Estátua!
View allAll Photos Tagged Procurement
has been failed, so they started to intake of next 1200 calories.
At Somewhere
Animations: by myself
Coutesy Of
Nelline Morane
Lisapia Resident
Tsubasa Resident
Sponsored:
Backdrop: Abandoned Metro Scene by Minimal, available at Uber and afterwards at the Minimal Mainstore.
Skin: Salva by Vendetta, available at Man Cave, and afterwards at the Vendetta Mainstore.
Drink x Cigarette: Chemical Chaos by The DeadBoy, available at this round of The Warehouse Sale and afterwards at the Deadboy Mainstore.
Coat: Coven Trench by Somnium, available at the Somnium Mainstore.
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Ecouter du piano me procure beaucoup d'émotions...je ne sais malheureusement pas en jouer, mais cela restera toujours mon rêve d'enfant. Et vous, quel est le vôtre?
♪ ♫ Ludovico Einaudi, Nuvole bianche: youtu.be/fEOJQawykD0 ♪ ♫
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(I speak french, italian and a little bit of english).
Procure a alegria
Quando você a localiza, ela vem a tona e transparece na sua face,
na fala, no olhar, no riso. Você apresenta o que tem de melhor, pois
foi buscá-la no mais fundo de si mesmo. Lá onde está o seu EU.
Corra ao alcance dessa alegria íntima.
Ela será sua companheira de sempre.
Descobrir a verdadeira alegria é fortificar a paz.
Lourival Lopes
The Prussian Class T 3 steam locomotives procured for the Prussian state railways were 0-6-0 tank locomotives. Together with the Prussian T 2 they were the first locomotives that were built to railway norms. The first units were delivered by Henschel in 1882.
The T 3's had a wet steam engine with two cylinders that drove the centre coupled axle. The slide valves were worked by an outside Allan valve gear. The water supply was stored in a well tank between the frame under the boiler; the coal bunkers were on the left and right hand side of the firebox. In front of each one was a filler pipe for the water tank.
The springs on both front axles were linked with equalising beams located above the running plate.
The early T 3's did not have a steam dome, but were equipped with a regulator housing on top, from which the admission pipes led directly to the cylinders outside the boiler. The axle load of this locomotive was about 10 t (see first photo).
Later batches (from 1887) had a steam dome, and the admission pipes were located in the smokebox. Due to the addition of the steam dome, the location of the sand box and sanders were changed. In addition the quantities of water and coal that could be carried were increased. The back wall of the cab was now straight and the lower section no longer sloped. The length over buffers increased from 8,300 mm to 8,591 mm, the axle load rose to 11 t (see second photo).
From 1903 the supplies were increased again and the T 3 could now carry 5 m³ of water and 1.9 t of coal. The axle load of this "strengthened standard class" or "Standard class (6t)" (Normalbauart (6t)) was 12 t.
Image emblématique de l’aimable abondance que procure Bacchus aux provinces romaines du creuset méditerranéen, où se croisent grands crus et vins de table, la vigne transcende temps et genres. Si l’ordre au carré des vignes module, en effet, la bucolique symphonie des poètes, les profits ainsi générés rassurent les spéculations des agronomes tandis que les juristes et mesureurs de territoire voient la garantie solide des limites foncières dans le dessin orthonormé des chemins de vigne. Loin d’être troublants, ces échos confortent le sens des correspondances……………
Extrait de : La poésie des vignes : ordre, beauté et harmonie de M. Clavel-Lévêque
journals.openedition.org/babel/3812
** An emblematic image of Bacchus' amiable abundance in the Roman provinces of the Mediterranean melting pot, where vintages and table wines meet, the vine transcends time and genera. If the squared order of the vines modulates, indeed, the bucolic symphony of the poets, the profits thus generated reassure the speculations of the agronomists while the jurists and measurers of the territory see the solid guarantee of the property boundaries in the orthonormal drawing of the paths of vine. Far from being disturbing, these echoes reinforce the meaning of the correspondences ...............
The poetry of the vines: order, beauty and harmony of Monique Clavel-Lévêque
**
Una imagen emblemática de la amable abundancia de Baco en las provincias romanas del crisol del Mediterráneo, donde las cosechas y los vinos de mesa se encuentran, la vid trasciende el tiempo y los géneros. Si el orden cuadrado de las vides modula, de hecho, la sinfonía bucólica de los poetas, los beneficios generados de este modo reafirman las especulaciones de los agrónomos, mientras que los juristas y los medidores del territorio ven la sólida garantía de los límites de propiedad en el dibujo ortonormal de los caminos. Viña. Lejos de ser perturbadores, estos ecos refuerzan el significado de las correspondencias ...............
La poesía de los viñedos: orden, belleza y armonía de Monique Clavel-Lévêque.
The Blackburn Buccaneer was a British low-level subsonic strike aircraft that served with the Royal Navy (RN) and later the Royal Air Force (RAF), retiring from service in 1994. Designed and initially produced by Blackburn Aircraft at Brough, it was later known as the Hawker Siddeley Buccaneer when Blackburn became a part of the Hawker Siddeley group.
The Royal Navy originally procured the Buccaneer as a naval strike aircraft capable of operating from their aircraft carriers, introducing the type to service in 1962 to counterbalance advances made in the Soviet Navy. The Buccaneer was capable of delivering nuclear weapons as well as conventional munitions for anti-shipping warfare, and were typically active in the North Sea area during its service. Early on the initial production aircraft suffered a series of accidents due to insufficient engine power, thus the Buccaneer S.2, equipped with more powerful Rolls-Royce Spey engines, was soon introduced.
Although originally rejected in favour of the supersonic BAC TSR-2, the RAF would later procure the Buccaneer as a substitute following the cancellation of both the TSR-2 and its planned replacement, the F-111K. When the RN retired the last of its large aircraft carriers, its Buccaneers were transferred to the RAF.
I have kept alive 2 of the 5 carnivorous plants I procured from We Bite NOLA, back on June 30. These pitcher plants are going strong, and I am completely obsessed with watching bugs willingly crawl into their mouths. Happy October, Flickr fam!
The old Quebec seminary - the Procure wing
In the heart of the historic quarter of Quebec’s capital city, the buildings of the Old Québec Seminary were built between 1675 and 1868.
“Today this complex is called the Vieux Séminaire de Québec. It is modeled on French 17th-century convents and colleges. Its three buildings have features specific to French Regime construction: white plaster walls with S-shaped wall anchors, higher in certain spots to serve as a fire stop, and tin roofs with dormer windows. The buildings are arranged to form a typical inner court.
The Procure wing, shown here, with its signature sundial dating from 1773 is the oldest building. It was constructed sometime around 1680, then rebuilt three times due to fire. The only parts that remain from the original building are the vaulted cellars where Monseigneur Laval’s kitchen was located.
A LEADING INSTITUTION OF NEW FRANCE
The Séminaire de Québec was a society of Catholic priests founded in 1663 by François de Laval, who would become the first bishop of Québec. He established this society to train priests, evangelize the Aboriginals, and administer the parishes of the colony as a whole. Two years later he opened the Petit Séminaire, a boys’ school. The site of the first building is indicated by the rectangular marking on the pavement of the inner court.
A CLASSICAL EDUCATION
It was Louis XIV’s wish that the Petit Séminaire educate young boys and convert the Aboriginals. But for the first 100 years, it was a boarding school for future priests who studied at the Jesuit College—very close by, where City Hall is located today—before entering the Grand Séminaire.
After the conquest of New France was formalized in 1760, the British army requisitioned the Jesuit College for use as barracks. From that point on, the Séminaire had to expand its role and become an educational institution providing a classical curriculum, as the Jesuits were expelled from the colony. The students at the Petit Séminaire received an education based on the great European philosophers and writers, as well as French, Greek, and Latin. The purpose of this training in the classics was to mold them into full-fledged citizens, hale in mind and body, to make up the elite of Québec society.
THE TRADITION LIVES ON
The three wings of the Vieux Séminaire housed the Petit Séminaire de Québec until 1987. Its educational role lives on because Université Laval’s school of architecture is now occupied these heritage buildings.”
Source: www.ville.quebec.qc.ca/en/citoyens/patrimoine/quartiers/v...
The James Webb Space Telescope was fuelled inside the payload preparation facility at Europe’s Spaceport in French Guiana ahead of its launch on Ariane 5.
Webb’s thrusters will use this propellant to make critical course-corrections after separation from Ariane 5, to maintain its prescribed orbit about one and a half million kilometres from Earth, and to repoint the observatory and manage its momentum during operations.
Fuelling any satellite is a particularly delicate operation requiring setup of the equipment and connections, fuelling, and then pressurisation.
Webb’s propellant tanks were filled separately with 133 kg of dinitrogen tetroxide oxidiser and 168 kg hydrazine. Oxidiser improves the burn efficiency of the hydrazine fuel.
These propellants are extremely toxic so only a few specialists wearing Self-Contained Atmospheric Protective Ensemble, or ‘scape’ suits, remained in the dedicated fuelling hall for fuelling which took 10 days and ended on 3 December.
The next steps will start soon for ‘combined operations’. This is when specialists working separately to prepare Webb and Ariane 5 will come together as one team. They will place Webb atop its Ariane 5 launch vehicle and encapsulate it inside Ariane 5’s fairing.
Then, no longer visible, Webb, joined with its Ariane 5 launch vehicle will be transferred to the Final Assembly building for the final preparations before launch.
Webb will be the largest, most powerful telescope ever launched into space. As part of an international collaboration agreement, ESA is providing the telescope’s launch service using the Ariane 5 launch vehicle. Working with partners, ESA was responsible for the development and qualification of Ariane 5 adaptations for the Webb mission and for the procurement of the launch service by Arianespace.
Webb is an international partnership between NASA, ESA and the Canadian Space Agency (CSA).
Find out more about Webb in ESA’s launch kit and interactive brochure.
Credits: ESA/CNES/Arianespace/Optique Vidéo du CSG - P Piron
ADMX SW8 8682 sits on the former Southern Railway SB Line in Kershaw, South Carolina. It broke down several years ago and the current owner of the line, the Lancaster and Chester Railroad, shoved the little guy out of the way where it has since gone derelict. The number boards weere probably the first thing to go.
This switcher-type locomotive ws built for Lehigh Valley as LV 268 in 1951, to Conrail 8682, to ADMX 8682. It also wears lettering on the long hood for AG Processing Inc.
According to Wikipedia, the Archer-Daniels-Midland Company, commonly known as ADM, is an American multinational food processing and commodities trading corporation founded in 1902 and headquartered in Chicago, Illinois. The company operates more than 270 plants and 420 crop procurement facilities worldwide, where cereal grains and oil seeds are processed into products used in food, beverage, nutraceutical, industrial, and animal feed markets worldwide.
Headquartered in Chicago, Illinois, ADM connects crops to markets on six continents. Net sales for 2020 were $64 billion. The Kershaw plant, however, was closed in the spring of 2025.
Venha, procure, porque a busca é o alicerce da sorte: todo sucesso depende de colocar o coração naquilo que você quer.
www.youtube.com/watch?v=NDz5ntxlc0A
24.12.2011
Amigos Queridos,
A todos, um Natal Maravilhoso!
Que o Menino JESUS os abençoe e às suas Famílias!
Meus melhores desejos....
SAÚDE, PAZ, AMOR...!
Beijos em seus corações!
Celisa
***
FELIZ NATAL !
Na noite de Natal olhe para o céu e procure a estrela guia.
Na imensidão dessa pintura que é o céu, uma estrela vai brilhar mais intensamente para você.
Essa é a sua estrela.
Olhe nessa direção e pense em Jesus.
Lembre-se que há mais de 2000 anos atrás, uma estrela anunciou a sua chegada.
Imagina-te cercado (a) de luz por sua estrela.
Acalme seu coração.
Esqueça os problemas do ano que acaba.
Concentre-se na luz. Concentre-se nas possibilidades que se abrem com um novo ano. Peça saúde e paz..
Que neste Natal, seus olhos apontem mais do que um caminho e te mostrem a direção correta.
Que seus braços sirvam de amparo para os que caem pelo caminho.
Que seus pés levem socorro aos infelizes.
Que seu lindo sorriso seja mais constante e sirva de consolo aos que choram.
Que suas palavras continuem sendo doces e elevem qualquer pessoa.
Que o seu coração se abra e receba a luz.
Que a sua vida seja luz.
Que seu maior amigo seja sempre Ele, Jesus.
Que Deus te abençoe neste natal e por toda a tua vida, te dando paz saúde e coragem para seguires adiante e alcançares tudo que almejas.
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12.24.2011
Dear Friends,
To all, a wonderful Christmas!
That the Child Jesus to bless you and their families!
My best wishes ....
HEALTH, PEACE, LOVE ...!
Kisses in your heart!
Celisa
***
MERRY CHRISTMAS!
On Christmas night look to the sky and look for the guide star.
In the immensity of this painting is the sky, a star will shine the brightest for you.
This is your star.
Look in this direction and think about Jesus.
Remember that there are over 2000 years ago, a star announced his arrival.
Imagine yourself surrounded (the) light of its star.
