Because of the rich Baroque architectural monuments found in the city, Lecce is commonly nicknamed[2] "The Florence of the South". The city also has a long traditional affinity with Greek culture going back to its foundation; the Messapii who founded the city are said to have been Cretans in Greek records.[3] To this day, in the Grecìa Salentina, a group of towns not far from Lecce, the griko language is still spoken.

 

The Roman Amphitheatre, built in the 2nd century and situated near Sant'Oronzo Square, was able to seat more than 25,000 people. It is now half-buried because other monuments were built above it over the centuries.

The column holding the statue of Saint Oronzo (Lecce's patron) was given to Lecce by the city of Brindisi, because Saint Oronzo was reputed to have cured the plague in Brindisi. The column was one of a pair that marked the end of the Appian Way, the main road between Rome and southern Italy.

 

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The days drag and the weeks fly by.

 

It has been a grim week at work, and yet the weekend is here once again.

 

The cold snap is still here; thick frosts and icy patches, but Sunday afternoon storms will sweep in from the west and temperatures will soar by day to 13 degrees.

 

But for now it is cold, and colder at nights, the wood burner makes the living room toasty warm, though the rest of the house seems like a fridge in comparison.

 

Even though we went to bed at nine, we slept to nearly half seven, which meant we were already later than usual going to Tesco.

 

We had a coffee first, then got dressed and went out into the winter wonderland.

 

Tesco was more crowded mainly because we were an hour later. There were no crackers for cheese, a whole aisle empty of cream crackers and butter wafers.

 

There is only so much food you can eat even over Christmas, so the cracker-shortage won't affect us, we have two Dundee cakes, filling for two lots of mince pies and pastry for five lots of sausage rolls.

 

We won't starve.

 

We buy another bag of stuff for the food bank, try to get two weeks of stuff so we wont need to go next weekend, just to a farm shop for vegetables, and the butcher for the Christmas order, though on the 25th we are going out for dinner to the Lantern.

 

Back home for fruit, then bacon butties and another huge brew. Yes, smoked bacon is again in short supply, with just the basic streaky smoked available, but we're not fussy, so that does the trick.

 

Also, Jools picked up her inhalers for her cough, and so, we hope, the road to recovery begins.

 

What to do with the day?

 

Although a walk would have been good, Jools can do no more than ten minutes in freezing conditions before a coughing fits starts, so a couple of churches to revisit and take more shots of.

 

First on the list was St Leonard in Upper Deal. A church I have only have been inside once. As it was just half ten, there should have been a chance it was open, but no. We parked up and I walked over the road to try the porch door, but it was locked.

 

No worries, as the next two would certainly be open.

 

Just up the road towards Canterbury is Ash.

 

Ash is a large village that the main roads now bypass its narrow streets, and buses call not so frequently.

 

The church towers over the village, its spire piercing the grey sky. We park beside the old curry hours than burned down a decade ago, is now a house and no sign of damage.

 

indeed the church was open, though the porch door was closed, it opened with use of the latch, and the inner glass door swung inwards, revealing an interior I had forgotten about, rich Victorian glass let in the weak sunlight, allowing me to take detailed shots. It was far better and more enjoyable than I remembered.

 

Once I took 200 or so shots, we went back to the car, drove back to the main road, and on to Wingham, where the church there, a twin of Wingham, would also be open too.

 

And it was.

 

The wardens were just finishing trimming the church up, and putting out new flowers, it was a bustle of activity, then one by one they left.

 

got my shots, and we left, back to the car and to home, though we did stop at he farm shop at Aylsham, and all we wanted was some sweet peppers for hash.

 

We went in and there was the bakery: I bought two sausage rolls, four small pork pies and two Cajun flavours scotch eggs. We got cider, beer, healthy snacks (we told ourselves) and finally found the peppers.

 

Three peppers cost £50!

 

Then back home, along the A2.

 

And arriving back home at one. We feasted on the scotch eggs and two of the pork pies.

 

Yummy.

 

There was the third place play off game to watch on the tellybox, the Football league to follow on the radio. We lit the woodburner and it was soon toasty warm.

 

At half five, Norwich kicked off, and hopes were high as Blackburn had not beaten us in over a decade.

 

And, yes you guessed it, Norwich lost. Played poorly, and in Dad's words, were lucky to get nil.

 

Oh dear.

 

Oh dear indeed.

 

We have Christmas cake for supper, and apart from the football, as was well with the world.

 

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An enormous church, picturesquely set at an angle of the village street. It owes its size to the fact that it supported a college of priests in the Middle Ages. During the sixteenth century it was substantially rebuilt, but the north aisle was not replaced, reducing the church to the odd shape we see today. The unusual pillars which divide the nave from the south aisle are of timber, not stone as a result of lack of money. At the end of the south aisle is the Oxenden chapel, which contains that family's excellent bull's head monument. The contemporary metalwork screens and black and white pavements add great dignity to this part of the building. By going through a curved passage from the chapel you can emerge in the chancel, which is dominated by a stone reredos of fifteenth-century date. This French construction was a gift to the church in the 1930s and while it is not good quality carving, is an unusual find in a Kent church.

 

www.kentchurches.info/church.asp?p=Wingham

 

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hortly after 1280AD Archbishop Peckham of Canterbury established a college of priests at Wingham, with a provost and six canons. From 1286 the priests lived in the attractive timber-framed house opposite St Mary's church. The college accounts for the size of the church, which seems enormous considering the present size of Wingham itself.

 

There was a cruciform church here before the college was established, but that building was remodelled around 1290, leaving us several excellent Geometric Gothic windows. A south porch and tower were added around 1400. The porch is curious in that there are two stories externally, but internally only one. There are many reminders of the church's past, however; the arch between the south transept and south nave aisle is late Norman, as is a blocked arch on the west wall of the north transept.

 

By the early 16th century the nave was in poor condition. A local brewer named George Ffogarde of Canterbury was granted a license to raise money for its repair. Having a considerable sum of money for church repair, the unscrupulous brewer absconded with the funds, embezzling £224, a huge sum for the time. The missing funds may explain why the nave was rebuilt using cheaper timber posts to support the arcades, rather than more costly stone.

 

The octagonal timber posts are of chestnut wood, topped by a crown-post timber roof. Sometime before the mid-19th century the timbers were encased in plaster to resemble Doric columns, but thankfully the plaster has been stripped off and we can appreciate the timber! The nave was rebuilt in the late 16th century, diminishing its footprint and leaving behind some rather odd features, like an external piscina on what was originally the easternmost pier of the nave arcade. Another odd touch is provided by the north transept, remodelled with wood frames in the Georgian period. I'm not sure I can call to mind another essentially medieval church with wooden-framed windows!

 

In the chancel is a lovely 14th century triple-seat sedilia and piscina. The chancel and nave are separated by a 15th century screen, now truncated, with blank panels which must have once boasted painted figures of saints. But the real treasure in the chancel is a series of ten 14th century misericords. Six of the misericord carvings are simply decorative, with floral or foliage designs. Two show animals; one appears to be a horse, another a donkey. The final two carvings are the most interesting; one shows a woman in a wimple, the other a Green Man peering out from a screen of foliage.

 

Behind the altar is a lovely 15th century reredos, brought here from Troyes in France. The reredos is in two sections, the upper section depicting the Passion of Christ, the lower showing the Last Supper and the Adoration of the Kings. There are small fragments of rather attractive 14th century grisailles glass in the chancel windows, and near the font are a number of surviving medieval floor tiles.

 

The interior is full of monuments to the Oxenden and Palmer families. The finest of these are to be found in the north transept chapel. On the east wall of the chapel is a memorial to Sir Nicholas Palmer (d. 1624). The memorial was designed by Nicholas Stone and shows effigies of Palmer and his wife under Corinthian columns and an open pediment. On the north wall is the monument to a later Thomas Palmer (d. 1656) with a bust of the deceased, now somewhat the worse for wear. A tablet to Streynsham Master (d. 1718) is on the south chapel wall, and has a fairly typical pair of skulls at the base of the tablet, wreathed in olive branches.

 

The most extravagant and eye-catching memorial in the church, however, is to be found in the north transept chapel, which is guarded by ornate wrought-iron screens. In the centre of the chapel is an ebullient obelisk, dated 1682, commemorating the Oxenden family. This free-standing obelisk, possibly designed by Arnold Quellin, is of white stone, with exquisite fruit and flowers cascading down each side, with large black ox heads at each angle of the base. The base is embellished with four putti (cherubic 'infants'). The effect is quite extraordinary; most people will either love it or hate it (I loved it). Also in the south transept is a wall tablet to Charles Tripp (d. 1624).

Other monuments worth mentioning include a 14th century tomb recess in the south aisle wall and a number of 15th century indents in the chancel floor which once contained memorial brasses to canons.

 

The church is set within a large walled enclosure, dating to the 16th and 17th centuries. Unusually, the churchyard wall has been listed Grade-II by the Department of the Environment for its historical interest.

 

www.britainexpress.com/counties/kent/churches/wingham.htm

 

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WINGHAM

IS the next adjoining parish south-westward from Ash, situated for the most part in the upper half hundred of the same name, and having in it the boroughs of Wingham-street, Deane, Twitham, and Wenderton, which latter is in the lower half hundred of Wingham.

