View allAll Photos Tagged Problematic
The tightest squeeze and most problematic area for the SCP is behind the Self-Storage building on McGrath, across the tracks from Brickbottom, where the Grand Junction line splits off from the rest of the MBTA lines.
d97480a. Recommended 50kmh speed limit on the Island Point road, heading out. This seems highly problematic to me.
Firstly, the speed limit is 100 on a road in a non-built-up area like this where there is no sign to say otherwise. Secondly, it is easy to do 80kmh or more, safely, on this road, and you can legally do it as the yellow speed signs are only recommendations. Thirdly, is this sign supposed to only apply when pedestrians are present? It could be interpreted as applying for the whole road back to the main road, whether or not pedestrians are present.
It is too vague and open to very different interpretations. There is too much scope for strong conflict between drivers who observe it at face value and those who (can legally) just completely ignore it and drive at almost twice the speed.
It is supposed to improve road safety, but it could potentially work strongly against it.
Made by members of the Canberra Quilters' modern quilting group for the Canberra Quilters Exhibition 2015.
My advance planning placed the Sun at an altitude of 15 degrees - - - which which was problematic as my home is in a part of Manchester, U.K. where there are many buildings and trees. So, as the important contact timings were between 0500 and 0600z a quiet observation site was chosen on the carpark of the local out of town shopping centre. The homebrewed telescope was basically an MDF box, inside which was a 500mm mirror lens, a 20mm telescope eyepiece and a paper screen. Fixed and peering through the side of the box was my 35mm camera with standard lens. Due to the cloudy sky all the 'contact' sightings were missed and the smudges across the sun were inevitable. A Burger van arrived as I was packing things away, so a tasty breakfast was consumed :)
If alcohol abuse is problematic for you, don't hesitate to contact us! Rehab After Work, 9003 Lincoln Dr. Greentree Commons, Suite C, Marlton, NJ 08053 (856) 810-1012, www.rehabafterwork.com
Our flight transfers via the US were generally problematic for one reason or another and not an experience I'd be keen to repeat (as well as we foreign nationals having to pay US entry fees despite not technically entering the country, being in transit).
Some of the staff seemed a little hostile (I had my passport snatched off me without a word whilst going through security and the individual seemed most reluctant to give it back, still without explanation) but worse was the damage we found to items of Elspeth's luggage owing to a 'random search' by Newark Airport security which we only found out about back home. The suitcase appeared to have been ransacked and certain items broken (including the hardly delicate wooden jaguar head we'd bought at Chichen Itza the previous day whose tooth was inexplicably snapped off).
I'm not sure if this is a general rule or whether passengers incoming from Mexico fall under extra suspicion, as we later found we were not alone since other people we'd travelled with had suffered similarly: one individual found a beautiful Mayan style pot she'd bought in San Cristobal had been smashed by the same airport staff.
The churches of Canterbury have proved to be problematic for me. Apart from the Cathedral, which although open charges to enter, most of the others I have found always locked.
That we do not travel into Canterbury very often, due to the dreadful traffic, means that I take the chance when around to check on a church as we pass, which will be locked.
So, it was a surprise after leaving the hifi store, and wandering down Church Street, to see a sandwich board outside St Paul's, was this my lucky day?
In more ways that one! As I met the head of Kent Mother's Union who were having a fair inside the church, and after some chatting, and me explaining how hard it can be to get into some churches, I was given the number of her PA and just pone when you want to get in a church!
With the fair, I did not get all the details of the church, but enough to see this is a fine church, some great tile work around the altar. One to return to, at some point when I can get in......
------------------------------------------------------
Why ‘St. Paul’s without the Walls’? The word ‘without’ once meant ‘outside’. This Church was built ‘without’ (outside) the city walls now just across the ring road. We refer to it here also as just ‘St. Paul’s’.
The origins of St. Paul's Church and the reason for its existence lie in the proximity of the ruins of the Abbey (now called St. Augustine’s). It is believed that it was built as a chapel by the abbey for local people and overseen by them as a place of worship and instruction.
In 1300 however there was a controversy between the Abbey and the Archbishop in regard to the right to present a priest to the ‘living’ (install a priest paid to minister here).
