View allAll Photos Tagged Relatable
The Problems relating to the Management & Excavations of the Archaeological Ruins of Herculaneum / Pompeii as reported in Foreign Press (1904-2002). Prof. A. de Franciscis (SAP), Pompeii Ruins Threatened, The N.Y. Times, Jan 19, 1969, XX51. [2/3].
Brasília (DF), 11/03/2025 - Relator do Orçamento 2025, senador Angelo Coronel após reunião com deputados e seandores na Comissão mista de orçamento. Foto: Lula Marques/Agência Brasil
Lord Krishna is very special to children and they can relate their naughtiness to the incidents of Bal Krishna. So Janmashtami is a very special festival too and they love to hear tales of the Makhan Chor.
The children of Preprimary had a special program to mark the event. Classes 2 and 3 celebrated Janmashtami through special programs during their assemblies. They sang songs in praise of Lord Krishna and presented a skit portraying Lord Krishna and Narad Muni with ‘Polluted Earth’ as the theme. They merged Janmashtami with the message ‘How can we save Mother Earth?’. The program was a very well presented one which all the children enjoyed.
Memorial relating to
Captain Romuald Nalecz-Tyminski DSC
Commander of the Polish Navy Warship ORP SLAZAK.
ORP Ślązak (Polish for Silesian) was a World War II Hunt-class destroyer. Initially laid down in 1940 for the Royal Navy as HMS Bedale, in 1942 she was commissioned by the Polish Navy.
After World War II, she was leased to the Indian Navy in 1953, where she served as a training ship until 1976. She was scrapped in 1979.
At Dieppe she saved 85 soldiers of the Royal Regiment of Canada, trapped at the beach after landing
A skilled and accomplished seaman, Nalecz-Tyminski worked his way up the ranks during his life on the seas, commanding numerous warships on dramatic danger-filled missions.
“Nobody did more than he did to get the Canadians out”, said Joe Ryan, a veteran of the Royal Regiment of Canada who fought at Dieppe, France.
Ryan said he can still remember watching the destroyer heading straight towards the beach firing all of its guns at the enemy, before turning abruptly, churning up mud and rocks from beneath the water and rescuing the Canadians as they evacuated the landing beaches as the raid had failed to achieve its objectives.
For his role in the rescue Nalecz-Tyminski was awarded Britain’s Distinguished Service Cross.
March 19, 2014. Boston, MA.
Kick Butts Day 2014. Representatives from the Department of Public Health (DPH) today joined more than 250 young people from across the Commonwealth at the State House for the national observance of Kick Butts Day, recognizing the contributions of teenagers in smoking cessation and prevention efforts.
The young people participating in today’s event are part of DPH’s youth movement, The 84, which represents the 84 percent of young people in Massachusetts who don’t smoke.
High school students involved in The 84 have been educating their communities and their local lawmakers about issues relating to tobacco and, working with local health boards and other programs; have promoted effective tobacco prevention strategies in their communities. Members of The 84 Movement have been vital in fighting the way tobacco industry markets its products to youth.
© 2014 Marilyn Humphries
Monk Bar
Four storeyed town gate with circular bartizans at the north and east angles, and dates from the early 14th century, the uppermost storey being added in the late 15th century. It was built to a sophisticated design with each floor defensible. From 1577 it was used as a prison. The barbican was removed in 1815-25. It retains a portcullis which is in working order. No trace has been found of the earlier medieval gate, which was probably situated on the site of the Roman porta decumana, somewhere in the region of the demolished Tower 29 to the north west. Therefore all references prior to the early 14th century relate to this previous gate.
Monk Bar consists of a four-storey gatehouse with circular bartizans at the N. and E. angles and a low-pitched leaded roof. The passageway and two lower storeys above have ribbed vaults. A lofty arch on the outer face between the bartizans supports a narrow crenellated gallery at third-floor level. The Bar, which lies 100 yds. S.E. of the porta decumana of the legionary fortress, is built almost entirely of magnesian limestone and dates from the early 14th century; the uppermost storey was added in the late 15th century and windows were renewed in the 16th century. The gatehouse was built to a sophisticated design, making it a self-contained fortress with each floor defensible, even when the others had been captured. Variations in stone sizes and irregular coursing indicate several stages during the construction, with the front wall apparently preceding the vaulting. There is no trace of an earlier gate on this site.
The earlier medieval gate probably lay on the site of the Roman porta decumana, where signs of extensive rebuilding and of a former tower may be seen. This position for the gate is indicated both by the alignment of the S. Part of Goodramgate and by the name of the destroyed church of St. John del Pyke (of the gate). Tolls collected in 1280 at Monk Gate must refer to this earlier gate. The name derives from the street of Monkgate, mentioned as early as c. 1075. The monks were the community of the pre-Conquest minster, a designation which would have been obsolete in the 12th century. The original Monkgate was a street on the Roman line running from Monk Bridge to the porta decumana and so called because it led directly to the Minster precincts. It is suggested that when the stone defences were built the old gate was replaced by one on the present site and the street name was also transferred. The question has recently been discussed by Mr. H. G. Ramm. The present form of the name first occurs in 1370. In 1435/6 the house above the Bar was rented for 4s. A year to Thomas Pak, the master mason of the Minster, in 1440/1 to William Croft, gentleman, in c. 1450 to John, Lord Scrope, and in 1476, when described as the stone tower situated above the Monk Bar, to Miles Metcalf, Recorder from 1477 to 1486, for 5s. Hand-guns were delivered to William Wode, officer of the ward, presumably for this bar, in 1511. In 1541 the Bar was cleaned in preparation for Henry VIII's visit. In 1563 it was used as a temporary prison, and in 1577 this use became permanent. In 1583 the rooms there were inspected to see if they were suitable for imprisoning recusants. They were presumably found so, because in 1594 'Alice Bowman was sent to a place called Little Ease, which is in Monk Bar'. A recalcitrant apprentice was also confined in Little Ease in 1598. This prison was probably one of the tiny rooms in the bartizans.
