Story & Recipe (in italian & lithuanian) is here: www.tartamour.com/2014/02/11/klementinu-dzemas-su-juodosi...

Paudy (Indre)

  

Cette tour de 35 mètres, appelée parfois donjon, est en réalité un châtelet d'entrée. C'est le seul reste important de l'ancien château du XIIe siècle.

 

La tour est sur un plan carré, sauf une tourelle d'escalier sur la façade sud. La porte est conservée, avec l'emplacement des herses et du pont-levis. Au-dessus se trouvent deux salles avec trois cheminées. La charpente et la toiture datent du XVIIIe siècle.

 

L'enceinte formait un quadrilatère d'une centaine de mètres de côté, avec une grosse tour circulaire à chaque angle. Des quatre tours, du château aucune ne subsiste dans son entier.

 

Le pont levis a disparu vers 1810.

 

Construit en pierre, à l'emplacement d'une précédente forteresse en bois, au début du XIIe siècle, le constructeur pourrait être Raoul d'Issoudun de 1092 à 1164*. Une inscription de 1118 sur un escalier de bois attesterait de la date de sa construction.

 

Du XIIe au XVIIIe siècle, la seigneurie de Paudy a appartenu aux familles Cortenai, Blanchefort, Chevrier, Villard, La Fond et Riffardeau. (Chartrier des seigneuries de Paudy et de La Ferté-Gillebert)

 

Au milieu du XIIIe siècle, il fut transmis à un parent du Roi Louis IX, Raoul de Courtenay. Au début de la guerre de Cent Ans, il passa par alliance à Jean de La Personne, chambellan du duc de Berry. Dans la première moitié du XVe siècle, il était à "l'écorcheur" Jean de Blanchefort**.

 

La légende dit que Zizim***, fils du sultan Mahomet II, aurait été détenu dans le château de Paudy vers 1483, comme otage du Grand Maître de SaintJean de Jérusalem.

 

"À la fin du 19 siècle, le comte de la Teyssonnière sera contraint de le vendre car les impôts qu’il payait étaient supérieurs à ses revenus. Des spéculateurs de Paris le lui rachèteront. « On disait qu’il y avait un trésor à l’intérieur. Alors, les nouveaux propriétaires l’ont démoli en 1901 pour le chercher. Bien évidemment, il n’y avait rien... », rappelle Thierry Ledet, l’actuel propriétaire de la ferme qui a été construite à sa place." (La Nouvelle République du 01/02/2021)

  

* "Raoul d’Issoudun avait fait construire à Paudy, sur le chemin qui conduisait d’Issoudun à Graçay, un château-fort, dont la garnison, composée de chevaliers et d'hommes d'armes, opprimait d'une manière intolérable les hommes que le chapitre de Saint- Étienne de Bourges possédait dans le voisinage, et exigeait d'eux, au nom du seigneur, des coutumes excessives, soit en redevances, soit en corvées, soit en gites ou procurations; en outre un étang qu'il avait établi, les fossés du château et les eaux qu'il avait fallu y conduire inondaient les prés du chapitre. En 1154 , l'archevêque, comme arbitre, termina la contestation et concilia ces intérêts contraires." (Histoire de Berry par M. Louis Raynal - 1844)

 

** Blanchefort appartient à la petite noblesse du Berry. Il connaît Jeanne d'Arc, il participe au siège d'Orléans en 1420 comme lieutenant général de Sainte-Sévère. Sans emploi après le traité d'Arras (1435) qui mit fin à la guerre civile entre Armagnacs et Bourguignons, il est à la tête d'une troupe d' "écorcheurs", appelés aussi "Armagnacs", qui ravagent l'Est de la France. En 1440, il se range et le roi le nomme capitaine de Château-Gontier, aux gages de 1000 livres par an (voir Jeanne d'Arc, vérités et légendes de Colette Beaune).

 

*** Zizim ou Zizimi, en réalité Djem, est un prince ottoman. Son père est Mehmed II, sultan qui a mis fin à l'empire Byzantin par la prise de Constantinople en 1453. Assassiné en 1481, Mehmed II laisse deux fils : Bajazet l'aîné, et Djem le cadet. Les deux frères se font la guerre pour la succession. Djem échoue et se réfugie sur l'île de Rhodes. Rhodes est sous le contrôle des chevaliers de l'Ordre de Saint-Jean de Jérusalem et Djem espère s'en faire des alliés. Le grand maître de l'Ordre, le creusois Pierre d'Aubusson fait Djem prisonnier et passe un marché avec Bajazet qui s'engage, en échange, à ne pas envahir Rhodes. Djem est envoyé comme prisonnier France. Bajazet versera une indemnité annuelle de 40 000 ducats d'or aux Hospitaliers pour qu'ils le gardent. Pendant tout le temps de sa présence en Europe, tous les puissants vont tenter de se l'accaparer, car il représente une rente énorme. Il sera un temps prisonnier à Bourganeuf dans la Creuse, mais ne semble pas être passé par Paudy. Pierre d'Aubusson finira par échanger Djem avec le pape Innocent VIII, contre la pourpre cardinalice et une rente d'un quart de l'indemnité versée par Bajazet. Djem se retrouve donc à Rome. Lors de sa campagne militaire en Italie, le roi de France Charles VIII enlève Djem (et récupère l'indemnité), et l'emmène avec lui dans sa campagne militaire. Djem meurt subitement à Naples à l'âge de 35 ans, peut-être empoisonné.

  

monumentum.fr/ancien-chateau-pa00097426.html

www.lanouvellerepublique.fr/indre/commune/paudy/paudy-le-...

france3-regions.francetvinfo.fr/nouvelle-aquitaine/creuse...

   

 

Sinclair ZX81

 

Type

Home computer

Release date

5 March 1981; 36 years ago[1]

Introductory price

£49.95 kit, 2017 prices)

Discontinued

1984

Units sold

More than 1.5 million[3]

Operating system

Sinclair BASIC[4]

CPU

Z80 at 3.25 MHz[4]

Memory

1 KB (64 KB max. 56 KB usable)[4]

Storage

External cassette tape recorder at a claimed 250 bps[4] or an average 300 bps[5]

Display

Monochrome display on UHF television[4]

Graphics

24 lines × 32 characters or

64 × 48 pixels graphics mode[4]

Power

9V DC[4]

Dimensions

167 millimetres (6.6 in) deep by 40 millimetres (1.6 in) high[4]

Weight

350 grams (12 oz)[4]

Predecessor

ZX80

Successor

ZX Spectrum

Related articles

Timex Sinclair 1000,

Timex Sinclair 1500

The ZX81 is a home computer produced by Sinclair Research and manufactured in Scotland by Timex Corporation. It was launched in the United Kingdom in March 1981 as the successor to Sinclair's ZX80 and was designed to be a low-cost introduction to home computing for the general public. It was hugely successful, and more than 1.5 million units were sold before it was discontinued. The ZX81 found commercial success in many other countries, notably the United States, where it was initially sold as the ZX-81. Timex manufactured and distributed it under licence and enjoyed a substantial but brief boom in sales. Timex later produced its own versions of the ZX81 for the US market – the Timex Sinclair 1000 and Timex Sinclair 1500. Unauthorised clones of the ZX81 were produced in several countries.

The ZX81 was designed to be small, simple, and above all cheap, using as few components as possible to keep the cost down. Video output was to a television set rather than a dedicated monitor. Programs and data were loaded and saved onto audio tape cassettes. It had only four silicon chips on board and a mere 1 KB of memory. The machine had no power switch or any moving parts (with the exception of a VHF TV channel selector switch present on early "ZX81 USA" models and the Timex-Sinclair 1000) and used a pressure-sensitive membrane keyboard for manual input. The ZX81's limitations prompted the emergence of a flourishing market in third-party peripherals to improve its capabilities. Such limitations, however, achieved Sinclair's objective of keeping the cost of the machine as low as possible. Its distinctive case and keyboard brought its designer, Rick Dickinson, a Design Council award.

The ZX81 could be bought by mail order in kit form or pre-assembled. In what was then a major innovation, it was the first cheap mass-market home computer that could be bought from high street stores, led by W. H. Smith and soon many other retailers. The ZX81 marked the first time that computing in Britain became an activity for the general public, rather than the preserve of businesspeople and electronics hobbyists. It inspired the creation of a huge community of enthusiasts, some of whom founded their own businesses producing software and hardware for the ZX81. Many went on to play a major role in the British computer industry in later years. The ZX81's commercial success made Sinclair Research one of Britain's leading computer manufacturers and earned a fortune and an eventual knighthood for the company's founder, Sir Clive Sinclair.

 

Sinclair ZX81 PCB Revision 3 keyboard

The ZX81 came with 1 KB of on-board memory that could officially be expanded externally to 16 KB. Its single circuit board was housed inside a wedge-shaped plastic case measuring 167 millimetres (6.6 in) deep by 40 millimetres (1.6 in) high. The memory was provided by either a single 4118 (1024 bit × 8) or two 2114 (1024 bit × 4) RAM chips. There were only three other chips on board: a 3.5 MHz Z80A 8-bit microprocessor from NEC, an uncommitted logic array (ULA) chip from Ferranti and an 8 KB ROM providing a simple BASIC interpreter. The entire machine weighed just 350 grams (12 oz).[4] Early versions of the external RAM cartridge contained 15 KB of memory using an assortment of memory chips, while later versions contained 16 KB of chips, but the lowest addressed kilobyte was disabled.

The front part of the case is occupied by an integrated 40-key membrane keyboard displaying 20 graphic and 54 inverse video characters.[4] Each key has up to five functions, accessed via the SHIFT and FUNCTION keys or depending on context. For example, the P key combined the letter P, the " character and the BASIC commands PRINT and TAB. The ZX81 uses a standard QWERTY keyboard layout. The keyboard is mechanically very simple, consisting of 40 pressure-pad switches and 8 diodes under a plastic overlay, connected in a matrix of 8 rows and 5 columns.[6]

The ZX81's primary input/output is delivered via four sockets on the left side of the case. The machine uses an ordinary UHF television set to deliver a monochrome picture via a built-in RF modulator. It can display 24 lines of 32 characters each, and by using the selection of 2×2 block character graphics from the machine's character set offered an effective 64 × 44 pixel graphics mode, also directly addressable via BASIC using the PLOT and UNPLOT commands, leaving 2 lines free at the bottom. Two 3.5 mm jacks connect the ZX81 to the EAR (output) and MIC (input) sockets of an audio cassette recorder, enabling data to be saved or loaded. This used an unusual PWM encoding at a single frequency, giving an average rate of 307 bps nominal, varying between 400 bps for all '0's, to 250 bps for all '1's.[5] This provides a somewhat temperamental storage medium for the machine, which has no built-in storage capabilities. The ZX81 requires 420 mA of power at 7–11 V DC, delivered via a custom 9 V Sinclair DC power supply.[4]

The ULA chip, described by the ZX81 manual as the "dogsbody" of the system, has a number of key functions that competing computers shared between multiple chips and integrated circuits. These comprise:[7]

Synchronising the screen display;

Generating a 6.5 MHz clock, from which a 3.25 MHz clock is derived for the processor;

Outputting an audio signal to a cassette recorder in SAVE mode;

Processing the incoming cassette audio signal in LOAD mode;

Sensing keystrokes;

Using memory addresses provided by the CPU to decide when ROM and RAM should be active;

Controlling general system timing.

The ZX81's built-in RF modulator can output a video picture to either a UHF 625-line colour or monochrome television (used in the UK, Australia, and most western European countries). France required a slightly modified version of the machine to match the positive video modulation of SECAM sets, while the USA and Canada required a different ULA chip and modulator to cope with their 525-line VHF (NTSC) television systems. Both the ZX81 and its predecessor, the ZX80, have a significant drawback in the way that they handle visual output. Neither machine has enough processing power to run at full speed and simultaneously maintain the screen display. On the ZX80, this means that the screen goes blank every time the machine carries out a computation and causes an irritating flicker whenever a shorter computation – such as processing a keystroke – takes place.[8]

 

The ZX81's designers adopted an improved approach, involving the use of two modes called SLOW and FAST respectively. In SLOW mode, also called "compute and display" mode, the ZX81 concentrates on driving the display. It runs the current program for only about a quarter of the time – in effect slowing the machine down fourfold, although in practice the speed difference between FAST and SLOW modes depends on what computation is being done.[9] In FAST mode, processing occurs continuously, but the display is abandoned to its own devices – equivalent to the ZX80's standard operating mode.[10]

Another hardware quirk produced one of the most distinctive aspects of the ZX81's screen display – during loading or saving, moving zigzag stripes appear across the screen. The same pin on the ULA is used to handle the video signal and the tape output, producing the stripes as an interference pattern of sorts. The ULA cannot maintain the display during SAVE and LOAD operations, as it has to operate continuously to maintain the correct baud rate for data transfers. The interference produces the zigzag stripes.[7]

The unexpanded ZX81's tiny memory presented a major challenge to programmers. Simply displaying a full screen takes up to 793 bytes, the system variables take up another 125 bytes, and the program, input buffer and stacks need more memory on top of that.[11] Nonetheless, ingenious programmers were able to achieve a surprising amount with just 1 KB. One notable example was 1K ZX Chess by David Horne, which managed to include most of the rules of chess into only 672 bytes. The ZX81 conserved its memory to a certain extent by representing entire BASIC commands as one-byte tokens, stored as individual "characters" in the upper reaches of the machine's unique (non-ASCII) character set.[12]

The edge connector or external interface at the rear of the ZX81 is an extension of the main printed circuit board. This provides a set of address, control, and data lines that can be used to communicate with external devices.[13] Enthusiasts and a variety of third-party companies made use of this facility to create a wide range of add-ons for the ZX81.

From Wikipedia

 

2012–2019 restoration

During September 2012, fundraising begins for a planned £19 million programme of repair and expansion. This project aimed to repair and conserve the ancient stained-glass windows of the presbytery clerestory, restore the wooden vault of the presbytery, replace the lead roof of the east end, rewire the building with a new sound system, and open a new exhibition on the Winchester Bible in the south transept triforium.

 

During the end of 2012, a high-level internal access scaffold was erected in the presbytery to enable close inspection of the vault and clerestory windows. The vault was subject to a detailed construction and paint analyses. The results of the inspection and analysis revealed severe corrosion in the windows, many of which had holes in and collapsed glass, and the failure of the lead roof above, which was causing degrading to the 16th century wooden vault of the presbytery. A trial removal of the 1950s paint revealed the surviving 16th century paint underneath on the nearly 200 roof bosses. In July 2013, a £10.5 million grant from the Heritage Lottery Fund allowed the restoration work to begin.

 

In 2014, a birdcage or suspended scaffold was installed below the vault in the presbytery, where it was expected to stay for four years. This scaffold allowed close contact with the vaults and clerestory windows to be repaired. The scaffold weighed 5 tonnes. Also in 2014, the south transept was removed of all of its items including 7,000 books from the library, to allow it to be restored and made ready for the new exhibition, Kings and Scribes, which was planned to open in the triforium at the end of the restoration project. The south transept was then filled with scaffolding and sealed off at the tower arch from the rest of the cathedral, which was expected to remain for nearly three years.

  

The presbytery vault in February 2009, before restoration

In January 2015, a massive scaffolding frame began to be assembled in the Outer Close, which would be raised to cover the entire presbytery roof. In March 2015, a 300 tonne crane lifted the 27 tonne scaffolding frame to a height of 80 feet (25 m) above the cathedral floor onto the roof. This scaffolding frame, which was moulded to the shape of the roof, was then covered with a waterproof layer to allow the lead underneath to be removed. Over the next few weeks, 54 tonnes of lead were removed from the roof, dating back as far as the early 19th century, and sent to Leicester to be recast. This stage of work was completed in May 2016 with the removal of the external scaffolding and the completion of the lead replacement.

  

The same vault in November 2020, after restoration

As part of the works to restore the south transept ahead of its use as an exhibition space, a statue was discovered on its gable end in 2017. The original statue, made of Caen stone, was in a very poor state of repair. Caen stone was too soft as an external stone, especially on the exposed roof ridge on the south transept, where it is exposed to the prevailing wind. The head had sheared off at the neck and several cracks were found elsewhere in the statue. The plinth supporting the statue was also in very poor condition. Examination of the statue revealed it dated back to c. 1330 to 1352. Thanks to a grant from The Radcliffe Trust, the statue was replaced with a newly carved life-sized figure of a medieval ecclesiastic clad in an alb, made of Portland stone. By February 2017, the cathedral were only £200,000 short of their fundraising goal, which had increased to £20.5 million. Also in February, a pit was created in the south transept floor to allow future insertion of a lift, thus allowing the exhibition on the south transept triforium to be accessible to all. Eight piles were inserted to a depth of 16.4 metres (54 ft) below the floor to support the new lift.

 

In June 2017, the lift shaft and outer frame was installed, comprising 4 tonnes of steel rising 12.6 metres (41 ft) from the floor. To enable this, the 12th century groin vault of the south transept aisle was opened up in a world first. The lift shaft is entirely free standing, it does not exert any pressure on the vault or walls. By November, the final clerestory window had been reinserted. They had been removed beginning 2015 for restoration and were sent to Wells, Somerset for restoration. The Great East Window was also restored in this time but was so fragile, the conservation works were completed in-situ. Just as these window repairs were completed, conservation on eight windows in the north transept began, including the oldest stained-glass window in the cathedral, dating from 1330. A new oak mezzanine floor was installed in the triforium to prevent visitors from walking on the uneven floor. The glass lift was installed in the frame during this time, comprising 18 panels, the largest weighing some 550 kilograms.

 

Starting in January 2018, the birdcage installed in 2014 was slowly removed due to the completion of the vault and window repairs, allowing the vault and windows to be viewed for the first time in nearly four years. The stone reredos, dating from 1450-1476, called the Great Screen, was cleaned for the first time since 1890.

 

The entire project came to a close on 21 May 2019, with the opening of the Kings and Scribes exhibition in the south transept, the removal of all internal and external scaffolding, and the reopening of the south transept, which had been closed off for five years, some two and a half years longer than originally expected.

Christ’s Descent into Limbo, anoniem, c. 1515

 

eikenhout met resten van originele en latere polychromie, h 48.5cm.

  

Rijks Museum - National Museum of Netherlands

 

Vision

 

The Rijksmuseum links individuals with art and history.

Mission

 

At the Rijksmuseum, art and history take on new meaning for a broad-based, contemporary national and international audience.

 

As a national institute, the Rijksmuseum offers a representative overview of Dutch art and history from the Middle Ages onwards, and of major aspects of European and Asian art.

 

The Rijksmuseum keeps, manages, conserves, restores, researches, prepares, collects, publishes, and presents artistic and historical objects, both on its own premises and elsewhere.

 

From 1800 to 2013

 

The Rijksmuseum first opened its doors in 1800 under the name ‘Nationale Kunstgalerij’. At the time, it was housed in Huis ten Bosch in The Hague. The collection mainly comprised paintings and historical objects. In 1808, the museum moved to the new capital city of Amsterdam, where it was based in the Royal Palace on Dam Square.

 

After King Willem I’s accession to the throne, the paintings and national print collection were moved to the Trippenhuis on Kloveniersburgwal, while the other objects were returned to The Hague. The current building was put into use in 1885. The Netherlands Museum for History and Art based in The Hague moved into the same premises, forming what would later become the departments of Dutch History and Sculpture & Applied Art.

The beginning

 

On 19 November 1798, more than three years after the birth of the Batavian Republic, the government decided to honour a suggestion put forward by Isaac Gogel by following the French example of setting up a national museum. The museum initially housed the remains of the viceregal collections and a variety of objects originating from state institutions. When the Nationale Kunstgalerij first opened its doors on 31 May 1800, it had more than 200 paintings and historical objects on display. In the years that followed, Gogel and the first director, C.S. Roos, made countless acquisitions. Their first purchase, The Swan by Jan Asselijn, cost 100 Dutch guilders and is still one of the Rijksmuseum’s top pieces.

Move to Amsterdam

 

In 1808, the new King Louis Napoleon ordered the collections to be moved to Amsterdam, which was to be made the capital of the Kingdom of Holland. The works of art and objects were taken to the Royal Palace on Dam Square, the former city hall of Amsterdam, where they were united with the city’s foremost paintings, including the Night Watch by Rembrandt. In 1809, the Koninklijk Museum opened its doors on the top floor of the palace.

 

A few years after Willem I returned to the Netherlands as the new king in 1813, the ‘Rijks Museum’ and the national print collection from The Hague relocated to the Trippenhuis, a 17th-century town-palace on Kloveniersburgwal, home to what would later become the Royal Netherlands Academy of Arts and Sciences. Much to the regret of the director, Cornelis Apostool, in 1820 many objects including pieces of great historical interest were assigned to the Kabinet van Zeldzaamheden [Royal Gallery of Rare Objects], which had been founded in The Hague. In 1838, a separate museum for modern 19th-century art was established in Paviljoen Welgelegen in Haarlem. Contrary to the days of Louis Napoleon, very few large acquisitions were made during this period.

 

Cuypers Cathedral

 

The Trippenhuis proved unsuitable as a museum. Furthermore, many people thought it time to establish a dedicated national museum building in the Netherlands. Work on a new building did not commence until 1876, after many years of debate. The architect, Pierre Cuypers, had drawn up a historic design for the Rijksmuseum, which combined the Gothic and the Renaissance styles. The design was not generally well-received; people considered it too mediaeval and not Dutch enough. The official opening took place in 1885.

 

Nearly all the older paintings belonging to the City of Amsterdam were hung in the Rijksmuseum alongside paintings and prints from the Trippenhuis, including paintings such as Rembrandt’s Jewish Bride, which had been bequeathed to the city by the banker A. van der Hoop. The collection of 19th-century art from Haarlem was also added to the museum’s collection. Finally, a significant part of the Kabinet van Zeldzaamheden, which had by then been incorporated into the new Netherlands Museum for History and Art, was returned to Amsterdam.

 

Renovations

 

Over the years, collections continued to grow and museum insight continued to expand, and so the Rijksmuseum building underwent many changes. Rooms were added to the south-west side of the building between 1904 and 1916 (now the Philips wing) to house the collection of 19th-century paintings donated to the museum by Mr and Mrs Drucker-Fraser. In the 1950s and 1960s, the two original courtyards were covered and renovated to create more rooms.

 

In 1927, while Schmidt-Degener was Managing Director, the Netherlands Museum was split to form the departments of Dutch History and Sculpture & Applied Art. These departments were moved to separate parts of the building after 1945. The arrival of a collection donated by the Association of Friends of Asian Art in the 1950s resulted in the creation of the Asian Art department.

