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This pub in Bracebridge Heath, just south of Lincoln, has an interesting history having started life as the residence of the medical superintendent for the Lincolnshire County Pauper Lunatic Asylum (subsequently known as St,Johns Hospital) and dates from 1906. The hospital was closed down in 1990 with the building and land being privately developed into housing whilst this grand residence was converted for it's present use.
Corfe Castle in the early morning mist, taken last year. The ruined castle looked so incredible it was almost unreal.
Corfe Castle has been a Saxon stronghold, a Norman fortress, a royal palace and a family home in ten centuries of dominating the Purbeck landscape. In that time it has seen murder and war, known kings and paupers and its rugged beauty has won the hearts of thousands of visitors. No photographer can resist this scene!
ThursdayI am travelling to Somerset to present a talk to Chard Camera Club. After thinking I had a fear of speaking in public, who would have thought I'd have several talks under my belt? I absolutely love sharing my passion with anyone who will listen!
Dickson Cemetery in Iowa was filled with photos. I could have spent hours there. I had only about 15 minutes, unfortunately. So I set up my tripod and step stool and shot this (as well as a few others inside).
While the fence takes focus, the two obvious stones belong to Samuel and Lucretia Spurgeon. Sam has the more rounded stone, while Lucretia has the flatter one.
The were married in November of 1855 in Iowa, though Sam was born in Ohio, while Lucretia was from Iowa. Together they had two children. Havila Milton Spurgeon and Elizabeth Ann.
To the left of the tree are two other stones. These are for John and Ann Spurgeon, Sam's parents. John was also from Ohio, and his father was from Pennsylvania. We can see the generations migrating state-by-state.
John and Ann had twelve children, one of whom (Charles) is buried in this cemetery - it's the stone on the other side of the tree.
Though most of the stones in the Dickson Cemetery are in good shape, the stones belonging to John, Ann and Charles have been broken and repaired.
Samuel died in 1874 at the age of 45. Lucretia was 41. Six years remarried. His name was David K. Butrick. She divorced him on Independence Day, 1889. Five years more, she married William Petty. She was his third wife. They divorced shortly after, as by 1907 William was married to his fourth wife.
Lucritia died alone and penniless in 1911. The newspaper read:
Carroll Times - Thursday , July 6th, 1911 - M.R. Neu, taking remains of pauper, Mrs. Spurgeon to Glidden, casket and box and burying Henry Meyers of Carroll casket etc. and ambulance $54.
She was buried next to Samuel.
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'Vanta'
Camera: Chamonix 45F-2
Lens: Steinheil München Anastigmat Actinar 4.5; 135mm
Film: Fomapan 100
Exposure: f/6.3; 1/25sec
Process: FA-1027; 1+14; 9min
Iowa
July 2023
Henri Rousseau
b.1844 Laval,France
d.1920 Paris
The Football players (Les joueurs de football)
1908
-oil on canvas
A toll clerk by profession,Rousseau began to paint seriously in his forties.The critics lambasted the untrained artist's unsentimental images of faraway places (he never traveled outside of France),yet the Parisian
avant-garde celebrated his unique style.Executed (the work) only two years before he died a pauper.The Football Players illustrates Rousseau's quirky attempt to depict modern times with a new sport,rugby.The active,albeit stylized athletes present a rare exception from Rousseau's largely static compositions.
Justin K.Thanhausser was owned the Football Players,which had been "lost" according to the collector-dealer,after Rousseau's death.Thanhausser discovered the painting in a small gallery in Montmartre during the summer of 1912 and kept it for his private residence-rather than gallery stock-until he was compelled to sell it in 1917.
As you can see they do like using the Railway Arches and Bridges in Southwark
This Sports Pub come Restaurant is one of several in Union Street...You could say a small Town in its own right with its Theatres, Paupers Graveyard, Shops, Restaurants, Galleries, a Park, London Fire Brigades Offices, Transport For London Building and a Hotel
Union Street, Southwark. London. UK
HWW !
Assistens Cemetery in the Nørrebro region of Copenhagen, Denmark.
It is the burial site of many leading figures of the epoch, such as Hans Christian Andersen, Søren Kierkegaard, Christoffer Wilhelm Eckersberg, and Christen Købke. Through the 20th century it has continued to attract notables. Among the latter are the Nobel Prize-winning physicist Niels Bohr and a number of American jazz musicians who settled in Copenhagen during the 1950s and 1960s, including Ben Webster and Kenny Drew.
Originally the cemetery was intended as a burial ground for paupers. In 1785 an affluent citizen, astronomic writer and First Secretary of the War Chancellery Johan Samuel Augustin, made specific requests to be interred at the cemetery. He was soon followed by other leading figures from the elite and the cemetery soon developed into the most fashionable burial ground of the city. Around that time, excursions to the cemetery with picnic baskets and tea became a popular activity among common citizens of Copenhagen.
The excursions sometimes evolved into rowdy gatherings and legislation was passed to prevent this. A commission established in 1805 issued instructions which prohibited the consumption of food or drink as well as music or any other kind of cheerful behaviour in the cemetery. The gravediggers, who lived on the premises, were to enforce these restrictions but they seem to have taken their duties lightly. Legislation from 1813 prohibited them to sell alcohol to visitors to the cemetery. Despite all these efforts, the desired peace and quiet was a long time in coming. For particularly grand funerals, crowds of spectators would gather, and people would festoon the cemetery walls to get a better view. To reduce numbers of visitors, there was talk of introducing admission fees, but this was never carried out.
The cemetery is still serving its original purpose as a burial ground but is also a popular tourist attraction, as well as the largest and most important greenspace in the inner part of the Nørrebro district. It is divided into sections. The oldest part is Section A and features the graves of Søren Kierkegaard and the painter Christen Købke among others. Section D is dedicated to religious minorities, containing Roman Catholic and Reformed graves as well as Russian graves. Section E is the section which originally served under Church of Our Lady.