Although it was used for a sally during the siege of 1644, the Bar escaped damage since this side of the city was not closely invested. The gates were renewed in 1671 and 1707. In 1815 part of the barbican was removed, and in 1825, when a foot-way was made to the S.E., the watch house and the rest of the barbican were demolished. The gates were removed and together with the old hay weighing machine from Mint Yard sold for £18. They appear to have resembled those of Walmgate Bar, with heavy moulded muntins, curved in the upper part. In 1845 another side passage was made through the city wall to the N.W. And the Bar was restored at a cost of £429 for use as a house for a police inspector. The existing large arch to the S.E. Was made in 1861. In 1913–14 further restoration took place and use as a house was discontinued. The portcullis was put in working order and periodically lowered for public inspection. There was more extensive restoration in 1952–3 at a cost of £6,000 and in 1966 voussoirs of the inner arch and of the vaults to the passage were replaced after damage by a vehicle. The upper floors are now used by the Scouts.
Architectural Description. The N.E. Front to Monkgate has a round-headed archway of two orders opening to the passage; some of the smaller voussoirs are of gritstone. Behind a portcullis slot is an inner arch of the same size but of a single order and with larger voussoirs. The archway is flanked by projecting buttresses with moulded and weathered plinths. On the N.E. Buttress is a rectangular stone plaque carved in relief and painted with the words MONK BAR RENOVATED 1953 and with a shield of arms of the City of York below a cap of maintenance and upon a sword and mace in saltire. At first-floor level both buttresses are pierced by shoulder-headed doorways, formerly leading to the wall walk of the barbican. Over the passage archway are two cruciform arrow slits terminating in round oillets, and there is a second pair set closer together at second-floor level. Above again and 3¼ ft. In front of the main wall is a pointed arch of two chamfered orders supporting a gallery. A coffered effect on the underside of the gallery may be due to a series of 'murder-holes', now paved over. Below a string course at the floor level of the gallery and in the spandrels of the supporting arch are two shields of arms of the City of York under low canopies with crocketted pinnacles. Above the crown of the arch, on the central merlon of the parapet of the gallery, are the royal arms of England as used after c. 1405, but formerly with Old France in the first and fourth quarters. (fn. 95) The shield is depicted as hanging by a guige below a crowned helm bearing the crest of a crowned demi-lion rampant, the whole under a canopy. The flanking merlons have blocks projecting from their coping, apparently as bases for pinnacles or small statues. The face of the Bar behind the gallery is pierced by two square gunports, each with an equal-armed cruciform sighting slit above. A deep weathered band separates these from a plain parapet.
The bartizans spring, as at Micklegate Bar, from three rounded corbel courses broken at the outer angles by the corners of the buttresses below. At third-floor and roof levels they are surrounded by steeply weathered string courses and have two cruciform arrow slits at each level. On each bartizan three of the merlons support a demi-figure of a wild man holding a boulder as if to hurl it. These are perhaps 17th-century, replacing earlier figures.
The façade to Goodramgate is ancient; it is the only rear façade of any of the major Bars to have been built originally wholly in masonry. The archway to the passage, round-headed, and of three orders on the face, is inset some 7 ft. And flanked by projecting blocks of masonry. Spanning between the blocks is a segmental arch above which a platform projects, supported on seven corbels of various forms. There is another segmental arch above the platform which is filled by a wall set back to give the platform a width of 2½ ft.; the wall is pierced by a central three-light window with mullions and high-set transom of c. 1580 which is flanked by a doorway 4 ft. High and a small rectangular window. A corbel-course marks the level of the second floor. Above this a central three-light window with trefoil heads to the lights is flanked by two empty niches; the cusped head of the right niche has been restored. The third floor is lit by two windows, each of two shoulder-headed lights, flanking a shallow trefoil-headed niche. The narrow pointedarched doorway gives access to the stairway in the thickness of the N.W. Wall.
The side elevations have been much altered by the removal of the rampart for foot passages and on the S.E. By the demolition of the watch house. Variations in sizes and coursing of the masonry indicate numerous repairs. On the S.E. Side prominent features are the projecting garderobe, resting originally on two chamfered corbels, and a row of small square patches of stone at the third-floor level inserted in recent years after the removal of the 19th-century iron tiebars.Inside, the through passage between the main archways is covered with an octopartite ribbed vault springing from brackets. In the S.E. Wall of the passage a pointed-arched doorway, now blocked, led to the demolished watch house. There are masons' marks on this wall and on the N.W. Wall. The rear main archway retains the hooks for the wooden gates on the city side. The through passage continuing beyond the rear archway but within the Bar has a segmental vault supported by three ribs. The staircase passage in the thickness of the N.W. Wall, with a stone roof on a corbel course stepped parallel to the steps, is lit by two slits. At the head of the stairs is a square lobby with archways in all four directions; each archway could be closed by a door.
The first-floor room is lit only by the two arrow slits in the front wall and by two windows in the rear wall. It has two bays of octopartite ribbed vaulting, allowance being made for the portcullis to rise behind an arch set inwards from the front wall. When raised, the portcullis partly blocks the arrow slits. There is a wide fireplace in the N.W. Wall below a straight lintel, which has cracked and is supported by a later pier. The floor is stone-flagged. In the S.E. Wall a pointedarched doorway leads to a short passage to the barbican and to a straight staircase ascending in the thickness of the wall to the second floor. A garderobe recess opening off the passage retains its stone seat. The staircase is lit by two slits and roofed with stepped slabs.