 

The 1970s saw record numbers of visitors of almost one-and-a-half million per year, and the building gradually started to fall short of modern requirements.

‘Verder met Cuypers'

 

The current renovation reinstates the original Cuypers structure. The building work in the courtyards are removed. Paintings, applied art and history are no longer displayed in separate parts of the building, but form a single chronological circuit that tells the story of Dutch art and history.

 

The building is thoroughly modernized, while at the same time restoring more of Cuypers original interior designs: the Rijksmuseum has dubbed the venture ‘Verder met Cuypers‘ [Continuing with Cuypers]. The Rijksmuseum will be a dazzling new museum able to satisfy the needs of its 21st-century visitors!

 

Every year, the Rijksmuseum compiles an annual report for the previous year. Annual reports dating back to 1998 can be found here (in Dutch only). Reports relating to the years before 1998 are available in the reading room of the library.

 

O Museu Rijks é um dos maiores e mais importantes museus da Europa.

É o maior dos Países Baixos, com acervo voltado quase todo aos artistas holandeses. As obras vão desde exemplares da arte sacra até a era dourada holandesa, além de uma substancial coleção de arte asiática.

Esse é o Rijksmuseum, o Museu Nacional dos Países Baixos. E aproveite, caro leitor, porque o Rijks esteve parcialmente fechado para reforma durante 10 anos – voltou a funcionar só em 2013. Ou seja, quem esteve em Amsterdam na última década não conheceu o Rijks, pelo menos não completamente

.

 

Mas o quê tem lá? Muita coisa. Destaque para as coleções de arte e História holandesas. Os trabalhos dos pintores Frans Hals e Johannes Vermeer são alguns dos mais concorridos, mas imbatível mesmo é Rembrandt van Rijn, considerado um dos maiores pintores de todos os tempos. Se você não é um fã de museus de arte, mas faz questão de conhecer o trabalho desses grandes artistas, uma dica: assim que chegar ao Rijks, vá direto para a ala onde estão as obras-primas. Assim você vê o mais importante no início da visita, quando ainda está descansado e poderá dedicar o tempo necessário para essas obras.

A mais famosa delas é a “A Ronda Noturna”, de Rembrandt, uma obra que inspirou músicas, pinturas, filmes e até um flash mob. Quando o Rijks foi reaberto, artistas recriam a cena mostrada no quadro dentro de um shopping de Amsterdam. A ação está no vídeo abaixo e eu te garanto que vale a pena dar play.

 

Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...

Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...

Rijksmuseum, Museu Nacional

42 Stadhouderskade

Amsterdam

 

O museu Rijksmuseum de Amsterdã é o Museu Nacional da Holanda, onde você encontrará uma impressionante coleção permanente, formada por 5.000 pinturas e 30.000 obras de arte, além de 17.000 objetos históricos.

 

Esse museu nacional foi fundado em 1885 e está instalado em um edifício de estilo neogótico. A sua principal atração é a extensa coleção de quadros pintados por artistas holandeses, abrangendo um período que vai do séc. XV aos dias de hoje. A obra de arte mais famosa em exibição é o quadro A Ronda Noturna, de Rembrandt.

O museu Rijksmuseum está dividido em cinco departamentos: pintura, escultura, arte aplicada, arte oriental, história dos Países Baixos e gravuras. O núcleo da coleção é a pintura e suas obras mais representativas são as que pertencem ao Século de Ouro holandês, com quadros de artistas como Rembrandt, Vermeer ou Frans Hals.

Ver fonte: dreamguides.edreams.pt/holanda/amsterda/rijksmuseum

 

Museu Rijks, Amesterdão

O Museu Rijks (Museu Nacional) é um edifício histórico, sendo o maior museu nos Países Baixos. O Museu é o maior no numero relativamente às suas colecções, na área do edifício em si, no financiamento e no numero de funcionários empregados.

Cada ano, mais de um milhão de pessoas visitam o Museu Rijks. O Museu emprega cerca de 400 pessoas, incluindo 45 conservadores de museu que são especializados em todas as áreas.

O Museu Rijks é internacionalmente reconhecido pelas suas exibições e publicações, mas não só apenas por estes produtos de grande qualidade, mas também pelas áreas no museu em si que são fonte de inspiração e encorajam a criação de novas ideias.

O museu também tem recursos consideráveis para a educação, para a decoração e apresentação de exibições. Importantes designers são regularmente chamados a trabalharem em projectos no Museu Rijks.

O edifício principal do Museu Rijks está a ser renovado. A boa noticia é que a melhor parte da exposição está apresentada na redesenhada ala Philips. O nome desta exposição denomina-se "The Masterpieces'.

O museu abre diariamente das 10 da manhã até ás 5 da tarde.

A entrada é pela Stadhouderskade 42.

www.rijksmuseum.nl

 

Rijksmuseum

Origem: Wikipédia, a enciclopédia livre.

O Rijksmuseum é um museu nacional dos Países Baixos, localizada em Amsterdão na Praça do museu. O Rijksmuseum é dedicado à artes e história. Ele tem uma larga coleção de pinturas da idade de ouro neerlandesa e uma substancial coleção de arte asiática.

O museu foi fundado em 1800 na cidade da Haia para exibir a coleção do primeiro-ministro. Foi inspirado no exemplo francês. Pelos neerlandeses ficou conhecida como Galeria de Arte. Em 1808 o museu mudou-se para Amsterdã pelas ordens do rei Louis Napoleón, irmão de Napoleão Bonaparte. As pinturas daquela cidade, como A Ronda Nocturna de Rembrandt, tornaram-se parte da coleção.

Em 1885 o museu mudou-se para sua localização atual, construído pelo arquiteto neerlandês Pierre Cuypers. Ele combinou elementos góticos e renascentistas. O museu tem um posição proeminente na Praça do Museu, próximo ao Museu van Gogh e ao Museu Stedelijk. A construção é ricamente decorada com referências da história da arte neerlandesa. A Ronda Nocturna de Rembrandt tem seu próprio corredor no museu desde 1906. Desde 2003 o museu sofreu restaurações, mas as obras-primas são constatemente presentes para o público.

A coleção de pinturas inclui trabalhos de artistas como Jacob van Ruysdael, Frans Hals, Johannes Vermeer e Rembrandt e de alunos de Rembrandt.

Em 2005, 95% do museu está fechado para renovação, mas as pinturas da coleção permanente ainda estão em mostra em uma exibição especial chamada As Obras-primas.

Algumas das pinturas do museu:

Rembrandt van Rijn

A Ronda Nocturna

Os síndicos da guilda dos fabricantes de tecidos

A noiva judia

A lição de Anatomia do Dr. Deyman

Pedro negando Cristo

Saskia com um véu

Retrato de Titus em hábito de monge

Auto-retrato como Apóstolo Paulo

Tobias, Ana e o Bode

Johannes Vermeer:

A Leiteira

A Carta de Amor

Mulher de Azul a ler uma carta

A Rua pequena

Frans Hals:

Retrato de um jovem casal

A Companhia Reynier Real

O bebedor alegre

Retrato de Lucas De Clercq

Retrato de Nicolaes Hasselaer

Retrato de um homem

Página oficial do Rijksmuseum

Virtual Collection of Masterpieces (VCM)

O melhor museu de Amsterdam: Rijksmuseum

O Commons possui uma categoria contendo imagens e outros ficheiros sobre Rijksmuseum

 

Rijksmuseum Amsterdam

  

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Se você visitar Amsterdam, precisará conhecer o Museu Nacional da Holanda: Rijksmuseum Amsterdam. O Museu Nacional fica na Praça do Museu, situada no centro de Amsterdam. O Museu Nacional, ou Rijksmuseum, possui uma maravilhosa coleção de arte e história holandesas. Após uma visita ao Rijksmuseum, você saberá mais sobre história e arte e terá visto alguns dos maiores marcos culturais da Holanda.

 

Obras-primas do Museu Nacional

Ao todo, a coleção do Rijksmuseum apresenta a história da Holanda em um contexto internacional, desde 1.100 até o presente. Há alguns ícones da história e cultura da Holanda que você não pode perder:

 

Ronda Noturna (de Nachtwacht) de Rembrandt é uma das mais famosas obras desse mestre holandês e é de tirar o fôlego.

 

O Rijksmuseum tem uma das melhores coleções de pinturas dos grandes mestres do século XVII, como Frans Hals, Jan Steen, Vermeer e Rembrandt.

 

Assim como o Museu Histórico de Haia, o Rijksmuseum apresenta lindas casas de bonecas, mobiliadas em detalhes, datando de 1676.

 

Se você não puder ir ao Delft Real, pode ainda apreciar algumas das melhores cerâmicas de Delft, de conjuntos de chá a vasos, no Museu Nacional.

 

Museu que é visita obrigatória em Amsterdam

Quer sua estadia em Amsterdam seja breve ou longa, você deve visitar o Rijksmuseum. Chegue cedo para evitar enfrentar filas. Combine a visita ao Rijksmuseum com várias outras atrações próximas, como o Museu Van Gogh, o Museu Stedelijk Amsterdam e a Coster Diamonds

 

Para obter mais informações sobre Amsterdam, retorne à página sobre Amsterdam ou à página sobre os museus de Amsterdam.

   

Des stalles du château de Gaillon sont conservées dans la basilique Saint-Denis près de Paris. Ce château était la résidence de loisir des archevêques de Rouen. Commandées au début du XVIe siècle par Georges d’Amboise, ces stalles ont été construites lorsque cet archevêque, devenu légat du pape et premier conseiller de Louis XII a fait transformer le château médiéval en palais de la Renaissance. Seules stalles en France à présenter de nombreux panneaux de marqueterie et une iconographie inédite, elles forment un mobilier unique, chef-d’œuvre de cette période charnière entre gothique et Renaissance, arborant une grande mixité de styles. Ces stalles sont les chaires qui étaient destinées aux trois chanoines qui officiaient dans la chapelle haute du château de Gaillon, dédiée à saint Georges. Elles étaient ceintes d’une clôture en boiset constituaient ainsi le chœur liturgique de l'édifice.

 

Les stalles en chêne sont composées de deux rangées disposées côté nord et sud du transept de la basilique de Saint-Denis. La rangée nord présente un ensemble de six stalles, la rangée sud de cinq stalles et une isolée. Seules douze stalles ont été créées au XVIe siècle alors que le programme iconographique en prévoyait quatorze. De 2,83 m de haut, elles composées d’un siège et d’un dorsal, ce dernier comprenant deux registres : un bas-relief surmontant un panneau de marqueterie. Tous les éléments sont sculptés ou marquetés. De manière unique, les dossiers, les dorsaux et les voussures des dais sont galbés. De même les chaires ont des largeurs variées, fixées par celles des bas-reliefs des dorsaux. Pour s’adapter, les largeurs d’autres composants ont été rectifiées. La mixité de style se retrouve dans la globalité, les interdorsaux et deux dais étant gothiques alors que les faibles reliefs sont apparentés aux grotesques de la Renaissance, les bas-reliefs et les marqueteries des dorsaux étant quant à eux à la fois d’inspiration péninsulaire et septentrionale.

 

Sont illustrées sur les bas-reliefs originaux des dorsaux deux scènes de la vie d’Anne et Joachim, parents de la vierge Marie, cinq scènes de la vie de saint Jean-Baptiste le précurseur et sept scènes de la vie de saint Georges selon les textes d’Évangile ou de la Légende dorée. Nombre d’autres saints sont présentés en pied, sous forme de statuettes sur les interdorsaux ou de bas-reliefs sur les soubassements des jouées, notamment les quatre évangélistes sur ces derniers. Sur les panneaux marquetés des quadrants des parcloses sont figurées les affres des enfers des condamnés selon les sept péchés capitaux, avec les planètes et leurs influences. Les représentations sont inspirées des gravures du Calendrier des bergers imprimé à cette époque.

 

Les miséricordes figurent des scènes des Métamorphoses d’Ovide ainsi que les arts libéraux selon la Margarita Philosophica de G. Reisch. Les artisans se sont inspirés de gravures d’ouvrages imprimés au début du XVIe siècle, par exemple le soldat romain Caius Mucius Scaevola devant le roi Étrusque Porsenna y étant représenté exposant ainsi des thématiques propres à la culture antique. De manière également tout à fait inédite, les 7 vertus, cardinales et théologales, et 7 sibylles sont figurées et représentées sur les panneaux de marqueterie du premier registre des dorsaux. Les allégories et les prophétesses sont encadrées d’architectures identiques deux à deux qui les mettent en concordance. Les sibylles ont été choisies parmi celles du manuscrit des Heures de Louis de Laval dont les auteurs ont cité les prophéties. Ces dernières proviennent du manuscrit des Institutions divines de Lactance qui était de nouveau traduit et que le cardinal a lui-même fait enluminer. Ce grand rhéteur du IVe siècle ayant quant à lui repris les oracles rédigés dans les Oracles sibyllins.

 

Georges Ier d’Amboise n’a pas manqué de faire valoir qu’il était le commanditaire des stalles en demandant à ce que ses armes et sa devise y figurent à de nombreuses reprises. Le légat a donné pour modèles aux artisans des stalles des enluminures ou gravures de manuscrits faisant partie de sa splendide bibliothèque, digne d'un grand érudit humaniste. Il fit venir l’Italie en choisissant la marqueterie figurative en sus de la sculpture, seule technique utilisée à l'époque en France. Sans renier la tradition en faisant figurer les saints, il a fait représenter de manière inédite leur cycle de vie, dont il a choisi des événements bien spécifiques. De plus, il a incité les fidèles à s’instruire et à étudier les auteurs antiques en faisant sculpter des allégories des arts libéraux et des personnages mythiques ou héroïques. Enfin, par le dialogue des sibylles et des vertus, il a montré que la rhétorique de Lactance était convaincante. Il a ainsi non seulement introduit en France la mode italienne dans le mobilier, le décor et les ornements du château de Gaillon, mais surtout donné corps à l’esprit humaniste en faisant de ses stalles les messagères qui appellent à une vie vertueuse, dans la foi au Christ annoncé à tous les hommes (cf. wikipédia, merci Glass Angel pour la photo).

LOS FELIZ - Concerned members of the community joined Los Angeles City Councilmember Tom LaBonge, the Los Angeles Department of Water and Power, and the Los Angeles Fire Department in implementing beautification and water conservation measures to LAFD Station 35 on Hillhurst Avenue. They were joined by Green Space Los Feliz, the Los Feliz Neighborhood Council, the Los Feliz Improvement Association and the Franklin Hills Residence Association at the January 16, 2105 event.

 

Photo Use Permitted via Creative Commons - Credit: LAFD Photo by David Ortiz

 

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in vinegar

en.wikipedia.org/wiki/Drosophila_melanogaster

paper from history book, wax. more about this piece here: ines-seidel.de/2014/02/beruhrungsempfindlich/?lang=en

Cormery (Indre-et-Loire)

 

Cormery (Indre-et-Loire)

 

La Tour Saint Paul.

 

Ce clocher-porche roman (fin XI° siècle) précédait la façade de l’église abbatiale.

 

La Tour se compose d’un rez-de-chaussée formant porche, d’une salle haute et d’un beffroi.

 

Sur sa face occidentale on remarque des ornements décoratifs surmontés de deux bas-reliefs.

  

Au 9° siècle seront achevés l'église et le cloître. L'église est aujourd'hui pratiquement détruite, la nef (allée centrale de l'édifice) a été transformée en rue. Elle possède un autel principal consacré à St Paul, une chapelle d'axe dédiée à la Trinité et deux absidioles sur les bras du Transept. Dans son dernier état, c'est un édifice gothique commencé probablement au début du 13° siècle et terminé vers 1310.

 

Pour pénétrer dans la rue de l'ancienne cella, il faut passer sous la Tour St Paul, qui précède la façade occidentale de l'église. C'est la partie conservée la plus ancienne. Elle comporte trois étages: le porche, la salle haute et la chambre des cloches, sa flèche est tombée en 1891.

   

Abbaye Saint Paul de Cormery.

 

Cette abbaye a été fondée en 791 par Ithier*, Abbé de Saint Martin de Tours, chancelier de Pépin le Bref puis de Charlemagne. A la base, Ithier choisit Cormery pour faire retraite et méditer loin de l'Abbaye de Tours, qui a perdu les racines de l'ordre bénédictin. Il s'y installe avec 5 frères et y établi une "cella"*. Il obtient de Charlemagne une charte octroyant titres et privilèges à l'Abbaye de Cormery.

 

En 796, Alcuin* (Alcuin d'York, illustre érudit anglo-saxon), un proche de Charlemagne, devient Abbé de Saint Martin de Tours et de Cormery. Il reçoit l'autorisation de Charlemagne d'y installer des moines en 800*. C’est ainsi qu’Alcuin, abbé de Saint-Martin de Tours, mais non moine, fit appel à son ami Benoît d’Aniane pour peupler le monastère de Cormery. En 821, des moines venant du monastère d'Aniane (Hérault) s'y établissent.

 

Alcuin choisit son successeur, Fridugise (Fridegise). En 804, Fridegise est nommé abbé de Saint-Paul de Cormery.

 

Louis Ier le Débonnaire (Louis le Pieux), fils et successeur de Charlemagne, soumit tous les monastères de l’Empire à la règle de Saint Benoît d'Aniane.

 

L'abbé Audacher (Oacre) obtient, en 844, de Charles II le Chauve l'autorisation de créer des foires et des marchés* (le marché du jeudi, qui existe toujours à Cormery, remonte à cette époque).

 

La vitalité des grands monastères s’affirme partout en Touraine au début du XIe siècle. Un bon exemple en est l’abbaye de Cormery qui vient d’obtenir des

comtes d’Anjou, en 1026, les domaines d’Azay-le-Rideau et de Villaines. Tandis que s’élève l’église abbatiale romane qui sera consacrée en 1054, le seigneur de Nouâtre lui concède le vaste domaine de Mons caninus (Montchenin au bord de l’Échandon). (Pouvoir féodal et pouvoir religieux en Touraine au XIe siècle - Jean-Marie Couderc)

 

L'abbaye a été très endommagée par les Normands au IXème siècle. A partir de 1054 les abbés Robert I et Robert II la font reconstruire en beaucoup plus grand.

 

L' église paroissiale Notre-Dame du Fougeray est créée, au début du XIIe siècle, en dehors de l'enceinte du monastère pour les habitants du bourg.

 

A la fin du XIIIème siècle la partie orientale de l'église s'effondre, l'abbé Thibault de Chalon fait reconstruire le choeur et le transept de 1296 à 1310. Ce travail de réhabilitation, par Thibault de Chalon, l'un des ancêtre de Foulques, n'empêchera pas les anglais de mettre à sac l'abbaye et de massacrer les habitants des villages environnants , en 1358.

 

En 1358, au début de la Guerre de Cent Ans une troupe à la solde des Anglais commandée par Basquin du Poncet, prend d'assaut la ville, la pille et la détruit presque entièrement après avoir massacré de nombreux habitants.

 

En 1412, la ville est mise à rançon par un capitaine Anglais, Jean Blount*. Mais Cormery a été préservée grâce à l'arrivée du Sire de Bueil. A la Fin du XVème et au début du XVIème siècle l'abbaye connaît une période faste avec les abbés Jean du Puy et Denis Briconnet.

 

En 1562, au début des Guerres de Religion*, l'église abbatiale et celle de la paroisse (Notre Dame du Fougeray) sont dévastées par les Protestants.

 

En février 1790 la Constituante supprime les vœux monastiques et ordonne la mise en vente des monastères et de leurs biens. Le 16 fructidor an 4 (le 16 aout 1796), l’église Abbatiale de Cormery est achetée par Louis Duvau, ancien greffier de la seigneurie qui possédait déjà le logis abbatial et toutes ses dépendances. Il la revend par morceau, mais les bâtiments, trop importants, ne trouvent d'acquéreur qu'en 1799 alors qu'ils sont déjà bien délabrés. Louis Duvau sera le premier maire de Cormery, du 30/1/1790 au 16/8/1790.

  

*Le précepte d'Ithier de 791 pour Saint-Paul de Cormery mentionne que cet abbé lègue aux moines de Cormery des biens lui ayant été donnés par Charlemagne et qui appartenaient auparavant à Saint-Martin : “delegamus etiam ibidem aliquas res de ratione sancti Martini quas, largiente domino nostro Carolo, excellentissimo rege, adquisivimus, in pago videlicet Pictavo Antoniacum villam cum appendiciis suis, Bragonno et aliis seu et loco nuncupato Arciaco.”

 

*La "cella" ou "celle" carolingienne est un petit monastère non autonome. Ithier fonda la “cella sancti Pauli” à Cormery en 791.

 

*Alcuin était un moine anglais originaire de Northumbrie où il est né vers 732. Ecolâtre de l'archevêque d'York, celui-ci l'envoie en mission à Rome en 780. A son retour, il croise, à Ravenne, le roi des Francs, le futur Charlemagne. Alcuin entre alors à l'école du palais dont il devient le chef. C'est Alcuin qui développera auprès de Charlemagne l'idéologie impériale, fondée sur le modèle de l'empire romain. Il suggère au roi de se faire couronner empereur d'Occident. Ce sera chose faite à Noël 800. Alcuin devenu abbé de Saint-Martin de Tours va y développer un atelier de copistes qui sera le plus important d'Occident. De cet atelier sortiront une cinquantaine de bibles commentées de sa main. C'est cette bible qui sera choisie par le concile de Trente au XVIe siècle. Grâce à Alcuin, les historiens parleront, plus tard, de "Renaissance carolingienne" (locution inventée par l'historien Jean-Jacques Ampère, qui était d'ailleurs le fils du physicien). (Voir article de André Larané dans Herodote)

A la mort d'Alcuin 804, Fridegise, un autre anglo-saxon, fut nommé abbé de Saint Martin de Tours et de Saint-Paul de Cormery.

  

*En 800, Alcuin obtint de saint Benoît d’Aniane une escouade de ses bénédictins pour transformer cette "cella" en une abbaye bénédictine qui prendra rapidement une importance considérable, elle sera à la tête de 33 prieurés. En 858, Cormery fonda une abbaye-fille à Villeloin. Les ermites qui se succédaient à Villeloin depuis 400 ans devinrent alors des bénédictins.

 

*Diplôme de Charles le Chauve pour l'abbaye Saint-Paul de Cormery (30 décembre 843 ou 844).

"Au nom de la sainte et indivisible Trinité, Charles par la grâce de Dieu, roi (...)

(...) que personne ne fasse opposition à la tenue du marché hebdomadaire ni à celle du marché annuel (...) Et pour que cette décision obtienne une application inviolable (...) nous l'avons confirmée de notre propre main ci-dessous et avons ordonné d'apposer le seing de notre anneau.

