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Xpress Platform 13 26/06/2017 14h41
One of my 5 favorite roller coasters in Walbii Holland theme park. Often done the first ride of the park for most guests as the entrance of this coaster is located directly at the entrance of the park (in the indoor 'Hollywood Hall of Fame'). Photo taken from the big wheel, La Grande Roue.
Xpress Platform 13
Xpress: Platform 13 is a steel roller coaster at Walibi Holland. It was launched as Superman The Ride in April 2000. The name was changed to Express in the season of 2005, and to Xpress: Platform 13 in 2014. It is the first LSM-coaster in Europe.
After the train has been locked and checked, it slowly advances out of the station to the launch area. The train goes through a tunnel, where the passengers wait until the countdown starts. After the countdown, the trains, which exist out of 2 across in 2 rows for a total of 24 riders per train, are accelerated from 0 - 90 km/h in 2.8 seconds. It first climbs into a Sea Serpent Roll, which is a 2 inversion element. Then the train plunges into numerous turns and helixes and the 3rd inversion, a corkscrew. The train then passes in through a mid course brake run, makes a few turns then travels into the final brake run. When the final break run is completed the car goes into the station where the unloading process begins.
The Xpress / Superman was initially to be called "Riddler's Revenge" and was painted green at the factory. Shortly before the ride was installed, it was decided that Europeans know of Batman, but not necessarily all of the related villains. So the track was repainted with red and blue supports and given a Superman theme. The station was given the theme of the Daily Planet offices.
The ride was launched in April 2000 in the theme park Six Flags Holland. Following the sale of all of Six Flags' European parks in 2004, the park was changed to Walibi World just before the beginning of the 2005 season. Any references to Looney Tunes and DC Comics characters had to be removed from the park before opening day. The name of Superman The Ride was changed to Xpress.
The Xpress has nearly the same track layout as the "Rock 'n' Roller Coaster" models at Disney Parks. The Xpress' layout is a bit more spacious to compensate for a higher speed launch due to the trains being lighter without the musical hardware.
In 2011, small cracks were found in the stators, and their metal inside started to rust. New stators were ordered, and were delivered in February 2012. Therefore, the coaster was standing but not operating for the whole 2011 season. In August 2011, Walibi Holland decided to re-paint the track, to get rid of the old Superman colors (Black track and Grey supports.). Xpress Reopened In April 2012.
In September 2013, P&P Projects began working on a renovation of the ride set to reopen in 2014.
In 2014, the ride was reopened as Xpress Platform 13 with a new theme based on a backstory about a forbidden subway station. The guests walk through this subway station as they enter the ride, which starts out as a normal subway station but gets darker and more horror-based as the guests progress towards the actual ride entrance.
FACTS & FIGURES
Opening: April 2000
Type: Steel – Launched
Manufacturer: Vekoma
Model: LSM Launch
Length: 996 m
Height: 26 m
Speed: 90.0 km/h
Inversions: 3
Duration: 100 seconds
Capacity: 1200 /hour
Acceleration: 0 - 90 km/h in 2.8 seconds
[ Source: Wikipedia - Xpress Walibi Holland ]
taken from a moving train...
The substance of mind is the substance of heaven. A joyful
thought is an auspicious star or a felicitous cloud. An angry
thought is a thunderstorm or a violent rain. A kind thought is a
gentle breeze or a sweet dew. A stern thought is a fierce sun or an
autumn frost. Which of these can be eliminated? Just let them pass
away as they arise, open and unresisting, and your mind merges with
the spacious sky.
Huanchu Daoren
Spacious Modern Dining Room featuring Isla color hardwood floor (Alive Series-Red Oak)
For more information, visit www.miragefloors.com
(for further information and pictures please go to the end of page and by clicking on the link you will get them!)
The newly constructed Theater an der Wien, 1801
On 13 June, 7 o'clock in the evening, Emanuel Schikaneder could open the Theater an der Wien as "Kaiserliches Königliches privileged Schauspielhaus" with the self-written allegorical feast prologue Thespis dream and the heroic opera by Franz Alexander Teyber. The stage house was outside ocher yellow with empire windows and inside blue and silver decorated (since the colors red and gold were the Court reserved) and "so spacious like no other in Vienna" - it took almost 2000 visitors. "Schikaneder is playing his artistical life in the suburbs of Vienna, where he has built himself a really stately home, whose equipment some drama director could visit with benefits and should..." (Johann Gottfried Seume on his "walk to Syracuse", October 1801)
1803
View Papagenotor (now Millöckergasse ) , 1801
After only two years, the funder and his theater director were divided and bankrupt. Schikaneder had the house to sell to his worst enemy, Peter Freiherr von Braun. But he kept - in the possession of the imperial privilege (as is still shown by the eagle above the Papageno Gate) - the artistic direction and he engaged Ludwig van Beethoven as musical director and composer-in-residence. On 3 April 1803 are in an "academy" the oratorio Christ on the Mount of Olives, the second Symphony, and the C minor piano concerto premiered .
1805
Beethoven's Fidelio, the Eroica and many of his orchestral works are at the Theater an der Wien, partly under Beethoven's direction or his involvement as pianist, premiered.
1810
Under the direction of the "Society of the Cavaliere" (Gesellschaft der Cavaliere) the frequently changing program, varied by musical theater, comedy, "academy" (concert) and tragedy, gets a new emphasis by the fashion of the knight pieces: So it comes on 17 March 1810 to the premiere of Heinrich von Kleist's Cathy of Heilbronn.
1812
Schikaneder dies totally impoverished and abandoned. His spirit lives on in his theater: There dominate performances with very spectacular effects, such as fairy tales and knights tournaments with sword fights and burning castles. To it belongs also Friedrich von Schiller's tragedy The Maid of Orleans with more than 400 people and 80 horses on stage. 1815-1821 the "children ballets of Count Palffy" are considered the biggest attraction, from which, among others, the later world-famous Fanny Elssler emerged.
1817
Gioacchino Rossini's operas trigger a genuine hysteria in Vienna. With the premiere of Franz Grillparzer's "the Ancestress" leaves something of Austrian classical music what has survived two centuries even at the Theater an der Wien its marks.
1818
Ferdinand Raimund acts the first time here. 1827 his magic game Moisasurs magic curse is premiered before Johann Nestroy dominats the next 20 years. Both were set on the Iron Curtain besides the Magic Flute a permanent monument.
1820
In August the Theater an der Wien for the first time is played in the lottery because the revenue is not sufficient to ensure the operation. Later on also lotteries bring the tenants money while the winners prefer get paid in cash as to take over the theater! The premiere of the opera The Magic Harp by Franz Schubert and his music to the romantic tragedy Rosamunde show that even musical theater and drama constantly mitmachten (took part) of the latest developments.
1825
Karl Carl, coming from Munich, takes over the totally indebted theater and conquers as "Staberl (de.wikipedia.org/wiki/Staberl_(Theater)" fastly the heart of the Wiener. Spectacle comedies and knight pieces attract the audience while the new director treats his actors as supernumeraries (and pays them accordingly). The theater in the Josefstadt, too, 1827 comes under his leadership, and thereby Carl gains a new main character: Wenzel Scholz, the fat comedian who is not in vain immortalized alongside Nestroy and Raimund on the Iron Curtain.
1830.
The actress Therese Krones and Johann Nestroy enter into the ensemble of the Theater an der Wien. The following years bring some successful premieres of Nestroy, where he always plays a starring role and holds his contemporaries a mirror up to their face: 1833 The Vagabond (Lumpazivagabundus), 1835 On the ground floor and first floor, 1837 The House of temperaments, 1840 The Talisman, 1841 The Mädl from the suburbs, in 1842 a joke he wants to make, 1843 Love stories and Marriage Business, 1844 (the) Torn Apart.
Imperial. Royal. Theatre an der Wien (Kaiserliches Königliches Schauspielhaus an der Wien)
Through a "hostile takeover" (a benefactor paid the burdensome debt on the house) acquires Franz Pokorny the Theater an der Wien and director Karl Carl has to clear out along with his troupe. Pokorny in future wants to play mainly operas, but he goes very soon bankrupt, despite a sensational guest performance of the " Swedish Nightingale" Jenny Lind. After the turmoil of the 1848 revolution and the death of his father Alois Pokorny also leads rather luckless the directorate. Composer-in-residence Franz von Suppe (www.wienersymphoniker.at/concert/pid/000000e9h58500016f75) composed in 1860 with The boarding school the first Viennese operetta.
