The decisive blow has been dealt.

This is a follow up to my election day project picture.

+++ DISCLAIMER +++

Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!

Some background

After Mil Helicopters' Mi-28 combat helicopter did not find takers, the design bureau decided in the 2000s to take a huge development step forward and question the basic helicopter layout. The result was the Mil Mi-62 (NATO reporting name: Hepcat), a single-seat attack gyrodyne/compound helicopter: a VTOL aircraft with a helicopter-like rotor system that is driven by its engine for take-off and landing but basically relies on conventional means of propulsion to provide forward thrust during cruising flight. Lift during forward flight is provided by a combination of the rotor, like an autogyro, as well as conventional wings, even though these alone would not keep the aircraft in the air.

The first Mi-62K is tentatively slated to enter squadron service by late 2014 or early 2015, coinciding with the delivery of the first carrier of the new Mistral class amphibious assault ships, ordered by the Russian Defense Ministry. These small carriers will contain rotary-wing assets, formed into aviation groups, and each of these groups is planned to include eight attack and eight assault/transport helicopters.

General characteristics

Crew: One

Length (fuselage only): 13,46 m (44 ft 1 in)

Rotor diameter: 15,40 m (50 ft 5 1/2 in)

Height: 4.60 m (15 ft 1 in)

Disc area: 186.3 m² (1.998 ft²)

Empty weight: 7,700 kg (17,000 lb)

Loaded weight: 9,800 kg / 10,400 kg (21,600 lb / 22,930 lb)

Max. takeoff weight: 10,800 kg (23,810 lb)

Powerplant

2× Progress AI-222-25 turbofans, 24.52 KN (5.512 lbf) each plus

4× rotor tip jet burning compressed air/fuel, 4.4 kN (1,000 lbf) thrust each

Performance

Never exceed speed: 550 km/h (297 knots, 342 mph) in dive

Maximum speed: 515 km/h (278 knots, 320 mph) in level flight

Cruise speed: 370 km/h (200 knots, 230 mph)

Range: 545 km (339 ml)

Combat radius: 800 km (500 ml)

Ferry range: 1400 km (870 ml) with 4 drop tanks

Service ceiling: 5,500 m (18,000 ft)

Rate of climb: 10.7 m/s (2,105 ft/min)

Armament

1× turret-mounted, wtin-barreled 30 mm Shipunov Sh2A42 cannon (460 rounds total, dual feeding AP or HE-Frag) under the fuselage

6×wing hardpoints with a capacity of 2,000 kg and provisions to carry combinations of launch pods for 80 mm S-8 rockets or 122 mm S-13 rockets, APU-6 Missile racks or up to 20× 9K121 Vikhr anti-tank missiles, 6× Vympel R-73 (NATO: AA-11 Archer) air-to-air missiles, Kh-25 semi-active laser guided tactical air-to-ground missiles, 4× 250 kg (550 lb) bombs or 2x 500 kg (1,100 lb) bombs, plus 23 mm UPK-23-250 gun pods (240 rounds each) or 500 l (130 US gal) external fuel tanks.

Two compartments in the lower fuselage with flare and chaff countermeasure dispensers, typically 4× UV-26 dispensers each (total 512 chaff/flare cartridges in each pod)

The kit and its assembly:

Another entry for the “Za Rodinu - The Anthony P Memorial Build” at whatifmodelers.com, and this time it’s a modern and rather exotic whif. Helicopters are rare among whiffers, so I thought I’d give that subject a chance, and I actually had the basis kit in store for some time, as I intended to build it for another GB but never got that kick to start it.

The fictional Mi-62 is a conversion of a snap-fit kit from Kotobukiya from a series of generic, roughly 1:72 scale mecha vehicles that do not belong to a specific series or movie, but they seem to be intended to go well with Gundam or Dougram. These are rather toy-like, sturdy things, but they have potential for more – especially the gyroplanes (two different types exist).

These seem to be unmanned drones/UAVs, though, and that immediately leads to the conversions I made. Most important change is a manned cockpit with a clear canopy (from a KP Su-25) and the respective, scratched interior.

Another big change was the deletion of the original, gigantic gatling gun under the fuselage, replaced by a much smaller twin cannon turret. That left a lot of ground clearance – as a late modification I decided to chop the landing gear and the respective fin/wing endplates by more than 1cm, so that the gyroplane would sit closer to the ground.

Further small cosmetics include an asymmetrical radome and a protruding pitot boom, some antenna bulges, new engine exhausts, chaff dispensers in the fuselage flanks, and free-standing main wheels.

The ordnance comes from a Dragon Soviet-Air-To-Ground-Ordnance kit, hung onto six new wing hardpoints (from a 1:144 F-4E and an ESCI Ka-34 in 1:72, IIRC).

Painting and markings:

Choosing a proper scheme was tricky. The helicopter was to look realistic, but still exotic, at least for Russian standards. I considered various options:

● An all-mid-grey livery, inspired by current Mi-35 attack helicopters. Too dull & simple!

● A trefoil-style scheme in khaki and olive drab, with blue undersides. Flashy, but IMHO rather old-school.

I finally found an original scheme on a Ka-62 prototype (shown at MAKS-2009): a wraparound scheme in olive drab, medium grey and chocolate brown. The colors are enamels, I used Olive Drab ANA 613 (ModelMaster #2050), German Uniform “Feldgrau” (ModelMaster #2014) Grey and German Armor Red Brown (Humbrol 160), later highlighted through dry-brushing with lighter shades of the basic tones and a black ink wash, standard process.

The interior was to be Russian-style, too, but instead of the eye-boggling turquoise I went for PRU Blue (Humbrol 230) inside of the cockpit. Still looks odd, but it’s not so bright.

As a twist I decided to use Russian Navy markings – and the real world introduction of Mistral Class ships was a good excuse for a naval version of this attack helicopter. The Naval Aviation used to and does employ many land-based aircraft and helicopters, incl. e. g. the Mi-24, in similar liveries to the Air Force or Army cousins.

The markings were puzzled together from various aftermarket decal sheets from Begemot , Authentic Decals and TL Modellbau, as well as from the scrap box. After some additional dry-brushing with medium grey overall, the kit was sealed with a coat of matt acrylic varnish.

Erosion caused by agriculture is a major cause of land degradation.

Excessive erosion (erosion above the rate of soil formation) is particularly concerning because while an inch of soil can take hundreds of years to form, under certain circumstances it can be swept away in just a few seasons.

In some areas, farmers are increasingly planting row crops instead of hay and pasture crops. This results in, particularly on sloping ground, more soil erosion because row crops tend to provide less complete cover of the ground, exposing it to more erosive forces.

Erosion also degrades the soil's structure, diminishes its water holding capacity, and increases its tendency to become compacted. As a consequence of these changes, runoff of water and soil increases.

Increased runoff and decreased water holding capacity in soils results in crops having less moisture available to them, which aggravates drought stress. In fact, lack of water storage capacity in eroded systems is often erosion's most damaging effect, particularly in drier regions where water is often the main limiting factor.

Much of this eroded sand and soil ends up in rivers and ultimately in the seas. Sediment loads in rivers can make some forms of life unable to live there, silt up spawning beds used by fish, degrade water quality for humans, and cause silting of productive estuaries and reservoirs.

Source: Patricia S. Muir, Oregon State University

Photo Credit: Rick Bohn / USFWS

Yes, it was good!

I wanted to test Diafine and see how far I could push different films. The results are really surprising. I'm impressed by the low grain and just how far I can push the films. I might need to do this test again, just to make sure I did it correctly.

My Friends Results

SONY DSC artmind-etcetera.blogspot.be/2013/06/workshop-results.html

Biennalist

Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.

About artist Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

en.wikipedia.org/wiki/Emergency_Room_(art)

www.emergencyrooms.org/formats.html

www.colonel.dk/

Biennalist :

Biennalist is an Art Format commenting on active biennials and managed cultural events through artworks.Biennalist takes the thematics of the biennales and similar events like festivals and conferences seriously, questioning the established structures of the staged art events in order to contribute to the debate, which they wish to generate.

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

links about Biennalist :

Thierry Geoffroy/Colonel:

en.wikipedia.org/wiki/Thierry_Geoffroy

en.wikipedia.org/wiki/Emergency_Room_(art)

www.emergencyrooms.org/formats.html

www.colonel.dk/

—--Biennale from wikipedia —--

The Venice International Film Festival is part of the Venice Biennale. The famous Golden Lion is awarded to the best film screening at the competition.

