View allAll Photos Tagged Surrender
Description: Surrender of German troops at Cherbourg-Octeville in Normandy.
Date: 26th June 1944
Our Catalogue Reference: ADM 202/598
This image is from the collections of The National Archives. Feel free to share it within the spirit of the Commons.
For high quality reproductions of any item from our collection please contact our image library.
Series of 3 sculptures inspired by veiled marble statues by 18th century artists such as Giuseppe Sanmartino. These mixed media sculptures are being displayed in the Hitogata Ten art exhibition at Marunouchi, Tokyo 12th to 18th of October 2022.
Melancholy - veiled bust, 2022.
Sorrow - veiled figure form curled up on a pedestal, 2022.
Surrender - Standing figure with windswept garments, 2022.
There is a waiting list for the exhibition artworks that might be available for sale after the exhibition. Email me with "waiting list" as topic to get a chance to buy them after 19th.
The art gallery just posted photos from the Hitogata Ten exhibition where my artworks are being displayed at the moment!
See the awesome work of all the artists :
©PhotographyByMichiale. All images are copyright protected and cannot be used without my permission. please visit me on Facebook, too! www.facebook.com/photographybymichiale
That was my opinion, after walking through knee deep snow two days after the latest blizzard to get this shot. I'll revisit in the spring.
Surrender of General Burgoyne
The event shown in this painting is the surrender of British General John Burgoyne at Saratoga, New York on October 17, 1777. Burgoyne’s surrender followed battles with American General Horatio Gates near Saratoga on September 19 and October 7, 1777. With the British losing men and defenses during both engagements, Burgoyne retreated with a weakened army to Saratoga, where he surrendered to General Gates. This turning point in the American Revolution prevented the British from dividing New England from the rest of the colonies, and it was the deciding factor in bringing active French support to the American cause.
This painting depicts General Burgoyne prepared to surrender his sword to General Gates. Gates, showing respect for Burgoyne, refuses to take the sword and instead offers hospitality by directing Burgoyne to the tent to take refreshment; the American flag flies in the wind at the top of the tent. American officers gather at the sides to witness the event; their varied dress reflects their different units. In the center of the painting, and extending into the background, is Burgoyne’s army along with its German reinforcements. They were directed to the camp by American Colonel Lewis, Quartermaster-General, who rides on horseback in the far distance. The scene suggests peace rather than combat or hostility: beneath blue sky and white clouds, officers wear their dress uniforms, weapons are sheathed or slung, and cannons stand silent.
Burgoyne’s surrender was among the subjects John Trumbull selected for a series of history paintings when he began to “meditate seriously the subjects of national history, of events of the Revolution,” in 1785. In September of that year, Trumbull wrote his brother that he was thinking of scenes related to battles of Bunker’s Hill, Trenton, Saratoga, and Yorktown. In 1791, he sketched a landscape study for the surrender site at Saratoga. In creating the painting for the Capitol, he included the same large tree in the left foreground and many other topographical features but added more trees and autumnal leaves. Trumbull based most of the figures on portraits he painted from life in the early 1790s. The Surrender of General Burgoyne was completed in December 1821 and was exhibited in New York City from January to March of the following year.
Trumbull performed the first cleaning and restoration of his Rotunda paintings in 1828, applying wax to their backs to protect them from dampness and cleaning and re-varnishing their surfaces. At the time, Trumbull also repaired damage to the right foot of Colonel Daniel Morgan (dressed in white and standing at the head of the officers gathered at the tent), which was cut out with a sharp instrument, most likely a penknife. Throughout the 19th and 20th centuries the painting was cleaned, restored, varnished, and relined. All of the Rotunda paintings were most recently cleaned in 2008.
Between 1822 and 1832, Trumbull created a smaller version of this painting that is now part of the collection of Yale University Art Gallery. The painting in the Capitol and the later version are similar in composition but differ in details. In the later version Trumbull made changes to the facial features and expressions of figures, the direction the flag blows, and the topography of the landscape. It was Trumbull’s version for the Capitol that appeared on a $1.00 stamp in 1994.
