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*SURLY* steamroller complete bike
BLUE LUG custom
SPEC
Frame: *SURLY* steamroller BLUE LUG CUSTOM PAINT by COOK PAINT WORKS
Headset:*CHRIS KING* nothreadset 1 1/8" (pink)
Wheels:*H PLUS SON* archetype rim × *GRAN COMPE* small track hub
Tire: *PANARACER* pasela
Brake lever:*DIA-COMPE* mx122
Handle:*NITTO* rb001aa BL special (silver)
Crankset:*SUGINO* rd messenger crank
Saddle:*BROOKS* team pro (black)
*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
New modular building revealed at BrickCon 2013. Complete details on The Brothers Brick.
(Official photos shared with written permission from the LEGO Group.)
Hythe is now a large and busy town, stretching from the terminus of the Romney Hythe and Dymchurch Railway in the west (and even a little further), to the long sandy beach and coast road that lead to Sandgate and Folkestone. It also creeps west, up the downs and valleys of the North Downs. It also is the start of the Military Canal. Hythe also has a vibrant high street, with many independent shops, as well as both a Sainsbury's and Waitrose. Which speaks about the town's demographic.
It even has an industrial area, where Jools works, and a stony beach which serves as a harbour for a small fleet of fishing boats as the harbour itself silted up in antiquity.
St Leonard itself sits up on the slopes of the down, in a flattened area that was some feat in itself. The church is very large and heavily Victorianised, but well worth an hour or two of anyone's time. And it is most well known for the ossuary which lies beneath the chancel, and is open during the non-winter months.
It is some climb up from the town, up two layers of roads which run parallel with the main street, up steepish steps, past the old Hospital, now two flats call Centuries, until you come to the church, but then there are more steps up to the porch and then into the church itself. And if there hadn't already been too much climbing, there are more steps up to the chancel and side chapels.
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A large civic church, as befits one of the original Cinque Ports. Traces of the Norman building may still be seen in the blocked round-headed windows in the north wall of the nave and the excellent Norman arch at the east end of the south aisle. The chancel is thirteenth century in origin, completed by Pearson in 1886. The pulpit is a great piece of Victorian craftsmanship, designed by George Edmund Street in 1876. The three-light stained glass in the east window is by Wallace Wood and dates from 1951. There are Royal Arms of the reign of William and Mary. The chancel has a triforium gallery, an unexpected find in a parish church. A circular staircase runs from the north-west corner linking the triforium, rood loft and roof. Under the chancel is an interesting processional passage, open to the public during the summer, which contains hundreds of skulls collected from the churchyard during clearances. In the churchyard is the grave of Lionel Lukin, who obtained a patent for his invention - the lifeboat - in 1785.
www.kentchurches.info/church.asp?p=Hythe
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lthough it is now difficult to imagine, Hythe's rise and development stems from its former role as a busy Channel port.
St Leonard's stands far from the sea today, but when the first Norman church was built, in c.1080, the high Street formed the quayside of the Cinque Port of Hythe.
The earliest known reference to a church in the town is found in the contemporary Doomesday Monarchum. Some writers believe that the north transept, now called St Edmund's Chapel, may have then incorporated a Saxon place of worship; a Saxon-style arch is still plainly visible.
In medieval times St Leonard's was described as "Hethe Chapel" despite possessing a magnificence which other Kentish folk would have envied.
Successive Archbishops of Canterbury held a large estate at Saltwood near Hythe and are believed to have been responsible for the enlargement of the church in c.1120, probably using some of the craftsmen who built the cathedral in Canterbury.
Aisles and transepts were added and a new, more elaborate choir with small apse was fashioned. Entry was through a west door where the interior tower wall still stands. Many Norman features can still be seen; the arches in the south aisle and in the choir vestry, as well as the remains of two windows above the north aisle.
By c.1220 fashions in architectural style had changed. With a growing number of pilgrims visiting the church, further enlargements were carried out. Perhaps in an attempt to build a mini-Canterbury Cathedral, and certainly with that inspiration, the civic pride of the townsfolk gave birth to the present church.
The ambitious project was launched when Hythe was at the height of its prosperity, and the magnificent chancel and ambulatory beneath ( now incorrectly known as the crypt ) are the result.
The only reason we can still see the remains of the previous churches is that the town's prosperity later waned and the plan could not be fully carried out.
Some improvements were made in the 14th Century, notably the building of the tower and the porch with a room above to house the parish priest, but these were on a less lavish scale than before.
During the Reformation the rich decoration which filled the church was stripped away. Wall paintings, rood screen and statues were destroyed, alters removed and pews added for the first time.
Throughout the 16th and 17th centuries the interior would have appeared remarkably plain. Only the iron "Armada" chest which used to contain the parish registers survives as a tangible reminder of the period.
The west tower of the medieval church collapsed in 1739; possibly it had finally succumbed to weakness created by a severe earthquake of 1580. The ferocity of the tremors was reported to have made the church bells ring and caused dangerous cracks in nearby Saltwood Castle.
A newspaper reported: "We learn from Hythe that on Thursday morning last, about eleven o'clock, the steeple of their church fell down, and that they have been busy digging out the bells, being six in number. About ten persons were present when it fell, waiting for keys in the church porch to go up the steeple for a view. But some delay being made in bringing them, they all happily saved their lives, and no other damage than being terribly frightened.
The tower was subsequently reconstructed in 1750, using the old materials, with the south transept being rebuilt the following year, largely through the generosity of the Deedes family, many of whose ancestors are buried there.
There was a clock in the tower before 1413, although the present instrument dates from 1901.
A peal of at least five bells is recorded before the 1480s. Subsequently there were normally eight, two bells being added in 1993 to make the full peal of ten.
In the 18th century the nave was surrounded by galleries to provide enough seating for the town's growing population. Poorer people sat up there while the best pews below were ' rented out ' to wealthier worshippers.
In 1751 the Deedes family rented one such pew for themselves and four more for their servants.
The mayor and the town corporation had their own pews at the front. Present councillors still sit at the front, in the pews with carved poppy-heads.
urial vaults were made outside the church in the later 18th and early 19th cenuries.
In 1875 and 1887 restorations to the church were carried out at a cost of £10,000. Two of the finest
Victorian architects, George Street and John Pearson, were employed. Street designed the Law Courts
in the Strand.