Biennale (Italian: [bi.enˈnaːle]), Italian for "biennial" or "every other year", is any event that happens every two years. It is most commonly used within the art world to describe large-scale international contemporary art exhibitions. As such the term was popularised by Venice Biennale, which was first held in 1895. Since the 1990s, the terms "biennale" and "biennial" have been interchangeably used in a more generic way - to signify a large-scale international survey show of contemporary art that recurs at regular intervals but not necessarily biannual (such as triennials, Documenta, Skulptur Projekte Münster).[1] The phrase has also been used for other artistic events, such as the "Biennale de Paris", "Kochi-Muziris Biennale", Berlinale (for the Berlin International Film Festival) and Viennale (for Vienna's international film festival).

Characteristics[edit]

According to author Federica Martini, what is at stake in contemporary biennales is the diplomatic/international relations potential as well as urban regeneration plans. Besides being mainly focused on the present (the “here and now” where the cultural event takes place and their effect of "spectacularisation of the everyday"), because of their site-specificity cultural events may refer back to,[who?] produce or frame the history of the site and communities' collective memory.[2]

The Great Exhibition in The Crystal Palace in Hyde Park, London, in 1851, the first attempt to condense the representation of the world within a unitary exhibition space.

A strong and influent symbol of biennales and of large-scale international exhibitions in general is the Crystal Palace, the gigantic and futuristic London architecture that hosted the Great Exhibition in 1851. According to philosopher Peter Sloterdijk,[3][page needed] the Crystal Palace is the first attempt to condense the representation of the world in a unitary exhibition space, where the main exhibit is society itself in an a-historical, spectacular condition. The Crystal Palace main motives were the affirmation of British economic and national leadership and the creation of moments of spectacle. In this respect, 19th century World fairs provided a visual crystallization of colonial culture and were, at the same time, forerunners of contemporary theme parks.

The Venice Biennale as an archetype[edit]

The structure of the Venice Biennale in 2005 with an international exhibition and the national pavilions.

The Venice Biennale, a periodical large-scale cultural event founded in 1895, served as an archetype of the biennales. Meant to become a World Fair focused on contemporary art, the Venice Biennale used as a pretext the wedding anniversary of the Italian king and followed up to several national exhibitions organised after Italy unification in 1861. The Biennale immediately put forth issues of city marketing, cultural tourism and urban regeneration, as it was meant to reposition Venice on the international cultural map after the crisis due to the end of the Grand Tour model and the weakening of the Venetian school of painting. Furthermore, the Gardens where the Biennale takes place were an abandoned city area that needed to be re-functionalised. In cultural terms, the Biennale was meant to provide on a biennial basis a platform for discussing contemporary art practices that were not represented in fine arts museums at the time. The early Biennale model already included some key points that are still constitutive of large-scale international art exhibitions today: a mix of city marketing, internationalism, gentrification issues and destination culture, and the spectacular, large scale of the event.

Biennials after the 1990s[edit]

The situation of biennials has changed in the contemporary context: while at its origin in 1895 Venice was a unique cultural event, but since the 1990s hundreds of biennials have been organized across the globe. Given the ephemeral and irregular nature of some biennials, there is little consensus on the exact number of biennials in existence at any given time.[citation needed] Furthermore, while Venice was a unique agent in the presentation of contemporary art, since the 1960s several museums devoted to contemporary art are exhibiting the contemporary scene on a regular basis. Another point of difference concerns 19th century internationalism in the arts, that was brought into question by post-colonial debates and criticism of the contemporary art “ethnic marketing”, and also challenged the Venetian and World Fair’s national representation system. As a consequence of this, Eurocentric tendency to implode the whole word in an exhibition space, which characterises both the Crystal Palace and the Venice Biennale, is affected by the expansion of the artistic geographical map to scenes traditionally considered as marginal. The birth of the Havana Biennial in 1984 is widely considered an important counterpoint to the Venetian model for its prioritization of artists working in the Global South and curatorial rejection of the national pavilion model.

International biennales[edit]

In the term's most commonly used context of major recurrent art exhibitions:

Adelaide Biennial of Australian Art, South Australia

Asian Art Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Athens Biennale, in Athens, Greece

Bienal de Arte Paiz, in Guatemala City, Guatemala[4]

Arts in Marrakech (AiM) International Biennale (Arts in Marrakech Festival)

Bamako Encounters, a biennale of photography in Mali

Bat-Yam International Biennale of Landscape Urbanism

Beijing Biennale

Berlin Biennale (contemporary art biennale, to be distinguished from Berlinale, which is a film festival)

Bergen Assembly (triennial for contemporary art in Bergen, Norway)www.bergenassembly.no

Bi-City Biennale of Urbanism\Architecture, in Shenzhen and Hong Kong, China

Bienal de Arte de Ponce in Ponce, Puerto Rico

Biënnale van België, Biennial of Belgium, Belgium

BiennaleOnline Online biennial exhibition of contemporary art from the most promising emerging artists.

Biennial of Hawaii Artists

Biennale de la Biche, the smallest biennale in the world held at deserted island near Guadeloupe, French overseas region[5][6]

Biwako Biennale [ja], in Shiga, Japan

La Biennale de Montreal

Biennale of Luanda : Pan-African Forum for the Culture of Peace,[7] Angola

Boom Festival, international music and culture festival in Idanha-a-Nova, Portugal

Bucharest Biennale in Bucharest, Romania

Bushwick Biennial, in Bushwick, Brooklyn, New York

Canakkale Biennial, in Canakkale, Turkey

Cerveira International Art Biennial, Vila Nova de Cerveira, Portugal [8]

Changwon Sculpture Biennale in Changwon, South Korea

Dakar Biennale, also called Dak'Art, biennale in Dakar, Senegal

Documenta, contemporary art exhibition held every five years in Kassel, Germany

Estuaire (biennale), biennale in Nantes and Saint-Nazaire, France

EVA International, biennial in Limerick, Republic of Ireland

Göteborg International Biennial for Contemporary Art, in Gothenburg, Sweden[9]

Greater Taipei Contemporary Art Biennial, in Taipei, Taiwan

Gwangju Biennale, Asia's first and most prestigious contemporary art biennale

Havana biennial, in Havana, Cuba

Helsinki Biennial, in Helsinki, Finland

Herzliya Biennial For Contemporary Art, in Herzliya, Israel

Incheon Women Artists' Biennale, in Incheon, South Korea

Iowa Biennial, in Iowa, USA

Istanbul Biennial, in Istanbul, Turkey

International Roaming Biennial of Tehran, in Tehran and Istanbul

Jakarta Biennale, in Jakarta, Indonesia

Jerusalem Biennale, in Jerusalem, Israel

Jogja Biennale, in Yogyakarta, Indonesia

Karachi Biennale, in Karachi, Pakistan

Keelung Harbor Biennale, in Keelung, Taiwan

Kochi-Muziris Biennale, largest art exhibition in India, in Kochi, Kerala, India

Kortrijk Design Biennale Interieur, in Kortrijk, Belgium

Kobe Biennale, in Japan

Kuandu Biennale, in Taipei, Taiwan

Lagos Biennial, in Lagos, Nigeria[10]

Light Art Biennale Austria, in Austria

Liverpool Biennial, in Liverpool, UK

Lofoten International Art Festival [no] (LIAF), on the Lofoten archipelago, Norway[11]

Manifesta, European Biennale of contemporary art in different European cities

Mediations Biennale, in Poznań, Poland

Melbourne International Biennial 1999

Mediterranean Biennale in Sakhnin 2013

MOMENTA Biennale de l'image [fr] (formerly known as Le Mois de la Photo à Montréal), in Montreal, Canada

MOMENTUM [no], in Moss, Norway[12]

Moscow Biennale, in Moscow, Russia

Munich Biennale, new opera and music-theatre in even-numbered years

Mykonos Biennale

Nakanojo Biennale[13]

NGV Triennial, contemporary art exhibition held every three years at the National Gallery of Victoria, Melbourne, Australia

October Salon – Belgrade Biennale [sr], organised by the Cultural Center of Belgrade [sr], in Belgrade, Serbia[14]

OSTEN Biennial of Drawing Skopje, North Macedonia[15]

Biennale de Paris

Riga International Biennial of Contemporary Art (RIBOCA), in Riga, Latvia[16]

São Paulo Art Biennial, in São Paulo, Brazil

SCAPE Public Art Christchurch Biennial in Christchurch, New Zealand[17]

Prospect New Orleans

Seoul Biennale of Architecture and Urbanism

Sequences, in Reykjavík, Iceland[18]

Shanghai Biennale

Sharjah Biennale, in Sharjah, UAE

Singapore Biennale, held in various locations across the city-state island of Singapore

Screen City Biennial, in Stavanger, Norway

Biennale of Sydney

Taipei Biennale, in Taipei, Taiwan

Taiwan Arts Biennale, in Taichung, Taiwan (National Taiwan Museum of Fine Arts)

Taiwan Film Biennale, in Hammer Museum, Los Angeles, U.S.A.

