A massive structure, this Air Ministry Pattern Pillbox has a 24ft diameter, constructed with brickwork shuttering and poured concrete, shellproof walls with large embrasures. It stands in a cropped field south west from the former RAF Hunsdon airfield.

 

A World War Two Air Ministry Pattern Pillbox, a variant of a FW3/22 Type-22 Pillbox consisting of the standard internal dimensions with thickened walls and enlarged embrasures. The need for a shellproof Pillbox with a wall thickness of between 42in and 55in was deemed necessary in 1941 by the Air Ministry to help defend airfields against aerial bombing. This Pillbox is positioned south west of the airfield, they were built in Great Britain prior to the invasion and thereafter in northwest Europe from the 6th of June 1944 to V-E Day, the 7th of May 1945.

 

The Air Ministry Pillbox was part of RAF Hunsdon airfield defences, it's been constructed with brickwork shuttering and poured concrete, which has come away in large sections, its also under attack from the undergrowth. The entrance is via a short half-height porch, now fitted with a gate. The porch entrance has stepped anti-ricochet walls which leads in to the interior of the Pillbox, with a central anti-ricochet wall, the corrugated sheets and wooden supports used for shuttering remain in place under the roof. The large stepped embrasures are fitted with Turnbull gun mounts.

Solvang, CA

Ash is a large village, now almost a town, now bypassed by the Canterbury to Sandwich road.

 

St Nicholas is a large church, and sits on a low mound above the High Street and houses.

 

The church itself is cruciform in shape, and previously stated, large.

 

It is furnished with serval monuments and brasses, all of a very high standard.

 

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A large and impressive church of mainly thirteenth century date over restored in 1847 by the irrepressible William Butterfield. The scale of the interior is amazing - particularly in the tower crossing arches which support the enormous spire. They are an obvious insertion into an earlier structure. The best furnishing at Ash is the eighteenth century font which stands on an inscribed base. For the visitor interested in memorials, Ash ahs more than most ranging from the fourteenth century effigy of a knight to two excellent alabaster memorials to Sir Thomas Harfleet (d 1612) and Christopher Toldervy (d 1618). Mrs Toldervy appears twice in the church for she accompanies her husband on his memorial and may also be seen as a `weeper` on her parents` memorial! On that she is one of two survivors of what was once a group of seven daughters - all her weeping brothers have long since disappeared.

 

www.kentchurches.info/church.asp?p=Ash+2

 

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ASH

LIES adjoining to the last-described parish of Staple northward. It is written in Domesday, Ece, and in other antient records, Aisse, and is usually called Ash, near Sandwich, to distinguish it from Ash, near Wrotham.

 

The parish of Ash is very large, extending over a variety of soil and country, of hill, dale, and marsh lands, near four miles across each way, and containing more than six thousand acres of land, of which about one half is marsh, the river Stour being its northern bounday, where it is very wet and unwholesone, but the southern or upland part of the parish is very dary, pleasant and healthy. The soil in general is fertile, and lets on an average at about one pound an acre; notwithstanding, there is a part of it about Ash-street and Gilton town, where it is a deep sand. The village of Ash, commonly called Ash-street, situated in this part of it, on high ground, mostly on the western declivity of a hill, having the church on the brow of it, is built on each side of the road from Canterbury to Sandwich, and contains about fifty houses. On the south side of this road, about half a mile westward, is a Roman burial ground, of which further mention will be taken hereaster, and adjoining to it the hamlet of Gilton town, formerly written Guildanton, in which is Gilton parsonage, a neat stuccoed house, lately inhabited by Mr. Robert Legrand, and now by Mrs. Becker. In the valley southward stands Mote farm, alias Brooke house, formerly the habitation of the Stoughtons, then of the Ptoroude's and now the property of Edward Solly, esq. of London.

 

There are dispersed throughout this large parish many small hamlets and farms, which have been formerly of more consequence, from the respective owners and in habitants of them, all which, excepting East and New Street, and Great Pedding, (the latter of which was the antient residence of the family of solly, who lie buried in Ash church-yard, and bore for their arms, Vert, a chevron, per pale, or, and gules, between three soles naiant, argent, and being sold by one of them to dean Lynch, is now in the possession of lady Lynch, the widow of Sir William Lynch, K. B.) are situated in the northern part of the parish, and contain together about two hundred and fifty houses, among them is Hoden, formerly the residence of the family of St. Nicholas; Paramour-street, which for many years was the residence of those of that name, and Brook-street, in which is Brook-house, the residence of the Brooke's, one of whom John Brooke, esq. in queen Elizabeth's reign, resided here, and bore for his arms, Per bend, vert and sable, two eagles, counterchanged.

 

William, lord Latimer, anno 38 Edward III. obtained a market to be held at Ash, on a Thursday; and a fair yearly on Lady-day, and the two following ones. A fair is now held in Ash-street on Lady and Michaelmas days yearly.

 

In 1473 there was a lazar house for the infirm of the leprosy, at Eche, near Sandwich.

 

¶The manor of Wingham claims paramount over this parish, subordinate to which there were several manors in it, held of the archbishop, to whom that manor belonged, the mansions of which, being inhabited by families of reputation and of good rank in life, made this parish of much greater account than it has been for many years past, the mansions of them having been converted for a length of time into farmhouses to the lands to which they belong.

 

f this manor, (viz. Wingham) William de Acris holds one suling in Fletes, and there he has in demesne one carucate and four villeins, and one knight with one carucate, and one fisbery, with a saltpit of thirty pence. The whole is worth forty shillings.

 

This district or manor was granted by archbishop Lanfranc, soon after this, to one Osberne, (fn. 7) of whom I find no further mention, nor of this place, till king Henry III.'s reign, when it seems to have been separated into two manors, one of which, now known by the name of the manor of Gurson Fleet, though till of late time by that of Fleet only, was held afterwards of the archbishop by knight's service, by the family of Sandwich, and afterwards by the Veres, earls of Oxford, one of whom, Robert de Vere, earl of Oxford, who died anno 3 Edward III. was found by the escheat-rolls of that year, to have died possessed of this manor of Fleet, which continued in his descendants down to John de Vere, earl of Oxford, who for his attachment to the house of Lancaster, was attainted in the first year of king Edward IV. upon which this manor came into the hands of the crown, and was granted the next year to Richard, duke of Gloucester, the king's brother, with whom it staid after his succession to the crown, as king Richard III. on whose death, and the accession of king Henry VII. this manor returned to the possession of John, earl of Oxford, who had been attainted, but was by parliament anno I Henry VII. restored in blood, titles and possessions. After which this manor continued in his name and family till about the middle of queen Elizabeth's reign, when Edward Vere, earl of Oxford, alienated it to Hammond, in whose descendants it continued till one of them, in the middle of king Charles II.'s reign, sold it to Thomas Turner, D. D. who died possessed of it in 1672, and in his name and descendants it continued till the year 1748, when it was sold to John Lynch, D. D. dean of Canterbury, whose son Sir William Lynch, K. B. died possessed of it in 1785, and by his will devised it, with the rest of his estates, to his widow lady Lynch, who is the present possessor of it. A court baron is held for this manor.

 

Archbishop Lanfranc, on his founding the priory of St. Gregory, in the reign of the Conqueror, gave to it the tithe of the manor of Fleet; which gift was confirmed by archbishop Hubert in Richard I.'s reign. This portion of tithes, which arose principally from Gurson Fleet manor, remained with the priory at its dissolution, and is now part of Goldston parsonage, parcel of the see of Canterbury, of which further mention has been made before.

 

The other part of the district of Fleet was called, to distinguish it, and from the possessors of it, the manor of Nevills Fleet, though now known by the name of Fleet only, is situated between Gurson and Richborough, adjoining to the former. This manor was held in king John's reign of the archbishop, by knight's service, by Thomas Pincerna, so called probably from his office of chief butler to that prince, whence his successors assumed the name of Butler, or Boteler. His descendant was Robert le Boteler, who possessed this manor in king Ed ward I.'s reign, and from their possession of it, this manor acquired for some time the name of Butlers Fleet; but in the 20th year of king Edward III. William, lord Latimer of Corbie, appears to have been in the possession of it, and from him it acquired the name of Latimers Fleet. He bore for his arms, Gules, a cross flory, or. After having had summons to parliament, (fn. 8) he died in the begening of king Richard II.'s reign, leaving Elizabeth his sole daughter and heir, married to John, lord Nevill, of Raby, whose son John bore the title of lord Latimer, and was summoned to parliament as lord Latimer, till the 9th year of king Henry VI. in which he died, so that the greatest part of his inheritance, among which was this manor, came by an entail made, to Ralph, lord Nevill, and first earl of Westmoreland, his eldest, but half brother, to whom he had sold, after his life, the barony of Latimer, and he, by seoffment, vested it, with this manor and much of the inheritance above-mentioned, in his younger son Sir George Nevill, who was accordingly summoned to parliament as lord Latimer, anno 10 Henry VI. and his grandson Richard, lord Latimer, in the next regin of Edward IV. alienated this manor, which from their length of possession of it, had acquired the name of Nevill's Fleet, to Sir James Cromer, and his son Sir William Cromer, in the 11th year of king Henry VII, sold it to John Isaak, who passed it away to Kendall, and he, in the beginning of king Henry VIII.'s reign, sold it to Sir John Fogge, of Repton, in Ashford, who died possessed of it in 1533, and his son, of the same name, before the end of it, passed it away to Mr. Thomas Rolfe, and he sold it, within a few years afterwards, to Stephen Hougham, gent. of this parish, who by his will in 1555, devised it to his youngest son Rich. Hougham, of Eastry, from one of whose descendants it was alienated to Sir Adam Spracklin, who sold it to one of the family of Septvans, alias Harflete, in which name it continued till within a few years after the death of king Charles I. when by a female heir Elizabeth it went in marriage to Thomas Kitchell, esq. in whose heirs it continued till it was at length, about the year 1720, alienated by one of them to Mr. Thomas Bambridge, warden of the Fleet prison, upon whose death it became vested in his heirs-at-law, Mr. James Bambridge, of the Temple, attorney at-law, and Thomas Bambridge, and they divided this estate, and that part of it allotted to the latter was soon afterwards alienated by him to Mr. Peter Moulson, of London, whose only daughter and heir carried it in marriage to Mr. Geo. Vaughan, of London, and he and the assignees of Mr. James Bambridge last mentioned, have lately joined in the conveyance of the whole fee of this manor to Mr. Joseph Solly, gent. of Sandwich, the present owner of it. There is not any court held for this manor.