John Trumbull was born in Lebanon, Connecticut, on June 6, 1756. His father, Jonathan Trumbull, was later Governor of Connecticut (1769–1784). John entered Harvard College in 1771 and graduated in 1773. He created numerous sketches of significant people and places, even during his service as an officer and General Washington’s aide-de-camp during the Revolutionary War. Resigning his commission as colonel in 1777, he painted for two years and then went to England, where he studied under renowned history painter Benjamin West and at the Royal Academy of Arts. In London, Paris, and New York City, he created scenes of the American Revolution and life portraits or sketches of many of the individuals who would appear in them. He also painted portraits of other notable persons and numerous religious scenes.
From 1794 to 1804, diplomatic postings in London interrupted his work, and his artistic skill suffered. However, he remained successful as a portrait painter, and exhibitions of his earlier canvases led to an 1817 commission for four large paintings to be placed in the Capitol Rotunda; these were installed in 1826, but he failed to secure a contract for additional Rotunda paintings. He returned to the religious subjects of his earlier career but fell on hard times. In 1831 he deeded many of his works to Yale College in exchange for a $1000.00 annuity. Trumbull died in New York City on November 10, 1843, and was interred beneath the art gallery at Yale that he designed. In 1867, his paintings and his remains were moved to the new art gallery (now Street Hall).
In this photo you see Japanese represeentatives on board the USS Missouri on Sept. 2, 1945 in preperation to sign the Surrender of Japan to the US.
"Standing in front are:
Foreign Minister Mamoru Shigemitsu (wearing top hat) and General Yoshijiro Umezu, Chief of the Army General Staff.
Behind them are three representatives each of the Foreign Ministry, the Army and the Navy. They include, in middle row, left to right:
Major General Yatsuji Nagai, Army;
Katsuo Okazaki, Foreign Ministry;
Rear Admiral Tadatoshi Tomioka, Navy;
Toshikazu Kase, Foreign Ministry, and
Lieutenant General Suichi Miyakazi, Army.
In the the back row, left to right (not all are visible):
Rear Admiral Ichiro Yokoyama, Navy;
Saburo Ota, Foreign Ministry;
Captain Katsuo Shiba, Navy, and
Colonel Kaziyi Sugita, Army."
Names taken from the Naval Historical Center website.
A final snapshot of the urethane version of "Unconditional Surrender" at Tuna Harbor Park. (Photos courtesy Dale Frost/Port of San Diego).
Series of 3 sculptures inspired by veiled marble statues by 18th century artists such as Giuseppe Sanmartino. These mixed media sculptures are being displayed in the Hitogata Ten art exhibition at Marunouchi, Tokyo 12th to 18th of October 2022.
Melancholy - veiled bust, 2022.
Sorrow - veiled figure form curled up on a pedestal, 2022.
Surrender - Standing figure with windswept garments, 2022.
There is a waiting list for the exhibition artworks that might be available for sale after the exhibition. Email me with "waiting list" as topic to get a chance to buy them after 19th.
The art gallery just posted photos from the Hitogata Ten exhibition where my artworks are being displayed at the moment!
See the awesome work of all the artists :
"Surrender"
Tweaked it a little. Finished and signed. We all have to surrender at some point. Physically, emotionally, mentally. One can't hide. You have to let go. To hand over. Get of our bike. Slow down. Better sooner rather then later. For sure. You tumble down if you surrender only to fly to unknown
Ok i have been up for about three hours debating on putting this photo up. It has been a lot of work putting this image together I have about 20 layers to this image. It was an image that was dreamed up in my sleep, this women is having everything pulled from her. Maybe she has just been through to much? Maybe she has given up all hope? She is letting it all out as she is being pulled through the air. Life is to short to keep all of our anger, sadness, and discontent inside of our human bodies. The universe is always asking us to free ourselves of these chains. I say to you all never let your fear and sadness keep you down, surrender it all and let it be pulled from your body and soul. Stay strong and remember that we all have something great to offer in this life. I would love to have some feedback on this image. Thank you all and have a safe week.
Later Friends!
Pierre-Joseph Redouté was born 1759 in Saint-Hubert, Belgium and he died in Paris in 1840 at the age of 80 while sitting at his easel painting a lily.