Thessaloniki Biennale of Contemporary Art [el], in Thessaloniki, Greece[19]

Dream city, produced by ART Rue Association in Tunisia

Vancouver Biennale

Visayas Islands Visual Arts Exhibition and Conference (VIVA ExCon) in the Philippines [20]

Venice Biennale, in Venice, Italy, which includes:

Venice Biennale of Contemporary Art

Venice Biennale of Architecture

Venice Film Festival

Vladivostok biennale of Visual Arts, in Vladivostok, Russia

Whitney Biennial, hosted by the Whitney Museum of American Art, in New York City, NY, USA

Web Biennial, produced with teams from Athens, Berlin and Istanbul.

West Africa Architecture Biennale,[21] Virtual in Lagos, Nigeria.

WRO Biennale, in Wrocław, Poland[22]

Music Biennale Zagreb

[SHIFT:ibpcpa] The International Biennale of Performance, Collaborative and Participatory Arts, Nomadic, International, Scotland, UK.

—---Venice Biennale from wikipedia —

The Venice Biennale (/ˌbiːɛˈnɑːleɪ, -li/; Italian: La Biennale di Venezia) is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation.[2][3][4] The biennale has been organised every year since 1895, which makes it the oldest of its kind. The main exhibition held in Castello, in the halls of the Arsenale and Biennale Gardens, alternates between art and architecture (hence the name biennale; biennial).[5][6][7] The other events hosted by the Foundation—spanning theatre, music, and dance—are held annually in various parts of Venice, whereas the Venice Film Festival takes place at the Lido.[8]

Organization[edit]

Art Biennale

Art Biennale

International Art Exhibition

1895

Even-numbered years (since 2022)

Venice Biennale of Architecture

International Architecture Exhibition

1980

Odd-numbered years (since 2021)

Biennale Musica

International Festival of Contemporary Music

1930

Annually (Sep/Oct)

Biennale Teatro

International Theatre Festival

1934

Annually (Jul/Aug)

Venice Film Festival

Venice International Film Festival

1932

Annually (Aug/Sep)

Venice Dance Biennale

International Festival of Contemporary Dance

1999

Annually (June; biennially 2010–16)

International Kids' Carnival

2009

Annually (during Carnevale)

History

1895–1947

On April 19, 1893, the Venetian City Council passed a resolution to set up an biennial exhibition of Italian Art ("Esposizione biennale artistica nazionale") to celebrate the silver anniversary of King Umberto I and Margherita of Savoy.[11]

A year later, the council decreed "to adopt a 'by invitation' system; to reserve a section of the Exhibition for foreign artists too; to admit works by uninvited Italian artists, as selected by a jury."[12]

The first Biennale, "I Esposizione Internazionale d'Arte della Città di Venezia (1st International Art Exhibition of the City of Venice)" (although originally scheduled for April 22, 1894) was opened on April 30, 1895, by the Italian King and Queen, Umberto I and Margherita di Savoia. The first exhibition was seen by 224,000 visitors.

The event became increasingly international in the first decades of the 20th century: from 1907 on, several countries installed national pavilions at the exhibition, with the first being from Belgium. In 1910 the first internationally well-known artists were displayed: a room dedicated to Gustav Klimt, a one-man show for Renoir, a retrospective of Courbet. A work by Picasso "Family of Saltimbanques" was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public. By 1914 seven pavilions had been established: Belgium (1907), Hungary (1909), Germany (1909), Great Britain (1909), France (1912), and Russia (1914).

During World War I, the 1916 and 1918 events were cancelled.[13] In 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art, notably Impressionists and Post-Impressionists.

1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there. In 1928 the Istituto Storico d'Arte Contemporanea (Historical Institute of Contemporary Art) opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art.

In 1930, the Biennale was transformed into an Ente Autonomo (Autonomous Board) by Royal Decree with law no. 33 of 13-1-1930. Subsequently, the control of the Biennale passed from the Venice city council to the national Fascist government under Benito Mussolini. This brought on a restructuring, an associated financial boost, as well as a new president, Count Giuseppe Volpi di Misurata. Three entirely new events were established, including the Biennale Musica in 1930, also referred to as International Festival of Contemporary Music; the Venice Film Festival in 1932, which they claim as the first film festival in history,[14] also referred to as Venice International Film Festival; and the Biennale Theatro in 1934, also referred to as International Theatre Festival.

In 1933 the Biennale organized an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section.

During World War II, the activities of the Biennale were interrupted: 1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, and the Art Exhibition in 1948.[15]

1948–1973[edit]

The Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. The Secretary General, art historian Rodolfo Pallucchini, started with the Impressionists and many protagonists of contemporary art including Chagall, Klee, Braque, Delvaux, Ensor, and Magritte, as well as a retrospective of Picasso's work. Peggy Guggenheim was invited to exhibit her collection, later to be permanently housed at Ca' Venier dei Leoni.

1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964.[16] From 1948 to 1972, Italian architect Carlo Scarpa did a series of remarkable interventions in the Biennale's exhibition spaces.

In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe. 1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Ray's Aparajito which introduced Indian cinema to the West.

1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra. The 1964 Art Exhibition introduced continental Europe to Pop Art (The Independent Group had been founded in Britain in 1952). The American Robert Rauschenberg was the first American artist to win the Gran Premio, and the youngest to date.

The student protests of 1968 also marked a crisis for the Biennale. Student protests hindered the opening of the Biennale. A resulting period of institutional changes opened and ending with a new Statute in 1973. In 1969, following the protests, the Grand Prizes were abandoned. These resumed in 1980 for the Mostra del Cinema and in 1986 for the Art Exhibition.[17]

In 1972, for the first time, a theme was adopted by the Biennale, called "Opera o comportamento" ("Work or Behaviour").

Starting from 1973 the Music Festival was no longer held annually. During the year in which the Mostra del Cinema was not held, there was a series of "Giornate del cinema italiano" (Days of Italian Cinema) promoted by sectorial bodies in campo Santa Margherita, in Venice.[18]

1974–1998[edit]

1974 saw the start of the four-year presidency of Carlo Ripa di Meana. The International Art Exhibition was not held (until it was resumed in 1976). Theatre and cinema events were held in October 1974 and 1975 under the title Libertà per il Cile (Freedom for Chile)—a major cultural protest against the dictatorship of Augusto Pinochet.

On 15 November 1977, the so-called Dissident Biennale (in reference to the dissident movement in the USSR) opened. Because of the ensuing controversies within the Italian left wing parties, president Ripa di Meana resigned at the end of the year.[19]

In 1979 the new presidency of Giuseppe Galasso (1979-1982) began. The principle was laid down whereby each of the artistic sectors was to have a permanent director to organise its activity.

In 1980, the Architecture section of the Biennale was set up. The director, Paolo Portoghesi, opened the Corderie dell'Arsenale to the public for the first time. At the Mostra del Cinema, the awards were brought back into being (between 1969 and 1979, the editions were non-competitive). In 1980, Achille Bonito Oliva and Harald Szeemann introduced "Aperto", a section of the exhibition designed to explore emerging art. Italian art historian Giovanni Carandente directed the 1988 and 1990 editions. A three-year gap was left afterwards to make sure that the 1995 edition would coincide with the 100th anniversary of the Biennale.[13]

The 1993 edition was directed by Achille Bonito Oliva. In 1995, Jean Clair was appointed to be the Biennale's first non-Italian director of visual arts[20] while Germano Celant served as director in 1997.

For the Centenary in 1995, the Biennale promoted events in every sector of its activity: the 34th Festival del Teatro, the 46th art exhibition, the 46th Festival di Musica, the 52nd Mostra del Cinema.[21]

1999–present[edit]

In 1999 and 2001, Harald Szeemann directed two editions in a row (48th & 49th) bringing in a larger representation of artists from Asia and Eastern Europe and more young artists than usual and expanded the show into several newly restored spaces of the Arsenale.

In 1999 a new sector was created for live shows: DMT (Dance Music Theatre).

The 50th edition, 2003, directed by Francesco Bonami, had a record number of seven co-curators involved, including Hans Ulrich Obrist, Catherine David, Igor Zabel, Hou Hanru and Massimiliano Gioni.

The 51st edition of the Biennale opened in June 2005, curated, for the first time by two women, Maria de Corral and Rosa Martinez. De Corral organized "The Experience of Art" which included 41 artists, from past masters to younger figures. Rosa Martinez took over the Arsenale with "Always a Little Further." Drawing on "the myth of the romantic traveler" her exhibition involved 49 artists, ranging from the elegant to the profane.

