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Ancient Egypt Gallery, Louvre Museum, Paris, France. Complete indexed photo collection at WorldHistoryPics.com.
The Lobkowicz Palace[1] (Czech: Lobkowický palác) is a part of the Prague Castle complex in Prague, Czech Republic. It is the only privately owned building in the Prague Castle complex and houses the Lobkowicz Collections and Museum.
The palace was built in the second half of the 16th century by the Czech nobleman Jaroslav of Pernštejn (1528–1569) and completed by his brother, Vratislav of Pernštejn (1530–1582), the chancellor of the Czech Kingdom. It was opened to the public for the first time on 2 April 2007 as the Lobkowicz Palace Museum. Set in 22 galleries, the museum displays a selection of pieces from the Lobkowicz Collections, including works by artists such as Antonio Canaletto, Pieter Brueghel the Elder, Lucas Cranach the Elder, and Diego Velázquez, as well as decorative art, military paraphernalia, musical instruments, and original scores of composers including Beethoven and Mozart.
History
Lobkowicz Palace was built in the second half of the 16th century by the Czech nobleman Jaroslav of Pernštejn (1528-1569) and completed by his brother, Vratislav of Pernštejn (1530–1582), the chancellor of the Czech Kingdom. Vratislav's wife, Maria Maximiliana Manrique de Lara y Mendoza, brought the Infant Jesus of Prague statue, thought to have healing powers, from her homeland of Spain to the Palace. The statue was later given by Vratislav and Maria Maximiliana's daughter, Polyxena (1566-1642), to the Church of Our Lady Victorious in Prague, where it remains on display as a popular tourist attraction. A replica of the Infant Jesus of Prague is on permanent display in the Lobkowicz Palace Museum.
Martinic, in the Lobkowicz Palace on 23 May 1618, Rudolf Vejrych after Václav Brožík
The Palace came into the Lobkowicz family through the marriage of Polyxena to Zdeněk Vojtěch, 1st Prince Lobkowicz (1568-1628). In 1618, Protestant rebels threw the Catholic Imperial Ministers from the windows of the Royal Palace at Prague Castle, known as the Second Defenestration of Prague. Surviving the fall, the ministers took refuge in Lobkowicz Palace, where they were protected from further assault by Polyxena.
Following the defeat of the Protestant faction at the Battle of White Mountain in 1620, the Catholic Lobkowicz family grew in influence and power for the next three centuries. Lobkowicz Palace took on a more formal, imperial role and functioned as the Prague residence when the family needed to be present at the seat of Bohemian power for political and ceremonial purposes. With the exception of the 63 years (1939-2002) during which the property was confiscated and held by Nazi and then Communist authorities, the Palace has belonged to the Lobkowicz family.
After World War I, and the abolition of hereditary titles in 1918, Maximilian Lobkowicz (1888-1967), son of Ferdinand Zdenko, 10th Prince Lobkowicz (1858-1938), demonstrated his support for the fledgling First Republic of Czechoslovakia by making several rooms at the palace available to the government headed by Tomas G. Masaryk. In 1939, the occupying Nazi forces confiscated the Palace, along with all other Lobkowicz family properties. The Palace was returned in 1945, only to be seized again after the Communist takeover in 1948. For the next forty years, the Palace was used for a variety of purposes, including State offices and as a museum of Czech history.
After the Velvet Revolution of 1989 and the fall of the Communist government, President Václav Havel enacted a series of laws that allowed for the restitution of confiscated properties. Following a twelve-year restitution process, the palace returned to the ownership of the Lobkowicz family in 2002. On 2 April 2007, after four years of restoration and refurbishment, the palace was opened to the public for the first time as the Lobkowicz Palace Museum, home to one part of The Lobkowicz Collections. The 17th century baroque Concert Hall of the Lobkowicz Palace hosts regular concerts of classical music, and the premises are also used for weddings.
Architecture
After the Thirty Years War, the Palace underwent a number of significant changes, particularly under Václav Eusebius, 2nd Prince Lobkowicz. He was responsible for the palace’s significant baroque alterations and some of its more lavishly decorated salons. Václav Eusebius redesigned the palace in the Italianate style. His design influence can be seen today in the Imperial Hall, whose walls are painted in fresco with trompe l'oeil statues of emperors surrounded by geometric designs, floral and other decorative motifs. Additional examples of the Italianate style are the Concert Hall and the Balcony Room, whose ceilings are adorned with elaborate painted stuccowork and frescoes by F.V. Harovník.
In the 18th century, Joseph František Maximilian, 7th Prince Lobkowicz commissioned the reconstruction of the exterior of the Palace in preparation for the coronation at Prague Castle of Emperor Leopold II as King of Bohemia in 1791. The alterations included the addition of the palace's panoramic balconies. Despite the various alterations made through the years, remnants of original 16th-century murals and graffito work can still be seen in both of the interior courtyards.
The Lobkowicz Collection
Haymaking, Pieter Brueghel the Elder, oil on panel, The Lobkowicz Collections
The oldest and largest privately owned art collection in the Czech Republic, the Lobkowicz Collection draws its significance from its comprehensive nature, reflecting the cultural, social, political and economic life of Central Europe for over seven centuries. In 1907, Max Dvořák, a prominent member of the Vienna School of Art History, created the first complete catalogue of The Collections.[2] After the restitution laws in the early 1990s, the Lobkowicz family was able to reassemble most of the collection, subsequently making it available to the public for the first time.
Paintings
The Lobkowicz Collections comprise approximately 1,500 paintings, including famous works by artists including Pieter Brueghel the Elder, Pieter Brueghel the Younger, Jan Brueghel the Elder, Bellotto,[which?] Lucas Cranach the Elder, Lucas Cranach the Younger, Diego Velázquez Peter Paul Rubens, Paolo Veronese and Canaletto. The collections also include: an extensive collection of Spanish portraits; Central European portraits by Hans von Aachen and the School of Prague; Dutch, Flemish and German genre paintings; and over 50 paintings and watercolors of Lobkowicz residences by Carl Robert Croll.
The three most prestigious artworks in the collection are Haymaking (1565) by Pieter Brueghel the Elder, and two panoramic views of London by Canaletto. Other notable works include: Hygieia Nourishing the Sacred Serpent (c. 1614) by the Flemish master, Peter Paul Rubens; The Virgin and Child with Saints Barbara and Catherine (c. 1520) by Lucas Cranach the Elder; Christ and the Woman Taken in Adultery (c. 1530) by Lucas Cranach the Younger; Caritas Romana (early-mid 16th century) by Georg Pencz and smaller paintings such as A Village in Winter (c. 1600) by Pieter Brueghel the Younger and St. Martin Dividing his Cloak (1611) by Jan Brueghel the Elder. Venetian painting of the 16th century is represented by Paolo Veronese's David with the Head of Goliath (1575).
