spanwidth min.: 64 cm

spanwidth max.: 68 cm

size min.: 43 cm

size max.: 48 cm

Breeding

incubation min.: 25 days

incubation max.: 26 days

fledging min.: 0 days

fledging max.: 0 days

broods 1

eggs min.: 5

eggs max.: 12

  

Physical characteristics

 

Chestnut-brown diving duck with long tail, often cocked vertically. Male has white head, black cap and blue bill, swollen at base. Female has pale face with dark cap and cheek-stripe and blackish, less swollen bill. Similar spp. Ruddy Duck O. jamaicensis is smaller with brighter chestnut plumage. Male has more extensive black cap and dark hindneck and female has narrower facial band and browner cap. Both sexes lack swollen base to bill. Hybrid identification can be very problematic. Voice Low rattling noise uttered during display. Otherwise generally silent.

 

Habitat

 

White-headed Ducks breed in shallow fresh or brackish marshes connected with larger wetland complexes. Such wetlands are often seasonal, created by spring floods and drained at summer, but they are especially productive, being very rich in aquatic vegetation and invertebrates. In winter, White-headed Ducks prefer large brackish or saline lakes.

 

Other details

 

The species is Palearctic, with a fragmented breeding distribution extending east from Spain and Morocco in western Europe to western China and western Mongolia, and north from Iran to southern Russia. Divisions between biogeographical populations are poorly understood (Scott & Rose 1996), but four major populations are thought to remain: a migratory central Asian population breeding mainly in northern Kazakhstan and southern Russia and wintering in western Asia, the Middle East and in eastern Europe as far west as Greece; a small and declining migratory east Asian population, wintering in Pakistan and perhaps originating from southern Russia and Mongolia; a population resident in Spain, the Spanish population has increased from 22 birds in 1977 to around 2,500 wintering birds today; and another resident in North Africa (Tunisia and north-east Algeria).

Most of the population is concentrated in only four countries (Mongolia, Kazakhstan, Russian Federation, and Spain). The most important wintering countries differ from year-to-year, presumably depending on weather conditions. In recent years, ten countries have held over 1,000 birds (Azerbaijan, Bulgaria, Greece, Islamic Republic of Iran, Israel, Kazakhstan, Russian Federation, Spain, Turkey, and Uzbekistan. Seven countries hold significant numbers of White-headed Ducks throughout the year (Algeria, Islamic Republic of Iran, Russian Federation, Spain, Tunisia, Turkey, and Uzbekistan). Since a few years the Spanish population is threatened by hybridisation with the Ruddy Duck, Oxyura jamaicensis, an introduced species from America. The other main threats are over hunting and habitat destrution.

 

Feeding

 

White-headed Ducks feed almost entirely by diving, mainly at night. Benthic Chironomid larvae are the major diet component at most sites, both for adults and ducklings, but polychaetes (especially in coastal lakes used as wintering sites), amphipods and a variety of other invertebrates are eaten, as well as seeds and vegetative parts of Potamogeton, Ruppia, Scirpus and many other aquatic plants. The availability of chironomid larvae is a key feature in habitat selection. Wintering birds on Caspian Sea contained snails Hydrobia, red seaweed Polysiphonia, and stonewort Chara, and seeds of Ruppia maritima. Females from central Kazakhstan, in July, contained seeds of Potamogeton and Najas, and waterboatmen Corixa and Micronecta. Young caught at same time had only insects.

 

Conservation

 

Despite uncertainty about the possible large-scale inter-year movement of birds between wintering sites, mid-winter counts indicate that the population of this species has undergone a very rapid decline of over 50% in the last 10 years, which qualifies it as Endangered. Given increases in the Spanish subpopulation, it is projected that the overall rate of decline will be lower in the next 10 years. [conservation status from birdlife.org]

 

Breeding

 

The species forms monogamous pair bonds of seasonal duration. The nest is usually located over water in emergent vegetation. Females lay 4-9 eggs, more usually 5 or 6, at 1.5 day intervals, and may relay if the first clutch is removed. Relative to body mass, lays the largest egg of any waterfowl, and total clutch mass may approach 100% of a female's non-breeding body weight. Incubation begins from April to June in southern Europe, and up to a month later further north. Eggs hatch after 22-24 days in the wild. Only one brood is reared per year. Little information on hatching or nesting success. Brood size at hatching 3-7 ducklings, usually 5-6. The fledging period is 8-10 weeks, somewhat longer than most ducks. Females can breed first at one year old although the proportion doing so is unknown. It is one of the few water birds that moult twice a year, during breeding season and winter, being unable to fly during these periods.

 

Migration

 

Resident and dispersive in west Mediterranean. Mainly migratory in east Mediterranean and Asia. The western population is resident, numbering about 1,000 birds breeding mainly in Spain but also in Algeria and Tunisia. The eastern population is larger and migratory. White-headed Ducks breed mainly in Turkey, where the biggest eastern population is located (200-300 pairs), while fewer breed in Russia, Iran and occasionally in Romania.

Moult movements are poorly understood, but large flocks of moulting individuals gather on certain sites (e.g. the Sudochie wetlands in Uzbekistan, and Lake Tengiz in Kazakhstan). Departure from breeding localities begins in late August and is completed by mid-October. In Central Kazakhstan, largest numbers occur in September, but birds leave the region completely by mid-October. In Uzbekistan, major passage through the Amu Darya delta in October. In Pakistan, birds first appear in October and leave by the end of March. It is currently unknown whether there is interchange between the Spanish and North African populations. However, the recent increase in the number of White-headed Ducks in Morocco suggests that interchange does occur. Emigration of birds from Algeria or Tunisia was suggested as a possible explanation for the peak count of 4,489 birds in Spain in September 2002. However, as over 1,000 ducklings were hatched at El Hondo that year, it seems equally likely that these numbers could be explained by a bumper breeding year.

 

v's drains have been becoming more and more problematic... friday she somehow blocked the tube on the left side as she slept... and it drained out all over her pj's... and the right side had been becoming more and more painful and itchy... so saturday we took up the doctor's offer to remove the right drain... she offered to meet us at her office at 10am today (sunday)... the whole procedure only lasted a couple of minutes... and v felt nothing... the doc snipped a stich on the drain and pulled a one foot length of tube out of v's side... easy as pie... the left drain is still needed... we see the plastic surgeon on tuesday to discuss that one...

 

on the way back from the doc, we decided to have breakfast at our favorite mexican restaurant... chorizo and eggs... yum... the waiter takes our order and i ask for coffee... that's when v informs me that i'll be having a frozen margarita... and she'll just have a couple of small drinks... so it comes to the table... 2 straws... i have a drink then set it to the side... the waiter is telling us about his xmas plans... we are the only customers... (damn economy)... about 10 mins pass and the waiter goes to get our order... and i hear this really loud minute long slurping gurgling sound coming from v... i'm wondering if the remaining drain exploded... but instead it was v sucking down the last remnants of the margarita we were "sharing." that woman can make me laugh like no one else ever could!! i guess she is feeling better!!

 

Tom

The purest form of the Alchemical Earth element. Trying to come up with a good phrase (Pure root, pure power/will/ ground, ground, grounded, gravity) was problematic. Felt like I was shortchanging the other elements or making this one unusually heavy or negative, or directing the meaning. ("Fertile ground" is true, since having the ace of disks means having the physical or financial health required for a project, but, "fertile" narrows the scope too much.)

 

My main disk image from is an ancient bronze mirror I sketched in my Art of Japan class, and then never saw again, wondering if I imagined it. Somehow, I recently devised the correct search terms and rediscovered it, and its name "Chokkomon". Maybe I'll be inspired to churn out all the remaining disks now. (Could happen!)

Source images: from previous cards (reading the photoshop filters): tulip detail, hvar sunset, flowers (from four of wands), HDTA (ob. TrentMas reference), art-deco wings, heptadecagram, oracle wheel. New images: chokkomon (traced new version), tree roots growing around stone buddha, internet root chart, tree ring slice, wings from a tattoo I designed (for someone else).

DS - the two letters which haunt Citroen. The DS of 1955 was arguably the most advanced and beautiful car in the world at launch.

 

It is true that many of the ingredients had already been tried out before. The car looked like a hovercar, and rode that way too. The DS lived on to 1975, when it still looked futuristic. Its replacement, the CX was also advanced and comfortable, the Wankel rotary engine it was set to debut with was problematic however, and the funding drain of a new car, with an engine that wasn't working properly caused Citroen into bankruptcy and the arms of Peugeot parent PSA.

 

PSA was keen to stop some of teh madness, and though the y allowed the CX and GS to continue, they closed down the exclusive Maserati-engined SM luxury coupe line early (having been unable to move the car successfully in the US - bizarrely due to the high-variable suspension making the car fall foul of US Headlight laws!). The rest of the Citroen range was rationlised over time to share platforms and mechanical systems with Peugeot, and gradually, the brand lost much of its inventive distinctiveness in the name of cost rationalisation.

 

Sadly, by the 1990s, Citroen became the 'cost-brand' arm of PSA, selling average cars on cost and a long-revered name rather than style and innovation.

 

Fortunately, it was seen that this was not going to be a road to success, as the European (and American) markets were now been competitively fought by competent and increasing innovative, quality Japanese and Korean brands, and that to survive, it was in the interest of European marques to provide content that customers valued and would pay for.

 

Enter the DS.

 

The brand has now gained greater planning freedom, and is known as DS Automobiles, but at it genesis with the Citroen DS3 (and Citroen C3/C4 derivative) in 2009, the sub-rand intent was to provide vehicles of stylistic distinction and material quality (somewhat like the relaunch of Mini).

 

The DS5, an EMP2 chassis derivative sat at the top of the range at launch in 2011. The car could be described in many disparate terms that do not do the whole justice. The car rides on a long wheelbase. The car is shaped somewhere between a hatchback, wagon and an MPV. Chrome highlights, including a spear running from the headlamps up to the 2nd A-pillar and a curious beltline liven up the exterior, but the real party trick is the interior.

 

The car seats are embossed in what is known as 'watchstrap' trim, kind of like a gentleman's 1970s era watchband. The car has three sunroofs. One small one over each front seat, and a large one over the rear row. The car has an aeroplane flight deck control deck with buttons on the roof between the sunroofs that mirror those on the centre console. Luxury is high, with massage seats, sat nav, heated seats and other luxuries.

 

You will note the miniland fig standing with the car is wearing my trademark navy and white stripe pullover - I definitely have a soft spot for the DS5 - its looks, its luxury and its precipitous depreciation. I periodically temped to pick up a 3-year old car at half of its original price, to cruise around with my butt gently warmed and massaged by the seats.

 

More info at wikipedia:

 

en.wikipedia.org/wiki/DS_5

 

This Lego miniland-scale Citroen DS5 has been created for Flickr LUGNuts' 115th Build Challenge, - "The French Connection", - for vehicles with some connection with France.

200. Laocoon group (Vatican), marble works of Rhodian sculptors Hagesandros, Polydorus

and Athanadoros, to 50 BC

 

200. Laokoongruppe (Vatikan), Marmorwerk der rhodischen Bildhauer Hagesandros, Polydoros und Athanadoros, um 50 vor Christus

 

On the history of women's studies at the Academy of Fine Arts Vienna

1897

Conservative journalist A.F. Seligmann founded the art school for women and girls and taught there as a single teacher 16 students in the "Curs for head and act". 1898 expands the school: Tina Blau, a former teacher of the Munich artists association conducts 1 January 1898 a "Curs for landscape and still-life", which she held until 1915. Richard Kauffungen was nominated for sculpture, Ludwig Michalek led the "Curs for head and act" as well as an Radierkurs (etching course), Adolf Böhm the course for decorative and applied arts, Fabiani teaches ornamentation and style of teaching as well as "Modern home furnishings", Georg Klimt taught metalwork, Friedrich King wood cutting art and Hans Tichy from 1900 the drawing and painting from the living model. In all these teachers are moderate modern artists from the area of the Secession. The theoretical lectures are held in the company founded by Emil Zuckerkandl and Julius Tandler 1900 "Association of Austrian university lecturers Athenaeum", which had the task to be "an educational institution for members of the female sex". The first school year was completed with 64 students, the school is rapidly expanding, so that it forms 200-300 students annually within a few years. The steady growth is due to the restrictive attitude of the public schools of art (especially the academy) towards women, but also from the indiscriminate admission of which have been blamed all the private schools also on the part of women harshly, and just by women.

1904

The Academy of Fine Arts Vienna one of the many requests for opening the Academy for female students once again is putting the old arguments against that women are rarely equipped with creative spirit in the field of great art and that on the other hand a "proliferation of dilettantism and a pushing back of male members" is to be feared. Just the idea of a joint education had "abhorred" the College. The Academy therefore advocates for the financial support of the art school for women and girls, and rejects the application for opening the academy for women unanimously. The main argument for the impossibility of the joint Aktzeichnens (nude drawing) and the need for a second Aktsaales (nude hall) is increasingly mentioned, which cannot be realized because lack of space and lack of money. Henni Lehmann (Artistic studies of women, Darmstadt 1913) counters the same argument in Germany: "The common nude studies of women and men can not be described as impossible as it is done in many places, without having shown any grievances". The objection of the Quorum of the Berlin University professors that no teacher could be forced to teach women at all in such delicate subjects is countered that the problem was easily solved by entrusting a lady the Aktunterricht (nude drawing) in ladies. Suitable artists were plentiful present. That the life drawing for a long time (until 1937) remained problematic, shows the application of the renowned sculptor Teresa F. Ries of 1931, in which she was offering the Academy her services for the purpose of the management of a yet to be affiliated department, where young girls separated from the young men could work under the direction of a woman. The application was not even put to a vote.

1912

The rector of the Munich Academy also does not believe in the inclusion of students (female ones): "... it is impossible, even with regard to the space conditions, besides the fact that the aspirations of the artists who devote themselves to the arts especially are usually others than that of women..."

1913

No significant change in attitude can be found between the opinions of the Academies from 1904 and those of 1913.

1919

In the report from the College's meeting of the Academy of Fine Arts Vienna to the State Office of Internal Affairs and Teaching is communicated that against the requested admission there were no fundamental objections, but that the Academy is so limited in spatial relationship, that after the experiences of the last entrance exams not even the majority of gifted young artists, capable of studying, could be included, and therefore, in case of the admission of women to the study initially had to be made ​​a considerable expansion. The State Office counters that a further delay in the admission of women to the academic study could not be justified and that approval is to allow at least temporarily in a narrow frame.

1920

The State Office for the Interior and Education officially approved the admission of women to study at the Academy of Fine Arts Vienna (since 1919 women were admitted to all faculties of the University of Vienna, with the exception of the Catholic and Protestant Theological Faculty).

A committee consisting of the professors Bacher, Delug, Schmutzer, Jettmar and Müllner claims that the Academy has never pronounced in principle against women's studies but have always only expressed reservations because of the cramped space and financial situation. As a complete novelty proves that no more concerns are raised with regard to coeducation. Men and women should compete in the entrance examination. In the winter semester 1920/21 will be included 14 women, of course, representing only a small minority in relation to the 250 male students.

1926/1927

In the new study regulations are for the first time mentioned Schüler (M) and Schülerinnen (F).

March 1927

Report of the Academy of Fine and Applied Arts about the experiences regarding the access of women to universities: ..."in past years it was thought for the education of women and girls by the Academy of Women for Liberal and Applied Art, which is also equipped with academic classes and by the State subsidized, sufficiently having taken precautions: during a period of almost seven years of study, it was probably possible to get a clear picture about the access applications of women, and about the degree course ... Of course, the number of female candidates in the painting is strongest, weaker in sculpture, and very low in the architecture. As much already now can be said, that in no way in terms of education in the new admissions the women are left behind the male candidates. During the study period, the female students are not in diligence and seriousness of studying behind their male colleagues. Particularly gratifying can be emphasized that because of the co-education of both sexes in common rooms in the individual schools a win-win situation for everybody was. In the master schools the College was repeatedly able also honouring women with academic prices. Subsuming, it should be emphasized that our experiences with the study of women in the Academy of Fine Arts were quite favorable."

The number of students (Studentinnen) increased from 5 % in the winter semester 1920/1921 till 1939/1940 to about 25 %. After the annexation of Austria to Nazi Germany, the number of students (Studentinnen) decreased. The proportion of female students rose after 1940 naturally, reached during the war years up to 70 % and amounted 1945/1946 to 65%. From 1946/1947 the number of students (Studentinnen) fell sharply again, so 1952/1953 only 20% of the students at the Academy were women. 1963/1964 there were, however, already 41% (278).

2002

Students (Studentinnen): 570 of 936 students

University professors (Universitätsprofessorinnen): 9 out of 29

Ao Univ. (extraordinary female professors) 2 of 12

Univ.Ass. (female university assistant) 18 of 41

Contract teachers (Vertragslehrerinnen): 3 of 7

Lecturer (Lehrbeautragte): 32 of 46

 

Almut Krapf

www.akbild.ac.at/Portal/akademie/uber-uns/Organisation/ar...

 

Pride and Prejudice: on Raphael Perez's Artwork

 

Raphael Perez, born in 1965, studied art at the College of Visual Arts in Beer Sheva, and from 1995 has been living and working in his studio in Tel Aviv. Today Perez plays an important role in actively promoting the LGBT (lesbian, gay, bisexual and transsexual) art and culture in Tel Aviv, and the internet portal he set up helps artists from the community reach large audiences in Israel and abroad. Hundreds of his artworks are part of private collections in Israel and abroad, and his artworks were shown in several group exhibitions: in Tel Aviv Museum of Art, "Zman Le'Omanut" art gallery, Camera Obscura, The Open House in Jerusalem, Ophir Gallery, The Haifa Forum and other private businesses and galleries.

In 2003-4 his paintings and studio appeared in a full-length movie, three student films and two graduation films.

 

Raphael Perez is the first Israeli artist to express his lifestyle as a Gay. His life and the life of the LGBT community are connected and unfold over hundreds of artwork pieces. His art creation is rare and extraordinary by every Israeli and international artistic standard. His sources of inspiration are first and foremost life events intertwined in Jewish and Israeli locality as well as influences and quotes from art history (David Hockney, Matisse). This uniqueness has crossed international borders and has succeeded in moving the LGBT and art communities around the world.

 

This is the first time we meet an Israeli artist who expresses all of his emotions in a previously unknown strength. The subjects of the paintings are the everyday life of couples in everyday places and situations, along with the aspiration to a homosexual relationship and family, equality and public recognition. Perez's works bring forward to the cultural space and to the public discourse the truth about living as LGBT and about relationships, with all of their aspects – casual relationships and sex, the yearning for love, the everyday life and the mundane activities that exist in every romantic relationship – whether by describing two men in an intimate scene in the bathroom, the bedroom or the toilet, a male couple raising a baby or the homosexual version of the Garden of Eden, family dinners, relationship ups and downs, the complexity in sharing a life as well as mundane, everyday life competing with the aspiration to self realization – through Perez's life.

  

Perez's first artworks are personal diaries, which he creates at 14 years of age. He makes sure to hide these diaries, as in them he keeps a personal journal describing his life events in the most genuine way. In these journals he draws thousands of drawings and sketches, next to which he alternately writes and erases his so-called "problematic texts", texts describing his struggle with his sexual orientation. His diaries are filled with obsessive cataloging of details, daily actions, friends and work, as well as repeating themes, such as thoughts, exhibits he has seen, movies, television, books and review of his work.

 

When he is done writing, Perez draws on his diaries. Each layer is done from beginning to end all along the journal. In fact, the work on the diaries never ends.

This struggle never ends, and when the emotion is passed on to paper, and it ends its role and becomes meaningless in a way, the visual-graphic side becomes dominant, due to the need to hide the written text, according to Perez. In books and diaries this stands out even more – when he chooses to draw in a style influenced by children's drawings, the characters are cheerful, happy, naïve and do not portray any sexuality, and when he tries drawing as an adult the sketches became more depressed and somber. During these years Perez works with preschool children, teaching them drawing and movement games. Perez says that during this period he completely abandoned the search for a relationship, either with a woman or a man, and working with children has given him existential meaning. This creation continues over 10 years, and Perez creates about 60 books-personal journals in various sizes (notepads, old notebooks, atlases and even old art books).

 

In his early paintings (1998-1999) the transition from relationships with women to relationships with men can be seen, from restraint to emotional outburst in color, lines and composition. Some characters display strong emotional expression. The women are usually drawn in restraint and passiveness, while a happy and loving emotional outburst is expressed in the colors and style of the male paintings.

 

"I fantasized that in a relationship with a woman I could fly in the sky, love, fly. However, I felt I was hiding something; I was choked up, hidden behind a mask, as if there was an internal scream wanting to come out. I was frustrated, I felt threatened…"

 

His first romance with a man in 1999 has drawn out a series of naïve paintings dealing with love and the excitement of performing everyday actions together in the intimate domestic environment.

 

"The excitement from each everyday experience of doing things together and the togetherness was great, so I painted every possible thing I liked doing with him."

 

From the moment the self-oppression and repression stopped, Perez started the process of healing, which was expressed in a burst of artworks, enormous in their size, amount, content and vivid colors – red, pink and white.

 

In 2000 Perez starts painting the huge artworks describing the hangouts of the LGBT community (The Lake, The Pool) and the Tel Avivian balcony paintings describing the masculine world, which, according to him, becomes existent thanks to the painting. Perez has dedicated this year to many series of drawings and paintings of the experience of love, in which he describes his first love for his new partner, and during these months he paints from morning to night. These paintings are the fruit of a long dialogue with David Hockney, and the similarity can be seen both in subjects and in different gestures.

 

In 2001 Perez creates a series of artworks, "Portraits from The Community". Perez describes in large, photorealistic paintings over 20 portraits of active and well-known members of the LGBT community. The emphasis is on the achievements that reflect the community's strong standing in Tel Aviv.

As a Tel-Avivian painter, in the past two years Perez has been painting urban landscapes of central locations in his city. Perez wanders around the city and chooses familiar architectural and geographical landmarks, commerce and recreation, and historical sites, and paints them from a homosexual point of view, decorated with the rainbow flag, which provide a sense of belonging to the place. His artworks are characterized by a cheerful joie de vivre and colors, and they also describe encounters and meetings. The touristic nature of his paintings makes them a declaration of Tel Aviv's image as a place where cultural freedom prevails.

Perez's Tel Aviv is a city where young families and couples live and fill the streets, the parks, the beach, the houses and the balconies – all the city's spaces. The characters in his paintings are similar, which helps reinforcing the belonging to the LGBT community in Tel Aviv. The collective theme in Perez's artwork interacts with the work of the Israeli artist Yohanan Simon, who dealt with the social aspects of the Kibbutz. Simon, who lived and worked in a Kibbutz, expressed the human model of the Kibbutznik (member of a Kibbutz) and the uniqueness of the Kibbutz members as part of a group where all are equal. Simon's works, and now Perez's, have contributed to the Israeli society what is has been looking for endlessly, which is a sense of identity and belonging.

Perez maps his territory and marks his boundaries, and does not forget the historical sites. Unlike other Tel Avivian artists, Perez wishes to present the lives of the residents of the city and the great love in their hearts. By choosing the historical sites in Tel Aviv, he also pays tribute to the artist Nachum Gutman, who loved the city and lived in it his whole life. In his childhood Gutman experienced historical moments (lighting the first oil lamp, first concert, first pavement), and as an adult he recreated the uniqueness of those events while keeping the city's magic.

Like Gutman, Perez has also turned the city into an object of love, and it has started adorning itself in rich colors and supplying the energy of a city that wishes to be "the city that never sleeps", combining old and new. Perez meticulously describes the uniqueness and style of the Bauhaus houses and balconies along the modern glass and steel buildings, all from unusual angles in a rectangular format that wishes to imitate the panorama of a diverse city in its centennial celebrations.

 

Daniel Cahana-Levensohn, curator.

   

Interview with the painter Raphael Perez about his family artist book

An interview with the painter Raphael Perez about an artist's book he created about his family, the Peretz family from 6 Nissan St. Kiryat Yuval Jerusalem

  

Question: Raphael Perez, tell me about the family artist book you created

Answer: I created close to 40 artist books, notebooks, diaries, sketch books and huge books. I dedicated one of the books to my dear family, a book in which I took a childhood photograph of my family, my parents and brothers and sisters.. I pasted the photographs inside a book (the photograph is 10 percent of the total painting) and I drew with acrylic paints, markers and ink on the book and the photograph, so that the image of the photograph was an inspiration to me Build the story that includes page by page..

  

Question: Tell me when you were born, where, and a little about your family

Answer: I was born on March 4, 1965 in the Kiryat Yuval neighborhood in Jerusalem

I have a twin brother named Miki Peretz and we are seven brothers and sisters, five boys and two girls

 

Question: Tell us a little about your parents

Answer: My parents were new immigrants from Morocco, both immigrated young.

My mother's name before the wedding was Alice - Aliza ben Yair and my father's name was Shimon Peretz,

My mother was born in the Atlas Mountains and was orphaned at a young age and was later adopted by my father's family at the age of 10, so that my mother and father spent childhood and adolescence together....

They had a beautiful and happy relationship but sometimes when they argued my mother would say "even when she was a child she was like that..." This means that their acquaintance and relationship dates back to childhood..

  

Question: What did your parents Shimon and Aliza Peretz work for?

Answer: My father, Shimon Perez, born in 1928 - worked in a building in his youth and then for thirty years worked as a receptionist at Hadassah Ein Kerem Hospital in Jerusalem... My father's great love was actually art, he loved to draw as a hobby, write, read, solve crossword puzzles and research Regarding the issue of medicinal plants, as a breadwinner he could not fulfill his dream of becoming an artist, in order to support and feed seven children. But we are the next generation, his children are engaged in the world of creativity and education, a field in which both of my parents were engaged during their lives. My father died at the age of 69

 

My mother, Alice Aliza Perez, born in 1934, worked as an assistant to a kindergarten teacher, and later took care of a baby at home. She is a woman of wholehearted giving and caring for children and people, a warm, generous and humble woman.. and took care of us in our childhood for every emotional and physical deficiency.. My mother is right For the year 2023, the 89-year-old is partly happy and happy despite the difficulties of age.. May you have a long life..

 

My mother really loved gardening and nature and both of them together created a magnificent garden, my parents have a relatively large garden so they could grow many types of special and rare medicinal plants and my father even wrote a catalog (unpublished) of medicinal plants and we even had botany students come to us who were interested in the field... today they They also grow ornamental plants, and fruit trees...

 

Question: A book about the brothers and sisters

Answer: My elder brother David Perez repented in his mid-twenties.. He was a very sharp, opinionated, curious and very charismatic guy who brought many people back to repentance, and also helped people with problems through the yeshiva and the synagogue to return to the normal path of life, he died young at the age of 56

 

Hana Peretz: My lovely sister, raised eight children, worked in the field of education, a kindergarten teacher, and child care.

She has a very large extended family of grandchildren, great-grandchildren and great-great-grandchildren...

 

My brother Avi (Abraham) Peretz studied in Israel at the University of Philosophy and Judaism, he married a wonderful woman named Mira Drumi, a nurse by profession, and together they had three wonderful children, when they moved to the United States in their mid-twenties, where my brother Avi Peretz completed his master's degree in education, worked in the field Education and for the last twenty years is A conservative rabbi

 

The fourth brother is Asher Peretz - a great man of the world, very fond of traveling and has been to magical places all over the world, engaged in the creation of jewelry with two children.

 

I am Rafi Peretz english raphael perez the fifth and after fifteen minutes my twin brother was born

My mother still gets confused and can't remember who was born first :-)

 

My twin brother Miki micky - Michael Peretz, a beloved brother (everyone is beloved), a talented industrial designer, he has three children, his wife Revital Peretz Ben, who is a well-known art curator, active and responsible for the art field in Tel Aviv, they are a dynamic and talented couple, full of talents and action

 

The lovely little sister Shlomit Peretz - has been involved in the Bezeq telephone company for almost three decades, and is there in management positions, raising her lovely and beloved child.

  

The art book I dedicated to my family is colorful, rich in details, shows a very intense childhood, happy, cheerful, colorful, ... We were taught to be diligent and to be happy in our part and to see the glass half full in life, to have emotional intelligence and to put the relationship and love at the center with self-fulfillment in work that will interest you us and you will give us satisfaction.

 

Each of us is different in our life decisions and my family is actually a mosaic of the State of Israel that includes both religious and secular people from the entire political spectrum who understand that the secret to unity is mutual respect for each other... when my mother these days is also the family glue in everyone's gatherings on Shabbat and holidays..

 

The personification of the flower couple paintings by the Israeli painter Raphael Perez

Raphael Perez, also known as Rafi Peretz, is an Israeli painter who

explores his personal and sexual identity through his flower paintings. He created a series of flower paintings from 1995 to 1998, when he was in his early thirties and still in relationships with women, despite feeling gay. His flower paintings reflect his emotional turmoil and his struggle with his sexual orientation. He painted two flowers, one blooming and one wilting, to represent the contrast and conflict between his heterosexual relationships and his true self. He also painted single flowers or two flowers in their prime, to express his longing for a harmonious relationship that matches his nature. He chose sunflowers, white lilies, and red lilies as symbols of expression, purity, and joy, respectively. He painted from real flowers, using different styles and light to create drama and mood. Perez’s paintings of the flower couples are minimalist and focused on the theme of the complex relationship. He omitted any background or context, leaving only the canvas and the drawing of the flower couples. In some of the paintings, he added a very airy abstract surface with thin oil paints that give an atmosphere of watercolors. He also made drawings of flowers in ink, markers and gouache on paper. Later on, he created large acrylic paintings of flowers and still life. Perez’s flower paintings are not mere illustrations or decorations. They are autobiographical and psychological expressions of his inner state and his struggle with his sexuality. He wanted to reveal his loneliness, distress and concealment through these paintings, and to connect with people who are in a similar situation. He deliberately chose only two flowers and no more to intensify the engagement in the charged and complex relationship. Perez also painted and drew couples of men and women with charged psychological states, as well as states of desire for connection and realization of a heterosexual relationship that did not succeed. He used hyperrealism and expressive styles to convey his frozen and calculated state, as well as his mental stress. He used harsh lighting to create contrast and drama, with one side very bright and the other side darker. Perez was influenced by some of the famous artists who painted flowers, such as Van Gogh, who also used sunflowers as a symbol of expression. He also used white lilies and red lilies to convey freshness, cleanliness, purity, color, joy, movement, eruption, and splendor. Perez also painted some single flowers or two flowers in their prime, to show his aspiration for a future where he will have a harmonious relationship. Today, he is 58 years old and in a happy relationship for 10 years with his partner Assaf Henigsberg. He is surrounded by female friends and soulmates and not conflicted with heterosexual relationships as he used to be. He occasionally paints flowers in pots to symbolize home, stability, and peace. Sometimes I paint flowers in pots, which represent home, stability, and solid ground for me. I don’t paint just a couple of flowers, but pots full of flowers that overflow with life. This means that we also have a supportive network of family, friends, and peers around us. We live in a rich, supportive, and protective world. These paintings are a personification of my psychological state, when I had no words to express my feelings to myself. The painting began In 35 years of my creation (starting in 1998), you can read more about how my art and style evolved over time. Perez’s flower paintings are a unique and extraordinary artistic creation that reveals his personal journey and his sexual identity. His work is honest, expressive, and emotional, as well as beautiful and vibrant.