In 2007, Robert Storr became the first director from the United States to curate the Biennale (the 52nd), with a show entitled Think with the Senses – Feel with the Mind. Art in the Present Tense.

Swedish curator Daniel Birnbaum was artistic director of the 2009 edition entitled "Fare Mondi // Making Worlds".

The 2011 edition was curated by Swiss curator Bice Curiger entitled "ILLUMInazioni – ILLUMInations".

The Biennale in 2013 was curated by the Italian Massimiliano Gioni. His title and theme, Il Palazzo Enciclopedico / The Encyclopedic Palace, was adopted from an architectural model by the self-taught Italian-American artist Marino Auriti. Auriti's work, The Encyclopedic Palace of the World was lent by the American Folk Art Museum and exhibited in the first room of the Arsenale for the duration of the biennale. For Gioni, Auriti's work, "meant to house all worldly knowledge, bringing together the greatest discoveries of the human race, from the wheel to the satellite," provided an analogous figure for the "biennale model itself...based on the impossible desire to concentrate the infinite worlds of contemporary art in a single place: a task that now seems as dizzyingly absurd as Auriti's dream."[22]

Curator Okwui Enwezor was responsible for the 2015 edition.[23] He was the first African-born curator of the biennial. As a catalyst for imagining different ways of imagining multiple desires and futures Enwezor commissioned special projects and programs throughout the Biennale in the Giardini. This included a Creative Time Summit, e-flux journal's SUPERCOMMUNITY, Gulf Labor Coalition, The Invisible Borders Trans-African Project and Abounaddara.[24][25]

The 2017 Biennale, titled Viva Arte Viva, was directed by French curator Christine Macel who called it an "exhibition inspired by humanism".[26] German artist Franz Erhard Walter won the Golden Lion for best artist, while Carolee Schneemann was awarded a posthumous Golden Lion for Lifetime Achievement.[27]

The 2019 Biennale, titled May You Live In Interesting Times, was directed by American-born curator Ralph Rugoff.[28]

The 2022 edition was curated by Italian curator Cecilia Alemani entitled "The Milk of Dreams" after a book by British-born Mexican surrealist painter Leonora Carrington.[29]

The Biennale has an attendance today of over 500,000 visitors.[30][31][32]

Role in the art market[edit]

When the Venice Biennale was founded in 1895, one of its main goals was to establish a new market for contemporary art. Between 1942 and 1968 a sales office assisted artists in finding clients and selling their work,[33] a service for which it charged 10% commission. Sales remained an intrinsic part of the biennale until 1968, when a sales ban was enacted. An important practical reason why the focus on non-commodities has failed to decouple Venice from the market is that the biennale itself lacks the funds to produce, ship and install these large-scale works. Therefore, the financial involvement of dealers is widely regarded as indispensable;[16] as they regularly front the funding for production of ambitious projects.[34] Furthermore, every other year the Venice Biennale coincides with nearby Art Basel, the world's prime commercial fair for modern and contemporary art. Numerous galleries with artists on show in Venice usually bring work by the same artists to Basel.[35]

Central Pavilion and Arsenale[edit]

The formal Biennale is based at a park, the Giardini. The Giardini includes a large exhibition hall that houses a themed exhibition curated by the Biennale's director.

Initiated in 1980, the Aperto began as a fringe event for younger artists and artists of a national origin not represented by the permanent national pavilions. This is usually staged in the Arsenale and has become part of the formal biennale programme. In 1995 there was no Aperto so a number of participating countries hired venues to show exhibitions of emerging artists. From 1999, both the international exhibition and the Aperto were held as one exhibition, held both at the Central Pavilion and the Arsenale. Also in 1999, a $1 million renovation transformed the Arsenale area into a cluster of renovated shipyards, sheds and warehouses, more than doubling the Arsenale's exhibition space of previous years.[36]

A special edition of the 54th Biennale was held at Padiglione Italia of Torino Esposizioni – Sala Nervi (December 2011 – February 2012) for the 150th Anniversary of Italian Unification. The event was directed by Vittorio Sgarbi

The Getty Center. Taken with Canon AE1 Program on Kodak 400tx. Uploaded from iPhone.

O-Level results day

a result from the workshop

but i feel i didn't do anything ><

cos it used Mr Bader's camera and the setting was set by him

but i enjoyed the workshop

i will post later my trials at home

painted with color flashlights on webcam using self-implemented software

painting time - about one hour

see original for details

youtu.be/dad4ztq_jyk

Starring Peter Graves, Peggie Castle, Morris Ankrum, Than Wyenn, Thomas Browne Henry, Richard Benedict, James Seay, John Close, and Don C. Harvey. Directed by Bert I. Gordon.

This is the sort of film that producer/director Bert I. Gordon would become famous (or infamous) for. B.I.G. liked playing with relative size, making his antagonist(s) larger than life. The Beginning of the End (BotE) is an obvious rehash of Them! ('54) with radiation-induced giant bugs, but substituting grasshoppers for ants. Instead of menacing Los Angeles, these giant bugs go for Chicago. BotE is a cheaper copy in many ways, but still found a ready audience in the mid 50s. Some better-than-B actors helped keep BotE from foundering completely. Peter Graves is the male lead. He saved Killers from Space ('53) and It Conquered The World ('56) from total loser-dom. Peggie Castle was the female lead in Invasion USA. Morris Ankrum, veteran B-sci-fi actor, once again plays the stern military man as he had in Rocketship XM ('50), Invaders From Mars ('53) and others yet to come.

Plot Synopsis

People in rural Illinois are starting to disappear. Then a whole town of 150 is wiped out. Audrey (Castle) is a reporter who pushes for the story. Radiation might be the culprit, but no one has any nuclear material. She interviews Ed, an agricultural scientist (Graves), who has been growing giant tomatoes with the help of radiation. The isotopes are safely locked up, however. They travel to the site of a wiped out warehouse which stored tons of wheat. There, a giant grasshopper eats one of the scientists. Ordinary grasshoppers had munched on the giant tomatoes and so grew giant too. Hundreds of them mass in the woods. A National Guard unit's small arms can't stop them. They march towards Chicago, destroying Peoria and a couple others en route. The army's best tanks can't stop them. Panic ensues. Chicago is evacuated. The giant grasshoppers infest the Chicago area, but go semi-dormant during a cool night. Top brass in Washington plan bomb Chicago with an a-bomb to kill them while they're in one place. Ed and Audrey think they can find a sound that will attract the giants. If they could lure them into Lake Michigan, they'd all drown. They capture a live giant and bring it to the lab for tests. None of the sounds affect it. Time is almost out when they do find a frequency that works. Speakers are set up on one of Chicago's towers, to attract all the outlying bugs to downtown. Then a boat in the lake with a speaker will attract them to their doom. The plan works, though with a protracted fighting scene. In the end, they all drown. Chicago is saved. The End.

The giant bug (or other critter) sub-genre was only just getting started. We had ants in Them! and a spider in Tarantula. There will be many more to come, but this was an early one yet. The first half of the film, with it's mystery, is much better than the latter half. The relentless threat to a major city harkens to HG Wells' War of the Worlds. After that, it gets lame, but Graves and Ankrum don't disappoint.

While mostly an atomic radiation cautionary tale, there is the basic story line of a relentless force moving upon an American city. Panic, evacuation, a-bombs. It's all familiar Cold War material.

Popular Science magazines were bright with the prospect of what radiation-mutated crops might do for mankind. This is exactly what Ed was trying to do. As with all good naive scientists, he failed to see the bigger picture. Pests eat crops. Giant crops can create giant pests. The moral behind the film is that messing around with radiation can go horribly wrong.

Peggie Castle plays an obviously tough and independent reporter. She'd covered the destruction in WWII and Korea, written respected books and never once screamed like a girl. (she did scream when Frank was eaten, but it was more shock and a call for help than silly panic). Towards the end of the movie, she has less to do, and does lean in the chest of hero Ed (Graves), but she's on screen as more of an equal than a date.

A teen couple are necking on Lover's Lane. They get eaten. A pretty woman in only a towel is primping in her hotel room (back to the window). She gets eaten. Such scenes suggest to some viewers that Bert was giving subtle messages that being sexual is dangerous -- avoid it! This seems too flat. Instead, you could see the necking couple and the sexy woman as representing a very personal and vulnerable aspect of mankind. Intimate moments feel very vulnerable. Our outward mask of civilization is off. Like the lady in the hotel room, we're dressed in only a towel (not full battle gear). Attacks at those moments enhance the mood of vulnerability. It's not a subtle "don't neck" message (like anyone would ever listen to such a message anyhow).

