolsey with the tapestries for his new house of Hampton Court and who paid for the Cardinal's funeral.

Gresham sold some of the fabric of the site, stone, timber, lead, as building materials to help to defray the cost of purchase. The site was acquired in 1597 by Sir Stephen Proctor, who used stone from the monastic complex to build Fountains Hall. Between 1627 and 1767 the estate was owned by the Messenger family who sold it to William Aislaby who was responsible for combining it with the Studley Royal Estate.

Burials

Roger de Mowbray, 1st Baron Mowbray

John de Mowbray, 2nd Baron Mowbray

Abbot Marmaduke Huby (d. 1526)

Rose (daughter of Richard de Clare, 6th Earl of Gloucester), wife of Roger de Mowbray, 1st Baron Mowbray

Henry de Percy, 1st Baron Percy

William II de Percy, 3rd feudal baron of Topcliffe

Becoming a World Heritage Site

The archaeological excavation of the site was begun under the supervision of John Richard Walbran, a Ripon antiquary who, in 1846, had published a paper On the Necessity of clearing out the Conventual Church of Fountains.In 1966 the Abbey was placed in the guardianship of the Department of the Environment and the estate was purchased by the West Riding County Council who transferred ownership to the North Yorkshire County Council in 1974. The National Trust bought the 674-acre (273 ha) Fountains Abbey and Studley Royal estate from North Yorkshire County Council in 1983. In 1986 the parkland in which the abbey is situated and the abbey was designated a World Heritage Site by UNESCO. It was recognised for fulfilling the criteria of being a masterpiece of human creative genius, and an outstanding example of a type of building or architectural or technological ensemble or landscape which illustrates significant stages in human history. Fountains Abbey is owned by the National Trust and maintained by English Heritage. The trust owns Studley Royal Park, Fountains Hall, to which there is partial public access, and St Mary's Church, designed by William Burges and built around 1873, all of which are significant features of the World Heritage Site.

The Porter's Lodge, which was once the gatehouse to the abbey, houses a modern exhibition area with displays about the history of Fountains Abbey and how the monks lived.

In January 2010, Fountains Abbey and Studley Royal became two of the first National Trust properties to be included in Google Street View, using the Google Trike.

Film location

Fountains Abbey was used as a film location by Orchestral Manoeuvres in the Dark for their single "Maid of Orleans (The Waltz Joan of Arc)" during the cold winter of December 1981. In 1980, Hollywood also came to the site to film the final scenes to the film Omen III: The Final Conflict.Other productions filmed on location at the abbey are the films Life at the Top, The Secret Garden, The History Boys, TV series Flambards, A History of Britain, Terry Jones' Medieval Lives, Cathedral, Antiques Roadshow and the game show Treasure Hunt. The BBC Television series 'Gunpowder' (2017) used Fountains Abbey as a location.

Just some stuff that I recived today.

Photo by Matt Ellis

Sent from my phone.

yay!! 20 years overdue XD ... seriously! I'm a fan for over 20 years and hardly have any Sailor Moon stuff! ... and I am nuts after those brooches and wands!

those are only the gashapon ones though ... no expensive compact or battery operated rods!!

Northalsted Market Days. N Halsted St, Chicago, IL.

Saint Marie of the Incarnation, O.S.U.

Missionary, Foundress of the Ursuline Order in Canada

Born Marie Guyart

28 October 1599 — Tours, Touraine, Kingdom of France

Died 30 April 1672

Québec City, Canada, New France

Beatified 22 June 1980, Vatican City, by Pope John Paul II

Canonized 2 April 2014 by Pope Francis

Feast 30 April

Marie of the Incarnation, O.S.U. (28 October 1599 – 30 April 1672) was an Ursuline nun of the French order. As part of a group of nuns sent to New France to establish the Ursuline Order, Marie was crucial in the spread of Catholicism in New France. Moreover, she has been credited with founding the first girls’ school in the New World. Due to her work, the Catholic Church declared her a saint, and the Anglican Church of Canada celebrates her with a feast day.

