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A month of gratitude entries. I get all warm & fuzzy looking at this page.
Made for Dawn Sokol's Art Journal Stimulus Project. (www.dblogala.com/)
surrealistic Perfect skull with horns, stunning Flowers, Surreal, Artwork, Highly detailed, Concept art, Surrealism, Surreal art, Fantasy, Artstation by Sill Scaroni, silver details, leaves, tree roots
www.flickr.com/groups/skullsskeletonsanatomy/discuss/7215...
prompt challenge
Ai Skulls,Clowns,Skeletons and Anatomy
surrealistic Perfect skull with horns, stunning Flowers, Surreal, Artwork, Highly detailed, Concept art, Surrealism, Surreal art, Fantasy, Artstation by Sill Scaroni, silver details, leaves, tree roots horror Gustave Doré Greg Rutkowski
nightcafe
Prompt that I used:
s.mj.run/h6iSWUmAJ2c robotic, mechanical detailing, no scalling, ultra realistic, 4k, sharp details, in-focus subject, --v 4
Prompt: AN ILLUSTRATION OF A BEAUTIFUL WESTIE SITTING IN SOME COLORFUL FLOWERS WITH A TINY BUTTERFLY ON IT'S NOSE. AROUND THE WHOLE IMAGE IS A SOLID WHITE BORDER --chaos 5 --raw --profile g53orea --stylize 950 --hd --v 8.2
This digital fine art was created using Google Flow AI and Photoshop
Journal entry for the October prompt for, Roses on My Table Group. ................. "Sweet Music " for harp and voice.
Variation of a text-prompt generation in AI Deep Dream. The text contained a sentence from a text I copied. One of the moderation tools was PHOTOREALISTIC.
The option of Text Prompt is a new feature on Deep Dream.
There is this lady I follow on Flickr who writes the most hilarious stories attached to her AI creations. Here I just took the last sentence from her story, wondering what Stable Diffusion would be doing with it.
Her picture and story is called "Jewel at Dawn" - you could check it out here:
Prompt
A highly detailed digital artwork of an African Grey Parrot is captured in a close-up side profile, facing left against a solid black background. The parrot's head showcases its characteristic crest made up of numerous charcoal gray feathers, each meticulously rendered with subtle highlights and shadows to create depth and texture. The feathers form a dramatic fan pattern extending outward from the top of the head, creating a striking visual effect. The eye is a focal point, featuring a bright amber-orange iris surrounded by a small black pupil, adding a pop of color to the predominantly dark plumage. The beak is light gray with a textured surface, displaying fine details such as individual barbs and scales, curved inward to reveal a sharp, pointed tip. The overall lighting is low-key and focused, emphasizing the intricate details of the feathers while maintaining high contrast between the bird and the void-like backdrop. This artistic rendering creates a captivating and mysterious mood, highlighting the natural beauty and complexity of the parrot's appearance through its realistic style and a cool color palette dominated by various shades of charcoal gray.
Six Years Ago: The East End
Perched on the fire escape, Eric Needham chapped gently on his apartment's window. “Linda, can we talk?”
No response. He figured that may have been the case. Since he had caught her using again, their relationship had been... Well, ‘strained’ didn’t exactly cover it. But with every dealer he took off the streets, Eric was certain he was making a brighter future for them, for their son. Mikey wouldn’t have to grow up like he did. Mikey wouldn’t have to do the things that Eric had to.
Behind the glass, he could make out his girlfriend’s unmoving silhouette on the sofa, his son sitting on the ground beside her.
No, not sitting… Lying; sprawled out across the ground. Eric’s eyes widened and a sense of dread washed over him. 'God, please, not them too.'
He punched through the glass window, paying no attention to the shards tearing his hand open as he entered the room. He rushed to Mikey first, his eyes drawn to an overturned bowl of cereal and the white powder on the ground beside him. ‘The cereal… He’d put the smack in the cereal… Must have thought it was sugar, I mean, why wouldn’t he?’
‘Please… Please God, let there be a pulse,’ he begged, shaking Mikey’s still body frantically. He turned to Linda next, his face twisted with anger and sorrow.
“Do you know what you’ve done?!” he shook her. “Do you know what-”
His lip twitched. Tears streaming down his fear, he huddled his family together and wept. Not just for his family, but for the death of a normal life.
Now:
Sionis Warehouse: South Gotham
Jenna’s head was spinning. She could just hear Franco arguing with Ferris. She tried to move but found herself unable to; her wrist was wrapped in cold metal: Handcuffs, pinning her to a steel pipe.
“You brought the girl?” Ferris was complaining. “Sloppy, Davey. Sloppy. Fortunately, I can work with sloppy.”
Franco ruffled his hair awkwardly. “They got Rosso.”
“Eh. No real loss.”
“You think? If they find out what he did for me, we’re both dead.”
“You’re dead anyway," Jenna spat.
“Ah! The sleeping beauty awakes,” Ferris cocked his head to one side.
“When Gar gets here-”
Ferris flicked his finger on her forehead. “When ‘Gar’ gets here, we’re gonna blast him full of lead. Heh. This girl of yours must be real handy with those lips, Davey, ‘cause I can’t figure out why else you’d let her keep flapping ‘em.”
Six Years Ago: Dixon Docks
The henchmen all wore grotesque masks, loading pallets onto a group of large semi-trucks. One, in a rubber elephant mask, was talking to the others. “There was some killing on Third and Milton. Nasty stuff: had the lieutenants real spooked. Strung him up like a fly.”
“Was it The Bat?” a henchman in a chicken mask asked.
“Was it the-? The Bat don’t kill, moron. Everybody knows that,” a third, in a pink bear mask, chided the second.
“Ain’t what I heard. Heard there was this guy; The KGBeast; a high-profile Russian hitman or mercenary or something? Bat trapped him in a sewer, left him to starve to death,” a fourth in an astronaut helmet chimed in.
“That’s horsecrap. He’d have let the cops know where to pick him up, the Commissioner at least. They’re tight,” a goon in a white rabbit mask stated.
“Nah, man. This Beast guy? Killed 130 people, good half of them were innocents. You don’t fuck with innocents. Not with The Bat,” the astronaut claimed.
“Bull! I’ve met the Beast. He works with the bosses now and then. You’re talking outta your ass,” the bear masked henchman frowned. “It’s probably that new guy, the-”
He didn’t finish his sentence. A strand of red webbing latched itself around his neck and raised him off the ground. His legs flailed helplessly for what seemed like an eternity and then, snap. The body went limp.
“What the fuck was that?!”
“Holy crap, he’s dead!”
The Rabbit fired his machine gun into the rafters, hoping to weed out the assailant. Screams echoed throughout the warehouse. “Come on out, you son of a bitch! You’re outnumbered.”
Something rolled across the ground towards him, shattering his confidence: A bloodied chicken mask, the head still inside. The Rabbit stepped backwards, colliding with an upside-down body; a disembowelled corpse in an elephant mask, pinned to the wall by that same red webbing. Before the Rabbit could call for help, a serrated blade tore his throat open.
“This is fucked, man!” the astronaut panicked. “There were at least twenty other guys in here, where the hell are they?”
He tripped over the chicken’s headless body, falling to the ground. A figure in an orange mask and several layers of body armour grabbed him by his lapels and pulled him close.
“Who are you working for?” the figure asked.
“I don’t-! I can’t-!” the Astronaut stammered.
“This warehouse is the biggest heroin plant in the city now talk!"
"I can't! He'll kill me!"
"I'LL KILL YOU! NOW, WHO ARE YOU WORKING FOR?!” the Black Spider roared.
"The Black Mask,” the goon spluttered. “We’re working for the Black Mask!”
Before the goon could divulge more information, an armoured fist intervened, flooring Needham. The assailant was dressed in a suit of purple and grey armour, a single red visor across his eyes. Their gloves buzzed with yellow sparks. Needham hadn’t met this one before.
“No-no-no-no, please! I didn’t tell him nothing! I swear to Chri-”
The goon’s shout of protest was muffled by the Lightning Bug’s hand around his mouth. The gauntlet crackled with yellow electricity and lightning shot through the goon’s body, burning them from the inside. The body glowed with brilliant light, and then with a final muffled shriek: the light went out. Lightning Bug slackened his grip, and a charred corpse crumpled to the ground, smoke rising from the mouth of the blackened body. Beneath his mask, the Lightning Bug smirked: now he could turn his attention back to the intruder
As he approached, lightning dragged along the grated floor and railings, every metal surface a death trap beneath the Bug’s boots. So, Needham had to stick to the air; narrowly dodging a blast of yellow electricity, he leapt off the narrow walkway, firing a web at the wooden rafters to keep himself airborne. Recognising the Spider’s strategy, Lightning Bug shot at the rafters; as the blast found its mark, the wooden supports caught fire, the flames carrying down across the walls.
Needham lost his balance when the Bug struck the beams and fell into a pile of wooden crates. Shaking the wooden splinters off his person, Needham fired another web, carrying him onto the opposite end of the gantry. Aiming for the Bug’s visor, Needham grabbed a machine gun from a fallen False Facer and opened fire. The Bug raised his arm out in front of his face and used his gauntlet to shield his eyes, aiming to outlast Needham’s ammunition. And sure enough, the clip was emptied before it could penetrate the Bug’s armour.
As the fire intensified, the sprinkler systems kicked into gear; the water sizzling as it battered down onto the Bug’s armour. Needham discarded the gun, and firing two more webs, he brought a large crane down on top of the Bug. ‘The roof was going to cave in any minute,’ he realised. 'And soon the cops would be here.' Needham fired a web up at the open skylight, and swung out into the night, hoping the flames would finish the Bug off. But as he left, an armoured fist broke free from the debris.
The Gotham Royal Hotel
Lobby: Ground Floor
Time went on, and the remaining Misfits reunited in the lobby. The group’s attention was momentarily drawn to the window; the reporters had started to gather outside, taking pictures and forcibly extracting statements from the irritated witnesses and handcuffed prisoners. From inside the lobby, Sharpe stuck his tongue out at Jack Ryder, and pulled down the curtains. Mayo was slowly waltzing around the lobby. Bridget, who had arrived with Chuck, Kuttler and Ten, kept her distance from the group.
Chuck’s head was resting on the check-in desk, his arms sprawled out in front of him. Beside him, a sorrowful Rigger lay the broken hilt of his katana on the countertop, lamenting the weapon’s loss. Ten sat on his right, wearing a sling around his injured shoulder. Blake joined them last; a series of white bandages wrapped around his bare chest. Smiling, he plopped a quartet of glasses down beside them. “Drink,” he encouraged the trio, pouring a generous amount of dark liquid into each glass.
Chuck smiled back. “Cheers,” he toasted his teammates.
As they drank, Flannegan approached the group, dressed in an ugly, dark green raincoat.
“You’re leaving?” Chuck asked.
“Job’s done, isn’t it?” Flannegan challenged him.
"Unbelievable…” Chuck voiced his disapproval but knew there was little point in keeping Flannegan here against his will. Flannegan saluted the group, and took the remainder of the bottle for himself, tucking it under his overcoat.
Kuttler was sitting at the bottom of the staircase, pressing an ice pack against his bruised forehead. He lowered the ice pack from his forehead and rolled his eyes: Sionis was strutting down the marble staircase, Li by his side. Needham stood at the entrance, his arms folded and his back leaning against the door in defiance of the new arrival.
“What a dutiful bunch you all are. Can’t imagine how anyone got past you,” Sionis addressed the room of downtrodden C-Listers.
“That said..." he cleared his throat as if the words were painful to admit: "Thank you.” Clearly, he had been prompted by Li.
Mayo scratched his forehead as he struggled to make sense of the unexpected compliment. “But we ruined everything. A bunch of people died. The damages to the hotel-”
Sionis flapped his hand at him dismissively. “Oh, I know. But I’m insured on all of that. Well, not the men, but those are replaceable. Good work people, I hope I never have to see any of you again.”
The latter comment seemed to be directed at Kuttler specifically, as Sionis came to a stop at his side, paying no attention to the Black Spider's judgemental glare. “Oh, elevator’s back online, yeah?” he growled at him.
“They’re pre-programmed to shut down in the event of a fire,” Kuttler claimed.
“While occupied?” Sionis asked.
“It’s your building,” Kuttler challenged him, lowering his purple-tinted glasses. “We had no way to know Carson was coming,”
Sionis eyed him up and down, unsatisfied with his response. “Smartass,” he snarled, shoving him aside. "And you, kid, you on their side now?" he examined Bridget.
"Play nice," Needham warned, a hand rested by his sheathed blade. For the first time that night, Sionis noticed him.
"That's right, I forgot we had a Bat-Chaperone with us,” he raised his arms in the air. As he made a beeline for the check-in desk, Chuck looked down into his glass, avoiding eye contact.
“Doubt there’s any point asking the blind man…” Sionis stood intrusively close to Chuck. “So, how about you? You see Tiger Shark pass by here, Kite-Man?” he asked.
Chuck’s back straightened, and he turned to Sionis stone-faced.
“Who?”
Sionis took a step back. If he had eyebrows, he’d have surely raised one. “Well, aren’t you a grumpy little bastard tonight... You hit your head? Maybe fly into my desk headfirst?”
As tensions began to mount, Li stepped between the pair, handing Sionis his tablet. “Sir, you’ll want a look at this. The security footage from the 13th floor.”
As Sionis glanced at the recording, his eyes narrowed. “What am I supposed to be looking at?”
“Just keep watching,” Li said calmly. As the footage played, a familiar man wearing a wolf-like helmet and purple suit walked into focus and pressed a button on the nearby keypad.
“Ferris-?” Sionis grimaced. “What the hell was he up to-?”
As he finished inputting the code, the wall slid out, and Ferris disappeared behind it, the wall closing back up behind him.
“I told you it wasn’t Day,” Li finished, his tone suggesting he felt vindicated.
“I wish I could say I was happy for you…” Sionis murmured. “Wait a minute,” he gestured to the corner of the screen. “The time stamp… This happened two hours before Day attacked,” he glared at Li, waiting for his explanation.
“If I might suggest something... Kuttler is a tech genius. The only way someone; Krill, Day; could bypass his systems is if they already had the security codes. Or knew someone who did.”
“And?”
“Ferris knew something was going down. That’s why he left the party prematurely.”
“Well,” Sionis scoffed. “It’s a hell of a theory.”
“It is. But I do my research,” Li spoke, swiping his fingers across the tablet to another photo. “This was taken outside the Thompkins Homeless Center. And that’s Ferris, sat across from Abner Krill.”
Sionis gritted his teeth. “Is there anyone who doesn’t want to kill me?” he snarled.
“Nope." Needham’s arms stayed folded.
Sionis growled, as he swung back around. “Hey, Misfits, maybe I could still use you.”
“Are you serious?” Chuck asked. “Drury’s gone. Have someone else do your dirty work.”
“Well, that would be nice, Kite-Man. However, you may not have noticed, but all my employees seem to be betraying me!"
