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L to R, from Back Row (where a head is up or down from the last named person, it is indicated as such; only non-PRC members are annotated):
Back Row: Stephan Strybol (Tour Guide Bus #2), Tom Shillington, Erika Slager, Peter Ross (Tour Guide Bus #1), Tracey Francis, Ron McConnell, Bob Stewart, David Black, Stuart Weeks on flag, Paul Hale on flag, Robert Marsh, Richard Marsh, David Moore, Barbara Masterman, William Turner, Nadine Turner, Glenn Nordick, Doug Delaney (Historian)
Second: Stan Tenson in ball cap, Vince Kennedy, Ron Paquin in hat, Ed Kenney, Al Johnston down, Kenella Johnston to his side, up to Dave Pentney, Del Foster, Janet Pentney, Kent Foster, RSM Kevin Lewis, Jacqueline Girouard, Ed Staniowski, Gillian Parker, Barbara Metaxas, Perry Metaxas-Mariatos, John Plantz, Doug Brooks, Bruce McDonald, Mathew Willow
Third: John de Chastelain in wide hat, Lisa Williams, Gina Roline, Carol Romses, Ray Romses, Sasha Ellyn, Cathan Perry, Phil Tweedie, Bev Tweedie (independents), CherylLynn Nordick, Wendy Kennedy, Jeanne Paquin, below Marie Paquin. Paul Paquin, Student Colin Kaduck, Ray Paquin, Cadt Bailey Nehring, Terry Loveridge (historian), Capt Christian Stenner, Stan Willow
Fourth: MaryAnn de Chastelain in hat, Margaret Ellis, Bill Hewson, Norah Hewson, Sgt Brad Lowes, Jason Magnan, Robert Curtin, above Karen Storwick, Aileen Beninger, Cdt Brayden Einboden, above Bill Johnson, Cdt Tristen Gagne, Valerie Johnson, below Cdt Athena Nash, Cdt Charlotte Clark, above Diana Cardoni, below Cdt Sara Bridal, Cdt Catherine Kroeker, Jane McKay-Byers, John Byers, Cdt David Wiebe, Cdt Owen Lepp, Patricia Forigio, Capt Stephanie Russell, Angela Reid, Tom Reid.
Front: Stdg – BGen Wayne Eyre (Guard President) , Madame Adrienne Clarkson Colonel-in-Chief PPCLI, LGen Ray Crabbe (Colonel of the Regiment), CWO Schiedl (Regimental CWO)
saqibsomal.com/2015/09/21/the-complete-story-of-call-of-d... -http://saqibsomal.com/2015/09/21/the-complete-story-of-call-of-duty-black-ops/ - saqibsomal.com/wp-content/uploads/2015/09/call-of-duty-bl...
Submitted by: Katie Ellig
Country: United States
Organisation:
Category: Amateur
Caption: Completing eachother
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Photo uploaded from the #StrongerTogether Photo Competition website (photocomp.iapb.org)
*ICARUS FRAMES* sportiff complete bike
BLUE LUG custom
SPEC
Frame: *ICARUS FRAMES* sportiff
Stem:*ICARUS FRAMES* custom stem
Headset:*CANE CREEK* 100.TR 1" (silver)
Front Wheel: *Schmidt SON* × *AMBROSIO* nemesis
Rear Wheel: *PHILWOOD* × *AMBROSIO* nemesis
Tire: *CHALLENGE* eroica tubelar tire (black/skin)
Crankset: *WHITE INDUSTRIES* VBC road crank (silver)
Pedal: *WHITE INDUSTRIES* urban platform pedal (silver)
Toe Clip:*BRUCE GORDON*
Brake lever:*TRP* RRL SR alloy road brake levers (black/silver)
Shifter:*SHIMANO*
FD: *SHIMANO* ultegra
RD:*SHIMANO* ultegra
Brakes:*SHIMANO*
Handle: *NITTO* mod177 noodle bar (silver)
Seat post: *NITTO* 65 seatpost (silver)
Saddle:*SELLE SAN MARCO* regal saddle (black)
Bartape: *FAIRWEATHER* leather bartape
Light:*Schmidt SON*
*ICARUS*complete bike
BLUE LUG custom
SPEC
Frame:*ICARUS* BLUE LUG CUSTOM
Headset:*CHRIS KING*nothread
Front wheels:*PACENTI*rim × *SCHMIDT*son hub
Rear wheels:*PACENTI*rim × *PHILWOOD* hub
Tire:*COMPASS*
Brake lever:*PAUL*canti lever
Shift lever:*DIA-COMPE*
Crankset:*RENE HERSE*
Pedal:*MKS*touring lite
FD&RD: *SHIMANO*
Brake:*PAUL*neoretro
Handle:*NITTO*b354aaf
Stem:*ICARUS*custom stem
Seat post:*NITTO*65
Saddle:*BROOKS*titanium
Front rack:*PASS AND STOW*
Front light:*SCHMIDT*son
Els Jardins de Laribal
És una de les perles del Parc de Montjuïc i passejar-s'hi és una autèntica delícia. La vegetació riquíssima, juntament amb l'aigua que baixa per cascades i llisca delicadament pel mig d'amples baranes, els bancs de rajola i les placetes, creen un conjunt de bellesa excepcional. Aquest és un lloc per estar-s'hi, per contemplar-lo i per anar descobrint els mil detalls que el configuren, amb una harmonia difícil de superar.
Els Jardins de Laribal, de gran valor històric, estan configurats per terrasses, camins, placetes, bassinyols i una vegetació esponerosa i consolidada. Una sèrie de terrasses superposades estan unides entre elles per camins i dreceres de fort pendent, amb trams d'escales intercalats amb un disseny sempre diferent. Pèrgoles de maó vist, pedra i pilars blancs, ombregen les àrees més planeres. La vegetació, és majoritàriament exòtica, rica i variada en espècies.
Jardins mediterranis
Aquests jardins, inclosos dins del recinte de l'Exposició Internacional de Barcelona de 1929, van obtenir una gran anomenada. Els seus autors, Jean Claude Nicolas Forestier i Nicolau M. Rubió Tudurí, van crear un nou estil paisatgístic d'arrel mediterrània.
La vegetació preexistent -des de plantes autòctones fins als arbres fruiters del passat agrícola de la muntanya-, es va integrar en els jardins amb un concepte de jardineria renovador i original, que segueix lliurement la inspiració dels antics jardins àrabs i dels "cármenes" de Granada, amb una gran presència de rajoles ceràmiques, aigües ornamentals i el conreu de plantes de flor en testos situats en baranes i ampits.
Les escales del Generalife
L'aigua és l'essència del jardí, amb estanys i estanyols. Per connectar la part superior del parc amb els Jardins Amargós -actualment Jardins del Teatre Grec-, Forestier va fer una escala inspirada en la dels jardins del Generalife, amb cascades als passamans, estanyols amb brolladors als replans i bancs d'obra per reposar i gaudir de la fresca i el so de l'aigua.
Els jardins de la font del Gat
Unes pèrgoles mirador porten d'uns jardins als altres, units per eixos de rampes, escales i cascades que desemboquen a la font del Gat, des de la qual es poden contemplar unes magnífiques vistes de Barcelona.
Ocupen el pendent que va des de la part més alta dels Jardins Laribal fins al passeig de Santa Madrona, i integren la popular font del Gat i un edifici del segle dinou. Es tracta d'un conjunt de camins, terrasses i racons que s'adapten al relleu del terreny amb escales, rampes i una cascada monumental amb quatre seccions separades per camins i canals, que van connectant els diferents trams.
Tot està cobert d'una espessa fronda mediterrània i d'arbres fruiters, com ara nesprers i figueres, i palmeres d'enormes capçades. Si ens ho mirem des de baix, a tocar del pg. de Santa Madrona, uns xiprers altíssims situats a l'inici de la cascada accentuen la verticalitat del conjunt.
El roserar de la Colla de l'Arròs
Una glorieta de xiprers, amb una petita font al centre, marca l'inici d'un recorregut que, sota una pèrgola amb pilars de terracota, porta a un pati ovalat i reclòs, també envoltat de xiprers: és el roserar de la Colla de l'Arròs.
El jardí es configura en diversos plans, amb aire de pati, que estan vorejats per vorades, també de xiprer, i rengleres de troanes. En diversos parterres rectangulars hi ha plantades varietats antigues de rosers. Al centre destaca un bassinyol quadrangular amb rajols esmaltats, presidit a la part de dalt per Estival, un nu femení de marbre que contempla el roserar i, més enllà, Barcelona.
La plaça del Claustre
És a tocar del passeig de Santa Madrona i, de fet, es tracta del Jardí de Sant Miquel, on destaquen tres grans plàtans ja existents abans que Forestier dissenyés els jardins. Al fons, els murs del que fou una antiga pedrera confereixen a aquesta part dels jardins Laribal un aire reclòs i claustral. D'aquí el seu nom. A la dreta, un passadís comunica amb els Jardins del Teatre Grec.
Vegetació
La vegetació madura i mediterrània dóna sentit als jardins. Així, hi ha, entre d'altres espècies, pins blancs (Pinus halepensis), pins pinyers (Pinus pinea), llorers (Laurus nobilis), tarongers amargs (Citrus aurantium) i xiprers (Cupressus sempervirens).
Les escales del Generalife estan envoltades per grans acàcies (Robinia pseudoacacia) i arbustos com la troana (Ligustrum lucidum) i el pitòspor (Pittosporum tobira), una espècie arbustiva molt abundant als jardins, juntament amb el baladre (Nerium oleander) i l'evònim del Japó (Evonymus japonicus).
