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This image was taken at 1600 ISO...pushing the limits of both camera and lens
Composed of thousands of metres of gold thread wound between the alabaster pillars, this temporary art installation is a response to Kedleston’s original function as a show palace. 'Promenade' responds to Robert Adam’s architecture and design; and also to the famous 'Peacock Dress'.
( View on Black )
The Workhouse, Upton Road, Southwell, Nottinghamshire, 1824.
Built as Thurgarton Hundred Incorporated Workhouse in 1824, becoming Southwell Union Workhouse in 1836.
Grade ll* listed.
Firbeck Infirmary.
Exhibition - Florence Nightingale Comes Home.
Leaving Home.
Nightingale's upbringing was designed to prepare her for life as a society hostess and gentleman's wife. But she soon came to feel imprisoned in this world of social conventions and obligations.
This Workhouse survives as the least altered example of its kind in existence today. Built in 1824, it served as one of many prototypes for the New Poor Law of 1834 that saw thousands of workhouses built across the country. The moving spirit behind the project was Revd. J.T. Becher (1769-1848), a noted social reformer. He set out his ideas and strategy to manage the poor in a pamphlet called the Anti-Pauper System. Becher's system was an economic measure (to reduce tax) and a moral crusade (to teach the poor to ask for help only as a last resort.) The help offered was accommodation in the dreaded workhouse, where discipline was exacting, living standards basic and supervision constant. Paupers were divided into men, women, children, vagrants and the sick. Visitors can explore the segregated work yards, dayrooms, dormitories, Master's quarters and cellars and learn about life in The Workhouse.
The Southwell Workhouse site is roughly square in design, with a three-storey accommodation block cutting through the centre and courtyards either side, and the whole enclosed within walls. One half of the building was used by women, the other by men. The central core of the building housed the staff and children, ensuring that all classes of inmate were kept separate.
www.flickr.com/photos/30120216@N07/4301424647/in/set-7215...
Still from a video capturing the Last Post Ceremony and the laying of the wreath can been seen at the following You tube link.
Stella was in dogs trust for 6 weeks, in this time I fell in love with her. She had a terrible skin condition which has now fully cleared up after living in a comfortable home and eating a good diet! Stella brightens up my world, she is always so happy to greet us and loves going out for walks which gets me out of the house and exercising. How can you resist that waggy tail which brings a smile to your face no matter what kind of day you have had!
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Trust
Trust that there is a tiger, muscular
Tasmanian, and sly, which has never been
seen and never will be seen by any human
eye. Trust that thirty thousand sword-
fish will never near a ship, that far
from cameras or cars elephant herds live
long elephant lives. Believe that bees
by the billions find unidentified flowers
on unmapped marshes and mountains. Safe
in caves of contentment, bears sleep.
Through vast canyons, horses run while slowly
snakes stretch beyond their skins in the sun.
I must trust all this to be true, though
the few birds at my feeder watch the window
with small flutters of fear, so like my own.
~ by Susan Kinsolving ~
Tyntesfield is a Victorian Gothic Revival estate near Wraxall, Somerset, England, near Nailsea, seven miles from Bristol.
The house was acquired by the National Trust in June 2002 after a fund raising campaign to prevent it being sold to private interests and ensure it be opened to the public.
William Gibbs purchased Tyntes Place, the original Regency-Gothic house that stood on the site, in 1843. In 1863 he began the full-blown rebuilding to create the Gothic Revival extravaganza that now stands; the cost was £70,000. Notable elements of the house include glass by Powell and Wooldridge, mosaics by Salviati, and ironwork by Hart, Son, Peard and Co. The original architect was John Norton. In the 1880s further alterations were made by architect Henry Woodyer. The chapel was designed by Arthur William Blomfield in the 1870s.
The appeal by the National Trust collected £8.2 million from the public in just 100 days and the Trust also received the largest single grant ever by the National Heritage Memorial Fund (at £17.4 million), which caused some controversy. The National Lottery has earmarked a further £25 million for the major conservation work that is needed.
Since 2004 staff have been cataloging the contents of the house, which had been collected by the four generations of the family. By 2008 a total of 30,000 items had been listed including an unexploded Second World War bomb, a jewel-encrusted chalice, a roll of 19th-century flock wallpaper and a coconut with carved face and hair. A further 10,000 items are being catalogued and photographed.
Stourhead is famous for once housing the most magnificent Pelargonium collection on the planet. The National Trust is now trying to restore as many varieties as possible. The Pelargonium House itself is gorgeous to any Horticulturalist!
Heading back from David Austin Roses, we went to Wightwick Manor in Wolverhampton again.
