View allAll Photos Tagged Proportion
The well proportioned church of the village of Runham is, like yesterdays church, also called St Peter and St Paul and it to has a good looking tower, the the top of the 14th century tower has large crocketted pinnacles with give it a distinctive profile over the low ground of the Broads.
The rest of the church is also mainly 14th century and changed little with its modern restoration.
This church was seen in the 70's tv show Some Mothers Do Av Em before its recent restoration.
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This photo is proportion because if you were to put gridlines over the photo the maiin focal point would be the head which falls staight in the middle of the lines.
Quality: i chose tis photo for my quality section because it is a clear photo that shows the detail in his fur with the sun cutting across his face illuminati ng his top half wile still haveing the shadows behind him. Making him stand out more.this photo was to capture his thoughts about life as he stares of into the distance.
becky fletcher as elise in 50 shades of elise the domino effect proportion productions erotic thriller johnathan woolf
Buxhall, Suffolk
Brave infant of Saguntum, cleare
Thy coming forth in that great yeare,
When the Prodigious Hannibal did crowne
His rage, with razing your immortall Towne.
Thou, looking then about,
Ere thou wert halfe got out,
Wise child, did'st hastily returne,
And mad'st thy Mothers wombe thine urne.
How summ'd a circle didst thou leave man-kind
Of deepest lore, could we the Centre find!
Did wiser Nature draw thee back,
From out the horrour of that sack,
Where shame, faith, honour, and regard of right
Lay trampled on ; the deeds of death, and night,
Urg'd, hurried forth, and hurld
Upon th' affrighted world:
Sword, fire, and famine, with fell fury met;
And all on utmost ruine set;
As, could they but lifes miseries fore-see,
No doubt all Infants would returne like thee.
For, what is life, if measur'd by the space,
Not by the act?
Or masked man, if valu'd by his face,
Above his fact?
Here's one out-liv'd his Peeres,
And told forth fourescore yeares;
He vexed time, and busied the whole State;
Troubled both foes, and friends;
But ever to no ends:
What did this Stirrer, but die late?
How well at twentie had he falne, or stood!
For three of his four-score he did no good.
Hee entred well, by vertuous parts,
Got up and thriv'd with honest arts:
He purchas'd friends, and fame, and honours then,
And had his noble name advanc'd with men:
But weary of that flight,
Hee stoop'd in all mens sight
To sordid flatteries, acts of strife,
And sunke in that dead sea of life,
So deep, as he did then death's waters sup;
But that the Corke of Title buoy'd him up.
Alas, but Morison fell young:
Hee never fell, thou fall'st my tongue.
Hee stood, a Souldier to the last right end,
A perfect Patriot, and a noble friend,
But most a vertuous Sonne.
All Offices were done
By him, so ample, full, and round,
In weight, in measure, number, sound,
As though his age imperfect might appeare,
His life was of Humanitie the Spheare.
Goe now, and tell out dayes summ'd up with feares,
And make them yeares;
Produce thy masse of miseries on the Stage,
To swell thine age;
Repeat of things a throng,
To shew thou hast beene long,
Not liv'd ; for life doth her great actions spell,
By what was done and wrought
In season, and so brought
To light: her measures are, how well
Each syllabe answer'd, and was form'd, how faire;
These make the lines of life, and that's her aire.
It is not growing like a tree
In bulke, doth make man better bee;
Or, standing long an Oake, three hundred yeare,
To fall a logge, at last, dry, bald, and seare:
A Lillie of a Day
Is fairer farre, in May,
Although it fall, and die that night;
It was the Plant, and flowre of light.
In small proportions, we just beauties see:
And in short measures, life may perfect bee.
Call, noble Lucius, then for Wine,
And let thy lookes with gladnesse shine:
Accept this garland, plant it on thy head,
And think, nay know, thy Morison's not dead.
He leap'd the present age,
Possest with holy rage,
To see that bright eternall Day:
Of which we Priests, and Poets say
Such truths, as we expect for happy men,
And there he lives with memorie; and Ben.