En testos de terracota, llueixen les elegants fulles de saló (Aspidistra elatior) i els geranis (Pelargonium sp.), i cobrint les pèrgoles, anglesines (Wisteria sinensis) i Rosa banksiae. En diferents llocs dels jardins hi ha plantes aromàtiques, com l'espígol (Lavandula angustifolia) i el romaní (Rosmarinus officinalis), i espècies entapissants com l'heura (Hedera helix)
Els Jardins de Laribal també hi ha pins australians (Casuarina cunninghamiana), eucaliptus (Eucalyptus globulus), xiprers de Lambert (Cupressus macrocarpa), cedres de l'Himàlaia (Cedrus deodara) i, a la plaça del Claustre, tres grans exemplars de plàtan (Platanus X hispanica).
Art i arquitectura
L'escultura és notable en aquests jardins, tant per la seva qualitat com per la seva bellesa. Presidint el roserar hi ha Estival, de Jaume Otero (1929), una figura femenina asseguda d'estil art déco feta de marbre.
La Noia de la trena, de Josep Viladomat (1928), és un altre nu femení, en aquest cas de bronze, i representa una noia jove recollint-se els cabells en una trena. És en una placeta ombrívola, molt a prop de les escales que comuniquen amb altres nivells dels jardins.
La tercera escultura també és d'una dona i de Josep Viladomat, que la va fer partint d'un original de Manolo Hugué. Es tracta de Repòs (1925), un nu femení de pedra de mida natural situat en una placeta circular molt a prop de l'entrada que hi ha al costat de la Fundació Joan Miró.
A prop del roserar hi ha una font de ceràmica esmaltada amb motius marins, coronada amb un brollador, obra del ceramista Llorenç Artigas.
La font del Gat
L'aigua que raja de la font del Gat ho fa des del cap d'un felí, esculpit per Joan Antoni Homs el 1918, que és quan van quedar enllestits els Jardins Laribal. Aquesta font era una de les moltes que aleshores rajava a Barcelona, i el lloc on està situada, molt popular a la ciutat a finals del segle XIX.
Tan popular era la font, que el periodista i autor teatral Joan Amich va escriure una cançó: "La Marieta de l'ull viu", que avui encara es canta i que inclou l'estrofa: "Baixant de la font del Gat, / una noia, una noia, / baixant de la font del Gat / una noia amb un soldat...".
Història
Al començament del segle passat, la zona que avui ocupen els jardins Laribal era lloc de trobades populars, sobretot a la font del Gat, o de reunions selectes, com ara les que feia la Colla de l'Arròs, un grup entre gastronòmic i polític que va tenir una certa influència a la Barcelona de la darreria del segle XIX i principi del XX, i que es reunia en un petit edifici situat on ara hi ha el Museu Etnològic.
La part alta dels actuals jardins pertanyia a la finca de Josep Laribal, un prestigiós advocat el nom del qual s'ha perpetuat als jardins. S'hi va fer construir un xalet neoàrab, envoltat d'uns jardins eclèctics, amb grans arbres.
Mort Laribal, el 1908 la finca va ser adquirida per l'Ajuntament, que hi va fundar l'Escola del Bosc, encara existent. Simultàniament, es van iniciar els estudis per urbanitzar i enjardinar la muntanya, amb un projecte global que va ser encarregat inicialment a Josep Amargós.
L'Exposició de 1929
Els Jardins de Laribal, enllestits el 1922, estan vinculats a un esdeveniment posterior: l'Exposició Internacional de Barcelona de 1929. Aquest esdeveniment va representar la culminació d'un projecte iniciat l'any 1905 per organitzar a Montjuïc una exposició sobre les indústries elèctriques, l'energia emergent d'aquell temps.
Un dels comissaris de l'Exposició Internacional de Barcelona va ser Francesc Cambó, que va encarregar els treballs d'enjardinament a l'enginyer i paisatgista francès Jean Claude Nicolas Forestier. Va ser ajudant seu el jove arquitecte Nicolau M. Rubió i Tudurí, que el 1917 es convertiria en el director de la Direcció de Parcs Públics i Arbrat, antecedent del Servei de Parcs i Jardins de Barcelona, del qual va ser primer responsable i una de les persones determinants en el futur desenvolupament dels espais verds públics de la ciutat.
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These gardens are one of the treasures of the Park of Montjuïc and taking a stroll around them is a real pleasure. The rich plant life, together with the water that flows delicately through the wide handrails; the tiled benches and the small squares all create exceptionally beautiful gardens. It is a place to be, to gaze at and to discover the thousands of details that shape a harmony that is difficult to surpass.
The historically-important Laribal Gardens are sculpted by terraces, pathways, small squares, ponds and lush, established plant life. A series of terraces are linked by paths and steeply sloped shortcuts, with stretches of differently designed stairways interspersed. The flattest areas are afforded shade by exposed brick, stone and white pillar pergolas. The mostly exotic plant life has a rich and varied range of species.
Mediterranean Gardens
These gardens, which were included in the International Exposition of Barcelona (a World's Fair) in 1929, were greatly reputed. The garden's designers, Jean Claude Nicolas Forestier and Nicolau M. Rubió Tudurí, created a new style of Mediterranean landscaping.
The pre-existing plant life, from native plants to fruit trees from the mountain's agricultural past, was integrated into the gardens with an original and innovative gardening concept that is openly inspired by the ancient Arabian gardens and from the "Carmenes" in Granada with prominent ceramic tiles, ornamental water features and flowering plants in pots on railings and parapets.
The Stairway of the Generalife Gardens
Water is the essence of this garden, with its large and small ponds. In order to connect the upper area of the park with the Amargós Gardens, now the Teatre Grec Gardens, Forestier designed a stairway inspired by the one in the Generalife Gardens, with waterfalls on the banisters, small ponds with fountains on the landings and benches for relaxing and enjoying the freshness and sound of the water.
The Gardens of the Font del Gat
Viewpoint pergolas link the gardens with ramps, stairs and waterfalls that flow into the Font del Gat ("Fountain of the Cat"), a point at which magnificent views of Barcelona can be enjoyed.
The gardens lie on the slope from the highest point of the Laribal Gardens down to the Passeig de Santa Madrona and include the popular Font del Gat and a nineteenth-century building. There are paths, terraces and corners that adapt to the terrain with stairways, ramps and a monumental waterfall with four sections separated by paths and canals that connect the different areas.
Everything is covered in a thick, Mediterranean foliage, fruit trees such as loquat and fig and enormous palm trees. From the Passeig de Santa Madrona below, some very tall cypresses by the waterfall accentuate its height.
The Rose Gardens of the Colla de l'Arròs
A circle of cypress trees with a small fountain in the centre marks the beginning of a path that, beneath a pergola with terracotta pillars, leads to an oval patio surrounded by cypresses. These are the Rose Gardens of the Colla de l'Arròs.
These gardens are arranged on different levels with the feeling of being on a patio, bordered by rows of cypresses and privets. In various rectangular parterres, many diverse old varieties of roses have been planted. At the centre is a square pool with ceramic tiles, dominated by the marble female nude sculpture "Estival", who looks over the rose garden and beyond to Barcelona.
Plaça del Claustre
From the Sant Miquel Garden, next to the Passeig de Santa Madrona, there are three large London Plane trees that existed before Forestier designed the gardens. At the end, the walls of what was once an old quarry gives this part of the Laribal Gardens a confined and cloister-like air. This is where it gets its name. On the right there is a path that connects the gardens with the Teatre Grec Gardens.
Plant Life
The mature and Mediterranean plant life gives the gardens meaning. Among other species there are Aleppo Pines (Pinus halepensis), Umbrella Pines (Pinus pinea), Bay Laurels (Laurus nobilis), Bitter Orange trees (Citrus aurantium) and Mediterranean Cypresses (Cupressus sempervirens).
The Generalife stairs are surrounded by large Black Locust trees (Robinia pseudoacacia) and shrubs such as the Chinese Privet (Ligustrum lucidum) and the Pittosporum (Pittosporum tobira), a species in abundance in the gardens along with the Oleander (Nerium oleander) and the Japanese Spindle tree (Euonymus japonicus).
The elegant leaves of an Aspidistra elatior shine in terracotta pots and Garden Geraniums (Pelargonium sp.), Chinese Wisterias (Wisteria sinensis) and Lady Banks' Roses (Rosa banksiae) cover the pergolas. In different areas around the gardens aromatic plants like Lavender (Lavandula angustifolia), Rosemary (Rosmarinus offcinalis) and climbing plants such as Ivy (Hedera helix) can be found.
In the Laribal Gardens there are also River Oaks (Casuarina cunninghamiana), Tasmanian Blue Gums (Eucalyptus globules), Monterey Cypresses (Cupressus macrocarpa) Deodar Cedar (Cedrus deodara) and in Plaça del Claustre, three large London Planes (Platanus X hispanica).
Art and Architecture
The sculptures are notable in these gardens, both for their quality and their beauty. There is an Art Deco style marble female nude, "Estival" (1929) by Jaume Otero, that dominates the rose garden.
The "Noia de la trena" (1928) by Joseph Viladomar is another female nude, in this case made of bronze, which represents a young girl plaiting her hair. It is in a small shaded square, close to the stairway that links to other areas of the gardens.
The third sculpture is again of a woman and by Joseph Viladomar and was based on the Manolo Hugué original. "Repòs" (1925) a life-sized female nude made of stone situated in a small square close to the entrance next to the Joan Miró Foundation.
Near the rose garden, there is a glazed ceramic fountain influenced by the sea, crowned by a jet, which was the work of Llorenç Artigas.