Calm your heart.
Forget the problems of the year ends.
Focus on the light. Focus on the possibilities that open up with a new year. Ask health and peace ..
This Christmas, his eyes suggest more than one way and you show the right direction.
Your arms serve as protection for those who fall by the wayside.
May your feet take relief to the unfortunate.
That your beautiful smile is more constant and serves as a comfort to those who mourn.
May your words continue to be sweet and elevate anyone.
That your heart opens to receive the light.
May your life be light.
That is always your best friend than Jesus.
May God bless you this Christmas and throughout your life, giving you peace health and courage to move forward and reach everything that you desire.
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24.12.2011
Chers Amis,
A tous, un merveilleux Noël!
Que l'Enfant Jésus de bénir eux et leurs familles!
Mes meilleurs voeux ....
SANTE, LA PAIX, AMOUR ...!
Bisous dans votre cœur!
Celisa
***
JOYEUX NOEL!
La veille de Noël regarder le ciel et chercher l'étoile guide.
Dans l'immensité de cette peinture est le ciel, une étoile va briller plus intensément pour vous.
Ceci est votre étoile.
Regardez dans cette direction et penser à Jésus.
Rappelez-vous qu'il ya plus de 2000 ans, une étoile a annoncé son arrivée.
Imaginez-vous entouré par (a) de la lumière par son étoile.
Calmez votre cœur.
Oubliez les problèmes de l'année se termine.
Focus sur la lumière. Focus sur les possibilités qui s'ouvrent avec une nouvelle année. Demandez la santé et la paix ..
Que ce Noël, vos yeux point de plus que dans un sens et vous montrer la bonne direction.
Vos bras servent d'abri pour ceux qui tombent dans l'oubli.
Laissez vos pieds porter secours aux malheureux.
Quel est votre beau sourire en permanence et être de confort à ceux qui pleurent.
Que vos paroles continuent à être doux et élever quiconque.
Laissez votre coeur ouvert pour recevoir la lumière.
Que votre vie soit légère.
C'est votre meilleur ami est toujours Lui, Jésus.
Que Dieu vous bénisse pour ce Noël et tout au long de votre vie, vous donnant la santé de la paix et le courage d'avancer et de rejoindre tous les palourdes.
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24.12.2011
Queridos amigos,
A todos, una Navidad maravillosa!
Que el Niño Jesús para bendecir a ellos ya sus familias!
Mis mejores deseos ....
SALUD, PAZ, AMOR ...!
Besos en tu corazón!
Celisa
***
¡FELIZ NAVIDAD!
En la Nochebuena de mirar al cielo y buscar la estrella guía.
En la inmensidad de esta pintura es el cielo, una estrella brillará más intensamente para usted.
Esta es tu estrella.
Mirar en esa dirección y pensar en Jesús.
Recuerde que hay más de 2000 años, una estrella anunció su llegada.
Imagínate a ti mismo rodeado por (a) de la luz por su estrella.
Calma tu corazón.
Olvídese de los problemas de que termine el año.
Enfocarse en la luz. Centrarse en las posibilidades que se abren con un nuevo año. Pregunte a la salud y la paz ..
Lo que en esta Navidad, que los ojos apunten más de una manera y le mostrará la dirección correcta.
Sus brazos sirven de refugio para aquellos que quedan en el camino.
Deja que tus pies traer alivio a los desdichados.
¿Cuál es su hermosa sonrisa constante y ser un consuelo para los que llorar.
Que tus palabras siguen siendo dulce y elevar a nadie.
Deje que su corazón abierto para recibir la luz.
Que tu vida sea luz.
Que su mejor amigo es siempre Él, Jesús.
Que Dios los bendiga en esta Navidad y durante toda su vida, lo que le de salud paz y de ánimo para seguir adelante y llegar a todas las almejas.
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24.12.2011
Cari amici,
A tutti, un meraviglioso Natale!
Che il Bambino Gesù di benedire loro e alle loro famiglie!
I miei migliori auguri ....
SALUTE, PACE, AMORE ...!
Baci nel tuo cuore!
Celisa
***
BUON NATALE!
La vigilia di Natale guardare il cielo e cercare la stella di guida.
Nell'immensità di questo dipinto è il cielo, una stella brillerà più intensamente per voi.
Questa è la tua stella.
Guardare in quella direzione e pensare a Gesù.
Ricordate che ci sono oltre 2000 anni fa, una stella ha annunciato il suo arrivo.
Immaginate di essere circondati da (a), della luce dalla sua stella.
Calma il tuo cuore.
Dimenticare i problemi della fine dell'anno.
Focus sulla luce. Incentrate sulle possibilità che si aprono con un nuovo anno. Chiedere la salute e la pace ..
Che questo Natale, i tuoi occhi il punto più di una strada e indicare la direzione giusta.
Le braccia servono da rifugio per coloro che perdono per strada.
Lasciate che i vostri piedi portare sollievo alla sfortunata.
Qual è il tuo bel sorriso costantemente ed essere di conforto a coloro che piangono.
Possono le tue parole continuano ad essere dolce ed elevare chiunque.
Lasciate che il vostro cuore aperto per ricevere la luce.
Possa la vostra vita sia la luce.
Che il tuo migliore amico è sempre Lui, Gesù.
Dio vi benedica questo Natale e per tutta la vita, dandovi la salute pace e coraggio per andare avanti e raggiungere tutte le vongole.
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CONTINUO SUPLICANDO, QUANTAS VEZES FOREM NECESSÁRIAS!!
ASSINEM ESTAS PETIÇÕES, POR FAVOR...
- PARA SALVAR A AMAZÔNIA,
www.avaaz.org/po/belo_monte_people_vs_profits/?vl
- PARA SALVAR AS FLORESTAS DO BRASIL,
- PARA VETAR AS MUDANÇAS DO CÓDIGO FLORESTAL !
www.greenpeace.org/brasil/pt/Participe/Ciberativista/Codi...
www.avaaz.org/po/save_the_amazon_sam/?cl=1419482907&v...
VAMOS LUTAR POR NOSSO PLANETA, PELAS NOSSAS FLORESTAS, PELOS INDÍGENAS (NOSSOS IRMÃOS), PELOS NOSSOS FILHOS, NETOS, BISNETOS...PELAS PRÓXIMAS GERAÇÕES...POR UM MUNDO MELHOR...
O PLANETA TERRA PEDE SOCORRO!!
TUDO OU NADA ESTÁ EM NOSSAS MÃOS,... BRASILEIROS!!
Muito obrigada,
Celisa
***
CONTINUOUS Sulpice, as often as necessary!
Sign these petitions, PLEASE ...
- To save the Amazon,
www.avaaz.org/po/belo_monte_people_vs_profits/?vl
- TO SAVE THE FORESTS OF BRAZIL
- To veto FOREST CODE CHANGES!
www.greenpeace.org/brasil/pt/Participe/Ciberativista/Codi...
www.avaaz.org/po/save_the_amazon_sam/?cl=1419482907&v...
WE FIGHT FOR OUR PLANET, FOR OUR FORESTS, INDIGENOUS BY (OUR BROTHERS), for our children, grandchildren, great grandchildren for generations to come ... ... ... FOR A BETTER WORLD
ASKS HELP THE PLANET EARTH!
ALL OR NOTHING IS IN OUR HANDS, ... BRAZILIAN!
Thank you so much,
Celisa
***
Sulpice CONTINUE, aussi souvent que nécessaire!
S'il vous plaît signer ...
- Pour sauver l'Amazonie,
www.avaaz.org/po/belo_monte_people_vs_profits/?vl
- Pour sauver les forêts du Brésil
- De mettre son veto CHANGEMENTS Code forestier!
www.greenpeace.org/brasil/pt/Participe/Ciberativista/Codi...
www.avaaz.org/po/save_the_amazon_sam/?cl=1419482907&v...
Nous luttons pour notre planète, pour nos forêts, AUTOCHTONES PAR (NOS FRÈRES), pour nos enfants, petits-enfants, arrière petits-enfants pour les générations à venir ... ... ... POUR UN MONDE MEILLEUR
DEMANDE AIDE LA PLANETE TERRE!
Tout ou rien est entre nos mains, ... Brésilienne!
Je vous remercie,
Celisa
***
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Dezenas de milhões de câes e gatos são ASSASSINADOS BRUTALMENTE, com INSTINTOS de CRUELDADE na CHINA !!
Amigos Queridos eu suplico, assinem esta PETIÇÃO, é um PEDIDO de Ativistas e Protetores de Animais que estão se mobilizando no MUNDO INTEIRO, em favor das vidas destes MÁRTIRES!!
Em DOIS MINUTOS pode-se assinar!! São seres INDEFESOS, eu ROGO, por Deus!!
www.change.org/petitions/the-chinese-government-stop-the-...
Muito obrigada,
Celisa
***
Tens of millions of dogs and cats are brutally murdered, with instincts of cruelty in CHINA!
Dear Friends, I beg, sign this petition, it is a request for Activists and Animal Protectors who are mobilizing around the world, in favor of the lives of Martyrs!
In two minutes you can sign up! They are helpless, I pray, by God!
www.change.org/petitions/the-chinese-government-stop-the-...
Thank you,
Celisa
***
Des dizaines de millions de chiens et de chats sont brutalement assassinés, avec des instincts de cruauté en Chine!
Chers amis, je vous prie, signez cette pétition, et une demande pour les activistes et les protecteurs des animaux qui se mobilisent autour du monde, en faveur de la vie des martyrs!
En deux minutes, vous pouvez vous inscrire! Ils sont impuissants, je prie, par Dieu!
www.change.org/petitions/the-chinese-government-stop-the-...
Je vous remercie,
Celisa
***
Decenas de millones de perros y gatos son brutalmente asesinados, con los instintos de crueldad en China!
Queridos amigos, os ruego, firmen esta petición, y una petición de activistas y los protectores de animales que se movilizan en todo el mundo, a favor de la vida de los mártires!
En dos minutos se puede firmar para arriba! Están indefensos, te ruego, por Dios!
www.change.org/petitions/the-chinese-government-stop-the-...
Gracias,
Celisa
***
Decine di milioni di cani e gatti vengono brutalmente assassinati, con istinti di crudeltà in CINA!
Cari amici, vi prego, firmare questa petizione e una richiesta di attivisti e protettori degli animali che si stanno mobilitando in tutto il mondo, a favore della vita dei martiri!
In due minuti puoi iscriverti! Sono impotente, io prego, per Dio!
www.change.org/petitions/the-chinese-government-stop-the-...
Grazie,
Celisa
***
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Que Deus abençoe a todos os Queridos Amigos, principalmente nossas Queridas Amigas @rtbene, Blankita e Mag, e alivie o sofrimento daqueles que tanto necessitam.
Beijos em seus corações,
Celisa
***
May God bless all the Dear Friends, mainly our Dear Friends @rtbene, Blankita and Mag, relieve the suffering of those who so desperately need.
Kisses in your hearts,
Celisa
***
Que Dieu bénisse tous les amis chers, essentiellement Chers Amis @rtbene, Blankita et Mag de soulager la souffrance de ceux qui ont si désespérément besoin.
Bisous dans votre cœur,
Celisa
***
Que Dios los bendiga a todos los queridos amigos, en especial nuestra queridas amigas @rtbene, Blankita y Mag, y aliviar el sufrimiento de aquellos que tan desesperadamente necesitan.
Besos en tu corazón
Celisa
***
Che Dio benedica tutti i cari amici, soprattutto il nostro caras amicas @rtbene, Blankita e Mag, e alleviare le sofferenze di coloro che così disperatamente bisogno.
Baci nel tuo cuore
Celisa
***
***
***
CONTINUO SUPLICANDO, QUANTAS VEZES FOREM NECESSÁRIAS!!
ASSINEM PELO AMOR DE NOSSO PLANETA, PELAS NOSSAS FLORESTAS, PELOS INDÍGENAS (NOSSOS IRMÃOS), PELOS NOSSOS FILHOS, NETOS, BISNETOS...PELAS PRÓXIMAS GERAÇÕES...POR UM MUNDO MELHOR...
O PLANETA TERRA PEDE SOCORRO!!
TUDO OU NADA ESTÁ EM NOSSAS MÃOS,... BRASILEIROS!!
www.avaaz.org/po/save_the_amazon_brazil/?vl
***
CONTINUOUS Sulpice, as often as necessary!
SIGNED BY THE LOVE OF OUR PLANET, OUR FORESTS BY, FOR INDIGENOUS (our brothers), for our children, grandchildren, great grandchildren for generations to come ... ... ... FOR A BETTER WORLD
ASKS FOR HELP THE PLANET EARTH!
ALL OR NOTHING IS IN OUR HANDS ... BRAZILIAN!
www.avaaz.org/po/save_the_amazon_brazil/?vl
***
Sulpice CONTINUE, aussi souvent que nécessaire!
SIGNÉ PAR L'amour de notre planète, notre forêt par, pour les peuples autochtones (nos frères), pour nos enfants, petits-enfants, arrière petits-enfants pour les générations à venir ... ... ... POUR UN MONDE MEILLEUR
DEMANDE D'AIDE DE LA PLANETE TERRE!