Johnson, who sung this of him, ere he went
Himselfe to rest,
Or taste a part of that full joy he meant
To have exprest,
In this bright Asterisme:
Where it were friendships schisme,
(Were not his Lucius long with us to tarry)
To separate these twi-
Lights, the Dioscuri;
And keepe the one halfe from his Harry.
But fate doth so alternate the designe,
Whilst that in heav'n, this light on earth must shine.
And shine as you exalted are;
Two names of friendship, but one Starre:
Of hearts the union. And those not by chance
Made, or indenture, or leas'd out t' advance
The profits for a time.
No pleasures vaine did chime,
Of rimes, or riots, at your feasts,
Orgies of drinke, or fain'd protests:
But simple love of greatnesse, and of good;
That knits brave minds, and manners, more than blood.
This made you first to know the Why
You lik'd, then after, to apply
That liking; and approach so one the t'other
Till either grew a portion of the other:
Each stiled by his end,
The Copie of his friend.
You liv'd to be the great surnames,
And titles, by which all made claimes
Unto the Vertue. Nothing perfect done,
But as a CARY, or a MORISON.
And such a force the faire example had,
As they that saw
The good, and durst not practise it, were glad
That such a Law
Was left yet to Man-kind;
Where they might read, and find
Friendship, indeed, was written, not in words:
And with the heart, not pen,
Of two so early men,
Whose lines her rolls were, and records.
Who, ere the first downe bloomed on the chin,
Had sow'd these fruits, and got the harvest in.
A 6 car comeng passes the 8 wagons from Friday mornings 9102 UP Mildura Fruit Flyer derailed at West Footscray, heres the damage the next day.
Saturday 30th November 2013
Divina Proportione (front), 2006 and F Size (back), 2011
Huali Wood
These two spheres constructed out of octagons and hexagons are titled Divina Proportione, refers a mathematics book written by Luca Pacioli in 1497 and illustrated by Leonardo da Vinci. One of the drawings in the book is a "sphere" made with squares and triangles but the series was actually inspired by a toy for Ai's cat. Ai hired traditional Chinese craftsmen to make the series and that they spent a year trying to figure out how to make this kind of work using traditional Chinese joinery.
AGO | Toronto, Canada '13
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White bars show the proportion of votes from England; Blue from Scotland and Green from Wales. The number at the top shows the number of seats won. The First Past The Post (FPTP) system means there isn't much correlation between votes cast and seats gained beyond the leading two parties.
Used Blender to model and render. Used orthographic projection, so the heights are equal at all distances from the camera.
Admittedly, the data-to-ink ratio's not too good on this one :)
Nicely proportioned and well cast Kenworth T600 based Fire Engine Ladder Truck by Shifeng Toys of China. Although the majority of it is made of plastic it does have a nice chunky feel to it with an all metal cab body and a fully swivelling and retractable ladder unit. I obviously can't say for sure whether the products of Shifeng or its parent company Sunfun Toys export their wares to other countries but I do like to buy models which have their own domestic market in mind as can be seen by the Chinese script on this model. Part of a seven vehicle Airport Fire Dept. themed set bought directly from China back in July 2016. Mint and boxed.
While I was mapping out the RCS thrusters positions, I realised I had made some irreversible proportion errors in my first model.
I decided to go back to the drawing board, this time making a more complete Sketchup model before using an unfolding plugin to turn that 3D model into a net.
I then laser-cut the new parts from styrene, but realised part way through assembly that I had scaled the drawing incorrectly and had cut the net out at 92% scale. Thankfully I wasn't too far down the line with that model, and so I cut the parts again but correctly scaled.
I've been suffering with my mental health and have had to take time off from work, so I spent today carefully assembling this latest model, you can see how funky some of the setups are to make sure everything is squared.
The last thing I did today was grind a piece of HSS into a form-tool for the RCS thrusters. My plan is to have machined aluminium components in every kit; meaning all the engine bells, probably the main legs, and the docking drogue. I'll need everything to be as simple as possible for doing large batch production runs, and a form tool is a smart option for recreating specific shapes repeatedly and very easily.
Thanks as always for looking.
A couple of SL avatars I had to get a screenshot of together.