Seing de Charles roi très glorieux.

Jonas, diacre, a authentifié cet acte à la place de Louis.

Daté du 3 des kalendes de janvier, an 5, indiction 7, sous le règne de Charles, (...) . Fait à Tours, au monastère de Saint-Martin. Au nom de Dieu dans la joie. Amen. "

 

*"...en 1412, l'alerte fut donnée à Cormery. Les Anglais étaient revenus. Appelés en Touraine par suite de luttes déplorables entre les Bourguignons et les Armagnacs, toujours prêts à profiter de nos discordes intestines , ils venaient de prendre et de saccager l'abbaye de Beaulieu , près de Loches. Déjà des avant-coureurs, espèces de pillards à la suite de tous les corps d'armée irréguliers , étaient arrivés à Cormery. L'alarme fut bientôt générale. Comment détourner le péril? Les moines tinrent conseil, et offrirent de racheter l'abbaye, les villes et les campagnes environnantes. On débattit le prix de la rançon, qui resta fixé à 350 écus d'or par mois. L'écu d'or valait alors vingt-deux sous et pourrait être estimé à 15 francs environ de notre monnaie actuelle. C'était une somme considérable pour un établissement qui n'avait pas encore réussi à réparer ses pertes récentes. « Mais, dit naïvement le chroniqueur, de deux maux il faut savoir choisir le moindre. En présence d'un péril imminent, il fallait se décider à fuir, à combattre et peut-être à se faire tuer. N'était-il pas préférable de payer ? » Ce bon moine avait raison , la lutte était trop inégale, pour ne pas dire impossible. On se résigna donc à délier les cordons de la bourse. L'acte de rachat fut signé à Beaulieu le 30 octobre 1412. Les deux commissaires étaient Jacques de Villain, représentant de l'abbé de Cormery, et Jean Blount , chevalier, de la part des Anglais. En échange, Thomas, comte de Dorset, amiral d'Angleterre et d'Irlande, et maréchal de l'armée du duc de Clarence , donna un sauf-conduit, revêtu de sa signature et de son sceau , qui assurait paix et sécurité au monastère et à la ville de Cormery, ainsi qu'aux campagnes du voisinage." (Mémoires de la société archéologique de Touraine - Chapitre IX. Les Anglais à Cormery. D'après le cartulaire de Cormery.Par l'Abbé J.J. Bourassé - Tours 1861)

 

* En 1562 débute la première guerre de religion (il y en aura 8 en 36 ans), par le massacre, par le duc François de Guise, d'une centaine de protestants assistants au culte dans la grange de Wassy (dans la Haute-Marne. La grange a été reconstituée à côté d'un temple construit au 19e siècle et devenu musée protestant), le premier mars. A l’appel de Louis de Bourbon, prince de Condé, les protestants prennent les armes.

  

Mémoires de la société archéologique de Touraine - Tome IX - Tours 1857

 

Cormery (Indre-et-Loire).

 

"Cormaricus. — Cormery (Tours. — Montbazon.) — Ce lieu, situé près de la rivière de l'Indre, était appelé jadis Cormaricus, et distant de huit milles de la ville de Tours et de dix milles de celle de Loches, Itherius*, abbé de Saint-Martin, entreprit d'y fonder une basilique sous l'invocation de saint Paul , en y plaçant trois autels; et avant qu'elle fût terminée, il en fit la consécration le 7 des ides* de février, la vingt-troisième année du règne de Charlemagne. Pendant le temps qu'Itherius présida à Saint-Martin , quelques moines Martiniens construisirent des cellules à Cormery. Alcuin*, successeur d'Itherius, acheva son entreprise , avec l'approbation de Charlemagne et le secours de Benoit*, l'illustre chef de Saint-Aignan, qui du nord des Gaules envoya vingt frères d'une conduite exemplaire à la nouvelle communauté. Sous de tels auspices le monastère de Cormery devint bientôt florissant. Alcuin obtint encore de Charlemagne une autre ordonnance en faveur des moines de Cormery. Ce prince, en 800, les autorisa à posséder deux navires sur la Loire , la Maine , la Sarthe , le Loir et la Vienne sans être assujettis à aucun impôt. Alcuin ajouta à ses dons pour Cormery, Tauxigny et Aubigny qui dépendaient de Saint-Martin (807). Sept ans après, Friduginus, abbé de Saint-Martin, obtint de Louis le Pieux* , roi d'Aquitaine, la confirmation du droit ci-dessus. Jusqu'alors Cormery avait été strictement dans la dépendance des Martiniens ; Friduginus obtint, par lettres du même prince, qu'ils fussent dispensés de cette sujétion, et depuis lors ils eurent un abbé particulier. En 831 , le roi Pépin confirma l'immunité des deux navires et fit d'autres largesses. Au Xe siècle , les moines de Cormery éprouvèrent de grands désastres , pour ne pas dire une ruine complète. Ils passèrent à cette époque sous la domination des consuls d'Anjou. Leur basilique ayant été renversée de fond en comble, Robert d'Enfer et Robert d'Anjou , abbés de Cormery, en

construisirent une nouvelle qui fut consacrée par Barthélemy, archevêque de Tours. En 1096, Cormery, sorti de ses ruines , fut réclamé par les chanoines de Saint-Martin, et le pape Urbain II décida en faveur des Martiniens. En 1139, le pape Innocent II prit le monastère de Cormery sous sa protection, et Alexandre III et plusieurs papes y joignirent d'autres faveurs. De là vinrent des luttes fréquentes entre les deux maisons. Aussi au mois de février 1217 les moines de Cormery s'étant refusés à rendre l'hommage dû aux Martiniens, le doyen de Saint-Martin s'empara de l'abbaye et de toutes les églises qui en dépendaient, et Robert des Loges, sénéchal de Touraine, reconnut le droit du doyen. Il en résulta de grandes tribulations pour Cormery. D'autres plus grandes ne se firent pas attendre. En 1358 le XV des kal*. d'avril, un chevalier nommé Baguin ou Basquin de Poncet*, qui servait sous la bannière du roi d'Angleterre , accompagné d'un escadron entra dans Cormery, et les moines ayant pris la fuite il fit mettre les chevaux dans la nef de la basilique , après avoir pillé le sacré et le profane et ravagé tous les bâtiments. Cette occupation dura plus d'un an, en sorte que rien ne put échapper à la dévastation. Il s'ensuivit en 1358 et 1359 une correspondance entre le pape Innocent , l'archevêque de Tours et les moines. Enfin l'abbé Gérard racheta le monastère en payant rançon aux Anglais et aux Gascons. Pierre, qui succéda à Gérard, donna tous ses soins à la restauration du couvent. En 1412, les Anglais étant revenus menaçaient de nouveaux pillages et incendies; l'abbé Guillaume fit un pacte avec eux et les moines donnèrent de l'argent pour éviter l'éclat des épées , puis ils se retirèrent à Tours. Enfin, en 1564, les huguenots leurs causèrent d'effroyables désastres.

(Gall. Christ., t. XIV, col. 254, A.)

 

ABBATES CORMARICENSES. (Abbés de Cormery)

 

1. Jacobus I, 831 + v. 837.

2. Audacher. sive Otacher,837. 838. 840. 843. 844. 850. 856+ 868.

3. Ivo, 893.

4. Aimo, 900.

5. Fulco, 944.

6. Guido, 965.

7. Daniel, 977.

8. Theobaldus I, 997-1006.

9. Richardus, 1007, 1026.

10. Robertus I, + 1040.

11. Robertus II, Andegavensis, 1047-1060.

12. Bernardus I.

13. Guido II, 1070. 1079.1080. 1096. 1109. 1111.

14. Mainardus, 1123. 1130.

15. Theobaldus II, 1133.

16. Guilelmus I, 1139.

17. Joannes I Sabardus, 1146.

18. Rogerius, 1164. 1172.

19. Sulpicius, 1174. 1175.

20. GirardusI, 1180. 1182 +1184.

21. Philippus, 1188. 1194. 1198.

22. Turpinus.

23. Simon, 1205. 1211 + 1212.

23. Geoffridus I de Millay, 1212.

25. Matthaeus, 1214.

26. Joannes II, 1215. 1216. 1221.

27. Reginaldus, 1228.

28. Adamus, 1231.

29. Joannes III, 1238, 1241.

30. Geoffridus II, 1 241. 1244.

31. Bernardus II, 1256. 1259.

32. Beiwerius.

33. Joannes IV a Brostia.

34. Jacobus II, 1271. 1274. +1275.

35. Joannes V, 1276. 1280.

36. Petrus I, de Uciaco, 1283. 1290. + avant 1293.

37. Theobaldus III de Cabilone, 1296. 1299. 1300. 1314-1332.

38. Michael Rupinus, 1333. +1334.

39. Joannes VI Lechat, 1334. 1339. 1352.

40. Gerardus II Potier, 1352. 1358. 1372-1376.

41. Petrus II d'Azay, 1377. +1410.

42. Guilelmus II de Hotot, 1412. 1416. 1417.

43. Humbertus, 1418.

44. Id. Guilelmus II de Hotot, 1423. 1430. 1433. +1434 episcop.

45. Petrus III Berthelotus, 1452. 1453. 1456. 1458. +1476.

46. Joannes VI Bochard, 1476.

47. Joannes VII Conseil, 1483. 1487 + 1490.

48. Joannes VIII du Puys, 1490. 1492 (+ 1517.)

49. Renatus du Puys , 1508. 1514. 1515. 1520.

50. Dionysius Briçonnet, 1520. 1524. 1525 + 1535.

51. Joannes IX du Bellay, 1536-1545.

52. Jacobus III de Jaucourt, 1545.

53. Carolus I de Lorraine , 1547-1550.

54. Robertus III de Lenoncourt, 1550-1557+ 1561.

55. Joannes X de La Rochefoucault, 1557+ 1583.

56. Geoffridus III du Pin, 1583-1586.

57. Carolus II Miron, 1587. 1626.

58. Ludovicus Gouffier de Caravas, 1627

59. Alphonsus Ludovicus du Plessis de Richelieu, 1631. +1653.

60. Henricus de Béthune , 1653. 1662 + 1680.

61. Nicolaus Guilelmus Beautru de Vaubrun, 1680. +1746.

62. N. de la Clue, 1747-1790."

 

(Mémoires de la société archéologique de Touraine - Tome IX - Tours 1857)

  

*Itherius (Ithier de Saint-Martin) a été chancelier de Pépin le Bref et de Charlemagne, puis abbé de Saint-Martin de Tours. Sous les carolingiens, le chancelier recevait les requêtes adressées au roi et y répondait.

  

*Dans le calendrier romain, le mois est partagé en 3 périodes inégales: les calendes, les ides et les nones. Les ides tombaient le 13e jour d'un mois "court" et le 15e jour d'un mois long. On compte les jours avant; le 7 de février serait le 7e jour avant les ides.

  

*Alcuin était un moine anglais originaire de Northumbrie où il est né vers 732. Ecolâtre de l'archevêque d'York, celui-ci l'envoie en mission à Rome en 780. A son retour, il croise, à Ravenne, le roi des Francs, le futur Charlemagne. Alcuin entre alors à l'école du palais dont il devient le chef. C'est Alcuin qui développera auprès de Charlemagne l'idéologie impériale, fondée sur le modèle de l'empire romain. Il suggère au roi de se faire couronner empereur d'Occident. Ce sera chose faite à Noël 800. Alcuin devenu abbé de Saint-Martin de Tours va y développer un atelier de copistes qui sera le plus important d'Occident. De cet atelier sortiront une cinquantaine de bibles commentées de sa main. C'est cette bible qui sera choisie par le concile de Trente au XVIe siècle. Grâce à Alcuin, les historiens parleront, plus tard, de "Renaissance carolingienne" (locution inventée par l'historien Jean-Jacques Ampère, qui était d'ailleurs le fils du physicien). (Voir article de André Larané dans Herodote)

A la mort d'Alcuin 804, Fridegise, un autre anglo-saxon, fut nommé abbé de Saint Martin de Tours et de Saint-Paul de Cormery.

  

*Saint Benoît, abbé d'Aniane ou Saint-Aignan en Languedoc, diocèse de Maguelonne vers 780, puis d'Inde ou Saint Corneille près d'Aix-la-Chapelle. Mort en février 821.

 

*Cormery est mentionné dans un document de 837, le diplôme impérial comprenant la donation de Coussay à l'abbaye de Cormery par Louis le Pieux. L’original portant la date « Donné à Thionville le 16 des calendes de juin 837 –24e année du règne de Louis le Pieux » est conservé aux Archives Départementales d’Indre-et-Loire.

 

"Complacuit celsitudini nostrae quamdam villam juris ejusdem monasterii vocabulo Cusciacus, ad cellam sancti Pauli, quae rustico nomine Cormericus dicitur ; quam Itherius quamdam abbas ejusdem monasterii in propriis rebus novo, opere construxit atque memorato monasterii delegavit... per nostrae auctoritatis preceptum tradere."

 

(II a plu à notre grandeur de donner une certaine villa des biens fondés dudit monastère, nommée Coassay, à la maison de saint Paul, vulgairement appelée Cormery, qu’Ithier, feu abbé dudit monastère, construisit à neuf de son bien propre, par un édit de notre autorité.)

 

*le XV des kal*. d'avril. Le 15 des calendes d'avril.

 

*Basquin de Poncet était chef de Grande Compagnie anglaise pendant la Guerre de Cent ans. En réalité une bande de bretons commandée par le gascon Basquin de Poncet. En 1358, au début de la Guerre de Cent Ans une troupe à la

solde des Anglais commandée par Basquin du Poncet, prend d'assaut la ville, la pille et la détruit presque entièrement après avoir massacré de nombreux habitants.

 

Betws Garmon Station remains. Conserved with soft capping to the repointed walls. Work done by the excellent Cyril Williams. This picture by Cyril Williams.

 

The project is described in the next WHRHG Journal along with an analysis of the Parcels Book (September 1913 to September 1923) plus a description of the Gwynedd Archaeological Trust's 1995 investigations of the site.

To conserve energy, the birds like to stand on the ice and huddle together in great numbers. Every so often the seagulls get restless and play their version of musical chairs.....

I annotate this photo; they didn't close their eyes. And cameras.

PARDON:

 

PRIERE A NOTRE DAME DE LOTIVY:

 

(pardon du 4 septembre 2011) organisé par :

 

- le Père Plisson curé de Saint Pierre Quiberon,

- Monseigneur Gourves (diocèse de Vannes).

 

Ce pardon existe et est célébré depuis 1845.

 

Prière, joie, bénédiction des pèlerins et des bateaux; très belle journée ayant débuté par la célébration de la messe à 10H , la prière à Notre Dame de Lotivy (cf. ci-après) puis à 15 heures par une procession qui devait nous emmener jusqu'au port où le Père Plisson bénit les navires, la mer .

_______________

PRIERE:

 

Refrain:

 

O Vierge de Lotivy

En ce jour trois fois béni,

Demandez pour la presqu'île,

Vous dont le cœur est si bon,

Un rayon de foi qui brille,

L'espoir, l'amoure, le pardon

 

1- Sainte Mère, écoutez-nous,

Nous n'avons recours qu'en vous,

Sur vos enfants en prière,

Daignez abaisser les yeux,

Répandez sur notre terre,

La Paix et la joie de Dieu

 

2- Pour vos bienfaits ici, notre cœur vous dit merci!

A la mère infortunée

Qui vous priait en pleurant,

Vous avez ô Mère aimée,

Rendu son unique enfant

 

3- Du mal et de ses attraits,

Gardez les Quiberonnais

Dans les tempêtes du monde,

Vous, l'ancre de sûreté,

Pour tous les hommes du monde,

Soyez tendresse et pitié

 

______________

 

Pardon de Notre Dame de Lotivy ( Portivy- 56510)

4 septembre 2011

Paroisse catholique de Saint Pierre Quiberon

M. le Curé: Père Plisson

Montseigneur Goulves

 

Pardon de Lotivy

Portivy

Historique :

 

La chapelle de Lotivy est la première chapelle manifestant la foi chrétienne à être édifiée au XI e siècle à la demande d'Alain III, Duc de Bretagne, qui venait chasser dans les forêts de Keberoen.

Le duc Hoël II dit Houel Huuel (1066-1084 : Il devient comte de Cornouaille à la mort de son père en 1058, et comte de Nantes, domaine qu’il administrait déjà, avant le décès de sa mère en 1063. Afin de renforcer le contrôle de la maison de Cornouaille sur le Nantais, il fait élire (1059), puis consacrer (1061) comme évêque de la cité son frère puîné Guérech. À la mort de Guérech en1079, son frère cadet Benoît, abbé de Sainte Croix de Quimperlé depuis 1066, lui succède à la tête de l’évêché.

Avant 1058, Hoël avait épousé Havoise de Bretagne, fille du duc Alain III de Bretagne et sœur de Conan II de Bretagne. À la mort de ce dernier, il devient donc duc consort de Bretagne le 11 décembre 1066. Seul le comté de Rennes échappe à son autorité, ayant été donné au comte Geoffroy Grenonat, un fils illégitime d’Alain III. Pendant le principat de Hoël, les seigneurs bretons ayant participé à la conquête de l’Angleterre avec Guillaume le Conquérant obtiennent des fiefs importants en Angleterre. C'est à cette occasion qu' Alain, fils d'Eudon de Porhoët, obtint le comté de Richmondb2.Le début de son règne est calme, mais son épouse Havoise meurt en 1072. Hoël doit alors faire face entre 1075 et 1077 à une révolte des féodaux bretons menés par Géoffroy Boterel fils d’Eon de Penthièvre, Geoffroy Grenonat, Eudon Ier de Porhoët, des seigneurs de Haute Bretagne mais aussi de son fief patrimonial de Cornouaille.Hoël ne vient à bout des rebelles qu’avec l’aide de Guillaume le Conquérant et l’intervention dans les combats de son fils aîné Alain Fergent.Le duc Hoël réside à Quimper et à Nantes avec sa cour parmi laquelle on relève la présence d’un harpiste Cadiou « citharista ». Hoël meurt le 13 avril 10843.) et sa femme Havoise font don de leur domaine à l'abbaye Sainte-Croix de Quimperlé en 1069, et ce sanctuaire devient donc bénédictin. En 1746, la chapelle est pillée et brûlée par les Anglais, et n'est plus qu'une ruine après la Révolution. En 1844, une jeune fille, Françoise Sonic, entend la Vierge, qui lui demande de

reconstruire la chapelle en son nom. Un an après, la chapelle reconstruite attire les foules pour

les fêtes de la Nativité, qui se terminent par un immense feu de joie.

 

Le 6 novembre 1844, une humble et pieuse jeune fille, Marie-Françoise Sonic, qui soignait sa mère malade à Kerhostin, décide un soir d'aller dire une prière devant une statue de la Vierge abritée dans un angle des ruines de la vieille chapelle de Lotivy.

 

Pendant sa prière elle entend très distinctement une voix lui disant en breton: "Ma fille, allez dire de reconstruire cette chapelle en mon nom".

 

Très émue, rentrant au village, elle raconte son aventure. Dans le même temps, L’abbé Pascal Le Toullec, originaire de Quiberon, a, durant une prière, la pensée obsédante de reconstruire la chapelle de Lotivy. Son projet soulève l'enthousiasme. Il le mènera à bien puisque le 8 septembre 1845, le premier pardon peut se dérouler dans la chapelle reconstruite.

 

La chapelle est dédiée à la Vierge mais elle conserve la petite statue de Saint-Ivy, premier possesseur des lieux..

Elle contient de nombreux et beaux ex voto.

 

Une maquette de navire de guerre trois ponts armé de 59 canons tant à babord qu'à tribord, à navigation mixte (voile et moteur), " le Pierre Désiré", datant du milieu du 19ème siècle et baptisé ainsi, vraisemblablement du nom de ses donateurs.

 

Certains navires de ce modèle ont servi comme école de canonnage ou encore en Crimée, comme le Montebello, victime par ailleurs d’une grave explosion en 1864 et l’on peut donc raisonnablement penser que la maquette du « Pierre-Désiré » est l’œuvre d’un rescapé de cet accident ou de la guerre de Crimée.

 

Dans le même temps, L’abbé Pascal Le Toullec, originaire de Quiberon, a, durant une prière, la pensée obsédante de reconstruire la chapelle de Lotivy. Son projet soulève l'enthousiasme. Il le mènera à bien puisque le 8 septembre 1845, le premier pardon peut se dérouler dans la chapelle reconstruite.

 

La chapelle est dédiée à la Vierge mais elle conserve la petite statue de Saint-Ivy, premier possesseur des lieux;.

Extrait du site museequiberon.port-haliguen.com

____________________

 

Le moine qui fuyait l'invasion anglo saxonne s'arrêta là; c'était un disciple de David, évêque de Caeleon;

___

 

Saint David était fils de Xantus, prince de la Cérétique, aujourd'hui le Cardiganshire. Il reçut une éducation très-Chrétienne, qui influa sur toute la suite de sa vie. Après avoir été ordonné prêtre, il se retira dans l’île de Wight, où il vécut sous la conduite du pieux et savant Paulin, qui avait été disciple de saint Germain d'Auxerre. Dieu récompensa les éminentes vertus de David par le don des miracles. En faisant le Signe de la Croix, ce saint rendit la vue à sont maître, devenu aveugle soit par son grand âge, soit par un effet des larmes abondantes qu'il versait dans la prière. Lorsqu'il se fut bien préparé aux fonctions du saint ministère, il quitta sa solitude, et comme un autre Jean-Baptiste serti du désert, il alla prêcher aux Bretons la parole de la vie éternelle. Il bâtit une chapelle à Glastenbury, lieu que les premiers apôtres de la Grande-Bretagne avaient consacré au culte du vrai Dieu. Il fonda aussi 12 monastères, dont le principal était dans la vallée de Boss près de Ménévie. On vit se fermer dans ce monastère un grand nombre de Saints, dont plusieurs gouvernèrent l'Eglise en qualité de premiers pasteurs.