As if on cue, the stairwell door swung open, and Garfield Lynns staggered into the lobby; his shirt drenched in sweat, his face bruised and swollen, and covered in still damp blood.
Joey's eyes widened. "Gar!"
"Here, take it easy, Garfield," Reardon advised him, offering him his seat at the desk.
"Woah," Sharpe whistled. "You look like shit! Like, more than usual. Like, think how bad you must look now if on your best day, you look like a shaved testi-"
"Gar, what happened?" Chuck asked, expressing concern as Lynns collapsed onto the stool beside him and drank his half full glass of alcohol.
"Gar, where's Jenna?" Joey asked anxiously. "Gar?"
Gar didn't respond. His eyes appeared to stare off into nowhere. “He took her," he said finally, his jaw slackening. "I tried to stop him, but he took her."
“Who? Franco?” Joey asked. That got Sionis’ attention, whose previous reaction to the conversation had been one of pure apathy.
"Franco did that?” Sharpe gestured to Gar’s wounds. “I’ll be honest, between this and the car crash, I think you might be losing your touch.”
"No, not him... His assistant… bodyguard. He is… was a metahuman. A blood monster. Took him out with a Molotov but... By that point, Franco had already sealed the upstairs passage."
“Cool,” Sharpe and Mayo nodded in admiration. The former, stuck his head around the door Gar had come through, hoping to catch a glimpse of the 'blood monster.'
“That tunnel, where does it come out?” Gar asked Li frantically.
“One of our old warehouses, South Gotham, I think. You said it was a blood monster?” he asked Gar.
“What?” Gar asked, failing to see the relevancy. “Yeah, some kinda bloodbender. Like, from Avatar. Have you seen Avatar?”
“No.”
“Well, I have. Blame Rigger.”
“I shall.”
“You shouldn’t, it’s a good show!” Joey interjected.
“It’s fine," Gar conceded, realising he was getting off-topic. "This guy made me beat myself within an inch of my life, made Jenna watch, healed Franco’s injuries… Bloodwork, he said his name was.”
“And where is he now?”
Gar paused. “He’s splattered across the east stairwell.
“Aw, that’s not a monster!” Sharpe complained loudly as he re-entered the lobby. “That’s just a pile of blood.”
Li and Sionis looked at each other.
Li swallowed. “Sir… You don’t think-?”
“I want Franco's blood tested," Sionis ordered. “Dig up any files we have on Blackgate, including his connection to Gaige, and find out when his correspondence with Ferris first began; I need to know if they were conspiring before we lifted his exile...”
"That may take time," Li stated. "We'd need to find an uncorrupted blood sample, run it against the one we received from Blackgate."
"Franco took a polka dot to the stomach earlier," Gar stated. "I'd start there."
"Hmff," Sionis grunted. "Richardson's still on the take," he reminded his assistant. "Have him swipe a sample from upstairs. While we wait, I want you to surround the South Warehouse. No one in or out, capiche?”
“That may prove difficult. If Franco indeed got to Ferris, while he was exiled on another continent, he may have also enlisted your captains. We’re talking about a full-scale power play.”
“Then we’ll do it.”
Sionis tilted his head back. "Hm?"
Gar had risen from the stool and stepped between Sionis and Li. “We’ll take the job,” he clarified.
"Now, Gar, wait a minute-" Chuck protested, following him as he offered Sionis his hand.
"Bookworm’s right. You can't trust your own guys. Franco could've already bought them off. But you can trust me, because there ain’t nothing I wouldn’t do to protect that woman.”
“Well, aren’t you the romantic.” Sionis smirked as he accepted the handshake. “You remember Iron-Hat Ferris, I take it?”
Behind them, Blake laughed. “’Iron-Hat?’ What does he do, haunt abandoned fairgrounds for the insurance money?”
“Didn’t realise we were taking pointers from the Catman.”
“You’re not coming,” Gar shook his head. “Not with that stab wound. Ten neither. And Mayo... Not Mayo."
“Hold that thought,” Sionis’ phone buzzed, and he rolled his eyes. “Penguin.” He turned his head to the quarrelling Misfits. “I have to take this. Mingle among yourselves," he said patronisingly, as he left the room, followed by Li.
As Sionis departed, Joey shook his head. “That man deserves a fiery death...” he muttered.
“Yes,” Reardon murmured in agreement. “And for some reason, we prevented one.”
"What's your problem?" Gar glared at Chuck.
"My problem?" Chuck squinted.
“Franco has Jenna. Jenna! This might be my only chance of getting her back. Why are you trying to mess that up?”
"Why? Because we're not his personal kill squad. Look, Julian was one of us, as were the rest of the Outcasts; to an extent, but I draw the line with Franco and this Ferris guy. That's mob business and I don't want to see any more of us caught in the crossfire."
“And you'd leave Jenna to die instead?” Gar spluttered in indignation. "Isn't she one of us?"
Chuck sighed. “That’s not what I’m saying! But God, Gar, at least think it through. You do what you’re planning, if you kill Franco, do you really think she can love you? You’re being used. You’ll be little more than Sionis’ executioner. Again.”
"You don’t understand! I love her!”
"Of course, I understand, but she’s a grown woman. A grown woman, who, I might add, managed to hit Carson with a car.”
“To be fair though, who hasn’t,” Sharpe interjected.
“Just have faith in her! Give her some credit, please," Chuck urged.
"It's not just mob business."
"What?" Chuck stared at Bridget.
"It's not just mob business,” she repeated, a little unsure of herself.
“Go on," Needham encouraged her. "It's alright."
Bridget turned to Gar. “Dad followed Carpenter home one night. He was looking for you; must’ve thought that she’d lead him to you and Walker. But he found Franco instead. I guess they developed some kind of understanding, because, well they’re both still breathing. Tonight, Franco phoned dad out of the blue. Said he knew where to find Drury. And his friends.”
“Franco phoned him? Not Jules?” Blake asked.
Bridget scratched her arm. “Uh-uh. Day thought Dad was beneath him. He was always bragging about these secret partners of his. Seemed to think they were going to take over the city.”
“Drury,” Gar whispered. He looked ashamed, disgusted that he hadn’t noticed his best friend’s absence. “Where is Drury?”
The Misfits looked at each other guiltily. Ten swallowed. “You don’t know?”
Six Years Ago: Dixon Docks
Roman Sionis stood by the harbour. Smoke was still billowing from the charred warehouse. His warehouse. “30 men dead. 30. The East End operation is fucked…” he gritted his teeth. “What the hell happened exactly?” he asked, rubbing his eyes tiredly.
A man in a violet mask and a red suit and cape stepped forward. “Per the Bug’s account, this was the work of one man; calls himself Black Spider. He’s been active for a couple of years, never been worth our time; went after street dealers, the small stuff,” he explained.
“And? What changed?”
James Carter lowered his notepad. “We’re still working on that, sir. Still, it’s not uncommon for these types to get reckless, or cocky. Take down one street thug and they think they’re invincible all of a sudden. The Bug said he likely died in the blaze. We’re checking the river for a body. It’ll turn up soon enough.”
Sionis reached into his pocket and opened a bottle of his prescription heart medication. “30... Shit. You’re the PI, right? Gaige’s,” he inquired, swallowing a handful of orange pills.
“Incognito,” the red suited man introduced himself.
Sionis snorted derisively. “Yeah, with that cape?”
The Gotham Royal Hotel:
Room 792: Floor 25
A lone GCPD officer, Richardson, shone a torch at the wall. What looked to be Walker’s signature cocoon formula was peeling off the wall. A good chunk of the residue appeared to have been removed somehow, eaten, the cop suspected. And whatever the webbing had held, was gone
Six Years Ago: Sionis’ Penthouse. Diamond District
Sionis poured a bottle of scotch into a pair of glasses, offering a tumbler to his guest first. The guest declined, instead retrieving a thin cigarette from a pouch in his dark grey utility belt. Sionis shrugged, and after chugging down his whiskey, got down to business: “You come highly recommended from a… mutual friend of ours. Can’t say I’ve ever held his opinion in high regard, but my boys vouch for you. That kid, Joseph, he’s the one who set up the initial meet between me and your... manager.”
“He’s not my manager,” the guest frowned, flicking his lighter on and off compulsively.
“Well, he hyped you up plenty.”
“That’s just Drury. He exaggerates.”
“Yeah, no shit,” Sionis inhaled. “Joseph... is getting cold feet. Guess that mess in the East End was too much for him to handle: bit of a softie, that one... I take it you saw the news?”
The guest, dressed in a dark grey jumpsuit and a bandolier lined with explosives around his torso, smiled thinly. “Saw your warehouse up in smoke, if that’s what you mean. Helluva blaze. Wish I’d been there in person.”
“You and me both,” Sionis glared at him. “That little... accident cost me a dozen of my best guys. High earners. I need someone to pick up the slack, recoup our losses. That gonna be you, Lynns?”
The guest closed his lighter suddenly. “Please, sir. Call me Firefly.”
The Gotham Royal Hotel
Lobby: Ground Floor
Gar sat back down as he processed this. Franco sent Carson. Carson, who Drury had sacrificed his freedom to take down. He remembered the look Drury gave him in that hallway, a non-verbal plea to find Jenna, to be happy. And his hand formed a fist.
“That settles it.”
The Misfits looked at Gar.
“Franco’s just given me two reasons to kill him.”
“I’m in,” Rigger patted him on the back, tucking the broken katana into its sheath. “A guy’s gotta have his wingman.”
Gar nodded appreciatively, then turned to Chuck, gesturing to Blake and Reardon. “Those two need a doctor. Can I count on you to be their designated driver?”
Chuck nodded hesitantly. “Sharpe says he knows a guy.”
The two stared at each other as realization washed over them.
“The lizard?”
“The lizard.”
Gar scoffed, then turned to Joey. “Suit up.”
“Already have!” he beamed back as he ripped his shirt open, revealing the red and yellow fireproof spandex beneath.
Needham’s eyes narrowed. “You’ve been wearing that the whole time?”
Gar scratched his scalp. “Christ. You must smell like an old boot...”
“Like my pop’s old flip flops!”
~-~
“Oswald, this had better be good,” Sionis drawled into his phone. As Cobblepot spoke, Sionis’ eyes widened. “What?” he snapped.
Li watched from the side, concerned.
“Where? Yes, I’ll be there. Tell White to meet me there.”
“Sir?” Li tilted his head to one side.
Sionis didn’t elaborate. Instead, he swung around, placing a hand around his assistant’s arm.
"You still got that gun I gave you?" he asked. His tone was one of uncharacteristic concern.
Li nodded, gesturing to the bulge behind his tweed jacket.
"Good,” Sionis’ head swayed from side to side. And without another word, he stepped into the awaiting black limousine.
~-~
Li re-entered the Royal alone, his coat damp from the snow outside. “Have we reached a consensus?” he asked the group.
“Chuck here is gonna take care of our wounded,” Gar stated, “So Joey and I are all you’ve got.”
...
“Very well,” Li said, although he was clearly disappointed with this turn of events. “But be aware: Henry Ferris is not to be underestimated. He is a ruthless, unrepentant monster."
“Yeah, um, your boss is Black Mask. All things considered, isn’t that a little hypothetical?" Blake scratched his head.
"Hypocritical," Kuttler corrected him.
“You don’t understand,” Li shook his head. “Upon his return, I did some digging; research into the circumstances behind his exile, behind that mask he wears... Six years ago, Henry Ferris increased the potency of our drugs, and distributed them among poor neighbourhoods. Black neighbourhoods.”
‘Six years...’ Needham thought to himself, as he was filled with dread. ‘It wasn’t an accident...’ He remembered little Mikey on the floor, an overturned bowl of cereal at his side. Linda, her face white, stained with vomit. The still hot spoon on the table… The bag of heroin spilled across the sofa and along the floor...
‘It wasn’t an accident.’
Suddenly he leapt to his feet and grabbed Li by his collar. “Did you say six years?”
Six Years Ago: The Monarch’s Court
“Henry Ferris. You stand before the High Table, today, on July 14th, 2013, accused of the reckless endangerment of our assets and of drawing unwanted attention to our East End operations. How do you plead?” the red-suited man at the end of the table asked.
“How do I plead?” the accused repeated, a bewildered look upon his chiselled face. “This is a joke, right?”
“Hardly,” the man in the striped scuba suit snarled.
“Uh, should I repeat the question-?” the speaker asked his superiors.
“I heard you fine, Incognito,” Ferris responded. “I’m just confused. Confused why I’m on some sham trial and not shaking hands with the big bosses; No offense, pirate; in the Falcone penthouse.”
Ferris ran his finger along his crooked nose. “If I’m guilty of anything, and I do mean ‘if,’ it’s of maintaining the high standards that you’ve all let slip in Falcone’s absence. If the Roman were here-”
“He’s not,” the scuba-suited enforcer spat.
“If the Roman were here, I can guarantee you all that he’d be thanking me for purifying that disgusting, dirty little corner of Gotham.”
“Enough.” The man to Carter’s right raised his hand, a golden crown atop his head. “I’ve heard enough. 30 of our own men dead. 42 of our buyers dead from a modified supply of heroin you approved without our consent.”
“Drugs kill, who knew?” Ferris whistled.
“Enough!” The Monarch spat. “If you want to draw attention to yourself like a demented court jester, to hue and cry, then so be it. But you shall do so on my terms.”
The large man behind Ferris placed his hand on his shoulder, forcing Ferris to his knees.
“Rhino, you sack of shit-” he protested, spit flying from his mouth. “What the hell is this?!”
The Monarch rose from his throne, holding an iron mask in his hand. It was green in colour, with pointed ears attached to either side. “This, is a mask of shame. Rather popular in the 16th century… It’s also known as The Gossiper’s Bridle, used to punish women accused of witchcraft and so forth. It’s archaic, barbaric, needlessly cruel… And I’m sure it will fit you like a glove.”
Prompt: Create a magical and festive digital illustration of a Santa Claus, reimagined with a vibrant, modern twist. He wears a luxurious pale peach and turquoise sparkling suit with intricate embroidery, trimmed with white fur. His hat is adorned with floral designs, and he carries a silver staff decorated with a peach bow. Over his shoulder, he carries a shimmering sack filled with gifts. The scene features a beautifully decorated Christmas tree with peach and turquoise ornaments, wrapped presents beneath, and softly glowing candles. The background sparkles with falling snow and festive lights, evoking the joy of the holiday season. --ar 11:14 --stylize 750 --v 6.1
Prompt | surreal dreams , fantasy, in the style of Salvador Dali, 32k uhd, insane details, ultra photo-realistic, --ar 16:9 --v 5b --chaos 100 --s 1000
Prompt: "In the News"
I decided to go with the year of my daughters birth for her life album. Fun! The article came directly from www.policymic.com/articles/78223/10-historic-news-stories...
(plus the additional Friends photo). I will print out the entire article with the stories and links to include in the album.