1862
With the acquisition of the house by Friedrich Stampfer the triumph of the operetta begins. The diva-in-residence Josefine Gallmeyer, attractive, cheeky and frivolous, introduces in Vienna the cancan. Marie Geistinger, her strongest competitor, ensures that Offenbach's greatest Parisian successes La Belle Hélène and The Grand Duchess of Gerolstein at the Theater an der Wien continue.
In this year not only acts Alexander Girardi for the first time at the Theater an der Wien, on 5 April begins with the world premiere of Johann Strauss' Die Fledermaus the "Golden Age of the Viennese operetta". For years to come, by the operettas of Johann Strauss (The Gypsy Baron, 1885), Carl Zeller (The Bird Seller, 1891) and Carl Millöcker (The Beggar Student, 1883) the need for entertainment of the Wiener and soon the whole world with great charm and the highest musical quality (quallität) is satisfied.
1900
Interior view of cabaret 'Hell', Photo 1910
The Biedermeier Vorhaus (outer house) ("at the Laimgruben 26") is replaced by a residential building in the style of the turn of the century. In the basement the building later houses the cabaret Hell, as today's break room is still called in the house jargon. In addition to cabaret programs, chanson evenings and comedies here are also small operettas premiered so inter alia (Leo) Fall's Brüderlein fein or Lehár's spring.
1905
Playbill 'The Merry Widow' by Franz Lehár, 1906
With The Merry Widow by Franz Lehár begins a successful second, the "Silver Age of Viennese operetta". Besides Lehar are mainly Emmerich Kálmán, Edmund Eysler, Leo Fall, Bruno Granichstaedten, as remnants of an almost bygone epoch Ralph Benatzky and Paul Abraham, the protagonists of this era. The special style of the Theater an der Wien, best entertainment with artistic commitment, is practiced by the Directors Wilhelm Karczag and his son Hubert Marischka almost forty years.
1923
Franz Lehar's The Yellow Jacket is premiered here and comes in 1930 with Richard Tauber as The Land of Smiles again .
1932
A final highlight: Sissy, to the music of violinist Fritz Kreisler, and Paula Wessely in the title role, is a series of successes. Hubert Marischka's brother Ernst will still twenty years later create from the same stuff with Romy Schneider in the title role the film legend Sissi.
1936
With Zarah Leander in Ralph Benatzky's Axel at heaven's door a long era comes to an end. The film for a long time will take over many tasks of the entertainment theater. Yet before the Anschluss of Austria to the German Reich in 1938 closed and not used except by some "Strength through Joy" events, the Theater an der Wien survives the war undamaged.
1945
On 6 October, the house with Fidelio is reopened by the ensemble of the Vienna State Opera and the Vienna Philharmonic under Josef Krips. In five productions (1945 The Marriage of Figaro, Don Giovanni and 1946 The Abduction from the Seraglio, 1947 Così fan tutte, and finally in 1948 The Magic Flute) arises under very specific conditions the legendary "Vienna Mozart style".
1951
For the 150-year celebration, the Theater an der Wien with an extensive repertoire and with the greatest conductors of the time (Karl Böhm, Hans Knappertsbusch or Clemens Kraus) has got the rank of one of the most important opera houses in Europe.
The Merry Widow is (initially with Johannes Heesters) was added as a summer operetta in the programme and shown the next 13 years. The Italian star tenor Giuseppe di Stefano with great success made a guest appearance in Lehár's The Land of Smiles.
1972
With heroes, heroes (music : Udo Jürgens), the first self-created musical production is premiered. This is followed 1977 by The glass of water and 1978 The Countess of Naschmarkt.
1983
Cats openes the directorate of Peter Weck and is the first long-running series of successes on the continent. This is followed by The Phantom of the Opera and Freudiana.
1992
In September the renowned opera director Harry Kupfer stages the world premiere of the musical Elisabeth.
1999
After the renovation and technical revision starts the musical Mozart! by Michael Kunze and Sylvester Levay, again directed by Harry Kupfer.
2005
With the last performance of Elisabeth on 4 December, the musical era ends at the Theater an der Wien. Under the directorship of Roland Geyer the house from January 2006 becomes the new opera house of the city of Vienna.
Logo
The ceremonial opening of the new opera house followed on 8 January 2006 with a gala concert under the baton of Plácido Domingo. Besides compositions by Mozart, Beethoven and Chopin, the programme with music for a celebration (Musik für ein Fest) of the Austrian composer Thomas Daniel Schlee also included a world premiere. With solemn speeches by Federal President Dr. Heinz Fischer, Mayor Michael Häupl and City Councillor Dr. Andreas Mailath-Pokorny, the Theater an der Wien was opened as a new opera house of the city of Vienna.
Spacious, light living room with piano. Musselburgh, Scotland - www.opengolfaccommodation.co.uk/open-golf-venues/muirfiel...
HOYSALA ARCHITECTURE
Hoysala architecture is the building style developed under the rule of the Hoysala Empire between the 11th and 14th centuries, in the region known today as Karnataka, a state of India. Hoysala influence was at its peak in the 13th century, when it dominated the Southern Deccan Plateau region. Large and small temples built during this era remain as examples of the Hoysala architectural style, including the Chennakesava Temple at Belur, the Hoysaleswara Temple at Halebidu, and the Kesava Temple at Somanathapura. Other examples of Hoysala craftsmanship are the temples at Belavadi, Amruthapura, Hosaholalu, Mosale, Arasikere, Basaralu, Kikkeri and Nuggehalli. Study of the Hoysala architectural style has revealed a negligible Indo-Aryan influence while the impact of Southern Indian style is more distinct.
Temples built prior to Hoysala independence in the mid-12th century reflect significant Western Chalukya influences, while later temples retain some features salient to Chalukyan art but have additional inventive decoration and ornamentation, features unique to Hoysala artisans. Some three hundred temples are known to survive in present-day Karnataka state and many more are mentioned in inscriptions, though only about seventy have been documented. The greatest concentration of these are in the Malnad (hill) districts, the native home of the Hoysala kings.
The Karnata Dravida tradition which covers a period of about seven centuries began in the 7th century under the patronage of the Chalukya dynasty of Badami, developed further under the Rashtrakutas of Manyakheta during the 9th and 10th centuries and the Western Chalukyas (or Later Chalukyas) of Basavakalyan in the 11th and 12th centuries. Its final development stage and transformation into an independent style was during the rule of the Hoysalas in the 12th and 13th centuries. Medieval inscriptions displayed prominently at temple locations give information about donations made toward the maintenance of the temple, details of consecration and on occasion, even architectural details.
TEMPLE DEITIES
Hinduism is a combination of secular and sacred beliefs, rituals, daily practices and traditions that has evolved over the course of over two thousand years and embodies complex symbolism combining the natural world with philosophy. Hindu temples began as simple shrines housing a deity and by the time of the Hoysalas had evolved into well articulated edifices in which worshippers sought transcendence of the daily world. Hoysala temples were not limited to any specific organised tradition of Hinduism and encouraged pilgrims of different Hindu devotional movements. The Hoysalas usually dedicated their temples to Shiva or to Vishnu (two of the popular Hindu gods), but they occasionally built some temples dedicated to the Jain faith as well. Worshippers of Shiva are called Shaivas and worshippers of Vishnu are called Vaishnavas. While King Vishnuvardhana and his descendants were Vaishnava by faith, records show that the Hoysalas maintained religious harmony by building as many temples dedicated to Shiva as they did to Vishnu. Most of these temples have secular features with broad themes depicted in their sculptures. This can be seen in the famous Chennakesava Temple at Belur dedicated to Vishnu and in the Hoysaleswara temple at Halebidu dedicated to Shiva. The Kesava temple at Somanathapura is different in that its ornamentation is strictly Vaishnavan. Generally Vaishnava temples are dedicated to Keshava (or to Chennakeshava, meaning "Beautiful Vishnu") while a small number are dedicated to Lakshminarayana and Lakshminarasimha (Narayana and Narasimha both being Avatars, or physical manifestations, of Vishnu) with Lakshmi, consort of Vishnu, seated at his feet. Temples dedicated to Vishnu are always named after the deity. The Shaiva temples have a Shiva linga, symbol of fertility and the universal symbol of Shiva, in the shrine. The names of Shiva temples can end with the suffix eshwara meaning "Lord of". The name "Hoysaleswara", for instance, means "Lord of Hoysala". The temple can also be named after the devotee who commissioned the construction of the temple, an example being the Bucesvara temple at Koravangala, named after the devotee Buci. The most striking sculptural decorations are the horizontal rows of moldings with detailed relief, and intricately carved images of gods, goddesses and their attendants on the outer temple wall panels.