 

The characteristics of the naive painting of the painter Raphael Perez

A full interview with the Israeli painter Raphael Perez (Hebrew name: Rafi Peretz) about the ideas behind the naive painting, resume, personal biography and curriculum vitae Question: Raphael Perez Tell us about your work process as a naive painter? Answer: I choose the most iconic and famous buildings in every city and town that are architecturally interesting and have a special shape and place the iconic buildings on boulevards full of trees, bushes, vegetation, flowers. Question: How do you give depth in your naive paintings? Answer: To give depth to the painting, I build the painting with layers of vegetation, after those low famous buildings, followed by a tall avenue of trees, and behind them towers and skyscrapers, in the sky I sometimes put innocent signs of balloons, kites. A recurring motif in some of my paintings is the figure of the painter who is in the center of the boulevard and paints the entire scene unfolding in front of him, also there are two kindergarten teachers who are walking with the kindergarten children with the state flags that I paint, and loving couples hugging and kissing and family paintings of mother, father and child walking in harmony on the boulevard. Question: Raphael Perez, what characterizes your naive painting? Answer: Most naive paintings have the same characteristics (Definition as it appears in Wikipedia) • Tells a simple story to absorb from everyday life, usually with humans. • The representation of the painter's idealization to reality - the mapping of reality. • Failure to maintain perspective - especially details even in distant details. • Extensive use of repeating patterns - many details. • Warm and bright colors. • Sometimes the emphasis is on outlines. • Most of the characters are flat, lack volume • No interest in texture, expression, correct proportions • No interest in anatomy. • There is not much use of light and shade, the colors create a three-dimensional effect. I find these definitions to be valid for all my naive paintings Question: Raphael Perez, why do you choose the city of Tel Aviv? Answer: I was born in Jerusalem, the capital city which I love very much and also paint, I love the special Bauhaus buildings in Tel Aviv, the ornamental buildings that were built a century ago in the 1920s and 1930s, the beautiful boulevards, towers and modern skyscrapers give you the feeling of the hustle and bustle of a large metropolis and there are quite a few low and tall buildings that are architecturally fascinating in their form the special one Also, the move to Tel Aviv, which is the capital of culture, freedom, and secularism, allowed me to live my life as I chose, to live in a relationship with a man, Jerusalem, which is a traditional city, it is more complicated to live a homosexual life, also, the art world takes place mainly in the city of Tel Aviv, and it is possible that from a professional point of view, this allows I can support myself better in Tel Aviv than in any other city in Israel. Question: Raphael Perez, are the paintings of the city of Tel Aviv different from the paintings of the city of Jerusalem? Answer: Most of the paintings of Jerusalem have an emphasis on the color yellow, gold, the color of the old city walls, the subjects I painted in Jerusalem are mainly a type of idealization of a peaceful life between Jews and Arabs and paintings that deal with the Jewish religious world, a number of paintings depict all shades of the currents of Judaism today In contrast, the Tel Aviv paintings are more colorful, with skyscrapers, the sea, balloons and more secular motifs Question: Raphael Perez, tell me about which buildings and their architects you usually choose in your drawings of cities Answer: My favorite buildings are those that have a special shape that anyone can recognize and are the symbols of the city and you will give several examples: In the city of Tel Aviv, my favorite buildings are: the opera building with its unusual geometric shape, the Yisrotel tower with its special head, the Hail Bo Shalom tower that for years was the symbol of the tallest building in Tel Aviv, the Levin house that looks like a Japanese pagoda, the burgundy-colored Nordeau hotel with the special dome at the end of the building, A pair of Alon towers with the special structure of the sea, Bauhaus buildings typical of Tel Aviv with the special balconies and the special staircase, the Yaakov Agam fountain in Dizengoff square appears in a large part of the paintings, many towers that are in the stock exchange complex, the Aviv towers and other tall buildings on Ayalon, in some of the paintings I took plans An outline of future buildings that need to be built in the city and I drew them even before they were built in reality, In the paintings of Jerusalem, I mainly chose the area of the Old City and East Jerusalem, a painting of the walls of the Old City, the Western Wall, the Church of the Holy Sepulcher, the El Akchea Mosque, the Tower of David, most of the famous churches in the city, the right hand of Moses, in most of the paintings the Jew is wearing a blue shirt with a red male cord I was in the youth movement and the Arab with a galabia, and in the paintings of the religious public then, Jews with black suits and white shirts, tallitas, kippahs, special hats, synagogues and more I also created three paintings of the city of Haifa and one painting of Safed In the Haifa paintings I drew the university, the Technion, the famous Egged Tower, the Sail Tower, well-known hotels, of course the Baha'i Gardens and the Baha'i Temple, Haifa Port and the boats and other famous buildings in the city Question: Raphael Perez, have you created series of other cities from around the world? Answer: I created series of New York City with all the iconic and famous buildings such as: the Guggenheim Museum, the famous skyscrapers - the Chrysler Building, the Empire State Building, Lincoln Center, the famous synagogue in the city, the Statue of Liberty, the flags of the United States and other famous buildings Two paintings of London and all its famous sites, Big Ben, famous monuments, the Ferris wheel, Queen Elizabeth and her family, the double bus, the famous public telephone, palaces, famous churches, well-known monuments I created 4 naive paintings of cities in China, a painting of Shanghai, two paintings of the city of Suzhou and a painting of the World Park in the city of Beijing... I chose the famous skyline of Shanghai with all the famous towers, the famous promenade, temples and old buildings, two Paintings of the city of Suzhou with the famous canals, bridges, special gardens, towers and skyscrapers of the city Question: Raphael Perez What is the general idea that accompanies your paintings Answer: To create a good, beautiful, naive, innocent world in which we will see the innovation of the modern city through the skyscrapers in front of small and low buildings that bring the history and past of each country, all with an abundance of vegetation, boulevards, trees Resume, biography, CV of the painter Rafi Peretz and his family Question: When was Raphael Perez born in hebrew his name rafi peretz? Answer: Raphael Perez in Hebrew his name Rafi Peretz was born on March 4, 1965 Question: Where was Raphael Perez born? Answer: Raphael Perez was born in Jerusalem, Israel Question: What is the full name of Raphael Perez? Answer: His full name is Raphael Perez Question: Which art institution did Raphael Perez graduate from? Answer: Raphael Perez graduated from the Visual Arts Center in Be'er Sheva Question: When did Raphael Perez start painting? Answer: Raphael Perez started painting in 1989 Question: When did you start making a living selling art? Answer: Raphael Perez started making a living selling art in 1999 Question: Where does Raphael Perez live and work? Answer: Since 1995, Raphael Perez has been living and working from his studio in Tel Aviv Question: In which military framework did Raphael Perez serve in the IDF? Answer: Raphael Perez served in the artillery corps Question: Raphael Perez, what jobs did he work after his military service? Answer: Raphael Perez worked for 15 years in education in therapeutic settings for children and taught arts and movement Question: How many brothers and sisters does Raphael Perez, the Israeli painter, have? Answer: There are seven children in total, with the painter 5 sons and two daughters, that means the painter Raphael Perez has 4 more brothers and two sisters Question: What do the brothers and sisters of the painter Raphael Perez do? Answer: The elder brother David Peretz Perez was involved in the field of religious studies, the sister Hana Peretz Perez is involved in the field of education, a kindergarten teacher and child care, the brother Avi Peretz Perez who is in the United States today is a conservative rabbi but in the past was involved in education and therapy, the brother Asher Peretz Perez is involved in the fields of creativity and jewelry The twin brother Mickey Peretz Perez is a well-known industrial designer and seller. The younger sister Shlomit Peretz Perez works in a managerial position at Bezeq. Question: Tell me about the parents of the painter Raphael PerezAnswer: The painter Raphael Perez's parents are Shimon Perez Peretz and Eliza Alice Ben Yair, they were married in 1950 in Jerusalem, both were born in Morocco and immigrated to Israel in 1949, Shimon Peretz worked in a building in his youth and later as a receptionist at the Hadassah Ein Kerem Hospital, Eliza Alice Peretz dealt in child care Kindergarten, working in kindergartens and of course taking care of and raising her seven children

When I picked up the Droid Bionic to retire my problematic OG Droid I was expecting much more of a positive experience. While I am mostly pleased with the phone, there are a couple of issues that have been driving my bonkers.

 

First up, and most frustrating is the fact that the Bionic keeps dropping my data connection seemingly at random. 3G or 4G, it doesn't matter - the Bionic arbitrarily decides to drop the connection and requires me to either turn airplane mode on/off or reboot the phone in order to restore.

 

I've called Verizon and they've sent me a replacement SIM card to hopefully remedy the issue, but so far it has been to no avail. Even sitting at home on the couch where 3G is not an issue I will watch my phone drop the data connection and refuse to pick it back up until restarted.

 

Next up on my complaint list is the Bionic's incredibly slow & lackluster camera. Sure, 8MP are great - but what good are they when the camera is too slow to capture a photo. The Bionic seems to struggle with focus, and by the time it achieves it the moment you were hoping to capture is long gone.

 

I've been testing out some camera apps in an effort to make the camera more workable, but so far - no luck. When I see the iPhone 4S's camera I really start to second guess my decision to pick buy the Bionic.

 

Last on my list is an issue I am having with shortcuts on my homescreen to the Browser & Android Market. For some reason, these shortcuts become entirely unresponsive and won't respond at all to long or short presses. I am able to launch the browser/market apps from the 'all apps' menu, but the shortcuts on my homescreen refuse to budge.

 

It's not a touch screen issue as any other shortcut in the same location functions without a hitch, so I'm completely left scratching my head on that one.

 

I've got a lot of praise for the Bionic, but these nagging issues are unfortunately all I can focus on at the moment. Hell, the data connection problem alone is a deal breaker.

 

I am going to call Verizon back again to see if they have any suggestions about the data issue but I'm sure they are going to just send me a refurbished Bionic which I am not the least bit excited about.

 

Grrrr......

spanwidth min.: 64 cm

spanwidth max.: 68 cm

size min.: 43 cm

size max.: 48 cm

Breeding

incubation min.: 25 days

incubation max.: 26 days

fledging min.: 0 days

fledging max.: 0 days

broods 1

eggs min.: 5

eggs max.: 12

  

Physical characteristics

 

Chestnut-brown diving duck with long tail, often cocked vertically. Male has white head, black cap and blue bill, swollen at base. Female has pale face with dark cap and cheek-stripe and blackish, less swollen bill. Similar spp. Ruddy Duck O. jamaicensis is smaller with brighter chestnut plumage. Male has more extensive black cap and dark hindneck and female has narrower facial band and browner cap. Both sexes lack swollen base to bill. Hybrid identification can be very problematic. Voice Low rattling noise uttered during display. Otherwise generally silent.

 

Habitat

 

White-headed Ducks breed in shallow fresh or brackish marshes connected with larger wetland complexes. Such wetlands are often seasonal, created by spring floods and drained at summer, but they are especially productive, being very rich in aquatic vegetation and invertebrates. In winter, White-headed Ducks prefer large brackish or saline lakes.

 

Other details

 

The species is Palearctic, with a fragmented breeding distribution extending east from Spain and Morocco in western Europe to western China and western Mongolia, and north from Iran to southern Russia. Divisions between biogeographical populations are poorly understood (Scott & Rose 1996), but four major populations are thought to remain: a migratory central Asian population breeding mainly in northern Kazakhstan and southern Russia and wintering in western Asia, the Middle East and in eastern Europe as far west as Greece; a small and declining migratory east Asian population, wintering in Pakistan and perhaps originating from southern Russia and Mongolia; a population resident in Spain, the Spanish population has increased from 22 birds in 1977 to around 2,500 wintering birds today; and another resident in North Africa (Tunisia and north-east Algeria).

Most of the population is concentrated in only four countries (Mongolia, Kazakhstan, Russian Federation, and Spain). The most important wintering countries differ from year-to-year, presumably depending on weather conditions. In recent years, ten countries have held over 1,000 birds (Azerbaijan, Bulgaria, Greece, Islamic Republic of Iran, Israel, Kazakhstan, Russian Federation, Spain, Turkey, and Uzbekistan. Seven countries hold significant numbers of White-headed Ducks throughout the year (Algeria, Islamic Republic of Iran, Russian Federation, Spain, Tunisia, Turkey, and Uzbekistan). Since a few years the Spanish population is threatened by hybridisation with the Ruddy Duck, Oxyura jamaicensis, an introduced species from America. The other main threats are over hunting and habitat destrution.

 

Feeding

 

White-headed Ducks feed almost entirely by diving, mainly at night. Benthic Chironomid larvae are the major diet component at most sites, both for adults and ducklings, but polychaetes (especially in coastal lakes used as wintering sites), amphipods and a variety of other invertebrates are eaten, as well as seeds and vegetative parts of Potamogeton, Ruppia, Scirpus and many other aquatic plants. The availability of chironomid larvae is a key feature in habitat selection. Wintering birds on Caspian Sea contained snails Hydrobia, red seaweed Polysiphonia, and stonewort Chara, and seeds of Ruppia maritima. Females from central Kazakhstan, in July, contained seeds of Potamogeton and Najas, and waterboatmen Corixa and Micronecta. Young caught at same time had only insects.

 

Conservation

 

Despite uncertainty about the possible large-scale inter-year movement of birds between wintering sites, mid-winter counts indicate that the population of this species has undergone a very rapid decline of over 50% in the last 10 years, which qualifies it as Endangered. Given increases in the Spanish subpopulation, it is projected that the overall rate of decline will be lower in the next 10 years. [conservation status from birdlife.org]

 

Breeding

 

The species forms monogamous pair bonds of seasonal duration. The nest is usually located over water in emergent vegetation. Females lay 4-9 eggs, more usually 5 or 6, at 1.5 day intervals, and may relay if the first clutch is removed. Relative to body mass, lays the largest egg of any waterfowl, and total clutch mass may approach 100% of a female's non-breeding body weight. Incubation begins from April to June in southern Europe, and up to a month later further north. Eggs hatch after 22-24 days in the wild. Only one brood is reared per year. Little information on hatching or nesting success. Brood size at hatching 3-7 ducklings, usually 5-6. The fledging period is 8-10 weeks, somewhat longer than most ducks. Females can breed first at one year old although the proportion doing so is unknown. It is one of the few water birds that moult twice a year, during breeding season and winter, being unable to fly during these periods.

 

Migration

 

Resident and dispersive in west Mediterranean. Mainly migratory in east Mediterranean and Asia. The western population is resident, numbering about 1,000 birds breeding mainly in Spain but also in Algeria and Tunisia. The eastern population is larger and migratory. White-headed Ducks breed mainly in Turkey, where the biggest eastern population is located (200-300 pairs), while fewer breed in Russia, Iran and occasionally in Romania.

Moult movements are poorly understood, but large flocks of moulting individuals gather on certain sites (e.g. the Sudochie wetlands in Uzbekistan, and Lake Tengiz in Kazakhstan). Departure from breeding localities begins in late August and is completed by mid-October. In Central Kazakhstan, largest numbers occur in September, but birds leave the region completely by mid-October. In Uzbekistan, major passage through the Amu Darya delta in October. In Pakistan, birds first appear in October and leave by the end of March. It is currently unknown whether there is interchange between the Spanish and North African populations. However, the recent increase in the number of White-headed Ducks in Morocco suggests that interchange does occur. Emigration of birds from Algeria or Tunisia was suggested as a possible explanation for the peak count of 4,489 birds in Spain in September 2002. However, as over 1,000 ducklings were hatched at El Hondo that year, it seems equally likely that these numbers could be explained by a bumper breeding year.

 

St Paul's Cathedral is an Anglican cathedral in London, England, and is the seat of the Bishop of London. The cathedral serves as the mother church of the Diocese of London. It is on Ludgate Hill at the highest point of the City of London. Its dedication in honour of Paul the Apostle dates back to the original church on this site, founded in AD 604. The present structure, which was completed in 1710, is a Grade I listed building that was designed in the English Baroque style by Sir Christopher Wren. The cathedral's reconstruction was part of a major rebuilding programme initiated in the aftermath of the Great Fire of London. The earlier Gothic cathedral (Old St Paul's Cathedral), largely destroyed in the Great Fire, was a central focus for medieval and early modern London, including Paul's walk and St Paul's Churchyard, being the site of St Paul's Cross.

 

The cathedral is one of the most famous and recognisable sights of London. Its dome, surrounded by the spires of Wren's City churches, has dominated the skyline for over 300 years. At 365 ft (111 m) high, it was the tallest building in London from 1710 to 1963. The dome is still one of the highest in the world. St Paul's is the second-largest church building in area in the United Kingdom, after Liverpool Cathedral.

 

Services held at St Paul's have included the funerals of Admiral Lord Nelson, the Duke of Wellington, Winston Churchill and Margaret Thatcher; jubilee celebrations for Queen Victoria; an inauguration service for the Metropolitan Hospital Sunday Fund; peace services marking the end of the First and Second World Wars; the wedding of Prince Charles and Lady Diana Spencer; the launch of the Festival of Britain; and the thanksgiving services for the Silver, Golden, Diamond, and Platinum Jubilees and the 80th and 90th birthdays of Queen Elizabeth II. St Paul's Cathedral is the central subject of much promotional material, as well as of images of the dome surrounded by the smoke and fire of the Blitz. The cathedral is a working church with hourly prayer and daily services. The tourist entry fee at the door is £23 for adults (January 2023, cheaper if booked online), but no charges are made to worshippers attending advertised services.

 

The nearest London Underground station is St Paul's, which is 130 yards (120 m) away from St Paul's Cathedral.

 

History

Before the cathedral

The location of Londinium's original cathedral is unknown, but legend and medieval tradition claims it was St Peter upon Cornhill. St Paul is an unusual attribution for a cathedral, and suggests there was another one in the Roman period. Legends of St Lucius link St Peter upon Cornhill as the centre of the Roman Londinium Christian community. It stands upon the highest point in the area of old Londinium, and it was given pre-eminence in medieval procession on account of the legends. There is, however, no other reliable evidence and the location of the site on the Forum makes it difficult for it to fit the legendary stories. In 1995, a large fifth-century building on Tower Hill was excavated, and has been claimed as a Roman basilica, possibly a cathedral, although this is speculative.

 

The Elizabethan antiquarian William Camden argued that a temple to the goddess Diana had stood during Roman times on the site occupied by the medieval St Paul's Cathedral. Wren reported that he had found no trace of any such temple during the works to build the new cathedral after the Great Fire, and Camden's hypothesis is no longer accepted by modern archaeologists.

 

Pre-Norman cathedral

There is evidence for Christianity in London during the Roman period, but no firm evidence for the location of churches or a cathedral. Bishop Restitutus is said to have represented London at the Council of Arles in 314 AD. A list of the 16 "archbishops" of London was recorded by Jocelyn of Furness in the 12th century, claiming London's Christian community was founded in the second century under the legendary King Lucius and his missionary saints Fagan, Deruvian, Elvanus and Medwin. None of that is considered credible by modern historians but, although the surviving text is problematic, either Bishop Restitutus or Adelphius at the 314 Council of Arles seems to have come from Londinium.

 

Bede records that in AD 604 Augustine of Canterbury consecrated Mellitus as the first bishop to the Anglo-Saxon kingdom of the East Saxons and their king, Sæberht. Sæberht's uncle and overlord, Æthelberht, king of Kent, built a church dedicated to St Paul in London, as the seat of the new bishop. It is assumed, although not proved, that this first Anglo-Saxon cathedral stood on the same site as the later medieval and the present cathedrals.

 

On the death of Sæberht in about 616, his pagan sons expelled Mellitus from London, and the East Saxons reverted to paganism. The fate of the first cathedral building is unknown. Christianity was restored among the East Saxons in the late seventh century and it is presumed that either the Anglo-Saxon cathedral was restored or a new building erected as the seat of bishops such as Cedd, Wine and Erkenwald, the last of whom was buried in the cathedral in 693.

 

Earconwald was consecrated bishop of London in 675, and is said to have bestowed great cost on the fabric, and in later times he almost occupied the place of traditionary, founder: the veneration paid to him is second only to that which was rendered to St. Paul. Erkenwald would become a subject of the important High Medieval poem St Erkenwald.

 

King Æthelred the Unready was buried in the cathedral on his death in 1016; the tomb is now lost. The cathedral was burnt, with much of the city, in a fire in 1087, as recorded in the Anglo-Saxon Chronicle.

 

Old St Paul's

The fourth St Paul's, generally referred to as Old St Paul's, was begun by the Normans after the 1087 fire. A further fire in 1135 disrupted the work, and the new cathedral was not consecrated until 1240. During the period of construction, the style of architecture had changed from Romanesque to Gothic and this was reflected in the pointed arches and larger windows of the upper parts and East End of the building. The Gothic ribbed vault was constructed, like that of York Minster, of wood rather than stone, which affected the ultimate fate of the building.

 

An enlargement programme commenced in 1256. This "New Work" was consecrated in 1300 but not complete until 1314. During the later Medieval period St Paul's was exceeded in length only by the Abbey Church of Cluny and in the height of its spire only by Lincoln Cathedral and St. Mary's Church, Stralsund. Excavations by Francis Penrose in 1878 showed that it was 585 feet (178 m) long and 100 feet (30 m) wide (290 feet (88 m) across the transepts and crossing). The spire was about 489 feet (149 m) in height.[citation needed] By the 16th century the building was deteriorating.

 

The English Reformation under Henry VIII and Edward VI (accelerated by the Chantries Acts) led to the destruction of elements of the interior ornamentation and the chapels, shrines, and chantries.

 

The would come to include the removal of the cathedral's collection of relics, which by the sixteenth century was understood to include:

 

the body of St Erkenwald

both arms of St Mellitus

a knife thought to belong to Jesus

hair of Mary Magdalen

blood of St Paul

milk of the Virgin Mary

the head of St John

the skull of Thomas Becket

the head and jaw of King Ethelbert

part of the wood of the cross,

a stone of the Holy Sepulchre,

a stone from the spot of the Ascension, and

some bones of the eleven thousand virgins of Cologne.

 

Old St Paul's in 1656 by Wenceslaus Hollar, showing the rebuilt west facade

In October 1538, an image of St Erkenwald, probably from the shrine, was delivered to the master of the king's jewels. Other images may have survived, at least for a time. More systematic iconoclasm happened in the reign of Edward VI: the Grey Friar's Chronicle reports that the rood and other images were destroyed in November 1547.

 

In late 1549, at the height of the iconoclasm of the reformation, Sir Rowland Hill altered the route of his Lord Mayor's day procession and said a de profundis at the tomb of Erkenwald. Later in Hill's mayoralty of (1550) the high altar of St Paul's was removed overnight to be destroyed, an occurrence that provoked a fight in which a man was killed. Hill had ordered, unusually for the time, that St Barnabus's Day would not be kept as a public holiday ahead of these events.

 

Three years later, by October 1553, "Alle the alteres and chappelles in alle Powlles churche" were taken down.[19] In August, 1553, the dean and chapter were cited to appear before Queen Mary's commissioners.

 

Some of the buildings in the St Paul's churchyard were sold as shops and rental properties, especially to printers and booksellers. In 1561 the spire was destroyed by a lightning strike, an event that Roman Catholic writers claimed was a sign of God's judgment on England's Protestant rulers. Bishop James Pilkington preached a sermon in response, claiming that the lightning strike was a judgement for the irreverent use of the cathedral building. Immediate steps were taken to repair the damage, with the citizens of London and the clergy offering money to support the rebuilding. However, the cost of repairing the building properly was too great for a country and city recovering from a trade depression. Instead, the roof was repaired and a timber "roo"’ put on the steeple.

 

In the 1630s a west front was added to the building by England's first classical architect, Inigo Jones. There was much defacing and mistreatment of the building by Parliamentarian forces during the Civil War, and the old documents and charters were dispersed and destroyed. During the Commonwealth, those churchyard buildings that were razed supplied ready-dressed building material for construction projects, such as the Lord Protector's city palace, Somerset House. Crowds were drawn to the north-east corner of the churchyard, St Paul's Cross, where open-air preaching took place.

 

In the Great Fire of London of 1666, Old St Paul's was gutted. While it might have been possible to reconstruct it, a decision was taken to build a new cathedral in a modern style. This course of action had been proposed even before the fire.

 

Present St Paul's

The task of designing a replacement structure was officially assigned to Sir Christopher Wren on 30 July 1669. He had previously been put in charge of the rebuilding of churches to replace those lost in the Great Fire. More than 50 city churches are attributable to Wren. Concurrent with designing St Paul's, Wren was engaged in the production of his five Tracts on Architecture.

 

Wren had begun advising on the repair of the Old St Paul's in 1661, five years before the fire in 1666. The proposed work included renovations to interior and exterior to complement the classical facade designed by Inigo Jones in 1630. Wren planned to replace the dilapidated tower with a dome, using the existing structure as a scaffold. He produced a drawing of the proposed dome which shows his idea that it should span nave and aisles at the crossing. After the Fire, it was at first thought possible to retain a substantial part of the old cathedral, but ultimately the entire structure was demolished in the early 1670s.

 

In July 1668 Dean William Sancroft wrote to Wren that he was charged by the Archbishop of Canterbury, in agreement with the Bishops of London and Oxford, to design a new cathedral that was "Handsome and noble to all the ends of it and to the reputation of the City and the nation". The design process took several years, but a design was finally settled and attached to a royal warrant, with the proviso that Wren was permitted to make any further changes that he deemed necessary. The result was the present St Paul's Cathedral, still the second largest church in Britain, with a dome proclaimed as the finest in the world. The building was financed by a tax on coal, and was completed within its architect's lifetime with many of the major contractors engaged for the duration.

 

The "topping out" of the cathedral (when the final stone was placed on the lantern) took place on 26 October 1708, performed by Wren's son Christopher Jr and the son of one of the masons. The cathedral was declared officially complete by Parliament on 25 December 1711 (Christmas Day). In fact, construction continued for several years after that, with the statues on the roof added in the 1720s. In 1716 the total costs amounted to £1,095,556 (£174 million in 2021).

 

Consecration

On 2 December 1697, 31 years and 3 months after the Great Fire destroyed Old St Paul's, the new cathedral was consecrated for use. The Right Reverend Henry Compton, Bishop of London, preached the sermon. It was based on the text of Psalm 122, "I was glad when they said unto me: Let us go into the house of the Lord." The first regular service was held on the following Sunday.

 

Opinions of Wren's cathedral differed, with some loving it: "Without, within, below, above, the eye / Is filled with unrestrained delight", while others hated it: "There was an air of Popery about the gilded capitals, the heavy arches ... They were unfamiliar, un-English ...".

 

Since 1900

St. Paul's was the target of two suffragette bombing attacks in 1913 and 1914 respectively, which nearly caused the destruction of the cathedral. This was as part of the suffragette bombing and arson campaign between 1912 and 1914, in which suffragettes from the Women's Social and Political Union, as part of their campaign for women's suffrage, carried out a series of politically motivated bombings and arson nationwide. Churches were explicitly targeted by the suffragettes as they believed the Church of England was complicit in reinforcing opposition to women's suffrage. Between 1913 and 1914, 32 churches across Britain were attacked.

 

The first attack on St. Paul's occurred on 8 May 1913, at the start of a sermon. A bomb was heard ticking and discovered as people were entering the cathedral. It was made out of potassium nitrate. Had it exploded, the bomb likely would have destroyed the historic bishop's throne and other parts of the cathedral. The remains of the device, which was made partly out of a mustard tin, are now on display at the City of London Police Museum.

 

A second bombing of the cathedral by the suffragettes was attempted on 13 June 1914, however the bomb was again discovered before it could explode. This attempted bombing occurred two days after a bomb had exploded at Westminster Abbey, which damaged the Coronation Chair and caused a mass panic for the exits. Several other churches were bombed at this time, such as St Martin-in-the-Fields church in Trafalgar Square and the Metropolitan Tabernacle.

 

War damage

The cathedral survived the Blitz although struck by bombs on 10 October 1940 and 17 April 1941. The first strike destroyed the high altar, while the second strike on the north transept left a hole in the floor above the crypt. The latter bomb is believed to have detonated in the upper interior above the north transept and the force was sufficient to shift the entire dome laterally by a small amount.

 

On 12 September 1940 a time-delayed bomb that had struck the cathedral was successfully defused and removed by a bomb disposal detachment of Royal Engineers under the command of Temporary Lieutenant Robert Davies. Had this bomb detonated, it would have totally destroyed the cathedral; it left a 100-foot (30 m) crater when later remotely detonated in a secure location. As a result of this action, Davies and Sapper George Cameron Wylie were each awarded the George Cross. Davies' George Cross and other medals are on display at the Imperial War Museum, London.

 

One of the best known images of London during the war was a photograph of St Paul's taken on 29 December 1940 during the "Second Great Fire of London" by photographer Herbert Mason, from the roof of a building in Tudor Street showing the cathedral shrouded in smoke. Lisa Jardine of Queen Mary, University of London, has written:

 

Wreathed in billowing smoke, amidst the chaos and destruction of war, the pale dome stands proud and glorious—indomitable. At the height of that air-raid, Sir Winston Churchill telephoned the Guildhall to insist that all fire-fighting resources be directed at St Paul's. The cathedral must be saved, he said, damage to the fabric would sap the morale of the country.

 

Post-war

On 29 July 1981, the wedding of Prince Charles and Lady Diana Spencer was held at the cathedral. The couple selected St Paul's over Westminster Abbey, the traditional site of royal weddings, because the cathedral offered more seating.

 

Extensive copper, lead and slate renovation work was carried out on the Dome in 1996 by John B. Chambers. A 15-year restoration project—one of the largest ever undertaken in the UK—was completed on 15 June 2011.

 

Occupy London

In October 2011 an anti-capitalism Occupy London encampment was established in front of the cathedral, after failing to gain access to the London Stock Exchange at Paternoster Square nearby. The cathedral's finances were affected by the ensuing closure. It was claimed that the cathedral was losing revenue of £20,000 per day. Canon Chancellor Giles Fraser resigned, asserting his view that "evicting the anti-capitalist activists would constitute violence in the name of the Church". The Dean of St Paul's, the Right Revd Graeme Knowles, then resigned too. The encampment was evicted at the end of February 2012, by court order and without violence, as a result of legal action by the City of London Corporation.

 

2019 terrorist plot

On 10 October 2019, Safiyya Amira Shaikh, a Muslim convert, was arrested following an MI5 and Metropolitan Police investigation. In September 2019, she had taken photos of the cathedral's interior. While trying to radicalise others using the Telegram messaging software, she planned to attack the cathedral and other targets such as a hotel and a train station using explosives. Shaikh pleaded guilty and was sentenced to life imprisonment.

 

National events

The size and location of St Paul's has made it an ideal setting for Christian services marking great national events. The opportunity for long processions culminating in the dramatic approach up Ludgate Hill, the open area and steps at the west front, the great nave and the space under the dome are all well suited for ceremonial occasions. St Paul's can seat many more people than any other church in London, and in past centuries, the erection of temporary wooden galleries inside allowed for congregations exceeding 10,000. In 1935, the dean, Walter Matthews, wrote:

 

No description in words can convey an adequate idea of the majestic beauty of a solemn national religious ceremony in St Paul's. It is hard to believe that there is any other building in the world that is so well adapted to be the setting of such symbolical acts of communal worship.

 

National events attended by the royal family, government ministers and officers of state include national services of thanksgiving, state funerals and a royal wedding. Some of the most notable examples are:

 

Thanksgiving service for the Acts of Union 1707, 1 May 1707

State funeral of Horatio Nelson, 9 January 1806

State funeral of the Duke of Wellington, 18 November 1852

Diamond Jubilee of Queen Victoria, 22 June 1897

Thanksgiving service for the Treaty of Versailles, 6 July 1919

Silver Jubilee of George V, 6 May 1935

Thanksgiving services for VE Day and VJ Day, 13 May and 19 August 1945

Silver Jubilee of Elizabeth II, 7 June 1977

Wedding of Prince Charles and Lady Diana Spencer, 29 July 1981

Golden Jubilee of Elizabeth II, 4 June 2002

Diamond Jubilee of Elizabeth II, 5 June 2012

Ceremonial funeral of Margaret Thatcher, 17 April 2013

Thanksgiving service for the Queen's 90th Birthday, 10 June 2016

Platinum Jubilee National Service of Thanksgiving, 3 June 2022

 

Ministry and functions

St Paul's Cathedral is a busy church with four or five services every day, including Matins, Eucharist and Evening Prayer or Choral Evensong. In addition, the cathedral has many special services associated with the City of London, its corporation, guilds and institutions. The cathedral, as the largest church in London, also has a role in many state functions such as the service celebrating the Diamond Jubilee of Queen Elizabeth II. The cathedral is generally open daily to tourists and has a regular programme of organ recitals and other performances. The Bishop of London is Sarah Mullally, whose appointment was announced in December 2017 and whose enthronement took place in May 2018.

 

Dean and chapter

The cathedral chapter is currently composed of seven individuals: the dean, three residentiary canons (one of whom is, exceptionally, lay), one "additional member of chapter and canon non-residentiary" (ordained), and two lay canons. Each has a different responsibility in the running of the cathedral. As of October 2022:

 

Dean — Andrew Tremlett (since 25 September 2022)

Precentor — James Milne (since 9 May 2019)

Treasurer — vacant

Chancellor — Paula Gooder (since 9 May 2019; lay reader since 23 February 2019)

Steward — Neil Evans (since June 2022)

Additional member of chapter and canon non-residentiary — Sheila Watson (since January 2017).

Lay Canon — Pamela (Pim) Jane Baxter (since March 2014). Deputy Director at the National Portrait Gallery, with experience in opera, theatre and the visual arts.

Lay Canon — Sheila Nicoll (since October 2018). She is Head of Public Policy at Schroder Investment Management.

Lay Canon — Clement Hutton-Mills (since March 2021). He is also a Managing Director at Goldman Sachs.

Lay Canon — Gillian Bowen (since June 2022). She is Chief Executive Officer of YMCA London City and North and is a magistrate.

 

Director of Music

The Director of Music is Andrew Carwood. Carwood was appointed to succeed Malcolm Archer as Director of Music, taking up the post in September 2007. He is the first non-organist to hold the post since the 12th century.

 

Paul's Cathedral

Organs

An organ was commissioned from Bernard Smith in 1694.

 

In 1862 the organ from the Panopticon of Science and Art (the Panopticon Organ) was installed in a gallery over the south transept door.

 

The Grand Organ was completed in 1872, and the Panopticon Organ moved to the Victoria Rooms in Clifton in 1873.

 

The Grand Organ is the fifth-largest in Great Britain, in terms of number of pipes (7,256), with 5 manuals, 136 ranks of pipes and 137 stops, principally enclosed in an impressive case designed in Wren's workshop and decorated by Grinling Gibbons.

 

Details of the organ can be found online at the National Pipe Organ Register.

 

Choir

St Paul's Cathedral has a full professional choir, which sings regularly at services. The earliest records of the choir date from 1127. The present choir consists of up to 30 boy choristers, eight probationers and the vicars choral, 12 professional singers. In February 2017 the cathedral announced the appointment of the first female vicar choral, Carris Jones (a mezzo-soprano), to take up the role in September 2017. In 2022, it was announced that girls would be admitted to a cathedral choir in 2025.