 

La Règle que David donna à ses moines était fort austère. Ils travaillaient continuellement des mains en esprit de pénitence, sans jamais faire usage des animaux propres au labourage, et cela pour que leur travail fût plus pénible. La nécessité seule pouvait les autoriser à rompre le silence. Une prière non interrompue, au moins mentalement, sanctifiait toutes leurs actions extérieures. Vers la fin du jour, ils rentraient dans le monastère pour vaquer à la lecture et à la prière vocale. Du pain et des racines, dont le sel était le seul assaisonnement, faisaient toute leur nourriture, et ils n'avaient d'autre boisson que de l'eau mêlée avec un peu de lait. Après leur repas, ils passaient trois heures en oraison; ils donnaient ensuite quelque temps au sommeil. Ils se levaient au chant du coq, et se remettaient à prier jusqu'à ce que le moment du travail fût arrivé. Leurs vêtements étaient grossiers et faits de peaux de bêtes. Quand quelqu'un demandait à être reçu dans le monastère, il demeurait dix jours à la porte; et pendant ce temps-là en l'éprouvait par des paroles rudes, par des refus réitérés et par des travaux pénibles, afin de raccoutumer à mourir à lui-même. S'il souffrait cette épreuve avec constance et avec humilité, il était admis dans la maison. Quant à ses biens, il les laissait dans le monde, la Règle du monastère défendant de rien recevoir pour l'entrée dans la vie monastique. Tous les frères étaient obligés de faire connaître leur intérieur à l'abbé et de lui découvrir leurs pensées et leurs tentations les plus secrètes.

 

Le pélagianisme s'étant montré une seconde fois dans la Grande-Bretagne, les évêques, pour le déraciner entièrement, s'assemblèrent en 512, ou plutôt en 549, à Erevy, dans le Cardigaushire. Saint David fut invité à se trouver au synode. Il y parut avec éclat, et confondit l'hérésie par la force réunie de son savoir, de son éloquence et de ses miracles. Saint Dubrice, archevêque de Caerléon, profita de cette circonstance pour lui résigner le gouvernement de son Église.

 

David, alarmé de la proposition qui lui en fut faite, fendit en larmes, et protesta qu~il ne se chargerait jamais d'un fardeau qui était beaucoup au-dessus de ses forces. En vain en allégua les raisons les plus pressantes pour l'y déterminer : jamais il ne se fût rendu, si les Pères du concile ne lui eussent ordonné expressément d'acquiescer au choix de Dubrice. Il obtint cependant de transférer le siège de Caerléon, ville alors très-peuplée, à Ménévie, aujourd'hui Saint-David, lieu retiré et solitaire. Peu de temps après, il assembla un synode à Victoria, où les actes du synode précédent furent confirmés. On y fit aussi plusieurs canons de discipline. C'était dans ces deux synodes que les Églises de la Grande-Bretagne puisaient autrefois des règles de conduite.

 

----

Il fonda là un ermitage qui s'appela Llandewi (de Llan: enclos sacré de Dewi: David).

 

Cela devint plus tard Landivy en breton et fut enfin francisé en Lotivy.

_

Ce moine gallois débarqua ici au VII ème siècle. C'était un disciple de David, évêque de Caerleon et futur saint patron du Pays de Galles. Il fonda un ermitage que tout naturellement il appela Llandewi (de Llan : enclos sacré et Dewi : David).

 

Cela devint Landivy en breton et fut à son tour francisé en Lotivy (Unique abri pour les marins du côté Océan, le petit port de Portivy découvre sur le front de mer un village de pêcheurs. Tout proche, un second village, le Renaron, n'en est séparé que par des jardins. Depuis sa création, en 1880, le port ne fut pas épargné par les tempêtes et sa digue fut en grande partie détruite en 1904. Son môle se vit rallonger d'une vingtaine de mètres en 1961. Elodie Lavillette, peintre de Lorient et élève de Corot, née en 1842, trouva l'inspiration dans ce port et sa côte.

A voir, le coucher de soleil sur la mer, spectacle qui n'a de cesse de fasciner les promeneurs du soir A découvrir, l'île de Thinic, accessible à marée basse en partant du Port, là on y mis à jour une nécropole celtique de 27 tombes. Plus récemment, sur l'îlot du Guernic, fut érigé une borne, dédiée aux mères américaines des fils disparus durant la première guerre mondiale, cet îlot fut choisi parce qu'un avion militaire s’écrasa là. Une réplique de cette borne a été posée en 1997 au parking du Fozo, liue plus accessible pour la commémoration annuelle.).

 

Lotivy constitua le premier sanctuaire chrétien de la Presqu'île.

C'est aussi en 1069, qu'est fondé le prieuré de Lotivy, à l'entrée de la presqu'île de Quiberon. L'acte est conservé dans le cartulaire de l'abbaye de Quimperlé : "A tous ceux qui liront ou entendrons ces lettres, qu'il soit connu que moi Hoël, consul des Bretons, et Havoise ma femme, nous avons donné Locdeugui en Quiberon et toutes ses appartenances au monastère de Sainte-Croix de Quimperlé et à ses religieux à perpétuité, pour le salut de nos âmes et de celles de nos parents et de nos enfants. Et comme ce don paraissait important aux moines, ils nous ont donné, par amour de Dieu, un beau cheval bigarré, par la main de mon frère Bénédic, abbé de Sainte-Croix. Témoins, etc ; - l'an du Seigneur 1069... le 10 avril (Pr I. 432).

Au XI ème siècle, Lotivy servait de chapelle au manoir voisin du Lizo qu'occupaient les Ducs de Bretagne lors de leurs chasses en forêt de Quiberon. Cette forêt s'était étendue de Tiviec à Carnac et la Teignouse, mais ses parties basses furent noyées lorsque les eaux montèrent, vers la fin du premier millénaire.

 

Lotivy fut en 1069 confiée à l'abbaye Ste Croix de Quimperlé dont elle devint un prieuré. Plus tard, au XIV ème siècle, ce prieuré subit la règle commune et fut régi par un abbé commanditaire.

 

Lors du pillage des Anglais en 1746 (En 1746, les anglais décident de détruire le siège de la Compagnie des Indes à Lorient. Comme la ville est particulièrement bien protégée par mer, avec la citadelle de Port-Louis, les batteries de Groix, Larmor et Gavres, ils décident d’une attaque par terre. Le 1er Octobre, une escadre d’une cinquantaine de navires, commandée par l’amiral Lestock, débarque au Pouldu les troupes du général Sinclair. Celles-ci atteignent facilement le bois de Kéroman et commencent le siège de la ville. Au bout d’une semaine, alors qu’aucun renfort n’est encore en vue, les lorientais songent à se rendre. Mais suite à des vents contraires, annonçant une violente tempête, les anglais sont obligés de rembarquer précipitamment. Le 9 Octobre, ils sont en mer, tandis que les lorientais fêtent une victoire controversée[3]. Piégés par les éléments naturels, les navires sont bloqués trois jours au Pouldu. Ils auraient pu être facilement bombardés à partir de la côte, mais ne le sont pas par crainte d’une nouvelle descente des troupes de Sinclair.), Lotivy subit les mêmes déprédations que les autres églises. Concurrencée par l'église de St Pierre, elle fut sacrifiée pour les réparations. La tourmente révolutionnaire de 1795 s'abattit sur une chapelle en mauvais état et en acheva la ruine. Les troupes occupant le Fort Penthièvre se chauffèrent avec sa charpente et ses boiseries.

 

La chapelle resta dans cet état toute la première moitié du XIX ème siècle, jusqu'à l'intervention en 1844, d'une pieuse habitante de Kerhostin : Marie Françoise Sonnic, qui aurait entendu la Vierge lui demander de faire rebâtir la chapelle... Nombreux furent ceux qui la crurent. L'enthousiasme populaire aidant, et sous l'impulsion du Père Le Toullec, la chapelle fut rapidement reconstruite. Le premier pardon fut célébré en septembre 1845.

 

Le toit n'était que de chaume. Il fut refait en ardoises en 1870.

 

Le Calvaire situé dans l'enclos est celui de l'ancien cimetière qui entourait la chapelle. On le supprima vers 1871 pour tracer la route de Kerhostin.

 

Le petit édifice qui abrite la fontaine (au bout du chemin) date de la fin du XVII ème siècle.

 

Les pardons se déroulent tous les ans, au début de Septembre. Les Quiberonnais demeurent très attachés à N.D. de Lotivy. Par son intercession, de nombreuses grâces sont obtenues, comme en témoignent les ex-voto.

Portivy est un village de pêcheurs, et le seul port de la Côte Sauvage.

La chapelle Notre-Dame-de-Lotivy (XIe siècle), édifiée à l'emplacement d'un ancien oratoire dédié à Dewi (David), saint du pays de Galles. Il s'agit de la chapelle d'un ancien prieuré (Loc-Dengui ou Lotivy) de Sainte-Croix-de-Quimperlé abandonné dès le XVIIe siècle (L'abbaye Sainte-Croix de Quimperlé est une ancienne abbaye située dans la ville de Quimperlé dans le département du Finistère. Fondée en 1029 par Saint Gunthiern grâce à une donation du comte de Cornouaille Alain Canhiart, elle est une des abbayes puissantes de Bretagne, comprenant de nombreuses dépendances. Sa nef de plan centré inspirée du Saint-Sépulcre de Jérusalem est un exemple quasi-unique en Bretagne1.

L'abbaye est fermée lors de la Révolution. L'église est conservée pour le culte mais les bâtiments abbatiaux sont convertis en bâtiments publics (tribunal et caserne de gendarmerie). L'église est classée monument historique en 1840 et le cloître inscrit en 19262. Le clocher s'effondre en 1862, entraînant la destruction de la plus grande partie de l'église. Celle-ci sera largement reconstruite à la fin du xixe siècle, sous la direction de l'architecte diocésain Joseph Bigot.). Le duc Hoël (1066-1084) et son épouse Havoise font en effet don de leur domaine à l'abbaye Sainte-Croix de Quimperlé en 1069. La chapelle est pillée et brûlée par les Anglais en 1746. Elle est reconstruite vers 1845. Les stalles, placées dans le chœur autour de l'autel, datent du XIXe siècle. On y trouve un ex-voto (réplique d'un trois-mâts; le Pierre Déarné") qui date du XIXe siècle. C'est en 1069, qu'est fondé le prieuré de Lotivy, à l'entrée de la presqu'île de Quiberon. En 1208, se termine un long procès suscité à l'abbaye de Quimperlé par les forestiers de Quiberon, au sujet d'une pièce de terre, d'un pré et d'un jardin, situés dans le voisinage de Lotivy. L'affaire est tranchée par la cour du Comte, dans le cloître de Saint-Gildas d'Auray, le 20 juin de cette année, en faveur de l'abbaye de Sainte-Croix (Quimperlé). Le prieuré de Lotivy est longtemps occupé par des religieux venus de Quimperlé.

La statue de Notre Dame de Lotivy est exposée désormais en l'église paroissiale de Saint Pierre Quiberon.

 

positionnement google maps: maps.google.fr/maps?pq=fran%C3%A7oise+sonic&hl=fr&amp...

___________

Monique Noé, qui habite près de la chapelle, conserve des documents sur l'histoire de son village. « Il y avait une ferveur très forte à l'époque. Je parle d'après guerre jusqu'aux années 70. Les gens venaient en bus de loin. Il y avait trois messes le matin puis la procession l'après-midi avant les vêpres. Toutes les femmes étaient en costumes. Des semaines à l'avance, on attachait des rubans sur la bannière qui allait défiler jusqu'au port, en procession, pour aller bénir les marins de tout bord et rendre hommage aux péris en mer. » a reçu à cette occasion la médaille du mérite diocésain des mains de Montseigneur Gouvès.

 

___________________

A voir dans cette chapelle : le plafond de bois en forme

de voûte, peint en bleu et semé d’étoiles blanches, la

statue de Notre Dame de Lotivy, les nombreux ex-voto.

offerts par les marins en remerciement des bienfaits

obtenus. Dans l’enclos, une croix hosannière en granit

très ancienne, peut-être du XIIème siècle, est celle de

l’ancien cimetière qui entourait la chapelle, elle fut

déplacée pour laisser place à la route menant à Kerhostin.

Sur la hauteur à droite, se dresse un des plus anciens

moulins de la Presqu’île (base du XVIème siècle) devenue maison d’habitation en 1920. Pendant la Révolution, les

chouans utilisaient les ailes du moulin comme un code

(en position fermée = danger, et le contraire en position ouverte …). Empruntez le chemin ombragé de la

Fontaine : vous découvrez la fontaine de Lotivy

construite vers 1700 à l’emplacement d’une ancienne

source. On prête à l’eau de cette fontaine diverses

croyances : vertus bénéfiques pour fortifier les jambes des

nourrissons, c’est pourquoi les mères y plongeaient les

pieds de leurs enfants..

 

______________

 

Autres fêtes religieuses:

 

Sur la côte morbihannaise,une autre cérémonie religieuse est celle de la bénédiction des coureaux de Groix, bras de mer qui sépare cette île du continent. Elle date depuis le 18e siècle, lorsqu’un prêtre accompagnait les barques lors des mauvaises années de pêche. De nos jours, elle est toujours célébrée le 24 Juin, à la Saint-Jean. Les flottilles des villages de Groix, Larmor, Gâvres, Port-Louis, Ploemeur partent chacune de leurs ports respectifs en procession. Les bateaux de pêcheurs sont chargés d’une foule de gens. Ceux de tête, décoré avec des saintes oriflammes et divers rubans, porte le clergé. Les flottilles se rejoignent au milieu des Coureaux. Les prêtres bénissent alors la mer tandis que l’assemblée chantent des cantiques à la gloire de la Vierge Marie et de Sainte-Anne. Et tous prient Notre-Dame de l’Armor pour que la pêche soit abondante et pour que les marins reviennent sains et saufs. Les flottilles se dispersent ensuite, chacun rejoignant son port d’attache. Malgré divers aménagements aux fils des années, la bénédiction des Coureaux existe toujours. Aux nostalgiques, les chalutiers en acier et à moteur d’aujourd’hui remplacent les chaloupes en bois et à voiles d’autrefois. Mais la foi est toujours présente. Des fêtes similaires existent à Honfleur pendant la Pentecôte, et à Propriano le 2 Juin à la Saint Erasme, patron des pêcheurs corses.

 

www.archivessearch.qld.gov.au/items/ITM435753

 

IID 435753 - Historic Places collection.IID 435753 Historical-Places IM0930 Brisbane Customs House and City Reach Dept No.BW89-700

  

The Brisbane Customs House, located at the northern end of Queen Street and beside the Brisbane River at the northern end of the Town Reach, is an imposing two-storeyed rendered brick building in the classical style. The site is prominent due to the proximity to the river, the bend in Queen Street and the general topography which opens up many views to and from the building. A prominent feature is the large copper dome at the semi-circular northern end which is a focal point viewed from both directions along Queen Street and from the river for ships arriving from Moreton Bay. The architectural form of the building announces the northern edge of the city centre and is sympathetic to the landscape features of cliffs and river bends.

 

The architectural form clearly demonstrates the intended purpose of the building with the double entrance from both the city and the river, which is a response to the siting of the building between the river and the town. The riverside setting allows long views across and along the river to the building.

 

Other features of the Brisbane Customs House which demonstrate its former use are more characteristic of late 19th century customs houses in Australia, especially the general design and planning arrangement of the building to include an imposing masonry façade, an impressive public space (the former Long Room now used for functions), a secure bonded warehouse (the former Queens Warehouse, now converted to an art gallery), offices and a secure boundary fence.

 

The Brisbane Customs House is a well proportioned and skilfully designed example of a Victorian building in the Renaissance mode executed to take best advantage of its dominant site and solve the practical problems of dual access from the town and from the river. It has considerable unity in its scale, form and use of materials.

The main structure of the building is of brick on a stone foundation. The columns, pilasters, balusters to the colonnade, the parapet and side entrances are of Murphy's Creek sandstone. There are cast iron balustrades on the recessed verandahs and external stairs. The main roof is clad with corrugated iron. Timber window and door joinery survives reasonably intact on the exterior walls.

The exterior of the building is very intact except for the loss of the original roof, which was replaced by the present steel trussed roof in the 1940s, the removal of chimneys and the widening of the northwestern end of the balconies in the 1940s.

The interior fabric is less intact due to the alterations and additions carried out during its use as a customs house and to the most recent refurbishment, which removed much of the 1940s fabric but recovered aspects of the 19th century form, including reconstruction of the original timber staircase.

Inside the building the most imposing space is that of the Long Room beneath the dome. Fluted Corinthian pilasters of painted plaster are below the coffered ceiling of the dome, which has a central glazed section. In the basement some of the original walls with arched openings remain.

 

The 1890-91 Moggill sandstone retaining wall carries around the perimeter of the site reasonably intact and incorporates a wrought iron balustrade, masonry piers, stairs and rooms for the former underground privies at the river's edge. There is a small ground with a mature fig tree and sunken garden, which contribute to the building's riverside setting.

The Brisbane Customs House at the northern end of the Town Reach of the Brisbane River, near Petrie's Bight, was erected between 1886 and 1889 to a design prepared by Charles McLay of the Queensland Colonial Architect's Office.

The 1880s building replaced an earlier and much smaller customs house on the site. The location had been chosen in 1849 following the declaration of Moreton Bay as a port of entry in 1846 and after considerable discussion as to the most suitable location for a customs house. At the time shipping activity was centred on the South Brisbane Reach and the decision to locate a customs house at the northern end of the Town Reach acted as an impetus for the development of wharves along this part of the river. A small building was erected for customs purposes in 1850 and in the following decades became increasingly inadequate as Brisbane emerged as the principal commercial centre and port of Queensland.

 

In 1884 the Queensland Government decided to construct a new customs house. In March 1886 a design by Charles McLay was selected from many proposals in the Colonial Architect's Office for a new Brisbane Customs House. McLay completed the specification in May 1886 and construction commenced in September that year.

 

Charles McLay was the major designer under the colonial architect George Connolly and was appointed Chief Draftsman in 1889. His works include the Bundaberg Post Office, probably the Fortitude Post Office and the Lady Norman Wing Brisbane Children's Hospital (with JJ Clark), of which the Brisbane Customs House is by far the most ambitious and prominent design.

 

The contract was let to one of Brisbane's oldest and most respected contractors, John Petrie & Son, who tendered with a price of £37,342. The contract time was 30 months but because of difficulties with the supply of some materials, especially stone for the foundations, and alterations to the original plans, the building took longer than anticipated to complete and it was opened on 2 September 1889. Retaining walls, fencing, a double staircase down to the river and nearby earth closets were also constructed.

Construction was finished in three years at a cost of £38,346. The downstream end of the Brisbane central business district was selected to spur the development of wharves in the precinct known as Petrie Bight. The lower floor contained a secure warehouse where goods not having been passed customs were stored.

 

The completed building incorporated pedimented gables and a massive colonnade. Heraldic scenes in the pediments were precursors to the official Queensland coat of arms, which was not granted until 1893. A curved iron balustrade to the balconies included the initials of the reigning sovereign, Victoria Regina, in the cast. Red cedar was used extensively for desks, counters, cabinets and tables as well as for a massive and elegant staircase.

 

The Brisbane Customs House was built during a period of economic prosperity and a construction 'boom' in Queensland and was amongst the more impressive of a number of notable public and commercial buildings erected in Brisbane during the 1880s, which included the first stage of the Treasury Building (1886-1889). Public pride in the new customs house was considerable. On 7 September 1889, a few days after the building was opened for business, the local Brisbane Courier newspaper drew attention to "the handsome and imposing appearance, especially as seen from the river or from Petrie's Bight" and predicted that the Brisbane Customs House with its tall columns, pilasters and large copper-sheathed dome would "become one of the features of the city".

 

In 1891 stables, additional retaining walls and fencing, and more earth closets were erected at a cost of £446. By the mid-1890s gardens and a driveway had been developed. The mature fig tree now at the site was possibly planted about this time. Minor repairs were carried out throughout the 1890s, including some work in 1895 after seven feet (2.1 m) of water inundated the basement during the Brisbane River floods early in 1893.

 

By December 1908 the Brisbane Customs House, valued at £80,804 (£40,804 for the structure and £40,000 for the site), had been transferred to the Commonwealth.

In 1906 the inadequacies of the original flat roof were overcome by the installation of a new hipped roof. Rearrangement of counters and partitions in the Long Room was carried out in 1911 and again in 1919. Frequently minor repairs, cleaning and maintenance work was carried out to the interior of the building in succeeding decades. In 1947 major internal alterations were undertaken: all but two of the internal masonry walls were demolished; the timber floors were replaced by concrete slabs; the cedar staircase was removed and a new terrazzo one was installed at another location; mezzanine floors were erected in the Long Room; and the roof was replaced - without the original chimneys. In 1978 part of the exterior was cleaned, repaired and sealed and painted.

 

In the mid-1980s the Australian Customs Department moved out of the building to Australia House. The building remained vacant from 1988 until leased by the University of Queensland and restored as a convention centre and art gallery in the mid-1990s. At this period some of the interior masonry walls that had been removed in 1947 were replaced and the original timber stair was reconstructed. Non-significant partitions added after 1948 and parts of the 1940s fit out were removed except for some good quality intact 1940s office cabinetry which survived and part of the 1940s main stair which provided access to the basement. Two of the 1940s galleries added to the Long Room were removed and one, at the southwest end, retained and adapted. Timber window and door joinery was conserved and plaster mouldings reconstructed where they were missing.

 

In 2015, Customs House continues to be used by the University of Queensland as a function centre, art gallery and restaurant.

 

apps.des.qld.gov.au/heritage-register/detail/?id=600156

 

NEW JERSEYâS BALD EAGLE POPULATION CONTINUES TO SOAR

January 14th, 2016

 

CONSERVE WILDLIFE FOUNDATION OF NEW JERSEY RELEASES RESULTS OF 2015 STATE BALD EAGLE REPORT

 

by Lindsay McNamara, Communications Manager

 

Conserve Wildlife Foundation of New Jersey today released the 2015 Bald Eagle Report, highlighting the number of nesting pairs, active nests and nest productivity for the raptors throughout New Jersey with data collected by New Jersey Department of Environmental Protection Division of Fish and Wildlife biologists, CWF biologists and committed volunteers.

 

âWith 161 pairs of bald eagles this past year â up from just a single nest in the early 1980âs â the dramatic ongoing recovery of bald eagles across the northeast continues to inspire so many of us,â said David Wheeler, Conserve Wildlife Foundation Executive Director. âThe thrill of seeing a bald eagle fly across the sky is unparalleled. This report captures how these eagles are continuing their All-American return.â

 

The report notes that thirteen new eagle pairs were found this season, nine in the south, two in Central Jersey and two in Northern New Jersey.

 

For more info: www.conservewildlifenj.org/blog/2016/01/14/new-jerseys-ba...

Arabian camel (Camelus dromedarius) is a large even-toed ungulate with one hump on its back. Its native range is unclear, but it was probably the Arabian Peninsula. The domesticated form occurs widely in North Africa and the Middle East; the world's only population of dromedaries exhibiting wild behaviour is an introduced feral population in Australia.