 

WINGHAM is situated in a healthy pleasant country, the greatest part of it is open uninclosed arable lands, the soil of which, though chalky, is far from being unfertile. The village, or town of Wingham, is nearly in the middle of the parish, having the church and college at the south-west part of it; behind the latter is a field, still called the Vineyard. The village contains about fifty houses, one of which is the court-lodge, and is built on the road leading from Canterbury to Sandwich, at the west end of it runs the stream, called the Wingham river, which having turned a corn-mill here, goes on and joins the Lesser Stour, about two miles below; on each side the stream is a moist tract of meadow land. Near the south boundary of the parish is the mansion of Dene, situated in the bottom, a dry, though dull and gloomy habitation; and at the opposite side, next to Staple, the ruinated mansion of Brook, in a far more open and pleasant situation. To the northward the parish extends a considerable way, almost as far as the churches of Preston and Elmstone. The market, granted anno 36 king Henry III. as mentioned hereafter, if it ever was held, has been disused for a number of years past; though the market-house seems yet remaining. There are two fairs held yearly here, on May 12, and November 12, for cattle and pedlary.

 

In 1710 there was found on the court-lodge farm, by the plough striking against it, a chest or coffin, of large thick stones, joined together, and covered with a single one at the top. At the bottom were some black ashes, but nothing else in it. The ground round about was searched, but nothing else was sound.

 

Henry de Wengham, a person of great note and extraordinary parts, and much in favour with Henry III. was born here, who in 1255 made him lord chancellor. In 1259, he was elected bishop of Winchester, which he resused, but towards the latter end of the same year he was chosen bishop of London, being still chancellor, and was consecrated the beginning of the year following. He died in 1262, and was buried in his own cathedral. He bore for his arms, Gules, a heart between two wings, displayed, or.

 

WILLIAM COWPER, ESQ. eldest son of Sir William Cowper, bart. of Ratling-court, in Nonington, having been made lord-keeper of the great seal in 1705, was afterwards by letters patent, dated Dec. 14, 1706, created lord Cowper, baron Cowper of Wingham; and in 1709, was declared lord chancellor. After which, anno 4 George I. he was created earl Cowper and viscount Fordwich, in whose descendants these titles have continued down to the right hon. Peter-Lewis-Francis Cowper, the fifth and present earl Cowper, viscount Fordwich and baron of Wingham. (fn. 1)

 

The MANOR OF WINGHAM was part of the antient possessions of the see of Canterbury, given to it in the early period of the Saxon heptarchy, but being torn from it during the troubles of those times, it was restored to the church in the year 941, by king Edmund, his brother Eadred, and Edwin that king's son. (fn. 2) Accordingly it is thus entered, under the general title of the archbishop's possessions, taken in the survey of Domesday:

 

In the lath of Estrei, in Wingeham hundred, the archbishop himself holds Wingeham in demesne. It was taxed at forty sulings in the time of king Edward the Consessor, and now for thirty-five. The arable land is . . . . . . In demesne there are eight carucates, and four times twenty and five villeins, with twenty borderers having fifty-seven carucates. There are eight servants, and two mills of thirty-four sulings. Wood for the pannage of five hogs, and two small woods for fencing. In its whole value, in the time of king Edward the Consessor, it was worth seventy-seven pounds, when he received it the like, and now one hundred pounds. Of this manor William de Arcis holds one suling in Fletes, and there be has in demesne one carucate, and four villeins, and one knight with one carucate, and one fisbery, with a saltpit of thirty pence. The whole value is forty shillings. Of this ma nor five of the archbishop's men hold five sulings and an half and three yokes, and there they have in demesne eight carucates, and twenty-two borderers, and eight servants. In the whole they are worth twenty-one pounds.

 

In the 36th year of king Henry III. archbishop Boniface obtained the grant of a market at this place. The archbishops had a good house on this manor, in which they frequently resided. Archbishop Baldwin, in king Henry II.'s reign, staid at his house here for some time during his contention with the monks of Christ-church, concerning his college at Hackington. Archbishop Winchelsea entertained king Edward I. here in his 23d year, as did archbishop Walter Reynolds king Edward II. in his 18th year. And king Edward III. in his 5th year, having landed at Dover, with many lords and nobles in his train, came to Wingham, where he was lodged and entertained by archbishop Meopham. And this manor continued part of the see of Canterbury till archbishop Cranmer, in the 29th year of king Henry VIII. exchanged it with the king for other premises. After which it continued in the crown till king Charles I. in his 5th year, granted the scite, called Wingham court, with the demesne lands of the manor, to trustees, for the use of the city of London. From whom, by the direction of the mayor and commonalty, it was conveyed, at the latter end of that reign, to Sir William Cowper, knight and baronet, in whose descendants it has continued down to the right hon. Peter-Francis Cowper, earl Cowper, who is the present owner of it. (fn. 3)

 

BUT THE MANOR ITSELF, with the royalties, profits of courts, &c. remained still in the crown. Since which, the bailiwic of it, containing the rents and pro fits of the courts, with the fines, amerciaments, reliess, &c. and the privilege of holding the courts of it, by the bailiff of it, have been granted to the family of Oxenden, and Sir Henry Oxenden, bart. of Brome, is now in possession of the bailiwic of it. A court leet and court baron is held for this manor.

 

TRAPHAM is a mansion in this parish, which was formerly in the possession of a family of the same name, who resided at it, but after they were extinct it passed into that of Trippe, who bore for their arms, Gules, a chevron, or, between three borses heads erased, sable, bridled, collared and crined of the second; (fn. 4) and John Tripp, esq. resided here in queen Elizabeth's reign, as did his grandson Charles, who seems to have alienated it to Sir Christopher Harflete, of St. Stephen's, whose son Tho. Harflete, esq. left an only daughter and heir Afra, who carried it in marriage to John St. Leger, esq. of Doneraile, in Ireland, descended from Sir Anthony St. Leger, lord deputy of Ireland in Henry VIII.'s reign, and they joined in the alienation of it to Brook Bridges, esq of the adjoining parish of Goodneston, whose descendant Sir Brook Wm. Bridges, bart. of that place, is the present owner of it.

 

The MANOR OF DENE, situated in the valley, at the southern boundary of this parish, was antiently the inheritance of a family who took their surname from it, and held it by knight's service of the archbishop, in king Edward I's reign, but they seem to have been extinct here in that of king Edward III. After which it passed into the family of Hussey, who bore for their arms, Per chevron, argent and vert, three birds counterchanged; and then to Wood, before it came by sale into the family of Oxenden, who appear to have been possessed of it at the latter end of Henry VI.'s reign, about which time they had become by marriage, owners of Brook and other estates in this parish. The family of Oxenden have been resident in this county from the reign of king Edward III. Solomon Oxenden, being the first mentioned in the several pedigrees of it, whose near relation Richard Oxenden was prior of Christchurch, Canterbury, in that reign; in this name and family of Oxenden, whose arms were Argent, a chevron, gules, between three oxen, sable, armed, or; which coat was confirmed to the family by Gyan, king at arms, anno 24 Henry VI. this manor and seat continued down to Sir Henry Oxenden, of Dene, who was on May 8, 1678, created a baronet, whose youngest grandson Sir George Oxenden, bart. succeeding at length to the title on the death of his eldest brother Sir Henry, resided at Dene, where he died in 1775, having served in parliament for Sandwich, and been employed in high offices in administration, and leaving behind him the character of a compleat gentleman. He married Elizabeth, one of the daughters and coheirs of Edward Dunck, esq. of Little Wittenham, in Berkshire, by whom he had two sons, of whom George, the second, was made by will heir to the estate of Sir Basil Dixwell, bart. of Brome, on his death, s. p. and changed his name to Dixwell as enjoined by it, but died soon afterwards likewise, s. p. and that estate came at length to his eldest brother Henry, who succeeded his father in the title of Baronet. He married Margaret, daughter and coheir of Sir George Chudleigh, bart. of Devonshire, since deceased, by whom he has issue Henry Oxenden, esq. of Madekyn, in Barham, who married Mary, one of the daughters of Col. Graham, of St. Laurence, near Canterbury, by whom he has issue. Sir Henry Oxenden, bart. now resides at Brome, and is the present possessor of this manor and seat, as well as the rest of his father's estates in this parish. (fn. 5) Lady Hales, widow of Sir Thomas Pym Hales, bart. of Bekesborne, now resides in it.

 

TWITHAM, now usually called Twittam, is a hamlet in this parish, adjoining to Goodneston, the principal estate in which once belonged to a family of that name, one of whom Alanus de Twitham is recorded as having been with king Richard I. at the siege of Acon, in Palestine, who bore for his arms, Semee of crosscroslets, and three cinquesoils, argent, and held this estate in Twitham, of the archbishop, and they appear to have continued possessed of it in the 3d year of king Richard II. Some time after which it came into the possession of Fineux, and William Fineux sold it anno 33 Henry VIII. to Ingram Wollet, whose heirs passed it away to one of the family of Oxenden, of Wingham, in whose descendants it has continued down to Sir Henry Oxenden, bart. of Brome, the present possessor of it.