The Doddagaddavalli Lakshmi Devi ("Goddess of Wealth") Temple is an exception as it is dedicated to neither Vishnu nor Shiva. The defeat of the Jain Western Ganga Dynasty (of present-day south Karnataka) by the Cholas in the early 11th century and the rising numbers of followers of Vaishnava Hinduism and Virashaivism in the 12th century was mirrored by a decreased interest in Jainism. However, two notable locations of Jain worship in the Hoysala territory were Shravanabelagola and Kambadahalli. The Hoysalas built Jain temples to satisfy the needs of its Jain population, a few of which have survived in Halebidu containing icons of Jain tirthankaras. They constructed stepped wells called Pushkarni or Kalyani, the ornate tank at Hulikere being an example. The tank has twelve minor shrines containing Hindu deities.
The two main deities found in Hoysala temple sculpture are Shiva and Vishnu in their various forms and avatars (incarnations). Shiva is usually shown with four arms holding a trident and a small drum among other emblems that symbolize objects worshiped independently of the divine image with which they are associated. Any male icon portrayed in this way is Shiva although a female icon may sometimes be portrayed with these attributes as Shiva's consort, Parvati. Various depictions of Lord Shiva exist: showing him naked (fully or partially), in action such as slaying a demon (Andhaka) or dancing on the head of a slain elephant (Gajasura) and holding its skin up behind his back. He is often accompanied by his consort Parvati or shown with Nandi the bull. He may be represented as Bhairava, another of Shiva's many manifestations.
A male figure depicted holding certain objects such as a conch (symbol of eternal, heavenly space) and a wheel (eternal time and destructive power) is Vishnu. If a female figure is depicted holding these objects, she is seen as his consort, Lakshmi. In all the depictions Vishnu is holding four objects: a conch, a wheel, a lotus and a mace. These can be held in any of the icon's hands, making possible twenty-four different forms of Vishnu, each with a unique name. Apart from these, Vishnu is depicted in any of his ten avataras, which include Vishnu sitting on Anantha (the celestial snake and keeper of life energy also known as Shesha), Vishnu with Lakshmi seated on his lap (Lakshminarayana), with the head of a lion disemboweling a demon on his lap (Lakshminarasimha), with head of a boar walking over a demon (Varaha), in the Krishna avatar (as Venugopala or the cow herder playing the Venu (flute), dancing on the head of the snake Kaliya, lifting a hill such as Govardhana), with his feet over head of a small figure (Vamana), along with Indra riding an elephant, with Lakshmi seated on Garuda, and the eagle (stealing the parijata tree).
TEMPLE COMPLEX
The focus of a temple is the centre or sanctum sanctorum (garbhagriha) where the image of the deity resides, so temple architecture is designed to move the devotee from outside to the garbhagriha through ambulatory passageways for circumambulation and halls or chambers (mantapas) that become increasingly sacred as the deity is approached. Hoysala temples have distinct parts that are merged to form a unified organic whole, in contrast to the temples of Tamil country where different parts of a temple stand independently. Although superficially unique, Hoysala temples resemble each other structurally. They are characterised by a complex profusion of sculpture decorating all the temple parts chiseled of soft soapstone (chloritic schist), a good material for intricate carving, executed mostly by local craftsmen, and exhibit architectural features that distinguish them from other temple architectures of South India.
Most Hoysala temples have a plain covered entrance porch supported by lathe turned (circular or bell-shaped) pillars which were sometimes further carved with deep fluting and moulded with decorative motifs. The temples may be built upon a platform raised by about a metre called a "jagati". The jagati, apart from giving a raised look to the temple, serves as a pradakshinapatha or "circumambulation path" for circumambulation around the temple, as the garbagriha (inner sanctum) provides no such feature. Such temples will have an additional set of steps leading to an open mantapa (open hall) with parapet walls. A good example of this style is the Kesava Temple at Somanathapura. The jagati which is in unity with the rest of the temple follows a star-shaped design and the walls of the temple follow a zig-zag pattern, a Hoysala innovation.
Devotees can first complete a ritual circumambulation on the jagati starting from the main entrance by walking in a clockwise direction (towards the left) before entering the mantapa, following the sculptural clockwise-sequenced reliefs on the outer temple walls depicting a sequence of epic scenes from the Hindu epics. Temples that are not built on a jagati can have steps flanked by elephant balustrades (parapets) that lead to the mantapa from ground level. An example of a temple that does not exhibit the raised platform is the Bucesvara temple in Korvangla, Hassan District. In temples with two shrines (dvikuta), the vimanas (the shrines or cellae) may be placed either next to each other or on opposite sides. The Lakshmidevi temple at Doddagaddavalli is unique to Hoysala architecture as it has four shrines around a common center and a fifth shrine within the same complex for the deity Bhairava (a form of Shiva). In addition, four minor shrines exist at each corner of the courtyard (prakaram).
ARCHITECTURAL ELEMENTS
MANTAPA
The mantapa is the hall where groups of people gather during prayers. The entrance to the mantapa normally has a highly ornate overhead lintel called a makaratorana (makara is an imaginary beast and torana is an overhead decoration). The open mantapa which serves the purpose of an outer hall (outer mantapa) is a regular feature in larger Hoysala temples leading to an inner small closed mantapa and the shrine(s). The open mantapas which are often spacious have seating areas (asana) made of stone with the mantapa's parapet wall acting as a back rest. The seats may follow the same staggered square shape of the parapet wall. The ceiling here is supported by numerous pillars that create many bays. The shape of the open mantapa is best described as staggered-square and is the style used in most Hoysala temples. Even the smallest open mantapa has 13 bays. The walls have parapets that have half pillars supporting the outer ends of the roof which allow plenty of light making all the sculptural details visible. The mantapa ceiling is generally ornate with sculptures, both mythological and floral. The ceiling consists of deep and domical surfaces and contains sculptural depictions of banana bud motifs and other such decorations.
If the temple is small it will consist of only a closed mantapa (enclosed with walls extending all the way to the ceiling) and the shrine. The closed mantapa, well decorated inside and out, is larger than the vestibule connecting the shrine and the mantapa and has four lathe-turned pillars to support the ceiling, which may be deeply domed. The four pillars divide the hall into nine bays. The nine bays result in nine decorated ceilings. Pierced stone screens (Jali or Latticework) that serve as windows in the navaranga (hall) and Sabhamantapa (congregation hall) is a characteristic Hoysala stylistic element.
A porch adorns the entrance to a closed mantapa, consisting of an awning supported by two half-pillars (engaged columns) and two parapets, all richly decorated. The closed mantapa is connected to the shrine(s) by a vestibule, a square area that also connects the shrines. Its outer walls are decorated, but as the size the vestibule is not large, this may not be a conspicuous part of the temple. The vestibule also has a short tower called the sukanasi or "nose" upon which is mounted the Hoysala emblem. In Belur and Halebidu, these sculptures are quite large and are placed at all doorways.
The outer and inner mantapa (open and closed) have circular lathe-turned pillars[36] having four brackets at the top. Over each bracket stands sculptured figure(s) called salabhanjika or madanika. The pillars may also exhibit ornamental carvings on the surface and no two pillars are alike. This is how Hoysala art differs from the work of their early overlords, the Western Chalukyas, who added sculptural details to the circular pillar base and left the top plain. The lathe-turned pillars are 16, 32, or 64-pointed; some are bell-shaped and have properties that reflect light. The Parsvanatha Basadi at Halebidu is a good example. According to Brown, the pillars with four monolithic brackets above them carry images of salabhanjikas and madanikas (sculpture of a woman, displaying stylized feminine features). This is a common feature of Chalukya-Hoysala temples. According to Sastri, the shape of the pillar and its capital, the base of which is square and whose shaft is a monolith that is lathe turned to render different shapes, is a "remarkable feature" of Hoysala art.
VIMANA
The vimana, also called the cella, contains the most sacred shrine wherein resides the image of the presiding deity. The vimana is often topped by a tower which is quite different on the outside than on the inside. Inside, the vimana is plain and square, whereas outside it is profusely decorated and can be either stellate ("star-shaped") or shaped as a staggered square, or feature a combination of these designs, giving it many projections and recesses that seem to multiply as the light falls on it. Each projection and recess has a complete decorative articulation that is rhythmic and repetitive and composed of blocks and mouldings, obscuring the tower profile. Depending on the number of shrines (and hence on the number of towers), the temples are classified as ekakuta (one), dvikuta (two), trikuta (three), chatushkuta (four) and panchakuta (five). Most Hoysala temples are ekakuta, dvikuta or trikuta, the Vaishnava ones mostly being trikuta. There are cases where a temple is trikuta but has only one tower over the main shrine (in the middle). So the terminology trikuta may not be literally accurate. In temples with multiple disconnected shrines, such as the twin temples at Mosale, all essential parts are duplicated for symmetry and balance.