The second-floor room also has a ribbed vault in two bays, a stone-flagged floor and a fireplace in the N.W. Wall. In addition to the arrow slits in the front wall and the three-light window in the rear wall, there is a rectangular window in the S.E. Side wall. A pointedarched doorway, at one time blocked, leads by three steps down to the wall walk on the S.E., and two other doorways, one shoulder-headed, lead to the bartizans. In front of the arrow slits is the wooden windlass with bars and sockets for raising and lowering the portcullis and, at one end, an iron ratchet and pawl to prevent slipping. There was a similar ratchet and pawl at the other end in 1834. The windlass itself is a beam 8 ins. In diameter, cut to an octagonal shape and mounted 3½ ft. Above the floor. The supports now rest on a board set in the floor, but holes in the wall 9 ins. Square may have held beams to support the weight. The portcullis is still in working order and after restoration in 1914 was lowered on Sundays and Bank Holidays. A pointed-arched doorway in the N.W. Wall leads to an ascending staircase. Initials and the date 1617 are incised on the S.E. Wall.The E. Bartizan room has a domed vault with two intersecting ribs springing from a corbel course. A cross is deeply cut in the wall near the floor just inside the door, perhaps by a recusant prisoner if this cramped room may be identified as 'Little Ease'. The other bartizan has a modern timber ceiling resting on a corbel course; in the W. Angle is a small garderobe, again retaining its stone seat and also a ledge behind it. The floor level in the main room has probably been altered in relation to those of these turret rooms.
The third-floor room is lit by the gunports and their sighting slits in the front wall and by two-light shoulderheaded windows in the other walls. Shoulder-headed doorways in the front wall lead to the bartizans, of which the E. Is occupied by a stone spiral staircase, probably a later insertion, ascending to the roof. From the bartizans similar doorways lead to the outer gallery. The 16th-century timber roof is supported on two main trusses, but corbels built into the walls suggest a different earlier arrangement. On and near a corbel in the N.W. Wall are several 17th-century graffiti.The roof is of low pitch and leaded. The doorways to it from the bartizans have flat lintels. The plain parapet rises in two steps to shelter these doorways, and the chimney stops at the parapet level.
The barbican, demolished in 1825, projected 44 ft. In front of the Bar, and was 27 ft. Wide and 17 ft. High with walls 5 ft. To 6 ft. Thick. The round-headed archway of two orders resembled that of the outer archway of the Bar and was set in a plain wall below a low parapet with moulded cornice. By 1807 this had no merlons and the bartizans may have been lowered; the latter, set at the outer angles, were polygonal, supported on three corbel courses. Four slits in the parapet over the arch and two in the front walls of the bartizans appear to have been too low down for use as loopholes. There was a rear arch internally and in the centre of the N.W. Wall was a narrow doorway which could be used as a sally-port. Views of c. 1820 show wooden gates in the outer archway. In demolishing part of the barbican a reused 13th-century coffin lid of Milicia, wife of Jeremy de Lue, was discovered. The watch house adjoining the Bar on the S.E. Was a single-storeyed rectangular building, measuring 10 ft. By 15 ft., presumably added because the gatehouse was used as a dwelling or later as a prison.From Monk Bar to Layerthorpe Postern the city wall is known to have been repaired in 1579, and 1666. It was thoroughly restored in 1871 and 1877–8, when a wall walk was added where missing. The line of the mediaeval wall near Monk Bar is slightly sinuous with numerous buttresses, indicating instability; part collapsed in 1957. When in 1858 the Board of Health Committee in order to make a new road proposed removing 158 ft. Of the wall and rampart adjoining the Bar, the wall was described as ruinous. The outer face is in places battered for the whole height and there are signs that at least one length has been taken down and rebuilt. An irregularity E. Of the Bar may mark the site of a small tower. Internally the inner face of the Roman fortress wall within and below the mediaeval wall was cleared and exposed in 1875 and 1928, the rampart having already been removed. Some of the internal arches supporting the wall walk here already existed in 1827 when George Nicholson sketched them.
The parapet adjoining Monk Bar is pierced by a series of thirteen musket loops, most of which are modern rebuilds. At a point 32 ft. N.W. Of Tower 31 is an unusual feature comprising, externally, a solid buttress 7½ ft. Wide and projecting 3¼–4¼ ft., but internally two arched recesses, apparently garderobes, opening off the wall walk. The latter are 2¼ ft. And 2½ ft. Wide, 4¼ ft. High, and 1¾ ft. Deep; the N.W. One has a round hole in the floor and is railed off.
[York Historic Environment Record]
Walking the York City Walls
The city or ‘bar’ walls of York are the most complete example of medieval city walls still standing in England today. Beneath the medieval stonework lie the remains of earlier walls dating as far back as the Roman period.
The Roman walls survived into the 9th century when, in AD 866, York was invaded by the Danish Vikings. The Vikings buried the existing Roman wall under an earth bank and topped with a palisade – a tall fence of pointed wooden stakes.
The wooden palisade was replaced in the 13th and 14th centuries with the stone wall we see today.
The medieval city walls originally included 4 main gates or ‘bars’ (Bootham Bar, Monk Bar, Walmgate Bar and Micklegate Bar), 6 postern or secondary gates and 44 intermediate towers. The defensive perimeter stretched over 2 miles encompassing the medieval city and castle.
By the late 18th century, however, the walls were no longer required as defences for the city and had fallen into disrepair. In 1800, the Corporation of York applied for an Act of Parliament to demolish them. In addition to the poor condition of the walls at the time, the narrow gateways of the bars were inconvenient and the walls themselves hindered the city’s expansion.
Many other cities, including London, were removing their outdated, medieval city walls at this time. In York, however, the city officials met with fierce and influential opposition and by the mid-nineteenth century the Corporation had been forced to back down.
Unfortunately, the call for preservation came too late for some parts of the walls – the barbicans at all but one of the gateways (Walmgate Bar) had been torn down along with 3 postern gates, 5 towers and 300 yards of the wall itself.
Since the mid-nineteenth century the walls have been restored and maintained for public access, including the planting of spring flowers on the old Viking embankment. Today the walls are a Scheduled Ancient Monument and a Grade 1 listed building.
