View allAll Photos Tagged Stood
Me stood next to Southern Railway 'King Arthur Class' N15 4-6-0 No. 30777 "Sir Lamiel" at the Wensleydale Railway after a running day on the railway having to do shuttles up and down the line
Wright's Tavern stood (and stands!) in the center of Concord. With the public meetinghouse on one side and the militia training ground on the other, it was a favorite resort of Concord's leading citizens for both business and pleasure, and thus played an important role in the transaction of the town's civil and military business. Built in 1747 by Ephraim Jones, who operated it until 1751, the tavern was managed during the portentous days of April 1775 by Amos Wright, whose name it has borne ever since. On April 19, when the courthouse bell announced the approach of Major Pitcairn's British troops, the Concord minutemen assembled at Wright's Tavern. Later, after Pitcairn's arrival in the public square, the British officers took refreshments in the tavern. As the scene of these events, the tavern has important associations with the opening military episode of the Revolution.
Charlie stood in the cold muddy water freezing...he was trembling like the last autumn leaf left on the tree..whimpering for help..aw!
I stood in the middle of a walkway with trees. The trees are the frame of the people riding the horses.
This is me in my Fred Perry shirt, which is partly open of course, but in a way to not show too much!!! My hair covers up well. I was actually entering a competition for Fred Perry's site so I had a few pic's taken...mainly by myself, as I'm usually pretty good at doing them myself, infact I think I took ALL of these photo's myself. I've always been very photogenic so I take several and pick the best ones out of them, and I like this one, even tho there's more like this one that I prefer, but they have my shirt fully open, with nothing underneath, but they are all great!!!
Two churches previously stood on the site: the White Church (15th century) and the Presentation Church (17th century).
On 8 August 1826, prince Ioan Sturdza signed a decree ordering construction of the cathedral; Metropolitan Veniamin Costache laid the cornerstone on 3 July 1833 and guided construction in its early years.
Work began in 1833, using a neo-classical design by Viennese architects Gustav Freywald and Bucher, and continued at a rapid pace until 1841, in the latter years under the Russian architect Mihail Singurov.
In 1839, after it was completely built and covered, serious cracks had appeared on the large central arch.
Various solutions were attempted (in 1840 Singurov replaced the brick ceiling with wood, for example), but on 23 May 1857, the ceiling collapsed taking the interior columns with it, and the building remained ruined for decades.
At the urging of Metropolitan Iosif Naniescu (1875–1902), the newly independent Romanian state decided to start the restoration work of the cathedral.[
A new cornerstone was laid on 15 April 1880.
Architect Alexandru Orăscu, rector of the University of Bucharest, designed new plans that added two rows of massive pilasters to the interior, creating a rectangular basilica shape, with a central nave and two smaller side naves.
The four detached side spires were kept, but the large central dome was eliminated and replaced with a system of four semicircular sections, separated by transverse arches
The cathedral was consecrated on 23 April 1887, in the presence of King Carol I and Queen Elisabeth, who had donated large sums for the project.
In 1889, the relics of Saint Pious Parascheva, patron saint of Moldavia, were brought from Trei Ierarhi Monastery and continue to attract crowds of pilgrims, particularly on her feast day (October 14).
These are located on the right side of the vestibule, as are those of Veniamin Costache.
The Day Edinburgh Stood Still, well Billy stood still whilst the flashes fired. This poster was a great piece of street art on the way to the Grass Market. Unfortunately we caused some commotion as it was Edinburgh in the Festival Season. The robot wasn’t very chatty and didn’t even ask to be taken to any leaders, so we moved on after getting details of her agent.
www.facebook.com/billywatsontv
Photographs ©2013 PHH Sykes
www.flickr.com/photos/phhsykes/
phhsykes@googlemail.com
St Lawrence's church Combe once stood in the valley near the Evenlode, but in 1395 Eynsham Abbey rebuild the church on higher ground and it is this early C15 building that survives, almost unaltered. It consists of chancel, nave, north and south porches with a three-stage embattled west tower, The windows are square-headed. The chancel has a piscina and sedilia which has three trefoiled openings with crocketed canopies under a square hood. A Decorated niche, ornamented with ballflower is set into the southeast nave wall and must be a remnant of the earlier church. On the other side of the chancel arch the stair to the rood loft can be seen. The present font is C19, though a weathered Perpendicular 'font' can be seen in the nave, this may be the base of a cross. The stone pulpit built against the north wall is a rare survival, thought to be one of the original fittings. It is polygonal with blind tracery and rests on a carved head. The church is famous for its C15 scheme of paintings. A Doom spans the chancel arch. On the northeast wall of the nave, a Crucifixion with the Virgin and St John. To the south near the Decorated niche a fragment of an annunciation. Faded figures of St Catherine and St Margaret can be seen on the north wall while over the south door the St Christopher has been overpainted with Moses and Aaron bearing the Commandments between them. Several fishes, a mermaid and an otter survive from the original scene of the saint fording the river. Many of the windows have C15 angels in the tracery, while the east window has similar figures with Christ and the Virgin in Majesty, restored. A large early C15 panel depicting St James the Great survives with its inscription in one of the south windows.