The Archbishop seems to have won. Parishioners had the right to be buried in the Abbey cemetery and in 1591 a burial area was created in Longport (now closed and since 1951 an open space at the bottom of St. Martin’s Hill).
Sometime in the last quarter of the 13th century the Church was enlarged eastwards creating the space now occupied by our organ ( built in 1901).
In the organ space and sadly no longer visible there is another piscina and a three tiered seat or sedilia for the priest and deacons.
A further extension took place around 1320 southwards creating a second larger aisle and a great east window. The south wall was pulled down to be replaced by purbeck marble pillars and a further wall.
Dissolution of the Monasteries c1540 had a serious economic effect on the City of Canterbury. The destruction of Thomas Becket’s tomb meant no more pilgrims and a great loss of income. In 1570 a Visitation (inspection by senior clergy) recorded that there were 90 houses in this Parish and 243 communicants. In 1681 St. Paul's was united with the ancient church of St. Martin.
The worshippers at St. Martin’s were ordered to view St. Paul’s as ‘their proper church’ (fortunately they seem to have stayed at St. Martins!) (Both parishes continued side by side until the 1970s when the Parish of St.
Martin & St. Paul was formed with one Parochial Church Council). By the early 19th Century St. Paul’s was described as ‘a small, mean building’ and in poor repair. All that would change with the advent of William Chesshyre!
The print of St. Paul's in 1828 shows a rather shabby building in a busy street. In 1842 William John Chesshyre arrived as Parish Priest. He was a wealthy man who resided in his mother’s house at Barton Court (now Barton Court Grammar School on St. Martin’s Hill/Longport).
Chesshyre died in his fifties in 1859 but in his seventeen years in the Parish he oversaw a dramatic extension and refurbishment of St. Paul's under George Gilbert Scott as well as the founding of St. Paul's School (closed and demolished in the 1960s).
The tower was substantially rebuilt and a third aisle built southwards creating the space we enjoy today. An elaborate altarpiece was created in the sanctuary with the choir seated in the traditional chancel under a decorated ceiling. A new font replaced the ancient one now stored in the Church cellar in three pieces. Whatever nave seating existed was replaced by pews provided under a national church scheme to help clergy pew their churches.
n 1985 Canon Reg Humphriss oversaw a reordering (programme of interior changes) project that brought the altar forward, removed the altarpiece and moved the choir to the north aisle. The font was also moved from its traditional place at the back of the Church to its present position. This opening up of space reflected changes in worship patterns but it meant the loss of the chapel and the positioning of the choir rather close to the very powerful organ. In 2012-2013 a further reordering took place.
The key element of this was the replacement of the fixed pews with modern seating allowing creative use of space and the restoration of the chapel. New choir stalls enabled the choir to be positioned further from the organ. In line with current developments new technology has been installed including a screen that descends electronically from the tie beam over the chancel. The chancel itself was levelled and extended and recarpeted and new digital lighting installed. We are now able to offer traditional and innovative worship and welcome people to use the church for concerts and conferences using also the Parish Centre built in 2005.
A male Ceratina species from Bee Gardens in San Francisco that are surveyed for bees by Jaime Palawek. This crisp litte bee is less than the size of a grain of rice (white, long grain) and glitters worj smooth metallic blueish green colors. Glinty enough to be problematic when photographing.
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Photography Information: Canon Mark II 5D, Zerene Stacker, Stackshot Sled, 65mm Canon MP-E 1-5X macro lens, Twin Macro Flash in Styrofoam Cooler, F5.0, ISO 100, Shutter Speed 200
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Art Photo Book: Bees: An Up-Close Look at Pollinators Around the World
www.qbookshop.com/products/216627/9780760347386/Bees.html...
Basic USGSBIML set up:
www.youtube.com/watch?v=S-_yvIsucOY
USGSBIML Photoshopping Technique: Note that we now have added using the burn tool at 50% opacity set to shadows to clean up the halos that bleed into the black background from "hot" color sections of the picture.
www.youtube.com/watch?v=Bdmx_8zqvN4
PDF of Basic USGSBIML Photography Set Up:
ftp://ftpext.usgs.gov/pub/er/md/laurel/Droege/How%20to%20Take%20MacroPhotographs%20of%20Insects%20BIML%20Lab2.pdf
Google Hangout Demonstration of Techniques:
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or
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Excellent Technical Form on Stacking:
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Newchurch is in the middle of a very narrow lane, which barely widens in the village, and so parking here is problematic. I managed to get a pace on the road, though I do think there is a small car park beside the church, but driving along the pavement didn't seem right to me.
