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This is one of my "Latest" watercolors...
Haven't been doing much painting but this is one that gave some satisfaction...LOL
after trying a few other that didn't work.
this is a 9"x12" and wass painted on Arches (cold pressed".
was finished on Jan. the 30th '14
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This mend is also a reinforcement for thinning fabric through the inseam areas in these jeans. Outside view. The tear will be darned.
Nikon F4 with Fuji Velvia 50 slide film. Nikkor 180mm f2.8 AF-ED lens plus TC-201 2x teleconverter.
I went on a photo trip with Aaron to take some pictures of the moonrise over Doha.
It takes experience to judge these things but there is a very nice time after sunset when the sky gets a lovely deep blue and the building lights are just starting to become visible...
The small part of the electromagnetic spectrum that is visible to human beings.
Read more at my blog post Visible Spectrum – Our tiny Window into the World
Laundry. Clothes visible on left.
Photo taken by FBI agents after 18 November 1978 and released under the Freedom of Information Act. Available through the public domain. Please credit The Jonestown Institute.
Barcelone #streetartrendezvous #barcelona #spain #art #artactivism by #teo__vazquez #visibles #collage #streetart #be_one_urbanart #tv_streetart #jj_urbanart #graffiti_n_wallart #streetartphotography #patm666photos
HDR. AEB +/-3 total of 7 exposures processed with Photomatix. Colors adjusted in PSE.
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
The diagrams about how to make your vehicle visible to an air search pilot were my absolute favorite in the book from age 13 onward. I don't think my Dad ever had to dismantle his vehicle, but I know from the photos he took that he was sent to some very lonely places in the Libyan desert.
"How to Stay Alive in the Desert" by K.E.M. Melville, Jerboa Press, 1970.
This glove-box sized book belonged to my Dad and was issued to him with his 1967 Land Rover company vehicle while he was working in Libya for Esso (now Exxon-Mobil) Oil. I can recall being fascinated by the sober, but clearly explained advice contained in the brief chapters.
#AbFav_LIFE_NOW_👀
The Moon is Earth's only natural satellite.
At about one-quarter the diameter of Earth, it is the largest natural satellite in the Solar System relative to the size of a major planet, the fifth largest satellite in the Solar System overall, and larger than any known dwarf planet.
The Moon's phases, its waxing and waning, has allowed people since pre-historic times to keep record of time.
Tally sticks, notched bones dating as far back as 20–30,000 years ago, are believed by some to mark the phases of the Moon.
The tracked four phases gave rise to the time period of the approximated seven day week[citation needed] and, as a full cycle, the approximated 30 day month.
Tidal forces affect both the Earth's crust, seas and oceans.
The gravitational attraction that masses have for one another decreases inversely with the square of the distance of those masses from each other.
As a result, the slightly greater attraction that the Moon has for the side of Earth closest to the Moon, as compared to the part of the Earth opposite the Moon, results in tidal forces.
Have a beautiful day and thank you for your comments, M, (*_*)
For more: www.indigo2photography.com
Please do not use this image on websites, blogs or any other media without my explicit permission. Sharing is fine, WITH NAME! © All rights reserved
World, planet, moon, satellite, city, view, sky, night, light, colour, horizontal, NikonD7200, "Magda indigo"
Silhouette of professional photographer posing a powerful day explosion of Cotopaxi volcano, South America
Gol New Stave Church, Norway
The Stave Church visible from road 7 near Gol is not a medieval church, but a replica built in 1994. The original stave church from Gol was moved to Norwegian Museum of Cultural History (Norsk Folkemuseum) in the 1880s.
it has been a while since the last time that I've posted something in here.
this painting was a little bit of a struggle,the hard part for me was the Textured wall on the right.
I started This painting a couple of months ago but didn't have the courage to work in the texture,I've never done anything like that...
I actually had to crop the painting because some of the texture didn't look right.
I used William F. Martin photo that was posted in the PMP website...
you can see it here...
paintmyphoto.ning.com/photo/padlock-gate-05-it-bluepg?con...
14x17 watercolor on Arches hot pressed
)ct. the 27th '13
SOLD
Bradford, PA. September 2022.
If you would like to use THIS picture in any sort of media (such as newspaper or article) please send me a Flickr mail or an e-mail at natehenderson6@gmail.com.
I saw St Nicholas from the main road, and with time enough for an unplanned stop.
You approach St Nicholas down a narrow lane, with enough space for a single car to park outside; maybe I missed the "official" car park, but I don't thin so.
And walking through the churchyard, the thing you notice if the half tower at the west end of the church. Was this some kind of ancient abandoned Norman structure, with a Victorian rebuild bolted on?
