View allAll Photos Tagged Tablets
Despite the internet giving us everything we want, there is nothing quite like going into stores to get a proper feel for the items.
Finally found what I wanted to get, which was available £10 cheaper on the internet through Quidco etc but it was £10 cheaper than Amazon. Welcome Sony tablet S to the family
Two steps:
Original line drawing was a scanned sketch on paper.
Colored with a Trust TB-6300 graphic tablet.
It represent a chemical steam turbo-propelled point defense fighter aircraft based on technology available in 1944.
Explanation:
The big tanks are filled with Hydrogen peroxide. This "T-stoff" is decomposed in a reaction chamber, and the hot steam stream is passed through a turbine, coupled via reduction gear to a rear propeller. Exhaust steam is turned to the rear by a nozzle for an extra impulse.
No hydrocarbon fuels are needed.
Máy Tính Bảng Archos mạnh thứ 2 trên thế giới cũng đã có mặt tại TGDD. So với iPad của Apple (US) thì Archos của (France) mỏng hơn, nhẹ hơn và xài hệ điều hàng Android. Nhiều sự lựa chọn và mẫu mã đa dạng.
Two Dell XPS 10 tablet computers, one in vertical (portrait) position and one in horizontal (landscape).
Esna I, Ägypten/Egypt 2011, C-Print, DiaSec Face
Collection
The foundation of the collection consists of 205 mostly French and Dutch paintings from the 17th and 18th centuries which Margravine Karoline Luise acquired 1759-1776. From this collection originate significant works, such as The portrait of a young man by Frans van Mieris the Elder, The winter landscape with lime kiln of Nicolaes Pieterszoon Berchem, The Lacemaker by Gerard Dou, the Still Life with hunting equipment and dead partridge of Willem van Aelst, The Peace in the Chicken yard by Melchior de Hondecoeter as well as a self-portrait by Rembrandt van Rijn. In addition, four still lifes of Jean Siméon Chardin and two pastoral scenes by François Boucher, having been commissioned directly by the Marchioness from artists.
A first significant expansion the museum received in 1858 by the collection of canon Johann Baptist von Hirscher (1788-1865) with works of religious art of the 15th and 16th centuries. This group includes works such as two tablets of the Sterzinger altar and the wing fragment The sacramental blessing of Bartholomew Zeitblom. From 1899 to 1920, the native of Baden painter Hans Thoma held the position of Director of the Kunsthalle. He acquired old masterly paintings as the tauberbischofsheim altarpiece by Matthias Grünewald and drove the expansion of the collection with art of the 19th century forward. Only his successors expanded the holdings of the Art Gallery with works of Impressionism and the following generations of artists.
The permanent exhibition in the main building includes approximately 800 paintings and sculptures. Among the outstanding works of art of the Department German painters of the late Gothic and Renaissance are the Christ as Man of Sorrows by Albrecht Dürer, the Carrying of the Cross and the Crucifixion by Matthias Grünewald, Maria with the Child by Lucas Cranach the Elder, the portrait of Sebastian Brant by Hans Burgkmair the elder and The Nativity of Hans Baldung. Whose Margrave panel due to property disputes in 2006 made it in the headlines and also led to political conflicts. One of the biggest buying successes which a German museum in the postwar period was able to land concerns the successive acquisition of six of the seven known pieces of a Passion altar in 1450 - the notname of the artist after this work "Master of the Karlsruhe Passion" - a seventh piece is located in German public ownership (Wallraf-Richartz Museum, Cologne).
In the department of Dutch and Flemish paintings of the 16th century can be found, in addition to the aforementioned works, the portrait of the Marchesa Veronica Spinola Doria by Peter Paul Rubens, Moses strikes the rock and water flows for the thirsty people of Israel of Jacob Jordaens, the still life with kitchen tools and foods of Frans Snyders, the village festival of David Teniers the younger, the still life with lemon, oranges and filled clay pot by Willem Kalf, a Young couple having breakfast by Gabriel Metsu, in the bedroom of Pieter de Hooch, the great group of trees at the waterfront of Jacob Izaaksoon van Ruisdael, a river landscape with a milkmaid of Aelbert Jacobsz. Cuyp as well as a trompe-l'œil still life of Samuel van Hoogstraten.