All Saints sits on the edge of a cliff, and the road out of the village falls away beside it, making it a very dramatic location.
The tower, half clapboard and half soft sandy-coloured stone looks in poor repair. The clapboard, anyway. And entrance to the church is through the tower with the bellringing ropes hanging overhead.
Inside, it is a well kept church, some nice 19th century glass, a rose window in the west wall, but too high for me to get a good shot. The lectern is a fine golden Pelican in her Piety, one of the best I have seen, and hanging in the rood loft stairs, now leading nowhere, is a fine brass lamp.
As I left just before four, the church was locked, and my crawling for the day was done, so I repaired to the Pointer Inn next door for a fine pint of Hophead.
---------------------------------------------
The church celebrated its 900th anniversary in 1987 and is a fine example of a Norman Church with some remaining evidence of its pre-Norman origins.
It is one of only three English churches with an ancient sanctuary door still in place (Durham and Westminster are the other two). Over the South door there is the crest of William III (of Orange) dated 1700 with the face of the Lion Rampant being an image of King Willliam.
The Dillington Mortuary Chapel has a number tombs whose covering slabs have unusually well preserved and finely engraved crests and lettering
The following is extracted from the Quinquennial Report published in October 2011 by the Church Architect, Mr Ian G Smith.
Standing prominently at the north end of Newchurch village, All Saints Church is visible from many points in the central belt of the Island; being cruciform in plan, with a south porch and tower it dominates the Arreton Valley.
One of six Churches given by William FitzOsbern to Lyra Abbey in Normandy, it was given to the See of Bristol by Henry VIII; All Saints has throughout its life had many additions, in the 15th, 16th and 17th centuries; the Victorian restoration of 1883, by AR Barker, remodelled part of the interior.
The original Church is still quite easily identifiable in the Nave, North and South Aisles, the crossing and the north wall of the Chancel, with the later extensions of the South Transept and the Chancel evident in the treatment of the windows which are wider and of three light style.
Constructed of random stone under a steeply pitched and tiled roof, the modest exterior is off set by the surprisingly grand interior; with a soaring timber-clad Nave roof, and massive stone columns with octagonal piers; with double chamfered arches progressing to the crossing and the Chancel.
The square tower over the stone rendered South Porch, being of timber weather-boarding (around 1800) is unusual on the Island, housing the six bell peal, four of which were founded in 1810, the other two are of 16th and 17th century vintage.
Major benefactors of the Church were the Dillington family who have laid 8 vaults in the north transept and also in the south transept; and of historical interest within the Church are the oak pulpit of 1725, the oak door from the Porch, the Pelican Lectern (l7thC), the wall tablets, the stained glass east window by Kempe (1909), the Creed and Commandments boards in cusped Gothic frames on the west wall; and the panel over the south door with the royal arms of William III, and dated 1700.
Listing; Listed Grade I.
Ref SZ58NE
1352- 0/1/144
18/01/67
High Street (East Side) – Church of All Saints – Listed as Grade I
The listing in the Twenty Ninth List of Buildings of Special Architectural and Historic Interest, dated 14 February 1992, of the Isle of Wight, gives a particularly detailed description of the history of the Church, the windows, and the historic features, relying on much of the information contained in the Buildings of England, David W. Lloyd and Nikolaus Pevsner, Hampshire and the Isle of Wight this has been updated now having a separate volume on the Isle of Wight of 2006.
High Street (East side) -Dillington Sundial in All Saints Churchyard — listed Grade II
Ref: SZS8NE
1352-0/1/145
Sundial, 1678 by Robert Marks of London, Baluster shaped stone base to sundial, about 1.000mm in height on plinth of three square stone steps. The sundial is missing, the sundial originally stood on the bowling green at Knighton Gorges, but following the demolition of the great house, Squire Bisset gave it to the parish in 1826, when it was erected in the Churchyard, historical interest as one of the early relics of Knighton Gorges.
The churches of Canterbury have proved to be problematic for me. Apart from the Cathedral, which although open charges to enter, most of the others I have found always locked.