Sources: template Simple Scrapper March 10x12;
papers MMartin Mika Papers 9, 10
Fonts are Hobo Std and Century Gothic
Prompt: in a vintage style, a women wearing a dress, on a hill hanging laundry on a clothesline, on a windy day, in the artistic illustrated style of Norman Rockwell --ar 5:4 --personalize udee6fk --v 6
Prompt: in the artistic style of Robert Bateman a painting of a woolly mammoth fighting a saber-tooth tiger, high detail, high resolution, --chaos 25 --v 7
this digital fine art was created using Midjourney AI and Photoshop
Art of the day word is Prompt.
February's Drawing Per Day. A fifteen minute or less drawing of word of the day.
Created with ChatGPT
Prompt -
Ultra-photorealistic IMAX rock-fantasy photograph, strict 16:9 aspect ratio, award-winning cinematic still, Netflix-quality realism. A legendary skeletal rock guitarist performs on a colossal outdoor concert stage beneath a storm-filled night sky. The skeleton retains a realistic bone structure and weathered ivory texture, dressed in a black leather biker jacket adorned with metal studs, chains, patches, and worn stage gear. Long windswept dark hair streams behind him as he unleashes an electrifying guitar solo on a custom crimson electric guitar.
The stage is surrounded by towering amplifier stacks, massive LED screens, industrial lighting rigs, pyrotechnic towers, and roaring crowds stretching to the horizon. Blue-white electrical arcs erupt from the guitar strings, illuminating the scene with crackling energy. Fireworks explode overhead while sparks, smoke, embers, and drifting mist fill the air. Powerful stage spotlights cut through atmospheric haze, creating dramatic beams of light.
The background features a realistic festival environment with thousands of fans, glowing wristbands, illuminated stage structures, distant city lights, and storm clouds reflecting concert lighting. Wet stage surfaces mirror the brilliant colors. Every detail is rendered photographically: realistic bone textures, leather grain, metal hardware, guitar craftsmanship, smoke physics, crowd detail, and lighting effects.
High dynamic range lighting, cinematic color grading, dramatic shadows, shallow depth of field, realistic motion blur on hair and sparks, volumetric atmosphere, Unreal Engine 5.5 realism, luxury concert photography aesthetic, razor-sharp focus, masterpiece composition, IMAX large-format quality, ultra-detailed 64K realism, no text, no typography, no comic-book effects, no poster elements, no logos, no watermark.
Pic and prompt by Adrian
Prompt: medium-full wide view shot, A Great Horned Owl in flight coming toward the camera, highly detailed, 8k, --profile 2wxm36j
Info: With its long, earlike tufts, intimidating yellow-eyed stare, and deep hooting voice, the Great Horned Owl is the quintessential owl of storybooks. This powerful predator can take down birds and mammals even larger than itself, but it also dines on daintier fare such as tiny scorpions, mice, and frogs. It’s one of the most common owls in North America, equally at home in deserts, wetlands, forests, grasslands, backyards, cities, and almost any other semi-open habitat between the Arctic and the tropics.
Digital fine art was created using Midjourney AI and Photoshop
Samuel Wensley Blackall:
Samuel Wensley Blackall (1809 - 1871), governor, was born on 1 May 1809 in Dublin, son of Major Robert Blackall of the East India Co. army, and his wife Catherine, née Lewis. A member of a prosperous Irish family, he was educated by a private tutor and at 15 went to Trinity College, Dublin, but did not graduate. He joined the 85th Regiment in June 1827 but in 1833 he sold his commission as lieutenant and entered the Royal Longford Militia, where he became a major. In 1833 he married Georgiana Rowles in London; the couple had a son and a daughter, the former surviving him. After his first wife’s death, Samuel married Catherine Bond at Dublin in 1858. Blackall took an active part in Irish public life, becoming high sheriff of County Longford in 1833: in 1847-51 he represented Longford in the House of Commons, and in 1861 became high sheriff of Tyrone. Meanwhile he had been lieutenant-governor of Dominica in 1851-57. Through seeking to rule with a high hand he had to combat a petition for his recall. He was also in trouble with the Colonial Office for extending his leave because of family difficulties. In 1862 he re-entered the colonial service as governor of Sierra Leone, in 1865 became governor in chief at the West African Settlements and in 1868 was appointed governor of Queensland.
Blackall took an active part in Irish public life, becoming high sheriff of County Longford in 1833: in 1847-51 he represented Longford in the House of Commons, and in 1861 became high sheriff of Tyrone. Meanwhile he had been lieutenant-governor of Dominica in 1851-57. Through seeking to rule with a high hand he had to combat a petition for his recall. He was also in trouble with the Colonial Office for extending his leave because of family difficulties. In 1862 he re-entered the colonial service as governor of Sierra Leone, in 1865 became governor in chief at the West African Settlements and in 1868 was appointed governor of Queensland.
On arrival in Brisbane on 14 August Blackall was met by a tremendous popular welcome, but at once was plunged into a constitutional crisis, which had been temporarily held in check by the administrator, Sir Maurice O'Connell. After a deadlock in the Legislative Assembly the Liberals had been defeated in an election but were petitioning the governor to dissolve the assembly on the ground that it did not properly represent the colony. Perhaps because of his experience in Dominica or because his health had suffered in West Africa, Blackall pursued a strictly constitutional course and refused to intervene directly. The crisis did not end until the rule of his successor, the marquis of Normanby. Despite the bitterness of the constitutional battle Blackall made no personal enemies, though he had to face a few personal attacks. Kindly and soft-spoken, he had developed the gift of making friends and became very popular. Willing to assist any genuine public cause, he made frequent appearances on public platforms. He worked hard to improve agriculture and to link the Queensland grammar schools with the University of Sydney.
By 1870 Blackall's health was failing rapidly and he knew the end was near. In 1870 when the government decided to set aside a new cemetery reserve at Toowong he inspected the area and selected the highest spot for his grave. At the same time he requested that his funeral be such as could be attended by even the humblest. Three months later, on 2 January 1871, he died and his wishes were gratified. A fine memorial was erected over his grave, the first in the cemetery. His memory is also preserved by the town of Blackall, the Blackall Range, and the first Queensland government steamer, Governor Blackall, bought by Charles Lilley when premier of Queensland in 1870.
Toowong Cemetery:
Bureaucratic procrastination, manoeuvring and public discontent colour the early history of the Brisbane General Cemetery at Toowong and contributed to the decades of delay in providing a new General Cemetery for Brisbane in the second half of the nineteenth century.
The first cemetery serving the small penal settlement that was Brisbane between 1825 and 1842 was located near Skew Street, the northern approach to the William Jolly Bridge. It was here that soldiers and convicts were interred but was considered unfit for the burial of children. One soldier's four children were buried in a brick crypt in an area at North Quay near Herschel Street.
The concept of a rural cemetery located outside the bounds of town limits emerged as a major transformation in burial practices in the late 18th century in Britain and Europe and was well established by the time towns and settlements were being formed in Queensland. The new burial grounds surveyed at North and South Brisbane in 1844, just beyond the western boundary of the municipality, proved however, not to be sufficiently removed from the settlement. Whilst the proximity of both grounds allowed customary procession on foot, and natural drainage away from the early settlement served to allay sanitary concerns, as early as 1851, the public were petitioning the Government of NSW to relocate the North Brisbane Burial Grounds known as the Milton/Paddington Cemetery. Brisbane's rapid expansion following its opening to free settlement in 1842 was such that the Paddington Cemetery, was now in the heart of a prime inner residential area and was being challenged by the residents who feared for their health.
The first progress to establish a new cemetery were made in 1861 when 200 acres was set aside for cemetery purposes, 2 miles south west of the Milton Cemetery at Toowong. The land however, was chosen by default rather than by design. Augustus Gregory, the Surveyor -General had not favoured the Toowong site but found it to be the only locality to present the requisite requirements. The appropriateness of the site at Toowong for the purpose of a General Cemetery was an issue contested for the next two decades. The isolation and suitability of the Toowong site with its lack of access and public transport fuelled dissent and debate and the public continued to use the cheaper, more accessible familial grounds at Milton.
Although the Cemetery Act was passed in 1866 providing the means to establish general cemeteries under the control of government appointed trustees, it was another decade before the Cemetery was officially opened. In 1868, a further portion of Crown land, 53 acres in area, north of the cemetery reserve was added to fulfil of the Trustee's requirement for the entire cemetery to be surrounded with public roads.
The reserve of 250 acres 1 rood was gazetted and the Cemetery Trust established in October 1870 and its honorary trustees were amongst Brisbane's most prominent political and business figures - James Cowlishaw, John Hardgrave, William Pettigrew, Samuel Walker Griffith, George Edmonstone, Alexander Raff, John Petrie (Chairman), Michael Quinlan and Nathaniel Lade.
Trial sinkings at Toowong in December 1870 found the ground to be unsuitable, but this knowledge did not prompt the government to secure a more appropriate location. Queensland's second governor, Samuel Wensley Blackall had been a supporter of the Toowong site and in his ill health indicated his desire to be buried there. He was buried on the highest knoll on 3 January 1871 and his memorial is the largest and most prominent in the cemetery with commanding views of the city and surrounds.
The Surveyor General, the Trustees and the Colonial Secretary had not favoured the Toowong Site and even after the burial of Governor Blackall on its most prominent peak, the Trustees were still pursuing other more suitable prospects for a cemetery site. Three private properties had been offered for sale for cemetery purposes. Of these, Trustee George Edmondstone's property on Enoggera Creek was identified as being most suitable, however the Colonial Treasurer could not reach an agreement on price and the Toowong site came to be accepted as the Brisbane General Cemetery grounds.
In June 1871, Petrie, Pettigrew and Perry were nominated to chose a suitable 40 acres for clearing for the general cemetery. In 1872, ground lying north of the road and east of the western boundary of the 53 acre portion was cleared and enclosed by 540 rods of good quality pig fencing (a four rail fence) with two entrances not more than 4 rods on each side of the main entrance erected by John Ballard.
A Keeper's Lodge was built by E Lewis and gates and ornamental fencing at the main entrance, designed by the Colonial Architect, FDG Stanley, were erected in 1873-74.
Between Governor Blackall's burial and the official opening of the Cemetery, there were six burials. The next interment was Ann Hill, wife of Walter Hill, superintendent of the Botanical Gardens on 2 November 1871. Thomas and Martha McCulloch were buried in November 1873, Teresa Maria Love on 16 March 1875 and Florence and Ethel Gordon on 4 July 1875.
The Trustees received numerous requests for separate burial sections from churches and other like minded group to ensure that religious and social class distinctions within society were perpetuated in mortality. Between November 1874 and August 1875 portions were allocated by the Trustees upon request. Portion No 1, was allocated to the Church of England, Portion No 2 to the Wesleyans, Portion No 3 to the Hebrews, Portion No 7 to the Roman Catholics, Portion No 16 to paupers and No 17 and parts of No 1 and 7 to public graves, Portion No 15 to criminals. In 1879, the Chinese were allocated part of Portion 2, then relocated in January 1884 to the ground below 7 and then again in April of that year to Portion No 8. The various cultural and religious groups were separated and boundaries clearly formed by winding roads. There is a strong showing of the Christian section of the graves, supporting the demographic dominance of Anglo-Saxons in Brisbane and the relocation of the Chinese several times (now in Portion 19) demonstrates the disregard afforded to this section of the community, which exhumed many of its dead for reinterment in China.
The lack of public transportation for funeral processions was one of the perceived shortfalls of the Toowong site, so the extension of the railway line through the western suburbs to Toowong in 1875 with the promise of a mortuary rail service provided the catalyst for the opening of the cemetery.
The grounds at the Cemetery were laid out by the prominent surveyor, George Phillips and a set of books drawn up by the Government Printer. The Cemetery was officially opened on 5 July 1875.
Controversy was quelled for a time but the respite was short lived and the Cemetery was subjected to a parliamentary inquiry in 1877 where public health issues, the steep and rocky terrain, the distance and inconvenience for mourners and the cost in relation to other alternatives including mortuary trains to Toowong were considered. No further meetings were held by the Trustees until March 1878.
The Cemetery had come to be valued for not only its heritage as the resting place of Governor Blackall but as a place for recreation and repose. Had the government decided from its inquiry to abandon the Toowong Cemetery in favour of another proposed site at Woogaroo, the Trustees wanted to retain the management of the Toowong site and for it to be maintained in an ornamental way as a place of resort for the people of Brisbane.
Community health concerns relating to the Cemetery began to dissipate in the second half of the 1880s. Whilst a public meeting of concerned residents discussed the closure of the cemetery in July 1885, within six months the local community was petitioning the Trustees to endorse the opening of a road through the cemetery reserve. Approval for the public thoroughfare through the cemetery was given in July 1886. The approval renewed concern in some quarters for the health risks associated with the increase in public activity at the Cemetery and the planting of trees amongst the graves especially of those dying of virulent diseases was advocated.
The cemetery was however, well established with trees by this time. From 1876, one year after its official opening, many plants and young trees had been supplied to the Cemetery from the Botanical Gardens and Acclimatisation Society. Initially, Walter Hill, the Botanical Gardens superintendent donated 38 shade and ornamental trees to the Cemetery and Mr Bernays of the Acclimatisation Society offered 50 trees in exchange for a subscription from the Trustees.
From 1878, the Cemetery gardens were attended by dresser, William Melville, a position he held for 38 years. Flowers, shrubs and plants were cultivated on the site on Portion 10 and sold to meet the needs of the site's visitors from a flower shed that straddled the creek. Mature camellias at the Cemetery, located in Portion 4 and 13 may be the first planted in Queensland from cuttings from Camden Park, the home of John McCarthur, who may have been the first to import them into Australia. A dam on Portion 16 was used for irrigation until 1905 when water taps were installed.
In 1886, the Defence Force leased the largely unused area of the cemetery, now occupied by Anzac Park, as a Rifle Range and the whole paddock and the Cemetery Overseer's cottage designed by Trustee, James Cowlishaw and built by E Bishop in 1877 came under the control of the Brigade Officer in charge of the Range. In exchange, the Government built another cottage in 1887 for the overseer at a cost of £250. A pavilion, also designed by Cowlishaw was built in 1885 at the northern end of Portion 10.
In 1891, extensive public usage of the cemetery land spurred the newly formed Toowong Shire Council to seek an arrangement with the Trustees to utilise some of the land for the purpose of public recreation. Whilst initially reluctant, the Trustees came to support the idea. In 1915, the Toowong Park Act was passed providing the Trustees with the means to transfer 132 acres 2 roods 18 perches to the Toowong Town Council for Park and Recreation purposes known in part as the Old Rifle Range for the sum of £1,000. This revenue was used to finance the construction of new gates and fencing and the purchase in 1916, of Portion 872, the sole adjoining private property, to satisfy the Trustees preference for completely surrounding the cemetery with public roads.
Agitation for public transport within close proximity of the cemetery was finally achieved with the extension of the tramway to the cemetery in 1901. A shelter shed was erected by the Brisbane Tramways Co in 1916.