 

On the foundation of the college of Wingham, archbishop Peckham, in 1286, endowed the first diaconal prebend in it, which he distinguished by the name of the prebend of Twitham, with the tithes of the lands of Alanus de Twitham, which he freely held of the archbishop there in Goodwynestone, at Twytham. (fn. 6)

 

BROOK is an estate in this parish, situated northward from Twitham, which was formerly the estate of the Wendertons, of Wenderton, in this parish, in which it remained till by a female heir Jane, it went in marriage to Richard Oxenden, gent. of Wingham, who died in 1440, and was buried in Wingham church, in whose name and family it continued down to Henry Oxenden, of Brook, who left two daughters and coheirs, of whom Mary married Richard Oxenden, of Grays Inn, barrister-at-law, fourth son of Sir Henry Oxenden, bart, who afterwards, on his wife's becoming sole heiress of Brook, possessed it, and resided here. He left Elizabeth his sole daughter and heir, who carried it in marriage to Streynsham Master, esq. a captain in the royal navy, the eldest surviving son of James Master, esq. of East Langdon, who died some few days after his marriage; upon which she became again possessed of it in her own right, and dying in 1759, s. p. gave it by will to Henry Oxenden, esq. now Sir Henry Oxenden, bart. of Brome, and he is the present owner of it.

 

WENDERTON is a manor and antient seat, situated northward from Wingham church, eminent, says Philipott, for its excellent air, situation, and prospect, which for many successive generations had owners of that surname, one of whom, John de Wenderton, is mentioned in Fox's Martyrology, as one among other tenants of the manor of Wingham, on whom archbishop Courtnay, in 1390, imposed a penance for neglecting to perform some services due from that manor. In his descendants this seat continued till John Wenderton, of Wenderton, in the 1st year of Henry VIII. passed it away to archbishop Warham, who at his decease in 1533, gave it to his youngest brother John Warham, whose great-grandson John, by his will in 1609, ordered this manor to be sold, which it accordingly soon afterwards was to Manwood, from which name it was alienated, about the middle of the next reign of king Charles I. to Vincent Denne, gent. who resided here, and died in 1642, s. p. whose four nieces afterwards became by will possessed of it, and on the partition of their estates, the manor and mansion, with part of the lands since called Great Wenderton, was allotted to Mary, the youngest of them, who afterwards married Vincent Denne, sergeant-at-law, and the remaining part of it, which adjoins to them, since called Little Wenderton, to Dorothy, the third sister, afterwards married to Roger Lukin, gent. of London, who soon afterwards sold his share to Richard Oxenden, esq. of Brook, from one of which family it was sold to Underdown, by a female heir of which name, Frances, it went in marriage to John Carter, esq. of Deal, the present owner of it.

 

BUT GREAT WENDERTON continued in the possession of Sergeant Denne, till his death in 1693, when Dorothy, his eldest daughter and coheir, carried it in marriage to Mr. Thomas Ginder, who bore Argent, on a pale, sable, a cross fuchee, or, impaling azure, three lions heads, or; as they are on his monument. He resided at it till his death in 1716, as did his widow till her decease in 1736, when it came to her nephew Mr. Thomas Hatley, who left two daughters his coheirs, the eldest surviving of whom, Anne, carried it in marriage, first to Richard Nicholas, esq. and then successively to Mr. Smith and Mr. James Corneck, of London, and Mrs. Corneck, the widow of the latter, is the present possessor of it.

 

At the boundary of this parish, adjoining to Preston and Ash, lies THE MANOR OF WALMESTONE, usually called Wamston, which was antiently part of the possessions of the family of Septvans, one of whom, Robert de Septvans, held it in king Edward II.'s reign, of the archbishop; whose descendant Sir William de Septvans died possessed of it in the 25th year of that reign. (fn. 7) How long it continued in this name I have not found; but at the beginning of king Edward IV.'s reign it was become the property of William Bonington, of Canterbury, who died in 1463, and directed it by his will to be sold. After which it became, about the latter end of king Henry VIII.'s reign, the property of Walter Hendley, esq. the king's attorney-general, who left three daughters his coheirs, and they joined in the sale of it to Alday, who alienated it to Benedict Barnham, esq. alderman of London, one of whose daughters and coheirs, Elizabeth, carried it in marriage to Mervin Touchet, earl of Castlehaven, who being convicted of high crimes and misdemeanors, was executed anno 7 Charles I. Soon after which this manor seems to have been divided, and one part of it, since called Little Walmestone, in which was included the manor and part of the demesne lands, passed from his heirs to the Rev. John Smith, rector of Wickham Breaus, who having founded a scholarship at Oxford, out of the lands of it, presently afterwards sold it to Solly, of Pedding, in which name it continued till Stephen Solly, gent. of Pedding, and his two sons, John and Stephen, in 1653, joined in the conveyance of it to Thomas Winter, yeoman, of Wingham, in which name it remained for some time. At length, after some intermediate owners, it was sold to Sympson, and John Sympson, esq. of Canterbury, died possessed of it in 1748, leaving his wife surviving, who held it at her decease, upon which it came to her husband's heir-atlaw, and it is now accordingly in the possession of Mr. Richard Simpson.

 

BUT GREAT WALMESTONE, consisting of the mansion-house, with a greater part of the demesne lands of the manor, was passed away by the heirs of the earl of Castlehaven to Brigham, and Mr. Charles Brigham, of London, in the year 1653, sold it to William Rutland, of London, who left two daughters his coheirs, of whom Mary married John Ketch, by whom she had a sole daughter Anne, who afterwards at length became possessed of it, and carried it in marriage to Samuel Starling, gent. of Worcestershire, who in 1718, conveyed it, his only son Samuel joining in it, to Thomas Willys, esq. of London, afterwards created a baronet. After which it passed in the same manner, and in the like interests and shares, as the manor of Dargate, in Hernehill, down to Matthew, Robert and Thomas Mitchell, the trustees for the several uses to which this, among other estates belonging to the Willis's, had been limited; and they joined in the sale of it, in 1789, to Mr. William East, whose son, Mr. John East, of Wingham, is the present owner of it.

 

ARCHBISHOP KILWARBY intended to found a college in this church of Wingham, but resigning his archbishopric before he could put his design in practice, archbishop Peckham, his successor, in the year 1286, perfected his predecessor's design, and founded A COLLEGE in this church, for a provost, whose portion, among other premises, was the profits of this church and the vicarage of it, and six secular canons; the prebends of which he distinguished by the names of the several places from whence their respective portions arose, viz. Chilton, Pedding, Twitham, Bonnington, Ratling, and Wimlingswold. The provost's lodge, which appears by the foundation charter to have before been the parsonage, was situated adjoining to the church-yard; and the houses of the canons, at this time called Canon-row, opposite to it. These latter houses are, with their gardens and appurtenances, esteemed to be within the liberty of the town and port of Hastings, and jurisdiction of the cinque ports. This college was suppressed in the 1st year of king Edward VI. among others of the like sort, when the whole revenue of it was valued at 208l. 14s. 3½d. per annum, and 193l. 2s. 1d. clear; but Leland says, it was able to dispend at the suppression only eighty-four pounds per annum. Edward Cranmer, the last master, had at the dissolution a pension of twenty pounds per annum, which he enjoyed in 1553. (fn. 8)

 

After the dissolution of the college, the capital mansion, late belonging to the provost, remained in the crown till king Edward VI. in his 7th year, granted the scite of it, with the church appropriate of Wingham, and all tithes whatsoever arising within the parish, and one acre of glebe-land in it, to Sir Henry Palmer, subject to a payment of twenty pounds annually to the curate or vicar of it.

 