The Big Mend Project at Wightwick Manor.
The third phase of a restoration project since 2023.
Grade I Listed Building
Listing Text
WOLVERHAMPTON
SO89NE WIGHTWICK BANK
895-1/4/178 (West side)
29/07/50 Wightwick Manor
GV I
House, now owned by the National Trust. 1887; extended 1893.
By Edward Ould for Theodore Mander. Interior design by William
Morris and C.E. Kempe. Brick with ashlar dressings and timber
framing; tile roofs with brick stacks. Originally L-plan with
west wing and north service wing with square tower to angle,
later extended to T-plan with east guest wing. Vernacular
Revival Style. South garden facade of 2 storeys, 5-window
range to west. Timber-framed 1st floor; 2 projecting gables
and right end cross wing with enriched bargeboards. Ground
floor has cusped elliptical-headed lights to brick-mullioned
windows; 1st floor has mostly canted timber oriels; small
balcony to left of right end wing. Single-storey hall range to
east has 2-storey cross wing; timber framing on ashlar plinth;
richly carved bressummers, bargeboards etc. Hall has large
gabled bay window with enriched timber mullioned and transomed
windows with leaded glazing; other windows similar; cross wing
has paired canted 1st floor oriels, gabled dormer to left;
east return similar with end cross wings; treatment continued
to north gable end. Many stacks with oversailing caps, those
to east wing with richly moulded shafts. North elevation of
west wing has 2 gables with ingle stack to right; gabled
timber-framed 2-storey porch projects at angle with
inscription over battened door; tower has embattled parapet.
Service wing has simpler details and hipped roof; tile hanging
to 1st floor, plastered east elevation; small kitchen court
between service wing and east wing.
INTERIOR: has Morris wallpapers and fabric hangings
throughout, some brought in during C20; contemporary electric
light fittings by Benson. Drawing room has ingle fireplace
with window seat, panelled dado, fabric hangings, moulded
cornice and ceiling, Kempe glass from his house (Old Place),
fireplace with de Morgan tiles; hall has re-used C17 panelling
from Old Manor (q.v.), window seat, Kempe glass; library has
shelving and panelling, tiled fireplace with monochrome
overmantel painting; morning room has cupboards with Spanish
style ironwork, fireplace with de Morgan tiles; great parlour
has painted arch-braced roof with panelling, fabric hangings
over panelling with painted relief plaster frieze over, large
ingle fireplace with seats and tiles, 2 ogee-headed entrances
to west end; billiard room has ingle fireplace with tiles and
copper hood, dais with balustrading, plaster ceiling, window
seat; dining room has plaster ceiling, built-in sideboard;
stair has turned balusters. 1st floor guest rooms have wall
hangings, wallpapers, and fireplaces; family rooms are
simpler, some fireplaces and built-in cupboards, some C17
panelling from Old Manor House. The house is an important
example of the architecture and design of the late C19,
containing much work by the leading designers of the day; one
of only a few such houses.
(Shell County Guides: Thorold H: Staffordshire: London: 1978-:
P.182-5; The Buildings of England: Pevsner N: Staffordshire:
London: 1974-: P.310-11; Girouard M: The Victorian Country
House: London: 1979-: P.375-80).
Listing NGR: SO8694698441
This text is from the original listing, and may not necessarily reflect the current setting of the building.
Erddig, Wrexham - 252.06ha (622.85acres) A late 17th century house, containing much of the furniture and textiles supplied for it in the 1720s, with an early 18th century formal garden. The magnificent state bedroom is decorated in the Chinese taste. An unusually rich history of master/servant relations includes a servants' hall with 18th century portraits of estate and household staff and there is a complete range of outbuildings with smithy, joiner's shop and bakery still in operation. The property was extensively restored in 1973-77 following severe mining subsidence. Given in 1973 with an extensive area of land, by Mr P.S.Yorke.
Othello at the Intiman (View Large)
The folks at the Intiman have been very excited about the extended run of Othello, but to me the real action was right outside the entrance.
Images from the two night dinner event for Trust America with Jeb Bush. Joel Silverman Photography, serving the Denver Metro area.
Toronto, May 2 - 2018 - In an age of misinformation, disinformation, AI and media manipulation, how can news organizations and platforms like Google build trust with audiences? Join our speakers: Richard Gingras, vice-president of news at Google, and Craig Silverman, media editor with BuzzFeed News; Hossein Derakhshan, a writer and researcher currently on a joint Harvard Shorenstein and MIT Media Lab fellowship; and and moderator Anna Maria Tremonti, host of CBC Radio One’s The Current.