[History of York]
Taken in York
Image from 'Papers relating to the Island of Nantucket, with documents relating to the original settlement of that island, Martha's Vineyard, and other islands adjacent, known as Dukes County, while under the Colony of New York. Compiled from official records, etc. F.P', 001742300
Author: HOUGH, Franklin Benjamin.
Page: 15
Year: 1856
Place: Albany
Publisher:
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.
Postcard
The Fay Thomas Collection includes family archives relating to the Thomas family. Moses Thomas (1825-1878) was a significant figure in the history of the area now known as the City of Whittlesea, Victoria, Australia. Thomas and Ann and their family lived at "Mayfield", Mernda, Victoria.
Miss Lily Thomas (1871-1946), Thomas and Ann’s fourth daughter lived there all her life. She collected postcards which her family and friends sent her on a very regular basis. It was an easy and enjoyable way to keep in touch. Production of postcards blossomed in the late 19th and early 20th centuries. Lily’s collection encompasses the so-called Golden Age (1890-1915) with many postmarked 1906-1907. Some were sent to other members of the family.
The collection document the natural landscape as well as the built environment—buildings, gardens, parks, and tourist sites. Topographical Postcards showing street scenes and general views from Australian and international locations, some of which are artistic views. Popular postcard manufacturers such as Tuck’s Postcards are included in the collection.
Decorative cards, many embellished with floral motives (as a nod to the receiver Lily?) and embossing. Greeting cards are common for Christmas, New Year, Easter and of course birthdays.
Regular senders can be identified from Kyneton and the Great Ocean Road area, Victoria and there is a siginifant collection from Scotland (but not sent from there).
YPRL hold digital copies of the Papers of the Moses Thomas Family held at State Library Victoria
Copyright for these images is Public domain but a credit to the Fay Thomas Collection and YPRL would be appreciated.
Enquiries: Yarra Plenty Regional Library
Ministro de Justicia y Derechos Humanos, Luis Cordero se reúne con el Relator Especial de Medio Ambiente ONU
Fotos: Francisco León Puga
Monk Bar
Four storeyed town gate with circular bartizans at the north and east angles, and dates from the early 14th century, the uppermost storey being added in the late 15th century. It was built to a sophisticated design with each floor defensible. From 1577 it was used as a prison. The barbican was removed in 1815-25. It retains a portcullis which is in working order. No trace has been found of the earlier medieval gate, which was probably situated on the site of the Roman porta decumana, somewhere in the region of the demolished Tower 29 to the north west. Therefore all references prior to the early 14th century relate to this previous gate.
Monk Bar consists of a four-storey gatehouse with circular bartizans at the N. and E. angles and a low-pitched leaded roof. The passageway and two lower storeys above have ribbed vaults. A lofty arch on the outer face between the bartizans supports a narrow crenellated gallery at third-floor level. The Bar, which lies 100 yds. S.E. of the porta decumana of the legionary fortress, is built almost entirely of magnesian limestone and dates from the early 14th century; the uppermost storey was added in the late 15th century and windows were renewed in the 16th century. The gatehouse was built to a sophisticated design, making it a self-contained fortress with each floor defensible, even when the others had been captured. Variations in stone sizes and irregular coursing indicate several stages during the construction, with the front wall apparently preceding the vaulting. There is no trace of an earlier gate on this site.
The earlier medieval gate probably lay on the site of the Roman porta decumana, where signs of extensive rebuilding and of a former tower may be seen. This position for the gate is indicated both by the alignment of the S. Part of Goodramgate and by the name of the destroyed church of St. John del Pyke (of the gate). Tolls collected in 1280 at Monk Gate must refer to this earlier gate. The name derives from the street of Monkgate, mentioned as early as c. 1075. The monks were the community of the pre-Conquest minster, a designation which would have been obsolete in the 12th century. The original Monkgate was a street on the Roman line running from Monk Bridge to the porta decumana and so called because it led directly to the Minster precincts. It is suggested that when the stone defences were built the old gate was replaced by one on the present site and the street name was also transferred. The question has recently been discussed by Mr. H. G. Ramm. The present form of the name first occurs in 1370. In 1435/6 the house above the Bar was rented for 4s. A year to Thomas Pak, the master mason of the Minster, in 1440/1 to William Croft, gentleman, in c. 1450 to John, Lord Scrope, and in 1476, when described as the stone tower situated above the Monk Bar, to Miles Metcalf, Recorder from 1477 to 1486, for 5s. Hand-guns were delivered to William Wode, officer of the ward, presumably for this bar, in 1511. In 1541 the Bar was cleaned in preparation for Henry VIII's visit. In 1563 it was used as a temporary prison, and in 1577 this use became permanent. In 1583 the rooms there were inspected to see if they were suitable for imprisoning recusants. They were presumably found so, because in 1594 'Alice Bowman was sent to a place called Little Ease, which is in Monk Bar'. A recalcitrant apprentice was also confined in Little Ease in 1598. This prison was probably one of the tiny rooms in the bartizans.
Although it was used for a sally during the siege of 1644, the Bar escaped damage since this side of the city was not closely invested. The gates were renewed in 1671 and 1707. In 1815 part of the barbican was removed, and in 1825, when a foot-way was made to the S.E., the watch house and the rest of the barbican were demolished. The gates were removed and together with the old hay weighing machine from Mint Yard sold for £18. They appear to have resembled those of Walmgate Bar, with heavy moulded muntins, curved in the upper part. In 1845 another side passage was made through the city wall to the N.W. And the Bar was restored at a cost of £429 for use as a house for a police inspector. The existing large arch to the S.E. Was made in 1861. In 1913–14 further restoration took place and use as a house was discontinued. The portcullis was put in working order and periodically lowered for public inspection. There was more extensive restoration in 1952–3 at a cost of £6,000 and in 1966 voussoirs of the inner arch and of the vaults to the passage were replaced after damage by a vehicle. The upper floors are now used by the Scouts.