The Paddington Cemeteries Act of 1911, authorised the Government to resume the several cemeteries at Milton and, upon the request of any relative of any person buried therein within 12 months, to disinter the remains of the deceased. The remains were removed together with any memorials to any cemetery agreed upon with associated costs borne by the Government. Of the 4,643 identifiable graves at Milton, there were 178 applications made. 139 remains and 105 memorials were relocated from Milton to Toowong throughout the site, with the greatest concentration to be found in Portion 6.
Tenders for a sanitary block were called by Trustee and architect, Edward Myer Myers in November 1923. The successful tenderer was Marberete Co and the construction was completed prior to Anzac Day 1924 when the Shrine of Remembrance and Cross of Sacrifice were unveiled. A report of the ceremony in the Sydney Mail incorrectly refers to the building as a mortuary chapel and flags of the Union Jack were hung over the entries to the men's and ladies' toilets to disguise the signage.
On 1 August 1930, Toowong Cemetery and all others with the Brisbane City Council municipality were placed under the management and control of the Council. The following year, the area of the Toowong Cemetery bounded by Mt Coot-tha Road and Miskin and Dean Streets was used by the Australian Military Forces for training and later was transferred to the Brisbane City Council and was developed as a Bus Depot. A substation was erected in the south-east corner of this site in 1935.
Flowers were cultivated and sold at the Cemetery from Portion 10 until the 1930s. In 1934 the area set apart for soldier's graves within Portion 10 was extended and incorporated the flower gardens and the octagonal pavilion was probably demolished at this time. Other shelter sheds were erected and six, including two with toilets, are dotted over the site. In 1936 the last available block, Portion 30, was laid out for burial purposes. To allow for more burials, the plot sizes were reduced from 9'x5'to 8'x4'.
By April 1975, all burial plots in the Cemetery had been sold and the Cemetery was closed with the exception of burials in family graves. That same year, hundreds of worn, forgotten headstones in three major city cemeteries were removed by Brisbane City Council workmen employed under the Regional Employment Development Scheme. Old, neglected monuments were removed from Toowong, Lutwyche and South Brisbane cemeteries and trees and shrubs planted. The long term aim of the scheme was to return the cemeteries to open space with a parkland atmosphere. It is thought approximately 1,000 memorials were removed from Toowong.
In the early 1980s, footpath clearances were substantially reduced along the Frederick Street and Mt Coot-tha Road boundaries and the tram shelter and tram lines were removed as part of the Route 20 overpass and roundabout development. As a result of this work, direct access through the main gates of the Cemetery from all directions but the west has been disconnected.
The Sexton's office, built around the turn of the century on Portion 10 above the floor of the flower shed, fell into disuse once the new Sexton's office was built in 1989. Restoration work to repair and reconstruct the former Sexton's office and its conversion to a museum was initiated by the Brisbane City Council Heritage Advisory Committee and the work carried out by the Heritage Unit in 1991. Another initiative by the Brisbane City Council Heritage Unit, also undertaken in 1991, was the establishment of the Toowong Cemetery Heritage Trail together with the Adopt-a-Pioneer program for plots in need of maintenance and to raise public awareness of the invaluable resource that the cemetery provides.
In 1992, steel boom gates were erected at the Birdwood Terrace and Frederick Street entrances of the Cemetery to deter vandalism, theft and drag racing. The same year, a group of volunteers formed The Friends of Toowong Cemetery and their activities include tending to neglected gravesites and organising tours of the Cemetery for interested parties. They have also produced several booklets including the Toowong Cemetery Resource Manual and Extraordinary Lives of Ordinary People.
The Cemetery was reopened in 1998 with approximately 450 plots available for sale.
Source: Australian Dictionary Of Biography & Queensland Heritage Register.
Prompt: castle neuschweinstein in the snowcapped alps at the golden hour during a lightning storm --ar 4:5 --personalize vhk5adx --stylize 999 --v 6.1
These are just the pictures on the inside obviously, I just felt that it's better to see them all together.
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5.Desire
As an initial disclaimer for this piece, the heart that I used is an animal heart that I got from a biological classroom supply company. It was part of some sort of a classroom dissection kit, and I wanted to use it to really communicate this concept effectively.
For this prompt I not only defined desire, but also illustrated the ramifications of desire. In actuality desire has a very open definition, and when looking through the definitions given for desire in the dictionary, I felt that they were so rigid that they were almost untrue. Desire really has no rigid definition, it's not entirely a verb or a noun, nor is it purely an emotion or an object. Desire is so complex that it cannot be labeled in one way. So for this prompt I have created a book with photos to illustrate a less rigid, yet still defined definition of the basic similarities of most examples of desire, and the ramifications of desire. I chose to specifically concentrate more on the emotional aspects of desire, viewed in a slightly humanized way. My book is designed to also illustrate the ramifications of each aspect of desire, while the poem defines it. I also chose to make the cover text reflective and almost reminiscent of a mirror to depict how personal definitions of desire reflect upon the individual.
Specifically the first page is intended to illustrate how desire will consume you, and the very serious results of this. I felt the heart was fitting because in both a very trite and a more serious symbology, it depicts giving up your life, which is the emotional aftermath of when desire consumes and creates "reaping feelings" as I said. I felt this part of my definition had the most serious ramifications, so therefore the photo used to illustrate it needed to be equally serious to depict and communicate this accurately. The second page is intended to depict how desire leaves us with humanized ideas of actuality, and the conclusion of this is that we are left somewhat isolated with a distorted vision of events. The third page is intended to follow this same concept in that desire makes us break apart our visions of events to create objective pasts. It is actually proven by many scientific experiments that our memory is mostly made up of small series that we continue to tell ourselves, and I feel that desire is a factor that changes how we choose to remember things. The result of this is a distorted view of the past, which can constantly change us. The fourth page is intended to depict how desire is really just a series of lies that we create, which will leave aspects of our lives empty. This creates an empty and isolated life, which is depicted by the symbolism of blood for life, used in a scene that represents isolation. I also feel that it depicts the rituals that a vapid lifestyle creates. For my last page I wanted to define what desire is confined by, which is the "cage" humanity lives in. This metaphorical cage is defined by both social aspects and mortality, which are essentially most of what also creates and confines desire. This creates the reality that whether we embrace or resent desire we are all bound by the same fragility. So to depict this I wanted to illustrate it somewhat literally, while also alluding back to my concept on the first page.
Prompt:
a portrait of a family of three, elderly parents and adult child, wearing formal attire, serious expressions, exaggerated features, woman with large bouffant hairstyle | somber, unsettling mood::1.2 | surrealism::1.3, hyperrealistic, reminiscent of American Gothic | cinematic lighting, detailed textures, 8k resolution, intricate details | --ar 2:3 --v 6.0 --q 2 --s 75 --c 30
Interesting how AI changes the look & dress of the man by just changing the nationality of the pub and not the man. I prompted AI to imagine a fat man in various locales.
Ahem. Things have expanded somewhat since the last Family Photo. Some are new dolls, some have just been fished out of storage boxes.
What prompted me to photograph the shelf was the fact that a friend came to stay on New Year's Eve, and came into our room. She looked at the dolls, and said 'oh my God... how can you two sleep at night with all of them looking at you like that?!'
Luckily, both myself and the Boy are pretty short-sighted, and can't see them once we've taken our glasses off ;)
the favorite eating establishment in St. Paul. i was very self conscious about the whole thing. i found myself with my sketchbook kind of hidden away from "the audience" and for that reason the lines were very wiggly and cramped. my husband is on the right. He posed for me because i felt the composition needed a third figure.
I found using a viewfinder very difficult, but I can see the benefit of it, both in terms of composition AND accuracy. The trick for me will be to figure out how to use it just enough so I don't get frustrated with it!
Prompt: A hyper-realistic, highly detailed digital artwork set in the 1950s, depicting an outdoor fish market by the docks. At the center stands an old, weathered fisherman with a white beard, wearing a worn leather apron over a rolled-up work shirt and a vintage cap. He stands behind a rustic wooden table laden with freshly caught fish—silver-scaled and glistening with sea mist. A weathered wooden post and hanging net sacks frame the scene, and behind him, another fisherman works with more seafood in the background. To the left, a bucket filled with shellfish rests on the ground, and behind the stall, a hand-painted sign reads “Fresh Catch” in bold letters. The harbor water and the faint silhouette of a red fishing boat are visible in the background. The lighting is natural and bright, capturing a crisp daytime scene with the ambiance of hard work and authenticity. The overall mood is nostalgic, honest, and rooted in maritime tradition.
Style: Ultra-realistic, artwork
Lighting: Bright daylight with soft natural shadows
Color Palette: sea blues, fish silver, worn wood tones
Mood: Honest, nostalgic, maritime tradition
Resolution: 12K
Aspect Ratio: Horizontal
This digital fine art was created using Chatgpt Sora AI and Photoshop
created with prompts using recraftai
This dream started with my sister throwing a Valentine's Day party. After that I was down at the port helping Brent load a green dresser onto a ship. There was an afghan hound in a band jacket inside the cargo container and it became wild and jumped at us and the dresser fell into the bay.
“No, I would not want to live in a world without dragons, as I would not want to live in a world without magic, for that is a world without mystery, and that is a world without faith.”
― R.A. Salvatore, Streams of Silver
Visit The Beast Forest.
Prompt:
The image portrays a male artist in the act of painting a portrait of a woman. It appears he's painting directly onto a canvas attached to an easel, suggested by the visible wooden edge on the left. The setting is dimly lit, highlighting the intimacy of the scene and drawing the viewer's attention to the interaction between the artist and his subject.
The artist is a young man with tousled dark blonde or light brown hair and a beard. He's seen from a side angle, focused intently on his work. He holds a paintbrush in his hand, applying paint to the canvas depicting the woman's hair. There are smudges of paint on his hand, suggesting active involvement in the painting process. He wears a dark, almost black shirt or top.
The woman, seemingly his muse, has long blonde hair and fair skin. She’s positioned very close to him, her head slightly tilted back. Her eyes are closed, giving an impression of serenity or perhaps deep connection with the artist. Her expression is soft and her lips are slightly parted. Her proximity to the artist and their intense focus create an atmosphere of intimacy and passion. It's almost as though they are about to kiss, adding a layer of romance and intrigue to the scene. The composition places them in the center of the image against a dark background, further emphasizing their connection and the act of artistic creation.
What craziness is this, a day in that London on a weekday? Well, working one day last weekend, and another next weekend, meant I took a day in Lieu.
So there.
And top of my list of places to visit was St Magnus. This would be the fifth time I have tried to get inside, and the first since I wrote to the church asking whether they would be open a particular Saturday, and then any Saturday. Letters which were ignored
So, I walked out of Monument Station, down the hill there was St Magnus: would it be open?
It was, and inside it was a box, nay a treasure chest of delights.
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St Magnus the Martyr, London Bridge is a Church of England church and parish within the City of London. The church, which is located in Lower Thames Street near The Monument to the Great Fire of London,[1] is part of the Diocese of London and under the pastoral care of the Bishop of London and the Bishop of Fulham.[2] It is a Grade I listed building.[3] The rector uses the title "Cardinal Rector". [4]
St Magnus lies on the original alignment of London Bridge between the City and Southwark. The ancient parish was united with that of St Margaret, New Fish Street, in 1670 and with that of St Michael, Crooked Lane, in 1831.[5] The three united parishes retained separate vestries and churchwardens.[6] Parish clerks continue to be appointed for each of the three parishes.[7]
St Magnus is the guild church of the Worshipful Company of Fishmongers and the Worshipful Company of Plumbers, and the ward church of the Ward of Bridge and Bridge Without. It is also twinned with the Church of the Resurrection in New York City.[8]
Its prominent location and beauty has prompted many mentions in literature.[9] In Oliver Twist Charles Dickens notes how, as Nancy heads for her secret meeting with Mr. Brownlow and Rose Maylie on London Bridge, "the tower of old Saint Saviour's Church, and the spire of Saint Magnus, so long the giant-warders of the ancient bridge, were visible in the gloom". The church's spiritual and architectural importance is celebrated in the poem The Waste Land by T. S. Eliot, who adds in a footnote that "the interior of St. Magnus Martyr is to my mind one of the finest among Wren's interiors".[10] One biographer of Eliot notes that at first he enjoyed St Magnus aesthetically for its "splendour"; later he appreciated its "utility" when he came there as a sinner.
The church is dedicated to St Magnus the Martyr, earl of Orkney, who died on 16 April in or around 1116 (the precise year is unknown).[12] He was executed on the island of Egilsay having been captured during a power struggle with his cousin, a political rival.[13] Magnus had a reputation for piety and gentleness and was canonised in 1135. St. Ronald, the son of Magnus's sister Gunhild Erlendsdotter, became Earl of Orkney in 1136 and in 1137 initiated the construction of St. Magnus Cathedral in Kirkwall.[14] The story of St. Magnus has been retold in the 20th century in the chamber opera The Martyrdom of St Magnus (1976)[15] by Sir Peter Maxwell Davies, based on George Mackay Brown's novel Magnus (1973).
he identity of the St Magnus referred to in the church's dedication was only confirmed by the Bishop of London in 1926.[16] Following this decision a patronal festival service was held on 16 April 1926.[17] In the 13th century the patronage was attributed to one of the several saints by the name of Magnus who share a feast day on 19 August, probably St Magnus of Anagni (bishop and martyr, who was slain in the persecution of the Emperor Decius in the middle of the 3rd century).[18] However, by the early 18th century it was suggested that the church was either "dedicated to the memory of St Magnus or Magnes, who suffer'd under the Emperor Aurelian in 276 [see St Mammes of Caesarea, feast day 17 August], or else to a person of that name, who was the famous Apostle or Bishop of the Orcades."[19] For the next century historians followed the suggestion that the church was dedicated to the Roman saint of Cæsarea.[20] The famous Danish archaeologist Professor Jens Jacob Asmussen Worsaae (1821–85) promoted the attribution to St Magnus of Orkney during his visit to the British Isles in 1846-7, when he was formulating the concept of the 'Viking Age',[21] and a history of London written in 1901 concluded that "the Danes, on their second invasion ... added at least two churches with Danish names, Olaf and Magnus".[22] A guide to the City Churches published in 1917 reverted to the view that St Magnus was dedicated to a martyr of the third century,[23] but the discovery of St Magnus of Orkney's relics in 1919 renewed interest in a Scandinavian patron and this connection was encouraged by the Rector who arrived in 1921
A metropolitan bishop of London attended the Council of Arles in 314, which indicates that there must have been a Christian community in Londinium by this date, and it has been suggested that a large aisled building excavated in 1993 near Tower Hill can be compared with the 4th-century Cathedral of St Tecla in Milan.[25] However, there is no archaeological evidence to suggest that any of the mediaeval churches in the City of London had a Roman foundation.[26] A grant from William I in 1067 to Westminster Abbey, which refers to the stone church of St Magnus near the bridge ("lapidee eccle sci magni prope pontem"), is generally accepted to be 12th century forgery,[27] and it is possible that a charter of confirmation in 1108-16 might also be a later fabrication.[28] Nonetheless, these manuscripts may preserve valid evidence of a date of foundation in the 11th century.