One of the most memorable "special effects" of BotE is how regular grasshoppers (albeit big ones) are set loose to walk among or climb on photos of Chicago. As cheap as it is, this works pretty well. Note how they had cutouts of a line of busses from the same photo, set in front of the building plane, so grasshoppers could walk between them. Also note one scene where the set-back of the building is cut separately, so the grasshoppers can hang their legs over the parapet. Cheap as they are, these effects work better than the poorly done superimposition (green screen), which gets overused.

If you're a stock footage fan, you'll find a lot to love in BotE. Tanks on the road, Troops, crowds panicking. In fact, if you watch closely, you'll see one scene lifted from The Day The Earth Stood Still ('51).

The General Hanson character says the Air Force is sending a B-52 (then America's new super plane) with an A-bomb. When they show a clip of footage, it's actually a propeller-powered B-36, the old-tech behemoth the B-52 were designed to replace. Perhaps stock footage of the B-52, America's high-tech nuclear bomber, then operational for only a couple years, was not yet available, or deemed too sensitive to inclusion in B-movies.

One of the things that help a big bug movie work, is that the critter is somewhat fearful even when small. Ants are relentless (fire ants, army ants), many people are afraid of spiders, and later movies' scorpions and a mantis -- which are creepy looking, will have their traits magnified. But grasshoppers? They just don't inspire fear. BotE fights an uphill battle in trying to make them fearsome.

BotE makes good use of off-screen events. We are told the town of Ludlow was wiped out. All we see are stock clips of tornado damage. We only read of Peoria's destruction in a telegram. When anyone is 'eaten' by a giant grasshopper, we only see the giant lunge, the victim cower, then cut away. Good for budgets, but also kinder to audiences.

Despite the poster (in which the grasshoppers have curious teeth and fangs), they do not pick up anyone. In fact, they eat everyone quite fairly. One is implied to have eaten the lady in the towel, however, so there is at least a tiny delivery on what the poster promises.

Bottom line? BotE is another in the big bug sub-genre. If you like that sort, you'll likely gloss over the low budget short cuts. As a story, it's pretty conventional and doesn't break any new ground.

By 1957, producer/director Bert I. Gordon had already tackled giant monsters of all sorts with films like KING DINOSAUR and THE CYCLOPS. BEGINNING OF THE END was Mr. BIG's first nod to giant insects (in this case, giant grasshoppers), a subject he would unleash on us again in THE SPIDER (1958) and EMPIRE OF THE ANTS (1977). The hero of the film is the perfectly cast Peter Graves in his fourth and final 50s sci-fi thriller (the others were RED PLANET MARS, KILLERS FROM SPACE and IT CONQUERED THE WORLD).

Respected female journalist Audrey Ames (Peggy Castle, BACK FROM THE DEAD) drives to Ludlow, Illinois with reports that some 150 residents are missing. She then visits Doctor Ed Wainright (Graves), a young scientist experimenting with vegetables in the hopes that a busty reporter will do a story on him. Visiting the sight of a recent disaster, the doc and the reporter are confronted with humongous noisy locusts, and a silly deaf/mute character is stampeded to death. Meanwhile, the military is brought in (reinforced with ample stock footage), trying to decide how to destroy the buggers without having to set off an atom bomb on Chicago.

This is basically Mr. BIG's imitation of the bigger-budgeted THEM, and the results are a respectable 73 minutes. Sure, using real grasshoppers against rear-projection effects or crawling on a photograph of a building is not terribly convincing, but it still has a certain nostalgic charm to it. Castle does a fine job as the heroine, and Morris Ankrum (who played a general, doctor or cop in nearly every 50s sci-fi flick) and Thomas Browne Henry (BLOOD OF DRACULA, THE BRAIN FROM PLANET AROUS) represent the military. And who doesn't like Peter Graves? He was even likable as the Nazi spy in STALAG 17! The memorable music is by none other than Albert Glasser.

Having already received a DVD release through Rhino's "Mystery Science Theater 3000" series, it was a big surprise when Image Entertainment announced this title. But Image's version puts the previous one to shame and makes it obsolete, going back to the original camera negative for the transfer. BEGINNING TO THE END now looks crisp and clean, and the black and white image has intense detail. It's also Anamorphic and wonderfully letterboxed in its original 1.66:1 aspect ratio, thankfully covering previous open matte shots of the insects climbing off the peaks of photographed buildings. The audio is also excellent.

Also included is a full running commentary, moderated by producer/director Bruce Kimmel (THE FIRST NUDIE MUSICAL) that features Bert's ex-wife Flora (who assisted in the special effects) and daughter Susan (who appeared in some of his films, but not this one). The commentary is an OK listen, and although Kimmel is enthusiastic enough, there is a lack of research in the proceedings (Peggy Castle is discussed as if she's still living but she passed away 30 years ago). Not too much is learned from the two ladies (other then the "I" in Gordon's name stands for "Ira" and that only male grasshoppers were used in the film), but they still have a few nice anecdotes to tell. But one has to wonder why the alive and well Bert I. Gordon can't be coaxed into doing one of these things!

How happy am I!!! After weeks of tests, tears, and being told by the medics to expect the worst, I got a call late yesterday to tell me that the cancer is not back. I am so relieved. Thank you to FlickrLand friends for being so lovely and supportive to me during this time, you know who you are, guys xx

24 Hrs du Mans 1959

n° 29

Team : Rudd Racing Ltd. (GB)

Result : 7th

153,493 km/h - 3.684,838 km

Engine : Bristol L6 1.971 cc

Chassis n° BE214

Ted Whiteaway (GB)

John Turner (GB)

Chantilly Arts & Elegance Richard Mille

Château de Chantilly

Chantilly

France - Frankrijk

September 2016

Inspector Phil Spurgeon and Councillor Pat Karney.

Following feedback from the community, Operation Mandera was launched in 2013 to tackle antisocial behaviour and crime in Piccadilly Gardens.

Spearheaded by the Greater Manchester Police’s Neighbourhood Policing Team, in partnership with Manchester City Council’s Neighbourhood Enforcement, CCTV and Community Safety teams, the initiative continues to be a success in reducing the number of drug dealing activities in the Piccadilly Gardens area.

Latest figures released by GMP show to date that 44 offenders have been handed prison sentences, with a combined jail time of over 91 years.

37 offenders have received a Criminal Behaviour Order (CBO), banning them from entering the Piccadilly area. These orders range from two to five years. One offender has been handed a CBO forbidding them from entering Piccadilly Gardens for life.

Inspector Phil Spurgeon, with the City Centre Neighbourhood Policing Team, said: “We recognise that Piccadilly Gardens is one of the most important public spaces in Manchester city centre. It is an area that is used and enjoyed by many, but we know that it brings unique community safety challenges.

“Staff from the City Centre Neighbourhood Policing Team, alongside Manchester city council and many other partners, continue to work incredibly hard to tackle a wide range of criminal and antisocial behaviour issues in and around Piccadilly Gardens.

“We welcome the continuing support from the local community, from people living, working, or visiting the area.

“We know that there is still much work to do, but it’s important to reassure the public of the successes that Operation Mandera has seen over the last three years. A number of drug dealers have received significant prison sentences, and 37 have been given Criminal Behaviour Orders banning them from the area once they have been released.

“Our ongoing work with partners and the community will continue to maintain Piccadilly Gardens as an area that can be enjoyed by law abiding citizens, their families and friends.”

Councillor Pat Karney, Manchester City Council's city centre spokesman, said: “Piccadilly Gardens is a cherished space in the heart of the city centre enjoyed by tens of thousands of people each year.

“We are not naïve though and recognise there have been problems in the area. We have been working closely with the police to crack down on crime and anti-social behaviour and the success of Operation Mandera demonstrates that those efforts are making a real difference.

“Operation Mandera is ongoing and everyone should be aware we will not tolerate any form of anti-social behaviour or criminal activity – be warned there are serious consequences for perpetrators and recent successes prove we will catch them.”

To find out more about Greater Manchester Police please visit our website. www.gmp.police.uk

You should call 101, the national non-emergency number, to report crime and other concerns that do not require an emergency response.

Always call 999 in an emergency, such as when a crime is in progress, violence is being used or threatened or where there is danger to life.

You can also call anonymously with information about crime to Crimestoppers on 0800 555 111. Crimestoppers is an independent charity who will not want your name, just your information. Your call will not be traced or recorded and you do not have to go to court or give a statement.

It's supposed to be a sunset. It's not supposed to look like she missed while hammering some nails...

This chart documents the effect of different temperatures on fluorescence. The fluorescent images for each specimen were taken using the same exposure.

Pep Vila, driving the Trakker, received a 40-minute penalty for failing to pass through a check point. "We were coming from a very dusty area," said the Catalan champion, "which prevented us from seeing the check point". See the other results.