Architectural Description. The N.E. Front to Monkgate has a round-headed archway of two orders opening to the passage; some of the smaller voussoirs are of gritstone. Behind a portcullis slot is an inner arch of the same size but of a single order and with larger voussoirs. The archway is flanked by projecting buttresses with moulded and weathered plinths. On the N.E. Buttress is a rectangular stone plaque carved in relief and painted with the words MONK BAR RENOVATED 1953 and with a shield of arms of the City of York below a cap of maintenance and upon a sword and mace in saltire. At first-floor level both buttresses are pierced by shoulder-headed doorways, formerly leading to the wall walk of the barbican. Over the passage archway are two cruciform arrow slits terminating in round oillets, and there is a second pair set closer together at second-floor level. Above again and 3¼ ft. In front of the main wall is a pointed arch of two chamfered orders supporting a gallery. A coffered effect on the underside of the gallery may be due to a series of 'murder-holes', now paved over. Below a string course at the floor level of the gallery and in the spandrels of the supporting arch are two shields of arms of the City of York under low canopies with crocketted pinnacles. Above the crown of the arch, on the central merlon of the parapet of the gallery, are the royal arms of England as used after c. 1405, but formerly with Old France in the first and fourth quarters. (fn. 95) The shield is depicted as hanging by a guige below a crowned helm bearing the crest of a crowned demi-lion rampant, the whole under a canopy. The flanking merlons have blocks projecting from their coping, apparently as bases for pinnacles or small statues. The face of the Bar behind the gallery is pierced by two square gunports, each with an equal-armed cruciform sighting slit above. A deep weathered band separates these from a plain parapet.
The bartizans spring, as at Micklegate Bar, from three rounded corbel courses broken at the outer angles by the corners of the buttresses below. At third-floor and roof levels they are surrounded by steeply weathered string courses and have two cruciform arrow slits at each level. On each bartizan three of the merlons support a demi-figure of a wild man holding a boulder as if to hurl it. These are perhaps 17th-century, replacing earlier figures.
The façade to Goodramgate is ancient; it is the only rear façade of any of the major Bars to have been built originally wholly in masonry. The archway to the passage, round-headed, and of three orders on the face, is inset some 7 ft. And flanked by projecting blocks of masonry. Spanning between the blocks is a segmental arch above which a platform projects, supported on seven corbels of various forms. There is another segmental arch above the platform which is filled by a wall set back to give the platform a width of 2½ ft.; the wall is pierced by a central three-light window with mullions and high-set transom of c. 1580 which is flanked by a doorway 4 ft. High and a small rectangular window. A corbel-course marks the level of the second floor. Above this a central three-light window with trefoil heads to the lights is flanked by two empty niches; the cusped head of the right niche has been restored. The third floor is lit by two windows, each of two shoulder-headed lights, flanking a shallow trefoil-headed niche. The narrow pointedarched doorway gives access to the stairway in the thickness of the N.W. Wall.
The side elevations have been much altered by the removal of the rampart for foot passages and on the S.E. By the demolition of the watch house. Variations in sizes and coursing of the masonry indicate numerous repairs. On the S.E. Side prominent features are the projecting garderobe, resting originally on two chamfered corbels, and a row of small square patches of stone at the third-floor level inserted in recent years after the removal of the 19th-century iron tiebars.Inside, the through passage between the main archways is covered with an octopartite ribbed vault springing from brackets. In the S.E. Wall of the passage a pointed-arched doorway, now blocked, led to the demolished watch house. There are masons' marks on this wall and on the N.W. Wall. The rear main archway retains the hooks for the wooden gates on the city side. The through passage continuing beyond the rear archway but within the Bar has a segmental vault supported by three ribs. The staircase passage in the thickness of the N.W. Wall, with a stone roof on a corbel course stepped parallel to the steps, is lit by two slits. At the head of the stairs is a square lobby with archways in all four directions; each archway could be closed by a door.
The first-floor room is lit only by the two arrow slits in the front wall and by two windows in the rear wall. It has two bays of octopartite ribbed vaulting, allowance being made for the portcullis to rise behind an arch set inwards from the front wall. When raised, the portcullis partly blocks the arrow slits. There is a wide fireplace in the N.W. Wall below a straight lintel, which has cracked and is supported by a later pier. The floor is stone-flagged. In the S.E. Wall a pointedarched doorway leads to a short passage to the barbican and to a straight staircase ascending in the thickness of the wall to the second floor. A garderobe recess opening off the passage retains its stone seat. The staircase is lit by two slits and roofed with stepped slabs.
The second-floor room also has a ribbed vault in two bays, a stone-flagged floor and a fireplace in the N.W. Wall. In addition to the arrow slits in the front wall and the three-light window in the rear wall, there is a rectangular window in the S.E. Side wall. A pointedarched doorway, at one time blocked, leads by three steps down to the wall walk on the S.E., and two other doorways, one shoulder-headed, lead to the bartizans. In front of the arrow slits is the wooden windlass with bars and sockets for raising and lowering the portcullis and, at one end, an iron ratchet and pawl to prevent slipping. There was a similar ratchet and pawl at the other end in 1834. The windlass itself is a beam 8 ins. In diameter, cut to an octagonal shape and mounted 3½ ft. Above the floor. The supports now rest on a board set in the floor, but holes in the wall 9 ins. Square may have held beams to support the weight. The portcullis is still in working order and after restoration in 1914 was lowered on Sundays and Bank Holidays. A pointed-arched doorway in the N.W. Wall leads to an ascending staircase. Initials and the date 1617 are incised on the S.E. Wall.The E. Bartizan room has a domed vault with two intersecting ribs springing from a corbel course. A cross is deeply cut in the wall near the floor just inside the door, perhaps by a recusant prisoner if this cramped room may be identified as 'Little Ease'. The other bartizan has a modern timber ceiling resting on a corbel course; in the W. Angle is a small garderobe, again retaining its stone seat and also a ledge behind it. The floor level in the main room has probably been altered in relation to those of these turret rooms.