Nicknamed "The Raphael Of Flowers" he was painter and botanist, best known for his watercolors of roses, lilies and other flowers. He was the official court artist of Queen Marie Antoinette and he continued painting through the French Revolution and the Reign of Terror.
Redouté survived the turbulent political upheaval to gain international recognition for his precise renderings of plants, which remain as fresh in the early 21st century as when they were first painted.
Japanese officers surrendered their swords as a public humiliation. These two swords (on mount) were surrendered by the Japanese generals commanding the Air Army in Malaya and the Air Division in Burma to New Zealander Air Chief Marshall Sir Keith Park, Commander-in-Chief Allied Air Forces South East Asia, at the formal surrender ceremony in Singapore on 12 September 1945.
[museum label]
I had seen inside Monkton once before, back in 2014. I remembered little of it, but as we were going to drive within sight of it, I thought we would call in.
The main road used to pass through the village, but that now bypasses Monkton, and the once busy street through the village is a dead end.
St Mary sits on a rise overlooking the road and the village stocks which still seem to be in working order.
A lady is trimming the grass around the stones of the cremated, she greets me warmly, and we talk a little about the day and church. Once I have photographed the church, we would talk much more about the church, St Nicholas, wild flowers, butterflies and herb lore.
One of those meetings that it is hard to drag yourself away from, but other churches were calling.
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A church of great charm that is smaller than it once was. Clearly visible outside in the north wall is a series of five blocked arches that formerly led into an aisle. The church is basically twelfth century, much remodelled a hundred years later. An unusual Norman piscina in the south-east corner is very low in the wall and shows the drastic raising of the floor that took place in the restoration of 1860. There are some good hanging wall monuments and accompanying hatchment, and a fine medieval brass to a priest. The Jacobean pulpit has an hourglass stand for the preacher to time his sermon.
www.kentchurches.info/church.asp?p=Monkton
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MONKTON
LIES the next parish south-eastward from St. Nicholas, in the lower half hundred of Ringslow likewise. It is written in the survey of Domesday, Monocstune, i. e. Monks town, and in other record Munchetun, Munketune, and Monkynton; all which names it had from its being part of the possessions of the monks of the priory of Christ-church, in Canterbury.
The PARISH OF MONKTON is about three miles from east to west, and as much from north to south. The village, called Monkton-street, is situated rather on low ground, about a mile eastward from Sarre, having the church on the side of it, and Monktoncourt, an antient timbered building, at a small distance from the west end of it, between which and Sarr, is the hamlet of Gore-street. At a small distance from the village is the vicarage and parsonagehouse, called the Ambry farm; the lands northward of the street rise to high land, being open common land, over which the road leads across the island eastward, close to which is Monkton mill; and at the eastern boundary of the parish, Cleve-court. Southward of the village is a large parcel of marsh land, called Monkton level, under the direction of the commissioners of sewers for the eastern parts of Kent, which reaches down as far as the river Stour.
By the return made to the council's letter by archbishop Parker's order in 1563, there were then computed to be in this parish fifteen households.
The market mentioned here after to have been granted in king Henry VI.'s reign has been long since disused; but there are two fairs, one held on the day of St. Mary Magdalen, July 22d, for the sale of hogs; the other on October 11th, for toys, &c.
In the Heraldic visitation of Kent, anno 1619, there is a pedigree of Thomas Mason, of Monkton, whose eldest son William was of Bury St. Edmunds, esq. and custos brevium of the court of king's bench; and his youngest son James was of Frindsbury, in this county. They bore for their arms, Party per pale, argent and sable, a chevron, between three billets, counterchanged.
Thomas Delaway was deputy to Robert Walleran, who was sheriff part of the 46 and 47 years of king Henry III. and he held this office at his seat in this parish.
THE MANOR OF MONKTON was in the year 961 given by queen Ediva, mother of king Edmund and king Eadred, to Christ church, in Canterbury, among other lands, free from all secular service, excepting the trinoda necessitas, of repelling invasion, and the repair of castles and highways; (fn. 1) and it continued in the possession of that church at the time of taking the general survey of Domesday, in the 15th year of the Conqueror's reign, in which it is thus described, under the general title of Terra Monachorum Archiepi, lands of the monks of the archbishop; that is, of Christchurch above-mentioned.