That we do not travel into Canterbury very often, due to the dreadful traffic, means that I take the chance when around to check on a church as we pass, which will be locked.
So, it was a surprise after leaving the hifi store, and wandering down Church Street, to see a sandwich board outside St Paul's, was this my lucky day?
In more ways that one! As I met the head of Kent Mother's Union who were having a fair inside the church, and after some chatting, and me explaining how hard it can be to get into some churches, I was given the number of her PA and just pone when you want to get in a church!
With the fair, I did not get all the details of the church, but enough to see this is a fine church, some great tile work around the altar. One to return to, at some point when I can get in......
------------------------------------------------------
Why ‘St. Paul’s without the Walls’? The word ‘without’ once meant ‘outside’. This Church was built ‘without’ (outside) the city walls now just across the ring road. We refer to it here also as just ‘St. Paul’s’.
The origins of St. Paul's Church and the reason for its existence lie in the proximity of the ruins of the Abbey (now called St. Augustine’s). It is believed that it was built as a chapel by the abbey for local people and overseen by them as a place of worship and instruction.
In 1300 however there was a controversy between the Abbey and the Archbishop in regard to the right to present a priest to the ‘living’ (install a priest paid to minister here).
The Archbishop seems to have won. Parishioners had the right to be buried in the Abbey cemetery and in 1591 a burial area was created in Longport (now closed and since 1951 an open space at the bottom of St. Martin’s Hill).
Sometime in the last quarter of the 13th century the Church was enlarged eastwards creating the space now occupied by our organ ( built in 1901).
In the organ space and sadly no longer visible there is another piscina and a three tiered seat or sedilia for the priest and deacons.
A further extension took place around 1320 southwards creating a second larger aisle and a great east window. The south wall was pulled down to be replaced by purbeck marble pillars and a further wall.
Dissolution of the Monasteries c1540 had a serious economic effect on the City of Canterbury. The destruction of Thomas Becket’s tomb meant no more pilgrims and a great loss of income. In 1570 a Visitation (inspection by senior clergy) recorded that there were 90 houses in this Parish and 243 communicants. In 1681 St. Paul's was united with the ancient church of St. Martin.
The worshippers at St. Martin’s were ordered to view St. Paul’s as ‘their proper church’ (fortunately they seem to have stayed at St. Martins!) (Both parishes continued side by side until the 1970s when the Parish of St.
Martin & St. Paul was formed with one Parochial Church Council). By the early 19th Century St. Paul’s was described as ‘a small, mean building’ and in poor repair. All that would change with the advent of William Chesshyre!
The print of St. Paul's in 1828 shows a rather shabby building in a busy street. In 1842 William John Chesshyre arrived as Parish Priest. He was a wealthy man who resided in his mother’s house at Barton Court (now Barton Court Grammar School on St. Martin’s Hill/Longport).
Chesshyre died in his fifties in 1859 but in his seventeen years in the Parish he oversaw a dramatic extension and refurbishment of St. Paul's under George Gilbert Scott as well as the founding of St. Paul's School (closed and demolished in the 1960s).
The tower was substantially rebuilt and a third aisle built southwards creating the space we enjoy today. An elaborate altarpiece was created in the sanctuary with the choir seated in the traditional chancel under a decorated ceiling. A new font replaced the ancient one now stored in the Church cellar in three pieces. Whatever nave seating existed was replaced by pews provided under a national church scheme to help clergy pew their churches.
n 1985 Canon Reg Humphriss oversaw a reordering (programme of interior changes) project that brought the altar forward, removed the altarpiece and moved the choir to the north aisle. The font was also moved from its traditional place at the back of the Church to its present position. This opening up of space reflected changes in worship patterns but it meant the loss of the chapel and the positioning of the choir rather close to the very powerful organ. In 2012-2013 a further reordering took place.
The key element of this was the replacement of the fixed pews with modern seating allowing creative use of space and the restoration of the chapel. New choir stalls enabled the choir to be positioned further from the organ. In line with current developments new technology has been installed including a screen that descends electronically from the tie beam over the chancel. The chancel itself was levelled and extended and recarpeted and new digital lighting installed. We are now able to offer traditional and innovative worship and welcome people to use the church for concerts and conferences using also the Parish Centre built in 2005.