Early life

Marie of the Incarnation was born Marie Guyart in Tours, France. Her father was a silk merchant. She was the fourth of Florent Guyart and Jeanne Michelet’s eight children and from an early age she was drawn to religious liturgy and the sacraments. When Marie was seven years old, she experienced her first mystical encounter with Jesus Christ. In her book Relation of 1654, she recounted: “With my eyes toward heaven, I saw our Lord Jesus Christ in human form come forth and move through the air to me. As Jesus in his wondrous majesty was approaching me, I felt my heart enveloped by his love and I began to extend my arms to embrace him. Then he put his arms about me, kissed me lovingly, and said, ‘Do you wish to belong to me?’ I answered, ‘Yes!’ And having received my consent, he ascended back into Heaven.” From that point onward, Marie felt “inclined towards goodness.”

Intent on belonging to Christ, Marie, aged fourteen, proposed to her parents that she enter religious life with the Benedictines of Beaumont Abbey but her parents disregarded her desire. Instead, she was married to Claude Martin, a master silk worker in 1617. By her own account, she enjoyed a happy - although brief - marriage and within two years she had a son, also named Claude. Her husband died only months after the birth of their son, leaving Marie a widow at the age of nineteen.

With her husband’s death, Marie inherited his failing business which she then lost. Forced to move into her parent’s home, Marie secluded herself to pursue a deepening of her commitment to spiritual growth. After a year with her parents, Guyart was invited to move in with her sister and brother-in-law, Paul Buisson, who owned a successful transportation business. She accepted, and helped in managing their house and kitchen.

Though nothing could distract Marie from the pursuit of a spiritual life. “I was constantly occupied by my intense concentration on God,” she wrote in Relation of 1633. Over time, her inclination toward religious life only grew and eventually led her to enter the Ursuline convent on 25 January 1631.

Religious beginnings

Free to pursue her religious inclinations after her husband’s death, Marie took a vow of chastity, obedience and poverty. On 24 March 1620, she received a religious vision that set her on a new path of devotional intensity.

In 1627 Marie read Vida, the autobiography of the Spanish mystic Teresa of Ávila. Marie found many spiritual connections with Teresa, and was heavily influenced by her work. After reading Vida, Marie long aspired to the same goal of her Spanish role model of travelling to the New World and becoming a martyr there. Fueled by Jesuit propaganda and her own visions, Marie became more and more encouraged to travel to New France. So much so, she experienced a vision that would inspire her voyage to the New World and in Relation of 1654 she wrote, “I saw at some distance to my left a little church of white marble...the Blessed Virgin was seated. She was holding the Child Jesus on her lap. This place was elevated, and below it lay a majestic and vast country, full of mountains, of valleys, of thick mists which permeated everything except the church...The Blessed Virgin, Mother of God, looked down on this country, as pitiable as it was amazing...it seamed to me that she spoke about this country and about myself and that she had in mind some plan which involved me.” With the assistance of her spiritual director, Marie identified the country to be Canada and further incentivized her departure to New France. Despite never achieving martyrdom, Marie would spend many years in the New World aspiring towards it, working diligently in the meantime. After her death, the two names would often be connected, and Marie would occasionally be referred to as the Teresa of Canada.

In 1631, after working with a spiritual director for many years, Guyart decided to enter the Ursuline monastery in Tours to try her religious vocation, at which time she received the religious name by which she is now known. Joining the monastery required her to leave her young son, and he expressed much difficulty with the separation. Claude tried to storm the monastery with a band of school friends, and could repeatedly be found crying at the gates, trying to enter. She left him in the care of the Buisson family, but the emotional pain of the separation would remain with them both. Later, when her son had become a Benedictine monk, they corresponded candidly about their spiritual and emotional trials.

New France

Pre-departure

Prior to her departure, Marie de l’Incarnation had been leading a cloistered life as a member of the Ursuline Order. After having professed her vows in 1633, she changed her name to Marie de l’Incarnation; that Christmas, she was confronted with a powerful vision, which functioned as the catalyst for her mission to New France. In this mystical dream, Marie saw herself walking hand in hand with a fellow laywoman against the backdrop of a foreign landscape, on the roof of a small church in this distant, foggy landscape sat the Virgin Mary and Jesus; she interpreted this as the mother and son discussing her religious calling to the new land. She recounted the vision to her priest at the Order, who informed her that the nation she described was Canada, and suggested that she read The Jesuit Relations; from this Marie concluded that her vocation was to help establish the Catholic Faith in the New World.