Further examples of French paintings of the 17th and 18th centuries are, the adoration of the golden calf of Claude Lorrain, preparations for dance class of the Le Nain brothers, the portrait of Marshal Charles-Auguste de Matignon by Hyacinthe Rigaud, the portrait of a young nobleman in hunting costume of Nicolas de Largillière, The storm of Claude Joseph Vernet and The minuet of Nicolas Lancret. From the 19th century can be found with Rocky wooded valley at Civita Castellana by Gustave Courbet, The Lamentation of Eugène Delacroix, the children portrait Le petit Lange of Édouard Manet, the portrait of Madame Jeantaud by Edgar Degas, the landscape June morning near Pontoise by Camille Pissarro, homes in Le Pouldu Paul Gauguin and views to the sea at L'Estaque by Paul Cézanne further works of French artists at Kunsthalle.
One focus of the collection is the German painting and sculpture of the 19th century. From Joseph Anton Koch, the Kunsthalle possesses a Heroic landscape with rainbow, from Georg Friedrich Kersting the painting The painter Gerhard Kügelgen in his studio, from Caspar David Friedrich the landscape rocky reef on the sea beach and from Karl Blechen view to the Monastery of Santa Scolastica. Other important works of this department are the disruption of Adolph Menzel as well as the young self-portrait, the portrait Nanna Risi and The Banquet of Plato of Anselm Feuerbach.
For the presentation of the complex of oeuvres by Hans Thoma, a whole wing in 1909 at the Kunsthalle was installed. Main oeuvres of the arts are, for example, the genre picture The siblings as well as, created on behalf of the grand-ducal family, Thoma Chapel with its religious themes.
Of the German contemporaries of Hans Thoma, Max Liebermann on the beach of Noordwijk and Lovis Corinth with a portrait of his wife in the museum are represented. Furthermore the Kunsthalle owns works by Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner and Max Klinger.
In the building of the adjacent Orangerie works of the collection and new acquisitions from the years after 1952 can be seen. In two integrated graphics cabinets the Kupferstichkabinett (gallery of prints) gives insight into its inventory of contemporary art on paper. From the period after 1945, the works Arabs with footprints by Jean Dubuffet, Sponge Relief RE 48; Sol. 1960 by Yves Klein, Honoring the square: Yellow center of Josef Albers, the cityscape F by Gerhard Richter and the Fixe idea by Georg Baselitz in the Kunsthalle. The collection of classical modernism wandered into the main building. Examples of paintings from the period to 1945 are The Eiffel Tower by Robert Delaunay, the Improvisation 13 by Wassily Kandinsky, Deers in the Forest II by Franz Marc, People at the Blue lake of August Macke, the self-portrait The painter of Ernst Ludwig Kirchner, the Merzpicture 21b by Kurt Schwitters, the forest of Max Ernst, Tower gate II by Lyonel Feininger, the Seven Deadly Sins of Otto Dix and the removal of the Sphinxes by Max Beckmann. In addition, the museum regularly shows special exhibitions.
Sammlung
Den Grundstock der Sammlung bilden 205 meist französische und niederländische Gemälde des 17. und 18. Jahrhunderts, welche Markgräfin Karoline Luise zwischen 1759 und 1776 erwarb. Aus dieser Sammlung stammen bedeutende Arbeiten, wie das Bildnis eines jungen Mannes von Frans van Mieris der Ältere, die Winterlandschaft mit Kalkofen von Nicolaes Pieterszoon Berchem, Die Spitzenklöpplerin von Gerard Dou, das Stillleben mit Jagdgeräten und totem Rebhuhn von Willem van Aelst, Der Friede im Hühnerhof von Melchior de Hondecoeter sowie ein Selbstbildnis von Rembrandt van Rijn. Hinzu kommen vier Stillleben von Jean Siméon Chardin und zwei Schäferszenen von François Boucher, die die Markgräfin bei Künstlern direkt in Auftrag gegeben hatte.