 

In this district, and within this manor of Fleet lastmentioned, there was formerly a chapel of cose to the church of Ash, as that was to the church of Wingham, to which college, on its foundation by archbishop Peckham in 1286, the tithes, rents, obventions, &c of this chapel and district was granted by him, for the support in common of the provost and canons of it, with whom it remained till the suppression of it, anno I king Edward VI. The tithes, arising from this manor of Fleet, and the hamlet of Richborough, are now a part of the rectory of Ash, and of that particular part of it called Gilton parsonage, parcel of the possessions of the see of Canterbury, of which further mention will be made hereafter. There have not been any remains left of it for a long time part.

 

Richborough is a hamlet and district of land, in the south-east part of this parish, rendered famous from the Roman fort and town built there, and more so formerly, from the port or haven close adjoining to it.

 

It was in general called by the Romans by the plural name of Rutupiæ; for it must be observed that the æstuary, which at that time separated the Isle of Thanet from the main land of Kent, and was the general passage for shipping,had at each mouth of it, towards the sea, a fort and haven, called jointly Rutupiæ. That at the northern part and of it being now called Reculver, and that at the eastern, being the principal one, this of Richborough.

 

The name of it is variously spelt in different authors. By Ptolemy it is written [Patapiaia (?)] urbem; by Tacitus, according to the best reading, Portus, Rutupensis; by Antonine, in his Itinerary, Ritupas, and Ritupis Portum; by Ammianus, Ritupiæ statio; afterwards by the Saxons, Reptacester, and now Richborough.

 

The haven, or Portus Rutupinus, or Richborough, was very eminent in the time of the Romans, and much celebrated in antient history, being a safe and commodious harbour, stationem ex adverso tranquillam, as Ammianus calls it, situated at the entrance of the passage towards then Thamas, and becoming the general place of setting sail from Britain to the continent, and where the Roman fleets arrived, and so large and extensive was the bay of it, that it is supposed to have extended far beyond Sandwich on the one side, almost to Ramsgate cliffs on the other, near five miles in width, covering the whole of that flat of land on which Stonar and Sandwich were afterwards built, and extending from thence up the æstuary between the Isle of Thanet and the main land. So that Antonine might well name it the Port, in his Itinerary, [Kat exochin], from there being no other of like consequence, and from this circumstance the shore for some distance on each side acquired the general name of Littus Rutupinum, the Rutupian shore. (fn. 9) Some have contended that Julius Cæsar landed at Richborough, in his expeditions into Britain; but this opinion is refuted by Dr. Hasley in Phil, Trans. No. 193, who plainly proves his place of landing to have been in the Downs. The fort of Richborough, from the similarity of the remains of it to those of Reculver, seems to have been built about the same time, and by the same emperer, Serveris, about the year 205. It stands on the high hill, close to a deep precipice eastward, at the soot of which was the haven. In this fortress, so peculiarly strengthened by its situation, the Romans had afterwards a stationary garrison, and here they had likewise a pharos, of watch tower, the like as at Reculver and other places on this coast, as well to guide the shipping into the haven, as to give notice of the approach of enemies. It is by most supposed that there was, in the time of the Romans, near the fort, in like manner as at Reculver, a city or town, on the decline of the hill, south-westward from it, according to custom, at which a colony was settled by them. Prolemy, in his geography, reckons the city Rutpia as one of the three principal cities of Kent. (fn. 10) Orosius. and Bede too, expressly mention it as such; but when the haven decayed, and there was no longer a traffic and resort to this place, the town decayed likewise, and there have not been, for many ages since, any remains whatever of it left; though quantities of coins and Roman antiquities have been sound on the spot where it is supposed to have once stood.

 

During the latter part of the Roman empire, when the Saxons prevented all trade by sea, and insefted these coasts by frequent robberies, the second Roman legion, called Augusta, and likewise Britannica, which had been brought out of Germany by the emperor Claudius, and had resided for many years at the Isca Silurum, in Wales, was removed and stationed here, under a president or commander, præpositus, of its own, who was subordinate to the count of the Saxon shore, and continued so till the final departure of the Romans from Britain, in the year 410, when this fortress was left in the hands of the Britons, who were afterwards dispossessed of it by the Saxons, during whose time the harbour seems to have began to decay and to swerve up, the sea by degrees entirely deserting it at this place, but still leaving one large and commodious at Sandwich, which in process of time became the usual resort for shipping, and arose a flourishing harbour in its stead, as plainly appears by the histories of those times, by all of which, both the royal Saxon fleets, as well as those of the Danes, are said to sail for the port of Sandwich, and there to lie at different times; (fn. 11) and no further mention is made by any of them of this of Rutupiæ, Reptachester, or Richborough; so that the port being thus destroyed, the town became neglected and desolate, and with the castle sunk into a heap of ruins. Leland's description of it in king Henry VIII.'s reign, is very accurate, and gives an exceeding good idea of the progressive state of its decay to that time. He says, "Ratesburg otherwyse Richeboro was, of ever the ryver of Sture dyd turn his botom or old canale, withyn the Isle of the Thanet, and by Iykelyhod the mayn se came to the very foote of the castel. The mayn se ys now of yt a myle by reason of wose, that has there swollen up. The scite of the town or castel ys wonderful fair apon an hille. The walles the wich remayn ther yet be in cumpase almost as much as the tower of London. They have bene very hye thykke stronge and wel embateled. The mater of them is flynt mervelus and long brykes both white and redde after the Britons fascion. The sement was made of se sand and smaul pible. Ther is a great lykelyhod that the goodly hil abowte the castel and especially to Sandwich ward hath bene wel inhabited. Corne groweth on the hille yn bene mervelous plenty and yn going to plowgh ther hath owt of mynde fownd and now is mo antiquities of Romayne money than yn any place els of England surely reason speketh that this should be Rutupinum. For byside that the name sumwhat toucheth, the very near passage fro Cales Clyves or Cales was to Ratesburgh and now is to Sandwich, the which is about a myle of; though now Sandwich be not celebrated by cawse of Goodwine sandes and the decay of the haven. Ther is a good flyte shot of fro Ratesburg toward Sandwich a great dyke caste in a rownd cumpas as yt had bene for sens of menne of warre. The cumpase of the grownd withyn is not much above an acre and yt is very holo by casting up the yerth. They cawle the place there Lytleborough. Withyn the castel is a lytle paroche chirch of St. Augustine and an heremitage. I had antiquities of the heremite the which is an industrious man. Not far fro the hermitage is a cave wher men have sowt and digged for treasure. I saw it by candel withyn, and ther were conys. Yt was so straite that I had no mynd to crepe far yn. In the north side of the castel ys a hedde yn the walle, now fore defaced with wether. They call it queen Bertha hedde. Nere to that place hard by the wal was a pot of Romayne mony sownd."

 

The ruins of this antient castle stand upon the point of a hill or promontory, about a mile north-west from Sandwich, overlooking on each side, excepting towards the west, a great flat which appears by the lowness of it, and the banks of beach still shewing themselves in different places, to have been all once covered by the sea. The east side of this hill is great part of it so high and perpendicular from the flat at the foot of it, where the river Stour now runs, that ships with the greatest burthen might have lain close to it, and there are no signs of any wall having been there; but at the north end, where the ground rises into a natural terrace, so as to render one necessary, there is about 190 feet of wall left. Those on the other three sides are for the most part standing, and much more entire than could be expected, considering the number of years since they were built, and the most so of any in the kingdom, except Silchester. It is in shape an oblong square, containing within it a space of somewhat less than five acres. They are in general about ten feet high within, but their broken tops shew them to have been still higher. The north wall, on the outside, is about twice as high as it is within, or the other two, having been carried up from the very bottom of the hill, and it seems to have been somewhat longer than it is at present, by some pieces of it sallen down at the east end. The walls are about eleven feet thick. In the middle of the west side is the aperture of an entrance, which probably led to the city or town, and on the north side is another, being an entrance obliquely into the castle. Near the middle of the area are the ruins of some walls, full of bushes and briars, which seem as if some one had dug under ground among them, probably where once stood the prætorium of the Roman general, and where a church or chapel was afterwards erected, dedicated to St. Augustine, and taken notice of by Leland as such in his time. It appears to have been a chapel of ease to the church of Ash, for the few remaining inhabitants of this district, and is mentioned as such in the grant of the rectory of that church, anno 3 Edward VI. at which time it appears to have existed. About a furlong to the south, in a ploughed field, is a large circular work, with a hollow in the middle, the banks of unequal heights, which is supposed to have been an amphitheatre, built of turf, for the use of the garrison, the different heights of the banks having been occasioned by cultivation, and the usual decay, which must have happened from so great a length of time. These stations of the Romans, of which Richborough was one, were strong fortifications, for the most part of no great compass or extent, wherein were barracks for the loding of the soldiers, who had their usual winter quarters in them. Adjoining, or at no great distance from them, there were usually other, buildings forming a town; and such a one was here at Richborough, as has been already mentioned before, to which the station or fort was in the nature of a citadel, where the soldiers kept garrison. To this Tacitus seems to allude, when he says, "the works that in time of peace had been built, like a free town, not far from the camp, were destroyed, left they should be of any service to the enemy." (fn. 12) Which in great measure accounts for there being no kind of trace or remains left, to point out where this town once stood, which had not only the Romans, according to the above observation, but the Saxons and Danes afterwards, to carry forward at different æras the total destruction of it.