Archaeological evidence suggests that the area of the bridgehead was not occupied from the early 5th century until the early 10th century. Environmental evidence indicates that the area was waste ground during this period, colonised by elder and nettles. Following Alfred's decision to reoccupy the walled area of London in 886, new harbours were established at Queenhithe and Billingsgate. A bridge was in place by the early 11th century, a factor which would have encouraged the occupation of the bridgehead by craftsmen and traders.[30] A lane connecting Botolph's Wharf and Billingsgate to the rebuilt bridge may have developed by the mid-11th century. The waterfront at this time was a hive of activity, with the construction of embankments sloping down from the riverside wall to the river. Thames Street appeared in the second half of the 11th century immediately behind (north of) the old Roman riverside wall and in 1931 a piling from this was discovered during the excavation of the foundations of a nearby building. It now stands at the base of the church tower.[31] St Magnus was built to the south of Thames Street to serve the growing population of the bridgehead area[32] and was certainly in existence by 1128-33.[33]
The small ancient parish[34] extended about 110 yards along the waterfront either side of the old bridge, from 'Stepheneslane' (later Churchehawlane or Church Yard Alley) and 'Oystergate' (later called Water Lane or Gully Hole) on the West side to 'Retheresgate' (a southern extension of Pudding Lane) on the East side, and was centred on the crossroads formed by Fish Street Hill (originally Bridge Street, then New Fish Street) and Thames Street.[35] The mediaeval parish also included Drinkwater's Wharf (named after the owner, Thomas Drinkwater), which was located immediately West of the bridge, and Fish Wharf, which was to the South of the church. The latter was of considerable importance as the fishmongers had their shops on the wharf. The tenement was devised by Andrew Hunte to the Rector and Churchwardens in 1446.[36] The ancient parish was situated in the South East part of Bridge Ward, which had evolved in the 11th century between the embankments to either side of the bridge.[37]
In 1182 the Abbot of Westminster and the Prior of Bermondsey agreed that the advowson of St Magnus should be divided equally between them. Later in the 1180s, on their presentation, the Archdeacon of London inducted his nephew as parson.
Between the late Saxon period and 1209 there was a series of wooden bridges across the Thames, but in that year a stone bridge was completed.[39] The work was overseen by Peter de Colechurch, a priest and head of the Fraternity of the Brethren of London Bridge. The Church had from early times encouraged the building of bridges and this activity was so important it was perceived to be an act of piety - a commitment to God which should be supported by the giving of alms. London’s citizens made gifts of land and money "to God and the Bridge".[40] The Bridge House Estates became part of the City's jurisdiction in 1282.
Until 1831 the bridge was aligned with Fish Street Hill, so the main entrance into the City from the south passed the West door of St Magnus on the north bank of the river.[41] The bridge included a chapel dedicated to St Thomas Becket[42] for the use of pilgrims journeying to Canterbury Cathedral to visit his tomb.[43] The chapel and about two thirds of the bridge were in the parish of St Magnus. After some years of rivalry a dispute arose between the church and the chapel over the offerings given to the chapel by the pilgrims. The matter was resolved by the brethren of the chapel making an annual contribution to St Magnus.[44] At the Reformation the chapel was turned into a house and later a warehouse, the latter being demolished in 1757-58.
The church grew in importance. On 21 November 1234 a grant of land was made to the parson of St Magnus for the enlargement of the church.[45] The London eyre of 1244 recorded that in 1238 "A thief named William of Ewelme of the county of Buckingham fled to the church of St. Magnus the Martyr, London, and there acknowledged the theft and abjured the realm. He had no chattels."[46] Another entry recorded that "The City answers saying that the church of ... St. Magnus the Martyr ... which [is] situated on the king's highway ... ought to belong to the king and be in his gift".[47] The church presumably jutted into the road running to the bridge, as it did in later times.[48] In 1276 it was recorded that "the church of St. Magnus the Martyr is worth £15 yearly and Master Geoffrey de la Wade now holds it by the grant of the prior of Bermundeseie and the abbot of Westminster to whom King Henry conferred the advowson by his charter.
In 1274 "came King Edward and his wife [Eleanor] from the Holy Land and were crowned at Westminster on the Sunday next after the Feast of the Assumption of Our Lady [15 August], being the Feast of Saint Magnus [19 August]; and the Conduit in Chepe ran all the day with red wine and white wine to drink, for all such as wished."[50] Stow records that "in the year 1293, for victory obtained by Edward I against the Scots, every citizen, according to their several trade, made their several show, but especially the fishmongers" whose solemn procession including a knight "representing St Magnus, because it was upon St Magnus' day".
An important religious guild, the Confraternity de Salve Regina, was in existence by 1343, having been founded by the "better sort of the Parish of St Magnus" to sing the anthem 'Salve Regina' every evening.[51] The Guild certificates of 1389 record that the Confraternity of Salve Regina and the guild of St Thomas the Martyr in the chapel on the bridge, whose members belonged to St Magnus parish, had determined to become one, to have the anthem of St Thomas after the Salve Regina and to devote their united resources to restoring and enlarging the church of St Magnus.[52] An Act of Parliament of 1437[53] provided that all incorporated fraternities and companies should register their charters and have their ordinances approved by the civic authorities.[54] Fear of enquiry into their privileges may have led established fraternities to seek a firm foundation for their rights. The letters patent of the fraternity of St Mary and St Thomas the Martyr of Salve Regina in St Magnus dated 26 May 1448 mention that the fraternity had petitioned for a charter on the grounds that the society was not duly founded.
In the mid-14th century the Pope was the Patron of the living and appointed five rectors to the benefice.[56]
Henry Yevele, the master mason whose work included the rebuilding of Westminster Hall and the naves of Westminster Abbey and Canterbury Cathedral, was a parishioner and rebuilt the chapel on London Bridge between 1384 and 1397. He served as a warden of London Bridge and was buried at St Magnus on his death in 1400. His monument was extant in John Stow's time, but was probably destroyed by the fire of 1666.[57]
Yevele, as the King’s Mason, was overseen by Geoffrey Chaucer in his capacity as the Clerk of the King's Works. In The General Prologue of Chaucer's The Canterbury Tales the five guildsmen "were clothed alle in o lyveree Of a solempne and a greet fraternitee"[58] and may be thought of as belonging to the guild in the parish of St Magnus, or one like it.[59] Chaucer's family home was near to the bridge in Thames Street.
n 1417 a dispute arose concerning who should take the place of honour amongst the rectors in the City churches at the Whit Monday procession, a place that had been claimed from time to time by the rectors of St Peter Cornhill, St Magnus the Martyr and St Nicholas Cole Abbey. The Mayor and Aldermen decided that the Rector of St Peter Cornhill should take precedence.[61]
St Magnus Corner at the north end of London Bridge was an important meeting place in mediaeval London, where notices were exhibited, proclamations read out and wrongdoers punished.[62] As it was conveniently close to the River Thames, the church was chosen by the Bishop between the 15th and 17th centuries as a convenient venue for general meetings of the clergy in his diocese.[63] Dr John Young, Bishop of Callipolis (rector of St Magnus 1514-15) pronounced judgement on 16 December 1514 (with the Bishop of London and in the presence of Thomas More, then under-sheriff of London) in the heresy case concerning Richard Hunne.[64]
In pictures from the mid-16th century the old church looks very similar to the present-day St Giles without Cripplegate in the Barbican.[65] According to the martyrologist John Foxe, a woman was imprisoned in the 'cage' on London Bridge in April 1555 and told to "cool herself there" for refusing to pray at St Magnus for the recently deceased Pope Julius III.[66]
Simon Lowe, a Member of Parliament and Master of the Merchant Taylors' Company during the reign of Queen Mary and one of the jurors who acquitted Sir Nicholas Throckmorton in 1554, was a parishioner.[67] He was a mourner at the funeral of Maurice Griffith, Bishop of Rochester from 1554 to 1558 and Rector of St Magnus from 1537 to 1558, who was interred in the church on 30 November 1558 with much solemnity. In accordance with the Catholic church's desire to restore ecclesiastical pageantry in England, the funeral was a splendid affair, ending in a magnificent dinner.
Lowe was included in a return of recusants in the Diocese of Rochester in 1577,[69] but was buried at St Magnus on 6 February 1578.[70] Stow refers to his monument in the church. His eldest son, Timothy (died 1617), was knighted in 1603. His second son, Alderman Sir Thomas Lowe (1550–1623), was Master of the Haberdashers' Company on several occasions, Sheriff of London in 1595/96, Lord Mayor in 1604/05 and a Member of Parliament for London.[71] His youngest son, Blessed John Lowe (1553–1586), having originally been a Protestant minister, converted to Roman Catholicism, studied for the priesthood at Douay and Rome and returned to London as a missionary priest.[72] His absence had already been noted; a list of 1581 of "such persons of the Diocese of London as have any children ... beyond the seas" records "John Low son to Margaret Low of the Bridge, absent without licence four years". Having gained 500 converts to Catholicism between 1583 and 1586, he was arrested whilst walking with his mother near London Bridge, committed to The Clink and executed at Tyburn on 8 October 1586.[73] He was beatified in 1987 as one of the eighty-five martyrs of England and Wales.
Sir William Garrard, Master of the Haberdashers' Company, Alderman, Sheriff of London in 1553/53, Lord Mayor in 1555/56 and a Member of Parliament was born in the parish and buried at St Magnus in 1571.[74] Sir William Romney, merchant, philanthropist, Master of the Haberdashers' Company, Alderman for Bridge Within and Sheriff of London in 1603/04[75] was married at St Magnus in 1582. Ben Jonson is believed to have been married at St Magnus in 1594.[76]
The patronage of St Magnus, having previously been in the Abbots and Convents of Westminster and Bermondsey (who presented alternatively), fell to the Crown on the suppression of the monasteries. In 1553, Queen Mary, by letters patent, granted it to the Bishop of London and his successors.[77]
The church had a series of distinguished rectors in the second half of the 16th and first half of the 17th century, including Myles Coverdale (Rector 1564-66), John Young (Rector 1566-92), Theophilus Aylmer (Rector 1592-1625), (Archdeacon of London and son of John Aylmer), and Cornelius Burges (Rector 1626-41). Coverdale was buried in the chancel of St Bartholomew-by-the-Exchange, but when that church was pulled down in 1840 his remains were removed to St Magnus.[78]
On 5 November 1562 the churchwardens were ordered to break, or cause to be broken, in two parts all the altar stones in the church.[79] Coverdale, an anti-vestiarian, was Rector at the peak of the vestments controversy. In March 1566 Archbishop Parker caused great consternation among many clergy by his edicts prescribing what was to be worn and by his summoning the London clergy to Lambeth to require their compliance. Coverdale excused himself from attending.[80] Stow records that a non-conforming Scot who normally preached at St Magnus twice a day precipitated a fight on Palm Sunday 1566 at Little All Hallows in Thames Street with his preaching against vestments.[81] Coverdale's resignation from St Magnus in summer 1566 may have been associated with these events. Separatist congregations started to emerge after 1566 and the first such, who called themselves 'Puritans' or 'Unspottyd Lambs of the Lord', was discovered close to St Magnus at Plumbers' Hall in Thames Street on 19 June 1567.
St Magnus narrowly escaped destruction in 1633. A later edition of Stow's Survey records that "On the 13th day of February, between eleven and twelve at night, there happened in the house of one Briggs, a Needle-maker near St Magnus Church, at the North end of the Bridge, by the carelessness of a Maid-Servant setting a tub of hot sea-coal ashes under a pair of stairs, a sad and lamentable fire, which consumed all the buildings before eight of the clock the next morning, from the North end of the Bridge to the first vacancy on both sides, containing forty-two houses; water then being very scarce, the Thames being almost frozen over."[83] Susannah Chambers "by her last will & testament bearing date 28th December 1640 gave the sum of Twenty-two shillings and Sixpence Yearly for a Sermon to be preached on the 12th day of February in every Year within the Church of Saint Magnus in commemoration of God's merciful preservation of the said Church of Saint Magnus from Ruin, by the late and terrible Fire on London Bridge. Likewise Annually to the Poor the sum of 17/6."[84] The tradition of a "Fire Sermon" was revived on 12 February 2004, when the first preacher was the Rt Revd and Rt Hon Richard Chartres, Bishop of London.
Parliamentarian rule and the more Protestant ethos of the 1640s led to the removal or destruction of "superstitious" and "idolatrous" images and fittings. Glass painters such as Baptista Sutton, who had previously installed "Laudian innovations", found new employment by repairing and replacing these to meet increasingly strict Protestant standards. In January 1642 Sutton replaced 93 feet of glass at St Magnus and in June 1644 he was called back to take down the "painted imagery glass" and replace it.[86] In June 1641 "rail riots" broke out at a number of churches. This was a time of high tension following the trial and execution of the Earl of Strafford and rumours of army and popish plots were rife. The Protestation Oath, with its pledge to defend the true religion "against all Popery and popish innovation", triggered demands from parishioners for the removal of the rails as popish innovations which the Protestation had bound them to reform. The minister arranged a meeting between those for and against the pulling down of the rails, but was unsuccessful in reaching a compromise and it was feared that they would be demolished by force.[87] However, in 1663 the parish resumed Laudian practice and re-erected rails around its communion table.[88]
Joseph Caryl was incumbent from 1645 until his ejection in 1662. In 1663 he was reportedly living near London Bridge and preaching to an Independent congregation that met at various places in the City.[89]
During the Great Plague of 1665, the City authorities ordered fires to be kept burning night and day, in the hope that the air would be cleansed. Daniel Defoe's semi-fictictional, but highly realistic, work A Journal of the Plague Year records that one of these was "just by St Magnus Church"
Despite its escape in 1633, the church was one of the first buildings to be destroyed in the Great Fire of London in 1666.[91] St Magnus stood less than 300 yards from the bakehouse of Thomas Farriner in Pudding Lane where the fire started. Farriner, a former churchwarden of St Magnus, was buried in the middle aisle of the church on 11 December 1670, perhaps within a temporary structure erected for holding services.[92]
The parish engaged the master mason George Dowdeswell to start the work of rebuilding in 1668. The work was carried forward between 1671 and 1687 under the direction of Sir Christopher Wren, the body of the church being substantially complete by 1676.[93] At a cost of £9,579 19s 10d St Magnus was one of Wren's most expensive churches.[94] The church of St Margaret New Fish Street was not rebuilt after the fire and its parish was united to that of St Magnus.
