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Im nördlichen Ortsbereich der 630-Seelen-Gemeinde St. Andrä an der Traisen (GM Herzogenburg, PL) steht vor der barocken Stiftskirche "Hl.Andreas" diese etwa 7,5m hohe barocke Maria Immaculata-Säule aus Zogelsdorfer Sandstein. Die ruht in 218m SH am Marienplatz vor dem Augustiner-Chorherren-Stift auf einem weiten Grundfundament in dessen Mitte ein weites quaderförmiges Postament aufliegt mit rechteckigen mit Kartuschen versehenen Risalite an seinen vier Ecken. An der Vorderseite des Postamentes in einer grossen viereckigen Kartusche ein Relief mit dem Motiv "Maria Verkündigung". Es zeigt die knienden Maria vor dem Erzengel Gabriel der sie mit den Worten "AVE MARIA PLENA" begrüsst. In der rechten grossen Kartusche ein stark abgewittertes Relief "Geburt Christi". Sie zeigt Maria vor dem Jesuskind von Engeln umringt. Darin die Bibelsprüche: "MULIER AMICTA SOLE" und "NON HABENS ALIQUAM PARTEM TENEBRARUM". In der linken grossen Kartusche das Relief "Maria Heimsuchung". Es zeigt Maria und Elisabeth, mit den Text: "BENEDICTA TUA". In der rückwärtigen grossen Kartusche die einst in goldenen Lettern gravierte Stifterinschrift: "DEO VNIET TRINO, MARIAE MAGNAE VIRGINI DEIPARAE, MAXIMAEHOMINVM PATRONAE SINE LABE ORIGINARIA CONCEPPTAE HVNC COLOSSVM SYMBOLICA ILLIBATAE CONCEPTIONIS NVBECVLA ELIANA CON SPICVVM ERECTO IN HYPOSTATICAM MATREM ANIMO CVRAVIT ERIGI AVGVSTINVS PRAELATVUS AD. S.ANDREAM. MDCCX". Kurz übersetzt: Probst Augustinus Erath liess diese mächtige Säule zur Ehre Mariens 1710 errichten. Am Postament eine vorkragende polygone Deckplatte mit ihrer typischen barocken Plattung unterhalb. Über den vier Postamentbreitseiten jeweils Engelsköpfe und Putti mit barocken Zierelementen und Vasen. Zentral am Postament ein hohes quaderförmiges Postament das an seiner Vorderseite eine viereckige Kartusche zeigt mit einem bischöflichen Allianzwappen des Augustiner Chorherren-Stiftes St.Andrä und des Probstes Augustinus Erath. Darunter: MDCCX (1710). In der linken Kartusche der Spruch: "EX SPINIS SINE SPINA". Die beiden restlichen Postamentseiten zeigen Akanthusblattornamente. Am Postament eine vorspringende Deckplatte auf der ein Säulensockel ruht. Darauf eine hohe mit einem Wolkenband umschlossene korinthische Säule. Im Wolkenband geflügelte Engelsköpfe. Auf der Säule ein korinthisches Kapitell mit Diagonalvolutten und Aktusblattreliefen. Am Kapitell ein schmales Wolkenpostament in dem der Erdball aufliegt. Darauf die die betende zum Himmel aufblickende Maria Immaculata mit einem Sternenkranz der einst aus zwölf Sternen bestand - heute nur mehr sieben. Maria steht auf dem Erdball und zertritt mit einem Fuss die Schlange die sich um den Erdball windet, ein Symbol des Bösen. Auf den vier Eckrisalite die lebensgrossen geflügelten Erzengel Michael, Gabriel, Raffael und Uriel. Sie stützen sich auf Schilde mit lateinischen Inschriften. Umgeben wird die Säule von einem viereckigen leicht in der Mitte einschwingenden Steinbalustrade auf deren Eckpylonen je eine von geflügelten Engelköpfen getragene Steinvase aufgerichtet ist. Um dieses Steingeviert noch vier mächtige Prellsteine die einst dreiseitig mit Ketten verbunden waren. Errichter und Stifter dieser Säule war Probst Augustinus Erath, Augustiner Chorherr aus dem davor stehenden Augustiner-Stift Hl.Andreas im Jahre 1710. Stiftungsgrund der Dank an Maria für die Befreiung Österreichs vor der Türkengefahr nach 1683.
Standort: GPS 48.298324, 15.717207
Denkmalschutz OID 73291 nach § 2a
Symbolica | Botanicum 12/12/2019 16h12
The third scene of Symbolica is Botanicum where you pass thru the combination of a horticulture greenhouse and aquarium. The riders are face to face with the so-called Fabelvis, a Fable Fish.
Botanicum
Through a short connecting corridor and a corner with rock work, the Fantasy sailors enter one after the other into a Victorian greenhouse with a vaulted roof and ornate trusses: the Botanicum. Special plants such as Flos Reijnders and Flora Magica grow along the columns and in large pots, which open and close their petals. The light inside dims and the magic shops spread out over the glass panels, after which we see that there is no outside air behind it, but a kind of underwater cave. A great mythical creature that looks a bit like a whale, it swims down from the height and makes whale sounds. The friendly-looking animal with its tail (accidentally) breaks the glass, after which more and more cracks appear and water runs between the trusses and panels. The light makes a short circuit through the water and falls out. Quickly the fantasy float drives out of the Botanicum, a path where Pardoes points the way to a safer place among a number of plants: the Gates Passage that gives access to the Treasures Boudoir, the Music Salon and the Heroes Cabinet.
More information: Eftelpedia - Botanicum
This photo "Explored" on 15/01/2020, rank # 199
I had the luck to shoot this picture from the newest attraction Symbolica in themepark 'De Efteling" at closing time of the park. Normally lots of people are in front of this castle waiting to enter.
Shot with Canon G5 X camera without using a tripod at ISO 1200 / F2.8 at 1/10 sec.
Prinses op de Erwt 27/10/2025 15h54
Best time of the year to capture the most recently arrived fairytale in De Efteling is Autumn. So I waited till this time of year to capture the final result of this one. With in the background the Grand Efteling Hotel which opened in 2025 as well.
De Prinses op de Erwt
In 2023, there was already talk that a 31st addition would be made to the Fairytale Forest. In June of this year, the first design sketches were revealed by Efteling and the location was already known; in the woods between the Grand Hotel and Trollenkoning and Vrouw Holle. Designed by Sander de Bruijn. It will be a narrow building with a bell gable and a large chimney. The walls are decorated with typical Efteling stucco. There are spherical lamps and there are pirons on the roof. Visitors will soon be able to peer inside through the windows. There they will see the princess from the story lying on her mattresses.
De Bruijn, who is also the manager of the Efteling design department, describes the addition as a "royal gazebo". The new Efteling Grand Hotel is located right behind the fairytale. It was not without reason that they chose a story about sleeping: for marketing purposes, The Princess on the Pea is linked to the opening of the hotel.
"With the same style elements and design language, that connection is immediately made and the link with overnight stays becomes extra appropriate," says the designer. "The imposing hotel forms a perfect background for the gazebo, which is actually a royal annex of the Efteling Grand Hotel."
De Bruijn says he was inspired by an old sketch by Anton Pieck. "His working method and perfection are still the starting point for new designs in the world of Efteling. To highlight something small in the foreground, Anton Pieck often placed a grand decor behind it. We also apply that principle here."
De Bruijn is not a newcomer to the Fairytale Forest. He was previously responsible for De Zes Zwanen, opened in 2019. He also kept an eye on recent renovation projects, including Doornroosje. In the area of attractions, we know him from Raveleijn, Baron 1898, Symbolica, Sirocco and Archipel. The Grand Hotel also came into being on his drawing board.
Date of opening: 14/05/2025 (soft opening for pre-view guests 12/05/2025
[ Looopings ]
Kinderspoor 25/03/2024 11h40
Looking along the Kinderspoor in Ruigrijk towards the Pagode and Symbolica. It's Spring in De Efteling.
De Efteling
The Efteling is a fantasy-themed amusement park in Kaatsheuvel in the Netherlands. The attractions are based on elements from ancient myths and legends, fairy tales, fables, and folklore.
The park was opened in 1952. It has since evolved from a nature park with a playground and a Fairytale Forest into a full-sized theme park. It now caters to both children and adults with its cultural, romantic, and nostalgic themes, in addition to its wide array of amusement rides.
It is the largest theme park in the Netherlands and one of the oldest theme parks in the world. It is twice as large as the original Disneyland park in California and antedates it by three years. Annually, the park has nearly 5 million visitors. In 2016, it was the third most visited theme park in Europe, behind Disneyland Paris and Europa-Park. Over the years, it has received over 125 million visitors.
Location: Kaatsheuvel, North Brabant, Netherlands
Opened: 1952
Operating season: Year-round
Visitors per annum: 5.43 millions in 2022
Area: 72 ha the park; 276 ha the resort
Rides: Total 36
Roller coasters 6
Water rides 4
Dark rides: 4
[ Wikipedia - De Efteling (2024) ]
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today however we are northwest of Lettice’s flat, in the working-class London suburb of Harlesden where Edith, Lettice’s maid’s, parents live in a small, two storey brick terrace house which opens out directly onto the street. Edith’s father, George, works at the McVitie and Price biscuit factory in Harlesden as a Line Manager, and her mother, Ada, takes in laundry at home. Whilst far removed from the grandeur of Lettice’s Mayfair flat, the Harlesden terrace has always been a cosy and welcoming home for Edith and her brother, Bert.
Having recently met Mrs. McTavish, the grandmother of Frank Leadbetter, Edith’s young beau, Edith has now arranged for Frank to join her for a Sunday roast with her parents, so that they might finally meet. Wishing to make the right impression, Frank arrived on the doorstep of the Watsfords dressed in his Sunday best suit, and presented Ada with a bunch of beautiful yellow roses and George with a bottle of French red wine. Frank has not been the only one wishing to make a good impression, with Ada scrubbing her home from top to bottom in the days leading up to the visit.
The kitchen has always been the heart of Edith’s family home, and today it has a particularly special feel about it. Ada had pulled out one of her best table cloths which now adorns the round kitchen table, hiding its worn surface and the best blue and white china and gilded dinner service is being used today. Ada has even conceded to Edith’s constant reminders that she promised to use the pretty Price Washington ‘Ye Old Cottage’ teapot that Edith bought her.
The kitchen is filled with the rich smells of roasted ham and pumpkin, boiled potatoes and vegetables, gravy warming over the grate and the faint fruity aroma of one of Ada’s cherry tarts as it sits waiting to be served for dessert on the dresser’s pull out extension.
“It’s a pleasure to finally have you at our table on a Sunday after all this time, Frank.” Ada says welcomingly from her seat in the high backed Windsor chair in front of the kitchen range, smiling across the round kitchen table at their guest.
“It’s a great pleasure to be here and to meet you too Mrs. Watsford,” Frank answers, before quickly looking to his right and adding, “And of course you too, Mr. Watsford.”
“Yes,” adds George. “All we ever seem to hear from our Edith these days is ‘Frank and I did this’ or ‘Frank said that’, and we wondered when we were going to get to meet you.”
“Dad!” admonishes Edith hotly, her cheeks flushing with colour at her father’s direct remark.
Frank looks to his sweetheart and smiles at her, silently indicating that what her father said was fine with him. “I am sorry we haven’t met sooner, but I am a stickler for doing things properly.”
“Yes, so Edith told us.” Ada answers.
“So, she may have told you that I wanted her to meet my family first. Sadly, my parents aren’t alive any longer, but I still have my maternal grandmother, who had more than a hand in my upbringing. I needed to ease her into the idea that I have a sweetheart, you see. It has just been she and I since 1919. I didn’t want to upset our routine, so I slowly introduced the idea of Edith being my sweetheart to her before finally introducing them.”
“Edith tells us that the introduction to Mrs. Mc… Tavish, is it?” Ada begins querying. When Frank nods, she continues. “That her introduction to Mrs. McTavish went very well.”
“It did indeed. In fact, it went even better than I’d hoped.” Frank enthuses. “You must both be very proud of Edith.”
Edith blushes again and looks down into her napkin draped across her lap.
‘And now they’ve met,” Frank continues. “It means that we could meet.”
“Well,” Ada says kindly. “I think that’s very respectful of you, considering your grandmother’s feelings like that.”
“I’m sure Edith would do the same, were she in a similar position, Mrs. Watsford.” Frank replies with a slight blush of his own now gracing his usually pale cheeks.
“And thank you again for the lovely roses, Frank.” Ada adds, glancing at the bunch of fat yellow roses on the table that Frank presented to her upon his and Edith’s arrival at the Watsford family home.
“Oh, and the wine.” Edith points to the bottle of red wine also sitting on the table.
“I’m not really a wine drinker myself,” George remarks. “More of stout man, me.” He taps the reddish brown earthenware jug next to him comfortingly.
“It doesn’t matter, George.” Ada admonishes her husband. “It was very thoughtful of you, Frank. I’m sure you make your grandmother as proud as Edith makes us.” Yet even as she speaks, Ada looks distrustfully at the bottle of red wine with its fancy label decorated with garlands and writing in a foreign language. “And where did you find this wine, Frank?”
“I did make sure to ask Edith whether you were teetotal, Mrs. Watsford.” Frank assures Ada. “If you disapprove, I’ll take it away. I meant no disrespect.”
“Oh it’s not that, Frank. We just aren’t used to it is all. As my husband says, we don’t often have a cause to have wine in this house.”
“I don’t think we’ve ever had wine in the house.” George adds.
“Oh, when Mum was alive and used to make elderflower or blackberry wine, I always had a small demijohn*** of them on the dresser.” Ada corrects him. “Not that there was ever a great deal in the house.”
“I don’t remember that,” George chortles. “But then again,” he adds, raising his bushy eyebrows. “There are a good many things I don’t remember these days.”
“Well, I’m afraid this didn’t come from my Granny.” Frank apologises. “But she doesn’t make wine.”
“No, but she does make very pretty lace, Mum.” Edith turns to Frank. “So where did you get it from Frank?” she asks. “I don’t remember Mr. Willison being a wine merchant.”
“Well, that’s because he’s not. This is a bottle of French wine which comes from a chum of mine who runs a little Italian restaurant up the Islington****.” Frank looks at Edith and smiles. “I’ll take you there one day, Edith, for a very special dinner of home-made spaghetti.”
“I’d like that, Frank.” Edith beams.
“A French wine from an Italian restaurant?” George queries.
“Giuseppe, my chum, serves wine from different countries with his meals, and I asked him what might be best to have.” Frank explains. “And he sold me this bottle.”
Ada picks up her tumbler of wine, sniffing at its red liquified contents rather suspiciously before taking her first tentative sip. Swallowing the wine, she isn’t quite sure whether she likes it or not as it glides down her throat. She can taste the fruitiness of it, but it is matched by an acidity that surprises her. It doesn’t taste like the blackberry wine she remembers her mother making. “Once again, it’s very thoughtful of you to give us such a… treat.” Returning her tumbler to the table she discreetly pushes it away from her place at the table, hoping that Frank won’t notice or take offence.
“Mum has always said that good manners are the hallmark of a gentleman.” Edith adds with a smile and a nod towards er mother, knowing that Frank has made a good impression with her by the simple gesture of a gift.
“And so they are.” Ada nods.
“Yellow roses are the universal symbol of friendship.” Frank explains. “And I do sincerely hope that we will be friends, Mr. and Mrs. Watsford.” he adds hopefully, the statement rewarded by a kind smile from both of Edith’s parents.
“Where did you learn that from, Frank?” Ada asks.
“I came across an old book at the Caledonian Markets* Mrs. Watsford, called, ‘Floral Symbolica’** which lists the meaning of ever so many flowers.”
“That sounds very fancy.” George remarks. “Floral… floral sym… what?”
“Symbolica, Mr. Watsford.” Frank confirms.
“Frank’s a big reader, Dad.” Edith announces, attracting her father’s attention to common ground between the two of them.
“What else do you read then, Frank?” George asks with interest. “Besides books of flowers, that is.”
“I read lots of things, Mr. Watsford.” Frank replies proudly. “Anything to improve my mind.”
“Well, I wish you’d help improve Edith’s mind. She seems only to be interested in romance novels.” George teases his daughter cheekily.
“That’s not true, Dad!” Edith gasps, taking her father’s bait far too easily. “I read lots of different things, not just romance novels.”
“What do you like to read, Sir?” Frank asks helpfully in an effort to save his sweetheart further embarrassment and character assassination at her father’s hands.
“I probably don’t read things you’d like, Frank. I prefer to read for escapism. A good story that grabs me is what I like, like those Fu Manchu***** mystery books, or that new female mystery writer. What’s her name?” He clicks his fingers as he tries to recall her name. “Help me, will you Edith. The woman who wrote ‘The Secret Adversary’ and ‘The Mysterious Affair at Styles’.”
“Christie.” Frank pipes up.
“That’s it!” George sighs with relief. “Agatha Christie******. Thank you Frank. Do you read her books too?”
“No, I’m afraid I’m not much of a mystery reader myself, Mr. Watsford.”
“No, you don’t strike me as a murder mystery type, Frank.” George muses as he eyes the serious young man in his Sunday best suit up and down. “You seem to be a more studious type.” He shrugs. “Pity, she writes ripping good yarns.”
“And you’re a delivery lad I believe?” Ada asks, turning the subject more towards knowing more about Frank’s prospects as a potential suitor for her daughter.
“That’s right, Mrs. Watsford.” Frank replies proudly, sitting a little straighter in his seat at the table. “I work for Willison’s the Grocers in Mayfair, and I do deliveries around the neighbourhood.”
“But he’s doing more than just deliveries now, Dad.” Edith pipes up a little anxiously, seeing the creases in her father’s serious face.
“Yes!” Frank adds. “Mr. Willison has taken me under his wing so to speak and is teaching me about displaying goods in the window and the like.”