Tout ou rien est entre nos mains ... Brésilienne!
www.avaaz.org/po/save_the_amazon_brazil/?vl
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Sulpice CONTINUO, cuantas veces sea necesario!
FIRMADO POR EL AMOR DE NUESTRO PLANETA, nuestros bosques, por indígenas (los hermanos), para nuestros hijos, nietos, bisnietos para las generaciones venideras ... ... ... POR UN MUNDO MEJOR
PIDE AYUDA AL PLANETA TIERRA!
TODO O NADA ESTÁ EN NUESTRAS MANOS ... BRASIL!
www.avaaz.org/po/save_the_amazon_brazil/?vl
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Sulpice CONTINUO, ogni qualvolta sia necessario!
FIRMATO L'AMORE DEL NOSTRO PIANETA, I NOSTRI BOSCHI, ad indigeni (i fratelli), per i nostri figli, nipoti, pronipoti per le generazioni a venire ... ... ... PER UN MONDO MIGLIORE
CHIEDE AIUTO PER IL PIANETA TERRA!
Tutto o niente è nelle nostre mani ... BRASILIANO!
Die jüdische Gemeinde Halberstadt blickt auf knapp 800 Jahre Geschichte in der ehemaligen Bischofsstadt zurück. In ihrer Blütezeit im 18. Jahrhundert machte sie knapp zehn Prozent der Bevölkerung aus.
Dank ihres bekanntesten Mitglieds Berend Lehmann (1661-1730), Hoffaktor von August des Starken von Sachsen, zählte die Gemeinde zu dieser Zeit zu einer der Bedeutendsten in ganz Mitteleuropa. Ein Hoffaktor war ein an einem höfischen Herrschaftszentrum bzw. Hof beschäftigter Kaufmann, der (Luxus)waren, Heereslieferungen oder Kapital für den Herrscher beschaffte. Viele Hoffaktoren waren Juden. Etliche Hoffaktoren dienten auch mehreren Höfen. Ihren höchsten Stand erreichte die Zahl der Juden in Halberstadt im 20. Jahrhundert ca. 1000 Personen im Jahr 1927. Zur Zeit der Machtergreifung der Nazis, Januar 1933, waren es noch 706, nach anderen Quellen 880 Personen, 1942 wurden die letzten Halberstädter Juden ins KZ Theresienstadt deportiert – unter den Augen der Halberstädter, viele Christen darunter, die nichts unternahmen. Seither ist das jüdische Leben in Halberstadt ausgelöscht.
Quellen:
www.halberstadt.de/de/juedisches-viertel.html
und Deutschlandradio
The Jewish community of Halberstadt can look back on almost 800 years of history in the former bishop's town. In its heyday in the 18th century, it made up just under ten percent of the population.
Thanks to its most famous member Berend Lehmann (1661-1730), court factor to Augustus the Strong of Saxony, the community was one of the most important in Central Europe at that time. A court factor was a merchant employed at a court or centre of power who procured (luxury) goods, army supplies or capital for the ruler. Many court factors were Jews. Some court factors also served several courts. The highest number of Jews in Halberstadt in the 20th century was about 1000 in 1927. At the time of the Nazi seizure of power, January 1933, there were still 706, according to other sources 880, and in 1942 the last Halberstadt Jews were deported to Theresienstadt concentration camp - under the eyes of the people of Halberstadt, many of them Christians, who did nothing. Since then, Jewish life in Halberstadt has been extinguished.
Sources:
www.halberstadt.de/de/juedisches-viertel.html
and Deutschlandradio
Dana and Fianna joined my Bratz family so early on, that I can no longer recall which of them I got first. Wintertime Wonderland Dana and Stylin' Salon 'N' Spa Fianna were purchased sometime during the summer of 2003. Both were bought under the pretense that it was my birthday. Neither Colleen and I can pinpoint exactly who was the sixth different character in my collection, but honestly it doesn't matter. I have so many fond memories of playing with both Fianna and Dana as a twelve year old. Dana was the character I knew about first. She had originally debuted, like Fianna, in a Stylin' Salon 'N' Spa set. But not long after, MGA began to incorporate her into regular Bratz lines. Seeing Dana subtly replace Meygan in certain collections, like Style It! or 2003 Funk 'N' Glow, made me keen to get my hands on my very own. But the ultimate question had always stumped me...which Dana would be my first?!!
As a kid I had a far more pruned Bratz collection. This was intentional on my part. Although I was obsessed with Bratz from the moment I played with a friend's Xpress It! Yasmin in 2002, I wanted my own. But I had learned from my explosive Barbie collection that sometimes having more dolls meant you spent less time with each one. So I carefully curated my Bratz family, with the original intention of only having one doll of each character. Yea, that didn't last...even as a kid I had three Yasmin, three Jade, and three Sasha dolls. It was a thoughtful sentiment though, and I'm glad I got to know each my childhood Bratz very well. However, I would not want to go back to those days...there is no way I could contain my collection in that way anymore! Stylin' Salon 'N' Spa Dana was the first I had encountered at Walmart sometime in late 2002/early 2003. I was tantalized by this new Bratz character, and was sad that she was exclusive to the costly playset. Since Dana phased out of stores before I was heavily into Bratz, it was never really an option for me to get that spa. That was how I ended up with the spa sold with Fianna. By the summer of 2003, I was absolutely certain I wanted a Dana doll for my collection. There were several options, like Style It! and Funk 'N' Glow. However it was Wintertime Wonderland Dana who became the "chosen" one.
The reason I selected Wintertime Wonderland Dana was simple. She had winter clothes, something my Bratz dolls' wardrobe contained none of! Like I had purchased Beach Party Cloe for her swimwear earlier in the year, I opted to snag Wintertime Wonderland Dana for her cold season wear. I picked Dana at at Toys 'R' Us one summer day in 2003. She became an immediate hit. Back then, Colleen said I should pronounce her name like "Dan-ya," since it was "prettier" than "day-na." I agreed, since we had a neighbor boy called Dana, and I always thought of it as being a masculine name. Regardless of the pronunciation, I was mesmerized by my new doll. She was my first glittery Bratz, and it was this Dana that started my obsession with glittery dolls! Sadly, my childhood friend barely has glitter. That is the consequence of putting Fianna's spa makeup on her constantly, and then washing it off. She used to be caked in oodles of fabulous glitter. I loved how bedazzled Dana always looked, even in the simplest of attire. It was my affection for the glittery Wintertime Wonderland Dana which made me lust for Formal Funk. However, I wouldn't own any other Dana dolls for half a decade.
Ironically, the second Dana I ever added to my collection was a woe begone Formal Funk doll. During the summer/early fall of 2011, I found one at a large outdoor flea market. This seller had quite the wonderful selection of nude or mostly nude Bratz. They were between 50 cents and a dollar depending on how many garments they were wearing. It was at this booth that I purchased my very first Formal Funk Dana. Sadly, she no longer is with us. In 2012 I went through a weird customization phase. I thought I had to "justify" having duplicated dolls by customizing them in some way. It turns out I am just not meant to be a customizer. I much prefer fixing dolls up and restoring them to their former glory. Since I had removed all of Dana's face paint, there was nothing I could do to salvage her, and a handful of other Bratz. Fortunately, I had two other Formal Funk Dana dolls already. The one that was most special, is still very much part of my collection. She is the gal wearing the pink gown in this photo. She was part of the infamous "Craigslist #1" lot, that I procured in the fall of 2011. This Formal Funk doll was not the only Dana from said lot. I also acquired Racecar Driving Dana, who was far simpler in design. Admittedly, this Dana was overshadowed for some time. But nowadays, I cannot imagine my collection without her, and I so appreciate her simplicity.
That same fall, I went from having just two Dana dolls to several. In the "Bratz Guy Bin," which was purchased just a few weeks before the first Craigslist lot, I got Funk Out! Dana. She was one of my favorite finds from the depleted bin of mangy Bratz. She even had part of her original outfit, albeit a very tattered tank top and shirt! That's why I was so excited to get a boxed Funk Out! Dana a few months later in "Craigslist #3." Both outfits they sport came from my boxed doll. Despite the fact that my once packaged friend has been deboxed for years, she still looks so much crisper than the "Bratz Guy Bin" lady. I was floored when I finally got my hands on the iconic Stylin' Salon 'N' Spa Dana, in "Craigslist #2," shortly after Thanksgiving that year. She is the doll who dons what I have of her original robe/pajamas. The best part of this Dana was knowing her backstory. She had once been a treasured doll, who was sold by the child's grandmother, who played Bratz with her granddaughter. And who could forget "Piña Dana," my second Formal Funk lady who sports a pineapple like hairdo. She developed her "persona" during a 2012 Flickr photoshoot that was a prom scene. When I posed her arms straight up in the air, Colleen and I came up with the scenario that Dana was tipsy at prom, and that's why she was so happy. To this Dana, Piña Dana sits on display with her arms in the air, celebrating life! She's one of those dolls who I love so dearly because of her "personality."
As the years progressed, my Dana collection continued to expand. I'd say I have better luck acquiring duplicates of Dana dolls, rather than procuring new ones. That's not to say my collection doesn't have some Dana variety. But it's very evident which Dana dolls were popular sellers. Style It! Dana for instance must have sold well. I have three (at one point there was a fourth...another victim of customizing gone wrong). My most special of them is the lady my cousin's wife gave me back in 2012 (she wears the long sleeved boho shirt in this photo). Chrissy was kind enough to let me and Colleen keep her childhood Bratz, when she asked us to fix up her childhood Barbies that summer. Style It! Dana was one of my personal faves from the small group. She had most of her stuff and sported beautiful nylon hair (there are some variants with cheaper nylon tresses). For my 21st birthday that same summer, Chrissy also gave me her childhood Sun-Kissed Summer doll. She had been living at her grandmother's house, separately from the rest of the Bratz. Again, it was clear that Sun-Kissed Summer Dana had been taken care of an loved. She too was fairly complete. I was SO excited to have such an iconic doll for my collection, especially a beach themed one (I'm a sucker for swimsuit sporting dolls). Funk 'N' Glow and Head Gamez! Fashion Head Dana are my only two eBay gals at this time. Originally Colleen and I did not plan to buy the "Dana lot" from this particular eBay seller in 2012. They had listed out five different lots of Bratz, organized by character, which contained a few dolls and TONS of minty clothes/accessories. Dana's was the smallest of the lots, and the last to end. But we decided just before the listing expired to place a bid. We ended up winning Dana's lot too, and I was secretly super excited. I had always wanted Funk 'N' Glow Dana, and this one was immaculate. Plus, there was always such a novelty in owning a separately sold Bratz head. This Head Gamez! doll was on a body already too! Sweet Heart, Girls Nite Out!, Ooh la la Paris, and my second Wintertime Wonderland Dana dolls were some of my other favorite highlights from over the years. I couldn't leave out 2011 Style it! Dana either--she's the most recent version of Dana available to date.
It still feels somewhat surreal when I realize how many Dana dolls I've amassed over the years. I still remember what it was like when only Wintertime Wonderland Dana was part of my collection. But at the same time, it feels odd when I realize I didn't always own dolls like Formal Funk, Racecar Driving, or Stylin' Salon 'N' Spa. After all, they've become such staples of my Bratz family, I cannot imagine life without them. It's easy to mistaken my early adulthood purchases as being "childhood" dolls. After all, they were such an integral part of my rebirth as a doll collector. Although I have quite the selection of Dana dolls, there are still plenty out there I'd love to own someday. I still crave a Wild Wild West, Campfire, and Live in Concert Dana for instance. I get even more frustrated when I find fragments of Dana clothing, but the doll is long gone. I still hope to have a Wild Wild West doll to wear that outfit I got years ago, which is currently borrowed by a duplicated Snowboarding Lilee. But my greatest sorrow is that MGA hasn't manufactured a Dana in nearly a decade. I never understood why Raya was reincarnated for the 2015 Bratz relaunch, when she had been a single appearance doll beforehand. Why not Dana? Why not Fianna? Alas, I may never have the answers to these questions, and there may never be another Dana doll made. But no matter what, Dana will always be a cherished part of not only my childhood, but also my adult dolly memories!
Islamic art, 1609 - 1617. KAPPELMAYR, Barbara (Red.) (1995). Geïllustreerd handboek van de kunst. VG Bild-Kunst/De Hoeve, Alphen aan de Rijn. ISBN 90 6113 763 2
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Sultan Ahmed Mosque (Turkish: Sultan Ahmet Camii), also known as the Blue Mosque, is an Ottoman-era mosque located in Istanbul, Turkey. A functioning mosque, it also attracts large numbers of tourist visitors. It was constructed between 1609 and 1616 during the rule of Ahmed I. Its Külliye contains Ahmed's tomb, a madrasah and a hospice. Hand-painted blue tiles adorn the mosque’s interior walls, and at night the mosque is bathed in blue as lights frame the mosque’s five main domes, six minarets and eight secondary domes. It sits next to the Hagia Sophia, the principal mosque of Istanbul until the Blue Mosque's construction and another popular tourist site.