Today was a problematic day for me, having gone out to Killingholme, don't think I could have picked a worse day! The main problem was 60054 derailing as it came off the Santon branch and onto the mainline east of Scunthorpe in the early hours, which put paid to most freight.
There were also problems at Kingsbury Oil Terminal, which I suppose added an extra train to my low amount of sightings, as 6M57 Lindsey to Kingsbury was turned back at Lincoln.
DBS Class 60, 60001, is seen working 6M57 Lincoln Central to Lindsey Oil Refinery, past Killingholme on 7th August 2015.
Stuart demonstrates the marvels (and missing springs) of our delightfully obstinately antique door lock cartridge. Steampunkers, eat your heart out.
Cosculluela & Pacho y Cirilo Ft. Kendo Kaponi & Juanka El Problematic - El Que Tenga Miedo Que Se Quite (Official Remix) art by BastyGraphics !
You can get 300 grammes of "Venichi" Nougat in a golliwog-decorated bag for only €7.50. Or the bowl it's displayed in for €45.
Newchurch is in the middle of a very narrow lane, which barely widens in the village, and so parking here is problematic. I managed to get a pace on the road, though I do think there is a small car park beside the church, but driving along the pavement didn't seem right to me.
All Saints sits on the edge of a cliff, and the road out of the village falls away beside it, making it a very dramatic location.
The tower, half clapboard and half soft sandy-coloured stone looks in poor repair. The clapboard, anyway. And entrance to the church is through the tower with the bellringing ropes hanging overhead.
Inside, it is a well kept church, some nice 19th century glass, a rose window in the west wall, but too high for me to get a good shot. The lectern is a fine golden Pelican in her Piety, one of the best I have seen, and hanging in the rood loft stairs, now leading nowhere, is a fine brass lamp.
As I left just before four, the church was locked, and my crawling for the day was done, so I repaired to the Pointer Inn next door for a fine pint of Hophead.
---------------------------------------------
The church celebrated its 900th anniversary in 1987 and is a fine example of a Norman Church with some remaining evidence of its pre-Norman origins.
It is one of only three English churches with an ancient sanctuary door still in place (Durham and Westminster are the other two). Over the South door there is the crest of William III (of Orange) dated 1700 with the face of the Lion Rampant being an image of King Willliam.
The Dillington Mortuary Chapel has a number tombs whose covering slabs have unusually well preserved and finely engraved crests and lettering
The following is extracted from the Quinquennial Report published in October 2011 by the Church Architect, Mr Ian G Smith.
Standing prominently at the north end of Newchurch village, All Saints Church is visible from many points in the central belt of the Island; being cruciform in plan, with a south porch and tower it dominates the Arreton Valley.
One of six Churches given by William FitzOsbern to Lyra Abbey in Normandy, it was given to the See of Bristol by Henry VIII; All Saints has throughout its life had many additions, in the 15th, 16th and 17th centuries; the Victorian restoration of 1883, by AR Barker, remodelled part of the interior.
The original Church is still quite easily identifiable in the Nave, North and South Aisles, the crossing and the north wall of the Chancel, with the later extensions of the South Transept and the Chancel evident in the treatment of the windows which are wider and of three light style.
Constructed of random stone under a steeply pitched and tiled roof, the modest exterior is off set by the surprisingly grand interior; with a soaring timber-clad Nave roof, and massive stone columns with octagonal piers; with double chamfered arches progressing to the crossing and the Chancel.
The square tower over the stone rendered South Porch, being of timber weather-boarding (around 1800) is unusual on the Island, housing the six bell peal, four of which were founded in 1810, the other two are of 16th and 17th century vintage.
Major benefactors of the Church were the Dillington family who have laid 8 vaults in the north transept and also in the south transept; and of historical interest within the Church are the oak pulpit of 1725, the oak door from the Porch, the Pelican Lectern (l7thC), the wall tablets, the stained glass east window by Kempe (1909), the Creed and Commandments boards in cusped Gothic frames on the west wall; and the panel over the south door with the royal arms of William III, and dated 1700.
Listing; Listed Grade I.