The Italian baroque collection includes a prayerful Madonna by Giovanni Battista Salvi, and paintings by Francesco del Cairo, Antonio Zanchi and Giovanni Paolo Pannini. The principal Lobkowicz residences and estates—Roudnice nad Labem, Nelahozeves, Jezeří and Bílina—are depicted in oils and watercolors, commissioned from the 19th-century German painter Carl Robert Croll.
The portraits contained in The Collections reflect the Lobkowicz family's participation in European political and cultural life. The collection includes full-length Spanish portraits of Pernstejns, Lobkowiczes, Rožmberks and related members of European and ruling Habsburg dynasties by painters such as Alonso Sánchez Coello, Juan Pantoja de la Cruz, Jacob Seisenegger and Hans Krell. Among the 17th and the 18th century works in the collection is the Spanish Infanta Margarita Theresa (c. 1655), attributed to Diego Velázquez. Later portraits of members of the Lobkowicz family are by Viennese portraitists of the 19th century such as Franz Schrotzberg and Friedrich von Amerling.
The collection of paintings is accompanied by an extensive collection of graphics and drawings, including a set of engravings of Rome by Giovanni Battista Piranesi.
Decorative Arts
While not as well known as the paintings, books and music associated with the Lobkowiczes, decorative and sacred arts objects, dating from the 13th through the 20th centuries, form a significant part of The Collections.
During the Nazi occupation of Czechoslovakia and the later period of Communist rule, the private chapels in the family’s principal residences were desecrated and their contents dispersed. Important artefacts survived, including a 12th-century reliquary cross of rock crystal and gilded copper. The gold reliquary head of a female saint, possibly St. Ursula, dated c. 1300 and known as the Jezeri Bust, was found in a trunk of theatrical props. It is now on display in the Lobkowicz Palace.
Late-Renaissance and early-baroque ceramics from Italy feature prominently in the collections. Several pieces of colorful Deruta ware are considered to be among the earliest Italian ceramics brought back to Bohemia. Ordered during a trip to Italy in 1551, the pieces are colourfully decorated with an image of a bull, which was the Pernstejn family crest.
By the late 17th century, Chinese hard-paste porcelain had become the great obsession of European rulers and aristocrats. The Dutch workshops at Delft created tin-glazed earthenware that was an early European imitation of the expensive Chinese ware. Around 1680 when he was Imperial Envoy to the Netherlands, Wenzel Ferdinand, Count Lobkowicz of Bilina, commissioned a personalized work, designed with intricate overlapping letters of his initials WL. With 150 pieces, the set is the largest surviving Delft dinner service. A selection of pieces are on display at the Lobkowicz Palace Museum. In the spring of 2000, over sixty pieces from this service were lent to the Rijksmuseum, Amsterdam, to be displayed as part of the "Glory of the Golden Age" exhibition.
The Meissen factory outside Dresden discovered how to produce hard-paste porcelain in the first decade of the 18th century, for the first time outside of Asia. As a result of the factory’s proximity to the Lobkowicz landholdings and castles, 18th and 19th century examples of these porcelain works are prevalent in the collections, ranging from the earlier delicate chinoiserie motifs to the more traditional European elements and designs with fruits and flowers.
Some of the cabinetmaking and marquetry in the Collections come from the Eger craftsmen who worked in Western Bohemia in the 17th century. Several Eger jewelry cabinets are considered among the finest ever produced.[citation needed] Other pieces include caskets, tables and games boards, which are lavishly inlaid with ivory, mother-of-pearl and tortoiseshell, depicting landscapes, animals and classical motifs.
Music
The Music Archive of the Lobkowicz Collection holds over 5,000 items. Originally housed in The Lobkowicz Library at the principal family seat of Roudnice Castle, the entire archive was confiscated, first by the Nazis in 1941, and again by the Communist regime, which sent it to the Museum of Czech Music. In October 1998, the Music Archive was returned to the family in its entirety and moved to Nelahozeves Castle under the auspices of the Roudnice-Lobkowicz Foundation.
The Music Archive, established by Ferdinand August, 3rd Prince of Lobkowicz, was assembled over three centuries by principal members of the family who were not only enthusiastic collectors, but patrons of the arts and also often talented performers. The Music Archive contains works by over five hundred composers and musicians. These include a rare collection of late 17th- and early 18th-century lute, mandolin and guitar scores. This collection, regarded as the world’s largest private collection of baroque music for plucked instruments, has a particularly extensive collection of works by French composers, including Denis and Ennemond Gaultier, St. Luc, Charles Mouton, and Jacques Gallot. The Music Archive is most noted, however, for its late 18th- and early 19th-century collection, including works by Handel, Mozart, Haydn and Beethoven, including Beethoven’s Third (Eroica), Fourth and Fifth symphonies, and Mozart’s hand written re-orchestration of Handel’s Messiah.
Philip Hyacinth, 4th Prince of Lobkowicz, and his second wife, Anna Wilhelmina Althan, were both distinguished lutenists and the prince an accomplished composer as well. Both were both taught by some of the finest contemporary lutenists, including Sylvius Leopold Weiss and Andreas Bohr, and their fine period instruments remain part of the collections. Their son, Ferdinand Philip, the sixth prince, played the glass harmonica and championed the son of one of the family's foresters, the opera composer Christoph Willibald Gluck.
The family member who had the greatest impact on the history of Western music, however, was the 7th Prince, Joseph Franz Maximilian. A talented singer, violinist and cellist, the 7th Prince was the major patron of Beethoven, who dedicated his Third (Eroica), Fifth, and Sixth (Pastoral) symphonies to the Prince, as well as other works. It was the annual stipend provided by the Prince (and continued by his son until the composer’s death), supplemented by support from the Archduke Rudolf and Prince Kinsky, that allowed Beethoven the freedom to compose without dependence on commissions and time-consuming teaching.[citation needed]
In addition to the manuscripts and printed music, the Collections include musical instruments from house orchestras that performed in the various family residences at Jezeří and Roudnice nad Labem in Northern Bohemia, as well as in Vienna. Also on display are lutes from the 16th and 17th centuries by Maler, Tieffenbrucker and Unverdorben; a 17th-century guitar; violins of Italian, German and Czech origin (Gasparo da Salo, Jacob Stainer, Eberle, Hellmer, Rauch); contrabasses from Edlinger[disambiguation needed] and Jacob Stainer; Guarneri and Kulik violoncelli; 18th-century Viennese wind instruments and a pair of copper martial kettledrums. A rare item in the collection is a suite of six elaborately decorated silver trumpets made in 1716 by Michael Leichamschneider of Vienna – one of only two documented sets in existence.
The Nelahozeves Castle Music Room displays a spinet, a contrabass by Posch[disambiguation needed] and other string instruments as well as two pairs of copper and bronze kettledrums.