Personal and financial obstacles delayed her departure by four years. Over this time, she maintained a continuous correspondence with Jesuits in Quebec who were supportive of a female religious presence, which might facilitate the Christianization of Huron women; Marie’s Mother Superior in Tours, and her pre-Ursuline religious director Dom Raymond de Saint Bernard were largely unsupportive, the latter suggesting that it was too lofty for a lowly laywoman. Marie was met with similar resistance from her family. Her brother, Claude Guyart attempted to persuade her into abandoning her mission by accusing her of parental neglect, and by revoking an inheritance designated for her son; these measures did not deter her.

Marie’s initial financial concerns for the funding of the journey, and the establishment of a convent in New France were resolved when she was introduced to Madeleine de la Peltrie on 19 February 1639. Marie recognized that this religiously devoted widow, the daughter of a fiscal officer, was the laywoman from her vision four years earlier. De la Peltrie’s contribution to the endeavour was met with strong opposition from her aristocratic family; to garner their support, de la Peltrie arranged a sham marriage with Christian Jean de Brenière. Madeleine’s new marital status gave her the legal authority to sign over the bulk of her estate to the Ursuline Order, thereby fully funding the mission. Following this, the Ursuline went to Paris, and signed legal contracts with the Company of One Hundred Associates, and the Jesuit Fathers, who were responsible for the colony’s political and spiritual life, respectively. The official royal charter sanctioning the establishment of the foundation was signed by Louis XII shortly thereafter.

On 4 May 1639, Marie de l’Incarnation and Madeleine de la Peltrie, set sail from Dieppe for Quebec on board the Saint Joseph. They were accompanied by a fellow aristocratic Ursuline Marie de Sanonières, the young commoner Charlotte Barré, three nurses, and two Jesuit Fathers.

Arrival

In August 1639 the group landed in Quebec City and established a convent in the lower town. When they began their first work at the foot of the mountain, Quebec was but a name. Hardly six houses stood on the site chosen by Champlain thirty-one years previously. She and her companions at first occupied a little house in the lower town (Basse-Ville). In 1642 the Ursulines moved to a permanent stone building in the upper town. The group managed to found the first school in what would become Canada, as well as the Ursuline Monastery of Quebec, which has been designated one of the National Historic Sites of Canada.

Early interactions with the native populations

Marie de l’Incarnation’s early interactions with Native populations were largely shaped by the constraints created by differing lifestyles, illnesses, and alliances. Indigenous divisions of manual and domestic labour by gender and age diverged significantly from European conceptions of masculine and feminine spheres of work. This made it difficult for Marie and the other Ursulines to educate young girls with methods developed in Europe.

With European colonization came an influx of illnesses. Smallpox outbreaks from the 1630s to the 1650s ravaged Native populations, leading them to believe that Jesuits and Ursulines were imparting disease through their religious practices, and paraphernalia. Fears that baptisms, holy icons and crosses were the source of all epidemics greatly limited the groups’ interactions, and strained Marie’s relationship with Natives in her first decades in New France.

The most volatile relationship Marie and the Ursulines faced revolved around the conflict pitting the French, Huron and other indigenous allies against the Iroquois. Iroquois hostility towards the Jesuit-allied Hurons shaped Marie’s negative view of the Five Nations. Iroquois military victories in the 1650s, and their dominance by the start of the next decade, brought Marie and the Ursulines close to despair. Their distress was heightened by a fire that destroyed their convent in 1650;[15] simultaneous political troubles in France caused European Ursulines to pressure their Canadian sisters to return home, adding to Marie and the Ursulines’ stresses, and fears. Such feelings of helplessness were quelled, however, when the convent was reconstructed with seemingly miraculous speed; a blessing attributed to the Virgin Mary.