"Twas the first day of springtime,
And the snowman stood alone
As the winter snows were melting,
And the pine trees seemd to groan,
"Ah, you poor sad smiling snowman,
You'll be melting by and by."
Said the snowman, "What a pity,
For I'd like to see July.
Yes, I'd like to see July, and please don't ask my why.
But I'd like to yes, I'd like to , oh I'd like to see July."
Chirped a robin, just arriving,
"Seasons come and seasons go,
And the greatest ice must crumble
When it's flowers' time to grow,
And as one thing is beginning
So another thing must die,
And there's never been a snowman
Who has ever seen July.
No, they never see July, no matter how they try.
No, they never ever, never ever, never see July."
But the snowman sniffed his carrot nose
And said, "At least I'll try,"
And he bravely smiled his frosty smile
And blinked his coal-black eye.
And there he stood and faced the sun
A blazin' from the sky-
And I really cannot tell you
If he ever saw July.
Did he ever see July? You can guess as well as I
If he ever, if he never, if he ever saw July.
Shel Silverstein
I love this poem - it speaks so much...
To think in this farm house, of the small changes over the years to it, tons of Johnson's have always stood around here, the floor has never changed. The day this farm house isn't in my family is a day a piece of my family will die.
The Beginnings:
The first recorded mention of Hooton Pagnell is found in Domesday Book, where it is called "Hotone" ("The Town on the Hill" or "The High Dwelling Place"). "In Hotone and Bileham Earl Edwin had one manor of ten carucetes for geld, and ten ploughs may be there.. . . . . . . . . In the time of King Edward it was worth eight pounds, now one hundred shillings."
The village was variously called "Hoton", "Howton", "Hutton", the second part of the name being added during the time of the Paganals, a distinguished Norman family into whose hands the manor passed towards the end of the 11th Century. The second part of the name is variously spelt - "Paynel", “Painell", "Pannell", "Pagnell". Hence, "Hooton Pagnell" - "The High Dwelling Place of the Paynels':
The Norman invasion changed the face of England, forged a new historical direction, and significantly altered our language. Whatever the legitimacy of William's claim to the English throne his iron fist closed round his new kingdom during the first 20 years of his reign, and he laid waste huge areas of the North where Saxon remnants had dared to rebel. Lands and manors were given to supporters as spoils and as rewards for loyalty. The 200 acres, that was in 1086 the extent of the cultivated land in Hooton, were given to Robert, Count of Mortain. He in turn sublet the land to Richard de Surdeval, a Norman knight.
William the Conqueror's aim in ordering the compilation of Domesday was to establish the value and extent of the properties and land he claimed to be his as the successor to Edward the Confessor. The surveyors he sent out covered most of England during the first seven months of 1086. Using a questionnaire they ascertained the male population of each district and noted the sources of wealth of each manor.
"There was not a single hide, nor one vintage of land, nor even, it is shame to tell, though it seemed no shame to do, an ox, nor a cow, nor a swine was left that was not set down." (Contemporary Saxon Chronicler)
The manor of Hooton was deemed to be worth £5 per year, £3 less than before the Conquest. William had no-one to blame for this apparent devaluation but himself. His Northern campaign resulted in thousands being slaughtered, and lands and properties being laid waste. Nevertheless Hooton was important. It commanded a fine strategic position overlooking the flat country by the Dearne and Don, and it had a supply of wood and fresh water.
Towards the end of the 11th Century the estate of Hooton passed from Richard into the hands of Ralph Paganel, a distinguished Norman who had supported William. Ralph also owned lands in Somerset, Devon, Gloucester, Northampton, Lincoln, and other parts of Yorkshire. This made him one of the richest and most powerful barrons in the county.
The ownership of Hooton remained in the hands of the Paganels and their heirs till
the reign of Edward IV through the names of Paganel, and through marriage,
Luterel and Hilton.
Even though it has been more than 20 years...but every single things in the shop it just glued to the original place!
Stood right next to the pond at Hinton Ampner... don't let go of the 2 year old!