The highest point of the temple (kalasa) has the shape of a water pot and stands on top of the tower. This portion of the vimana is often lost due to age and has been replaced with a metallic pinnacle. Below the kalasa is a large, highly- sculptured structure resembling a dome which is made from large stones and looks like a helmet. It may be 2 m by 2 m in size and follows the shape of the shrine. Below this structure are domed roofs in a square plan, all of them much smaller and crowned with small kalasas. They are mixed with other small roofs of different shapes and are ornately decorated. The tower of the shrine usually has three or four tiers of rows of decorative roofs while the tower on top of the sukanasi has one less tier, making the tower look like an extension of the main tower (Foekema calls it the "nose"). One decorated roof tier runs on top of the wall of a closed mantapa above the heavy eaves of an open mantapa and above the porches.
Below the superstructure of the vimana are temple "eaves" projecting half a meter from the wall. Below the eaves two different decorative schemes may be found, depending on whether a temple was built in the early or the later period of the empire. In the early temples built prior to the 13th century, there is one eave and below this are decorative miniature towers. A panel of Hindu deities and their attendants are below these towers, followed by a set of five different mouldings forming the base of the wall. In the later temples there is a second eave running about a metre below the upper eaves with decorative miniature towers placed between them. The wall images of gods are below the lower eaves, followed by six different mouldings of equal size. This is broadly termed "horizontal treatment". The six mouldings at the base are divided in two sections. Going from the very base of the wall, the first horizontal layer contains a procession of elephants, above which are horsemen and then a band of foliage. The second horizontal section has depictions of the Hindu epics and Puranic scenes executed with detail. Above this are two friezes of yallis or makaras (imaginary beasts) and hamsas (swans). The vimana (tower) is divided into three horizontal sections and is even more ornate than the walls.
SCULPTURE
In Hoysala art Hardy identifies two conspicuous departures from the more austere Western (Later) Chalukya art:ornamental elaboration and a profusion of iconography with figure sculptures, both of which are found in abundance even on the superstructure over the shrine. Their medium, the soft chlorite schist (Soapstone) enabled a virtuoso carving style. Hoysala artists are noted for their attention to sculptural detail be it in the depiction of themes from the Hindu epics and deities or in their use of motifs such as yalli, kirtimukha (gargoyles), aedicula (miniature decorative towers) on pilaster, makara (aquatic monster), birds (hamsa), spiral foliage, animals such as lions, elephants and horses, and even general aspects of daily life such as hair styles in vogue.
Salabhanjika, a common form of Hoysala sculpture, is an old Indian tradition going back to Buddhist sculpture. Sala is the sala tree and bhanjika is the chaste maiden. In the Hoysala idiom, madanika figures are decorative objects put at an angle on the outer walls of the temple near the roof so that worshipers circumambulating the temple can view them.
The sthamba buttalikas are pillar images that show traces of Chola art in the Chalukyan touches. Some of the artists working for the Hoysalas may have been from Chola country, a result of the expansion of the empire into Tamil-speaking regions of Southern India. The image of mohini on one of the pillars in the mantapa (closed hall) of the Chennakeshava temple is an example of Chola art.
General life themes are portrayed on wall panels such as the way horses were reined, the type of stirrup used, the depiction of dancers, musicians, instrumentalists, and rows of animals such as lions and elephants (where no two animals are identical). Perhaps no other temple in the country depicts the Ramayana and Mahabharata epics more effectively than the Hoysaleshwara temple at Halebidu.
Erotica was a subject the Hoysala artist handled with discretion. There is no exhibitionism in this, and erotic themes were carved into recesses and niches, generally miniature in form, making them inconspicuous. These erotic representations are associated with the Shakta practice.
Apart from these sculptures, entire sequences from the Hindu epics (commonly the Ramayana and the Mahabharata) have been sculpted in a clockwise direction starting at the main entrance. The right to left sequence is the same direction taken by the devotees in their ritual circumambulation as they wind inward toward the inner sanctum. Depictions from mythology such as the epic hero Arjuna shooting fish, the elephant-headed god Ganesha, the Sun god Surya, the weather and war god Indra, and Brahma with Sarasvati are common. Also frequently seen in these temples is Durga, with several arms holding weapons given to her by other gods, in the act of killing a buffalo (a demon in a buffalo's form) and Harihara (a fusion of Shiva and Vishnu) holding a conch, wheel and trident. Many of these friezes were signed by the artisans, the first known instance of signed artwork in India.
RESEARCH
According to Settar, surveys in modern times have indicated that 1000–1500 structures were built by the Hoysalas, of which about a hundred temples have survived to date. The Hoysala style is an offshoot of the Western Chalukya style, which was popular in the 10th and 11th centuries. It is distinctively Dravidian, and according to Brown, owing to its features, Hoysala architecture qualifies as an independent style. While the Hoysalas introduced innovative features into their architecture, they also borrowed features from earlier builders of Karnata like the Kadambas, Western Chalukyas. These features included the use of chloritic schist or soapstone as a basic building material. Other features were the stepped style of vimana tower called the Kadamba shikhara, which was inherited from the Kadambas. Hoysala sculptors made use of the effect of light and shade on carved walls, which poses a challenge for photography of the temples. The artistry of the Hoysalas in stone has been compared to the finesse of an ivory worker or a goldsmith. The abundance of jewellery worn by the sculpted figures and the variety of hairstyles and headdresses depicted give a fair idea of the lifestyles of the Hoysala times.
NOTABLE CRAFTSMEN
While medieval Indian artisans preferred to remain anonymous, Hoysala artisans signed their works, which has given researchers details about their lives, families, guilds, etc. Apart from the architects and sculptors, people of other guilds such as goldsmiths, ivory carvers, carpenters, and silversmiths also contributed to the completion of temples. The artisans were from diverse geographical backgrounds and included famous locals. Prolific architects included Amarashilpi Jakanachari, a native of Kaidala in Tumkur district, who also built temples for the Western Chalukyas. Ruvari Malithamma built the Kesava Temple at Somanathapura and worked on forty other monuments, including the Amruteshwara temple at Amruthapura. Malithamma specialised in ornamentation, and his works span six decades. His sculptures were typically signed in shorthand as Malli or simply Ma. Dasoja and his son Chavana from Balligavi were the architects of Chennakesava Temple at Belur; Kedaroja was the chief architect of the Hoysaleswara Temple at Halebidu. Their influence is seen in other temples built by the Hoysalas as well. Names of other locals found in inscriptions are Maridamma, Baicoja, Caudaya, Nanjaya and Bama, Malloja, Nadoja, Siddoja, Masanithamma, Chameya and Rameya. Artists from Tamil country included Pallavachari and Cholavachari.
WIKIPEDIA
The spacious and luxurious Deluxe rooms in Hotel de la Paix .The furnitures blend beautiful Every room enjoys a fine view over Lake Geneva. Well-equipped bathrooms include bath, separate shower and first class toiletries.
Room size:
From 35 to 45 square metres (from 377 to 484 square feet)
This image is protected by copyright, no use of this image shall be granted without the written permission from Yaman Ibrahim.
First full day of our Smoky Mountains photo adventure.
Tuckaleechee Caverns Townsend, Tennessee
Monday, August 19th, 2019
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A view from the ambulatory toward the south transept and the south nave aisle, Saint Gatien Cathedral in Tours.
HDR
A lovely Scottish home with beautiful patio view of Bla Bhein on the road near Loch Slapin north from Elgol.
I had to shoot this photo at this angle to avoid reflections from their numerous ceiling lights. There is also a print like this one displayed in the Collingwood Masinic Temple.
The figures in this collage depict King Solomon as well as some famous Canadian Freemasons: from left to right, are hockey great and politician Syl Apps (University Lodge No. 496), Past Grand Master Most Rev. William Lockridge Wright, Archbishop of Algoma, Mohawk Chief Thayendanega (Joseph Brant), Prime Minister Right Honourable John G. Diefenbaker and Sir John A. MacDonald, Past Grand Masters William Mercer Wilson, (Ontario's First Grand Master) and John Ross Robertson (founder of the Hospital for Sick Children in Toronto).