In Borowart left, in Tanet hundred, the archbishop himself holds Monocstune. In the time of king Edward the Confessor it was taxed at twenty sulings, and now for eighteen. The arable land is thirty one carucates. In demesne there are four and four times twenty and nine villeins, with twenty-one borderers; having twenty-seven carucates. There are two churches, and one mill of ten shillings. There is a new fishery, and one salt work of fifteen pence; wood for the pannage of ten hogs.
In the whole value it was worth in the time of king Edward the Confessor and afterwards twenty pounds, and now forty pounds.
The great extent of this manor, comprehending near one half of the island, that is, all that part of it on the western side of St. Mildred's Lynch, answers well the above description; and the extensive demesne lands of it, might well employ four score and nine villeins. The two churches were those of this parish and Woodchurch; the mill, now called Monkton mill, still remains; but the fishery and salt work are lost long ago by the deficiency of the river Wantsume. In the 21st year of king Edward I. the king brought a writ of right against the prior for this manor; but the jury gave it against him for the prior. In the 10th year of king Edward II. the prior ob tained a grant of free-warren in all his demesne lands in this manor, among others, which the prior or his predecessors had acquired since the time of the king's grandfather, so that the same were not within the bounds of his forest; at which time this manor, with its appurtenances, was valued at 621. (fn. 2)
The buildings of this manor were much augmented and repaired by prior Selling, about the year 1480, who built a new dormitory here for the use of the monks, when they visited this place; and his successor prior Goldstone, about the year 1500, erected two new barns and most of the other edifices. Henry VI. in his 25th year, granted to the prior a market weekly, to be held on a Saturday; and a fair yearly, on the feast of St. Mary Magdalen within this manor, which continued afterwards part of the possessions of the priory of Christ-church, till its dissolution in the 31st year of king Henry VIII. when it was surrendered into the king's hands, who settled it, among other premises, in his 33d year, on his new-founded dean and chapter of Canterbury, part of whose inheritance it still continues. There is a court leet and court baron held for this manor.
The manerial rights, with the court leet and court baron, are reserved by the dean and chapter in their own hands; but the court lodge with its appurtenances, and the demesne lands, which are very extensive, are demised on a beneficial lease to Sir Brook William Bridges, bart. of Goodnestone, the rack rent of these premises being upwards of 700l. per annum.
CLEVE-COURT is a seat in this parish, pleasantly situated about two miles north-eastward from Monkton church, on high ground, having a fine prospect of the neighbouring country and the sea beyond it. This seat was formerly in the possession of the family of Quekes, resident at the seat of that name in the adjoining parish of Birchington, from whom it came, in king Henry VII.'s reign, by Agnes, the female heir of John Quekes, in marriage to John Crispe, esq. afterwards of Quekes, whose grandson John Crispe resided at Cleve, where he died in 1558 and was buried in this church, having ordered his arms to be placed in the next window to where he should lay, which they were accordingly, being Vert, on a chevron, argent, five horse shoes, sable, a bordure engrailed, gules, for a difference, being the bearing of this branch of this family. At length the heirs of his grandson Sir Edmund Crispe, afterwards sold it to Ruish, possessor likewise of the manor of Sarre, with which it passed in manner as has already been mentioned before, in marriage to Sir George Wentworth, and then again in like manner to Thomas, lord Howard, of Effingham. He about the year 1723 passed away this seat, with other estates in this island, to Mr. James Colebrooke, of London, and Mr. James Ruck, of London, bankers, who afterwards made a partition of these estates, in which this of Cleve-court was allotted to the latter, who built the present seat here; on his death it descended to his son, who passed it away by sale, about the year 1748, to Mr. Josiah Farrer, of Doctors Commons, proctor, who died in 1762, whose son Josias Fuller Farrer, esq. resided here and was high sheriff in 1773, since which he has resided abroad, but he is at this time owner of this seat. Mr. Edward Pett resides at it.
Charities.