Sunday 8th July 2007
A church has stood on the current site since c.930. King Athelstan stopped to pray at Saint Buriana's chapel, of which little now remains, during his conquest of Cornwall before his campaign against the Scilly Isles. He vowed to erect a college of clergy where the oratory stood if God blessed his expedition with success. Upon his triumphant return, having subdued Scilly, Athelstan endowed a church in honour of Saint Buriana with a charter that established St Buryan as one of the earliest monasteries in Cornwall.[1] The church structure was later enlarged and dedicated to the saint in 1238 by Bishop William Brewer However, by 1473 the church had fallen into disrepair, with large sections having to be subsequently rebuilt. The current tower, completed in 1501 is 92 feet (28 m) high and constructed of wrought-cut granite from nearby Lamorna. Many years later the same granite was used to build Old London Bridge. The tower is divided into four stages, and has double buttresses at each angle. An octagonal turret rises at the south-east corner and contains a spiral staircase. The bulk of the present church building was added in the late 15th and 16th century and the north wall re-built in the 18th century, at the same time as the demolition of a small lean-to chapel on the north wall of the chancel.[5] In 1814, the church was restored yet again when the benches and screen were replaced and on 7 August 1875 the church was re-opened by, Frederick Temple, the Bishop of Exeter following another restoration. He also consecrated the new churchyard. In 1956 the present Lady Chapel was erected as a gift of John Franklin Tonkin, in memory of his uncle, Robert Edmund Tonkin, of Treverven. The church is currently classified as a Grade I listed building.
Stood on the corner for a while
To wait for the wind to blow down on me
Hoping it takes with it my old ways
And brings some brand new look upon me
- John Mayer
Two churches previously stood on the site: the White Church (15th century) and the Presentation Church (17th century).
On 8 August 1826, prince Ioan Sturdza signed a decree ordering construction of the cathedral; Metropolitan Veniamin Costache laid the cornerstone on 3 July 1833 and guided construction in its early years.
Work began in 1833, using a neo-classical design by Viennese architects Gustav Freywald and Bucher, and continued at a rapid pace until 1841, in the latter years under the Russian architect Mihail Singurov.
In 1839, after it was completely built and covered, serious cracks had appeared on the large central arch.
Various solutions were attempted (in 1840 Singurov replaced the brick ceiling with wood, for example), but on 23 May 1857, the ceiling collapsed taking the interior columns with it, and the building remained ruined for decades.
At the urging of Metropolitan Iosif Naniescu (1875–1902), the newly independent Romanian state decided to start the restoration work of the cathedral.[
A new cornerstone was laid on 15 April 1880.
Architect Alexandru Orăscu, rector of the University of Bucharest, designed new plans that added two rows of massive pilasters to the interior, creating a rectangular basilica shape, with a central nave and two smaller side naves.
The four detached side spires were kept, but the large central dome was eliminated and replaced with a system of four semicircular sections, separated by transverse arches
The cathedral was consecrated on 23 April 1887, in the presence of King Carol I and Queen Elisabeth, who had donated large sums for the project.
In 1889, the relics of Saint Pious Parascheva, patron saint of Moldavia, were brought from Trei Ierarhi Monastery and continue to attract crowds of pilgrims, particularly on her feast day (October 14).
These are located on the right side of the vestibule, as are those of Veniamin Costache.
We stood in line for Astro Orbiter. And when we got up there, H. told me it wasn't what he expected. (Side note: that turned out to be code for "those giant hydraulic lifts are freaking me the f*** out".) But as you can see: H. enjoyed the crap out of this ride after all.
we stood like kings play post rock music on silent movies
Live @ Filmhuis Mechelen
première of USA 1982 (Koyaanisqatsi)
St Lawrence's church Combe once stood in the valley near the Evenlode, but in 1395 Eynsham Abbey rebuild the church on higher ground and it is this early C15 building that survives, almost unaltered. It consists of chancel, nave, north and south porches with a three-stage embattled west tower, The windows are square-headed. The chancel has a piscina and sedilia which has three trefoiled openings with crocketed canopies under a square hood. A Decorated niche, ornamented with ballflower is set into the southeast nave wall and must be a remnant of the earlier church. On the other side of the chancel arch the stair to the rood loft can be seen. The present font is C19, though a weathered Perpendicular 'font' can be seen in the nave, this may be the base of a cross. The stone pulpit built against the north wall is a rare survival, thought to be one of the original fittings. It is polygonal with blind tracery and rests on a carved head. The church is famous for its C15 scheme of paintings. A Doom spans the chancel arch. On the northeast wall of the nave, a Crucifixion with the Virgin and St John. To the south near the Decorated niche a fragment of an annunciation. Faded figures of St Catherine and St Margaret can be seen on the north wall while over the south door the St Christopher has been overpainted with Moses and Aaron bearing the Commandments between them. Several fishes, a mermaid and an otter survive from the original scene of the saint fording the river. Many of the windows have C15 angels in the tracery, while the east window has similar figures with Christ and the Virgin in Majesty, restored. A large early C15 panel depicting St James the Great survives with its inscription in one of the south windows.