After the Peace of Zsitvatorok and the crushing loss in the 1603–18 war with Persia, Sultan Ahmet I decided to build a large mosque in Istanbul to reassert Ottoman power. It would be the first imperial mosque for more than forty years. While his predecessors had paid for their mosques with the spoils of war, Ahmet I procured funds from the Treasury, because he had not gained remarkable victories. The construction was started in 1609 and completed in 1616.
It caused the anger of the ulama, the Muslim jurists. The mosque was built on the site of the palace of the Byzantine emperors, in front of the basilica Hagia Sophia (at that time, the primary imperial mosque in Istanbul) and the hippodrome, a site of significant symbolic meaning as it dominated the city skyline from the south. Big parts of the south shore of the mosque rest on the foundations, the vaults of the old Grand Palace.
The Sultan Ahmed Mosque has five main domes, six minarets, and eight secondary domes. The design is the culmination of two centuries of Ottoman mosque development. It incorporates many Byzantine elements of the neighboring Hagia Sophia with traditional Islamic architecture and is considered to be the last great mosque of the classical period. The architect, Sedefkâr Mehmed Ağa, synthesized the ideas of his master Sinan, aiming for overwhelming size, majesty and splendor. The upper area is decorated with approximately 20,000 hand-painted glazed ceramic in 60 different tulip patterns. The lower stories are illuminated by 200 stained glass windows. The mosque is preceded by a forecourt with a large fountain and special area for ablution. An iron chain hangs in the court entrance on the western side.[5] Only the Sultan was allowed to ride into the mosque horseback, and he would need to lower his head to not hit the chain, a symbolic gesture ensuring the humility of the ruler before Allah.
By way of his works he left a decided mark on Istanbul. The square on which the Sultan Ahmed Mosque is situated became known as Sultanahmet. This mosque can be considered the culmination of his career. Mehmed Agha, who was the last student of Mimar Sinan, had completed his mission by adding his brighter, colorful architectural style to that of his master teacher.
At its lower levels and at every pier, the interior of the mosque is lined with more than 20,000 handmade İznik style ceramic tiles, made at İznik (the ancient Nicaea) in more than fifty different tulip designs. The tiles at lower levels are traditional in design, while at gallery level their design becomes flamboyant with representations of flowers, fruit and cypresses. The tiles were made under the supervision of the Iznik master. The price to be paid for each tile was fixed by the sultan's decree, while tile prices in general increased over time. As a result, the quality of the tiles used in the building decreased gradually.
The upper levels of the interior are dominated by blue paint. More than 200 stained glass windows with intricate designs admit natural light, today assisted by chandeliers. On the chandeliers, ostrich eggs are found that were meant to avoid cobwebs inside the mosque by repelling spiders. The decorations include verses from the Qur'an, many of them made by Seyyid Kasim Gubari, regarded as the greatest calligrapher of his time. The floors are covered with carpets, which are donated by the faithful and are regularly replaced as they wear out. The many spacious windows confer a spacious impression. The casements at floor level are decorated with opus sectile. Each exedra has five windows, some of which are blind. Each semi-dome has 14 windows and the central dome 28 (four of which are blind). The coloured glass for the windows was a gift of the Signoria of Venice to the sultan.
The most important element in the interior of the mosque is the mihrab, which is made of finely carved and sculptured marble, with a stalactite niche and a double inscriptive panel above it. It is surrounded by many windows. The adjacent walls are sheathed in ceramic tiles. To the right of the mihrab is the richly decorated minber, or pulpit, where the imam stands when he is delivering his sermon at the time of noon prayer on Fridays or on holy days. The mosque has been designed so that even when it is at its most crowded, everyone in the mosque can see and hear the imam.
The royal kiosk is situated at the south-east corner. It comprises a platform, a loggia and two small retiring rooms. It gives access to the royal loge in the south-east upper gallery of the mosque. These retiring rooms became the headquarters of the Grand Vizier during the suppression of the rebellious Janissary Corps in 1826. The royal loge (hünkâr mahfil) is supported by ten marble columns. It has its own mihrab, which used to be decorated with a jade rose and gilt and with one hundred Qurans on an inlaid and gilded lecterns.
The many lamps inside the mosque were once covered with gold and gems. Among the glass bowls one could find ostrich eggs and crystal balls. All these decorations have been removed or pillaged for museums.
The great tablets on the walls are inscribed with the names of the caliphs and verses from the Quran. They were originally by the great 17th-century calligrapher Seyyid Kasim Gubari of Diyarbakır but have been repeatedly restored.
It was first announced that the mosque would undertake a series of renovations back in 2016. Numerous renovation works had been completed throughout Istanbul and the restoration of the Blue Mosque was to be the final project. Renovations were expected to take place over three and a half years and be completed by 2020.
The façade of the spacious forecourt was built in the same manner as the façade of the Süleymaniye Mosque, except for the addition of the turrets on the corner domes. The court is about as large as the mosque itself and is surrounded by a continuous vaulted arcade (revak). It has ablution facilities on both sides. The central hexagonal fountain is small relative to the courtyard. The monumental but narrow gateway to the courtyard stands out architecturally from the arcade. Its semi-dome has a fine stalactite structure, crowned by a small ribbed dome on a tall tholobate. Its historical elementary school (Sıbyan Mektebi) is used as "Mosque Information Center" which is adjacent to its outer wall on the side of Hagia Sophia. This is where they provide visitors with a free orientational presentation on the Blue Mosque and Islam in general.
A heavy iron chain hangs in the upper part of the court entrance on the western side. Only the sultan was allowed to enter the court of the mosque on horseback. The chain was put there, so that the sultan had to lower his head every single time he entered the court to avoid being hit. This was a symbolic gesture, to ensure the humility of the ruler in the face of the divine.
The Sultan Ahmed Mosque is one of the five mosques in Turkey that has six minarets (one in the modern Sabancı Mosque in Adana, the Muğdat Mosque in Mersin, Çamlıca Mosque in Üsküdar and the Green mosque in Arnavutköy). According to folklore, an architect misheard the Sultan's request for "altın minareler" (gold minarets) as "altı minare" (six minarets), at the time a unique feature of the mosque of the Ka'aba in Mecca. When criticized for his presumption, the Sultan then ordered a seventh minaret to be built at the Mecca mosque.
Four minarets stand at the corners of the Blue Mosque. Each of these fluted, pencil-shaped minarets has three balconies (Called şerefe) with stalactite corbels, while the two others at the end of the forecourt only have two balconies. Before the muezzin or prayer caller had to climb a narrow spiral staircase five times a day to announce the call to prayer.
(Wikipe4dia).
Procurement for the Portuguese Army (Exército Português)
While the Air Force handles state aerial firefighting and air support, Portugal announced a historical expansion into dedicated Army Aviation capability. Under the HAPE (Helicópteros de Apoio, Proteção e Evacuação) program—Support, Protection, and Evacuation Helicopters—Defense Minister Nuno Melo confirmed the procurement of 5 UH-60 Black Hawk helicopters dedicated exclusively to the Portuguese Army.
The Army's Black Hawk detachment will be stationed at the Tancos Military Complex (Campo Militar de Tancos); this purchase gives the Portuguese Army its own organic air mobility capability for the first time in decades, focusing on air assault, tactical troop insertion/extraction, Battlefield Casualty Evacuation (CASEVAC / MEDEVAC) and rapid deployment during national emergencies and civil protection scenarios.
To know more about my LEGO model, click here for the next picture: www.flickr.com/photos/einon/55463967432
Eínon
Douglas R4D-8 / C-117D 50826, c/n 43363.
This aircraft was originally procured as C-47B 43-49663, c/n 26924. It was subsequently transferred to the U.S. Navy as 50826, and remanufactured to R4D-8 standard after World War II. The aircraft received a new Douglas serial number as part of the remanufacturing process, although its Navy number remained unchanged. The aircraft was withdrawn to storage in 1969.
Pima Air & Space Museum
Tucson, Arizona
C-117D (Pima Air & Space Museum):
pimaair.org/designation/c-117d/
Douglas DC-3 (Wikipedia):
Gerard van Honthorst (November 4, 1592 - April 27, 1656) was a Dutch painter of Utrecht. He was brought up at the school of Abraham Bloemaert, who exchanged the style of the Franckens for that of the pseudo-Italians at the beginning of the 16th century. Honthorst's works are numerous, and amply represented in English and Continental galleries. His most attractive pieces are those in which he cultivates the style of Caravaggio, those, namely, which represent taverns, with players, singers and eaters. He shows great skill in reproducing scenes illuminated by a single candle, amply employing the style of chiaroscuro. But he seems to have studied too much in dark rooms, where the subtleties of flesh colour are lost in the dusky smoothness and uniform redness of tints procurable from farthing dips.
gandalfsgallery.blogspot.com/2010/06/gerrit-van-honthorst...
“In high and isolated hills, more fitted as a place of robbers and the haunt of wild animals than somewhere fit for men to live.” So wrote the 8th Century historian Bede about Lastingham.
The Church of St Mary, Lastingham, is the parish church for the village of Lastingham in North Yorkshire, England. The parish is part of Ryedale and is located 4 miles (6.4 km) north of Kirkbymoorside, 6 miles (9.7 km) west of Pickering and 30 miles (48 km) north east from York.
The first church on the site was a monastery founded in 654, though the present church dates from the latter part of the 11th century. Lastingham has been an important part of Christian heritage and culture in Northern England and as such, has been a place of pilgrimage, especially for its rare crypt, which is said to be unique architecturally for England, and possibly, the world.
The Venerable Bede described how in 654, monks established a wooden monastery at Lastingeau, which in Bede's time (730) meant the abode of Læ̃sta's people.The land for the monastery was procured form the King of Deira and the monks established their house in "a fold of the Yorkshire Moors". St Cedd was the first abbott and he died of the plague at Lastingham in 664. At first he was buried in the open air, but the monks eventually built a church around him.This church has no substantial structures left; it is thought that the church was destroyed during the various raids in the area over the next 400 years, particularly by Danish invaders.
When Cedd died, his brother St Chad, took over as abbot and running of the monastery, but not long afterwards, he moved to Lichfield. Eventually, the relics and remnants of St Cedd's presence at Lastingham were removed and kept with those of his brother in Lichfield. Some of their bones are now entombed in Birmingham's Catholic Cathedral though St Cedd is believed to be mostly buried at Lastingham.
The monastery is believed to have been destroyed in 870, but William the Conqueror gave permission for a new church to be built on the site in 1078, when a cohort of Benedictine monks from Whitby, set up the new church under Stephen. However, they only stayed for ten years before moving on to York; it was reasoned later that the remoteness of the abbey and the outlaw nature of the area forced them to relocate. The revival of the church has therefore been confined to a clear decade and the Romanesque architecture is prominent in the reconstructed church. Some have pointed out the rarity in being able to see a start and end date in the building of the church.
During the 13th century, arcades, bays and aisle in the north and south parts of the church were added. In the following century, the tower was erected and it was left for five centuries with little further work until 1879, when it was renovated by John Loughborough Pearson with the porch being rebuilt and the whole church being re-roofed. This has led to a mix of architectural styles; the walls of the aisles are Perpendicular, but the nave and indeed, most of the foundations and crypt are Norman. Glynne was quite critical of the restoration, but Pevsner wrote favourably about it describing Pearson's efforts as "remarkably sympathetic". Stone altars in the church have been dated back to Roman times with current thinking being that they were re-worked during the Anglo-Saxon period.
The crypt underneath St Mary's, has walls that are 3 feet (0.91 m) thick. It is reputed to be the only crypt in England that has a nave, apse and side aisles. The crypt also lays claim to be the oldest Norman crypt in the world and additionally the only one with a nave, aisles and an apsidal chancel. The crypt runs underneath the whole footprint of the church above and is furnished with one square shaft which is indented with a piscina. The crypt is supported by four pillars believed to be of pre-conquest in origin and historians estimate that the crypt has not been altered since the time of William the Conqueror. The crypt is accessed by a staircase descending from nave.
During the 18th century, cock-fighting was said to have taken place in the crypt, with or without the knowledge of the clergy and churchwarden.
The architecture of the church in conjunction with its history, means that it regularly features on the best of lists for Anglican churches in England. Pevsner described the crypt as "unforgettable"; John Betjeman concurred describing St Mary's as "one of the most moving places in England". Simon Jenkins is equally effusive in his book, England's Thousand Best Churches, awarding the church four stars out of a possible five and stating that while "most churches are a challenge to the faithful, Lastingham is a challenge to the faithless." Jenkins notes the rarity of the crypt but also points out that the church lacks monuments and historical artefacts.
One interesting fact about this lovely old Norman church comes from the 18th century when a curate named Jeremiah Carter was employed by an absentee vicar. Carter was married, with 13 children to support, so he supplemented his family income by fishing, while his wife kept the Blacksmith's Arms public house which is opposite the church.
Carter was known to play the violin to entertain visitors to the pub. When questioned by the archdeacon on the propriety of his actions, Carter replied that his parishioners enjoyed three advantages... being instructed in religion, fed and entertained all at the same time. He argued that this method of spending the Sabbath was so agreeable that his charges were 'imperceptibly led along the paths of piety and morality...'