 

The burial ground for this Roman colony and station of Richborough, appears to have been on the hill at the end of Gilton town, in this parish, about two miles south-west from the castle, and the many graves which have been continually dug up there, in different parts of it, shew it to have been of general use for that purpose for several ages.

 

The scite of the castle at Richborough was part of the antient inheritance of the family of the Veres, earls of Oxford, from which it was alienated in queen Elizabeth's reign to Gaunt; after which it passed, in like manner as Wingham Barton before-described, to Thurbarne, and thence by marriage to Rivett, who sold it to Farrer, from whom it was alienated to Peter Fector, esq. of Dover, the present possessor of it. In the deed of conveyance it is thus described: And also all those the walls and ruins of the antient castle of Rutupium, now known by the name of Richborough castle, with the scite of the antient port and city of Rutupinum, being on and near the lands before-mentioned. About the walls of Richborough grows Fæniculum valgare, common fennel, in great plenty.

 

It may be learned from the second iter of Antonine's Itinerary, that there was once a Roman road, or highway from Canterbury to the port of Richborough, in which iter the two laft stations are, from Durovernum, Canterbury, to Richborough, ad portum Rutupis, xii miles; in which distance all the different copies of the Itinerary agree. Some parts of this road can be tracted at places at this time with certainty; and by the Roman burial-ground, usually placed near the side of a high road, at Gilton town, and several other Roman vestigia thereabouts, it may well be supposed to have led from Canterbury through that place to Richborough, and there is at this time from Goldston, in Ash, across the low-grounds to it, a road much harder and broader than usual for the apparent use of it, which might perhaps be some part of it.

 

Charities.

A person unknown gave four acres and an half of land, in Chapman-street, of the annual produce of 5l. towards the church assessments.

 

Thomas St. Nicholas, esq. of this parish, by deed about the year 1626, gave an annuity of 11. 5s. to be paid from his estate of Hoden, now belonging to the heirs of Nathaniel Elgar, esq. to be distributed yearly, 10s. to the repairing and keeping clean the Toldervey monument in this church, and 15s. on Christmas-day to the poor.

 

John Proude, the elder, of Ash, yeoman, by his will in 1626, ordered that his executor should erect upon his land adjoining to the church-yard, a house, which should be disposed of in future by the churchwardens and overseers, for a school-house, and for a storehouse, to lay in provision for the church and poor. This house is now let at 1l. per annum, and the produce applied to the use of the poor.

 

Richard Camden, in 1642, gave by will forty perches of land, for the use of the poor, and of the annual produce of 15s. now vested in the minister and churchwardens.

 

Gervas Cartwright, esq. and his two sisters, in 1710 and 1721, gave by deed an estate, now of the yearly value of 50l. for teaching fifty poor children to read, write, &c. vested in the minister, churchwardens, and other trustees.

 

The above two sisters, Eleanor and Anne Cartwright, gave besides 100l. for beautifying the chancel, and for providing two large pieces of plate for the communion service; and Mrs. Susan Robetts added two other pieces of plate for the same purpose.

 

There is a large and commodious workhouse lately built, for the use of the poor, to discharge the expence of which, 100l. is taken yearly out of the poor's rate, till the whole is discharged. In 1604, the charges of the poor were 29l. 15s. 11d. In 1779. 1000l.

 

There is a charity school for boys and girls, who are educated, but not cloathed.

 

The poor constantly relieved are about seventy-five, casually fifty-five.

 

This parish is within the ecclesiastical jurisdiction of the dioceseof Canterbury, and deanry of Bridge.

 

The church, which is dedicated to St. Nicholas, is a handsome building, of the form of a cross, consisting of two isles and two chancels, and a cross sept, having a tall spire steeple in the middle, in which are eight bells and a clock. It is very neat and handsome in the inside. In the high or south chancel is a monument for the Roberts's, arms, Argent, three pheons, sable, on a chief of the second, a greybound current of the first; another for the Cartwrights, arms, Or, a fess embattled, between three catherine wheels, sable. In the north wall is a monument for one of the family of Leverick, with his effigies, in armour, lying cross-legged on it; and in the same wall, westward, is another like monument for Sir John Goshall, with his effigies on it, in like manner, and in a hollow underneath, the effigies of his wife, in her head-dress, and wimple under her chin. A gravestone, with an inscription, and figure of a woman with a remarkable high high-dress, the middle part like a horseshoe inverted, for Jane Keriell, daughter of Roger Clitherow. A stone for Benjamin Longley, LL. B. minister of Ash twenty-nine years, vicar of Eynsford and Tonge, obt. 1783. A monument for William Brett, esq. and Frances his wife. The north chancel, dedicated to St. Nicholas, belongs to the manor of Molland. Against the north wall is a tomb, having on it the effigies of a man and woman, lying at full length, the former in armour, and sword by his side, but his head bare, a collar of SS about his neck, both seemingly under the middle age, but neither arms nor inscription, but it was for one of the family of Harflete, alias Septvans; and there are monuments and several memorials and brasses likewise for that family. A memorial for Thomas Singleton, M. D. of Molland, obt. 1710. One for John Brooke, of Brookestreet, obt. 1582, s. p. arms, Per bend, two eagles.—Several memorials for the Pekes, of Hills-court, and for Masters, of Goldstone. A monument for Christopher Toldervy, of Chartham, obt. 1618. A memorial for Daniel Hole, who, as well as his ancestors, had lived upwards of one hundred years at Goshall, as occupiers of it. In the north cross, which was called the chapel of St. Thomas the Martyr, was buried the family of St. Nicholas. The brass plates of whom, with their arms, are still to be seen. A tablet for Whittingham Wood, gent. obt. 1656. In the south cross, a monument for Richard Hougham, gent. of Weddington, and Elizabeth his wife, daughter of Edward Sanders, gent. of Norborne. An elegant monument for Mary, wife of Henry Lowman, esq. of Dortnued, in Germany. She died in 1737, and he died in 1743. And for lieutenant colonel Christopher Ernest Kien, obt. 1744, and Jane his wife, their sole daughter and heir, obt. 1762, and for Evert George Cousemaker, esq. obt. 1763, all buried in a vault underneath, arms, Or, on a mount vert, a naked man, bolding a branch in his hand, proper, impaling per bend sinister, argent and gules, a knight armed on borjeback, holding a tilting spear erect, the point downwards, all counterchanged. On the font is inscribed, Robert Minchard, arms, A crescent, between the points of it a mullet. Several of the Harfletes lie buried in the church-yard, near the porch, but their tombs are gone. On each side of the porch are two compartments of stone work, which were once ornamented with brasses, most probably in remembrance of the Harfleets, buried near them. At the corner of the church-yard are two old tombs, supposed for the family of Alday.

 

In the windows of the church were formerly several coats of arms, and among others, of Septvans, alias Harflete, Notbeame, who married Constance, widow of John Septvans; Brooke, Ellis, Clitherow, Oldcastle, Keriell, and Hougham; and the figures of St. Nicholas, Keriell, and Hougham, kneeling, in their respective surcoats of arms, but there is not any painted glass left in any part of the church or chancels.

 

John Septvans, about king Henry VII.'s reign, founded a chantry, called the chantry of the upper Hall, as appears by the will of Katherine Martin, of Faversham, sometime his wife, in 1497. There was a chantry of our blessed Lady, and another of St. Stephen likewise, in it; both suppressed in the 1st year of king Edward VI. when the former of them was returned to be of the clear yearly certified value of 15l. 11s. 1½d. (fn. 13)

 

The church of Ash was antiently a chapel of east to that of Wingham, and was, on the foundation of the college there in 1286, separated from it, and made a distinct parish church of itself, and then given to the college, with the chapels likewise of Overland and Fleet, in this parish, appurtenant to this church; which becoming thus appropriated to the college, continued with it till the suppression of it in king Edward VI.'s reign, when this part of the rectory or parsonage appropriate, called Overland parsonage, with the advowson of the church, came, with the rest of the possessions of the college, into the hands of the crown, where the advowson of the vicarage, or perpetual curacy of it did not remain long, for in the year 1558, queen Mary granted it, among others, to the archbishop. But the above-mentioned part of the rectory, or parsonage appropriate of Ash, with those chapels, remained in the crown, till queen Elizabeth, in her 3d year, granted it in exchange to archbishop Parker, who was before possessed of that part called Goldston parsonage, parcel of the late dissolved priory of St. Gregory, by grant from king Henry VIII. so that now this parish is divided into two distinct parsonages, viz. of Overland and of Goldston, which are demised on separate beneficial leases by the archbishop, the former to the heirs of Parker, and the latter, called Gilton parsonage, from the house and barns of it being situated in that hamlet, to George Gipps, esq. M. P. for Canterbury. The patronage of the perpetual curacy remains parcel of the possessions of the see of Canterbury.

 

¶At the time this church was appropriated to the college of Wingham, a vicarage was endowed in it, which after the suppression of the college came to be esteemed as a perpetual curacy. It is not valued in the king's books. The antient stipend paid by the provost, &c. to the curate being 16l. 13s. 4d. was in 1660, augmented by archbishop Juxon with the addition of 33l. 6s. 8d. per annum; and it was afterwards further augmented by archbishop Sheldon, anno 28 Charles II. with twenty pounds per annum more, the whole to be paid by the several lessees of these parsonages. Which sum of seventy pounds is now the clear yearly certified value of it. In 1588 here were communicants five hundred; in 1640, eight hundred and fifty. So far as appears by the registers, the increase of births in this parish is almost double to what they were two hundred years ago.

 

www.british-history.ac.uk/survey-kent/vol9/pp191-224

Engineered structures for tunnel include three inlets that capture floodwater while the outlet releases these floodwaters to Lady Bird Lake.

Back from a week of PhotoshopWorld. Bit of cloud coming into Orlando.

Took this one last weekend while walking around downtown for photo opps.

Print avalaible

www.zazzle.com/race_structure_car_poster-228183728748352333

Church of the Immaculate Conception.

