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Little Giant Still Life, 1950. Oil on canvas (1892-1964) Virginia Museum of Fine Arts. deYoung Museum
Volvo B10M-55/Alexander PS
This was new to Burnley and Pendle as their 22 in December 1990. It passed to Stagecoach with the business and finished at Stagecoach Bluebird.
23.11.19 - Stuarts of Carluke Enviro200 YX68 UKZ is pictured departing Buchanan Bus Station on the 241X for Lanark
Stuart had been in the forces for a short while having undertaken all the qualifications to bed=come a fighter pilot. Unfortunately his eyesight let him down. He now enjoys military history and was here wearing Soviet Red Army Uniform.
This picture is #04 in my 100 strangers project. Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
Volvo B10M-62/Plaxton Premiere 350 new to Wallace Arnold in 1996 as N238HWX.
It later served with Irvines of Law before passing to Stuarts of Carluke.
Stuarts Coaches MCV EvoRa bodied Volvo B8RLE SJ23HSD is seen here heading out of Glasgow Buchanan Bus Station working the 240X to Lanark.
Benidorm, Alicante, Spain
Please, do not use this photo without permission
Por Favor no usar esta fotografÃa sin permiso
Daimler Fleetline THX 481S of Stuart Palmer, Dunstable is seen here in Downside in June 1993. It carries a side advert for local radio station Three Counties Radio. This vehicle passed to Luton and District in 1994 and after withdrawal languished at PVS dealers at Barnsley until finally cut up in 2010.
Scanned from an acquired slide.
HMS STUART
Class…………………………… Scott class Flotilla Leader Destroyer
Builder……………………….. R & W Hawthorn, Leslie & Co Ltd , Hebburn
Yard number………………. 507
Laid down..…………………. 18 Oct 1917
Launched….………………… 22 Aug 1918
Completed.…………………. 21 Dec 1918
Propulsion.………………….. 2 shafts : 2 sets Brown-Curtis geared steam turbines, 4 Yarrow oil fired boilers
Speed..………………………… 36.0 knots
Range………………………….. 5000 nm at 15 knots
History
•1935: Transferred to the Royal Australian Navy
•30/09/1940: Forced Italian submarine GONDAR to surrender
•03/1941: Participated in the Battle of Cape Matapan
•04/1941: Assisted in the evacuation of troops from Greece
•05/1941: Assisted in the evacuation of troops from Crete
•08/1941: Returned to Australia with damaged engine
•04/1942: Engine repaired but then stayed in Australian waters
•1944: Converted into a fast store ship and troop transport
•03/02/1947: Sold to T Carr & Co for breaking up at Sydney
The vessel was allocated the following pennant numbers.
G46……………..Dec 1918 until Oct 1919
???..................Oct 1919 until Dec 1921
D00………………Jan 1922 until 1940
St Andrew, Ilketshall St Andrew, Suffolk
St Andrew is one of the Saints, a group of twelve remote, scattered and traditionally lawless parishes not far from the Norfolk border. There is a sense in which St Andrew is in the Saints, but not of them: it looks away from the others to north and east for the other parishes in its shared benefice. There is no real village here, but that is par for the course with the Saints of course: only three of them have a proper village in their parish. St Andrew has more houses than most, but they are scattered around commons, separated by winding hedged lanes. All in all, the parish is rambling and incoherent, and somewhat difficult to grasp.
This grand round-towered church sits at a bend in the road with the former rectory for company. As is common in this part of East Anglia, the tower has an octagonal bell stage, and although some round towers were built from scratch in the 13th and 14th centuries, it is likely that this top was built onto a Norman tower, probably contemporarily with the body of the nave, which despite the acquisition of later Perpendicular windows is essentially a long Norman church. The chancel was probably added at the time the tower was topped off. A good modern statue of St Andrew gazes out from the niche on the porch, which was built right on the eve of the Anglican Reformation. The graveyard he looks out on is a delight: there has been almost no clearance of the older gravestones, and it must be a genealogist's dream.
In December 2001, workmen undertaking a repair to the south wall uncovered a remarkable scheme of wall paintings. They bear a similarity to the 14th century wall paintings at nearby North Cove, but what makes them unusual is the main subject, the depiction of a wheel of fortune. It is the only known example in East Anglia, although it is possible that the painting on the south wall at Barton Bendish St Mary in Norfolk may show something similar. The wheel of fortune is a variation on the usual Judgement scene, with a seated figure at the top, and two other figures apparently tied to the wheel, one rising and the other falling. The image of a wheel of fortune was a potent one in late medieval times. It was derived from a work called the Consolation of Philosophy, by the 6th Century Roman philosopher Boethius. By the 13th and 14th centuries, this book was the most widely copied work of secular literature in Europe, central to a university education and formation for the Priesthood. As such, it informed and infused English medieval Christianity, particularly at the time of the Black Death and afterwards.
Famously, Boethius has Fortune tell us that inconstancy is my very essence; it is the game I never cease to play as I turn my wheel in its ever changing circle, filled with joy as I bring the top to the bottom and the bottom to the top. Yes, rise up on my wheel if you like, but don't count it an injury when by the same token you begin to fall, as the rules of the game will require This fatalism is also seen expressed in such more common wall painting scenes as the Three Living and the Three Dead, where the noblemen out hunting are reminded by corpses in various states of decay that as you are, so once was I, as I am so you must be, therefore prepare to follow me. The suggestion is that it is of no use to store up earthly treasures, but the wheel is also intended to remind the viewer of the temporality and uncertainty of material things, and that it is far better to concentrate the mind on higher thoughts.
In the 15th century, there was a move away from classical mysticism towards an enforcement of the orthodoxy of the Catholic Church, mainly because of the way in which the increasing wealth of a rising middle class was paying for reminders of the significance of praying for the dead at that time of pestilence and disease. These wall paintings were probably covered up during the 15th century, a century or so before the protestant iconoclasts came along. Around the wheel are other figures, including the dead rising from their graves, and east of the window are a queen and an angel, probably part of a larger scene. The pitting in the figure of the queen is almost certainly not iconoclasm, but simply the way that the surface has been prepared for a covering of plaster.
For many years this church had been a woefully neglected place, full of dust and dirt. But the discovery seems to have galvanised the local parish. The great carved royal arms of Charles II were swept off to Cambridge to be restored, the unicorn's manhood gilded in magnificent fashion, which may well explain the gloomy look on the envious lion's face. The church is now beautifully kept, and - at last - after many years of being kept locked without a keyholder notice, it is now open every day.
The last time I stopped by at the BAPS compound in Bartlett, I met Stuart (or is it Stewart?) waiting for the right position of the sun to snap photos of this structure. He introduced himself as a photography instructor who just had a class at the temple compound earlier in the day. I asked for his Flickr handle but it sounded complicated, I forgot what it is when I got home. Great meeting you, Stu.
Stuarts Coaches Sunsundegui SB3 bodied Volvo B8R SJ23HSF is seen here parked up on Govan Road, Cessnock whilst taking a break from its football hire.