The third-floor room is lit by the gunports and their sighting slits in the front wall and by two-light shoulderheaded windows in the other walls. Shoulder-headed doorways in the front wall lead to the bartizans, of which the E. Is occupied by a stone spiral staircase, probably a later insertion, ascending to the roof. From the bartizans similar doorways lead to the outer gallery. The 16th-century timber roof is supported on two main trusses, but corbels built into the walls suggest a different earlier arrangement. On and near a corbel in the N.W. Wall are several 17th-century graffiti.The roof is of low pitch and leaded. The doorways to it from the bartizans have flat lintels. The plain parapet rises in two steps to shelter these doorways, and the chimney stops at the parapet level.
The barbican, demolished in 1825, projected 44 ft. In front of the Bar, and was 27 ft. Wide and 17 ft. High with walls 5 ft. To 6 ft. Thick. The round-headed archway of two orders resembled that of the outer archway of the Bar and was set in a plain wall below a low parapet with moulded cornice. By 1807 this had no merlons and the bartizans may have been lowered; the latter, set at the outer angles, were polygonal, supported on three corbel courses. Four slits in the parapet over the arch and two in the front walls of the bartizans appear to have been too low down for use as loopholes. There was a rear arch internally and in the centre of the N.W. Wall was a narrow doorway which could be used as a sally-port. Views of c. 1820 show wooden gates in the outer archway. In demolishing part of the barbican a reused 13th-century coffin lid of Milicia, wife of Jeremy de Lue, was discovered. The watch house adjoining the Bar on the S.E. Was a single-storeyed rectangular building, measuring 10 ft. By 15 ft., presumably added because the gatehouse was used as a dwelling or later as a prison.From Monk Bar to Layerthorpe Postern the city wall is known to have been repaired in 1579, and 1666. It was thoroughly restored in 1871 and 1877–8, when a wall walk was added where missing. The line of the mediaeval wall near Monk Bar is slightly sinuous with numerous buttresses, indicating instability; part collapsed in 1957. When in 1858 the Board of Health Committee in order to make a new road proposed removing 158 ft. Of the wall and rampart adjoining the Bar, the wall was described as ruinous. The outer face is in places battered for the whole height and there are signs that at least one length has been taken down and rebuilt. An irregularity E. Of the Bar may mark the site of a small tower. Internally the inner face of the Roman fortress wall within and below the mediaeval wall was cleared and exposed in 1875 and 1928, the rampart having already been removed. Some of the internal arches supporting the wall walk here already existed in 1827 when George Nicholson sketched them.
The parapet adjoining Monk Bar is pierced by a series of thirteen musket loops, most of which are modern rebuilds. At a point 32 ft. N.W. Of Tower 31 is an unusual feature comprising, externally, a solid buttress 7½ ft. Wide and projecting 3¼–4¼ ft., but internally two arched recesses, apparently garderobes, opening off the wall walk. The latter are 2¼ ft. And 2½ ft. Wide, 4¼ ft. High, and 1¾ ft. Deep; the N.W. One has a round hole in the floor and is railed off.
[York Historic Environment Record]
Walking the York City Walls
The city or ‘bar’ walls of York are the most complete example of medieval city walls still standing in England today. Beneath the medieval stonework lie the remains of earlier walls dating as far back as the Roman period.
The Roman walls survived into the 9th century when, in AD 866, York was invaded by the Danish Vikings. The Vikings buried the existing Roman wall under an earth bank and topped with a palisade – a tall fence of pointed wooden stakes.
The wooden palisade was replaced in the 13th and 14th centuries with the stone wall we see today.
The medieval city walls originally included 4 main gates or ‘bars’ (Bootham Bar, Monk Bar, Walmgate Bar and Micklegate Bar), 6 postern or secondary gates and 44 intermediate towers. The defensive perimeter stretched over 2 miles encompassing the medieval city and castle.
By the late 18th century, however, the walls were no longer required as defences for the city and had fallen into disrepair. In 1800, the Corporation of York applied for an Act of Parliament to demolish them. In addition to the poor condition of the walls at the time, the narrow gateways of the bars were inconvenient and the walls themselves hindered the city’s expansion.
Many other cities, including London, were removing their outdated, medieval city walls at this time. In York, however, the city officials met with fierce and influential opposition and by the mid-nineteenth century the Corporation had been forced to back down.
Unfortunately, the call for preservation came too late for some parts of the walls – the barbicans at all but one of the gateways (Walmgate Bar) had been torn down along with 3 postern gates, 5 towers and 300 yards of the wall itself.
Since the mid-nineteenth century the walls have been restored and maintained for public access, including the planting of spring flowers on the old Viking embankment. Today the walls are a Scheduled Ancient Monument and a Grade 1 listed building.
[History of York]
Taken in York
Image from 'Rambles in Europe ... With historical facts relating to Scotch-American families, gathered in Scotland and the North of Ireland ... Illustrated', 002557311
Author: MORRISON, Leonard Allison.
Page: 279
Year: 1888
Place: Boston, Mass
Publisher: Cupples, Upham & Co.
Following the link above will take you to the British Library's integrated catalogue. You will be able to download a PDF of the book this image is taken from, as well as view the pages up close with the 'itemViewer'. Click on the 'related items' to search for the electronic version of this work.
Open the page in the British Library's itemViewer (page: 000279)
Located on the corner of Lake Street and officially at 93–105 Lake Street, this building was constructed between 1907 and 1941 it now houses the excellent Cairns Historical Museum which has a good display of history relating to Cairns and the region. Its documentation of the town's history, from Cook's arrival through its maritime history and the arrival of the railway, is complemented by important displays of Aboriginal artefacts and the Great Barrier Reef. The building itself with its wide verandas is an excellent example of the kind of architecture which ensured Cairns' reputation for elegance before World War I.
**This two-storeyed concrete building was erected in 1907 as new premises for the Cairns School of Arts, replacing an earlier adjacent building in Shields Street.