Eine erste wesentliche Erweiterung erhielt das Museum 1858 durch die Sammlung des Domkapitulars Johann Baptist von Hirscher (1788–1865) mit Werken religiöser Kunst des 15. und 16. Jahrhunderts. Zu dieser Gruppe gehören Werke wie zwei Tafeln des Sterzinger Altars und das Flügelfragment Der sakramentale Segen von Bartholomäus Zeitblom. Von 1899 bis 1920 bekleidete der aus Baden stammende Maler Hans Thoma die Position des Direktors der Kunsthalle. Er erwarb altmeisterliche Gemälde wie den Tauberbischofsheimer Altar von Matthias Grünewald und trieb den Ausbau der Sammlung mit Kunst des 19. Jahrhunderts voran. Erst seine Nachfolger erweiterten die Bestände der Kunsthalle um Werke des Impressionismus und der folgenden Künstlergenerationen.
Die Dauerausstellung im Hauptgebäude umfasst rund 800 Gemälde und Skulpturen. Zu den herausragenden Kunstwerken der Abteilung deutsche Maler der Spätgotik und Renaissance gehören der Christus als Schmerzensmann von Albrecht Dürer, die Kreuztragung und Kreuzigung von Matthias Grünewald, Maria mit dem Kinde von Lucas Cranach der Ältere, das Bildnis Sebastian Brants von Hans Burgkmair der Ältere und die Die Geburt Christi von Hans Baldung. Dessen Markgrafentafel geriet durch Eigentumsstreitigkeiten 2006 in die Schlagzeilen und führte auch zu politischen Auseinandersetzungen. Einer der größten Ankaufserfolge, welche ein deutsches Museum in der Nachkriegszeit verbuchen konnte, betrifft den sukzessiven Erwerb von sechs der sieben bekannten Tafeln eines Passionsaltars um 1450 – der Notname des Malers nach diesem Werk „Meister der Karlsruher Passion“ – eine siebte Tafel befindet sich in deutschem öffentlichen Besitz (Wallraf-Richartz Museum, Köln).
In der Abteilung niederländischer und flämischer Malerei des 16. Jahrhunderts finden sich, neben den erwähnten Werken, das Bildnis der Marchesa Veronica Spinola Doria von Peter Paul Rubens, Moses schlägt Wasser aus dem Felsen von Jacob Jordaens, das Stillleben mit Küchengeräten und Lebensmitteln von Frans Snyders, das Dorffest von David Teniers dem Jüngeren, das Stillleben mit Zitrone, Orangen und gefülltem Römer von Willem Kalf, ein Junges Paar beim Frühstück von Gabriel Metsu, Im Schlafzimmer von Pieter de Hooch, die Große Baumgruppe am Wasser von Jacob Izaaksoon van Ruisdael, eine Flusslandschaft mit Melkerin von Aelbert Jacobsz. Cuyp sowie ein Augenbetrüger-Stillleben von Samuel van Hoogstraten.
Weitere Beispiele französischer Malerei des 17. bzw. 18. Jahrhunderts sind Die Anbetung des Goldeen Kalbes von Claude Lorrain, die Vorbereitung zur Tanzstunde der Brüder Le Nain, das Bildnis des Marschalls Charles-Auguste de Matignon von Hyacinthe Rigaud, das Bildnis eines jungen Edelmannes im Jagdkostüm von Nicolas de Largillière, Der Sturm von Claude Joseph Vernet und Das Menuett von Nicolas Lancret. Aus dem 19. Jahrhundert finden sich mit Felsiges Waldtal bei Cività Castellana von Gustave Courbet, Die Beweinung Christi von Eugène Delacroix, dem Kinderbildnis Le petit Lange von Édouard Manet, dem Bildnis der Madame Jeantaud von Edgar Degas, dem Landschaftsbild Junimorgen bei Pontoise von Camille Pissarro, Häuser in Le Pouldu von Paul Gauguin und Blick auf das Meer bei L’Estaque von Paul Cézanne weitere Arbeiten französischer Künstler in der Kunsthalle.