The Font del Gat
The water from the Font del Gat ("Fountain of the Cat") pours from a feline head, sculpted by Joan Antoni Homs in 1918, when the Laribal Gardens were being finished. This fountain is one of many that flowed in Barcelona at the time and is situated in a place in the city that was very popular at the end of the nineteenth century.
The fountain was so popular that the journalist and playwright Joan Amich wrote a song about it: "La Marieta de l'ull viu" that is still sung today and includes the verse: "Baixant de la font del Gat, / una noia, una noia, / baixant de la font del Gat / una noia amb un soldat..." ("Coming down from the cat Fountain / a girl, a girl / Coming down from the cat Fountain / a girl with a soldier...").
History
The area where the Laribal Gardens now lie was a popular meeting place at the beginning of the last century, in particular the Font del Gat, which was also an area for exclusive gatherings, such as those of Colla de l'Arròs, a gastronomic-political group who had a certain influence over Barcelona at the turn of the last century, would meet in a small building situated where the Museu Etnològic (Ethnological Museum) now stands.
The upper part of the current gardens once belonged to Joseph Laribal, an esteemed lawyer whose name the gardens bear. He built a neo-Arabian chalet, surrounded by eclectic gardens, with large trees.
After Laribal died in 1908, the house was acquired by the Town Council, which established the Escola del Bosc, which still exists to this day. Simultaneously, studies began for the development and gardening of the mountain, a comprehensive project that was initially the responsibility of Josep Amargós.
The 1929 World's Fair
Completed in 1922, the Laribal Gardens are linked to a later event: the International Exposition of Barcelona of 1929 (a World's Fair). This event represented the culmination of a project which began in 1905 to organise an exhibition on Montjuïc about the electrical industries, the emerging energy at the time.
One of the commissioners at the International Exhibition of Barcelona was Francesc Cambó, who was responsible for the gardening and engineering work and the work of the French landscape architect Jean Claude Nicolas Forestier. His assistant was the young architect Nicolau M. Rubió I Tudurí, who, in 1917, became the director of the Public and Wooded Parks Board, the predecessor of the Parks and Gardens Service of Barcelona, of which he was mainly responsible and one of the key people in the development of green spaces in the city.
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Es una de las perlas del Parque de Montjuïc y pasearse por ellos es un autentica delicia. La riquísima vegetación, junto con el agua que baja por cascadas y se escurre delicadamente en medio de amplias barandillas, los bancos de ladrillo y las placetas, crean un conjunto de una belleza excepcional. Es un lugar en el que estar, para contemplarlo e ir descubriendo los miles de detalles que lo configuran, con una armonía difícil de superar.
Los Jardines de Laribal, de gran valor histórico, están formados por terrazas, caminos, placetas, pequeños estanques y una vegetación lozana y consolidada. Una serie de terrazas sobrepuestas están unidas entre si por caminos y atajos de gran pendiente, con tramos de escaleras intercalados de diseño siempre diferente. Pérgolas de ladrillo visto, piedra y pilares blancos dan sombra a las zonas más llanas. La vegetación, exótica en su mayoría, es rica y variada en especies.
Jardines mediterráneos
Estos jardines, incluidos en el recinto de la Exposición Internacional de Barcelona de 1929, obtuvieron una gran reputación. Sus autores, Jean Claude Nicolas Forestier y Nicolau M. Rubió Tudurí, crearon un nuevo estilo paisajístico de raíz mediterránea.
La vegetación preexistente, desde plantas autóctonas hasta árboles frutales del pasado agrícola de la montaña, se integró en los jardines con un concepto de jardinería renovador y original, que sigue libremente la inspiración de los antiguos jardines árabes y de los "cármenes" de Granada, con una gran presencia de azulejos de cerámica, aguas ornamentales y el cultivo de plantas de flor en macetas colocadas en barandillas y alféizares.
Las escaleras del Generalife
El agua es la esencia del jardín, con pequeños y grandes estanques. Para conectar la parte superior del parque con los Jardines Amargós, actualmente Jardines del Teatre Grec, Forestier diseñó una escalera inspirada en la de los jardines del Generalife, con cascadas en los pasamanos, estanques con fuentes en los rellanos y bancos de piedra para reponerse y disfrutar del frescor y el sonido del agua.
Los jardines de la Font del Gat
Unas pérgolas mirador llevan de unos jardines a otros, unidos por ejes de rampas, escaleras y cascadas que desembocan en la Font del Gat desde donde se pueden contemplar unas magníficas vistas de Barcelona.
Ocupan la pendiente que va desde la parte más alta de los jardines Laribal hasta el paseo de Santa Madrona e integran la popular Font del Gat y un edificio decimonónico. Se trata de un conjunto de caminos, terrazas y rincones que se adaptan al relieve con escaleras, rampas y una cascada monumental con cuatro secciones separadas por caminos y canales, que van conectando los diferentes tramos.
Todo está cubierto por un espeso follaje mediterráneo y árboles frutales, como nísperos e higueras y palmeras de enormes copas. Si lo miramos desde abajo, junto al paseo de Santa Madrona, vemos que los altísimos cipreses situados al inicio de la cascada acentúan la verticalidad del conjunto.
La rosaleda de la Colla de l'Arròs
Una glorieta de cipreses, con una pequeña fuente en el centro, marca el inicio de un recorrido que, debajo de una pérgola con pilares de terracota, conduce a un patio ovalado y recluido también rodeado de cipreses: la rosaleda de la Colla de l'Arròs
El jardín se configura en diferentes planos, con aire de patio, que están rodeados de cipreses e hileras de aligustres. En diferentes parterres rectangulares se han plantado antiguas variedades de rosales. En el centro destaca un pequeño estanque cuadrangular con azulejos esmaltados, presidido en la parte superior por Estival, una escultura de un desnudo femenino en mármol que contempla la rosaleda y, más allá, Barcelona.
La plaza del Claustre
De hecho se trata del jardín de Sant Miquel, junto al paseo de Santa Madrona, en el que destacan tres grandes plataneros que ya existían antes de que Forestier diseñara los jardines. Al fondo, los muros de lo que antes había sido una antigua cantera confieren a esta parte de los jardines Laribal un aire recluido y claustral. Y de aquí viene su nombre. A la derecha encontramos un corredor que comunica con los jardines del Teatre Grec.
Vegetación
La vegetación madura y mediterránea da sentido a los jardines. Así, entre otras especies, hay pinos carrascos (Pinus halepensis), pinos piñoneros (Pinus pinea), laureles (Laurus nobilis), naranjos amargos (Citrus aurantium) y cipreses (Cupressus sempervirens).
Las escaleras del Generalife están rodeadas de grandes acacias (Robinia pseudoacacia) y arbustos como el aligustre (Ligustrum lucidum) y el pitosporo (Pittosporum tobira), una especie de arbusto muy abundante en los jardines, junto con la adelfa (Nerium oleander) y el evónimo del Japón (Evonymus japonicus).
En macetas de terracota lucen las elegantes hojas de salón (Aspidistra elatior) y los geranios (Pelargonium sp.), al tiempo que las glicinias (Wisteria sinensis) y los rosales de Banksia (Rosa banksiae) cubren las pérgolas. En diferentes lugares de los jardines encontramos plantas aromáticas, como la lavanda (Lavandula angustifolia), el romero (Rosmarinus officinalis) y otras especies tapizantes como la hiedra (Hedera helix).
En los jardines de Laribal también encontramos pinos australianos (Casuarina cunninghamiana), eucaliptos (Eucalyptus globulus), cipreses de Lambert (Cupressus macrocarpa), cedros del Himalaya (Cedrus deodara) y, en la plaza del Claustre, tres grandes ejemplares de platanero (Platanus X hispanica).
Arte y arquitectura
En estos jardines la escultura es notable, tanto por su calidad como por su belleza. Presidiendo la rosaleda tenemos el Estival, de Jaume Otero (1929), una figura femenina sentada, de estilo art decó y realizada en mármol.
La Noia de la trena, de Josep Viladomat (1928), es otro desnudo femenino, en este caso de bronce, que representa una joven que se recoge el pelo en una trenza. Se encuentra en una placeta sombría muy cerca de las escaleras que comunican con los otros niveles de los jardines.
La tercera escultura también es de una mujer y de Josep Viladomat, que la realizó en base a un original de Manolo Hugué. Se trata de Repòs (1925), un desnudo femenino de piedra, a tamaño natural, situado en una placeta circular muy cerca de la entrada que hay al lado de la Fundació Joan Miró.
Cerca de la rosaleda se encuentra una fuente de cerámica esmaltada con motivos marinos, coronada con un surtidor, obra del ceramista Llorenç Artigas.
La Font del Gat
El agua de la Font del Gat mana desde la cabeza de un felino, esculpido por Joan Antoni Homs en 1918, año en el que se terminaron los jardines Laribal. Esta fuente era una de las muchas que manaban en aquellos momentos en Barcelona y, el lugar en el que se encuentra era muy popular en la ciudad a finales del siglo XIX.
La fuente era tan popular que el periodista y autor teatral Joan Amich escribió una canción: "La Marieta de l'ull viu", que todavía hoy se canta e incluye la estrofa: "Baixant de la font del Gat, / una noia, una noia, / baixant de la font del Gat / una noia amb un soldat...".
Historia
A principios del siglo pasado, en la zona que hoy ocupan los jardines Laribal se celebraban encuentros populares, sobre todo en la Font del Gat, o reuniones selectas, como las que hacía la Colla de l'Arròs, un grupo medio gastronómico medio político que tuvo una cierta influencia en la Barcelona del final del siglo XIX y principio del XX y que se reunía en un pequeño edificio situado donde ahora se encuentra el Museo Etnológico.