The Palmers of Wingham were descended from a very antient one at Angmerin, in Suffex, who bore for their arms, Or, two bars, gules, each charged with three tresoils of the field, in chief, a greyhound, currant, sable. In the seventh descent from Ralph Palmer, esq. of that place, in king Edward II.'s reign, was descended Sir Edward Palmer, of Angmerin, who left three sons, born on three successive Sundays, of whom John, the eldest, was of Sussex, which branch became extinct in queen Elizabeth's reign; Sir Henry, the second son, was of Wingham; and Sir Thomas, the youngest, was beheaded in queen Mary's reign. Sir Henry Palmer, the second son, having purchased the grant of the college of Wingham, as before-mentioned, made it the seat of his residence, as did his son Sir Thomas Palmer, who was sheriff anno 37 Elizabeth, and created a baronet in 1621. He so constantly resided at Wingham, that he is said to have kept sixty Christmases, without intermission, in this mansion, with great hospitality. He had three sons, each of whom were knighted. From the youngest of whom, Sir James, descended the Palmers, of Dauney, in Buckinghamshire, who upon the eldest branch becoming extinct, have succeeded to the title of baronet; and by his second wife he had Roger Palmer, earl of Castlemain. Sir Thomas Palmer, the eldest of the three brothers, died in his father's life-time, and left Sir Thomas Palmer, bart. of Wingham, heir to his grandfather; in whose descendants, baronets, of this place, this mansion, with the parsonage of Wingham appropriate, continued down to Sir Thomas Palmer, bart. of Wingham, who died possessed of it in 1723, having had three wives; by the first he had four daughters; by the second he had a son Herbert, born before marriage, and afterwards a daughter Frances; the third was Mrs. Markham, by whom he had no issue; and she afterwards married Thomas Hey, esq. whom she likewise survived. Sir Thomas Palmer, by his will, gave this seat, with the parsonage appropriate and tithes of Wingham, inter alia, after his widow's decease, to his natural son Herbert Palmer, esq. above-mentioned, who married Bethia, fourth daughter of Sir Thomas D'Aeth, bart. of Knolton. He died in 1760, s. p. and by will devised his interest in the reversion of this seat, with the parsonage, to his wife Bethia, for her life, and afterwards to his sister Mrs. Frances Palmer, in tail. But he never had possession of it, for lady Palmer furvived him, on whose death in 1763, Mrs. Bethia Palmer, his widow, became entitled to it, and afterwards married John Cosnan, esq. who died in 1773. She survived him, and resided here till her death in 1789. In the intermediate time, Mrs. Frances Palmer having barred the entail made by her natural brother Herbett above-mentioned, died, having devised the see of this estate, by her will in 1770, to the Rev. Thomas Hey, rector of Wickhambreaux, and his heirs, being the eldest son of the last lady Palmer by her last husband. Mr. Hey accordingly, on the death of Mrs. Cosnan, who died s. p. succeeded to this seat and estate. He married first Ethelreda, eldest daughter and coheir of dean Lynch, since deceased, by whom he has no surviving issue; and secondly, Mrs. Pugett, widow of Mr. Puget, of London. He now resides in this seat of Wingham college, having been created D. D. and promoted to a prebend of the church of Rochester.

 

Charities.

JOHN CHURCH, yeoman, of this parish, in 1604, gave 1cl. to the poor, to distribute yearly at Easter, 10s. to the poor for the interest of it.

 

HECTOR DU MONT, a Frenchman, born in 1632, gave the silver cup and patten for the holy communion.

 

SIR GEORGE OXENDEN, president for the East-India Company at Surat, in 1660, gave the velvet cushion and pulpitcloth.

 

JOHN RUSHBEACHER, gent. of this parish, in 1663, gave five acres of land in Woodnesborough, the rents to be annually distributed to ten of the meaner sort of people of Wingham, not receiving alms of the parish, now of the yearly value of 4l.

 

SIR GEORGE OXENDEN, above-mentioned, in 1682, gave 500l. for the repairing and beautifying this church, and the Dene chancel.

 

SIR JAMES OXENDEN, knight and baronet, of Dene, founded and endowed a school in this parish with 16l. per annum for ever, for teaching twenty poor children reading and writing, now in the patronage of Sir Henry Oxenden, bart.

 

RICHARD OXENDEN, esq. of Brook, in 1701, gave an annuity of 4l. for ever, to the minister, for the reading of divine service and preaching a sermon, in this church, on every Wednesday in Lent, and on Good Friday; and he at the same time gave 20s. yearly for ever, to be distributed, with the consent of the heirs of the Brook estate, to eight poor people, who should be at divine service on Easter-day, to be paid out of the lands of Brook, now vested in Sir Henry Oxenden, bart.

 

THOMAS PALMER, esq. of St. Dunstan's in the East, London, gave 300l for the repairing, adorning and beautifying the great chancel of this church.

 

MRS. ELIZABETH MASTER, esq. relict of Strensham Master, of Brook, in 1728, gave the large silver flaggon; and MRS. SYBILLA OXENDEN, spinster, of Brook, at the same time gave a large silver patten for the communion.

 

Besides the above benefactions, there have been several lesser ones given at different times in money, both to the poor and for the church. All which are recorded in a very handsome table in the church, on which are likewise painted the arms of the several benefactors

 

There are about forty poor constantly relieved, and casually twenty.

 

THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Bridge.

 

The church, which is exempt from the archdeacon, is dedicated to St. Mary. It is a handsome building, consisting of two isles and three chancels, having a slim spire steeple at the west end, in which is a peal of eight bells and a clock. The church consists of two isles and three chancels. The former appear to have been built since the reformation; the latter are much more antient. It is handsome and well built; the pillars between the isles, now cased with wood, are slender and well proportioned. The outside is remarkably beautiful in the flint-work, and the windows throughout it, were regular and handsomely disposed, superior to other churches, till later repairs destroyed their uniformity. The windows were formerly richly ornamented with painted glass, the remains of which are but small. In the south window, in old English letters, is Edward Warham, gentill . . . . of making this window . . . . and underneath the arms of Warham. In the north isle is a brass tablet for Christopher Harris, curate here, and rector of Stourmouth, obt. Nov. 24, 1719. Over the entrance from this isle into the high chancel, is carved on the partition, the Prince of Wales's badge and motto. In the south wall is a circular arch, plain, seemingly over a tomb. A monument for T. Ginder, gent. obt. 1716. In the south east window the arms of Warham. A memorial for Vincent Denne, gent. of Wenderton, obt. 1642. In the high chancel are seven stalls on each side. On the pavement are several stones, robbed of their brasses, over the provosts and religious of the college. A stone, coffin-shaped, and two crosses pomelle, with an inscription round in old French capitals, for master John de Sarestone, rector, ob. XII Kal. May MCCLXXI. Several monuments and memorials for the family of Palmer. The south chancel is called the Dene chancel, belonging to that seat, under which is a vault, in which the family of Oxenden, owners of it, are deposited. In the middle, on the pavement, is a very costly monument, having at the corners four large black oxens beads, in allusion to their name and arms. It was erected in 1682. On the four tablets on the base is an account of the family of Oxenden, beginning with Henry, who built Denehouse, and ending with Dr. Oxenden, dean of the arches, who died in 1704. There are monuments in it likewise for the Trippes. The north chancel is called the Brook chancel, as belonging to that seat, in which are monuments for the Oxendens and Masters's of this seat. This chancel is shut out from the church, and is made use of as a school-room, by which means the monuments are much desaced, and the gravestones, from the filth in it, have become wholly obliterated. On one of these stones was a brass plate, now gone, for Henry Oxenden, esq. who built Dene, obt. 1597.

 

Elizabeth, daughter of the marquis of Juliers, and widow of John, son of Edmund of Woodstock, earl of Kent, after being solemnly veiled a nun, quitted her prosession, and was clandestinely married to Sir Eustace de Danbrichescourt, in a chapel of the mansion-house of Robert de Brome, a canon of this collegiate church, in 1360; for which she and her husband were enjoined different kinds of penance during their lives, which is well worth the reading, for the uncommon superstitious mockery of them. (fn. 9)

 

At the time of the reformation, the church was partly collegiate, and partly parochial. The high chancel, separated from the rest of the church by a partition, served for the members of the college to perform their quire service in. The two isles of the church were for the parishioners, who from thence could hear the quire service; and in the north isle was a roodlost, where one of the vicars went up and read the gospel to the people. At which time, I find mention of a parish chancel likewise.

 

The church of Wingham formerly comprehended not only this parish, but those likewise of Ash, Goodnestone, Nonington, and Wimlingswold; but archbishop Peckham, in 1282, divided them into four distinct parochial churches, and afterwards appropriated them to his new-founded college of Wingham, with a saving to them of certain portions which the vicars of them were accustomed to receive. The profits of this church and the vicarage of it, together with the parsonage-house, being thus appropriated and allotted to the provost, as part of his portion and maintenance, the archbishop, in order that the church should be duly served, by his foundation charter, ordered, that the provost and canons should each of them keep a vicar who should constantly serve in it. In which state it continued till the suppression of the college, in the 1st year of king Edward VI. when it came, among the rest of the revenues of the college, into the hands of the crown, where this parsonage appropriate, to which was annexed, the nomination of the perpetual curate serving in this church, remained till it was granted by king Edward VI. in his 7th year, to Sir Thomas Palmer, bart. Since which it has continued in like manner, together with the scite of the college, as has been already mentioned, to the Rev. Dr. Hey, who is the present possessor of this parsonage, together with the patronage of the perpetual curacy of the church of Wingham.

 

In 1640 the communicants here were three hundred and sixty-one.

 

¶The curacy is endowed with a stipend of twenty pounds per annum, paid by the owner of the parsonage, and reserved to the curate in the original grant of the college by king Edward VI. and with four pounds per annum, being the Oxenden gift before mentioned; besides which, the stipend of the resident curate, and his successors, was increased in 1797, by a liberal benefaction made by the Rev. Dr. Hey, of one hundred pounds per annum, clear of all deductions, to be paid out of the parsonage, and of a house, garden, and piece of pasture land adjoining, for the curate's use, both which were settled by him on trustees for that purpose.

 

www.british-history.ac.uk/survey-kent/vol9/pp224-241

Because birds hate pie.

Because what good is going to the game if you don't take photos?

Because of Mattels very biased way they treat the Matchbox brand ie, always subservient to Hot Wheels, their idea of premium is what you'd expect to find in your average Majorette offering. There is no doubt I really like this Superfast 50th Anniversary classic 1980 Porsche 911 Turbo, its well detailed, glossily finished with opening doors and rubber tyres. BUT, its baseplate is still made of plastic, its interior design is very simplistic and there is no working suspension hence hence in my view not a proper premium. Sourced recently from the U.S. Mint and boxed.