The central church in Antibes was first built in the 11th century with stones used from earlier Roman structures. Its current façade was constructed in the 18th century and blends Latin classical symmetry and religious fantasy. The interior houses some impressive pieces such as a Baroque altarpiece and life-sized wooden carving of Christ's death from 1447.

 

Saracen Towers in Antibes

 

The tower near the cathedral housing the bells , 40 meters high

 

Located on the town walls of Antibes, the towers "said Saracen" which dates back to the eleventh and early twelfth century, had a protective role for the city of Antibes.

Indeed the devastating Saracen invasions forced the city to protect themselves.

One of the towers; next to the cathedral measures 40 meters high and houses the cathedral bells said.

Her neighbor is integrated into the Picasso Museum overlooking the waterfront.

To access either pass by the old city and the Provencal market or Promenade Admiral de Grasse, and mounted the Souchère Dor (near the cathedral).

 

The Museum Picasso

 

formerly the Château Grimaldi at Antibes, is built upon the foundations of the ancient Greek town of Antipolis. Antibes is a resort town in the Alpes-Maritimes department in southeastern France, on the Mediterranean Sea.

 

History

In 1608 it became a stronghold of the Grimaldi family and has borne their name ever since. In 1702 it became the town hall of Antibes.

 

From 1925 the chateau was known as the Grimaldi Museum. In 1946 it was the home for six months of the artist Pablo Picasso. Today the museum is known as the Picasso Museum, the first museum in the world to be dedicated to the artist.

 

Picasso himself donated works to the museum, most notably his paintings "The Goat" and "La Joie de Vivre". In 1990 Jacqueline Picasso bequested many works by Picasso to the museum. These included 4 paintings, 10 drawings, 2 ceramics and 6 etchings. These are displayed at the Château in addition to the 3 works on paper, 60 etchings and 6 carpets by Pablo Picasso which the museum collected between 1952 and 2001. Today the collection totals 245 works by Picasso.

 

Periods

 

Blue (1901â1904)Rose (1904â1906)African (1907â1909)Cubism (1910â1919)

Major works

 

with a Dove in hell (1901)The Blue Room (1901)Femme aux Bras Croisés (1902)The Old Guitarist (1903)La Vie (1903)Portrait of Angel Fernandez de Soto (1903)Portrait of Suzanne Bloch (1904)The Actor (1904)Family of Saltimbanques (1905)Garçon à la pipe (1905)Les Noces de Pierrette (1905)Boy Leading a Horse (1906)Les Demoiselles d'Avignon (1907)Le pigeon aux petits pois (1911)Bottle, Glass, Fork (1912)Three Musicians (1921)Reading the Letter (c.1921)The Three Dancers (1925)Vollard Suite (1930-37)La Lecture (1932)Le Rêve (1932)Nude, Green Leaves and Bust (1932)Nude in a Black Armchair (1932)Jeune Fille Endormie (1935)Guernica (1937)The Dream and Lie of Franco (1937)Woman in Hat and Fur Collar (1937)The Weeping Woman (1937)Maya with Doll (1938)Dora Maar au Chat (1941)Bull's Head (1942)The Charnel House(c.1944-48)Tete de femme (Dora Maar) (1950s)Baboon and Young (1951)Massacre in Korea (1951)Sylvette (1954)Les Femmes d'Alger series (1955)Don Quixote (1955)Las Meninas (1957)Jacqueline (1961)Chicago Picasso (1967)

 

Partners

 

Fernande Olivier (1904 to 1911)Eva Gouel (1912 to her death in 1915)Olga Khokhlova (married 1918, to her death in 1955, mother of Paulo)Marie-Thérèse Walter (1927 to 1935, mother of Maya)Dora Maar (1936 to 1944)Françoise Gilot (1944 to 1953, mother of Claude and Paloma)Geneviève Laporte (during the 1950s)Jacqueline Roque (married 1961 to Picasso's death

1973)

 

Colleagues and friends

 

Carlos Casagemas Marc Chagall Georges Braque Julio Gonzalez Max Jacob

Henri Matisse Jaime Sabartès

 

Museums

 

Musée Picasso (Antibes) Museu Picasso (Barcelona) Musée Picasso (Paris) Museo Picasso Málaga (Malaga) Museo Casa Natal (Malaga)

 

Movies

Van Renoir tot Picasso (1948)Visit to Picasso (1949)Guernica (1950)Picasso (1955)The Mystery of Picasso (1956)The Adventures of Picasso (1978)Surviving Picasso (1996)Picasso: Magic, Sex & Death (2001)

 

sculptures by Germaine Richier and Joan Miro.

 

1946 Germaine Richier La Forêt, x 29 x 15 cm, musée Picasso (Antibes)

1948 Germaine Richier la feuille

1946 Germaine Richier la vierge folle

1955 Germaine Richier Le Grain

January 2014

Details of a pigeon's wing as it balances on one of our feeders trying to get at some seeds. Primary and secondary wing feathers are clearly seen along with the covert feathers underneath. These are surprisingly delicate structures and it's not often we get the chance to get a good look at them like this

Vienna Baroque

Doris Binder

 

The center of Baroque art was undisputable Vienna, as a special promoter appeared the Emperor Charles VI., under whose reign not only the Karlskirche was built, but also numerous buildings have been newly planned or built. The passion for building of the High Baroque is not only founded by the destructions of the Turks, but also has its causes in the backward economic structure and its lack of production plants. Whether nobleman, cleric or commoner, all those with sufficient capital put it rather in construction funds into practice than not make use of it. Responsible for this was a deep distrust to the imperial fiscal policy and concern about the currency and a possible bankruptcy.

The Baroque emerged within the civil peace (*) Burgfrieden) of the city of Vienna, had at the beginning of the High Baroque era still dominated religious buildings, so the cityscape changed in just four decades. Vienna was transformed into a "palace city", by the year 1740, the number of pleasure palaces, gardens and belvederes had doubled. The Baroque style, which by crown, church and nobility was forced upon the citizens, is considered of Felix Czeike as "authority art". The existing social gap should be camouflaged by the rubberneck culture in festivities, receptions and parades.

 

*) Burgfrieden (The term truce or Castle peace referred to a jurisdiction in the Middle Ages around a castle, in which feuds, so hostilities of private individuals among themselves, under penalty of ostracism were banned. Today the term is mainly used in a figurative sense.

 

Due to the return of Fischer von Erlach to Vienna in 1686 and a decade later, Lukas von Hildebrandt, the primacy of the Italians in architecture was broken and the victory parade of Austrian Baroque began. The connection between the spiritual and secular powers found its mode of expression in the Baroque, which the appearance of the city of Vienna should characterize in a decisive manner.

 

Construction of Charles Church

The Karlskirche was built by Emperor Charles VI. commemorating the plague saint, Charles Borromeo. In 1713 the plague raged in Vienna and claimed about 8,000 human lives, in February 1714 the plague disappeared and as a sign of gratitude was began with the construction of the church, this should become the most important religious building of Vienna in the 18th century.

In a contest was decided on the builder - participants were Johann Bernhard Fischer von Erlach, Johann Lukas von Hildebrandt and Ferdinando Galli-Bibienas. As winner emerged the famous architect Johann Bernhard Fischer von Erlach, he died in 1723 and did not live to the achievement of the Church. The supervision was transferred to the imperial court architect Anton Erhard Martinelli, as Fischer von Erlach died, his son, Joseph Emmanuel, finished his work. On 28 October 1737 St. Charles Church was solemnly by the Archbishop of Vienna, Cardinal Sigismund Count Kollowitz, inaugurated. The spiritual care ceded Emperor Karl VI. to the chivalric Order of the Cross with the Red Star, since 1783 is the Karlskirche imperial patronage parish.

The church at that time lay still behind the regulated river Wien (Wienfluss) and in the open field. The directed towards the city face side of the Charles Church, which stood on the edge of the suburb of Wieden, was target point of a line of sight the Hofburg and St. Charles Church in the sense of a "via triumphalis" connecting. On the temple-like front building of the Karlskirche the dedication inscription is clearly visible "Vota mea Reddam in conspectu timentium Deum" - "I will fulfill my vow before those who fear God."

Already during the construction by Fischer von Erlach (senior), there were several project phases, three of which have been preserved:

 

1. Medaillon by Daniel Warou for the groundbreaking ceremony

2. Fore stitches in Fischer's draft of a historical architecture 1721

3. Viennese view of work by Klein and Pfeffel 1722 (1724)

 

Due to the death of Fischer von Erlach, occured recent changes made by his son, Joseph Emmanuel most of all being concerned the dome (much higher and steeper), the priest choir (omitted) and the interior (simpler). The entire project took a total of 21 years and the costs amounted to 304 045 guilders and 22 ¼ cruisers. The construction costs were shouldered by all crown lands of the Empire, but also Spain, Milan and the Netherlands had to make a contribution.

The Karlskirche is the most important Baroque building of the city and represents the most convincing the so-called Empire style in which for the last time an empire awareness in the architecture of the capital of the Holy Roman Empire after the victorious ended wars against the Turks and the French was expressed.

Symbolism of the Karlskirche

The Karlskirche consists of a central rotunda with a dome, preceded by a column structure like a Greek temple, of two high pillars illustrated on the model of Trajan's Column in Rome and of two lateral gate pavilions. The illustrated columns represent Charles VI. as a wise and strong secular ruler, the two great pillars were created by Marder and Matielli. The columns are crowned by golden eagles, symbolizing the two virtues of the Emperor - fortitudo (bravery) and constantia (resistance). The two pillars are evocative of the two pillars before the temple in Jerusalem - Jachin and Boaz. However, the illustration of the two columns does not match the model of the Trajan columns in Rome, portraying war deeds, but these tell the life story of St. Borromeo. In the front view of the Karlskirche a wide range of different symbols become one whole - the Roman emperors Trajan and Augustus, the Temple of Solomon, St. Peter's Church in Rome, Hagia Sophia, Charlemagne and the Empire of Charles V. - through the skillfully used symbols should be shown the claim of the house of Habsburg to the European domination.