The chancels of many of Wren’s city churches had chequered marble floors and the chancel of St Magnus is an example,[95] the parish agreeing after some debate to place the communion table on a marble ascent with steps[96] and to commission altar rails of Sussex wrought iron. The nave and aisles are paved with freestone flags. A steeple, closely modelled on one built between 1614 and 1624 by François d'Aguilon and Pieter Huyssens for the church of St Carolus Borromeus in Antwerp, was added between 1703 and 1706.[97] London's skyline was transformed by Wren's tall steeples and that of St Magnus is considered to be one his finest.[98]
The large clock projecting from the tower was a well-known landmark in the city as it hung over the roadway of Old London Bridge.[99] It was presented to the church in 1709 by Sir Charles Duncombe[100] (Alderman for the Ward of Bridge Within and, in 1708/09, Lord Mayor of London). Tradition says "that it was erected in consequence of a vow made by the donor, who, in the earlier part of his life, had once to wait a considerable time in a cart upon London Bridge, without being able to learn the hour, when he made a promise, that if he ever became successful in the world, he would give to that Church a public clock ... that all passengers might see the time of day."[101] The maker was Langley Bradley, a clockmaker in Fenchurch Street, who had worked for Wren on many other projects, including the clock for the new St Paul's Cathedral. The sword rest in the church, designed to hold the Lord Mayor's sword and mace when he attended divine service "in state", dates from 1708.
Duncombe and his benefactions to St Magnus feature prominently in Daniel Defoe's The True-Born Englishman, a biting satire on critics of William III that went through several editions from 1700 (the year in which Duncombe was elected Sheriff).
Shortly before his death in 1711, Duncombe commissioned an organ for the church, the first to have a swell-box, by Abraham Jordan (father and son).[103] The Spectator announced that "Whereas Mr Abraham Jordan, senior and junior, have, with their own hands, joinery excepted, made and erected a very large organ in St Magnus' Church, at the foot of London Bridge, consisting of four sets of keys, one of which is adapted to the art of emitting sounds by swelling notes, which never was in any organ before; this instrument will be publicly opened on Sunday next [14 February 1712], the performance by Mr John Robinson. The above-said Abraham Jordan gives notice to all masters and performers, that he will attend every day next week at the said Church, to accommodate all those gentlemen who shall have a curiosity to hear it".[104]
The organ case, which remains in its original state, is looked upon as one of the finest existing examples of the Grinling Gibbons's school of wood carving.[105] The first organist of St Magnus was John Robinson (1682–1762), who served in that role for fifty years and in addition as organist of Westminster Abbey from 1727. Other organists have included the blind organist George Warne (1792–1868, organist 1820-26 until his appointment to the Temple Church), James Coward (1824–80, organist 1868-80 who was also organist to the Crystal Palace and renowned for his powers of improvisation) and George Frederick Smith FRCO (1856–1918, organist 1880-1918 and Professor of Music at the Guildhall School of Music).[106] The organ has been restored several times - in 1760, 1782, 1804, 1855, 1861, 1879, 1891, 1924, 1949 after wartime damage and 1997 - since it was first built.[107] Sir Peter Maxwell Davies was one of several patrons of the organ appeal in the mid-1990s[108] and John Scott gave an inaugural recital on 20 May 1998 following the completion of that restoration.[109] The instrument has an Historic Organ Certificate and full details are recorded in the National Pipe Organ Register.[110]
The hymn tune "St Magnus", usually sung at Ascensiontide to the text "The head that once was crowned with thorns", was written by Jeremiah Clarke in 1701 and named for the church.
Canaletto drew St Magnus and old London Bridge as they appeared in the late 1740s.[112] Between 1756 and 1762, under the London Bridge Improvement Act of 1756 (c. 40), the Corporation of London demolished the buildings on London Bridge to widen the roadway, ease traffic congestion and improve safety for pedestrians.[113] The churchwardens’ accounts of St Magnus list many payments to those injured on the Bridge and record that in 1752 a man was crushed to death between two carts.[114] After the House of Commons had resolved upon the alteration of London Bridge, the Rev Robert Gibson, Rector of St Magnus, applied to the House for relief; stating that 48l. 6s. 2d. per annum, part of his salary of 170l. per annum, was assessed upon houses on London Bridge; which he should utterly lose by their removal unless a clause in the bill about to be passed should provide a remedy.[115] Accordingly, Sections 18 and 19 of 1756 Act provided that the relevant amounts of tithe and poor rate should be a charge on the Bridge House Estates.[116]
A serious fire broke out on 18 April 1760 in an oil shop at the south east corner of the church, which consumed most of the church roof and did considerable damage to the fabric. The fire burnt warehouses to the south of the church and a number of houses on the northern end of London Bridge.
As part of the bridge improvements, overseen by the architect Sir Robert Taylor, a new pedestrian walkway was built along the eastern side of the bridge. With the other buildings gone St Magnus blocked the new walkway.[117] As a consequence it was necessary in 1762 to 1763 to remove the vestry rooms at the West end of the church and open up the side arches of the tower so that people could pass underneath the tower.[118] The tower’s lower storey thus became an external porch. Internally a lobby was created at the West end under the organ gallery and a screen with fine octagonal glazing inserted. A new Vestry was built to the South of the church.[119] The Act also provided that the land taken from the church for the widening was "to be considered ... as part of the cemetery of the said church ... but if the pavement thereof be broken up on account of the burying of any persons, the same shall be ... made good ... by the churchwardens"
Soldiers were stationed in the Vestry House of St Magnus during the Gordon Riots in June 1780.[121]
By 1782 the noise level from the activities of Billingsgate Fish Market had become unbearable and the large windows on the north side of the church were blocked up leaving only circular windows high up in the wall.[122] At some point between the 1760s and 1814 the present clerestory was constructed with its oval windows and fluted and coffered plasterwork.[123] J. M. W. Turner painted the church in the mid-1790s.[124]
The rector of St Magnus between 1792 and 1808, following the death of Robert Gibson on 28 July 1791,[125] was Thomas Rennell FRS. Rennell was President of Sion College in 1806/07. There is a monument to Thomas Leigh (Rector 1808-48 and President of Sion College 1829/30,[126] at St Peter's Church, Goldhanger in Essex.[127] Richard Hazard (1761–1837) was connected with the church as sexton, parish clerk and ward beadle for nearly 50 years[128] and served as Master of the Parish Clerks' Company in 1831/32.[129]
In 1825 the church was "repaired and beautified at a very considerable expense. During the reparation the east window, which had been closed, was restored, and the interior of the fabric conformed to the state in which it was left by its great architect, Sir Christopher Wren. The magnificent organ ... was taken down and rebuilt by Mr Parsons, and re-opened, with the church, on the 12th February, 1826".[130] Unfortunately, as a contemporary writer records, "On the night of the 31st of July, 1827, [the church's] safety was threatened by the great fire which consumed the adjacent warehouses, and it is perhaps owing to the strenuous and praiseworthy exertions of the firemen, that the structure exists at present. ... divine service was suspended and not resumed until the 20th January 1828. In the interval the church received such tasteful and elegant decorations, that it may now compete with any church in the metropolis.
In 1823 royal assent was given to ‘An Act for the Rebuilding of London Bridge’ and in 1825 John Garratt, Lord Mayor and Alderman of the Ward of Bridge Within, laid the first stone of the new London Bridge.[132] In 1831 Sir John Rennie’s new bridge was opened further upstream and the old bridge demolished. St Magnus ceased to be the gateway to London as it had been for over 600 years. Peter de Colechurch[133] had been buried in the crypt of the chapel on the bridge and his bones were unceremoniously dumped in the River Thames.[134] In 1921 two stones from Old London Bridge were discovered across the road from the church. They now stand in the churchyard.
Wren's church of St Michael Crooked Lane was demolished, the final service on Sunday 20 March 1831 having to be abandoned due to the effects of the building work. The Rector of St Michael preached a sermon the following Sunday at St Magnus lamenting the demolition of his church with its monuments and "the disturbance of the worship of his parishioners on the preceeding Sabbath".[135] The parish of St Michael Crooked Lane was united to that of St Magnus, which itself lost a burial ground in Church Yard Alley to the approach road for the new bridge.[136] However, in substitution it had restored to it the land taken for the widening of the old bridge in 1762 and was also given part of the approach lands to the east of the old bridge.[137] In 1838 the Committee for the London Bridge Approaches reported to Common Council that new burial grounds had been provided for the parishes of St Michael, Crooked Lane and St Magnus, London Bridge.
Depictions of St Magnus after the building of the new bridge, seen behind Fresh Wharf and the new London Bridge Wharf, include paintings by W. Fenoulhet in 1841 and by Charles Ginner in 1913.[139] This prospect was affected in 1924 by the building of Adelaide House to a design by John James Burnet,[140] The Times commenting that "the new ‘architectural Matterhorn’ ... conceals all but the tip of the church spire".[141] There was, however, an excellent view of the church for a few years between the demolition of Adelaide Buildings and the erection of its replacement.[142] Adelaide House is now listed.[143] Regis House, on the site of the abandoned King William Street terminus of the City & South London Railway (subsequently the Northern Line),[144] and the Steam Packet Inn, on the corner of Lower Thames Street and Fish Street Hill,[145] were developed in 1931.
By the early 1960s traffic congestion had become a problem[147] and Lower Thames Street was widened over the next decade[148] to form part of a significant new east-west transport artery (the A3211).[149] The setting of the church was further affected by the construction of a new London Bridge between 1967 and 1973.[150] The New Fresh Wharf warehouse to the east of the church, built in 1939, was demolished in 1973-4 following the collapse of commercial traffic in the Pool of London[151] and, after an archaeological excavation,[152] St Magnus House was constructed on the site in 1978 to a design by R. Seifert & Partners.[153] This development now allows a clear view of the church from the east side.[154] The site to the south east of The Monument (between Fish Street Hill and Pudding Lane), formerly predominantly occupied by fish merchants,[155] was redeveloped as Centurion House and Gartmore (now Providian) House at the time of the closure of old Billingsgate Market in January 1982.[156] A comprehensive redevelopment of Centurion House began in October 2011 with completion planned in 2013.[157] Regis House, to the south west of The Monument, was redeveloped by Land Securities PLC in 1998.[158]
The vista from The Monument south to the River Thames, over the roof of St Magnus, is protected under the City of London Unitary Development Plan,[159] although the South bank of the river is now dominated by The Shard. Since 2004 the City of London Corporation has been exploring ways of enhancing the Riverside Walk to the south of St Magnus.[160] Work on a new staircase to connect London Bridge to the Riverside Walk is due to commence in March 2013.[161] The story of St Magnus's relationship with London Bridge and an interview with the rector featured in the television programme The Bridges That Built London with Dan Cruickshank, first broadcast on BBC Four on 14 June 2012.[162] The City Corporation's 'Fenchurch and Monument Area Enhancement Strategy' of August 2012 recommended ways of reconnecting St Magnus and the riverside to the area north of Lower Thames Street.
A lectureship at St Michael Crooked Lane, which was transferred to St Magnus in 1831, was endowed by the wills of Thomas and Susannah Townsend in 1789 and 1812 respectively.[164] The Revd Henry Robert Huckin, Headmaster of Repton School from 1874 to 1882, was appointed Townsend Lecturer at St Magnus in 1871.[165]
St Magnus narrowly escaped damage from a major fire in Lower Thames Street in October 1849.
During the second half of the 19th century the rectors were Alexander McCaul, DD (1799–1863, Rector 1850-63), who coined the term 'Judaeo Christian' in a letter dated 17 October 1821,[167] and his son Alexander Israel McCaul (1835–1899, curate 1859-63, rector 1863-99). The Revd Alexander McCaul Sr[168] was a Christian missionary to the Polish Jews, who (having declined an offer to become the first Anglican Bishop in Jerusalem)[169] was appointed professor of Hebrew and rabbinical literature at King's College, London in 1841. His daughter, Elizabeth Finn (1825–1921), a noted linguist, founded the Distressed Gentlefolk Aid Association (now known as Elizabeth Finn Care).[170]
In 1890 it was reported that the Bishop of London was to hold an inquiry as to the desirability of uniting the benefices of St George Botolph Lane and St Magnus. The expectation was a fusion of the two livings, the demolition of St George’s and the pensioning of "William Gladstone’s favourite Canon", Malcolm MacColl. Although services ceased there, St George’s was not demolished until 1904. The parish was then merged with St Mary at Hill rather than St Magnus.[171]
The patronage of the living was acquired in the late 19th century by Sir Henry Peek Bt. DL MP, Senior Partner of Peek Brothers & Co of 20 Eastcheap, the country's largest firm of wholesale tea brokers and dealers, and Chairman of the Commercial Union Assurance Co. Peek was a generous philanthropist who was instrumental in saving both Wimbledon Common and Burnham Beeches from development. His grandson, Sir Wilfred Peek Bt. DSO JP, presented a cousin, Richard Peek, as rector in 1904. Peek, an ardent Freemason, held the office of Grand Chaplain of England. The Times recorded that his memorial service in July 1920 "was of a semi-Masonic character, Mr Peek having been a prominent Freemason".[172] In June 1895 Peek had saved the life of a young French girl who jumped overboard from a ferry midway between Dinard and St Malo in Brittany and was awarded the bronze medal of the Royal Humane Society and the Gold Medal 1st Class of the Sociâetâe Nationale de Sauvetage de France.[173]
In November 1898 a memorial service was held at St Magnus for Sir Stuart Knill Bt. (1824–1898), head of the firm of John Knill and Co, wharfingers, and formerly Lord Mayor and Master of the Plumbers' Company.[174] This was the first such service for a Roman Catholic taken in an Anglican church.[175] Sir Stuart's son, Sir John Knill Bt. (1856-1934), also served as Alderman for the Ward of Bridge Within, Lord Mayor and Master of the Plumbers' Company.
Until 1922 the annual Fish Harvest Festival was celebrated at St Magnus.[176] The service moved in 1923 to St Dunstan in the East[177] and then to St Mary at Hill, but St Magnus retained close links with the local fish merchants until the closure of old Billingsgate Market. St Magnus, in the 1950s, was "buried in the stink of Billingsgate fish-market, against which incense was a welcome antidote".
A report in 1920 proposed the demolition of nineteen City churches, including St Magnus.[179] A general outcry from members of the public and parishioners alike prevented the execution of this plan.[180] The members of the City Livery Club passed a resolution that they regarded "with horror and indignation the proposed demolition of 19 City churches" and pledged the Club to do everything in its power to prevent such a catastrophe.[181] T. S. Eliot wrote that the threatened churches gave "to the business quarter of London a beauty which its hideous banks and commercial houses have not quite defaced. ... the least precious redeems some vulgar street ... The loss of these towers, to meet the eye down a grimy lane, and of these empty naves, to receive the solitary visitor at noon from the dust and tumult of Lombard Street, will be irreparable and unforgotten."[182] The London County Council published a report concluding that St Magnus was "one of the most beautiful of all Wren's works" and "certainly one of the churches which should not be demolished without specially good reasons and after very full consideration."[183] Due to the uncertainty about the church's future, the patron decided to defer action to fill the vacancy in the benefice and a curate-in-charge temporarily took responsibility for the parish.[184] However, on 23 April 1921 it was announced that the Revd Henry Joy Fynes-Clinton would be the new Rector. The Times concluded that the appointment, with the Bishop’s approval, meant that the proposed demolition would not be carried out.[185] Fr Fynes-Clinton was inducted on 31 May 1921.[186]
The rectory, built by Robert Smirke in 1833-5, was at 39 King William Street.[187] A decision was taken in 1909 to sell the property, the intention being to purchase a new rectory in the suburbs, but the sale fell through and at the time of the 1910 Land Tax Valuations the building was being let out to a number of tenants. The rectory was sold by the diocese on 30 May 1921 for £8,000 to Ridgways Limited, which owned the adjoining premises.[188] The Vestry House adjoining the south west of the church, replacing the one built in the 1760s, may also have been by Smirke. Part of the burial ground of St Michael Crooked Lane, located between Fish Street Hill and King William Street, survived as an open space until 1987 when it was compulsorily purchased to facilitate the extension of the Docklands Light Railway into the City.[189] The bodies were reburied at Brookwood Cemetery.