Ref SZ58NE
1352- 0/1/144
18/01/67
High Street (East Side) – Church of All Saints – Listed as Grade I
The listing in the Twenty Ninth List of Buildings of Special Architectural and Historic Interest, dated 14 February 1992, of the Isle of Wight, gives a particularly detailed description of the history of the Church, the windows, and the historic features, relying on much of the information contained in the Buildings of England, David W. Lloyd and Nikolaus Pevsner, Hampshire and the Isle of Wight this has been updated now having a separate volume on the Isle of Wight of 2006.
High Street (East side) -Dillington Sundial in All Saints Churchyard — listed Grade II
Ref: SZS8NE
1352-0/1/145
Sundial, 1678 by Robert Marks of London, Baluster shaped stone base to sundial, about 1.000mm in height on plinth of three square stone steps. The sundial is missing, the sundial originally stood on the bowling green at Knighton Gorges, but following the demolition of the great house, Squire Bisset gave it to the parish in 1826, when it was erected in the Churchyard, historical interest as one of the early relics of Knighton Gorges.
St Andrew's has been a bugbear of mine, it is a unusual looking Kentish church, a short drive from my house, and yet I have found it always locked.
I was now on a run of successes and so hoped to find it open for the riders and striders, and for me too.
I parked hard against the high bank beside the road, parking here is always problematic. You approach the church up steep steps, and from the lesser used side, I did not know if the door would be open, but I could hear voices.
I was in luck, sitting outside in the warm sunshine was a warden, apparently waiting for his wife to relieve his time on duty, but I was still greeted warmly and encouraged to go inside, as if that was necessary.
St Andrews sits in a quiet corner of a quiet village. The main Dover to Sandwich road is a couple of hundred yards away, but you can just hear the sounds of the countryside. Attractive houses and cottages huddle together on the other side of the road, and once in the small churchyard, you can look down on them.
St Andrew's has a small squat tower, and so is un-Kentish, but conforms to the usual Norman two cell layout, and once inside, feels ancient, much thanks to the sympathetic improvements done during the 19th century.
-------------------------------------------------------------
A dark and atmospheric church on a steep hill above the village-end. Built of flint with stone and brick work of later periods it has changed little in a hundred years. The Victorian benefactors who refurnished the church did us a great favour – keeping the best of the old whilst giving us the best of the new. Most windows are by Kempe and some are uncommonly good – especially King David in the low side window of the nave. Both nave altars had their own arch and window and the Victorian Rood Screen creates a medieval effect. In the chancel is a fine late medieval brass to one of the owners of Dane Court – the big house of the village, because it has always been on the wall it is in pristine condition. The gorgeous reredos by Powell’s showing Christ the Alpha and Omega is especially fine. Outside the gate is a good set of village stocks!
www.kentchurches.info/church.asp?p=Tilmanstone
The church, which is dedicated to St. Andrew, is a small mean building, consisting of a body and chancel, with a square tower at the west end, very low, but formerly higher, having been taken down a few years ago; there is one bell in it. In the chancel, against the east wall, is a brass plate, on it are the figures of a man and woman, on his side one son, on her's three daughters, all kneeling, with the arms of Fogg, with a label of three points, impaling Sackville, with a crescent, for Richard Fogg, esq. and Anne his wife; he died in 1598. A gravestone for Richard Fogg, esq. father of fourteen children, famous for his poetry, and skill in heraldry, obt. 1680. A gravestone for Jane, daughter of the Rev. Strangford Viol, late rector of Upminster, in Essex, and Jane his wife, daughter of Richard Fogg, esq. obt. 1719; she married Edward Jacob, surgeon, of Canterbury, who died in 1756. In the east window are three shields of painted glass; the first, the field gone, On a chief, azure, three lions rampant, or; on the sides in black letter, Sir John Lisle, knt. The field was probably or; second, Gules, a cross, argent; third, azure, a bend cotized, argent, between six martlets of the second, under which was formerly this legend, Orate p aia Wi. Tonge, now obliterated. In the north window are remaining four figures; first, a man in armour with a shield, having a plain cross on it, on his breast, in the attitude of thrusting a lance through the jaws of a beast lying at his feet; probably, by the cross designed for St. George; second, a young man crowned; third, an older man crowned, with a globe and sceptre in his hands, and seemingly weeping; fourth, an antient man kneeling, full bearded, on his shoulder a child holding a globe and sceptre, to which he is looking up. In the south window is the figure of a man bearded, with a palmer's bonnet on, and staff, holding in his right hand a book. In the body of the church, a marble monument against the north wall, near the chancel, and inscription, shewing that in the vault underneath are deposited the remains of Michael Hatton, esq. of Dane-court, obt. 1776; also Mrs. Alice Hatton, his widow, obt. 1791; arms, Azure, a chevron, between three wheat sheaves, or, impaling gules, three lilies, argent, stalked and leaved, vert. A monument against the same wall for Thomas Michael Tierney, late student of Brazen Noze college, Oxford, and son of Thomas Tierney, of London, by Savine his wife, obt. 1770, at Arras, in France, on his return to England, æt. 19. On seven different gravestones are memorials for the Smiths, resident at Thornton, from the year 1632 to 1664. In the windows of this church were formerly much more painted glass, both of figures and coats of arms.