 

During school terms the choir sings Evensong six times per week, the service on Mondays being sung by a visiting choir (or occasionally said) and that on Thursdays being sung by the vicars choral alone. On Sundays the choir also sings at Mattins and the 11:30 am Eucharist.

 

Many distinguished musicians have been organists, choir masters and choristers at St Paul's Cathedral, including the composers John Redford, Thomas Morley, John Blow, Jeremiah Clarke, Maurice Greene and John Stainer, while well-known performers have included Alfred Deller, John Shirley-Quirk and Anthony Way as well as the conductors Charles Groves and Paul Hillier and the poet Walter de la Mare.

 

Wren's cathedral

In designing St Paul's, Christopher Wren had to meet many challenges. He had to create a fitting cathedral to replace Old St Paul's, as a place of worship and as a landmark within the City of London. He had to satisfy the requirements of the church and the tastes of a royal patron, as well as respecting the essentially medieval tradition of English church building which developed to accommodate the liturgy. Wren was familiar with contemporary Renaissance and Baroque trends in Italian architecture and had visited France, where he studied the work of François Mansart.

 

Wren's design developed through five general stages. The first survives only as a single drawing and part of a model. The scheme (usually called the First Model Design) appears to have consisted of a circular domed vestibule (possibly based on the Pantheon in Rome) and a rectangular church of basilica form. The plan may have been influenced by the Temple Church. It was rejected because it was not thought "stately enough". Wren's second design was a Greek cross, which was thought by the clerics not to fulfil the requirements of Anglican liturgy.

 

Wren's third design is embodied in the "Great Model" of 1673. The model, made of oak and plaster, cost over £500 (approximately £32,000 today) and is over 13 feet (4 m) tall and 21 feet (6 m) long. This design retained the form of the Greek-Cross design but extended it with a nave. His critics, members of a committee commissioned to rebuild the church, and clergy decried the design as too dissimilar to other English churches to suggest any continuity within the Church of England. Another problem was that the entire design would have to be completed all at once because of the eight central piers that supported the dome, instead of being completed in stages and opened for use before construction finished, as was customary. The Great Model was Wren's favourite design; he thought it a reflection of Renaissance beauty. After the Great Model, Wren resolved not to make further models and not to expose his drawings publicly, which he found did nothing but "lose time, and subject [his] business many times, to incompetent judges". The Great Model survives and is housed within the cathedral itself.

 

Wren's fourth design is known as the Warrant design because it received a Royal warrant for the rebuilding. In this design Wren sought to reconcile Gothic, the predominant style of English churches, to a "better manner of architecture". It has the longitudinal Latin Cross plan of a medieval cathedral. It is of 1+1⁄2 storeys and has classical porticos at the west and transept ends, influenced by Inigo Jones's addition to Old St Paul's. It is roofed at the crossing by a wide shallow dome supporting a drum with a second cupola, from which rises a spire of seven diminishing stages. Vaughan Hart has suggested that influence in the design of the spire may have been drawn from the oriental pagoda. Not used at St Paul's, the concept was applied in the spire of St Bride's, Fleet Street. This plan was rotated slightly on its site so that it aligned, not with true east, but with sunrise on Easter of the year construction began. This small change in configuration was informed by Wren's knowledge of astronomy.

 

Final design

The final design as built differs substantially from the official Warrant design. Wren received permission from the king to make "ornamental changes" to the submitted design, and Wren took great advantage of this. Many of these changes were made over the course of the thirty years as the church was constructed, and the most significant was to the dome: "He raised another structure over the first cupola, a cone of brick, so as to support a stone lantern of an elegant figure ... And he covered and hid out of sight the brick cone with another cupola of timber and lead; and between this and the cone are easy stairs that ascend to the lantern" (Christopher Wren, son of Sir Christopher Wren). The final design was strongly rooted in St. Peter's Basilica in Rome. The saucer domes over the nave were inspired by François Mansart's Church of the Val-de-Grâce, which Wren had seen during a trip to Paris in 1665.

 

The date of the laying of the first stone of the cathedral is disputed. One contemporary account says it was 21 June 1675, another 25 June and a third on 28 June. There is, however, general agreement that it was laid in June 1675. Edward Strong later claimed it was laid by his elder brother, Thomas Strong, one of the two master stonemasons appointed by Wren at the beginning of the work.

 

Structural engineering

Wren's challenge was to construct a large cathedral on the relatively weak clay soil of London. St Paul's is unusual among cathedrals in that there is a crypt, the largest in Europe, under the entire building rather than just under the eastern end. The crypt serves a structural purpose. Although it is extensive, half the space of the crypt is taken up by massive piers which spread the weight of the much slimmer piers of the church above. While the towers and domes of most cathedrals are supported on four piers, Wren designed the dome of St Paul's to be supported on eight, achieving a broader distribution of weight at the level of the foundations. The foundations settled as the building progressed, and Wren made structural changes in response.

 

One of the design problems that confronted Wren was to create a landmark dome, tall enough to visually replace the lost tower of St Paul's, while at the same time appearing visually satisfying when viewed from inside the building. Wren planned a double-shelled dome, as at St Peter's Basilica. His solution to the visual problem was to separate the heights of the inner and outer dome to a much greater extent than had been done by Michelangelo at St Peter's, drafting both as catenary curves, rather than as hemispheres. Between the inner and outer domes, Wren inserted a brick cone which supports both the timbers of the outer, lead-covered dome and the weight of the ornate stone lantern that rises above it. Both the cone and the inner dome are 18 inches thick and are supported by wrought iron chains at intervals in the brick cone and around the cornice of the peristyle of the inner dome to prevent spreading and cracking.

 

The Warrant Design showed external buttresses on the ground floor level. These were not a classical feature and were one of the first elements Wren changed. Instead he made the walls of the cathedral particularly thick to avoid the need for external buttresses altogether. The clerestory and vault are reinforced with flying buttresses, which were added at a relatively late stage in the design to give extra strength. These are concealed behind the screen wall of the upper story, which was added to keep the building's classical style intact, to add sufficient visual mass to balance the appearance of the dome and which, by its weight, counters the thrust of the buttresses on the lower walls.

 

Designers, builders and craftsmen

During the extensive period of design and rationalisation, Wren employed from 1684 Nicholas Hawksmoor as his principal assistant. Between 1696 and 1711 William Dickinson was measuring clerk. Joshua Marshall (until his early death in 1678) and Thomas and his brother Edward Strong were master masons, the latter two working on the construction for its entirety. John Langland was the master carpenter for over thirty years. Grinling Gibbons was the chief sculptor, working in both stone on the building itself, including the pediment of the north portal, and wood on the internal fittings. The sculptor Caius Gabriel Cibber created the pediment of the south transept while Francis Bird was responsible for the relief in the west pediment depicting the Conversion of St Paul, as well as the seven large statues on the west front. The floor was paved by William Dickinson in black and white marble in 1709–10 Jean Tijou was responsible for the decorative wrought ironwork of gates and balustrades. The ball and cross on the dome were provided by an armorer, Andrew Niblett. Following the war damage mentioned above, many craftsmen were employed to restore the wood carvings and stone work that had been destroyed by the bomb impact. One of particular note is Master Carver, Gino Masero who was commissioned to carve the replacement figure of Christ, an eight-foot sculpture in lime which currently stands on the High Altar.

 

Description

St Paul's Cathedral is built in a restrained Baroque style which represents Wren's rationalisation of the traditions of English medieval cathedrals with the inspiration of Palladio, the classical style of Inigo Jones, the baroque style of 17th century Rome, and the buildings by Mansart and others that he had seen in France. It is particularly in its plan that St Paul's reveals medieval influences. Like the great medieval cathedrals of York and Winchester, St Paul's is comparatively long for its width, and has strongly projecting transepts. It has much emphasis on its facade, which has been designed to define rather than conceal the form of the building behind it. In plan, the towers jut beyond the width of the aisles as they do at Wells Cathedral. Wren's uncle Matthew Wren was the Bishop of Ely, and, having worked for his uncle, Wren was familiar with the unique octagonal lantern tower over the crossing of Ely Cathedral, which spans the aisles as well as the central nave, unlike the central towers and domes of most churches. Wren adapted this characteristic in designing the dome of St Paul's.[91] In section St Paul's also maintains a medieval form, having the aisles much lower than the nave, and a defined clerestory.

 

Exterior

The most renowned exterior feature is the dome, which rises 365 feet (111 m) to the cross at its summit, and dominates views of the city. The height of 365 feet is explained by Wren's interest in astronomy. Until the late 20th century St Paul's was the tallest building on the City skyline, designed to be seen surrounded by the delicate spires of Wren's other city churches. The dome is described by Sir Banister Fletcher as "probably the finest in Europe", by Helen Gardner as "majestic", and by Sir Nikolaus Pevsner as "one of the most perfect in the world". Sir John Summerson said that Englishmen and "even some foreigners" consider it to be without equal.

 

Dome

Wren drew inspiration from Michelangelo's dome of St Peter's Basilica, and that of Mansart's Church of the Val-de-Grâce, which he had visited. Unlike those of St Peter's and Val-de-Grâce, the dome of St Paul's rises in two clearly defined storeys of masonry, which, together with a lower unadorned footing, equal a height of about 95 feet. From the time of the Greek Cross Design it is clear that Wren favoured a continuous colonnade (peristyle) around the drum of the dome, rather than the arrangement of alternating windows and projecting columns that Michelangelo had used and which had also been employed by Mansart. Summerson suggests that he was influenced by Bramante's "Tempietto" in the courtyard of San Pietro in Montorio. In the finished structure, Wren creates a diversity and appearance of strength by placing niches between the columns in every fourth opening. The peristyle serves to buttress both the inner dome and the brick cone which rises internally to support the lantern.

 

Above the peristyle rises the second stage surrounded by a balustraded balcony called the "Stone Gallery". This attic stage is ornamented with alternating pilasters and rectangular windows which are set just below the cornice, creating a sense of lightness. Above this attic rises the dome, covered with lead, and ribbed in accordance with the spacing of the pilasters. It is pierced by eight light wells just below the lantern, but these are barely visible. They allow light to penetrate through openings in the brick cone, which illuminates the interior apex of this shell, partly visible from within the cathedral through the ocular opening of the lower dome.

 

The lantern, like the visible masonry of the dome, rises in stages. The most unusual characteristic of this structure is that it is of square plan, rather than circular or octagonal. The tallest stage takes the form of a tempietto with four columned porticos facing the cardinal points. Its lowest level is surrounded by the "Golden Gallery" and its upper level supports a small dome from which rises a cross on a golden ball. The total weight of the lantern is about 850 tons.

 

West front

For the Renaissance architect designing the west front of a large church or cathedral, the universal problem was how to use a facade to unite the high central nave with the lower aisles in a visually harmonious whole. Since Alberti's additions to Santa Maria Novella in Florence, this was usually achieved by the simple expedient of linking the sides to the centre with large brackets. This is the solution that Wren saw employed by Mansart at Val-de-Grâce. Another feature employed by Mansart was a boldly projecting Classical portico with paired columns. Wren faced the additional challenge of incorporating towers into the design, as had been planned at St Peter's Basilica. At St Peter's, Carlo Maderno had solved this problem by constructing a narthex and stretching a huge screen facade across it, differentiated at the centre by a pediment. The towers at St Peter's were not built above the parapet.

 

Wren's solution was to employ a Classical portico, as at Val-de-Grâce, but rising through two storeys, and supported on paired columns. The remarkable feature here is that the lower story of this portico extends to the full width of the aisles, while the upper section defines the nave that lies behind it. The gaps between the upper stage of the portico and the towers on either side are bridged by a narrow section of wall with an arch-topped window.

 

The towers stand outside the width of the aisles, but screen two chapels located immediately behind them. The lower parts of the towers continue the theme of the outer walls, but are differentiated from them in order to create an appearance of strength. The windows of the lower story are smaller than those of the side walls and are deeply recessed, a visual indication of the thickness of the wall. The paired pilasters at each corner project boldly.

 

Above the main cornice, which unites the towers with the portico and the outer walls, the details are boldly scaled, in order to read well from the street below and from a distance. The towers rise above the cornice from a square block plinth which is plain apart from large oculi, that on the south being filled by the clock, while that on the north is void. The towers are composed of two complementary elements, a central cylinder rising through the tiers in a series of stacked drums, and paired Corinthian columns at the corners, with buttresses above them, which serve to unify the drum shape with the square plinth on which it stands. The entablature above the columns breaks forward over them to express both elements, tying them together in a single horizontal band. The cap, an ogee-shaped dome, supports a gilded finial in the form of a pineapple.

 

The transepts each have a semi-circular entrance portico. Wren was inspired in the design by studying engravings of Pietro da Cortona's Baroque facade of Santa Maria della Pace in Rome. These projecting arcs echo the shape of the apse at the eastern end of the building.

 

Walls

The building is of two storeys of ashlar masonry, above a basement, and surrounded by a balustrade above the upper cornice. The balustrade was added, against Wren's wishes, in 1718. The internal bays are marked externally by paired pilasters with Corinthian capitals at the lower level and Composite at the upper level. Where the building behind is of only one story (at the aisles of both nave and choir) the upper story of the exterior wall is sham. It serves a dual purpose of supporting the buttresses of the vault, and providing a satisfying appearance when viewed rising above buildings of the height of the 17th-century city. This appearance may still be seen from across the River Thames.

 

Between the pilasters on both levels are windows. Those of the lower storey have semi-circular heads and are surrounded by continuous mouldings of a Roman style, rising to decorative keystones. Beneath each window is a floral swag by Grinling Gibbons, constituting the finest stone carving on the building and some of the greatest architectural sculpture in England. A frieze with similar swags runs in a band below the cornice, tying the arches of the windows and the capitals. The upper windows are of a restrained Classical form, with pediments set on columns, but are blind and contain niches. Beneath these niches, and in the basement level, are small windows with segmental tops, the glazing of which catches the light and visually links them to the large windows of the aisles. The height from ground level to the top of the parapet is approximately 110 feet.

 

Fencing

The original fencing, designed by Wren, was dismantled in the 1870s. The surveyor for the government of Toronto had it shipped to Toronto, where it has since adorned High Park.

 

Interior

Internally, St Paul's has a nave and choir in each of its three bays. The entrance from the west portico is through a square domed narthex, flanked by chapels: the Chapel of St Dunstan to the north and the Chapel of the Order of St Michael and St George to the south. The nave is 91 feet (28 m) in height and is separated from the aisles by an arcade of piers with attached Corinthian pilasters rising to an entablature. The bays, and therefore the vault compartments, are rectangular, but Wren roofed these spaces with saucer-shaped domes and surrounded the clerestory windows with lunettes. The vaults of the choir are decorated with mosaics by Sir William Blake Richmond. The dome and the apse of the choir are all approached through wide arches with coffered vaults which contrast with the smooth surface of the domes and punctuate the division between the main spaces. The transepts extend to the north and south of the dome and are called (in this instance) the North Choir and the South Choir.

 

The choir holds the stalls for the clergy, cathedral officers and the choir, and the organ. These wooden fittings, including the pulpit and Bishop's throne, were designed in Wren's office and built by joiners. The carvings are the work of Grinling Gibbons whom Summerson describes as having "astonishing facility", suggesting that Gibbons aim was to reproduce popular Dutch flower painting in wood. Jean Tijou, a French metalworker, provided various wrought iron and gilt grilles, gates and balustrades of elaborate design, of which many pieces have now been combined into the gates near the sanctuary.

 

The cathedral is some 574 feet (175 m) in length (including the portico of the Great West Door), of which 223 feet (68 m) is the nave and 167 feet (51 m) is the choir. The width of the nave is 121 feet (37 m) and across the transepts is 246 feet (75 m). The cathedral is slightly shorter but somewhat wider than Old St Paul's.

 

Dome

The main internal space of the cathedral is that under the central dome which extends the full width of the nave and aisles. The dome is supported on pendentives rising between eight arches spanning the nave, choir, transepts, and aisles. The eight piers that carry them are not evenly spaced. Wren has maintained an appearance of eight equal spans by inserting segmental arches to carry galleries across the ends of the aisles, and has extended the mouldings of the upper arch to appear equal to the wider arches.

 

Above the keystones of the arches, at 99 feet (30 m) above the floor and 112 feet (34 m) wide, runs a cornice which supports the Whispering Gallery so called because of its acoustic properties: a whisper or low murmur against its wall at any point is audible to a listener with an ear held to the wall at any other point around the gallery. It is reached by 259 steps from ground level.

 

The dome is raised on a tall drum surrounded by pilasters and pierced with windows in groups of three, separated by eight gilded niches containing statues, and repeating the pattern of the peristyle on the exterior. The dome rises above a gilded cornice at 173 feet (53 m) to a height of 214 feet (65 m). Its painted decoration by Sir James Thornhill shows eight scenes from the life of St Paul set in illusionistic architecture which continues the forms of the eight niches of the drum. At the apex of the dome is an oculus inspired by that of the Pantheon in Rome. Through this hole can be seen the decorated inner surface of the cone which supports the lantern. This upper space is lit by the light wells in the outer dome and openings in the brick cone. Engravings of Thornhill's paintings were published in 1720.

 

Apse

The eastern apse extends the width of the choir and is the full height of the main arches across choir and nave. It is decorated with mosaics, in keeping with the choir vaults. The original reredos and high altar were destroyed by bombing in 1940. The present high altar and baldacchino are the work of W. Godfrey Allen and Stephen Dykes Bower. The apse was dedicated in 1958 as the American Memorial Chapel. It was paid for entirely by donations from British people. The Roll of Honour contains the names of more than 28,000 Americans who gave their lives while on their way to, or stationed in, the United Kingdom during the Second World War. It is in front of the chapel's altar. The three windows of the apse date from 1960 and depict themes of service and sacrifice, while the insignia around the edges represent the American states and the US armed forces. The limewood panelling incorporates a rocket—a tribute to America's achievements in space.

 

Artworks, tombs and memorials

St Paul's at the time of its completion, was adorned by sculpture in stone and wood, most notably that of Grinling Gibbons, by the paintings in the dome by Thornhill, and by Jean Tijou's elaborate metalwork. It has been further enhanced by Sir William Richmond's mosaics and the fittings by Dykes Bower and Godfrey Allen. Other artworks in the cathedral include, in the south aisle, William Holman Hunt's copy of his painting The Light of the World, the original of which hangs in Keble College, Oxford. The St. Paul's version was completed with a significant input from Edward Robert Hughes as Hunt was now suffering from glaucoma. In the north choir aisle is a limestone sculpture of the Madonna and Child by Henry Moore, carved in 1943. The crypt contains over 200 memorials and numerous burials. Christopher Wren was the first person to be interred, in 1723. On the wall above his tomb in the crypt is written in Latin: Lector, si monumentum requiris, circumspice ("Reader, if you seek his monument, look around you").

 

The largest monument in the cathedral is that to the Duke of Wellington by Alfred Stevens. It stands on the north side of the nave and has on top a statue of Wellington astride his horse "Copenhagen". Although the equestrian figure was planned at the outset, objections to the notion of having a horse in the church prevented its installation until 1912. The horse and rider are by John Tweed. The Duke is buried in the crypt. The tomb of Horatio, Lord Nelson is located in the crypt, next to that of Wellington. The marble sarcophagus which holds his remains was made for Cardinal Wolsey but not used as the cardinal had fallen from favour. At the eastern end of the crypt is the Chapel of the Order of the British Empire, instigated in 1917, and designed by John Seely, Lord Mottistone. There are many other memorials commemorating the British military, including several lists of servicemen who died in action, the most recent being the Gulf War.

 

Also remembered are Florence Nightingale, J. M. W. Turner, Arthur Sullivan, Hubert Parry, Samuel Johnson, Lawrence of Arabia, William Blake, William Jones and Sir Alexander Fleming as well as clergy and residents of the local parish. There are lists of the Bishops and cathedral Deans for the last thousand years. One of the most remarkable sculptures is that of the Dean and poet, John Donne. Before his death, Donne posed for his own memorial statue and was depicted by Nicholas Stone as wrapped in a burial shroud, and standing on a funeral urn. The sculpture, carved around 1630, is the only one to have survived the conflagration of 1666 intact. The treasury is also in the crypt but the cathedral has very few treasures as many have been lost, and on 22 December 1810 a major robbery took almost all of the remaining precious artefacts.

 

The funerals of many notable figures have been held in the cathedral, including those of Lord Nelson, the Duke of Wellington, Winston Churchill, George Mallory and Margaret Thatcher.

 

Clock and bells

A clock was installed in the south-west tower by Langley Bradley in 1709 but was worn out by the end of the 19th century. The present mechanism was built in 1893 by Smith of Derby incorporating a design of escapement by Edmund Denison Beckett similar to that used by Edward Dent on Big Ben's mechanism in 1895. The clock mechanism is 19 feet (5.8 m) long and is the most recent of the clocks introduced to St Paul's Cathedral over the centuries. Since 1969 the clock has been electrically wound with equipment designed and installed by Smith of Derby, relieving the clock custodian from the work of cranking up the heavy drive weights.

 

The south-west tower also contains four bells, of which Great Paul, cast in 1881 by J. W. Taylor of Taylor's bell foundry of Loughborough, at 16+1⁄2 long tons (16,800 kg) was the largest bell in the British Isles until the casting of the Olympic Bell for the 2012 London Olympics. Although the bell is traditionally sounded at 1 pm each day, Great Paul had not been rung for several years because of a broken chiming mechanism. In the 1970s the fastening mechanism that secured the clapper had fractured, sending both through the clock mechanism below and causing damage which cost £30,000 to repair. In about 1989 the clapper fractured completely, although less damage was sustained. On 31 July 2021, during the London Festival of the Bells, Great Paul rang for the first time in two decades, being hand swung by the bell ringers. The clock bells included Great Tom, which was moved from St Stephen's Chapel at the Palace of Westminster and has been recast several times, the last time by Richard Phelps. It chimes the hour and is traditionally tolled on occasions of a death in the royal family, the Bishop of London, or the Lord Mayor of London, although an exception was made at the death of the US president James Garfield. It was last tolled for the death of Queen Elizabeth II in 2022, ringing once every minute along with other bells across the country in honor of the 96 years of her life. In 1717, Richard Phelps cast two more bells that were added as "quarter jacks" that ring on the quarter hour. Still in use today, the first weighs 13 long cwt (1,500 lb; 660 kg), is 41 inches (100 cm) in diameter and is tuned to A♭; the second weighs 35 long cwt (3,900 lb; 1,800 kg), is 58 inches (150 cm) in diameter and is tuned to E♭.

 

The north-west tower contains a ring of 12 bells by John Taylor & Co of Loughborough hung for change ringing. In January 2018 the bells were removed for refurbishment and were rehung in September that year, being rung again for the first time on All Saints' Day. The original service or "Communion" bell dating from 1700 and known as "the Banger" is rung before 8 am services.

Small Tort moth (Torticoid); unknown species about 5mm long. With spring around the corner I saw the first bat of the year last night and we had the first moths at the window!

 

Technical: cheap noname 4x plan objective on ~23cm extension, 2 flashes with pingpong ball. At this mag I start getting trails which is a bit of a problem. Also light is slightly problematic, especially the contrast between the very dark eyes and the light tongue. 80 shots stacked.

With the piston-engined Lockheed EC-121 Warning Stars in USAF service beginning to show their age, the USAF issued a dual requirement in 1966 for a jet-powered airborne early warning system and an advanced radar to go with it. Both Boeing and McDonnell Douglas submitted designs based on their successful airliners—the 707 and the DC-8 respectively—while Hughes and Westinghouse competed for the radar.

 

Because the USAF was familiar with the 707 series thanks to its use of the C-137 Stratoliner and KC-135 Stratotanker, the Boeing proposal was chosen, with two aircraft designated as pre-production EC-137D testbeds. The radar was more problematic, as both companies had submitted superb designs, but eventually Westinghouse won the competition due to its use, revolutionary at the time, of digital programmable battle computers. Though the 30-foot diameter rotating radar dome looked a little incongruous mounted atop the fuselage, it was no detriment to performance and was a huge improvement over that carried by the EC-121; it combined the two radars of the Warning Star into one single piece of equipment and had much better look-down capability as compared to the earlier aircraft.

 

The interior of the aircraft was fitted with control stations, giving the USAF unmatched battle airspace management capability, thanks to datalinks that connected the E-3 into integrated systems already in place, namely in NATO Central Europe. The APY-1 radar can detect aircraft out to 400 miles, which encompassed most of the European continental airspace, as well as provide some overwater detection capabilities. The range and loiter capability of the E-3 allowed it to remain well behind the battle line for hours on circular “tracks."

 

After an uneventful testing period with the EC-137Ds, the aircraft was placed in full production as the E-3A Sentry AWACS (Airborne Warning and Control System) in 1975, with the first aircraft entering service in 1977. Throughout the Cold War, USAF E-3s—soon joined by 18 Sentries built specifically for NATO use, based in Germany with Luxembourgian registration—maintained steady patrols from Iceland to Turkey, keeping electronic eyes on Warsaw Pact forces behind the Iron Curtain. The greatest achievement that can be given to these aircraft is probably that their mere presence may have acted as a deterrent, as an all-out surprise attack on NATO bases would have been detected early.

 

The first combat use of the E-3 would come in 1991, during the First Gulf War with Iraq. USAF and Saudi Arabian E-3s were among the first aircraft to arrive for the buildup to war in Operation Desert Shield, and these aircraft continually kept an eye on Iraqi deployments throughout the six-month prelude to war. This was to come in handy when hostilities began, as the E-3 crews could anticipate Iraqi reactions and vector fighters, mainly F-15 Eagles, to intercept Iraqi fighters before a strike force was threatened. Of the 41 confirmed kills made by Coalition forces in Desert Storm, 38 were done with the assistance of E-3 crews.

 

The performance of the Sentry made an impression on air forces around the world, resulting in France buying E-3Fs; the United Kingdom had already placed an order for Sentry AEW.2s to replace both the ancient Shackleton AEW.2s in service and the failed Nimrod AEW.1.

 

While the E-3 had proven itself over Iraq, its electronics were getting dated: by 1995, personal computers had more storage space than the E-3’s 1977-technology machines. This was rectified in a long upgrade program that upgraded all of the Sentry’s electronic systems, as well as giving it enhanced surveillance capability by adding ESM sensors in bulges along the fuselage sides and underneath the nose: besides being able to vector fighters to airborne intercepts and coordinate airstrikes on ground targets, upgraded E-3Cs can now also detect enemy radars and send Wild Weasel SEAD aircraft against them. The newest upgrade, completed in 2001, added GPS to the E-3’s capability. The USAF is currently considering re-engining the E-3 fleet with more fuel efficient high-bypass turbofans, already done in the RAF, French, Saudi, and NATO Sentries. Of the 68 E-3s built or converted, 65 remain in service, three having been lost in accidents.

 

This Sentry represents an E-3A in its original, “clean fuselage” form. Wearing the patches of two defunct USAF commands—Tactical Air Command and Air Defense Command—this aircraft, like all USAF E-3s in the continental United States, would be assigned to the 552nd Airborne Warning and Control Wing (now the 552nd Air Control Wing), based at Tinker AFB, Oklahoma.

 

The building was designed by architect Henning Larsen in close and often problematic cooperation with Mærsk Mc-Kinney Møller. Mærsk wanted to ensure that the building would last for many years, wouldn't look bad after a number of years and wouldn't be an economic compromise. He personally tested seats and materials, he visited many places in the world to see how Operas were constructed and how the building materials were looking after having been exposed to weather for years. Henning Larsen, on the other hand, was trying to make sure that the original architectural ideas were carried through the construction process, especially concerning the large glass surface front, which became a matter of great controversy and subsequent compromise. [2]

The building itself has an outside surface of Jura Gelb limestone. Canals have been dug to make the Opera look as if it were placed on an island just a bit larger than the building itself. This also meant that bridges were needed, and these bridges were made using very old oak, that was planted in the 19th century for the purpose of growing trees for a new national fleet, after having lost the old fleet to the Royal Navy after their bombardment of Copenhagen in September 1807. The front of the opera was originally meant to have a large glass surface, where you could see the shell of the auditorium from the harbor side. However, as Mærsk put it, glass does not age well, so the front was changed to have a metal grid in front of it.

The foyer floor is Sicilian Perlatino marble. There are three very remarkable lamps in the central part of the foyer, created by the Icelandic artist Olafur Eliasson. Each lamp consists of a very large number of pieces of glass, which are semipermeable (some light passes, some light reflects) with different permeability from different angles. Per Arnoldi designed the logo for the opera, which is visible in the marble floor just inside the entrance, and Per Kirkeby created four bronze reliefs for the wall to the auditorium, just below the maple wood part. Per Arnoldi also designed the large main curtain for the main stage, which is not only very special, but also impossible to take a picture of. It uses optical tricks to obtain a kind of three-dimensional effect, and the colors are rarely reproduced well on photographs.

The wall of the auditorium towards the foyer, and the wood of the balconies, is maple wood. It was originally the intention to make the maple wood look exactly the same way as the wood from a violin, by using the same technique, but that would have been far too expensive. Instead, they have tried to imitate the color using more traditional dying techniques, and the result is very close (the official homepage says differently, but the guides in the Opera tell this story). Due to the orange color and its form, it is suitably known by locals as the pumpkin.

The ceiling inside the auditorium is made using 105,000 sheets of gold leafs, almost 24 carat (100%). Pure 24 carat (100%) wouldn't stick well enough.[citation needed]

The floor in the main audience room is smoked oak. The balconies have been designed with holes in a very special pattern, that improve sound quality, as well as LED-based lighting that can be used in a variety of ways.

Anything problematic is above 45000 feet, not a problem.

This is an intensely problematic and brilliant troll that makes me (and all of us) incredibly uncomfortable.

Welded into position- the problematic item is done wreaking havoc !

A Flamingo in one of the salty pools of Floreana

 

Flamingo

The American Flamingo (Phoenicopterus ruber) is a large species of flamingo closely related to the Greater Flamingo and Chilean Flamingo. It has also been known as the Caribbean Flamingo, but the species' presence in the Galápagos makes that name problematic. The American Flamingo breeds in the Galápagos Islands, coastal Colombia and Venezuela and nearby islands, the Yucatán Peninsula of Mexico, and in the northern Caribbean in the Bahamas, Hispaniola, Cuba and the Turks and Caicos Islands. Most sightings in southern Florida are usually considered to be escapees, although at least one bird banded as a chick in the Yucatán Peninsula has been sighted in Everglades National Park, and others may be genuine wanderers from Cuba. Its preferred habitats are similar to that of its relatives: saline lagoons, mudflats, and shallow brackish coastal or inland lakes. Like all flamingos, it lays a single chalky white egg on a mud mound, between May and August; incubation until hatching takes from 28 to 32 days; both parents brood the young for a period of up to 6 years when they reach sexual maturity. Their life expectancy of 40 years is one of the longest in birds. The American Flamingo is 120–140 cm (47–55 in) in length; males weigh 2.8 kg (6.2 lb) and females 2.2 kg (4.9 lb) kg. Most of its plumage is pink, giving rise to its earlier name of Rosy Flamingo and differentiating adults from the much paler Greater Flamingo. The wing coverts are red, and the primary and secondary flight feathers are black. It is the only flamingo which naturally inhabits North America. The bill is pink and white with a restricted black tip, and the legs are entirely pink. The call is a goose-like honking.

 

Floreana (Cormorant Point)

Located approximately 4 to 5 hours west of Española and equal distance south of Santa Cruz, this island has long been a favorite site of visitors including pirates, whalers and early settlers. One of the oldest islands Floreana illustrates the aging process of a volcanic island. Unlike the younger western islands, Floreana's volcano has been long extinct and is in the advanced stages of erosion. The erosion process gave the island the nutrients and soils need to sustain plant life. The combination of this rich soil and a good water supply have given the highlands of Floreana a diversified landscaping of native and introduced flora. Floreana is best known for its colorful history of buccaneers, whalers, convicts, and colonists. In 1793 British whalers established the Post Office Barrel to send letters to and from England. This tradition has continued over the years, and even today visitors may drop off and pick up letters, without stamps, to be carried to far destinations. Punta Cormorant offers two highly contrasting beaches. The landing beach is of volcanic origin and is composed of olivine crystals, giving it a greenish tinge. At the end of the short trail is a carbonate beach of extremely fine white sand. Formed by the erosion of coral skeletons, it is a nesting site for green sea turtles. In the 1930's Floreana was the setting for intrigue and mystery. A German dentist and his mistress, a young family (the Wittmer family who still live on the island) and a self-styled baroness with three men came to settle in the island. Shortly after the baroness and her lovers arrived chaos began. The baroness and her entourage terrorized the other inhabitants while planning to build a luxury hotel. Eventually the baroness, two of her lovers and the dentist all turned up missing or dead. There has been much investigation searching for what really happened on Floreana, but there have never been any hard answers. John Treherne wrote of these people in "The Galapagos Affair". The visit to Punta Cormorant offers two contrasting beaches. Arriving on shore you will encounter a green sand beach (the green sand is caused by the olivine crystals derived silicates or magnesium and iron) from here you will follow the trail leading to a lagoon where pink flamingoes and other shore birds can be seen in the distance making their home. Looking into the mud of the lagoon there appears to be 'cracks' in the mud. These cracks are not caused from dryness but are actually the footpaths of flamingos. This is also a good spot for seeing large-billed flycatchers, small-ground finch, medium-ground finch or cactus finch. The walk continues to another beach on the other side made of fine white sand particles known as "Flour Beach". In the waters ghost crabs and rays can be seen swimming.