Information Source:
en.wikipedia.org/wiki/Assistens_Cemetery_(Copenhagen)
Although St Mark's was modelled after the Church of the Holy Apostles in Constantinople, ceremonial needs as well as the limitations posed by the physical site and the pre-existing walls and foundations made it necessary to adapt the design. The overall cruciform plan with five domes was maintained. But the Holy Apostles was a true centrally planned church: the central dome, larger than the others, was alone pierced with windows, and the altar was located underneath. Also, there was no distinction between the four crossarms: no apse existed, and double-tiered arcades surrounded the interior on all sides. In contrast, the longitudinal axis was emphasized in St Mark's so as to create the space appropriate for the processions associated with state ceremonies. Both the central and western domes are larger, accentuating the progression along the nave, and by means of a series of increasingly smaller arches, the nave visually narrows towards the raised chancel in the eastern crossarm, where the altar stands. The crossarms of the transept are shorter and narrower. Optically, their height and width are further reduced by the insertion of arches, supported on double columns, within the barrel vaults. The domes of the transept and the chancel are also smaller.
As with the Holy Apostles, each of the domes rests on four barrel vaults, those of the central dome rising from quadripartite (four-legged) piers. But the two-tiered arcades that reinforced the vaults in the Holy Apostles were modified. In St Mark's there are no upper arcades, and as a result the aisles are less isolated from the central part of the church. The effect overall is of more unified sense of space and an openness that have parallels in other Byzantine churches constructed in the eleventh century, an indication that the chief architect was influenced by middle-Byzantine architectural models in addition to the sixth-century Church of the Holy Apostles.
The location of the main altar within the apse necessarily affected the decorative programme. The Christ Pantocrator, customarily located in the central dome over the altar, was placed in the semi-dome of the apse, where normally the Virgin in prayer was depicted in middle-Byzantine churches. The large seated figure, now a sixteenth-century recreation, is surrounded with the inscription: "The King of all, made flesh for the love of sinners, do not despair of forgiveness while you have time." (SUB REX CUNCTORUM CARO FACTUS AMORE REORUM · NE DESPERATIS VENIE DUM TEMPUS HABETIS). Below, interspersed with three windows, are late-eleventh and early-twelfth-century mosaics that portray Saint Nicholas of Myra, Saint Peter, Saint Mark, and Saint Hermagoras of Aquileia as the protectors and patrons of the state, Saint Nicholas being specifically the protector of seafarers. Saint Peter, Saint Mark, and Saint Hermagorus also indicate the apostolic foundation of the Aquileian church, of which Venice is understood to be the legitimate successor.
Over the high altar in the eastern crossarm is the Dome of Immanuel (God with us), which concerns the Incarnation. It presents a young, beardless Christ in the centre, surrounded by stars in allusion to his divine nature. Radially arranged underneath are standing figures of the Virgin, as the mother of Incarnate God (ΜΡ ΘΥ), and Old-Testament prophets, the latter bearing scrolls with passages that largely refer to the Incarnation. Rather than seraphim as was customary in middle-Byzantine churches, the pendentives of the dome show the symbols of the four evangelists.
An extensive cycle narrating the Life of Christ covers much of the interior, with the principal events located along the longitudinal axis. The eastern vault, between the central dome and the chancel, contains the major events of the infancy (Annunciation, Adoration of the Magi, Presentation in the Temple) along with the Baptism of Christ and the Transfiguration. In their present form, these mosaics date from the sixteenth century and are based on preliminary drawings by Tintoretto's workshop. The western vault depicts the events of the Passion of Jesus on one side (the kiss of Judas, the trial before Pilate, and the Crucifixion) and the Resurrection on the other side (the Harrowing of Hell and the post-resurrection appearances). Consistent with middle-Byzantine decorative programmes, the Crucifixion and the Harrowing of Hell, are placed opposite one another, and the resurrected Christ is portrayed as if walking toward the altar. A secondary series illustrating Christ's miracles is located in the transepts, but the arrangement of the episodes is not always chronological. The series, originally consisting of twenty-nine scenes, seems to have derived from an eleventh-century Byzantine Gospel. The transepts also contain a detailed cycle of the Life of the Virgin: these scenes were probably derived from an eleventh-century illuminated manuscript of the Protogospel of James from Constantinople. As a prelude, a Tree of Jesse showing the ancestors of Christ was added to the end wall of the northern crossarm between 1542 and 1551. Throughout the various narrative cycles, Old-Testament prophets are portrayed holding texts that relate to the New-Testament scenes nearby.
The Dome of the Ascension occupies the central position, whereas in the Church of the Holy Apostles it was located over the southern crossarm. The prominence given to the representation of the Ascension of Christ into heaven may have had political connotations as a reference to the civic celebrations on Ascension Day, which began with solemn mass in St Mark's and involved the Doge's ceremonial marriage of the Adriatic as a symbol of Venice's dominion on the sea. The dome, executed in the late twelfth century, is exemplary of middle-Byzantine prototypes in Constantinople. In the centre Christ ascends, accompanied by four angels and surrounded by standing figures of the Virgin, two angels, and the twelve apostles. As tradition in Byzantine art, two of the apostles have been substituted with Mark and Luke in order to have, together with Matthew and John, all four of the evangelists. The inscription derives from Acts 1:10 and anticipates the return of Christ and the Last Judgement: "Say, why do you stand looking into heaven? This Son of God, Jesus, o men of Galilee, as he departs from you, so shall he come as judge of the world, with right judgement to give all their due" (DICITE QUID STATIS IN AETHERE CONSIDERATIS · FILIUS ISTE D[E]I I[ESU]S CIVIS GALILEI · SUMPTUS UT A VOB[IS] ABIIT ET SIC ARBITER ORBIS · JUDICII CURA VENIET DARE DEBITA JURA). As customary for the central dome in middle-Byzantine churches, the pendentives contain the four evangelists, each with his gospel. The addition, underneath, of the representations of the four rivers that flowed from the Garden of Eden indicates a western influence. Thematically, these rivers allegorize the live-giving water that flows from the Gospel. Distinctly western is also the inclusion of the virtues and beatitudes that alternate with the windows.