Military equipment
Hunting was an important activity for Central European nobility from the late Renaissance period onwards, and all of the major Lobkowicz properties served as venues for hunting. Bearing witness to these hunting parties and their participants are hundreds of mounted trophies in the Lobkowicz Collections, dating from the 18th to the early 20th centuries. The social aspects of the hunt are also reflected in the numerous paintings and graphics by local artists in the collection, among them pictures of favourite horses, dogs and trophies. The central part of the hunting-related exhibitions, however, is the firearms themselves, which are displayed in two armoury rooms at Lobkowicz Palace, while further items from the collection are held at Nelahozeves Castle.
The majority of these rifles and pistols were produced locally for the family between 1650 and 1750, by the 17th-century Prague workshops of Adam Brand, Paul Ignatius Poser, the Neireiter family and Leopold Becher, as well as Roudnice craftsmen such as Johannes Lackner and Adel Friedrich during the mid-18th century. These exhibits reflect the patronage of the Lobkowicz family, who provided the gun makers with large orders for guns for many centuries.
The collection features a group of identical flintlock rifles produced for the Lobkowicz Militia in the 18th century, one of the largest collections of such items. Additional weapons came from Silesia, while the most elaborate 18th-century rifles and pistols (some in the Turkish manner) with mother-of-pearl inlay were produced in Vienna. Goldsmiths and silversmiths specializing in inlay were employed to decorate guns, rifles, crossbows and powder flasks of the finest quality.
The palace housed an exhibition of the work Illustrated geography and history of Bohemia by Bavarian cartographer Mauritius Vogt. The exhibition ran until 31 May 2015.
Lobkowicz Collections o.p.s.
In 1994, a non-profit organisation, Lobkowicz Collections o.p.s. (previously the Roudnice Lobkowicz Foundation), was established to curate and maintain the Lobkowicz Collection, recently returned to the family after the Velvet Revolution. The organisation also works to provide access to the art, music and literature contained in the collection to academic researchers and the general public. Lobkowicz Collections o.p.s. has co-ordinated the installation of the collections at both Lobkowicz Palace and Nelahozeves Castle.
The organisation's responsibilities include:
•overseeing the preservation and installation of the objects in The Collections
•developing education programs for students
•promoting and facilitating academic research around The Collections
•administering loans to other cultural institutions
•curating exhibitions of works included in the collections for the public
Significant restoration projects include the restoration of Peter Paul Rubens’ Hygieia Nourishing the Sacred Serpent, restored by Hubert von Sonnenburg of the Metropolitan Museum of Art. This project was funded by the American Friends for the Preservation of Czech Culture (AFPCC).
Lobkowicz Collections o.p.s. also administers lending of artworks to exhibitions. Since 1993, over 200 works of art have been lent to museums in the Czech Republic and abroad, including the Metropolitan Museum of Art in New York, the National Gallery of Art in Washington DC, the Royal Academy of Art in London and the Rijksmuseum in Amsterdam.
I finally finished this quilt. It's all scrap from Pendleton Woolen Mills. Since the fabric is a nice heavy wool I decided not to put a batting in the center. I did back it with a lightweight yellow wool that I bought at City Liquidators. It's warm and the perfect afternoon blanket to for a nap.
*CINELLI* mash histogram complete bike
BLUE LUG custom
SPEC
Frame: *CINELLI* mash histogram
Wheels: *H PLUS SON* super lite rim × *GRAN COMPE* small track hub
Crankset: *SUGINO* RD messenger crankset
Brake: *DIA-COMPE* brs 101 road brake (black)
Stem: *TNI* alloy cnc stem
Handle: *NITTO* rb001aa BL special (black)
Brake lever: *CANE CREEK* time trial brake levers (black)
Saddle: *SELLE SAN MARCO* dirty zero saddle (blk)
Seatpost: *CINELLI* vai seatpost (black)
We had a complete change this Christmas – we cancelled it! - we went walking in The Lakes, or Wasdale more precisely. We were staying at Irton Hall B & B, they had over 70 in for Christmas dinner but we ate jam bread on the slopes of Sca Fell Pike. Fantastic. We had a front wheel puncture on a run flat tyre on the new car with a 100 mile still to drive on the afternoon of Christmas eve on our way there. I drove straight to the nearest ATS – where I have an account – they shook their heads and directed me to Westhoughton Tyres, the lads there were fantastic and got us on our way in good time. BMW dealer advice was run on the flat tyre and then throw it away - £250! Where I would have got a tyre on the western side of the Lakes over Christmas I don’t know, ATS didn’t have one to sell me.
The weather was forecast good for Christmas day but after a fine start it was raining before we even left the car park in Wasdale. We headed up Lingmell and ran into snow on the summit. The path onto Sca Fell Pike was very icy, snow covered and visibility was low, the snow kept falling. We didn’t linger long, it was too cold to have dinner up there so we dropped down onto the Corridor Route, where we had our dinner. We went that way to stretch the walk out, having originally intended to cross to Great End. The tops were so icy, glazed, with not enough snow to get a grip on that we decide to leave it for another day. From Styhead we headed back to Wasdale and a dull but fine finish to the day. A drink in the bar at Irton Hall was on the radar.
Every morning we headed into Wasdale early, it got colder, icier and sunnier as the days went by. We went up Yewbarrow, it was an icy scramble up and I decided it was too dangerous to go down Stirrup Crag to Dore Head so went back the same way. It turned out to be the right decision as we lingered on the top, going to view points that we wouldn’t have and getting some decent photos. One morning we walked over the Screes tops, Illgill Head and Whin Rigg, dropping down the steep slope to The southern end of Wast Water. Having said that I would never walk the Screes path alongside Wast Water again the memory of how awful it is in the rain had faded. There is only really a quarter of a mile out of three miles that is really bad, every rock was like glass with the potential to break a leg every step. It seemed a long way and I was getting killer looks from Herself.
We made our way onto Sca Fell on a beautiful morning, clear blue sky. The snow line had got lower most nights but we never had the low level snow that caused problems in the rest of the country. I chose a, sometimes, pathless way to the summit, partly because I’d never been that way but also to stay in the sun, to keep the view and to avoid the ways that would be a touch dangerous, it was -4 and seared with ice for the last 600 feet. After 15 minutes on the summit wispy thin cloud came racing in, crossing the Lake District in minutes, the photos show it heading towards us and I was glad to have got the clear photos first. Looking out to sea a great mattress of cloud was heading straight for us. It was calm and sunny one minute and the next we were engulfed in thick cloud with 30 yards visibility at the most. I have never had a clear sky turn to cloud so fast – ever! We were going down to Slightside next which was OK, about a mile following the ridge down, the problem was getting back to Wasdale from there. We needed to get to Great Howe which meant a pathless trek a mile SW across Quagrigg Moss – a bog full of tarnlets, it would be a nightmare in low visibility. After getting some accurate compass bearings and heading down off Slightside we suddenly dropped out of the cloud and could see our target, brilliant, we legged it across the semi frozen bog and finally felt able to rest and grab a sandwich and cup of tea. We had to find our way down Raven Crags, which was interesting – and steep! We needed to get to the footbridge to get onto the Burnmoor Tarn path back to Wasdale. As we got closer to Burnmoor Tarn the light that I had been cursing gave us a gorgeous sunset. I had one eye on a gap in the cloud low down in the sky out at sea and I was hoping the sun would break through, it did. Burnmoor Tarn was like a mirror, reflecting the surrounding mountains, including Yewbarrow and parts of the Mosedale Horseshoe in the far distance. There was just the two of us, we had barely seen a soul all day, it was a fantastic end to a tough day. As we dropped into Wasdale I caught the deep pink and orange of the last of the sun, I was shooting into it but I had nothing to lose. There would have been quite a few tripods at the opposite end of the lake but I think I was in the better place – for a change.