Both avatars are made using Vitruvian Shapes as the basis. "Athletic Male" for the man and "Japanese Woman C" for the woman.
The man is about 6', the woman is 5'.
Chromographe : Sears Proportioned-Fit Cling Alon PAT.NO.3210964 All Stretch Nylon B 10-11 Clasic RN 14614
So this is a picture of my nephew that I used for the proportion challenge. It definitely could have been sharper and more in focus. But I don't have a tripod or anything, so behind this picture is a mess of me fumbling with the paintbrush and camera. Also, he was mad at me because his arm started to hurt. I still like the idea, and I may be biased, but he is adorable :)
“No nude, however abstract, should fail to arouse in the spectator some vestige of erotic feeling, even if it be only the faintest shadow - and if it does not do so it is bad art and false morals”
Proportion is also clearly shown here in the form of me being the height of the trees. The most successful aspect of this picture is how well I blend into the fog.
I never study a church before I go, maybe that's a fault on my part because I might miss something important and so have to go back. But for me, it's the wonder as you walk through the porch or door into the church, not knowing what to expect.
St Mary's looks like a typical Suffolk church from the outside, nice proportioned tower, good quality flint knapping. And yet once you enter, your breath is taken away by the glorious restored ceiling.
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It is not easy to find Huntingfield; even the signposts do not bear its name until you are within the parish boundary. Yet this shallow valley, divided by the infant river Blyth, with church and parsonage on one bank and manor house on the other, has been owned by some notable families in England's history.
The church is a Grade 1 Listed Building, largely due to its amazing Victorian painted ceiling.
The existing church certainly dates from the 11th century but there are signs that there had been a chapel here long before.
Some fragments of carved stones are set into the wall of the tower. At the beginning of this century they were turned up by a ploughman in a field called 'Chapel Field', a little to the south of the present church. They are fragments from a Saxon stone coffin and standing cross of the 10th century, long since disappeared.
The oldest part of the church is the wall between the nave and the north aisle which was the solid outer wall of the original twelfth century church. That church would have been small and dark, the whole building probably standing within the area of the present nave. The light would have come from small high windows of which one still remains above the two round-headed arches.
This wall has been altered at least twice. It was first broken through when the north aisle was built, and again in the nineteenth century when the arches were given their present 'Norman' curves. That first church was built by the family who took their name from the village and lived in the manor for 250 years, the Lords de Huntingfield.
The chancel was added in the thirteenth century.
By the end of the fourteenth, the south side of the nave had been altered and both aisles had been built in the fashionable Gothic style with its pointed arches. The five small high, or clerestory, windows on the south side of the nave would have provided light into the nave, the advent of affordable glass having made such things possible.
The east window of the south aisle has all that remains of the medieval glass that would once have filled many of the windows. There is a record of what was still to be seen here in the sixteenth century which lists the memorial windows with the coats of arms borne by the families who once owned the Manor.
The windows of the south aisle are particularly pretty and date from the fifteenth century. Their Perpendicular style is indicated by their familiar flat-topped shape. The porch is also from the fifteenth century.
The font dates from the fourteenth century.
The ceiling painting is very special and is explained on a separate page. The work was carried out in the 19th century while William Holland was rector. At the same time the organ and vestry were added with the Vanneck family vault beneath.
The ceiling is a masterpiece of Victorian church decoration, painted from end to end in brilliant colours, with carved and coloured angels, with banners, crowns and shields, all in the medieval style and of a most intricate and detailed finish.
The scheme of decoration is important as it reflects the ecclestiastical devotion of the late Victorian period clergy and their patrons, combined with the heightened liturgical practices of the Oxford Movement.
It was painted by Mildred Holland, the wife of William Holland who was rector for 44 years from 1848 until his death in 1892. The church was closed for eight months from September 1859 to April 1860 while she painted the chancel roof. Tradesmen provided scaffolding and prepared the ceiling for painting but there is no record to show that she had any help with the work, and legend has it that she did much of it lying on her back. We may imagine Victorian ladies wearing tight laced corsets and many petticoats, and wonder how she managed the ladders, scaffolding and hard labour of painting. She had an adviser on her schemes, a Mr. E. L. Blackburne F.S.A., an authority on medieval decoration.