As in the Church of the Holy Apostles, the Dome of Pentecost is located over the western crossarm. In the centre is an hetoimasia, an empty throne with a book and dove. Radiating outward are silver rays which fall on the heads of the apostles and evangelists seated around the outer rim of the dome, each with a flame on his head. The circular inscription describes the infusion of the Holy Spirit on Pentecost: "The Spirit pours over them, strengthening them by filling the heart of each and uniting them by bonds of love. Then the nations become believers, seeing the miracle of the speaking in various tongues" (SPIRITUS IN FLAMMIS SUP[ER] HOS DISTILLAT UT AMNIS CORDA REPLENS MUNIT ET AMORIS NEXIBUS UNIT HINC VARIE GENTES MIRACULA CONSPICIENTES FIUNT CREDENTES VIM LINGUE PERCIPIENTES). The nations are represented by the groups of figures that are interspersed with the windows below, whereas the pendentives, rather than the nations as was typical for the Pentecost dome in Byzantine churches, contain angels.
In keeping with Pentecost, as the institution of the Church, the side vaults and walls of the western crossarm largely illustrate the subsequent missionary activities of all twelve of the apostles and their deaths as martyrs. The specific events in the lives of the various apostles and the manner of their deaths adhere to Western traditions, as narrated in Latin martyrologies that derive in part from the Book of Acts but to a greater extent from apocryphal sources. However, the single representations and the overall concept of presenting the lives of the saints in a composition that combines several events together in one scene have their parallels in Greek manuscript illustrations of the middle-Byzantine period. A number of the mosaics were later remade, using preliminary drawings by Antonio Vassilacchi, Palma Giovane, and Alessandro Varotari.
The western vault illustrates Saint John's vision of the Apocalypse and, as the end of the decorative programme, the Last Judgement. Several of these mosaics are no longer the originals, having been remade on the basis of preliminary drawings by Tintoretto, Domenico Tintoretto, Maffeo Verona, and Antonio Vassilacchi. On the wall below there is a thirteenth-century deesis with Christ enthroned between the Virgin and Saint Mark.
The chancel is enclosed by a Gothic altar screen, dated 1394. The work of Pierpaolo dalle Masegne [it] and his brother Jacobello dalle Masegne [it], it is formed by eight columns made of marbles from southern France, Lesbos, and Anatolia and is surmounted by a bronze and silver Crucifix, flanked by statues of the Virgin and Saint Mark, together with the twelve apostles. On the left of the screen is the ambo for readings from Scripture. On the right is the platform from which the newly elected Doge was presented to the people. From here, important relics were also displayed on major holidays, notably the relic of the Precious Blood which was shown to the faithful on Maundy Thursday and again during the Easter Vigil.
Behind the screen, marble banisters with Jacopo Sansovino's bronze statues of the Evangelists and Girolamo Paliari's of the four Latin Doctors of the Church mark the limit of the choir, which after the reorganization by Doge Andrea Gritti (in office 1523–1538) was utilized by the Doge, civic leaders, foreign ambassadors, and the knights of Saint Mark. The backs of the seats (dispersed) were inlaid with allegories of the theological and cardinal virtues and were covered for ceremonies with silk and gold thread tapestries by Jan Rost of Flanders [it]. The tribunes above, for musicians and singers, are faced with bronze reliefs by Sansovino that portray events in the life of Saint Mark and his miracles.
Beyond the banisters is the presbytery, reserved for the clergy, with the high altar which since 1835 contains the relics of Saint Mark, previously located in the crypt. The ciborium above the altar is composed of a canopy in Verd antique supported by four intricately carved columns, in Proconnesian marble, with scenes that narrate the lives of Christ and the Virgin. The age and provenance of the columns is disputed, with proposals ranging from sixth-century Byzantium to thirteenth-century Venice. According to tradition, they are spoils taken from the Basilica of Santa Maria del Cannetto in Pola by Doge Pietro II Orseolo (in office 991–1009). The altarpiece, originally designed as an antependium, is the Pala d'Oro, a masterpiece of Byzantine enamels on gilded silver that incorporates 1,300 pearls, 300 sapphires, 300 emeralds, 400 garnets, 90 amethysts, 15 rubies, 75 spinels, and 4 topazes, all highly polished, unfaceted gems. The altarpiece was ordered from Constantinople in 1102 by Doge Ordelafo Faliero Dodoni (in office 1102–1118). It was enlarged in 1209 with enamels taken from the Monastery of the Pantocrator in the aftermath of the Fourth Crusade. In its present form, the altarpiece dates to 1345 when the enamels were reorganized and the Gothic frame was added. Some of the enamels may come from the first altarpiece, ordered in Constantinople by Doge Pietro I Orseolo in 976.
The two choir chapels, located on either side of the chancel, occupy the space corresponding to the lateral aisles in the other crossarms. They are connected to the chancel through archways which also serve to reinforce the barrel vaults supporting the dome above.
The choir chapel on the northern side is dedicated to Saint Peter. Historically, it was the principal area for the clergy, probably in consideration of its proximity to the residences of the clerics to the north of the church. The altar contains the relics of Saints Peter, John the Evangelist, Matthew, Luke, and Bartholomew, which were likely acquired in the ninth century for the Participazio church. This was consistent with the tradition, that began with Saint Ambrose's fourth-century Basilica Apostolorum in Milan, whereby the possession of important relics, specifically those of the apostles, was necessary to distinguish the political and ecclesiastical importance of a city.
The mosaic decoration in the vault above the chapel largely narrates the life of Saint Mark in order to demonstrate the apostolic origins of the Patriarchate of Aquileia. It begins with Saint Peter's unhistorical consecration of Saint Mark as bishop of Aquileia and later of Saint Hermagoras as his successor and concludes with Saint Mark's departure for Alexandria, his martyrdom, and burial. The figures of 'Patriarch' Helias of Grado and Pope Pelagius II, located on the arch that connects the chapel to the chancel, refer to the alleged papal recognition of Grado as Aquileia's successor and of Grado's metropolitan jurisdiction over Venetia. Beginning in 1156, the Patriarch of Grado (after 1451 Patriarch of Venice) resided in Venice, and from at least the twelfth century, he had a seat on the northern side of the chancel of St Mark's, near the entry to the choir chapel of Saint Peter, from which he could assist at mass on the high altar.