Already over 3 inches of rain for the month so I think we will be seeing more procurement of this type machine by TDOT!!!
Some background:
The Daihatsu Move (ダイハツ・ムーヴ, Daihatsu Mūvu) was a kei car/city car manufactured by the Japanese automaker Daihatsu since August 1995. Kei car (keijidōsha 軽自動車, "light automobile") is the Japanese vehicle category for the smallest highway-legal passenger cars, and similar Japanese categories exist for microvans and kei trucks/utility vehicles. The kei car category was created by the Japanese government in 1949, and the regulations have been revised several times since. These regulations specify a maximum vehicle size, engine capacity, and power output, so that owners may enjoy both tax and insurance benefits. In most rural areas they are also exempted from the requirement to certify that adequate parking is available for the vehicle.
Kei cars have become very successful in Japan — consisting of over one third of domestic new car sales in fiscal 2016, despite dropping from a record 40% market share in 2013, after the government increased the kei car tax by 50 percent in 2014. However, in export markets, the genre is generally too specialized and too small for most models to be profitable. Notable exceptions exist though, for instance the Suzuki Alto and Jimny models, which were exported consistently from around 1980.
The Move was Daihatsu's response to the similarly designed Suzuki Wagon R that was introduced two years earlier in 1993. The Move was built upon the chassis of the popular Mira (L500) family car, but with a taller body, making it a microvan. The first-generation Move was marketed with a 658 cc (40.2 cu in) three-cylinder engine in Japan, which developed 32 kW (43 hp; 44 PS), and with an 847 cc (51.7 cu in) ED-20 engine in export markets, which also delivered 32 kW but offered more torque than the naturally aspirated 660 cc engines due to its larger displacement. For the domestic market, the Move was later also offered with an optional front-wheel drive model with a turbocharged 658 cc JB-JL four-cylinder engine producing 47 kW (63 hp; 64 PS) – the legal power limit for kei cars, and its top speed was limited to 87 mph (140 km/h) due to the legal restrictions of this vehicle class.
The Japanese domestic market models were internally designated L600, or L610 when equipped with four-wheel drive system; L602 was the code for the turbocharged version and export models were internally designated L601. Daihatsu produced more than half a million L600/L610 Move models during its three-year production run, mostly in Japan. It was imported to Europe, too, including the UK, and was furthermore offered with LHD in Continental Europe. In 1997, an upgraded variant with larger headlamps and revised front styling was introduced and marketed as the Move Custom in Japan and was available in subsequent generations, too.
However, the Move’s 1999 successor was not exported to Europe anymore, because the Move had turned out to be too similar to the Mira, which had already been sold in Europe for a couple of years under the name Cuore. Here, both models on the same platform and with the same engines filled virtually the same, relatively small microcar niche and sales rather cannibalized each other than being complementarily growing. Nevertheless, the Move microvan remained popular in Japan and Asian markets like Malaysia, Indonesia and China, and has so far been produced in six generations, the latest was launched in late 2014.
General specifications:
Wheelbase: 2,300 mm (90.6 in)
Seating: four passengers
Length: 3,295 mm (129.7 in)
Width: 1,395 mm (54.9 in)
Height: 1,620 mm (63.8 in)
Kerb weight: 690–800 kg (1,521–1,764 lb)
Powertrain:
658 cc (40.2 cu in) three-cylinder ED-20 engine with 32 kW (43 hp; 44 PS)
and a torque of 67 Nm / 49 lb-ft, coupled with a 5-speed manual or a
3- or 4-speed automatic gearbox
Performance:
Top speed: 131 km/h (81 mph)
Acceleration: 0-60 mph in 18.3 sec.
0-100 km/h in 19.4 sec
1/4 mile (402 m) drag time: 21 sec. with manual gearbox
Fuel consumption/mileage: 6 l/100km / 47.1 mpg (imp.) / 39.2 mpg (U.S.) / 16.7 km/l EU-cycle
The kit and its assembly:
Yes, a large-scale car, an exotic topic for me. But the “Blue Lights” Group Build at whatifmodellers.com in March 2021 was a good motivator to eventually tackle this project that I had fancied for years but never got myself to procure suitable hardware. I am a huge kei car fan, because these vehicles are a total contrasting concept to ever-growing “normal” cars around them, and there is a wide and very creative range of types around, ranging from sound family cars to vans, utility vehicles or even sports cars (and I am proud to admit that I own and drive such a specimen ^^).
Some inspiration for the model came from Kosuke Fujishima’s manga “You are under arrest”, in which, among other kei cars, a tuned, vintage Subaru R-2 in police service, which has its feeble, original 360cc rear engine with 31hp replaced by a Yamaha RZV500R with 80hp, plays a central role. Another factor were personal holiday experiences from a stay in Tokyo some years ago, where I came across several real-world kei cars in police service, including a proud and pristine Suzuki Swift at a rural koban, shiny and always ready for action and crime fighting.
The use of such a wee type of car for police duties appears a bit anachronistic, but these vehicles are just perfect for an urban and typically very tight operational environment. Even fire engines are relatively small in Japan, not bigger than a 7.5 ton truck, because the streets tend to be very narrow.
So, a home-made police kei car was the plan. I eventually settled upon an Aoshima 1:24 1st generation Daihatsu Move as a rather dry basis and added typical Japanese police details and equipment. Getting my hands on the police stuff turned out to be a lengthy affair, even though it’s not difficult: Aoshima offers several 1:24 aftermarket sets for conversions, which include flashlights, radio sets and other details. But these are prohibitively expensive, at least for what you get, so that I eventually bought a complete Japanese police car kit, a baroque Aoshima Nissan Cedric (430 Series) sedan. This basically offered the same sprues as the set, at the same price, and it not only supplied a lot of suitable Japanese police detail stuff, including extra flashlights, mirrors or an Asahikage (icon of the national police, “morning sunlight“) badge for the bonnet, it also provided me with a very nice set of optional steel rims. These replaced the Move’s OOB wheel options (either full hub caps or alloy rims for a turbocharged option) for a utility look. As a coincidence they are both 14” size, so that I could use the Move’s relatively narrow rubber tires on the Cedric’s wheels. With the chrome hubcaps, the new black wheels give the vehicle a kind of retro look, and it somehow reminds me of early American Hot Rods? Probably because of the Move’s boxy shape. Weird.
The police parts were simply added to the Move kit, but this was not always an easy task. In the cockpit I had to find enough space for the radio set in the dashboard, and the flashing lights had to be modified to suit the Move’s narrow roof – which thankfully features fixed rails, so that the bulky housing could be easily mounted over the B-pillar. I also found that one of the red flashing lights that are typically mounted to the front was missing, so that I had to improvise that and create suitable holders. Further additions include in- and external extra mirrors for the co-driver, a scratched notepad and a kind of chocolate bar on the dashboard.
Painting and markings:
Thanks to some preparation time for the GB since November 2020 I was able to get my hands on a rattle can with a Toyota white car paint (BTW, Daihatsu is part of Toyota), just on the last day before everything was shut down in Germany due to Covid-19 lockdown (lasting until building commenced in March 2021!). The plan was to stay as close to the typical TMPD paint scheme as possible, with a white upper car body and black lower flanks as well as a stylish black blaze on the bonnet.
Keeping things simple and easy, the hull was treated with white acrylic primer first and then painted with the Toyota tone. I am not certain whether an official White for Japanese police cars exists or not? In Germany there are RAL stones, but elsewhere…?
The black trim areas were created with decals and/or paint – either from the Cedric’s OOB sheet or from generic stripes (TL Modellbau), which were used instead of tape masking to create sharp demarcation lines, while the rest was filled with black (Humbrol 21). The fixed rails on the roof and the small spoiler became black, too, matching the flashlights’ housing. The window frames were painted in Tar Black (Revell 06), which is a very dark grey and rather looks like the typical rubber seals and plastic fairings than pure black.
Since a real-world police car would not be too flashy and rather have a robust utility look, I painted the bumpers in dark grey (Humbrol 67), later slightly dry-brushed with medium grey, simulating bare plastic. Not elegant, but a nice, slight contrast to the stark black/white livery. The chassis plate/suspension/underside was painted in semi-matt black, as well as the steel rims with their chrome caps. These suit the Move IMHO surprisingly well!
With simplicity and sobriety in mind, the interior was painted in medium grey, in this case Humbrol 164 (RAF Dark Sea Grey). A light black ink wash was applied to the seats and dry-brushing with light grey was added, too, to simulate fabric texture. The dashboard became grey, too, with black details like the instrument panel, vents and some switches. The radio set was painted black, too, to highlight it and underline that it is a retrofitted piece – even though this is hard to see from the outside.
Once all decals (a mix from the Move and the Cedric sheets) were in place and the door outlines emphasized with black ink, the car body was sealed with glossy acrylic varnish and the bumpers received a semi-matt finish, for the bare plastic look. The mirror surfaces were created with a self-adhesive, highly reflective foil, which – even though it is a bit thick – looks much better than any painted solution.
For the license plate I went for a typical yellow kei car version – even though I have seen police kei cars carrying white plates with green letters, which indicate special vehicles that have to undergo annual inspection. This is frequently found on “normal” Japanese police cars, and an option in the Cedric kit. But I found the yellow ones more suitable and attractive – maybe it’s a lethal flaw (also the selected numbers and kanji), but that’s already quite nit-picky.
An exotic topic, at least for me, and it’s also full of nostalgia and vacation memories. However, I think that the police Move looks pretty good and believable, it turned out better than expected and hoped for. It’s also kind of cute (kawaii!)!
And now I have a surplus car kit, the Nissan Cedric, too…
A couple of weeks back, we met a couple in a pub in Canterbury, and they had been out exploring the city and said they were disappointed by the cathedral.
Not enough labels they said.
That not withstanding, I thought it had been some time since I last had been, so decided to revisit, see the pillars of Reculver church in the crypt and take the big lens for some detail shots.
We arrived just after ten, so the cathedral was pretty free of other guests, just a few guides waiting for groups and couples to guide.
I went round with the 50mm first, before concentrating on the medieval glass which is mostly on the south side.
But as you will see, the lens picked up so much more.
Thing is, there is always someone interesting to talk to, or wants to talk to you. As I went around, I spoke with about three guides about the project and things I have seen in the churches of the county, and the wonderful people I have met. And that continued in the cathedral.
I have time to look at the tombs in the Trinity Chapel, and see that Henry IV and his wife are in a tomb there, rather than ay Westminster Abbey. So I photograph them, and the Black Prince on the southern side of the chapel, along with the Bishops and Archbishops between.
Round to the transept and a chance to change lenses, and put on the 140-400mm for some detailed shots.
I go round the cathedral again.
Initially at some of the memorials on the walls and the canopy of the pulpit, but it is the windows that are calling.
At least it was a bright, sunny day outside, which meant light was good in the cathedral with most shots coming out fine with no camera shake.
As I edit the shots I am stunned at the details of windows so high up they mostly seem like blocks of colour.
And so far, I have only just started to edit these shots.
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St Augustine, the first Archbishop of Canterbury, arrived on the coast of Kent as a missionary to England in 597AD. He came from Rome, sent by Pope Gregory the Great. It is said that Gregory had been struck by the beauty of Angle slaves he saw for sale in the city market and despatched Augustine and some monks to convert them to Christianity. Augustine was given a church at Canterbury (St Martin’s, after St Martin of Tours, still standing today) by the local King, Ethelbert whose Queen, Bertha, a French Princess, was already a Christian.This building had been a place of worship during the Roman occupation of Britain and is the oldest church in England still in use. Augustine had been consecrated a bishop in France and was later made an archbishop by the Pope. He established his seat within the Roman city walls (the word cathedral is derived from the the Latin word for a chair ‘cathedra’, which is itself taken from the Greek ‘kathedra’ meaning seat.) and built the first cathedral there, becoming the first Archbishop of Canterbury. Since that time, there has been a community around the Cathedral offering daily prayer to God; this community is arguably the oldest organisation in the English speaking world. The present Archbishop, The Most Revd Justin Welby, is 105th in the line of succession from Augustine. Until the 10th century, the Cathedral community lived as the household of the Archbishop. During the 10th century, it became a formal community of Benedictine monks, which continued until the monastery was dissolved by King Henry VIII in 1540. Augustine’s original building lies beneath the floor of the Nave – it was extensively rebuilt and enlarged by the Saxons, and the Cathedral was rebuilt completely by the Normans in 1070 following a major fire. There have been many additions to the building over the last nine hundred years, but parts of the Quire and some of the windows and their stained glass date from the 12th century. By 1077, Archbishop Lanfranc had rebuilt it as a Norman church, described as “nearly perfect”. A staircase and parts of the North Wall – in the area of the North West transept also called the Martyrdom – remain from that building.