Einen Schwerpunkt der Sammlung bildet die deutsche Malerei und Skulptur des 19. Jahrhunderts. Von Joseph Anton Koch besitzt die Kunsthalle eine Heroische Landschaft mit Regenbogen, von Georg Friedrich Kersting das Gemälde Der Maler Gerhard Kügelgen in seinem Atelier, von Caspar David Friedrich das Landschaftsbild Felsenriff am Meeresstrand und von Karl Blechen den Blick auf das Kloster Santa Scolastica. Weitere bedeutende Werke dieser Abteilung sind Die Störung von Adolph Menzel sowie das Jugendliche Selbstbildnis, das Bildnis Nanna Risi und Das Gastmahl des Plato von Anselm Feuerbach.
Für die Präsentation des Werkkomplexes von Hans Thoma wurde 1909 in der Kunsthalle ein ganzer Gebäudetrakt errichtet. Hauptwerke des Künstlers sind etwa das Genrebild Die Geschwister sowie die, im Auftrag der großherzöglichen Familie geschaffene, Thoma-Kapelle mit ihren religiösen Themen.
Von den deutschen Zeitgenossen Hans Thomas sind Max Liebermann mit Am Strand von Noordwijk und Lovis Corinth mit einem Bildnis seiner Frau im Museum vertreten. Darüber hinaus besitzt die Kunsthalle Werke von Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner und Max Klinger.
Im Gebäude der benachbarten Orangerie sind Werke der Sammlung und Neuankäufe aus den Jahren nach 1952 zu sehen. In zwei integrierten Grafikkabinetten gibt das Kupferstichkabinett Einblick in seinen Bestand zeitgenössischer Kunst auf Papier. Aus der Zeit nach 1945 finden sich die Arbeiten Araber mit Fußspuren von Jean Dubuffet, Schwammrelief >RE 48:Sol.1960< von Yves Klein, Ehrung des Quadrates: Gelbes Zentrum von Josef Albers, das Stadtbild F von Gerhard Richter und die Fixe Idee von Georg Baselitz in der Kunsthalle. Die Sammlung der Klassischen Moderne wanderte in das Hauptgebäude. Beispiele für Gemälde aus der Zeit bis 1945 sind Der Eiffelturm von Robert Delaunay, die Improvisation 13 von Wassily Kandinsky, Rehe im Wald II von Franz Marc, Leute am blauen See von August Macke, das Selbstbildnis Der Maler von Ernst Ludwig Kirchner, das Merzbild 21b von Kurt Schwitters, Der Wald von Max Ernst, Torturm II von Lyonel Feininger, Die Sieben Todsünden von Otto Dix und der Abtransport der Sphinxe von Max Beckmann. Darüber hinaus zeigt das Museum regelmäßig Sonderausstellungen.
It was by now the middle of the afternoon, light was fading, but there time for one more church to visit away in West Kent.
Jools is churched out, so stays in the car to play solitaire on the tablet, and I take the tools of my trade, a camera and two lenses, and walk through the lych gate, spotting right away that the sign saying the church is open meaning that it wasn't a wasted trip here, even if it wasn't that far from Newenden.
I could not find the light switches, so my shots are dark and the church seems lacking in warmth. I have realised that one's impressions of a church, any building, is on how the whole of the visit went; whether we were warmly welcomed, did the light pour through the stained glass windows, did I spot something unusual, did I get a really fine shot, rather than just records?
Highlights were the fine lectern, many carved heads and corbel stones and another fine wooden roof.