The plan view of the church is, as in baroque typical, ellipsoid. In the interior of the Karlskirche the great Baroque sculpture is immediately noticeable, representing St. Borromeo. At the base the four Latin Fathers of the Church are depicted. The interior of the Karlskirche is dominated by the tremendous fresco in the oval dome room, it was created by the eminent Baroque painter Johann Michael Rottmayr between 1725-1730. The fresco shows the Mother of God representing the intercession of the patron Saint of the Church to help head off the plague, surrounded is the scene by the cardinal virtues (faith, hope and love). In the left entrance wing is situated the tomb for the Austrian poet Heinrich Joseph von Collin (17771-1811).

Inside the St. Charles Church, there is a museum where the most valuable pieces are exhibited.

These include: the vestments of St. Borromeo, a reliquary of gold and silver - a donation of Emperor Charles VI. and a rococo monstrance (1760) containing a drop of blood of the saint. Thomas Aquinas.

Even the image of the architect Fischer von Erlach, painted by Jacob von Schuppen, is one of the church treasures.

The iconographic program of the Charles Church was written by Carl Gustav Haerus, by this the Saint Charles Borromeo should be connected to the imperial founder.

www.univie.ac.at/hypertextcreator/ferstel/site/browse.php...

 

I think this is still Griffin at Busch Gardens Williamsburg in Virgina.

.

The structure of the Guinness Storehouse in Dublin

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Family Entertainment Centers

Restaurants

Church Ministries

Theme parks

Museums, Zoos & Aquariums

Recreation & Fitness Centers

Hotel & Resorts & Casinos

Retail & Shopping Centers

Medical Offices & Hospitals

Children Centers

Anywhere that “Children Play”

 

BAKOKO Director, Alastair Townsend designed and oversaw construction of the Cutty Sark Pavilion whilst working at Youmeheshe Architects and Designers, London. The cutting edge visitor center was built within a restricted budget and met a tight construction program of only 6 months from design to completion. The fast-track structure was the first building in the world to be designed using Bentley’s Generative Components parametric computational design software.

 

Cutty Sark is one of the world’s most famous sailing vessels. After being decommissioned, the historic clipper ship has rested in a dry dock in the centre of historic maritime Greenwich where it served as public museum. Grimshaw Architects in association with Youmeheshe Architects and Designers were commissioned to design a cutting-edge visitor centre within and beneath the ship as part of a 27 million pound conservation programme that required closing the attraction for a complete restoration overhaul.

 

The Cutty Sark Pavilion was built to provide an exciting and memorable temporary exhibition venue. It is dedicated to telling the story of the ship and the ambitious project underway to save her whilst she undergoes restoration and construction works. Originally, it was designed to remain on site during the Cutty Sark’s restoration and the construction of a Permanent Visitors’ Centre (taking 2-3 years). After serving its role in Greenwich, the structure will be disassembled and re-erected elsewhere; possibly serving as a remote classroom, museum, or exhibition space dedicated to telling the tale of Cutty Sark to audiences abroad.

The Pavilion’s role as a public face of the ambitious restoration project became all the more important when a devastating fire ravaged the ship in the early hours of May 21st 2007.

 

The design aim was to achieve an experience evocative of walking amongst the sails, masts, and rigging of a majestic sailing ship like Cutty Sark. Spherical steel nodes connect a hexagonal timber gridshell structure. A complex tension network of steel cables and masts give rigidity to the overall structure and prop the PVC fabric cladding with telescopic masts.

 

Tight integration of 3DCAD information between the design team and the contractors enabled the structure to be quickly designed, modified, and built. Digital manufacturing of elements such as the CNC’d structural timber components and the digitally tailored fabric cladding were vital to delivering such an ambitious structure in a mater of months.

 

Bentley’s Generative Components computational design software was utilized in designing the amorphous shape of this complex structure, giving an unprecedented level of global control over every element. Fairly radical adjustments to the structure’s design were possible even in the latter stages of design. This proved vital in meeting the tight program as well as reaching a cost-optimized solution.

The first building of it’s kind in the world, the Cutty Sark Pavilion’s experimental nature met the client’s demand that the temporary visitor center be relevantly engaging and intriguing in order to capture the public’s interest.

ABOUT REGINA BUILDING

Regina Building is one of the elegant structures built within Sta. Cruz-Escolta area in Manila. Its architectural style (in mixed Neo-classical and Beaux Art styles) was designed by Andres Luna y San Pedro, son of famous painter Juan Luna y Novicio, and completed in 1934. Regina Building was first owned by Roxas family and was eventually sold to Don Jose Leoncio de Leon, and the name "Regina" came from his wife. Today, Regina Building still standing through time and still keeping as one of the precious gems of the nation's capital.

 

I took this photo while we had our break session in a seminar held by the Heritage Conservation Society in the First United Building in Escolta in 2019.

 

Medium: Canon EOS 4000D

Date Taken: September 21, 2019

 

Reference:

Paulo, A. (2020, April 18). Escolta in black and white. Retrieved September 18, 2021, from www.philstar.com/lifestyle/modern-living/2020/04/18/20079....

that thc by the way

Justin at Kats Like Us Tattoos

 

Passes through Bedford en-route from Bedford to Brighton at 1920hrs on 07-May-2009.

It was only a brief visit to the South Coast, as at 0645hrs the next day it was going back home , passing trough Bedford at 0635 hrs.The sound of the 2 x 31s woke up a few early morming commuters as the waited at Bedford for their trains to the City

At 6:12PM on September 19, 2019 the Los Angeles Fire Department responded to a reported structure fire in the 3900 block of W 1st St in Koreatown. Firefighters arrived to find a detached garage fully engulfed in flames. 40 firefighters took 23 minutes to fully extinguish the fire. A nearby utility pole was exposed to flames, but all adjacent properties were protected from the blaze. There were no reported injuries.

 

Photo Use Permitted via Creative Commons - Credit: LAFD Photo | Chris Conkle

 

LAFD Incident: 091919-1301

 

Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk

Two old farm structures on a winters day in southern Illinois .

A visit to the National Trust property that is Penrhyn Castle

 

Penrhyn Castle is a country house in Llandygai, Bangor, Gwynedd, North Wales, in the form of a Norman castle. It was originally a medieval fortified manor house, founded by Ednyfed Fychan. In 1438, Ioan ap Gruffudd was granted a licence to crenellate and he founded the stone castle and added a tower house. Samuel Wyatt reconstructed the property in the 1780s.

 

The present building was created between about 1822 and 1837 to designs by Thomas Hopper, who expanded and transformed the building beyond recognition. However a spiral staircase from the original property can still be seen, and a vaulted basement and other masonry were incorporated into the new structure. Hopper's client was George Hay Dawkins-Pennant, who had inherited the Penrhyn estate on the death of his second cousin, Richard Pennant, who had made his fortune from slavery in Jamaica and local slate quarries. The eldest of George's two daughters, Juliana, married Grenadier Guard, Edward Gordon Douglas, who, on inheriting the estate on George's death in 1845, adopted the hyphenated surname of Douglas-Pennant. The cost of the construction of this vast 'castle' is disputed, and very difficult to work out accurately, as much of the timber came from the family's own forestry, and much of the labour was acquired from within their own workforce at the slate quarry. It cost the Pennant family an estimated £150,000. This is the current equivalent to about £49,500,000.

 

Penrhyn is one of the most admired of the numerous mock castles built in the United Kingdom in the 19th century; Christopher Hussey called it, "the outstanding instance of Norman revival." The castle is a picturesque composition that stretches over 600 feet from a tall donjon containing family rooms, through the main block built around the earlier house, to the service wing and the stables.

 

It is built in a sombre style which allows it to possess something of the medieval fortress air despite the ground-level drawing room windows. Hopper designed all the principal interiors in a rich but restrained Norman style, with much fine plasterwork and wood and stone carving. The castle also has some specially designed Norman-style furniture, including a one-ton slate bed made for Queen Victoria when she visited in 1859.

 

Hugh Napier Douglas-Pennant, 4th Lord Penrhyn, died in 1949, and the castle and estate passed to his niece, Lady Janet Pelham, who, on inheritance, adopted the surname of Douglas-Pennant. In 1951, the castle and 40,000 acres (160 km²) of land were accepted by the treasury in lieu of death duties from Lady Janet. It now belongs to the National Trust and is open to the public. The site received 109,395 visitors in 2017.

  

Grade I Listed Building

 

Penrhyn Castle

  

History

 

The present house, built in the form of a vast Norman castle, was constructed to the design of Thomas Hopper for George Hay Dawkins-Pennant between 1820 and 1837. It has been very little altered since.

 

The original house on the site was a medieval manor house of C14 origin, for which a licence to crenellate was given at an unknown date between 1410 and 1431. This house survived until c1782 when it was remodelled in castellated Gothick style, replete with yellow mathematical tiles, by Samuel Wyatt for Richard Pennant. This house, the great hall of which is incorporated in the present drawing room, was remodelled in c1800, but the vast profits from the Penrhyn slate quarries enabled all the rest to be completely swept away by Hopper's vast neo-Norman fantasy, sited and built so that it could be seen not only from the quarries, but most parts of the surrounding estate, thereby emphasizing the local dominance of the Dawkins-Pennant family. The total cost is unknown but it cannot have been less than the £123,000 claimed by Catherine Sinclair in 1839.

 

Since 1951 the house has belonged to the National Trust, together with over 40,000 acres of the family estates around Ysbyty Ifan and the Ogwen valley.