HUMPHREYS GARRISON – More than 40 individuals, including at least two previous winners of events here, plus a husband and wife championship team, participated in the Humphreys Triathlon Sept. 18.

For the first time, the triathlon began with the swim portion being held in the Splish and Splash pool. The course for individuals was a 400 meter swim, 20 kilometer bike and five kilometer run, while three teams had to swim 800 meters, bike 30 kilometers and finish with a 10 kilometer run.

The overall winner, finishing in 58 minutes, 22 seconds, was Brad Williams, an Air Force staff sergeant assigned to Osan Airbase, who began competing in triathlons while stationed there earlier in his career. He won events here in November 2008 and March 2009 and said that “starting the race at the Splish and Splash was a great improvement” over his previous times.

A husband and wife team, one of two competing in the event, captured the Women’s 32 and under and Men’s 33 and over titles handily.

Sarah Stahl completed the course in 1:14:08 to post the Women’s best overall finish, more than five minutes faster than her closest rival and husband Nathan Stahl, a master sergeant assigned to Headquarters Support Company, 602nd Aviation Support Battalion, posted the second best Men’s time of the day, finishing at 1:04:46.

Gabriel Harley, a chief petty officer assigned to Commander Fleet Activities Chinhae and winner of the Humphreys Triathlon in March, finished second to Stahl in the Men’s 33 and over with a time of 1:07:02.

Overall results:

Women’s (32 and under): Sarah Stahl, 1:14:08; Jamie Neumann, 1:19:34; Nicole Zayas, 1:26:51; Jennifer Wood, 1:27:20.

Women’s (33 and over): Kong Mi-suk, 1:27:15; Caren Morris, 1:30:21; Ilene Kinsey, 1:38:59; Kim Hee-ok, 1:46:43.

Men’s (32 and under): Brad Williams, 58:22; David Temple, 1:05:44; Nicholas Shamrell, 1:07:01; Su Yi, 1:10:38; Russell Zayas, 1:11:20; Scott Smith, 1:13:45; Andrew Rieck, 1:18:37; Giancarlo Caruggo, 1:19:29; Codey Fischer, 1:23:54; Brandon Baila, 1:24:59; Kim Yong-kyun, 1:30:16; Lee Soo-young, 1:33:57; Chris Dean, 1:39:47; Alfad Oths, 1:40:33; Jamell Callahan, 2:08:54.

Men’s (33 and over): Nathan Stahl, 1:04:46; Gabriel Harley, 1:07:02; Dave Elger, 1:08:14; Jose Gomez, 1:08:14; Jeremy Klinger, 1:09:23; Kim Sung-jin, 1:10:09; Sal Salvocci, 1:12:02; Yi Chong-yun, 1:12:28; Jason Francois, 1:16:08; John MacDonald, 1:16:59; Shane Davis; 1:19:23; Joseph Deschner, 1:25:56; Scott Morris, 1:30:21; Boakai Kpinkpin. 2:29:46.

Team Event: Jacob Myers Team, 1:49:24; Jonathan Anderade Team, 2:07:37; Amanda Ferrell Team, 2:12:42.

U.S. Army photos by Mike Mooney and Steven Hoover

For more information on U.S. Army Garrison Humphreys and living and working in Korea visit: USAG-Humphreys' official web site or check out our online videos.

Several months later, everything is beautiful, just in time for Super Bowl Sunday! There's still some work to be done in terms of cable management and some additional audio configuration, but I'm very happy with how it turned out.

Morgan Line-O-Scribe Catalog, 1955

Outside of the Romney Marsh, ruined churches are rare in Kent. So St Mary, romantically situated beside the lake that brought about it's collapse is one to seek out. Even though, judging by the graffiti carved into the chalk block walls, and litter left strewn about, this is some kind of location used for partying or something else.

Eastwell and Challock used to be neighbouring parishes, and still are really, but the direct road between the two is cut by Eastwell Estate, the two churches each stand at the end of a dead end lane that used to join the two churches. To get between the two involves a ten minute drive around the estate back to Ashford and up along the main Canterbury road.

You approach St Mary down a narrow lane, it is not signposted. But you can see the still standing tower just above the mature trees growing in the churchyard. Just beyond the church is the gate to the Eastwell Estate.

Two points of interest; one a fine flint cross in the south face of the tower. And that St Mary might be the resting place of Richard Plantagenet, son of Richard III.

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One of the few ruined churches in the county, St Mary's stands in a well-kept churchyard on the edge of Eastwell Park Lake. Only the west tower is intact and shows in its lower stage one of the unusual inset flint crosses probably inserted during the construction of the building to mark the day of the patronal festival. To the south of the tower is a nineteenth-century chapel built to house the romantic monument to Lady Winchelsea, which can now be seen in the Victoria & Albert Museum. A stone table in the churchyard marks the burial place of Richard Plantagenet, the illegitimate son of Richard III, who is reputed to have lived in the house which still stands to the east. His burial is recorded in the church register of December 1550. The church was built almost entirely of chalk blocks which, following the construction of the lake in 1841, started to soak up water which eventually resulted in the total collapse of the church in 1951. The ruins are now maintained by the Friends of Friendless Churches, a national charity, both as a place of pilgrimage and a historic monument.

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

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

EASTWELL

IS the last parish remaining to be described in this hundred. It is written in antient records, Est-welles, and Estwelle, and sometimes only Welles; taking its name from the springs, with which it is watered, such being called by the Saxons, wells; and it has the addition of East from its situation, and to distinguish it from the adjoining parish of Westwell.

THE PARISH of Eastwell is very small, being not more than a mile across each way, containing in it about thirteen houses. It lies in a very healthy country, on a clean firm soil, at the side of the Ashford vale, at the foot of the range of down hills below Molash and Challock, which are here covered with woods, at the outskirt of a dreary barren country, where the soil is much addicted to chalk; but within this parish in the vale, and within the park, it becomes a flat, even and pleasant country, the soil changing to a sertile and kindly red earth of loamy clay, which produces a great deal of rich pasture. The greatest part of it is included in the park, which extends likewise into the parishes of Westwell, Challock, and Boughton Aluph, the church of Challock standing close to the pales on the north side, and that of Eastwell and the courtlodge, to those on the opposite side of it. The mansion of Eastwell-place stands at a small distance from the south east corner of the park, the pales of which join the high Faversham road and Boughton lees.

The house is very large, though the building is not extraordinary in the whole, yet the back front has something very noble and grand in the look of it. The park, though in the vale, yet it stands on higher ground that the rest of the vale beneath, having a beautiful prospect southward as far as the quarry hills, contains about 1600 acres, and by far the sinest situation in this county, the soil of it being very firm and hard, and the lower parts exceedingly sertile; the venison sed in it being accounted the sinest of any is Kent. The north-west part of it has fine inequality of ground, and being richly clothed with wood, shews nature in a most pleasing and picturesque state. In this part of the park is a very high hill, on the top of which is an octagon plain, from whence are cut eight several avenues or walks, called the Star Walks, the intermediare spaces being filled with fine venerable trees, so thick as to exclude the light from beneath them, making a very awful and majestic appearance. The view from the top of this hill is very extensive, for from it may be seen the course of the river Medway to Sheerness, and the buoy of the Nore toward the German ocean, and on the opposite side the British channel towards France beyond Romney Marsh, besides a very extensive and beautiful land prospect almost on every side.

One side of the village on Boughton lees in within this parish, at the eastern boundary of it, and there is another hamlet at the opposite part of the parish, called Linacre street, in which there is a house called Linacrehall, late belonging to Mr. Thomas Munn, of Ashford. This parish is watered by three springs, one of which rises at the bottom of the park, under Boughton-lees, and thence runs by Wilmington and Clipmill, into the river Stour, under Frogbrooke, having been joined by another which rises near the church; the third rises at the south corner of the park, near the other, and thence flows down by Kennington-common and Burton, into the river near Wilsborough-lees, just before which it is called Bacon's water.