Cut-paper collage postcard created for Kollage Kit theme "Tales of Mystery and Imagination"

 

iron —> heme —> hemoglobin —> blood

 

Top: Still from "Bram Stoker's Dracula" (1992)

 

Middle: Still from "Don't Look Now" (1973)

 

Bottom: from Vlad the Impaler: The Man Who Was Dracula

Just because she looks pretty with anything. <3

...Because after all I am Dutch :)

 

And Dutch like orange, right? Well, I do not. I only wore this dress once on Queensday a couple of years ago.

 

Starting to love my new hair <3

Oh my gosh I got the sweetest little note and a wonderful surprise today and it just totally made my week! Thank you ever so much Alma that Just Because Made me teary eyed <333

 

Adorable Bear Helmet by Mixi Michi

 

Outfit by SMPdoll I could not resist <3

Because most of the time my local Target store sucks and never puts out anything new, I found these at a Target store where my parents live.

 

This new line is actually very sweet and pretty!

Because of course, whenever there's something new in the house, Jasper must try it on. :P

 

She suits everything!

Because the people have chosen or something.

Olympus Trip35 | Fujicolor C200

ONE OF THE WAY TO TRAIN THE "THE AWARENESS MUSCLE

 

is the critical run

and other emergency art format

 

CRITICAL RUN / Debate Format

 

Critical Run is an Art Format created by Thierry Geoffroy/Colonel

debate while running .

Debate and Run together,Now,before it is too late.

 

www.emergencyroomscanvas todo .org/criticalrun.html

 

The Art Format Critical Run has been activated in 30 differents countries with 120 different burning debates

New York,Cairo,London,Istanbul,Athens,Hanoi,Paris,Munich,Amsterdam Siberia,Copenhagen,Johanesburg,Moskow,Napoli,Sydney,

Wroclaw,Bruxelles,Rotterdam,Barcelona,Venice,Virginia,Stockholm,Århus,Kassel,Lyon,Trondheim, Berlin ,Toronto,Hannover ...

 

CRITICAL RUN happened on invitation from institution like Moma/PS1, Moderna Muset Stockholm ,Witte de With Rotterdam,ZKM Karlsruhe,Liverpool Biennale;Sprengel Museum etc..or have just happened on the spot because

a debate was necessary here and now.

 

In 2020 the Energy Room was an installation of 40 Critical Run at Museum Villa Stuck /Munich

part of Colonel solo show : The Awareness Muscle Training Center

 

----

 

Interesting publication for researches on running and art

 

www.emergencyrooms.org/formats.html

 

14 Performances. Relation Work (1976 - 1980). Filmed by Paolo Cardazzo. Marina Abramović/ Ulay. Neuer Berliner Kunstverein, Berlin, Germany.

 

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Rempel, Gerhard. Hitler’s Children: The Hitler Youth and the SS. Chapel Hill: University of North Carolina Press, 1989.

 

Richards, Mary. Marina Abramović. New York: Routledge, 2010.

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Chicago Press, 1992.

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spätmoderner Zeitlichkeit. Berlin: Suhrkamp, 2013.

Rosa, Hartmut, and William E. Scheuerman. High-Speed: Social Acceleration, Power, and

 

Modernity. University Park, PA: The Pennsylvania State University, 2009.

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1960-2010. Cambridge: MIT Press, 2012.

 

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Rossol, Nadine. Performing the Nation in Interwar Germany: Sport, Spectacle, and Political Symbolism, 1926 - 1936. New York: Palgrave Macmillan, 2010.

 

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Scheerder, Jeroen, and Koen Breedveld, eds. Running Across Europe: The Rise and Size of One of the Largest Sport Markets. New York: Palgrave Macmillan, 2015.

 

Seckinelgin, H., and Billy Wong, eds. Global Civil Society 2011: Globally and the Absence of Justice. Hampshire: Palgrave Macmillan, 2011.

 

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Siegmund, Gerald, and Stefan Hölscher, eds. Dance, Politics, and Co-Immunity: Thinking Resistances, Current Perspectives on Politics and Communities in the Arts. Volume 1. Zürich- Berlin: Diaphanes, 2013.

 

Sileo, Diego, and Eugenio Viola, PAC (Milano), eds. Marina Abramović: The Abramović Method. 2 Volumes. Milan: 24 ORE Cultura, 2012.

 

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Sontag, Susan. Against Interpretation and Other Essays. New York: Picador, 1966, 2001. Sontag, Susan. “Fascinating Fascism.” The New York Review of Books (6 February 1975). Sontag, Susan. On Photography. New York: Picador, 1977.

  

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Zorn, John W., ed. The Essential Delsarte. Metuchen, NJ: The Scarecrow Press, Inc, 1968.

 

Žižek, Slavoj. The Indivisible Remainder: An Essay on Schelling and Related Matters. London: Verso, 1996.

 

----

  

------------about Venice Biennale history from wikipedia ---------

curators previous

* 1948 – Rodolfo Pallucchini

* 1966 – Gian Alberto Dell'Acqua

* 1968 – Maurizio Calvesi and Guido Ballo

* 1970 – Umbro Apollonio

* 1972 – Mario Penelope

* 1974 – Vittorio Gregotti

* 1978 – Luigi Scarpa

* 1980 – Luigi Carluccio

* 1982 – Sisto Dalla Palma

* 1984 – Maurizio Calvesi

* 1986 – Maurizio Calvesi

* 1988 – Giovanni Carandente

* 1990 – Giovanni Carandente

* 1993 – Achille Bonito Oliva

* 1995 – Jean Clair

* 1997 – Germano Celant

* 1999 – Harald Szeemann

* 2001 – Harald Szeemann

* 2003 – Francesco Bonami

* 2005 – María de Corral and Rosa Martinez

* 2007 – Robert Storr

* 2009 – Daniel Birnbaum

* 2011 – Bice Curiger

* 2013 – Massimiliano Gioni

* 2015 – Okwui Enwezor

* 2017 – Christine Macel[19]

* 2019 – Ralph Rugoff[20]

  

----------

 

#art #artist #artistic #artists #arte #artwork

 

Pavilion at the Venice Biennale #artcontemporain contemporary art Giardini arsenal

 

venice Veneziako VenecijaVenècia Venedig Venetië Veneetsia Venetsia Venise Venecia VenedigΒενετία( Venetía Hungarian Velence Feneyjar Venice Venezia Venēcija Venezja Venezia Wenecja Veneza VenețiaVenetsiya BenátkyBenetke Venecia Fenisוועניס Վենետիկ ভেনি স威尼斯 (wēinísī) 威尼斯 ვენეციისવે નિસवेनिसヴェネツィアವೆನಿಸ್베니스வெனிஸ்వెనిస్เวนิซوینس Venetsiya

 

art umjetnost umění kunst taide τέχνη művészetList ealaín arte māksla menasarti Kunst sztuka artă umenie umetnost konstcelfקונסטարվեստincəsənətশিল্প艺术(yìshù)藝術 (yìshù)ხელოვნებაकलाkos duabアートಕಲೆសិល្បៈ미술(misul)ສິນລະປະകലकलाအတတ်ပညာकलाකලාවகலைఆర్ట్ศิลปะ آرٹsan'atnghệ thuậtفن (fan)אומנותهنرsanat artist

 

other Biennale :(Biennials ) :

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale .Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art ,DOCUMENTA KASSEL ATHENS

* Dakar

  

kritik [edit] kritikaria kritičar crític kritiker criticus kriitik kriitikko critique crítico Kritiker κριτικός(kritikós) kritikus Gagnrýnandi léirmheastóir critico kritiķis kritikas kritiku krytyk crítico critic crítico krytyk beirniad קריטיקער

 

Basque Veneziako Venecija [edit] Catalan Venècia Venedig Venetië Veneetsia Venetsia Venise Venecia Venedig Βενετία(Venetía) Hungarian Velence Feneyjar Venice Venezia Latvian Venēcija Venezja Venezia Wenecja Portuguese Veneza Veneția Venetsiya Benátky Benetke Venecia Fenis וועניס Վենետիկ ভেনিস 威尼斯 (wēinísī) 威尼斯 Georgian ვენეციის વેનિસ वेनिस ヴェネツィア ವೆನಿಸ್ 베니스 வெனிஸ் వెనిస్ เวนิซ وینس Venetsiya

 

Thierry Geoffroy / Colonel

#thierrygeoffroy #geoffroycolonel #thierrygeoffroycololonel #lecolonel #biennalist

 

#artformat #formatart

#emergencyart #urgencyart #urgentart #artofthenow #nowart

emergency art emergency art urgency artist de garde vagt alarm emergency room necessityart artistrole exigencyart predicament prediction pressureart

 

#InstitutionalCritique

 

#venicebiennale #venicebiennale2017 #venicebiennale2015

#venicebiennale2019

#venice #biennale #venicebiennale #venezia #italy

#venezia #venice #veniceitaly #venicebiennale

 

#pastlife #memory #venicebiennale #venice #Venezia #italy #hotelveniceitalia #artexhibit #artshow #internationalart #contemporaryart #themundane #summerday

 

#biennalevenice

 