 

Exterior

 

Country house built in the style of a vast Norman castle with other later medieval influences, so huge (its 70 roofs cover an area of over an acre (0.4ha)) that it almost defies meaningful description. The main components of the house, which is built on a north-south axis with the main elevations to east and west, are the 124ft (37.8m) high keep, based on Castle Hedingham (Essex) containing the family quarters on the south, the central range, protected by a 'barbican' terrace on the east, housing the state apartments, and the rectangular-shaped staff/service buildings and stables to the north. The whole is constructed of local rubblestone with internal brick lining, but all elevations are faced in tooled Anglesey limestone ashlar of the finest quality jointing; flat lead roofs concealed by castellated parapets. Close to, the extreme length of the building (it is about 200 yards (182.88m) long) and the fact that the ground slopes away on all sides mean that almost no complete elevation can be seen. That the most frequent views of the exterior are oblique also offered Hopper the opportunity to deploy his towers for picturesque effect, the relationship between the keep and the other towers and turrets frequently obscuring the distances between them. Another significant external feature of the castle is that it actually looks defensible making it secure at least from Pugin's famous slur of 1841 on contemporary "castles" - "Who would hammer against nailed portals, when he could kick his way through the greenhouse?" Certainly, this could never be achieved at Penrhyn and it looks every inch the impregnable fortress both architect and patron intended it to be.

 

East elevation: to the left is the loosely attached 4-storey keep on battered plinth with 4 tiers of deeply splayed Norman windows, 2 to each face, with chevron decoration and nook-shafts, topped by 4 square corner turrets. The dining room (distinguished by the intersecting tracery above the windows) and breakfast room to the right of the entrance gallery are protected by the long sweep of the machicolated 'barbican' terrace (carriage forecourt), curved in front of the 2 rooms and then running northwards before returning at right-angles to the west to include the gatehouse, which formed the original main entrance to the castle, and ending in a tall rectangular tower with machicolated parapet. To the right of the gatehouse are the recessed buildings of the kitchen court and to the right again the long, largely unbroken outer wall of the stable court, terminated by the square footmen's tower to the left and the rather more exuberant projecting circular dung tower with its spectacularly cantilevered bartizan on the right. From here the wall runs at right-angles to the west incorporating the impressive gatehouse to the stable court.

 

West elevation: beginning at the left is the hexagonal smithy tower, followed by the long run of the stable court, well provided with windows on this side as the stables lie directly behind. At the end of this the wall turns at right-angles to the west, incorporating the narrow circular-turreted gatehouse to the outer court and terminating in the machicolated circular ice tower. From here the wall runs again at a lower height enclosing the remainder of the outer court. It is, of course, the state apartments which make up the chief architectural display on the central part of this elevation, beginning with a strongly articulated but essentially rectangular tower to the left, while both the drawing room and the library have Norman windows leading directly onto the lawns, the latter terminating in a slender machicolated circular corner tower. To the right is the keep, considerably set back on this side.

Interior

 

Only those parts of the castle generally accessible to visitors are recorded in this description. Although not described here much of the furniture and many of the paintings (including family portraits) are also original to the house. Similarly, it should be noted that in the interests of brevity and clarity, not all significant architectural features are itemised in the following description.

 

Entrance gallery: one of the last parts of the castle to be built, this narrow cloister-like passage was added to the main block to heighten the sensation of entering the vast Grand Hall, which is made only partly visible by the deliberate offsetting of the intervening doorways; bronze lamp standards with wolf-heads on stone bases. Grand Hall: entering the columned aisle of this huge space, the visitor stands at a cross-roads between the 3 principal areas of the castle's plan; to the left the passage leads up to the family's private apartments on the 4 floors of the keep, to the right the door at the end leads to the extensive service quarters while ahead lies the sequence of state rooms used for entertaining guests and displayed to the public ever since the castle was built. The hall itself resembles in form, style and scale the transept of a great Norman cathedral, the great clustered columns extending upwards to a "triforium" formed on 2 sides of extraordinary compound arches; stained glass with signs of the zodiac and months of the year as in a book of hours by Thomas Willement (completed 1835). Library: has very much the atmosphere of a gentlemen’s London club with walls, columned arches and ceilings covered in the most lavish ornamentation; superb architectural bookcases and panelled walls are of oak but the arches are plaster grained to match; ornamental bosses and other devices to the rich plaster ceiling refer to the ancestry of the Dawkins and Pennant families, as do the stained glass lunettes above the windows, possibly by David Evans of Shrewsbury; 4 chimneypieces of polished Anglesey "marble", one with a frieze of fantastical carved mummers in the capitals. Drawing room (great hall of the late C18 house and its medieval predecessor): again in a neo-Norman style but the decoration is lighter and the columns more slender, the spirit of the room reflected in the 2000 delicate Maltese gilt crosses to the vaulted ceiling. Ebony room: so called on account of its furniture and "ebonised" chimneypiece and plasterwork, has at its entrance a spiral staircase from the medieval house. Grand Staircase hall: in many ways the greatest architectural achievement at Penrhyn, taking 10 years to complete, the carving in 2 contrasting stones of the highest quality; repeating abstract decorative motifs contrast with the infinitely inventive figurative carving in the newels and capitals; to the top the intricate plaster panels of the domed lantern are formed in exceptionally high relief and display both Norse and Celtic influences. Next to the grand stair is the secondary stair, itself a magnificent structure in grey sandstone with lantern, built immediately next to the grand stair so that family or guests should not meet staff on the same staircase. Reached from the columned aisle of the grand hall are the 2 remaining principal ground-floor rooms, the dining room and the breakfast room, among the last parts of the castle to be completed and clearly intended to be picture galleries as much as dining areas, the stencilled treatment of the walls in the dining room allowing both the provision of an appropriately elaborate "Norman" scheme and a large flat surface for the hanging of paintings; black marble fireplace carved by Richard Westmacott and extremely ornate ceiling with leaf bosses encircled by bands of figurative mouldings derived from the Romanesque church of Kilpeck, Herefordshire. Breakfast room has cambered beam ceiling with oak-grained finish.

 

Grand hall gallery: at the top of the grand staircase is vaulted and continues around the grand hall below to link with the passage to the keep, which at this level (as on the other floors) contains a suite of rooms comprising a sitting room, dressing room, bedroom and small ante-chamber, the room containing the famous slate bed also with a red Mona marble chimneypiece, one of the most spectacular in the castle. Returning to the grand hall gallery and continuing straight on rather than returning to the grand staircase the Lower India room is reached to the right: this contains an Anglesey limestone chimneypiece painted to match the ground colour of the room's Chinese wallpaper. Coming out of this room, the chapel corridor leads to the chapel gallery (used by the family) and the chapel proper below (used by staff), the latter with encaustic tiles probably reused from the old medieval chapel; stained and painted glass by David Evans (c1833).

 

The domestic quarters of the castle are reached along the passage from the breakfast room, which turns at right-angles to the right at the foot of the secondary staircase, the most important areas being the butler's pantry, steward's office, servants' hall, housekeeper's room, still room, housekeeper's store and housemaids' tower, while the kitchen (with its cast-iron range flanked by large and hygienic vertical slabs of Penrhyn slate) is housed on the lower ground floor. From this kitchen court, which also includes a coal store, oil vaults, brushing room, lamp room, pastry room, larder, scullery and laundry are reached the outer court with its soup kitchen, brewhouse and 2-storey ice tower and the much larger stables court which, along with the stables themselves containing their extensive slate-partitioned stalls and loose boxes, incorporates the coach house, covered ride, smithy tower, dung tower with gardeners' messroom above and footmen's tower.

 

Reasons for Listing

 

Included at Grade I as one of the most important large country houses in Wales; a superb example of the relatively short-lived Norman Revival of the early C19 and generally regarded as the masterpiece of its architect, Thomas Hopper.

  

Victorian Kitchens

 

Private stairs (I used flash here).

 

sign

DOWNTOWN - A major emergency structure fire consumed a large downtown Los Angeles flooring business early Sunday morning, with unseasonal weather causing a strong and persistent smoke odor to linger across the greater Los Angeles area for more than two days.

 

Due to weather conditions, residual smoke from this fire may be noted in the greater Los Angeles area until Tuesday afternoon.

 

The fire was reported at 2:57 AM on August 21, 2022, bringing the first of more than 150 Los Angeles Fire Department responders to 1228 South Compton Avenue, where firefighters arrived quickly to find heavy smoke and fire within a 15,000 square foot U-shaped one-story metal clad commercial building housing C.Y. Flooring, a purveyor of wood, laminate and vinyl flooring products.

 

Firefighters forced entry onto the property and into the well secured premises to battle fierce flames, which involved retail space and dense warehousing of flooring products within conjoined metal structures.

 

As fire swept through the main building and into an annex, firefighters were forced to transition to defensive operations, successfully preventing fire from consuming the firm's office space or damaging a pair of immediately adjacent industrial buildings.

 

The non-injury fire was brought under control in just 83 minutes with the extinguishment of active flame. No injuries were reported.

 

With countless tons of smoldering debris and physically unstable building remnants, the LAFD assigned more than a dozen personnel to remain continuously on scene through Tuesday, deploying heavy equipment such as excavators and the LAFD RS3 Robotic Firefighting Vehicle to abate structural hazards, overhaul the scene and further soak the hot and smoking mountain of debris.

 

The cause of the fire remains under active investigation.

  

Photo Use Permitted via Creative Commons - Credit: LAFD Photo | Harry Garvin

 

LAFD Incident 082122-0181

 

Connect with us: LAFD.ORG | News | Facebook | Instagram | Reddit | Twitter: @LAFD @LAFDtalk

У каждого камня свой рисунок - Each stone has its own surface structure

Chilina, Alto Selva Alegre, Arequipa, Peru. Helios-103 (double-Gauss/Planar-type) • LAINA Zeiss-RF→Leica M + K&F Leica M→Sony E

Effin' brilliant! Anybody who asks me to work with something like that is liable to get stabbed... or maybe shot... or maybe both.