There is a tradition, that a natural son of king Richard III. named Richard Plantagenet, sled hither from Leicester immediately after the fatal battle of Bosworth, fought in 1485, in which the king lost both his life and crown, and that he lived here in a mean capacity, having leave given him by Sir Tho. Moyle, as soon as he was discovered by him, to build for himself a small house, in one of his fields near his mansion of Eastwell-place, in which he afterwards lived and died; which is corroborated by an entry of his burial in the parish registry. He died in 1550, anno 4 king Edward VI. aged, as is supposed, about eighty-one. The entry in the parish register is as follows, under the article of burials: V. Richard Plantagenet, Desember 22d, 1550; the letter V prefixed being put before the name of every person of noble family mentioned in it; and against the north wall of the high chancel there is an antient tomb, without inscription, with the marks of two coats of arms, the brasses gone, which is reported to be that of this Richard Plantagenet. There was then no park here, but when there was one made, this small hut was included in it, and remained in being till it was pulled down by Heneage, earl of Winchelsea, who died in 1689. (fn. 1)

At the time of taking the general survey of Domesday, in the 15th year of the Conqueror's reign, this place was part of the possessions of Hugo de Montfort, under the general title of whose lands it is thus entered in it:

Hugo de Montfort holds one manor, Estwelle, which Frederic held of king Edward. It was taxed at one suling. There are three yokes within the division of Hugo, and the fourth yoke is without, and is of the fee of the bishop of Baieux. The arable land is three carucates in the whole. In demesne there are two carucates, and five villeins, and five borderers having one carucate and an half. There are ten servants, and twelve acres of meadow, and a wood. In the time of king Edward the Confessor, it was worth seventy shillings, and afterwards thirty shillings, now seventy shillings.

And the following entries in the same record, under the general title of the bishop of Baieux's lands, seem to relate to his possessions in this parish:

Ralph de Curbespine holds of the bishop Essewelle. It was taxed at three sulings. The arable land is . . . . . In demesne there are three carucates, and one villein, with seven borderers having half a carucate. There is one servant. It is worth six pounds. Molleue held it of king Edward.

The other entry is thus: Osbern holds of the bishop one manor, which three free tenants held of king Edward. It was taxed at one suling and an half. The arable land is . . . . In demesne there is one carucate, and one villein, with one borderer having half a caruacate. In the time of king Edward it was, and is now worth four pounds.

Hugo de Montfort, before-mentioned, had accompanied the Conqueror in his expedition hither, and after the battle of Hastings was rewarded for his services with many lordships in different counties, and among them with this of Eastwell. Robert, his grandson, was general of king William Rufus's army; but favouring the title of Robert Curthose, in opposition to king Henry I. to avoid being called in question upon that account, obtained leave to go on a pilgrimage to Jerusalem, leaving his possessions to the king, by which means this manor came into the hands of the crown, of which it was afterwards held by a family who took their surname from it; one of whom, Matilda de Estwelles, held this manor, with the advowson of the church of it, of the king in capite, at her death in the 52d year of king Henry III. Soon after which it seems to have come into the possession of the family of Criol; for Bertram, son of John de Criol, died possessed of it in the 23d year of king Edward I. holding it in the like manner, and by ward to Dover castle, being part of those lands which made up the barony, called the Constabularie. He left two sons, John and Bertram, and a daughter Joane, who afterwards married Sir Richard de Rokesle. Both these sons died s.p. the former of them left his wife Alianor surviving, who entitled her second husband Edmund Gaselyn to this manor for her life, and she died possessed of it in the 23d year of king Edward III. upon which this manor descended to Agnes and Joane, the two daughters and coheirs of Joane her late husband's sister before-mentioned, by Sir Richard de Rokesley; and upon the division of their inheritance, the manor of Eastwell was allotted to Agnes the eldest, who entitled Thomas de Poynings her husband to it; and in his descendants this manor, with the advowson of the church, continued down to Robert de Poynings, who died possessed of it in the 25th year of king Henry VI. leaving Alianore, his grand-daughter, wife of Henry, lord Percy, eldest son of Henry, earl of Northumberland, his next heir; who in the 27th year of it had summons to parliament among the barons of this realm, as lord Poynings. Six years after which he succeeded his father as earl of Northumberland, and in his descendants this manor, with the advowson, continued down to Henry, earl of Northumberland, who in the 23d year of king Henry VIII. conveyed it to seossees, who soon afterwards passed it away by sale to Sir Christopher Hales, the king's attorney-general, whose lands were disgavelled by the act of the 31st of Henry VIII. and he died possessed of it in the 33d year of that reign, holding it of the king, as of the honor of his castle of Dover, by knight's service. He left three daughters his coheirs, and they, with their respective husbands, joined in the sale of it to Sir. Tho. Moyle, of Eastwell, whose lands were disgaveiled by the acts of 31 king Henry VIII. and second and third of Edward VI. being the son of John, descended from a family of this name at Bodmin, in Cornwall, and youngest brother of Walter Moyle, of Buckwell. (fn. 2) He was speaker of the house of commons anno 34 king Henry VIII. and chancellor of the court of augmentation, who was in high esteem with that prince, and accumulated a large fortune in his profession of the law. He new built the mansion of Eastwell place, and died possessed of this manor, with the advowson of the church of it in 1560, leaving two daughters his coheirs, Catherine, married to Thomas Finch, gent. and Anne, married to Sir Thomas Kempe, of Wye, but this manor, with the advowson, had been settled on the former, on her marriage with Mr. Thomas Finch, who was afterwards knighted, and resided at Eastwell-place, The family of Finch, according to John Philipott, Rouge Dragon, was originally descended from Henry Fitz-Herbert, chamberlain to king Henry I. whose descendant Matthew Fitz-Herbert, who was one of the magnates or barons, at the compiling of Magna Charta, as was his son of the same name in that parliament, which was convened to meet at Tewksbury. The alteration of this name to Finch was about the 10th of king Edward I. at which time Herbert Fitz-Herbert purchased the manor of Finches, in Lid, of which being entire lord, which he was not of his more antient patrimony of Netherfield, in Suffex, he assumed his surname from that, as many other families in that age did from those places of which they possessed the entire seignory, bearing for his arms, Argent, a chevron between three griffins, segreant, sable. Vincent Herbert, alias Finch, was of Netherfield, about the end of the reign of king Edward II. and left two sons, Henry and John, the latter of whom was father of John, prior of Christ-church. Henry Herbert, alias Finch, the eldest son, inherited Nethersfield, and died anno 8 king Richard II. and left Vincent Herbert, alias Finch, (with whom the pedigree of this family begins in the Heraldic Visitation of this county, in 1619) whose son Vincent, was living in the reigns of king Richard II. and Henry IV. and by his wife Isabel, daughter and coheir of Robert Cralle, of Cralle, in Sussex, had two sons, William and John; which latter married Elizabeth, daughter of Richard Seward, of Linsted, from whom descended the Finch's, of Sewards, Norton, Kingsdown, Faversham, Wye, and other places in this county. William Finch, the eldest son, by which name only he and his descendants wrote themselves, was of Netherfield, and had a son Henry Finch, esq. who married Alice, only daughter and heir of Philip Belknap, of the Moat, near Canterbury, uncle to Sir Ed ward Belknap, which marriage not only occasioned the first residence of this branch of the family in Kent, but rendered it more illustrious by a descent from many noble ones. Their eldest son Sir William Finch, was of the Moat in king Henry the VIIIth's reign, and was father of Sir Thomas Finch, of Eastwell, before-mentioned, (fn. 3) of which he died possessed in 1563. They had three sons and one daughter, of whom Henry, the third son, was sergeant-at-law, and left one son John, who was chief justice of the common pleas, lord keeper, and created anno 16 Charles I. lord Finch, baron of Fordwich, and died in 1661; the eldest, Sir Moyle Finch, was created a baronet at the first institution of that order, and surviving his mother, who had remarried Nicholas St. Leger, esq. (and lies buried in this church, as well as her father Sir Thomas Moyle, and all her descendants, to the present time) became possessed of this manor and advowson. He married Elizabeth, only daughter and heir of Sir Thomas Heneage, and resided at Eastwell-place, which he made very great additions to, and in 1589, obtained the queen's licence to inclose his grounds here, not exceeding one thousand acres, and to turn the highways that might be annoyed by it, and to embattle his house of Estwell. He died in 1614, leaving his widow, the lady Elizabeth Finch, surviving, who was by letters patent in 1623, anno 21 James I. created viscountess Maidstone; and afterwards, in 1628, anno 4 king Charles I. countess of Winchelsea, in Sussex. She died in 1633, and was buried at Eastwell, under a noble monument erected there for her and her husband, by whom she had several sons and daughters, the eldest son, Sir Theophilus Finch, bart. died s.p. the second, Sir Thomas, succeeded as earl of Winchelsea; the third, Sir John, was resident with the grand duke of Tuscany, and ambassador in Turkey, of whom there is no issue. He died in 1642, and was buried in Queen's college chapel, in Cambridge, to which he was a good benefactor; the fourth, Sir Heneage Finch, sergeant-at-law, and recorder of London, who died in 1641, was ancestor to the late earl of Winchelsea and Nottingham; and the fifth, Francis, was barrister-at-law, and an ingenious poet, who died s.p. Sir Thomas Finch, bart. the eldest surviving son, succeeded her as earl of Winchesea, &c. and in her possessions here, whose eldest son Heneage, second earl of Winchelsea, was one of those nobles who favored the restoration of king Charles II. and as such, was by general Monk entrusted with the government of Dover castle, and after king Charles's return was, in acknowledgment of his services, and of being descended from the antient family of Herbert, created baron Fitz-Herbert, of Eastwell, in the 12th year of his reign, and constituted lord lieutenant and custos rotulorum of this county, and shortly after sent ambassador extraordinary into Turkey. He was lord lieutenant when king James II. was taken, on his leaving this kingdom, and brought to Faversham, where, for protection from the insults of the populace, he sent to lord Winchelsea from Eastwell, who immediately came and persuaded the king to return to London. He died in 1689, having married four wives, by whom he had in all twenty-seven children, of whom sixteen lived to some maturity. At length these honors and estates descended afterwards down to John his son, by his fourth wife, his other intermediate descendants being dead without issue, who became the fifth earl of Winchelsea, who dying likewise s.p. in 1729, the titles of earl of Winchelsea and viscount Maidstone, for that of baron Fitz-Herbert became extinct, together with this manor and advowson, and the mansion and park of Eastwell, with the rest of the earl's estates in this county, devolved on Daniel, second earl of Nottingham, son and heir of Sir Heneage Finch, who had been created earl of Nottingham in 1681, son and heir of Sir Heneage Finch, the fourth son of Sir Moyle Finch, of Eastwell, knight and baronet, by his wife Katherine, who was created countess of Winchelsea as beforementioned. Sir Heneage Finch above-mentioned, was eminent in the profession of the law, and was recorder of London, and in the first year of king Charles I. elected speaker of the house of commons, and resided at Kensington, in the house now the royal palace. He died in 1631. Heneage, his son and heir, was in 1660, made solicitor-general, knighted, and created a baronet, being then of Raunston, in Buckinghamshire. He was afterwards attorney-general, and in 1673 made lord keeper; shortly after which he was in 1674, created lord Finch, baron of Daventry; and next year made lord chancellor, and in 1681 created earl of Nottingham; he had fourteen children, of which seven sons and one daughter survived him. Of the sons, Daniel succeeded him as earl of Nottingham; 2, Heneage was created baron of Guernsey and earl of Aylesford, of whom and his descendants a full account may be seen under that parish. (fn. 4) Charles was fellow of All Souls college, and Henry was dean of York, and lies buried there with his brother Edward, who was prebendary of that church. Daniel, second earl of Nottingham, above-mentioned, became the sixth earl of Winchelsea, and entered early into life, being of the privy council to king Charles II. after whose death he took an active part in the politics of the succeding reigns, and was, for his great learning and abilities, highly trusted and employed in the great affairs of state till the year 1716, when he retired from all public affairs, and lived so till his death in 1730. He was twice married, first to lady Essex Rich, second daughter and coheir of Robert, earl of Warwick, by whom he had one daughter Mary; secondly to Anne, only daughter of Christopher, viscount Hatton, by whom he had five sons and eight daughters, besides seventeen other children who died young. The eldest son was Daniel, who succeeded him in titles and estate; William was envoy extraordinary to Sweden and the States General, and afterwards privy counsellor and vice-chamberlain of the houshold, who left a son George, who on his uncle's death, succeeded him in his titles, as will be further mentioned; John was solicitor-general to king George II. when prince of Wales, and afterwards king's council. Henry was surveyor of his Majesty's works; and Edward afterwards took the name of Hatton, pursuant to the will of Anne his aunt, the youngest daughter of Christopher, viscount Hatton, and heir of her brother William, viscount Hatton. He married Anne, daughter and coheir of Sir Thomas Palmer, bart. of Wingham, by whom he had George Finch Hatton, of whom more hereaster, and four other sons, and three daughters.—He was succeeded in the titles of earl of Winchelsea and Nottingham, viscount Maidstone, and baron of Daventry, as well as in his estates in this county, by Daniel his eldest son, who was constantly employed from the accession of king George I in the most important offices of the state, till the year 1766, when he retired from all public business, having been in 1752 elected a knight of the garter. He was twice married; first to Frances, daughter of Basil Fielding, earl of Denbigh, by whom he had one daughter Charlotte; and secondly, to Mary, daughter and coheir of Sir T. Palmer, bart. above-mentioned, by whom he had four daughters, Heneage, Essex, Hatton, and Augusta. He died in 1769, æt. 81, full of years and wisdom, and was buried among his ancestors, in the church of Eastwell. On his death without issue male, his titles, together with his seat at Burleigh, and estates in Rutlandshire and other counties, descended to his nephew George, son of his next brother William, but he by his will devised the manor and advowson of Eastwell, with the park and mansion of Eastwell-place, together with all the rest of his Kentish estates, to his nephew George Finch Hatton, esq. eldest son of his youngest brother Edward Finch Hatton, who is the present possessor of them. He married Elizabeth-Mary, daughter of David, late lord viscount Stormont, afterwards earl of Mansfield, by whom he has issue, and now resides at Eastwell-place. He bears for his arms those of Finch before-mentioned, quartered with those of Hatton, being Azure, a chevron, between three garbs, or.