Syl Apps, the hockey player is mentioned in this newspaper article.
www.flickr.com/photos/21728045@N08/13099883425/in/photoli...
en.m.wikipedia.org/wiki/Syl_Apps
Youth Centre: www.kinark.on.ca/syl-apps-youth-centre/
Bro. Rt. Hon. John George Diefenbaker (1895 – 1979) was the sixth Prime Minister of Canada who was a Mason. He was Initiated in Wakaw Lodge #166, Saskatchewan, on September 11 1922, affiliated with Kinistino Lodge No. 1 at Prince Albert, B.C. on May 7 1926, becoming a life member in 1959.
Bro. Diefenbaker was a Shriner and was coronetted a 33 Degree Scottish Rite Mason at Windsor, Ontario on September 9 1959. He was an active Mason, and in July 1975, he was unanimously elected Imperial Potentate of the new Tunis Temple in Ottawa, and was also honorary Grand Master of Canadian DeMolay.
Bro. Diefenbaker was Prime Minister of Canada from 1957 – 1963. Also, in 1957 he was named to the Queen’s Imperial Privy Council. In April 1976 he received from the Queen the insignia of membership in the exclusive, “Companions of Honour” order, which is limited to the sovereign and only 65 members.
Following his death in 1979, a Canada Post stamp was issued in honour of our former Prime Minister and Brother.
www.ebay.com/itm/MINT-1980-CORNER-BLOCK-OF-4-JOHN-DIEFENB...
Freedom Documents World of Early America Boston Massacre Milestones The Review Teachers
Chief Joseph Brant: Mohawk, Loyalist, and Freemason
by George L. Marshall, Jr.
Perhaps no Freemason who ever lived in America has been so condemned by some authors and praised by others as Joseph Brant, the powerful and influential Mohawk chief who sided with the British during the American Revolutionary War. On several occasions, he put into practice the Masonic virtues of brotherly love, forgiveness, and charity. On others, he exhibited cold-blooded ruthlessness, savagery and disregard for human life.
Mohawk Chief, Loyalist, and Freemason Joseph Brant
Unfortunately, space does not permit a lengthy discussion of the life or exploits of this remarkable and complex native American. For a full biography, Reference (1) is the standard source.
The parents of Joseph Brant were Mohawks whose home was at Canajoharie on the Mohawk River in New York. Brant, however, was born on the banks of the Ohio River in 1742 while his parents were on a hunting excursion to that region, and was given the Indian name of Thayendanega, meaning "he places two bets". His father was Nickus (or "Nicholas") of the Wolfe family, who, although not a chief, was a Mohawk of some standing in the tribe.
While still in his early youth, Brant became a favorite of Sir William Johnson, the British superintendent of the northern Indians of America, who was extremely popular with the tribes under his supervision. During his time with the Iroquois, Johnson became particularly close to the Mohawk tribes. He was also a Mason and a former Provincial Grand Master of the New York colony. After Johnsons European wife Catherine died in 1759, he married his former Indian mistress, Molly, who was Brants sister, in an Indian ceremony later that year. It was due largely to Johnsons relationship with Molly that Brant received the favor and protection of Sir William and through him the British government, which set Brant on the road to promotion.
Brant and a number of young Mohawks were selected by Johnson to attend Moors Charity School for Indians at Lebanon, Connecticut--the school which in future years was to become Dartmouth College. Here he learned to speak and write English and studied Western history and literature. He is the only one of those chosen known to have derived any benefit from the educational process. He left school to serve under Sir William from 1755-1759 during the French and Indian War (1754-1763). After this, he became Sir William's close companion and helped him run the Indian Department, administered by the British out of Quebec. He also became an interpreter for an Anglican missionary and helped translate the prayer book and Gospel of Mark into the Mohawk language.
About 1768 he married Christine, the daughter of an Oneida chief, whom he had met in school. Together, they settled on a farm near Canajoharie which Joseph had inherited. While here, Brant assisted in revising the Mohawk prayer book and translating the Acts of the Apostles into the Mohawk language. He also joined the Anglican Church, was a regular communicant, and evinced a great desire to bring Christianity to his people. His wife died of tuberculosis about 1771, leaving him with a son and a daughter. In 1773, he married his wife'ss sister, Susannah, who died a few months afterward, also of tuberculosis.
In 1774, Sir William Johnson died and was succeeded in his territories by his son Sir John Johnson, and as Superintendent of the Indian Department by his son-in-law, Col. Guy Johnson, both of whom were Masons. The Johnsons, together with Brant and the Tory leaders Col. John Butler and Col. Walter Butler (also both Masons) were to become leaders of the Loyalist resistance and terrorism in Northwest New York.
Those who remained loyal to England, known as "Loyalists" or "Tories", were not all colonists. Other allies of the British were numerous Indian tribes, more especially the Iroquois tribes who occupied the lands from upstate New York south to northern Pennsylvania with scatterings further south and north and extending west to the Great Lakes. The Iroquois League, also known as the Six Nations, was a confederation of upper New York state Indian tribes composed of the Mohawks, Onondagas, Cayugas, Senecas, Oneidas, and Tuscaroras. They lived in comfortable homes, often better than those of the colonists, raised crops, and sent hunters to Ohio to supply meat for those living back in New York.
In August, 1775, the Six Nations staged a big council fire near Albany , after news of Bunker Hill had made war seem imminent. After much debate, they decided that such a war was a private affair between the British and the colonists, and that they should stay out of it. Brant feared that the Indians would lose their lands if the colonists achieved independence. The Johnsons and Brant used all their influence to engage the Indians to fight for the British cause, and ultimately succeeded in bringing four of these tribes, the Mohawks, Onondagas, Cayugas, and Senecas into an alliance with England -- the Oneidas and Tuscaroras ultimately sided with the Colonists.
About the year 1776, Brant became the principal war chief of the confederacy of the Six Nations, due perhaps to the patronage of the Johnsons and the unusual circumstances in which he was placed. With this high office of leadership, he also received a Captains commission in the British army in charge of the Indian forces loyal to the Crown. Immediately after receiving this appointment, Brant made his first voyage to England. By making this trip, he gained time, and was enabled to observe for himself the power and resources of the King and British government. He also went to protest the policy of Guy Carleton, commander of the British forces in Canada, who refused to invite the Six Nations to join the war against the Americans, except to use 40 to 50 men as scouts.
Map of Brant - Northwest New York Area of Operations
Brant was well received in England, and was admitted to the best society. His own education and his close association with educated men and his naturally easy and graceful manner facilitated his reception, and as he was an "Indian King" he was too valuable a person to be neglected. The members of the British cabinet and the nobility fawned over him; gave him expensive presents; invited him to their great estates, and arranged to have his portrait painted by famous artists like Reynolds, Romney, and others. Among his particular friends was the English diarist Boswell. He received official assurances that the Indian Loyalists would be utilized to a greater extent in the American conflict than that indicated by Carleton. Also during this trip Brant received the Masonic degrees in either Falcon Lodge or Hirams Cliftonian Lodge in London in April 1776. He had the distinction of having his Masonic apron given to him from the hand of King George III.
Brant returned from England in time to see some action in the Battle of Long Island in August 1776. He then departed for his homeland, traveling by night to elude the Americans guarding the Hudson highlands and the area around Albany. He told the young Iroquois braves of his trip to England and of the strength and friendship of the British. He denounced the Iroquois 1775 decision to remain neutral and called the Americans the enemy of all Indians. A tradition says that he promised each of his warriors an opportunity "to feast on a Bostonian and to drink his blood". The speech was received with wild enthusiasm and Brant departed on a tour of regional Iroquois villages to similarly stir up support for the British cause.
Brant was certainly not dissuaded or criticized by the British or the Tories for his efforts. In fact, the intent of the British with respect to the use of Indians in the Revolutionary War was aptly expressed in the following poetic example of Gen. John Burgoyne, Deputy of the British forces in Canada, and taken from the Introduction to Burgoynes Orderly Book, page xxii:
" I will let loose the dogs of hell, Ten thousand Indians, who shall yell And foam and tear, and grin and roar, And drench their moccasins in gore: To these Ill give full scope and play From Ticonderog to Florida..."
Space in the present article does not permit a detailed discussion of the many battles in which Chief Joseph Brant played an indirect or a direct part. For a description of these, the references listed contain some excellent material. Suffice it to say that his name has been linked with some of the most notable and infamous engagements of the Revolutionary War--the siege of Ft. Stanwix; Oriskany; the Wyoming Valley of the Upper Susquehanna; Mohawk Valley and German Flats; Cherry Valley; Minesink-Port Jervis; Chemung River-Elmira area; Johnstown; Fort Plain; Fort Clyde; Fort Plank; Mohawk Valley and the Western Frontier, all of which occurred during the six year period from 1775-1781.