La parte alta de los actuales jardines pertenecía a la finca de Josep Laribal, un prestigioso abogado cuyo nombre se ha perpetuado en los jardines. Allí se hizo construir un chalet neoárabe, rodeado de unos jardines eclécticos, con grandes árboles.
Tras la muerte de Laribal en 1908, la finca fue adquirida por el Ayuntamiento que fundó en ella la Escola del Bosc, que todavía existe. Simultáneamente, se iniciaron los estudios para urbanizar y enjardinar la montaña, con un proyecto global que inicialmente se encargó a Josep Amargós.
La Exposición de 1929
Los jardines de Laribal, terminados en el 1922, también están vinculados con un acontecimiento posterior: la Exposición Internacional de Barcelona de 1929. Este acontecimiento representó la culminación de un proyecto iniciado en 1905 para organizar en Montjuïc una exposición sobre las industrias eléctricas, la energía emergente de aquel momento.
Uno de los comisarios de la Exposición Internacional de Barcelona fue Francesc Cambó, que encargó los trabajos de ajardinamiento al ingeniero y paisajista francés Jean Claude Nicolas Forestier. Su ayudante fue el joven arquitecto Nicolau M. Rubió i Tudurí, que en 1917 se convertiría en el director de la Dirección de Parques Públicos y Arbolado, antecedente del Servicio de Parques y Jardines de Barcelona, del que fue el primer responsable y una de las personas determinantes en el futuro desarrollo de los espacios verdes públicos de la ciudad.
The village of Rolvenden sits above the shallow valley through which the Kent and East Sussex Railway now runs, although this was once part of the national network, of course. Now it is a preserved line. and the line's headquarters and engine sheds are in Rolvenden.
St Mary sits next to the main junction in the centre of the village, inbetween the village's two pubs.
St Mary is a large and impressive church, most noticeable for the family pews situated in a gallery above the floor of the church in the south east corner. The family is Gybbon, and also, wonderfully, the Moneypennies. No sign of any Bonds though.
At the west end, the impressive organ also sits on a gallery, with another family pew beside it. Both are open to visit and take pictures from.
Beneath the Gybbon gallery/pew, there is a small family chapel, it's roof made so low by the gallery, one has to stoop to walk through, but one is then faced with the impressive family monuments and memorials.
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Standing high on a rise to the south of the village street, this is a prominent sandstone building of thirteenth- and fourteenth-century date. The most interesting feature is the eighteenth century family pew. It stands on a gallery and comes complete with tables and chairs! The screen beneath it was added by W.D. Caroe in the 1920s. In the arch to the opposite chapel is a memorial to Lt Tennant designed by Lutyens. There are three holy water stoups in the church and a very good piscina in the chancel. The font is of about the same date and shows the arms of two prominent medieval families, the Guilfords and the Culpepers. The church contains a seventeenth-century wooden alms box and on the south door-frame is a medieval mass dial.
www.kentchurches.info/church.asp?p=Rolvenden
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Rolvenden is three miles south west of Tenterden on the A28.
It was first mentioned in the Domesday book as Rovindene. This was changed to Riolvinden in the reign of Edward III. Then changed again to Rounden in the late 17th century.
It is a busy little village with an unusually wide high street.
The C M Booth Motor Museum is to be found in the High Street.
Here you may view a unique collection of Morgan 3 wheelers, along with other various vintage cars, motorcycles, bicycles, and displays of toy and model cars, signs and other automobilia.
Great Maytham Hall which was the inspiration for Frances Hodgson Burnetts 'The Secret Garden' can be found by taking the Wittersham road by the church.
If you travel about 1 mile away from the village also on the Wittersham road you find the small station of Wittersham Road, which is on the Kent and East Sussex steam railway, with trains travelling to Tenterden , and Northiam .
The church of St Mary the Virgin, lies on a low mound on the southern end of the village. The earliest surviving part of the church may be seen in the chancel, and dates from around 1210.
Most of the church is 14th and 15th century, and has remained structurally the same since 1470.
The church has 8 bells, which date from 1819, and were made by Thomas Mears II of London. The clock on the north side of the tower dates from 1810, and bears the name 'Thomas Ollive of Cranbrook'. There are many unusual and attractive memorials to be seen in the churchyard. The War Memorial was designed by Sir Edwin Lutyens and was dedicated to the Archbishop of Canterbury on November 11th 1922.
The font stands at the western end of the South Aisle. It is of an uncommon shape, being hexagonal. It dates from the 14th century and is emblazoned with the arms of Guldeforde and Culpepper. The wooden cover is 18th century. Part of the hasps for securing the font cover with a lock can be seen on two sides.
This was for securing the Holy Water from being stolen by Witches.
kent.villagenet.co.uk/rolvenden.php
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LIES the next parish eastward from Benenden. It is universally called, and in general spelt Rounden. The court of the bailiwic of the Seven Hundreds claims paramount over this parish.
THE PARISH of Rolvenden is pleasantly situated, most of it in a dry and healthy country, the soil of it being much the same as that of Benenden last described. It had formerly the mansions of many respectable families resident in it, interspersed in almost every part of it, but they are now several of them converted into farm-houses; the high turnpike road from thence towards Tenterden leading through it. There are about one hundred houses and five hundred inhabitants in it. The village, with the church, stands on high ground, nearly in the centre of the parish, the above road passing along the northern part of it; it is watered by two or three streamlets, which crossing this parish at small distances from each other, run on eastward, and joining a stream from Tenterden, separate the two parishes, and from the eastern boundary of this of Rolvenden. There is but little wood in this parish, what there is, being near the southern boundaries of it.
About half a mile south-eastward from the church, on the opposite side of the road, is a seat called KingsGate-House, which has been for some generations in the possession of the family of Weller. Alexander Weller owned it in the reign of king Charles I. and his descendant John Weller, esq. rear-admiral of the navy, died here possessed of it in 1772, he gave it by will to his brother Nicholas, who died in the East-Indies, and his son Mr. Robert Weller, is the present possessor of it.
A branch of the family of Maplesden, clothiers, were settled here, at the manor of Maplesden in this parish, in the reign of Henry VIII. which now belongs to John Beardsworth, esq.
THE RIVER ROTHER, which divides the parishes of Sandhurst and Newenden from Sussex, and those of Rolvenden, Tenterden, and Apledore, from the Isle of Oxney, about the year 1736, was so swarved, that the proprietors of the adjoining marsh lands were obliged to purchase and cut a new channel through Wittresham level, from Maytham-ferry to Blackwall on the south side of the island, for the passage of the waters; whereupon the course of that river, for the space of five miles or more, became inverted, and instead of running from Maytham to Smalhyth and Reading, in Ebony parish, to the east, now runs from thence to Maytham westward, and thence goes into the new channel.
Many commissions were issued formerly, on the complaints of several of the owners of lands hereabouts, for the safety of the marshes in this and the adjoining parishes, and to oblige the other respective land owners to repair and keep the banks, &c. against the sea, from the reign of king Edward I. to that of king Henry VI. and among others, those especially near the sea coast, between Smalhede and Mayhamme; between the latter and Newenden, and Bodisham bridge, and between Maytham and a certain place called the Pendyng, in Rolvynden and Tenterden, all which may be seen at large in Dugdale's History of Imbanking, &c. p. 40, 42, 47, 83.
SUBORDINATE to the court of the Seven Hundreds is the Manor Of Lambin, alias Halden, which is situated in the north-east part of this parish, and had the former of those names from the antient proprietor of it, Lambin de Langham, who held it by knight's service, as appears by the Testa de Nevil, in the 20th year of Henry III. His descendants continued in the possession of it till the beginning of king Edward III.'s reign, when it went by purchase into the family of Halden, who fixed their name on it, in addition to its former one of Lambin; and William, son of John de Halden, died possessed of it in the 50th year of that reign, and lies buried in the nave of this church. His son John de Halden died in the reign of Henry IV. and was buried near his father, leaving an only daughter and heir Joane, who carried this manor in marriage to William Guldeford, esq. of Hemsted, whose descendants, though they continued possessed of their more antient seat of Hemsted, in the adjoining parish of Benenden, yet removed to this mansion of Halden, and made it their principal residence, and from time to time kept their shrievalties here. At length Sir Richard Guldeford, knight-banneret and of the garter, died possessed of it about the year 1500, leaving by his first wife, two sons, Edward, to whom he gave this manor of Halden; and George, to whom he gave that of Hemsted. Sir Edward Guldeford, the eldest son, was a man of much eminence and distinction, being marshal of Calais, lord warden and constable of Dovercastle. He had a son Richard, who died in Spain, s. p. and a daughter Jane, who became her brother's heir, and married Sir John Dudley, afterwards duke of Northumberland, who in her right became entitled to this manor; which he appears to have been possessed of in the 28th year of Henry VIII. Soon after which, either by purchase or exchange, it came into the hands of the crown, where it staid some time; the mansion and park continuing in the king's own occupation; and the demesne lands of it being demised for a term by the king to Sir John Baker, his attorney-general; to whom this manor of Halden itself, (the scite of the mansion, together with the demesne lands belonging to it being excepted) was granted some years afterwards in fee. The park was disparked by Sir John Baker soon after his grant of it. In the mean time king Edward VI. in his first year, had granted the manor of Halden, with its appurtenances, late parcel of the possessions of Sir Thomas Cromwell, earl of Essex, attainted, to John, earl of Warwick, which on his attainder in the 1st year of queen Mary, came again into the hands of the crown, and was then granted to Sir John Baker as above-mentioned. Since which this manor continued in his descendants, in like manner as Sissinghurst, in Cranbrooke, till it was at length sold with it, not many years ago, to the trustees of Sir Horace Mann, bart. who is the present owner of it.