At St Leonard's the two men successfully completed many of the features which the original medieval craftsmen had intended to incorporate before the funds dried up. The vaulting to the chancel and aisle roofs was completed in 1887, albeit five centuries overdue. The present barrel-shaped roof in the nave dates from 1875. The pulpit with its fine Venetian mosaic work, composed of 20,000 pieces, is of the same date.
Many of the fittings introduced at that time were in keeping with the medieval devotional life of the church. Amongst these is an especially fine marble reredos which originally stood behind the alter, but is now situated in the south choir aisle. This is a masterpiece of artistic work, given by a former curate in memory of his wife. There is a Pre-Raphaelite touch in the depiction of the angels, and its deep swirling lines give it an almost sultry appearance. It was carved from a single piece of carrera marble in 1881 by Henry Armstead to the designs of George Street. It was moved to its present position in 1938.
Two features in the church bring the visitor abruptly into the 20th century. In the south aisle a remarkable stained-glass window commemorates 2nd Lieutenant Robert Hildyard who was killed, with over a million others, on the Somme in 1916. The window has a dreamy, surreal effect, and is a fine example of the art nouveau style.
The present fine organ built in 1936 by Harrison & Harrison, is the latest in a long line dating back to the 15th century.
Most visitors are impressed by the main east window which shows Christ, surrounded by angels, ascending to heaven. The Victorian glass which once occupied the space was destroyed in 1940 when a german bomb struck the ground at the east end of the church causing extensive damage.
The present east window was dedicated in 1951 and reflects the long-term role played by the town of Hythe in the front line of England's defence. A Cinque Port ship can be seen in the panel at the bottom left, and an anti-aircraft gun and searchlights in the right-hand panel.
The only structural alteration to the church in the 20th century was the building of the choir vestry on the north side in 1959, enclosing the fine Norman arch of the second church.
St Leonard's maintains a strong musical heritage with concerts and recitals being held regularly in the church. The worship continues to be enriched by a strong choral tradition which stretches back several centuries. The church building is continuously being developed and restored through the fundraising efforts of the parishioners.
St Leonard's church remains passionately committed to discovering God wherever he might be encountered in the word, in sacraments, in the beauty of this place and in the love shared between its parishioners.
New approaches and styles of worship, as well as the traditional forms of service, all seek to deepen further the spiritual health and maturity of the faithful, who keep returning, time and time again, to seek God in a holy place.
www.stleonardschurchhythekent.org/stlh.html
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THE parish of Hythe, at this time within the liberty of the Cinque Ports, and the corporation of the town of Hythe was antiently, with part of the parish of West Hythe, within an hundred of its own name.
It is called in some antient records, Hethe; in Domesday, Hede; and according to Leland, in Latin, Portus Hithinus; Hithe signifying in the Saxon, a harbour or haven. (fn. 1) In the year 1036, Halden, or Half den, as he is sometimes, and perhaps more properly written, one of the Saxon thanes, gave Hethe and Saltwood, to Christ-church, in Canterbury. After which they appear to have been held of the archbishop by knight's service, by earl Godwin; (fn. 2) and after the Norman conquest, in like manner by Hugo de Montfort, one of those who had accompanied William the Conqueror hither, at which time it was accounted only as a borough appurtenant to the manor of Saltwood, as appears by the book of Domesday, taken in the year 1080, where, under the title of lands held of the archbishop by knight's service, at the latter end of the description of that manor, it is said:
To this manor (viz. Saltwood) belong two hundred and twenty-five burgesses in the borough of Hede Between the borough and the manor, in the time of king Edward the Confessor, it was worth sixteen pounds, when he received it eight pounds, and now in the whole twenty-nine pounds and six shillings and four-pence .
Besides which, there appears in the description of the archbishop's manor of Liminge, in the same record, to have been six burgesses in Hede belonging to that manor. Hythe being thus appurtenant to Saltwood, was within the bailiwick of the archbishop, who annually appointed a bailiff, to act jointly for the government of this town and liberty, which seems to have been made a principal cinque port by the Conqueror, on the decay and in the room of the still more antient port of West Hythe, before which it had always been accounted within the liberty of those ports, which had been enfranchised with several privileges and customs, though of what antiquity they were, or when first enfranchised, has not been as yet, with any certainty, discovered; and therefore they are held to enjoy all their earliest liberties and privileges, as time out of mind by prescription. The quota which the port of Hythe was allotted to furnish towards the mutual armament of the ports, being five ships, and one hundred and five men, and five boys, called gromets. (fn. 3)
The archbishop continued in this manner to appoint his bailiff, who acted jointly with the jurats and commonalty of the town and port of Hythe, the senior jurat on the bench always sitting as president, till the 31st year of king Henry VIII. when the archbishop exchanged the manor of Saltwood, together with the bailiwick of Hythe, with the king for other estates elsewhere. After which a bailiff continued to be appointed yearly by the crown, till queen Elizabeth, in her 17th year, granted them a particular charter of incorporation, by the name of mayor, jurats, and commonalty of the town and port of Hythe, under which they continue to be governed at this time; and she likewise granted to the mayor and his successors, all that her bailiwick of Hythe, together with other premises here, to hold by the yearly fee farm of three pounds, by which they are held by the corporation at this time.
The liberty of the town and port of Hytheextends over the whole of this parish, and part of that of West Hythe, which indeed before the harbour of it failed, was the antient cinque port itself, and to which great part of what has been said above of the antient state of Hythe likewise relates, but not over the scite of that church. The corporation consists of a mayor and twelve jurats, of which he is one, and twenty-four common councilmen, together with two chamberlains and a town-clerk. The mayor, who is coroner by virtue of his office, is chosen, as well as the other officcers of the corporation, on Feb. 2d yearly, and, together with the jurats, who are justices within this liberty exclusive of all others, hold a court of general sessions of the peace and gaol delivery, together with a court of record, the same as at Dover; and it has other privileges, mostly the same as the other corporations within the liberties of the five ports. It has the privileges of two maces. The charters of this corporation, as well as those of the other cinque ports, were in 1685, by the king's command, surrendered up to colonel Strode, then governor of Dover castle, and were never returned again.
Hythe has no coat of arms; but the corporation seal represents an antique vessel, with one mast, two men in it, one blowing a horn; and two men lying on the yard arm.