Canterbury’s role as one of the world’s most important pilgrimage centres in Europe is inextricably linked to the murder of its most famous Archbishop, Thomas Becket, in 1170. When, after a long lasting dispute, King Henry II is said to have exclaimed “Who will rid me of this turbulent priest?”, four knights set off for Canterbury and murdered Thomas in his own cathedral. A sword stroke was so violent that it sliced the crown off his skull and shattered the blade’s tip on the pavement. The murder took place in what is now known as The Martyrdom. When shortly afterwards, miracles were said to take place, Canterbury became one of Europe’s most important pilgrimage centres.
The work of the Cathedral as a monastery came to an end in 1540, when the monastery was closed on the orders of King Henry VIII. Its role as a place of prayer continued – as it does to this day. Once the monastery had been suppressed, responsibility for the services and upkeep was given to a group of clergy known as the Chapter of Canterbury. Today, the Cathedral is still governed by the Dean and four Canons, together (in recent years) with four lay people and the Archdeacon of Ashford. During the Civil War of the 1640s, the Cathedral suffered damage at the hands of the Puritans; much of the medieval stained glass was smashed and horses were stabled in the Nave. After the Restoration in 1660, several years were spent in repairing the building. In the early 19th Century, the North West tower was found to be dangerous, and, although it dated from Lanfranc’s time, it was demolished in the early 1830s and replaced by a copy of the South West tower, thus giving a symmetrical appearance to the west end of the Cathedral. During the Second World War, the Precincts were heavily damaged by enemy action and the Cathedral’s Library was destroyed. Thankfully, the Cathedral itself was not seriously harmed, due to the bravery of the team of fire watchers, who patrolled the roofs and dealt with the incendiary bombs dropped by enemy bombers. Today, the Cathedral stands as a place where prayer to God has been offered daily for over 1,400 years; nearly 2,000 Services are held each year, as well as countless private prayers from individuals. The Cathedral offers a warm welcome to all visitors – its aim is to show people Jesus, which we do through the splendour of the building as well as the beauty of the worship.
www.canterbury-cathedral.org/heritage/history/cathedral-h...
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History of the cathedral
THE ORIGIN of a Christian church on the scite of the present cathedral, is supposed to have taken place as early as the Roman empire in Britain, for the use of the antient faithful and believing soldiers of their garrison here; and that Augustine found such a one standing here, adjoining to king Ethelbert's palace, which was included in the king's gift to him.
This supposition is founded on the records of the priory of Christ-church, (fn. 1) concurring with the common opinion of almost all our historians, who tell us of a church in Canterbury, which Augustine found standing in the east part of the city, which he had of king Ethelbert's gift, which after his consecration at Arles, in France, he commended by special dedication to the patronage of our blessed Saviour. (fn. 2)
According to others, the foundations only of an old church formerly built by the believing Romans, were left here, on which Augustine erected that, which he afterwards dedicated to out Saviour; (fn. 3) and indeed it is not probable that king Ethelbert should have suffered the unsightly ruins of a Christian church, which, being a Pagan, must have been very obnoxious to him, so close to his palace, and supposing these ruins had been here, would he not have suffered them to be repaired, rather than have obliged his Christian queen to travel daily to such a distance as St. Martin's church, or St. Pancrace's chapel, for the performance of her devotions.
Some indeed have conjectured that the church found by St. Augustine, in the east part of the city, was that of St.Martin, truly so situated; and urge in favor of it, that there have not been at any time any remains of British or Roman bricks discovered scattered in or about this church of our Saviour, those infallible, as Mr. Somner stiles them, signs of antiquity, and so generally found in buildings, which have been erected on, or close to the spot where more antient ones have stood. But to proceed, king Ethelbert's donation to Augustine was made in the year 596, who immediately afterwards went over to France, and was consecrated a bishop at Arles, and after his return, as soon as he had sufficiently finished a church here, whether built out of ruins or anew, it matters not, he exercised his episcopal function in the dedication of it, says the register of Christ-church, to the honor of Christ our Saviour; whence it afterwards obtained the name of Christ-church. (fn. 4)
From the time of Augustine for the space of upwards of three hundred years, there is not found in any printed or manuscript chronicle, the least mention of the fabric of this church, so that it is probable nothing befell it worthy of being recorded; however it should be mentioned, that during that period the revenues of it were much increased, for in the leiger books of it there are registered more than fifty donations of manors, lands, &c. so large and bountiful, as became the munificence of kings and nobles to confer. (fn. 5)
It is supposed, especially as we find no mention made of any thing to the contrary, that the fabric of this church for two hundred years after Augustine's time, met with no considerable molestations; but afterwards, the frequent invasions of the Danes involved both the civil and ecclesiastical state of this country in continual troubles and dangers; in the confusion of which, this church appears to have run into a state of decay; for when Odo was promoted to the archbishopric, in the year 938, the roof of it was in a ruinous condition; age had impaired it, and neglect had made it extremely dangerous; the walls of it were of an uneven height, according as it had been more or less decayed, and the roof of the church seemed ready to fall down on the heads of those underneath. All this the archbishop undertook to repair, and then covered the whole church with lead; to finish which, it took three years, as Osbern tells us, in the life of Odo; (fn. 6) and further, that there was not to be found a church of so large a size, capable of containing so great a multitude of people, and thus, perhaps, it continued without any material change happening to it, till the year 1011; a dismal and fatal year to this church and city; a time of unspeakable confusion and calamities; for in the month of September that year, the Danes, after a siege of twenty days, entered this city by force, burnt the houses, made a lamentable slaughter of the inhabitants, rifled this church, and then set it on fire, insomuch, that the lead with which archbishop Odo had covered it, being melted, ran down on those who were underneath. The sull story of this calamity is given by Osbern, in the life of archbishop Odo, an abridgement of which the reader will find below. (fn. 7)
The church now lay in ruins, without a roof, the bare walls only standing, and in this desolate condition it remained as long as the fury of the Danes prevailed, who after they had burnt the church, carried away archbishop Alphage with them, kept him in prison seven months, and then put him to death, in the year 1012, the year after which Living, or Livingus, succeeded him as archbishop, though it was rather in his calamities than in his seat of dignity, for he too was chained up by the Danes in a loathsome dungeon for seven months, before he was set free, but he so sensibly felt the deplorable state of this country, which he foresaw was every day growing worse and worse, that by a voluntary exile, he withdrew himself out of the nation, to find some solitary retirement, where he might bewail those desolations of his country, to which he was not able to bring any relief, but by his continual prayers. (fn. 8) He just outlived this storm, returned into England, and before he died saw peace and quientness restored to this land by king Canute, who gaining to himself the sole sovereignty over the nation, made it his first business to repair the injuries which had been done to the churches and monasteries in this kingdom, by his father's and his own wars. (fn. 9)
As for this church, archbishop Ægelnoth, who presided over it from the year 1020 to the year 1038, began and finished the repair, or rather the rebuilding of it, assisted in it by the royal munificence of the king, (fn. 10) who in 1023 presented his crown of gold to this church, and restored to it the port of Sandwich, with its liberties. (fn. 11) Notwithstanding this, in less than forty years afterwards, when Lanfranc soon after the Norman conquest came to the see, he found this church reduced almost to nothing by fire, and dilapidations; for Eadmer says, it had been consumed by a third conflagration, prior to the year of his advancement to it, in which fire almost all the antient records of the privileges of it had perished. (fn. 12)
The same writer has given us a description of this old church, as it was before Lanfranc came to the see; by which we learn, that at the east end there was an altar adjoining to the wall of the church, of rough unhewn stone, cemented with mortar, erected by archbishop Odo, for a repository of the body of Wilfrid, archbishop of York, which Odo had translated from Rippon hither, giving it here the highest place; at a convenient distance from this, westward, there was another altar, dedicated to Christ our Saviour, at which divine service was daily celebrated. In this altar was inclosed the head of St. Swithin, with many other relics, which archbishop Alphage brought with him from Winchester. Passing from this altar westward, many steps led down to the choir and nave, which were both even, or upon the same level. At the bottom of the steps, there was a passage into the undercroft, under all the east part of the church. (fn. 13) At the east end of which, was an altar, in which was inclosed, according to old tradition, the head of St. Furseus. From hence by a winding passage, at the west end of it, was the tomb of St. Dunstan, (fn. 14) but separated from the undercroft by a strong stone wall; over the tomb was erected a monument, pyramid wife, and at the head of it an altar, (fn. 15) for the mattin service. Between these steps, or passage into the undercroft and the nave, was the choir, (fn. 16) which was separated from the nave by a fair and decent partition, to keep off the crowds of people that usually were in the body of the church, so that the singing of the chanters in the choir might not be disturbed. About the middle of the length of the nave, were two towers or steeples, built without the walls; one on the south, and the other on the north side. In the former was the altar of St. Gregory, where was an entrance into the church by the south door, and where law controversies and pleas concerning secular matters were exercised. (fn. 17) In the latter, or north tower, was a passage for the monks into the church, from the monastery; here were the cloysters, where the novices were instructed in their religious rules and offices, and where the monks conversed together. In this tower was the altar of St. Martin. At the west end of the church was a chapel, dedicated to the blessed Virgin Mary, to which there was an ascent by steps, and at the east end of it an altar, dedicated to her, in which was inclosed the head of St. Astroburta the Virgin; and at the western part of it was the archbishop's pontifical chair, made of large stones, compacted together with mortar; a fair piece of work, and placed at a convenient distance from the altar, close to the wall of the church. (fn. 18)
To return now to archbishop Lanfranc, who was sent for from Normandy in 1073, being the fourth year of the Conqueror's reign, to fill this see, a time, when a man of a noble spirit, equal to the laborious task he was to undertake, was wanting especially for this church; and that he was such, the several great works which were performed by him, were incontestable proofs, as well as of his great and generous mind. At the first sight of the ruinous condition of this church, says the historian, the archbishop was struck with astonishment, and almost despaired of seeing that and the monastery re edified; but his care and perseverance raised both in all its parts anew, and that in a novel and more magnificent kind and form of structure, than had been hardly in any place before made use of in this kingdom, which made it a precedent and pattern to succeeding structures of this kind; (fn. 19) and new monasteries and churches were built after the example of it; for it should be observed, that before the coming of the Normans most of the churches and monasteries in this kingdom were of wood; (all the monasteries in my realm, says king Edgar, in his charter to the abbey of Malmesbury, dated anno 974, to the outward sight are nothing but worm-eaten and rotten timber and boards) but after the Norman conquest, such timber fabrics grew out of use, and gave place to stone buildings raised upon arches; a form of structure introduced into general use by that nation, and in these parts surnished with stone from Caen, in Normandy. (fn. 20) After this fashion archbishop Lanfranc rebuilt the whole church from the foundation, with the palace and monastery, the wall which encompassed the court, and all the offices belonging to the monastery within the wall, finishing the whole nearly within the compass of seven years; (fn. 21) besides which, he furnished the church with ornaments and rich vestments; after which, the whole being perfected, he altered the name of it, by a dedication of it to the Holy Trinity; whereas, before it was called the church of our Saviour, or Christ-church, and from the above time it bore (as by Domesday book appears) the name of the church of the Holy Trinity; this new church being built on the same spot on which the antient one stood, though on a far different model.
After Lanfranc's death, archbishop Anselm succeeded in the year 1093, to the see of Canterbury, and must be esteemed a principal benefactor to this church; for though his time was perplexed with a continued series of troubles, of which both banishment and poverty made no small part, which in a great measure prevented him from bestowing that cost on his church, which he would otherwise have done, yet it was through his patronage and protection, and through his care and persuasions, that the fabric of it, begun and perfected by his predecessor, became enlarged and rose to still greater splendor. (fn. 22)
In order to carry this forward, upon the vacancy of the priory, he constituted Ernulph and Conrad, the first in 1104, the latter in 1108, priors of this church; to whose care, being men of generous and noble minds, and of singular skill in these matters, he, during his troubles, not only committed the management of this work, but of all his other concerns during his absence.