The interior of the church was restored by Martin Travers in 1924, in a neo-baroque style,[191] reflecting the Anglo-Catholic character of the congregation[192] following the appointment of Henry Joy Fynes-Clinton as Rector.[193] Fr Fynes, as he was often known, served as Rector of St Magnus from 31 May 1921 until his death on 4 December 1959 and substantially beautified the interior of the church.[194]
Fynes-Clinton held very strong Anglo-Catholic views, and proceeded to make St Magnus as much like a baroque Roman Catholic church as possible. However, "he was such a loveable character with an old-world courtesy which was irresistible, that it was difficult for anyone to be unpleasant to him, however much they might disapprove of his views".[195] He generally said the Roman Mass in Latin; and in personality was "grave, grand, well-connected and holy, with a laconic sense of humour".[196] To a Protestant who had come to see Coverdale's monument he is reported to have said "We have just had a service in the language out of which he translated the Bible".[197] The use of Latin in services was not, however, without grammatical danger. A response from his parishioners of "Ora pro nobis" after "Omnes sancti Angeli et Archangeli" in the Litany of the Saints would elicit a pause and the correction "No, Orate pro nobis."
In 1922 Fynes-Clinton refounded the Fraternity of Our Lady de Salve Regina.[198] The Fraternity's badge[199] is shown in the stained glass window at the east end of the north wall of the church above the reredos of the Lady Chapel altar. He also erected a statue of Our Lady of Walsingham and arranged pilgrimages to the Norfolk shrine, where he was one of the founding Guardians.[200] In 1928 the journal of the Catholic League reported that St Magnus had presented a votive candle to the Shrine at Walsingham "in token of our common Devotion and the mutual sympathy and prayers that are we hope a growing bond between the peaceful country shrine and the church in the heart of the hurrying City, from the Altar of which the Pilgrimages regularly start".[201]
Fynes-Clinton was General Secretary of the Anglican and Eastern Orthodox Churches Union and its successor, the Anglican and Eastern Churches Association, from 1906 to 1920 and served as Secretary to the Archbishop of Canterbury's Eastern Churches Committee from 1920 to around 1924. A Solemn Requiem was celebrated at St Magnus in September 1921 for the late King Peter of the Serbs, Croats and Slovenes.
At the midday service on 1 March 1922, J.A. Kensit, leader of the Protestant Truth Society, got up and protested against the form of worship.[202] The proposed changes to the church in 1924 led to a hearing in the Consistory Court of the Chancellor of the Diocese of London and an appeal to the Court of Arches.[203] Judgement was given by the latter Court in October 1924. The advowson was purchased in 1931, without the knowledge of the Rector and Parochial Church Council, by the evangelical Sir Charles King-Harman.[204] A number of such cases, including the purchase of the advowsons of Clapham and Hampstead Parish Churches by Sir Charles, led to the passage of the Benefices (Purchase of Rights of Patronage) Measure 1933.[205] This allowed the parishioners of St Magnus to purchase the advowson from Sir Charles King-Harman for £1,300 in 1934 and transfer it to the Patronage Board.
St Magnus was one of the churches that held special services before the opening of the second Anglo-Catholic Congress in 1923.[207] Fynes-Clinton[208] was the first incumbent to hold lunchtime services for City workers.[209] Pathé News filmed the Palm Sunday procession at St Magnus in 1935.[210] In The Towers of Trebizond, the novel by Rose Macauley published in 1956, Fr Chantry-Pigg's church is described as being several feet higher than St Mary’s Bourne Street and some inches above even St Magnus the Martyr.[211]
In July 1937 Fr Fynes-Clinton, with two members of his congregation, travelled to Kirkwall to be present at the 800th anniversary celebrations of St Magnus Cathedral, Kirkwall. During their stay they visited Egilsay and were shown the spot where St Magnus had been slain. Later Fr Fynes-Clinton was present at a service held at the roofless church of St Magnus on Egilsay, where he suggested to his host Mr Fryer, the minister of the Cathedral, that the congregations of Kirkwall and London should unite to erect a permanent stone memorial on the traditional site where Earl Magnus had been murdered. In 1938 a cairn was built of local stone on Egilsay. It stands 12 feet high and is 6 feet broad at its base. The memorial was dedicated on 7 September 1938 and a bronze inscription on the monument reads "erected by the Rector and Congregation of St Magnus the Martyr by London Bridge and the Minister and Congregation of St Magnus Cathedral, Kirkwall to commemorate the traditional spot where Earl Magnus was slain, AD circa 1116 and to commemorate the Octocentenary of St Magnus Cathedral 1937"
A bomb which fell on London Bridge in 1940 during the Blitz of World War II blew out all the windows and damaged the plasterwork and the roof of the north aisle.[213] However, the church was designated a Grade I listed building on 4 January 1950[214] and repaired in 1951, being re-opened for worship in June of that year by the Bishop of London, William Wand.[215] The architect was Laurence King.[216] Restoration and redecoration work has subsequently been carried out several times, including after a fire in the early hours of 4 November 1995.[217] Cleaning of the exterior stonework was completed in 2010.
Some minor changes were made to the parish boundary in 1954, including the transfer to St Magnus of an area between Fish Street Hill and Pudding Lane. The site of St Leonard Eastcheap, a church that was not rebuilt after the Great Fire, is therefore now in the parish of St Magnus despite being united to St Edmund the King.
Fr Fynes-Clinton marked the 50th anniversary of his priesthood in May 1952 with High Mass at St Magnus and lunch at Fishmongers' Hall.[218] On 20 September 1956 a solemn Mass was sung in St Magnus to commence the celebration of the 25th anniversary of the restoration of the Holy House at Walsingham in 1931. In the evening of that day a reception was held in the large chamber of Caxton Hall, when between three and four hundred guests assembled.[219]
Fr Fynes-Clinton was succeeded as rector in 1960 by Fr Colin Gill,[220] who remained as incumbent until his death in 1983.[221] Fr Gill was also closely connected with Walsingham and served as a Guardian between 1953 and 1983, including nine years as Master of the College of Guardians.[222] He celebrated the Mass at the first National Pilgrimage in 1959[223] and presided over the Jubilee celebrations to mark the 50th anniversary of the Shrine in 1981, having been present at the Holy House's opening.[224] A number of the congregation of St Stephen's Lewisham moved to St Magnus around 1960, following temporary changes in the form of worship there.
In 1994 the Templeman Commission proposed a radical restructuring of the churches in the City Deanery. St Magnus was identified as one of the 12 churches that would remain as either a parish or an 'active' church.[226] However, the proposals were dropped following a public outcry and the consecration of a new Bishop of London.
The parish priest since 2003 has been Fr Philip Warner, who was previously priest-in-charge of St Mary's Church, Belgrade (Diocese in Europe) and Apokrisiarios for the Archbishop of Canterbury to the Serbian Orthodox Church. Since January 2004 there has been an annual Blessing of the Thames, with the congregations of St Magnus and Southwark Cathedral meeting in the middle of London Bridge.[227] On Sunday 3 July 2011, in anticipation of the feast of the translation of St Thomas Becket (7 July), a procession from St Magnus brought a relic of the saint to the middle of the bridge.[228]
David Pearson specially composed two new pieces, a communion anthem A Mhànais mo rùin (O Magnus of my love) and a hymn to St Magnus Nobilis, humilis, for performance at the church on the feast of St Magnus the Martyr, 16 April 2012.[229] St Magnus's organist, John Eady, has won composition competitions for new choral works at St Paul's Cathedral (a setting of Veni Sancte Spiritus first performed on 27 May 2012) and at Lincoln Cathedral (a setting of the Matin responsory for Advent first performed on 30 November 2013).[230]
In addition to liturgical music of a high standard, St Magnus is the venue for a wide range of musical events. The Clemens non Papa Consort, founded in 2005, performs in collaboration with the production team Concert Bites as the church's resident ensemble.[231] The church is used by The Esterhazy Singers for rehearsals and some concerts.[232] The band Mishaped Pearls performed at the church on 17 December 2011.[233] St Magnus featured in the television programme Jools Holland: London Calling, first broadcast on BBC2 on 9 June 2012.[234] The Platinum Consort made a promotional film at St Magnus for the release of their debut album In the Dark on 2 July 2012.[235]
The Friends of the City Churches had their office in the Vestry House of St Magnus until 2013.
Martin Travers modified the high altar reredos, adding paintings of Moses and Aaron and the Ten Commandments between the existing Corinthian columns and reconstructing the upper storey. Above the reredos Travers added a painted and gilded rood.[237] In the centre of the reredos there is a carved gilded pelican (an early Christian symbol of self-sacrifice) and a roundel with Baroque-style angels. The glazed east window, which can be seen in an early photograph of the church, appears to have been filled in at this time. A new altar with console tables was installed and the communion rails moved outwards to extend the size of the sanctuary. Two old door frames were used to construct side chapels and placed at an angle across the north-east and south-east corners of the church. One, the Lady Chapel, was dedicated to the Rector's parents in 1925 and the other was dedicated to Christ the King. Originally, a baroque aumbry was used for Reservation of the Blessed Sacrament, but later a tabernacle was installed on the Lady Chapel altar and the aumbry was used to house a relic of the True Cross.
The interior was made to look more European by the removal of the old box pews and the installation of new pews with cut-down ends. Two new columns were inserted in the nave to make the lines regular. The Wren-period pulpit by the joiner William Grey[238] was opened up and provided with a soundboard and crucifix. Travers also designed the statue of St Magnus of Orkney, which stands in the south aisle, and the statue of Our Lady of Walsingham.[239]
On the north wall there is a Russian Orthodox icon, painted in 1908. The modern stations of the cross in honey-coloured Japanese oak are the work of Robert Randall and Ashley Sands.[240] One of the windows in the north wall dates from 1671 and came from Plumbers' Hall in Chequer Yard, Bush Lane, which was demolished in 1863 to make way for Cannon Street Railway Station.[241] A fireplace from the Hall was re-erected in the Vestry House. The other windows on the north side are by Alfred Wilkinson and date from 1952 to 1960. These show the arms of the Plumbers’, Fishmongers’ and Coopers’ Companies together with those of William Wand when Bishop of London and Geoffrey Fisher when Archbishop of Canterbury and (as noted above) the badge of the Fraternity of Our Lady de Salve Regina.
The stained glass windows in the south wall, which are by Lawrence Lee and date from 1949 to 1955, represent lost churches associated with the parish: St Magnus and his ruined church of Egilsay, St Margaret of Antioch with her lost church in New Fish Street (where the Monument to the Great Fire now stands), St Michael with his lost church of Crooked Lane (demolished to make way for the present King William Street) and St Thomas Becket with his chapel on Old London Bridge.[242]
The church possesses a fine model of Old London Bridge. One of the tiny figures on the bridge appears out of place in the mediaeval setting, wearing a policeman's uniform. This is a representation of the model-maker, David T. Aggett, who is a Liveryman of the Worshipful Company of Plumbers and was formerly in the police service.[243]
The Mischiefs by Fire Act 1708 and the Fires Prevention (Metropolis) Act 1774 placed a requirement on every parish to keep equipment to fight fires. The church owns two historic fire engines that belonged to the parish of St Michael, Crooked Lane.[244] One of these is in storage at the Museum of London. The whereabouts of the other, which was misappropriated and sold at auction in 2003, is currently unknown.
In 1896 many bodies were disinterred from the crypt and reburied at the St Magnus's plot at Brookwood Cemetery, which remains the church's burial ground.
Prior to the Great Fire of 1666 the old tower had a ring of five bells, a small saints bell and a clock bell.[246] 47 cwt of bell metal was recovered[247] which suggests that the tenor was 13 or 14 cwt. The metal was used to cast three new bells, by William Eldridge of Chertsey in 1672,[248] with a further saints bell cast that year by Hodson.[249] In the absence of a tower, the tenor and saints bell were hung in a free standing timber structure, whilst the others remained unhung.[250]
A new tower was completed in 1704 and it is likely that these bells were transferred to it. However, the tenor became cracked in 1713 and it was decided to replace the bells with a new ring of eight.[251] The new bells, with a tenor of 21 cwt, were cast by Richard Phelps of the Whitechapel Bell Foundry. Between 1714 and 1718 (the exact date of which is unknown), the ring was increased to ten with the addition of two trebles given by two former ringing Societies, the Eastern Youths and the British Scholars.[252] The first peal was rung on 15 February 1724 of Grandsire Caters by the Society of College Youths. The second bell had to be recast in 1748 by Robert Catlin, and the tenor was recast in 1831 by Thomas Mears of Whitechapel,[253] just in time to ring for the opening of the new London Bridge. In 1843, the treble was said to be "worn out" and so was scrapped, together with the saints bell, while a new treble was cast by Thomas Mears.[254] A new clock bell was erected in the spire in 1846, provided by B R & J Moore, who had earlier purchased it from Thomas Mears.[255] This bell can still be seen in the tower from the street.
The 10 bells were removed for safe keeping in 1940 and stored in the churchyard. They were taken to Whitechapel Bell Foundry in 1951 whereupon it was discovered that four of them were cracked. After a long period of indecision, fuelled by lack of funds and interest, the bells were finally sold for scrap in 1976. The metal was used to cast many of the Bells of Congress that were then hung in the Old Post Office Tower in Washington, D.C.
A fund was set up on 19 September 2005, led by Dickon Love, a member of the Ancient Society of College Youths, with a view to installing a new ring of 12 bells in the tower in a new frame. This was the first of three new rings of bells he has installed in the City of London (the others being at St Dunstan-in-the-West and St James Garlickhythe). The money was raised and the bells were cast during 2008/9 by the Whitechapel Bell Foundry. The tenor weighed 26cwt 3qtr 9 lbs (1360 kg) and the new bells were designed to be in the same key as the former ring of ten. They were consecrated by the Bishop of London on 3 March 2009 in the presence of the Lord Mayor[256] and the ringing dedicated on 26 October 2009 by the Archdeacon of London.[257] The bells are named (in order smallest to largest) Michael, Margaret, Thomas of Canterbury, Mary, Cedd, Edward the Confessor, Dunstan, John the Baptist, Erkenwald, Paul, Mellitus and Magnus.[258] The bells project is recorded by an inscription in the vestibule of the church.