The PRESENT TOWN OF HYTHE is supposed to owe its origin to the decay of the antient ports of Limne and West Hythe, successively, the harbours of which being rendered useless, by the withdrawing of the sea, and their being banked up with sand, occasioned this of Hythe to be frequented in their stead, and it continued a safe and commodious harbour for considerable length of time, till the same fate befel it likewise, and rendered it wholly useless; and whoever, as Lambarde truly observes, considers either the vicissitude of the sea in different places, and the alterations which in times past, and even now, it works on the coasts of this kingdom, will not be surprized that towns bordering upon the sea, and supported by traffic arising from it, are subject in a short time to decay, and become in a manner of little or no consequence; for as the water either flows or forsakes them, so they must of necessity flourish or decay, flowing and ebbing, as it were, with the sea itself. (fn. 4) Thus after the sea had retired from the town of West Hythe and its haven, the former fell to decay, and became but a small village of no resort, and the present town of Hythe, at two miles distance, to which it was continued by a number of straggling houses all along the shore between them, rose to prosperity, and its harbour became equally noted and frequented in the room of it; so that in a short time the houses and inhabitants increased here so greatly, that Leland says there was once a fair abbey in it, and four parishes and their churches, one of which was that of our Lady of Westhithe, which shews that West Hythe was once accounted a part of the town itself. But this must have been in very early times; for long before king Richard II.'s reign, I find it accounted but as one single parish. The town and harbour of Hythe were by their situation always liable to depredation from enemies; in particular, earl Godwin, when exiled, returned in 1052, and ravaging this coast, took away several vessels lying at anchor in this haven, and Romney; and in king Edward I.'s reign, anno 1293, the French shewed themselves with a great fleet before Hythe, and one of their ships, having two hundred soldiers on board, landed their men in the haven, which they had no sooner done, but the townsmen came upon them and slew every one of them; upon which the rest of the fleet hoisted sail, and made no further attempt. In the latter part of king Richard the IId.'s reign, a dreadful calamity happened to it, when more than two hundred houses of it were burnt down in one day; (fn. 5) and five of their ships were lost, and one hundred men drowned, by which misfortunes the inhabitants were so much impoverished and dispirited, that they had thoughts of abandoning the place, and building themselves a town elsewhere; but king Henry IV. by his timely interposition, prevented this, and by charter released them from their quota of shipping for several turns. The following is Leland's description of it, who wrote in king Henry VIII.'s reign, "Hythe hath bene a very great towne yn lenght and conteyned iiii paroches, that now be clene de stroied, that is to say, S. Nicholas paroche, our Lady paroche, S. Michael paroche, and our Lady of West Hithe, the which ys with yn less than half a myle of Lymne hill. And yt may be well supposed that after the haven of Lymne and the great old towne ther fayled that Hithe strayt therby encresed and was yn price. Finally to cownt fro Westhythe to the place wher the substan of the towne ys now ys ii good myles yn lenght al along on the shore to which the se cam ful sumtym, but now by banking of woose and great casting up of shyngel the se is sumtyme a quarter, dim. a myle fro the old shore. In the tyme of king Edw 2 ther were burned by casuelte xviii score houses and mo, and strayt followed a great pestilens, and thes ii thinges minished the towne. There remayn yet the ruines of the chyrches and chyrch yardes. It evidently appereth that wher the paroch chirch is now was sumtyme a fayr abbey, &c. In the top of the chirch yard is a fayr spring and therby ruines of howses of office of the abbey. The havyn is a prety rode and liith meatly strayt for passage owt of Boleyn; yt croketh yn so by the shore a long and is so bakked fro the mayne se with casting of shingil that smaul shippes may cum up a large myle towards Folkestan as in a sure gut." Though Leland calls it a pretty road, yet it then seems to have been in great measure destroyed by the sands and beach cast up on this shore, by the desertion of the sea, for he describes it as being at that time as only a small channel or gut left, which ran within shore for more than a mile eastward from Hythe towards Folkestone, that small vessels could come up it with safety; and the state of the town and trade of it in queen Elizabeth's time, may be seen by a survey made by her order in her 8th year, of the maritime parts of this county, in which it was returned, that there were here, a customer, controller, and searcher, their authority several; houses inhabited, 122; persons lacking habitation, 10; creeks and landing places two; th'on called the Haven, within the liberties; th'other called the Stade, without the liberties. It had of shipping, 17 tramellers of five tunne, seven shoters of 15; three crayers of 30, four crayers of 40; persons belonging to these crayers and other boats, for the most part occupied in fishing, 160.
Soon after this, even the small channel within land, above-mentioned, which served as the only remaining harbour, became likewise swarved up and lost, though it had the advantage of the Seabrook, and other streams, which came down from the down hills, as a back water, to keep it scowered and open; and though several attempts were from time to time afterwards made, at no small expence and trouble, to open it again, yet it never could be effected; and the abovementioned streams, for want of this channel, flow now towards the beach on the shore, and lose themselves imperceptibly among it.
The parish of Hythe, which is wholly within the liberty of the corporation, extends from the sea shore, the southern bounds of it, northward up the hill a very little way beyond the church, which is about half a mile, and from the bridge at the east end of the town westward, about half way up the hill towards Newingreen, being more than a mile and an half. The town, which contains about two hundred houses, is situated exceedingly pleasant and healthy, on the side as well as at the foot of the quarry-hill, where the principal street is, which is of a handsome breadth, and from the bridges at the extremities of it, about half a mile in length. It has been lately new paved, and otherwise much improved. The court-hall and market place are near the middle of it, the latter was built by Philip, viscount Strangford, who represented this port in parliament anno 12 Charles II. His arms those of the five ports; of Boteler; and of Amhurst, who served likewise in parliament for it, and repaired this building, are on the pillars of it. There are two good inns; and near the east end of it St. John's hospital. Higher up on the side of the hill, where the old town of Hythe is supposed once to have stood, are parallel streets, the houses of which are very pleasantly situated; several of them are handsome houses, occupied by genteel families of good account, the principal one of them has been the seat of the family of Deedes for several generations.