On our final walking day we decided to head up Great Gable. It was clear of cloud for a change but ominously the surrounding tops, including the Sca Fells were cloud covered. Another beautiful but very cold morning, it was going to be very icy up there so we elected to go via Styhead and the tourist track. We would choose a way off once we were up there. Long before we got to the top, although we couldn’t see it, we knew the cloud was swirling in and out on the summit so it was going to be hit and miss for the photos. The cloud was down for the last 500 feet but once on the frozen top it kept clearing briefly – very briefly. There were more people up there than we had seen the entire trip previously. People were getting out after Christmas, many had parked at the top of Honister for the fairly easy walk in across Green Gable, some were not dressed for winter walking it has to be said. We left for an icy scramble down to Aaron Slack, up onto Green Gable them we galloped down Aaron Slack to Styhead and back to Wasdale.
Anamorphic painting 'The Glasshouse Theatre'. ZAP (Zone Artistique Provisoire) Place Carnot in Rosny Sous Bois near Paris France in front of l’Espace Georges Simenon. Completed in 4 days. Une fresque en 3 dimensions / anamorphosis
*RIVENDELL* cheviot complete bike
BLUE LUG custom
SPEC
Frame: *RIVENDELL* cheviot
Stem: *NITTO* technomic stem (silver)
Handle:*NITTO* b352 all rounder bar (silver)
Wheels: *SHIMANO* xt × *VELOCITY* atlus
Tire:*BRUCE GORDON* rock n road all terrain 650B tire (all black)
Brake lever:*DIA-COMPE*
FD:*SHIMANO* sora
RD:*SHIMANO* deore xt
Crankset: *SUGINO*
Saddle: *BROOKS* b17 select (natural)
Brake: *DIA-COMPE*
Front rack:*NITTO*
Bascket:*WALD*
Bag:*SACKVILLE* & *CARRADICE*
The final quality control checks are carried out before taxi and flight testing begin
Mamiya C220 + Agfatronic CSI 352 flash
Fujicolour Pro 220 400asa film expired 2006.
*SURLY* big dummy complete bike
BLUE LUG custom
SPEC
Frame: *SURLY* big dummy custom painted by COOK PAINT WORKS
Headset:*CHRIS KING* nothreadset (black)
Handle:*NITTO* b352 all rounder bar custom painted by COOK PAINT WORKS
Wheels: *VELOCITY* blunt 35 rim × *SHIMANO* alfine
Tire: *SOMA* cazadero
Brake lever:*AVID*
Saddle: *BROOKS* b17 standard
Brake: *AVID* bb7
Frame bags:*FAIRWEATHER*
Bascket:*WALD*
*PANASONIC* complete bike
BLUE LUG custom
SPEC
Frame: *PANASONIC* track frame
Wheels: *VELO ORANGE* raid rim (polish) × *GRAN COMPE* small track hub
Tire: *PANARACER* pasela
Crankset: *SUGINO* mighty comp crank (silver)
Brake:*DIA-COMPE*
Brake Lever: *DIA-COMPE* dc-139 brake lever (silver)
Handle: *NITTO* rb001aa BL special (silver)
Bartape: *BROOKS* leather bartape (honey)
Seatpost: *BL SELECT* aero seatpost (silver)
Saddle: *BROOKS* b17 special saddle (honey)
*AFFINITY CYCLES* metropolitan complete bike
BLUE LUG custom
SPEC
Frame: *AFFINITY CYCLES*metropolitan
Headset:*CHRIS KING* nothreadset (turquoise)
Front Wheel: *HED.* H3 carbon wheel
Rear Wheel:*H PLUS SON* archetype rim × *GRAN COMPE* small track hub
Tire:*HUTCHINSON*
Crankset:*SRAM* omunium track
Brake Lever:*CANE CREEK* cross top
Brake:*CAMPAGNOLO* veloce
Handle: *NITTO* b123
Stem:*NITTO* ui-2
Seat post: *THOMSON* elite seatpost
Saddle:*SELLE SAN MARCO* zoncolan
*SURLY* trucker deluxe complete bike
BLUE LUG custom
SPEC
Frame: *SURLY* trucker deluxe
Fender: *HONJO*
Stem: *SIM WORKS* wendy stem
Front Carrier: *NITTO*
Wheels: *VELOCITY* synergy 650B rim × *SHIMANO* deore XT hub
Tire: *GRAND BOIS* hetre 650×42B
Crankset: *WHITE INDUSTRIES* VBC road crankset (black)
Brake lever:*PAUL* love lever
Sifter: *SHIMANO* dura-ace double lever
FD: *SHIMANO*
RD: *SHIMANO* deore XT
Headset:*CANE CREEK* 100.TR 1 1/8" (silver)
Brake: *PAUL* moto v brake
Handle: *NITTO* all rounder bar (silver)
Grip: *DIMENTION* cork grips (black)
Seatpost: *NITTO* 65 seatpost (silver)
Saddle: *BROOKS* swift saddle (black)
Restoration has progressed to the point where this radio is now a "worker" - not perfect, but it can be used as a receiver
An original watercolour by artist Curtis, R. Emerson.
Description :
In a rural setting of rich dairy lands, some distance from the sea, Ryan built his 45ft wooden tugboats for the US Army and Australian Navy, at Taree, New South Wales.
The artist has beautifully captured the activity of Mr Ryan's shipyard at Brown's Creek, with two hulls of the 45ft towboats afloat, and another vessel under construction on the slips.
WWII Construction of Vessels in Australia
A program for Australian construction was set up to supply craft for the U.S. Army, Australian Army, & the Royal Navy, through the Australian Shipbuilding Board, who distributed the orders to the various shipyards.
W. Ryan & Son's, of Taree, and E. Wright of Tuncurry were just two of many shipyards contracted to under take the orders for the various classes of vessels.
Boats built by W. Ryan & Sons were fully completed and tested, whereas E. Wright's shipyard at Tuncurry, supplied the hulls only, which were towed to either Sydney or Newcastle .