 

Galapagos Islands

The Galápagos Islands (official name: Archipiélago de Colón; other Spanish names: Islas de Colón or Islas Galápagos) are an archipelago of volcanic islands distributed around the equator in the Pacific Ocean, some 900 km west of Ecuador. It is a UNESCO World Heritage site: wildlife is its most notable feature. Because of the only very recent arrival of man the majority of the wildlife has no fear of humans and will allow visitors to walk right up them, often having to step over Iguanas or Sea Lions.The Galápagos islands and its surrounding waters are part of a province, a national park, and a biological marine reserve. The principal language on the islands is Spanish. The islands have a population of around 40,000, which is a 40-fold expansion in 50 years. The islands are geologically young and famed for their vast number of endemic species, which were studied by Charles Darwin during the voyage of the Beagle. His observations and collections contributed to the inception of Darwin's theory of evolution by natural selection.

Church of Holy Trinity

Tomb of Sir Roger († after 1395) and Margaret († 1350?) de Boys, Alabaster.

 

The monument was long problematic, since Blomefield reported a now missing inscription requesting the viewer to pray for the souls of Roger de Bois and Lady Margaret, whose death he recorded as 1300, Sir Roger, and 1315, Lady Margaret. Pevsner noted that in style the monument belonged not to the early 1300s but to the end of the century. Recent research by Sally Badham has unravelled the confusion. She used the British Library manuscript Harleian MS 906 fol. 197 verso to establish that Sir Roger was descended from John de Boys and his wife Eustace Sandbie of Coningsby and that his wife died in 1365. There is no record of his death, suggesting that he was not a landowner in East Anglia, but since he was mentioned in other records it must have been sometime after 1394. With the old dates it was unclear why they had such a prominent tomb in the nave. Sir Roger, an otherwise obscure knight, was mentioned in the document of 1355 establishing the Church of the Holy Trinity as a chantry chapel and a priory for the Trinitarian order with. Those for whose souls the priests were to pray included, King Edward III, Sir Oliver and Lady Elizabeth Ingham, the relatives and parents of Sir Miles Stapleton, including his sister, the deceased Lady Catherine Boys and her husband John de Boys, Dame Margaret Honing. Sir roger’s wife, was not included.

 

The now sadly worn (and vandalised) tomb chest is set at the east end of the south aisle, originally guarded by railings, set into holes drilled into the base. Its position at the head of the nave would have made it opposite the altar in the chapel of St Mary, destroyed in 1799, an extension to the south east corner of the nave. The tomb is built around a pillar, which once supported the image of a saint, to whom Sir Roger de Boys would have looked. The figures lie side by side, now without their arms and with the detail of their costumes difficult to make out. The notes in the church suggest, on the basis of an analysis of the traces of colour, that she wore a heraldic dress. From the position of the stumps of their arms it is has been argued that they were represented holding hands, rather than in prayer. Sir Roger de Boys rests his head on a Saracen’s helmet, complete with decapitated head, perhaps sign that, as suggested below, he had been a crusader. His wife’s is set on two pillows, where a faint painted pattern can still be made out. His sword is missing but there is a hole on his right side where it was probably fixed. His statue has been convincingly compared with that a distinguished warrior knight, Sir Guy de Brian †1390, in Tewkesbury Abbey. They share the detail of the moustache, fashionably poking over the chain mail of his helmet. The figures are like caricatures, with his barrel chest and her extreme height (she must be about seven foot) and thinness, a sign of breeding (then as now) for those who could, as Professor Sandy Heslop has argued, ostensibly afford expensive food.

 

The base is decorated with (now blank) coats of arms set in quatrefoils and flanked by niches filled with angels, whose wings can just be made out (with some traces of colour). On the north they turn slightly to the door, a movement that culminates in the wider niche facing the entrance. Here the couple’s devotion to the Trinity, the church’s dedication, is shown in the panel. Two angels hold up their souls besides the Trinity, represented by the seated God the Father. He held a now lost crucifix with the dead Christ, supported by the (also missing) Dove of the Holy Ghost. The scheme also occurred in a roundel decorating the splendid and nearly contemporary brass memorial Sir Hugh Hastings (†1347) at Elsing.

 

Sir Roger de Boys was granted letters of attorney when travelling abroad between 1361-67 and again in the 1370s. At least one of these trips coincided with the crusade to capture Alexandria, called by Peter de Lusignan, King of Cyprus, in 1365, and the letters granting him permission to travel mention other crusader knights. That his death was not recorded may have been because he was not a land owner, although in 1378, together with his brother, he had given the Priory property in Worstead and Scottow. The family were established in Honing and Rollesby by the early years of the fifteenth century and their involvement with the church continued, since the arms on the tower (rebuilt in the 1450s), recorded by Blomefield, included Stapleton impaled with Boys.

  

Francis Blomefield, ‘House of Trinitarian canons: The priory of Ingham', A History of the County of Norfolk: Volume 2 (1906), pp. 410-412 corrected by Sally Badham 'Beautiful Remains of Antiquity': The Medieval Monuments in the Former Trinitarian Priory Church at Ingham Norfolk. Part 2: the High Tombs. CHURCH MONUMENTS VOLUME XXII 2007, esp. pp. 23-43; Sir Richard Le Scrope, edited Samuel Bentley, London 1832, De Controversia in Curia Militari Inter Ricardum Le Scrope Et Robertum Grosvenor Milites: Rege Ricardo Secundo, MCCCLXXXV-MCCCXC E Recordis in Turre Londinensi Asservatis, p. 220, googlebooks, accessed 03/08/15

 

Closest remaining thing in Leeds to the problematic Leek Street Flats of Hunslet that were bulldozed within 14 years (1968 to 1982) This shared an eerily coincidental timeline to the similar and infamous Divis Flats of Belfast.

Church of Holy Trinity

Tomb of Sir Roger († after 1395) and Margaret († 1350?) de Boys, Alabaster.

 

The monument was long problematic, since Blomefield reported a now missing inscription requesting the viewer to pray for the souls of Roger de Bois and Lady Margaret, whose death he recorded as 1300, Sir Roger, and 1315, Lady Margaret. Pevsner noted that in style the monument belonged not to the early 1300s but to the end of the century. Recent research by Sally Badham has unravelled the confusion. She used the British Library manuscript Harleian MS 906 fol. 197 verso to establish that Sir Roger was descended from John de Boys and his wife Eustace Sandbie of Coningsby and that his wife died in 1365. There is no record of his death, suggesting that he was not a landowner in East Anglia, but since he was mentioned in other records it must have been sometime after 1394. With the old dates it was unclear why they had such a prominent tomb in the nave. Sir Roger, an otherwise obscure knight, was mentioned in the document of 1355 establishing the Church of the Holy Trinity as a chantry chapel and a priory for the Trinitarian order with. Those for whose souls the priests were to pray included, King Edward III, Sir Oliver and Lady Elizabeth Ingham, the relatives and parents of Sir Miles Stapleton, including his sister, the deceased Lady Catherine Boys and her husband John de Boys, Dame Margaret Honing. Sir roger’s wife, was not included.

 

The now sadly worn (and vandalised) tomb chest is set at the east end of the south aisle, originally guarded by railings, set into holes drilled into the base. Its position at the head of the nave would have made it opposite the altar in the chapel of St Mary, destroyed in 1799, an extension to the south east corner of the nave. The tomb is built around a pillar, which once supported the image of a saint, to whom Sir Roger de Boys would have looked. The figures lie side by side, now without their arms and with the detail of their costumes difficult to make out. The notes in the church suggest, on the basis of an analysis of the traces of colour, that she wore a heraldic dress. From the position of the stumps of their arms it is has been argued that they were represented holding hands, rather than in prayer. Sir Roger de Boys rests his head on a Saracen’s helmet, complete with decapitated head, perhaps sign that, as suggested below, he had been a crusader. His wife’s is set on two pillows, where a faint painted pattern can still be made out. His sword is missing but there is a hole on his right side where it was probably fixed. His statue has been convincingly compared with that a distinguished warrior knight, Sir Guy de Brian †1390, in Tewkesbury Abbey. They share the detail of the moustache, fashionably poking over the chain mail of his helmet. The figures are like caricatures, with his barrel chest and her extreme height (she must be about seven foot) and thinness, a sign of breeding (then as now) for those who could, as Professor Sandy Heslop has argued, ostensibly afford expensive food.

 

The base is decorated with (now blank) coats of arms set in quatrefoils and flanked by niches filled with angels, whose wings can just be made out (with some traces of colour). On the north they turn slightly to the door, a movement that culminates in the wider niche facing the entrance. Here the couple’s devotion to the Trinity, the church’s dedication, is shown in the panel. Two angels hold up their souls besides the Trinity, represented by the seated God the Father. He held a now lost crucifix with the dead Christ, supported by the (also missing) Dove of the Holy Ghost. The scheme also occurred in a roundel decorating the splendid and nearly contemporary brass memorial Sir Hugh Hastings (†1347) at Elsing.

 

Sir Roger de Boys was granted letters of attorney when travelling abroad between 1361-67 and again in the 1370s. At least one of these trips coincided with the crusade to capture Alexandria, called by Peter de Lusignan, King of Cyprus, in 1365, and the letters granting him permission to travel mention other crusader knights. That his death was not recorded may have been because he was not a land owner, although in 1378, together with his brother, he had given the Priory property in Worstead and Scottow. The family were established in Honing and Rollesby by the early years of the fifteenth century and their involvement with the church continued, since the arms on the tower (rebuilt in the 1450s), recorded by Blomefield, included Stapleton impaled with Boys.

  

Francis Blomefield, ‘House of Trinitarian canons: The priory of Ingham', A History of the County of Norfolk: Volume 2 (1906), pp. 410-412 corrected by Sally Badham 'Beautiful Remains of Antiquity': The Medieval Monuments in the Former Trinitarian Priory Church at Ingham Norfolk. Part 2: the High Tombs. CHURCH MONUMENTS VOLUME XXII 2007, esp. pp. 23-43; Sir Richard Le Scrope, edited Samuel Bentley, London 1832, De Controversia in Curia Militari Inter Ricardum Le Scrope Et Robertum Grosvenor Milites: Rege Ricardo Secundo, MCCCLXXXV-MCCCXC E Recordis in Turre Londinensi Asservatis, p. 220, googlebooks, accessed 03/08/15

 

Cineaste365 (December 3, 2013 - Day 053): Today's selection for Cineaste365 goes to "The Man in Grey" directed by Leslie Ariss. A film that was featured in the Eclipse Series "Three Wicked Melodramas from Gainsborough Pictures".

 

With World War II affecting cinema worldwide, for Gainsborough Pictures, their production of melodrama films were important in entertaining people who wanted something different than films about war or British royalty. And what Gainsborough Pictures provided for audiences were films with a touch of sinful and tantalizing tales of bad relationships and within the problematic situations of its imperfect, amoral characters, there would be a sense of hope. Maybe.

 

And to kick off the melodramatic years, “The Man in Grey” made its debut in theaters. A tale of a love quadrangle in 19th century England about four individuals. One woman who will do anything it takes to become wealthy, one woman who just wants to be loved. A tale of love and deceit.

 

Needless to say, the film received the ire of film critics who saw the film promoting adultery but also showcasing marriage in negative light. The British Parliament wanted films that focused on nobility and films geared towards a wartime audience. But that is not the kind of films that Gainsborough Pictures wanted to make. Despite the controversy that this film had received, news of the film made audiences come out and watch it. And eventually, “The Man in Grey” became one of the highest grossing films in England in 1943. And “The Man in Grey” would eventually make Margaret Lockwood, Phyllis Calvert, James Mason and Stewart Granger stars overnight, but its the writing and acting performances that would lend to the film’s efficacy.

 

The four primary characters are no doubt imperfect. Clarissa is a woman of good intentions, but has an affair because she is not in love with her husband; Hesther is called a “slut” by Rockeby, knowing that her intentions are not pure but evil and malicious and will do anything to be wealthy; Rokeby is a man who also may not be the gentleman as we thought he would be and may know Hesther from long ago; and Lord Rohan may be a man who honors his family name but he is also a man who will do anything to protect the Rohan name.

 

But not everyone is bad. If there is one person that is seen a good amount of times throughout the film that possibly is seen as someone that is good or someone of hope, it would be the young character, Toby (portrayed by Harry Scott). A young servant (or slave) who tried his best to protect his employer, Clarissa. Interesting though is the fact the Gainsborough Pictures cast a Caucasian boy and had him in black face.

 

Overall, “The Man in Grey” is a film that no doubt received plenty of hostility against it. Imperfect characters who live a life of indecency, sure, affairs are probably not going to stun viewers in today’s climate but considering that the film was in 1943 where America was abiding to its its Motion Picture Production Code, in Britain, Gainsborough Pictures were working on films that can easily be classified as indecent and sinful.

 

But the film’s take on the importance of status is shown throughout the film. Clarissa’s family must maintain the status of wealth through marriage, while Hesther, who’s family has fell on hard times may be her family’s last hope in becoming wealthy, is a woman who objects to how the wealthy behave and becomes belligerent towards the lifestyle.

 

But as Clarissa marries a man that she doesn’t love in order to continue the Rohan name and for her to continue to live wealthy, Hesther finds a new way to achieve wealth improperly.

 

As the first melodramatic film from Gainsborough Pictures, “The Man in Grey” is a period film that features wonderful costume design and also solid performances from its four talents. Featuring an engaging storyline about love and deceit, “The Man in Grey” is a wonderful first film for Gainsborough Pictures

With the piston-engined Lockheed EC-121 Warning Stars in USAF service beginning to show their age, the USAF issued a dual requirement in 1966 for a jet-powered airborne early warning system and an advanced radar to go with it. Both Boeing and McDonnell Douglas submitted designs based on their successful airliners—the 707 and the DC-8 respectively—while Hughes and Westinghouse competed for the radar.

 

Because the USAF was familiar with the 707 series thanks to its use of the C-137 Stratoliner and KC-135 Stratotanker, the Boeing proposal was chosen, with two aircraft designated as pre-production EC-137D testbeds. The radar was more problematic, as both companies had submitted superb designs, but eventually Westinghouse won the competition due to its use, revolutionary at the time, of digital programmable battle computers. Though the 30-foot diameter rotating radar dome looked a little incongruous mounted atop the fuselage, it was no detriment to performance and was a huge improvement over that carried by the EC-121; it combined the two radars of the Warning Star into one single piece of equipment and had much better look-down capability as compared to the earlier aircraft.

 

The interior of the aircraft was fitted with control stations, giving the USAF unmatched battle airspace management capability, thanks to datalinks that connected the E-3 into integrated systems already in place, namely in NATO Central Europe. The APY-1 radar can detect aircraft out to 400 miles, which encompassed most of the European continental airspace, as well as provide some overwater detection capabilities. The range and loiter capability of the E-3 allowed it to remain well behind the battle line for hours on circular “tracks."

 

After an uneventful testing period with the EC-137Ds, the aircraft was placed in full production as the E-3A Sentry AWACS (Airborne Warning and Control System) in 1975, with the first aircraft entering service in 1977. Throughout the Cold War, USAF E-3s—soon joined by 18 Sentries built specifically for NATO use, based in Germany with Luxembourgian registration—maintained steady patrols from Iceland to Turkey, keeping electronic eyes on Warsaw Pact forces behind the Iron Curtain. The greatest achievement that can be given to these aircraft is probably that their mere presence may have acted as a deterrent, as an all-out surprise attack on NATO bases would have been detected early.

 

The first combat use of the E-3 would come in 1991, during the First Gulf War with Iraq. USAF and Saudi Arabian E-3s were among the first aircraft to arrive for the buildup to war in Operation Desert Shield, and these aircraft continually kept an eye on Iraqi deployments throughout the six-month prelude to war. This was to come in handy when hostilities began, as the E-3 crews could anticipate Iraqi reactions and vector fighters, mainly F-15 Eagles, to intercept Iraqi fighters before a strike force was threatened. Of the 41 confirmed kills made by Coalition forces in Desert Storm, 38 were done with the assistance of E-3 crews.

 

The performance of the Sentry made an impression on air forces around the world, resulting in France buying E-3Fs; the United Kingdom had already placed an order for Sentry AEW.2s to replace both the ancient Shackleton AEW.2s in service and the failed Nimrod AEW.1.

 

While the E-3 had proven itself over Iraq, its electronics were getting dated: by 1995, personal computers had more storage space than the E-3’s 1977-technology machines. This was rectified in a long upgrade program that upgraded all of the Sentry’s electronic systems, as well as giving it enhanced surveillance capability by adding ESM sensors in bulges along the fuselage sides and underneath the nose: besides being able to vector fighters to airborne intercepts and coordinate airstrikes on ground targets, upgraded E-3Cs can now also detect enemy radars and send Wild Weasel SEAD aircraft against them. The newest upgrade, completed in 2001, added GPS to the E-3’s capability. Of the 68 E-3s built or converted, 65 remain in service, three having been lost in accidents.

 

Dad got this picture of an E-3A shortly before he boarded it in 1978. Dad's job in the USAF was a radar controller, and at the time the AWACS system was just coming into use for NATO in Europe. He and several other enlisted radar controllers were flown in an E-3 to get a briefing on how the aircraft worked. Dad, being an aviation enthusiast, asked to visit the cockpit and was allowed to sit in the pilot's seat. While he was getting a friend to take some pictures, the pilot switched off the autopilot and said "Sergeant, your aircraft!" Dad was scared out of his mind, as he was now responsible for the lives of everyone aboard! Luckily, he was required to do nothing but hold the E-3 steady for about five minutes in perfect weather, with a copilot next to him. Still, it was an exhilarating experience for Dad, who as an enlisted man never got to fly anything.

 

This E-3 was assigned to the 552nd AWCW (now 552nd ACW), based at Tinker AFB, Oklahoma, though the picture was taken on the ramp at Ramstein, West Germany. The tail number is blurry, so this may be either 75-0557, one of the first production E-3As, or 77-0354. If it is the former, 75-0557 was later modified to E-3C standard and still flies today with the 552nd. If it is the latter, its ending was far more tragic: flying as Yukla 27, 75-0354 crashed with the loss of all 24 people aboard in 1995, as the result of a bird strike at Elmendorf AFB, Alaska.

A childhood favorite that now strikes me as more than a little, shall we say, problematic.

Part of a wall done with Shye.

 

So problematic. There is a character as well but quite frankly, it's a pile of shit.

 

Shame. Took me a long time because I just couldn't get it right. Oh well, win some lose some.

 

Thanks Shye & Crane for the motivational pep talks & the great company.

Pride and Prejudice: on Raphael Perez's Artwork

 

Raphael Perez, born in 1965, studied art at the College of Visual Arts in Beer Sheva, and from 1995 has been living and working in his studio in Tel Aviv. Today Perez plays an important role in actively promoting the LGBT (lesbian, gay, bisexual and transsexual) art and culture in Tel Aviv, and the internet portal he set up helps artists from the community reach large audiences in Israel and abroad. Hundreds of his artworks are part of private collections in Israel and abroad, and his artworks were shown in several group exhibitions: in Tel Aviv Museum of Art, "Zman Le'Omanut" art gallery, Camera Obscura, The Open House in Jerusalem, Ophir Gallery, The Haifa Forum and other private businesses and galleries.

In 2003-4 his paintings and studio appeared in a full-length movie, three student films and two graduation films.

 

Raphael Perez is the first Israeli artist to express his lifestyle as a Gay. His life and the life of the LGBT community are connected and unfold over hundreds of artwork pieces. His art creation is rare and extraordinary by every Israeli and international artistic standard. His sources of inspiration are first and foremost life events intertwined in Jewish and Israeli locality as well as influences and quotes from art history (David Hockney, Matisse). This uniqueness has crossed international borders and has succeeded in moving the LGBT and art communities around the world.

 

This is the first time we meet an Israeli artist who expresses all of his emotions in a previously unknown strength. The subjects of the paintings are the everyday life of couples in everyday places and situations, along with the aspiration to a homosexual relationship and family, equality and public recognition. Perez's works bring forward to the cultural space and to the public discourse the truth about living as LGBT and about relationships, with all of their aspects – casual relationships and sex, the yearning for love, the everyday life and the mundane activities that exist in every romantic relationship – whether by describing two men in an intimate scene in the bathroom, the bedroom or the toilet, a male couple raising a baby or the homosexual version of the Garden of Eden, family dinners, relationship ups and downs, the complexity in sharing a life as well as mundane, everyday life competing with the aspiration to self realization – through Perez's life.

  

Perez's first artworks are personal diaries, which he creates at 14 years of age. He makes sure to hide these diaries, as in them he keeps a personal journal describing his life events in the most genuine way. In these journals he draws thousands of drawings and sketches, next to which he alternately writes and erases his so-called "problematic texts", texts describing his struggle with his sexual orientation. His diaries are filled with obsessive cataloging of details, daily actions, friends and work, as well as repeating themes, such as thoughts, exhibits he has seen, movies, television, books and review of his work.

 

When he is done writing, Perez draws on his diaries. Each layer is done from beginning to end all along the journal. In fact, the work on the diaries never ends.

This struggle never ends, and when the emotion is passed on to paper, and it ends its role and becomes meaningless in a way, the visual-graphic side becomes dominant, due to the need to hide the written text, according to Perez. In books and diaries this stands out even more – when he chooses to draw in a style influenced by children's drawings, the characters are cheerful, happy, naïve and do not portray any sexuality, and when he tries drawing as an adult the sketches became more depressed and somber. During these years Perez works with preschool children, teaching them drawing and movement games. Perez says that during this period he completely abandoned the search for a relationship, either with a woman or a man, and working with children has given him existential meaning. This creation continues over 10 years, and Perez creates about 60 books-personal journals in various sizes (notepads, old notebooks, atlases and even old art books).

 

In his early paintings (1998-1999) the transition from relationships with women to relationships with men can be seen, from restraint to emotional outburst in color, lines and composition. Some characters display strong emotional expression. The women are usually drawn in restraint and passiveness, while a happy and loving emotional outburst is expressed in the colors and style of the male paintings.

 

"I fantasized that in a relationship with a woman I could fly in the sky, love, fly. However, I felt I was hiding something; I was choked up, hidden behind a mask, as if there was an internal scream wanting to come out. I was frustrated, I felt threatened…"

 

His first romance with a man in 1999 has drawn out a series of naïve paintings dealing with love and the excitement of performing everyday actions together in the intimate domestic environment.

 

"The excitement from each everyday experience of doing things together and the togetherness was great, so I painted every possible thing I liked doing with him."

 

From the moment the self-oppression and repression stopped, Perez started the process of healing, which was expressed in a burst of artworks, enormous in their size, amount, content and vivid colors – red, pink and white.

 

In 2000 Perez starts painting the huge artworks describing the hangouts of the LGBT community (The Lake, The Pool) and the Tel Avivian balcony paintings describing the masculine world, which, according to him, becomes existent thanks to the painting. Perez has dedicated this year to many series of drawings and paintings of the experience of love, in which he describes his first love for his new partner, and during these months he paints from morning to night. These paintings are the fruit of a long dialogue with David Hockney, and the similarity can be seen both in subjects and in different gestures.

 

In 2001 Perez creates a series of artworks, "Portraits from The Community". Perez describes in large, photorealistic paintings over 20 portraits of active and well-known members of the LGBT community. The emphasis is on the achievements that reflect the community's strong standing in Tel Aviv.

As a Tel-Avivian painter, in the past two years Perez has been painting urban landscapes of central locations in his city. Perez wanders around the city and chooses familiar architectural and geographical landmarks, commerce and recreation, and historical sites, and paints them from a homosexual point of view, decorated with the rainbow flag, which provide a sense of belonging to the place. His artworks are characterized by a cheerful joie de vivre and colors, and they also describe encounters and meetings. The touristic nature of his paintings makes them a declaration of Tel Aviv's image as a place where cultural freedom prevails.

Perez's Tel Aviv is a city where young families and couples live and fill the streets, the parks, the beach, the houses and the balconies – all the city's spaces. The characters in his paintings are similar, which helps reinforcing the belonging to the LGBT community in Tel Aviv. The collective theme in Perez's artwork interacts with the work of the Israeli artist Yohanan Simon, who dealt with the social aspects of the Kibbutz. Simon, who lived and worked in a Kibbutz, expressed the human model of the Kibbutznik (member of a Kibbutz) and the uniqueness of the Kibbutz members as part of a group where all are equal. Simon's works, and now Perez's, have contributed to the Israeli society what is has been looking for endlessly, which is a sense of identity and belonging.

Perez maps his territory and marks his boundaries, and does not forget the historical sites. Unlike other Tel Avivian artists, Perez wishes to present the lives of the residents of the city and the great love in their hearts. By choosing the historical sites in Tel Aviv, he also pays tribute to the artist Nachum Gutman, who loved the city and lived in it his whole life. In his childhood Gutman experienced historical moments (lighting the first oil lamp, first concert, first pavement), and as an adult he recreated the uniqueness of those events while keeping the city's magic.

Like Gutman, Perez has also turned the city into an object of love, and it has started adorning itself in rich colors and supplying the energy of a city that wishes to be "the city that never sleeps", combining old and new. Perez meticulously describes the uniqueness and style of the Bauhaus houses and balconies along the modern glass and steel buildings, all from unusual angles in a rectangular format that wishes to imitate the panorama of a diverse city in its centennial celebrations.

 

Daniel Cahana-Levensohn, curator.

   

Interview with the painter Raphael Perez about his family artist book

An interview with the painter Raphael Perez about an artist's book he created about his family, the Peretz family from 6 Nissan St. Kiryat Yuval Jerusalem

  

Question: Raphael Perez, tell me about the family artist book you created

Answer: I created close to 40 artist books, notebooks, diaries, sketch books and huge books. I dedicated one of the books to my dear family, a book in which I took a childhood photograph of my family, my parents and brothers and sisters.. I pasted the photographs inside a book (the photograph is 10 percent of the total painting) and I drew with acrylic paints, markers and ink on the book and the photograph, so that the image of the photograph was an inspiration to me Build the story that includes page by page..

  

Question: Tell me when you were born, where, and a little about your family

Answer: I was born on March 4, 1965 in the Kiryat Yuval neighborhood in Jerusalem

I have a twin brother named Miki Peretz and we are seven brothers and sisters, five boys and two girls

 

Question: Tell us a little about your parents

Answer: My parents were new immigrants from Morocco, both immigrated young.

My mother's name before the wedding was Alice - Aliza ben Yair and my father's name was Shimon Peretz,

My mother was born in the Atlas Mountains and was orphaned at a young age and was later adopted by my father's family at the age of 10, so that my mother and father spent childhood and adolescence together....

They had a beautiful and happy relationship but sometimes when they argued my mother would say "even when she was a child she was like that..." This means that their acquaintance and relationship dates back to childhood..

  

Question: What did your parents Shimon and Aliza Peretz work for?

Answer: My father, Shimon Perez, born in 1928 - worked in a building in his youth and then for thirty years worked as a receptionist at Hadassah Ein Kerem Hospital in Jerusalem... My father's great love was actually art, he loved to draw as a hobby, write, read, solve crossword puzzles and research Regarding the issue of medicinal plants, as a breadwinner he could not fulfill his dream of becoming an artist, in order to support and feed seven children. But we are the next generation, his children are engaged in the world of creativity and education, a field in which both of my parents were engaged during their lives. My father died at the age of 69

 

My mother, Alice Aliza Perez, born in 1934, worked as an assistant to a kindergarten teacher, and later took care of a baby at home. She is a woman of wholehearted giving and caring for children and people, a warm, generous and humble woman.. and took care of us in our childhood for every emotional and physical deficiency.. My mother is right For the year 2023, the 89-year-old is partly happy and happy despite the difficulties of age.. May you have a long life..

 

My mother really loved gardening and nature and both of them together created a magnificent garden, my parents have a relatively large garden so they could grow many types of special and rare medicinal plants and my father even wrote a catalog (unpublished) of medicinal plants and we even had botany students come to us who were interested in the field... today they They also grow ornamental plants, and fruit trees...

 

Question: A book about the brothers and sisters

Answer: My elder brother David Perez repented in his mid-twenties.. He was a very sharp, opinionated, curious and very charismatic guy who brought many people back to repentance, and also helped people with problems through the yeshiva and the synagogue to return to the normal path of life, he died young at the age of 56

 

Hana Peretz: My lovely sister, raised eight children, worked in the field of education, a kindergarten teacher, and child care.

She has a very large extended family of grandchildren, great-grandchildren and great-great-grandchildren...

 

My brother Avi (Abraham) Peretz studied in Israel at the University of Philosophy and Judaism, he married a wonderful woman named Mira Drumi, a nurse by profession, and together they had three wonderful children, when they moved to the United States in their mid-twenties, where my brother Avi Peretz completed his master's degree in education, worked in the field Education and for the last twenty years is A conservative rabbi

 

The fourth brother is Asher Peretz - a great man of the world, very fond of traveling and has been to magical places all over the world, engaged in the creation of jewelry with two children.

 

I am Rafi Peretz english raphael perez the fifth and after fifteen minutes my twin brother was born

My mother still gets confused and can't remember who was born first :-)

 

My twin brother Miki micky - Michael Peretz, a beloved brother (everyone is beloved), a talented industrial designer, he has three children, his wife Revital Peretz Ben, who is a well-known art curator, active and responsible for the art field in Tel Aviv, they are a dynamic and talented couple, full of talents and action

 

The lovely little sister Shlomit Peretz - has been involved in the Bezeq telephone company for almost three decades, and is there in management positions, raising her lovely and beloved child.

  

The art book I dedicated to my family is colorful, rich in details, shows a very intense childhood, happy, cheerful, colorful, ... We were taught to be diligent and to be happy in our part and to see the glass half full in life, to have emotional intelligence and to put the relationship and love at the center with self-fulfillment in work that will interest you us and you will give us satisfaction.

 

Each of us is different in our life decisions and my family is actually a mosaic of the State of Israel that includes both religious and secular people from the entire political spectrum who understand that the secret to unity is mutual respect for each other... when my mother these days is also the family glue in everyone's gatherings on Shabbat and holidays..

 

The personification of the flower couple paintings by the Israeli painter Raphael Perez

Raphael Perez, also known as Rafi Peretz, is an Israeli painter who

explores his personal and sexual identity through his flower paintings. He created a series of flower paintings from 1995 to 1998, when he was in his early thirties and still in relationships with women, despite feeling gay. His flower paintings reflect his emotional turmoil and his struggle with his sexual orientation. He painted two flowers, one blooming and one wilting, to represent the contrast and conflict between his heterosexual relationships and his true self. He also painted single flowers or two flowers in their prime, to express his longing for a harmonious relationship that matches his nature. He chose sunflowers, white lilies, and red lilies as symbols of expression, purity, and joy, respectively. He painted from real flowers, using different styles and light to create drama and mood. Perez’s paintings of the flower couples are minimalist and focused on the theme of the complex relationship. He omitted any background or context, leaving only the canvas and the drawing of the flower couples. In some of the paintings, he added a very airy abstract surface with thin oil paints that give an atmosphere of watercolors. He also made drawings of flowers in ink, markers and gouache on paper. Later on, he created large acrylic paintings of flowers and still life. Perez’s flower paintings are not mere illustrations or decorations. They are autobiographical and psychological expressions of his inner state and his struggle with his sexuality. He wanted to reveal his loneliness, distress and concealment through these paintings, and to connect with people who are in a similar situation. He deliberately chose only two flowers and no more to intensify the engagement in the charged and complex relationship. Perez also painted and drew couples of men and women with charged psychological states, as well as states of desire for connection and realization of a heterosexual relationship that did not succeed. He used hyperrealism and expressive styles to convey his frozen and calculated state, as well as his mental stress. He used harsh lighting to create contrast and drama, with one side very bright and the other side darker. Perez was influenced by some of the famous artists who painted flowers, such as Van Gogh, who also used sunflowers as a symbol of expression. He also used white lilies and red lilies to convey freshness, cleanliness, purity, color, joy, movement, eruption, and splendor. Perez also painted some single flowers or two flowers in their prime, to show his aspiration for a future where he will have a harmonious relationship. Today, he is 58 years old and in a happy relationship for 10 years with his partner Assaf Henigsberg. He is surrounded by female friends and soulmates and not conflicted with heterosexual relationships as he used to be. He occasionally paints flowers in pots to symbolize home, stability, and peace. Sometimes I paint flowers in pots, which represent home, stability, and solid ground for me. I don’t paint just a couple of flowers, but pots full of flowers that overflow with life. This means that we also have a supportive network of family, friends, and peers around us. We live in a rich, supportive, and protective world. These paintings are a personification of my psychological state, when I had no words to express my feelings to myself. The painting began In 35 years of my creation (starting in 1998), you can read more about how my art and style evolved over time. Perez’s flower paintings are a unique and extraordinary artistic creation that reveals his personal journey and his sexual identity. His work is honest, expressive, and emotional, as well as beautiful and vibrant.