This family have resided at Hythe, in good estimation, for upwards of two hundred years; the first of them that I meet with being Thomas Deedes, who by Elizabeth his wife, sister of Robert Glover, esq. Somerset herald, a most learned and judicious antiquary, had one son Julius Deedes, whose youngest son Robert had a grant of arms confirmed to him, and Julius his nephew and their heirs, by Byshe, clarencieux, in 1653, Per fess, nebulee, gules and argent, three martlets, counter changed , which have been borne by the different branches of this family ever since. William, the youngest son but one, left a son William, the first who appears to have resided at Hythe. He died in 1653, and was buried in this church, which has ever since remained the burial place of this family. He had one only son Julius Deedes, esq. who was of Hythe, for which he was chosen in three several parliaments, and died in 1692, having had three sons, of whom William, the eldest, was ancestor to the Deedes's of Hythe, and of St. Stephen's, as will be mentioned hereafter; Henry, the second son, was of Hythe, gent. whose eldest son Julius, was of Hythe, esq. and died without surviving issue, upon which this seat, among the rest of his estates, came by the entail in his will, to his aunt Margaret Deedes, who dying unmarried, they came, by the same entail, to her cousin William Deedes, esq. late of Hythe, and of St. Stephen's, being descended from William, the eldest son of Julius, who died in 1692, and was a physician at Canterbury, whose son Julius was prebendary of Canterbury, and left one son William, of whom hereafter; and Dorothy, married to Sir John Filmer, bart. of East Sutton, by whom she had no issue. William Deedes, esq. the only surviving son before-mentioned, of Hythe and St. Stephen's, possessed this seat at Hythe, with several other estates in this neighbourhood, by the above entail. He married Mary, daughter of Thomas Bramston, esq. of Skreens, in Essex, and died in 1793, leaving surviving two sons, William, of whom hereafter; John, who married Sophia, daughter of Gen. Forbes, and one daughter Mary, unmarried. William Deedes, esq. the eldest son, is now of Hythe, and married Sophia, second daughter of Sir Brook Bridges, bart. by whom he has two sons and three daughters.
Further westward is St. Bartholomew's hospital. Opposite Mr. Deedes's house, but still higher up, with a steep ascent, is the church, the hill reaching much above it northward. On the upper part of this hill, are several springs, which gush out of the rock, and run into the streams which flow at each end of the town. All the houses situated on the side of the hill, have an uninterrupted view of the sea southward, Romney Marsh, and the adjoining country. The houses throughout it are mostly modern built, and the whole has a neat and chearful appearance. There is a boarding-school kept in the town for young ladies, and on the beach there are bathing machines for the accommodation of invalids. There was formerly a market on a Saturday, which has been long since discontinued, though the farmers have for some time held a meeting here on a Thursday, for the purpose of selling their corn; and two fairs yearly, formerly held on the seasts of St. Peter and St. Edmund the King, now, on July 10th and December 1st, for horses and cattle, very few of which are brought, and shoes and pedlary.
¶ Here is a small fort, of six guns, for the protection of the town and fishery, which till lately belonged to the town, of which it was bought by government, but now rendered useless, by its distance from the sea, from the land continuing to gain upon it; the guns have therefore been taken out. Soon after the commencement of the war, three new forts, of eight guns each, were erected, at the distance of a mile from each other, viz. Twis, Sutherland, and Moncrief; they contain barracks for 100 men each. Every summer during the present war a park of royal artillery has been established on the beech between the forts and the town, for the practice of guns and mortars; and here is a branch of the customs, subordinate to the out port of Dover. This town is watered by two streams; one at the east end of it, being the boundary between this parish and Newington; and the other at the west end, called the Slabrooke, which comes from Saltwood, and runs from hence, by a channel lately made for that purpose, into the sea, which has now left this town somewhat more than half a mile, much the same distance as in Leland's time, the intermediate space being entirely beach and shingle-stones, (the great bank of which lines this shore for upwards of two miles in length) on which, at places, several houses and buildings have been erected, and some parts have been inclosed, with much expence, and made pasture ground of, part of which is claimed by different persons, and the rest by the corporation as their property.
The CINQUE PORTS, as well as their two antient towns of Rye and Winchelsea, have each of them the privilege of returning members, usually stiled barons to parliament; the first returns of which, that are mentioned for any of them, are in the 42d year of king Edward III.
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BLUE LUG custom
SPEC
Frame: *CIELO* mountain bike (gray)
Fork: *FOX* F29
Wheels: *STAN'S NOTUBES* flow 29er rim × *CHRIS KING* ISO disk hub
Tire: *SCHWALBE* racing ralph
Crankset: *SRAM* X0 crank (black)
Pedal: *CRANK BROTHERS* mallet 2 pedal (silver)
Shifter: *SRAM* X0
FD&RD: *SRAM X0*
Bottom Bracket: *CHRIS KING*
Brake:*AVID* ELIXIR CR
Headset:*CHRIS KING* inset 1 (navy)
Stem: *3T* arx pro
Handle: *3T* extendo
Grip: *ERGON* gx1
Seatpost: *KENT ERIKSEN* titanium seatpost (straight/blue)
Saddle: *FIZIK* gobi xm muzzle saddle (black)
Thousands of people turned out for Eid prayer this morning at some 270 mosques and prayer grounds across Qatar, including the Sheikhs’ Mosque in Musheireb.
The Temple of Dendur
•Period: Roman Period
•Reign: reign of Augustus Caesar
•Date: completed by 10 B.C.
•Geography: From Egypt, Nubia, Dendur, West bank of the Nile River, 50 miles South of Aswan
•Medium: Aeolian sandstone
•Dimensions:
oTemple Proper:
Height: 6.40 m (21 ft.)
Width: 6.40 m (21 ft.)
Length: 12.50 m (41 ft.)
oGate:
Height: 8.08 m (26.5 ft.)
Width: 3.66 m (12 ft.)
Depth: 3.35 m (11 ft.)
•Credit Line: Given to the United States by Egypt in 1965, awarded to The Metropolitan Museum of Art in 1967, and installed in The Sackler Wing in 1978
•Accession Number: 68.154
On view at The Met Fifth Avenue in Gallery 131.
Egyptian temples were not simply houses for a cult image but also represented, in their design and decoration, a variety of religious and mythological concepts. One important symbolic aspect was based on the understanding of the temple as an image of the natural world as the Egyptians knew it. Lining the temple base are carvings of papyrus and lotus plants that seem to grow from water, symbolized by figures of the Nile god Hapy. The two columns on the porch rise toward the sky like tall bundles of papyrus stalks with lotus blossoms bound with them. Above the gate and temple entrance are images of the sun disk flanked by the outspread wings of Horus, the sky god. The sky is also represented by the vultures, wings outspread, that appear on the ceiling of the entrance porch.