 

The dromedary camel is a member of the camel family. Other members of the camel family include the llama and the alpaca in South America. The Dromedary has one hump on its back, in contrast to the Bactrian camel which has two.

 

Adult males grow to a height of 1.8–2.0 m, and females to 1.7–1.9 m. The weight is usually in the range of 400–600 kg for males, with females being 10% lighter. They show remarkable adaptability in body temperature, from 34 °C to 41.7 °C, this being an adaptation to conserve water.

 

Male dromedaries have a soft palate, which they inflate to produce a deep pink sack, which is often mistaken for a tongue, called a doula in Arabic, hanging out of the sides of their mouth to attract females during the mating season. Dromedaries are also noted for their thick eyelashes and small, hairy ears.

 

Dromedaries were first domesticated in central or southern Arabia some thousands of years ago. Experts are divided regarding the date: some believe it was around 4000 BC, others as recently as 1400 BC. There are currently almost 13 million domesticated dromedaries, mostly in the area from Western India via Pakistan through Iran to northern Africa. None survive in the wild in their original range, although the escaped population of Australian feral camels is estimated to number at least 300,000 and possibly over 1 million. Around the second millennium BC, the dromedary was introduced to Egypt and North Africa. In the Canary Islands, the dromedaries were introduced recently as domestic animals.

 

Although there are several other camelids, the only other surviving species of true wild camel today is the Bactrian Camel. The Bactrian camel was domesticated sometime before 2500 BC in Asia, well after the earliest estimates for the dromedary. The Bactrian camel is a stockier, hardier animal, being able to survive from Iran to Tibet. The dromedary is taller and faster: with a rider they can maintain 8-9 mph (13-14.5 km/h) for hours at a time. By comparison, a loaded Bactrian camel moves at about 2.5 mph (4 km/h).

 

Wild Asia

Bronx Zoo New York

This statue honors the esteemed Swedish-American engineer and inventor John Ericsson, as well as the Monitor, the ironclad ship he designed. Created by the Italian-American sculptor, Antonio de Filippo, this sculpture was dedicated in 1938. The statue depicts a heroic male nude pulling a rope attached to a capstan, and symbolizes Ericsson's role in military-maritime technology, and honors the memory of the men of the Monitor.

 

Ericsson was born in Langbanshyttan, Sweden, on July 31, 1803. The son of a mining proprietor, as a child he observed mining machinery, and developed an interest in mechanics. His early instructors were a Swedish governess and German engineering officer. Ericsson displayed a talent for engineering, building a miniature sawmill before he was 11. His precocious ability caught the attention of the well-known engineer Count Platen, who appointed Ericsson at age 12 a cadet in the corps of mechanical engineers. After six months training Ericsson was made a "leveller" at the grand Swedish canal construction, and at age 14 he was placed in charge of 600 soldier operatives, while he himself made mechanical drawings for the canal project.

 

Ericsson entered the Swedish Army in 1820, and was rapidly promoted from ensign to lieutenant. While on assignment to survey northern Sweden, he found time to design an improved engraving machine and steam engine. Resigning his post in 1827, he produced a sea sounding instrument, a hydrostatic weighing machine, and a self-acting gun lock for naval cannons, among many devices he invented. Ericsson moved to London, England, where he dedicated much of the next decade to improving methods of land and sea steam locomotion.

 

In 1836, he invented and patented the screw propeller, a device that vastly improved steam vessel travel, and caused Ericsson to prosper. Approached by the United States Navy, Ericsson came to the United States in 1839, and was engaged as superintending engineer for the Eastern Counties railway. His design for the United States Navy frigate, the Princeton, united many of his technological inventions, including state-of-the art screw propellers, smokestacks, ventilators, optical instruments, and gun carriages. However, a demonstration in 1844, in which a large gun accidentally exploded killing the United States secretaries of the navy and state, tarnished Ericssons reputation. Despite this setback, he sustained his engineering career, and his career was revived in 1861 with the design and construction of the storied Monitor ironclad war ship.

 

The Monitor was the product of Ericsson's response to the Confederacy's intent in early 1861 to ironclad its warship, the Merrimac. Ericsson built the Monitor at Greenpoints Continental Iron Works, owned by local resident Thomas Fitch Rowland. The ships engine and machinery were fabricated in Greenwich Village at the Delamater Iron Works, with whom Ericsson was in partnership. The keel was laid on October 15, 1861, and within an astounding 100 days, the Monitor was launched from Greenpoint on January 30, 1862. Ericssons newfangled ship was put to the test in a famous battle against the Merrimac at Hampton Roads, Virginia on March 9, 1862, in which the Union forces averted defeat.

 

Ericsson's success led to the construction of other similar vessels for military use both by Union, as well as foreign nations. In 1869, he produced a fleet of 30 gun-boats for Spain, and in 1881, devised a submarine gun. His later years were dedicated to diverse scientific investigations, including experiments with solar power, and their practical applications. For his efforts he had bestowed upon him many honors in the United States and Sweden, and from other European nations. He died in New York City on March 8, 1889.

 

In the 1930s the State of New York commissioned this statue to commemorate both the battle between the Monitor and the Merrimac and Ericsson. Rather than a portrait statue, such as Jonathan Scott Hartleys bronze depiction of Ericsson (1903) which stands at the north side of Battery Park, sculptor de Filippo sculpted a monumental stylized male nude allegorical figure. In the fall of 2000, through a city-funded capital project sponsored by Council Member Kenneth Fisher, the statue and pedestal were conserved.

 

Monsignor McGolrick Park National Register #80002633 (1980)

Taken at - Matoluta Sanctuary - Conserve Freedom - PG Enforced - I C, Hudhufushi (141, 74, 25)

Eye socket of a sperm whale - these eyes saw the wonders of 3000m deep waters...

Conserve our natural resources - wear a micro-bikini.

 

Portrait of Louis Napoleon, King of Holland, Charles Howard Hodges, 1809

 

olieverf op doek, h 223cm × w 147cm. More details

 

The first king of the Netherlands was a Frenchman, Louis Napoleon. The King took his office very seriously. He championed the interests of the Dutch people –to the great annoyance of his brother, Napoleon, who forced him to abdicate the throne in 1810. Hodges initially portrayed the King with his left hand holding a ceremonial baton, but later painted this over. If you look closely, you can still see traces of it.

  

Rijks Museum - National Museum of Netherlands

 

Vision:

 

The Rijksmuseum links individuals with art and history.

 

Mission:

 

At the Rijksmuseum, art and history take on new meaning for a broad-based, contemporary national and international audience.

 

As a national institute, the Rijksmuseum offers a representative overview of Dutch art and history from the Middle Ages onwards, and of major aspects of European and Asian art.

 

The Rijksmuseum keeps, manages, conserves, restores, researches, prepares, collects, publishes, and presents artistic and historical objects, both on its own premises and elsewhere.

 

From 1800 to 2013

 

The Rijksmuseum first opened its doors in 1800 under the name ‘Nationale Kunstgalerij’. At the time, it was housed in Huis ten Bosch in The Hague. The collection mainly comprised paintings and historical objects. In 1808, the museum moved to the new capital city of Amsterdam, where it was based in the Royal Palace on Dam Square.

 

After King Willem I’s accession to the throne, the paintings and national print collection were moved to the Trippenhuis on Kloveniersburgwal, while the other objects were returned to The Hague. The current building was put into use in 1885. The Netherlands Museum for History and Art based in The Hague moved into the same premises, forming what would later become the departments of Dutch History and Sculpture & Applied Art.

The beginning

 

On 19 November 1798, more than three years after the birth of the Batavian Republic, the government decided to honour a suggestion put forward by Isaac Gogel by following the French example of setting up a national museum. The museum initially housed the remains of the viceregal collections and a variety of objects originating from state institutions. When the Nationale Kunstgalerij first opened its doors on 31 May 1800, it had more than 200 paintings and historical objects on display. In the years that followed, Gogel and the first director, C.S. Roos, made countless acquisitions. Their first purchase, The Swan by Jan Asselijn, cost 100 Dutch guilders and is still one of the Rijksmuseum’s top pieces.

Move to Amsterdam

 

In 1808, the new King Louis Napoleon ordered the collections to be moved to Amsterdam, which was to be made the capital of the Kingdom of Holland. The works of art and objects were taken to the Royal Palace on Dam Square, the former city hall of Amsterdam, where they were united with the city’s foremost paintings, including the Night Watch by Rembrandt. In 1809, the Koninklijk Museum opened its doors on the top floor of the palace.

 

A few years after Willem I returned to the Netherlands as the new king in 1813, the ‘Rijks Museum’ and the national print collection from The Hague relocated to the Trippenhuis, a 17th-century town-palace on Kloveniersburgwal, home to what would later become the Royal Netherlands Academy of Arts and Sciences. Much to the regret of the director, Cornelis Apostool, in 1820 many objects including pieces of great historical interest were assigned to the Kabinet van Zeldzaamheden [Royal Gallery of Rare Objects], which had been founded in The Hague. In 1838, a separate museum for modern 19th-century art was established in Paviljoen Welgelegen in Haarlem. Contrary to the days of Louis Napoleon, very few large acquisitions were made during this period.

 

Cuypers Cathedral

 

The Trippenhuis proved unsuitable as a museum. Furthermore, many people thought it time to establish a dedicated national museum building in the Netherlands. Work on a new building did not commence until 1876, after many years of debate. The architect, Pierre Cuypers, had drawn up a historic design for the Rijksmuseum, which combined the Gothic and the Renaissance styles. The design was not generally well-received; people considered it too mediaeval and not Dutch enough. The official opening took place in 1885.

 

Nearly all the older paintings belonging to the City of Amsterdam were hung in the Rijksmuseum alongside paintings and prints from the Trippenhuis, including paintings such as Rembrandt’s Jewish Bride, which had been bequeathed to the city by the banker A. van der Hoop. The collection of 19th-century art from Haarlem was also added to the museum’s collection. Finally, a significant part of the Kabinet van Zeldzaamheden, which had by then been incorporated into the new Netherlands Museum for History and Art, was returned to Amsterdam.

 

Renovations

 

Over the years, collections continued to grow and museum insight continued to expand, and so the Rijksmuseum building underwent many changes. Rooms were added to the south-west side of the building between 1904 and 1916 (now the Philips wing) to house the collection of 19th-century paintings donated to the museum by Mr and Mrs Drucker-Fraser. In the 1950s and 1960s, the two original courtyards were covered and renovated to create more rooms.

 

In 1927, while Schmidt-Degener was Managing Director, the Netherlands Museum was split to form the departments of Dutch History and Sculpture & Applied Art. These departments were moved to separate parts of the building after 1945. The arrival of a collection donated by the Association of Friends of Asian Art in the 1950s resulted in the creation of the Asian Art department.

 

The 1970s saw record numbers of visitors of almost one-and-a-half million per year, and the building gradually started to fall short of modern requirements.

‘Verder met Cuypers'

 

The current renovation reinstates the original Cuypers structure. The building work in the courtyards are removed. Paintings, applied art and history are no longer displayed in separate parts of the building, but form a single chronological circuit that tells the story of Dutch art and history.

 

The building is thoroughly modernized, while at the same time restoring more of Cuypers original interior designs: the Rijksmuseum has dubbed the venture ‘Verder met Cuypers‘ [Continuing with Cuypers]. The Rijksmuseum will be a dazzling new museum able to satisfy the needs of its 21st-century visitors!

 

Every year, the Rijksmuseum compiles an annual report for the previous year. Annual reports dating back to 1998 can be found here (in Dutch only). Reports relating to the years before 1998 are available in the reading room of the library.

 

O Museu Rijks é um dos maiores e mais importantes museus da Europa.É o maior dos Países Baixos, com acervo voltado quase todo aos artistas holandeses. As obras vão desde exemplares da arte sacra até a era dourada holandesa, além de uma substancial coleção de arte asiática.

Esse é o Rijksmuseum, o Museu Nacional dos Países Baixos. E aproveite, caro leitor, porque o Rijks esteve parcialmente fechado para reforma durante 10 anos – voltou a funcionar só em 2013. Ou seja, quem esteve em Amsterdam na última década não conheceu o Rijks, pelo menos não completamente.

 

Mas o quê tem lá? Muita coisa. Destaque para as coleções de arte e História holandesas. Os trabalhos dos pintores Frans Hals e Johannes Vermeer são alguns dos mais concorridos, mas imbatível mesmo é Rembrandt van Rijn, considerado um dos maiores pintores de todos os tempos. Se você não é um fã de museus de arte, mas faz questão de conhecer o trabalho desses grandes artistas, uma dica: assim que chegar ao Rijks, vá direto para a ala onde estão as obras-primas. Assim você vê o mais importante no início da visita, quando ainda está descansado e poderá dedicar o tempo necessário para essas obras.

A mais famosa delas é a “A Ronda Noturna”, de Rembrandt, uma obra que inspirou músicas, pinturas, filmes e até um flash mob. Quando o Rijks foi reaberto, artistas recriam a cena mostrada no quadro dentro de um shopping de Amsterdam. A ação está no vídeo abaixo e eu te garanto que vale a pena dar play.

 

Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...

Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...

Rijksmuseum, Museu Nacional

42 Stadhouderskade

Amsterdam

 

O museu Rijksmuseum de Amsterdã é o Museu Nacional da Holanda, onde você encontrará uma impressionante coleção permanente, formada por 5.000 pinturas e 30.000 obras de arte, além de 17.000 objetos históricos.

 

Esse museu nacional foi fundado em 1885 e está instalado em um edifício de estilo neogótico. A sua principal atração é a extensa coleção de quadros pintados por artistas holandeses, abrangendo um período que vai do séc. XV aos dias de hoje. A obra de arte mais famosa em exibição é o quadro A Ronda Noturna, de Rembrandt.

O museu Rijksmuseum está dividido em cinco departamentos: pintura, escultura, arte aplicada, arte oriental, história dos Países Baixos e gravuras. O núcleo da coleção é a pintura e suas obras mais representativas são as que pertencem ao Século de Ouro holandês, com quadros de artistas como Rembrandt, Vermeer ou Frans Hals.

Ver fonte: dreamguides.edreams.pt/holanda/amsterda/rijksmuseum

 

Museu Rijks, Amesterdão

O Museu Rijks (Museu Nacional) é um edifício histórico, sendo o maior museu nos Países Baixos. O Museu é o maior no numero relativamente às suas colecções, na área do edifício em si, no financiamento e no numero de funcionários empregados.

Cada ano, mais de um milhão de pessoas visitam o Museu Rijks. O Museu emprega cerca de 400 pessoas, incluindo 45 conservadores de museu que são especializados em todas as áreas.

O Museu Rijks é internacionalmente reconhecido pelas suas exibições e publicações, mas não só apenas por estes produtos de grande qualidade, mas também pelas áreas no museu em si que são fonte de inspiração e encorajam a criação de novas ideias.

O museu também tem recursos consideráveis para a educação, para a decoração e apresentação de exibições. Importantes designers são regularmente chamados a trabalharem em projectos no Museu Rijks.

O edifício principal do Museu Rijks está a ser renovado. A boa noticia é que a melhor parte da exposição está apresentada na redesenhada ala Philips. O nome desta exposição denomina-se "The Masterpieces'.

O museu abre diariamente das 10 da manhã até ás 5 da tarde.

A entrada é pela Stadhouderskade 42.

www.rijksmuseum.nl

 

Rijksmuseum

Origem: Wikipédia, a enciclopédia livre.

O Rijksmuseum é um museu nacional dos Países Baixos, localizada em Amsterdão na Praça do museu. O Rijksmuseum é dedicado à artes e história. Ele tem uma larga coleção de pinturas da idade de ouro neerlandesa e uma substancial coleção de arte asiática.

O museu foi fundado em 1800 na cidade da Haia para exibir a coleção do primeiro-ministro. Foi inspirado no exemplo francês. Pelos neerlandeses ficou conhecida como Galeria de Arte. Em 1808 o museu mudou-se para Amsterdã pelas ordens do rei Louis Napoleón, irmão de Napoleão Bonaparte. As pinturas daquela cidade, como A Ronda Nocturna de Rembrandt, tornaram-se parte da coleção.

Em 1885 o museu mudou-se para sua localização atual, construído pelo arquiteto neerlandês Pierre Cuypers. Ele combinou elementos góticos e renascentistas. O museu tem um posição proeminente na Praça do Museu, próximo ao Museu van Gogh e ao Museu Stedelijk. A construção é ricamente decorada com referências da história da arte neerlandesa. A Ronda Nocturna de Rembrandt tem seu próprio corredor no museu desde 1906. Desde 2003 o museu sofreu restaurações, mas as obras-primas são constatemente presentes para o público.

A coleção de pinturas inclui trabalhos de artistas como Jacob van Ruysdael, Frans Hals, Johannes Vermeer e Rembrandt e de alunos de Rembrandt.

Em 2005, 95% do museu está fechado para renovação, mas as pinturas da coleção permanente ainda estão em mostra em uma exibição especial chamada As Obras-primas.

Algumas das pinturas do museu:

Rembrandt van Rijn

A Ronda Nocturna

Os síndicos da guilda dos fabricantes de tecidos

A noiva judia

A lição de Anatomia do Dr. Deyman

Pedro negando Cristo

Saskia com um véu

Retrato de Titus em hábito de monge

Auto-retrato como Apóstolo Paulo

Tobias, Ana e o Bode

Johannes Vermeer:

A Leiteira

A Carta de Amor

Mulher de Azul a ler uma carta

A Rua pequena

Frans Hals:

Retrato de um jovem casal

A Companhia Reynier Real

O bebedor alegre

Retrato de Lucas De Clercq

Retrato de Nicolaes Hasselaer

Retrato de um homem

Página oficial do Rijksmuseum

Virtual Collection of Masterpieces (VCM)

O melhor museu de Amsterdam: Rijksmuseum

O Commons possui uma categoria contendo imagens e outros ficheiros sobre Rijksmuseum

 

Rijksmuseum Amsterdam

  

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Se você visitar Amsterdam, precisará conhecer o Museu Nacional da Holanda: Rijksmuseum Amsterdam. O Museu Nacional fica na Praça do Museu, situada no centro de Amsterdam. O Museu Nacional, ou Rijksmuseum, possui uma maravilhosa coleção de arte e história holandesas. Após uma visita ao Rijksmuseum, você saberá mais sobre história e arte e terá visto alguns dos maiores marcos culturais da Holanda.

 

Obras-primas do Museu Nacional

Ao todo, a coleção do Rijksmuseum apresenta a história da Holanda em um contexto internacional, desde 1.100 até o presente. Há alguns ícones da história e cultura da Holanda que você não pode perder:

 

Ronda Noturna (de Nachtwacht) de Rembrandt é uma das mais famosas obras desse mestre holandês e é de tirar o fôlego.

 

O Rijksmuseum tem uma das melhores coleções de pinturas dos grandes mestres do século XVII, como Frans Hals, Jan Steen, Vermeer e Rembrandt.

 

Assim como o Museu Histórico de Haia, o Rijksmuseum apresenta lindas casas de bonecas, mobiliadas em detalhes, datando de 1676.

 

Se você não puder ir ao Delft Real, pode ainda apreciar algumas das melhores cerâmicas de Delft, de conjuntos de chá a vasos, no Museu Nacional.

 

Museu que é visita obrigatória em Amsterdam

Quer sua estadia em Amsterdam seja breve ou longa, você deve visitar o Rijksmuseum. Chegue cedo para evitar enfrentar filas. Combine a visita ao Rijksmuseum com várias outras atrações próximas, como o Museu Van Gogh, o Museu Stedelijk Amsterdam e a Coster Diamonds

 

Para obter mais informações sobre Amsterdam, retorne à página sobre Amsterdam ou à página sobre os museus de Amsterdam.

   

I read an article recently about the decline of marmalade as a spread for toast - I was horrified! lol! How can we possibly prefer chocolate spread rather than marmalade - I mean what is the world coming to?!!

1 Chome, Nagatachō, Chiyoda-ku, Tōkyō-to, Japan - 東京都千代田区永田町１丁目

All homemade, too. Although the scones were not a disaster, they didn't turn out the way a scone is supposed to be! I think I overworked the dough.

 

My daughter decided that some freshly picked dandelions would be a good addition to the photo!

 

The strawberry and apple conserve is fabulous. It consists of a green apple, strawberries, sugar, lemon juice and the seeds from one vanilla pod.

 

The honey cream consists of honey, pouring cream and mascarpone that have been whisked to soft peaks.

 

Makes for a great afternoon tea; I enjoyed mine with a cup of Earl Gray.

 

Recipe from MasterChef Australia magazine, issue #3.

 

Read more at The Sweetest Kitchen...

Coventry Transport Museum opened in 1980, after it became clear that the road transport collection was outgrowing the space it occupied in the Herbert Art Gallery & Museum. The Museum’s current collection of vehicles is acknowledged as being one of the finest in the world, and the largest in public ownership.

The Museum’s collection consists of motor cars, commercial vehicles, cycles and motorcycles. In addition, extensive collections of automobilia, books, photographs and a wealth of other archive material is held and conserved at the Coventry History Centre at the Herbert Art Gallery & Museum.

Le Marais est un quartier parisien historique (et non administratif), situé dans une partie des 3e et 4e arrondissements de Paris, sur la rive droite de la Seine. Il est aujourd'hui délimité à l'ouest par la rue Beaubourg, à l'est par le boulevard Beaumarchais, au nord par la rue de Bretagne et au sud par les quais de la Seine et le boulevard Henri IV (hôtels d'Aumont, de Beauvais, de Chalon-Luxembourg au sud de la rue Saint-Antoine).

 

Le Marais est une ancienne zone de marécages occupée depuis le XIIe siècle par des ordres religieux parmi lesquels l'ordre du Temple, qui y installent des établissements. Au début du XVIIe siècle, à la suite de la construction de la place des Vosges, ce quartier, jusque-là périphérique, devient le lieu de résidence de la noblesse parisienne. De nombreux hôtels particuliers y sont construits dont beaucoup subsistent aujourd'hui. Au milieu du XVIIIe siècle le quartier est déserté par l'élite parisienne au profit du faubourg Saint-Honoré et du faubourg Saint-Germain qui offrent plus d'espace. La Révolution française achève de chasser les propriétaires fortunés. Le quartier est dès lors occupé par une population d'artisans et d'ouvriers qui occupe les anciens hôtels et construit des ateliers dans les anciennes cours intérieures.

 

Les grands travaux d'aménagements de Paris du XIXe siècle touchent peu le quartier qui conserve ses rues étroites, mais de nombreux immeubles de qualité sont progressivement détruits. En 1964[réf. nécessaire], André Malraux lance un programme de sauvegarde et de préservation qui se poursuit encore aujourd'hui. Le quartier préservé est désormais, grâce à ses beaux immeubles, fréquenté par les touristes et recherché par les classes aisées. De nombreux musées y sont installés.