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An impressive church of mainly fourteenth-century date. The tower, which was still under construction in the early sixteenth century, is one of the most striking features. Externally it is memorable for the composition of the west door and window. The doorway has finely carved spandrels and label-stops, but the window above has two designs incorporated into it - Tudor arches for the bottom four lights, and Perpendicular arches above. It is quite a thing and obviously the result of local designs dying hard! The tower is topped by an excellent weathervane dated 1751. Inside, the tower arch is also memorable, a tall much-moulded feature, almost as impressive as the tower arch at Horsmonden. The north aisle shows evidence of rebuilding - the two octagonal pillars of fourteenth-century form replaced circular pillars, one of which survives. The church is very light, the east window containing only plain glass, which helps us to appreciate the furnishings and memorials of mainly twentieth-century date. In the south aisle is a tablet to Alfred Lyttleton (d. 1913), which was probably carved by Eric Gill. The interesting reredos of the high altar dates from 1967 and depicts St John the Baptist baptising Christ in a local river.
www.kentchurches.info/church.asp?p=Wittersham
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LIES the next parish westward from Stone, being usually called Witsham.
THIS PARISH, which partakes of the gross unhealthy air of the adjoining marshes, is a lonely unsrequented place; it is about two miles and an half acros each way. The village, with the church and parsonage, stand nearly in the middle of it, upon high ground, the ridge of which runs through the centre of it, surrounded, excepting on the east, where it joins Stone, by a large tract of marsh-lands, which reach to the extremity of the island, excepting where they join the parish of Ebeney towards the north-east. At the west end of the high ground is a hamlet, called Pinyon Quarter, in which stands Palstre-court, and there are several other houses interspersed over it. The soil is a kind of loam, which in some places has the quarry or sand stone mixed with it. There are some small pieces of coppice wood in the different parts of the upland of it.
A fair is held here yearly, on the seast of St. Philip and James, May 1, for toys and pedlary.
THE MANOR OF ALDINGTON claims over the greatest part of this parish, as does the manor of Lambin, in Rolvenden, over a small district in it; subordinate to the former is the manor of Wittersham.
WITTERSHAM was given, in the year 1032, to Christ church, in Canterbury, for fosterland, that is, for the food and sustenance of the monks, by Eadsy a priest, with the consent of king Canute and Elfgive his queen, but there is no mention made any where of that church's having ever been in possession of it. But in later times this manor appears to have become a lay fee; for king Henry IV. in his 8th year, granted licence to Richard Lentwardyn and John Hurleigh, clerks, to give and assign to the master and fellows of All Saints college, in Maidstone, founded by archbishop Courtney in king Richard the IId.'s reign, the manor of Wyghtresham, among other premises in this county, which were not held of him. After which, this manor continued part of the possessions of the college till the suppression of it, in the 1st year of king Edward VI. anno 1546, at which time it was let to Sir Thomas Wyatt, at the yearly rent of fourteen pounds, (fn. 1) when the manor-house or court-lodge of it, from its belonging to the above foundation, had acquired the name it still goes by, of Wittersham college. This manor coming thus into the hands of the crown, was afterwards granted to Sir Henry Crispe, of Quekes, who settled it on his son Nicholas Crispe, esq. of Grimgill, in Whitstaple, who had been sheriff at the latter part of the first year of queen Elizabeth. He possessed it only for his life, during which there appears to have been a suit at law concerning the title to it, and on his death in 1564 it came to Thomas Parrot and Thomas Shirley, who were by inquisition found to be the two coheirs of his daughter Dorothy, and they held their separate moieties of the queen in capite, both which were afterwards alienated before the end of that reign to Thomas Bishop, esq. of Sussex, afterwards knighted, and anno 19 James I. created a baronet, who bore for his arms, Argent,on a bend,cotized,three bezants. He lived to a great age, and left surviving one son Sir Edward, his successor in title and estate, and two daughters, on the youngest of whom, Frances, he had settled this manor, anno 18 James I. on her marriage with John Alford, son of Edward, of Offington, in Sussex, esq. whose youngest daughter and coheir Elizabeth, married in the year 1659, Charles Bickerstaffe, esq. afterwards knighted, and of Wilderness, in Seale, whom she survived, and afterwards, with her only daughter and heir Frances, an act having been obtained for the purpose anno 2 queen Anne, alienated it to Mr. William Blackmore, gent. of Tenterden, who in 1707 gave it by will to his nephew John, son of his brother James Blackmore, deceased, and his descendant Thomas Blackmore, esq. of Briggins, in Hertfordshire, is the present owner of this manor.