On the outer walls between earth and sky are carved scenes of the king making offerings to deities who hold scepters and the ankh, the symbol of life. The figures are carved in sunk relief. In the brilliant Egyptian sunlight, shadows cast along the figures’ edges would have emphasized their outlines. Isis, Osiris, their son Horus, and the other deities are identified by their crowns and the inscriptions beside their figures. These scenes are repeated in two horizontal registers. The king is identified by his regalia and by his names, which appear close to his head in elongated oval shapes called cartouches; many of the cartouches simply read “pharaoh.” This king was actually Caesar Augustus of Rome, who, as ruler of Egypt, had himself depicted in the traditional regalia of the pharaoh. Augustus had many temples erected in Egyptian style, honoring Egyptian deities. This small temple, built about 15 B.C., honored the goddess Isis and, beside her, Pedesi and Pihor, deified sons of a local Nubian chieftain.
In the first room of the temple, reliefs again show the “pharaoh” praying and offering to the gods, but the relief here is raised from the background so that the figures can be seen easily in the more indirect light. From this room one can look into the temple past the middle room used for offering ceremonies and into the sanctuary of the goddess Isis. The only carvings in these two rooms are around the door frame leading into the sanctuary and on the back wall of the sanctuary, where a relief depicts Pihor worshiping Isis, and below—partly destroyed—Pedesi worshiping Osiris.
Curatorial Interpretation
History
After the conquest of Egypt in 31 B.C., Augustus confiscated the property of Egyptian temples and centralized their administration. As a kind of compensation, he commissioned at least 17 building projects for local gods, including the small Isis-temple of Dendur (ancient Tutzis) in Lower Nubia. No date for the temple’s construction is recorded except that the cartouches include the name of the “Autokrator Kaisaros,” that is Augustus. But one assumes reasonably that it was built during the peaceful years following the Roman-Kushite wars of 25-22 B.C., which had ended with the treaty of Samos of the year 21 B.C.
The dates 20 or 15 B.C. are usually given. Since Augustus only died in 14 A.D., a later date can not be ruled out. There is also no evidence for the Roman prefect who may have commissioned the building. The three possible candidates are:
•Gaius Petronius or Publius Petronius: 24 B.C. - 21 B.C. (who destroyed Napata)
•Publius Rubrius Barbarus: to 12 B.C.
•Gaius Turranius: 7 B.C. - 4 B.C.
A detailed Coptic inscription states that in 577 (or 559?) A.D. the temple was converted into a Christian church. Since 1820, the temple has been a favorite travel destination for explorers and artists, who produced numerous depictions and early photographs of the temple. Graffiti on the pronaos walls recall their visits.
The first Aswan dam brought the water 3 m below the doorsill of the temple. In 1908, conservation work was carried out in preparation for a seasonal flooding of the building. The building was completely drowned annually by the two raisings of the first Aswan dam, in 1907-12 and 1929-33. Remains of the wall paint were washed away but the walls remained structurally unharmed. Lake Nasser, created in 1970 by the building of the Aswan High Dam, would have submerged the temple forever. In 1962, the gate and temple were therefore documented and taken down as part of the Nubian salvage campaign. In recognition of the American contribution to the campaign, the gate and temple were presented to the United States in 1965.
Thanks to the initiative of Henry Fischer and Thomas Hoving, the temple was awarded to the Metropolitan Museum and in 1974/75 rebuilt in the newly created Sackler wing designed by Kevin Roche (born 1922) and John Dinkeloo (1918-81). The architects were faced with the problem that the temple was not free standing but built into a sloping rock surface, a landscape that was not desired by the Museum. The temple therefore had to be squeezed into the shape of a freestanding building, presented on a granite stage. The material chosen (red granite and “mason granite”) reflects with its shiny, polished surfaces the architect’s imagination of imperial-style pharaonic architecture. The stepped planes in front and around the temple house are modern creations that do not follow the original arrangement. These alterations, implemented for practical reasons, are quite appealing for the visitor but not hold up against modern conservation standards. The opening was celebrated on September 27, 1978.
Description
a)Cult Terrace
The temple towered impressively over the water of the Nile, visually supported by a 3.5 m high, 15 m broad and 16 m deep terrace (much higher than the reconstruction in the Museum). The front of the terrace had no opening but a front curving inward, probably better to withstand the torrent of the Nile. Similar terraces are known at Elephantine, Philae, Qasr Ibrim, Kalabsha, Ajuala and Dabod (see Jaritz 1980, pls. 48-49). The waterfront and the sides were closed with low parapet walls, which were underpinned by a heavy, protruding ledge. The re-creation in the Museum is made of granite because the original sandstone would not have withstood the museum’s traffic. The granite parapet wall designed by Roche-Dinkeloo consisted originally of two courses of blocks. The upper course was removed in 1995 in order to improve the vista on the temple terrace.
b)Temple Enclosure and Gate
The temple enclosure (temenos) rose on top of a 90 cm high step above the rear (west) side of the terrace. A monumental gate in the center formed the east front of the temenos.
The gate was for unknown reasons not exactly aligned with the temple-house behind. The visible parts of the gate are decorated with relief. The gate is 6.50 m high (including the cavetto), the doorway is 1.60 m wide and 4.35 m (from the court level). A staircase of 5 steps leads from the gate down onto the cult terrace.
The rough outer sidewalls of the gate suggest that it was incorporated in a massive wall or pylon built of brick or stone, closing off the Nile front of the temenos. Apparently no traces of a pylon were noticed at the site and it could well be that it was never built. However, the existence of a pylon is implied in the Museum’s reconstruction by a layer of irregular stones.
One would expect that high walls running east-west from the pylon to the mountain slope behind would have enclosed the sides of the temenos. Blackman’s plan shows the remains of these walls, but they no longer appear on Ashiri’s plan of 1972. In the Museum reconstruction, the parapet walls flanking the front platform suggest a continuation backwards in the direction of the cliffs.
The interior floor of the temenos was never completely level and the rock surface began to slope up beginning at the pronaos. The irregular lower edge of the exterior reliefs of the temple walls indicate the inclination of the slope. The center of the east court was treated differently. There, the gate and temple were connected by a 7 m broad walkway, made of masonry and rising 50 cm above the rough court level. This walkway is clearly visible on an old photo of the site. However, the photo was taken after modern consolidation of the temple and how much of it was modern is not recorded.
A door in the lateral south wall is shown on Blackman’s plan. Perhaps another one opened in the north side. However, there was no processional approach from the riverside because the cult terrace blocked an axial approach.
c)Temple House
The temple was primarily dedicated to Isis, mistress of Philae, who was the patron saint of Lower Nubia, an area known as the Dodekaschoinos. Attached was the cult of two brothers, Pedesi and Pihor, the sons of a local Nubian chieftain Quper. They carry the title hesy, which is normally bestowed on people drowned in the Nile. One assumes that Quper and his sons had earned merit in the Meroitic wars of the Romans.