 

Plusieurs communautés s'y sont constituées au cours des années : juifs ashkénazes à la fin du XIXe siècle, Chinois après la Première Guerre mondiale, et homosexuels.

 

Ce site est desservi par les stations de métro Arts et Métiers, Chemin Vert, Filles du Calvaire, Hôtel de Ville, Rambuteau, Saint-Paul, Pont-Marie, Saint-Sébastien - Froissart et Temple.

  

Le Marais (en español: 'La Marisma') es un barrio parisino, situado en el III y el IV distrito de París, Francia, en la margen derecha. Hoy en día está delimitado al oeste por rue du Temple, al este por el boulevard Beaumarchais, al norte por la rue de Bretagne y al sur por el río Sena. Le Marais es un distrito de moda con negocios y empresas del ámbito legal y bancario. En él reside la población judía más importante de Europa. Se lo considera uno de los barrios más cosmopolitas del viejo continente.

 

El barrio ha experimentado una creciente presencia gay desde la década de 1980, como lo demuestra la existencia de muchas cafeterías, discotecas, cabarets y tiendas para gais con una alta concurrencia para el turismo homosexual. Estos establecimientos se concentran principalmente en la porción suroeste de Le Marais, muchos en o cerca de la calle Sainte-Croix de la Bretonnerie y Vieille du Temple.

 

Este barrio sirvió de inspiración a Gus Van Sant para contar la historia de dos chicos gais en la película Paris, je t'aime.

  

Le Marais ("The Marsh", French pronunciation: ​[maʁɛ]) is a historic district in Paris, France. Long the aristocratic district of Paris, it hosts many outstanding buildings of historic and architectural importance. It spreads across parts of the 3rd and 4th arrondissements in Paris (on the Rive Droite, or Right Bank, of the Seine).

 

Paris aristocratic district[edit]

 

In 1240 the Order of the Temple built its fortified church just outside Paris's walls, in the northern part of the Marais. The Temple turned the district into an attractive area, and many religious institutions were built nearby: the des Blancs-Manteaux, de Sainte-Croix-de-la-Bretonnerie and des Carmes-Billettes convents, as well as the church of Sainte-Catherine-du-Val-des-Écoliers.

 

During the mid-13th century, Charles I of Anjou, King of Naples and Sicily, and brother of King Louis IX of France built his residence near the current n°7 rue de Sévigné.[1] In 1361 the King Charles V built a mansion known as the Hôtel Saint-Pol in which the Royal Court settled during his reign as well as his son's.

 

From that time to the 17th century and especially after the Royal Square (Place Royale, current place des Vosges) was designed under King Henri IV in 1605, the Marais was the French nobility's favorite place of residence. French nobles built their urban mansions there[2] such as the Hôtel de Sens, the Hôtel de Sully, the Hôtel de Beauvais, the Hôtel Carnavalet, the Hôtel de Guénégaud, and the Hôtel de Soubise.

 

Jewish community[edit]

 

After the nobility started to move to the Faubourg Saint-Germain, the district became a popular and active commercial area, hosting one of Paris' main Jewish communities. At the end of the 19th century and during the first half of the 20th, the district around the rue des Rosiers, referred to as the "Pletzl", welcomed many Eastern European Jews (Ashkenazi) who reinforced the district's clothing specialization. But, during World War II the Jewish community was targeted by the Nazis who were occupying France.

 

The rue des Rosiers is still a major centre of the Paris Jewish community, which has made a comeback since the 1990s. Public notices announce Jewish events, bookshops specialize in Jewish books, and numerous restaurants and other outlets sell kosher food.

 

The synagogue on 10 rue Pavée is not far from rue des Rosiers. It was designed in 1913 by Art Nouveau architect Hector Guimard, who designed several Paris Metro stations.

 

Post-war rehabilitation[edit]

 

By the 1950s, the district had become a working-class area and most of its architectural masterpieces were in a bad state of repair. In 1964, General de Gaulle's Culture Minister Andre Malraux made the Marais the first secteur sauvegardé (literally safeguarded sector). These were meant to protect and conserve places of special cultural significance. In the following decades the government and the Parisian municipality have led an active restoration and Rehabilitation Policy.

 

The main Hôtels particuliers have been restored and turned into museums: the Hôtel Salé hosts the Picasso Museum, the Hôtel Carnavalet hosts the Paris Historical Museum, the Hôtel Donon hosts the Cognacq-Jay Museum, etc. The site of Beaubourg, the western part of Marais, was chosen for the Centre Georges Pompidou, France's national Museum of Modern Art and one of the world's most important cultural institutions. The building was completed in 1977 with revolutionary architecture by Renzo Piano and Richard Rogers.

 

Today's Marais[edit]

 

The Marais is now one of Paris' main localities for art galleries. Following its rehabilitation, the Marais has become a fashionable district, home to many trendy restaurants, fashion houses, and hip galleries.

 

The neighbourhood has experienced a growing gay presence since the 1980s, as evidenced by the existence of many gay cafés, nightclubs, cabarets and shops. These establishments are mainly concentrated in the southwestern portion of the Marais, many on or near the streets Sainte-Croix de la Bretonnerie and rue des Archives.

 

The Marais is also known for the Chinese community it hosts. The community began to appear during World War I. At that time, France needed workers to replace its at-war soldiers and China decided to send a few thousand of its citizens on the condition that they would not take part in the war. After the 1918 victory, some of them decided to stay in Paris, specifically living around the current rue au Maire. Today, most work in jewelery and leather-related products. The Marais' Chinese community has settled in the north of the district, particularly in the surrounding of Place de la République. Next to it, on the rue du Temple, is the Chinese Church of Paris.

 

Other features of the neighbourhood include the Musée Picasso, the house of Nicolas Flamel, the Musée Cognacq-Jay, the Musée Carnavalet and the new and very popular Café Charlot.

 

Photo André Knoerr, Genève. Reproduction autorisée avec mention de la source.

Utilisation commerciale soumise à autorisation spéciale préalable.

 

A l'image de la motrice 219, les Tatra KT4 conservées en réserve ont reçu une livrée identique aux véhicules ex-VBZ Zürich.

 

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1 Chome, Nagatachō, Chiyoda-ku, Tōkyō-to, Japan - 東京都千代田区永田町１丁目

Des stalles du château de Gaillon sont conservées dans la basilique Saint-Denis près de Paris. Ce château était la résidence de loisir des archevêques de Rouen. Commandées au début du XVIe siècle par Georges d’Amboise, ces stalles ont été construites lorsque cet archevêque, devenu légat du pape et premier conseiller de Louis XII a fait transformer le château médiéval en palais de la Renaissance. Seules stalles en France à présenter de nombreux panneaux de marqueterie et une iconographie inédite, elles forment un mobilier unique, chef-d’œuvre de cette période charnière entre gothique et Renaissance, arborant une grande mixité de styles. Ces stalles sont les chaires qui étaient destinées aux trois chanoines qui officiaient dans la chapelle haute du château de Gaillon, dédiée à saint Georges. Elles étaient ceintes d’une clôture en boiset constituaient ainsi le chœur liturgique de l'édifice.

 

Les stalles en chêne sont composées de deux rangées disposées côté nord et sud du transept de la basilique de Saint-Denis. La rangée nord présente un ensemble de six stalles, la rangée sud de cinq stalles et une isolée. Seules douze stalles ont été créées au XVIe siècle alors que le programme iconographique en prévoyait quatorze. De 2,83 m de haut, elles composées d’un siège et d’un dorsal, ce dernier comprenant deux registres : un bas-relief surmontant un panneau de marqueterie. Tous les éléments sont sculptés ou marquetés. De manière unique, les dossiers, les dorsaux et les voussures des dais sont galbés. De même les chaires ont des largeurs variées, fixées par celles des bas-reliefs des dorsaux. Pour s’adapter, les largeurs d’autres composants ont été rectifiées. La mixité de style se retrouve dans la globalité, les interdorsaux et deux dais étant gothiques alors que les faibles reliefs sont apparentés aux grotesques de la Renaissance, les bas-reliefs et les marqueteries des dorsaux étant quant à eux à la fois d’inspiration péninsulaire et septentrionale.

 

Sont illustrées sur les bas-reliefs originaux des dorsaux deux scènes de la vie d’Anne et Joachim, parents de la vierge Marie, cinq scènes de la vie de saint Jean-Baptiste le précurseur et sept scènes de la vie de saint Georges selon les textes d’Évangile ou de la Légende dorée. Nombre d’autres saints sont présentés en pied, sous forme de statuettes sur les interdorsaux ou de bas-reliefs sur les soubassements des jouées, notamment les quatre évangélistes sur ces derniers. Sur les panneaux marquetés des quadrants des parcloses sont figurées les affres des enfers des condamnés selon les sept péchés capitaux, avec les planètes et leurs influences. Les représentations sont inspirées des gravures du Calendrier des bergers imprimé à cette époque.

 

Les miséricordes figurent des scènes des Métamorphoses d’Ovide ainsi que les arts libéraux selon la Margarita Philosophica de G. Reisch. Les artisans se sont inspirés de gravures d’ouvrages imprimés au début du XVIe siècle, par exemple le soldat romain Caius Mucius Scaevola devant le roi Étrusque Porsenna y étant représenté exposant ainsi des thématiques propres à la culture antique. De manière également tout à fait inédite, les 7 vertus, cardinales et théologales, et 7 sibylles sont figurées et représentées sur les panneaux de marqueterie du premier registre des dorsaux. Les allégories et les prophétesses sont encadrées d’architectures identiques deux à deux qui les mettent en concordance. Les sibylles ont été choisies parmi celles du manuscrit des Heures de Louis de Laval dont les auteurs ont cité les prophéties. Ces dernières proviennent du manuscrit des Institutions divines de Lactance qui était de nouveau traduit et que le cardinal a lui-même fait enluminer. Ce grand rhéteur du IVe siècle ayant quant à lui repris les oracles rédigés dans les Oracles sibyllins.

 

Georges Ier d’Amboise n’a pas manqué de faire valoir qu’il était le commanditaire des stalles en demandant à ce que ses armes et sa devise y figurent à de nombreuses reprises. Le légat a donné pour modèles aux artisans des stalles des enluminures ou gravures de manuscrits faisant partie de sa splendide bibliothèque, digne d'un grand érudit humaniste. Il fit venir l’Italie en choisissant la marqueterie figurative en sus de la sculpture, seule technique utilisée à l'époque en France. Sans renier la tradition en faisant figurer les saints, il a fait représenter de manière inédite leur cycle de vie, dont il a choisi des événements bien spécifiques. De plus, il a incité les fidèles à s’instruire et à étudier les auteurs antiques en faisant sculpter des allégories des arts libéraux et des personnages mythiques ou héroïques. Enfin, par le dialogue des sibylles et des vertus, il a montré que la rhétorique de Lactance était convaincante. Il a ainsi non seulement introduit en France la mode italienne dans le mobilier, le décor et les ornements du château de Gaillon, mais surtout donné corps à l’esprit humaniste en faisant de ses stalles les messagères qui appellent à une vie vertueuse, dans la foi au Christ annoncé à tous les hommes (cf. wikipédia, merci Glass Angel pour la photo).

HALONG BAY

Hạ Long Bay or Halong Bay (Vietnamese: Vịnh Hạ Long, IPA: [vînˀ hâːˀ lawŋm] (About this soundlisten)) is a UNESCO World Heritage Site and popular travel destination in Quảng Ninh Province, Vietnam. The name Hạ Long means "descending dragon". Administratively, the bay belongs to Hạ Long city, Cẩm Phả city, and is a part of Vân Đồn District. The bay features thousands of limestone karsts and isles in various shapes and sizes. Ha Long Bay is a center of a larger zone which includes Bai Tu Long Bay to the northeast, and Cát Bà Island to the southwest. These larger zones share a similar geological, geographical, geomorphological, climate, and cultural characters.

 

Hạ Long Bay has an area of around 1,553 km2 (600 sq mi), including 1,960–2,000 islets, most of which are limestone. The core of the bay has an area of 334 km2 with a high density of 775 islets. The limestone in this bay has gone through 500 million years of formation in different conditions and environments. The evolution of the karst in this bay has taken 20 million years under the impact of the tropical wet climate. The geo-diversity of the environment in the area has created biodiversity, including a tropical evergreen biosystem, oceanic and sea shore biosystem. Hạ Long Bay is home to 14 endemic floral species and 60 endemic faunal species.

 

Historical research surveys have shown the presence of prehistoric human beings in this area tens of thousands years ago. The successive ancient cultures are the Soi Nhu culture around 18,000–7000 BC, the Cai Beo culture 7000–5000 BC and the Hạ Long culture 5,000–3,500 years ago. Hạ Long Bay also marked important events in the history of Vietnam with many artifacts found in Bai Tho Mountain, Dau Go Cave, Bai Chay.

 

500 years ago, Nguyễn Trãi praised the beauty of Ha Long Bay in his verse Lộ nhập Vân Đồn, in which he called it "rock wonder in the sky". In 1962, the Ministry of Culture, Sports and Tourism of North Vietnam listed Ha Long Bay in the National Relics and Landscapes publication. In 1994, the core zone of Ha Long Bay was listed as a World Heritage Site according to Criterion VII, and listed for a second time according to Criterion VIII.

 

ETYMOLOGY

The name Hạ Long (chữ Hán: 下龍) means "descending dragon".

 

Before the 19th century, the name Hạ Long Bay had not been recorded in the old books of the country. It has been called An Bang, Lục Thủy, Vân Đồn ... In the late 19th century, the name Hạ Long Bay appeared on the Maritime Map of France. The French-language Hai Phong News reported "Dragon appears on Hạ Long Bay".

 

According to local legend, when Vietnam had just started to develop into a country, they had to fight against invaders. To assist the Vietnamese in defending their country, the gods sent a family of dragons as protectors. This family of dragons began spitting out jewels and jade. These jewels turned into the islands and islets dotting the bay, linking together to form a great wall against the invaders. Under magics, numerous rock mountains abruptly appeared on the sea, ahead of invaders' ships; the forward ships struck the rocks and each other. After winning the battle, the dragons were interested in peaceful sightseeing of the Earth, and then decided to live in this bay. The place where the mother dragon descended was named Ha Long, the place where the dragon's children attended upon their mother was called Bái Tử Long island (Bái: attend upon, Tử: children, Long: dragon), and the place where the dragon's children wriggled their tails violently was called Bạch Long Vĩ island (Bạch: white-color of the foam made when Dragon's children wriggled, Long: dragon, Vĩ: tail), present-day Tra Co peninsula, Móng Cái.

 

OVERVIEW

The bay consists of a dense cluster of some 1,600 limestone monolithic islands each topped with thick jungle vegetation, rising spectacularly from the ocean. Several of the islands are hollow, with enormous caves. Hang Dau Go (Wooden Stakes cave) is the largest grotto in the Ha Long area. French tourists visited in the late 19th century, and named the cave Grotte des Merveilles. Its three large chambers contain large numerous stalactites and stalagmites (as well as 19th-century French graffiti). There are two bigger islands, Tuần Châu and Cát Bà, that have permanent inhabitants, as well as tourist facilities including hotels and beaches. There are a number of beautiful beaches on the smaller islands. A community of around 1,600 people live on Hạ Long Bay in four fishing villages: Cua Van, Ba Hang, Cong Tau and Vong Vieng in Hung Thang ward, Ha Long city. They live on floating houses and are sustained through fishing and marine aquaculture (cultivating marine biota), plying the shallow waters for 200 species of fish and 450 different kinds of mollusks. Many of the islands have acquired their names as a result of interpretation of their unusual shapes. Such names include Voi Islet (elephant), Ga Choi Islet (fighting cock), Khi Islet (monkey), and Mai Nha Islet (roof). 989 of the islands have been given names. Birds and animals including bantams, antelopes, monkeys, and lizard also live on some of the islands.

 

Almost all these islands are as individual towers in a classic fenglin landscape with heights from 50–100 metres (160–330 ft), and height/width ratios of up to about six.

 

Another specific feature of Hạ Long Bay is the abundance of lakes inside the limestone islands. For example, Dau Be island has six enclosed lakes. All these island lakes occupy drowned dolines within fengcong karst.

 

LOCATION

Hạ Long Bay is located in northeastern Vietnam, from E106°55' to E107°37' and from N20°43' to N21°09'. The bay stretches from Quang Yen town, past Hạ Long city, Cẩm Phả city to Vân Đồn District, is bordered on the south and southeast by Lan Ha Bay, on the north by Hạ Long city, and on the west by Bai Tu Long Bay. The bay has a 120-kilometre-long coastline and is approximately 1,553 km2 in size with about 2,000 islets. The area designated by UNESCO as the World Natural Heritage Site incorporates 434 km2 with 775 islets, of which the core zone is delimited by 69 points: Dau Go island on the west, Ba Ham lake on the south and Cong Tay island on the east. The protected area is from the Cái Dăm petrol store to Quang Hanh ward, Cẩm Phả city and the surrounding zone.

 

CLIMATE

The climate of the bay is tropical, wet, sea islands, with two seasons: hot and moist summer, dry and cold winter. The average temperature is from 15–25 °C, and annual rainfall is between 2 and 2.2 metres. Ha Long Bay has the typical diurnal tide system (tide amplitude ranges from 3.5–4 metres. The salinity is from 31 to 34.5MT in the dry season and lower in the rainy season.

 

POPULATION

Of the 1,969 islands in Ha Long, only approximately 40 are inhabited. These islands range from tens to thousands of hectares in size, mainly in the East and Southeast of Hạ Long Bay. In recent decades, thousands of villagers have been starting to settle down on the pristine islands and build new communities such as Sa Tô Island (Hạ Long City), Thắng Lợi Island (Vân Đồn district).

 

The population of Hạ Long Bay is about 1,540, mainly in Cửa Vạn, Ba Hang and Cặp Dè fishing villages (Hùng Thắng Ward, Hạ Long City). Residents of the bay mostly live on boats and rafts buoyed by tires and plastic jugs to facilitate the fishing, cultivating and breeding of aquatic and marine species. Fish require feeding every other day for up to three years, when they are eventually sold to local seafood restaurants for up to 300,000 Vietnamese dong per kilogram. Today the life of Hạ Long Bay inhabitants has much improved due to new travel businesses. Residents of the floating villages around the Ha Long bay now offer bedrooms for rent, boat tours, and fresh seafood meals to tourists. While this is an isolating, back-breaking lifestyle, floating village residents are considered wealthy to residents of other Hạ Long Bay islands.

 

At present ((clarify)), the Quảng Ninh provincial government has a policy to relocate the households living in the bay to resettle, in order to stabilize their life and to protect the landscape of the heritage zone. More than 300 households living in fishing villages in Hạ Long Bay have been relocated ashore in Khe Cá Resettlement Area, now known as Zone 8 (Hà Phong Ward, Hạ Long City) since May 2014. This project will continue to be implemented. The province will only retain a number of fishing villages for sightseeing tours.

 

HISTORY

SOI NHU CULTURE (16,000–5000 BC)

Located in Hạ Long and Bai Tu Long are archaeological sites such as Me Cung and Thien Long. There are remains from mounds of mountain shellfish (Cyclophorus), spring shellfish (Melania, also called Thiana), some fresh water mollusc and some rudimentary labour tools. The main way of life of Soi Nhu's inhabitants included catching fish and shellfish, collecting fruits and digging for bulbs and roots. Their living environment was a coastal area unlike other Vietnamese cultures, for example, like those found in Hoa Binh and Bac Son.

 

CAI BEO CULTURE (5000–3000 BC)

Located in Hạ Long and Cat Ba island, its inhabitants developed to the level of sea exploitation. Cai Beo culture is a link between Soi Nhu culture and Hạ Long culture

Hạ Long culture (2500–1500 BC)

 

CLASSICAL PERIOD

History shows that Hạ Long Bay was the setting for local naval battles against Vietnam's coastal neighbors. On three occasions, in the labyrinth of channels in Bạch Đằng River near the islands, the Vietnamese army stopped the Chinese from landing. In 1288, General stopped Mongol ships from sailing up the nearby Bach Dang River by placing steel-tipped wooden stakes at high tide, sinking the Mongol Kublai Khan's fleet.

 

MODERN PERIOD

Hạ Long Bay was the site of the first ever raising of the new national flag of the Provisional Central Government of Vietnam on 5 June 1948 during the signing of the Halong Bay Agreements (Accords de la baie d’Along) by High Commissioner Emile Bollaert and President Nguyễn Văn Xuân.

 

During the Vietnam War, many of the channels between the islands were heavily mined by the United States Navy, some of which pose a threat to shipping to this day.

 

GEOLOGY AND GEOMORPHOLOGY

In 2000, UNESCO's World Heritage Committee inscribed Hạ Long Bay in the World Heritage List according to its outstanding examples representing major stages of the Earth's history and its original limestone karstic geomorphologic features. Hạ Long Bay and its adjacent areas consist of a part of the Sino-Vietnamese composite terrane having its development history from pre-Cambrian up to present day. During Phanerozoic, terrigenous, volcanogenic and cherty-carbonate sediments containing in abundance graptolites, brachiopods, fishes, corals, foraminiferas, radiolarias, bivalves and flora, separated one from another by 10 stratigraphic gaps, but the boundary between Devonian and Carboniferous has been considered as continuous. The limestone karstic geomorphology of the bay was developed since Miocene, especially the cone-shaped hills (fengcong), or isolated high limestone karst towers (fenglin) with many remnants of old phreatic caves, old karstic foot caves, marine notch caves form magnificent limestone karst landforms as unique on the world. The Quaternary geology was developed through 5 cycles with the intercalation of marine and continental environments. The present Hạ Long Bay, in fact, appeared after the Middle Holocene maximum transgression, leaving ultimate zone of lateral undercutting in the limestone cliffs bearing many shells of oysters, having the 14C age as 2280 to >40,000 y. BP. Geological resources are abundant: anthracite, lignite, oil shale, petroleum, phosphate, limestone and cement additives, kaolin, silica sand, dolomite, quartzite of exogenous origin, and antimony, mercury of hydrothermal origin. Besides, there still are surface water, groundwater and thermal mineral water on the shore of the Hạ Long - Bái Tử Long Bays and other environmental resources.

 

In terms of marine geology, this area is recorded as an especially coastal sedimentary environment. In the alkaline seawater environment, the chemical denudation process of calcium carbonate proceeds rapidly, creating wide, strangely shaped marine notches.