Schools of Arts were synonymous with Mechanics' Institutes, established in Britain early in the 19th century, and transplanted throughout the British Empire during the colonial era. The movement was instituted by George Birkbeck, who started giving free lectures in Edinburgh, Scotland, around 1799 and later formed the first Mechanics' Institute in London in 1823. The purpose of forming such an institute was to improve the education of working men, and to instruct them in various trades. By the late 19th century, Mechanics' Institutes had become popular agencies of adult education in general.
Mechanics' Institutes were part of a wider 19th century movement promoting popular education in Britain, at which time co-operative societies, working men's colleges and the university extension movement were established. The call for popular education in turn can be contextualised within the broader liberal, laissez-faire, non-interventionist philosophy which dominated British social, economic and political ideologies in the 19th century. In this environment, Mechanics' Institutes flourished as a means by which working men might improve their lot, either through self-education (the provision of reading rooms was an important facility provided by the Institutes), or by participating in instructional classes organised and funded by Institute members.
In some of the Australian colonies, Mechanics' Institutes were called Schools of Arts, and they were more likely to be run by the middle-classes. The provision of reading rooms, museums, lectures and classes were still important, but the Australian schools were also more likely to include a social programme in their calendar of events.
A School of Arts was established in Cairns in October 1885, by which time funds already were being raised for the erection of suitable meeting premises. The School's first building, a single-storeyed timber structure, was erected in 1886 in Shields Street to the west of the present building. Prior to its opening in May that year, the School of Arts Committee had established a reading room in rented premises.
During the second half of the 1880s the Cairns School of Arts flourished and a museum was established. The economic depression of the early 1890s, however, forced the School to close temporarily at the end of 1895, re-opening in 1897. In the early 1900s, Cairns Technical College classes were commenced at the School of Arts; these were taken over by the Department of Public Instruction in 1911.
By the early 1900s the School was in need of larger premises. On 8 December 1906, the Cairns School of Arts Bill was passed through the Queensland Parliament, empowering the Trustees to mortgage the School of Arts Reserve at Cairns to the value of £2500, for the purpose of erected a new building. A design competition was conducted for a new building, two-storeyed with upstairs accommodation for the School of Arts and the ground floor to be revenue-producing, the cost of which was not to exceed £2000. A design submitted by Arthur Beckford Polin was accepted, but rejected when tenders far exceeded the amount specified. The School of Arts Committee then commissioned Melbourne and North Queensland architects Tunbridge, Tunbridge and Lynch, who were Townsville-based but had a branch office in Cairns by 1907, to design a building to cost no more than the approved figure. Their work in Cairns around this time included the Harbour Board Offices (1907), the Central Hotel (1908), and the rebuilding of the Court House Hotel (1908). Hanson & Sons won the subsequent School of Arts contract with a price of £2170, and the new building was opened officially on 5 December 1907.
The building incorporated an early used of reinforced concrete in Queensland, although not employed through the whole of the structure. The concrete walls of the ground floor were reinforced with 0.5-inch (13 mm) round steel rods, fused where they intersected at 12-inch (300 mm) intervals. The floors at ground level were poured without reinforcement, and for the upper level walls, concrete was poured between timber formwork, without reinforcement.
The building has been subject to a number of alterations and extensions since 1907. A verandah and bathroom had been constructed upstairs at the rear by 1925, and in 1929 the Shields Street verandah was enclosed with windows. The enclosing of part of the Lake Street verandah probably dates to this period as well.
The first major extension was carried out in 1932. As early as 1925, the Committee was considering an extension of the building to accommodate more revenue-producing shops and offices. Plans were drawn by Committee member and architect SS Oxenham, but Cairns already had a glut of vacant shops for rent, and the concept was postponed until 1932, when the Committee commissioned Cairns architects Richard Hill & Arthur John Henry Taylor to prepare fresh plans, and the verandahed facade was extended along Lake Street at a cost of £2500. The extension provided more shop space at ground level and increased library accommodation upstairs. At this time, a decorative parapet was superimposed on the 1907 building to match that of the 1932 building.
A second major extension to the building was carried out in 1939-40. Architects Hill & Taylor were again commissioned to extend the building along Lake Street to the boundary of the property. This time, the architects felt that an extension of the verandah was unnecessary and suggested that a cantilever awning would be suitable and that the elevation be treated as a separate unit. Cairns builder Albert Andrew Ferrari constructed the Art Deco styled extensions at a cost of approximately £4,000. At the same time a terrazzo slab bearing the name School of Arts was placed in the concrete of the footpath at the corner of Lake and Shields Streets.
Hill & Taylor designed new male and female bathrooms in 1941 in what is believed to have been an enclosed first floor verandah. The original bathroom, beside the meeting room, was probably converted to a kitchen at that time.
The ground floor of the Shields Street facade was extended c. 1956, to connect the School of Arts to the Penny Savings Bank. Both the bank and the 1950s extensions have been demolished.
For seventy years, the first floor of the School of Arts building housed the only public library in Cairns, a subscription library with up to 1,000 members. It was run by the School of Arts Committee, and financed from the rents obtained from the shops and offices on the ground floor. By the mid-1970s, the library was the sole function of the School of Arts, which was struggling to provide an appropriate library service to a city the size of Cairns. On 30 June 1977 the School of Arts building and its library was transferred to the Cairns City Council, which moved the library into a new structure in Lake Street in 1979.
In 1980 the Cairns Historical Society opened a museum in the vacated first floor premises, and c. 1983 the whole building was renovated. At this time the cast-iron balustrade was removed and replaced with cast aluminium, and the earlier bathrooms were removed. The ground floor retains shops and offices.
In March 2016, the building closed for an $8.69M refurbishment with the historical society and museum temporarily relocated until the refurbishment is complete (scheduled early 2017).
The former Cairns School of Arts, located on the south-western corner of Lake and Shields streets, is a two-storeyed building with verandahs to both street frontages and a corrugated iron roof concealed behind a parapet wall. The building is of concrete, with only the ground floor being reinforced.