Universalizing Impulses

A strong, universalizing impulse underscored Marie de l’Incarnation’s interactions, and activities in New France. Her perceptions of similarities between European Christians, and the potential converts in the New World were the upshots of a cloistered convent life, and largely non-existent experiences with other cultures;[18] such seclusion allowed for an over-simplification of her ambition to spread God’s word transnationally. According to Natalie Zemon Davis, the integrative approach towards Native interactions that developed from this mindset was dissimilar to the Jesuit’s methods of establishing relationships in New France. Jesuits, adopted Native roles in the presence of First Nations peoples, but were quick to shed these association when outside the confines of their settlements; this double life made any fully integrative experience, or universal mindset impossible.

Marie noticed that Native girls were in possession of commendable traits such as submissiveness, and conscientiousness, which would facilitate their adoption of Christian practices, and their commitment to a Christian marriage; the two pillars of a thorough, universalizing conversion.

Education

In the 17th century, a key pillar of education was religious education. Marie followed a strict orthodox teaching method she learnt during her time with the Ursulines in Tours. The system was based on basics of faith, French and Latin literature and civility. The basics of faith included catechism, prayers and hymns. The main objective of the Ursuline school was to educate young French girls and Natives to become good Christians. The young French girls paid one hundred and twenty livres to cover both their education and pension fees. At the time, the young Native girls did not have to pay for their education. The Ursuline’s encouraged the young Montagnais, Hurons and Algonquins to use the seminary as a resource. These girls were taught French mannerisms and were taught how to dress based on French culture. After their education, the young aboriginal students were encouraged to go back to their homes and share their teachings. By educating young girls from different tribes, francization was transmitted from daughter to mother. In her writings, Marie emphasized the fact that the Aboriginal students were treated the same way as the French students at the school. They allowed the girls to sing hymns in both French and their native languages. Many of the nuns created mother-like bonds with the First Nation students. However, there were some problems with the education system during the 17th century. Some students did not stay at the school long enough to receive a complete education. The Ursuline nuns did not have the authority to keep them if the girls want to leave. Another problem was limited economic resources. The school could only accept a limited number of students because of a lack of funds.

Death

Marie died of a liver illness on 30 April 1672. In the necrology report sent to the Ursulines of France, it was written: “The numerous and specific virtues and excellent qualities which shone through this dear deceased, make us firmly believe that she enjoys a high status in God’s glory.”

Works

In addition to her religious duties, Marie composed multiple works that reflected her experiences and observations during her time in the New World and the spiritual calling that led her there.

In relation to her work with the indigenous population, Marie learned Montagnais, Algonquin, Huron, and Iroquois, writing dictionaries and catechisms in each (none of which have survived to today), as well as in her native French. Marie also wrote two autobiographies, though her second Relation was destroyed in a fire at the convent while still in manuscript.

Her most significant writings, however, were the 8,000-20,000 letters she wrote to various acquaintances, the majority of which went to her son Claude. Despite being personal correspondence, some of her letters were circulated throughout France and appeared in The Jesuit Relation in love while she was still alive. Many of the remainder were then published by her son after her death. These letters constitute one of the sources for the history of the French colony from 1639 to 1671. Her collection of works discuss political, commercial, religious and interpersonal aspects of the colony and are helpful in the reconstruction and understanding of New France in the seventeenth century.

Canonization

Marie was declared venerable in 1874. She was then beatified by Pope John Paul II on 22 June 1980. She was canonized by Pope Francis on 2 April 2014. The Pontiff waived the requirement of two miracles for Marie and she was granted “equivalent canonization” alongside François de Laval, the first Bishop of Quebec.

Legacy

Marie of the Incarnation is a celebrated founder of the Ursuline Order in colonial New France. Her work with the Amerindians has been recognized by the Anglican Church of Canada and they celebrate her life with a feast day on 30 April. A number of Catholic schools have been named after her. At Laval University, in Québec City, there is the Centre d’Études Marie de l’Incarnation, that is a multi-disciplinary program pertaining to theology and religious practice.

Marie is recognized for her contribution to Canada with a statue that sits in front of the Québec parliament. The sculpture was designed by Joseph-Émile Brunet in 1965 and is located at the Basilica of SainteAnne de Beaupré.

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