This church was antiently part of the possessions of the knights hospitallers of St. John of Jerusalem, to whom it was appropriated by archbishop Langton, about the end of king John's reign; the archbishop reserving to himself and successors, the nomination and institution of a vicar, and at the same time he endowed the vicarage, decreeing that the vicar should receive the whole altarage, and the moiety of all the tithes belonging to this church, and a certain messuage, &c. belonging to it; (fn. 3) in which state the appropriation and vi carage of this church remained until the dissolution of the above order, in the 32d year of king Henry VIII.'s reign, when they both came into the king's hands, and remained there till the year 1558, being the last of Philip and Mary, when the advowson of the vicarage was granted among others to the archbishop; and the appropriation likewise in the third year of queen Elizabeth, this rectory being then valued at six pounds per annum; since which both the appropriation and advowson have remained part of the possessions of the see of Canterbury, the archbishop being now possessed of them. The vicarage of Tilmanstone is valued in the king's book at 7l. 12s. 6d. It is now a discharged living, and is of the yearly value of forty-five pounds. In 1588 here were one hundred and nine communicants, in 1640 there were the like number of communicants, and it was valued at fifty pounds. In 1740 it was of the value of sixty pounds.
Archbishop Wake, in 1719, on the petition of Nicholas Carter, vicar of this church, gave licence for him to take down the old vicarage-house and to erect a new one. (fn. 4) This vicarage is at present endowed with one half of the great tithes, with a vicarage-house, and garden only, for the vicar's use. The remaining half of the great tithes belongs to the parsonage, with twenty-four acres of glebe land, held on a beneficial lease from the archbishop, by the two sons of the late Mr. John Curling, of Ham. There are fifteen acres of land in this parish allotted as a glebe to Eastry parsonage.
In the parish register (the antient part of it) are the names of Cocks, Fogg, very numerous, Arden, Willford, Billingsley, Bargrave, Pattinson, Burville, Capell, Boys, Picks, and Ower.
A large group of soldiers attempting to pull a big gun, possibly a field gun, on to a wooden platform. This photograph illustrates how problematic moving a big gun could be, even with the numbers involved here they are still having difficulty. They are using thick ropes placed round the wheels of the gun to manoeuvre it. It is very possible that this photograph was taken in a ruined village. There is a great deal of debris scattered across the ground and, apart from two ruins in the background, little or nothing remains standing.
Unlike the majority of photographs in this collection, this one is uncaptioned. However, we do know that it was taken by Ernest Brooks, the first British official war photographer to be sent to the Western Front during World War I. In 1916, Brooks was sent to the Front with a remit to take as many photographs, with as much variety as possible. The work of official photographers during the war was placed under strict censorship by the Government and Military, who wanted to control how the war was perceived.
[Original reads: No original caption.]
Entrance to tunnel 18. The longest and most problematic of all the tunnels. The man standing there guarding the tunnel is railroad security.
Carrizo Gorge Railway - They started building the railway in 1907, it was completed in 1919. It was called the impossible railroad.
A hotshot uses a fusee to clean up a small but problematic “finger” of unburned fuel along the edge of the fire.
Raindeers can be really problematic behind the polar circle area...when they want to step on the road they will. Cars are under these fine animals in the nordic hierarchy.
The churches of Canterbury have proved to be problematic for me. Apart from the Cathedral, which although open charges to enter, most of the others I have found always locked.