The first peal on the twelve was rung on 29 November 2009 of Cambridge Surprise Maximus.[260] Notable other recent peals include a peal of Stedman Cinques on 16 April 2011 to mark the 400th anniversary of the granting of a Royal Charter to the Plumbers' Company,[261] a peal of Cambridge Surprise Royal on 28 June 2011 when the Fishmongers' Company gave a dinner for Prince Philip, Duke of Edinburgh at their hall on the occasion of his 90th birthday[262] and a peal of Avon Delight Maximus on 24 July 2011 in solidarity with the people of Norway following the tragic massacre on Utoeya Island and in Oslo.[263] On the latter occasion the flag of the Orkney Islands was flown at half mast. In 2012 peals were rung during the Thames Diamond Jubilee Pageant on 3 June and during each of the three Olympic/Paralympic marathons, on 5 and 12 August and 9 September.
The BBC television programme, Still Ringing After All These Years: A Short History of Bells, broadcast on 14 December 2011, included an interview at St Magnus with the Tower Keeper, Dickon Love,[264] who was captain of the band that rang the "Royal Jubilee Bells" during the Thames Diamond Jubilee Pageant on 3 June 2012 to celebrate the Diamond Jubilee of Queen Elizabeth II.[265] Prior to this, he taught John Barrowman to handle a bell at St Magnus for the BBC coverage.
The bells are currently rung every Sunday around 12:15 (following the service) by the Guild of St Magnus.
Every other June, newly elected wardens of the Fishmongers' Company, accompanied by the Court, proceed on foot from Fishmongers' Hall[267] to St Magnus for an election service.[268] St Magnus is also the Guild Church of The Plumbers' Company. Two former rectors have served as master of the company,[269] which holds all its services at the church.[270] On 12 April 2011 a service was held to commemorate the 400th anniversary of the granting of the company's Royal Charter at which the Bishop of London, the Rt Revd and Rt Hon Richard Chartres KCVO, gave the sermon and blessed the original Royal Charter. For many years the Cloker Service was held at St Magnus, attended by the Coopers' Company and Grocers' Company, at which the clerk of the Coopers' Company read the will of Henry Cloker dated 10 March 1573.[271]
St Magnus is also the ward church for the Ward of Bridge and Bridge Without, which elects one of the city's aldermen. Between 1550 and 1978 there were separate aldermen for Bridge Within and Bridge Without, the former ward being north of the river and the latter representing the City's area of control in Southwark. The Bridge Ward Club was founded in 1930 to "promote social activities and discussion of topics of local and general interest and also to exchange Ward and parochial information" and holds its annual carol service at St Magnus.
4. A sequence or series of 5 or more images that illustrates an object at varying weights.
For this prompt I have created a new measurement of weight, by defining weight (the measurement of gravity relative to our surroundings) as emotional weight, meaning the emotional attraction or connection to our surroundings. This series of images is broken down into the three developmental stages of life (childhood, adolescence, and adulthood) and each category of emotional weight is placed into the stage of life where it is first or most commonly found. By doing this I have created both a new scale to define weight, and a depiction of varying weight on the object of self. This series goes beyond that by depicting the compounding affects of weight on an object, and how varied weight can add up to redefine an object. I've also included a short summary about each piece of this series to explain the entire series further.
Prompt :
A surreal and vibrant portrait of a female figure with exaggerated elf traits. Its head opens to reveal a fantastic detailed landscape inside, with a sunset, a winding path and whimsical trees. The exterior consists of intricate patterns and colorful tattoos, with stylized elements such as piercings and long pink braids. Beside her, a skull-shaped fragmented face mirrors the landscape within, with a glossy, translucent surface capturing the light in mesmerizing colors. Delicate butterflies fluttering around, adding to the dreamy atmosphere. The background is slightly blurry to showcase the intricate details of the character traits and the breathtaking scenery in his mind.
I revisited this wonderful building Sunday 19th May 2019, I pass it every day, it always looks resplendent and dominating, it's history intrigues me, unfortunately vandals have also visited and created some damage, their behaviour boils my blood .
Relocated a short distance from Old Aberdeen and Aberdeen University, due to retailers Marks And Spencer's building a new store at its original location, happily the company funded the relocation and it was re-built brick by brick.
History - Benholm's Lodge
Benholm's Lodge, which is also known as Wallace Tower, was built between 1610 and 1616 by Sir Robert Keith. He was a younger brother of George Keith, Earl Marischal and pressured his elder sibling to grant him land and property. Robert seized Ackergill Castle and this seemingly prompted the Earl to relent and grant him the Barony of Benholm.
To mark his new found status, Robert changed his surname to Benholm and built a new lodge to serve as his family seat. Despite its current position, the tower was originally located just outside of Aberdeen Town Walls adjacent to Netherkirkgate (near the intersection between Union Street and Market Street).
The castle took the form of a three storey (plus attic) Z-plan Tower House. It was constructed from rubble with some ashlar dressing and the whole structure was originally harled.
The main block was a rectangular structure with storage at ground level, a hall on the first floor and accommodation above. A circular stair tower provided access to all floors.
Sir Robert Benholm died in 1616 and the tower reverted to the Earl Marischal. He had little use for it so converted it into the residence for the Principal of new Marischal College. It later passed into the hands of William Hay and thereafter was owned by various city merchants. The structure was expanded circa-1789 when a new wing was added.
It remained a residence into the nineteenth century although the ground floor was converted into a Public House. In 1918 it was taken-over by the city council and thereafter was neglected. Between 1963 and 1971, the tower was dismantled brick-by-brick and relocated to Tillydrone, some 1.5 miles north of its original site.
Site Name Aberdeen, Benholm's Lodge
Classification Public House (20th Century), Tower House (17th Century)
Alternative Name(s) Old Aberdeen; Wallace Tower; Benholm's Lodging; Netherkirkgate; Wallace Neuk; Wallace Nook; Putachieside
BENHOLM’S TOWER, in the Nether Kirkgate of Aberdeen, was a unique building in the evolution of Scots medieval architecture for the reason that, despite unfortunate 19th-century alterations and subsequent neglect, it is the only example of a ‘toun ludging’ planned on the 3-stepped or Z-plan shape so much favoured by the fortress home and castle-builders of NE. Scotland from about 1560 on.
Generations of Aberdonians have named the house as the ‘Wallace Tower’ – evidently not a reference to the Scottish Patriot, but perhaps a corruption of the name Well-house (local pronunciation would be ‘Wall-hoose’) – from the pyramid Cistern ‘Wallie’ which formerly stood at the head of Carnegie’s Brae. The house was built by Sir Robert Keith of Benholm, probably after 1610 and certainly prior to 1616 when Sir Robert’s death is recorded. He was the brother of George Keith, 5th Earl Marischal – founder of Marischal College in 1593 – and the nephew of Robert Keith, Commendator of Deer, who in 1587 was designated Lord Altrie being that same year confirmed by charter in the lands and Barony of Benholm, a property in the Mearns he had acquired by marriage to Elizabeth Lundie, heiress of the ancient family of Lundie of Benholm.
During the last half of the 16th century the Keith family as Catholics had gained immense possessions up and down Scotland from what had been church property, and the Marischal’s brother Robert obviously intended to share in the family spoils. Benholm was knighted before 1612, and by 1613, in addition to his Mearns estate, he was in possession of several tenements and lands in and around Aberdeen, including Seaton (the Bishop’s Ward in pre-Reformation times) and properties in the Upper and Nether Kirkgates. Sir Robert had Benholm’s Tower built in what had been virtually open country in the early 17th century. The Z-plan Fortress house he erected for his Toun Ludging was a building capable of defence, for it is actually sited just outside the medieval burgh boundary, some 20 yds. West of the old Nether Kirkgate Port. Of the 2 round towers, one commanded the street leading to the Mither Kirk and the steep inclined city entrance (Carnegie’s Brae is now the only medieval cobbled street in Aberdeen) leading to the Green and the harbour quay, and the other tower overlooked the courtyard and gardens sloping to the bed of the old Loch outflow the Putachie Burn. The Knight of Benholm‘s town house, befitting his early violent life, had in the 17th century appeared a veritable Laird’s Castle.
The earliest record of Benholm’s Tower occurs in 1616, the year of Sir Robert’s death, when the property is described as a new house with its garden in the Nether Kirkgate outside the Port.
The original tower-house, with its central oblong block and diagonally-opposite round towers at NE. and SW. corners, has been subjected to inevitable alterations externally and internally over its long history of almost 350 years. But the basic plan remains: the central block is about 34 ft. long by 20 ft. 6 in. wide over walls generally 2 ft. 6 in. thick. The Court round tower is about 13 ft. 6 in. in diameter over a wall thickness of 27 in. The Street Tower is smaller – about 11 ft. in diameter, the wall varying from 15-18 in. thick. The lowest storey of the house, now the basement forming the cellar of the licensed premises, was in the 17th century the ground floor. The walled courtyard or court (now partly built over by the south wing added about 1785 was entered by a gateway – of which the chamfered jamb stones remain. From Carnegie’s Brae, and westwards, where the flagstoned Tower Court is now enclosed by high buildings on 3 sides, lay the Laird of Benholm’s garden. Where the court round tower forms an angle with the main block is the main entrance door, long locked up, but the fine roll-moulded jambs and lintel are still almost complete. Within the door on the left, the toothings of the original stone steps in the wall indicate the position of the original circular stair. In the south wall of the central block are the cheeks of the original cellar door flanked by 2 windows, now built up – the chamfered jambs of the east-most window have been re-used in the later slapping at the corner of the cellar.
The north wall has 2 narrow window slits: these are interesting as indicating that the street level of the Nether Kirkgate is now much higher than in the 17th century: the re-levelling took place following the formation of St Nicholas Street (1805) when the hollow of the Putachie Burn was filled up.
Of the 3 openings on the east wall, the central one is a door of later date, the other 2 being originally window positions.
The lowering of the level of the ground floor joists in more recent times and the consequent dropping of the earth floor of the cellar explains the exposure of the ‘foonds’ or stone footings on north and south walls, and the original window soffit heights.
From basement level there is no access to the street tower.
Above ground floor level in the Court stair tower, the late 19th century wooden stair now gives access from the Nether Kirkgate to the upper floors of the house. Of the windows lighting the original stone stair, the lowest remains, with indications of the chamfered sandstone jambs of the 2 upper windows underneath the present openings. Projecting from one side of the old middle window was the square bracket for the gas lamp which, from the mid-19th century had given light to the Tower Court and to the pend leading from Carnegie’s Brae. When the ground floor was drastically altered some 60 years ago, the ceiling was heightened, the upper south wall of the main block was carried on a beam and the whole floor (including the lobby access to the stair) was laid out on one level to form the public house.
These alterations removed visible traces of what had been the hall (and possibly kitchen) of the tower house, and of the wide arched fireplace which probably occupied the west wall. In the main house the upper floors show alterations of the late 18th century, contemporary with the south wing added during John Niven‘s ownership (c.1789),
The central stair had led up from a door from Netherkirkgate, but the lower flight was removed during the ground floor alterations.
The 2 chambers at 1st floor – on either side of this central stair – have wall panelling to dado height, the doors have characteristic 18th-century details, and the ceilings have heavy plasterwork.
The house was occupied by Dr Patrick Dun, (1581-1652) appointed Principal of Marischal College in 1621; Dun was head of the medical faculty. Following Dun’s death about 1652,
Benholm’s Tower was acquired by William Hay of Balbithan and thereafter it belonged successively to Andrew Logic, William Wemyss and to James Abernethie, merchant. After the latter’s death in 1768, the tenement of land called ‘Wallace Neuk‘ and close was disposed to John Niven, a snuff and tobacco merchant.
By 1789, Niven had ‘lately erected’ the wing fronting Carnegie’s Brae, thus building over the old courtyard, and in that year the property passed to James Coutts.
Subsequent owners were John Donald Taylor from 1851-78, thence to his heirs until 1895, when James Pirie, Spirit Dealer of 59 Nether Kirkgate, h. 6 Forbesfield Rd acquired the property – at this time the basement and ground floor were converted into licensed premises.
Standing 27 ft. high from street to eaves, the tower has the subtle batter which is a characteristic of Scots military architecture, while the roof has a definite bell-cast lip round the eaves.
The original lead gutters were still in position at the wallhead of both circular towers.
The small turret projects out on 4 corbel courses resting on a carved spurstone terminating the roll-moulded stringcourse which encircles the tower at first floor level: linked to this by a similar surrounding moulding, smaller in scale, is the recess with the statue on the NE. face of the tower .
The recess is 5 ft. 7 in. high by 2 ft. 11 in. wide by 15 in. deep at the top. The stones forming cheeks and lintels are tied in to the tower walls and have every appearance of being original work.
The statement, attributed to Andrew Jervise, that the figure itself was taken from a tomb in St Nicholas kirkyard and set up in the recess by John Niven, may explain this extremely interesting piece of sculpture.
However, despite the accumulation of paint and patching on the statue, close inspection reveals that the dress and armour are contemporary with that of the first decade of the 17th century: the theory cannot be dismissed that here we have a portrait in sculpture of the founder of the building, Sir Robert Keith of Benholm. Also at 1st floor level, and facing west along Nether Kirkgate, is an armorial panel displaying two coats-of-arms.
The upper shield (there are no supporters or crest) is now indecipherable but there is the possibility that it bore the cross of St John below the simple motto ‘Pro Fide’: the Knights of St John, although disbanded at the Reformation, retained the superiority of several properties in Aberdeen.
The larger part of the heraldic panel has the shield of the Keiths – argent, on a chief paly of 6, or and gules with crest and supporting stags, all under the motto ‘Veritas Vincit’ (Truth Conquers).
The whole panel is completely overpainted and requires expert cleaning. Of the weapon-holes which must originally have defended the tower-house, only one is now visible – a fine example of a gunport of the quatrefoil type.
Thanks to the magnificent Wikipedia and Doric Columns for the history facts on this great building .
In 2020 I joined a prompt group that ended up teaching me a ton of tricks in Photoshop and encouraged me to think outside the box.
In 2022 I decided to start Prompt Project. A few awesome people joined in, and we had a pretty good time!
In 2023 I was asked if I would do this again and I was honestly on the fence. But after some consideration I thought, "What the hell, let's go!"
The end of 2023 brought even more interest, so this is a thing now!
They can be done in any order and there is no set time period or deadlines, just have fun with it. You don't need to process your pics in Photoshop. You don't need to process them at all. I'm just excited to see how you interpret the prompt!
I merely ask that you title your submissions:
"Prompt Project #[prompt number]: [Prompt Name]"
Don't feel like this challenge is the one for you? You can still join the flickr group to watch us struggle!
I'm gonna make it so anyone can post any time without waiting but obviously if your title isn't the standard and you're posting random stuff we're gonna punt it. ¯\_(ツ)_/¯
Don't be that guy.
Need a space to build, want someone to bounce ideas off of, need advice, or just want to hang out? You can absolutely IM me. There is also an in-world group if you feel like dealing with Flickr weirdos.
The group Flickr can be found here: SL Prompt Project 2024
The in-world group in SL is called Prompt Project People! You can IM me in-world, comment, or send me a message here on Flickr for an invite.