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St Nicholas is visible off in the fields from the Wroxham road, but from this angle appears very odd; you need a second glance to reassure yourself that it really is a church. There is a truncated round tower which has all the appearance of a vast flower vase, and as you get closer you can see the clean lines and unknapped flint that suggests a considerable restoration.
In fact, nothing that you see is ancient, and virtually all of it is 20th century. The church was built in the 1930s, and the stump of tower comes from only a hundred years earlier. I'm not convinced that it has ever been any higher - I think the 'ruins' against the west wall were a folly. The medieval building was demolished in the 18th century and replaced with a new building. This appears to have been done on the cheap, and 19th century additions and elaborations, like the round tower, could not prolong its life. So, it was demolished and completely rebuilt, the stump retained as a baptistery.
When you know this, you can see at once the clean 1930s lines, the Gothic revival stripped of all Victorian neuroses. Inside and out, there is a modernistic simplicity to this articulate rendering of Norfolk vernacular; even the angel roof is understated. An American correspondent of mine, on seeing these pictures, said that it was like a college dining hall, and I think that is exactly right.
St Nicholas successfully combines this simplicity with an air of Anglo-catholic devotion. The stations of the cross are most unusual, large format photographs of what appear to be artist's dummies set in the positions of the way of the cross. Survivals from the old church include a medieval font and the organ, and a large piece of lead set in a wooden frame. It has a long Latin inscription on it, and with the limited resources I could drag up from school days I took it to be from the roof, since it seems to describe the demolition of the old west end and the building of the round tower in 1835.
As at Worstead, there are photographs of everyone on the war memorial, which is a lovely thing to do. And this is a lovely church, a simple yet splendid modern building set alone in the barley fields, well used, much loved, and open to pilgrims and strangers every day.
Simon Knott, April 2005
www.norfolkchurches.co.uk/dilham/dilham.htm
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Robert Lord Mallet was lord of the most considerable manor of this town, (fn. 1) of which Edric was deprived; there belonged to it one carucate of land, 9 borderers, one carucate in demean, and 6 acres of meadow, &c. 2 socmen, and the moiety of another held 50 acres, and 2 borderers, with 2 acres of meadow, valued then at 30s. at the survey at 35s. it was eleven furlongs long, and 6 broad, and paid 9d. gelt. (fn. 2)
The family of the Glanviles were enfeoft of it: William de Glanvile was lord in the reign of Henry I. and gave the church to the priory of Bromholm. After them the family of De Gyney held it.
Sir Roger Gyney, son of Sir William Gyney, was lord in the reign of Edward I. and his son Sir William in the 16th of Edward II. and the 21st of Edward III. as was Sir Roger, who by his will, here dated in 1376, requires to be buried in this church, and gives to John his son, this lordship, who by the name of Sir John Gyney, made his will, and gave this manor after the death of Alice his wife, to Sir Henry Inglos, and was proved in 1423, November 5: the said Henry Inglos was in the wars of France, and in the 3d of Henry V. then an esquire, preferred a libel in the court of the constable and Earl-Marshal of England, against Sir John Tiptoft, who had retained him with 16 lances, several archers, &c. and refused to pay him, and so he the said Henry declares that —"He was ready by the help of God and St. George, to prove against the said Sir John, body to body, as the law and custom of arms required in that behalf; (fn. 3) " and in 1421, being then a knight, was taken prisoner at the battle at Bengy in France, where the Duke of Clarence was slain; and in the 5th of Henry VI. he being proxy for Sir John Fastolf, was installed Knight of the Garter for him.
By his will, dated June 20, 1451, he requires to be buried in the presbytery of the priory of Horsham St. Faith's, by Ann his wife; gives to the prior and canons of Ingham 20s. Henry his son and heir, succeeded him, whose son, Edward Inglose, sold it by fine with 10 messuages, &c. to John Bozun, Esq.; after this it came to the Windhams, and Thomas Windham, Esq. was lord in 1570, and in this family it remains, William Windham, Esq. of Felbrig, the late lord dying in 176-.
St. Bennet Of Holm's Fee.
At the survey, the abbot of St. Bennet bad a socman, with 30 acres of land, a borderer, and one carucate valued at 6s. 8d. (fn. 4)
This, as I take it, was held of the abbot, by the lords abovementioned; Odo, the cross-bow man, is said to have held of the abbot, that which Reinberius had. (fn. 5)
Alan Earl of Richmond had in Dilham, and Panceford, a hamlet, probably, to Dilham, 50 acres of land, which a socman of Ralph Stalre was deprived of, 2 villains, and 2 borderers, &c. belonged to it, with one carucate and an acre of meadow, valued at 8s. but at the survey at 5s. (fn. 6)
Ralph, son of Ribald, gave to the church of the Holy Trinity of Norwich, all his lands in Dilham, and Panksford: Ribald was a brother of Earl Alan. Ralph, in his deed, (fn. 7) declares that he gave it for his own soul, that of Robert his son, and of his lord, Earl Alan, and in recompense of a benefaction, the monks of Norwich having paid for him 20 marks to Morell, a Jew, and so acquitted him of it; (the seal is round and the impress a cross flory) and it is now in the dean and chapter of Norwich.