 

The characteristics of the naive painting of the painter Raphael Perez

A full interview with the Israeli painter Raphael Perez (Hebrew name: Rafi Peretz) about the ideas behind the naive painting, resume, personal biography and curriculum vitae Question: Raphael Perez Tell us about your work process as a naive painter? Answer: I choose the most iconic and famous buildings in every city and town that are architecturally interesting and have a special shape and place the iconic buildings on boulevards full of trees, bushes, vegetation, flowers. Question: How do you give depth in your naive paintings? Answer: To give depth to the painting, I build the painting with layers of vegetation, after those low famous buildings, followed by a tall avenue of trees, and behind them towers and skyscrapers, in the sky I sometimes put innocent signs of balloons, kites. A recurring motif in some of my paintings is the figure of the painter who is in the center of the boulevard and paints the entire scene unfolding in front of him, also there are two kindergarten teachers who are walking with the kindergarten children with the state flags that I paint, and loving couples hugging and kissing and family paintings of mother, father and child walking in harmony on the boulevard. Question: Raphael Perez, what characterizes your naive painting? Answer: Most naive paintings have the same characteristics (Definition as it appears in Wikipedia) • Tells a simple story to absorb from everyday life, usually with humans. • The representation of the painter's idealization to reality - the mapping of reality. • Failure to maintain perspective - especially details even in distant details. • Extensive use of repeating patterns - many details. • Warm and bright colors. • Sometimes the emphasis is on outlines. • Most of the characters are flat, lack volume • No interest in texture, expression, correct proportions • No interest in anatomy. • There is not much use of light and shade, the colors create a three-dimensional effect. I find these definitions to be valid for all my naive paintings Question: Raphael Perez, why do you choose the city of Tel Aviv? Answer: I was born in Jerusalem, the capital city which I love very much and also paint, I love the special Bauhaus buildings in Tel Aviv, the ornamental buildings that were built a century ago in the 1920s and 1930s, the beautiful boulevards, towers and modern skyscrapers give you the feeling of the hustle and bustle of a large metropolis and there are quite a few low and tall buildings that are architecturally fascinating in their form the special one Also, the move to Tel Aviv, which is the capital of culture, freedom, and secularism, allowed me to live my life as I chose, to live in a relationship with a man, Jerusalem, which is a traditional city, it is more complicated to live a homosexual life, also, the art world takes place mainly in the city of Tel Aviv, and it is possible that from a professional point of view, this allows I can support myself better in Tel Aviv than in any other city in Israel. Question: Raphael Perez, are the paintings of the city of Tel Aviv different from the paintings of the city of Jerusalem? Answer: Most of the paintings of Jerusalem have an emphasis on the color yellow, gold, the color of the old city walls, the subjects I painted in Jerusalem are mainly a type of idealization of a peaceful life between Jews and Arabs and paintings that deal with the Jewish religious world, a number of paintings depict all shades of the currents of Judaism today In contrast, the Tel Aviv paintings are more colorful, with skyscrapers, the sea, balloons and more secular motifs Question: Raphael Perez, tell me about which buildings and their architects you usually choose in your drawings of cities Answer: My favorite buildings are those that have a special shape that anyone can recognize and are the symbols of the city and you will give several examples: In the city of Tel Aviv, my favorite buildings are: the opera building with its unusual geometric shape, the Yisrotel tower with its special head, the Hail Bo Shalom tower that for years was the symbol of the tallest building in Tel Aviv, the Levin house that looks like a Japanese pagoda, the burgundy-colored Nordeau hotel with the special dome at the end of the building, A pair of Alon towers with the special structure of the sea, Bauhaus buildings typical of Tel Aviv with the special balconies and the special staircase, the Yaakov Agam fountain in Dizengoff square appears in a large part of the paintings, many towers that are in the stock exchange complex, the Aviv towers and other tall buildings on Ayalon, in some of the paintings I took plans An outline of future buildings that need to be built in the city and I drew them even before they were built in reality, In the paintings of Jerusalem, I mainly chose the area of the Old City and East Jerusalem, a painting of the walls of the Old City, the Western Wall, the Church of the Holy Sepulcher, the El Akchea Mosque, the Tower of David, most of the famous churches in the city, the right hand of Moses, in most of the paintings the Jew is wearing a blue shirt with a red male cord I was in the youth movement and the Arab with a galabia, and in the paintings of the religious public then, Jews with black suits and white shirts, tallitas, kippahs, special hats, synagogues and more I also created three paintings of the city of Haifa and one painting of Safed In the Haifa paintings I drew the university, the Technion, the famous Egged Tower, the Sail Tower, well-known hotels, of course the Baha'i Gardens and the Baha'i Temple, Haifa Port and the boats and other famous buildings in the city Question: Raphael Perez, have you created series of other cities from around the world? Answer: I created series of New York City with all the iconic and famous buildings such as: the Guggenheim Museum, the famous skyscrapers - the Chrysler Building, the Empire State Building, Lincoln Center, the famous synagogue in the city, the Statue of Liberty, the flags of the United States and other famous buildings Two paintings of London and all its famous sites, Big Ben, famous monuments, the Ferris wheel, Queen Elizabeth and her family, the double bus, the famous public telephone, palaces, famous churches, well-known monuments I created 4 naive paintings of cities in China, a painting of Shanghai, two paintings of the city of Suzhou and a painting of the World Park in the city of Beijing... I chose the famous skyline of Shanghai with all the famous towers, the famous promenade, temples and old buildings, two Paintings of the city of Suzhou with the famous canals, bridges, special gardens, towers and skyscrapers of the city Question: Raphael Perez What is the general idea that accompanies your paintings Answer: To create a good, beautiful, naive, innocent world in which we will see the innovation of the modern city through the skyscrapers in front of small and low buildings that bring the history and past of each country, all with an abundance of vegetation, boulevards, trees Resume, biography, CV of the painter Rafi Peretz and his family Question: When was Raphael Perez born in hebrew his name rafi peretz? Answer: Raphael Perez in Hebrew his name Rafi Peretz was born on March 4, 1965 Question: Where was Raphael Perez born? Answer: Raphael Perez was born in Jerusalem, Israel Question: What is the full name of Raphael Perez? Answer: His full name is Raphael Perez Question: Which art institution did Raphael Perez graduate from? Answer: Raphael Perez graduated from the Visual Arts Center in Be'er Sheva Question: When did Raphael Perez start painting? Answer: Raphael Perez started painting in 1989 Question: When did you start making a living selling art? Answer: Raphael Perez started making a living selling art in 1999 Question: Where does Raphael Perez live and work? Answer: Since 1995, Raphael Perez has been living and working from his studio in Tel Aviv Question: In which military framework did Raphael Perez serve in the IDF? Answer: Raphael Perez served in the artillery corps Question: Raphael Perez, what jobs did he work after his military service? Answer: Raphael Perez worked for 15 years in education in therapeutic settings for children and taught arts and movement Question: How many brothers and sisters does Raphael Perez, the Israeli painter, have? Answer: There are seven children in total, with the painter 5 sons and two daughters, that means the painter Raphael Perez has 4 more brothers and two sisters Question: What do the brothers and sisters of the painter Raphael Perez do? Answer: The elder brother David Peretz Perez was involved in the field of religious studies, the sister Hana Peretz Perez is involved in the field of education, a kindergarten teacher and child care, the brother Avi Peretz Perez who is in the United States today is a conservative rabbi but in the past was involved in education and therapy, the brother Asher Peretz Perez is involved in the fields of creativity and jewelry The twin brother Mickey Peretz Perez is a well-known industrial designer and seller. The younger sister Shlomit Peretz Perez works in a managerial position at Bezeq. Question: Tell me about the parents of the painter Raphael PerezAnswer: The painter Raphael Perez's parents are Shimon Perez Peretz and Eliza Alice Ben Yair, they were married in 1950 in Jerusalem, both were born in Morocco and immigrated to Israel in 1949, Shimon Peretz worked in a building in his youth and later as a receptionist at the Hadassah Ein Kerem Hospital, Eliza Alice Peretz dealt in child care Kindergarten, working in kindergartens and of course taking care of and raising her seven children

Pride and Prejudice: on Raphael Perez's Artwork

   

Raphael Perez, born in 1965, studied art at the College of Visual Arts in Beer Sheva, and from 1995 has been living and working in his studio in Tel Aviv. Today Perez plays an important role in actively promoting the LGBT (lesbian, gay, bisexual and transsexual) art and culture in Tel Aviv, and the internet portal he set up helps artists from the community reach large audiences in Israel and abroad. Hundreds of his artworks are part of private collections in Israel and abroad, and his artworks were shown in several group exhibitions: in Tel Aviv Museum of Art, "Zman Le'Omanut" art gallery, Camera Obscura, The Open House in Jerusalem, Ophir Gallery, The Haifa Forum and other private businesses and galleries.

 

In 2003-4 his paintings and studio appeared in a full-length movie, three student films and two graduation films.

   

Raphael Perez is the first Israeli artist to express his lifestyle as a Gay. His life and the life of the LGBT community are connected and unfold over hundreds of artwork pieces. His art creation is rare and extraordinary by every Israeli and international artistic standard. His sources of inspiration are first and foremost life events intertwined in Jewish and Israeli locality as well as influences and quotes from art history (David Hockney, Matisse). This uniqueness has crossed international borders and has succeeded in moving the LGBT and art communities around the world.

   

This is the first time we meet an Israeli artist who expresses all of his emotions in a previously unknown strength. The subjects of the paintings are the everyday life of couples in everyday places and situations, along with the aspiration to a homosexual relationship and family, equality and public recognition. Perez's works bring forward to the cultural space and to the public discourse the truth about living as LGBT and about relationships, with all of their aspects – casual relationships and sex, the yearning for love, the everyday life and the mundane activities that exist in every romantic relationship – whether by describing two men in an intimate scene in the bathroom, the bedroom or the toilet, a male couple raising a baby or the homosexual version of the Garden of Eden, family dinners, relationship ups and downs, the complexity in sharing a life as well as mundane, everyday life competing with the aspiration to self realization – through Perez's life.

     

Perez's first artworks are personal diaries, which he creates at 14 years of age. He makes sure to hide these diaries, as in them he keeps a personal journal describing his life events in the most genuine way. In these journals he draws thousands of drawings and sketches, next to which he alternately writes and erases his so-called "problematic texts", texts describing his struggle with his sexual orientation. His diaries are filled with obsessive cataloging of details, daily actions, friends and work, as well as repeating themes, such as thoughts, exhibits he has seen, movies, television, books and review of his work.

   

When he is done writing, Perez draws on his diaries. Each layer is done from beginning to end all along the journal. In fact, the work on the diaries never ends.

 

This struggle never ends, and when the emotion is passed on to paper, and it ends its role and becomes meaningless in a way, the visual-graphic side becomes dominant, due to the need to hide the written text, according to Perez. In books and diaries this stands out even more – when he chooses to draw in a style influenced by children's drawings, the characters are cheerful, happy, naïve and do not portray any sexuality, and when he tries drawing as an adult the sketches became more depressed and somber. During these years Perez works with preschool children, teaching them drawing and movement games. Perez says that during this period he completely abandoned the search for a relationship, either with a woman or a man, and working with children has given him existential meaning. This creation continues over 10 years, and Perez creates about 60 books-personal journals in various sizes (notepads, old notebooks, atlases and even old art books).

   

In his early paintings (1998-1999) the transition from relationships with women to relationships with men can be seen, from restraint to emotional outburst in color, lines and composition. Some characters display strong emotional expression. The women are usually drawn in restraint and passiveness, while a happy and loving emotional outburst is expressed in the colors and style of the male paintings.

   

"I fantasized that in a relationship with a woman I could fly in the sky, love, fly. However, I felt I was hiding something; I was choked up, hidden behind a mask, as if there was an internal scream wanting to come out. I was frustrated, I felt threatened…"

   

His first romance with a man in 1999 has drawn out a series of naïve paintings dealing with love and the excitement of performing everyday actions together in the intimate domestic environment.

   

"The excitement from each everyday experience of doing things together and the togetherness was great, so I painted every possible thing I liked doing with him."

   

From the moment the self-oppression and repression stopped, Perez started the process of healing, which was expressed in a burst of artworks, enormous in their size, amount, content and vivid colors – red, pink and white.

   

In 2000 Perez starts painting the huge artworks describing the hangouts of the LGBT community (The Lake, The Pool) and the Tel Avivian balcony paintings describing the masculine world, which, according to him, becomes existent thanks to the painting. Perez has dedicated this year to many series of drawings and paintings of the experience of love, in which he describes his first love for his new partner, and during these months he paints from morning to night. These paintings are the fruit of a long dialogue with David Hockney, and the similarity can be seen both in subjects and in different gestures.

   

In 2001 Perez creates a series of artworks, "Portraits from The Community". Perez describes in large, photorealistic paintings over 20 portraits of active and well-known members of the LGBT community. The emphasis is on the achievements that reflect the community's strong standing in Tel Aviv.

 

As a Tel-Avivian painter, in the past two years Perez has been painting urban landscapes of central locations in his city. Perez wanders around the city and chooses familiar architectural and geographical landmarks, commerce and recreation, and historical sites, and paints them from a homosexual point of view, decorated with the rainbow flag, which provide a sense of belonging to the place. His artworks are characterized by a cheerful joie de vivre and colors, and they also describe encounters and meetings. The touristic nature of his paintings makes them a declaration of Tel Aviv's image as a place where cultural freedom prevails.

 

Perez's Tel Aviv is a city where young families and couples live and fill the streets, the parks, the beach, the houses and the balconies – all the city's spaces. The characters in his paintings are similar, which helps reinforcing the belonging to the LGBT community in Tel Aviv. The collective theme in Perez's artwork interacts with the work of the Israeli artist Yohanan Simon, who dealt with the social aspects of the Kibbutz. Simon, who lived and worked in a Kibbutz, expressed the human model of the Kibbutznik (member of a Kibbutz) and the uniqueness of the Kibbutz members as part of a group where all are equal. Simon's works, and now Perez's, have contributed to the Israeli society what is has been looking for endlessly, which is a sense of identity and belonging.

 

Perez maps his territory and marks his boundaries, and does not forget the historical sites. Unlike other Tel Avivian artists, Perez wishes to present the lives of the residents of the city and the great love in their hearts. By choosing the historical sites in Tel Aviv, he also pays tribute to the artist Nachum Gutman, who loved the city and lived in it his whole life. In his childhood Gutman experienced historical moments (lighting the first oil lamp, first concert, first pavement), and as an adult he recreated the uniqueness of those events while keeping the city's magic.

 

Like Gutman, Perez has also turned the city into an object of love, and it has started adorning itself in rich colors and supplying the energy of a city that wishes to be "the city that never sleeps", combining old and new. Perez meticulously describes the uniqueness and style of the Bauhaus houses and balconies along the modern glass and steel buildings, all from unusual angles in a rectangular format that wishes to imitate the panorama of a diverse city in its centennial celebrations.

   

Daniel Cahana-Levensohn, curator.

       

Interview with the painter Raphael Perez about his family artist book

 

An interview with the painter Raphael Perez about an artist's book he created about his family, the Peretz family from 6 Nissan St. Kiryat Yuval Jerusalem

     

Question: Raphael Perez, tell me about the family artist book you created

 

Answer: I created close to 40 artist books, notebooks, diaries, sketch books and huge books. I dedicated one of the books to my dear family, a book in which I took a childhood photograph of my family, my parents and brothers and sisters.. I pasted the photographs inside a book (the photograph is 10 percent of the total painting) and I drew with acrylic paints, markers and ink on the book and the photograph, so that the image of the photograph was an inspiration to me Build the story that includes page by page..

     

Question: Tell me when you were born, where, and a little about your family

 

Answer: I was born on March 4, 1965 in the Kiryat Yuval neighborhood in Jerusalem

 

I have a twin brother named Miki Peretz and we are seven brothers and sisters, five boys and two girls

   

Question: Tell us a little about your parents

 

Answer: My parents were new immigrants from Morocco, both immigrated young.

 

My mother's name before the wedding was Alice - Aliza ben Yair and my father's name was Shimon Peretz,

 

My mother was born in the Atlas Mountains and was orphaned at a young age and was later adopted by my father's family at the age of 10, so that my mother and father spent childhood and adolescence together....

 

They had a beautiful and happy relationship but sometimes when they argued my mother would say "even when she was a child she was like that..." This means that their acquaintance and relationship dates back to childhood..

     

Question: What did your parents Shimon and Aliza Peretz work for?

 

Answer: My father, Shimon Perez, born in 1928 - worked in a building in his youth and then for thirty years worked as a receptionist at Hadassah Ein Kerem Hospital in Jerusalem... My father's great love was actually art, he loved to draw as a hobby, write, read, solve crossword puzzles and research Regarding the issue of medicinal plants, as a breadwinner he could not fulfill his dream of becoming an artist, in order to support and feed seven children. But we are the next generation, his children are engaged in the world of creativity and education, a field in which both of my parents were engaged during their lives. My father died at the age of 69

   

My mother, Alice Aliza Perez, born in 1934, worked as an assistant to a kindergarten teacher, and later took care of a baby at home. She is a woman of wholehearted giving and caring for children and people, a warm, generous and humble woman.. and took care of us in our childhood for every emotional and physical deficiency.. My mother is right For the year 2023, the 89-year-old is partly happy and happy despite the difficulties of age.. May you have a long life..

   

My mother really loved gardening and nature and both of them together created a magnificent garden, my parents have a relatively large garden so they could grow many types of special and rare medicinal plants and my father even wrote a catalog (unpublished) of medicinal plants and we even had botany students come to us who were interested in the field... today they They also grow ornamental plants, and fruit trees...

   

Question: A book about the brothers and sisters

 

Answer: My elder brother David Perez repented in his mid-twenties.. He was a very sharp, opinionated, curious and very charismatic guy who brought many people back to repentance, and also helped people with problems through the yeshiva and the synagogue to return to the normal path of life, he died young at the age of 56

   

Hana Peretz: My lovely sister, raised eight children, worked in the field of education, a kindergarten teacher, and child care.

 

She has a very large extended family of grandchildren, great-grandchildren and great-great-grandchildren...

   

My brother Avi (Abraham) Peretz studied in Israel at the University of Philosophy and Judaism, he married a wonderful woman named Mira Drumi, a nurse by profession, and together they had three wonderful children, when they moved to the United States in their mid-twenties, where my brother Avi Peretz completed his master's degree in education, worked in the field Education and for the last twenty years is A conservative rabbi

   

The fourth brother is Asher Peretz - a great man of the world, very fond of traveling and has been to magical places all over the world, engaged in the creation of jewelry with two children.

   

I am Rafi Peretz english raphael perez the fifth and after fifteen minutes my twin brother was born

 

My mother still gets confused and can't remember who was born first :-)

   

My twin brother Miki micky - Michael Peretz, a beloved brother (everyone is beloved), a talented industrial designer, he has three children, his wife Revital Peretz Ben, who is a well-known art curator, active and responsible for the art field in Tel Aviv, they are a dynamic and talented couple, full of talents and action

   

The lovely little sister Shlomit Peretz - has been involved in the Bezeq telephone company for almost three decades, and is there in management positions, raising her lovely and beloved child.

     

The art book I dedicated to my family is colorful, rich in details, shows a very intense childhood, happy, cheerful, colorful, ... We were taught to be diligent and to be happy in our part and to see the glass half full in life, to have emotional intelligence and to put the relationship and love at the center with self-fulfillment in work that will interest you us and you will give us satisfaction.

   

Each of us is different in our life decisions and my family is actually a mosaic of the State of Israel that includes both religious and secular people from the entire political spectrum who understand that the secret to unity is mutual respect for each other... when my mother these days is also the family glue in everyone's gatherings on Shabbat and holidays..

   

The personification of the flower couple paintings by the Israeli painter Raphael Perez

 

Raphael Perez, also known as Rafi Peretz, is an Israeli painter who

 

explores his personal and sexual identity through his flower paintings. He created a series of flower paintings from 1995 to 1998, when he was in his early thirties and still in relationships with women, despite feeling gay. His flower paintings reflect his emotional turmoil and his struggle with his sexual orientation. He painted two flowers, one blooming and one wilting, to represent the contrast and conflict between his heterosexual relationships and his true self. He also painted single flowers or two flowers in their prime, to express his longing for a harmonious relationship that matches his nature. He chose sunflowers, white lilies, and red lilies as symbols of expression, purity, and joy, respectively. He painted from real flowers, using different styles and light to create drama and mood. Perez’s paintings of the flower couples are minimalist and focused on the theme of the complex relationship. He omitted any background or context, leaving only the canvas and the drawing of the flower couples. In some of the paintings, he added a very airy abstract surface with thin oil paints that give an atmosphere of watercolors. He also made drawings of flowers in ink, markers and gouache on paper. Later on, he created large acrylic paintings of flowers and still life. Perez’s flower paintings are not mere illustrations or decorations. They are autobiographical and psychological expressions of his inner state and his struggle with his sexuality. He wanted to reveal his loneliness, distress and concealment through these paintings, and to connect with people who are in a similar situation. He deliberately chose only two flowers and no more to intensify the engagement in the charged and complex relationship. Perez also painted and drew couples of men and women with charged psychological states, as well as states of desire for connection and realization of a heterosexual relationship that did not succeed. He used hyperrealism and expressive styles to convey his frozen and calculated state, as well as his mental stress. He used harsh lighting to create contrast and drama, with one side very bright and the other side darker. Perez was influenced by some of the famous artists who painted flowers, such as Van Gogh, who also used sunflowers as a symbol of expression. He also used white lilies and red lilies to convey freshness, cleanliness, purity, color, joy, movement, eruption, and splendor. Perez also painted some single flowers or two flowers in their prime, to show his aspiration for a future where he will have a harmonious relationship. Today, he is 58 years old and in a happy relationship for 10 years with his partner Assaf Henigsberg. He is surrounded by female friends and soulmates and not conflicted with heterosexual relationships as he used to be. He occasionally paints flowers in pots to symbolize home, stability, and peace. Sometimes I paint flowers in pots, which represent home, stability, and solid ground for me. I don’t paint just a couple of flowers, but pots full of flowers that overflow with life. This means that we also have a supportive network of family, friends, and peers around us. We live in a rich, supportive, and protective world. These paintings are a personification of my psychological state, when I had no words to express my feelings to myself. The painting began In 35 years of my creation (starting in 1998), you can read more about how my art and style evolved over time. Perez’s flower paintings are a unique and extraordinary artistic creation that reveals his personal journey and his sexual identity. His work is honest, expressive, and emotional, as well as beautiful and vibrant.

   

The characteristics of the naive painting of the painter Raphael Perez

 

A full interview with the Israeli painter Raphael Perez (Hebrew name: Rafi Peretz) about the ideas behind the naive painting, resume, personal biography and curriculum vitae Question: Raphael Perez Tell us about your work process as a naive painter? Answer: I choose the most iconic and famous buildings in every city and town that are architecturally interesting and have a special shape and place the iconic buildings on boulevards full of trees, bushes, vegetation, flowers. Question: How do you give depth in your naive paintings? Answer: To give depth to the painting, I build the painting with layers of vegetation, after those low famous buildings, followed by a tall avenue of trees, and behind them towers and skyscrapers, in the sky I sometimes put innocent signs of balloons, kites. A recurring motif in some of my paintings is the figure of the painter who is in the center of the boulevard and paints the entire scene unfolding in front of him, also there are two kindergarten teachers who are walking with the kindergarten children with the state flags that I paint, and loving couples hugging and kissing and family paintings of mother, father and child walking in harmony on the boulevard. Question: Raphael Perez, what characterizes your naive painting? Answer: Most naive paintings have the same characteristics (Definition as it appears in Wikipedia) • Tells a simple story to absorb from everyday life, usually with humans. • The representation of the painter's idealization to reality - the mapping of reality. • Failure to maintain perspective - especially details even in distant details. • Extensive use of repeating patterns - many details. • Warm and bright colors. • Sometimes the emphasis is on outlines. • Most of the characters are flat, lack volume • No interest in texture, expression, correct proportions • No interest in anatomy. • There is not much use of light and shade, the colors create a three-dimensional effect. I find these definitions to be valid for all my naive paintings Question: Raphael Perez, why do you choose the city of Tel Aviv? Answer: I was born in Jerusalem, the capital city which I love very much and also paint, I love the special Bauhaus buildings in Tel Aviv, the ornamental buildings that were built a century ago in the 1920s and 1930s, the beautiful boulevards, towers and modern skyscrapers give you the feeling of the hustle and bustle of a large metropolis and there are quite a few low and tall buildings that are architecturally fascinating in their form the special one Also, the move to Tel Aviv, which is the capital of culture, freedom, and secularism, allowed me to live my life as I chose, to live in a relationship with a man, Jerusalem, which is a traditional city, it is more complicated to live a homosexual life, also, the art world takes place mainly in the city of Tel Aviv, and it is possible that from a professional point of view, this allows I can support myself better in Tel Aviv than in any other city in Israel. Question: Raphael Perez, are the paintings of the city of Tel Aviv different from the paintings of the city of Jerusalem? Answer: Most of the paintings of Jerusalem have an emphasis on the color yellow, gold, the color of the old city walls, the subjects I painted in Jerusalem are mainly a type of idealization of a peaceful life between Jews and Arabs and paintings that deal with the Jewish religious world, a number of paintings depict all shades of the currents of Judaism today In contrast, the Tel Aviv paintings are more colorful, with skyscrapers, the sea, balloons and more secular motifs Question: Raphael Perez, tell me about which buildings and their architects you usually choose in your drawings of cities Answer: My favorite buildings are those that have a special shape that anyone can recognize and are the symbols of the city and you will give several examples: In the city of Tel Aviv, my favorite buildings are: the opera building with its unusual geometric shape, the Yisrotel tower with its special head, the Hail Bo Shalom tower that for years was the symbol of the tallest building in Tel Aviv, the Levin house that looks like a Japanese pagoda, the burgundy-colored Nordeau hotel with the special dome at the end of the building, A pair of Alon towers with the special structure of the sea, Bauhaus buildings typical of Tel Aviv with the special balconies and the special staircase, the Yaakov Agam fountain in Dizengoff square appears in a large part of the paintings, many towers that are in the stock exchange complex, the Aviv towers and other tall buildings on Ayalon, in some of the paintings I took plans An outline of future buildings that need to be built in the city and I drew them even before they were built in reality, In the paintings of Jerusalem, I mainly chose the area of the Old City and East Jerusalem, a painting of the walls of the Old City, the Western Wall, the Church of the Holy Sepulcher, the El Akchea Mosque, the Tower of David, most of the famous churches in the city, the right hand of Moses, in most of the paintings the Jew is wearing a blue shirt with a red male cord I was in the youth movement and the Arab with a galabia, and in the paintings of the religious public then, Jews with black suits and white shirts, tallitas, kippahs, special hats, synagogues and more I also created three paintings of the city of Haifa and one painting of Safed In the Haifa paintings I drew the university, the Technion, the famous Egged Tower, the Sail Tower, well-known hotels, of course the Baha'i Gardens and the Baha'i Temple, Haifa Port and the boats and other famous buildings in the city Question: Raphael Perez, have you created series of other cities from around the world? Answer: I created series of New York City with all the iconic and famous buildings such as: the Guggenheim Museum, the famous skyscrapers - the Chrysler Building, the Empire State Building, Lincoln Center, the famous synagogue in the city, the Statue of Liberty, the flags of the United States and other famous buildings Two paintings of London and all its famous sites, Big Ben, famous monuments, the Ferris wheel, Queen Elizabeth and her family, the double bus, the famous public telephone, palaces, famous churches, well-known monuments I created 4 naive paintings of cities in China, a painting of Shanghai, two paintings of the city of Suzhou and a painting of the World Park in the city of Beijing... I chose the famous skyline of Shanghai with all the famous towers, the famous promenade, temples and old buildings, two Paintings of the city of Suzhou with the famous canals, bridges, special gardens, towers and skyscrapers of the city Question: Raphael Perez What is the general idea that accompanies your paintings Answer: To create a good, beautiful, naive, innocent world in which we will see the innovation of the modern city through the skyscrapers in front of small and low buildings that bring the history and past of each country, all with an abundance of vegetation, boulevards, trees Resume, biography, CV of the painter Rafi Peretz and his family Question: When was Raphael Perez born in hebrew his name rafi peretz? Answer: Raphael Perez in Hebrew his name Rafi Peretz was born on March 4, 1965 Question: Where was Raphael Perez born? Answer: Raphael Perez was born in Jerusalem, Israel Question: What is the full name of Raphael Perez? Answer: His full name is Raphael Perez Question: Which art institution did Raphael Perez graduate from? Answer: Raphael Perez graduated from the Visual Arts Center in Be'er Sheva Question: When did Raphael Perez start painting? Answer: Raphael Perez started painting in 1989 Question: When did you start making a living selling art? Answer: Raphael Perez started making a living selling art in 1999 Question: Where does Raphael Perez live and work? Answer: Since 1995, Raphael Perez has been living and working from his studio in Tel Aviv Question: In which military framework did Raphael Perez serve in the IDF? Answer: Raphael Perez served in the artillery corps Question: Raphael Perez, what jobs did he work after his military service? Answer: Raphael Perez worked for 15 years in education in therapeutic settings for children and taught arts and movement Question: How many brothers and sisters does Raphael Perez, the Israeli painter, have? Answer: There are seven children in total, with the painter 5 sons and two daughters, that means the painter Raphael Perez has 4 more brothers and two sisters Question: What do the brothers and sisters of the painter Raphael Perez do? Answer: The elder brother David Peretz Perez was involved in the field of religious studies, the sister Hana Peretz Perez is involved in the field of education, a kindergarten teacher and child care, the brother Avi Peretz Perez who is in the United States today is a conservative rabbi but in the past was involved in education and therapy, the brother Asher Peretz Perez is involved in the fields of creativity and jewelry The twin brother Mickey Peretz Perez is a well-known industrial designer and seller. The younger sister Shlomit Peretz Perez works in a managerial position at Bezeq. Question: Tell me about the parents of the painter Raphael PerezAnswer: The painter Raphael Perez's parents are Shimon Perez Peretz and Eliza Alice Ben Yair, they were married in 1950 in Jerusalem, both were born in Morocco and immigrated to Israel in 1949, Shimon Peretz worked in a building in his youth and later as a receptionist at the Hadassah Ein Kerem Hospital, Eliza Alice Peretz dealt in child care Kindergarten, working in kindergartens and of course taking care of and raising her seven children

 

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רפי פרץ צייר אמן ישראלי עכשווי מודרני אמנים ישראלים אומנים ישראליים עכשוויים מודרניים האמנים הישראלים העכשוויים המודרניים האומנים הישראליים העכשוויים המודרניים יוצר הומו הומוסקסואל קווירי הומוסקסואליות באמנות הישראלית מגדר אומנות ומגדר אמנות ישראלית עכשווית מודרנית האמנות הישראלית העכשווית המודרנית

 

erotic gay art painting artist raphael perez pintura homossexual da arte de gomoseksual badiiy rasm гомосексуальний художній живопис pittura di arte omosessuale lukisan seni homoseksual listmálun samkynhneigðra péintéireacht ealaíne homaighnéasach pikturë arti homoseksual homoseksuaalne kunstimaal хомосексуална художествена живопис homoseksualno likovno slikarstvo жывапіс гомасэксуальнага мастацтва সমকামী আর্ট পেইন্টিং homoseksuel kunstmaleri homoszexuális művészeti festmény рассоми санъати гомосексуалӣ gomoseksual sungat suratkeşligi homoseksuālas mākslas glezniecība homoseksualaus meno tapyba homoseksuell kunstmaleri homoseksualno likovno slikarstvo

 

queer artworks paintings homoerotic painter lgbt artwork glbt artworks homo erotica man nude male naked men image images picture pictures homosexual homosexualiy artists painters artist body realism realistic famous

 

مثلي الجنس الفن الغريبة الأعمال الفنية معرض معرض رجل عارية لوحة رجال عراة صورة الجسم الإسرائيلي فنان رسام مثلى الفنانين الرسامين لوحات واقعية مثلي الجنس الشهير صورة كبيرة

 

arte homosexual queer obras de arte galería exposición hombre desnudo pintura hombres desnudos retrato cuerpo artista israelí pintor artistas gay pintores pinturas realistas homoerótico famoso imagen grande

 

гомосексуальное искусство квир произведения искусства галерея выставка мужчина ню живопись голые мужчины портрет тело израильский художник художник геи художники художники реалистичные картины гомоэротика знаменитый большое изображение

 

ομοφυλοφιλική τέχνη queer artworks γκαλερί έκθεση άντρας γυμνή ζωγραφική γυμνοί άντρες πορτραίτο ισραήλ καλλιτέχνης ζωγράφος γκέι καλλιτέχνες ζωγράφοι ρεαλιστικοί πίνακες ομοιορωτική διάσημη μεγάλη εικόνα

 

homosexuelle kunst queer kunstwerke galerie ausstellung mann nackt malerei nackte männer porträtkörper israelischer künstler maler schwule künstler maler realistische gemälde homoerotisch berühmtes großes bild

 

homoseksuele kunst queer kunstwerken galerie tentoonstelling man naakt schilderij naakte mannen portret lichaam Israëlische kunstenaar schilder homo kunstenaars schilders realistische schilderijen homo-erotisch beroemd groot beeld

 

art homosexuel queer oeuvres d'art galerie exposition homme peinture nue hommes nus portrait corps artiste israélien peintre artistes gais peintres peintures réalistes homoérotique célèbre grande image

 

homoseksualna sztuka queer dzieła galeria wystawa mężczyzna nago malarstwo nagi mężczyzna portret ciało izraelski artysta malarz homoseksualiści malarze realistyczni obrazy homoerotyk sławny duży obraz

 

Eşcinsel sanat queer sanat eseri galeri sergi adam çıplak boyama çıplak erkekler portre vücut İsrail sanatçı ressam eşcinsel sanatçılar ressamlar gerçekçi resim sergisi homoerotik ünlü büyük resim

 

समलैंगिक कला क्वीर कलाकृतियों गैलरी प्रदर्शनी आदमी नग्न पेंटिंग नग्न पुरुषों चित्र शरीर इजरायल कलाकार चित्रकार समलैंगिक कलाकारों चित्रकारों यथार्थवादी चित्रों समलैंगिक प्रसिद्ध बड़ी छवि

 

homoseksuell konst queer konstverk galleri utställning man nakenmålning nakna män porträtt kropp israelisk konstnär målare gay konstnärer målare realistiska målningar homoerotisk berömd stor bild

A Flamingo in one of the salty pools of Floreana

 

Flamingo

The American Flamingo (Phoenicopterus ruber) is a large species of flamingo closely related to the Greater Flamingo and Chilean Flamingo. It has also been known as the Caribbean Flamingo, but the species' presence in the Galápagos makes that name problematic. The American Flamingo breeds in the Galápagos Islands, coastal Colombia and Venezuela and nearby islands, the Yucatán Peninsula of Mexico, and in the northern Caribbean in the Bahamas, Hispaniola, Cuba and the Turks and Caicos Islands. Most sightings in southern Florida are usually considered to be escapees, although at least one bird banded as a chick in the Yucatán Peninsula has been sighted in Everglades National Park, and others may be genuine wanderers from Cuba. Its preferred habitats are similar to that of its relatives: saline lagoons, mudflats, and shallow brackish coastal or inland lakes. Like all flamingos, it lays a single chalky white egg on a mud mound, between May and August; incubation until hatching takes from 28 to 32 days; both parents brood the young for a period of up to 6 years when they reach sexual maturity. Their life expectancy of 40 years is one of the longest in birds. The American Flamingo is 120–140 cm (47–55 in) in length; males weigh 2.8 kg (6.2 lb) and females 2.2 kg (4.9 lb) kg. Most of its plumage is pink, giving rise to its earlier name of Rosy Flamingo and differentiating adults from the much paler Greater Flamingo. The wing coverts are red, and the primary and secondary flight feathers are black. It is the only flamingo which naturally inhabits North America. The bill is pink and white with a restricted black tip, and the legs are entirely pink. The call is a goose-like honking.