The actual temple house represents a distyle in antis, with two quatrefoil column capitals in the front opening. This temple type was common in Ptolemaic times (as seen for example in tomb chapels at Tuna el-Gebel and Dakka) with several larger variations that include a wider pronaos with more front columns. The temple house is ca. 13 m long, 6.5 m wide and 5 m high (to the roof) and includes 3 consecutive rooms: entrance hall or pronaos; offering hall; and sanctuary. Depictions from the 19th century suggest that the cavetto cornice of the temple house was still largely in place around 1839. Today, only one block is left.
The entrance hall or pronaos has an open front with two 3.95 m high columns (including the abacus) columns carrying the architraves. The columns have quatrefoil papyrus capitals with a four-story lily decoration. The lateral interspaces were closed with screen walls.
The pronaos has a small side door in the southwest corner. This door was part of the temple structure and is incorporated into the decoration of the walls. Another, smaller side door in the northeast corner was cut through the existing building, damaging the wall reliefs. Both doors suggest that the access from the front of the pronaos was not always possible.
A large room follows behind, assumed to have been the offering hall. Except for the door in the rear wall, the room is undecorated, and was apparently unfinished.
The walls of the sanctuary are also undecorated except for a stela-like panel in the center of the rear wall. Its decoration depicts Pihor worshiping Isis, and below – partly destroyed – Pedesi worshiping Osiris. The floor and lowermost part of the rear and sidewalls are carved from the rock.
All the rest of the interior and exterior is covered with relief, showing the “pharaoh” (“kaisaros autokrator”) praying and offering to the gods.
d)Rock Chamber
In the cliff behind the temple was a small rock chamber with a basin in the floor. In front was a court with a kind of tiny pylon. One assumes that this was the tomb of the two brothers and perhaps the predecessor of the temple. The entrance was behind the stela of Pedesi and Pihor.
The 1.65 m thick rear wall of the temple-house includes a built-in secret chamber accessed from the south end through a door closed with a thin, removable block. This crypt has been explained as the tomb of one of the brothers or as a hiding place for a priest giving oracles through a hole in the wall. The crypt could also have been a hiding place for liturgical equipment.
e)Evaluation
The Dendur temple is comparatively small but impressive and a major example of Roman architecture based on the Ptolemaic building tradition in Egypt. The temple demonstrates an important aspect of Egyptian architecture. The modern viewer is impressed by the monumental gate or pylon forming the front of the temple. However, the gate of temples like that of Dendur cannot be reached by a frontal, axial approach. The access is blocked by a cult terrace (for example the first pylon of Karnak or the pylon of Medinet Habu). These pylons/gates were not intended as entrances but as exits, monumental stages where the god (in the form of a cult figure) emerges from the interior and performs his/her appearance at the “gates of appearances.” From the gate of the Dendur temple, the divinity descended onto the cult terrace, were it reposed and viewed the Nile and the realm. Jaritz (1980, pp. 61-654) has shown that the cult terrace of the Khnum temple on Elephantine also was the gathering place for cult communities who celebrated repasts with the divinity.
Dieter Arnold 2016
Provenance
Given to the United States by the Egyptian Government, 1965. Awarded to the Museum by the U.S. Government, 1967.
Selected References
•Gau, Francois Chretien 1822. Antiquités de la Nubie : ou, Monumens inédits des bords du Nil, situés entre la première et la seconde cataracte, dessinés et mesurés en 1819. Stuttgart, pl. 23-5.
•Rifaud, Jean-Jacques 1830. Voyage en Égypte, en Nubie et lieux circonvoisins depuis 1805 jusqu’en 1827. Paris: Crapelet, pp. 27-8.
•Blackman, Aylward M. 1911. The temple of Dendûr. Cairo: Imprimerie de l’Institut Français d’Archeologie Orientale.
•Monnet-Saleh, Janine 1969. “Observations sur le temple de Dendour.” In Bulletin de l’Institut Français d’Archéologie Orientale, 68, pp. 1–13.
•El-Achiri, Hassan, M. Aly, F.-A. Hamid, and Ch. LeBlanc 1972. Le temple de Dandour, 1-3. Collection scientifique (Markaz Tasjīl al-Āthār al-Miṣrīyah), Cairo.
•Jaritz, Horst 1980. Elephantine III : Die Terrassen vor den Tempeln des Chnum und der Satet : Architektur und Deutung. Mainz am Rhein: Zabern.
•Bagnall, Roger 1985. “Publius Petronius, Augustan Prefect of Egypt.” In Papyrology. Cambridge and New York: Cambridge University Press, pp. 85-93.
•Bianchi, Robert Steven 1998. “The Oracle at the Temple of Dendur.” In Egyptian Religion. The Last Thousand Years. Studies Dedicated to the Memory of Jan Quaegebeur, 85, pp. 773-80.
•Arnold, Dieter 1999. Temples of the Last Pharaohs. New York and Oxford: Oxford University Press, pp. 244-46.
•Hill, Marsha 2000. “Roman Egypt.” In The Year One: Art of the Ancient World East and West, edited by Elizabeth J. Milleker. New Haven: Metropolitan Museum of Art, pp. 84-5, figs. 62-63, p. 207.
•Metropolitan Museum of Art 2012. The Metropolitan Museum of Art Guide. New Haven, CT: Yale University Press, p. 58.
•Metropolitan Museum of Art 2012. The Metropolitan Museum of Art Guide. New York and New Haven, Connecticut: Yale University Press, p. 58.
Timeline of Art History (2000-Present)
Timelines
•Egypt, 1-500A.D.
MetPublications
•The Art of Ancient Egypt: A Resource for Educators
•“Dendur: The Six-Hundred-Forty-Third Stone”: Metropolitan Museum Journal, v. 33 (1998)
•Masterpieces of The Metropolitan Museum of Art
•Masterpieces of The Metropolitan Museum of Art
•The Metropolitan Museum of Art Guide
•The Metropolitan Museum of Art Guide
•The Metropolitan Museum of Art Guide (Arabic)
•The Metropolitan Museum of Art Guide (Chinese)
•The Metropolitan Museum of Art Guide (French)
•The Metropolitan Museum of Art Guide (German)
•The Metropolitan Museum of Art Guide (Italian)
•The Metropolitan Museum of Art Guide (Japanese)
•The Metropolitan Museum of Art Guide (Korean)
•The Metropolitan Museum of Art Guide (Portuguese)
•The Metropolitan Museum of Art Guide (Russian)
•The Metropolitan Museum of Art Guide (Spanish)
•The Metropolitan Museum of Art. Vol. 1, Egypt and the Ancient Near East
•One Met. Many Worlds.