“It’s called visual merchandising.” Edith explains.
“Is it now?” Ada remarks, pursing her lips in distrust and raising her eyebrows. “Such fancy words. Our Edith is always coming home with fancy words from your neck of the woods these days.”
“Good for you, Lad!” George booms. “Mrs. Watsford here,” He glances beyond the bunch of yellow roses at his wife. “Is perhaps a little less at ease with the idea of bettering yourself than Edith and I are.”
“I wouldn’t say that, George.” Ada defends herself. “I don’t think there is anything wrong with a young man improving his lots in life.”
“But?” George asks, picking up on the silent second half of his wife’s statement.
“But I think that there is such a thing as aspiring too high. There is a class structure that has done us well for time long before I was born.”
“For some of us, Mrs. Watsford.” Frank pipes up.
Edith’s eyes grow wide as she realises that the conversation over Sunday luncheon is suddenly careening swiftly towards a topic that Frank feels very passionately about, but also one that rattles her mother. She worries that Frank’s enthusiasm might not be so well received by either of her parents. However, even as she thinks these thoughts, it is already too late as Frank opens his mouth and continues.
“Now is the time for the working man, and working woman too, to rise up and be better than the lot in life we’ve been dealt, Mrs. Watsford.”
Edith watches the almost imperceptible shifts in her mother’s features as they steels and harden.
“You may be happy with your place in life, but I for one want to do better. I don’t want to be a grocer’s boy forever. I want to do better, so that I can afford to give Edith a good home.”
“Do you plan to own your own grocer’s, lad?” George asks with an air of impossibility.
“Maybe, Mr. Watsford. I don’t see why I shouldn’t, or at least shouldn’t try. I have a lot of dreams you see, and ideas for the future.”
Ada takes a mouthful of ham, swallowing stiffly as she answers, “Yes, I’ve heard a great deal about your ideas from Edith, Frank.”
“I can assure you, Mrs. Watsford, that I am not a Communist.” Frank defends himself, having heard from Edith about her mother’s concerns. “I just want a better world for Edith, for me, for my children.”
“And that’s admirable, Frank.” Ada counters. “And I don’t disagree with you. Aspiring to a better life is good. I just think a little less radically than you do, and you’ll forgive me for saying this, but as a person who has had more years on this earth than you have, Frank, I don’t think my opinions are less valid, in spite of their lack of ambition for change.”
An uncomfortable silence falls over the table.
“Oh I’m sorry, Mrs. Watsford.” Frank says after a moment, dabbing the edge of is mouth with his napkin. “I didn’t mean to cause any offence. Edith tells me that when I get passionate about something, I talk before I think. I apologise for shooting off my mouth.”
“That’s alright lad.” George replies soothingly, covering over his wife’s stony silence. “It’s good to feel strongly and want change: a better future for yourself. Ada and I,” He places his bigger hand comfortingly and in a sign of solidarity over his wife’s as she still holds her fork, resting her wrist on the table. “Well, you’ll probably laugh at our old fashioned ideas, but we’ve made positive changes for ourselves and our children in our own, more quiet ways.”
“Sorry Mr. Watsford.” Frank sighs. “It’s not the first time my mouth has gotten me in trouble.”
“It’s alright, Frank.” Ada says quietly, releasing the handle of her fork and entwining her fingers with those of her husband. “I like you, in spite of the fact that you and I may not entirely agree with the way the world should be or how we go about making it a better place, but I just can’t help worrying about our Edith being with you and your revolutionary ideas.”
“Mum!” Edith gasps, raining her hands to her mouth.
“I’m sorry, Edith,” Ada says. “But I have to say my peace. I do worry about you. As a mother you do worry, about all your children.”
“I promise you that I won’t ever put Edith in harm’s way, Mrs. Watsford.” Frank swears earnestly.
“Not intentionally, I know, Frank, but what about unintentionally?” Ada says. “You’re a good lad, and I can see that by your thoughtfulness and your manners. You obviously treat Edith very well. However, the vehemence with which you spurn your new ideas around is frightening to me.” She looks at Edith seriously and continues earnestly. “You’re of age now, Edith love, and I can’t stop you from stepping out with Frank here. You can make your own decisions as to whether he is the right young man for you.”
“Oh he is, Mum! I promise you!” Edith pipes up, looking deep into her mother’s serious face.
“I suppose I’m just a bit like your granny was with our Edith, Frank. I need to get accustomed to you.” She looks at the plump yellow rose blooms. “George and I accept your offer of friendship, and we hope that you won’t feel too awkward after today to join us for Sunday tea again.”
“Oh I assure you Mrs. Watsford, I’d be delighted.”
“Good. But in extending the warm hand of friendship, I’d be obliged if you would perhaps temper your more modern and revolutionary ideas, whilst I get used to you, Frank.”
All four diners spend a few minutes quietly eating their dinner, with only the scrape of cutlery against crockery to break the silence.
As Edith chews her mouthful of boiled potato, she finds it hard to swallow, and when she finally does, she feels it slide down her throat and land heavily in the pit of her stomach. She glances across at Frank to her right, but he doesn’t look up from his plate as he puts a sliver of orange roast pumpkin in his mouth. She had warned Frank to try and curtail his passionate ideas before her parents, but realises now that to ask him to do so is to deny him one of the most important things in his life. She worries whether Frank and her mother will ever see eye-to-eye on things.
“So, enough about changing the world,” George says at length, breaking the silence. “What football team do you support then, young Frank?”
Edith smiles gratefully at her father, who winks at her over the rim of his glass as she takes a swig of ale.
“West Ham United, Sir.” Frank says proudly.
“Good lad!” George chortles. “See, he’s not all bad, Ada!”
“You must be as excited as me about West Ham playing Bolton at the inaugural Empire Stadium******* match that’s coming up then, Mr. Watsford.” Frank says, also smiling gratefully at George for being the peacemaker and easing the tension in the room.
“Oh we all are, lad!” agrees George. “Would that I could get tickets for the match, but being the opening of the stadium, tickets are hard to come by.”
“If they finish it in time.” Frank remarks. “There isn’t long to go now, and yet from what I’ve read, it’s nowhere near done yet.”
“Now, now, lad!” George admonishes Frank good naturedly, wagging his fork with a speared piece of cauliflower on it. “Have a bit of faith in British construction. That stadium is going to be the centrepiece of the British Empire Exhibition. No full blooded British man is going to let the Empire down by not competing it.”
“Yes, you’re quite right, Sir.” Frank agrees.
As the mood at the table lifts and shifts a little, Edith is suddenly heartened by the possibility that maybe Frank might win approval from both her parents in the end, if Frank can win her father over. Her father’s opinion matters a great deal to her mother. She slices her knife through another boiled potato on her plate and sighs quietly, knowing that whilst this first meeting of Frank and her parents was not all that she had hoped for, all is not lost and some bridges have been built.
*The original Caledonian Market, renown for antiques, buried treasure and junk, was situated in in a wide cobblestoned area just off the Caledonian Road in Islington in 1921 when this story is set. Opened in 1855 by Prince Albert, and originally called the Metropolitan Meat Markets, it was supplementary to the Smithfield Meat Market. Arranged in a rectangle, the market was dominated by a forty six metre central clock tower. By the early Twentieth Century, with the diminishing trade in live animals, a bric-a-brac market developed and flourished there until after the Second World War when it moved to Bermondsey, south of the Thames, where it flourishes today. The Islington site was developed in 1967 into the Market Estate and an open green space called Caledonian Park. All that remains of the original Caledonian Markets is the wonderful Victorian clock tower.
**’Floral Symbolica; or, The Language and Sentiment of Flowers’ is a book written by John Ingram, published in London in 1870 by Frederick Warne and Co. who are perhaps best known for publishing the books of Beatrix Potter. ‘Flora Symbolica; or, The language and Sentiment of Flowers includes meanings of many species of flowers, both domestic and exotic, as well as floral poetry, original and selected. It contains a colour frontispiece and fifteen colour plates, printed in colours by Terry. John Henry Ingram (November the 16th, 1842 – February the 12th, 1916) was an English biographer and editor with a special interest in Edgar Allan Poe. Ingram was born at 29 City Road, Finsbury Square, Middlesex, and died at Brighton, England. His family lived at Stoke Newington, recollections of which appear in Poe's works. J. H. Ingram dedicated himself to the resurrection of Poe's reputation, maligned by the dubious memoirs of Rufus Wilmot Griswold; he published the first reliable biography of the author and a four-volume collection of his works.
***A demijohn originally referred to any glass vessel with a large body and small neck, enclosed in wickerwork. The word presumably comes from the French dame-jeanne, literally "Lady Jane", as a popular appellation; this word is first attested in France in the Seventeenth century. Demijohns are primarily used for transporting liquids, often water or chemicals. They are also used for in-home fermentation of beverages, often beer or wine.
****The Italian quarter of London, known commonly today as “Little Italy” is an Italian ethnic enclave in London. Little Italy’s core historical borders are usually placed at Clerkenwell Road, Farringdon Road and Rosebery Avenue - the Saffron Hill area of Clerkenwell. Clerkenwell spans Camden Borough and Islington Borough. Saffron Hill and St. Peter’s Italian Catholic Church fall within the Camden side. However, even though this was the traditional enclave for Italians, immigrants moved elsewhere in London, bleeding into areas like Islington and Soho where they established bars, cafes and restaurants which sold Italian cuisine and wines.
*****’The Mystery of Dr. Fu-Manchu’ was a 1913 novel by prolific writer Arthur Henry Sarsfield Ward under the non-deplume Sax Rohmer that portrayed Chinese as opium fiends, thugs, murders and villains. His supervillain Fu-Manchu proved so popular that he wrote a whole series of sequels featuring the odious character between 1914 ad 1917 and then again from 1933 until 1959. The image of "Orientals" invading Western nations became the foundation of Rohmer's commercial success, being able to sell twenty million copies of his books in his lifetime.
******By 1923 when this story is set, detective mystery fiction writer Agatha Christie had already written two successful novels, ‘The Mysterious Affair at Styles’ published by The Bodley Head in 1921, which introduced the world to her fictional detective Hercule Poirot, and ‘The Secret Adversary’ also published by The Bodley Head, in 1922, which introduced characters Tommy and Tuppence. In May of 1923, Agatha Christie would release her second novel featuring Hercule Poirot: ‘The Murder on the Links’ which would retail in London bookshops for seven shillings and sixpence.
*******Originally known as Empire Stadium, London’s Wembley Stadium was built to serve as the centerpiece of the British Empire Exhibition. It took a total of three hundred days to construct the stadium at a cost of £750,000. The stadium was completed on the 23rd of April 1923, only a few days before the first football match, between the Bolton Wanderers and West Ham United, was to take place at the stadium. This first match was the 1923 FA Cup final, which later became known as the White Horse final. The stadium's first turf was cut by King George V, and it was first opened to the public on 28 April 1923. Much of Humphry Repton's original Wembley Park landscape was transformed in 1922 and 1923 during preparations for the British Empire Exhibition. First known as the "British Empire Exhibition Stadium" or simply the "Empire Stadium", it was built by Sir Robert McAlpine for the British Empire Exhibition of 1924 (extended to 1925).
This cluttered, yet cheerful domestic scene is not all it seems to be at first glance, for it is made up of part of my 1:12 size dollhouse miniatures collection. Some pieces come from my own childhood. Other items I acquired as an adult through specialist online dealers and artists who specialise in 1:12 miniatures.
Fun things to look for in this tableau include:
On the table the roast ham dinner that really does look good enough to eat is made in England by hand from clay by former chef turned miniature artisan, Frances Knight. Her work is incredibly detailed and realistic, and she says that she draws her inspiration from her years as a chef and her imagination. The gravy boat of gravy is also Frances Knight’s work. The knife sitting alongside the ham comes from Doreen Jeffries’ Small Wonders Miniature Shop in the United Kingdom. The blue and white crockery on the table I have bought as individual from several online sellers on E-Bay. I imagine that whole sets were once sold, but now I can only find them piecemeal. The cutlery and the glasses (which are made from real glass) I bought as a teenager from a high street dollhouse suppliers. The pottery ale jug comes from Mick and Marie’s Miniatures in England. The glass of ale comes from Kathleen Knight’s Doll House Shop in the United Kingdom. The salt and pepper shakers come from Beautifully Handmade Miniatures in Kettering. The 1:12 artisan bottle of Bordeaux, made by Little Things Dollhouse Miniatures in Lancashire, is made from glass and the winery on the label is a real winery in France. The vase of yellow roses came from a 1:12 miniatures stockist on E-Bay. The tablecloth is actually a piece of an old worn sheet that was destined for the dustbin.
In the background you can see Ada’s dark Welsh dresser cluttered with household items. Like Ada’s table, the Windsor chair and the ladderback chair to the left of the photo, I have had the dresser since I was a child. The shelves of the dresser have different patterned crockery and silver pots on them which have come from different miniature stockists both in Australia and the United Kingdom. There are also some rather worn and beaten looking enamelled cannisters and a bread tin in the typical domestic Art Deco design and kitchen colours of the 1920s, cream and green. Aged on purpose, these artisan pieces I recently acquired from Kathleen Knight’s Dolls’ House Shop in the the United Kingdom. There are also tins of various foods which would have been household staples in the 1920s when canning and preservation revolutinised domestic cookery. Amongst other foods on the dresser are a tin of Macfie’s Finest Black Treacle, two jars of P.C. Flett and Company jam, a tin of Heinz marinated apricots, a jar of Marmite, some Bisto gravy powder, some Ty-Phoo tea and a jar of S.P.C. peaches. All these items are 1:12 size artisan miniatures made by Little Things Dollhouse Miniatures in Lancashire, except the jar of S.P.C. peaches which comes from Shepherds Miniatures in the United Kingdom. All of them have great attention to detail paid to their labels and the shapes of their jars and cans.
Robert Andrew Macfie sugar refiner was the first person to use the term term Golden Syrup in 1840, a product made by his factory, the Macfie sugar refinery, in Liverpool. He also produced black treacle.
P.C. Flett and Company was established in Kirkwall in the Orkney Islands by Peter Copeland Flett. He had inherited a small family owned ironmongers in Albert Street Kirkwall, which he inherited from his maternal family. He had a shed in the back of the shop where he made ginger ale, lemonade, jams and preserves from local produce. By the 1920s they had an office in Liverpool, and travelling representatives selling jams and preserves around Great Britain. I am not sure when the business ceased trading.
The American based Heinz food processing company, famous for its Baked Beans, 57 varieties of soups and tinend spaghetti opened a factory in Harlesden in 1919, providing a great deal of employment for the locals who were not already employed at McVitie and Price.
Marmite is a food spread made from yeast extract which although considered remarkably English, was in fact invented by German scientist Justus von Liebig although it was originally made in the United Kingdom. It is a by-product of beer brewing and is currently produced by British company Unilever. The product is notable as a vegan source of B vitamins, including supplemental vitamin B. Marmite is a sticky, dark brown paste with a distinctive, salty, powerful flavour. This distinctive taste is represented in the marketing slogan: "Love it or hate it." Such is its prominence in British popular culture that the product's name is often used as a metaphor for something that is an acquired taste or tends to polarise opinion.
In 1863, William Sumner published A Popular Treatise on Tea as a by-product of the first trade missions to China from London. In 1870, William and his son John Sumner founded a pharmacy/grocery business in Birmingham. William's grandson, John Sumner Jr. (born in 1856), took over the running of the business in the 1900s. Following comments from his sister on the calming effects of tea fannings, in 1903, John Jr. decided to create a new tea that he could sell in his shop. He set his own criteria for the new brand. The name had to be distinctive and unlike others, it had to be a name that would trip off the tongue and it had to be one that would be protected by registration. The name Typhoo comes from the Mandarin Chinese word for “doctor”. Typhoo began making tea bags in 1967. In 1978, production was moved from Birmingham to Moreton on the Wirral Peninsula, in Merseyside. The Moreton site is also the location of Burton's Foods and Manor Bakeries factories. Typhoo has been owned since July 2021 by British private-equity firm Zetland Capital. It was previously owned by Apeejay Surrendra Group of India.
S.P.C. is an Australian brand that still exists to this day. In 1917 a group of fruit growers in Victoria’s Goulburn Valley decided to form a cooperative which they named the Shepperton Fruit Preserving Company. The company began operations in February 1918, canning pears, peaches and nectarines under the brand name of S.P.C. On the 31st of January 1918 the manager of the Shepparton Fruit Preserving Company announced that canning would begin on the following Tuesday and that the operation would require one hundred and fifty girls or women and thirty men. In the wake of the Great War, it was hoped that “the launch of this new industry must revive drooping energies” and improve the economic circumstances of the region. The company began to pay annual bonuses to grower-shareholders by 1929, and the plant was updated and expanded. The success of S.P.C. was inextricably linked with the progress of the town and the wider Goulburn Valley region. In 1936 the company packed twelve million cans and was the largest fruit cannery in the British empire. Through the Second World War the company boomed. The product range was expanded to include additional fruits, jam, baked beans and tinned spaghetti and production reached more than forty-three million cans a year in the 1970s. From financial difficulties caused by the 1980s recession, SPC returned once more to profitability, merging with Ardmona and buying rival company Henry Jones IXL. S.P.C. was acquired by Coca Cola Amatil in 2005 and in 2019 sold to a private equity group known as Shepparton Partners Collective.
Also on the dresser on the pull out drawer is a cherry tart made by Frances Knight. Next to it stands a cottage ware teapot. Made by French ceramicist and miniature artisan Valerie Casson, it has been decorated authentically and matches in perfect detail its life-size Price Washington ‘Ye Olde Cottage Teapot’ counterparts. The top part of the thatched roof and central chimney form the lid, just like the real thing. Valerie Casson is renown for her meticulously crafted and painted miniature ceramics.