Institutional Critique

 

Identity Politics Post-War Consumerism, Engagement with Mass Media, Performance Art, The Body, Film/Video, Political, Collage, , Cultural Commentary, Self as Subject, Color Photography, Related to Fashion, Digital Culture, Photography, Human Figure, Technology

 

Racial and Ethnic Identity, Neo-Conceptualism, Diaristic

 

Contemporary Re-creations, Popular Culture, Appropriation, Contemporary Sculpture,

 

Culture, Collective History, Group of Portraits, Photographic Source

 

, Endurance Art, Film/Video,, Conceptual Art and Contemporary Conceptualism, Color Photography, Human Figure, Cultural Commentary

 

War and Military, Political Figures, Social Action, Racial and Ethnic Identity, Conflict

 

Personal Histories, Alter Egos and Avatars

 

Use of Common Materials, Found Objects, Related to Literature, Installation, Mixed-Media, Engagement with Mass Media, Collage,, Outdoor Art, Work on Paper, Text

  

Appropriation (art) Art intervention Classificatory disputes about art Conceptual art Environmental sculpture Found object Interactive art Modern art Neo-conceptual art Performance art Sound art Sound installation Street installations Video installation Conceptual art Art movements Postmodern art Contemporary art Art media Aesthetics Conceptualism

 

Post-conceptualism Anti-anti-art Body art Conceptual architecture Contemporary art Experiments in Art and Technology Found object Happening Fluxus Information art Installation art Intermedia Land art Modern art Neo-conceptual art Net art Postmodern art Generative Art Street installation Systems art Video art Visual arts ART/MEDIA conceptual artis

 

—-

 

CRITICAL RUN is an art format developed by Thierry Geoffroy / COLONEL, It follows the spirit of ULTRACONTEMPORARY and EMERGENCY ART as well as aims to train the AWARENESS MUSCLE.​

Critical Run has been activated on invitation from institutions such as Moderna Muset Stockholm, Moma PS1 ,Witte de With Rotterdam, ZKM Karlsruhe, Liverpool Biennale, Manifesta Biennial ,Sprengel Museum,Venice Biennale but have also just happened on the spot because a debate was necessary here and now.

 

It has been activated in Beijing, Cairo, London, Istanbul, Athens, Kassel, Sao Paolo, Hanoi, Istanbul, Paris, Copenhagen, Moskow, Napoli, Sydney, Wroclaw, Bruxelles, Rotterdam, Siberia, Karlsruhe, Barcelona, Aalborg, Venice, Virginia, Stockholm, Aarhus, Rio de Janeiro, Budapest, Washington, Lyon, Caracas, Trondheim, Berlin, Toronto, Hannover, Haage, Newtown, Cartagena, Tallinn, Herning, Roskilde;Mannheim ;Munich etc...

 

The run debates are about emergency topics like Climate Change , Xenophobia , Wars , Hyppocrisie , Apathy ,etc ...

 

Participants have been very various from Sweddish art critics , German police , American climate activist , Chinese Gallerists , Brasilian students , etc ...

 

Critical Run is an art format , like Emergency Room or Biennalist and is part of Emergency Art ULTRACONTEMPORARY and AWARENESS MUSCLE .

 

www.emergencyrooms.org/criticalrun.html

 

www.emergencyrooms.org/formats.html

-------

In 2020 a large exhibition will show 40 of the Critical Run at the Museum Villa Stuck in Munich / part of the Awareness Muscle Training Center

------

for activating the format or for inviting the installation

please contact 1@colonel.dk

 

www.colonel.dk/

 

-----

 

critical,run,art,format,debate ,artformat,formatart,moment,clarity,emergency,kunst,

 

Sport,effort,curator,artist,urgency,urgence,criticalrun,emergencies,ultracontemporary

,rundebate,sport,art,activism, critic,laufen,Thierry Geoffroy , Colonel,kunstformat

 

,now art,copenhagen,denmark

 

because Jonesy didn't believe me.

two hundred and fifty five

 

because you asked.

 

1. I’ve always thought French is such a beautiful language. I wish I took it up when I was younger, but it didn’t make sense to start a third language when I haven’t even mastered my second one.

 

2. When I was fifteen, I decided that I was going to be a radio deejay. That sort of came true… I was a deejay at my school’s campus radio for a year.

 

3. I did small parts acting when I was younger. It’s a funny story about how I got the audition, which I will tell at another date. The roles I did include a gossipy nurse, a teenager trying to con a kid of his savings, and a bubble tea girl who got sacked because she didn’t want to wear a bikini. I guess it felt good to have fun and get paid at the same time.

 

4. I was such a gawky geek in secondary school. I had thick glasses and really short hair. I was such a boy. In fact, I think I acted exactly like one. Still do at times actually. Needless to say, no one paid me any attention.

 

5. I am really good with my hands… Should I leave that open to interpretation? Nah… it just means I like creating with my hands. I am (if you will) a crafty person.

 

6. I used to get really frustrated when some of my lousier photos got into explore and the ones that I put so much work into and enjoyed creating didn’t. It made me feel like a really lousy photographer. But I decided not to let explore take away all the fun in photography and just enjoy taking photos and viewing other people’s work. Yes, I became zen…

 

7. Amelia likes talking about herself in the third person at times. She also liberally uses the royal “we” as and when she likes it. No Queen of England can stop her.

 

8. Although I like portraying myself as an artist, a part of me still loves holding a meeting room full of people enrapt with attention and telling them that I know something more than they do. All this while pacing about in noisy stiletto heels.

 

9. This weekend, I reflected that cooking is a lot like editing photos. You really have to know when is the right moment to stop.

 

10. I know this is morbid, but I think about dying a lot. I think about the people that I will have to leave behind and get really sad. I’ve also decided that the two hymns to be sung at my funeral should be “This is My Fathers World” and “I Don’t Know About Tomorrow”.

  

Oh gosh… that was long.

n Taiwan's traditional society, major religious pilgrimages usually center on religious figures called Infernal Generals who walk in choreographed groups called arrays. Many people who encounter these Infernal Generals on the street are wary of them because of their elaborate costumes and gaudily painted faces, which is a pity: in doing so they miss an opportunity to admire the folk artistry behind the performances. In fact, these Infernal Generals not only symbolize the religious beliefs of the people, they also reveal the cultural and historical background of their ancestors.

 

There are many tales regarding the origin of the Infernal Generals. Some scholars believe that they have close ties to the "Five Deities of Plague Control". As residents of Fujian tell it, the Infernal Generals are the bodyguards or lieutenant generals for the Five Deities of Plague Control who sweep away plagues troubling local residents. The five deities were once students before they were designated deities by the Jade Emperor - the ultimate God figure in Chinese culture. One night these students observed that the devil of plague was trying to poison the water in a well so that local residents who drank it would be poisoned. They sacrificed their own lives by jumping into the well to warn local residents that the water was poisoned. The Jade Emperor acknowledged their sacrifices and kindness in helping the people, by designating them the Five Deities of Plague Control. Since that time one of the most controversial of all folk tales has been the story that the Infernal Generals were sent by the Jade Emperor to assist the Five Deities of Plague Control in getting rid of plagues among the civilian population.

 

Another version holds that the Infernal Generals had been bandits before they became religious figures. Chenghuang, the god of cities and castles, forced them to turn over a new leaf and become his right-hand men. At the same time, in some provinces of China many people believe that the Infernal Generals are the religious figures of ancient policemen who are now worshipped as ambassadors from the underworld. In fact, many academic sources can be found to support this tale.

 

There are eight members of the Infernal Generals, including Gan, Liou, Fan, and Hsieh as the four generals and Spring, Summer, Autumn and Winter as four seasonal gods. Currently, however, many arrays featuring the Infernal Generals are formed of 4, 6, 8, 10 or even 12 figures, highly inconsistent with the original tales of the "eight generals". This usually happens when the organizers of a pilgrimage recruit too many or too few people to pose as the Infernal Generals.

 

Regardless of how many people may be recruited, the arrays of Infernal Generals must follow certain structures. To begin with, they must wear helmets and robes, and they keep one arm raised above the shoulder and the other folded next to the armpit at all times. Footwear calls for straw sandals with bells attached. In addition, the arm that is raised above the shoulder holds a fan (which may be black, white, red or a mixture of flowery colors) while the other holds a religious instrument. Finally, they make up their faces in keeping with traditional symbolism and ceremonial rules. In fact, putting on make up is the first of many steps in getting ready for a performance.

 

Once the make-up has been applied, actors playing the Infernal Generals are not allowed to eat meat or to talk to anyone. According to ceremonial rules, any actor who breaks this rule is subject to punishment from the gods. When show time arrives, the actors all stand in an array to mark the beginning of the performance. The actors shake their heads, stare with their eyes and swing their bodies wildly as they walk, maintaining a respectable and powerful attitude throughout the whole process. In addition, the Infernal Generals cannot allow anyone other than crewmembers to get close to them, which is another way they command respect from those around them.

Just because... XT30 shooting at 1/28,000th (!) of a second. My old DSLRs are weeping. Crazy. The sky is black, and only the slightest note of any actual colour is left.

via Instagram ift.tt/2v9x1OC

The Steerage is a photograph taken by Alfred Stieglitz in 1907. It has been hailed as one of the greatest photographs of all time because it captures in a single image both a formative document of its time and one of the first works of artistic modernism.