THE MANOR OF PALSTER, or Palstre, called in antient writings, the denne of Palstre, is situated in the western part of this parish, though it extends into the parish of Ebene. This manor, at the time of taking the survey of Domesday, was part of the possessions of the bishop of Baieux, under the general title of whose lands it is thus entered in it.
In Oxenai hundred, Osbn Paisfor holds of the bishop of Baieux, Palestrei. It was taxed at three yokes. The arable land is two carucates. In demesne there is one, and nine borderers having half a carucate. There is a church, and two servants, and ten acres of meadow, and five fisheries of twelve pence. Wood for the pannage of ten hogs. In the time of king Edwards the Consessor, and afterwards, it was worth forty shillings, now sixty shillings. Eduui the priest held it of king Edward.
On the disgrace of the bishop of Baieux, four years afterwards, the seignory paramount of this manor was granted to the family of Crevequer, of whom it was held by a family who assumed their name from it, one of whom, Philip de Palstre, held it by knight's service in Henry III.'s reign, as did his descendant Thomas de Palstre in the 20th year of king Edward III. Soon after which, it came into the family of Basing, who held it, together with a moiety of the passage of Smallhythe ferry, adjoining to it. From which name it quickly after passed into that of Charles, and Richard Charles, as appears by the inquisition taken after his death, anno 1 Richard II. died possessed of this manor, with the moiety of the above passage annexed to it, held in capite, as did his nephew Richard Charles, who on his death, s.p. became his heir, in the 11th year of that reign. His son Robert dying likewise s.p. his two sisters became his coheirs, of whom Alice entitled her husband William Snaith, esq. of Addington, to it, in whose descendants it continued till the reign of king Edward IV. in the 11th year of which, Robert Wotton, esq. of Addington, died possessed of it, holding it as above-mentioned. (fn. 2) How it passed from his heirs. I have not found; but it went soon afterwards into the possession of the family of Peckham, and in the 7th year of king Henry VII. Katherine, widow of James Peckham, esq. died possessed of it, as did their son Thomas in the 7th year of king Henry VIII. holding it in capite. He left one son, and a daughter, who married Sir George Harpur, who in her right became, by her father's will, possessed of it. He presently afterwards alienated it to Sir Thomas Wyatt, as he did to Robert Rudston, esq. who in the 2d and 3d of king Edward VI. had his lands in this county disgavelled, by the general act then passed, but being attainted for his concern in Sir Thomas Wyatt's rebellion, in the first year of queen Mary this manor became vested in the crown, where it remained till the first year of the reign of queen Elizabeth, when an act having passed for restoring him in blood as well as to his estates, it came again into his possession, and he, anno 18 Elizabeth, levied a fine of it. At length his grandson Robert Rudston, in king Charles I.'s reign, alie nated it to Sir Edward Henden, one of the barons of the exchequer, who by will in 1662 gave it to his nephew Sir John Henden, (fn. 3) in whose descendants it continued till it was at length sold, in king George I.'s reign, to Thomas May, esq. of Godmersham, afterwards Knight, who died possessed of it in 1781, as did his only son and heir Thomas Knight, esq. of Godmersham, in 1794, s.p. and by will devised it to his wife Mrs. Katherine Knight for life, remainder to Edward Austen, esq. of Rolling, and she is now in the possession of it. (fn. 4)
OWLIE, antiently written Oveley, is another manor in this parish, which had once owners of that surname, in which it remained till the beginning of Richard II.'s reign, when the family of Odiarne, who were of good note in this county, became possessed of it, who bore for their arms, Sable, a chevron,between three covered cups,or; as they were formerly painted in the window at the entrance of the north chancel of this church; in whom it remained till the latter end of Henry VIII.'s reign, in the 36th year of which Thomas Odyarne appears by his will to have died possessed of it. He resided at his mansion-house of Acteden, now called Acton, in this parish, which Thomas Rayfield, of Wittersham, brother of Robert Rayfield, abbot of Boxley, had died possessed of anno 1494, and by his will had ordered it to be sold, and which, with the manor of it, as well as this of Owlie, he devised to his two sons Thomas and John Odiarne, and they soon afterwards sold the latter to John Maney, esq. of Biddenden, whose descendant Sir John Maney, bart. of Linton, in king Charles I.'s reign, passed it away by sale to Peter Ricaut, esq. afterwards knighted, who sold it to Mr. Menell, of London. At length after some intermediate owners, it became by purchase the property of Thomas May, esq. afterwards Knight, and he died possessed of it in 1781, as did his only son and heir Thomas Knight, esq. of that place, in 1794, s.p. His widow Mrs. Katherine Knight is now by his will become possessed of it.