The large kitchen range in the background is a 1:12 miniature replica of the coal fed Phoenix Kitchen Range. A mid-Victorian model, it has hinged opening doors, hanging bars above the stove and a little bass hot water tap (used in the days before plumbed hot water).
Zeiss Ikon Symbolica - first results are a bit weird and wonderful.... it maybe that the shutter/diaphragm setting had a rude shock being used for the first time after some years 'rest'? The first images were of a strange hue, but as the roll progressed the lighting became better. However focus is also an issue. This image is as developed. It has a certain retro feel to it, so I left it 'as is'. Baar, Switzerland.
Who Do You Trust?
Gymdeithion Gorwedd carcharorion tywyllwch ddiflas griddfan ildio condemnio,
Geschrei Ziele massiven Unterricht kostenlos bewaffneten Kriegslisten zeigen Schwerter hohlen Köpfen,
étrangères à la question complexe accidentelles bêtise commentaires principes tu libellés,
означает определения доступных абсолютные деятельность метафизика вещества захватившие,
Społeczność ludzka zindywidualizowana przewidział pojęcia zrozumienie uniwersalności cechy oddzielone przyczyny fałszywych,
symbolica theologia est scientia geometriae in argumentatione est similitudo deficiens eius considerationem numero partes,
interzic pasaje speranțele de cotitură rele lumea interlopă înghesuit fete justifică puteri nelimitate ore rele,
dødsfall inngang evige skrikene metropol borgere streker konklusjoner dra sjeler straffene graver,
bez odporu obavy kajícný hořící masa, zbabělé srdce obklopuje zkaženosti umění konečného vřava je,
βύθιση συναισθήματα σύνθλιψη αρχές διατάγματα αρρώστησαν γλώσσες αιμορραγούν επιδέχεται παρερμηνείες ηγέτες κύκλους κόλαση,
内部悪魔の恐怖に熱っぽい発熱を帰する魂を滅び枯渇は紛れもないダンジョンを後退なた.
Steve.D.Hammond.
Pardoes Promenade 11/02/2022 10h54
In addition to the construction of the new hotel at the entrance of the park, the Pardoes Promenade is being reconstructed. Apparently it will be ready this year so that the visual damage of visitors after passing the construction site is limited and people quickly become enchanted by the wonders of the Efteling.
Looking from the level of Fabula in the direction of the entrance (exit) and Huis van de Vijf Zintuigen (House of the Five Senses).
Pardoes Promenade
The Pardoes Promenade is the broad, expansive avenue that connects the Dwarrelplein with the Hartenhof Square in front of Symbolica. The avenue was designed in unison with the former interpretation of that place, the Brink, and is executed in the visual language of the World of Pardoes. The primary goal of the Pardoes Promenade is the supply of visitors from the entrance to the various park areas, and vice versa at the end of the day. The avenue of 21 meters wide and 270 meters long thus serves as the main vein of the park. There are dozens of eye-catching bronze-colored lanterns, the colossal Wonderwachters lampposts.
The promenade was opened in 2000. It was created within the implementation of the so-called Butterfly Vision on the park, with Promenade and Brink as "body" and the four surrounding empires as colorful "wings", and is a design by landscape architect Mariëlle Kok of Grontmij in collaboration with Henny Knoet and Chris van Grinsven from the Efteling.
More information: Eftelpedia - Pardoes Promenade
The Magic of Fairy tails.
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A brand new palace was built, an increasingly special and impressive building during its construction. High walls and many towers, surrounded by huge rocks. It can rightly be called a palace.
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Symbolica (Est. 2017) - the Palace of Fantasy. It's a dark ride in Imaginative Kingdom that revolves around reality, dream and fantasy. Visitors are invited for a tour through the normally inaccessible parts of the palace
Quote: Het prachtige paleis van Symbolica in de @Efteling. Ja, zo gaat iedereen in sprookjes geloven.
Photo November 2018, Efteling (May 31, 1952) after 66 years in time.
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Details
Efteling - Symbolica
Efteling (Est. 1952) - one of the oldest theme parks in the world. A very popular full-sized fantasy-themed amusement park with many attractions and a wide array of amusement rides that reflect elements from ancient myths and legends, fairy tales, fables,.
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Photo - Richard Poppelaars.
© About Pixels Photography: #AboutPixels / #paleis #HDR #Symbolica #Fantasierijk #Efteling in #Kaatsheuvel #Netherlands
Google Translation
Zeiss Ikon Contessa, Contessa LKE, Continette and Symbolica, four Zeiss cameras with standard housing. Similar to how the modern car industry sells different models based on one platform, around 1960 Zeiss built different camera models, all based on a die-cast housing.
The various Ikoblitz models from Zeiss were similar in appearance. However, they differ in terms of their functionality. The Ikoblitz 6 "Echoblitz" was able to come up with a swivel reflector and made contact via a cable-free connection specially installed by Zeiss. www.fotocommunity.de/photo/echoblitz-peter-w/29574284
The Ikoblitz M had a Blitz turret with four Blitz barrels and contacts via X contact in the accessory shoe. The Ikoblitz 4 is almost normal without a swivel mechanism for the accessory shoe and with a cable to the PC socket. The Ikoblitz L is the entry-level version from Zeiss. Besides the Ikoblitz 0, which is from an earlier time, I don't know if there were other models, the ones shown are the ones I know of.
German
Zeiss Ikon Contessa, Contessa LKE, Continette u. Symbolica, vier Zeiss Kameras mit Einheitsgehäuse. Ähnlich wie die moderne KFZ Industrie verschiedene Modelle verkauft die auf einer Plattform aufbauen, baute Zeiss um 1960 herum verschiedene Kameramodelle die alle auf ein Druckguss Gehäuse aufbauten.
Ähnlich in der Optik waren auch die verschiedenen Ikoblitz Modelle von Zeiss. Unterschieden sich aber durchaus in ihren Funktion Umfang. Der Ikoblitz 6 „Echoblitz“ konnte mit einem Schwenkreflektor aufwarten und kontaktete über eine speziell von Zeiss verbaute Anschluss ohne Kabel. www.fotocommunity.de/photo/echoblitz-peter-w/29574284
Der Ikoblitz M hatte einen Blitzrevolver mit vier Blitzkolben und Kontaktete über X Kontakt im Zubehörschuh. Der Ikoblitz 4 ist ohne Schwenkmechanismus für Zubehörschuh und mit Kabel zur PC Buche geradezu stink normal. Der Ikoblitz L ist die Einsteiger Version von Zeiss. Außer dem Ikoblitz 0, der aus einer früheren Zeit stammt, weiß ich nicht ob es noch mehr Modelle gab, die gezeigten sind die mir bekannten.
Pagode 28/11/2024 17h15
The Pagoda seen from the Hartenhof (square) with the Christmas tree.
Winter Efteling 2024
The Winter Efteling takes place from November 11, 2023 till February 2, 2024. With life-size snow globes on the Ton van de Venplein and in Ruigrijk. Get in there and let it snow! That produces a real winter picture. Also this winter you will also see the elves from Droomvlucht on the Ton van de Venplein. They brought a music box.
The Playground will also change into the attractive Warm Winter Meadow this year. Enter through the gate and discover extra entertainment and a heart-warming musical offering every day. Take a picture with Pardoes at the sleigh and Fay the Fairy and Pinocchio make it snow. Or listen to the polyphonic music of Zang en Happy. Warm up at the Bonfires, play games at the various chalets, enjoy delicious winter treats and browse through the winter souvenirs. Or skate a round on the larger skating rink in the open air.
[ Efteling ]
Pagode
Pagoda (or "Pagode" in Dutch) is an unobtrusive variation of an observation tower in the Efteling amusement park in the Netherlands. It was designed by Ton van de Ven and started operating in 1987.
The Pagode, developed by Intamin as a flying island, is described by Efteling as a "flying temple".
It consists of a 155 tons weighing cabin and a 225-ton hydraulic arm which pivots it from the ground up to a height of 60 metres.
The counterweight of 340 tons sinks 30 metres into the ground.
To maintain the balance of the cabin itself the weight of the 100 visitors is distributed over its two sides.
The rotating cabin has a 15 metre high pagoda on top of it.
Etymology studies indicated that the word pagoda means tomb in Thai (ธาตุเจดีย). Preoccupied with upsetting a whole nation, as with Fata Morgana, Efteling choose the Dutch word "pagode" as the ride name.
Ride length: 4 minutes
Ride capacity: 1500 passengers/ hour
Cost: €3.6 million
[ Wikipedia 01/2019 ]
Gondoletta 08/03/2022 13h12
Gondoletta as seen from the path next to the tracks of Baron 1898. In the disctance in between the trees Symbolica.
Gondoletta
Gondoletta is a Water ride in amusement park Efteling in the Netherlands. It was developed by Intamin (as a Tow boat ride); designed by Ton van de Ven and started operating in 1981.
Gondoletta is the attraction with the strongest connection to the roots of the Foundation Nature Park the Efteling. With the destruction of a large part of the Dutch economy during the Second World War the rampant unemployment of the time forced the government to institute New Deal –like employment programs.
In the case of Kaatsheuvel, the local employment agency formed a joint- venture with The Royal Dutch Moor Company' (or " Koninklijke Nederlandsche Heidemaatschappij" in Dutch); the part of the company involved with land reclamation and development still exists today under the name Arcadis.
The development of the nature park started in 1950 with the construction of a lake; connected to a decorative ponds with a channel, forests and recreation facilities.
For the construction of Gondoletta the channel had to be diverted to create a closed circuit; it no longer connects to the canoe -pond but curves back to the Decorative Pond.
The ride’s boarding platform uses a rotating disk, a system later implemented in Carnival Festival, Fata Morgana and Piraña.
The boats themselves were originally designed for Fata Morgana, the ride that opened in 1986 on another water location in the park.
The softly playing music in the boats is harp concert Allegro Brillante (11 minutes) from François-Adrien Boieldieu from his Concerto pour Harpe et Orchestre en ut majeur Op.82 (1801). The same music can be heard at the Little Mermaid.
Ride length: 20 minutes | 1081 meters
Speed: max 2.7 km/h
Ride capacity: 40 boats; 1100 passengers/ hour
Cost: € 2 million
Manufacturer: Intamin AG
Opened: 13/04/1981
Location: Reizenrijk
[ Wikipedia ]
鳳凰，亦稱丹鳥、火鳥、鶤雞、威鳳，是中國古代傳說中的百鳥之王，在中華文化中的地位和龍相同。其羽毛一般被描述為赤紅色，“鳳”為雄性，“凰”為雌性[1]。其圖徽常用來象徵祥瑞。
受中國文化的影響，鳳凰的形象在漢字文化圈各區域中普遍出現。英文稱之為Chinese Phoenix或簡稱Phoenix（實際上Phoenix指的是西方傳說裡的不死鳥）。
在甲骨文中，鳳與風為同字，皆寫為鳳凰之形，而後鳳加上凡聲，之後又將鳳形改為虫形創造出風字，由此可見鳳凰與風的關係
據《爾雅·釋鳥》郭璞注，鳳凰特徵是：「雞頭、燕頷、蛇頸、龜背、魚尾、五彩色，高六尺許」。
《山海經·圖贊》說有五種像字紋：「首文曰德，翼文曰順，背文曰義，腹文曰信，膺文曰仁。」[3]
《廣雅》：「鳳凰，雞頭燕頷，蛇頸鴻身，魚尾骿翼。五色：首文曰德，翼文曰順，背文義，腹文信，膺文仁。雄鳴曰卽卽，雌鳴曰足足，昬鳴曰固常，晨鳴曰發明，晝鳴曰保長，舉鳴曰上翔，集鳴曰歸昌。」
另，《說文》云：「鳳之象也，鴻前麟後，鸛顙鴛腮，龍文龜背，燕頷雞啄，五色備舉。」
鳳是人們心目中的瑞鳥，天下太平的象徵。古人認為時逢太平盛世，便有鳳凰飛來。
鳳凰也是中國皇權的象徵，常和龍一起使用，鳳從屬於龍，用於皇后嬪妃，龍鳳呈祥是最具中國特色的圖騰。民間美術中也有大量的類似造型。鳳也代表陰，儘管鳳凰也分雄雌，更一般的是將其看作陰性。「鳳」、「凰」常見於女性名。宋朝就常使用龍鳳旗，還使用龍鳳作為吉祥標記，使用在物品上，比如龍鳳團茶。
鳳凰被認為是百鳥中最尊貴者，為鳥中之王，有「百鳥朝鳳」之說。
按陰陽五行之說，鳳色赤，五行屬火，是南方七宿朱雀之象。另也為中國民間指的四靈之一（《禮運》，龍、鳳凰、麒麟、龜）。
而鳳凰亦有「愛情」、「夫妻」的意思；語本詩經大雅卷阿：『鳳皇於飛，翽翽其羽。』李白·早夏於將軍叔宅與諸昆季送傅八之江南序：「重傅侯玉潤之德，妻以其子，鳳凰于飛，潘楊之好，斯為睦矣」。因此鳳凰在中國文學中常比喻為「真摯的愛情。」[來源請求]
中華龍鳳文化研究中心主任龐進認為，在中國的象徵文化體系中，鳳凰是完美主義的化身，鳳凰文化的精髓是「和美」。通過研究，龐進發現鳳凰是「合」的神物，它的出現是中國古人對自然界各種生物理解、尊重、敬畏、愛戀、審美的結果，這與道家強調的「天道自然之和」即「天和」相一致。
而凰，古音與光相通，有的研究者[谁？]認為是一種與光有關的鳥，即太陽鳥。
鳳則同風相通，也可理解為「風神」。
鳳亦被視為火神。《初學記》卷三十引緯書《孔演圖》說：「鳳，火精」。
《鶡冠子·度萬第八》：「鳳凰者，鶉火之禽，陽之精也。」
《抱朴子》說：「夫木行為仁，為青。鳳頭上青，故曰戴仁也。金行為義，為白。鳳頸白，故曰纓義也。火行為禮，為赤。鳳嘴赤，故曰負禮也。水行為智，為黑，鳳胸黑，故曰尚知也。土行為信，為黃。鳳足下黃，故曰蹈信也。」——頭部呈青色，頸部呈白色，喙部呈赤色，胸、背部呈黑色，趾、爪呈黃色。
中華民國初期的國旗為五色旗，一說取自鳳凰五色，同時也代表仁，義，禮，智，信五德。[來源請求]
香港中文大學以鳳作為校徽。原因是自漢代以來，鳳即被視為「南方之鳥」，且素為高貴、美麗、忠耿及莊嚴之象徵。以紫與金為校色，取意在紫色象徵熱誠與忠耿，金色象徵堅毅與果敢
楚人尊鳳是由其遠祖拜日、尊鳳的原始信仰衍化而來的，迄今已逾七千多年有文物可考的歷史。楚人的祖先祝融是火神兼雷神。漢代《白虎通》說，祝融「其精為鳥，離為鸞。」《卞鴉·絳鳥》注曰：「鳳凰屬也」。可見，祝融也是鳳的化身。《山海經·大荒北經》中說：「大荒之中，有山名曰北極櫃。海水北注焉。有神九首，人面鳥身，句曰九鳳」。楚文化遺跡中除了龍以外還存在大量人首蛇身、人首鳥身和九頭神鳥的圖騰，開啟了中國傳說文化中「龍鳳呈祥」的文化淵源。從圖騰崇拜在氏族制時期所反映出的突出特點來看，鳳為楚人的祖先，故被楚人作為本氏族的圖騰加以崇拜、尊愛便是必然的事了。
鳳不僅是神鳥，也是楚人、楚國尊嚴的象徵。楚人尊鳳的影響便透到各個領域。如在楚國的文物中，鳳的圖像、繡像和雕像不勝枚舉，楚人衣服上的刺繡圖案也是以鳳為主要內容。此外，還有「鳳鳥雙連環」、「虎座鳳架鼓」、「鳳龍虎繡羅禪衣」等，楚國的鳳紋彩繪可謂千姿百態，無奇不有。
《論衡校釋》：「五鳥之記：『四方中央皆有大鳥，其出，眾鳥皆從，小大毛色類鳳皇。』」；《說文解字》：「五方神鳥：東方發明，南方焦明，西方鷫鷞，北方幽昌，中央鳳皇。」（注：焦明即鷦明。）[7]
《禽經》：「青鳳謂之鶡，赤鳳謂之鶉，黃鳳謂之焉，白鳳謂之肅，紫鳳謂之鷟。
天方國古有不死鳥「菲尼克司」（Phoenix，常見譯名為「鳳凰」），滿五百歲後，集香木自焚，復從死灰中更生，鮮美異常，不再死。郭沫若所作詩歌《鳳凰涅槃》中的鳳凰，即指西方傳說中的不死鳥。古埃及神話中也有一種稱為「貝努」的鳥。古埃及人認為，貝努和鷹一般大小，全身長有金色的羽毛，閃閃發光的翅膀、斑斕的外表、鳴聲悅耳，能給人降福添壽；同時認為世界上只有一隻貝努，而壽命為五百年。在臨死之時，貝努會採集芳香植物的樹枝、香草築成一個巢，然後點火自焚，在熊熊火燄中，一隻幼貝努誕生了。新生的幼貝努就將老貝努的骨灰裝進藥蛋中，在蛋上塗上防腐的香料油，帶著它飛到太陽神那裡，由太陽神將它放在太陽廟的神壇上。
以上所提及的「火鳥」，與中國傳說中的鳳凰有一定的差別，但華人在翻譯與認知上習慣把不死鳥當成鳳凰。然而西方傳說中的火鳥形象上比較像老鷹，東方傳說中的鳳凰在形象上則是較像雞、雉。此外，中國神話傳說並無鳳凰會浴火重生的說法，「凤凰涅槃」此詞是郭沫若所作詩歌《鳳凰涅槃》中歌頌不死鳥所創的詞，混淆了不死鳥與鳳凰。比較相近的是從佛教傳說中會因吞食那伽而自燃而死的迦樓羅（金翅鳥）。不過中國不會把鳳凰與迦樓羅混淆在一起，而且迦樓羅也不會重生。
zh.wikipedia.org/wiki/%E5%87%A4%E5%87%B0
Fenghuang:The fenghuang has very positive connotations. It is a symbol of high virtue and grace. The fenghuang also symbolizes the union of yin and yang. Shan Hai Jing's 1st chapter “Nanshang Jing” records each part of fenghuang's body symbolizes a word, the head represents virtue (德), the wing represents duty (義), the back represents propriety (禮), the abdomen says credibility (信) and the chest represents mercy (仁).[4]
Portrait of an empress, possibly Empress Xiaoxianchun, (wife of the Qianlong Emperor) sitting on a chair decorated with Phoenix
In ancient and modern Chinese culture, they can often be found in the decorations for weddings or royalty, along with dragons. This is because the Chinese considered the dragon and phoenix symbolic of blissful relations between husband and wife, another common yang and yin metaphor.