 

The bottom surface sediments are various from clay mud to sand, however, silty mud and clay mud are dominated in distribution. Especially, the carbonate materials originated from organisms make up from 60 to 65% sedimentary content. The surface sediments of coral reefs are mainly sand and pebbles of which the carbonate materials occupy for more than 90%. The intertidal zone sediments are various from clay mud to sand and gravel depending to distinguished sedimentary environments such as mangrove marshes, tidal flats, beaches etc. At the small, but wonderfully beautiful beaches, the sand sediments may be dominated quartz or carbonate materials.

 

The sediment layers of intertidal zone, the upper sea bed with a plain surface conserving ancient rivers, systems of caves and its sediments, traces of ancient marine action forming distinctive notches, beaches and marine terraces, mangrove swamps are important evidence of geological events and processes taking place during Quaternary.

 

HISTORY OF TECTONICS

Hạ Long Bay has experienced at least 500 million years in various geological states of orogeny, marine transgression and marine regression. During the Ordovician and Silurian periods (500-410 million years ago), Hạ Long Bay was deep sea. During the Carboniferous and Permian periods (340-250 million years ago), Ha Long Bay was at shallow sea level.

 

The dominated uplift movement of neotectonic and recent tectonic influenced deeply on topography of this area, and the present landscape of sea-islands was formed around 7 or 8 thousand years ago by the sea invasion during Holocene transgression begun at about 17-18 thousand years ago. Particularly from the Holocene time, from about 11,000 years ago Cat Ba - Ha Long area has much archaeological evidence connecting variations in sea levels with the development of ancient cultures such as the Soi Nhu and Ha Long cultures.

 

KARST GEOMORPHOLOGY VALUE

Due to a simultaneous combination of ideal factors such as thick, pale, grey, and strong limestone layers, which are formed by fine-grained materials; hot and moist climate and slow tectonic process as a whole; Ha Long Bay has had a complete karst evolution for 20 million years. There are many types of karst topography in the bay, such as karst field.

 

Hạ Long Bay is a mature karst landscape developed during a warm, wet, tropical climate. The sequence of stages in the evolution of a karst landscape over a period of 20 million years requires a combination of several distinct elements including a massive thickness of limestone, a hot wet climate and slow overall tectonic up lift. The process of karst formation is divided into five stages, the second of which is the formation of the distinctive do line karst. This is followed by the development of fengcong karst, which can be seen in the groups of hills on Bo Hon and Dau Be Inland. These cones with sloping sides average 100m in height with the tallest exceeding 200m. Fenglin karst is characterised by steep separate towers. The hundreds of rocky islands with form the beautiful and famous landscape of the Bay are the individual towers of a classic Fenglin landscape where the intervening plains have been submerged by the sea. Most towers reach a height of between 50 and 100m with a height to width ratio of about 6. The karst dolines were flooded by the sea, becoming the abundance of lakes that lie within the limestone islands. For example, Dau Be island at the mouth of the Bay has six enclosed lakes including those of the Ba Ham lakes lying within its fengcong karst. The Bay contains examples of the landscape elements of fengcong, fenglin and karst plain. These are not separate evolutionary stages but the result of natural non – uniform processes in the denudation of a large mass of limestone. Marine erosion created the notches which in some places have been enlarged into caves. The marine notch is a feature of limestone coastline but, in Ha Long Bay, it has created the mature landscape.

 

Within Hạ Long Bay, the main accessible caves are the older passages that survive from the time when the karst was evolving though its various stages of fengcong and fenglin. Three main types of caves can be recognized in the limestone islands (Waltham, T. 1998):

 

Remnants of old phreatic caves

Old karstic foot caves

Marine notch caves

 

The first group consists of old phreatic caves which include Sung Sot, Tam Cung, Lau Dai, Thien Cung, Dau Go, Hoang Long, Thien Long. Nowadays, these caves lie at various high levels. Sung Sot cave is on Bo Hon island. From its truncated entrance chambers on a ledge high on the cliff, a passage of more that 10m high and wide descends to the south. Tam Cung is a large phreatic fissure cave that developed in the bedding planes of the limestone dividing the fissure cave into three chambers. Lau Dai is a cave with a complex of passages extending over 300m opening on the south side of Con Ngua island. Thien Cung and Dau Go are remnants of the same old cave system. They both survive in the northern part of Dau Go island at between 20 and 50m above sea level. Thien Cung has one large chamber more that 100m long, blocked at its ends and almost subdivided into smaller chambers by massive wall of stalactites and stalagmites. Dau Go is a single large tunnel descending along a major set of fractures to a massive choke.

 

The second group of caves is the old karstic foot caves which include Trinh Lu, Bo Nau, Tien Ong and Trong caves. Foot caves are a ubiquitous feature of karst landscapes which have reached a stage of widespread lateral undercutting at base level. They may extend back into maze caves of stream caves draining from larger cave systems within the limestone. They are distinguished by the main elements of their passages being close to the horizontal and are commonly related to denuded or accumulated terraces at the old base levels. Trinh Nu, which is one of the larger foot caves in Ha Long Bay with its ceiling at about 12m above sea level and about 80m in length, was developed in multiple stages. Bo Nau, a horizontal cave containing old stalactite deposits, cuts across the 25o dip of the bedding plane.

 

The third group is the marine notch caves that are a special feature of the karst of Hạ Long Bay. The dissolution process of sea water acting on the limestone and erosion by wave action crates notches at the base of the cliffs. In advantageous conditions, dissolution of the limestone allows the cliff notches to be steadily deepened and extended into caves. Many of these at sea level extend right though the limestone hills into drowned dolines which are now tidal lakes.

 

A distinguishing feature of marine notch caves is an absolutely smooth and horizontal ceiling cut through the limestone. Some marine notch caves had been not formed at present sea level, but old sea levels related to sea level changes in Holocene transgression, event to Pleistocene sea levels. Some of them passed preserved the development of old karstic foot cave in mainland environment or preserved the remnants of older phreatic caves. One of the most unusual features of Ha Long Bay is the Bo Ham lake group of hidden lakes and their connecting tunnel – notch caves in Dau Be island. From the island's perimeter cliff a cave, 10m wide at water level and curving so that it is almost completely dark, extends about 150m to Lake 1. Luon cave is on Bo Hon island and extends 50m though to an enclosed tidal lake. It has a massive stalactite hanging 2m down and truncated at the modern tidal level. It has passed through many stages in its formation.

 

The karst landscape of Hạ Long Bay is of international significance and of fundamental importance to the science of geomorphology. The fenglin tower karst, which is the type present in much of Ha Long Bay, is the most extreme form of limestone landscape development. If these karst landscapes are broadly compared in terms of their height, steepness and number of their limestone towers, Ha Long Bay is probably second in the entire world only to Yangshou, in China. However, Hạ Long Bay has also been invaded by the sea so that the geomorphology of its limestone islands are, at least in part, the consequence of marine erosion. The marine invasion distinguishes Ha Long Bay and makes it unique in the world. There are other areas of submerged karst towers which were invaded by the sea, but none is as extensive as Ha Long Bay.

 

TIMELINE OF GEOLOGIC EVOLUTION

Some of the most remarkable geological events in Hạ Long Bay's history have occurred in the last 1,000 years, include the advance of the sea, the raising of the bay area, strong erosion that has formed coral, and, pure blue and heavily salted water. This process of erosion by seawater has deeply engraved the stone, contributing to its fantastic beauty. Present-day Ha Long Bay is the result of this long process of geological evolution that has been influenced by so many factors.

 

Due to all these factors, tourists visiting Ha Long Bay are not only treated to one of the natural wonders of the world, but also to a precious geological museum that has been naturally preserved in the open air for the last 300 million years.

 

ECOLOGY

Hạ Long Bay is host to two ecosystems: a tropical, moist, evergreen rainforest ecosystem; and a marine and coastal ecosystem. The bay is home to seven endemic species: Livistona halongensis, Impatiens halongensis, Chirita halongensis, Chirita hiepii, Chirita modesta, Paraboea halongensis and Alpinia calcicola. Bioluminescent plankton can also be found.

 

The many islands that dot the bay are home to a great many other species, including (but likely not limited to): 477 magnoliales, 12 pteris, 20 salt marsh flora; and 4 amphibia, 10 reptilia, 40 aves, and 4 mammalia.

 

Common aquatic species found in the bay include: cuttlefish (mực); oyster (hào); cyclinae (ngán); prawns (penaeidea (tôm he), panulirus (tôm hùm), parapenaeopsis (tôm sắt), etc.); sipunculoideas (sá sùng); nerita (ốc đĩa); charonia tritonis (ốc tù và); and cà sáy.

 

ENVIRONMENTAL DAMAGE

With an increasing tourist trade, mangroves and seagrass beds have been cleared and jetties and wharves have been built for tourist boats.

 

Game fishing, often near coral reefs, is threatening many endangered species of fish.

 

Local government and businesses are aware of the problems and many measures have been taken to minimise the impact of tourism on the bay environment for sustainable economic growth like introducing eco-friendly tours and introducing tight waste control on resorts.

 

AWARDS AND DESIGNATIONS

In 1962, the Vietnam Ministry of Culture, Sport and Tourism designated Ha Long Bay a 'Renowned National Landscape Monument'.

 

Hạ Long Bay was first listed as a UNESCO World Heritage Site in 1994, in recognition of its outstanding, universal aesthetic value. In 2000 the World Heritage Committee additionally recognised Ha Long Bay for its outstanding geological and geomorphological value, and its World Heritage Listing was updated.

 

In October 2011, World Monuments Fund included the bay on the 2012 World Monuments Watch, citing tourism pressures and associated development as threats to the site that must be addressed. The goal of Watch-listing is to promote strategies of responsible heritage-driven development for a sustainable future.

 

In 2012, New 7 Wonders Foundation officially named Ha Long Bay as one of New Seven Natural Wonders of the world.

 

Ha Long Bay is also a member of the Club of the Most Beautiful Bays of the World.

 

WIKIPEDIA

It am the weekend again, but after a week off, so one belnds smoothly into the other.

 

And next week I have a four day trip to the Isle of Wight for work, which will do me good too.

 

Not much planned for the day, once shopping was done. And I do that as Jools is still coughing and so did not want to go round the supermarket coughing like that.

 

So, I d the week's shop, though not much needed as I will be away four days, so I am back with three bags of shopping, and we have the usual Saturday breakfast of fruit followed by bacon sandwiches.

 

Posting shots on other social media showed me many churches had to be revisited. Just about the last one to be thus revisited was Minster-in-Thanet, as the album had 55 shots from two previous visits, and I thought such a large and imposing church deserved more.

 

So, it was a quiet drive over to Sandwich, taking the bypass round Stonar, then turning off at the delightfully named Sevenscore for the drive along the back lanes into Minster, passing by the Abbey, outside of which was an actual nun, all dressed in cowl and long black gown.

 

A little further on is St Mary, and parking is easy just outside the churchyard, and although it looked locked, the west door under the tower was unlocked, and inside there were no others inside, so I had it to myself.

 

I had hoped I had missed whole or fragments of glass, but there was none to be seen, some nice arts and crafts ones of Queen Bertha, which I record. I think I snap everything, so after half an hour we are done.

 

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Minster Abbey on the Isle of Thanet was founded in AD 669 by Domneva, niece of King Erconbert of Kent. The enormous parish church, built some distance to the south-west of the abbey, dates from two distinct periods. The nave is Norman, a magnificent piece of twelfth-century arcading with tall cylindrical pillars. The chancel and transepts are thirteenth century, with a three-light east window, each one double shafted inside. This end of the church has a simple stone vaulted ceiling which adds greatly to the grandeur. The glass is by Thomas Willement and dates from 1861. Ewan Christian restored the church in 1863 and added vaulted ceilings to the transepts. They had been intended by the medieval designers, but were never built. There is a set of eighteen fifteenth-century stalls with misericords and an excellent sixteenth-century font and cover.

 

kentchurches.info/church.asp?p=Minster+in+Thanet

 

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MINSTER.

THE next parish to Monkton eastward is Minster, antiently written both Mynstre, and Menstre, being so named from the Saxon word Minstre, signifying a church or monastery. It is divided into two boroughs, viz. Way Borough and Street Borough; the former of which lies on the ascent on the northern side of the street; the latter contains the street and church, with the southern part of the parish.

 

THIS PARISH is about three miles and an half from east to west, and near as much from north to south. The farms in it are perhaps as large as in any other parish in this county; the occupiers of which are, in general, men of considerable ability. The west part of this parish is bounded by a lynch or balk, which goes quite across the island to Westgate, called St. Mildred's Lynch, an account of which has already been given before, and which is the bounds of this manor from that of Monkton, as well as of the parish. This lynch has formerly been much broader than it is now, many of the farmers, who occupy lands bounding on or near it, having through a coveteous humour, not only dug up the mould or top of it, to lay on their land, but in some places have ploughed upon it. Too many instances of this kind are practised in other places, not only of this island, but of the county in general, so that there is scarce a remembrance left where those balks or lynches have been; such has the greedy avarice of the occupiers been, and this is one instance of the ill consequence of the neglect of the courts leet and baron. The village of Minster lies nearly in the centre of it, on low ground at the foot of the high lands, having the church on the south side of it; northward of the village it rises to high land, being a fine open champion country of uninclosed corn land, on which are situated Minster mill, Allan Grange, and Powcies, the latter at the extremity of the parish, close to which was, till lately, a small grove of oaks, the only one in this island. Lower down, about a mile southward, is Thorne manor, and beyond that Sevenscore farm. At the south-eastern extremity of the parish, and partly in St. Laurence, is Cliffsend, or Clyvesend, so called from its being at the end of the cliff, which extends from Ramsgate; it was antieutly a part of the estate of St. Augustine's monastery, and is called by Thorne in his Chronicle, the manor of Clyvesend. Here are now two considerable farms besides cottages.

 

About a mile and an half south-east from Minster church, is Ebbsfleet, formerly called by the various names of Hipwines, Ippeds, and Wipped's fleet; this seems to have been a usual place of landing from the ocean in this island; here it is said Hengist and Horsa, the two Saxon generals, first landed with their forces, about the year 449. Here St. Augustine, often called the Apostle of the English, first landed, in the year 596; and here too St. Mildred, of whom mention has been made likewise before, first landed from France, where she had been for instruction in the monastic life; and not many years ago there was a small rock at this place, called St. Mildred's rock, where, on a great stone, her footstep was said, by the monkish writers, to have remained impressed. (fn. 1) Below the church of Minster, southward, is the large level of marshes, called Minster level, at the southern extremity of which runs the river Stour, formerly the Wantsume, which, as has already been noticed before, was antiently of a much greater depth and width than it is at present, flowing up over the whole space of this level, most probably almost to the church-yard fence, being near a mile and an half distance; but the inning of the salts by the landholders, which had been in some measure deserted by the waters of the Wantsume at different places, so far lessened the force of the tide, and of the river waters mixing with it, that it occasioned the sands to increase greatly near this place, where it was at length entirely choaked up, so that a wall of earth was made by the abbot of St. Augustine, since called the Abbot's wall, to prevent the sea at high water overslowing the lands, which now comprehend this great level of marshes, at present under the direction and management of the commissioners of sewers for the district of East Kent. A part of these marsh lands have been much improved by means of shortening the course of the river Stour to the sea, by the cut at Stonar, which lets off the superfluous water in wet seasons with greater expedition, and a very valuable tract of near two hundred acres has been lately inclosed by a strong wall from the sea near Ebbs-fleet. Between the above-mentioned wall and the river Stour lie a great many acres of land, which the inhabitants call the salts, from their being left without the wall, and subject to the overflowing of the tide, so long as it continued to flow all around this island. Over against the church is a little creek, which seems to have been the place antiently called Mynstrefleet, into which the ships or vessels came, which were bound for this place. As a proof of this, there was found some years ago in a dyke bounding on this place, in digging it somewhat deeper than usual, some fresh coals, which very probably had fallen aside some lighter or boat in taking them out of it. (fn. 2)

 

I ought not to omit mentioning, that on the downs on the north part of this parish, where the old and present windmills were placed, is a prospect, which perhaps is hardly exceeded in this part of the kingdom. From this place may be seen, not only this island and the several churches in it, one only excepted; but there is a view at a distance, of the two spires of Reculver, the island of Sheppy, the Nore, or mouth of the river Thames, the coast of Essex, the Swale, and the British channel; the cliffs of Calais, and the kingdom of France; the Downs, and the town of Deal, the bay and town of Sandwich, the fine champion country of East Kent, the spires of Woodnesborough and Ash, the ruins of Richborough castle, the beautiful green levels of Minister, Ash, &c. with the river Stour winding between them; the fine and stately tower of the cathedral of Canterbury, and a compass of hills of more than one hundred miles in extent, which terminate the sight.

 

In the marshes on the south of this parish, there was found in 1723, an antique gold ring; on the place of the seal, which seemed to represent an open book, was engraved on one side an angel, seemingly kneeling, and on the other side a woman standing with a glory round her head; on the woman's side was engraved in old English characters, bone; on that of the angel, letters of the same character, but illegible. A fair is kept in this village on a Good Friday for pedlary and toys.

 

By the return made to the council's letter, by archbishop Parker's order, in the year 1563, there were then computed to be in this parish fifty-three housholds. By an exact account taken of Minster in 1774, there were found to be in this parish one hundred and forty-nine houses, and six hundred and ninety-six inhabitants; of the houses, sixteen were farm-houses, and one hundred and thirty three were inhabited by tradesmen, labourers, and widows.

 

THE MANOR and ABBEY OF MINSTER was antiently called Thaket manor, and continued so till, from the foundation of the abbey or minster within it, it acquired the name of the manor of Minster, though in the survey of Domesday, taken in the year 1080, it is still called Tanet manor, Kar exoxnv; but I have met with it no where else so late by that name.

 

This manor was in the year 670 in the possession of Egbert, king of Kent, whose two nephews Ethelred and Ethelbright, sons of his father's elder brother Ermenfride, deceased, (who left likewise two daughters, Ermenburga, called also Domneva, married to Merwald, son of Penda, king of Mercia, and Ermengitha, were left to his care, under promise of their succeeding to the kingdom. These princes were kept under the inspection of one Thunnor, a flattering courtier, who persuaded the king to have them murdered, left they should disturb him in the possession of the throne; which Thunnor undertook and perpetrated. To expiate this crime, the king, by the advice of archbishop Theodore, and Adrian, abbot of St. Augustine's, sent to Domneva, who had taken the vow of chastity on her, to offer her any satisfaction for this crime, when, as an atonement, she requested of the king, according to the custom of those times, to grant her a place in Tenet, where she might build a monastery to their memory, with a sufficient maintenance, in which she, with her nuns, might continually pray for the king's forgiveness, who immediately by his charter, which concludes with a singular curse on the infringers of it, (fn. 3) granted her for the endowment of it full one half of this island, being the eastern part of it, comprehended within the bounds of this manor, and since separated from the western part of the island and manor of Monkton, by a broad bank or lynch, made quite across the island, since called St. Mildred's Lynch, and remaining at this day.

 

The story of this grant, as told by Thorn, a native of this parish, and a monk of St. Augustine's monastery, in his chronicle of that abbey, is, that Egbert granting Domneva's petition, demanded of her how much land she desired; who replied, as much as her deer could run over at one course; this being granted, the deer was let loose at Westgate, in Birchington, in the presence of the king, his nobles, and a great concourse of people. Among them was Thunnor, the petrator of the murder, who, ridiculing the king for the lavishness of his gift and the method of its decision, endeavoured by every means to obstruct the deer's course, both by riding across and meeting it; but Heaven, continues the chronicler, being offended at his impiety, whilst he was in the midst of his career, the earth opened and swallowed him up, leaving the name of Tunnor's-leap, or Thunor's hyslepe, to the ground and place where he fell, to perpetuate the memory of his punishment, though it was afterwards called Heghigdale. Meanwhile the deer having made a small circle eastward, directed its course almost in a strait line south-westward across the island from one side to the other, running over in length and breadth forty-eight plough-lands; and the king, immediately afterwards delivered up to Domneva the whole tract of land which the deer had run over.

 

This tract or course of the deer, which included above ten thousand acres of some of the best lands in Kent, is said to have been marked out by the broad bank, or lynch, across the island, since called St. Mildred's Lynch, thrown up in remembrance of it; (fn. 4) but notwithstanding this well-invented story of Thorn, it is more probable that this lynch was made to divide the two capital manors of Minster and Monkton, before this gift to Domneva.

 

Puteus Thunor, (or Thunor's leap) says the annalist of St. Augustine's monastery, apparet prope Cursum Cervi juxta Aldelond; and the place where the king stood to see this course is represented to be by it, where formerly was a beacon, it being some of the highest land hereabouts, where the king might see the course. This Puteus Thunor, or Thunorslep, is very plainly the old chalk pit, called Minster chalk-pit, which its not unlikely was first sunk when the abbey and church here were built, and the bottom of it in process of time, being overgrown with grass, gave occasion for the invention of this sable of Thunor's being swallowed up by the earth at this place. The name of Thunorslep has been long since obliterated, and even the more modern one of Heghigdate has been long forgotten. Weever says, he lieth buried under an heap of stones, which to that day was called Thunniclam.

 

Domneva being thus furnished with wealth and all things necessary, founded, in honor of the B.V. Mary, a monastery, or cloyster of nuns, afterwards called ST. MILDRED'S ABBEY, on part of this land, on the south side of the island near the water, in the same placewhere the present parochial church stands. Archbishop Theodore, at the instance of Domneva, consecrated the church of it, and she afterwards appointed the number of nuns to be seventy, and was appointed by the archbishop, the first abbess of it; she died here and was buried on the glebe of the new monastery. Ermengitha, her sister, was after her death sainted, and lived with Domneva, in the abbey here, where she died, and was buried in a place about a mile eastward of it, where the inhabitants have found numbers of bones, and where it is probable, she built some chapel or oratory. In a field or marsh called the twenty acres, a little more than a quarter of a mile eastward of the church of Minster, are several foundations, as if some chapel or oratory had been built there. (fn. 5)

 

Domneva was succeeded as abbess by her daughter Mildred, who was afterwards sainted. She is said to have been buried in this church. On her death Edburga succeeded in the government of this monastery, who finding it insufficient for so great a number of nuns, built another just by, larger and more stately, which was consecrated by archbishop Cuthbert, and dedicated to St. Peter and St. Paul; and to this church she, about the year 750, removed the body of St. Mildred, at whose tomb many miracles were said to be wrought afterwards. Edburga was buried at Minster in her own new church, and was afterwards sainted. She was succeeded as abbess of this monastery by Sigeburga. In her time was the first depredation of the Danes in Thanet; who sell upon the people, laid every thing waste, and pludered the religious in this monastery; from this time they continued their ravages throughout this island almost every year; hence by degrees, this monastery fell to decay, and the nuns decreased in number, being vexed with grief and worn down with poverty, by the continual insults of these merciless pirates, who landed in this island in 978, and entirely destroyed by fire this monastery of St. Mildred, in which the clergy and many of the people were shut up, having fled thither for sanctuary; but they were, together with the nuns, all burnt to death, excepting Leofrune the abbess, who is said to have been carried away prisoner.