45ft Towboat
Details: Length: 45ft
Breadth: 14ft
Depth: 6ft 6ins (below water line)
References
The Northern Champion, Saturday 20th January 1945
Boat Trials at Taree
On Friday afternoon a 45ft tow boat, built for the US Army at W. Ryan and Son's Brown's Creek shipbuilding yards, was tested on the river at Taree, and within a week or so a second boat will be ready to undergo its tests. Friday's test was carried out under the supervision of Mr. Baxter, representing the Ministry for Munitions, and later the American Army authorities will make a test of the engines.
Mr. Baxter paid a tribute to the splendid workmanship of Ryan's yard, and also made mention of the efficient manner in which Mr. Hector Haden, as contractor for the engineering portion of the work, had carried out his contract.
Mr. Baxter said originally the hulls built at country yards were taken to Sydney to have the engines installed, but at Taree, and other places, the authorities had been able to organise a capable and efficient band of men, with the necessary equipment, to enable the engineering work to be attended to on the spot. These boats, which will be used for inter - island service, are fitted with diesel engines, and are designed for hard wear.
The Northern Champion 7th February 1945
TOWBOAT LEAVES TAREE WAITING FOR HARRINGTON CROSSING.
On Sunday last, one of the completed 45ft towboats, built at W. Ryan & Sons' yard's at Taree, was taken to Harrington by a crew representing the American Army. This boat recently completed her trials on the river, and is now ready to take her place in the operations in the Pacific. At Croki , J. Goodsen and Vic Shoesmith joined the boat as navigators to Harrington. However, owing to the shallow bar, the vessel will have to wait for a favourable opportunity to cross out.
The second towboat has been tested at Taree and is expected that she will go to Harrington, and that the two boats will cross out together.
The engineers and carpenters at the depot at the North Coast wharf are now busily engaged building the superstructure on one of the 66ft. boats, which will also receive its engines and other equipment at Taree.
The Northern Champion 25th February 1945.
The two launches built at Ryan's yard, at Taree, crossed out when tides were suitable. They behaved nicely crossing over the bar, bowing and dipping to the gentle waves of the Pacific. These boats reflect credit on the builders.
End of Construction in Australia
By August 1944 a total of 2,712 craft had been received from Australian construction. Orders for most types of craft had been completed, and only 499 units were still on order.
Of a total of 5,516 units originally ordered, 2,300 had been cancelled.
It is still uncertain to the exact number of vessels that were completed by W. Ryan & Sons Shipyard, and how many orders were cancelled. (A figure of 16 boats over two years has been documented.)
Image Source : Australian War Memorial : ART 25581
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The Beheading of St. John the Baptist is my favourite dedication of any Kent church seen this far. It sits on the side of a down, above the rest of the village, which is what counts as the main road from Newnham to Lenham.
It also sits beside the parkland of Doddington Park, I was told by a local that is well worth a visit to see the gardens.
That the church is largely untouched since the 13th century, the clapboarded tower seems to have a new coast of paint and glistened in the early spring sunshine.
The churchyard seems now to be a nature reserve, or that wildlife is encouraged. So it is carpeted with snowdrops, with Winter Aconites, Primroses and Crocuses all showing well.
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An enchanting church set in a wooded churchyard on the edge of a steep valley. The building displays much of medieval interest due to minimal nineteenth-century interference. The most important feature is the small stone prayer desk next to the westernmost window of the chancel. This window is of the low side variety - the desk proving the window's part in devotional activities. The nearby thirteenth-century lancet windows have a series of wall paintings in their splays, while opposite is a fine medieval screen complete with canopy over the priests' seats. There is also an excellent example of a thirteenth-century hagioscope that gives a view of the main altar from the south aisle, which was a structural addition to the original building. The south chancel chapel belonged to the owners of Sharsted Court and contains a fine series of memorials to them. Most of the stained glass is nineteenth century - some of very good quality indeed. Outside there is a good tufa quoin on the north wall of the nave and a short weatherboarded tower.
www.kentchurches.info/church.asp?p=Doddington
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DODDINGTON.
NEXT to that of Linsted south-eastward, is the parish of Doddington, called in the record of Domesday, Dodeham.
THIS PARISH is about two miles across each way, it lies the greatest part of it on the hills on the northern side of the high road leading from Faversham through Newnham valley over Hollingborne hill towards Maidstone. It is a poor but healthy situation, being much exposed to the cold and bleak winds which blow up through the valley, on each side of which the hills, which are near the summit of them, interspersed with coppice woods, rise pretty high, the soil is mostly chalk, very barren, and much covered with slint stones. The village stands on the road in the valley, at the east end of it is a good house, called WHITEMANS, which formerly belonged to the family of Adye, and afterwards to that of Eve, of one of whom it was purchased by the Rev. Francis Dodsworth, who almost rebuilt it, and now resides in it. Upon the northern hill, just above the village, is the church, and close to it the vicarage, a neat modern fashed house; and about a mile eastward almost surrounded with wood, and just above the village of Newnham, the mansion of Sharsted, a gloomy retired situation.
Being within the hundred of Tenham, the whole of this parish is subordinate to that manor.
At the time of taking the above record, which was anno 1080, this place was part of the possessions of Odo, the great bishop of Baieux, the king's half brother; accordingly it is thus entered, under the general title of that prelate's lands:
The same Fulbert holds of the bishop Dodeham. It was taxed at one suling. The arable land is . . . . . In demesne there is one carucate and seventeen villeins, with ten borderers having two carucates. There is a church, and six servants, and half a fisbery of three hundred small fish, and in the city of Canterbury five houses of seven shillings and ten pence. In the time of king Edward the Confessor it was worth ten pounds. The bishop let it to ferm for ten pounds, when Fulbert received it, six pounds, and the like now . . . . . Sired held it of king Edward.
Four years after which the bishop of Baieux was disgraced, and all his effects were consiscated to the crown.
PART OF THE above-mentioned estate was, most probably, THE MANOR OF SHARSTED, or, as it was antiently called Sabersted, the seat of which, called Sharsted-court, is situated on the hill just above the village of Newnham, though within the bounds of this parish.
This manor gave both residence and name to a family who possessed it in very early times, for Sir Simon de Sharsted died possessed of it in the 25th year of king Edward I. then holding it of the king, of the barony of Crevequer, and by the service of part of a knight's see, and suit to the court of Ledes.
Richard de Sharsted lies buried in this church, in the chapel belonging to this manor. Robert de Sharsted died possessed of it in the 8th year of king Edward III. leaving an only daughter and heir, married to John de Bourne, son of John de Bourne, sheriff several years in the reign of king Edward I. whose family had been possessed of lands and resided in this parish for some generations before. In his descendants this estate continued down to Bartholomew Bourne, who possessed it in the reign of Henry VI. in whose descendants resident at Sharsted, (who many of them lie buried in this church, and bore for their arms, Ermine, on a bend azure, three lions passant guardant, or) this estate continued down to James Bourne, esq. who in the beginning of king Charles I.'s reign, alienated Sharsted to Mr. Abraham Delaune, merchant, of London, the son of Gideon Delaune, merchant, of the Black Friars there, who bore for his arms, Azure, a cross of Lozenges, or, on a chief gules, a lion passantguardant of the second, holding in his dexter paw a fleur de lis; which was assigned to him by William Segar, garter, in 1612, anno 10 James I.