There are twelve dennes which hold of this manor of Lambyns-court, alias Halden; and on the court-day there are elected twelve officers, called beadles, to collect the rents of assise or quit-rents due from them to it. These dennes lie in Rolvenden, Benenden, Sandhurst, High Halden, Woodchurch, Tenterden, Stone, and in Wittersham.
BUT THE SCITE OF THE MANSION OF HALDEN, alias LAMBYNS-COURT, together with the greatest part of the demesne lands of this manor, which had been demised for a term to Sir John Baker as above-mentioned, were afterwards granted in fee to Sir Henry Sidney, who had married Mary, eldest daughter of John, duke of Northumberland, and he died possessed of these lands in the 28th year of queen Elizabeth. His son Sir Robert Sidney, created earl of Leicester, sold them, at the latter end of that reign, to Sir Thomas Smith, of London, second son of Customer Smith, of Westenhanger, whose grandson Robert Smith, esq. of Bidborough, in the reign of Charles II. alienated them to Robert Gybbon, esq. of Hole in this parish. Since which they have continued down with that seat, in a like succession of ownership, to John Beardsworth, esq. of London, who is the present proprietor of them.
Halden place is now only a large farm house, situated about a mile and a quarter north from the church. The arms of Guldeford still remain, carved in stone, on the stables belonging to it.
The Hole is a seat in this parish, about a mile north-west from the church, situated within the denne of that name. It had antiently owners of that surname, one of whom, Henry at Hole, in the year 1340, demised this place by deed to his two sisters Honor and Alice. How long it continued in their descendants, I have not found; but in the reign of Henry VIII. it was become the property of Mr. Rob. Gybbon, a wealthy clothier, who then exercised that trade here, as did his son John Gybbon, who died possessed of Hole in the 5th year of Edward VI. anno 1550, and there were some of this name, who held lands in this parish as early as the year 1340. A branch of this family was of Pump-house, in the adjoining parish of Benenden; another of it was of Frid, in Bethersden, and ended in two daughters and coheirs, married to Harlestone and Chowte, and from this branch issued those of Charlton, in Bishopsborne. In the descendants of John Gybbon above-mentioned, it continued down to colonel Robert Gybbon, who was possessed of it at the latter end of king Charles I.'s reign. His son Major John Gybbon died in 1707, and was succeeded in it by his brother Robert Gybbon, esq. who was of Hole, where he died in 1719, leaving by Elizabeth his wife, daughter and heir of John Phillips, gent. of Middlesex, one son Phillips, and a daughter Mary, married to James Monnypenny, esq. of this parish. Phillips Gybbon, esq. succeeded his father in this seat, which he resided at, and died here in 1762, bearing for his arms, Azure, a lion rampant-guardant, between three escallops, argent; but in the windows of the hall at Hole, the arms of Gybbon are painted in antient glass, Or, a lion rampant, sable, charged on the shoulder with an escarbuncle, pomettee and florettee of the first; which glass was brought from the seat of Pumphouse, in Benenden, where it had been for a great length of time. Guillim. p. 359, says, Or, a lion rampant, sable, between three pellets, was borne by the name of Gybbon, and was confirmed to Edmund Gybbon, son and heir of Thomas Gybbon, gent. of Rolvenden, by Sir William Segar, in 1629, anno 5 Charles I. but when they altered their bearing to the present coat, I have not found. Phillips Gibbon left an only surviving daughter and heir, married to Philip Jodrel, esq. whom she survived, and dying possessed of this seat in 1775, s. p. she by will gave it, among her other estates in this county, in tail to Mrs. Jefferson, who since marrying with John Beardsworth, esq. of London, he is in her right, entitled to the possession of it.
KEINSHAM, corruptly so called for Cassingham, its proper name, was once accounted a manor here, and was in very early times held by a family so called from their possessing this estate, as well as much other land in this parish, on the denne of Cassingham. William de Cassinghame held it in the reign of Henry III. (fn. 1) in the 20th year of which he paid aid for it, together with Orlovingden, another inconsiderable manor here, as appears by the Testa de Nevil, at the marriage of Isabel the king's sister, as holding it by knight's service, notwithstanding which, part of it, containing one hundred and twenty acres of land, appears by other certain records to have been held at that time by the same William de Cassinghame, of Edmund, archbishop of Canterbury, in gavelkind; for that archbishop being empowered so to do by the charter granted by king John to archbishop Hubert, his predecessor, changed the tenure of these lands from gavelkind to knight's service, to hold to the said William and his heirs of the archbishop and his successors, by knight's service, and the rent of 10s. 2d. per annum, and the addition of the same liberties as other knights had of the see of Christchurch, Canterbury. He was succeeded in this estate by his son Ralph de Cassinghame, who left two daughters and coheirs, Petronelia, married to Nicholas Aucher; and Benet, to Bertram de Wylmyngton, against whom the archbishop brought a suit for cutting down his oak and beech in this and the adjoining dennes, to which they pleaded the above change of service, and that the owners had constantly felled them. But the jury sound that the trees were the archbishop's, and that he and his predecessors had always felled them, without let of the owners, and had always taken amends for any trespass of this kind; and that they had in time before, and he did then, take a moiety of the pannage in the said woods.
There remains at this day no footsteps of this right, the reason of which is well accounted for by Mr. Somner as follows, in his Roman Ports, p 112:—In the times of king Edward III. and Richard II the archbishops of Canterbury and prior and convent of Christchurch respectively, among other like lords and owners of the Wealdish dens, finding themselves aggrieved by their tenants there and others, in cutting down and wasting their woods, which on former grants they had expressly reserved from their tenants to themselves, (though it is more probable their title to them was from the above-mentioned custom) in order to free themselves from further care and trouble on this account, entered into a composition, and for a new annual rent of assise, over and above the former services, by indenture of seossment, made the wood over to them in perpetuity, either to be cut down or left standing at the tenants choice. Since which the interest of the lord so compounding has been gone, as to the wood itself, and nothing left but this rent of assise, together with the former services.
And a custom of a contrary nature is set up at present in most manors, if not throughout the whole Weald, under the name of landpeerage, i. e. landownership; by which the owners of the lands on each side of the highway claim to exclude the lord from the property of the soil of the way, and of the trees growing on it.
Notwithstanding the account of the coheirs of Cassingham becoming entitled to this manor, yet the family of Cassinghame was still remaining here a long time afterwards, as appears by the will of Peter Cassingham, of Rolvenden, proved anno 1 Edward IV. 1461, in which he mentions his principal messuage, in which he then dwelt, with his lands in this parish, upon the dennes of Casynghame and Hachysdene, and at Maythame.
Bertram de Wylmyngton above-mentioned, appears by the escheat-rolls to have died possessed of lands here anno 2 Henry IV. Soon after which the Mores, of Benenden, are mentioned in the court-rolls as being owners of it until the reign of Henry VIII. when it was alienated in that reign by John More, esq. to John Gybbon, of this parish, clotheir, who by will in the 5th year of Edward VI. gave this manor, with its lands, rents, and services, to his son John; from whom, in the beginning of queen Elizabeth's reign, as appears by the same court-rolls, it went into the possession of William de la Hay, who, in the records of that time, is said to have held one knight's fee of the archbishop in Cassingham, in right of his wife. From this name it went, in the reign of James I. into the name of Everden, or Everinden, a branch of the Everindens, of Everinden-house, in Biddenden, where they are recorded by the private deeds of it to have been resident many hundred years, until the 2d year of queen Mary, when they alienated it; and thence again, in the next reign, to Munn, from whom it passed, in 1685, to Attained Smith, who gave it by will to Attained and Richard Hoare, the latter of whom having come into the possession of the whole of it, by will in 1757 settled it on Mr. William Gibbs, the present possessor of it.
The manor house was formerly very large; but it has been most of it pulled down, so that now it makes but a mean appearance. The Largest House at this time in this hamlet of Keinsham, is one which formerly belonged to John Kadwell, esq. of this parish, whose daughter and coheir Sarah carried it in marriage to the Rev. Thomas Chamberlaine, of Charlton, near Greenwich, who was succeeded in it by Mr. Thomas Chamberlain, his only son, the present possessor of it.
There has not been any court held for this manor for many years.
GREAT MAYTHAM is a manor in the southern part of this parish, which was antiently held by a family who took their name from it. Orable de Maytham, who with her sister Elwisa, held much land in these parts, appears to have been possessed of it in the reign of Edward I. Soon after which it was become the property of John de Malmains, who died possessed of it anno 10 Edward II. In the 20th year of the next reign of Edward III. the heirs of Thomas Malmayns, of Hoo, held this manor by knight's service. Soon after which the Carews, of Beddington, in Surry, were come into the possession of it. Nicholas Carew, esq. of that place, owned it at the latter end of the reign of Richard II. and in this name it continued till the reign of Henry VIII. when by the attainder of Sir Nicholas Carew, by act of parliament in the 31st year of that reign, it came into the hands of the crown, whence it was granted, with other lands in this parish, immediately afterwards, to Thomas, lord Cromwell, earl of Essex, on whose attainder next year, anno 32 king Henry VIII. it came again to the crown, and was again granted, the year after, to Sir Thomas Wyatt, to hold in capite by knight's service, who that same year, with the king's licence, alienated it to Walter Hendley, esq. and his heirs. He was afterwards knighted, and made king's sergeant-at-law, and dying in the 6th year of king Edward VI. without male issue, his three daughters became his coheirs, and this manor, by the marriage of Helen, the second daughter, with Thomas Colepeper, esq. of Bedgebury, became his property, whose lands were disgavelled by the act of the 2d and 3d year of Edward VI. His grandson Sir Anthony Colepeper, of Bedgebury, included this manor in a settlement which he made of it in 1613; and it was sold, under the limitation of that settlement, by one of his descendants, in 1714, to James Monypenny, esq. descended from an antient family of this name at Pitmilly, in Scotland, who bore for their arms, Vert, a dolphin erect, or. He in 1721 began the foundation of a seat here, within this manor and within the borough of Maytham, though not on the demesne lands of it, which he named MAYTHAM-HALL, which his eldest son Robert Monypenny, esq. finished in 1760, and resided here till his death in 1772. He died unmarried, and was succeeded in both manor and seat by his only surviving brother James Monypenny, esq. the present possessor of them, who now resides here. There is no house on this manor, nor any court held for it.