Bowl with dragons, phoenixes, gourds, and characters for happiness, used on Guangxu Emperor's wedding ceremony, from Peabody Essex Museum. In some traditions it appears in good times but hides during times of trouble, while in other traditions it appeared only to mark the beginning of a new era. In China and Japan it was a symbol of the imperial house, and it represented "fire, the sun, justice, obedience, and fidelity.When describing chinoiserie or authentic Asian ceramics and other artworks, English-speaking art historians and antique collectors sometimes refer to it as hoho bird,[6] a name derived from hō-ō, with a second extraneous h added. Hō-ō is simply the Japanese pronunciation of fenghuang. The seemingly vast difference between hō-ō and fenghuang is due to Chinese vowels with ng usually being converted to ō in Go-on reading. The Japanese also use the word fushichō for this image.
Phoenix talons (S:凤爪 T:鳳爪) is a Chinese term for chicken claws in any Chinese dish cooked with them.
Fèng or Fènghuáng is a common element in given names of Chinese women (likewise, "Dragon" is used for men's names).
"Dragon-and-phoenix infants" (S:龙凤胎 T:龍鳳胎) is an expression meaning a set of male and female fraternal twins.
Fenghuang is a common place name throughout China. The best known is Fenghuang county in western Hunan, southern China, formerly a sub-prefecture. Its name is written with the same Chinese characters as the mythological bird.
In Korea, this bird is known as Bong Hwang 봉황, this merely being the Korean pronunciation of fenghuang. An alternate term of Bul Sa Jo 불사조 (不死鳥), or "immortal bird" is used to refer to the type of phoenix that never dies (i.e. the Greek "phoenix"), with bong hwang being reserved for the Asian variety. Bong Hwang is often seen used within the royal emblem (especially for queens - the dragon being the emblem of the king) and appears twice in the current presidential emblem.[citation needed] North Jeolla's football club uses it as its symbol.
The Vermilion Bird, (Suzaku in Japanese) one of the Four Symbols of Chinese myth, sometimes confused with the fenghuang, from which it is a distinct entity.[7]
Phoenix Television (鳳凰衛星電視) is a Hong Kong-based media company
Typhoon Fung-wong has been a meteorological name for three tropical cyclones. The term was contributed by Hong Kong and is the Cantonese pronunciation of fenghuang.A common depiction of fenghuang was of it attacking snakes with its talons and its wings spread. According to the Erya's chapter 17 Shiniao, fenghuang is made up of the beak of a rooster, the face of a swallow, the forehead of a fowl, the neck of a snake, the breast of a goose, the back of a tortoise, the hindquarters of a stag and the tail of a fish.[1] Today, however, it is often described as a composite of many birds including the head of a golden pheasant, the body of a mandarin duck, the tail of a peacock, the legs of a crane, the mouth of a parrot, and the wings of a swallow.
The fenghuang's body symbolizes the celestial bodies: the head is the sky, the eyes are the sun, the back is the moon, the wings are the wind, the feet are the earth, and the tail is the planets.[2] The fenghuang is said to have originated in the sun.[2] Its body contain the five fundamental colors: black, white, red, yellow, and green.[2] It sometimes carries scrolls or a box with sacred books.[2] It is sometimes depicted with a fireball.[2] It is sometimes depicted as having three legs.[citation needed] It is believed that the bird only appears in areas or places that are blessed with utmost peace and prosperity or happiness.
Chinese tradition cites it as living atop the Kunlun Mountains in northern China.
en.wikipedia.org/wiki/Fenghuang
The bird is generally thought to be a symbol of freedom.
They can walk on the earth and swim in the sea as humans do but they also have the ability to soar into the sky.
Birds are free to roam to earth and the sky. Many cultures believe that they are a symbol of eternal life; the link between heaven and earth.A comprehensive guide to Peacock Symbol:
Meaning of Peacock symbol
Peacock symbol - Facts
Dream explanation, what is the significance of seeing a Peacock in a dream?Peacock SymbolThere is no exact definition for any symbol; each symbol is open to interpretation and birds are no exception to this. Their symbolism can vary greatly depending on different cultures and religion. The Peacock is a male peafowl and is generally thought to be a symbol of the sun.
It is believed that the round tail of the peacock symbolizes heaven and the markings or 'eyes' on the tail are the stars.
In Buddhism, the 'eyes' in the peacocks tail is a symbol of watchfulness.
Peacock Symbol - Meaning; The definition of a Peacock is a male peafowl; having a crested head and very large fanlike tail marked with iridescent eyes or spots. The peacock is the male of the species and has large colorful feathers which it uses to attract a mate. The female is known as a peahen and unlike the
Peacock feathers are considered to be unlucky, it is thought the 'evil' eye on the feather will be a symbol of bad luck for the owner... The peacock is often used as a symbol of vanity due to its beauty and the way it displays his tail feathers The Hindu god Murugan is a popular Hindu deity among Tamil Hindus. In Tolkāppiyam literature, Murugan, is described as being "the red god seated on the blue peacock, who is ever young and resplendent," as " the favoured god of the Tamils."Muruga rides a peacock and wields a bow in battle His peacock mount is a symbol of the destruction of the ego... Native Aborigines believed that birds carried stories..The Peacock's beautiful tail feathers are more than a metre in length... Peacocks are always males! The female of the species is called a peahen and lacks the beautiful coloring of the male (as shown in the image below)
Peacock Symbol - Seeing a peacock in your dream is a symbol of spring, birth, and new growth... A Peacock is a symbol of a good omen, signalling prestige and success and contentment with your career
It is also a symbol of your confidence and even arrogance over your success
Peacock Symbol - Christian Significance
The following definition of the peacock is taken from the Easton Bible Dictionary:(Heb. tuk, apparently borrowed from the Tamil tokei). This bird is indigenous to India. It was brought to Solomon by his ships from Tarshish (1 Kings 10:22; 2 Chr. 9:21), which in this case was probably a district on the Malabar coast of India, or in Ceylon. Dream Interpretation - Significance of Bird Symbol..The following explanation of dreams involving birds in general is taken from the book entitled 'Dream Dictionary (10,000 Dreams Interpreted - by Gustavus Hindman Miller)':
It is a favorable symbol in a dream to see birds of beautiful plumage. A wealthy and happy partner is near if a woman has dreams of this nature..Moulting and song less birds, could denote merciless and inhuman treatment of the outcast and fallen by people of wealth... To see a wounded bird, is a symbol of fateful of deep sadness caused by erring offspring
To see flying birds, is a symbol of prosperity to the dreamer. All disagreeable environments will vanish before the wave of prospective good...To catch birds, is not at all bad. To hear them speak, is owning one's inability to perform tasks that demand great clearness of perception.Peacock is a bird that has symbolized different things in different religions and cultures.
Christians associate it with immortality, ancient Mesopotamians associated a symbol of a tree flanked by two peacocks with the dualistic mind, while the bird and its feathers have been used in Hindu religion and mythology. In Buddhism, it represents wisdom.Peacocks are associated with bodhisattvas. Peacocks are capable of eating poisonous plants with out any harmful effect and similarly a Bodhisattva is able to transform ignorance into enlightenment, desire and hatred to positive feelings.
When a person comes across an enlightened thought or bodhichitta his mind opens just like an open tail of a peacock that exhibits all colors. Excatly how a peacock uses poison to nurture his body and become healthy a bodhisattva uses negativity to emerge more beautiful in all colors. They are considered to be a vehicle of Buddha amitabha representing desire and attachment.In Asia, the feathers of the peacock are considered auspicious and protective. However in the early part of the 20th-century in the West, it was considered very bad luck to keep them in the home. Lucky treasure pot from a home in Bhutan.One silly explanation for this superstition is that it was promoted intentionally to prevent people from eating this large, delicious member of the pheasant family. In that way, the bird would be protected from extinction, for many people thought it was rare -- a quintessential rara avis.The reason for the superstition has more to do with the eye-like markings at the tips of the feathers which, around the Mediterranean, recall the dreaded "evil eye"-- the ever watchful and envious glance of the she-demon, Lilith.
She was blamed for otherwise inexplicable deaths of infants, among other misfortunes.Only partly as a result of this association with the evil eye was it believed that the flesh of the peacock is poisonous. But in any case, that is nonsense.
At the height of both the Greek and Roman cultures, the bird was served at formal dinners with its feathers cunningly pasted back on, possibly with a honey mixture used as glue, so that the dramatic beauty concealed the roasted fowl. At the excessive and luxurious banquets of European kings and queens of the Renaissance, there was an epicurean delight consisting of stuffed roast birds one inside the other like the famous Russian wooden mamushka dolls. The outermost shell was the glorious peacock, its many-eyed train stretching the length of the middle of the "groaning board." As Margaret Visser, in Much Depends On Dinner points out: People have always thought that what looks amazing must certainly taste wonderful, too. From the time of Cicero until the Renaissance, no truly sumptuous European feast was held without a dish of peacock, often adorned with the bird's feathered head and fan of tail feathers.
(A dish of swan could also be similarly displayed, the impressive wings taking pride of place instead of the fan.)
According to "Food fashions of the Renaissance" in Food:
The History of Taste, where you can see illustrations of tables set with these extravagant dishes, it was the rapid rise in popularity of the meat of the North American turkey that ended the reign of "peacock supreme."Deities and Royalty..The peacock was associated with the Middle Eastern deity, Tammuz, consort of the goddess, Anat. In Greece, it was sacred to Hera, queen of heaven and lawful wife of Zeus -- a pair of them drew her chariot --, and they were kept at her temples. In the Roman Empire, peacocks were Juno's birds and on coins symbolized the females of the ruling houses, the lineage princesses. In both the Hindu and the Buddhist traditions, the peacock's influence is mainly in the realm of worldly appearance. (This is in contrast to the swan which is a symbol of the higher realms. ) Hence, the Mother-of-Buddhas, Mahamayuri-vidyarajni (Skt.) has a peacock as her vehicle. In Japan, she appears as Kujaku. Skanda (also called Murugan,) one of the two sons of Indian god, Shiva, has a peacock for his mount. Lord of the elements of form, he is also a war god. A standard made of peacock feathers used to indicate the presence of a 19th-century rajah, whose power is worldly.
In the old Chinese bureaucratic system, members of the third highest level displayed a peacock as the insignia of rank. These badges were in the form of large embroidered squares applied to the front of an official's formal gown. (A similar system for indicating status was used in the Byzantine Empire.) Peacocks are considered sacred in India, especially in the north where its feathers may be burnt to ward off disease, and even to cure snakebite. In a Buddhist tale about the travels of some Indian merchants to Baveru or Babylon, we learn that the inhabitants of that great city marvelled at the gorgeous bird which the merchants had brought with them.The motif of two peacocks, one on each side of the Tree of Life, is a well-known feature of Persian decorative arts. A pair of peacocks stands for the "psychic duality of man" similar to the role played by the Gemini in western astrology, says Cirlot (A Dictionary of Symbols.) However it must be said that the notion of two natures -- in man or in the world that surrounds him -- is certainly not a universal one.
Because of that, in the iconography of European alchemy and hermaneutics, the peacock represents the soul. In Christianity, it stands for immortality and the incorruptibility of the soul, as in this XIth-century Byzantine image.
It is an obvious solar symbol, too, because of the resemblance between the rays of the sun and the circular fan of the tail in full display.
J.E. Cirlot points out that in the Ars Symbolica of Hieronymus Bosch this blue-green bird represents the blending of all the colours of the spectrum (rainbow) and hence, the idea of totality. Tibetan culture among many others also views green as the mixture of all hues.
Among the Muslims of Java in Indonesia there is a myth about how the peacock guarding the gates to Paradise ate the devil, and that is how he managed to get inside.
This myth makes a unity of the duality of good and evil, and also explains the bird's mysterious iridescent colour. It also incorporates the Indian notion of the incorruptibility of the peacock.
Purification
As we have seen, in the Hindu tradition the peacock is the vehicle [Skt.: vahana) of, or animal associated with, Kartikkeya, a.k.a. Skanda the 6-armed, 6-headed god of war who is a son of Lord Shiva.
Kumari (Skanda/Subrahamanya's shakti) rides a peacock in the retinue of the Goddess Durga.
Its [[[Wikipedia:Latin|Latin]]] scientific name, pavo, derives from a Sanskrit epithet, Pavana (purity) that refers to the Hindu deity Vayu, the wind who is also the breath of life and the father of the hero Rama's friend, Hanuman.
It is said that at the time of Creation of the universe, when the primordial poison was churned out of the Sea of Milk and transmuted into the amrita of immortality, it was a peacock that absorbed the negative effects. Thus the bird is thought of as a protector, though its flesh is consequently considered to be poisonous.
Since a potentially deadly emotion such as anger is depicted as a serpent, and the peacock is immune, the peacock also symbolizes victory over poisonous tendencies in sentient beings. Hence the title of a well-known text for training the mind, Peacock in the Poison Grove by Dharmarakshita, a Tibetan classic in translation.
In the discourse, The Wheel of Sharp Weapons, another Buddhist treatise by Dharmarakshita, the peacock is credited with an ability to neutralize and use black aconite (aconitum ferox) as a nutriment. This highly toxic plant, also known as “'wolf-bane,” is an important ingredient in traditional Asian medicine including that of Tibet. Mixed with other ingredients, it was used in treatments for mental illness, among other complaints.
Goldenglow
Long ago, Brahmadutta was king of Benares, and he had wealth, treasure and possessions galore. He also had a most beautiful and elegant wife with a face that was lovely beyond compare, and her name was Peerless. This noblewoman was especially dear to the King, and he gladly satisfied her every whim.
At the time, on the southern slope of Kâilâsh, king of mountains, there lived a peacock whose name was Goldenglow, and he ruled a flock of five hundred followers. His limbs and body gleamed and his beak was like a jewel. Everywhere he went, he was acknowledged the grandest of all the peacocks.
One night, within the city of Benares, the call of the peacock-king rang out in the middle of the night and the following day, every one in the city was talking about it. The wife of Brahmadutta happened to be on the her terrace that night, so she asked the king, "Sire, whose stirring and mellifluous voice was that, last night?"
The King answered, "Princess, though I have never seen him, from its remarkable qualities, that voice must belong to Goldenglow, king of the peacocks, who lives on the southern slope of Kâilâsh.
Then the Queen said, "Sire, please have the king of peacocks brought here." The King replied, "But what good is it to see him going through the air?"
But the Queen said, "Sire, if you do not let me see this Suvar.naprabhâsa, I shall surely die."
So the King, who was very much in love with her, gave in saying, "All right, I will send for my huntsmen and fowlers." This he did, and he said to them, "They say that on the southern slope of Kâilâsh, chief of mountains, lives the peacock king, Suvarnaprabhâsa, whose limbs and body are glossy, and whose bill is like a jewel. Go, net or snare him, and bring him back. If you succeed, fine. But if you fail, I will have all of you put to death."
So the hunters and fowlers, in fear of losing their lives, took up their nets and snares and started off for Kâilâsh's southern slope. When they arrived at their destination, they set up their nets and set their traps all over the peacock- king's terrain, but though they waited seven days, they couldn't catch him, and they were all out of provisions, and very hungry.
Finally, out of compassion for them, the king of peacocks appeared and said, "You are hunters. Why do you stay here in this one place when you are starving?"
They replied, "This is the reason, Peacock-king: King Brahmadutta given us orders to 'Go, and with your nets and snares, catch me Suvarna-prabhâsa, the peacock king, whose limbs and body are glossy, whose bill is like a jewel, and who lives with five hundred followers on the southern slope of Kâilâsh, chief of mountains. If you bring him here, well and good, but if you do not, you shall all be put to death;' so in fear of our lives, we have come to try and capture you."
The king of peacocks responded, "Violent Ones, I cannot be taken by means of snares and nets, but if the King of Benares wants to see me, let him have the city swept, sprinkled with scented water, and decorated with flowers. And let him raise white awnings and banners, and burn incense. Let him prepare chariots bedecked with the seven jewels, and then, if in seven days he arrives in the company of his
entire army, I will go back to Benares with him, of my own free will."
So the hunters packed up their nets and snares, and returned to the King and told him everything that had happened, and what Suvarnaprabhâsa had proposed.
King Brahmadatta decided to take the King Peacock up on his offer, and he had the city of Benares prepared as the bird had instructed and then, his chariots ornamented with the seven kinds of precious stones, and surrounded by his cohorts he went off to the southern slope of Kâilâsh, chief of mountains.
The king of the peacocks, Suvarnaprabhâsa, also riding in a chariot decked with seven kinds of precious stones, uttered a cry which was heard by the whole army. King Brahmadatta was thrilled, and such joy filled his heart that he felt impelled to do homage to the bird. He prostrated to him and made offerings; and honouring him, they all went back together to Benares.