Grant, Nebraska, USA

This was taken at Wheelock Place right outside Borders. Right after I took this shot, a security guard advised me to stop taking pictures of the building until I had asked for permission from the management. What on earth is wrong about taking pictures of a building!? I guess the paranoia I encountered at Candy Empire is spreading to Wheelock Place as well. Shot was taken with the Canonet GIII QL17 on Fuji Superia X-tra 400 film.

via Tumblr lawrence9gold.tumblr.com/post/107993948912

 

A T T E N T I O N:P S Y C H O A C T I V E______________________

 

INSTRUCTION IN THE SOMATIC ABILITY

TO DISSOLVE THE HIDDEN GRIP OF AFFLICTION

 

OR THE COMPULSION TO BE ANYTHING, IN PARTICULAR

 

— horse training —

— You’re the horse. | You’re the trainer. — Finding Ourselves Out

 

First thing: I should know about what I’m talking about. I’m an expert on identity formation, as I’ve been running and reforming this identity for years. One of these days, somebody’s going to find me out and we’ll all end up in show-biz.

 

In show-biz, to the degree that an actor/ess is free within his/her identity set and free to change, to that degree he or she can play different roles well.

 

(This could be a clue.)

 

No one of us has a single identity — and that doesn’t necessarily mean we all have Multiple Personality Disorder. It means that our identity changes (more or less), from moment to moment, and in the circumstances of the moment, as we resonate with our circumstances.

 

The one thing that persists in some way is the vague idea of “self” — the one to whom this identity purportedly belongs. People rarely talk about that one! (It’s our ‘sacred cow’ self — the one “outside it all” and viewing it all, the one who ostensibly never becomes hamburger, supra-Kosmic or otherwise.)

 

The expression of self changes, but the owner of it seems somehow the same: the secret identity. The Continuity of Memory.

 

But behaviors, and the provisional identity of the moment, fluctuate. Which one is the “real” identity? Ha-HAH!!!!

 

~~~~~~~~~~~~~~~~~~~~~~~~~and now, a very important disclaimer:

 

That doesn’t mean that we’re the political flip-flopper

 

who flips and who flops with every passing wind

 

whose words are as passing wind

 

and whose meaning has no reliable connection to a functional outcome

 

whose integrity has big gaps, or lots of little gaps

 

whose principles are weak

 

whose equilibrium is easily upset

 

who takes an unstable stand

 

the dependent

 

who has too little active capacity to bring order,

 

who is not yet educated enough

 

to create forms with integrity,

 

who has too little capacity to reverse the course of entropy

 

in his environment and himself

who uses the word, “fight”, instead of “create”

 

the secret nature of a mediocre nincompoop

in a position of responsibility beyond him

 

whose primary interest is

 

to get rich and avoid getting into trouble

 

to avoid any kind of crisis, lest he flub his response

 

he, in a position of visibility,

 

who fears to look like an incompetent

— or worse — have to face consequences.

 

Maybe it’s what makes him a schlimazl

for whom nothing good ever seems to happen

since he can’t marshal all the forces needed

to make it happen.

or makes him a shlemiele

(closely related to a no-account fool)

not good at much of anything,

fallen back into being a good-for-nothing freeloader,

an imbiber by days

and something of a hapless dimwit at twilight

walking into lampposts

 

or, alas, maybe he’s just a poor putz —

a person who’s a total loss

uneducated

unperceptive

incomprehending

wrong and insistent.

 

Maybe he’s a shmoygeh,

or its sillier version, shmegeggie

 

whatever that is

 

a slob

a nudnick (dumb-kopf!)

 

or a no-goodnick in our eyes

but look!

 

He has a nice suit!

 

NO! This is a smart person!

 

a wonderful person!

 

He cleans up after himself.

 

He picks up his clothes.

 

He can read.

He’s nice.

 

He’s also a clever person, having learned a thing or two.

 

He knows the difference between

 

“flip” and “flop”

 

knows when it’s OK to be flip

 

and knows when his flippancy has flopped.

 

Oh, most unflappable one,

 

I see you keep your equilibrium pretty well —

 

— most of the time.

 

You are intelligently mindful of how we are unavoidable affected by each other

and inextricably interconnected,

with everything unified in the present moment,

not as an idea or ideal, but as a perception

of how things actually are,

feeling and observing how we are affected by this moment

in a resonant and moving equilibrium

continuous in moment to moment experience

 

participating and yet mystified,

faithful in nothing in this life made of change,

 

in which the currents of our own existence

carry murky, turbulent memories

that shape and color our times.

You sound like a wise man (or woman).

How did that happen?

 

~~~~~~~~~~

So, when I speak of identity, I’m not speaking of socialization or role. I’m speaking of something much more fundamental, something that explains human behavior, how we get stuck in behavior, and how we may deliberately grow or evolve through an “unhooking” or “unlocking” process.

 

To the point:Four steps are involved in identity formation:

 

experience: the emergence of the “present” from the unknown: self, others and things, the momentary and total condition of “now” | Without the gathering and coalescing of attention and aggregations of memory, experience is void, without meaning, without significance, without object, just movements of the unknown

 

memory : persistence of experience, the experience of “now” (immediate memory), meaning, recognizable events, holding on to experience and experiences, having experience “be in your face”

 

identification: choosing to stick with a certain experience at any moment : assigning importance, assuming memory (persistence) is reality : taking remembered experiences of self as self and our perception of other things as “the way they really are.” (The Myth of Actuality = “The Myth of the Given”)

 

perpetuation: intending, inviting, seeking to make more, or refusing, seeking to make less, all motivation, all “go”, all “stop”, all spin, all involvement with, all imagining

 

The four Stages of Things Becoming a Priority. Obviously, I have to define my terms, so here goes.

 

EMERGING EXPERIENCE: ” BEING”, BECOMING

(“the One” multiplied by becoming “the Many”)

 

At every moment, we have a sense of “how things are”. It’s our most obvious sense of the plain-old present.

 

It consists of our experience of our situation and our sense of ourselves. Most of this sense of experience is submerged in subconsciousness. But we experience it every time we meet a new person and visit a new place. It’s our first impression — which fades with familiarity, into the background.

 

This first impression, or sense of the moment, is, at first, of “unknown" (yes, I wrote that rightly). Our first impression is of "unknown". Gradually, with enough time and enough exposure, "unknown" fades-in into "something known" — a memory is formed. Until a sufficiently vivid memory is formed, no experience is being had.

 

The motions of experience inscribe upon memory an ongoing trail, movements of attention from one thing to another.

 

MEMORY : THE BASIS OF THE MOVEMENT BETWEEN HARMONY AND DIS-HARMONY

 

We resort to memory as a proxy for (approximation of) actual experience, so we can more easily focus on experiences that have that pattern, and look for what’s changing, moving, happening. It’s beginning from a presumed base of knowledge.

 

As we get familiar with anything, we form a memory of it. That memory constitutes our knowing of “how things are”.

 

Then, the experience of the moment is seen always in terms of existing memories, which grow in a moving, changing pattern. The growing edge of memory is experiencing what is emerging out of the unknown, clothing it in imagination so it may seem known, then forming memories and bridging them with other memories. Impressions form over time about the “realities” of life, colored by memories brought to life by imagination, imagination informed by memory and going beyond.

 

We form our memories from our experiences of the moving moment of life, the changing harmonics of life. All sensory impressions that go into memory refer to movements and harmonics of life, memories of persons, places and things. Our memories of “the movements and harmonics of life” flavor or dress up all of our sense-impressions of the moment.

 

A memory of “a movement and a felt harmonic” gets called up every time we recall something and every time we put ourselves in a situation to experience anything familiar. Memory creates expectation.

 

A way of finding the force of a memory is to notice how much it matters to you.

 

ASSUMING MEMORIES are REALITY, TRUTH or SELF

 

We give our memories the status of “truth”, and memories of our own state the status of “self”.

 

To the degree that something feels, “in your face”, that’s the degree that you take it for truth, for reality, or as self. That’s how solidly set your / my attention is in memory, how solidly fixated, how ingrained, how entranced. That’s how much experience has “got us” by the ….. (ooch!) .

 

PERPETUATING and/or REFUSING THE EXPERIENCES WE REMEMBER

 

Persistence and resistance (or intending and refusing) are two forms of the same thing: one is “wanting to make it more” and the other is “wanting to make it less”; the difference, only one of direction; both are “wanting”.

 

When someone “knows” something, they want (to some degree — strongly or mildly) either to reinforce/assert their knowledge or to minimize/deny it. They want to rely upon it or they want to forbid it. Either way, they want to do that for themselves, for their own sake.

 

By those acts, they form an attitude, a key part of the ability of identity to express itself, a felt memory.

 

Once a person has an attitude, they want to impose it upon the world. (Even the idea of “not wanting to impose it on the world” is an attitude.)

 

That’s the activity of identity, of self-propagation, the genetic imperative that distinguishes itself from others on the basis of memories.

 

A case in point: Take, for an example, ten year old Jimmy.

 

experience

Jimmy has never been to a baseball game.

His father comes home with tickets to see the Cardinals.

They go on a Saturday.

At the ballpark, Jimmy takes it all in, eyes open wide.

Dizzy Dean is pitching.

He winds up. There’s the pitch.

Foul ball. Into the stands.

Jimmy catches the ball.

memories

Now, Jimmy has a story to tell the guys in the neighborhood.

What does that do for his social status?

Jimmy likes the attention. He brings the ball to school, he tells the story at Sunday School, around …

The more Jimmy tells the story,

the more he reinforces the memory of it

and his place in it.assuming memories are truth, reality, or self

Jimmy takes credit for catching the foul ball,

lays claim to special status, reason for pride.

casts himself into a self-image that he takes for himself

and shows around.perpetuating what we remember as extended forms of “self”

Soon, Jimmy is a fan.

He’s read up on Dizzy Dean, knows his statistics,

roots for the Cardinals,

feels the glory when they win

feels the humiliation when they lose.

He’s even gotten into a couple of fights over it.

He can’t help himself.

But then, he’s only ten.

That was a long, long time ago.

Now, Jimmy’s a Republican.

 

another case-in-point:

 

George enlists in the army.

Goes to war. It’s his patriotic duty.

He’s sent to the front. Wounded.

Now he has a limp. And a medal.