The twelve large panels of the chancel ceiling each show an angel holding either a scroll with the words of the canticle 'Blessed be the Lord God of Israel', or the emblems of the Passion: the cross, the hammer and nails, the scourge, the lance, the crown of thorns and the reed.
Two pelicans in their piety (pecking their breasts to feed their young) are in the last small panels.
Between the beam ends of the chancel roof there are Bible verses in Gothic lettering,
then two tiers of panels; the lower have pictures of the Lamb of God alternating with`the Keys of Heaven. Above, are crowned monograms.
Above the Chancel Arch, the Lamb of God is depicted with the words 'Glory, Honour, Praise and Power unto the Lamb for Ever and Ever', lines taken from the Book of Revelation.
Three years later Mildred Holland began to paint again in the nave. In 1866 her husband William makes a note 'scaffolding finally taken down, September Ist'. The whole cost of repairing the nave roof, preparing it for painting and for materials amounted to £247.10s.7d of which £16.7s.6d was for 225 books of gold leaf and £72 for colours. William Holland's notes show that between 1859 and 1882 a total of £2,034. 10s.0d was spent on the church restoration, of which, apparently, he gave all but £400.
Recent research has found the complete record of William Holland's work in restoring and furnishing the church. These are available for interested students.
The figures on the nave roof are of the twelve apostles and two female saints. Each is painted in the lower tier with their traditional symbols and again in the upper tier clothed in heavenly raiment holding scrolls bearing their names.
Note that Saints Margaret and Andrew are both included as there is a tradition that these two saints were specially venerated here. There are niches for statues in the south aisle which may have held statues of them. The cult of St Margaret of Antioch grew in the 10th century and her veneration was brought back to England by crusaders. Her inclusion here may hint at an early date for the church's foundation.
Mildred Holland died in 1878; William served on until 1892, a total of forty years. He gave the font cover in memory of his wife and also the brass lectern with its graceful angels and winged dragons. Their graves are in the churchyard to the west of the entrance gates. Side by side they lie, beneath a table tomb alongside a standing cross.
It is natural to speculate about the roof. It is of a single hammer-beam construction, arch-braced principals alternating with hammer-beams ending in carved angels. The angels in the nave carry a crown or a banner, those in the chancel have heraldic shields bearing arms. The question all ask is: are these angels genuinely medieval work which escaped the axes of the post-Reformation Puritans, (and remember that William Dowsing, the arch-destroyer, came from nearby Laxfield) or are they all the handiwork of Victorian craftsmen?
Traditional East Anglian hammer-beam roofs generally terminate in a carving of some sort, and the de la Poles made angel roofs in the churches of their manors, even taking Suffolk carpenters to Ewelme in Oxfordshire to make one there. But our angels are too perfect to be so old. Entries in a tradesman's account of 1865 would seem to settle the matter; or do they?
The fourteenth and fifteenth centuries were times of great development and two families, both wealthy and influential, used their means to beautify and rebuild the churches on their manors including St Mary's. Keeping up with the neighbours is not a new fashion. Both left their marks on the font which, standing on restored steps and with a splendid cover, shows two heraldic shields.
The shield facing south depicts the arms of de Ufford while that on the north side is of de la Pole.
The de Ufford shield is that of Sir William de Ufford, Earl of Suffolk during the reign of Edward III. He held Framlingham Castle for the King and owned several manors in Suffolk. Among these were Parham, where he built the church, and Huntingfield.
The other shield is that of Michael de la Pole, Lord Chancellor and Earl of Suffolk, who married Catherine, daughter and heiress of Sir John Wingfield of Wingfield Castle. He succeeded to the manor of Huntingfield through his wife, and died in 1389. The shield shows both of their arms.
Michael de la Pole's has three polecat faces while Catherine Wingfield's has three open wings. Both are puns on their names. (For another heraldic pun look for the arms of Huntingfield being held by one of the angels in the roof: three hunting horns on a 'field'.)