 

Floreana (Cormorant Point)

Located approximately 4 to 5 hours west of Española and equal distance south of Santa Cruz, this island has long been a favorite site of visitors including pirates, whalers and early settlers. One of the oldest islands Floreana illustrates the aging process of a volcanic island. Unlike the younger western islands, Floreana's volcano has been long extinct and is in the advanced stages of erosion. The erosion process gave the island the nutrients and soils need to sustain plant life. The combination of this rich soil and a good water supply have given the highlands of Floreana a diversified landscaping of native and introduced flora. Floreana is best known for its colorful history of buccaneers, whalers, convicts, and colonists. In 1793 British whalers established the Post Office Barrel to send letters to and from England. This tradition has continued over the years, and even today visitors may drop off and pick up letters, without stamps, to be carried to far destinations. Punta Cormorant offers two highly contrasting beaches. The landing beach is of volcanic origin and is composed of olivine crystals, giving it a greenish tinge. At the end of the short trail is a carbonate beach of extremely fine white sand. Formed by the erosion of coral skeletons, it is a nesting site for green sea turtles. In the 1930's Floreana was the setting for intrigue and mystery. A German dentist and his mistress, a young family (the Wittmer family who still live on the island) and a self-styled baroness with three men came to settle in the island. Shortly after the baroness and her lovers arrived chaos began. The baroness and her entourage terrorized the other inhabitants while planning to build a luxury hotel. Eventually the baroness, two of her lovers and the dentist all turned up missing or dead. There has been much investigation searching for what really happened on Floreana, but there have never been any hard answers. John Treherne wrote of these people in "The Galapagos Affair". The visit to Punta Cormorant offers two contrasting beaches. Arriving on shore you will encounter a green sand beach (the green sand is caused by the olivine crystals derived silicates or magnesium and iron) from here you will follow the trail leading to a lagoon where pink flamingoes and other shore birds can be seen in the distance making their home. Looking into the mud of the lagoon there appears to be 'cracks' in the mud. These cracks are not caused from dryness but are actually the footpaths of flamingos. This is also a good spot for seeing large-billed flycatchers, small-ground finch, medium-ground finch or cactus finch. The walk continues to another beach on the other side made of fine white sand particles known as "Flour Beach". In the waters ghost crabs and rays can be seen swimming.

 

Galapagos Islands

The Galápagos Islands (official name: Archipiélago de Colón; other Spanish names: Islas de Colón or Islas Galápagos) are an archipelago of volcanic islands distributed around the equator in the Pacific Ocean, some 900 km west of Ecuador. It is a UNESCO World Heritage site: wildlife is its most notable feature. Because of the only very recent arrival of man the majority of the wildlife has no fear of humans and will allow visitors to walk right up them, often having to step over Iguanas or Sea Lions.The Galápagos islands and its surrounding waters are part of a province, a national park, and a biological marine reserve. The principal language on the islands is Spanish. The islands have a population of around 40,000, which is a 40-fold expansion in 50 years. The islands are geologically young and famed for their vast number of endemic species, which were studied by Charles Darwin during the voyage of the Beagle. His observations and collections contributed to the inception of Darwin's theory of evolution by natural selection.

A Flamingo in one of the salty pools of Floreana

 

Flamingo

The American Flamingo (Phoenicopterus ruber) is a large species of flamingo closely related to the Greater Flamingo and Chilean Flamingo. It has also been known as the Caribbean Flamingo, but the species' presence in the Galápagos makes that name problematic. The American Flamingo breeds in the Galápagos Islands, coastal Colombia and Venezuela and nearby islands, the Yucatán Peninsula of Mexico, and in the northern Caribbean in the Bahamas, Hispaniola, Cuba and the Turks and Caicos Islands. Most sightings in southern Florida are usually considered to be escapees, although at least one bird banded as a chick in the Yucatán Peninsula has been sighted in Everglades National Park, and others may be genuine wanderers from Cuba. Its preferred habitats are similar to that of its relatives: saline lagoons, mudflats, and shallow brackish coastal or inland lakes. Like all flamingos, it lays a single chalky white egg on a mud mound, between May and August; incubation until hatching takes from 28 to 32 days; both parents brood the young for a period of up to 6 years when they reach sexual maturity. Their life expectancy of 40 years is one of the longest in birds. The American Flamingo is 120–140 cm (47–55 in) in length; males weigh 2.8 kg (6.2 lb) and females 2.2 kg (4.9 lb) kg. Most of its plumage is pink, giving rise to its earlier name of Rosy Flamingo and differentiating adults from the much paler Greater Flamingo. The wing coverts are red, and the primary and secondary flight feathers are black. It is the only flamingo which naturally inhabits North America. The bill is pink and white with a restricted black tip, and the legs are entirely pink. The call is a goose-like honking.

 

Floreana (Cormorant Point)

Located approximately 4 to 5 hours west of Española and equal distance south of Santa Cruz, this island has long been a favorite site of visitors including pirates, whalers and early settlers. One of the oldest islands Floreana illustrates the aging process of a volcanic island. Unlike the younger western islands, Floreana's volcano has been long extinct and is in the advanced stages of erosion. The erosion process gave the island the nutrients and soils need to sustain plant life. The combination of this rich soil and a good water supply have given the highlands of Floreana a diversified landscaping of native and introduced flora. Floreana is best known for its colorful history of buccaneers, whalers, convicts, and colonists. In 1793 British whalers established the Post Office Barrel to send letters to and from England. This tradition has continued over the years, and even today visitors may drop off and pick up letters, without stamps, to be carried to far destinations. Punta Cormorant offers two highly contrasting beaches. The landing beach is of volcanic origin and is composed of olivine crystals, giving it a greenish tinge. At the end of the short trail is a carbonate beach of extremely fine white sand. Formed by the erosion of coral skeletons, it is a nesting site for green sea turtles. In the 1930's Floreana was the setting for intrigue and mystery. A German dentist and his mistress, a young family (the Wittmer family who still live on the island) and a self-styled baroness with three men came to settle in the island. Shortly after the baroness and her lovers arrived chaos began. The baroness and her entourage terrorized the other inhabitants while planning to build a luxury hotel. Eventually the baroness, two of her lovers and the dentist all turned up missing or dead. There has been much investigation searching for what really happened on Floreana, but there have never been any hard answers. John Treherne wrote of these people in "The Galapagos Affair". The visit to Punta Cormorant offers two contrasting beaches. Arriving on shore you will encounter a green sand beach (the green sand is caused by the olivine crystals derived silicates or magnesium and iron) from here you will follow the trail leading to a lagoon where pink flamingoes and other shore birds can be seen in the distance making their home. Looking into the mud of the lagoon there appears to be 'cracks' in the mud. These cracks are not caused from dryness but are actually the footpaths of flamingos. This is also a good spot for seeing large-billed flycatchers, small-ground finch, medium-ground finch or cactus finch. The walk continues to another beach on the other side made of fine white sand particles known as "Flour Beach". In the waters ghost crabs and rays can be seen swimming.

 

Galapagos Islands

The Galápagos Islands (official name: Archipiélago de Colón; other Spanish names: Islas de Colón or Islas Galápagos) are an archipelago of volcanic islands distributed around the equator in the Pacific Ocean, some 900 km west of Ecuador. It is a UNESCO World Heritage site: wildlife is its most notable feature. Because of the only very recent arrival of man the majority of the wildlife has no fear of humans and will allow visitors to walk right up them, often having to step over Iguanas or Sea Lions.The Galápagos islands and its surrounding waters are part of a province, a national park, and a biological marine reserve. The principal language on the islands is Spanish. The islands have a population of around 40,000, which is a 40-fold expansion in 50 years. The islands are geologically young and famed for their vast number of endemic species, which were studied by Charles Darwin during the voyage of the Beagle. His observations and collections contributed to the inception of Darwin's theory of evolution by natural selection.

When stitching panoramas, large, blank walls are problematical - the software can't generate control points. In the past I've used post-it notes (stick 'em on the wall) - but some walls are too big, out of reach, or I can't put a post-it note there. So I decided to make this. I looked online first, and they sell for $70 on up!

 

This costs under $15. I made it from stuff I had on-hand, so out of pocket was $0.

 

Parts:

Clamp from hardware store - $1.00.

Plastic clip - $1.50 for six.

Mini rotating head - $8.00 (It's off a mini-tripod - any will work)

Epoxy glue $2.00

 

Take the head of the tripod - make sure it attaches with a screw – it can’t be a cheap clip on.

 

Drill a hole in one side of the clamp to fit the screw - I needed a couple of washers to snug it.

 

Where the camera mounts to the tripod head, remove any padding (rubber or cork) and cut off the exposed camera-mounting threads (I used a Dremil). This gives you a shallow cup. Next take the plastic clip and trim the base to fit in the cup. Remove any glue or adhesive tape from the clip first.

 

Attach the head to the clamp. Clamp it to something so the cup is up. That, or grow a third hand.

 

Dry fit the clip into the cup. Side cutters work since it’s plastic. Once it's snug, remove.

 

Mix some Epoxy and fill the cup about 1/2 fill. Press the clip into the Epoxy – smash it in there - and fill in any gaps (I used a small popsicle / mixing stick), and form a lip of Epoxy on the clip. You can’t use too much. Just don’t get sloppy or it looks bad.

 

Takes about 15 minutes to make. OK, so how do you turn on the laser? Slide the pointer until the push-button is under the clip - that presses it down and on.

 

The photo with the green background shows it on.

A Flamingo in one of the salty pools of Floreana

 

Flamingo

The American Flamingo (Phoenicopterus ruber) is a large species of flamingo closely related to the Greater Flamingo and Chilean Flamingo. It has also been known as the Caribbean Flamingo, but the species' presence in the Galápagos makes that name problematic. The American Flamingo breeds in the Galápagos Islands, coastal Colombia and Venezuela and nearby islands, the Yucatán Peninsula of Mexico, and in the northern Caribbean in the Bahamas, Hispaniola, Cuba and the Turks and Caicos Islands. Most sightings in southern Florida are usually considered to be escapees, although at least one bird banded as a chick in the Yucatán Peninsula has been sighted in Everglades National Park, and others may be genuine wanderers from Cuba. Its preferred habitats are similar to that of its relatives: saline lagoons, mudflats, and shallow brackish coastal or inland lakes. Like all flamingos, it lays a single chalky white egg on a mud mound, between May and August; incubation until hatching takes from 28 to 32 days; both parents brood the young for a period of up to 6 years when they reach sexual maturity. Their life expectancy of 40 years is one of the longest in birds. The American Flamingo is 120–140 cm (47–55 in) in length; males weigh 2.8 kg (6.2 lb) and females 2.2 kg (4.9 lb) kg. Most of its plumage is pink, giving rise to its earlier name of Rosy Flamingo and differentiating adults from the much paler Greater Flamingo. The wing coverts are red, and the primary and secondary flight feathers are black. It is the only flamingo which naturally inhabits North America. The bill is pink and white with a restricted black tip, and the legs are entirely pink. The call is a goose-like honking.

 

Floreana (Cormorant Point)

Located approximately 4 to 5 hours west of Española and equal distance south of Santa Cruz, this island has long been a favorite site of visitors including pirates, whalers and early settlers. One of the oldest islands Floreana illustrates the aging process of a volcanic island. Unlike the younger western islands, Floreana's volcano has been long extinct and is in the advanced stages of erosion. The erosion process gave the island the nutrients and soils need to sustain plant life. The combination of this rich soil and a good water supply have given the highlands of Floreana a diversified landscaping of native and introduced flora. Floreana is best known for its colorful history of buccaneers, whalers, convicts, and colonists. In 1793 British whalers established the Post Office Barrel to send letters to and from England. This tradition has continued over the years, and even today visitors may drop off and pick up letters, without stamps, to be carried to far destinations. Punta Cormorant offers two highly contrasting beaches. The landing beach is of volcanic origin and is composed of olivine crystals, giving it a greenish tinge. At the end of the short trail is a carbonate beach of extremely fine white sand. Formed by the erosion of coral skeletons, it is a nesting site for green sea turtles. In the 1930's Floreana was the setting for intrigue and mystery. A German dentist and his mistress, a young family (the Wittmer family who still live on the island) and a self-styled baroness with three men came to settle in the island. Shortly after the baroness and her lovers arrived chaos began. The baroness and her entourage terrorized the other inhabitants while planning to build a luxury hotel. Eventually the baroness, two of her lovers and the dentist all turned up missing or dead. There has been much investigation searching for what really happened on Floreana, but there have never been any hard answers. John Treherne wrote of these people in "The Galapagos Affair". The visit to Punta Cormorant offers two contrasting beaches. Arriving on shore you will encounter a green sand beach (the green sand is caused by the olivine crystals derived silicates or magnesium and iron) from here you will follow the trail leading to a lagoon where pink flamingoes and other shore birds can be seen in the distance making their home. Looking into the mud of the lagoon there appears to be 'cracks' in the mud. These cracks are not caused from dryness but are actually the footpaths of flamingos. This is also a good spot for seeing large-billed flycatchers, small-ground finch, medium-ground finch or cactus finch. The walk continues to another beach on the other side made of fine white sand particles known as "Flour Beach". In the waters ghost crabs and rays can be seen swimming.

 

Galapagos Islands

The Galápagos Islands (official name: Archipiélago de Colón; other Spanish names: Islas de Colón or Islas Galápagos) are an archipelago of volcanic islands distributed around the equator in the Pacific Ocean, some 900 km west of Ecuador. It is a UNESCO World Heritage site: wildlife is its most notable feature. Because of the only very recent arrival of man the majority of the wildlife has no fear of humans and will allow visitors to walk right up them, often having to step over Iguanas or Sea Lions.The Galápagos islands and its surrounding waters are part of a province, a national park, and a biological marine reserve. The principal language on the islands is Spanish. The islands have a population of around 40,000, which is a 40-fold expansion in 50 years. The islands are geologically young and famed for their vast number of endemic species, which were studied by Charles Darwin during the voyage of the Beagle. His observations and collections contributed to the inception of Darwin's theory of evolution by natural selection.

A Flamingo in one of the salty pools of Floreana

 

Flamingo

The American Flamingo (Phoenicopterus ruber) is a large species of flamingo closely related to the Greater Flamingo and Chilean Flamingo. It has also been known as the Caribbean Flamingo, but the species' presence in the Galápagos makes that name problematic. The American Flamingo breeds in the Galápagos Islands, coastal Colombia and Venezuela and nearby islands, the Yucatán Peninsula of Mexico, and in the northern Caribbean in the Bahamas, Hispaniola, Cuba and the Turks and Caicos Islands. Most sightings in southern Florida are usually considered to be escapees, although at least one bird banded as a chick in the Yucatán Peninsula has been sighted in Everglades National Park, and others may be genuine wanderers from Cuba. Its preferred habitats are similar to that of its relatives: saline lagoons, mudflats, and shallow brackish coastal or inland lakes. Like all flamingos, it lays a single chalky white egg on a mud mound, between May and August; incubation until hatching takes from 28 to 32 days; both parents brood the young for a period of up to 6 years when they reach sexual maturity. Their life expectancy of 40 years is one of the longest in birds. The American Flamingo is 120–140 cm (47–55 in) in length; males weigh 2.8 kg (6.2 lb) and females 2.2 kg (4.9 lb) kg. Most of its plumage is pink, giving rise to its earlier name of Rosy Flamingo and differentiating adults from the much paler Greater Flamingo. The wing coverts are red, and the primary and secondary flight feathers are black. It is the only flamingo which naturally inhabits North America. The bill is pink and white with a restricted black tip, and the legs are entirely pink. The call is a goose-like honking.

 

Floreana (Cormorant Point)

Located approximately 4 to 5 hours west of Española and equal distance south of Santa Cruz, this island has long been a favorite site of visitors including pirates, whalers and early settlers. One of the oldest islands Floreana illustrates the aging process of a volcanic island. Unlike the younger western islands, Floreana's volcano has been long extinct and is in the advanced stages of erosion. The erosion process gave the island the nutrients and soils need to sustain plant life. The combination of this rich soil and a good water supply have given the highlands of Floreana a diversified landscaping of native and introduced flora. Floreana is best known for its colorful history of buccaneers, whalers, convicts, and colonists. In 1793 British whalers established the Post Office Barrel to send letters to and from England. This tradition has continued over the years, and even today visitors may drop off and pick up letters, without stamps, to be carried to far destinations. Punta Cormorant offers two highly contrasting beaches. The landing beach is of volcanic origin and is composed of olivine crystals, giving it a greenish tinge. At the end of the short trail is a carbonate beach of extremely fine white sand. Formed by the erosion of coral skeletons, it is a nesting site for green sea turtles. In the 1930's Floreana was the setting for intrigue and mystery. A German dentist and his mistress, a young family (the Wittmer family who still live on the island) and a self-styled baroness with three men came to settle in the island. Shortly after the baroness and her lovers arrived chaos began. The baroness and her entourage terrorized the other inhabitants while planning to build a luxury hotel. Eventually the baroness, two of her lovers and the dentist all turned up missing or dead. There has been much investigation searching for what really happened on Floreana, but there have never been any hard answers. John Treherne wrote of these people in "The Galapagos Affair". The visit to Punta Cormorant offers two contrasting beaches. Arriving on shore you will encounter a green sand beach (the green sand is caused by the olivine crystals derived silicates or magnesium and iron) from here you will follow the trail leading to a lagoon where pink flamingoes and other shore birds can be seen in the distance making their home. Looking into the mud of the lagoon there appears to be 'cracks' in the mud. These cracks are not caused from dryness but are actually the footpaths of flamingos. This is also a good spot for seeing large-billed flycatchers, small-ground finch, medium-ground finch or cactus finch. The walk continues to another beach on the other side made of fine white sand particles known as "Flour Beach". In the waters ghost crabs and rays can be seen swimming.

 

Galapagos Islands

The Galápagos Islands (official name: Archipiélago de Colón; other Spanish names: Islas de Colón or Islas Galápagos) are an archipelago of volcanic islands distributed around the equator in the Pacific Ocean, some 900 km west of Ecuador. It is a UNESCO World Heritage site: wildlife is its most notable feature. Because of the only very recent arrival of man the majority of the wildlife has no fear of humans and will allow visitors to walk right up them, often having to step over Iguanas or Sea Lions.The Galápagos islands and its surrounding waters are part of a province, a national park, and a biological marine reserve. The principal language on the islands is Spanish. The islands have a population of around 40,000, which is a 40-fold expansion in 50 years. The islands are geologically young and famed for their vast number of endemic species, which were studied by Charles Darwin during the voyage of the Beagle. His observations and collections contributed to the inception of Darwin's theory of evolution by natural selection.

When I said on my uploads that getting into Tilmanstone was a bugbear, how then to describe my frustration about St Anthony, as this is a church I see each time we travel up or down the Alkham valley to Folkestone.

 

St Anthony sits on a bluff overlooking the village and the main road, and so seems impressively tall. But up close, one finds the tower to appear short and squat.

 

I had driven over from Tilmanstone, I had decided to give Eythorne a miss as I really wanted to make sure I got to Alkham and the next church on the list, Acrise, before the day faded and I would lose the chance for another year.

 

Parking in the village is problematic, so I leave the car opposite the village hall beside the cricket pitch, which now looks like it would be perfect for a few overs. How different from the late winter, when the Drellingore was in full flood and the pitch was under a good foot of water, and houses down the hill had water bubbling up between the plants in their gardens borders.

 

And looking at the Drellingore itself, reveals it to be the dried up bed it always was, with just the occasional pool of still wet mud showing where once the torrent flowed.

 

It is quite a steep climb back to the main road and then along to the old village pub, The Marquess of Granby, now sadly rebranded as a gastropub and called simply "The Marquess".

 

Up beside the pub, past a pretty row of cottages and into the churchyard. My, I was puffing well, but after stopping to take a shot of the outside of the church, I walk to the porch to find both the outer and inner doors open, and the interior glowing with sunlight refracted by Victorian stained glass.

 

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

 

Picturesquely situated on a quiet bluff high above the main road, the simple flint exterior of Alkham church hides a remarkable surprise. From the south the building looks little different to many others in the region, but inside it immediately presents its trump card - a north aisle/chapel built in the thirteenth century which contains the finest blank wall arcading in any Kent church. This should be compared with the contemporary chancel arcading at Cooling and Woodchurch - in each designed to emphasise the importance of the (recently rebuilt) chancel. Here it served an altogether different purpose, competing with the nearby commandery of the Knights Hospitallers at Swingfield. At the west end of the nave, filling the tower arch, is a rather heavy but fine, wooden nineteenth century screen. The east window contains some fine nineteenth century glass. West tower, nave, chancel, north aisle, south porch

 

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

 

ALKHAM is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Dover.

 

The church, which is dedicated to St. Anthony the Martyr, is a handsome building, consisting of three isles and two chancels, having a tower steeple, with a low pointed turret on it, in which hang three bells. The north isle is shut out by boarding from the rest of the church, and made no use of at present, to which the school now kept in the chancel might be removed, and have no kind of communication with that part of the church appropriated for divine service, which would prevent that unseemly and indecent resort which it is at present subject to. In the chancel are several memorials for the Slaters, lessees of the parsonage; and on the south side, against the wall, is an antient tomb of Bethersden marble.

 

The church of Alkham, with the chapel of Mauregge, or Capell as it is now called, belonging to it, was given by Hamon de Crevequer to the abbot and convent of St. Radigund, together with the advowson of it, to hold in free, pure, and perpetual alms. It was appropriated to that abbey about the 43d year of king Henry III. anno 1258, and was afterwards, anno 8 Richard II. valued among the temporalities of the abbey at fourteen pounds. In which state this church and advowson remained till the dissolution of the abbey, which happened in the 27th year of king Henry VIII. when it was suppressed by the act of that year, as being under the clear yearly value of two hundred pounds, and their lands and possessions given to the king, who granted the scite of it, with the whole of its possessions, that year, to archbishop Cranmer, in exchange for other lands, who in the same year exchanged them back again with the king, being enabled so to do by an act then specially passed for that purpose; but in the deed of exchange, among other exceptions, was that of all churches and advowsons of vicarages; by virtue of which, the appropriation of the church of Alkham, together with the advowson of the vicarage, remained part of the possessions of the see of Canterbury, as they do at this time, his grace the archbishop of Canterbury being now entitled to them.

 

The vicarage of Alkham, with the chapel of Ferne, alias Capell, annexed to it, is valued in the king's books at eleven pounds, and the yearly tenths at Il.2s. per annum. (fn. 4) It is now of the clear yearly certified value of 53l. 9s. 6d. In 1588 here were communicants eighty; in 1640 it was valued at sixty pounds. The vicar of it is inducted into the vicarage of Alkham, with the chapel of Capell le Ferne, alias St.Mary le Merge, annexed to it. There are three acres of glebe land belonging to the vicarage.

 

The great tithes of Evering ward, in this parish and Swingfield ward, part of the parsonage of Alkham, are held of the archbishop for three lives, at the yearly rent of 1l. 6s. 8d. and the parsonage for twenty-one years, at the yearly rent of twelve pounds.

 

www.british-history.ac.uk/report.aspx?compid=63469

When I said on my uploads that getting into Tilmanstone was a bugbear, how then to describe my frustration about St Anthony, as this is a church I see each time we travel up or down the Alkham valley to Folkestone.

 

St Anthony sits on a bluff overlooking the village and the main road, and so seems impressively tall. But up close, one finds the tower to appear short and squat.

 

I had driven over from Tilmanstone, I had decided to give Eythorne a miss as I really wanted to make sure I got to Alkham and the next church on the list, Acrise, before the day faded and I would lose the chance for another year.

 

Parking in the village is problematic, so I leave the car opposite the village hall beside the cricket pitch, which now looks like it would be perfect for a few overs. How different from the late winter, when the Drellingore was in full flood and the pitch was under a good foot of water, and houses down the hill had water bubbling up between the plants in their gardens borders.

 

And looking at the Drellingore itself, reveals it to be the dried up bed it always was, with just the occasional pool of still wet mud showing where once the torrent flowed.

 

It is quite a steep climb back to the main road and then along to the old village pub, The Marquess of Granby, now sadly rebranded as a gastropub and called simply "The Marquess".

 

Up beside the pub, past a pretty row of cottages and into the churchyard. My, I was puffing well, but after stopping to take a shot of the outside of the church, I walk to the porch to find both the outer and inner doors open, and the interior glowing with sunlight refracted by Victorian stained glass.

 

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

 

Picturesquely situated on a quiet bluff high above the main road, the simple flint exterior of Alkham church hides a remarkable surprise. From the south the building looks little different to many others in the region, but inside it immediately presents its trump card - a north aisle/chapel built in the thirteenth century which contains the finest blank wall arcading in any Kent church. This should be compared with the contemporary chancel arcading at Cooling and Woodchurch - in each designed to emphasise the importance of the (recently rebuilt) chancel. Here it served an altogether different purpose, competing with the nearby commandery of the Knights Hospitallers at Swingfield. At the west end of the nave, filling the tower arch, is a rather heavy but fine, wooden nineteenth century screen. The east window contains some fine nineteenth century glass. West tower, nave, chancel, north aisle, south porch

 

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

 

ALKHAM is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Dover.

 

The church, which is dedicated to St. Anthony the Martyr, is a handsome building, consisting of three isles and two chancels, having a tower steeple, with a low pointed turret on it, in which hang three bells. The north isle is shut out by boarding from the rest of the church, and made no use of at present, to which the school now kept in the chancel might be removed, and have no kind of communication with that part of the church appropriated for divine service, which would prevent that unseemly and indecent resort which it is at present subject to. In the chancel are several memorials for the Slaters, lessees of the parsonage; and on the south side, against the wall, is an antient tomb of Bethersden marble.

 

The church of Alkham, with the chapel of Mauregge, or Capell as it is now called, belonging to it, was given by Hamon de Crevequer to the abbot and convent of St. Radigund, together with the advowson of it, to hold in free, pure, and perpetual alms. It was appropriated to that abbey about the 43d year of king Henry III. anno 1258, and was afterwards, anno 8 Richard II. valued among the temporalities of the abbey at fourteen pounds. In which state this church and advowson remained till the dissolution of the abbey, which happened in the 27th year of king Henry VIII. when it was suppressed by the act of that year, as being under the clear yearly value of two hundred pounds, and their lands and possessions given to the king, who granted the scite of it, with the whole of its possessions, that year, to archbishop Cranmer, in exchange for other lands, who in the same year exchanged them back again with the king, being enabled so to do by an act then specially passed for that purpose; but in the deed of exchange, among other exceptions, was that of all churches and advowsons of vicarages; by virtue of which, the appropriation of the church of Alkham, together with the advowson of the vicarage, remained part of the possessions of the see of Canterbury, as they do at this time, his grace the archbishop of Canterbury being now entitled to them.

 

The vicarage of Alkham, with the chapel of Ferne, alias Capell, annexed to it, is valued in the king's books at eleven pounds, and the yearly tenths at Il.2s. per annum. (fn. 4) It is now of the clear yearly certified value of 53l. 9s. 6d. In 1588 here were communicants eighty; in 1640 it was valued at sixty pounds. The vicar of it is inducted into the vicarage of Alkham, with the chapel of Capell le Ferne, alias St.Mary le Merge, annexed to it. There are three acres of glebe land belonging to the vicarage.

 

The great tithes of Evering ward, in this parish and Swingfield ward, part of the parsonage of Alkham, are held of the archbishop for three lives, at the yearly rent of 1l. 6s. 8d. and the parsonage for twenty-one years, at the yearly rent of twelve pounds.

 

www.british-history.ac.uk/report.aspx?compid=63469

When I said on my uploads that getting into Tilmanstone was a bugbear, how then to describe my frustration about St Anthony, as this is a church I see each time we travel up or down the Alkham valley to Folkestone.

 

St Anthony sits on a bluff overlooking the village and the main road, and so seems impressively tall. But up close, one finds the tower to appear short and squat.

 

I had driven over from Tilmanstone, I had decided to give Eythorne a miss as I really wanted to make sure I got to Alkham and the next church on the list, Acrise, before the day faded and I would lose the chance for another year.

 

Parking in the village is problematic, so I leave the car opposite the village hall beside the cricket pitch, which now looks like it would be perfect for a few overs. How different from the late winter, when the Drellingore was in full flood and the pitch was under a good foot of water, and houses down the hill had water bubbling up between the plants in their gardens borders.

 

And looking at the Drellingore itself, reveals it to be the dried up bed it always was, with just the occasional pool of still wet mud showing where once the torrent flowed.

 

It is quite a steep climb back to the main road and then along to the old village pub, The Marquess of Granby, now sadly rebranded as a gastropub and called simply "The Marquess".

 

Up beside the pub, past a pretty row of cottages and into the churchyard. My, I was puffing well, but after stopping to take a shot of the outside of the church, I walk to the porch to find both the outer and inner doors open, and the interior glowing with sunlight refracted by Victorian stained glass.

 

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

 

Picturesquely situated on a quiet bluff high above the main road, the simple flint exterior of Alkham church hides a remarkable surprise. From the south the building looks little different to many others in the region, but inside it immediately presents its trump card - a north aisle/chapel built in the thirteenth century which contains the finest blank wall arcading in any Kent church. This should be compared with the contemporary chancel arcading at Cooling and Woodchurch - in each designed to emphasise the importance of the (recently rebuilt) chancel. Here it served an altogether different purpose, competing with the nearby commandery of the Knights Hospitallers at Swingfield. At the west end of the nave, filling the tower arch, is a rather heavy but fine, wooden nineteenth century screen. The east window contains some fine nineteenth century glass. West tower, nave, chancel, north aisle, south porch

 

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

 

ALKHAM is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Dover.

 

The church, which is dedicated to St. Anthony the Martyr, is a handsome building, consisting of three isles and two chancels, having a tower steeple, with a low pointed turret on it, in which hang three bells. The north isle is shut out by boarding from the rest of the church, and made no use of at present, to which the school now kept in the chancel might be removed, and have no kind of communication with that part of the church appropriated for divine service, which would prevent that unseemly and indecent resort which it is at present subject to. In the chancel are several memorials for the Slaters, lessees of the parsonage; and on the south side, against the wall, is an antient tomb of Bethersden marble.