Stood in the Churchyard of St Paul's Cathderal looking up at the statue of St Paul and the dome of the Cathedral.
Architecture
At the beginning stood the barracks:
In fact, stood in Feldkirch a newly erected building - ingens aedificium - called by the house chronicle somewhat hyperbolically - above the gate Mühletores on the right bank of the river Ill. Here stood heretofore the St. Leonhard's little church "in the Floodplain" that Count Rudolf von Montfort on the basis of a vow made in his captivity in the years 1374-79 had built. When, during the turbulent revolutionary years of 1847-1849, stronger contingents of troops were stationed in Vorarlberg, the municipal authorities had hoped to preserve a garrison. It had the church of St. Leonhard demolished in 1850 and erected a barracks in its place.
But the troops were quartered in other parts of Austria, and the three-storey barracks were empty and sold to the Jesuits. However, the construction proved to be too small and had to be expanded after two years with a study wing at the Ill. After this, the number of internal and external pupils rose from 50 to 465. Emperor Franz Josef then approved a new building of the state school around 1860, thus demonstrating his predilection for Christian education and his benevolence towards the Feldkirch Gymnasium.
In 1877, the barracks were extended by a class wing on the south side. In the autumn of 1899, with raising pupil numbers, the "new building" of the Gymnasium was erected on the left bank of the Ill, the present Vorarlberger Landeskonservatorium, which was connected to the old building by a covered iron bridge across the river. The new building of the Stella Matutina was built between 1899 and 1900 by the Innsbruck architect Peter Hutter. As a result of its asymmetry, the large building loses some of the monumentality that often made appear the Vienna Ring Road style negative. The horizontal bands take into account the topographical situation.
In the years 1890 and especially 1910 catastrophic floods of the Ill caused great damage to the College and the city of Feldkirch. After the move of the German Gymnasium to St. Blasien, the old building on the right side was sold to the town of Feldkirch in 1938.
Architektur
Am Anfang stand die Kaserne:
In der Tat stand in Feldkirch ein neu errichtetes Gebäude – ingens aedificium – nennt es die Hauschronik etwas hyperbolisch – oberhalb des Mühletores am rechten Ufer der Ill. Hier war vordem das St. Leonhards- Kirchlein „in der Aue“ gestanden, das Graf Rudolf von Montfort auf Grund eines in seiner Gefangenschaft gemachten Gelübdes in den Jahren 1374–79 erbaut hatte. Als in den unruhigen Revolutionsjahren 1847–1849 stärkere Truppenkontingente in Vorarlberg stationiert waren, hatte der Stadtmagistrat die Hoffnung gehegt, eine Garnison zu erhalten. Er ließ 1850 das St. Leonhards Kirchlein abreißen und an seine Stelle eine Kaserne aufführen.
Aber die Truppen wurden in andere Teile Österreichs einquartiert, und die drei Stockwerk hohe Kaserne stand leer und wurde an die Jesuiten verkauft. Der Bau erwies sich aber als zu klein und musste bereits nach zwei Jahren mit einem Studienflügel an der Ill erweitert werden. Danach stieg die Zahl der internen und externen Schüler von 50 auf 465 an. Kaiser Franz Josef bewilligte daraufhin einen Neubau des bisherigen Staatsgymnasiums um 1860 und zeigte so seine Vorliebe für die christliche Erziehung und sein Wohlwollen gegen das Feldkircher Gymnasium.
1877 wurde die Kaserne an der Südostecke um einen Klassenflügel erweitert. Bei steigenden Zöglingszahlen wurde im Herbst 1899 auf dem linken Ill-Ufer „der Neubau“ des Gymnasiums, das heutige Vorarlberger Landeskonservatorium errichtet, der mit einer gedeckten Eisenbrücke über den Fluss mit dem Altbau verbunden war. Das neue Gebäude der Stella Matutina wurde in den Jahren 1899 bis 1900 durch den Innsbrucker Architekten Peter Hutter erbaut. Der große Baukörper verliert durch seine Asymmetrie etwas von jener Monumentalität, die den Wiener Ringstraßenstil oft negativ erscheinen ließ. Die horizontalen Bänder berücksichtigen die topographische Situation.
In den Jahren 1890 und vor allem 1910 verursachten katastrophale Überschwemmungen der Ill dem Kolleg und der Stadt Feldkirch große Schäden. Nach dem Umzug des deutschen Gymnasiums nach St. Blasien wurde der Altbau auf der rechten Seite 1938 an die Stadt Feldkirch verkauft.
de.wikipedia.org/wiki/Stella_Matutina_(Jesuitenkolleg)