•“The Temple of Dendur”: The Metropolitan Museum of Art Bulletin, v. 36, no. 1 (Summer, 1978)
•The Year One: Art of the Ancient World East and West
*SURLY* disk trucker complete bike
BLUE LUG custom
SPEC
Frame: *SURLY* disc trucker BLUE LUG CUSTOM PAINT by COOK PAINT WORKS
Wheels:*SURLY* rabbit hole rim (black) × *SHIMANO*
Tire: *SURLY* knard 29er+ tire (black)
Shifter: *MICRO SHIFT*
FD&RD: *SHIMANO* deore
Crankset:*SURLY* O.D. crankset
stem: *NITTO* ui-2 (black)
Handle:*SIM WORKS* calsaga bar (black)
Brake:*AVID* bb7 disk brake
Brake Levers:*AVID*
Racks:*SURLY* nice rack
My favorite so far, "Little Waif" - complete OOAK thematic set for Sprocket dolls by Connie Lowe.
This time I chose to use only finest materials in each and every item of the outfit.
The *romper* and the *hat* are knitted from softest organic cotton thread and assembled "wrong side" out. The legs of the romper are in mismatched length and the longer leg has natural suede patch on the knee. The romper closes with two coconut buttons, also mismatched in size.
A pair of boots is made of genuine leather in beautiful very dark olive color. They are higher than usual and can be folded or unfolded, and this way they fit mismatched length of romper legs. One of the boots adorned with a funny charm depicting homeless cat catching a mouse.
A duffle bag is sewn of softest natural suede (like the patch on the romper) and is totally functional. It can contain little felted bunny that completes the set.
The bunny - little waif's loyal companion - is felted by me from natural wool in wonderful woodsy colors. I tried to give him a peculiar look of a toy that could be found in the street - old, "damaged"... Someone's lost and very dear friend.
No available on Ets*
(Please see link in my Profile)
The accompanying image was taken on the 17th February, 2020 and remains to be published, along with more material from that date, in the next few days.
The 1st of the two Archive Sites is now complete and all the material, 995 pictures, are below. These date from 10th May, 2011 up until and including the 1st of June 2016. Archive 2 will now be populated with the remainder of the recently deleted images, from 3rd June 2016 up until and including 9th April, 2018, and this should be ready within a week or so.
Image Archive 1, 10/5/2011 - 1/6/2016. is at-
Image Archive 2, 3/6/2016 - 9/4/2018, is at-
the latter one only contains a single image at present.
The normal Flickr site, 'Views in Camera',
www.flickr.com/photos/daohaiku
currently contains all the important stuff, 990 pictures, and that will now remain in tact, with the 'best' pictures and videos from 2011 until the end of December, 2019 with all the attendant comments, albums, groups and view numbers. This new site here, 'Views in Camera 2020', will now be home to pictures and videos, taken from January 1st this year and, to that end, I have uploaded this years 27 images/videos, from the old site, 'Views in Camera', to this new one, to get things going. A link has been placed on the 'Views in Camera' site, in the description of what's going on, beneath the most recent image, indicating these changes... I hope this isn't all too much of an imposition, but I have taken this opportunity of change, to sort out what was a hugely burgeoning set of material and try and bring some order to it all, partly prompted by the recent price hike in the Pro membership...
As mentioned in the earlier picture, see link above, the solution to the image limit here can be addressed by posting one or two pictures here, from what I consider a set when I go out shooting stuff, the main picture(s) will appear here and the support images will be available on my own website,
just the supporting images will be there, titled again after removing this some months ago as an inconvenience, they will be put back as there will be no other identification available, just the supporting images. The links for them will be here in the text narrative for the main image(s) and there will be only one narrative piece for the set of images, unlike earlier pictures here where the text has varied from one shot to another, to cover differences in what's visible. Although some, including to some extent myself, don't like the mosaic method of presenting more than one picture with, occasionally here, a 3x3, 4x4 or even 5x5, option being used, it does mean that Flickr classes this as one picture or so will still be used from time-to-time...
The link to the new site is-
www.flickr.com/photos/VinC2020
and this will be the Flickr presence I will now use to upload pictures, for a while this will not contain too many links to the
site, which is being used for 'overflow', when a handful of shots or taken but with only 1 main subject, this will keep under control, filling out this site with material amounting to around 4 out of 5 not really pertinent to the main subject; something in the past I have been guilty of not taking too much heed over! In fact, since 2011, I have taken just under 50,000 shots and only 5,450 of those have found their way onto the 'Views in Camera' site.
From today, I hope to start the large Archive picture up-load but it will take some time, around 5-6hours, (WRONG, actually 22 hours for the 1st one, that's about 1m 30s per picture!), for each Archive as the pictures have to be re-built with names, text, tags and the album to which they belong; all comments and number of views will, sadly, be lost.
When we're incomplete, we're always searching for somebody to complete us. When, after a few years or a few months of a relationship , we find that we're still unfulfilled, we blame our partners and take up with somebody more promising. This can go on and on -- series polygamy -- untill we admit that while a partner can add sweet dimensions to our lives, we, each of us, are responsible for our own fulfillment. Nobody else can provide it for us, and to believe otherwise is to delude ourselves dangerously and to program for eventual failure every relationship we enter.
~ Tom Robbins from Still Life with Woodpecker
please see the full set
Before applying Boeing Brown paint, I sprayed each component with filler primer and thoroughly sanded with 400 grit sandpaper. I'm exceptionally happy with the map pocket; As I hoped, you can't see the individual layers that compose it.