 

The church of Alkham, with the chapel of Mauregge, or Capell as it is now called, belonging to it, was given by Hamon de Crevequer to the abbot and convent of St. Radigund, together with the advowson of it, to hold in free, pure, and perpetual alms. It was appropriated to that abbey about the 43d year of king Henry III. anno 1258, and was afterwards, anno 8 Richard II. valued among the temporalities of the abbey at fourteen pounds. In which state this church and advowson remained till the dissolution of the abbey, which happened in the 27th year of king Henry VIII. when it was suppressed by the act of that year, as being under the clear yearly value of two hundred pounds, and their lands and possessions given to the king, who granted the scite of it, with the whole of its possessions, that year, to archbishop Cranmer, in exchange for other lands, who in the same year exchanged them back again with the king, being enabled so to do by an act then specially passed for that purpose; but in the deed of exchange, among other exceptions, was that of all churches and advowsons of vicarages; by virtue of which, the appropriation of the church of Alkham, together with the advowson of the vicarage, remained part of the possessions of the see of Canterbury, as they do at this time, his grace the archbishop of Canterbury being now entitled to them.

 

The vicarage of Alkham, with the chapel of Ferne, alias Capell, annexed to it, is valued in the king's books at eleven pounds, and the yearly tenths at Il.2s. per annum. (fn. 4) It is now of the clear yearly certified value of 53l. 9s. 6d. In 1588 here were communicants eighty; in 1640 it was valued at sixty pounds. The vicar of it is inducted into the vicarage of Alkham, with the chapel of Capell le Ferne, alias St.Mary le Merge, annexed to it. There are three acres of glebe land belonging to the vicarage.

 

The great tithes of Evering ward, in this parish and Swingfield ward, part of the parsonage of Alkham, are held of the archbishop for three lives, at the yearly rent of 1l. 6s. 8d. and the parsonage for twenty-one years, at the yearly rent of twelve pounds.

 

www.british-history.ac.uk/report.aspx?compid=63469

Pride and Prejudice: on Raphael Perez's Artwork

 

Raphael Perez, born in 1965, studied art at the College of Visual Arts in Beer Sheva, and from 1995 has been living and working in his studio in Tel Aviv. Today Perez plays an important role in actively promoting the LGBT (lesbian, gay, bisexual and transsexual) art and culture in Tel Aviv, and the internet portal he set up helps artists from the community reach large audiences in Israel and abroad. Hundreds of his artworks are part of private collections in Israel and abroad, and his artworks were shown in several group exhibitions: in Tel Aviv Museum of Art, "Zman Le'Omanut" art gallery, Camera Obscura, The Open House in Jerusalem, Ophir Gallery, The Haifa Forum and other private businesses and galleries.

In 2003-4 his paintings and studio appeared in a full-length movie, three student films and two graduation films.

 

Raphael Perez is the first Israeli artist to express his lifestyle as a Gay. His life and the life of the LGBT community are connected and unfold over hundreds of artwork pieces. His art creation is rare and extraordinary by every Israeli and international artistic standard. His sources of inspiration are first and foremost life events intertwined in Jewish and Israeli locality as well as influences and quotes from art history (David Hockney, Matisse). This uniqueness has crossed international borders and has succeeded in moving the LGBT and art communities around the world.

 

This is the first time we meet an Israeli artist who expresses all of his emotions in a previously unknown strength. The subjects of the paintings are the everyday life of couples in everyday places and situations, along with the aspiration to a homosexual relationship and family, equality and public recognition. Perez's works bring forward to the cultural space and to the public discourse the truth about living as LGBT and about relationships, with all of their aspects – casual relationships and sex, the yearning for love, the everyday life and the mundane activities that exist in every romantic relationship – whether by describing two men in an intimate scene in the bathroom, the bedroom or the toilet, a male couple raising a baby or the homosexual version of the Garden of Eden, family dinners, relationship ups and downs, the complexity in sharing a life as well as mundane, everyday life competing with the aspiration to self realization – through Perez's life.

  

Perez's first artworks are personal diaries, which he creates at 14 years of age. He makes sure to hide these diaries, as in them he keeps a personal journal describing his life events in the most genuine way. In these journals he draws thousands of drawings and sketches, next to which he alternately writes and erases his so-called "problematic texts", texts describing his struggle with his sexual orientation. His diaries are filled with obsessive cataloging of details, daily actions, friends and work, as well as repeating themes, such as thoughts, exhibits he has seen, movies, television, books and review of his work.

 

When he is done writing, Perez draws on his diaries. Each layer is done from beginning to end all along the journal. In fact, the work on the diaries never ends.

This struggle never ends, and when the emotion is passed on to paper, and it ends its role and becomes meaningless in a way, the visual-graphic side becomes dominant, due to the need to hide the written text, according to Perez. In books and diaries this stands out even more – when he chooses to draw in a style influenced by children's drawings, the characters are cheerful, happy, naïve and do not portray any sexuality, and when he tries drawing as an adult the sketches became more depressed and somber. During these years Perez works with preschool children, teaching them drawing and movement games. Perez says that during this period he completely abandoned the search for a relationship, either with a woman or a man, and working with children has given him existential meaning. This creation continues over 10 years, and Perez creates about 60 books-personal journals in various sizes (notepads, old notebooks, atlases and even old art books).

 

In his early paintings (1998-1999) the transition from relationships with women to relationships with men can be seen, from restraint to emotional outburst in color, lines and composition. Some characters display strong emotional expression. The women are usually drawn in restraint and passiveness, while a happy and loving emotional outburst is expressed in the colors and style of the male paintings.

 

"I fantasized that in a relationship with a woman I could fly in the sky, love, fly. However, I felt I was hiding something; I was choked up, hidden behind a mask, as if there was an internal scream wanting to come out. I was frustrated, I felt threatened…"

 

His first romance with a man in 1999 has drawn out a series of naïve paintings dealing with love and the excitement of performing everyday actions together in the intimate domestic environment.

 

"The excitement from each everyday experience of doing things together and the togetherness was great, so I painted every possible thing I liked doing with him."

 

From the moment the self-oppression and repression stopped, Perez started the process of healing, which was expressed in a burst of artworks, enormous in their size, amount, content and vivid colors – red, pink and white.

 

In 2000 Perez starts painting the huge artworks describing the hangouts of the LGBT community (The Lake, The Pool) and the Tel Avivian balcony paintings describing the masculine world, which, according to him, becomes existent thanks to the painting. Perez has dedicated this year to many series of drawings and paintings of the experience of love, in which he describes his first love for his new partner, and during these months he paints from morning to night. These paintings are the fruit of a long dialogue with David Hockney, and the similarity can be seen both in subjects and in different gestures.

 

In 2001 Perez creates a series of artworks, "Portraits from The Community". Perez describes in large, photorealistic paintings over 20 portraits of active and well-known members of the LGBT community. The emphasis is on the achievements that reflect the community's strong standing in Tel Aviv.

As a Tel-Avivian painter, in the past two years Perez has been painting urban landscapes of central locations in his city. Perez wanders around the city and chooses familiar architectural and geographical landmarks, commerce and recreation, and historical sites, and paints them from a homosexual point of view, decorated with the rainbow flag, which provide a sense of belonging to the place. His artworks are characterized by a cheerful joie de vivre and colors, and they also describe encounters and meetings. The touristic nature of his paintings makes them a declaration of Tel Aviv's image as a place where cultural freedom prevails.

Perez's Tel Aviv is a city where young families and couples live and fill the streets, the parks, the beach, the houses and the balconies – all the city's spaces. The characters in his paintings are similar, which helps reinforcing the belonging to the LGBT community in Tel Aviv. The collective theme in Perez's artwork interacts with the work of the Israeli artist Yohanan Simon, who dealt with the social aspects of the Kibbutz. Simon, who lived and worked in a Kibbutz, expressed the human model of the Kibbutznik (member of a Kibbutz) and the uniqueness of the Kibbutz members as part of a group where all are equal. Simon's works, and now Perez's, have contributed to the Israeli society what is has been looking for endlessly, which is a sense of identity and belonging.

Perez maps his territory and marks his boundaries, and does not forget the historical sites. Unlike other Tel Avivian artists, Perez wishes to present the lives of the residents of the city and the great love in their hearts. By choosing the historical sites in Tel Aviv, he also pays tribute to the artist Nachum Gutman, who loved the city and lived in it his whole life. In his childhood Gutman experienced historical moments (lighting the first oil lamp, first concert, first pavement), and as an adult he recreated the uniqueness of those events while keeping the city's magic.

Like Gutman, Perez has also turned the city into an object of love, and it has started adorning itself in rich colors and supplying the energy of a city that wishes to be "the city that never sleeps", combining old and new. Perez meticulously describes the uniqueness and style of the Bauhaus houses and balconies along the modern glass and steel buildings, all from unusual angles in a rectangular format that wishes to imitate the panorama of a diverse city in its centennial celebrations.

 

Daniel Cahana-Levensohn, curator.

   

Interview with the painter Raphael Perez about his family artist book

An interview with the painter Raphael Perez about an artist's book he created about his family, the Peretz family from 6 Nissan St. Kiryat Yuval Jerusalem

  

Question: Raphael Perez, tell me about the family artist book you created

Answer: I created close to 40 artist books, notebooks, diaries, sketch books and huge books. I dedicated one of the books to my dear family, a book in which I took a childhood photograph of my family, my parents and brothers and sisters.. I pasted the photographs inside a book (the photograph is 10 percent of the total painting) and I drew with acrylic paints, markers and ink on the book and the photograph, so that the image of the photograph was an inspiration to me Build the story that includes page by page..

  

Question: Tell me when you were born, where, and a little about your family

Answer: I was born on March 4, 1965 in the Kiryat Yuval neighborhood in Jerusalem

I have a twin brother named Miki Peretz and we are seven brothers and sisters, five boys and two girls

 

Question: Tell us a little about your parents

Answer: My parents were new immigrants from Morocco, both immigrated young.

My mother's name before the wedding was Alice - Aliza ben Yair and my father's name was Shimon Peretz,

My mother was born in the Atlas Mountains and was orphaned at a young age and was later adopted by my father's family at the age of 10, so that my mother and father spent childhood and adolescence together....

They had a beautiful and happy relationship but sometimes when they argued my mother would say "even when she was a child she was like that..." This means that their acquaintance and relationship dates back to childhood..

  

Question: What did your parents Shimon and Aliza Peretz work for?

Answer: My father, Shimon Perez, born in 1928 - worked in a building in his youth and then for thirty years worked as a receptionist at Hadassah Ein Kerem Hospital in Jerusalem... My father's great love was actually art, he loved to draw as a hobby, write, read, solve crossword puzzles and research Regarding the issue of medicinal plants, as a breadwinner he could not fulfill his dream of becoming an artist, in order to support and feed seven children. But we are the next generation, his children are engaged in the world of creativity and education, a field in which both of my parents were engaged during their lives. My father died at the age of 69

 

My mother, Alice Aliza Perez, born in 1934, worked as an assistant to a kindergarten teacher, and later took care of a baby at home. She is a woman of wholehearted giving and caring for children and people, a warm, generous and humble woman.. and took care of us in our childhood for every emotional and physical deficiency.. My mother is right For the year 2023, the 89-year-old is partly happy and happy despite the difficulties of age.. May you have a long life..

 

My mother really loved gardening and nature and both of them together created a magnificent garden, my parents have a relatively large garden so they could grow many types of special and rare medicinal plants and my father even wrote a catalog (unpublished) of medicinal plants and we even had botany students come to us who were interested in the field... today they They also grow ornamental plants, and fruit trees...

 

Question: A book about the brothers and sisters

Answer: My elder brother David Perez repented in his mid-twenties.. He was a very sharp, opinionated, curious and very charismatic guy who brought many people back to repentance, and also helped people with problems through the yeshiva and the synagogue to return to the normal path of life, he died young at the age of 56

 

Hana Peretz: My lovely sister, raised eight children, worked in the field of education, a kindergarten teacher, and child care.

She has a very large extended family of grandchildren, great-grandchildren and great-great-grandchildren...

 

My brother Avi (Abraham) Peretz studied in Israel at the University of Philosophy and Judaism, he married a wonderful woman named Mira Drumi, a nurse by profession, and together they had three wonderful children, when they moved to the United States in their mid-twenties, where my brother Avi Peretz completed his master's degree in education, worked in the field Education and for the last twenty years is A conservative rabbi

 

The fourth brother is Asher Peretz - a great man of the world, very fond of traveling and has been to magical places all over the world, engaged in the creation of jewelry with two children.

 

I am Rafi Peretz english raphael perez the fifth and after fifteen minutes my twin brother was born

My mother still gets confused and can't remember who was born first :-)

 

My twin brother Miki micky - Michael Peretz, a beloved brother (everyone is beloved), a talented industrial designer, he has three children, his wife Revital Peretz Ben, who is a well-known art curator, active and responsible for the art field in Tel Aviv, they are a dynamic and talented couple, full of talents and action

 

The lovely little sister Shlomit Peretz - has been involved in the Bezeq telephone company for almost three decades, and is there in management positions, raising her lovely and beloved child.

  

The art book I dedicated to my family is colorful, rich in details, shows a very intense childhood, happy, cheerful, colorful, ... We were taught to be diligent and to be happy in our part and to see the glass half full in life, to have emotional intelligence and to put the relationship and love at the center with self-fulfillment in work that will interest you us and you will give us satisfaction.

 

Each of us is different in our life decisions and my family is actually a mosaic of the State of Israel that includes both religious and secular people from the entire political spectrum who understand that the secret to unity is mutual respect for each other... when my mother these days is also the family glue in everyone's gatherings on Shabbat and holidays..

 

The personification of the flower couple paintings by the Israeli painter Raphael Perez

Raphael Perez, also known as Rafi Peretz, is an Israeli painter who

explores his personal and sexual identity through his flower paintings. He created a series of flower paintings from 1995 to 1998, when he was in his early thirties and still in relationships with women, despite feeling gay. His flower paintings reflect his emotional turmoil and his struggle with his sexual orientation. He painted two flowers, one blooming and one wilting, to represent the contrast and conflict between his heterosexual relationships and his true self. He also painted single flowers or two flowers in their prime, to express his longing for a harmonious relationship that matches his nature. He chose sunflowers, white lilies, and red lilies as symbols of expression, purity, and joy, respectively. He painted from real flowers, using different styles and light to create drama and mood. Perez’s paintings of the flower couples are minimalist and focused on the theme of the complex relationship. He omitted any background or context, leaving only the canvas and the drawing of the flower couples. In some of the paintings, he added a very airy abstract surface with thin oil paints that give an atmosphere of watercolors. He also made drawings of flowers in ink, markers and gouache on paper. Later on, he created large acrylic paintings of flowers and still life. Perez’s flower paintings are not mere illustrations or decorations. They are autobiographical and psychological expressions of his inner state and his struggle with his sexuality. He wanted to reveal his loneliness, distress and concealment through these paintings, and to connect with people who are in a similar situation. He deliberately chose only two flowers and no more to intensify the engagement in the charged and complex relationship. Perez also painted and drew couples of men and women with charged psychological states, as well as states of desire for connection and realization of a heterosexual relationship that did not succeed. He used hyperrealism and expressive styles to convey his frozen and calculated state, as well as his mental stress. He used harsh lighting to create contrast and drama, with one side very bright and the other side darker. Perez was influenced by some of the famous artists who painted flowers, such as Van Gogh, who also used sunflowers as a symbol of expression. He also used white lilies and red lilies to convey freshness, cleanliness, purity, color, joy, movement, eruption, and splendor. Perez also painted some single flowers or two flowers in their prime, to show his aspiration for a future where he will have a harmonious relationship. Today, he is 58 years old and in a happy relationship for 10 years with his partner Assaf Henigsberg. He is surrounded by female friends and soulmates and not conflicted with heterosexual relationships as he used to be. He occasionally paints flowers in pots to symbolize home, stability, and peace. Sometimes I paint flowers in pots, which represent home, stability, and solid ground for me. I don’t paint just a couple of flowers, but pots full of flowers that overflow with life. This means that we also have a supportive network of family, friends, and peers around us. We live in a rich, supportive, and protective world. These paintings are a personification of my psychological state, when I had no words to express my feelings to myself. The painting began In 35 years of my creation (starting in 1998), you can read more about how my art and style evolved over time. Perez’s flower paintings are a unique and extraordinary artistic creation that reveals his personal journey and his sexual identity. His work is honest, expressive, and emotional, as well as beautiful and vibrant.

 

The characteristics of the naive painting of the painter Raphael Perez

A full interview with the Israeli painter Raphael Perez (Hebrew name: Rafi Peretz) about the ideas behind the naive painting, resume, personal biography and curriculum vitae Question: Raphael Perez Tell us about your work process as a naive painter? Answer: I choose the most iconic and famous buildings in every city and town that are architecturally interesting and have a special shape and place the iconic buildings on boulevards full of trees, bushes, vegetation, flowers. Question: How do you give depth in your naive paintings? Answer: To give depth to the painting, I build the painting with layers of vegetation, after those low famous buildings, followed by a tall avenue of trees, and behind them towers and skyscrapers, in the sky I sometimes put innocent signs of balloons, kites. A recurring motif in some of my paintings is the figure of the painter who is in the center of the boulevard and paints the entire scene unfolding in front of him, also there are two kindergarten teachers who are walking with the kindergarten children with the state flags that I paint, and loving couples hugging and kissing and family paintings of mother, father and child walking in harmony on the boulevard. Question: Raphael Perez, what characterizes your naive painting? Answer: Most naive paintings have the same characteristics (Definition as it appears in Wikipedia) • Tells a simple story to absorb from everyday life, usually with humans. • The representation of the painter's idealization to reality - the mapping of reality. • Failure to maintain perspective - especially details even in distant details. • Extensive use of repeating patterns - many details. • Warm and bright colors. • Sometimes the emphasis is on outlines. • Most of the characters are flat, lack volume • No interest in texture, expression, correct proportions • No interest in anatomy. • There is not much use of light and shade, the colors create a three-dimensional effect. I find these definitions to be valid for all my naive paintings Question: Raphael Perez, why do you choose the city of Tel Aviv? Answer: I was born in Jerusalem, the capital city which I love very much and also paint, I love the special Bauhaus buildings in Tel Aviv, the ornamental buildings that were built a century ago in the 1920s and 1930s, the beautiful boulevards, towers and modern skyscrapers give you the feeling of the hustle and bustle of a large metropolis and there are quite a few low and tall buildings that are architecturally fascinating in their form the special one Also, the move to Tel Aviv, which is the capital of culture, freedom, and secularism, allowed me to live my life as I chose, to live in a relationship with a man, Jerusalem, which is a traditional city, it is more complicated to live a homosexual life, also, the art world takes place mainly in the city of Tel Aviv, and it is possible that from a professional point of view, this allows I can support myself better in Tel Aviv than in any other city in Israel. Question: Raphael Perez, are the paintings of the city of Tel Aviv different from the paintings of the city of Jerusalem? Answer: Most of the paintings of Jerusalem have an emphasis on the color yellow, gold, the color of the old city walls, the subjects I painted in Jerusalem are mainly a type of idealization of a peaceful life between Jews and Arabs and paintings that deal with the Jewish religious world, a number of paintings depict all shades of the currents of Judaism today In contrast, the Tel Aviv paintings are more colorful, with skyscrapers, the sea, balloons and more secular motifs Question: Raphael Perez, tell me about which buildings and their architects you usually choose in your drawings of cities Answer: My favorite buildings are those that have a special shape that anyone can recognize and are the symbols of the city and you will give several examples: In the city of Tel Aviv, my favorite buildings are: the opera building with its unusual geometric shape, the Yisrotel tower with its special head, the Hail Bo Shalom tower that for years was the symbol of the tallest building in Tel Aviv, the Levin house that looks like a Japanese pagoda, the burgundy-colored Nordeau hotel with the special dome at the end of the building, A pair of Alon towers with the special structure of the sea, Bauhaus buildings typical of Tel Aviv with the special balconies and the special staircase, the Yaakov Agam fountain in Dizengoff square appears in a large part of the paintings, many towers that are in the stock exchange complex, the Aviv towers and other tall buildings on Ayalon, in some of the paintings I took plans An outline of future buildings that need to be built in the city and I drew them even before they were built in reality, In the paintings of Jerusalem, I mainly chose the area of the Old City and East Jerusalem, a painting of the walls of the Old City, the Western Wall, the Church of the Holy Sepulcher, the El Akchea Mosque, the Tower of David, most of the famous churches in the city, the right hand of Moses, in most of the paintings the Jew is wearing a blue shirt with a red male cord I was in the youth movement and the Arab with a galabia, and in the paintings of the religious public then, Jews with black suits and white shirts, tallitas, kippahs, special hats, synagogues and more I also created three paintings of the city of Haifa and one painting of Safed In the Haifa paintings I drew the university, the Technion, the famous Egged Tower, the Sail Tower, well-known hotels, of course the Baha'i Gardens and the Baha'i Temple, Haifa Port and the boats and other famous buildings in the city Question: Raphael Perez, have you created series of other cities from around the world? Answer: I created series of New York City with all the iconic and famous buildings such as: the Guggenheim Museum, the famous skyscrapers - the Chrysler Building, the Empire State Building, Lincoln Center, the famous synagogue in the city, the Statue of Liberty, the flags of the United States and other famous buildings Two paintings of London and all its famous sites, Big Ben, famous monuments, the Ferris wheel, Queen Elizabeth and her family, the double bus, the famous public telephone, palaces, famous churches, well-known monuments I created 4 naive paintings of cities in China, a painting of Shanghai, two paintings of the city of Suzhou and a painting of the World Park in the city of Beijing... I chose the famous skyline of Shanghai with all the famous towers, the famous promenade, temples and old buildings, two Paintings of the city of Suzhou with the famous canals, bridges, special gardens, towers and skyscrapers of the city Question: Raphael Perez What is the general idea that accompanies your paintings Answer: To create a good, beautiful, naive, innocent world in which we will see the innovation of the modern city through the skyscrapers in front of small and low buildings that bring the history and past of each country, all with an abundance of vegetation, boulevards, trees Resume, biography, CV of the painter Rafi Peretz and his family Question: When was Raphael Perez born in hebrew his name rafi peretz? Answer: Raphael Perez in Hebrew his name Rafi Peretz was born on March 4, 1965 Question: Where was Raphael Perez born? Answer: Raphael Perez was born in Jerusalem, Israel Question: What is the full name of Raphael Perez? Answer: His full name is Raphael Perez Question: Which art institution did Raphael Perez graduate from? Answer: Raphael Perez graduated from the Visual Arts Center in Be'er Sheva Question: When did Raphael Perez start painting? Answer: Raphael Perez started painting in 1989 Question: When did you start making a living selling art? Answer: Raphael Perez started making a living selling art in 1999 Question: Where does Raphael Perez live and work? Answer: Since 1995, Raphael Perez has been living and working from his studio in Tel Aviv Question: In which military framework did Raphael Perez serve in the IDF? Answer: Raphael Perez served in the artillery corps Question: Raphael Perez, what jobs did he work after his military service? Answer: Raphael Perez worked for 15 years in education in therapeutic settings for children and taught arts and movement Question: How many brothers and sisters does Raphael Perez, the Israeli painter, have? Answer: There are seven children in total, with the painter 5 sons and two daughters, that means the painter Raphael Perez has 4 more brothers and two sisters Question: What do the brothers and sisters of the painter Raphael Perez do? Answer: The elder brother David Peretz Perez was involved in the field of religious studies, the sister Hana Peretz Perez is involved in the field of education, a kindergarten teacher and child care, the brother Avi Peretz Perez who is in the United States today is a conservative rabbi but in the past was involved in education and therapy, the brother Asher Peretz Perez is involved in the fields of creativity and jewelry The twin brother Mickey Peretz Perez is a well-known industrial designer and seller. The younger sister Shlomit Peretz Perez works in a managerial position at Bezeq. Question: Tell me about the parents of the painter Raphael PerezAnswer: The painter Raphael Perez's parents are Shimon Perez Peretz and Eliza Alice Ben Yair, they were married in 1950 in Jerusalem, both were born in Morocco and immigrated to Israel in 1949, Shimon Peretz worked in a building in his youth and later as a receptionist at the Hadassah Ein Kerem Hospital, Eliza Alice Peretz dealt in child care Kindergarten, working in kindergartens and of course taking care of and raising her seven children

Getting through the Reeds too this little guy , was a little problematic hence the title.

 

Latin name

 

Acrocephalus scirpaceus

 

Family

 

Warblers and allies (Sylviidae)

 

Overview

 

The reed warbler is a plain unstreaked warbler. It is warm brown above and buff coloured underneath. It is a summer visitor to breed in the UK, with the largest concentrations in East Anglia and along the south coast - there are relatively few breeding in Scotland and Ireland. It winters in Africa.

 

Where to see them

 

In the summer, can be looked for in reedbeds in lowland central and southern England and Wales - it is rarer elsewhere. Sings from within the reedbed rather than from a perch, so often heard rather than seen.

 

When to see them

 

Mid-April to early October.

 

What they eat

 

Insects; berries in autumn

  

Pride and Prejudice: on Raphael Perez's Artwork

 

Raphael Perez, born in 1965, studied art at the College of Visual Arts in Beer Sheva, and from 1995 has been living and working in his studio in Tel Aviv. Today Perez plays an important role in actively promoting the LGBT (lesbian, gay, bisexual and transsexual) art and culture in Tel Aviv, and the internet portal he set up helps artists from the community reach large audiences in Israel and abroad. Hundreds of his artworks are part of private collections in Israel and abroad, and his artworks were shown in several group exhibitions: in Tel Aviv Museum of Art, "Zman Le'Omanut" art gallery, Camera Obscura, The Open House in Jerusalem, Ophir Gallery, The Haifa Forum and other private businesses and galleries.

In 2003-4 his paintings and studio appeared in a full-length movie, three student films and two graduation films.

 

Raphael Perez is the first Israeli artist to express his lifestyle as a Gay. His life and the life of the LGBT community are connected and unfold over hundreds of artwork pieces. His art creation is rare and extraordinary by every Israeli and international artistic standard. His sources of inspiration are first and foremost life events intertwined in Jewish and Israeli locality as well as influences and quotes from art history (David Hockney, Matisse). This uniqueness has crossed international borders and has succeeded in moving the LGBT and art communities around the world.

 

This is the first time we meet an Israeli artist who expresses all of his emotions in a previously unknown strength. The subjects of the paintings are the everyday life of couples in everyday places and situations, along with the aspiration to a homosexual relationship and family, equality and public recognition. Perez's works bring forward to the cultural space and to the public discourse the truth about living as LGBT and about relationships, with all of their aspects – casual relationships and sex, the yearning for love, the everyday life and the mundane activities that exist in every romantic relationship – whether by describing two men in an intimate scene in the bathroom, the bedroom or the toilet, a male couple raising a baby or the homosexual version of the Garden of Eden, family dinners, relationship ups and downs, the complexity in sharing a life as well as mundane, everyday life competing with the aspiration to self realization – through Perez's life.

  

Perez's first artworks are personal diaries, which he creates at 14 years of age. He makes sure to hide these diaries, as in them he keeps a personal journal describing his life events in the most genuine way. In these journals he draws thousands of drawings and sketches, next to which he alternately writes and erases his so-called "problematic texts", texts describing his struggle with his sexual orientation. His diaries are filled with obsessive cataloging of details, daily actions, friends and work, as well as repeating themes, such as thoughts, exhibits he has seen, movies, television, books and review of his work.

 

When he is done writing, Perez draws on his diaries. Each layer is done from beginning to end all along the journal. In fact, the work on the diaries never ends.

This struggle never ends, and when the emotion is passed on to paper, and it ends its role and becomes meaningless in a way, the visual-graphic side becomes dominant, due to the need to hide the written text, according to Perez. In books and diaries this stands out even more – when he chooses to draw in a style influenced by children's drawings, the characters are cheerful, happy, naïve and do not portray any sexuality, and when he tries drawing as an adult the sketches became more depressed and somber. During these years Perez works with preschool children, teaching them drawing and movement games. Perez says that during this period he completely abandoned the search for a relationship, either with a woman or a man, and working with children has given him existential meaning. This creation continues over 10 years, and Perez creates about 60 books-personal journals in various sizes (notepads, old notebooks, atlases and even old art books).

 

In his early paintings (1998-1999) the transition from relationships with women to relationships with men can be seen, from restraint to emotional outburst in color, lines and composition. Some characters display strong emotional expression. The women are usually drawn in restraint and passiveness, while a happy and loving emotional outburst is expressed in the colors and style of the male paintings.

 

"I fantasized that in a relationship with a woman I could fly in the sky, love, fly. However, I felt I was hiding something; I was choked up, hidden behind a mask, as if there was an internal scream wanting to come out. I was frustrated, I felt threatened…"

 

His first romance with a man in 1999 has drawn out a series of naïve paintings dealing with love and the excitement of performing everyday actions together in the intimate domestic environment.

 

"The excitement from each everyday experience of doing things together and the togetherness was great, so I painted every possible thing I liked doing with him."

 

From the moment the self-oppression and repression stopped, Perez started the process of healing, which was expressed in a burst of artworks, enormous in their size, amount, content and vivid colors – red, pink and white.

 

In 2000 Perez starts painting the huge artworks describing the hangouts of the LGBT community (The Lake, The Pool) and the Tel Avivian balcony paintings describing the masculine world, which, according to him, becomes existent thanks to the painting. Perez has dedicated this year to many series of drawings and paintings of the experience of love, in which he describes his first love for his new partner, and during these months he paints from morning to night. These paintings are the fruit of a long dialogue with David Hockney, and the similarity can be seen both in subjects and in different gestures.

 

In 2001 Perez creates a series of artworks, "Portraits from The Community". Perez describes in large, photorealistic paintings over 20 portraits of active and well-known members of the LGBT community. The emphasis is on the achievements that reflect the community's strong standing in Tel Aviv.

As a Tel-Avivian painter, in the past two years Perez has been painting urban landscapes of central locations in his city. Perez wanders around the city and chooses familiar architectural and geographical landmarks, commerce and recreation, and historical sites, and paints them from a homosexual point of view, decorated with the rainbow flag, which provide a sense of belonging to the place. His artworks are characterized by a cheerful joie de vivre and colors, and they also describe encounters and meetings. The touristic nature of his paintings makes them a declaration of Tel Aviv's image as a place where cultural freedom prevails.

Perez's Tel Aviv is a city where young families and couples live and fill the streets, the parks, the beach, the houses and the balconies – all the city's spaces. The characters in his paintings are similar, which helps reinforcing the belonging to the LGBT community in Tel Aviv. The collective theme in Perez's artwork interacts with the work of the Israeli artist Yohanan Simon, who dealt with the social aspects of the Kibbutz. Simon, who lived and worked in a Kibbutz, expressed the human model of the Kibbutznik (member of a Kibbutz) and the uniqueness of the Kibbutz members as part of a group where all are equal. Simon's works, and now Perez's, have contributed to the Israeli society what is has been looking for endlessly, which is a sense of identity and belonging.

Perez maps his territory and marks his boundaries, and does not forget the historical sites. Unlike other Tel Avivian artists, Perez wishes to present the lives of the residents of the city and the great love in their hearts. By choosing the historical sites in Tel Aviv, he also pays tribute to the artist Nachum Gutman, who loved the city and lived in it his whole life. In his childhood Gutman experienced historical moments (lighting the first oil lamp, first concert, first pavement), and as an adult he recreated the uniqueness of those events while keeping the city's magic.

Like Gutman, Perez has also turned the city into an object of love, and it has started adorning itself in rich colors and supplying the energy of a city that wishes to be "the city that never sleeps", combining old and new. Perez meticulously describes the uniqueness and style of the Bauhaus houses and balconies along the modern glass and steel buildings, all from unusual angles in a rectangular format that wishes to imitate the panorama of a diverse city in its centennial celebrations.

 

Daniel Cahana-Levensohn, curator.

   

Interview with the painter Raphael Perez about his family artist book

An interview with the painter Raphael Perez about an artist's book he created about his family, the Peretz family from 6 Nissan St. Kiryat Yuval Jerusalem

  

Question: Raphael Perez, tell me about the family artist book you created

Answer: I created close to 40 artist books, notebooks, diaries, sketch books and huge books. I dedicated one of the books to my dear family, a book in which I took a childhood photograph of my family, my parents and brothers and sisters.. I pasted the photographs inside a book (the photograph is 10 percent of the total painting) and I drew with acrylic paints, markers and ink on the book and the photograph, so that the image of the photograph was an inspiration to me Build the story that includes page by page..

  

Question: Tell me when you were born, where, and a little about your family

Answer: I was born on March 4, 1965 in the Kiryat Yuval neighborhood in Jerusalem

I have a twin brother named Miki Peretz and we are seven brothers and sisters, five boys and two girls

 

Question: Tell us a little about your parents

Answer: My parents were new immigrants from Morocco, both immigrated young.

My mother's name before the wedding was Alice - Aliza ben Yair and my father's name was Shimon Peretz,

My mother was born in the Atlas Mountains and was orphaned at a young age and was later adopted by my father's family at the age of 10, so that my mother and father spent childhood and adolescence together....

They had a beautiful and happy relationship but sometimes when they argued my mother would say "even when she was a child she was like that..." This means that their acquaintance and relationship dates back to childhood..

  

Question: What did your parents Shimon and Aliza Peretz work for?