We now turn to two incidents which are often cited by Masonic writers in reference to Brants association with Freemasonry--his saving the life of Capt. John McKinstry and his attempt to save the life of Lt. Boyd.
After the surrender of the American forces at the Battle of the Cedars on the St. Lawrence River in 1776, Brant exerted himself to prevent the massacre of the prisoners. In particular, one Capt. John McKinstry, a member of Hudson Lodge No.13 of New York, was about to be burned at the stake. McKinstry, remembering that Brant was a Freemason, gave to him the Masonic sign of appeal which secured his release and subsequent good treatment. He and Brant thereafter remained friends for life, and in 1805 he and Brant together visited the Masonic Lodge in Hudson, New York, where Brant was well received and on whose wall his portrait now hangs.
The American general Sullivan, also a Freemason, ambushed the Indians and Loyalists at Newtown, New York in 1779, resulting in the flight of the Indians and a march across the state by Sullivan to the Genesee Valley, destroying the Indian villages and the power of the Indian confederacy. During this campaign, a certain Lt. Boyd, a young Freemason and scout for Sullivan, was ambushed and captured along with a soldier named Parker. In the words of John Salmon, who was a friend and fellow-soldier of Boyd, the incident continued as follows: "...When Lieut. Boyd found himself a prisoner, he solicited an interview with Brant, whom he well knew commanded the Indians. This chief, who was at that moment near, immediately presented himself, when Lieut. Boyd, by one of those appeals which are known only by those who have been initiated and instructed in certain mysteries, and which never fails to bring succour to a distressed brother, addressed him as the only source from which he could expect a respite from cruel punishment or death. The appeal was recognized, and Brant immediately, and in the strongest language, assured him that his life should be spared.
"Lieut. Boyd and his fellow-prisoner Parker were immediately conducted by a party of Indians to the Indian village called Beards Town, Brant, their generous preserver, being called on service which required a few hours absence, left them in the care of the British Colonel Butler of the Rangerswho as soon as Brant had left them, Butler commenced an interrogation to obtain from the prisoners a statement of the number, situation, and intentions of the army under Gen. Sullivan...." (2)
Another authority (3) continues: "... Butler ordered Boyd placed kneeling before him, with an Indian on each side, one holding his arms, and another with a tomahawk raised over his head. Butler then three times asked of Boyd information which his loyalty to his commander would not permit him to give. Boyd, he said, Life is sweet, you had better answer me. Duty forbids, was Boyds reply, I would not if my life depended upon the word. Boyd three times refused and Butler delivered him to the infuriated Indians who put him and Parker to death with terrible torture, he remaining faithful to the last to his trust, (and) forfeited his life rather than yield up his integrity."
Returning to Salmons account (2), " ... The bodies of Lieut. Boyd and Private Parker (who were killed by decapitation--author) were found and buried near the banks of Beards Creek, under a bunch of wild plum-trees....I was one of those who committed to the earth the remains of my friend and companion in arms the gallant Boyd....The foregoing account, according to the best of my recollection, is strictly correct."
Thus it would seem that Brant, the "savage", was more charitable in his actions toward his patriot Brothers than were the British Tory Freemasons with whom he was in league. But we should not forget that Brant had received the education of a civilized man, had read the Scriptures, and professed to be a Christian and a Freemason, and he knew that the rapine and atrocities practiced by the Indians were unjustifiable. One can only wonder why Brant did not release Boyd and Parker after he had agreed to spare them, or why he did not have greater influence and control over his Indians to prevent the execution of these unfortunates at Butlers hands.
In spite of their defeat by Sullivan, the Iroquois raids persisted until the end of the war and many homesteads had to be abandoned. About 1782, Brant married for the third time to Catherine Croghan, daughter of an Irishman and a Mohawk. He discouraged further Indian warfare, but kept his commission in the British army. He was awarded a tract of 675,000 acres on the Grand River in Ontario to which he led 1,843 Mohawk and other Indian Loyalists in 1784 where they settled and established the Grand River Reservation for the Mohawk.
He became affiliated with Lodge No. 11 at the Mohawk village at Grand River of which he was the first Master (presiding officer); he later affiliated as well with Barton Lodge No. 10 at Hamilton, Ontario. In later years, the town of Brantford, Ontario, on the Grand River was named for him.
Due to some legal difficulties with the title to the Reservation land, Brant again went to England in 1785, where he was again well received. At this time, he was able to obtain compensation for Mohawk losses in the U.S. War for Independence and received funds for the first Episcopal Church in Upper Canada, but failed to obtain firm title to the Reservation, whose legality remains in question today (5). On being presented to the King, he declined to bend his knee or kiss his hand, saying," I bow to no man for I am considered a prince among my own people. But I will gladly shake your hand." (5) However, he added he would willingly kiss the hand of the Queen. Again, he sustained himself well in the best circles of the British metropolis, and became a friend and companion of the Prince of Wales. Another objective of his visit was to find out whether the Indians could rely on the support of Great Britain if a general war between the Indians and the United States should erupt. The British government declined comment on so delicate a matter, and referred him to the governor of Canada. Brant returned home to Canada in 1786.
The United States government sought his aid in securing an end to the wars with the Indians in the North- west Territories newly ceded to the United States by the Treaty of Paris, and he went alone to Philadelphia in 1792 for a meeting with President Washington and his cabinet; and he claimed to have received 1000 guineas down payment, plus the offer of an ultimate reward of 20,000 pounds for arranging " a peace with the Ohio Indians". He assured the United States he would help, but upon his return home he changed his mind and actually worked to foment unrest and rebellion among the Ohio valley Indians against the Americans, traveling in the American West to promote an all-Indian confederacy to resist land cessions. Following this, he devoted the remainder of his life to the interests and moral improvement of his tribe, continuing his missionary work and translations of Bible passages into the Mohawk language.
Brant constructed for himself a spacious dwelling in Canada, where he lived in handsome style with a host of slaves, as many as the aristocratic Virginians who would later rule the United States. His clothes were of the finest material, and in his luxurious home elaborate meals were served on crisp Irish linen. At home, he was a hospitable and convivial man, treating those who visited him kindly and courteously. His children were all well educated and his sons Joseph and Jacob were sent to Dartmouth. Unhappily, in 1795, his oldest son, Isaac, made a drunken assault on his father, who drew his dagger and inflicted a mortal wound. The case came before the Council of Sachems and Warriors, which exonerated Brant on the grounds of self-defense. Also, throughout his life, Brant maintained friendly relations with the English, and favored the introduction of agriculture and the useful arts among his tribe. (15)
What more, then, can be said about this remarkable individual, who was at ease drinking tea from fragile china cups, but could also hurl a tomahawk with deadly accuracy? We know that he was well educated; his compositions are highly respectable in point of thought and style, far beyond many of the farmers he had fought against. Perhaps it would have been impossible for Brant to have supported the American cause; he being too vain and too closely allied with the British Lords of the Mohawk valley to consider casting his lot with the humble farmers who spoke of freedom. For Brant, they had the stink of manure and earth about them; he was more familiar with buckled shoes and cologne. It is hard to imagine any other native American, though, who profited so greatly from the Revolutionary War. (15)
Brant died on November 24, 1807, at the age of nearly sixty-five years, at his own house on Grand River, Ontario, and was buried by the side of the Episcopal church he had built there. In 1850 Freemasons restored his tomb and placed an inscription on it, and a bronze statue of him was unveiled at Brantford in 1886. His last words, uttered to his adopted nephew, were: " Have pity on the poor Indians; if you can get any influence with the great, endeavor to do them all the good you can." (4)
References:
Stone, William L., Life of Chief Joseph Brant, Thayendanega, 1838.
OReilly, G. H., Sketches of Rochester, 1838.
Morse, Sidney, "Freemasonry in the American Revolution", Little Masonic Library Vol. III, Southern Publishers,Inc., Kingsport, TN, 1946, pp.294-296.
McKenney and Hall, Indian Tribes of North America, Vol. II, 1854.
Penick, Tom, The Story of Joseph Brant, Indigenous Peoples Literature, www.indians.org/welker/Brant.htm, 1996.
Hines, Thomas, The Great League in Turmoil: A Look at the Iroquois of New York During the American Revolution , Old Dominion University Historical Review, www.odu.edu/~hanley/history1/Hinse.htm, 1996.
Van Tyne, Claude, The Loyalists in the American Revolution, The MacMillan Co., 1959.
Cook, Fred J., Dawn over Saratoga, Doubleday & Co., Inc., Garden City, NY, 1973.
