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What I wore out during day in Glasgow. Low heels would have been a nice addition but hadnt anything suitable.
A bit of a current news/topical image this one, reflecting the fact that the Royal Mail postal workers have just voted to go on strike throughout the UK which will cause havoc with the mail delivery. I thought that this image summed up the situation perfectly.
This shot is actually of a vending machine outside a post office, which used to dispense stamps but has been permanently shut for years.
Staring out from the window of the dining room at the Victorian B&B.
I had to take this panorama twice thinking that the exposure was screwed up in the first trial, but turned out that the second trial was screwed and the first one, the one you see here, is just fine!
I will try to do a QTVR out of this panorama later.
Des membres de la Batterie X du 5e Régiment d’artillerie légère du Canada (5 RALC) faisant partie de la Force opérationnelle Saguenay éteignent des points chauds dans une zone forestière incendiée, au cours de l’opération LENTUS 23-03, dans les environs de Chapais, au Québec, le 19 juin 2023.
Photo : Caporal Marc-André Leclerc, Section d’imagerie Valcartier, Forces armées canadiennes
Members of X Battery, 5e Régiment d’artillerie légère du Canada (5 RALC) forming part of the Saguenay Operational Force put out hot spots in a forest fire zone during Operation LENTUS 23-03 near Chapais, Quebec, on 19 June 2023.
Photo: Corporal Marc-André Leclerc, Valcartier Imaging Section, Canadian Armed Forces
It's for a photo competition - theme inside-out. It had to be clear what the inside was & the outside. The obvious thing would be to take a picture inside a building looking out onto some nice scenery. Too obvious.
Luckily I had to repair the toilet so took it out, emptied out all the water & a compact camera fits nicely in the bottom. A little bit of work later with the gimp to add tasteful bubbles & a nice yellow tinge to finish off.
Hope they have a sense of humour!
She is actually now deboxed! I have heard a lot about poor quality in new releases- and although I don't wish to detract from peoples bad experiences I have to say I'm very impressed with her quality. Yes her hair was greasy and shed a little, but no more than my CapChat. And those long John things are... Odd (but I think are to protect against staining?). Anyhow ramble over I will take some pics tomorrow! 💕
A pair of fishermen set out to work just after sunset in the Saadani National Park in Tanzania. Saadani is a unique park in that it has a long coastline with excellent beaches, a river running into the interior, and not least a savanna with lots of animals. It is located just across from Zanzibar and north of Dar es Salaam.
Kanchana is a bright young nurse in Sri Lanka. She graduated eleventh out of 30,000 nursing students in her country and is dedicated and energetic about her work as a nurse. Where she is today is a far cry from where she was a few years ago. During her first year in nursing school, a male acquaintance threw acid on her while she was on her way to school. The violent practice is common in this region of the world, and most women are targeted for their beauty, out of jealousy, or for refusing the advances of the person who accosts them.
Kanchana had to undergo many painful operations, hair loss and the wearing of a facial mask for months to reduce scarring. Dr. Chandini Perera, Interplast’s partner in Sri Lanka, performed Kanchana’s much-needed operations and provided her the needed after-care. In addition to restoring her functionality and reducing her disfigurements, Perera also fought to have Kanchana continue with her nursing studies. The school administrators thought it would be too distracting and disturbing for other nursing students and teachers to look at Kanchana, who needed to wear pressure garments to ensure proper healing. Perera also helped Kanchana seek legal justice, and the perpetrator is in jail.
Now healed but still with some scarring, Kanchana works as a nurse at Perera’s hospital, but not without another fight with hospital administrators who believed her scars would disturb the patients. Kanchana’s smile and efficiency are doing just the opposite; she is telling her story when asked, and so many patients have stories of their own. Kanchana is having an empowering effect on those she meets and is raising awareness about violence against women and the discrimination against those with disfigurement and disabilities.
She is moving forward and focusing on a profession that allows her to give back the same care she received. Though this event forever changed Kanchana’s life, her will remains strong and she has persevered against all odds with her caring nature intact.
She is one of our many patients who continually inspire us and reinforce our belief that reconstructive surgery can be the tool to a new beginning. By removing one of the many major obstacles that our patients face, these surgeries make it possible for them to strive for their full potential, just like Kanchana has.
Photo by Phil Borges
“I am going out to the shops, do you want me to bring you back anything”
thanks to Jeff Wharton for photo of re enactor lady
background photo generated by leonardo.ai flic.kr/p/2qwgoU1
St Mary, Huntingfield, Suffolk
Follow these journeys as they happen at Last of England twitter.
It was the first day of the 2019 Easter holidays, and what better way to spend a Monday morning than heading off for a church-exploring bike ride rather than going to work? I caught the train up to Halesworth, and then cycled off out into the hills. The villages and their pretty parish churches come thick and fast around here, and almost all of them are open to pilgrims and strangers daily. There is a good mixture too, round towers, square towers, hardly-any-left towers, reed-thatched roofs, beflinted-porches, and all manner of treasures inside. A fair number of East Anglia's best small churches are in this area. But even given this variety, there is nowhere else in East Anglia quite like Huntingfield church.