 

Description

 

The scene depicts a variety of men and women traveling in the lower-class section of a steamer going from New York to Bremen, Germany. Many years after taking the photograph Stieglitz described what he saw when he took it:

 

"There were men and women and children on the lower deck of the steerage. There was a narrow stairway leading to the upper deck of the steerage, a small deck right on the bow of the steamer.

 

To the left was an inclining funnel and from the upper steerage deck there was fastened a gangway bridge that was glistening in its freshly painted state. It was rather long, white, and during the trip remained untouched by anyone.

 

On the upper deck, looking over the railing, there was a young man with a straw hat. The shape of the hat was round. He was watching the men and women and children on the lower steerage deck…A round straw hat, the funnel leaning left, the stairway leaning right, the white drawbridge with its railing made of circular chains – white suspenders crossing on the back of a man in the steerage below, round shapes of iron machinery, a mast cutting into the sky, making a triangular shape…I saw shapes related to each other. I saw a picture of shapes and underlying that the feeling I had about life."

 

Although Stieglitz described "an inclining funnel" in the scene photographs and models of the ship (see below) show that this object was actually a large mast to which booms were fastened for loading and unloading cargo. One of the booms is shown at the very top of the picture.

 

Much has been written about scene as a cultural document of an important period when many immigrants were coming to America. In fact, the picture was taken on a cruise to Europe from America, and for that reason some critics have interpreted it as recording people who were turned away by U.S. Immigration officials and were forced to go back home. Although some of the passengers might have been turned back because of failure to meet financial or health requirements for entrance, it is more likely that most of them were various artisans who worked in the booming construction trade of the time. Workers who were highly skilled in crafts such as cabinet-making, woodworking and marble laying were granted two-year temporary visas to complete their jobs and then returned to their homelands when the work was complete.

 

Taking the photograph

 

In June 1907 Stieglitz and his family sailed to Europe to visit relatives and friends. They booked passage on the SS Kaiser Wilhelm II, one of the largest and fastest ships in the world at that time. Stieglitz's wife Emmy insisted on first class accommodations, and the family had a fine stateroom on the upper decks. According to Stieglitz, sometime after their third day of travel he went for a walk around the ship and came upon a viewpoint that looked down toward the lower class passengers area, known on most ships as the steerage. Photography historian Beaumont Newhall wrote that it is likely the photo was taken while the ship was anchored at Plymouth, England, because the angle of the shadows indicates it was facing west, not east as it would have been while crossing the ocean. In addition there does not seem to be any sign of wind in the scene, which would have been ever present while the ship was moving.

 

The scene Stieglitz saw is described above. He did not have his camera with him, and he raced back to his cabin to get it. At that time he was using a hand-held 4×5 Auto-Graflex that used glass plate negatives. Stieglitz found he had only one glass plate prepared at the time, and he quickly returned to the viewpoint and captured the one and only picture of the scene.

 

He was not able to develop the plate until he arrived in Paris nearly a week later. He reported he went to the Eastman Kodak Company in Paris to use their darkroom but was referred to a local photographer instead. He went to the photographer's home and developed the plate there. The name of the photographer who lent his facility is unknown. Stieglitz offered to pay the photographer for the use of his darkroom and materials but he photographer told him, "I know who you are and it's an honor to have you in my darkroom." Stieglitz kept the developed image in its original plate holder to protect it until he returned to New York several weeks later.

 

Stieglitz later said he immediately recognized this image as "another milestone in photography…a step in my own evolution, a spontaneous discovery", but this claim is challenged by several of his biographers who have pointed out that although he had many opportunities to do so he didn't publish it until 1911 and didn't exhibit it until 1913. In addition, biographer Richard Whelan states, "If he really had known that he had just produced a masterpiece, he probably would not have been so depressed during his European vacation that summer [as he indicated in several letters to friends]".

 

Whelan theorizes that when Stieglitz first looked at the negative he did not see the stylistic qualities he was then championing, and he set the negative aside while dealing with more pressing issues. In the period directly before and after taking The Steerage Stieglitz was still producing photos that were primarily pictorialist in style, and it would be several more years before he began to break with this tradition. The Steerage represents a "fundamental shift in Stieglitz's thinking", and, critics have said that while his mind had visualized the image when he took it he was not able to articulate his reasons for taking it until later. Also, painter Max Weber claims to have discovered the image while looking through Stieglitz's photos in 1910, and he took credit for first pointing out the aesthetic importance of the image. Whether that is true or not, it was only after Stieglitz began to seriously consider the works of modern American artists like John Marin, Arthur Dove and Weber that he finally published the image. Like the works of those artists, The Steerage is "divided, fragmented and flattened into an abstract, nearly cubistic design" and it has been cited as one of the first proto-Cubist works of art.

 

One other distraction could have been a reason why Stieglitz did not immediately publish The Steerage. While he was still in Paris on the same trip he saw for the first time and experimented with the new Autochrome Lumière process, the first commercially viable means of capturing images in color. For the next two years he was captivated by color photography, and he did not return to The Steerage and other black-and-white photos until he learned to photograph using this new process.

 

First appearances

 

Stieglitz first published The Steerage in the October 1911 issue of Camera Work, which he had devoted to his own photography. It appeared the following year on the cover of the magazine section of the Saturday Evening Mail (20 April 1912), a New York weekly magazine.

 

It was first exhibited in a show of Stieglitz's photographs at "291" in 1913.

 

In 1915 Stieglitz devoted the entire No 7-8 issue of 291 to The Steerage. The only text in the issue were comments on the photo by Paul Haviland and Marius de Zayas.

 

Versions

 

According to the Key Set published by the National Gallery of Art there are five known versions of The Steerage.

 

Several copies are known to exist of each version. Most are in major museums. Other prints with slightly different measurements are likely to be one of the five versions listed above. Image sizes may vary slightly from one copy to another due to paper shrinkage.

 

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Source of this text

This is an edited extract of an article found at Wikipedia. en.wikipedia.org/wiki/The_Steerage

Because I had to...

Because, me.

 

#igers_seattle #igers_australia #me #damana #selfie #pink #woman #girl #woman #pretty #eyes #makeup #darwinAustralia #happy

because i liked the colors.

comments off. add notes? :D

if you wonder why people always emphasize view on black, this is why.

Because I'm pregnant. Because we cleaned the kitchen. Because we didn't make a single cookie over the holidays. Because I wanted to.

sometimes I just love to publish some historical buildings:)

www.youtube.com/watch?v=0is07uv9_oM

 

MERRY CHRISTMAS ALL MENTALLY ILL.

 

SIMONE CRISTICCHI - Ti regalerò una rosa .

 

WILL GIVE YOU A ROSE

 

A red rose to paint everything

A rose to comfort your each and every tear

And a rose to show you my love

I will give you a rose

A white rose as if you were my wife

A white rose to help you forget

Each little pain

 

My name is Antonio and I’m mad

I was born in 1954 and I’ve lived here since I was a baby

I believed I could talk with the devil

So they closed me in a mental home for forty years

I’m writing you this letter because I don’t know how to talk

Forgive the handwriting of a school child

And I’m astonished I’m still feeling emotions

But it’s the fault of my hand that won’t stop shaking

 

I’m like a piano with a broken key

The dissonant chord of an orchestra of drunks

Day and night seem the same

In the dim light the pierces the opaque glass

I’m still pissing myself because I’m afraid

To the sane, we have always been rubbish

Smelling of piss and sawdust

This is mental illness and there is no cure

 

I will give you a rose

A red rose to paint everything

A rose to comfort your each and every tear

And a rose to show you my love

I will give you a rose

A white rose as if you were my wife

A white rose to help you forget

Each little pain

 

Mad people are like question marks with no sentences

Thousands of spaceships that never return home

They are snowmen spread out under the sun

Mad people are messengers of a God that doesn’t want them

I build snow for myself out of polystyrene

My illness is that I’ve been left alone

Now take a telescope and measure the distance

Look between me and you – who is more dangerous?

 

We loved each other secretly in a hospital ward

Finding a corner that would be ours alone

I remember the few moments when we felt alive

Not like the medical records crammed in the archives

Of all my memories, you’ll be the last to disappear

You were like an angel tied to a radiator

In spite of everything I’m still waiting for you

And when I close my eyes I feel your hands caressing me

 

I will give you a rose

A red rose to paint everything

A rose to comfort your each and every tear

And a rose to show you my love

I will give you a rose

A white rose as if you were my wife

A white rose to help you forget

Each little pain

 

My name is Antonio and I’m on the roof

Dear Margherita, I’ve waited for you for 20 years

We go mad when no one understands us

Also when your best friend betrays you

I leave you this letter, now I must go

Forgive the handwriting of a school child

Are you astonished I’m still feeling something?

Surprise yourself again because Antonio knows how to fly

 

JE T'OFFRIRAI UNE ROSE

 

Je t'offrirai une rose

Une rose rouge pour peindre toute chose

Une rose pour consoler chacune de tes larmes

Et une rose pour t'aimer

Je t'offrirai une rose

Une rose blanche comme si tu étais mon épouse

Une rose blanche qui te serve à oublier

La moindre douleur.