Prior to the sixteenth century, the Doge's throne was located on the opposite side of the chancel, near the choir chapel of Saint Pope Clement I, which through the doorway opens to the courtyard of the Doge's Palace. The chapel was particularly reserved for the Doge's private use. From the window above, which communicates with his private apartments, it was also possible for the Doge to assist at mass in the church. Around the perimeter of the chapel, the inscription reminds the Doge that he shall be judged for his actions after his death, and it specifically exhorts him to love justice and to give everyone his due; to be a patron and benefactor of paupers, widows, minors, and orphans; and to not be influenced by fear, desire, hate, or greed.
Above the chapel, the mosaics in the vault continue to illustrate the story of Saint Mark with the events of the translatio. They constitute the oldest surviving representation of the transfer of Saint Mark's relics to Venice and serve to demonstrate Venice's legitimate right to possess the relics. They also symbolically indicate the transfer of metropolitan authority from Aquileia/Grado to Venice. The altar contains the relics of early martyrs of the Roman Empire, particularly of Aquileia.
Spain, Barcelona, Casa Batlló, 43 Passeig de Gràcia, chimneys at the roof of the Casa Batlló, it is a remarkable building restored by Antonio Gaudí & Josep Maria Juiol, built in 1877 & remodelled between 1904 & 1906. The local name for the building is “Casa dels Ossos”, the house of bones, because of it visceral skeletal impression avoiding straight lines completely. The ground floor in particular, is rather astonishing with tracery, irregular oval windows & curving sculpted stone work.
Much of the facade is decorated with a mosaic made of broken ceramic tiles, which starts in shades of golden orange moving into greenish blues; the roof is arched & resembles the back of a dragon.
Antoni Plàcid Guillem Gaudí i Cornet, better known as Antonio Gaudí, 1852 –1926†, an ingenious Catalan architect, his work period became famous for his unique & highly individualistic designs regarded as beyond the scope of modernism.
His exposure to nature at an early age, which is thought to have inspired him to incorporate natural shapes & themes into his later work seen in his designs & mosaics.
His master piece, under construction since 1882, is the cathedral of the “Sagrada Familia”
June, 7. 1926 Gaudí was stroked by a tram, because of his worn out attire, empty pockets & no identification papers, cab drivers refused to pick him up out of fear that he would be unable to pay the taxi fare. Eventually he was taken to a paupers' hospital in Barcelona where nobody recognized the injured architect, until his friends found him the next day. When they tried to move him into a better hospital, Gaudí refused, apparently saying "I belong here among the poor." He died three days later at age 73, with half of Barcelona mourning his death. He was buried in the centre of “La Sagrada Família”
...Danke, Xièxie 谢谢, Thanks, Gracias, Merci, Grazie, Obrigado, Arigatô, Dhanyavad, Chokrane to you & over
5.6 million visits in my photostream with countless motivating comments
I've been a puppet, a pauper, a pirate,
A poet, a pawn and a king.
I've been up and down and over and out
And I know one thing:
Each time I find myself, flat on my face,
I pick myself up and get back in the race.
That's life
www.youtube.com/watch?v=KIiUqfxFttM
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"Fill your paper with the breathings of your heart.” -William Wordsworth
I came across an article about heartsong journals and thought that described my style almost perfectly. A heartsong journal is a collection of thoughts, reflections, notes, lists, quotes, and general ideas that represent something about yourself. It’s not a daily journal, used for entries only when needed. They become full of things you want to reference again & again, becoming a scrapbook of your soul, an encyclopedia of you.
While this doesn’t perfectly describe how I keep my notebooks, it’s pretty close. I call them my “everything” and “chaos” notebooks because in them, anything goes. Out of all the journaling types out there, heartsong is definitely the closest to what I do. What a beautiful word to describe the style!
Notebook from Peter Pauper Press, bandana from REI.
Finally got to see in this amazing Yorkshire asylum, after mooching about here a couple of years ago to no avail , today we got a look inside. It was every bit as good as we expected. An edgy experience to say the least as builders and contractors were also inside!!! The transformation into apartments is well underway. I wonder if the PR people downplay the asylum tag and go down the "former Hospital" route
One from the Archives - To view more of my images, of Charlestown please click "here"
Charlestown is a village and port on the south coast of Cornwall, England, United Kingdom, in the parish of St Austell Bay. It is situated approximately 2 miles south east of St Austell town centre. The port at Charlestown developed from what was in the late 18th century the fishing village of West Polmear. Whereas other areas within the conurbation of St Austell have seen much development during the 20th century, Charlestown has remained relatively unchanged within this expansion. There are deposits of china clay in the area. Particles of mica quartz in the sea near Charlestown give it a turquoise-blue colour. The same colour is imparted to flooded china clay quarries. Charlestown grew out of a small fishing village called West Polmear, which consisted of a few cottages and three cellars, in which the catch of pilchards were processed. The population amounted to nine fishermen and their families in 1790. Prior to the building of the harbour trading vessels landed and loaded on the beach. Charles Rashleigh moved to Duporth Manor, just outside the village, and in 1791, using plans prepared by John Smeaton, began the construction of a harbour and dock. After building an outer pier, he excavated a natural inlet to form the main dock. There was originally a shipyard at the inner end, but this was later demolished when the dock was extended. The first dock gates were completed in 1799. In order to maintain the water levels within the dock, a leat was constructed, which brought water from the Luxulyan Valley, some 4 miles away. In addition to the port, Rashleigh also planned the village, which featured a broad road running from the harbour to Mount Charles. In 1793, a gun battery was built to the west of the harbour mouth, as a defence against possible French attacks. Volunteers from Rashleigh's estate formed an artillery company, and this continued until 1860, when the original four 18 pound cannons were replaced by 24-pound models. The Crinnis Cliff Volunteers later became the Cornwall Artillery Volunteers, and the battery continued to be used for practice until 1898. In 1799 the locals asked his permission to rename the place Charles's Town which in turn became Charlestown. The port was built to facilitate the transport of copper from nearby mines. Crinnis Hill Mine was to the east of the village, and exported some 40,000 tons of copper ore between 1810 and 1813. South Polmear Mine was to the west of the village, while Charlestown United Mines operated from a site near Holmbush to the north of the village. This enterprise was particularly prolific, employing 431 men, 120 women and 263 children in 1838. The 1851 census recorded 283 adults living in Holmbush, of whom ten were employed as miners, and there was also a mine agent. As the mines became exhausted and their output dropped, the port was used for the export of china clay from the region's quarries. Following the death of Charles Rashleigh in 1823 the fate of Charlestown was caught up in the financial problems of Rashleigh's estate. Joseph Dingle, once a servant and footman employed by Rashleigh, became Superintendent of Works when the construction of the harbour began, but systematically embezzled money from the project. By the time the case reached the courts in 1811, he was thought to have embezzled around £32,000 (£2,025,942 as of 2015) Dingle was bankrupted and died a pauper; Rashleigh also became bankrupt before his death. As a result in 1825 Messrs. Crowder and Sartoris, trading as Charlestown Estate, agreed to accept all the leasehold property in Charlestown in lieu of sums owed to them and purchased the rest of the estate from the Rashleigh family thus becoming the new owners of the port and the surrounding settlement. Despite competition from the port at Pentewan, which opened in 1826, and from Par, which opened shortly afterwards, Charlestown prospered from the rapid expansion in the export of china clay, and remained so until the onset of the First World War. By 1911, its population had increase to 3,184. The harbour was designed for small sailing vessels, and an awkward turn was required to avoid the protruding end of the outer harbour. Following the widening of the entrance and the fitting of new gates in 1971, ships of up to 600 tons were able to enter the harbour, but could only do so at high tide, and a system of ropes were used to manoeuvre vessels through the dock gates. By the 1990s, the size of vessels used for the transport of china clay had outgrown the harbour, and the last commercial load of clay to leave Charlestown did so in 2000. Exports of china clay left Cornwall through Par or the deep water port at Fowey instead. In 1994 the harbour was bought by Square Sail as a base for their sailing ships. Much of Square Sail's business now involves using the harbour and their ships as film sets such as the 2015 Poldark television series.