In Ufford church you can see a medieval font cover which was a model for ours when it was made in the nineteenth century. In Wingfield church there is a font so like ours that it was probably made by the same craftsman.
www.stmaryshuntingfield.org.uk/history.htm
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There is nowhere else in Suffolk quite like St Mary. Huntingfield is one of the county's most obscure villages; there are hardly any signposts to it. It is the nearest village to the great pile of Heveningham Hall, and perhaps these two facts are not unconnected. But it is worth getting out the old Ordnance Survey map, because here at St Mary was a remarkable 19th century restoration.
In the second half of that century, many parish churches were drawn by the excitement of the age into major reconstructions and revisions. They often looked to London stars like Scott and Butterfield, or local plodders like Phipson, or else mavericks like Salvin. The demands of the new liturgical arrangements, coupled with a renewed sense of the need to glorify God, led them into what was often a rebuilding rather than a restoration. Internal decorations were, perhaps, the bespoke work of the architect; witness Phipson's meticulous attention to detail at St Mary le Tower, Ipswich.
Other restorers relied on the big picture, a vision that encompassed walls and floors, but left the fittings to others; as, for example, Salvin's Flixton St Mary. What was the driving force behind Victorian revisionism? Essentially, what happened in England between about 1830 and 1870 was a cultural revolution, a ferment of new ideas and the reaction to them. The changes proposed by the Oxford Movement were, at first, objectionable, and then merely controversial; but gradually, they seeped into the mainstream, until by about 1890 they had become as natural as the air we breathe.
By the centenary of the movement in the 1930s, one Anglican clergyman could observe "It is as if the Reformation had never happened". Well, not quite. And now, the pendulum has swung the other way, leaving the ritualists high and dry. But the evidence of the energy of those days survives, especially at Huntingfield, where it was the local vicar who drove the Oxford Movement through the heart of the parish, like a motorway through a Site of Special Scientific Interest.
What the vicar of Huntingfield had, and many other ministers didn't, was a visionary wife. Between 1859 and 1866, Mrs Mildred Holland planned, designed and executed the most elaborate redecoration of a church this county had seen since the Reformation. For seven years, she lay on her back at the top of scaffolding, first in the chancel (angels) and then in the nave (saints on the ceilure, fine angels on the beam ends), gilding, lettering and painting this most glorious of small church roofs. Her husband, the Reverend William Holland, kept a journal throughout this period, and there is no suggestion that she had any assistance, beyond that of workmen to raise the scaffolding, and a Mr E.L. Blackburne FSA, who was, apparently, an 'authority on medieval decoration'.
J.P. St Aubyn was responsible for the structural restoration of this largely 15th century building, and it is very restrained and merciful. He did, however, refit the little windows in the south clerestory. But you come here to see the painted roofs, which are perfectly splendid. Beware if you come with children, or it will cost you a fortune in pound coins to activate the illuminations.
The font cover is not part of Mildred Holland's work; rather, it is her memorial, as is the art nouveau lectern. It is as if her art was a catalyst, inspiring others to acts of beauty. She died in the 1870s, predeceasing her husband by twenty years. They are both now buried by the churchyard gate. How fitting, that they should lie in the graveyard of the church they loved so much, and to which they gave so much of their time, energy and money.
Curiously, Ann Owen, the wife of the vicar of nearby Heveningham, produced the stained glass there; a novel is waiting to be written about these two women.
For such an obscure village, St Mary has had its share of influential patrons. Four major families in particular have left their mark here. Before the Reformation, the de la Poles and Uffords, whose shields you'll find on the font, and in later years the Cokes and the Pastons, both more usually associated with Norfolk.
But, as I have said, you don't come to Huntingfield because of important dead people. Look up, look all around, and see the true memorial to Mrs Holland. It does not have the gravitas of Lound, or the piety of Kettlebaston. And I really love it for that. I think this is a place that should be better known, and not just because of the way it contrasts with the less successful 19th century restorations at neighbouring Cookley and Walpole.
What we have here is as fine a display of 19th century folk art as you'll find anywhere in the county.
Simon Knott, 2001 (updated 2007)