When they arrived at the town gates, the peacock again uttered his cry, and it was heard throughout the whole city. From all quarters, men, women, boys and girls all rushed to the gates. Then King Brahmadatta again honoured the peacock king, paying homage, making offerings, and bowing to him.
Once at the palace, he went to get the queen, and said to her, "Princess, the king of the peacocks, Suvarnaprabhâsa, has arrived at your dwelling."
Now King Brahmadatta had undertaken to make daily offerings of fruits and flowers to the great Peacock, but it so happened that there came a day that the King was very busy, and so he thought, "Who can make the proper offerings to Suvarnaprabhâsa?" and it occurred to him that Princess Peerless was both knowledgeable and skillful, and that she could certainly do it.
So King Brahmadatta sent for her and said, "Princess, please make the offerings to the king of the peacocks exactly as I have done," and the King's consort did so.
Time passed, and it so happened that the peerless queen had an affair and found out that she was pregnant. She realized that if she did not want the King to find out her adultery and have her put to death, she would have to silence the bird. So this
woman tried to poison the king of the peacocks by feeding him poisoned food and drink, but the more she gave him, the healthier he appeared -- he became even more lovely and resplendent, and the Queen was amazed.
Then Suvarnaprabhâsa called out, "Shame, shame on you! I know your kind. Because you are carrying another man's child, and this bird knows about it , you think that you can poison me so that the King will not find out from me and put you to death. But you never kill me with poison!
On hearing that, the Queen fainted and lost a great deal of bright blood. She wasted away, and when she finally died, she was born in hell.
"The King of Benares is now Shariputra, and I (Buddha) was Goldenglow, king of the peacocks."
~ Edited from the "Shariputra Sutra" as translated by Wm. Woodville Rockhill (1897.)
Protector and Preserver
One of Green Tara's many epithets is The Peahen ( Skt. Mayuri.)
Mahamayuri is green with 8 arms and 3 heads. Her faces are white, green and blue. Her eight hands display: Right side -- varadamudra, a sword, vajra and jewel; left side -- a bowl, a treasure jar, a bell and a flower. Seated on a lotus throne, she wears all the ornaments and celestial garments of a bodhisattva.
According to the Mahamayuri Sutra of Pancharaksha, there was a bhikshu in the Buddha's sangha called Svati, who was newly ordained. He was unfortunately bitten by a poisonous snake and fainted. Seeing his condition, Ananda reported this incident to Buddha Shakyamuni. Out of compassion for the newly ordained monk and for the future ones, Lord Buddha disclosed a dharani capable of eliminating poisonous harm and malignant diseases. This is the dharani of Arya Mahamayuri.
Maha-Mayuri became in Japan, a male figure called Kujaku Myo-o. This Buddhist wisdom deity associated with the peacock (whose call is believed to herald the rain) protects against calamity, especially drought. Palden Lhamo, (pron. Penden Hamo, Skt. Shri Devi) the dark blue protector of all Tibetan Buddhist denominations who rides her mule through a burning [with wisdom) sea of blood (life in bodily form] is sheltered by a peacock-feather umbrella.
Lakshmi, wife of the Hindu god, Vishnu, sometimes is depicted with armbands in the form of peacocks. The birds are sacred to her since their cries are associated with the rainy season and hence, fertility. The hero of the Indian epic, Mahabharat is called Arjun, a name that refers to the peacock. Also, there is a north Indian/Nepali deity called Janguli who protects against snakebite and poisoning. Described as having 3 faces, 6 arms, her vehicle is, not surprisingly, a peacock.n Nepal, practitioners of Jhankrism, a shamanic tradition pre-dating both Buddhism and Hinduism, wear a tall head-dress of peacock feathers as an essential part of their regalia. Also notice the type of drum that is typical among shamans.
The peacock's beautiful and distinctive colouring is said to be a gift from the god, Indra. One day the King of Gods was doing battle with Ravana, the Demon King. The peacock, which in those days resembled his plain brown hen, took pity on Indra and raised its tail to form a blind or screen behind which Indra could hide himself. As a reward for this act of compassion, the bird was honored with the jewel-like blue-green plumage that it bears to this day.
Krishna, the avatar of Vishnu who is God-as-the-one-responding -to-devotion, is also depicted in the company of peacocks. One of Krishna's roles is as the irresistible divine suitor. Perhaps that is the link to the recommendation in The Kama Sutra that, if a man wishes to appear attractive to others, he can wear a peacock's bone covered in gold tied to his right hand.
Amitabha
The association of this jewel-tone bird with its sun-like fan of a tail evocative of the Wheel of Dharma -- the Buddha's teachings; its connection to the ideas of immortality and compassion, and the unification of views or opposites, as well as the correspondence with the Garden which is the Pure Land, demonstrates in Mahayana Buddhism the archetypical nature of the relationship between the peacock and Amitabha.
In the depiction of this Buddha of Eternal Light, he is seated under a tree; we see its flowers and leaves peeking through the pavilion. Tenga Rinpoche says, " . . . birds, in particular, have strong desire and craving, so, as a symbol of craving transformed into discriminating wisdom, Amitabha's throne is supported by peacocks."
There are actually eight peacocks that support his throne, one at each corner of the base. They stand for the idea that no matter the misdeeds committed during one's lifetime[s], rebirth is possible in Sukhavati, the Pure Land of Great Bliss that is the Western Paradise of Opameh (Tibetan for Amitabha). Any and all evil-doing is eventually absorbed.
Six peacock feathers arranged as a fan ornament the vase (bumpa) and sprinkling utensil used for distributing the blessing or purifying water in Tibetan Buddhist empowerments and other rituals. In this role they are not only a symbol of compassion, but also a symbol of immortality by virtue of their capacity to absorb and neutralize, and to act as a universal antidote against poisons including the kleshas [imperfections or obscurations) such as anger, greed and ignorance that are inherently human.
Natural History
The peacock is the male of a variety of the pheasant species, pavo cristatus. The female is a peahen; both are known as peafowl. It is native to India and Shri Lanka. A green variety, p. muticus, is found in neighbouring countries of south Asia. The Phoenicians introduced the peafowl to the pharaohs of Egypt, then it made its way to Europe among the spoils of Alexander of Macedon's returning army.
Each mature male may keep a harem of around 5 hens which it wins in fierce competition with other males. Screeching, preening, displaying [strutting and raising and lowering the "fan"] and a vigorous rustling of the tail-feathers are some elements in the courtship competitions. After the mating, the female lays a clutch of 4 to 6 spotted eggs in a hidden nest.
Peafowl spend most of the day on the ground pecking for food but as evening falls, they roost in the trees. In the spring, and when disturbed, the male can produce a sound very like that of a diesel truck's air horn. These birds are fairly intelligent, and can be trained to come when called. They are very hardy, adapting to fairly extreme temperatures. They are sometimes kept on estates not only as decorative birds, but as reliable "watchdogs."
3rd domestic bird on page is the peafowl. Hear its usual cry.
The peacock flies beautifully, but requires at least a 5-metre "runway" in order to get the lift required for take off. A surreal sequence of a white peacock in flight through lightly falling snow at the beginning of the 1973 Fellini film Amarcord is reason alone to get the dvd.
Two important writers who featured the peacock are Flannery O'Connor (1925-1964) who knew them well, and Raymond Carver (1938-1988) in Feathers.
Treasure pot: Buried or kept to attract prosperity or otherwise benefit a dwelling. Read about the Peace Vase Project for the types of contents.rara avis: A Latin expression used to emphasize, often ironically, the exotic singularity of an individual. Of course the peacock is not rare at all and should not be confused with Birds of Paradise, the paradisidae species that are rapidly disappearing from New Guinea due to loss of habitat as well as the demand for gorgeous feathers. Dharmarakshita: Known as Serlingpa in Tibetan, for having come from Sumatra, "the land of gold," he was Atisha's teacher (11th century.) He is the author of Wheel of Sharp Weapons. An earlier monk (ca. 261 BCE) of that name, who some say was a Greek, was invited to India by King Ashoka.Goldenglow: Skt. Suvarnaprabhasa or Suparna, for short. Rockhill calls him "Golden-Sheen." At the time of the Churning: An alternate view is that Lord Shiva's throat is dark because it was He who drank the poison, thus his epithet, Neelakantha. Shiva is also Mahakala, meaning both "Great Dark One" and "Great Time," the embodiment of Impermanence.
www.chinabuddhismencyclopedia.com/en/index.php/Peacock_Sy...
Copyright © Marc Ottolini All rights reserved
Zeiss Ikon Symbolica I (version 10.0614) (1959)
Tessar 45mm/2.8
Rollei RPX400 - Nikon Coolscan V ED
A very simple Point-and-Shoot 35mm camera from the end of the 50's. Easy to use, as there's no rangefinder, you scale or zone focus using the "symbols" (head-n-shoulders, family, mountains), which is what gave this camera its name.
This is the 1st version with a very bright viewfinder, and the body is based on the Contina.
Pagode attraction in the Efteling Theme park. Nice overview of the park and in the distance you see the city of Tilburg.
Symbolica 08/12/2020 13h49
A detail of the Panorama Salon in Symbolica, the second scene of this dark ride. One of the luminous butterflies that flutter towards you while you enjoy the view over Hartenstad from the balcony.
Panorama Salon
The Panorama Salon offers a wide view or "panorama" over Hartenstad, the city located next to the palace, executed like a diorama at night. Before the Fantasy Float drive up one of the three balconies, we see a table on the right side of the route with butterflies standing in front of a large painting. They twinkle and come to life for a moment. Once on the balcony, we see dozens of buildings and towers in Symbolican architecture, nestled between high mountains and a volcano. A breeze blows over the balcony and magic shops scatter over the structures, lighting them up. Large luminous butterflies appear at the top of the scene and flutter towards the visitors. Backwards the Fantasievaarders drive down the balconies to the Botanicum.
Symbolica
Symbolica is a trackless dark ride in the Efteling theme park in the Netherlands, which opened the 1st of July 2017.
Originally, an attraction called Hartenhof would be constructed on the site of Symbolica. The project was postponed multiple times, until it was renamed Symbolica. Consturction started January 11th 2016.
The story is of Symbolica is all about visiting king Pardulfus, who lives in Hartenhof (court of hearts). While the visitors await their audience with the king, a character called Pardoes appears. Pardoes then guides the visitors through hidden parts of the castle.
Before the visitors can enter their Fantasievaarders, there is a pre-show with two animatronics. A staircase magically opens and the visitors are directed to the boarding station. Here, they can choose one of three different routes: Heldentour (Hero tour), Muziektour (Music tour) and Schattentour (Treasure tour). The castle consists of eleven scenes, where each of the three routes attends nine scenes.
FACTS & FIGURES
Attraction type: Trackless darkride
Date of opening: 01/07/2017
Cost: € 35,000,000
Manufacturer: ETF Ride Systems
Capacity: 1400 per hour riders per hour
Vehicles: Fantasievaarders (fantasy farers)
Riders per vehicle: 6 (2 rows with 3 riders)
Duration: 7 minutes
What happened when the Obelisk returned to Aksum? In fact, the authorities had no funds to re-erect the Obelisk. It didn't really matter because the Obelisk was already at home -symbolicaly at least. What mattered was the publicity surrounding this return and the advertisment for Ethiopia.
In 1998, the Ethiopian prime minister, Meles Zenawi initiated a pilot project "Ethiopian Cultural Heritage Management" with the World Bank. The goal was to promote an economic development through the valorisation of heritage. What happened with the project? First the project was delayed because of the war. Second, it came as a choice of some of Ethiopian cultural heritage: just the Ethiopian world heritage sites were chosen. And then? Then some training of the Ethiopian heritage staff have started, creating databases, inventories. Art and craft producers have been trained to new comprehensive means of production and to modernised traditional productions.
And then what happened? In fact, nothing has happened yet and maybe it went worst. Anyway one wonders which kind of 'cultural product' can come out from a World Bank project.
This is what will be explained in the next captions of this story.
Symbolica 08/12/2020 13h50
The fantasy float quickly drives out of the Botanicum because the aquarium with the fable fish starts to leak, there was a short circuit and Pardoes showed us the way to a safer place. We will not know how it went on in the Botanicum.
Botanicum
Via a short connecting corridor and a corner with rockwork, the fantasy floats slide one after the other into a Victorian greenhouse with a vaulted roof and elegant trusses: the Botanicum. The third scene. Special plants such as "Flos Reijnders" and Flora Magica grow along the columns and in large pots, which open and close their petals. The light inside dims and the magic shops spread out over the glass panels, after which we see that behind them there is no outside air but a kind of underwater cave. A large fable fish, a mythical animal that looks a bit like a baleen whale, swims down from the height and makes whale noises. The friendly-looking animal (accidentally) breaks the glass with its tail, after which more and more cracks appear and water runs through the trusses and panels. The light makes a short circuit through the water and fails. The Fantasievaarders quickly drive out of the Botanicum, into a path where Pardoes points the way between a number of plants to a safer place: the Gates Passage that gives access to the Treasures Boudoir, the Music Salon and the Heroes Cabinet.
[ Eftelpedia ]
Symbolica
Symbolica is a trackless dark ride in the Efteling theme park in the Netherlands, which opened the 1st of July 2017.
Originally, an attraction called Hartenhof would be constructed on the site of Symbolica. The project was postponed multiple times, until it was renamed Symbolica. Consturction started January 11th 2016.
The story is of Symbolica is all about visiting king Pardulfus, who lives in Hartenhof (court of hearts). While the visitors await their audience with the king, a character called Pardoes appears. Pardoes then guides the visitors through hidden parts of the castle.
Before the visitors can enter their Fantasievaarders, there is a pre-show with two animatronics. A staircase magically opens and the visitors are directed to the boarding station. Here, they can choose one of three different routes: Heldentour (Hero tour), Muziektour (Music tour) and Schattentour (Treasure tour). The castle consists of eleven scenes, where each of the three routes attends nine scenes.
FACTS & FIGURES
Attraction type: Trackless darkride
Date of opening: 01/07/2017
Cost: € 35,000,000
Manufacturer: ETF Ride Systems
Capacity: 1400 per hour riders per hour
Vehicles: Fantasievaarders (fantasy farers)
Riders per vehicle: 6 (2 rows with 3 riders)
Duration: 7 minutes
Symbolica 05/12/2022 15h22
The palace of fantasy in Winter colors ready for Christmas.
Symbolica
Symbolica is a trackless dark ride in the Efteling theme park in the Netherlands, which opened the 1st of July 2017.
Originally, an attraction called Hartenhof would be constructed on the site of Symbolica. The project was postponed multiple times, until it was renamed Symbolica. Consturction started January 11th 2016.
The story is of Symbolica is all about visiting king Pardulfus, who lives in Hartenhof (court of hearts). While the visitors await their audience with the king, a character called Pardoes appears. Pardoes then guides the visitors through hidden parts of the castle.
Before the visitors can enter their Fantasievaarders, there is a pre-show with two animatronics. A staircase magically opens and the visitors are directed to the boarding station. Here, they can choose one of three different routes: Heldentour (Hero tour), Muziektour (Music tour) and Schattentour (Treasure tour). The castle consists of eleven scenes, where each of the three routes attends nine scenes.
FACTS & FIGURES
Attraction type: Trackless darkride
Date of opening: 01/07/2017
Cost: € 35,000,000
Manufacturer: ETF Ride Systems
Capacity: 1400 per hour riders per hour
Vehicles: Fantasievaarders (fantasy farers)
Riders per vehicle: 6 (2 rows with 3 riders)
Duration: 7 minutes
Pardoes Promenade 08/03/2022 11h57
The Pardoes Promenade in the distance as seen from the side of the Fairytale Forest (Langnek).
Due to the construction preparations for the new hotel at Dwarrelplein, the entrance and exit gate at Pinokkio and De Rode Schoentjes to the Fairytale Forest are closed. It has been decided to make an extra gateway at the De Zes Dinaren (Six Servants) in addition to the traditional main entrance to the Fairytale Forest at Doornroosje (Sleeping Beauty).
Seen from the Pardoes Promenade
De Efteling
The Efteling is a fantasy-themed amusement park in Kaatsheuvel in the Netherlands. The attractions are based on elements from ancient myths and legends, fairy tales, fables, and folklore.
The park was opened in 1952. It has since evolved from a nature park with a playground and a Fairytale Forest into a full-sized theme park. It now caters to both children and adults with its cultural, romantic, and nostalgic themes, in addition to its wide array of amusement rides.
It is the largest theme park in the Netherlands and one of the oldest theme parks in the world. It is twice as large as the original Disneyland park in California and antedates it by three years. Annually, the park has nearly 5 million visitors. In 2016, it was the third most visited theme park in Europe, behind Disneyland Paris and Europa-Park. Over the years, it has received over 125 million visitors.
Location: Kaatsheuvel, North Brabant, Netherlands
Opened: 1952
Operating season: Year-round
Visitors per annum: 4.76 million in 2016
Area: 72 ha the park; 276 ha the resort
Rides: Total 36
Roller coasters 6
Water rides 4
[ Source and much more Info: Wikipedia - De Efteling [2022 ]
Danse Macabre 10/04/2024 12h21
Another update of the construction of Danse Macabre. The exterior looks almost finished and in the social media it is said that they are actually busy with the turntable and decors in the abbey.
Seen from a little hill along the path from Piraña towards Symbolica/Pagode. More details are visible here from the wachtreis ("waiting adventure") of this attraction. About 6 months prior its opening.
There appear to be wooden bridge parts on the right. No idea where this bridge will pop up later.