Asking for a friend...
Tewksbury State Hospital
Tewksbury, MA
October 26, 2019
The hospital was established in 1852 as one of three state almshouses needed to help care for the unprecedented influx of immigrants into Massachusetts at that time. The almshouses were the Commonwealth's first venture into caring for the poor, a duty which had previously been carried out by the cities and towns. Opened on May 1, 1854 with a capacity for 500, the almshouse population grew to 668 by the end of the first week, and to over 800 by May 20th. By December 2, 1854, 2,193 "paupers" had been admitted. Nearly 90% of these listed European countries as their birthplace. The almshouse reported having 14 employees at that time, and was spending 94.5 cents per week per resident.
In 1866 the almshouse began accepting the "pauper insane" becoming the state's first facility to specifically accept cases with the diagnosis of chronic insanity. By 1874 the facility had become diversified: 40% was used as a mental illness ward, 27% as a hospital ward, and 33% as an almshouse. The chronically ill population continued to grow, alcoholics were admitted for treatment, and programs providing therapeutic industrial and occupational therapy were added in the 1870's. A Home Training School for Nurses was established in 1894, and the school became a full-fledged three-year program in 1898.
The most famous patient in the almshouse during the 19th century was Anne Sullivan, who later became the tutor and companion of Helen Keller. Anne Sullivan spent four years at the almshouse (1876-1880) before being transferred to the Perkins School for the Blind, now located in Watertown, Massachusetts. At age 20 she left the school to go to Helen Keller's home in Alabama. One of the buildings on today's Tewksbury Hospital Campus is named for Ms. Sullivan.
Reflecting its changing mission, the Tewksbury Almshouse became Tewksbury State Hospital in 1900, the Massachusetts State Infirmary in 1909, and Tewksbury State Hospital and Infirmary in 1938. Over the years, facilities were added for treating tuberculosis and other contagious diseases such as smallpox, venereal diseases and typhoid fever. Meanwhile it continued to serve as a last resort for many patients in need of shelter and supervised care, especially during the late 1920's and 1930's.
One from the Archives - To view more of my images, of Charlestown please click "here"
Charlestown is a village and port on the south coast of Cornwall, England, United Kingdom, in the parish of St Austell Bay. It is situated approximately 2 miles south east of St Austell town centre. The port at Charlestown developed from what was in the late 18th century the fishing village of West Polmear. Whereas other areas within the conurbation of St Austell have seen much development during the 20th century, Charlestown has remained relatively unchanged within this expansion. There are deposits of china clay in the area. Particles of mica quartz in the sea near Charlestown give it a turquoise-blue colour. The same colour is imparted to flooded china clay quarries. Charlestown grew out of a small fishing village called West Polmear, which consisted of a few cottages and three cellars, in which the catch of pilchards were processed. The population amounted to nine fishermen and their families in 1790. Prior to the building of the harbour trading vessels landed and loaded on the beach. Charles Rashleigh moved to Duporth Manor, just outside the village, and in 1791, using plans prepared by John Smeaton, began the construction of a harbour and dock. After building an outer pier, he excavated a natural inlet to form the main dock. There was originally a shipyard at the inner end, but this was later demolished when the dock was extended. The first dock gates were completed in 1799. In order to maintain the water levels within the dock, a leat was constructed, which brought water from the Luxulyan Valley, some 4 miles away. In addition to the port, Rashleigh also planned the village, which featured a broad road running from the harbour to Mount Charles. In 1793, a gun battery was built to the west of the harbour mouth, as a defence against possible French attacks. Volunteers from Rashleigh's estate formed an artillery company, and this continued until 1860, when the original four 18 pound cannons were replaced by 24-pound models. The Crinnis Cliff Volunteers later became the Cornwall Artillery Volunteers, and the battery continued to be used for practice until 1898. In 1799 the locals asked his permission to rename the place Charles's Town which in turn became Charlestown. The port was built to facilitate the transport of copper from nearby mines. Crinnis Hill Mine was to the east of the village, and exported some 40,000 tons of copper ore between 1810 and 1813. South Polmear Mine was to the west of the village, while Charlestown United Mines operated from a site near Holmbush to the north of the village. This enterprise was particularly prolific, employing 431 men, 120 women and 263 children in 1838. The 1851 census recorded 283 adults living in Holmbush, of whom ten were employed as miners, and there was also a mine agent. As the mines became exhausted and their output dropped, the port was used for the export of china clay from the region's quarries. Following the death of Charles Rashleigh in 1823 the fate of Charlestown was caught up in the financial problems of Rashleigh's estate. Joseph Dingle, once a servant and footman employed by Rashleigh, became Superintendent of Works when the construction of the harbour began, but systematically embezzled money from the project. By the time the case reached the courts in 1811, he was thought to have embezzled around £32,000 (£2,025,942 as of 2015) Dingle was bankrupted and died a pauper; Rashleigh also became bankrupt before his death. As a result in 1825 Messrs. Crowder and Sartoris, trading as Charlestown Estate, agreed to accept all the leasehold property in Charlestown in lieu of sums owed to them and purchased the rest of the estate from the Rashleigh family thus becoming the new owners of the port and the surrounding settlement. Despite competition from the port at Pentewan, which opened in 1826, and from Par, which opened shortly afterwards, Charlestown prospered from the rapid expansion in the export of china clay, and remained so until the onset of the First World War. By 1911, its population had increase to 3,184. The harbour was designed for small sailing vessels, and an awkward turn was required to avoid the protruding end of the outer harbour. Following the widening of the entrance and the fitting of new gates in 1971, ships of up to 600 tons were able to enter the harbour, but could only do so at high tide, and a system of ropes were used to manoeuvre vessels through the dock gates. By the 1990s, the size of vessels used for the transport of china clay had outgrown the harbour, and the last commercial load of clay to leave Charlestown did so in 2000. Exports of china clay left Cornwall through Par or the deep water port at Fowey instead. In 1994 the harbour was bought by Square Sail as a base for their sailing ships. Much of Square Sail's business now involves using the harbour and their ships as film sets such as the 2015 Poldark television series.