LOWDEN MANOR, formerly called also Little Maytham, as being situated within the borough of that name, was in the reign of Edward I. held by Elwisa de Maytham, as half a knight's fee. In the 20th year of Edward III. it was in the possession of the family of Aucher, for Henry Aucher then paid aid for it as holding it by knight's service, as did his grandson Henry Aucher, esq. of Losenham, in the 4th year of king Henry IV. at the marriage of Blanch, the king's sister, (fn. 2) and his grandson, of the same name, leaving an only daughter and heir Anne, she, in the reign of king Henry VII. carried this manor in marriage to Walter Colepeper, esq. of Bedgebury, whose grandson John Colepeper, esq. of Salehurst, in Sussex, alienated it in 1565 to John Wildgose, gent. of that place, and his descendant Robert Wildigos, esq. sold it in 1637 to Mary Barker, widow, who gave it by will to Samuel Sandys, of Ombersley, in Worcestershire, and he in 1663 conveyed it to George Kadwell, esq. of Gatehouse, in Rolvenden, whose descendants Felix, John, and George Kadwell, the sons under age of Thomas Kadwell, esq. becoming possessed of this manor of Lowden, and other lands, of the nature of gavelkind, lying in Rolvenden, Benenden, and Sandhurst. They by their guardians prayed a writ of partition, which was executed by the sheriff, and this manor of Lowden, with its appurtenances, was allotted to the eldest of them. (fn. 3) Felix Kadwell, esq. of this parish, dying in 1748, without male issue, by will gave this manor, wich the farm and lands called Lowden, in tail male, to his grandson Jeremiah Curteis, eldest son of Samuel Curteis, gent. by Mary his wife, his eldest daughter and coheir, (who died in her father's life-time) leaving three sons, Jeremiah, before-mentioned; Samuel, and Felix Kadwell Curteis; and one daughter Sarah). Jeremiah Curteis before-mentioned, was of Rye, gent. and died s. p. upon which it came to his next brother Mr. Samuel Curteis, gent. now of Tenterden, who is the present possessor of it.
There is no house now remaining on this manor; but the scite of the antient mansion, and the moat round it, are still visible. A court baron is held for it.
FRENSHAM, as it is now usually called, through its more proper name is Fresingham, or Fersingham, as it was sometimes written, was antiently accounted a manor, though it has long since lost all pretensions to one. It had been, in the 20th year of Henry III. as appears by the Testa de Nevil, in the possession of a family of the same name. John de Fresingham, or Fersingham, which name was afterwards contracted to that of Frencham, held it then, and paid aid for it, as holding it by knight's service, at the marriage of Isabel, that prince's sister; and in his descendants it continued till the latter end of the reign of Edward III. when it went by sale to Northwood, though there was a family of the name of Frencham remaining here so late as queen Elizabeth's reign, as appears by their wills in the Prerogative-office, Canterbury. In the name of Northwood it remained till that of king Edward IV. and then, as appeared by the old rolls of this manor, it was conveyed to Sir John Guldeford, of Halden, whose son Sir Richard Guldeford settled it on his second son Geo. Guldeford, esq. of Hemsted, whose son Sir John Guldeford alienated it to Mr. John Fowle, of Sandhurst, who gave it to his second son Alexander Fowle, and he sold it to Sir Edward Hales, knight and baronet, who died possessed of it in 1654, and was succeeded by his grandson Sir Edward Hales, bart. (fn. 4) from one of whose descendants it passed by sale to Mr. Gilbert, afterwards chief baron of the exchequer, who bequeathed it by will to Phillips Gybbon, esq. of Hole, since which it has passed, in like manner as that seat, to John Beardsworth, esq. the present possessor of it. This manor is held of the manor of Swanscombe, by castle-guard rent to the castle of Rochester, and is called, in the rolls of that manor, Fraxingham.
FRENSHAM, alias THE GATEHOUSE, is a seat here, situated on Lain-green, which seems to have been once the antient mansion and scite of the above-mentioned manor, from which it has been alienated many years since. It was once the property of the family of Pointz. Sir John Pointz owned it in 1610. His son Sir Robert Pointz, of Iron Acton, in Gloucestershire, K. B. sold it in 1640 to George Kadwell, esq. who had resided here as tenant to it, as had his father Thomas Kadwell, who died in 1631. This family was originally spelt Caldwell, and afterwards Cadwell; one of them, John Caldwell, was of this parish in the reign of Henry VIII. and was a great occupier of lands in this parish and Benenden, as appears by the inrolments in the Augmentation-office; they bore for their arms, Azure, a cross formee, fitchee, between eight estroiles, or. George Kadwell, esq. before-mentioned, who purchased this seat, dying in 1660, left a son Thomas Kadwell, who succeeded him in it, and afterwards rebuilt the mansion of it, where he kept his shrievalty for this county in 1677. He died in 1880, leaving three sons, of whom Felix Kadwell, esq. the eldest, succeeded him here, and died in 1748, having had a numerous issue, of whom only two daughters survived, who became his coheirs; of whom Elizabeth, the eldest, married Josias Pattenson, gent. of Biddenden, and Mary married Samuel Curteis, gent. of Tenterden. Josias Pattenson left several children, of whom Kadwell Pattenson, esq. the eldest, succeeded to this seat on his grandfather's death, and died s. p. in 1750, leaving his widow surviving; since married to the Rev. Mr. Williams, but this seat, with several other estates in this parish, devolved to his brother Mr Josias Pattenson, of Brook-place, in Ashford, who is at present entitled to it.
Since the Kadwells resided here, more than a third part of the house has been pulled down, and yet there is a large house remaining.
FORSHAM, alias Nether Forsham, lies in the southern part of this parish, and was once accounted a manor. It had formerly owners of the same name; for Osbert de Forshamme possessed it in the 18th year of king Edward I. Sir John de Forsham held it, as appears by old dateless deeds, in very early times. His successor Stephen de Forsham, in the 11th year of king Edward III. found a man-at-arms for guard of the sea coast; the arms they bore, appears by a deed in the Surrenden library, the seal appendant to which has three crosses, fusilly, the legend, S. STEPHANI DE FORSHAM. After this name was extinct here, the Northwoods succeeded to it, and then the Guldefords, from one of whom, in the reign of queen Elizabeth, it was sold to Dyke, of Sussex; from whose descendants, by their trustees, it was alienated, at the latter end of king Charles I.'s reign, to Mr. Thomas Bromfield, merchant, of London; from which name it afterwards passed to the Moyses, in which it continued till Mary, only daughter and heir of William Moyse, gent. of Berenden, carried it in marriage to Moyle Breton, esq. of Elmes, near Dover, who died possessed of it in 1735, and his grandson the Rev. Moyle Breton, of Kennington, alienated it a few years since to James Monypenny, esq. of Maytham hail, in this parish, who is the present possessor of it.
On this manor there were within memory, the ruins of an antient stone structure, supposed by some to have been the remains of a sort of some strength, and by others to have been only a chapel, for the use of the antient possessors of the mansion of it.
Charities.
JOHN GYBBON, ESQ. late of Charter-house yard, in Middlesex, by will in 1707, gave to the inhabitants of Rolvenden, three Exchequer annuities, amounting in all to 42l. per annum, in trust, for the churchwardens and overseers for the time being, to expend in the schooling and education of boys and girls of such of the poor inhabitants of this parish, as receive alms, or are excused from paying the parish rates, and to apply the remainder, if any, in apprenticing so many of the poor boys and girls as it would amount to. He further bequeathed two other Exchequer annuities, amounting together to 170l. per annum, to the said inhabitants in trust, for the churchwardens and overseers for the time being, to expend partly in the purchase of wool, flax, and hemp, for setting the poor to work on the linen or woollen manufacture, and paying them for the same; and partly for cloathing boys and girls of the said poor above the age of seven years, and poor men and women of the age of fifty years and upwards. These annities, by a decree in chancery, in 1763, were converted by sale and transfer into three per cent. consolidated Bank Stock, viz. the former into 921l. 4s. and the latter into 3778l. 15s. now of the annual produce of 113l. 7s. 3d. and of 27l. 12s. 9d.
ALEXANDER WELIER, gent. in 1723, conveyed by deed of gift, a certain field called Well field, to the vicar and churchwardens of Rolvenden, and their successors for ever, in trust, that the rent of it should be applied in the first place to the cleansing, repairing, preserving, restoring, and upon occasion rebuilding the tombstones erected by him in the church yard here; and the remainder, if any, to be distributed yearly on Christmas-day, among the poor of this parish, not receiving alms.
EDMUND GYBBON, gent. in 1677, gave an annual rent charge of 50s. per annum, issuing out of certain lands in Rolvynden, now in the possession of John Elphen, and payable yearly on the feast of St. Andrew, to be distributed by the minister and churchwardens amongst the poor of this parish, not receiving alms.