He’s honorably discharged and sent home. He gets special recognition, special privileges. (This was an earlier time.)

He’s sent to an innovative form of therapy that promises he can walk, again. In fact, he’ll lose the limp.

But now, George doesn’t know “who he’d be” without his war wound. He’d seem ordinary. He also can’t imagine walking normally, again. He’s forgotton his “pre-army” state. His wound and his status as a wounded war vet, based in memory and the seeming permanence of his wound, have made him into something else.

The therapy doesn’t work.

He gets into politics. Eventually, he runs for political office.

Now, he gets some mileage out of being a wounded war vet. His wound is his badge of courage. He cherishes the identity of “War Vet”, keeps it low-key on the campaign trail. He imagines that it is some of the basis of the respect with which people treat him, that it’s a “trump card”: On certain topics, no one dares challenge his position.

And, of course, years later, he’s a Republican.

 

An identity is a standpoint and general ways of operating based on memories of experience, a standpoint that wants to reinforce (or perpetuate) its way of operating in the world.

 

Everything we know, we want to continue to be “right knowledge”. That’s why people dislike “being wrong” and why “being made wrong” is such a politically incorrect social impropriety. It’s about what “wanting to be right” means — not having to change.

 

So, first we experience something. And then, as we experience it, we remember it. Then, we assume that memory represents and actually says something reliable about either oneself or something or someone other. We carry all the accumulated memory patterns that form out of the interaction of the world with our memoried self. We act as if life exists in terms of those memory patterns — and so act accordingly — either to perpetuate and reinforce or to refuse or counteract.

 

That explains how we form behavior patterns, how we get stuck in behavior patterns (egotism, arrogance, “anything goes” or cold-fish authoritarianism), and also how we learn to grow and evolve. It’s a spooky business.

 

Just as we form innumerable memories from moment to moment, we form innumerable identities for each moment — and hopefully they’re all well interconnected, so we don’t get trapped in one.

 

The tricky thing about all this is how to avoid getting stuck in the sheer mass and momentum of accumulated memories.

 

One answer is, to reverse the process. What would happen for Jimmy if he imagined himself going back up the chain of identity formation?

 

I present The Gold Key Release ( which a New Age Flower Child might call, “The Somatic Crystal Decrystallization Process”, a soul brother: “Da Big, Divine Kosmic Kiss” (mmmWAH!) or, an academic professor, rather stuffily, “A Somatic Faculty”) —- viz:

 

(NOTE: vizier = one who writes, “viz”.

“Vizier” is Arabic for “wise guy”.)

 

"Somatic Awakening" is not an "awakening to" or "awakening into"; it’s an awakening as and then an awakening from.

 

It’s “awakening as” what most ordinarily IS,

 

scanning it with attentiveness,

 

feeling it, inhabiting it,

 

enfolding it,

 

assessing its “charge”: how one feels implicated (i.e., compelled to act),

 

the force of memory,

 

detecting imagination in memory,

 

then awakening from imagining,

releasing the sense of “something there”, feeling it dissolve into the formless root of attention, feeling attention as no-self.

 

There. Which is Here.

 

It’s going backward through

the stages of priority

"upstream" of the creative process,

to awaken, undefined, as self-source — the Natural State, the experience of which feels like A Big, Divine Kosmic Kiss, which we may symbolize by the word,

 

"mmmmWAH!!!"

 

which is also what it feels like, as we dissolve into the undefined Condition.

 

See? No? You will.

 

He feels his position, attitude, standpoint, or whatever he is stuck with or is perpetuating — his knowledge, his chosen identity, his refuge to the immunity of rightness. Whatever it is, it’s a sensation, felt bodily, with a location, size, shape, and intensity in the overall body-sense (kinesthetic body, subtle body, etheric body, dream body). Feel each term. Pretty similar, huh?

It may occur to him that he may have “bought in to something” — assigning the status of “reality” to his memory-shaped-colored perspective in the world: “the truth” or “The Truth”, “oneself” or “the Self”. It may occur to him that, that he does not “have” it, but that it “has” him. That he lives “inside” it and is subject to its limitations, which he takes as a product of Reality and not a product of his way of remembering and seeing things, his perspective. To him, it’s solid, real, and consequential. The mood is, “This is real." or "This matters" (to a greater or lesser degree— but note: If something makes a difference to you, you’ve bought into it and it has you.)

 

He feels how much of this sense of “solid truth” or “things mattering with consequences” feels like memory and how much of memory feels like imagination. It’s a “feel” thing, not an “answer” that he comes up with. He traces the feeling from the sense of solid truth to memory to imagination.

He imagines the appearance of a scenario that’s developing and has expectations that are informed, in part, by memory, and so his perception is shaped by memory.

 

Remembering is re-imagining something into our experience. The seeming persistence, the solidity or reality of anything you can put your attention upon is memory. Memory fades unless refreshed by imagining. The denser the memory, the more persistent it is.The way we do it:

We put attention on the feeling of having some experience.

We sense the feeling of experience without words,

as a sensation someplace within us

We feel its size, shape, intensity.

We pump up our ability to sense our somatic state

with “attention maneuvers”.

We sense how much (not “what”) intention we have toward it

We notice how steadying attention solidifies intention.

We feel the whole package as a single, contained force:

the thing we are experiencing

and our intention toward it made solid by attention.

How intention + attention = memory.

Now, we feel how much it matters

in order to bring ourselves into the relationship

and acknowledge how much we are involved.

How much it matters has to do with our relation to the world.

Try it.

We may then own the intensity of the memory

even if we don’t know what the memory is

and we may sift that intensity

for the movements of imagining.

We feel how much it feels like “solid reality”, how much feels like memory, and how much of the memory feels a bit like imagining (or as we like to say, “daydreaming” or “being entranced”).

We feel “remembering” and “imagining” and alternate between them until we can zero in on each equally steadily and equally easily, and so can balance them. What makes it easier to alternate more to one side than the other is that we are more entranced by it. These words make sense with experience, but perhaps not before. Save yourself the brain-fog; instead of “trying to figure it out”, just do it. (Once.)

If you have trouble with this step, deliberately remember something. Feel what remembering feels like. Then imagine something. Feel what imagining feels like.

Now apply those distinctions to your sense of “solid truth”.

 

Feel the dissolution of his “fix” (or fixation) — the thing he has been perpetuating — as his discovery or sense of “how much of it is imagination” is “the little valve” through which the “air” that has inflated his sense of “solid truth” (and ego) escapes. Simpler if he just does Step 3. (Imagination is easier to let go than “solid truth”.)

 

He takes a breath, lets go and falls into his identity-less, natural state, at least for the moment. (Don’t do this while driving or try to understand this by reading it. Do the procedure. Do it well at least once.)

 

He checks the remaining intensity of the feeling. If anything is left, he starts at Step 1.

 

QUESTION: Would he quit being a Republican?

 

I ask you.

 

From here, we go to the first magical process for decrystallizing crystallized identity patterns:

The Gold Key Release

MORE:Other Magic Following Upon the Gold Key ReleaseThe Wish-Fulfilling Gem

 

Esoteric Somatics and Tibetan BuddhismSEARCH KEYWORDS:(to return to this entry again, later.

caring | | 42

 

harmony | 85 | 94

 

memory | | 89

 

identification | 7 | 148

 

perpetuation | 78 | 162

 

copyright 2014 Lawrence Gold

This writing may be reproduced only in its entirety

with accurate attribution of authorship.

 

Do it for yourself - somatics.com/page7-htm

 

ifttt.com/images/no_image_card.png via Blogger lawrencegoldsomatics.blogspot.com/2015/01/somatology-ulti...

The massive structure of a signal bridge rests in the intersection of SR 9 and 180th Street Southeast in Clearview. The bridge will span the highway diagonally. It will hold dozens of new traffic lights and signs for the intersection. Lifting the 164-foot long span into place required a full shutdown of the highway and multiple cranes.

 

The signal bridge is part of the improvements we're making to SR 9 in Clearview.

Chapel Viaduct .Renowned as being the second largest brick built structure in England, the first being recognised as Battersea Power Station, Chappel Viaduct is situated near Wakes Colne in Essex off the A1124 (Colchester Road) and spans the picturesque Colne Valley. It presently still supports the Sudbury to Marks Tey line which regularly connects with trains to and from London's Liverpool Street Station along the main line.

 

The foundation stone for this man made wonder was laid on the 14th September 1847. A bottle containing a newly minted sovereign, a half-sovereign, a shilling, a sixpence and a four-penny piece was placed underneath this stone. This bottle and all its contents were stolen shortly after the laying ceremony; the culprit was caught after he tried to pass over a brand new sovereign coin in the Rose and Crown public house.

 

Chappel Viaduct is 1,066ft long and some 5 to 6 million bricks are believed to have been used in its construction. A work force of 606 men known at the time as 'navvies' were employed to complete the work which took two years, this was relatively fast for such a large structure. The Viaduct has 32 arches; each having a span of 30ft and at its maximum the height is 75ft. Although so many bricks were used in the construction, to save money and to cut down on weight, the piers were left hollow.

 

The engineer of the viaduct was Peter Schuyler Bruff and his plan was for the line to continue on as far as Ipswich in Suffolk, but the railway company did not have sufficient funds for this. Bruff later built the line himself and is also credited for founding the Essex seaside resort of Clacton-on-Sea.

 

On the 2nd July 1849, the first passenger train crossed the viaduct from Colchester to Sudbury carrying an official party. A large crowd greeted the honoured guests at Sudbury despite its station still being unfinished.

 

To this day Chappel Viaduct is in daily use by trains and is well worth a visit if you are in the area. It attracts many tourists and visitors every year and is a highly photographed structure. Bordering the viaduct is The Chappel Millennium Green and as the name suggests this was opened to celebrate the Millennium. It contains a walk around area and children's play area which should keep the kids amused while you take in this wonder.

 

#Amsterdam #Hemeltjelief #NDSM

M74 Coatsgate 13/06/2019

DSCF5063