Coil, Henry W., Coils Masonic Encyclopedia, Macoy Publishing Co., New York, 1961.
Garrison, Webb, Sidelights on the American Revolution, Abingdon Press, Nashville, TN, 1974.
Crary, Catherine (Editor), The Price of Loyalty, McGraw-Hill Co., New York, 1973.
Chidsey, Donald B., The War in the North, Crown Publishers, Inc., New York, 1967.
Dupuy R.E. and Dupuy T.N., The Compact History of the Revolutionary War, Hawthorn Books, Inc., New York, 1966.
Marshall, George L.,Jr., "Chief Joseph Brant", Knight Templar Magazine, Vol. XXIII, No. 11, November, 1977, pp.5-8.
Horan, James D., The McKenny-Hall Portrait Gallery of American Indians, Crown Publishers, Inc., New York, 1972.
Sir John A. Macdonald was named Canada's first prime minister in 1867. Macdonald was a Freemason, initiated in 1844 at St. John’s Lodge No. 5 in Kingston. In 1868, he was named by the United Grand Lodge of England as its Grand Representative near the Grand Lodge of Canada (in Ontario) and the rank of Past Grand Senior Warden conferred upon him. He continued to represent the Grand Lodge of England until his death in 1891. His commission, together with his apron and earmuffs, are in the Masonic Temple at Kingston, along with his regalia as Past Grand Senior Warden. Among the books in his library was a very rare copy of the first Masonic book published in Canada, A History of Freemasonry in Nova Scotia (1786).
In 1870, during Bro. Macdonald's leadership, the great North-West became a part of Canada. In order to preserve order, a military force was sent from Ontario to Winnipeg, and on November 21, 1870, nine of these soldiers received a dispensation to form the oldest surviving lodge in Manitoba. As settlement progressed westward across the prairies, Freemasonry reached Saskatchewan in 1879, and Alberta in 1882.
In 2001, Grand Lodge members in Ontario donated $2.13 million dollars to the Help-2-Hear project, a program funded through the Masonic Foundation. There was celebration as we topped the $2 million goal, but now the dust of the campaign has settled, can every newborn child in Ontario be guaranteed a right to hear?
It feels like I have been here before, but no shots of it is on my stream, and my notebook says I have not been before either.
So, first time to Meopham.
St John sits on a busy road, but has a spacious car park, and from that I saw the large "church open" sign near the porch.
Great news.
But after slinging my full camera bag on my back and walking to the modern door, I could not budge it. So, I take shots round the outside and the churchyard, then walk back to the car.
A warden arrives, unloads some fresh flowers from her car: are you going to open the church?
Yes I am.
Perfect.
So, I carried her flowers to the door, where she tried to open the door; she couldn't open it.
But she jiggled with the lock, and went at the door with a shoulder charge, and the door opened.
Hoorah!
Inside I found a heavily victoianised church, with windows that had medieval glass fragments.
The nave has been reordered, with modern chairs and a modern altar in the chancel arch, which gives a great feeling of space inside the church.
Did I mention the tiles? Well, they were fabulous.
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A large fourteenth-century church with a regularity of detail that tells of much nineteenth-century replacement. The tall octagonal piers of the five-bay arcade are capped by a pretty clerestory of small quatrefoils. The wooden pulpit was made for St Margaret's, Westminster, in 1682 and brought here in 1800 by the then vicar who taught at Westminster School. It has charming cherubs' heads, cockle shells and festoons and could go a long way to enlivening a dull sermon! The former chantry chapel of Simon de Mepham (1272-1333), Archbishop of Canterbury, and a fourteenth-century political pawn, is linked to the chancel by an iron-grilled window.
www.kentchurches.info/church.asp?p=Meopham
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MEOPHAM.
THE next parish southward from Nutsted is Meopham, vulgarly called Mepham, and antiently written, Meapaham. (fn. 1)
MEOPHAM is situated about twenty-four miles from London, and nine from Dartford. It is rather a bye out of the way place, lying among the hills, and no well frequented thoroughfare through it. It is a large parish, extending near five miles from north to south, and near three miles from east to west; lies for the most part on high ground, though with continued hill and dale; the soils in it are various, much of it is poor and chalky, but in the vallies it is heavy tillage land; the roads are stony, narrow, and bad, but the air, like the neighbouring hilly parishes, is very healthy. The village, having the church and Court-lodge in it, stands in the centre of the parish; in the southern part there are several coppice woods, mostly of beech and birch, intermixed with scrubby oak trees, which in these parts hardly ever grow to any size; there are several small hamlets in different parts of it, as Mellaker, Hook-green, and Camer, in the northern parts; Pitfield-green, Priest-wood, and Culverstone-green, in the southern parts. In the former part of the parish, at Camer, there is a good modern house, which was built by Mr. George Master, whose son, George Master, esq. likewise resided here; he died unmarried, and without issue, leaving his sister, Catherine, his heir, married to Mr. Smith, of Croydon, in Surry, who in her right became possessed of it; after his death she removed to East Malling; her eldest son, George Smith, esq. married Rebecca, daughter of the Rev. Nicholas Brett, of Spring-grove, in Wye. He now possesses this house, and resides here.
This parish, among others in this neighbourhood, was antiently contributary to the repair of the ninth pier of Rochester bridge.
¶ATHELSTANE, king of England, gave the perpetual inheritance of Meopham to duke Eadulf, who, in 940, with the king's consent, gave it to Christ church, in Canterbury, in the presence of archbishop Wlselm, free from all secular service and royal tribute, excepting the trinoda necessitas of repelling invasions, and the repairs of castles and highways. Queen Ediva, mother of king Edmund and king Edred, in 961, gave Meopham to Christ church for the health of her soul, with the like privileges; by which it may be observed, that in the accounts of the donations of the Saxon kings, the same manors and places are frequently mentioned, as having been given by several different kings, which was occasioned by their continual dissensions, and contending with each other with various success; one king taking away the possessions of the church, and another regranting the same. Besides, it has been frequently found, that when one of these kings gave a small parcel of land in a parish or manor, in the Saxon codocils, he has been recorded as having given the whole of it. Soon after this the church's possessions were further increased here; for whilst Ælsstane was bishop of Rochester, who came to the see in 945, and died in 984, one Birtrick, a rich and powerful man, who then resided here, devised, with the consent of Elsswithe his wife, his land at Meopham, by his last testament, a most curious record of the customs of those times, to Christ church, Canterbury, together with sixty marcs of gold, thirty to the bishop and thirty to the convent; and one necklace of twenty marcs and two cups of silver. The original is in the Saxon language, and is inserted, with a Latin interpretation of it, both in Lambarde and in the Registrum Roffense, (fn. 2) and by Dr. Hickes, in his Differtatio Epistolaris, at the end of his Thesaurus, with his notes and remarks on it; by it the antient form and phrases of a testament may be known, and it may be observed by it—that the husband and wife joined in making their testaments; that lands were devisable by testament in old time; and by what words estates of inheritance were wont to be created; that the lord's consent was thought requisite to the testament of the tenant, and that it was procured by the gift of a heriot, which, as Bracton says, was done at first, Magis de gratia quam de jure: and lastly, what weapons, jewels, and ornaments, were then worn and in use.
MEOPHAM remained among the possessions of Christ church, at the consecration of archbishop Lanfranc, in the 4th year of William the Conqueror's reign; who, when he separated the manors and lands belonging to his church, allotted this manor to the monks for their subsistance, cloathing, and other ne cessary uses; and it is accordingly thus entered in the record of Domesday, under the general title of land of the monks of the archbishop.
The archbishop himself holds Mepeham. It was taxed in the time of king Edward the Confessor for ten sulins, now for seven. The arable land is 30 carucates. In demesne there are four, and 25 villeins, with seventy one borderers, having 25 carucates. There is a church, and 17 servants, and 16 acres of meadow. Wood for the pannage of 10 hogs. In the whole value, in the time of king Edward, it was worth 15 pounds and 10 shillings, now 26 pounds. Richard de Tonebridge has in his lowy what is worth 18 shillings and sixpence. Wood for the pannage of 20 hogs.
This manor was De cibo monachorum, that is, to the use of their refectory. (fn. 3) In the year 1306, anno 35 king Edward I. Henry Prior and the chapter of Christ church, Canterbury, released to their homagers and tenants of Mepham certain customs and services for an annual rent, to be paid yearly to them within the manor of Mepham.