HENRY ROBINSON, gent. of Canterbury, by his will in 1642, gave to the vicar of Monkton and his successors, lands called Flete Close, in St. Laurence, and his meadow ground in Chislet, upon trust, that the rents there should be distributed towards the relief of four poor widows exceeding the age of sixty years, two of which widows should be dwelling in Monkton, and two in Birchington; which lands are now of the annual value of eight pounds.
There was a set of alms houses belonging to this parish, which were burnt down by accident in the beginning of the year 1792.
THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Westbere. (fn. 3)
The church, which is exempted from the archdeacon, is dedicated to St. Mary Magdalen; it consists at present of only one isle and one chancel, having a square tower at the west end, in which is a very antient spiral staircase of wood. There are four bells in it. The body of it was antiently larger than it is now, consisting of two isles, part of the end of the north isle being still to be seen, and the arches between the two isles still remaining in the wall; at present it consists of but one isle and a chancel; in the latter are twelve stalls, used formerly by the clergy and the monks when they visited this place. In the windows there were some remains of painted glass, among which were the heads of several of the priors and these coats of arms; king Lucius, A plain cross. King Ethelred, Three circles, two and one; in the first, a lion passant; in the second, a griffin; and in the third, a king crowned and robed, with a globe and sceptre in his hands. Queen Ediva, Three lions, passant-guardant, an orle of hearts. Vert, on a chevron, argent, three bugle horns stringed, sable, between three talbot bounds passant, argent. Blechenden and Godfrey, quarterly. Blechenden impaling Blechenden. Dean Wotton, with his quarterings, and Crispe; of all which there now remain entire only a prior's head, and the arms of Crispe, Or, on a chevron, sable, five horse shoes, argent; under the shield, 1506. At the west end of the church, Weever, p. 266, says, were these verses in old English letters:
Insula rotunda Tanatos quam circuit unda
Fertilis et munda, nulli est in orbe secunda.
There are but few monuments or memorials in this church, most of the gravestones having lost their brasses, or are worn sinooth, among those which remain are the following: in the have of it, a gravestone, with the figure in brass of a priest in his habit, the inscription lost. On a brass plate, a memorial for Christopher Blechenden, gent. of this parish, with Amy and Margaret, his wives, obt. 1554; the brass, with the inscription, is nailed up in the vestry, as is that for Nicholas Robinson, gent. of Gore-street, ob. 1594. A monument for Frances, eldest daughter of Thomas Blechenden, gent. her first husband was Thomas Epps, gent. of New Romney; her second, Nicholas Robinson, gent. of Monkton; and her third, John Blechenden, esq. of Aldington, obt. 1611. One for Mr. Abraham Terry, of this parish, obt. 1661; also for Anne, wife of Abraham Terrey, obt. 1704; arms, Terry, ermine, on a pile, a leopard's head, pierced with a fleur de lis, impaling a chevron, between three holly leaves. On a flat stone, at the west end of the church, a memorial for Mr. John Ayling, vicar for forty-eight years, obt. 1710. A memorial for Lybbe Orchard, of Monkton-court, obt. 1680. A memorial for Mr. John Burkett, vicar, obt. 1772.
¶The church of Monkton, to which the two chapels of Birchington and Woodchurch were appendant, was appurtenant to the manor, and as such part of the antient possessions of the see of Canterbury. Archbishop Richard, (successor to archbishop Becket) in king Henry II.'s reign, appropriated this church, with its appendages, to the priory of Christ church; (fn. 4) but it did not continue long so, for archbishop Baldwin, his immediate successor, having quarrelled with the monks, on account of his intended college at Hackington, took this appropriation from them, and thus it remained as a rectory, till about the 39th year of king Edward III.'s reign, when archbishop Islip, with the king's licence, restored, re-united and annexed it again to the priory; but it appears that in return for this grant the archbishop had made over to him, by way of exchange, several advowsons in London, belonging to the priory.
No matter where I serve my guests,
It seem they like my kitchen best!
This cutie shows a frazzled looking woman all in a tizzy running around in her kitchen. She's painted in bright primary colors, with lettering in white. It's 4" wide and is in already broken in condition, as you can see; she's all ready to proudly hang on display in your very own country kitchen.