Answer: My father, Shimon Perez, born in 1928 - worked in a building in his youth and then for thirty years worked as a receptionist at Hadassah Ein Kerem Hospital in Jerusalem... My father's great love was actually art, he loved to draw as a hobby, write, read, solve crossword puzzles and research Regarding the issue of medicinal plants, as a breadwinner he could not fulfill his dream of becoming an artist, in order to support and feed seven children. But we are the next generation, his children are engaged in the world of creativity and education, a field in which both of my parents were engaged during their lives. My father died at the age of 69

 

My mother, Alice Aliza Perez, born in 1934, worked as an assistant to a kindergarten teacher, and later took care of a baby at home. She is a woman of wholehearted giving and caring for children and people, a warm, generous and humble woman.. and took care of us in our childhood for every emotional and physical deficiency.. My mother is right For the year 2023, the 89-year-old is partly happy and happy despite the difficulties of age.. May you have a long life..

 

My mother really loved gardening and nature and both of them together created a magnificent garden, my parents have a relatively large garden so they could grow many types of special and rare medicinal plants and my father even wrote a catalog (unpublished) of medicinal plants and we even had botany students come to us who were interested in the field... today they They also grow ornamental plants, and fruit trees...

 

Question: A book about the brothers and sisters

Answer: My elder brother David Perez repented in his mid-twenties.. He was a very sharp, opinionated, curious and very charismatic guy who brought many people back to repentance, and also helped people with problems through the yeshiva and the synagogue to return to the normal path of life, he died young at the age of 56

 

Hana Peretz: My lovely sister, raised eight children, worked in the field of education, a kindergarten teacher, and child care.

She has a very large extended family of grandchildren, great-grandchildren and great-great-grandchildren...

 

My brother Avi (Abraham) Peretz studied in Israel at the University of Philosophy and Judaism, he married a wonderful woman named Mira Drumi, a nurse by profession, and together they had three wonderful children, when they moved to the United States in their mid-twenties, where my brother Avi Peretz completed his master's degree in education, worked in the field Education and for the last twenty years is A conservative rabbi

 

The fourth brother is Asher Peretz - a great man of the world, very fond of traveling and has been to magical places all over the world, engaged in the creation of jewelry with two children.

 

I am Rafi Peretz english raphael perez the fifth and after fifteen minutes my twin brother was born

My mother still gets confused and can't remember who was born first :-)

 

My twin brother Miki micky - Michael Peretz, a beloved brother (everyone is beloved), a talented industrial designer, he has three children, his wife Revital Peretz Ben, who is a well-known art curator, active and responsible for the art field in Tel Aviv, they are a dynamic and talented couple, full of talents and action

 

The lovely little sister Shlomit Peretz - has been involved in the Bezeq telephone company for almost three decades, and is there in management positions, raising her lovely and beloved child.

  

The art book I dedicated to my family is colorful, rich in details, shows a very intense childhood, happy, cheerful, colorful, ... We were taught to be diligent and to be happy in our part and to see the glass half full in life, to have emotional intelligence and to put the relationship and love at the center with self-fulfillment in work that will interest you us and you will give us satisfaction.

 

Each of us is different in our life decisions and my family is actually a mosaic of the State of Israel that includes both religious and secular people from the entire political spectrum who understand that the secret to unity is mutual respect for each other... when my mother these days is also the family glue in everyone's gatherings on Shabbat and holidays..

 

The personification of the flower couple paintings by the Israeli painter Raphael Perez

Raphael Perez, also known as Rafi Peretz, is an Israeli painter who

explores his personal and sexual identity through his flower paintings. He created a series of flower paintings from 1995 to 1998, when he was in his early thirties and still in relationships with women, despite feeling gay. His flower paintings reflect his emotional turmoil and his struggle with his sexual orientation. He painted two flowers, one blooming and one wilting, to represent the contrast and conflict between his heterosexual relationships and his true self. He also painted single flowers or two flowers in their prime, to express his longing for a harmonious relationship that matches his nature. He chose sunflowers, white lilies, and red lilies as symbols of expression, purity, and joy, respectively. He painted from real flowers, using different styles and light to create drama and mood. Perez’s paintings of the flower couples are minimalist and focused on the theme of the complex relationship. He omitted any background or context, leaving only the canvas and the drawing of the flower couples. In some of the paintings, he added a very airy abstract surface with thin oil paints that give an atmosphere of watercolors. He also made drawings of flowers in ink, markers and gouache on paper. Later on, he created large acrylic paintings of flowers and still life. Perez’s flower paintings are not mere illustrations or decorations. They are autobiographical and psychological expressions of his inner state and his struggle with his sexuality. He wanted to reveal his loneliness, distress and concealment through these paintings, and to connect with people who are in a similar situation. He deliberately chose only two flowers and no more to intensify the engagement in the charged and complex relationship. Perez also painted and drew couples of men and women with charged psychological states, as well as states of desire for connection and realization of a heterosexual relationship that did not succeed. He used hyperrealism and expressive styles to convey his frozen and calculated state, as well as his mental stress. He used harsh lighting to create contrast and drama, with one side very bright and the other side darker. Perez was influenced by some of the famous artists who painted flowers, such as Van Gogh, who also used sunflowers as a symbol of expression. He also used white lilies and red lilies to convey freshness, cleanliness, purity, color, joy, movement, eruption, and splendor. Perez also painted some single flowers or two flowers in their prime, to show his aspiration for a future where he will have a harmonious relationship. Today, he is 58 years old and in a happy relationship for 10 years with his partner Assaf Henigsberg. He is surrounded by female friends and soulmates and not conflicted with heterosexual relationships as he used to be. He occasionally paints flowers in pots to symbolize home, stability, and peace. Sometimes I paint flowers in pots, which represent home, stability, and solid ground for me. I don’t paint just a couple of flowers, but pots full of flowers that overflow with life. This means that we also have a supportive network of family, friends, and peers around us. We live in a rich, supportive, and protective world. These paintings are a personification of my psychological state, when I had no words to express my feelings to myself. The painting began In 35 years of my creation (starting in 1998), you can read more about how my art and style evolved over time. Perez’s flower paintings are a unique and extraordinary artistic creation that reveals his personal journey and his sexual identity. His work is honest, expressive, and emotional, as well as beautiful and vibrant.

 

The characteristics of the naive painting of the painter Raphael Perez

A full interview with the Israeli painter Raphael Perez (Hebrew name: Rafi Peretz) about the ideas behind the naive painting, resume, personal biography and curriculum vitae Question: Raphael Perez Tell us about your work process as a naive painter? Answer: I choose the most iconic and famous buildings in every city and town that are architecturally interesting and have a special shape and place the iconic buildings on boulevards full of trees, bushes, vegetation, flowers. Question: How do you give depth in your naive paintings? Answer: To give depth to the painting, I build the painting with layers of vegetation, after those low famous buildings, followed by a tall avenue of trees, and behind them towers and skyscrapers, in the sky I sometimes put innocent signs of balloons, kites. A recurring motif in some of my paintings is the figure of the painter who is in the center of the boulevard and paints the entire scene unfolding in front of him, also there are two kindergarten teachers who are walking with the kindergarten children with the state flags that I paint, and loving couples hugging and kissing and family paintings of mother, father and child walking in harmony on the boulevard. Question: Raphael Perez, what characterizes your naive painting? Answer: Most naive paintings have the same characteristics (Definition as it appears in Wikipedia) • Tells a simple story to absorb from everyday life, usually with humans. • The representation of the painter's idealization to reality - the mapping of reality. • Failure to maintain perspective - especially details even in distant details. • Extensive use of repeating patterns - many details. • Warm and bright colors. • Sometimes the emphasis is on outlines. • Most of the characters are flat, lack volume • No interest in texture, expression, correct proportions • No interest in anatomy. • There is not much use of light and shade, the colors create a three-dimensional effect. I find these definitions to be valid for all my naive paintings Question: Raphael Perez, why do you choose the city of Tel Aviv? Answer: I was born in Jerusalem, the capital city which I love very much and also paint, I love the special Bauhaus buildings in Tel Aviv, the ornamental buildings that were built a century ago in the 1920s and 1930s, the beautiful boulevards, towers and modern skyscrapers give you the feeling of the hustle and bustle of a large metropolis and there are quite a few low and tall buildings that are architecturally fascinating in their form the special one Also, the move to Tel Aviv, which is the capital of culture, freedom, and secularism, allowed me to live my life as I chose, to live in a relationship with a man, Jerusalem, which is a traditional city, it is more complicated to live a homosexual life, also, the art world takes place mainly in the city of Tel Aviv, and it is possible that from a professional point of view, this allows I can support myself better in Tel Aviv than in any other city in Israel. Question: Raphael Perez, are the paintings of the city of Tel Aviv different from the paintings of the city of Jerusalem? Answer: Most of the paintings of Jerusalem have an emphasis on the color yellow, gold, the color of the old city walls, the subjects I painted in Jerusalem are mainly a type of idealization of a peaceful life between Jews and Arabs and paintings that deal with the Jewish religious world, a number of paintings depict all shades of the currents of Judaism today In contrast, the Tel Aviv paintings are more colorful, with skyscrapers, the sea, balloons and more secular motifs Question: Raphael Perez, tell me about which buildings and their architects you usually choose in your drawings of cities Answer: My favorite buildings are those that have a special shape that anyone can recognize and are the symbols of the city and you will give several examples: In the city of Tel Aviv, my favorite buildings are: the opera building with its unusual geometric shape, the Yisrotel tower with its special head, the Hail Bo Shalom tower that for years was the symbol of the tallest building in Tel Aviv, the Levin house that looks like a Japanese pagoda, the burgundy-colored Nordeau hotel with the special dome at the end of the building, A pair of Alon towers with the special structure of the sea, Bauhaus buildings typical of Tel Aviv with the special balconies and the special staircase, the Yaakov Agam fountain in Dizengoff square appears in a large part of the paintings, many towers that are in the stock exchange complex, the Aviv towers and other tall buildings on Ayalon, in some of the paintings I took plans An outline of future buildings that need to be built in the city and I drew them even before they were built in reality, In the paintings of Jerusalem, I mainly chose the area of the Old City and East Jerusalem, a painting of the walls of the Old City, the Western Wall, the Church of the Holy Sepulcher, the El Akchea Mosque, the Tower of David, most of the famous churches in the city, the right hand of Moses, in most of the paintings the Jew is wearing a blue shirt with a red male cord I was in the youth movement and the Arab with a galabia, and in the paintings of the religious public then, Jews with black suits and white shirts, tallitas, kippahs, special hats, synagogues and more I also created three paintings of the city of Haifa and one painting of Safed In the Haifa paintings I drew the university, the Technion, the famous Egged Tower, the Sail Tower, well-known hotels, of course the Baha'i Gardens and the Baha'i Temple, Haifa Port and the boats and other famous buildings in the city Question: Raphael Perez, have you created series of other cities from around the world? Answer: I created series of New York City with all the iconic and famous buildings such as: the Guggenheim Museum, the famous skyscrapers - the Chrysler Building, the Empire State Building, Lincoln Center, the famous synagogue in the city, the Statue of Liberty, the flags of the United States and other famous buildings Two paintings of London and all its famous sites, Big Ben, famous monuments, the Ferris wheel, Queen Elizabeth and her family, the double bus, the famous public telephone, palaces, famous churches, well-known monuments I created 4 naive paintings of cities in China, a painting of Shanghai, two paintings of the city of Suzhou and a painting of the World Park in the city of Beijing... I chose the famous skyline of Shanghai with all the famous towers, the famous promenade, temples and old buildings, two Paintings of the city of Suzhou with the famous canals, bridges, special gardens, towers and skyscrapers of the city Question: Raphael Perez What is the general idea that accompanies your paintings Answer: To create a good, beautiful, naive, innocent world in which we will see the innovation of the modern city through the skyscrapers in front of small and low buildings that bring the history and past of each country, all with an abundance of vegetation, boulevards, trees Resume, biography, CV of the painter Rafi Peretz and his family Question: When was Raphael Perez born in hebrew his name rafi peretz? Answer: Raphael Perez in Hebrew his name Rafi Peretz was born on March 4, 1965 Question: Where was Raphael Perez born? Answer: Raphael Perez was born in Jerusalem, Israel Question: What is the full name of Raphael Perez? Answer: His full name is Raphael Perez Question: Which art institution did Raphael Perez graduate from? Answer: Raphael Perez graduated from the Visual Arts Center in Be'er Sheva Question: When did Raphael Perez start painting? Answer: Raphael Perez started painting in 1989 Question: When did you start making a living selling art? Answer: Raphael Perez started making a living selling art in 1999 Question: Where does Raphael Perez live and work? Answer: Since 1995, Raphael Perez has been living and working from his studio in Tel Aviv Question: In which military framework did Raphael Perez serve in the IDF? Answer: Raphael Perez served in the artillery corps Question: Raphael Perez, what jobs did he work after his military service? Answer: Raphael Perez worked for 15 years in education in therapeutic settings for children and taught arts and movement Question: How many brothers and sisters does Raphael Perez, the Israeli painter, have? Answer: There are seven children in total, with the painter 5 sons and two daughters, that means the painter Raphael Perez has 4 more brothers and two sisters Question: What do the brothers and sisters of the painter Raphael Perez do? Answer: The elder brother David Peretz Perez was involved in the field of religious studies, the sister Hana Peretz Perez is involved in the field of education, a kindergarten teacher and child care, the brother Avi Peretz Perez who is in the United States today is a conservative rabbi but in the past was involved in education and therapy, the brother Asher Peretz Perez is involved in the fields of creativity and jewelry The twin brother Mickey Peretz Perez is a well-known industrial designer and seller. The younger sister Shlomit Peretz Perez works in a managerial position at Bezeq. Question: Tell me about the parents of the painter Raphael PerezAnswer: The painter Raphael Perez's parents are Shimon Perez Peretz and Eliza Alice Ben Yair, they were married in 1950 in Jerusalem, both were born in Morocco and immigrated to Israel in 1949, Shimon Peretz worked in a building in his youth and later as a receptionist at the Hadassah Ein Kerem Hospital, Eliza Alice Peretz dealt in child care Kindergarten, working in kindergartens and of course taking care of and raising her seven children

Went out this morning to check over some potential sites for rapseed/sunrise images. I should have got up earlier really. Had to crop this one 1:1 due to lens flare creeping in to the right of this image (always seems to be more problematic with my 50mm when shooting into the sun).

 

Canon EOS7D with 50mm f/1.4 prime. Lee 0.9ND grad.

 

exposure: 1/6 sec @ f/22 (ISO:100)

  

Church of Holy Trinity

Tomb of Sir Roger († after 1395) and Margaret († 1350?) de Boys, Alabaster.

 

The monument was long problematic, since Blomefield reported a now missing inscription requesting the viewer to pray for the souls of Roger de Bois and Lady Margaret, whose death he recorded as 1300, Sir Roger, and 1315, Lady Margaret. Pevsner noted that in style the monument belonged not to the early 1300s but to the end of the century. Recent research by Sally Badham has unravelled the confusion. She used the British Library manuscript Harleian MS 906 fol. 197 verso to establish that Sir Roger was descended from John de Boys and his wife Eustace Sandbie of Coningsby and that his wife died in 1365. There is no record of his death, suggesting that he was not a landowner in East Anglia, but since he was mentioned in other records it must have been sometime after 1394. With the old dates it was unclear why they had such a prominent tomb in the nave. Sir Roger, an otherwise obscure knight, was mentioned in the document of 1355 establishing the Church of the Holy Trinity as a chantry chapel and a priory for the Trinitarian order with. Those for whose souls the priests were to pray included, King Edward III, Sir Oliver and Lady Elizabeth Ingham, the relatives and parents of Sir Miles Stapleton, including his sister, the deceased Lady Catherine Boys and her husband John de Boys, Dame Margaret Honing. Sir roger’s wife, was not included.

 

The now sadly worn (and vandalised) tomb chest is set at the east end of the south aisle, originally guarded by railings, set into holes drilled into the base. Its position at the head of the nave would have made it opposite the altar in the chapel of St Mary, destroyed in 1799, an extension to the south east corner of the nave. The tomb is built around a pillar, which once supported the image of a saint, to whom Sir Roger de Boys would have looked. The figures lie side by side, now without their arms and with the detail of their costumes difficult to make out. The notes in the church suggest, on the basis of an analysis of the traces of colour, that she wore a heraldic dress. From the position of the stumps of their arms it is has been argued that they were represented holding hands, rather than in prayer. Sir Roger de Boys rests his head on a Saracen’s helmet, complete with decapitated head, perhaps sign that, as suggested below, he had been a crusader. His wife’s is set on two pillows, where a faint painted pattern can still be made out. His sword is missing but there is a hole on his right side where it was probably fixed. His statue has been convincingly compared with that a distinguished warrior knight, Sir Guy de Brian †1390, in Tewkesbury Abbey. They share the detail of the moustache, fashionably poking over the chain mail of his helmet. The figures are like caricatures, with his barrel chest and her extreme height (she must be about seven foot) and thinness, a sign of breeding (then as now) for those who could, as Professor Sandy Heslop has argued, ostensibly afford expensive food.

 

The base is decorated with (now blank) coats of arms set in quatrefoils and flanked by niches filled with angels, whose wings can just be made out (with some traces of colour). On the north they turn slightly to the door, a movement that culminates in the wider niche facing the entrance. Here the couple’s devotion to the Trinity, the church’s dedication, is shown in the panel. Two angels hold up their souls besides the Trinity, represented by the seated God the Father. He held a now lost crucifix with the dead Christ, supported by the (also missing) Dove of the Holy Ghost. The scheme also occurred in a roundel decorating the splendid and nearly contemporary brass memorial Sir Hugh Hastings (†1347) at Elsing.

 

Sir Roger de Boys was granted letters of attorney when travelling abroad between 1361-67 and again in the 1370s. At least one of these trips coincided with the crusade to capture Alexandria, called by Peter de Lusignan, King of Cyprus, in 1365, and the letters granting him permission to travel mention other crusader knights. That his death was not recorded may have been because he was not a land owner, although in 1378, together with his brother, he had given the Priory property in Worstead and Scottow. The family were established in Honing and Rollesby by the early years of the fifteenth century and their involvement with the church continued, since the arms on the tower (rebuilt in the 1450s), recorded by Blomefield, included Stapleton impaled with Boys.

  

Francis Blomefield, ‘House of Trinitarian canons: The priory of Ingham', A History of the County of Norfolk: Volume 2 (1906), pp. 410-412 corrected by Sally Badham 'Beautiful Remains of Antiquity': The Medieval Monuments in the Former Trinitarian Priory Church at Ingham Norfolk. Part 2: the High Tombs. CHURCH MONUMENTS VOLUME XXII 2007, esp. pp. 23-43; Sir Richard Le Scrope, edited Samuel Bentley, London 1832, De Controversia in Curia Militari Inter Ricardum Le Scrope Et Robertum Grosvenor Milites: Rege Ricardo Secundo, MCCCLXXXV-MCCCXC E Recordis in Turre Londinensi Asservatis, p. 220, googlebooks, accessed 03/08/15

 

A Flamingo in one of the salty pools of Floreana

 

Flamingo

The American Flamingo (Phoenicopterus ruber) is a large species of flamingo closely related to the Greater Flamingo and Chilean Flamingo. It has also been known as the Caribbean Flamingo, but the species' presence in the Galápagos makes that name problematic. The American Flamingo breeds in the Galápagos Islands, coastal Colombia and Venezuela and nearby islands, the Yucatán Peninsula of Mexico, and in the northern Caribbean in the Bahamas, Hispaniola, Cuba and the Turks and Caicos Islands. Most sightings in southern Florida are usually considered to be escapees, although at least one bird banded as a chick in the Yucatán Peninsula has been sighted in Everglades National Park, and others may be genuine wanderers from Cuba. Its preferred habitats are similar to that of its relatives: saline lagoons, mudflats, and shallow brackish coastal or inland lakes. Like all flamingos, it lays a single chalky white egg on a mud mound, between May and August; incubation until hatching takes from 28 to 32 days; both parents brood the young for a period of up to 6 years when they reach sexual maturity. Their life expectancy of 40 years is one of the longest in birds. The American Flamingo is 120–140 cm (47–55 in) in length; males weigh 2.8 kg (6.2 lb) and females 2.2 kg (4.9 lb) kg. Most of its plumage is pink, giving rise to its earlier name of Rosy Flamingo and differentiating adults from the much paler Greater Flamingo. The wing coverts are red, and the primary and secondary flight feathers are black. It is the only flamingo which naturally inhabits North America. The bill is pink and white with a restricted black tip, and the legs are entirely pink. The call is a goose-like honking.

 

Floreana (Cormorant Point)

Located approximately 4 to 5 hours west of Española and equal distance south of Santa Cruz, this island has long been a favorite site of visitors including pirates, whalers and early settlers. One of the oldest islands Floreana illustrates the aging process of a volcanic island. Unlike the younger western islands, Floreana's volcano has been long extinct and is in the advanced stages of erosion. The erosion process gave the island the nutrients and soils need to sustain plant life. The combination of this rich soil and a good water supply have given the highlands of Floreana a diversified landscaping of native and introduced flora. Floreana is best known for its colorful history of buccaneers, whalers, convicts, and colonists. In 1793 British whalers established the Post Office Barrel to send letters to and from England. This tradition has continued over the years, and even today visitors may drop off and pick up letters, without stamps, to be carried to far destinations. Punta Cormorant offers two highly contrasting beaches. The landing beach is of volcanic origin and is composed of olivine crystals, giving it a greenish tinge. At the end of the short trail is a carbonate beach of extremely fine white sand. Formed by the erosion of coral skeletons, it is a nesting site for green sea turtles. In the 1930's Floreana was the setting for intrigue and mystery. A German dentist and his mistress, a young family (the Wittmer family who still live on the island) and a self-styled baroness with three men came to settle in the island. Shortly after the baroness and her lovers arrived chaos began. The baroness and her entourage terrorized the other inhabitants while planning to build a luxury hotel. Eventually the baroness, two of her lovers and the dentist all turned up missing or dead. There has been much investigation searching for what really happened on Floreana, but there have never been any hard answers. John Treherne wrote of these people in "The Galapagos Affair". The visit to Punta Cormorant offers two contrasting beaches. Arriving on shore you will encounter a green sand beach (the green sand is caused by the olivine crystals derived silicates or magnesium and iron) from here you will follow the trail leading to a lagoon where pink flamingoes and other shore birds can be seen in the distance making their home. Looking into the mud of the lagoon there appears to be 'cracks' in the mud. These cracks are not caused from dryness but are actually the footpaths of flamingos. This is also a good spot for seeing large-billed flycatchers, small-ground finch, medium-ground finch or cactus finch. The walk continues to another beach on the other side made of fine white sand particles known as "Flour Beach". In the waters ghost crabs and rays can be seen swimming.

 

Galapagos Islands

The Galápagos Islands (official name: Archipiélago de Colón; other Spanish names: Islas de Colón or Islas Galápagos) are an archipelago of volcanic islands distributed around the equator in the Pacific Ocean, some 900 km west of Ecuador. It is a UNESCO World Heritage site: wildlife is its most notable feature. Because of the only very recent arrival of man the majority of the wildlife has no fear of humans and will allow visitors to walk right up them, often having to step over Iguanas or Sea Lions.The Galápagos islands and its surrounding waters are part of a province, a national park, and a biological marine reserve. The principal language on the islands is Spanish. The islands have a population of around 40,000, which is a 40-fold expansion in 50 years. The islands are geologically young and famed for their vast number of endemic species, which were studied by Charles Darwin during the voyage of the Beagle. His observations and collections contributed to the inception of Darwin's theory of evolution by natural selection.

We made our annual trip to London in November. We travel down by coach from Slaithwaite and stay at The Cumberland Hotel at Marble Arch. It’s actually a weekend ladies shopping trip that is run as a fundraiser for Slaithwaite Brass Band – I’m the only bloke that goes every year! We decided ( the two of us) to stay down in London until Thursday this time as we wanted to see weekday London and be able to explore a bit further afield on foot. We covered up to 16 miles a day, which is tough going on crowded pavements with hundreds of busy roads to cross. I photographed anything that looked interesting but I bent a contact in the CF card slot, fortunately I had quite a few SD cards with me and the 5D has dual slots so I was able to carry on using it. It’s currently at Lehmann’s getting fixed.

 

With it being close to Christmas the decorations are up everywhere so there was plenty of colour at night. In Hyde Park the Winter Wonderland was in full swing, we’ve never bothered going to it before but I went twice at night this time. It is massive this year, I couldn’t get over how big it is and the quality of some of the attractions. The cost and effort involved must be phenomenal – it was quite expensive though. It was very difficult to photograph, with extremes of light (LED’s) and darkness and fast moving rides into the bargain. I think I have some decent usable stuff but at the time of writing I am only part way through the editing process so I don’t know for sure.

 

We set off at around 8.15 am every day and stayed out for at least 12 hours. The weather was poor for a day and a half with drizzle and very dull grey conditions, fortunately we had some pleasant weather (and light) along the way as well. Being based at the end of Oxford Street – Europe’s busiest shopping street – meant that I did quite a bit of night shooting on there. Although I carried a tripod everywhere I only used it once and that was during the day! Because there is always a moving element in almost every shot it seemed pointless using a tripod. I would have got some shots free of movement – or I could have gone for ultra-long exposures to eliminate people and traffic but it would have been problematic I felt. In the end I wound the ISO up and hand held – fingers crossed.

 

We walked out to Camden Market and Locks but it had been raining and we were a bit early as many were only just setting up for the day. We tried to follow routes that we hadn’t used before and visit new places. We paid a fortune to get in St Pauls but you can’t use cameras. This something that I fail to see the point of, ban flash if you want but if you are going to encourage tourism why ban cameras when there is nothing in particular happening in there. It’s a rule that seems to be applied arbitrarily in cities around the world. Fortunately we could take photos from the outside of the dome, which was real reason for visiting, and we had some great light. Expensive compared with a couple of euros in some famous cathedrals. I’ve wanted to walk to Canary Wharf for a number of years and this year we did. We crisscrossed the Thames a few times and tried to follow the Thames path at other times. We covered around ten miles but it was an interesting day. It was also very quiet for the last four or five miles. We got there about 12.00 and managed to get a sandwich in a café in the shopping centre at the foot of the high rise office blocks before tens of thousands of office workers descended from above. It was mayhem, packed, with snaking queues for anywhere that sold food. We crossed to the other side of The Isle of Dogs and looked across to the O2 Arena and the cable car, unfortunately there isn’t a way across for pedestrians and it was around 3.00 pm. With darkness falling at around 4.30 we decide it was too late to bother. We made our way back to the Thames Clipper pier to check the sailing times. They sail every twenty minutes so we had a couple of glasses of wine and a rest before catching the Clipper. Sailing on the Thames was a first in 15 trips to London. The Clipper is fast and smooth, the lights had come on in the city and there was a fantastic moon rise. It was nigh on impossible to get good shots at the speed we were traveling though and there were times that I wished I could be suspended motionless above the boat. Again, hopefully I will have some usable shots.

 

We felt that the shopping streets were a little quieter, following the Paris massacre it was to be expected, I might be wrong as we were out and about at later times than previous trips. I think I have heard that footfall is down though. It was good to get into some of the quieter backstreets and conversely to be stuck in the city business district – The Square Mile- at home time. A mass exodus of people running and speed walking to bus stops and the rail and tube stations. It was difficult to move against or across the flow of bodies rushing home.

 

Whilst the Northern(manufacturing) economy is collapsing, London is a giant development site, it must be the tower crane capital of Europe at the moment. It was difficult to take a shot of any landmark free of cranes, it was easier to make the cranes a feature of the photo. It’s easy to see where the wealth is concentrated – not that there was ever any doubt about it. The morons with too much money are still driving their Lambo’s and Ferraris etc. like clowns in streets that are packed with cars , cyclists and pedestrians, accelerating viciously and noisily for 50 yards. They are just sad attention seekers. From Battersea to Canary Wharf we walked the Thames Embankment, the difference between high and low tide on the river is massive, but the water was the colour of mud – brown! Not very attractive in colour. We caught a Virgin Train from Kings Cross for £14.00 each – a bargain!. We had quite a bit of time to kill around midday at Kings Cross so I checked with security that I was OK to wander around taking photos, without fear of getting jumped by armed security, and set off to photograph the station and St Pancras International Station across the road. I haven’t even looked at the results as I type this but I’ll find out if they are any good shortly. Talking of security, following Paris, there was certainly plenty of private security at most attractions, I don’t know if it was terrorism related though, I can’t say I noticed an increased police presence on the streets. It took us three hours and five minutes from Kings Cross to being back home, not bad for a journey of 200 miles. I can’t imagine that spending countless billions on HS2 or HS3 is going to make a meaningful (cost effective) difference to our journey. Improving what we have, a little faster, would be good. There are some bumpy bits along the route for a mainline and Wakefield to Huddersfield is the equivalent of a cart track – and takes over 30 minutes – it’s only a stone’s throw. Time to get back to editing.

 

Beautiful they are, but they present some very problematic issues when flying.

A Flamingo in one of the salty pools of Floreana

 

Flamingo

The American Flamingo (Phoenicopterus ruber) is a large species of flamingo closely related to the Greater Flamingo and Chilean Flamingo. It has also been known as the Caribbean Flamingo, but the species' presence in the Galápagos makes that name problematic. The American Flamingo breeds in the Galápagos Islands, coastal Colombia and Venezuela and nearby islands, the Yucatán Peninsula of Mexico, and in the northern Caribbean in the Bahamas, Hispaniola, Cuba and the Turks and Caicos Islands. Most sightings in southern Florida are usually considered to be escapees, although at least one bird banded as a chick in the Yucatán Peninsula has been sighted in Everglades National Park, and others may be genuine wanderers from Cuba. Its preferred habitats are similar to that of its relatives: saline lagoons, mudflats, and shallow brackish coastal or inland lakes. Like all flamingos, it lays a single chalky white egg on a mud mound, between May and August; incubation until hatching takes from 28 to 32 days; both parents brood the young for a period of up to 6 years when they reach sexual maturity. Their life expectancy of 40 years is one of the longest in birds. The American Flamingo is 120–140 cm (47–55 in) in length; males weigh 2.8 kg (6.2 lb) and females 2.2 kg (4.9 lb) kg. Most of its plumage is pink, giving rise to its earlier name of Rosy Flamingo and differentiating adults from the much paler Greater Flamingo. The wing coverts are red, and the primary and secondary flight feathers are black. It is the only flamingo which naturally inhabits North America. The bill is pink and white with a restricted black tip, and the legs are entirely pink. The call is a goose-like honking.

 

Floreana (Cormorant Point)

Located approximately 4 to 5 hours west of Española and equal distance south of Santa Cruz, this island has long been a favorite site of visitors including pirates, whalers and early settlers. One of the oldest islands Floreana illustrates the aging process of a volcanic island. Unlike the younger western islands, Floreana's volcano has been long extinct and is in the advanced stages of erosion. The erosion process gave the island the nutrients and soils need to sustain plant life. The combination of this rich soil and a good water supply have given the highlands of Floreana a diversified landscaping of native and introduced flora. Floreana is best known for its colorful history of buccaneers, whalers, convicts, and colonists. In 1793 British whalers established the Post Office Barrel to send letters to and from England. This tradition has continued over the years, and even today visitors may drop off and pick up letters, without stamps, to be carried to far destinations. Punta Cormorant offers two highly contrasting beaches. The landing beach is of volcanic origin and is composed of olivine crystals, giving it a greenish tinge. At the end of the short trail is a carbonate beach of extremely fine white sand. Formed by the erosion of coral skeletons, it is a nesting site for green sea turtles. In the 1930's Floreana was the setting for intrigue and mystery. A German dentist and his mistress, a young family (the Wittmer family who still live on the island) and a self-styled baroness with three men came to settle in the island. Shortly after the baroness and her lovers arrived chaos began. The baroness and her entourage terrorized the other inhabitants while planning to build a luxury hotel. Eventually the baroness, two of her lovers and the dentist all turned up missing or dead. There has been much investigation searching for what really happened on Floreana, but there have never been any hard answers. John Treherne wrote of these people in "The Galapagos Affair". The visit to Punta Cormorant offers two contrasting beaches. Arriving on shore you will encounter a green sand beach (the green sand is caused by the olivine crystals derived silicates or magnesium and iron) from here you will follow the trail leading to a lagoon where pink flamingoes and other shore birds can be seen in the distance making their home. Looking into the mud of the lagoon there appears to be 'cracks' in the mud. These cracks are not caused from dryness but are actually the footpaths of flamingos. This is also a good spot for seeing large-billed flycatchers, small-ground finch, medium-ground finch or cactus finch. The walk continues to another beach on the other side made of fine white sand particles known as "Flour Beach". In the waters ghost crabs and rays can be seen swimming.

 

Galapagos Islands

The Galápagos Islands (official name: Archipiélago de Colón; other Spanish names: Islas de Colón or Islas Galápagos) are an archipelago of volcanic islands distributed around the equator in the Pacific Ocean, some 900 km west of Ecuador. It is a UNESCO World Heritage site: wildlife is its most notable feature. Because of the only very recent arrival of man the majority of the wildlife has no fear of humans and will allow visitors to walk right up them, often having to step over Iguanas or Sea Lions.The Galápagos islands and its surrounding waters are part of a province, a national park, and a biological marine reserve. The principal language on the islands is Spanish. The islands have a population of around 40,000, which is a 40-fold expansion in 50 years. The islands are geologically young and famed for their vast number of endemic species, which were studied by Charles Darwin during the voyage of the Beagle. His observations and collections contributed to the inception of Darwin's theory of evolution by natural selection.