Probably archbishop Anselm, on being recalled from banishment on king Henry's accession to the throne, had pulled down that part of the church built by Lanfranc, from the great tower in the middle of it to the east end, intending to rebuild it upon a still larger and more magnificent plan; when being borne down by the king's displeasure, he intrusted prior Ernulph with the work, who raised up the building with such splendor, says Malmesbury, that the like was not to be seen in all England; (fn. 23) but the short time Ernulph continued in this office did not permit him to see his undertaking finished. (fn. 24) This was left to his successor Conrad, who, as the obituary of Christ church informs us, by his great industry, magnificently perfected the choir, which his predecessor had left unfinished, (fn. 25) adorning it with curious pictures, and enriching it with many precious ornaments. (fn. 26)
This great undertaking was not entirely compleated at the death of archbishop Anselm, which happened in 1109, anno 9 Henry I. nor indeed for the space of five years afterwards, during which the see of Canterbury continued vacant; when being finished, in honour of its builder, and on account of its more than ordinary beauty, it gained the name of the glorious choir of Conrad. (fn. 27)
After the see of Canterbury had continued thus vacant for five years, Ralph, or as some call him, Rodulph, bishop of Rochester, was translated to it in the year 1114, at whose coming to it, the church was dedicated anew to the Holy Trinity, the name which had been before given to it by Lanfranc. (fn. 28) The only particular description we have of this church when thus finished, is from Gervas, the monk of this monastery, and that proves imperfect, as to the choir of Lanfranc, which had been taken down soon after his death; (fn. 29) the following is his account of the nave, or western part of it below the choir, being that which had been erected by archbishop Lanfranc, as has been before mentioned. From him we learn, that the west end, where the chapel of the Virgin Mary stood before, was now adorned with two stately towers, on the top of which were gilded pinnacles. The nave or body was supported by eight pair of pillars. At the east end of the nave, on the north side, was an oratory, dedicated in honor to the blessed Virgin, in lieu, I suppose, of the chapel, that had in the former church been dedicated to her at the west end. Between the nave and the choir there was built a great tower or steeple, as it were in the centre of the whole fabric; (fn. 30) under this tower was erected the altar of the Holy Cross; over a partition, which separated this tower from the nave, a beam was laid across from one side to the other of the church; upon the middle of this beam was fixed a great cross, between the images of the Virgin Mary and St. John, and between two cherubims. The pinnacle on the top of this tower, was a gilded cherub, and hence it was called the angel steeple; a name it is frequently called by at this day. (fn. 31)
This great tower had on each side a cross isle, called the north and south wings, which were uniform, of the same model and dimensions; each of them had a strong pillar in the middle for a support to the roof, and each of them had two doors or passages, by which an entrance was open to the east parts of the church. At one of these doors there was a descent by a few steps into the undercroft; at the other, there was an ascent by many steps into the upper parts of the church, that is, the choir, and the isles on each side of it. Near every one of these doors or passages, an altar was erected; at the upper door in the south wing, there was an altar in honour of All Saints; and at the lower door there was one of St. Michael; and before this altar on the south side was buried archbishop Fleologild; and on the north side, the holy Virgin Siburgis, whom St. Dunstan highly admired for her sanctity. In the north isle, by the upper door, was the altar of St. Blaze; and by the lower door, that of St. Benedict. In this wing had been interred four archbishops, Adelm and Ceolnoth, behind the altar, and Egelnoth and Wlfelm before it. At the entrance into this wing, Rodulph and his successor William Corboil, both archbishops, were buried. (fn. 32)
Hence, he continues, we go up by some steps into the great tower, and before us there is a door and steps leading down into the south wing, and on the right hand a pair of folding doors, with stairs going down into the nave of the church; but without turning to any of these, let us ascend eastward, till by several more steps we come to the west end of Conrad's choir; being now at the entrance of the choir, Gervas tells us, that he neither saw the choir built by Lanfranc, nor found it described by any one; that Eadmer had made mention of it, without giving any account of it, as he had done of the old church, the reason of which appears to be, that Lanfranc's choir did not long survive its founder, being pulled down as before-mentioned, by archbishop Anselm; so that it could not stand more than twenty years; therefore the want of a particular description of it will appear no great defect in the history of this church, especially as the deficiency is here supplied by Gervas's full relation of the new choir of Conrad, built instead of it; of which, whoever desires to know the whole architecture and model observed in the fabric, the order, number, height and form of the pillars and windows, may know the whole of it from him. The roof of it, he tells us, (fn. 33) was beautified with curious paintings representing heaven; (fn. 34) in several respects it was agreeable to the present choir, the stalls were large and framed of carved wood. In the middle of it, there hung a gilded crown, on which were placed four and twenty tapers of wax. From the choir an ascent of three steps led to the presbiterium, or place for the presbiters; here, he says, it would be proper to stop a little and take notice of the high altar, which was dedicated to the name of CHRIST. It was placed between two other altars, the one of St. Dunstan, the other of St. Alphage; at the east corners of the high altar were fixed two pillars of wood, beautified with silver and gold; upon these pillars was placed a beam, adorned with gold, which reached across the church, upon it there were placed the glory, (fn. 35) the images of St. Dunstan and St. Alphage, and seven chests or coffers overlaid with gold, full of the relics of many saints. Between those pillars was a cross gilded all over, and upon the upper beam of the cross were set sixty bright crystals.
Beyond this, by an ascent of eight steps towards the east, behind the altar, was the archiepiscopal throne, which Gervas calls the patriarchal chair, made of one stone; in this chair, according to the custom of the church, the archbishop used to sit, upon principal festivals, in his pontifical ornaments, whilst the solemn offices of religion were celebrated, until the consecration of the host, when he came down to the high altar, and there performed the solemnity of consecration. Still further, eastward, behind the patriarchal chair, (fn. 36) was a chapel in the front of the whole church, in which was an altar, dedicated to the Holy Trinity; behind which were laid the bones of two archbishops, Odo of Canterbury, and Wilfrid of York; by this chapel on the south side near the wall of the church, was laid the body of archbishop Lanfranc, and on the north side, the body of archbishop Theobald. Here it is to be observed, that under the whole east part of the church, from the angel steeple, there was an undercrost or crypt, (fn. 37) in which were several altars, chapels and sepulchres; under the chapel of the Trinity before-mentioned, were two altars, on the south side, the altar of St. Augustine, the apostle of the English nation, by which archbishop Athelred was interred. On the north side was the altar of St. John Baptist, by which was laid the body of archbishop Eadsin; under the high altar was the chapel and altar of the blessed Virgin Mary, to whom the whole undercroft was dedicated.
To return now, he continues, to the place where the bresbyterium and choir meet, where on each side there was a cross isle (as was to be seen in his time) which might be called the upper south and north wings; on the east side of each of these wings were two half circular recesses or nooks in the wall, arched over after the form of porticoes. Each of them had an altar, and there was the like number of altars under them in the crost. In the north wing, the north portico had the altar of St. Martin, by which were interred the bodies of two archbishops, Wlfred on the right, and Living on the left hand; under it in the croft, was the altar of St. Mary Magdalen. The other portico in this wing, had the altar of St. Stephen, and by it were buried two archbishops, Athelard on the left hand, and Cuthbert on the right; in the croft under it, was the altar of St. Nicholas. In the south wing, the north portico had the altar of St. John the Evangelist, and by it the bodies of Æthelgar and Aluric, archbishops, were laid. In the croft under it was the altar of St. Paulinus, by which the body of archbishop Siricius was interred. In the south portico was the altar of St. Gregory, by which were laid the corps of the two archbishops Bregwin and Plegmund. In the croft under it was the altar of St. Owen, archbishop of Roan, and underneath in the croft, not far from it the altar of St. Catherine.
Passing from these cross isles eastward there were two towers, one on the north, the other on the south side of the church. In the tower on the north side was the altar of St. Andrew, which gave name to the tower; under it, in the croft, was the altar of the Holy Innocents; the tower on the south side had the altar of St. Peter and St. Paul, behind which the body of St. Anselm was interred, which afterwards gave name both to the altar and tower (fn. 38) (now called St. Anselm's). The wings or isles on each side of the choir had nothing in particular to be taken notice of.— Thus far Gervas, from whose description we in particular learn, where several of the bodies of the old archbishops were deposited, and probably the ashes of some of them remain in the same places to this day.
As this building, deservedly called the glorious choir of Conrad, was a magnificent work, so the undertaking of it at that time will appear almost beyond example, especially when the several circumstances of it are considered; but that it was carried forward at the archbishop's cost, exceeds all belief. It was in the discouraging reign of king William Rufus, a prince notorious in the records of history, for all manner of sacrilegious rapine, that archbishop Anselm was promoted to this see; when he found the lands and revenues of this church so miserably wasted and spoiled, that there was hardly enough left for his bare subsistence; who, in the first years that he sat in the archiepiscopal chair, struggled with poverty, wants and continual vexations through the king's displeasure, (fn. 39) and whose three next years were spent in banishment, during all which time he borrowed money for his present maintenance; who being called home by king Henry I. at his coming to the crown, laboured to pay the debts he had contracted during the time of his banishment, and instead of enjoying that tranquility and ease he hoped for, was, within two years afterwards, again sent into banishment upon a fresh displeasure conceived against him by the king, who then seized upon all the revenues of the archbishopric, (fn. 40) which he retained in his own hands for no less than four years.
Under these hard circumstances, it would have been surprizing indeed, that the archbishop should have been able to carry on so great a work, and yet we are told it, as a truth, by the testimonies of history; but this must surely be understood with the interpretation of his having been the patron, protector and encourager, rather than the builder of this work, which he entrusted to the care and management of the priors Ernulph and Conrad, and sanctioned their employing, as Lanfranc had done before, the revenues and stock of the church to this use. (fn. 41)
In this state as above-mentioned, without any thing material happening to it, this church continued till about the year 1130, anno 30 Henry I. when it seems to have suffered some damage by a fire; (fn. 42) but how much, there is no record left to inform us; however it could not be of any great account, for it was sufficiently repaired, and that mostly at the cost of archbishop Corboil, who then sat in the chair of this see, (fn. 43) before the 4th of May that year, on which day, being Rogation Sunday, the bishops performed the dedication of it with great splendor and magnificence, such, says Gervas, col. 1664, as had not been heard of since the dedication of the temple of Solomon; the king, the queen, David, king of Scots, all the archbishops, and the nobility of both kingdoms being present at it, when this church's former name was restored again, being henceforward commonly called Christ-church. (fn. 44)
Among the manuscripts of Trinity college library, in Cambridge, in a very curious triple psalter of St. Jerome, in Latin, written by the monk Eadwyn, whose picture is at the beginning of it, is a plan or drawing made by him, being an attempt towards a representation of this church and monastery, as they stood between the years 1130 and 1174; which makes it probable, that he was one of the monks of it, and the more so, as the drawing has not any kind of relation to the plalter or sacred hymns contained in the manuscript.
His plan, if so it may be called, for it is neither such, nor an upright, nor a prospect, and yet something of all together; but notwithstanding this rudeness of the draftsman, it shews very plain that it was intended for this church and priory, and gives us a very clear knowledge, more than we have been able to learn from any description we have besides, of what both were at the above period of time. (fn. 45)
Forty-four years after this dedication, on the 5th of September, anno 1174, being the 20th year of king Henry II.'s reign, a fire happened, which consumed great part of this stately edifice, namely, the whole choir, from the angel steeple to the east end of the church, together with the prior's lodgings, the chapel of the Virgin Mary, the infirmary, and some other offices belonging to the monastery; but the angel steeple, the lower cross isles, and the nave appear to have received no material injury from the flames. (fn. 46) The narrative of this accident is told by Gervas, the monk of Canterbury, so often quoted before, who was an eye witness of this calamity, as follows:
Three small houses in the city near the old gate of the monastery took fire by accident, a strong south wind carried the flakes of fire to the top of the church, and lodged them between the joints of the lead, driving them to the timbers under it; this kindled a fire there, which was not discerned till the melted lead gave a free passage for the flames to appear above the church, and the wind gaining by this means a further power of increasing them, drove them inwardly, insomuch that the danger became immediately past all possibility of relief. The timber of the roof being all of it on fire, fell down into the choir, where the stalls of the manks, made of large pieces of carved wood, afforded plenty of fuel to the flames, and great part of the stone work, through the vehement heat of the fire, was so weakened, as to be brought to irreparable ruin, and besides the fabric itself, the many rich ornaments in the church were devoured by the flames.
The choir being thus laid in ashes, the monks removed from amidst the ruins, the bodies of the two saints, whom they called patrons of the church, the archbishops Dunstan and Alphage, and deposited them by the altar of the great cross, in the nave of the church; (fn. 47) and from this time they celebrated the daily religious offices in the oratory of the blessed Virgin Mary in the nave, and continued to do so for more than five years, when the choir being re edified, they returned to it again. (fn. 48)
Upon this destruction of the church, the prior and convent, without any delay, consulted on the most speedy and effectual method of rebuilding it, resolving to finish it in such a manner, as should surpass all the former choirs of it, as well in beauty as size and magnificence. To effect this, they sent for the most skilful architects that could be found either in France or England. These surveyed the walls and pillars, which remained standing, but they found great part of them so weakened by the fire, that they could no ways be built upon with any safety; and it was accordingly resolved, that such of them should be taken down; a whole year was spent in doing this, and in providing materials for the new building, for which they sent abroad for the best stone that could be procured; Gervas has given a large account, (fn. 49) how far this work advanced year by year; what methods and rules of architecture were observed, and other particulars relating to the rebuilding of this church; all which the curious reader may consult at his leisure; it will be sufficient to observe here, that the new building was larger in height and length, and more beautiful in every respect, than the choir of Conrad; for the roof was considerably advanced above what it was before, and was arched over with stone; whereas before it was composed of timber and boards. The capitals of the pillars were now beautified with different sculptures of carvework; whereas, they were before plain, and six pillars more were added than there were before. The former choir had but one triforium, or inner gallery, but now there were two made round it, and one in each side isle and three in the cross isles; before, there were no marble pillars, but such were now added to it in abundance. In forwarding this great work, the monks had spent eight years, when they could proceed no further for want of money; but a fresh supply coming in from the offerings at St. Thomas's tomb, so much more than was necessary for perfecting the repair they were engaged in, as encouraged them to set about a more grand design, which was to pull down the eastern extremity of the church, with the small chapel of the Holy Trinity adjoining to it, and to erect upon a stately undercroft, a most magnificent one instead of it, equally lofty with the roof of the church, and making a part of it, which the former one did not, except by a door into it; but this new chapel, which was dedicated likewise to the Holy Trinity, was not finished till some time after the rest of the church; at the east end of this chapel another handsome one, though small, was afterwards erected at the extremity of the whole building, since called Becket's crown, on purpose for an altar and the reception of some part of his relics; (fn. 50) further mention of which will be made hereafter.