Right at the front of this wonderful old asylum. The light streams in showing more of its fading grandeur. Unlike a lot of the old UK asylums this one in parts, remains largely intact. Still in possession of its lovely ornate features, bestowed upon it from its Victorian designer. The doors first flung open to receive its unfortunate guests in 1888.
In Tibet a sky burial understands the body is a mere vehicle in which the soul travels whilst here in the west it has always intrigued me the extent to which we want to be remembered. A hundred metres away the graves of unknown paupers and babies.
Minolta A9, Fomopan 100, Minolta 50 mm f1.7, Spur Acurol-N
Hanwell Pauper and Lunatic Asylum on the Grand Union Canal in Middlesex. The first purpose-built public asylum in England, opened in 1831. The building is now part of a hospital.
This lock dates to the 1850s. Canal boats used to take heavy supplies and coal through the archway - the archway you can see that is bricked up. Or dock along side the asylum.
The locks are still working. While I was there three boats were moving up-stream and up-hill, through the series of locks on this part of the Grand Union canal. You can just see the next lock and a waiting boat on the edge of the trees, not so far away. It's hard work to manually winch and pull the lock gates open and shut. (Believe me, I've tried it on 'holiday').
Taken with a DA10-17mm. I wanted give the building and high brick walls a more dramatic feel, so used a high structure (harsh) setting to process the image.
Gravestone in the paupers field in Providence, R.I. The other stones had only one number on them … one wonders what tragedy or triumph led to the double burial.
Enjoyed a good blues/rock show by the Jeremiah Johnson Band on Friday night. Didn't bring my Canon along, but had to at least get a snapshot of this classy old theater all aglow. So sweet to finally see it at night! : )
The Capitol Theater opened in July of 1937, showing The Prince and the Pauper with Errol Flynn. After 40 years as a movie house, the doors closed in 1977 . . . and remained closed for 35 years as the building deteriorated. But a long movement to save her and hard work by the Capitol Theater Foundation of Burlington resulted in the 2012 reopening of the theater as a 370-seat regional performing arts center.
The beautifully repainted interior took its color cues from the deco swirls of the lobby's original terrazzo floor which was discovered under some moldy 1970's carpet.
The Capitol is a little jewel and a sweet preservation success story. It's a great place for live theater or music, and still shows movies as well - including new independent films and the great old classics (such as Rear Window on July 25).
Added to the National Register of Historic Places in 1996.
Daytime photos below in the comments.
(A personal note: I've just started a new job - full time with benefits. Some of you know what a big deal that is for me these days, in this new life of mine! It's going to be a challenge and I don't have a lot of time for photography and flickr right now. But hopefully that will change. Been missing you!)
The final resting place for medieval prostitutes and, latterly, paupers. Now a garden of remembrance to them.
Establishment of the cemetery (1848):
Before the construction of the Camperdown Cemetery, there were general cemeteries where Anglicans would have to share the space with both other Christian and pagan denominations. This was not satisfactory to the strong Anglican community in the colony, which sought to retain its sectarian social exclusivity beyond the grave. The Anglican Camperdown Cemetery was created on the 12th of July 1848. It opened in 1849.
Operation of the cemetery (1848 - 1866):
As a major cemetery for the dominant religion in Sydney, the range of interments was broad. In the period of its operation more than sixteen thousand burials were placed in the cemetery, making it a significant nineteenth century urban cemetery by any standards.
In 1850, Mogo, a Koori (Aboriginal New South Wales man) from Towel Creek on the Upper Macleay Valley was buried in what became known as 'Cooee Corner' of the cemetery (on the Lennox Street side). His grave was originally decorated with shells taken from an Aboriginal midden in Pittwater. Some time after the cemetery closed in 1942 this and adjacent areas were cleared, headstones moved within the perimeter of the newley-erected stone wall, where they remain today. It is not known what became of Mogo's remains but his sandstone headstone, the inscription blurred by weathering, lies on the ground next to an obelisk, erected in tribute to Aboriginal people buried in the cemetery in 1944 by the Rangers' League of New South Wales in memory of Mogo Perry (d.1849, aged 26) and two other Kooris buried in the cemetery - Wandelina Caborigirel (d. 1860, aged 18) and Tommy (d. aged 11). The inscription says the obelisk was erected 'Also as a tribute to the whole of the Aboriginal race'.