Danse Macabre
Danse Macabre is a future attraction in the Efteling that is named after the symphonic poem Danse Macabre by Camille Saint-Saëns. The ghost attraction will use a large turntable (type: Dynamic Motion Stage, manufacturer: Intamin) with a diameter of eighteen meters. On the large turntable there are six smaller turntables with six choir stalls on top. There is room for 108 visitors per ride. During the ride, the large turntable will rise, tilt and spin like a coin. The capacity is 1250 people per hour and the attraction is suitable for children from 8 years old. The entrance will be located near the Piraña, the Abbey Square. Its theme is 'horror' and will take the place of the former Spookslot. The building will consist of a 20-meter-high abbey and will take visitors into creepy and mysterious spaces. The music from the Haunted Castle, Danse macabre, will be transferred to this new attraction. Part of the old Spookslot wall and tower, with perhaps some minor adjustments, will also become part of the new Huiverwoud theme area. The total theme area will be approximately 17,000 m2. .
The total cost is €30 million and the opening is planned for the autumn of 2024 (expected to be October). Danse Macabre is the only attraction in the themed area Huyverwoud.
[ Wikipedia March 2024 ]
Hartenhof | Symbolica 18/08/2017 18h22
Lackey O.J. Punctuel (played by Jeroen Verheij, since 1997 one of the designers in De Efteling) in front of Symbolica. Photo taken during the summer night opening on Friday and Saturday evening.
Lackey O.J. (Olivier Jujubes) Punctuel is the secretary of King Pardulfus's secretary at the Palace of Phantasy. He is the head of the court and responsible for a proper course of revenue and other official occasions. Around the palace of Symbolica, O.J. Punctuel informed the public of the etiquette inside the palaice in preparation for an Audience at King Carando Domerano Pardulfus.
Symbolica
Symbolica is a trackless dark ride in the Efteling theme park in the Netherlands, which opened the 1st of July 2017.
Originally, an attraction called Hartenhof would be constructed on the site of Symbolica. The project was postponed multiple times, until it was renamed Symbolica. Consturction started January 11th 2016.
The story is of Symbolica is all about visiting king Pardulfus, who lives in Hartenhof (court of hearts). While the visitors await their audience with the king, a character called Pardoes appears. Pardoes then guides the visitors through hidden parts of the castle.
Before the visitors can enter their Fantasievaarders, there is a pre-show with two animatronics. A staircase magically opens and the visitors are directed to the boarding station. Here, they can choose one of three different routes: Heldentour (Hero tour), Muziektour (Music tour) and Schattentour (Treasure tour). The castle consists of eleven scenes, where each of the three routes attends nine scenes.
FACTS & FIGURES
Attraction type: Trackless darkride
Date of opening: 01/07/2017
Cost: € 35,000,000
Manufacturer: ETF Ride Systems
Capacity: 1400 per hour riders per hour
Vehicles: Fantasievaarders (fantasy farers)
Riders per vehicle: 6 (2 rows with 3 riders)
Duration: 7 minutes
Mit dieser Kamera wollte Zeiss Ikon jene Fotografen ansprechen, die sich nicht mit Blendenzahlen und Verschlusszeiten herumplagen wollten. Wie das technisch funktioniert, erzählt gut verständlich der zeitgenössische Katalogtext:
Die Symbolica hat dem völlig unbeschwerten Photoamateur die Fessel der Technik gesprengt: Keine Skalen müssen abgelesen oder eingestellt werden. Es sind nur Symbole (daher der Name der Kamera!), die graphisch an der Kamera dargestellt sind, zu beachten:
1. Aufnahmeart: Landschaft, Gruppe oder Porträt,
2. zur richtigen Belichtung: einen Zeiger auf einen Kreis einstellen. Das ist alles!
Der Besitzer dieser Kamera braucht dann im wahrsten Sinne des Wortes nur noch auf den Knopf zu drücken. Alles andere, wie Filmeinlegen, Entwickeln, Kopieren usw. kann er seinem Photohändler überlassen. Ursache der Bedienungsvereinfachung: der Prontormat-Verschluß. Er verbindet die Blende des Objektivs und die Zeiteinstellung so miteinander, daß keine Skalen mehr für diese Werte erforderlich sind. Die Kupplung mit dem eingebauten Belichtungsmesser sorgt dafür, daß sich automatisch immer ein zusammengehörendes Paar von Blende und Zeit einstellt. Dabei ist die längste vorgesehene Zeit 1/30 Sekunde. Die Symbolica besitzt alle technischen Vorzüge einer modernen Zeiss Ikon Camera: Sie hat den hellen Leuchtrahmensucher, Zeiss Tessar 2,8/45 mm, Synchronkontakt für Blilzlichtaufnahmen und Schnellschalthebel.
Ein großer Verkaufserfolg war diese Symbolica zunächst nicht: Nur 14.000 Stück wurden von 1959 bis 1960 hergestellt und für 249,– DM verkauft.
Das Nachfolgemodell war erfolgreicher: Immerhin 49.000 dieser neuen Version kamen von 1960 bis 1962 zum Preis von 273,– DM auf den Markt. Sie unterschied sich hauptsächlich durch eine neue Gehäuseform (ähnlich der Contessa LK) und der im Sucher eingespiegelten Belichtungsmesseranzeige von der ursprünglichen Version.
Polles Keuken 06/07/2020 12h31
First lunch at Polles Keuken. This is about pancakes, pancakes and pancakes. The best thing about the interior is that the stove in the middle of the restaurant goes crazy every 15 minutes. This makes a lunch of dinner an experience.
Polles Keuken
Polles Keuken is a pancake restaurant at the end of the Pardoes Promenade, named after Polle, the chef at Hartenhof. The building was inaugurated on February 1, 2012 and officially opened on March 30, also National Pancake Day.
Originally, the plan was to open the restaurant together with the Hartenhof attraction, as part of the Realm of Fantasy. However, an attraction was still to come, only in 2017 Symbolica was opened. The restaurant and building are designed by Sander de Bruijn, Robert-Jaap Jansen and Jeroen Verheij.
In addition to the pancake restaurant, the building houses more catering outlets. On the Pardoes Promenade you will find the coffee counter 'De Gebrande Boon' and a point of sale Swirl's Ice Cream, 'Smooth Ice', on the Marerijk side is the donut sale Rondje van de Molen.
Inside we find a richly decorated and cozy space that can accommodate 140 guests, both inside and on the newly landscaped terrace, which is located directly on the Promenade. There is a high wooden ceiling and a stone inner ring where you can sit on both benches and chairs. The biggest eye-catcher is a central cooking stove with pots and pans and glazed cakes and food. Every 15 minutes the stove briefly 'goes crazy', with the utensils starting to move and the wheels above the stove rotating faster and faster, accompanied by music and sound effects by Marco Kuypers.
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today Lettice’s oldest childhood chum, Gerald Bruton is visiting. Although also a member of the aristocracy Gerald’s fate is very different to Lettice’s. He has been forced to gain some independence from his rather impecunious family in order to make a living. Luckily his artistic abilities have led him to designing gowns from a shop in Grosvenor Street, a business which, after promotion from Lettice and several commissions from high profile and influential society ladies, is finally beginning to turn a profit. The two are taking tea from Lettice’s beautiful and avant-garde Royal Doulton Falling Leaves tea set whilst they wait for Edith, Lettice’s maid, to prepare a light cold luncheon for them. Across the low black japanned coffee table between them is spread a long papyrus* scroll featuring beautiful and wonderfully colourful Egyptian hieroglyphic writing and images. Arriving in a wooden box also marked with hieroglyphs, it is one of two Lettice has in her possession.
“There really are remarkable, Lettice darling!” Gerald enthuses as he runs his hands with reverence across the fine fibrous paper. “And in such condition for something so ancient.”
Lettice looks across the table at her friend and laughs loudly.
“What’s so funny?” Gerald asks in innocent surprise, glancing up from the scroll at Lettice.
“Oh Gerald, you silly thing!” Lettice giggles, raising a dainty hand with prettily manicured nails to her smiling lips. “This isn’t a real Egyptian papyrus scroll! I know some of my clients can afford to have real papyri on their walls, but this is a very well executed imitation!”
“An imitation?” Gerald’s eyes grow wide. When Lettice nods, he goes on, “Well, it certainly is an excellent copy, I’d never have known.”
“It came from Lancelot de Vries antiques and curios shop in the Portobello Road**.” Lettice elucidates.
“Ahh,” Gerald murmurs, settling back in the comfortable white upholstered rounded back of Lettice’s tub armchair. “That explains it then. No wonder it’s so good. Old Lottie,” He casually uses a female nickname*** instead of the antique dealer’s real name, indicating that he knows Mr. de Vries well. “Is so incredibly talented that he could have made a successful career out of forging old masters, if he hadn’t decided to tow the straight and narrow and become an antiques and objet d'art dealer.”
“Gerald!” Lettice gasps.
“It’s true! Just look at the quality in this piece.” He waves his hand expansively towards the unfurled scroll. “I could have sworn it was the genuine article.”
“Well, I don’t know about you, Gerald darling, but I don’t fancy spending the money on a real papyrus scroll from ancient Egypt just to hang on a wall until this Tutmaina**** craze ends.”
“So, this isn’t for you then, Lettice darling?”
“No. I’m taking this on approval from Mr. de Vries, who just received a shipment of them. He’s selling them in his shop. They race out the door quicker than you can say knife, apparently. I’m going to show these to Mrs. Hatchett and see whether she would like an Egyptian themed reception room.”
“Knowing Dolly Hatchett as well as I do, and knowing just how much she admires you and your taste,” Gerald opines. “I think something more oriental,” He waves his hands around Lettice’s drawing room, indicating to her Chinoiserie furniture, her Japanese screen and her Chinese ceramics. “Will appeal to her more.”
“But she gave be carte blanche to decorate her suite of rooms as I see fit, Gerald.”
“Then why are you asking her for her opinion?” Gerald looks at his best friend with a knowing look. He doesn’t wait for a reply from her. “I’ll tell you why. Because you know that even though she made you that promise, she will want to be consulted. This is a bigger project than ‘The Gables,” He refers to the Hatchetts’ Sussex house in Rotherfield and Mark Cross which Lettice partially redecorated in 1922. “This is all about promoting Charles Hatchett’s power and influence as an MP. Dolly won’t want to set a foot wrong. She knows she can’t afford to as much for her own sake as for Charles’. She has been a social pariah, relegated as the pretty flibbertigibbet Gaiety Girl***** from the chorus line of ‘Chu-Chin-Chow’****** who dared to look beyond her class and marry a successful banker with political aspirations. Now she is a successful MP’s wife, so she needs to show that she has impeccable taste, even if the taste really isn’t her own.”
Lettice sighs heavily. “You’re right Gerald darling. It’s true”
“Of course I’m right.” Gerald picks up his cup of tea and takes a sip from it. “However, I also know that as such an arbiter of what is fashionable, if you told Dolly Hatchett that you wanted to paint her reception room violent purple with green polka dots because it was the height of fashion, she’d let you, even if she hated it.”
“You know I would never do that to anyone, Gerald darling.” Lettice takes up her own cup of tea from the edge of the table which houses her telephone and a vase of fresh red roses from her fiancée, Sir John Nettleford-Hughes.
“I know.” he assures her.
The movement near to them, brings Gerald’s attention to the roses. Nodding at them, he asks, “Are those from your intended?”
Lettice looks at the fat blooms with their rich red velvety petals which are dispersed with fluffy white pompoms of Gypsophila****** and considers them, as if seeing them for the first time. “Yes.” she replies rather flatly.
Old enough to be her father, Lettice is engaged to be married to wealthy Sir John Nettleford-Huges. His engagement to Lettice came as something of a surprise to London society as he was always considered to be a confirmed old bachelor, and according to whispered upper-class gossip intended to remain so, so that he might continue to enjoy his dalliances with a string of pretty chorus girls of Lettice’s age and younger. After an abrupt ending to her understanding with Selwyn Spencely, son and heir to the title Duke of Walmsford, Lettice in a moment of both weakness and resolve, agreed to the proposal of marriage proffered to her by Sir John. More like a business arrangement than a marriage proposal, Sir John offered Lettice the opportunity to enjoy the benefits of his large fortune, be chatelain of all his estates and continue to have her interior design business, under the conditions that she agree to provide him with an heir, and that he be allowed to discreetly carry on his affairs in spite of their marriage vows. He even suggested that Lettice might be afforded the opportunity to have her own extra marital liaisons if she were discreet about them.
“What of them?” Lettice goes on.
“Oh nothing.” Gerald remarks dismissively with an air of laissez-faire********. “I was just wondering.”
“I’ve known you all my life, Gerrald darling.” Lettice shakes her head and looks seriously at her best friend. “You were doing more than wondering. What is it? Come on. Spit it out!”
“Well, it’s just that when I was visiting Cyril at Hattie’s recently, Hattie showed me a book that had belonged to her mother. It’s called Floral Symbolica*********. She thought I might like to read it because it discusses the meaning of flowers, so that when I gave Cyril a bouquet of blooms, it would express my love for him.”
“And?” Lettice smiles.
“Well, dark red roses like those, are supposed to represent a more sophisticated and serious affection than a bright red rose, expressing eternal love, loyalty, and a heartfelt devotion.”
“And?”
“Oh look!” Gerald sighs sadly. “There’s no nice way for me to tell you this, but Cyril is friends with Paula Young, who I know is your intended’s latest conquest.”
Lettice’s heart begins to race at the mention of the young and pretty West End actress’ name. With a slight tremor, she lowers her teacup back into its saucer. “I know that too, Gerald darling. You know I do. John has been very forthright and honest about that facet of his life, and I know he won’t stop.”
“Well, Cyril knows about it too, and of course he knows through me that you and Sir John are engaged to be married.”
Lettice gulps as a shudder runs through her and she feels the blood drain from her face. “But how does he know about Miss Young and John?”
“Through Miss Young herself, I assume. From what Cyril’s mentioned about her, she is something of a parvenu, and she is rather indiscreet about her discretions. He told me as much the other night when I stayed with him at Hattie’s.”
“Oh no!” Lettice gasps, raising her hands to her cheeks which suddenly feel hot to the touch as they fill with embarrassed colour. “But Cyril is coming to Sylvia’s weekend house party now, and so are John and I! Oh Gerald!” Tears well in her eyes and threaten to spill over.
Gerald immediately thrusts his cup noisily back into its saucer and leaps up with sudden urgency. He scuttles around the low coffee table and wraps his arms around Lettice, pulling her to his chest as the tears start to spill from her sparkling blue eyes.
“Don’t worry, dear Lettice.” Gerald assures her. “I’ve spoken to him. I’ve told Cyril in no uncertain terms that he can’t mention that he knows anything about Sir John’s and Miss Young’s liaison to anyone, especially at the party, and that he is to keep mum**********.”
“Oh Gerald!” Lettice sobs. “John promised me that he would never do anything to shame me in public as far as his…” She intakes a large gulp of air. “His dalliances.”
“Well,” Gerald says in defence of Sir John, gently chuckling sadly as he strokes Lettice’s back comfortingly through her French blue cardigan***********. “I suppose he doesn’t imagine that you would ever know a poor West End musician who just happens to be a friend of sorts with his latest flame.”
Lettice sniffs and pulls a clean and freshly laundered lace trimmed handkerchief from the left-hand sleeve of her cardigan and dabs at her eyes and nose, as Gerald crouches down in front of her, so that he can look her squarely in the face.
“He won’t, will he?” She sniffs again.
“Cyril?” Gerald asks. When Lettice nods shallowly he goes on, “No of course he won’t. I know that he may not be the most discreet of people, but I really have made it perfectly clear to him how important it is that he doesn’t let on about any of it. For all his faults, he likes you very much, Lettice, and he’d never want to embarrass or hurt you.”
“Well, if you’re sure.” Lettice gulps again.
“Of course I am, Lettuce Leaf!” he replies, using his childhood nickname for her, which he knows she hates, in order to try and break her moment of worry by introducing a note of levity.
“Don’t call me that Gerald! You know how I hate it!” she replies.
“That’s better.” Gerald smiles. “Now dry those eyes. Luncheon will be ready soon, and you don’t want to sit at the table all red and puffy eyed, do you?”
Just at that moment, Lettice’s Bakelite************ and chrome telephone starts to ring and jangle on the small side table next to her.
BBBBRRRINGGG!
Both Lettice and Gerald glance with startled eyes at it in alarm, as though it has overheard their conversation and has an opinion of its own to express.
BBBBRRRINGGG!
Lettice sniffs and takes a deep intake of breath. “I suppose it would be rather awful of me to expect Edith to answer the telephone when I’m right alongside it, wouldn’t it?”
“Beastly, Lettice darling!” Gerald replies.
BBBBRRRINGGG!
“You know how she feels about that ‘infernal contraption’,” Gerald goes on quoting Lettice’s maid’s name for the telephone. “If you must irritate her, please do so after she’s served us luncheon. I don’t know about you, but I can barely boil a kettle, never mind cook a meal.”
BBBBRRRINGGG!
Gerald pauses and considers something. “Then again, maybe you should make her answer it. She might get so upset by having to do so, that she’ll hand in her notice.”
BBBBRRRINGGG!
Lettice sniffs again and dabs her eyes for good measure as she goes to lift the receiver.
“And, if she does give notice,” Gerald quickly adds as Lettice grasps the receiver. “I’ll hire Edith as a seamstress for my atelier. Her talents as a needlewoman are wasted here.”
“Not a chance!” Lettice replies defiantly. “She’s coming with me, not going with you.”
BBBBRRR…
Lettice picks up the handset out of its gleaming chrome cradle mid ring, causing the shrill jingle of the telephone to stop and quickly peter out.
“Mayfair 432,” Lettice announces in clearly enunciated syllables.
As Gerald returns to his tub chair, he can hear a deep male voice resonate from somewhere down the line, recognising them as Sir John’s tones, not that he can make out the words. The shock of knowing the man he and Lettice were just talking about is on the other end of the telephone call makes him freeze for a moment as a shiver runs up his spine.