A visit to Lacock Abbey, Fox Talbot Museum and Village in Wiltshire.
Lacock Abbey in the village of Lacock, Wiltshire, England, was founded in the early 13th century by Ela, Countess of Salisbury, as a nunnery of the Augustinian order. The abbey remained a nunnery until the suppression of Roman Catholic institutions in England in the 16th century; it was then sold to Sir William Sharington who converted the convent into a residence where he and his family lived. It was fortified and remained loyal to the crown during the English Civil War, but surrendered to the Parliamentary forces once Devizes had fallen in 1645.
The house was built over the old cloisters and its main rooms are on the first floor. It is a stone house with stone slated roofs, twisted chimney stacks and mullioned windows. Throughout the life of the building, many architectural alterations, additions, and renovations have occurred so that the house is a mish-mash of different periods and styles. The Tudor stable courtyard to the north of the house has retained many of its original features including the brewhouse and bakehouse.
The house later passed into the hands of the Talbot family, and during the 19th century was the residence of William Henry Fox Talbot. In 1835 he made what may be the earliest surviving photographic camera negative, an image of one of the windows.
In 1944 artist Matilda Theresa Talbot gave the house and the surrounding village of Lacock to the National Trust. The abbey houses the Fox Talbot Museum, devoted to the pioneering work of William Talbot in the field of photography. The Trust markets the abbey and village together as "Lacock Abbey, Fox Talbot Museum & Village". The abbey is a Grade I listed building, having been so designated on 20 December 1960.
William Sharrington's Tudor Courtyard - C16th
There used to be a tearoom down there but it's closed.
But you could see the Tudor brewhouse and bakehouse.
Grade I Listed Building
Description
LACOCK LACOCK ABBEY
ST 9168
4/118 Lacock Abbey
with Stable yard
20.12.60
GV I
Country house, mid C16 remodelling and extension of cloister court
of C13 to C15 Augustinian nunnery founded 1229 and sold to Sir W.
Sharington at the Dissolution 1540. Some alterations of c1700 and
c1740 for Sir John Talbot and John Ivory Talbot and entrance front
rebuilt as Gothick great hall 1754-5 by Sanderson Miller for J.I.
Talbot. South front alterations in Tudor style 1828-30 for W.H.
Fox-Talbot and c1900-10 restoration of medieval parts by H.
Brakspear for C.H. Talbot. Ashlar and rubble stone with stone
slate roofs generally and numerous ornate C16 twisted stacks.
Mostly 2 storeys, the major part of the house on first floor only
over unaltered medieval basement. The medieval basement comprises
three sides of a lierne-vaulted C15 cloister with two C14 bays at
south-west angle. Largely C14 spaces off. To east fine series of
vaulted rooms, sacristy, chapter house and warming house, intact
apart from openings on east side that are of c1900. This part was
under the Dormitory. West side, under great hall, but originally
under Abbess' lodging has 2 rooms and main entrance passage. North
side is undercroft to refectory. In upper part of house medieval
roofs survive, concealed, to north side refectory, C15 with arch
braced collar trusses and 3 tiers of windbracing, and to south side
dormitory, C14 with 3 tiers of cusped windbracing. Exterior: west
front has 1754-5 ashlar fronted hall-to centre, full-height, with
slate half-hipped valley roof. Octagonal angle turrets with ogee
cupolas, delicate pierced parapet and 2 large ogee-headed windows
flanking central door reached by two-arm balustraded outside stair.