LAURENCE PETERS, in 1777, gave by will 100l. to this parish, the interest of it to be said out, in the first place, to maintain the rails about his grave; and if no such repairs were necessary, then to be distributed one moiety at Christmas, and the other on Good Friday, in good bakers bread and good cheese, to the poor, vested in the vicar and churchwardens, and of the annual produce of 4l.
A PIECE OF LAND, called the Well-field, containing five acres, now of the annual produce of 5l. for the use and benefit of the poor, is vested in the minister and churchwardens.
The poor relieved annually are about fifty; casually twenty.
ROLVENDEN is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Charing.
The Church, which is dedicated to St. Mary, is large and handsome, having three isles and three chancels, and a tower steeple with a beacon turret at the west end. In the east window there are remains of good painted glass. Kilburne, p. 131, says, that in the first of the five windows in the great chancel, was the effigies of Carew, esq. in the second, that of Sir John Guldeford; what was in the third was quite defaced; in the fourth was the effigies of Henry Aucher and Elizabeth his wife; and in the fifth that of More; all of them considerable owners of lands in this parish. The font is of an octagon form, on which are these coats of arms: first, a bordure; second, a bend engrailed; third, a saltier, between four martlets; the fourth is hidden by the pews. By a brass plate against the south wall of the south chapel of this church, it appears that it was founded by Edward Guldeford, esq. on the day of St. Tiburtius and Valerianus, martyrs, April '4, anno 1444. In this church lie buried several of the Gybbons's, of Hole, and the Monypenny's. Clement Frencham was buried, as appears by his will, anno 1533, in Skott's chancel. In the church-yard are several tombstones of the Kadwells, and one near them for Kadwell Pattenson, anno 1750.
The rectory of this church was antiently part of the possessions of the eminent family of Cobham, with which it remained till at length it was given, about the beginning of king Richard II.'s reign, being then valued at sixty marcs, by John, lord Cobham, as an addition to the revenues of the college, founded by him at Cobham; which gift was confirmed by pope Urban VI. in his 10th year; and he at the same time confirmed the appropriation of this church to the use of the college, on the death or the cession of the rector of it, reserving, nevertheless, out of the rents and profits of it, a competent portion for a perpetual vicar to serve in it, by which he might be fitly maintained, pay his episcopal rights, and support the other burthens incumbent on it. In which state this appropriation, with the patronage of the vicarage, remained till the reign of Henry VIII. when the master and brethren of the college of Cobham soreseeing their approaching dissolution, in the 30th year of it, with the king's consent, sold the scite with all the lands and possessions belonging to it, to George, lord Cobham, and they were, by an especial clause in the act, anno 31 Henry VIII. excepted out of it to the lord Cobham and his heirs. Notwithstanding which, it appears that this church, with the patronage of the vicarage, came into the king's hands, who by his dotation charter, (fn. 5) in the 33d year of his reign, settled them both on his new-erected dean and chapter of Rochester, where they continue at this time.
¶By the survey taken in 1649, after the dissolution of the dean and chapter, this parsonage appears to have consisted of a barn, house, &c. and sixty-eight acres and two roods of land, at the improved rent of 120l. per annum, let by the late dean and chapter, anno 14 Charles I. to Edmund Hamond, esq. for twenty-one years, at 7l. 12s. The present tenants of the parsonage are Mr. Thomas and James Goble.
The vicarage is a discharged living in the king's books, of the clear yearly value of forty-four pounds, the yearly tenths of which are 1l. 11s. 4d. In 1578 here were communicants three hundred and sixty. In 1640 it was valued at sixty pounds. Communicants four hundred and thirty three.
There is an augmentation of ten pounds per annum paid to this vicarage by the dean and chapter of Rochester. There are about seven acres and an half of glebe land belonging to it.
L to R, from Back Row (where a head is up or down from the last named person, it is indicated as such; only non-PRC members are annotated):
Back Row: Stephan Strybol (Tour Guide Bus #2), Tom Shillington, Erika Slager, Peter Ross (Tour Guide Bus #1), Tracey Francis, Ron McConnell, Bob Stewart, David Black, Stuart Weeks on flag, Paul Hale on flag, Robert Marsh, Richard Marsh, David Moore, Barbara Masterman, William Turner, Nadine Turner, Glenn Nordick, Doug Delaney (Historian)
Second: Stan Tenson in ball cap, Vince Kennedy, Ron Paquin in hat, Ed Kenney, Al Johnston down, Kenella Johnston to his side, up to Dave Pentney, Del Foster, Janet Pentney, Kent Foster, RSM Kevin Lewis, Jacqueline Girouard, Ed Staniowski, Gillian Parker, Barbara Metaxas, Perry Metaxas-Mariatos, John Plantz, Doug Brooks, Bruce McDonald, Mathew Willow
Third: John de Chastelain in wide hat, Lisa Williams, Gina Roline, Carol Romses, Ray Romses, Sasha Ellyn, Cathan Perry, Phil Tweedie, Bev Tweedie (independents), CherylLynn Nordick, Wendy Kennedy, Jeanne Paquin, below Marie Paquin. Paul Paquin, Student Colin Kaduck, Ray Paquin, Cadt Bailey Nehring, Terry Loveridge (historian), Capt Christian Stenner, Stan Willow
Fourth: MaryAnn de Chastelain in hat, Margaret Ellis, Bill Hewson, Norah Hewson, Sgt Brad Lowes, Jason Magnan, Robert Curtin, above Karen Storwick, Aileen Beninger, Cdt Brayden Einboden, above Bill Johnson, Cdt Tristen Gagne, Valerie Johnson, below Cdt Athena Nash, Cdt Charlotte Clark, above Diana Cardoni, below Cdt Sara Bridal, Cdt Catherine Kroeker, Jane McKay-Byers, John Byers, Cdt David Wiebe, Cdt Owen Lepp, Patricia Forigio, Capt Stephanie Russell, Angela Reid, Tom Reid.
Front: Stdg – BGen Wayne Eyre (Guard President) , Madame Adrienne Clarkson Colonel-in-Chief PPCLI, LGen Ray Crabbe (Colonel of the Regiment), CWO Schiedl (Regimental CWO)
Photo by MCpl Louis Brunet, Canadian Army Public Affairs, 3rd Can Div PA HQ
AS01-2015-0011-005
An aerial look at the SR 20 Sharpes Corner and SR 20 Miller Gibralter roads roundabouts in Skagit County.
Gargoyle is a mouth for ejected words of sweeping Lucifer this took other angels that had the seed of desire planted within them, for it is selfish desires that fuel the ego. He was expelled from the higher regions because he no longer had the Christic virtues but had the ego crystallized instead. Since we assert that selfish desires and interests strengthen the egos hold on us, it is also true that altruistic, compassionate service vivify the Christic force within us that stirs us to self-sacrifice for humanity (The hanged man). Can 'Lucifer' be the Hanged Man #12 card ? Here are a few depictions of the card for reference first: The Hanged Man...also known as Perspective....now also known as "Lucifer"....here's why I think this is an awesome pictorial for the meaning. What is the central meaning for the Hanged Man?
Letting go...as in accepting God's Will (give me a chance to explain...just a little more)
Giving up control
Accepting what is
Putting others first
NOW WAIT A MINUTE, ERIC !! You said this would all make sense....Lucifer isn't this way!
...TRUE.....and that's my point. He is the card's "shadow side" (or Reversed). The shadow side of every card is the not-so-well known or publicized meanings that are just as much true as the upright meanings...just from a different 'perspective' (like how i tied that all in...LOL)
Lucifer...Satan....the Devil....whoever you may call him....he IS the Hanged Man's other half to complete the whole story.
Let's look at the original card again...upside down or Shadow side: This way what does the card suggest? The man is now grounded again, able to walk on his OWN TWO FEET, under his OWN power. What about his head? It's still a-glow with enlightenment ! But wait....I thought the man got his enlightenment while hanging upside and submitting? He did....but he also CAN on his own...
...just like Lucifer did !
Remember the first card above said "New Vision"? The figure was 'standing tall' with wings spread, leaving the corpse on the ground that was a slave to the 'old ways'. Keeping these images in mind lets see the meanings of the Hanged Man again...as it's 'True' other "Shadow"
Reversing...turning the world around...overturning old priorities
Seeing things from a new angle or perspective
Up-Ending the old order...doing an about-face
Living in the moment...for the NOW !
Defiance
Self-assertion
Sound more like the Lucifer you know? Let's look again: What we are witnessing is the moment Lucifer made his choice to rebel...and just BE HIMSELF ! On the left...heaven...his appointment there, where he was told what to do and had limited choice. On the right, FREEDOM as not a PLACE, but an IDEA....where he stretches his hand out in acceptance (notice the other is more closed with a "shackle of light" restricting it's movement).
Notice, also, the color of his wings: white on left from that of God's control, dark on right to show expansive freedom like that of space. In-between there is a struggle for control, for power, and for self-enlightenment. Both God and now Lucifer know this....the time for a new perspective has come...and Lucifer chose FREE WILL.
Whether I believe in Lucifer or not is unimportant...only the symbolism here to help see the relationship of the meanings of both Light and Shadow...neither one more important than the other....both necessary to the True meaning of the Hanged Man card.
Which side are you? Do you submit to what others tell you is right...or do you find you listen to what your heart tells you? You may have more in common with this card than you previously thought ! Cheers !
Eric "MoonLightTrucker"
“Esoterically, the Hanged Man is the human spirit which is suspended from heaven by a single thread. Wisdom, not death, is reward for this voluntary sacrifice during which the human soul, suspended above the world of illusion, and meditating upon its unreality, is rewarded by the achievement of self-realization.” – Manly P. Hall, The Secret Teachings of All Ages.