Roger Bigot had also 60 acres of land, of which a freeman of Edric had been deprived; to it belonged 5 borderers, one carucate and an acre of meadow, and this was valued in Suffield. (fn. 8)
Pope Alexander III. in 1176, in the 17th year of his pontificate, granted to John, Bishop of Norwich, the land of Ralph, son of Ribald, which Richard, prior of Norwich, bought of Ralph, of the fee of Hugh Bigod. (fn. 9)
Ralph le Buteler of Heslington, by York, granted to the prior, &c. of Norwich, all his right in 40s. per ann. which William de Crostweyt used to pay him out of a tenement and lands here, in 1282.
The temporalities of this priory valued at 57s. 4d. in 1428, and is now in the dean and chapter of Norwich.
The tenths were 5l. 5s. 5d. ob.; Deducted 26s. 8d.—The temporalities of Bromholm priory 5s. 4d.
Henry Inglos, Esq. son of Sir Henry, died lord on September 15, Ao. 3, Henry VIII. and left by Anne his wife, Edward, aged 18.
The Church is a rectory, dedicated to St. Nicholas, granted to the priory of Bromholm, by William de Glanvile the founder, and appropriated to it, being valued at 20 marks per ann. a vicarage was ordained, valued at two marks, the present valor of which is 5l. 7s. 10d. and is discharged.—Peter-pence were 18d.
In the register of Bromholm, fol. 43, it appears that there was a controversy between Sir William de Gyney, and the prior, about the advowson of this church, and Sir William covenanted to release and levy a fine, the prior paying him 45 marks of silver, and to deliver a deed under seal.—Dated at Crostweyt, in the 2d of Edward I. reserving to himself the right to his chapel here, and the services of the prior's tenants.
Vicars.
Richard, occurs vicar in 1299,
1304, Clement de Wycton, instituted vicar, presented by the prior, &c. of Bromholm.
1320, Bartholomew de Wycton.
1323, Richard de Baketon.
1324, William de Folsham.
1348, John Waterden.
1360, John de Cressingham.
1360, John Aylwode.
1373, William Osmound.
1397, Jeff. Haldeyn.
1426, John Northgate.
1429, Sim. Dacke.
1434, John Bounde.
1435, Sim. Dacke.
1449, John Cowper, by the Bishop, a lapse.
1464, Thomas Skoles, by the prior, &c.
1468, Jeff. Ilberb; by his will in 1498, gives 6 marks for a vestment for a priest; 6 marks to repair a pane of peynting in the church, and the profits of 3 roods of land to the vicaryes here to sing onys in the yere for him, &c. Placebo and Dirige.
1498, Thomas Garton.
1517, Edm. Curtes.
1527, Ralph Lyster.
1535, Peter Ingham.
Thomas Milles, vicar.
On the Dissolution, the patronage of the vicarage, with the appropriated rectory, came to the Crown, and in the year 1600, John Osmond was collated by the Bishop, a lapse; in 1603, he returned 143 communicants.
1612, Arnold Suckerman, by the Bishop of Ely, being granted by Queen Elizabeth, to that see, on an exchange of land belonging to it. Mr. Matthew Stokes, fellow of Caius college, in Cambridge, held this rectory impropriate of that see, by lease; and gave about 1630, to that college for the stipend of one fellow, 3 scholars, &c. but the advowson remained in the see of Ely.
1671, Peter Boardman, by the Bishop of Ely.
1694, Noah Viales, by the Bishop of Ely.
1712, David Baldy. Ditto.
1730, Thomas Goddard. Ditto.
1732, William Williams. Ditto.
¶In the north isle, an old monument, or tomb, with the effigies of a man and woman, the arms and inscription defaced; this was in memory of an Inglose, or a Jenney, and had the arms of Gynney, paly of six, or and gules, a chief ermine, and gules, four bars gemelle, or, on a canton, argent, five billets saltier ways, sable, Inglose;—argent, 2 bars, and a canton, gules, over all a bend, sable, Boys;—also, quarterly, argent and azure, on a bend, sable, three martlets, or, Le Gross;— masculy, gules and ermin, Rokely;—azure, an escotcheon and orle of martlets, argent, Walcot;— Kerdeston; Stapleton; and ermin, on a chief gules, three fusils, ermin, Charles.
On the south side, Fastolf, with a label, argent, and Honing.
In a window, Inglose impaling Bois, and Inglose and Gynney, quarterly.
www.british-history.ac.uk/topographical-hist-norfolk/vol1...