The building was built in 3 stages, with the first being the corner section. The third stage of construction, the northern end on Lake Street, was designed as a separate unit. This is still evident in the treatment of the parapet, although the verandah was extended along this elevation in the 1983 renovation works replacing a cantilevered awning.
The verandahs have corrugated iron skillion awnings and timber posts and brackets, with a timber valance to the ground floor and cast metal balustrade to the first floor. The northern and western sections of the first floor verandah have been glazed.
The first stage has the words SCHOOL OF ARTS to both street frontages, with the date 1907 at the corner. The second stage has a raised gabled parapet which also has the building's name, but in different lettering. The third stage's original facade and lettering has been altered. A terrazzo slab with the words SCHOOL OF ARTS is laid in the footpath at the corner of the building.
Internally, the ground floor contains retail outlets and has been extensively altered with an arcade from the Lake Street frontage through to the rear of the building. The street facade has ceramic tiling, and some early shopfront elements including timber framing and leadlight panels.
The first floor contains museum and display space, with suspended ceilings and air conditioning throughout, and French doors with fanlights opening onto the verandah. It is entered from Shields Street via a stair with a turned timber balustrade, and most internal walls have been removed.
The 1983 renovation works include a concrete verandah, with steel posts and balustrade, constructed at the rear linking a 2-storeyed toilet and storage building. The rear of the site contains car parking and service areas.
**Wikipedia
#Donniedarko #donnie #darko #cant #watch #or #relate #to #this #movie #without #thinking #of @d0nnyanderson
22 Likes on Instagram
3 Comments on Instagram:
martinacorleonee: You can suck my fuck anytime lmfao sounds like a Darko valentine card
nickvernoski: @martinacorleonee exactly
d0nnyanderson: Hahaha god damn it. I knew it was coming before I even read the comments. Love you dude.
Art Toronto's Opening Night Gala, Metro Convention Centre, Toronto, October 2013 (photo by Cheryl Rondeau)
Conservation (Amazon) Help in all activities relating to reforestation, impact studies, flora inventory, transport and planting of mature sapling, follow up studies of mature sapling, value studies, fauna impact studies. Monitor flora and fauna Assist in creating an inventory of flora and fauna Photograph flora and fauna Manage the ecotourism lodge and Reserve in a sustainable manner Carry out research studies Animal Rescue Center (Amazon) We are implementing a rescue center for wild animals. We need eco-volunteers to help with activities relating to the management of this center including feeding, behavior observations, building cages, maintenance, care and health of the animals, as well as activities relating to the possible reintroduction of animals back into the wild. Social work in the local community (Amazon) Environmental education workshops for children and adults. (Spanish needed and you must plan the program). Educational activities and workshops in local School. (Spanish needed and you plan the program) www.abroaderview.org/
Relates to this blog post about sponsored tweets:
www.friendswithbenefitsbook.com/2009/11/22/sponsored-twee...
Inspired by issues relating to climate change, Water Will Be Here imagines what it might feel like if sea levels rose to the point where cities found themselves underwater.
Water Will Be Here is a site-specific digital video installation that was presented as part of Scotiabank's 2012 Nuit Blanche Festival and was installed at the CICB building in downtown Toronto.
Definition: Technical:
1. Of, relating to, or derived from technique.
2.
a. Having special skill or practical knowledge especially in a mechanical or scientific field: a technical adviser.
b. Used in or peculiar to a specific field or profession; specialized: technical terminology.
3.
a. Belonging or relating to a particular subject: technical expertise.
b. Of, relating to, or involving the practical, mechanical, or industrial arts or the applied sciences: a technical school.
4.
a. Abstract or theoretical: a technical analysis.
b. Of, relating to, or employing the methodology of science; scientific.
5. According to principle; formal rather than practical: a technical advantage.
6. Industrial and mechanical; technological.
7. Relating to or based on analysis of market indicators, such as trading volume and fluctuations in securities prices, rather than underlying economic conditions such as corporate earnings, inflation, and unemployment: a technical correction in the stock market.
Idea: This is my third Technical Tree. I based the design of this tree on the design of an eclipse viewer or an old brown box camera, but instead of using a small hole I used a tree shape. I am hoping I will be able to capture the sunrise through it tomorrow. I had hoped to capture the sunset through it this afternoon, but sadly it was so overcast that we didn't have one.
Process: I made this tree by cutting the shape of a palm tree into the bottom of the box Optus sent me my new modem in and then painting the whole thing green. This is the view from the outside.
On Mnet‘s ‘Beatles Code 3D,’ Woohyun related an interesting story about how his behavior converted an anti-fan into just a simple fan.
MC Shin Dong Yup brought this up by saying, “There’s a story going around that after a few words from Woohyun, an anti-fan...
360kpop.info/kpop-news-korean/woohyun-relates-a-story-of-...
Relator da CPI, deputado Douglas Fabrício (PPS). Fotos: Sandro Nascimento (Alep / crédito obrigatório)
Herrett_080611_0018
Religious advertisement relating to Jesus on exterior of red London bus
Copyright © Roberto Herrett. All rights reserved.
The School of Tagaste, relates to his Confessions, probably his best-known work, written between 397 and 401.
The picture shows him starting school at the elementary school of Tagaste. The teacher walking towards the young Augustine is greeting him by gently caressing his face.
Within the family group his mother, St Monica, is highlighted by means of a golden halo which obeys the laws of perspective.
In the simultaneous scene on the right the teacher is punishing a pupil while the little Augustine is attentively studying a school slate with Greek letters on it.
From the scale of the buildings and figures it can be seen how far the pictorial space extends backwards. In this way Benozzo creates a counterweight to the arrangement of the figures parallel to the picture in the foreground.
Particularly characteristic of this cycle is the city view with buildings in the style of the Early Renaissance, including depictions of some that really exist.
The inscription tells us that Augustine made considerable advances within a short space of time in the Latin school of Tagaste, and emphasizes the Latin element that dominated his education