 

Je m'appelle Antonio et je suis fou

Je suis né en 54 et je vis ici depuis que j'étais enfant

Ils m'ont enfermé ainsi dans un asile pendant quarante ans

Je t'écris cette lettre car je ne sais pas parler

Pardonne ma calligraphie de première primaire

Et je m'étonne d'éprouver encore une émotion

Mais la faute est à ma main qui ne cesse de trembler.

 

Je suis un piano forte avec une touche cassée

L'accord dissonant d'un orchestre d'ivrognes

Et jour et nuit se ressemblent

Dans le peu de lumière qui traverse les vitres opaques

Je fais encore sous moi tant j'ai peur

Pour la société des sains , nous avons toujours été des rebuts

Je pue de pisse et de chiure

C'est une maladie mentale et il n'existe pas de cure.

 

Je t'offrirai une rose

Une rose rouge pour peindre toute chose

Une rose pour consoler chacune de tes larmes

Et une rose pour t'aimer

Je t'offrirai une rose

Une rose blanche comme si tu étais mon épouse

Une rose blanche qui te serve à oublier

La moindre douleur.

 

Les fous sont des points d'interrogation sans phrases

Des milliers d'astronefs qui rentrent à la base

Ce sont des pantins étendus à sécher au soleil

Les fous sont des apôtres d'un Dieu qui n'en veut pas

Je me fabrique de la neige avec la frigolite

Ma pathologie est d'être resté seul

Maintenant prenez un télescope... Mesurez les distances

Et regardez entre vous et moi... qui est le plus dangereux ?

 

Dans les pavillons, nous nous aimons en cachette

Taillant un coin qui soit seulement le nôtre

Je me rappelle les rares instants où nous nous sentons vivants

Plus comme des dossiers cliniques perdus dans des archives

De mes souvenirs, tu seras le dernier à disparaître

Tu étais comme un ange lié à un radiateur

Malgré tout, je t'attends encore

Et si je ferme les yeux, je sens ta main qui m'effleure.

 

Je t'offrirai une rose

Une rose rouge pour peindre toute chose

Une rose pour consoler chacune de tes larmes

Et une rose pour t'aimer

Je t'offrirai une rose

Une rose blanche comme su tu étais mon épouse

Une rose blanche que te serve à oublier

La moindre douleur.

 

Je m'appelle Antonio et je suis sur le toit

Chère Marguerite, ça fait vingt ans que je t'attends

Nous sommes les fous quand personne ne nous comprend

Je te laisse cette lettre, à présent je dois partir

Pardonne ma calligraphie de première primaire

Et tu t'étonnes que j'ai encore une émotion ?

Tu es surprise encore qu’Antonio sache voler.

  

Ti regalerò una rosa

Una rosa rossa per dipingere ogni cosa

Una rosa per ogni tua lacrima da consolare

E una rosa per poterti amare

Ti regalerò una rosa

Una rosa bianca come fossi la mia sposa

Una rosa bianca che ti serva per dimenticare

Ogni piccolo dolore

 

Mi chiamo Antonio e sono matto

Sono nato nel ’54 e vivo qui da quando ero bambino

Credevo di parlare col demonio

Così mi hanno chiuso quarant’anni dentro a un manicomio

Ti scrivo questa lettera perché non so parlare

Perdona la calligrafia da prima elementare

E mi stupisco se provo ancora un’emozione

Ma la colpa è della mano che non smette di tremare

 

Io sono come un pianoforte con un tasto rotto

L’accordo dissonante di un’orchestra di ubriachi

E giorno e notte si assomigliano

Nella poca luce che trafigge i vetri opachi

Me la faccio ancora sotto perché ho paura

Per la società dei sani siamo sempre stati spazzatura

Puzza di piscio e segatura

Questa è malattia mentale e non esiste cura

 

Ti regalerò una rosa

Una rosa rossa per dipingere ogni cosa

Una rosa per ogni tua lacrima da consolare

E una rosa per poterti amare

Ti regalerò una rosa

Una rosa bianca come fossi la mia sposa

Una rosa bianca che ti serva per dimenticare

Ogni piccolo dolore

 

I matti sono punti di domanda senza frase

Migliaia di astronavi che non tornano alla base

Sono dei pupazzi stesi ad asciugare al sole

I matti sono apostoli di un Dio che non li vuole

Mi fabbrico la neve col polistirolo

La mia patologia è che son rimasto solo

Ora prendete un telescopio… misurate le distanze

E guardate tra me e voi… chi è più pericoloso?

 

Dentro ai padiglioni ci amavamo di nascosto

Ritagliando un angolo che fosse solo il nostro

Ricordo i pochi istanti in cui ci sentivamo vivi

Non come le cartelle cliniche stipate negli archivi

Dei miei ricordi sarai l’ultimo a sfumare

Eri come un angelo legato ad un termosifone

Nonostante tutto io ti aspetto ancora

E se chiudo gli occhi sento la tua mano che mi sfiora

 

Ti regalerò una rosa

Una rosa rossa per dipingere ogni cosa

Una rosa per ogni tua lacrima da consolare

E una rosa per poterti amare

Ti regalerò una rosa

Una rosa bianca come fossi la mia sposa

Una rosa bianca che ti serva per dimenticare

Ogni piccolo dolore

 

Mi chiamo Antonio e sto sul tetto

Cara Margherita sono vent’anni che ti aspetto

I matti siamo noi quando nessuno ci capisce

Quando pure il tuo migliore amico ti tradisce

Ti lascio questa lettera, adesso devo andare

Perdona la calligrafia da prima elementare

E ti stupisci che io provi ancora un’emozione?

Sorprenditi di nuovo perché Antonio sa volare.

   

Because sharing is caring...duh! =)

Because sometimes, one Chrysler building just isn't enough.

Because I felt like uploading!

by brandicyrus ift.tt/1YsE2ls

Because we can. A run out in preserved former Stagecoach Dennis Dart SLF / Plaxton Pointer 2 B37F 33306 AE51VFV in August 2024.

Handmade collage envelope with a Beatles lyric that I did for an envelope exchange.

Fujica Half | Fujicolor C200

Because

Because he looks like a "Russian Blue".

“When the time comes, I hope you’re ready. Because this lot will need you.”

 

He seized the spear, the first real weapon he had held since his display in the chasm so many weeks ago. Then he started to run. Slowly at first. Picking up speed. Reckless, his body exhausted. But he did not stop. He pushed forward, hard, charging toward the bridge. It was only halfway across the chasm.

 

[…] Rock cried out as Kaladin ran onto the bridge as it was moving. The wood wobbled beneath him. It was out over the chasm, but hadn’t reached the other side”

 

“Kaladin screamed, reaching the end of the bridge. Finding a tiny surge of strength somewhere he raised his spear and threw himself off the end of the wooden platform, launching into the air above the cavernous void. […] Parshendi looked up with amazement as the lone bridgeman sailed through the air towards them.

 

Kaladin breathed in […] And the storm came to life again. […] A trickle of Stormlight closed the wounds on his arm. He smiled, spear held before him. It was as familiar as the body of a lover long lost. […]

 

“I will protect those who cannot protect themselves,” he whispered.

 

Quotes from Page 1155-1156 of the Way of Kings by Brandon Sanderson

Because I am a camera whore. ;P

 

My girl....

www.youtube.com/watch?v=GVApYFiTTGw&list=RD02Clkko7vWbC8

Because of the great fire wall of Chinese policy, it's so hard to cross the limit to visit flickr, so I could not reply my dear friends, I'm so sorry about that and please forgive me,thank you so much and hope my friends can still hit on me！由于中国网络原因，访问flickr很困难，速度很慢，所有暂时没有办法一一回应各位好友，请朋友们见谅！还请各位好友继续关注我！

  

My pro account is out of time，thank you my friends here for supporting me what a long time！！May I have a pleasure to receive a pro gift from you？我的pro账号到期了，感谢朋友们长期以来的热心支持！！有好心人能赞助一个pro账号给我吗，在此先表感谢！！

  

If you want to use or buy this image，please contact me. 版权所有，转载请联系本人。

Because one is too mainstream. Even nature knows that.

The Bricklayer's Arms English Pub Shoreditch London Corner of Rivington Street and Charlotte Road EC2 Still Closed because of COVID-19 CoronavirusCOVID-19 Coronavirus

Because of the great fire wall of Chinese policy, it's so hard to cross the limit to visit flickr, so I could not reply my dear friends, I'm so sorry about that and please forgive me,thank you so much and hope my friends can still hit on me！由于中国网络原因，访问flickr很困难，速度很慢，所有暂时没有办法一一回应各位好友，请朋友们见谅！还请各位好友继续关注我！

  

My pro account is out of time，thank you my friends here for supporting me what a long time！！May I have a pleasure to receive a pro gift from you？我的pro账号到期了，感谢朋友们长期以来的热心支持！！有好心人能赞助一个pro账号给我吗，在此先表感谢！！

  

If you want to use or buy this image，please contact me. 版权所有，转载请联系本人。

 

Because one is never enough...Lower East Side, New York