It is now a great deal more about the operation of this cemetery than other comparable establishments because of the Select Committee of the New South Wales Legislative Council which held hearings in 1865 - 1866 as a result of complaints about health and morality issues. The Select Committee evidence concentrates mainly on the pauper burials, suggesting that multiple interments were common.
Closure of the cemetery (1867 - 1948):
Health and hygienic problems were exacerbated as the population of Newtown and Camperdown increased dramatically from the late 1840s onwards, leading to the closure of the cemetery by the Newtown Municipal Council. On the 2nd of September 1867 the Camperdown and Randwick Cemetery Act was assented. From the 1st of January 1868 all burials in the cemetery would cease, apart from those who had a compelling reason.
In 1948 the Camperdown Cemetery Act divided the land into a 12 acre that was to become a public park, with the remaining 4 acres to form the historic core of the cemetery, along with the sexton's cottage and Saint Stephens Church. The wall surrounding the new cemetery core was completed in 1951, and headstones removed and installed inside the new compound.
The Current Camperdown Cemetery:
The Camperdown Cemetery was established in 1848 on about 13 acres of the 240 acres granted to Governor Bligh, known as the Camperdown Estate. This was the first privately-owned and operated Anglican cemetery in Sydney. It was the main cemetery for Sydney from 1849 to 1867. During this time it received over 15,000 interments and was the subjct of a state government select committee inquiry. This inquiry was convened to address the mismanagement of a number of cemeteries within Sydney and it found that the accusations directed at the Camperdown Cemetery were founded. Sale of plots was terminated in 1867 and it closed in 1868 but a trickle of burials continued until the 1940s (Brettell, 2015 says 1920s, these being within family and pre-purchased plots and crypts).
Following its closure the cemetery fell into disrepair. It was reduced in size in the 1950s when Camperdown Memorial Rest Park was established, comprising two distinct sections that now comprise the area - the Saint Stephens Church and graveyard (within a six foot high sandstone wall) and the Camperdown Memorial Rest Park (without the wall), treated as broadly grassed open space with pockets of tree planting, and, directly south of the graveyard wall, a children's play ground area. The Church and graveyard have been managed since the 1970s by the Camperdown Cemetery Trust and the Camperdown Memorial Rest Park is managed by Marrickville Council.
In 2021 $20,000 grant funding will support restoration of headstones in Camperdown Cemetery.
Source: New South Wales Heritage Register.
Dutch housing from the late 1970's and 1980's is far from popular. Imagination and style are lacking and the materials used are cheap. Most social housing consists of small scale blocks, surrounded by more admired pre-war architecture. Not so the estates Carel Weeber designed. Weeber designed on a much larger scale and often with an allure that would not look out of place in a Parisian banlieu. Obviously, that does not make his buildings much more popular than others from the same age. Some of Weeber's buildings have been demolished already.
His building the Peperklip (phonetic Dutch for paper clip) is a semi-enclosed complex of 549 subsidised flats on 7-9 floors. The internal courtyard with a garden and a playground is accessible from the outside. When it was designed, opinions ranged from inhospitable, cold and merciless to timeless, rational and liberating from the previous decade's dowdy buildings. Some claim the city's allocation of tenants has not been kind to the building either. The Peperklip is now nicknamed Pauper Clip.
The jar reads,
Any donations will be gratefully received by
Friends of Temple Old Kirk
To help restoration.
Xx
© PHH Sykes 2023
phhsykes@gmail.com
TEMPLE OLD KIRK FRIENDS
templemcp.wixsite.com/mysite/temple-old-kirk-friends
TEMPLE OLD KIRK FRIENDS
churchmonumentssociety.org/2021/12/14/temple-old-kirk-fri...
TEMPLE OLD KIRK FRIENDS [SCIO] SC049931 TRUSTEES’ ANNUAL REPORT AND ACCOUNTS 1 March 2021 to 28 February 2022
www.oscr.org.uk/charityDocuments/sc049931-tokf-28-feb-22-...
Pauper statues (Finnish: vaivaisukko, Swedish: fattiggubbe) are alms boxes in the form of carved wooden statues on the outside walls of Lutheran churches in Finland and in Sweden. The statues represent poor and often disabled men or veterans begging for alms. The figures usually have a small metal box inside and a slot in the chest for inserting coins. They were used from the 17th to 19th century for collecting money for the poor.
Traveling has taught me quite a few things, including what I want out of life, what’s most important to me, and that there really is no place like home.
A few other things traveling has taught me-
I really don’t need much to be happy or to feel free.
I need forests most of all when it comes to nature, although bodies of water is a very close second.
It strengthened my vegan convictions. Seeing how much land is used for meat & dairy, going past congested feedlots, smelling factory farms for miles, and looking into the innocent eyes of animals while we pass countless slaughterhouse trucks; all of those things solidified my ethics more than they already were.
There is no perfect way to travel. Each way has its pros and cons, and you just need to roll with it all.
Just as there’s no perfect way to travel, there’s no perfect place to live. However, living around the Great Lakes with forests all around is pretty close!
Notebook from Peter Pauper Press, bandana from Bandits Bandanas.
~ Robert Browning
They say -- Eat breakfast like a king, lunch like a prince and dinner like a pauper.
I feel life is too short to compromise on anything. I say - try everything and eat like a king always! Oh this makes me hungry again! :)
Will see you soon ! :)
The jar reads,
Any donations will be gratefully received by
Friends of Temple Old Kirk
To help restoration.
Xx
© PHH Sykes 2023
phhsykes@gmail.com
TEMPLE OLD KIRK FRIENDS
templemcp.wixsite.com/mysite/temple-old-kirk-friends
TEMPLE OLD KIRK FRIENDS
churchmonumentssociety.org/2021/12/14/temple-old-kirk-fri...
TEMPLE OLD KIRK FRIENDS [SCIO] SC049931 TRUSTEES’ ANNUAL REPORT AND ACCOUNTS 1 March 2021 to 28 February 2022
www.oscr.org.uk/charityDocuments/sc049931-tokf-28-feb-22-...