“John darling!” Lettice exclaims almost a little too jovially. “How are you?” She listens to the response. “Oh, that’s good. Are we still having dinner at Le Bienvenue************* tonight?” She listens again. “Oh hoorah. Jolly good.” Sir John’s voice speaks again at the other end of the line, his tone serious. At length he pauses. “Oh no! Oh, poor Clemance. I must pay a call upon her then and do some sick visiting.” Sir John speaks up urgently. “Oh very well John. I won’t.” He speaks again. “No of course, John darling. You’re quite right. I don’t want to get sick before Sylvia’s party. I’ll telephone the Regent Street Flower Box directly and arrange for Monsieur Blanchet to send her a lovely bunch of flowers to brighten her day. You know Gerald and I were just talking about the meaning of flowers, John darling.” Sir John speaks again. “Yes. Yes, he’s here. We’re about to have luncheon, so I can’t speak for too long.” Lettice listens again. “Yes… yes… what about the party?” Sir John’s voice drones on, too indistinctly for Gerald to hear anything, and he feigns that he is not paying attention by looking down at his well manicured nails and rubbing them as if trying to buff them with the pads of his fingers on the opposite hand. “Oh.” Lettice sighs and her shoulders slump. “You want to ask her then do you?” Sir John speaks again. “Oh you did, John dear?” He mumbles something else. “She did? That was very kind of Sylvia to consider me like that.” There is more indistinct chatter at the other end of the telephone line. “Well,” Lettice tries to muffle a resigned sigh. “Well, if you feel you must, then I suppose you must.” Sir John’s voice seems to perk a little and he sounds less dour. “No. No, I don’t mind. Of course I don’t, especially if it will make you happy, dear John.” Gerald can see a light dim in her eyes. “Very well. Alright…” she falters for a moment and gulps. “I’ll see you at eight then.” she adds a little too brightly. “Yes, goodbye then.”
Lettice hangs the handset back on the cradle, the action causing the telephone to utter a single echoing ting as she does. She stares ahead of her, but her look is blank, suggesting that she sees nothing.
“What was that all about?” Gerald asks in concern as he looks at Lettice’s suddenly wan face.
“It was just John.” Lettice replies flatly.
“Yes, I could gather that, Lettice darling. What did he say?”
“Clemance is sick in bed with a nasty head cold. The doctor has told her to stay abed and keep warm to avoid it going to her lungs, so she won’t be coming to ‘The Nest’ now.”
“Oh, that is a pity. I was so looking forward to meeting Sir John’s sister. You speak of Mrs. Pontefract so highly.”
“So now, since Clemance isn’t coming,” Lettice continues, speaking as though she hasn’t heard Gerald talk. “He’s decided to invite Paula Young to come and spend the weekend with us.”
“What?” Gerald sits bolt upright in his seat.
“Yes. He asked Sylvia if she would mind, since she knows about his affair with Miss Young, and he feels that the rarified artistic company in attendance will be quite fine with his little arrangement of having both his fiancée and his mistress in the same house at the same time.”
“And what did Sylvia say to that?”
“Well, Sylvia is a bit of a free spirit when it comes to the sanctity of marriage, and matters of love and lust. She said she didn’t mind if he did ask Miss Young to join him, but only under the proviso that John asked me and got my permission first.”
“Which you evidently granted.” Gerald replies in breathless disbelief.
“I did.” Lettice replies flatly.
“You could have said no, Lettice. You should have said no!”
“Oh, how could I, Gerald darling?”
“Very simply.” he replies, folding his arms akimbo over his muted toned Fair Isle jumper************** and looking sternly at his best friend. “No darling, I’m sorry but you can’t invite that trollop*************** you share your bed with most nights to Miss Fordyce’s party.”
“I can’t Gerald darling.” Lettice defends.
“Well, I think you can. Just telephone him back right now. Where is he? Belgravia? His club?”
“He’s at home in Belgravia.”
“Well then, telephone him immediately and just tell him you’ve had a change of heart, and that no, Miss Young can’t come to the party at ‘The Nest’.”
“It’s not that simple, Gerald darling.” Lettice tries to explain, attempting to speak whilst using all her power to prevent herself from crying again. “This engagement is complex. John doesn’t want jealousy in his relationships. He certainly doesn’t want a jealous wife. He told me from the start that he has no intention of desisting from his dalliances, and that if I said yes to his proposal, I must accept him on those terms. He’ll be furious if I tell him no, now. It will be like me flying in the face of everything I agreed to when I said yes to him.”
“You don’t actually have to go through with it, you know, Lettice darling?”
“What? Going to stay with Sylvia at ‘The Nest’? I can’t Gerald darling! She’s throwing this party to show off her new feature wall. I’m her guest of honour. I can’t possibly withdraw so late in the piece, and with no real reason to decline. It would be rude, and undignified.”
“No, Lettice!” Gerald replies dourly. “I mean, you don’t have to go through with the marriage to Sir John. You are perfectly entitled to break it off, if you feel so inclined.”
“And risk the fury of Mater?” Lettice looks at Gerald in alarm and shakes her head vehemently. “No thank you! I think I’d rather put up with a hundred Miss Youngs than Mater in a black mood over my lack of securing an eligible husband! All the time she is investing in wedding plans. If it is all for naught, she will be fit to be tied! She sent me a clipping from the Wiltshire Times and Trowbridge Advertiser**************** a few weeks ago.”
“Why? What did it say?”
“Jonty Hastings is getting married.”
“Howley Hastings is getting married?” Gerald guffaws, using the childhood nickname given Jonty Hastings by he, Lettice and the other children of the big houses in the district who used to play with him, because of his propensity to cry whenever he was teased about anything. “Who’d want to marry Howley Hastings?”
“Sarah Frobisher apparently, according to the article.” Lettice replies.
“Sarah Frobisher? Sarah Frobisher?” Gerald ruminates, rolling the name around his mouth and off his tongue as he considers where he has heard that name before. “Wasn’t she that rather horsey looking niece of the Miss Evanses?” He refers to the two elderly genteel gossipy spinster sisters who live in Holland House, a Seventeenth Century manor house, in Glynes village at the foot of Lettice’s and his family estates in Wiltshire. “You know, the gawky one with protruding teeth and spectacles who always laughed nervously whenever a boy spoke to her. Her father was in trade*****************. Yes, the Frobisher Clothing Mills in Trowbridge.”
“Yes, I think that’s her.”
“Well, those two deserve each other then, if you ask me, if she’s still as gawky now as she was when we were children. They can dance the Wibbly Wobbly Walk***************** together into the happily ever after, and good riddance to them both.”
“Oh! That’s cruel, Gerald. Don’t be beastly!” Lettice chides her best friend sharply. “You aren’t a spiteful person.”
“Well,” Gerald mumbles contritely. “You have to admit that Howley can’t dance. Think about your poor trampled feet the last time you had to dance with him. Why on earth did Sadie send you a clipping about Howley marrying that Frobisher creature?”
“I think to highlight the fact that another one of the few eligible bachelors she was able to find to invite to her 1922 husband hunting Hunt Ball for me is no longer eligible. Pickings are slim.”
“All I am saying, Lettice darling,” Gerald goes on kindly. “Is that, slim pickings or not, if you’re not going to be happy in the end, I happen to think that marrying Sir John is a mistake. An unhappy and loveless marriage isn’t worth it.”
“Now don’t you start too, Gerald!” Lettice quips. “I have enough problems with Margot and Dickie trying to dissuade me from marrying John. Even Cilla seems lukewarm about the idea, and John’s almost like an honourary uncle to her.”
“I’m not!” Gerald defends, holding up his palms. “I only said ‘if’. If has a great deal of meaning and implication for such a tiny word, you know. For example: if however, you think you will be happy with your lot in life with Sir John, marry him. As I have said to you before, I cannot even marry the person I love.”
“Oh yes, how foolish of me.” Lettice replies. “Forgive me for wallowing.”
“There is nothing to forgive, Lettice darling. You’re my best friend! I only want you to be happy.”
“Thank you, Gerald darling.” Lettice replies gratefully. “Meanwhile, now you can tell your Cyril that he won’t need to bite his tongue and keep his own counsel quite so much, if Miss Young is going to be at ‘The Nest’. John will be all over her, I’m sure. And if he isn’t, from what I can gather from John, she certainly will be.”
“Well,” Gerald sighs. “That will certainly enliven what is already going to be a rather lively weekend, I suspect.”
At that moment, Edith walks into the drawing room.
“Luncheon is served, Miss.” she announces with a bob curtsey.
“Thank you, Edith.” Lettice says gratefully.
“Yes, thank you Edith.” Gerald adds. “It’s good of you to feed me at such short notice.”
“Oh, it’s no trouble, Sir.” Edith replies with a beaming smile, thankful at Gerald’s recognition of her efforts. “It’s always a pleasure to have you at Cavendish Mews.”
As Lettice and Gerald both stand, and Edith turns to go, Gerald stops her. “By the way, Edith?”
“Yes Sir?” she asks, stopping and looking back at him.
“How’s your sewing going?”
“My sewing, Sir?” Edith asks, perplexed.
“Gerald!” Lettice cautions her friend.
“Yes, your frock making. Have you made anything new lately?”
“Oh,” Edith replies with a happy sigh and a smile. “It’s going well, thank you for asking, Sir, especially since Mrs. Boothby’s so…” She quickly swallows the word son, as she isn’t sure whether Lettice knows that the old Cockney charwoman****************** who comes to Cavendish Mews from Poplar every few days to help Edith with the harder housekeeping jobs, has a son, never mind a disabled one. “Found me a sewing machine. Now I don’t have to go to my Mum’s to do any sewing or alterations. I can do them here in my room.”
“Very good Edith. And have you made anything lately?” Gerald persists. “A new frock, perhaps?”
“Oh no, Sir.” Edith replies. “But I did make myself a lovely new white blouse with a Peter Pan collar******************* and black buttons a month ago now. I wear it on my days off quite a bit at the moment.”
“Well,” Lettice says breezily with a sigh. “That’s all very interesting, Edith, but Mr. Bruton and I have held you up and away from your chores long enough. You may go. We can serve ourselves since it’s just a casual cold luncheon for two today, so there is no need for you to wait table.”
“Yes, Miss. Very good, Miss.” Edith bobs another curtsey and scuttles away through the adjoining dining room and disappears through the green baize door that leads to the service area of the flat.
“Spoil sport.” Gerald mutters.
“I told you, Gerald.” Lettice repeats. “Edith isn’t for turning. When I get married, she’ll be coming with me.”
“I don’t think she’ll fancy being buried in the Wiltshire Downs, Lettice darling.”
“Perhaps not, Gerald darling, but I think she’ll quite enjoy an elevated position as housekeeper of John’s and my Belgravia townhouse after I become Lady Nettleford-Hughes.”
“You are positively Machiavellian sometimes, Lettice darling.” Gerald concedes in defeat as he proffers Lettice his arm.
The two walk out of the Cavendish Mews drawing room and into the dining room, where a cold luncheon of galantine of fowl******************** with a fresh garden salad await them on the dining room table.
*Papyrus paper is called papyrus, named after the Cyperus papyrus plant from which it is made. The word "papyrus" itself refers to both the plant and the writing material created from its stems. Documents written on this material are also referred to as papyri.
**Portobello Road Market in Notting Hill, London, is a world-famous street market known for its antiques, vintage clothing, and diverse food stalls. It's one of London's oldest markets, dating back to the Nineteenth Century. The market stretches along Portobello Road, from Westbourne Grove to Golborne Road, and is particularly vibrant on Saturdays.
***Historically, queer slang emerged as a way for queer people to communicate discreetly, forming a sense of community and shared identity. Using female names or terms could be a way to signal belonging within this coded language. It was also used for protection, allowing homosexual men to talk about one another discreetly in public without the implication of homosexuality and the repercussions that came with it as a criminal act.
****Tutmania was a worldwide media frenzy and cultural obsession that followed the 1922 discovery of King Tutankhamun's tomb by Howard Carter and his team, sparking a popular fad for ancient Egyptian art, design, and culture in the Western world and a resurgence of national pride in Egypt itself. Egyptian motifs appeared on clothes, jewellery, hairstyles, fabrics, furniture and in architecture, and it helped solidify the Art Deco movement of design with its clean lines. The discovery of the tomb itself was one of the most significant archaeological finds of the Twentieth Century, made the previously lesser-known pharaoh one of the most famous figures in history.
*****Gaiety Girls were the chorus girls in Edwardian musical comedies, beginning in the 1890s at the Gaiety Theatre, London, in the shows produced by George Edwardes.
******‘Chu Chin Chow’ is a musical comedy written, produced and directed by Oscar Asche, with music by Frederic Norton, based on the story of Ali Baba and the Forty Thieves. It was the most popular show in London’s West End during the Great War. It premiered at His Majesty’s Theatre in London on the 3rd of August 1916 and ran for 2,238 performances, a record number that stood for nearly forty years!
*******Gypsophila, known commonly as Baby’s Breath, is a genus of flowering plants in the carnation family. They are native to Eurasia, Africa, Australia, and the Pacific Islands. Turkey has a particularly high diversity of Gypsophila, with about thirty-five endemic species. Some Gypsophila are introduced species in other regions.
********Laissez-faire is the policy of leaving things to take their own course, without interfering.
*********‘Floral Symbolica; or, The Language and Sentiment of Flowers’ is a book written by John Ingram, published in London in 1870 by Frederick Warne and Co. who are perhaps best known for publishing the books of Beatrix Potter. ‘Flora Symbolica; or, The language and Sentiment of Flowers’ includes meanings of many species of flowers, both domestic and exotic, as well as floral poetry, original and selected. It contains a colour frontispiece and fifteen colour plates, printed in colours by Terry. John Henry Ingram (November the 16th, 1842 – February the 12th, 1916) was an English biographer and editor with a special interest in Edgar Allan Poe. Ingram was born at 29 City Road, Finsbury Square, Middlesex, and died at Brighton, England. His family lived at Stoke Newington, recollections of which appear in Poe's works. J. H. Ingram dedicated himself to the resurrection of Poe's reputation, maligned by the dubious memoirs of Rufus Wilmot Griswold; he published the first reliable biography of the author and a four-volume collection of his works.
**********We usually associate the term “to keep mum” with the Second World War, when it was a byline used on posters to dissuade gossip and the inadvertent sharing of vitally confidential for the war effort with fifth-columnists. However, the word "mum" meaning to be silent, not to speak, first appeared in William Langland's Fourteenth Century poem Piers Plowman, though the full phrase "mum's the word" gained popularity in the Sixteenth and Seventeenth centuries. The word itself is onomatopoeic, derived from the "mmm" sound made by a closed mouth.
***********French blue is a sophisticated, deep blue colour that is characterized by its muted quality, subtle violet or grey undertones, and a rich, smoky depth, reminiscent of classical French design, the Mediterranean sky, or the deep blue uniforms of historical French soldiers.
************Bakelite, was the first plastic made from synthetic components. Patented on December 7, 1909, the creation of a synthetic plastic was revolutionary for its electrical nonconductivity and heat-resistant properties in electrical insulators, radio and telephone casings and such diverse products as kitchenware, jewellery, pipe stems, children's toys, and firearms. A plethora of items were manufactured using Bakelite in the 1920s and 1930s.
*************Le Bienvenue is the former name of L'Escargot, which is London's oldest French restaurant. Georges Gaudin opened Le Bienvenue at the bottom of Greek Street in Soho in 1896. He became famous for serving snails, and was reportedly the first in England to do so. Le Bienvenue even featured a snail farm in its basement, a unique talking point for customers. In 1927, two years after this story is set, Gaudin moved to larger premises at 48 Greek Street, the current location, in a Georgian townhouse built in 1741 which was once the private residence of the Duke of Portland and a pastoral getaway in what was then a rural part of London. When he moved, patrons of the restaurant encouraged him to rename it after his most popular dish, leading to the name L'Escargot.
**************Fair Isle is a traditional knitting style used to create patterns with multiple colours. It is named after Fair Isle, one of the Shetland Islands. Fair Isle knitting gained popularity when the Prince of Wales (later King Edward VIII) wore Fair Isle jumpers in public in 1921. Traditional Fair Isle patterns have a limited palette of five or so colours, use only two colours per row, are worked in the round, and limit the length of a run of any particular colour.
***************The term "trollop" was introduced in the early 1600s, with the earliest known evidence of its use appearing in the writings of George Wither in 1615. The term, a noun, was already established in the English language by that time.
****************The Wiltshire Times and Trowbridge Advertiser is weekly newspaper which serves the towns of west Wiltshire, including Trowbridge. Printed in Trowbridge it was established in 1854 by Benjamin Lansdown, as The Trowbridge and Wiltshire Advertiser. Benjamin was born in Trowbridge and was the son of a woollen mill employee but this was not the path he wished to follow and he was apprenticed as a printer alongside Mr John Sweet. He bought a hard press and second-hand typewriter before starting his own newspaper, along with establishing his own stationery shop in Silver Street around 1860. He moved the business into 15 Duke Street around 1876. Duke Street became home to the impressive R. Hoe & Co printing press that allowed printers to use continuous rolls of paper, instead of individual sheets, to speed up the process and countless copies of the newspaper rolled off the press at Duke Street for many years. The newspaper was based there for more than one hundred years and the business remained within the Lansdown family for generations until it was finally sold in the early 1960s. Over the years in had various names including The Trowbridge and North Wiltshire Advertiser from 1860 until 1880, The Wiltshire Times and Trowbridge Advertiser from 1880 until 1949, The Wiltshire Times between 1950 and 1962 and The Wiltshire Times & News between 1962 and 1963. It then became known as the Wiltshire Times – the banner it holds today. In 2019, the Wiltshire Times and its sister paper the Gazette & Herald moved to offices on the White Horse Business Park in North Bradley, stating that its Duke Street building was no longer fit for purpose. These offices later closed in 2020 as the three Covid-19 pandemic lockdowns struck. The Wiltshire times is still serving the local community both in a paper and an online format with a small team of journalists who passionately believe in the value of good trusted journalism and providing in-depth local news coverage.