Charities.
THOMAS BEWFRERE, by will in 1463, ordered that his feoffees should make over to the churchwardens of Wittrisham, for ever, a parcel of land, called Ruffins land, containing five acres, in that parish, within the manor of Palstre, to be applied to the church when there was most need of it.
THOMAS BEREDG, of Wittersham, by will in 1578, devised to the poor of this parish yearly, out of his lands for ever, 3s. 4d. to be given to the collectors on the Friday before Easter, under the thorne in the church-yard, to the maintaining and keeping up of which, he gave the like yearly sum, to be paid out of his lands.
JOHN TRUELOVE, of Wittersham, by will in 1597, gave to the collectors of the poor, 20l. to be employed to the use of the poor people of it, and he ordered his tenement and garden to be sold, and the money that should arise therefrom to be employed to the use of the poor, so that order should be taken that it might yield a perpetual annuity to the poor man's box.
The poor constantly maintained are about thirty, casually twenty-five.
WITTERSHAM is within the WCCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Limne.
¶The church, which is exempt from the jurisdiction of the archdeacon, is dedicated to St. John Baptist. It is a handsome building, consisting of two isles and two chancels, having a tower steeple at the west end, built in the beginning of king Henry the VIIIth.'s reign, in which hangs a peal of bells. The north chancel, formerly called St. Mary's chapel, is now called Acton chancel, as having belonged to that manor. In the east window of it were formerly the arms of Watton. In the first of the windows on the north side, is a legend, with the name of Pitlisden, which family once owned lands in this parish. And near the entrance were the arms and the name of Odiarne, in the window of it.
The church of Wittersham is parcel of the antient possessions of the see of Canterbury, and continues so at this time, his grace the archbishop being the present patron of it.
The rectory of Wittersham is valued in the king's books at 15l. 8s. 6½d. and the yearly tenths at 1l. 10s. 10¼d. In 1588 it was valued at one hundred and sixty pounds, communicants two hundred and fifteen. There are ten acres of glebe land.
O Huawei IDEOS S7 (http://www.huaweidevice.com/worldwide/productFeatures.do?pinfoId=2586&directoryId=2588) é um tablet WVGA de 7" com Android 2.1.
Homescreen.
O Huawei IDEOS S7 (http://www.huaweidevice.com/worldwide/productFeatures.do?pinfoId=2586&directoryId=2588) é um tablet WVGA de 7" com Android 2.1.
Lado direito, com o kickstand na posição mais baixa.
Sunday I apparently handled Poison Ivy while cleaning up the trees in the yard. Monday night, i had hives all over my upper body with an intense itch, starting from the arms. Survived that night with Claritin. Went to see my doc on Tuesday morning. He diagnosed it as reaction to poison-ivy and prescribed Methylprednisolone tablets and Triamcinolone Acetonide cream. That's my first time taking prescription medicine in 12 years. This is how my arm looked like on Thursday morning. Those are probably the areas I had direct contact with the vine or leaves. Much better than before. Hope the worst is over, even though the doc said poison-ivy reactions can last a long time.
Apparently Poison Ivy only grows in North America. In all my years living in China, I had never heard of such a thing. I had handled the same vines before, but never had a problem. Now I know how toxic they are.
So, leaves of three, let them be!
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