He resided at Sharsted, in which he was succeeded by his eldest son, Sir William Delaune, who resided likewise at Sharsted, where he died in 1667, and was buried in Doddington church. He was twice married; first to Anne, daughter and only heir of Tho. Haward, esq. of Gillingham, by whom he had an only daughter Anne, heir to her mother's inheritance. His second wife was Dorcas, daughter of Sir Robert Barkham, of Tottenham High Cross, (remarried to Sir Edward Dering) by whom he had a son William, and a daughter Mary, married to colonel Edward Thornicroft, of Westminster.
William Delaune, esq. the son, succeeded to this estate, and was knight of the shire for this county. He died in 1739, s.p having married Anne, the widow of Arthur Swift, esq. upon which it passed by the entail in his will to his nephew Gideon Thornicroft, son of his sister Mary, widow of Edward Thornicroft, esq. by whom she had likewise three daughters, Dorcas, Elizabeth, and Anne. This branch of the family of Thornicroft was situated at Milcomb, in Oxfordshire, and was a younger branch of those of Thornicroft, in Cheshire. John Thornicroft, esq. of London, barrister-at-law, was younger brother of Edward Thornicroft, esq. of Cheshire, and father of John, for their arms, Vert, a mascle, or, between four crasscreated a baronet of August 12, 1701, and of colonel Edward Thornicroft above-mentioned. They bore for their arms, Vert, a mascle, or, between four crosscroslets, argent. Lieutenant-colonel Thornicroft was governor of Alicant, when that fortress was besieged in 1709, and perished there, by the explosion of a mine. (fn. 1)
Gideon Thornicroft, esq. possessed this estate but a small time, and dying in 1742, s.p. and being the last in the entail above-mentioned, he devised it by his will to his mother, Mrs.Mary Thornicroft, who dying in 1744, by her will devised to her two maiden daughters, Dorcas and Anne, this manor and seat, as well as all the rest of her estates, excepting Churchill farm in Doddington, which she gave to her second daughter Elizabeth, who had married George Nevill, lord Abergavenny, who dieds.p. and lady Abergavenny, in her life-time, made a deed of gift of this farm, to her son Alured Pinke, esq. who now owns it.
They possessed this estate jointly till the death of Mrs.Dorcas Thornicroft, in 1759, when she by will devised her moiety of it, as well as the rest of her estates, except the Grange in Gillingham, to her sister Mrs. Anne Thornicroft, for her life, remainder in tail to her nephew Alured Pinke, barrister-at-law, son of Elizabeth, lady Abergavenny, her sister by her second husband Alured Pinke. esq. barrister-at-law, who had by her likewise a daughter Jane, married to the Rev. Henry Shove; upon this Mrs.Anne Thornicroft before-mentioned, became the sole possessor of this manor and estate, in which she resided till her death in 1791, æt. 90, upon which it came to her nephew, Alured Pinke, esq. before-mentioned, who married Mary, second daughter of Thomas Faunce, esq. of Sutton-at-Hone, by whom he has one son Thomas. He bears for his arms, Argent, five lozenges in pale, gules, within a bordure, azure, charged with three crosses pattee, fitchee. He resides here, and is the present possessor of this seat and estate. A court baron is held for this manor.
DOWNE-COURT is a manor in this parish, situated on the hill, about half a mile north westward from the church. In the reign of king Edward I. it was in the possession of William de Dodington, who in the 7th year of it did homage to archbishop Peckham for this manor, as part of a knight's fee, held of him by the description of certain lands in Doddington, called Le Downe. His descendant Simon de Dodington, paid aid for it in the 20th year of king Edward III. as appears by the Book of Aid; from him it passed into the family of Bourne, of Bishopsborne, whose ancestors were undoubtedly possessed of lands in this parish, (fn. 2) so early as the reign of Henry III. for archbishop Boniface, who came to the see of Canterbury in the 29th year of it, granted to Henry de Bourne, (fn. 3) one yoke of land, in the parish of Dudingtune, belonging to his manor of Tenham, which land he held in gavelkind, and might hold to him and his heirs, of the archbishop and his successors, by the service of part of a knight's fee, and by rent to the manor of Tenham.
His descendant John de Bourne lived in the reign of king Edward I. in the 17th year of which he obtained a charter offree warrenfor his lands in Bourne, Higham, and Doddington, after which he was sheriff in the 22d and the two following years of it, as he was again in the 5th year of king Edward III. His son John de Bourne married the daughter and sole heir of Robert de Sharsted, by which he became possessed of that manor likewise, as has been already related, and in his descendants Downe-court continued till about the latter end of king Henry VI.'s reign, when it was alienated to Dungate, of Dungate-street, in Kingsdown, the last of which name leaving an only daughter and heir, she carried it in marriage to Killigrew, who about the beginning of Henry VIII. ending likewise in two daughters and coheirs, one of whom married Roydon, and the other Cowland, they, in right of their respective wives, became possessed of it in equal shares. The former, about the latter end of that reign, alienated his part to John Adye, gent. of Greet, in this parish, a seat where his ancestors had been resident ever since the reign of Edward III. for he was descended from John de Greet, of Greet, in this parish, who lived there in the 25th year of that king's reign. His grandson, son of Walter, lived there in the reign of Henry V. and assumed the name of Adye. (fn. 4) This family bore for their arms, Azure, a fess dancette, or, between three cherubins heads, argent, crined of the second; which coat was confirmed by-Sir John Segar, garter, anno 11 James I. to John Adye, esq. of Doddington, son and heir of John Adye, esq. of Sittingborne, and heir of John Adye, the purchaser of the moiety of this manor.
He possessed this moiety of Downe court on his father's death, and was resident at Sittingborne. He died on May 9, 1612, æt. 66, and was buried in Doddington church, leaving issue by Thomasine his wife, daughter and coheir of Rich. Day, gent. of Tring, in Hertsordshire, one son John, and five daughters.
John Adye, esq. the grandson of John, the first purchaser, succeeded at length to this moiety of Downe-court, and resided there, during which time he purchased of the heirs of Allen the other moiety of it, one of which name had become possessed of it by sale from the executors of Cowland, who by his will in 1540, had ordered it to be sold, for the payment of debts and legacies. He died possessed of the whole of this manor and estate, in 1660, and was buried in Nutsted church, of which manor he was owner. He left by his first wife several children, of whom John, the eldest, died s.p. Edward, the second, was of Barham in the reign of king Charles II. under which parish more of him and his descendants may be seen; (fn. 5) and Nicholas was the third son, of whom mention will be made hereafter. By his second wife he had Solomon, who was of East Shelve, in Lenham, and other children.