****************The term to be “in trade” most commonly means engaging in commercial activity, such as regularly buying, selling, or offering goods or services as part of a business. It can also refer to the goods themselves (stock-in-trade) kept by a business for sale, or a characteristic skill or behaviour consistently used in a particular line of work. Used as a slur by the British upper-classes, “in trade” implied that because a man had to work for his living, even if he was a steel magnate or something equally successful, he was not as good as, and would never be a gentleman, who traditionally did not work to earn money. Money and money talk was considered vulgar by the upper-classes. A man who was “in trade” would never marry the daughter of an aristocrat or member of the landed gentry.
*****************‘They All Walk the Wibbly Wobbly Walk’ is a song written by Paul Pelham and J. P. Long sung by the famous British music hall performer Mark Sheridan in 1912. It was a song often sung during the Great War, and associated by the British general public with the survivors of the conflict who trembled due to shell shock or had misshapen walks thanks to injuries inflicted upon them.
******************A charwoman, chargirl, or char, jokingly charlady, is an old-fashioned occupational term, referring to a paid part-time worker who comes into a house or other building to clean it for a few hours of a day or week, as opposed to a maid, who usually lives as part of the household within the structure of domestic service. In the 1920s, chars usually did all the hard graft work that paid live-in domestics would no longer do as they looked for excuses to leave domestic service for better paying work in offices and factories.
*******************A Peter Pan collar is a style of clothing collar, flat in design with rounded corners. It is named after the collar of Maude Adams's costume in her 1905 role as Peter Pan, although similar styles had been worn before this date. Peter Pan collars were particularly fashionable during the 1920s and 1930s.
********************A galantine of fowl is a traditional French cold dish made from a deboned fowl, typically chicken, which is stuffed with a forcemeat (a mixture of ground meats and other ingredients), then rolled into a cylindrical shape, and poached in stock. It is served cold, often coated in a clear, gelatinous aspic, and can be elaborately decorated with ingredients like pistachios, truffles, and vegetables.
This 1920s upper-class drawing room is different to what you may think at first glance, for it is made up entirely of 1:12 size dollhouse miniatures.
Fun things to look for in this tableau include:
The boxed and unboxed Egyptian papyrus scrolls you see on Lettice’s black japanned coffee table are 1:12 size miniature made by the British miniature artisan Ken Blythe. Famed for his books, Ken Blythe also made other miniature artisan pieces from paper, including these scrolls, which can be fully wound out to reveal Egyptian hieroglyphics. To make a pieces as authentic as this makes them true artisan pieces. Most of the Ken Blythe books I own that he has made may be opened to reveal authentic printed interiors. In some cases, you can even read the words of the titles, depending upon the size of the print! I have quite a large representation of Ken Blythe’s work in my collection. What might amaze you even more is that all Ken Blythe’s opening books are authentically replicated 1:12 scale miniatures of real volumes. Ken Blythe’s work is highly sought after by miniaturists around the world today and command high prices at auction for such tiny pieces, particularly now that he is no longer alive. I was fortunate enough to acquire pieces from Ken Blythe prior to his death about four years ago, and a great many pieces from his daughter from his estate. His legacy will live on with me and in my photography which I hope will please his daughter.
Lettice’s tea set sitting on the coffee table is a beautiful artisan set featuring a rather avant-garde Art Deco Royal Doulton design from the Edwardian era called “Falling Leaves”.
Lettice’s drawing room is furnished with beautiful J.B.M. miniatures. The Art Deco tub chairs are of black japanned wood and have removable cushions, just like their life sized examples.
The fireplace is a 1:12 miniature resin Art Deco fireplace which is flanked by brass accessories including an ash brush with real bristles.
The carpet beneath the furniture is a copy of a popular 1920s style Chinese silk rug, and the geometric Art Deco wallpaper is beautiful hand impressed paper given to me by a friend, which inspired the whole “Cavendish Mews – Lettice Chetwynd” series.
Pardoes Promenade 03/06/2023 16h19
A meet and greet with Pardoes, the magic jester and main mascot of De Efteling.
Pardoes
Pardoes de Tovernar is a fictional 'magic jester' who was the official mascot of Efteling from 1989 to 2008. Since 2009 he is one of the many characters of Efteling. Pardoes was conceived in the eighties by Henny Knoet as a jester who is recognizable by a cartoonish appearance with a white face and a broad smile. He wore a jester's cap with three bells, a red suit with fringes and a big E on the stomach, white tights and curled shoes. Over the years, however, Pardoes took on more and more human proportions and today he wears a purple cape, wizard's hat, a pouch on a belt and boots.
The costumed characters Pardoes and Pardijn in Efteling
In his time as a mascot, Pardoes was frequently used as a two-dimensional logo in all kinds of graphic expressions. He could also be found on the logo. Since his arrival at Efteling, Pardoes has been walking around the park as a costumed character, accompanied by his girlfriend Pardijn since 2000. He can be found on a multitude of merchandise.
Pardoes has a background story with its own living environment. He is the court jester at the Hartenhof, the palace of King Pardulfus and his daughter Pardijn. He is the chosen one to save his world of Symbolica and keep it from the power of the evil Pantagor.
Zeiss Ikon Symbolica
I got this little heavy and old compact camera from German camera&camera collection on Monday 11 April 2016
#3,050 Th.Bath.(about 87.14 US $)
Vogelrok 03/06/2021 17h07
After a lockdown which started on 15/12/2020 and ended on 18/05/2021 (22 weeks). In the first place all indoor attractions had to remain closed. Vogelrok, Droomvlucht, Symbolica, Fata Morgana, Villa Volta, Indische Waterlelies and Chinese Nachtegaal were not accessible. This means the square in front of Vogelrok was empty on the 3rd of June. From 05/06/2021 all indoor rides and attractions were allowed to open so De Efteling had much more capacity again. Hopefully covid-19 is fading out now.
Vogelrok
The name of the ride, Vogel Rok, refers to the adventure of Sinbad and the Bird Roc from the 1001 Arabian Nights; the extensive theming covers, beside the ride, the building and the queue line. The building has as a frontage a giant colorful Roc, the largest bird in Europe, according to the Guinness Book of Records. In the opening year there weren’t a lot of effects in the ride, and the link between the story and the ride wasn’t very clear. Since then a Serpent’s mouth has been added at the end of the ride, which lights up as the train goes through it. There used to be a laser-light-show at the queue, but that has been removed. This was done because the lights were too low, and people would look at them, thereby damaging their eyes. In 2007, more themed decorations were added.
Lasers project over the train as it climbs the lift-hill and seen to the left are four Rocs flying off. In a strong curve down leftwards the train dives towards the ground and several more curves bring the train through a tunnel of lasers.
The train then falls into a helix and goes through a Serpent’s mouth, which lights up as the train passes through it. The last curve is decorated with fiber optic lights, portraying the diamond treasure.
Apparent wind-effects stimulate the ride-experience.
The ride has an onboard sound system with a synchronized soundtrack written by composer Ruud Bos, who also wrote the musical themes for Droomvlucht, Fata Morgana and Villa Volta.
FACTS & FIGURES
Park section: Reizenrijk
Opening date: April 9, 1998
Cost: € 12 million
Type: Steel – Enclosed
Manufacturer: Vekoma
Designer: Ton van de Ven
Model: Custom MK-900
Lift/launch system tyre-driven lift-hill
Height: 25 m
Drop: 19 m
Length: 700 m
Speed 40 mph (64 km/h)
Inversions: 0
Duration: 101 seconds
Capacity 1600 riders per hour
G-force: 3.5
[ Source: Wikipedia - Vogelrok ]
Symbolica 08/03/2022 16h10
A detail of Symbolica with on the wall the secret code.
Symbolica
Symbolica is a trackless dark ride in the Efteling theme park in the Netherlands, which opened the 1st of July 2017.
Originally, an attraction called Hartenhof would be constructed on the site of Symbolica. The project was postponed multiple times, until it was renamed Symbolica. Consturction started January 11th 2016.
The story is of Symbolica is all about visiting king Pardulfus, who lives in Hartenhof (court of hearts). While the visitors await their audience with the king, a character called Pardoes appears. Pardoes then guides the visitors through hidden parts of the castle.
Before the visitors can enter their Fantasievaarders, there is a pre-show with two animatronics. A staircase magically opens and the visitors are directed to the boarding station. Here, they can choose one of three different routes: Heldentour (Hero tour), Muziektour (Music tour) and Schattentour (Treasure tour). The castle consists of eleven scenes, where each of the three routes attends nine scenes.
FACTS & FIGURES
Attraction type: Trackless darkride
Date of opening: 01/07/2017
Cost: € 35,000,000
Manufacturer: ETF Ride Systems
Capacity: 1400 per hour riders per hour
Vehicles: Fantasievaarders (fantasy farers)
Riders per vehicle: 6 (2 rows with 3 riders)
Duration: 7 minutes
Pardoes Promenade 03/11/2020 09h58
Autumn colors on the main street of De Efteling in 2020. A strange year. From 14/03/2020 till 20/05/2020 the park was closed due to the lockdown to fight the outbreak of the COVID-19 virus and pandemic.
This photo is taken two days prior the second lockdown in the Netherlands to fight the second wave of the virus.
Pardoes Promenade
The Pardoes Promenade is the broad, expansive avenue that connects the Dwarrelplein with the Hartenhof Square in front of Symbolica. The avenue was designed in unison with the former interpretation of that place, the Brink, and is executed in the visual language of the World of Pardoes. The primary goal of the Pardoes Promenade is the supply of visitors from the entrance to the various park areas, and vice versa at the end of the day. The avenue of 21 meters wide and 270 meters long thus serves as the main vein of the park. There are dozens of eye-catching bronze-colored lanterns, the colossal Wonderwachters lampposts.
The promenade was opened in 2000. It was created within the implementation of the so-called Butterfly Vision on the park, with Promenade and Brink as "body" and the four surrounding empires as colorful "wings", and is a design by landscape architect Mariëlle Kok of Grontmij in collaboration with Henny Knoet and Chris van Grinsven from the Efteling.
More information: Eftelpedia - Pardoes Promenade
Anton Pieckplein 03/06/2021 17h06
In the period that the Efteling re-opened and only outdoor attractions were allowed some parts of the park were abandoned like the Anton Pieckplein.
The full lockdown started on 15/12/2020 and ended on 18/05/2021 (22 weeks). In the first place all indoor attractions had to remain closed. Vogelrok, Droomvlucht, Symbolica, Fata Morgana, Villa Volta, Indische Waterlelies and Chinese Nachtegaal were not accessible. From 05/06/2021 all indoor rides and attractions were allowed to open so De Efteling had much more capacity again. Hopefully covid-19 is fading out now.
Anton Pieckplein
Anton Pieckplein is an Old Dutch village square located in the northeast corner of Marerijk, between restaurant Het Witte Paard and the Reizenrijk. Around the square are Pieck buildings with catering outlets and shops. On the square we find all kinds of fairground mills, two Holle Bolle Gijzen, the Efteling Museum and some suppliers of surprise eggs.
The square is named after founder Anton Pieck.
Source and more information:
Symbolica | Observatorium 12/12/2019 12h51
The first scene of the dark ride Symbolica is an Observatory. From this beautiful scene where the "fantasy floads" are being enchanted and start their yourney through the Palace of Fantasy, Symbolica. It is actually Almar's workspace with library and planetarium.
Observatorium
The Observatory is the first scene in the Symbolica attraction. It is the workshop of Grand Magister Almar who studies the universe there.
After leaving the station, the Fantasievaarders first pass a closed door. Participants in the Music Tour are even right in front of it, and see that the elaborate four-part lock closes itself. Backwards, therefore, and through a corridor with a niche with stairs on the right, which is lit with candles and crystals. The corridor leads to the Observatory, a large, round room.
Almar in the middle of his observatory
The Observatory is the workplace of Grootmagister Almar, the teacher of Pardoes. Along the walls are cupboards arranged like in a library, with books and natural history and scientific objects. Halfway there is a balustrade with above it more cupboards with books, and other objects such as an ostrich skeleton. In the middle of the room is a stage on which we see Almar standing, an animatronic with a long beard wrapped in a pipe. He is talking, perhaps spells from the book that is lying on his catheder decorated with a mythical animal. All around him are all kinds of astronomical instruments, including the Chronoscope and the Sterrentwinkelvanger.
A planetarium with various planets hangs from the ceiling, moving slowly through space. The most striking are three luminous spheres that resemble a red giant. Up there again we see a dome vault with a starry sky. In a cupboard with gears you see a luminous emerald, the 'Etmaler', which supplies the energy for the planetarium.
On the left there is a double door, actually access to the Fantasievaarders garage. To the right is another single door that serves as an emergency exit. Both the emergency exit and the garage have a door on the left side of the building, on the side of the Pagode.
The striking dome of the Observatory was already visible on the construction site in the summer of 2016
Pardoes emerges from a place behind the wizard and while uttering the spell Illumina Fantasia! Use your imagination! Illumina Fantasia! With his Twinkle torch he activates the glass ball that is on every fantasy sailor. The fantasy spreads directly through magic shops and at the top of the dome-shaped vault of the space two constellations become visible: bull and archer, probably not accidentally the constellations of designers Henny Knoet and Sander de Bruijn.
The Fantasy sailors speed up and leave the room again, viewed from the entrance, at 5 o'clock, and head to the Panorama Salon.
[ Eftelpedia ]
Kinderspoor 22/11/2021 16h25
The end of a beautiful sunny day in De Efteling. Pagode, Symbolica in the misty background. On the foreground the children's railway Kinderspoor, in Dutch popular called Traptreintjes (pedal trains).
Kinderspoor
The Kinderspoor, also called the Traptreintjes, is an attraction in Ruigrijk in which children up to 12 years old, two seated in a small metal vehicle in the form of a locomotive with two pairs of pedals, have to move on their own on a course through a landscape. with farms, fields and a mill.
The attraction has a long history, has been modified several times and has even changed location. The first version, officially dating from 1954, was a design by Anton Pieck. Until 1999, the trains on the railway rattled behind the Playground (later the Lavenlaar) in a leafy spot in a remote corner of Marerijk. The attraction, which proved to be a huge success from the very first day, was the first of the Efteling to make a ride. Since 2000 the Traptreintjes have been driving their laps in a Zaanse Schans landscape, designed by Ton van de Ven, on the banks of the Siervijver.
FACTS & FIGURES
Design: Anton Pieck, since 1999 also Ton van de Ven en Chris van Grinsven
Manufacturer: Efteling, J. Van Esch B.V., Kloos Oving
Opened: 1954, relocated in 2000
Length: 450 meters
Duration: depends on the rider
Number of trains: 14 (used to be 21)
[ Source and more Info: Eftelpedia - Kinderspoor (Dutch) ]
Symbolica 08/12/2020 13h53
The Koningszaal (King's hall or Royal Hall) of Symbolica is the second to last scene of the ride. This is a detail of one of the Ventian dancers in the center of the ballroom. It's a party here, let's dance.
Symbolica
Symbolica is a trackless dark ride in the Efteling theme park in the Netherlands, which opened the 1st of July 2017.
Originally, an attraction called Hartenhof would be constructed on the site of Symbolica. The project was postponed multiple times, until it was renamed Symbolica. Consturction started January 11th 2016.
The story is of Symbolica is all about visiting king Pardulfus, who lives in Hartenhof (court of hearts). While the visitors await their audience with the king, a character called Pardoes appears. Pardoes then guides the visitors through hidden parts of the castle.
Before the visitors can enter their Fantasievaarders, there is a pre-show with two animatronics. A staircase magically opens and the visitors are directed to the boarding station. Here, they can choose one of three different routes: Heldentour (Hero tour), Muziektour (Music tour) and Schattentour (Treasure tour). The castle consists of eleven scenes, where each of the three routes attends nine scenes.
FACTS & FIGURES
Attraction type: Trackless darkride
Date of opening: 01/07/2017
Cost: € 35,000,000
Manufacturer: ETF Ride Systems
Capacity: 1400 per hour riders per hour
Vehicles: Fantasievaarders (fantasy farers)
Riders per vehicle: 6 (2 rows with 3 riders)
Duration: 7 minutes
Symbolica 08/02/2018 14h40
Winter and some cold nights resulted in frozen fountains in the Efteling that became true ice sculptures. This one is located in front of Symbolica.
Symbolica
Symbolica is a trackless dark ride in the Efteling theme park in the Netherlands, which opened the 1st of July 2017.
Originally, an attraction called Hartenhof would be constructed on the site of Symbolica. The project was postponed multiple times, until it was renamed Symbolica. Consturction started January 11th 2016.
The story is of Symbolica is all about visiting king Pardulfus, who lives in Hartenhof (court of hearts). While the visitors await their audience with the king, a character called Pardoes appears. Pardoes then guides the visitors through hidden parts of the castle.
Before the visitors can enter their Fantasievaarders, there is a pre-show with two animatronics. A staircase magically opens and the visitors are directed to the boarding station. Here, they can choose one of three different routes: Heldentour (Hero tour), Muziektour (Music tour) and Schattentour (Treasure tour). The castle consists of eleven scenes, where each of the three routes attends nine scenes.
FACTS & FIGURES
Attraction type: Trackless darkride
Date of opening: 01/07/2017
Cost: € 35,000,000
Manufacturer: ETF Ride Systems
Capacity: 1400 per hour riders per hour
Vehicles: Fantasievaarders (fantasy farers)
Riders per vehicle: 6 (2 rows with 3 riders)
Duration: 7 minutes