In the Tarot with the twelfth (12th) card called ‘The Hanged Man”or in French, “Le Pendu.” The Hanged Man (XII) is the twelfth trump or Major Arcana card in most traditional Tarot decks.
This card portrays a young man hanging upside down by his left leg from a horizontal beam, the latter supported by two tree trunks from each of which six branches have been removed. The right leg of the youth is crossed in back of the left and his arms are folded behind his back in such a way as to form a cross surmounting a downward pointing triangle. According to Elphias Levi, the Hanged Man thus forms an inverted symbol of sulphur. Elphias Levi had stated in his book, Transcendental Magic; ” It is also implied fantastically that the Roman alphabet is related to Tarot cards, but whereas the Hebrew Mem answers to the card of Death the Roman M is referred to the Hanged Man, Resh to the Judgement card but R to the Blazing Star.” Levi likens the hanged man to the legend of Prometheus, the titan who gave fire to mankind and in turn suffered the wrath of Zeus by becoming the eternal sufferer, not just by being bound to a rock, but to also have his liver fed upon by an eagle each day. the Egyptian Tarot the hanged man is hung upside down between two palm trees, which is said to signify the Sun God who dies perennially for his world. In some Tarot decks, the figure in the 12th card carries under each arm a money bag from which coins are escaping. Some people have said that this latter card is that of Judas Iscariot who is said to have gone forth and hanged himself, the money bags representing the payment he received for his crime. The Hanged Man is a form of Pittura infamante;
(Italian for “defaming portrait”; plural pitture infamanti) is a genre of defamatory painting and relief, common in Renaissance Italy. It came to be regarded as a form of art rather than effigy; the power of the genre derived from a feudal-based code of honor, where shame was one of the most significant social punishments. Common themes of pittura infamante—which were meant to be humiliating—include depicting the subject as wearing a mitre or hanging upside down, being in the presence of unclean animals such as pigs or donkeys or those deemed evil like snakes; pittura infamante would also contain captions listing the offenses of the subject.Pittura infamante could originate as more favorable depictions, only to be transformed after the subject had fallen out of favor.
*SURLY* crosscheck complete bike
BLUE LUG custom
SPEC
Frame: *SURLY* crosscheck BLUE LUG CUSTOM PAINT by COOK PAINT WORKS
Headset: *CHRIS KING* nothreadset (mango)
Wheels: *H PLUS SON* archetypex rim × *SHIMANO* 105
Tire: *GRAND BOIS*
Handle:*SALSA CYCLES* cowbell
Saddle:*BROOKS* swift
Brake&Shift Lever:*SHIMANO* 105
RD:*SHIMANO* 105
Chainkeeper:*FAIRWEATHER* chainkeeper
Brake:*PAUL* minimoto
Crankset:*WHITE INDUSTRIES* eno single speed crank (black)
*GEEKHOUSE* mudville complete bike
BLUE LUG custom
SPEC
Frame: *GEEKHOUSE* mudville BLUELUG SPECIAL
Headset:*CANE CREEK* forty (black)
Wheels: *FULCRUM* Racing 5 CX Wheels
Tire: *IRD* cross fire (blue) 700c×32c
Crankset: *WHITE INDUSTRIES* eno single speed crank (black)
Chainring:*WHITE INDUSTRIES* VBC outer chainring (black)
Pedal: *CRANK BROTHERS* candy 3 pedal (blue)
Brake&shift lever:*SHIMANO* 105
RD: *SHIMANO* 105
Brake:*CANE CREEK* scx-5 cantilever brakes
Handle: *SALSA*
Stem:*THOMSON* elite x2 stem (black)
Seat post: *THOMSON* elite seatpost (black)
Saddle:*FIZIK* arione saddle (blue)
*SURLY* krampus complete bike
BLUE LUG custom
SPEC
Frame: *SURLY* krampus BLUE LUG CUSTOM PAINT by COOK PAINT WORKS
Headset: *CHRIS KING* inset7 (black)
Wheels: *SURLY* rabbit hole × *CHRIS KING* classic hub (black)
Tire: *SURLY* knard
Brake lever:*PAUL* love lever (black)
Crankset: *SHIMANO* zee crankset
Bottom Bracket:*CHRIS KING*
Shifter:*SHIMANO* xt
RD:*SHIMANO* xt
Saddle: *WTB* volt
Brake: *AVID* bb7
Handle: *SALSA CYCLES* pro moto2 bar
Stem: *THOMSON* x4 stem (black)
Seatpost: *THOMSON* elite seatpost (black)
Chainkeeper: *PAUL* chain keeper
*SURLY* crosscheck complete bike
BLUE LUG custom
SPEC
Frame: *SURLY* crosscheck BLUE LUG CUSTOM PAINT by COOK PAINT WORKS
Headset:*CHRIS KING* nothreadset (green)
Wheels: *H PLUS SON* the box rim × *PHILWOOD*
Tire:*FAIRWEATHER* for traveler tire (rust)
Saddle:*BROOKS* b17 standard (honey)
Brake:*SHIMANO*
Stem:*RITCHEY* classic 4axis stem
Front Basket:*WALD* front basket small (silver)
Front Rack:*NITTO*
Brake lever:*PAUL* love lever
Pedal:*MKS* BM-7
Crankset:*FAIRWEATHER* CX crankset (matt silver)
Rearruck:*PLANET BIKE*
Seatpost:*THOMSON* elite seatpost
*SURLY* neck romancer pug complete bike
BLUE LUG custom
SPEC
Frame: *SURLY* neck romancer pug BLUE LUG CUSTOM PAINT by COOK PAINT WORKS
Fender: *PDW* dave's mud shovel
Stem: *EASTON* ea50
Wheels: *HOPE* evo2 × *SURLY* rolling darryl
Tire: *SURLY* nate 3.8
Brake lever:*AVID*
Sifter: *MICROSHIFT*
FD&RD: *SHIMANO* deore
Headset:*CANE CREEK* 40
Brake: *AVID* bb7
Handle: *RITCHEY* wcs riser bar (wet white)
Grip: *RITCHEY*
Saddle: *WTB* silverado (white)
Completed Snow Hill Public Realm on Colmore Row.
I caught an X8 NXWM Platinum bus from Sheepcote Street in the Westside BID to Colmore Row in the Colmore BID.
For these views of the Snow Hill Public Realm.
Built during 2021, it was a bit late getting to completion.
I think they may also extend it beyond the Grand Hotel, at least as far as 103 Colmore Row.
*REW10WORKS* complete bike
BLUE LUG custom
SPEC
Frame: *REW10WORKS*
Wheels: *VELOCITY* aerohead rim × *SHIMANO*
Tire: *SCHWALBE* marathon supreme tire
Shifter: *DIA-COMPE*
RD: *SHIMANO*
Crankset:*WHITE INDUSTRIES* eno single speed crank (silver)
Pedal:*MKS* lambda
stem: *NITTO* ui-2
Handle:*NITTO* b352 all rounder bar (silver)
Brake:*PAUL* racer brake
Brake Levers:*AVID
Seatpost:*THOMSON* masterpiece setback seatpost (silver)
Saddle: *BROOKS* b17
Racks:*NITTO* campee
Photography: Andréia + Nathalia Takeuchi
Model: Amanda Fiore @ Ford Models Brasil
Stylist: Marcela Baldissera | Styling | Tendências | Conceito
MUA: Jean Michel Battirola
A delicious blend of triangles from my Fat Quarter Shop bundle and a few extra fabrics including some hoarded AMH fabrics. Made and completed for my husband for Father's Day 2013.
*SURLY* steamroller complete bike
BLUE LUG custom
SPEC
Frame: *SURLY* steamroller BLUE LUG CUSTOM PAINT by COOK PAINT WORKS
Headset:*CHRIS KING* nothreadset
Stem: *NITTO* ui-2 stem (black)
Handle:*FAIRWEATHER* mod174 all road bar (black)
Wheels: *H PLUS SON* archetype rim × *GRAN COMPE* small track hub
Tire: *CONTINENTAL* grandprix 4seasons
Brake lever:*TRP* rrl brake lever
Crankset: *WHITE INDUSTRIES* eno single speed crank (silver)
Saddle: *BROOKS*swift
Brake: *SHIMANO*
*SURLY* cross check complete bike
BLUE LUG custom
SPEC
Frame: *SURLY* cross check
Wheels: *ALEX RIMS* × *SHIMANO*
Tire: *PANARACER* fire cross tire (black)
RD: *SHIMANO* deore
Brake: *SHIMANO*
Handle: *SIM WORKS* get around bar (black)
Seatpost:*SALSA CYCLES* pro moto2 seatpost (black)
Grip:*AME* mountain zone grip (red)
A month ago, it was becoming an embarrassing space. Even my car was objecting to being in there! Now, I can start planning the workbenches and storage system.... and other man stuff!
On June 10, 2022 we celebrated the success of students who completed the Langara English for Academic Purposes (LEAP) program between May 2021 and April 2022. Congratulations to all our grads on your accomplishments! Photo credit: Nina LaFlamme
*SURLY* crosscheck complete bike
BLUE LUG custom
SPEC
Frame: *SURLY* crosscheck BLUE LUG CUSTOM PAINT by COOK PAINT WORKS
Wheels: *ALEX RIMS* × *SHIMANO*
Handle: *SURLY* open bar (black)
Grip:*PDW* speed metal grip (black)
Saddle:*WTB* pure V pro saddle (black)
Brak Lever:*TEKTRO* FL750 brake lever set
Brake:*TEKTRO*
FD&RD:*SHIMANO*