Excerpt from valtellina.it:
DESCRIPTION: the first documents that mention the church date back to 973, but it is likely that it already existed by the fifth century. The building still has ancient Romanesque walls, except for the altar area and the side aisles, which were lengthened in the eighteenth century. The interior was painted, in 1759, by Filippo Fiori and Giovan Maria Giussani, both from Como, and the work was resumed, with partial repainting, in the nineteenth century. The seventeenth-century side chapels and Oratory of Saint Martha have altarpieces that were painted by Giuseppe Nuvolone, Alessandro Valdani di Chiasso and Pietro Ligari. On the exterior, the façade bears the date MDXXXVIII (1538), which refers to the rebuilding of the oak gabled roof after it was destroyed in a fire the previous year. In front of the church, visitors can admire the bell tower, which was begun in 1527 and is adorned with a few verses by the poet Giovanni Bertacchi from Valchiavenna. The beautiful portico was built at the end of the seventeenth century to mark the field that was used for pauper’s graves until 1829. Another important function of the four-sided portico was to protect the holy vestments during processions, in the event of bad weather.
INTERESTING FACT: The baptismal font, which is 83 cm tall and has a diameter of 180 cm, dates back to 1156 and is carved from a single block of soapstone. It is decorated with figures sculpted in half-relief that depict the blessing of the water ceremony and the baptism on Holy Saturday. The Museum of the Treasury holds vestries and sacred artworks, including the “Pace di Chiavenna”, an eleventh-century Gospel cover that is considered to be a masterpiece of medieval goldsmithery. Composed of a walnut panel covered with 23 sheets of gold with repousee and filigree, it is embellished with gems, pearls and other precious stones, as well as numerous enamels.
Woodcutters had been clearing Engelmann spruces killed by spruce beetles. Overcome by either whimsy or a need for artistic expression, they carved a throne in a glade--complete with a footrest, arm rests, and a cup holder.
Overcome by visions of self grandeur, a naturalist dressed as a pauper (note the collar) could not resist the fun of sitting in the throne and capturing the moment (note the remote in my right hand).
Fontanelle's catacomb 2017
Les os humains qu'on aperçoit viennent d'une fosse commune du 17ème siècle de personnes mortes de la peste. Comme elles n'ont pas reçu l'extrême onction ces âmes sont en perditions. C'est pourquoi des napolitains "adoptent" un crâne afin de prier pour son salut.
Ce culte est aussi devenu un moyen de demander que des vœux soient exaucés d'où les différentes offrandes qu'on peut voir.
L'église gênée par ce culte populaire aux résurgences assez païennes, l'interdit au 20ème siècle, sans que cela ne soit respecté par les napolitains qui continuent dans leur dévotion.
---
The human bones which we see come from a pauper's grave of the 17th century of people died from the plague. As they did not receive the extreme unction there souls are in perdition. That is why neapolitan "adopt" a skull to pray for its salvation.
This cult also became a way to ask that wishes are fulfilled where from the various offerings which we can see.
The church is hampered by this popular cult with heathen resurgences. This cult is forbidden in 20th century, without it is respected by the neapolitan which continue in their worship.
In the cemetery plot once used by Schenectady County for the indigent, a tree has grown to maturity embracing the stone for the nameless fellow buried below.
The jar reads,
Any donations will be gratefully received by
Friends of Temple Old Kirk
To help restoration.
Xx
© PHH Sykes 2023
phhsykes@gmail.com
TEMPLE OLD KIRK FRIENDS
templemcp.wixsite.com/mysite/temple-old-kirk-friends
TEMPLE OLD KIRK FRIENDS
churchmonumentssociety.org/2021/12/14/temple-old-kirk-fri...
TEMPLE OLD KIRK FRIENDS [SCIO] SC049931 TRUSTEES’ ANNUAL REPORT AND ACCOUNTS 1 March 2021 to 28 February 2022
www.oscr.org.uk/charityDocuments/sc049931-tokf-28-feb-22-...
After dieting on smoked salmon and fruits last night, I now binge on a Peruvian Seafood Mix of crispy Red Snapper, Shrimps, Squid and Mussels in Oyster Sauce!
Highest position on Explore: 482 on Thursday, August 7, 2008
I said that's life (that's life), and as funny as it may seem
Some people get their kicks stompin' on a dream
But I don't let it, let it get me down
'cause this fine old world, it keeps spinnin' around
I've been a puppet, a pauper, a pirate, a poet, a pawn and aking
I've been up and down and over and out and I know one thing
Each time I find myself flat on my face
I pick myself up and get back in the race
More photos and full report here: www.proj3ctm4yh3m.com/urbex/2013/10/30/urbex-ivy-hospital...
The now abandoned St Georges Asylum near Morpeth also known as The Northumberland County Pauper Lunatic Asylum first opened on the 16th March 1859. The large Victorian building was built in an Italian red brick style with stone dressings. The Asylum was originally constructed to accommodate approximately 200 male and female patients...
Charles Bukowski had a bluebird in his heart that he never let out except during the deadly forlornness of the night when he and his bluebird would weep together. I am nothing like Charles Bukowski; As a matter of fact my life is pale gray compared to his million rainbows stitched together. Yet, I too have a bluebird in my heart. Quite interesting as it may sound, but I do not often let him out either. I won’t tell you if we weep together, but once in a while he finds a little crack in me and escapes. He did so the other day when trees wore leaves of my favorite color and the world seemed hopelessly in love with the provocative spring. He flew out in front of me, found himself a throne and talked sweet coaxing me to smile and ponder on happy possibilities. The lickspittle almost made me feel like a monarch of an untamed land in the high Andes. When a pauper feels like a king it is then necessary to put the bluebird back in the depths of one’s solitude. So I did. However, the image of him ruining my day has stayed on. Don’t let it ruin yours.
Member of the Flickr Bird Brigade
Activists for birds and wildlife
I'm not sure if this building is actually still functioning as a hospital. It looks as though it's been/being converted to apartments. It was originally a 'Pauper Lunatic Asylum!' Some of the surrounding buildings, old & new are still in use.
A very scene of a pauper-born child in Dhaka University Campus, fighting for livings at this age. Yet such innocence, such love. That heart striking smile would make you to stare at these two amazing little champs ❤
I had a very short time to capture the moment though, sorry for the poor image quality...
28.11.2019...