An important landmark of the C18 Gothic revival. To left, former
medieval kitchen refronted in C18. Balustraded parapet, buttresses
and two 2-light pointed windows similar to those on Bath House at
Corsham Court by Capability Brown (q.v. Corsham C.P.). To right a
plain parapetted range with two 15-pane C18 sashes and heavy
stepped corner buttress. South front is similarly severe, being
essentially the inside north wall of the Abbey church with
balustrading and south-east tower added by Sharington and 3 oriels
of varied sizes added 1828-30. The north-west angle of the church
is marked by a heavily buttressed projection, west of this, in
plain walling, another 15-pane sash. Sharington's tower possibly
designed by John Chapman, octagonal, 3-storey, divided by string
courses, has top belvedere, balustrade and stair turret. Finely
detailed 2-light mullion windows. East front is the most medieval
in outline, but C13 style Gothic ground floor windows are of 1900-
10. Adjoining tower, 2-storey range parallel to main range, the
ground floor the medieval east end of chapter house and sacristy,
the parapetted upper floor with 6 stone cross windows added in mid
C16. To right, the main range has buttressed ground floor and,
above, four C18 Gothic 4-light windows, 2 each side of fine C16
outside stack. Battlemented parapet. South end cross-wing appears
largely C16 with coped gables, heraldic finials and dentil eaves
cornice. Mullion-and-transom windows of flush chamfered type with
unusual roundel motif on intersections. Medieval stonework to
ground floor. Two-gabled C16 north extension with first floor C18
sashes and attic mullion windows. North of house is stable court,
mid C16 on east and north sides, an exceptionally complete Tudor
service court, notable for the large timbered gabled dormers, some
with deep eaves on scroll brackets and higher cross-gabled clock-
tower at west end of north range. Mullion windows, dripcourse and
Tudor-arched doorways but 4 doorways in the Renaissance style of
some of the interior C16 work. C19 low coach-houses and 2 early to
mid C18 lodges form a screen across west side linking to an
apparently late C17 addition to north of former kitchen, 2-storey,
5-window with sashes replacing cross-windows above and chamfered
recessed mullion windows below. Fine timber dentil cornice. South
end wall bolection moulded doorcase. From here projects a mid C18
Gothick ogee-headed carriage-arch with screen wall each side.
Interiors: outstanding mid C18 Gothick work in great hall with
exuberant terracotta figures by V.A. Sederbach in canopied niches
and shallow tunnel vault with armorial decoration. c1740 south-
west room in style of William Kent. South Gallery remodelled 1828-
30. Panelled parlour beyond of c1700-20. South-east tower has
vaulted octagonal strong room with pendants to vaults and
magnificent stone table attributed to J. Chapman. Similar but
damaged table in belvedere. Stone gallery in east range is C16
with Renaissance style fireplace and doorcase, and Brown Gallery in
north range has fine C16 windows to courtyard. Corbels of
refectory roof visible. In service court a complete surviving
brewery at west end of north range. W.H. Fox-Talbot 1800-77,
pioneer of photography spent his life here and made his first
photographic experiments here.
(National Trust, Lacock Abbey, 1984; N. Pevsner, Wiltshire, 1975,
284-9; Country Life, 3, 10 and 17 March 1923; J. Summerson,
Architecture in Britain 1530 to 1830, 1970, 42-5, 399-400)
Listing NGR: ST9194768469
was a slut, he loved flirting with another men. Until the day we became lovers. From that day on, there were no other men for Andreas. He had no choice but to surrender to the hand of love and passion.
Theme "Surrender" for Illustration Friday weekly challenge.
Joshua SURRENDERED to sleep before 3pm on the first day of preschool
My first levitation shot.
I was trying to create that feeling of on the verge of giving up, of surrendering.
Any comments greatly appreciated.
mmm have anyone seen Lukas, you cant miss him, he has a blue flag on his bike..not difficult to find...but where...mm think come back in april..
We surrender. Erin and I will be returning to the US in three weeks. Rather than spend our precious time hopelessly trying to keep the blog updated, we're temporarily giving up.
When we get back to America and have a bit of spare time, we plan on blogging the rest of the trip. Whether that will actually happen or not, we don't know.
Although it's been great to keep y'all in the loop, the primary purpose of this blog for us has been to preserve some memories before they all jumble together in our minds. Since we want to remember the last six weeks of the trip, we theoretically ought to be inspired to finish the posts.
In the meantime, we plan on spending more of our time in hammocks, and less in internet cafes.
I have never liked the game of Risk, I don't think I am ruthless enough. I never want to wipe someone out completely. My husband never had a problem wiping me out! Choice: fight on or surrender!
Scavenge Challenge - 4. Use a photo to demonstrate that a choice must be made.
Don't use this image on websites, blogs or other media without explicit permission.
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