Nicholas Adye, esq. the third son, succeeded to Downe-court, and married Jane, daughter of Edward Desbouverie, esq. Their eldest son, John Adye, succeeded to this manor, at which he resided till he removed to Beakesborne, at the latter end of Charles II.'s reign, about which time he seems to have alienated it to Creed, of Charing, in which name it continued till it was sold to Bryan Bentham, esq. of Sheerness, who devised it to his eldest son Edward Bentham, esq. of the Navy-office, who bore for his arms, Quarterly, argent and gules, a cross story counterchanged; in the first and fourth quarters, a rose, gules, seeded, or, barbed vert; in the second and third quarters, a sun in its glory, or; being the arms given by queen Elizabeth to Thomas Bentham, D.D. bishop of Litchfield, on his being preferred to that see in 1559, the antient family arms of Bentham, of Yorkshire, being Argent, a bend between two cinquefoils, sable. Since his death this estate has by his will become vested in trustees, to fulfil the purposes of it.
Charities.
JOHN ADYE, ESQ. gave by will in 1660, 40s. to the poor of this parish, payable yearly out of Capel hill, in Leysdown, the estate of Samuel-Elias Sawbridge, esq.
AN UNKNOWN PERSON gave 20s. per annum, payable out of an estate in Doddington, late belonging to the earl of Essingham, and now to the Rev. Francis Dodsworth.
TEN SHILLINGS are paid yearly at Christmas, to the poor of this parish, by the lessee of the parsonage by the reservation in his lease.
THE REV. MR. SOMERCALES, vicar of this parish, by his will gave an Exchequer annuity of 14l. to be applied to the instructing of poor children in the Christian religion.
FORTY HILLINGS are payable yearly at Michaelmas, out of a field formerly called Pyding, now St.John Shotts, belonging to Alured Pinke, esq. towards the repair of the church.
A PERSON UNKNOWN gave for the habitation of three poor persons, a house, now containing three dwellings.
The poor constantly relieved are about forty-five.
DODDINGTON is within the ECCLESIASTICAL JURISDICTION of the dioceseof Canterbury, and deanry of Ospringe.
The church, which is dedicated to St. John Baptist, consists of a body and chancel, with a chapel or chantry on the south side of it, belonging to the Sharsted estate. At the west end is a low pointed steeple, in which are six bells. About the year 1650, the steeple of this church was set on fire by lightning, and much damaged. In this church are memorials for the Swalman's, Nicholson's of Homestall, and the Norton's, and in the south, or Sharsted chancel, there is a black marble of an antique form, and on a fillet of brass round the verge of it, in old French capitals, Hic Jacet Ricardus de Saherstada, with other letters now illegible, and memorials for the Bourne's and Delaune's.
The church of Doddington was antiently esteemed as a chapel to the church of Tenham, as appears by the Black Book of the archdencon, and it was given and appropriated with that church and its appendages, in 1227, by archbishop Stephen Langton, to the archdeaconry. It has long since been independent of the church of Tenham, and still continues appropriated to the archdeacon, who is likewise patron of the vicarage of it.
Richard Wethershed, who succeded archbishop Langton in 1229, confirmed the gift of master Girard, who whilst he was rector of the church of Tenham, granted to the chapel of Dudintune, that the tithes of twenty acres of the assart of Pidinge should be taken for the use of this chapel for ever, to be expended by the disposition of the curate, and two or three parishioners of credit, to the repairing of the books, vestments, and ornaments necessary to the chapel. (fn. 6)
It is valued in the king's books at fifteen pounds, and the yearly tenths at 1l. 10s. In the visitation of archdeacon Harpsfield, in 1557, this vicarage was returned to be of the value of twelve pounds; parishioners sixty, housholders thirty-two.
¶In 1569, at the visitation of archbishop Parker, it was returned, that the chapel of Doddington used to be let to farm for forty pounds, and sometimes for less; that there were here communicants one hundred and thirteen, housholders thirty-five. In 1640 the vicarage was valued at thirty pounds; communicants one hundred and seven.
Archdeacon Parker, at the instance of archbishop Sancrost, by lease, anno 27 Charles II. reserved an additional pension of ten pounds per annum to the vicar. It pays no procurations to the archdeacon. It is now a discharged living in the king's books.
A complete set of 12 (days of Christmas), painted on canvas by S'mee in the style of 12 individual artists. J.Miro, G.DeChirico, H.D.T. Lautrec, G. Seurat, S. Dali, C. Monet, V. VanGogh, J. Pollock, H. Matisse, P.Picasso, and P.Klee.
Each has it's own ribbon hanger attached, but hiding in the photo, so that it can hang on a tree or on the wall, or if you're a fashion conscious -around your wee litle neck.
One sent to each person on S'mee's ornament swap list, also featuerd on "NPR's Holiday Contest" and also at "12 Days of Christmas, Flickr! Style". More individual photos and info on the flickr! page: www.flickr.com/photos/knotinthestring/
blogged at: knotinthestring.blogspot.com/2006/11/ornament-exchange.ht...
e-mail: pilokween@msn.com
Brian Dettmer
Complete Guide,
2011,
Hardcover book, acrylic varnish,
15" x 10-1/8" x 2-1/4"
Image Courtesy of the Artist and Packer Schopf
*Bamboosero*
BLUE LUG custom
SPEC
Frame: *Bamboosero* Road Frame
Headset: *CHRIS KING* nothreadset 1 1/8" (brown)
Front Wheel: *CAMPAGNOLO*
Rear Wheel: *CAMPAGNOLO*
Tire: *MICHELIN* pro3 race tire (black) 700×23C
Crank: *WHITE INDUSTRIES* eno single speed crank (black)
Pedal:*TIME*
Brake: *CAMPAGNOLO*
Stem: *THOMSON* elite x2 stem(black)
Seatpost: *THOMSON* elite seatpost (black)
Saddle: *GILLES BERTHOUD* men's leather saddle (cork)
*Bamboosero*
BLUE LUG custom
SPEC
Frame: *Bamboosero* Road Frame
Headset: *CHRIS KING* nothreadset 1 1/8" (brown)
Front Wheel: *CAMPAGNOLO*
Rear Wheel: *CAMPAGNOLO*
Tire: *MICHELIN* pro3 race tire (black) 700×23C
Crank: *WHITE INDUSTRIES* eno single speed crank (black)
Pedal:*TIME*
Brake: *CAMPAGNOLO*
Stem: *THOMSON* elite x2 stem(black)
Seatpost: *THOMSON* elite seatpost (black)
Saddle: *GILLES BERTHOUD* men's leather saddle (cork)
I have a mildly used, very well maintained top-of-the-line Mapex 8-Piece Orion drum kit in Coffee Burst with black hardware. It is by far the most incredible set I have ever seen / owned. It has all North American Maple shells, with an exotic burlwood maple exterior.