¶King Edward II. by his letters patent, in his 10th year, granted to the prior and convent free warren for themselves and their successors, in all their demesne lands in Meopham. King Henry VI. in his 25th year, granted to them a market at Meopham weekly, on a Saturday; and one yearly fair, on the feast of the apostles St. Peter and St. Paul. (fn. 4)
MEOPHAM is within the ECCLESIASTICAL JURISDICTION of the diocese of Rochester, and being a peculiar of the archbishop, is within the deanry of Shoreham. The church, which is a large handsome building, with a square tower at the west end, is dedicated to St. John Baptist.
Among other monuments and inscriptions in it are the following: In the chancel, a memorial for Henry Haslin, esq. of Meopham, who married Mary, daughter of Sir George Courthope, of Wileigh, in Sussex, and Elizabeth his wife, and had two sons and one daughter, obt. 1658; a brass plate for John Follham, vicar here, obt. June 13, 1455. In the north side of the chancel is an antient stone, with Saxon letters cut round the edge, but without any reference to shew the person buried under it. In the nave, a stone for Christopher Copland, vicar here thirty-seven years, ob. 12 Cal. June, 1707.
Within the memory of several antient people of this parish, some of the bells of this church being to be new cast, and there being wanting a sufficient quantity of metal to do it, some persons tore off the brass inscriptions from the stones in this church, except that of Follham above mentioned, and threw them into the heating metal, to add to its quantity.
Simon Meopham, elected archbishop of Canterbury in 1327, was born here. He rebuilt this church, which was repaired by archbishop Courtney about seventy years afterwards, who annexed to it four new alms houses for the use of the poor. (fn. 11)
This church was always esteemed as an appendage to the manor of Meopham, in which state it continued till the dissolution of the priory of Christ church, in the 31st year of king Henry VIII. when it was, together with the rest of the possessions of the priory, surrendered into the king's hands; who, by his donation charter, in his 33d year, settled this manor, the rectory, and the advowson of the vicarage of this church, among other premises, on his new founded dean and chapter of Christ church, Canterbury, with whom the inheritance of the rectory or parsonage still remains, the present lessee of it being John Market, esq. of this parish. But the advowson of the vicarage was soon afterwards conveyed to the archbishop of Canterbury, and His Grace the archbishop still continues at this time patron of it.
Archbishop Richard, Becket's immediate successor, in the reign of king Henry II. is said to have appro priated this church to the use of the almonry of the priory of Christ church, but this appropriation does not seem to have taken place, for in the 8th year of king Richard II. the portion paid from this church to the almonry was the yearly gross sum of 61. 13s. 4d. at which time it was not appropriated, as appears by the certificate given in to the abbot of St. Augustine's, appointed by the king's letters patent collector of the half tenth, then granted to the king by the clergy, when this church was taxed at 261. 8d.
King Richard II. was a great benefactor to the priory of Christ church; (fn. 12) and among other marks of his favour, in the 9th year of his reign, he gave licence to the monks to appropriate the churches of Meopham and Godmersham to their own use. Accordingly William Courtney, archbishop of Canterbury, appropriated this church to them, and most probably to that of their almonry, in compliance with the intention of his predecessor.
¶In an antient valuation of the churches in this diocese, made in the 15th year of king Edward I. the church of Meopham is valued at forty marcs. (fn. 13) On the sequestration of the possessions of deans and chapters, after the death of king Charles I. the manor and rectory of Meopham were surveyed in 1649, by order of the state, an account of which has already been given above; and in 1650, there was another survey taken, in which it was returned, that Meopham was a vicarage presentative, worth 50l. per annum, Mr. Gibbon then incumbent, in the room of the late Mr. Pigget, then sequestered; that there was a pension of 5l. 6s. 8d. per annum, paid by the late dean and chapter of Canterbury, who had the impropriation, worth 120l. per annum, let on lease to Mr. Henry Haslin. This vicarage is valued in the king's books at 16l. 3s. 4d. and the yearly tenths at 1l. 2s. 4d. (fn. 14)
The vicar of Meopham receives all manner of tithes, except corn, and enjoys an augmentation of thirty pounds per annum, paid by the lessee of the parsonage, and the annual pension of 5l. 6s. 8d. from the dean and chapter.
Non hdr & no polarizer used on this. Just some minor adjustments in Photoshop Elements 6. I'm loving my new Tokina 11-16 2.8 lens.
Stay in style to experience a spacious, luxurious with a blend of modern and stylish furniture of the Deluxe room at the Hotel de la Paix in Geneva Switzerland. Deluxe rooms have a view on the Geneva Lake and are well equipped : Room size are From 35 to 45 square metres (from 377 to 484 square feet)
Tatra 12 vintage car interior in the Museum of Transportation section at the National Technical Museum, Prague
Climbing into a Scammell Contractor makes a nice change - easy to access and plenty of room once you are there! Scammell Contractor KAX395P
Very spacious cargo hold. 6 large tiles make the floor so this ship is designed for heavy cargo hauling.
The new T3 terminal in Singapore! Spacious, quiet, and quite simply an architectural masterpiece. Singapore raising the bar once more.
San Lazaro station on Line B is spacious and modern. It is the first station on the elevated portion of the line but is fully enclosed. It is adjacent to a large bus terminal (TAPO) and a free transfer to Metro Line 1 is available. The line continues on an elevated structure before descending to the surface in the median of a major street heading north to Ecatepec in Mexico State. The lines confined to Mexico City use rubber wheels -- this one uses conventional steel wheels.
In April 2012 Metrobus Line 4 began running outside, with connections to the airport, Buenavista railroad station, and the Centro Historico.
An earlier version of San Lazaro Station, located a few blocks to the west, was the terminal for the Interoceanic Railroad. A nearby street is named "Ferrocarril de Cintura" meaning "belt railroad" which connected to Ferrocarril Hidalgo.
A view of the Victoria Memorial Hall from the West Side.
(I regret the photo quality, as I forgot to adjust my camera to reduce the intake of light - The Sun that day was too scorching.)
The Victoria Memorial, officially the Victoria Memorial Hall, is a memorial building dedicated to Victoria, Queen of the United Kingdom and Empress of India, which is located in Kolkata, India – the capital of West Bengal and a former capital of British India. It currently serves as a museum and a tourist attraction. It is an autonomous organization within the Government of India's Ministry of Culture.
The memorial was designed by Sir William Emerson using Indo-Saracenic style, incorporating Mughal elements in the structure. Lord Redesdale and Sir David Prain designed the gardens. The foundation stone of the memorial was laid down in the year 1906. The monument was intended to serve as a tribute to the success of the British Empire in India.
Architect Sir William Emerson laid down the actual plan of the memorial. The design of the structure represents a fusion of British and Mughal architecture. White Makrana marbles were used in the construction of Victoria Memorial Hall and the building was inaugurated in the year 1921. The massive hall is 338 feet (103 m) by 228 feet (69 m) and rises to a height of 184 feet (56 m).
British government money was not used in its construction at all. Rather, the British Indian states, along with the individuals who wanted some favours from the British government, were the main contributors towards the cost of building the Victoria Memorial Hall.
The massive Victoria Memorial stands enclosed within 64 acres (260,000 m2) of blooming gardens. It houses a museum containing a large collection of memorabilia relating to Queen Victoria and the British presence in India as well as other exhibits. The Memorial also contains a Royal Gallery housing a number of portraits of Queen Victoria and Prince Albert and paintings illustrating their lives.
After India gained independence in the year 1947, certain additions were made to the Victoria Memorial. These additions formed National Leader's Gallery, containing the portraits and relics relating to Indian independence.
On the death of Queen Victoria in January 1901, Lord Curzon, who was then Viceroy of India, placed before the public the question of setting up a fitting memorial to the Queen. He suggested that the most suitable memorial would be a "stately", spacious, monumental and grand building surrounded by an exquisite garden. This was to be a historical museum where people could see before them pictures and statues of men who played a prominent part in the history of this country and develop a pride in their past. The princes and people of India responded generously to his appeal for funds and the total cost of construction of this monument amounting to one crore five lakhs of rupees, was entirely derived from their voluntary subscriptions. Sir William Emerson, President of the British Institute of Architects, designed and drew up the plan of this building, while the work of construction was entrusted to Messrs. Martin & Co. of Calcutta. Vincent J. Esch was the superintending architect.
Source : Internet Sites.
Aspen Grove Campground was the largest walk-in only campground I'de ever seen. No RVs, trailers or cab-over truck campers allowed; JUST TENT CAMPING - yes! Large parking lots, nice bathrooms, and plenty of wildlife walking around. On a Sunday night in Autumn, I was the only person out here.
Who says California is crowded?
Aspen Grove Campground @ Eagle Lake
N of Susanville, CA