This is one of Suffolk's more obscure villages, but the Huntingfield name was that of one of the county's most significant families. Huntingfield is the nearest village to the great pile of Heveningham Hall, with one of the largest Georgian frontages in England. It was rebuilt by the Huntingfields in the 18th Century. Standing on the road and looking across the sheep-scattered lawns to the great building, it is easy to imagine the gulf between the landed gentry and their poor workers in those days. Sandwiched between the traumas of the 17th Century and the energy of the 19th Century, it was the landowners of the 18th Century who had every reason to think that their world was permanent and unchanging, that it would always be as they knew it. Farming sheep, collecting art, patronising musicians, tinkering with primitive science and technology, dispensing benevolent largesse to the poor on their estate - it is a world that is at once attractive and appalling. For them, the Church of England was both an arm of the state dispensing laws, justice and charity, and the setting for the weekly liturgical reinforcement of the puritan-refracted Elizabethan settlement.
But the Industrial Revolution would bring it all to an end, and in more ways than one. In the second half of the latter century, many parish churches were drawn by the excitement of the age into major reconstructions and revisions. Their impulse came from Oxford, where the Tractarians had a vision of the Church of England as a national Church, no longer a protestant sect but restored to the catholicity of its roots, and from Cambridge, where the ecclesiologists decided what a building of the national Church should properly look like. As the young men graduated and were presented to parishes across the country, their ideas spread like wildfire. They had come from their univserities to churches fitted out for protestant worship, with whitewashed walls and box pews focused on the high pulpit, the rarely-used altar gathering dust in the chancel or even discarded. Preaching houses rather than sacramental spaces, and any surviving traces of the building's medieval life survived, perhaps, simply because they were not understood.
Essentially, what happened in England between about 1830 and 1870 was a cultural revolution, a new wave of ideas and the reaction to them. The litugical changes proposed by the Oxford Movement were, at first, objectionable, and then merely controversial. But gradually they seeped into the mainstream, until by about 1890 they had become as natural as the air we breathe. Galvanised by the ferment of ideas and the possibilities of the industrial age, these young men convinced their rich patrons, revolutionised their buildings, and in so doing altered their parishes forever. They often looked to London stars like Scott and Butterfield, or local plodders like Phipson, or else mavericks like Salvin. The demands of the new liturgical arrangements, coupled with a renewed sense of the need to glorify God, led them into what was often a rebuilding rather than a restoration.
Internal decorations were, perhaps, the bespoke work of the architect, Witness Phipson's meticulous attention to detail at St Mary le Tower, Ipswich. Other restorers relied on the big picture, a vision that encompassed walls and floors, but left the fittings to others. By the centenary of the movement in the 1930s, one Anglican clergyman could observe "It is as if the Reformation had never happened". Well, not quite. And now, the pendulum has swung the other way, leaving the ritualists high and dry. But the evidence of the energy of those days survives, especially at Huntingfield, where William Holland, the vicar, drove the Oxford Movement through the heart of the parish, like a motorway through a Site of Special Scientific Interest.
The Hollands were the patrons of the living, which gave them the authority and the money to reimagine Huntingfield church on a grand scale. Oxford and Cambridge universites were exclusively for men, of course, but it so happened that William Holland had an energetic and visionary wife. Between 1859 and 1866, Mrs Mildred Holland planned, designed and executed the most elaborate redecoration of a church this county had seen since the Reformation. For seven years, she lay on her back at the top of scaffolding, first in the chancel (angels) and then in the nave (saints on the ceilure, fine angels on the beam ends), gilding, lettering and painting this most glorious of small church roofs. Her husband kept a journal throughout this period, and there is no suggestion that she had any assistance, beyond that of workmen to raise the scaffolding, and a Mr E.L. Blackburne FSA, who was, apparently, an 'authority on medieval decoration'. J.P. St Aubyn was responsible for the structural restoration of this largely 15th century building, and it is very restrained and merciful. But you come here to see the painted roofs, which are perfectly splendid. You can activate the floodlighting with a pound coin in a box at the west end of the north aisle, and the illuminated work is breath-taking.
What else is there to see? Some 15th Century window borders in the east window of the south aisle depict hares and a little dog with a bell around his neck. And what is that at the bottom, a dragon, or a winged lion? Evidence of the church's continued High Church tradition into the 20th Century is in statues of the Blessed Virgin and child flanked by St Francis and St Dominic in a triple image niche set in a pillar of the north arcade. Was it originally for a rood group, perhaps above an altar? Any church is a palimpsest, history written and rewritten over its skin as a touchstone to changing liturgical imperatives and the long generations of its people. Across this canvas the enthusiasms and Huntingfield in Mildred Holland's time are writ large, and will last long.
And there is something else, and a great curiosity. Ann Owen, the Vicar's wife in the neighbouring parish of Heveningham, is also said to have been responsible for 19th Century work in the church there, this time in the form of stained glass. Visiting Heveningham, I am afraid it is difficult for me to find this convincing, although of course one likes to think it was so, and that the two women artists were friends, or possibly even rivals. But Mildred's story has been brilliantly captured in a recent novel, The Huntingfield Paintress by Pamela Holmes. Pamela tells me that 'it was a comment of yours about Mildred and Ann Owen which sparked my determination to write my first novel' which is very kind of her, although I am sure it was easy to be inspired when one stands here surrounded by Mildred Holland's work.
You might thnk that the towering font cover is also by her, but in fact it is her memorial, placed here by her husband, as is the art nouveau lectern. It is as if her art was a catalyst, inspiring others to acts of beauty. She died in the 1870s, predeceasing her husband by twenty years. They are both now buried by the churchyard gate. How fitting, that they should lie in the graveyard of the church they loved so much, and to which they gave so much of their time, energy and money.