That we do not travel into Canterbury very often, due to the dreadful traffic, means that I take the chance when around to check on a church as we pass, which will be locked.
So, it was a surprise after leaving the hifi store, and wandering down Church Street, to see a sandwich board outside St Paul's, was this my lucky day?
In more ways that one! As I met the head of Kent Mother's Union who were having a fair inside the church, and after some chatting, and me explaining how hard it can be to get into some churches, I was given the number of her PA and just pone when you want to get in a church!
With the fair, I did not get all the details of the church, but enough to see this is a fine church, some great tile work around the altar. One to return to, at some point when I can get in......
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Why ‘St. Paul’s without the Walls’? The word ‘without’ once meant ‘outside’. This Church was built ‘without’ (outside) the city walls now just across the ring road. We refer to it here also as just ‘St. Paul’s’.
The origins of St. Paul's Church and the reason for its existence lie in the proximity of the ruins of the Abbey (now called St. Augustine’s). It is believed that it was built as a chapel by the abbey for local people and overseen by them as a place of worship and instruction.
In 1300 however there was a controversy between the Abbey and the Archbishop in regard to the right to present a priest to the ‘living’ (install a priest paid to minister here).
The Archbishop seems to have won. Parishioners had the right to be buried in the Abbey cemetery and in 1591 a burial area was created in Longport (now closed and since 1951 an open space at the bottom of St. Martin’s Hill).
Sometime in the last quarter of the 13th century the Church was enlarged eastwards creating the space now occupied by our organ ( built in 1901).
In the organ space and sadly no longer visible there is another piscina and a three tiered seat or sedilia for the priest and deacons.
A further extension took place around 1320 southwards creating a second larger aisle and a great east window. The south wall was pulled down to be replaced by purbeck marble pillars and a further wall.
Dissolution of the Monasteries c1540 had a serious economic effect on the City of Canterbury. The destruction of Thomas Becket’s tomb meant no more pilgrims and a great loss of income. In 1570 a Visitation (inspection by senior clergy) recorded that there were 90 houses in this Parish and 243 communicants. In 1681 St. Paul's was united with the ancient church of St. Martin.
The worshippers at St. Martin’s were ordered to view St. Paul’s as ‘their proper church’ (fortunately they seem to have stayed at St. Martins!) (Both parishes continued side by side until the 1970s when the Parish of St.
Martin & St. Paul was formed with one Parochial Church Council). By the early 19th Century St. Paul’s was described as ‘a small, mean building’ and in poor repair. All that would change with the advent of William Chesshyre!
The print of St. Paul's in 1828 shows a rather shabby building in a busy street. In 1842 William John Chesshyre arrived as Parish Priest. He was a wealthy man who resided in his mother’s house at Barton Court (now Barton Court Grammar School on St. Martin’s Hill/Longport).
Chesshyre died in his fifties in 1859 but in his seventeen years in the Parish he oversaw a dramatic extension and refurbishment of St. Paul's under George Gilbert Scott as well as the founding of St. Paul's School (closed and demolished in the 1960s).
The tower was substantially rebuilt and a third aisle built southwards creating the space we enjoy today. An elaborate altarpiece was created in the sanctuary with the choir seated in the traditional chancel under a decorated ceiling. A new font replaced the ancient one now stored in the Church cellar in three pieces. Whatever nave seating existed was replaced by pews provided under a national church scheme to help clergy pew their churches.
n 1985 Canon Reg Humphriss oversaw a reordering (programme of interior changes) project that brought the altar forward, removed the altarpiece and moved the choir to the north aisle. The font was also moved from its traditional place at the back of the Church to its present position. This opening up of space reflected changes in worship patterns but it meant the loss of the chapel and the positioning of the choir rather close to the very powerful organ. In 2012-2013 a further reordering took place.
The key element of this was the replacement of the fixed pews with modern seating allowing creative use of space and the restoration of the chapel. New choir stalls enabled the choir to be positioned further from the organ. In line with current developments new technology has been installed including a screen that descends electronically from the tie beam over the chancel. The chancel itself was levelled and extended and recarpeted and new digital lighting installed. We are now able to offer traditional and innovative worship and welcome people to use the church for concerts and conferences using also the Parish Centre built in 2005.