*SURLY* steamroller complete bike
BLUE LUG custom
SPEC
Frame: *SURLY* steamroller chrome plated
Headset:*CHRIS KING* nothreadset
Stem: *FAIRWEATHER* ui-7 stem (silver)
Handle:*NITTO* rb001aa BL special (silver)
Wheels: *H PLUS SON* archetype rim × *GRAN COMPE* small track hub
Tire: *FAIRWEATHER* for traveler tire (black/skin)
Brake lever:*DIA-COMPE* dc-139 brake lever (silver)
Crankset: *SUGINO* rd messenger crankset
Saddle: *SELLE SAN MARCO* zoncolan urban saddle (rino leather)
Seatpost:*NITTO* s65
Brake: *DIA-COMPE* brs101
*SURLY* troll complete bike
BLUE LUG custom
SPEC
Frame: *SURLY* troll BLUE LUG CUSTOM PAINT by COOK PAINT WORKS
Headset: *VELO ORANGE* grand cru headset 1 1/8" (silver)
Wheels: *SHIMANO* deore hub × *ARAYA*
Tire: *PANARACER* hi-road s tire (black/skin)
Brake lever:*AVID*
Crankset: *SHIMANO* deore crank (silver)
Saddle: *BROOKS* team pro (honey)
Brake: *SHIMANO* deore V brakeset (silver)
Handle: *SIM WORKS* little nick bar (silver)
Shifter: *SHIMANO* deore
FD&RD: *SHIMANO* deore
The switching layout is now pretty much finished. All areas are polished off and it’s a blast to operate. I’ve been quite happy with all the subtle details I’ve been able to model with this layout. It’s very fun to operate and I think really compliments whatever is running at the time!
July 1978: The Complete Recordings Box Set
7/8/78 Red Rocks Amphitheatre, Morrison, CO
DISC 1
1. Bertha >
2. Good Lovin'
3. Dire Wolf
4. El Paso
5. It Must Have Been the Roses
6. New Minglewood Blues
7. Ramble on Rose
8. Promised Land
9. Deal
10. Samson and Delilah
11. Ship of Fools
DISC 2
1. Estimated Prophet >
2. The Other One >
3. Eyes of the World >
4. Rhythm Devils >
5. Space >
6. Wharf Rat >
7. Franklin’s Tower
8. Sugar Magnolia
DISC 3
1. Terrapin Station >
2. One More Saturday Night
3. Werewolves of London
*FAIRWEATHER* CX complete bike
BLUE LUG custom
SPEC
Frame: *FAIRWEATHER* CX frame BLUE LUG CUSTOM PAINT by COOK PAINT WORKS
Wheels: *AMBROSIO* × *SHIMANO* tiagra
Tire: *FAIRWEATHER* for CX tire by CG (rust)
Brake lever:*DIA-COMPE* 128S brake lever (silver)
Crankset: *FAIRWEATHER* CX crankset (matt black)
Handle: *NITTO* b352 all rounder bar (silver)
Saddle bag:*SWIFT INDUSTRIES* little dear saddle bag
Local call number: FS80327
Title: [Partially completed Seminole doll made by Mary Billie: Big Cypress Seminole Indian Reservation]
Personal Author: Dyen, Doris J., Collector.
Date: Photographed on July 15, 1980.
Physical descrip: 1 slide: col.
General Note: Mary B. Billie has been a dollmaker since she was 17. She learned the skill by watching her mother, who had learned it from Mary's grandmother.
Accompanying note: "This is what the doll looks like before Mary puts on its clothes, hair and jewelry. She usually makes the clothes ahead of time, so that they will be ready when she wants to make her dolls. For the smaller dolls, Mary uses simple decoration, but the clothes for the larger dolls use one or more of six traditional Seminole patchwork designs."
Series Title: (Florida Folklife Collection.)
Repository: State Library and Archives of Florida, 500 S. Bronough St., Tallahassee, FL 32399-0250 USA. Contact: 850.245.6700. Archives@dos.state.fl.us
Persistent URL: www.floridamemory.com/items/show/120260
*SURLY* troll complete bike
BLUE LUG custom
SPEC
Frame: *SURLY* troll BLUE LUG CUSTOM PAINT by COOK PAINT WORKS
Wheels: *ALEX RIMS* × *SHIMANO*
Tire: *KENDA* kineption
Brake lever:*AVID*
Brake: *SHIMANO* deore
Handle: *SURLY* open bar
Bash guard:*K-EDGE*
Bascket:*WALD* front basket small (black)
Fender:*PLANET BIKE*
*SURLY* troll complete bike
BLUE LUG custom
SPEC
Frame: *SURLY* troll BLUE LUG CUSTOM PAINT by COOK PAINT WORKS
Wheels: *WTB* ST i23 650B rim × *SHIMANO* alfine
Tire: *GRAND BOIS* hetre 650B tire (black)
Brake: *SHIMANO*
Handle: *FAIRWEATHER* b903 bullmoose bar BLUE LUG CUSTOM PAINT by COOK PAINT WORKS
Saddle:*BROOKS* swift chrome
Shifter:*SHIMANO* alfine
Crankset:*SHIMANO* alfine
Seatpost:*NITTO* 65 seatpost (silver)
Front Rack: *NITTO*
Bascket:*WALD*
Rear Rack: *SURLY* nice rack rear
After Emily completed her Iceland Yoga & Music Retreat, we rented a car and went exploring along the southern coast for 5 more days... it's amazing out there!
Bebe and her ball are BFF. But now she's put it down in the leaves somewhere and we can't find it lol.
*SURLY* troll complete bike
BLUE LUG custom
SPEC
Frame: *SURLY* troll BLUE LUG CUSTOM PAINT by COOK PAINT WORKS
Headset: *VELO ORANGE* grand cru headset 1 1/8" (silver)
Wheels: *SHIMANO* deore hub × *ARAYA*
Tire: *PANARACER* hi-road s tire (black/skin)
Brake lever:*AVID*
Crankset: *SHIMANO* deore crank (silver)
Saddle: *BROOKS* team pro (honey)
Brake: *SHIMANO* deore V brakeset (silver)
Handle: *SIM WORKS* little nick bar (silver)
Shifter: *SHIMANO* deore
FD&RD: *SHIMANO* deore
*SURLY* crosscheck complete bike
BLUE LUG custom
SPEC
Frame: *SURLY* crosscheck BLUE LUG CUSTOM PAINT by COOK PAINT WORKS
Wheels: *ALEX RIMS* × *SHIMANO
Tire: *RITCHEY*
Brake&Shift Lever: *SHIMANO* tiagra
FD&RD: *SHIMANO* sora & deore
Handle: *SALSA CYCLES*
Pedal: *CRANK BROTHERS* candy 1 pedal (black)
Bartape: *BROOKS* leather bartape (brown)
Saddle:*BROOKS* swift chrome (brown)