Sizes include:
8x8 rack tom
10x8 rack tom
12x9 rack tom
14x11 rack tom
16x16 floor tom
18x16 floor tom or bass drum with hoops (fully convertible with legs)
22x18 bass drum (removable tom mount)
14x5.5 matching snare drum
Read more about the Orion Series here:
usa.mapexdrums.com/drums/orion/index.asp
Included Hardware:
6x top of the line Mapex 900 Series cymbal hideaway boom stands (not pictured)
full tom mounting hardware (on bass drum and on stands - no rack)
2x single bass drum pedals (because you can divide it into two 4-piece kits - one with 18" kick drum, one with 22" kick drum)
1x Janus double-bass drum pedal
1x T580A saddle-style drum throne
1x H950A top-of-the-line Hi-Hat Stand
The drums are available with a COMPLETE set of Stagg hardcases. These are the best drum cases in the market, feature heavy padding (plus my own custom additional padding) and wheels on the 22" and 18" cases. All cases can be stacked up on top of eachother (unique locking design) and rolled around for EASY transport. I also have three rolling hardware bags for all the hardware.
Read more about Stagg Cases here:
www.harmony-central.com/articles/modern_drummer/htm/0604_...
I will also throw in a full set of drum silencing pads (for all drums but the 18" tom) so you can practice at home without the volume.
Some of these drums have not even been used, and everything is a current model from the manufacturers. Again, the condition is excellent, as they have always been carried in these road cases and very well-maintained. Street price would be over $10,000 after tax brand new. I am completely open to negotiation, as I have to move them quickly. Please contact me via email. Serious buyers only.
Source Wikipédia :
La cathédrale Notre-Dame de Chartres est le monument emblématique de la préfecture du département d'Eure-et-Loir, située à quatre-vingts kilomètres au Sud-Ouest de Paris. Elle est considérée comme la cathédrale gothique la plus représentative, la plus complète ainsi que la mieux conservée de par ses sculptures, vitraux et dallage pour la plupart d'origine, bien qu'elle soit construite avec les techniques de l'architecture romane montrant ainsi la continuité et non la rupture entre ces deux types d'architecture 1.
L'actuelle cathédrale, de style gothique dit « lancéolé », a été construite au début du xiiie siècle, pour la majeure partie en trente ans, sur les ruines d'une précédente cathédrale romane, détruite lors d'un incendie en 1194. Grand lieu de pèlerinage, elle domine la ville de Chartres et la plaine de la Beauce, se dévoilant au regard à plus de dix kilomètres de distance.
L’édifice fait l’objet d’un classement au titre des monuments historiques de par son recensement sur la liste de 18622. Par ailleurs, il a été parmi les premiers monuments classés au patrimoine mondial par l'UNESCO en 1979.
Chartres Cathedral, also known as Cathedral Basilica of Our Lady of Chartres (French: Basilique Cathédrale Notre-Dame de Chartres), is a medieval Catholic cathedral of the Latin Church located in Chartres, France, about 80 kilometres (50 mi) southwest of Paris. It is considered one of the finest examples of French Gothic architecture and is a UNESCO World Heritage Site. The current cathedral, mostly constructed between 1194 and 1250, is the last of at least five which have occupied the site since the town became a bishopric in the 4th century.
The cathedral is in an exceptional state of preservation. The majority of the original stained glass windows survive intact, while the architecture has seen only minor changes since the early 13th century. The building's exterior is dominated by heavy flying buttresses which allowed the architects to increase the window size significantly, while the west end is dominated by two contrasting spires – a 105-metre (349 ft) plain pyramid completed around 1160 and a 113-metre (377 ft) early 16th-century Flamboyant spire on top of an older tower. Equally notable are the three great façades, each adorned with hundreds of sculpted figures illustrating key theological themes and narratives.
Since at least the 12th century the cathedral has been an important destination for travellers – and remains so to this day, attracting large numbers of Christian pilgrims, many of whom come to venerate its famous relic, the Sancta Camisa, said to be the tunic worn by the Virgin Mary at Christ's birth, as well as large numbers of secular tourists who come to admire the cathedral's architecture and historical merit.
La Catedral de la Asunción de Nuestra Señora (en francés: Cathédrale de l'Assomption de Notre-Dame), es una iglesia catedralicia de culto católico bajo la advocación de Nuestra Señora en la ciudad de Chartres, en el departamento de Eure y Loir, en Francia, a unos 80 km al suroeste de la capital, París. Asimismo es la sede de la Diócesis de Chartres, en la Archidiócesis de Tours.
Esta catedral marcó un hito en el desarrollo del gótico e inició una fase de plenitud en el dominio de la técnica y el estilo gótico, estableciendo un equilibrio entre ambos. Es sumamente influyente en muchas construcciones posteriores que se basaron en su estilo y sus numerosas innovaciones, como las catedrales de Reims y Amiens a las que sirvió de modelo directo.
La figura más importante en la historia de esta diócesis fue el obispo Fulberto de Chartres, teólogo escolástico reconocido en toda Europa.
En 1979 fue declarada, por la Unesco, "Patrimonio cultural de la Humanidad".
*GEEKHOUSE*mudville complete bike
BLUE LUG custom
SPEC
Frame: *GEEKHOUSE*mudville
Headset:*CHRIS KING* nothreadset 1 1/8 inch
Wheels: *VELOCITY* aerohead × *CHRIS KING*classic
Tire:*KENDA*slant six
Crankset:*SHIMANO*ultegra
Brake&shift lever:*SHIMANO*ultegra
FD&RD:*SHIMANO*ultegra
Brake:*PAUL* touring canti
Handle: *FSA*k force
Stem:*THOMSON* elite x4
Seat post: *THOMSON* elite
Saddle:*SELLE ITALIA* flite
Frontbag:*SWIFT INDUSTRIES* paloma handlebar bag
Dress loosely based on the tutorial found here, though I didn't start with a pillowcase so I cut my own base pattern. But the instructions on the tut were great to refer to. And the idea of 'done is better than perfect' resonates so well with me these days too.
Bloomers made by me.
My new tattoo is based on an Alphonse Mucha print called Music. Christine said something bad happens to the head if I raise my arm too much. The outline took just over two hours. (From shortly after 12:30 until around 2:45.) This was the most difficult tattoo I've had to date, and I'm likely in for 13 hours more. I love it so far.
1932 Star-Rite Magic Maid electric mixer with her two original bowls intact. This little beauty retailed for a whopping $19.50 in 1932!!! Probably the equivalent of a month's wages for some folk...
By way of explanation to some... this is how my other half and I typically spend either a Saturday OR a Sunday, after brunch of course... browsing antique stores and thrift stores looking for vintage stuff that just 'tugs at our heartstrings'.