The eastern parts of this church, as Mr. Gostling observes, have the appearance of much greater antiquity than what is generally allowed to them; and indeed if we examine the outside walls and the cross wings on each side of the choir, it will appear, that the whole of them was not rebuilt at the time the choir was, and that great part of them was suffered to remain, though altered, added to, and adapted as far as could be, to the new building erected at that time; the traces of several circular windows and other openings, which were then stopped up, removed, or altered, still appearing on the walls both of the isles and the cross wings, through the white-wash with which they are covered; and on the south side of the south isle, the vaulting of the roof as well as the triforium, which could not be contrived so as to be adjusted to the places of the upper windows, plainly shew it. To which may be added, that the base or foot of one of the westernmost large pillars of the choir on the north side, is strengthened with a strong iron band round it, by which it should seem to have been one of those pillars which had been weakened by the fire, but was judged of sufficient firmness, with this precaution, to remain for the use of the new fabric.
The outside of this part of the church is a corroborating proof of what has been mentioned above, as well in the method, as in the ornaments of the building.— The outside of it towards the south, from St. Michael's chapel eastward, is adorned with a range of small pillars, about six inches diameter, and about three feet high, some with santastic shasts and capitals, others with plain ones; these support little arches, which intersect each other; and this chain or girdle of pillars is continued round the small tower, the eastern cross isle and the chapel of St. Anselm, to the buildings added in honour of the Holy Trinity, and St. Thomas Becket, where they leave off. The casing of St. Michael's chapel has none of them, but the chapel of the Virgin Mary, answering to it on the north side of the church, not being fitted to the wall, shews some of them behind it; which seems as if they had been continued before, quite round the eastern parts of the church.
These pillars, which rise from about the level of the pavement, within the walls above them, are remarkably plain and bare of ornaments; but the tower above mentioned and its opposite, as soon as they rise clear of the building, are enriched with stories of this colonade, one above another, up to the platform from whence their spires rise; and the remains of the two larger towers eastward, called St. Anselm's, and that answering to it on the north side of the church, called St. Andrew's are decorated much after the same manner, as high as they remain at present.
At the time of the before-mentioned fire, which so fatally destroyed the upper part of this church, the undercrost, with the vaulting over it, seems to have remained entire, and unhurt by it.
The vaulting of the undercrost, on which the floor of the choir and eastern parts of the church is raised, is supported by pillars, whose capitals are as various and fantastical as those of the smaller ones described before, and so are their shafts, some being round, others canted, twisted, or carved, so that hardly any two of them are alike, except such as are quite plain.
These, I suppose, may be concluded to be of the same age, and if buildings in the same stile may be conjectured to be so from thence, the antiquity of this part of the church may be judged, though historians have left us in the dark in relation to it.
In Leland's Collectanea, there is an account and description of a vault under the chancel of the antient church of St. Peter, in Oxford, called Grymbald's crypt, being allowed by all, to have been built by him; (fn. 51) Grymbald was one of those great and accomplished men, whom king Alfred invited into England about the year 885, to assist him in restoring Christianity, learning and the liberal arts. (fn. 52) Those who compare the vaults or undercrost of the church of Canterbury, with the description and prints given of Grymbald's crypt, (fn. 53) will easily perceive, that two buildings could hardly have been erected more strongly resembling each other, except that this at Canterbury is larger, and more pro fusely decorated with variety of fancied ornaments, the shafts of several of the pillars here being twisted, or otherwise varied, and many of the captials exactly in the same grotesque taste as those in Grymbald's crypt. (fn. 54) Hence it may be supposed, that those whom archbishop Lanfranc employed as architects and designers of his building at Canterbury, took their model of it, at least of this part of it, from that crypt, and this undercrost now remaining is the same, as was originally built by him, as far eastward, as to that part which begins under the chapel of the Holy Trinity, where it appears to be of a later date, erected at the same time as the chapel. The part built by Lanfranc continues at this time as firm and entire, as it was at the very building of it, though upwards of seven hundred years old. (fn. 55)
But to return to the new building; though the church was not compleatly finished till the end of the year 1184, yet it was so far advanced towards it, that, in 1180, on April 19, being Easter eve, (fn. 56) the archbishop, prior and monks entered the new choir, with a solemn procession, singing Te Deum, for their happy return to it. Three days before which they had privately, by night, carried the bodies of St. Dunstan and St. Alphage to the places prepared for them near the high altar. The body likewise of queen Edive (which after the fire had been removed from the north cross isle, where it lay before, under a stately gilded shrine) to the altar of the great cross, was taken up, carried into the vestry, and thence to the altar of St. Martin, where it was placed under the coffin of archbishop Livinge. In the month of July following the altar of the Holy Trinity was demolished, and the bodies of those archbishops, which had been laid in that part of the church, were removed to other places. Odo's body was laid under St. Dunstan's and Wilfrid's under St. Alphage's; Lanfranc's was deposited nigh the altar of St. Martin, and Theobald's at that of the blessed Virgin, in the nave of the church, (fn. 57) under a marble tomb; and soon afterwards the two archbishops, on the right and left hand of archbishop Becket in the undercrost, were taken up and placed under the altar of St. Mary there. (fn. 58)
After a warning so terrible, as had lately been given, it seemed most necessary to provide against the danger of fire for the time to come; the flames, which had so lately destroyed a considerable part of the church and monastery, were caused by some small houses, which had taken fire at a small distance from the church.— There still remained some other houses near it, which belonged to the abbot and convent of St. Augustine; for these the monks of Christ-church created, by an exchange, which could not be effected till the king interposed, and by his royal authority, in a manner, compelled the abbot and convent to a composition for this purpose, which was dated in the year 1177, that was three years after the late fire of this church. (fn. 59)
These houses were immediately pulled down, and it proved a providential and an effectual means of preserving the church from the like calamity; for in the year 1180, on May 22, this new choir, being not then compleated, though it had been used the month be fore, as has been already mentioned, there happened a fire in the city, which burnt down many houses, and the flames bent their course towards the church, which was again in great danger; but the houses near it being taken away, the fire was stopped, and the church escaped being burnt again. (fn. 60)
Although there is no mention of a new dedication of the church at this time, yet the change made in the name of it has been thought by some to imply a formal solemnity of this kind, as it appears to have been from henceforth usually called the church of St. Thomas the Martyr, and to have continued so for above 350 years afterwards.
New names to churches, it is true. have been usually attended by formal consecrations of them; and had there been any such solemnity here, undoubtedly the same would not have passed by unnoticed by every historian, the circumstance of it must have been notorious, and the magnificence equal at least to the other dedications of this church, which have been constantly mentioned by them; but here was no need of any such ceremony, for although the general voice then burst forth to honour this church with the name of St. Thomas, the universal object of praise and adoration, then stiled the glorious martyr, yet it reached no further, for the name it had received at the former dedication, notwithstanding this common appellation of it, still remained in reality, and it still retained invariably in all records and writings, the name of Christ church only, as appears by many such remaining among the archives of the dean and chapter; and though on the seal of this church, which was changed about this time; the counter side of it had a representation of Becket's martyrdom, yet on the front of it was continued that of the church, and round it an inscription with the former name of Christ church; which seal remained in force till the dissolution of the priory.
It may not be improper to mention here some transactions, worthy of observation, relating to this favorite saint, which passed from the time of his being murdered, to that of his translation to the splendid shrine prepared for his relics.
Archbishop Thomas Becket was barbarously murdered in this church on Dec. 29, 1170, being the 16th year of king Henry II. and his body was privately buried towards the east end of the undercrost. The monks tell us, that about the Easter following, miracles began to be wrought by him, first at his tomb, then in the undercrost, and in every part of the whole fabric of the church; afterwards throughout England, and lastly, throughout the rest of the world. (fn. 61) The same of these miracles procured him the honour of a formal canonization from pope Alexander III. whose bull for that purpose is dated March 13, in the year 1172. (fn. 62) This declaration of the pope was soon known in all places, and the reports of his miracles were every where sounded abroad. (fn. 63)
Hereupon crowds of zealots, led on by a phrenzy of devotion, hastened to kneel at his tomb. In 1177, Philip, earl of Flanders, came hither for that purpose, when king Henry met and had a conference with him at Canterbury. (fn. 64) In June 1178, king Henry returning from Normandy, visited the sepulchre of this new saint; and in July following, William, archbishop of Rhemes, came from France, with a large retinue, to perform his vows to St. Thomas of Canterbury, where the king met him and received him honourably. In the year 1179, Lewis, king of France, came into England; before which neither he nor any of his predecessors had ever set foot in this kingdom. (fn. 65) He landed at Dover, where king Henry waited his arrival, and on August 23, the two kings came to Canterbury, with a great train of nobility of both nations, and were received with due honour and great joy, by the archbishop, with his com-provincial bishops, and the prior and the whole convent. (fn. 66)
King Lewis came in the manner and habit of a pilgrim, and was conducted to the tomb of St. Thomas by a solemn procession; he there offered his cup of gold and a royal precious stone, (fn. 67) and gave the convent a yearly rent for ever, of a hundred muids of wine, to be paid by himself and his successors; which grant was confirmed by his royal charter, under his seal, and delivered next day to the convent; (fn. 68) after he had staid here two, (fn. 69) or as others say, three days, (fn. 70) during which the oblations of gold and silver made were so great, that the relation of them almost exceeded credibility. (fn. 71) In 1181, king Henry, in his return from Normandy, again paid his devotions at this tomb. These visits were the early fruits of the adoration of the new sainted martyr, and these royal examples of kings and great persons were followed by multitudes, who crowded to present with full hands their oblations at his tomb.— Hence the convent was enabled to carry forward the building of the new choir, and they applied all this vast income to the fabric of the church, as the present case instantly required, for which they had the leave and consent of the archbishop, confirmed by the bulls of several succeeding popes. (fn. 72)
¶From the liberal oblations of these royal and noble personages at the tomb of St. Thomas, the expences of rebuilding the choir appear to have been in a great measure supplied, nor did their devotion and offerings to the new saint, after it was compleated, any ways abate, but, on the contrary, they daily increased; for in the year 1184, Philip, archbishop of Cologne, and Philip, earl of Flanders, came together to pay their vows at this tomb, and were met here by king Henry, who gave them an invitation to London. (fn. 73) In 1194, John, archbishop of Lions; in the year afterwards, John, archbishop of York; and in the year 1199, king John, performed their devotions at the foot of this tomb. (fn. 74) King Richard I. likewise, on his release from captivity in Germany, landing on the 30th of March at Sandwich, proceeded from thence, as an humble stranger on foot, towards Canterbury, to return his grateful thanks to God and St. Thomas for his release. (fn. 75) All these by name, with many nobles and multitudes of others, of all sorts and descriptions, visited the saint with humble adoration and rich oblations, whilst his body lay in the undercrost. In the mean time the chapel and altar at the upper part of the east end of the church, which had been formerly consecrated to the Holy Trinity, were demolished, and again prepared with great splendor, for the reception of this saint, who being now placed there, implanted his name not only on the chapel and altar, but on the whole church, which was from thenceforth known only by that of the church of St. Thomas the martyr.
On July 7, anno 1220, the remains of St. Thomas were translated from his tomb to his new shrine, with the greatest solemnity and rejoicings. Pandulph, the pope's legate, the archbishops of Canterbury and Rheims, and many bishops and abbots, carried the coffin on their shoulders, and placed it on the new shrine, and the king graced these solemnities with his royal presence. (fn. 76) The archbishop of Canterbury provided forage along all the road, between London and Canterbury, for the horses of all such as should come to them, and he caused several pipes and conduits to run with wine in different parts of the city. This, with the other expences arising during the time, was so great, that he left a debt on the see, which archbishop Boniface, his fourth successor in it, was hardly enabled to discharge.
¶The saint being now placed in his new repository, became the vain object of adoration to the deluded people, and afterwards numbers of licences were granted to strangers by the king, to visit this shrine. (fn. 77) The titles of glorious, of saint and martyr, were among those given to him; (fn. 78) such veneration had all people for his relics, that the religious of several cathedral churches and monasteries, used all their endeavours to obtain some of them, and thought themselves happy and rich in the possession of the smallest portion of them. (fn. 79) Besides this, there were erected and dedicated to his honour, many churches, chapels, altars and hospitals in different places, both in this kingdom and abroad. (fn. 80) Thus this saint, even whilst he lay in his obscure tomb in the undercroft, brought such large and constant supplies of money, as enabled the monks to finish this beautiful choir, and the eastern parts of the church; and when he was translated to the most exalted and honourable place in it, a still larger abundance of gain filled their coffers, which continued as a plentiful supply to them, from year to year, to the time of the reformation, and the final abolition of the priory itself.