POTHERY is a small manor within the bounds of this parish, which seems to have been part of that estate belonging to Odo, bishop of Baieux, described in Domesday before, which, on his disgrace about four years afterwards, that is, about the year 1084, became with the rest of his possessions, consiscated to the crown, of which it was afterwards held by the family of Criol; and John de Criol, younger son of Bertram, held it, together with the manor of Seaton, in Boughton Aluph, already descriebed before, in the account of that parish, at his death in the 48th year of Henry III. In his descendants it continued till it passed at length with that manor in marriage to Rokesle, and thence again in like manner to the Perys, and was sold with it by Henry, earl of Northumberland, in Henry the VIIIth.'s reign, to Sir Christopher Hales, whose three coheirs sold it to Sir Thomas Moyle, whence it went by marriage again to Finch, whose descendant Daniel, earl of Winchelsea and Nottingham, dying in 1769, without male issue, gave it by will to his nephew, George Finch Hatton, esq. now of Eastwell, the present owner of it.

Charities.

SIR WALTER MOYLE, of this parish, by will, anno 1480, ordered that his feoffees should deliver an estate in see simple to three or four honest and trusty men, in two acres of arable land in this parish, in a field called Cotingland, to the use of the church of Eastwell, in recompence of a certain annual rent of two pounds of wax, by him wrested and detained from it against his conscience.

MR. THOMAS KIPPS left by will in 1680, 20s. per annum to the use of the poor, out of a field in Great Chart, rented at 6l. per annum, the remainder of the rent being left to five other parishes.

THERE is an alms house in this parish.

The poor constantly relieved are about seven, casually five.

EASTWELL is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Charing.

¶The church, which is dedicated to St. Mary, consists of two isles and two chancels, having a square embattled tower at the west end, in which hang three bells. It is an antient building of slint, with ashler stone round the windows, which are small, and of only one compartment. The arms of Poynings still remain in the east window of the high chancel. Within the altar rails is a memorial for Nicholas Toke, clerk, obt. 1670, and for Nicholas Toke, his eldest son, obt. 1673. On the south side of the chancel is the tomb of Sir Thomas Moyle. In the south chancel is a sumptuous tomb, on which lie the figures of a man and woman in white marble, at full length, their sons and daughters round the sides of it; it had till within these few years, a beautiful dome or canopy over them, supported by eight pillars of black marble, the fragments of which now lie scattered about the chancel. It was erected for Sir Moyle Finch, knight and bart. who died in 1614, and Elizabeth his wife, created counteis of Winchelsea, &c. And a monument for Sir Heneage Finch, sergeant-at law, and recorder of London, who died in 1631, and of his first wife, who died in 1627. At the upper end of the south isle is a vault, for the Finch family, in which are thirty-eight coffins; the Hon. Edward Finch Hatton, father of the present Mr. Hatton, of Eastwell, being the last who was buried in it.

The church of Eastwell was always esteemed an appendage to the manor, and continues so, the lord of it, George Finch Hatton, esq. being the present patron of this rectory.

It is valued in the king's books at 9l. 16s. 8d. It is now a discharged living, of the clear yearly certified value of forty-two pounds. In 1588, it was valued at forty pounds per annum, communicants fifty-five. In 1640 the same.

www.british-history.ac.uk/survey-kent/vol7/pp398-412

Just eating the fruit from the garden is wonderful, but after a few days a little adventure was called for, so I prepared Gooseberry Tart and Blueberry Tartlettes, all pastry courtesy of a supermarket.

The result may have looked tatty, but tasted rather nice.

No caterpillars were harmed in the preparation of these dishes.