 

The Danes, however, spared the two chapels of St. Mary, and of St. Peter and St. Paul, in one of which divine service was afterwards performed, for the inhabitants of this parish and the adjoining neighbourhood. The antient scite of the monastery, together with this manor, and all the rest of the possessions of it remained in the king's hands, and they continued so till king Cnute, in the year 1027, gave the body of St. Mildred, together with the antient scite of the monastery, this manor and all its land within this island and without, and all customs belonging to this church, to the abbot and convent of St. Augustine, which gift was confirmed by king Edward the Confessor. (fn. 6)

 

The abbot and convent of St. Augustine becoming thus possessed of this manor, fitted up the remains of the abbey to serve as the court-lodge of it; accordingly it has ever since borne the name of Minstercourt. In the survey of Domesday, taken in the 15th year of the Conqueror's reign, anno 1080, this manor is thus described, under the general title of Terra æcclæ Sci Augustini, the land of the church of St. Augustine.

 

In Tanet hundred. St. Mildred's.

 

The abbot himself holds Tanet manor, which was taxed at forty-eight sulings. The arable land is sixty-two carucates. In demesne there are two, and one hundred and fifty villeins, with fifty borderers having sixty-three carucates. There is a church and one priest, who gives twenty shillings per annum. There is one salt-pit and two fisheries of three pence, and one mill.

 

In the time of king Edward the Confessor it was worth four times twenty pounds, when the abbot received it forty pounds, now one hundred pounds.

 

Of this manor three knights hold so much of the land of the villeins as is worth nine pounds, when there is peace in the land, and there they have three carucates.

 

After which king Henry I. granted to the monastery of St. Augustine, about the 4th of his reign, a market, to be yearly held within this their manor of Minster, with all customs, forseitures, and pleas; which was confirmed among other liberties by Edward III. in his 36th year, by inspeximus.

 

King Henry III. in his 54th year, anno 1270, granted to the abbot and convent of St. Augustine, free-warren in all their demesne lands of Minster. (fn. 7) King Edward II. in his 6th year, confirmed to the abbot free-warren in this manor among others, and next year anno 1313, in the iter of H. de Stanton and his sociates, justices itinerant, the abbot, upon a quo warranto, claimed and was allowed sundry liberties therein mentioned, in this manor, among others, and likewise free-warren in all his demesne lands of it, view of frank pledge, and wreck of the sea; one market weekly on a Friday, and one fair yearly on the eve and day of St. Mildred the Virgin, and other liberties therein mentioned; as having been granted and confirmed by divers of the king's predecessors, and allowed in the last iter of J. de Berewick and his sociates, justices itinerant; and that king Edward II. by his charter in his 6th year had sully confirmed all of them, and by the register of this monastery, of about this time, it appears that this manor had within its court the same liberties as those of Chistlet and Sturry. King Edward III. in his 5th year, exempted the abbot's homagers and tenants of this, among other of their manors, from their attendance at the sheriff's tourne, and afterwards by his charter of inspeximus in his 36th year, confirmed to this abbey all the manors and possessions given to it by former kings; and by another charter, the several grants of liberties and confirmations made by his predecessors, among which were those abovementioned; and king Henry VI. afterwards confirmed the same.

 

Next year the abbot and his servants taking distresses on their tenants of this manor, the tenants, to the number of six hundred, met and continued together for the space of five weeks, having got with them a greater number of people, who coming armed with bows and arrows, swords and staves, to the court of this manor and that of Salmanstone, belonging likewise to the abbot, laid siege to them, and after several attacks set fire to the gates of them. For fear of these violences, the monks and their servants at Salmanstone kept themselves confined there for fifteen days, so that the people enraged at not being able to encompass their ends in setting fire to the houses, destroyed the abbot's ploughs and husbandry utensils, which were in the fields; and cut down and carried away the trees on both these manors.

 

At the same time they entered into a confederacy and raised money here by tallages and assessments, by means of which they drew to them no small number of others of the cinque ports, who had nothing to lose, so that the abbot dared not sue for justice in the king's courts; but a method it seems was found to punish these rioters, or at least the principal of them, who were fined to the abbot for these damages six hundred pounds, a vast sum in those days, and were imprisoned at Canterbury till the fine was paid. The uneasiness of the tenants under such respective suits and services, seems to have occasioned the abbot and convent to have compounded with them, which they did in the year 1441, anno 20 Henry VI. By this composition the abbot and convent agreed, that the tenants should not in future be distrained for the rents and services they used to pay; but instead of them should pay compositions for every acre of the land called Cornegavel and Pennygavel, (fn. 8) which composition for the Cornegavel and Pennygavel land, continues in force at this time, being sixpence an acre now paid for the Cornegavel land.

 

In the time of king Richard II. this manor, with its rents and other appurtenances, was valued among the temporalities of the abbot and convent, at 232l. 4s. 3d. per annum; and the quantity of land belonging to it was by admeasurement 2149 acres and one rood.

 

In which state this manor continued till the final dissolution of the abbey of St. Augustine, which happened in the 30th year of Henry VIII. when it was surrendered, together with the rest of the possessions of the monastery, into the king's hands; at which time the manor and rents were of the value of 276l. yearly. (fn. 9) After which, the see of this manor, with the antient court-lodge of it, formerly the monastery, and then called Minster-court, with all the lands and appurtenances belonging to it, continued in the crown, till king James I. in his 9th year, by his letters patent, granted to Sir Philip Cary, William Pitt, esq. afterwards knighted; and John Williams, citizen and goldsmith of London, this lordship and manor of Menstre, with its rights, members, and appurtenances, late parcel of St. Augustine's monastery, except and reserved to the king's use, all advowsons and patronages of churches, chapels, &c. belonging to this manor; and he granted likewise all the rents of assize called Cornegavel land, in the parish of St. John, parcel of this manor; and the rents of assize of free tenement called Pennygavel land, in the parishes of St. Peter and St. Laurence, (fn. 10) to hold the manor, with its right, members and appurtenances, of the king, as of his manor of East Greenwich, by sealty only, in free and common socage, and not in capite, nor by knight's service; and to hold the rents of assize of the king in capite, by the service of one knight's fee; which grant and letters patent were conconfirmed by an act specially passed for the purpose, that year.

 

Some years after which, the heirs of the beforementioned Sir Philip Carey and John Williams, then Sir John Williams, bart. of Carmarthenshire, divided this estate; in which division, the manor itself with the court-lodge, part of the demesne lands, royalties, and appurtenances, was allotted to Sir John Williams, bart. (who died in 1668, and was buried in the Temple church, London); whose descendant of the same name, bart. of Carmarthenshire, dying without male issue, his daughter and sole heir, then the widow of the earl of Shelburne, carried it in marriage, at the latter end of king Charles II.'s reign, to Col. Henry Conyngham, afterwards a major-general in king William's reign, who died possessed of it in 1705. He left two sons, William and Henry, and a daughter Mary, married to Francis Burton, esq. of Clare, in Ireland. William, the eldest son of the general, succeeded him in this manor and estate in Minster, but died without surviving issue, upon which this estate descended to Henry Conyngham, esq. his younger brother, second son of the general, who was in 1753, anno 27 George II. created baron Conyngham, of Mount Charles, in Donegall, in Ireland; and afterwards by further letters patent, in 1756, viscount Conyngham, of the same kingdom; and again in 1780, earl Conyngham, and likewise baron Conyngham, of the same kingdom, with remainder of the latter title to his sister's sons. He married Ellen, only daughter of Solomon Merret, esq. of London, by whom he had no issue. He died s.p. in 1781, and was succeeded in his title of baron Conyngham by his nephew Francis Pierpoint Burton Conyngham, eldest son of his sister Mary, by her husband Francis Burton, esq. above-mentioned, which Francis, lord Conyngham, died in 1787, leaving by his wife Elizabeth, eldest daughter of Nathaniel Clements, esq. and sister of Robert, lord Leitrim, (who survived him) two sons, Henry, who succeeded him in title, and Nathaniel, and three daughters, Catherine married to the Rev. John Shirley Fermor, of Sevenoke; Ellen, to Stewart Weldon, esq. and Henrietta.

 

Henry, so succeeding his father as lord Conyngham, was created in December 1789, viscount Conyngham and baron Conyngham, of Mount Charles, in Donegall, to whom the inheritance of this manor and estate now belongs; but the possession of it for life is vested in the right hon. Ellen, countess dowager Conyngham; widow of Henry, earl Conyngham, above-mentioned. The arms of lord viscount Conyngham are, Argent, a shake-sork, between three mullets, sable. Supporters. The dexter—An horse charged on the breast with an eagle, displayed, or, maned and hoofed of the last. The sinister—A buck proper, charged on the breast with a griffin's head, erased, or, attired and unguled of the last. Crest—Anunicorn's head erased, argent, armed and maned, or. Motto—Over fork over.

 

A court leet and court baron is held for this manor, by the stile of the courtleet, and view of frank pledge, for the manor of Minster, in the hundred of Ringslow, alias Tenet, and the court baron for the said manor.

 

The court-lodge, formerly a part of the nunnery, was, after the dissolution of it, made use of as a farmhouse, in which some of the monks of St. Augustine resided, to manage the estate of it, which they kept in their own hands. On the north side of it, which seems to have been the front or entrance, is a handsome stone portal, on the top of which, in the middle, within a circle, are the arms of the abbey of St. Augustine, viz. Sable, a cross, argent. At a small distance from it stood antiently a very large barn, sufficient to hold the corn growing on all the demesnes, being in length 352 feet, and in breadth 47 feet, and the height of the walls 12 feet, with a roof of chesnut. When the estate was divided, 154 feet in length of this building was carried to Sevenscore farm, where it was burnt, by an accident unknown in 1700, and the remaining part here was burnt by lightning afterwards. On the south side of the house stood a chapel, said to have been built by St. Eadburga, the third abbess here. In it the body of St. Mildred is said to have been placed by her, or rather translated from the other monastery. Some of the walls and foundations of this chapel were remaining within the memory of some not long since deceased, but it is now so entirely demolished, that there is nothing to be seen of it, excepting a small part of the tower, and of the stairs leading up into it. Just by these ruins of the tower is a small piece of ground, in which lately in digging for mould, several human bones were dug up. There is a view of the remains of this nunnery in Lewis's Thanet.

 

THE OTHER PART of this estate, the scite of which lies about a mile eastward from Minster-court, since known by the name of SEVENSCORE, on which is built a substantial farm-house, with large barns and other necessary buildings, was allotted to —Carey, in whose successors viscounts Falkland, this estate continued down to Lucius Ferdinand, viscount Falkland, who not many years since alienated it to Josiah Wordsworth, esq. of London, whose son of the same name died possessed of it about the year 1784, leaving two sisters his coheirs, one of whom married Sir Charles Kent, bart. and the other, Anne, married Henry Verelst, esq. who afterwards, in right of their respective wives, became possessed of this estate in undivided moieties; in which state it still continues, Sir Charles Kent being at this time entitled to one moiety, and Mrs. Verelst, the widow of Henry Verelst, esq. above-mentioned, who died in 1785, and lies buried in this church, being entitled to the other moiety of it.

 

WASCHESTER is an estate lying at a small distance westward from Minster church, part of which was formerly parcel of the demesnes of the manor of Minster, and was included in king James's grant to Sir Philip Carey, William Pitt, esq. and John Williams, goldsmith, as has been mentioned before in the account of that manor; they in the year 1620, joined in the sale of them to Jeffry Sandwell, gent. of Monkton, who purchased other lands of different persons in this parish, Monkton and Birchington, the whole of which he sold in 1658, to John Peters, M. D. Philip le Keuse, and Samuel Vincent, which two latter alienated their shares soon afterwards to Dr. Peters; at which time all these lands together, not only comprehended Waschester farm, but likewise part, if not the whole of another called Acol. From Dr. Peters this estate descended to Peter Peters, M. D. of Canterbury, who died in 1697, upon which the inheritance of it descended to his sole daughter and heir Elizabeth, who in 1722 carried it in marriage to Thomas Barrett, esq. of Lee, whose second wife she was; he died possessed of it in 1757, upon which it descended to their only daughter and heir Elizabeth, who entitled her husband, the Rev. William Dejovas Byrche, to the fee of it. He died in 1792, leaving an only daughter Elizabeth, married to Samuel Egerton Brydges, esq. of the Middle Temple, barrister-atlaw, but now of Denton-court, who in her right possessed it, and afterwards sold it to Mr. Ambrose Maud, who now owns it.

 

SHERIFFS COURT is an estate lying somewhat less than a mile westward from Waschester, in the hamlet of Hoo in this parish; it was formerly called Sheriffs Hope, from the hope, or place of anchorage for ships, which sailed in the river Wantsume, which once ran close by this place. It is said by some to have taken its name from its having been part of the possessions of Reginald de Cornhill, who was so long sheriff of this county that he lost his own name and took that of Le Sheriff, from whence this place gained the name of Sheriffs hope, or court. He was sheriff from the 4th to the 9th years of king Richard I. in the last year of that reign and during the whole reign of king John. His arms are on the stone roof of the cloysters at Canterbury, being Two lions passant, debruised of a bendlet, impaling three piles. After this name was extinct here, the family of Corbie became possessed of this estate; one of whom, Robert de Corbie, died possessed of it in the 39th year of king Edward III. whose son Robert Corbie, esq. of Boughton Malherb, leaving a sole daughter and heir Joane, she carried it in marriage to Sir Nicholas Wotton, who, anno 3 Henry V. was lord mayor of London. His descendant Sir Edward Wotton procured his lands in this county to be disgavelled by the acts both of 31 Henry VIII. and 2 and 3 Edward VI. and from him this manor descended to Thomas, lord Wotton, who dying anno 6 Charles I. without male issue, his four daughters became his coheirs, of whom Catherine the eldest carried this estate in marriage to Henry, lord Stanhope, son and heir of Philip, earl of Chesterfield, whose widow Catherine, lady Stanhope, sold it to Henry Paramor. He was the tenant and occupier of Sheriff's court, being the eldest son of John Paramor, of Preston, the grandson of Thomas Paramor, of Paramor-street, in Ash, near Sandwich. They bore for their arms, Azure, a fess embattled, counter embairled, between three etoils of six points, or. (fn. 11) . He left it to his brother Thomas Paramor, whose grandson of the same name died possessed of it in 1652, and was buried with his ancestors in this church; from his heirs this estate was alienated to Thatcher, in which name it continued, till at length it was sold by one of them, to Mr. Robert Wilkins, gent. of St. Margaret's, Rochester, who possessed it for many years. He died without issue, and it has since become the property of Mrs. Terry, the present owner of it.

 

TO THIS MANOR is appurtenant the small MANOR OF PEGWELL, or COURT STAIRS, in the parish of St. Laurence.

 

ALDELOND GRANGE, usually called Allen Grange, situated about a mile northwardfrom Minster church, on the open high land, was so called in opposition to Newland Grange, in St. Laurence parish. It was antiently part of the possessions of the abbey of St. Augustine, and was in the year 1197, assigned by Roger, the abbot of it, to the sacristy of the abbey, for the purpose of upholding and maintaining the abbey church, as well in the fabric as ornaments, but on the condition that the sacrist for the time being, should perform all such services to the court of Minster as were due, and had been accustomed to be done for the land of it. (fn. 12)

 

The measurement of this land, according to Thorne, amounted to sixty-two acres; and to this Grange belong all the tithes of corn and grain, within the limits of the borough of Wayborough, excepting those which are received by the vicar. On the dissolution of the abbey of St. Augustine, in the 30th year of Henry VIII. this estate, then amounting to six score acres, came, with the rest of the possessions of the monastery, into the king's hands, where it did not continue long, for he settled it in his 33d year, by his dotation charter, on his new founded dean and chapter of Canterbury, with whom the inheritance of it continues at this time.

 

It has been demised by the dean and chapter, on a beneficial lease, the rack rent of it being 413l. per annum, for twenty one years, to Mr. Edward Pett, of Cleve-court, the present lessee of it. Messrs. Jessard and Paramor are the under lessees and occupiers of it.

 

POWCIES, which stands about half a mile northeastward from Allan grange, was formerly a gentleman's mansion, a large handsome building standing on much more ground than it does at present, with a gate house at the entrance into the court before it; all which being pulled down, a modern farm-house of brick has been built on the antient scite of it.

 

This seat was once in the possession of the family of Goshall, of Goshall, in Ash, where Sir John Goshall resided in king Edward III.'s reign, and in his descendants it continued till about the reign of king Henry IV. when it was carried in marriage by a female heir to one of the family of St. Nicholas, owners likewise of the adjoining manor of Thorne, in whom it continued down to Roger St. Nicholas, who died in 1484, leaving a sole daughter and heir Elizabeth, who entitled her husband John Dynley, of Charlton, in Worcestershire, to the possession of it. By her he had two sons, Henry and Edward, the eldest of whom succeeded to this estate, which he afterwards alienated, about the middle of queen Elizabeth's reign, to John Roper, esq. of Linsted, afterwards knighted, and anno 14 James I. created baron of Teynham; whose great grandson Christopher, lord Teynham, in king Charles I.'s reign, conveyed it to Sir Edward Monins, bart. of Waldershare, who died possessed of it in 1663, leaving Elizabeth his widow surviving, who held it in jointure at her death in 1703; upon which it devolved to the heirs and trustees of Susan, his eldest daughter and coheir, late wife of Peregrine Bertie, deceased, second son of Montague, earl of Lindsey; and they, in the reign of king William and queen Mary, joined in the sale of it to Sir Henry Furnese, bart. of Waldershare, who died possessed of it in 1712, as did his son Sir Robert in 1733. After which it became, with his other estates, vested in his three daughters and coheirs, and on a partition of them, anno 9 George II. this estate of Powcies was wholly allotted, among others, to Anne the eldest sister, wife of John, viscount St. John, which partition was confirmed by an act passed next year; after which it descended down to their grandson George, viscount Bolingbroke, who in 1790 alienated it to Mr. Henry and John Harnett, the present possessors of it.

 

THORNE, or as it is vulgarly called, Thourne, is a manor in this parish, situated about a mile southward from Powcies above mentioned, being so named from the quantity of thorny bushes growing on and about it. This manor was antiently the seat of a family which took their name from it, one of them, Henry de Thorne, was owner of it in the year 1300, anno 29 Edward I. and resided here; against whom it seems complaint was made to the abbot of St. Augustine, that he caused mass to be publicly said in his private oratory, or chapel, (the remains of which are still so entire as to be made use of as a granary, &c.) at this his manor of Thorne, (apud spinam) to the prejudice of the mother church, and the ill example of others; and he accordingly was inhibited from so doing in future, by the archbishop's letters to the vicar of Minster, dated that year. And under the cross in this church, in the north wall of it, is an antient tomb or coffin of solid stone, let into the wall under an arch of antient Saxon ornaments. On the stone which covers the tomb is a cross flory, on each side of which are two blank shields, and round the edge of the stone these words in old French letters: Ici gift Edile de Thorne, que fust Dna del Espine. This seems probable to have been one of the family, owners of this manor.

 

After this family of Thorne were become extinct here, that of Goshall, of Goshall, in Ash, appear to have been possessors of this manor; in whom it continued till about the reign of king Henry IV. when it went by marriage by a female heir to one of the family of St. Nicholas, in whose descendants it continued down to Roger St. Nicholas, who died in 1474, and as appears by his will, was buried before the image of St. Nicholas, in the chancel of Thorne, at Minster. Roger St. Nicholas, his son and heir, left an only daughter Elizabeth, who entitled her husband John Dynley, esq. of Charlton, in Worcestershire, to the possession of it. After which it continued down in the same owners as Powcies last above-described, till it came into the possession of George, viscount Bolingbroke, who in 1790 alienated it to Mr. Henry Wooton, the present owner of it.

 

See a custom for the demise of tenements by will within the borough of Menstre, secundum consuetudinem manerii, anno 55 Henry III. Itin. Kanc. rot. 18, in Robinson's Gavelkind, p. 236.

 

Charities.

THE OCCUPIER of Salmeston Grange, in St. John's parish, is bound by his lease to distribute to six poor inhabitants of the parish of Minster, to be nominated by the minister and churchwardens, in the first week, and on the middle Monday of Lent, to each of them, nine loaves and eighteen herrings; and to three poor people of the same, to each of them, two yards of blanket; and every Monday and Friday in each week, from the Invention of the Holy Cross to the feast of the Nativity of St. John the Baptist, to every poor person coming to Salmeston Grange, one dishfull of peas dressed.

 

THOMAS APPLETON, of Eastry, yeoman, by his will in 1593, gave to the relief of the poor of this parish, the sum of 5l. to be paid to the churchwardens yearly, for the use of the poor people, inhabitants there, fourteen days before Christmas day, the same to be paid out of certain lands belonging to him, called Hardiles, in the parish of Woodnesborough.

 

RICHARD CLERK, D. D. vicar of Minster, partly by deed in 1625, and partly by will on Nov 6, 1634, gave 120l. to be lent unto four parishioners, born in Minster, whose fathers were deceased, and they not sufficiently stocked, for the term of one, two, or three years, but not exceeding that; the interest arising from it to be divided among the poor of the parish. With this money the trustees purchased houses, which are at present divided into four tenements, besides the parish work-house, called the seoffees houses; and seven other tenements, called Cheap Row, the rent of which is annually distributed in clothing to the poor persons of the parish. They are all at present let to the churchwardens and overseers for the time being, by a lease of 99 years, from 1729, at the rent of 6l. This trust is now vested in Mr. William Fuller, of Doctors Commons, as heir of the last trustee; the trust not having been filled up since the year 1696.

 

JOHN CAREY, esq of Stanwell, in Middlesex, by will in 1685, gave 10l. per annum to be paid yearly to the churchwardens, out of his farm of Sevenscore; to be disposed of to the poor yearly, on St. Thomas's day.

 

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

 

The church, which is dedicated to St. Mary, is a very handsome structure, consisting of a nave and two side isles, a cross sept, and east chancel; the nave is of Saxon, the transept and chancel of gothic architecture; the last is curiously vaulted with stone, and provision was made for the same in the transept, but it was never completed. In it are eighteen collegiate stalis, in good preservation. At the west end of the church is a tall spire steeple, in which is a clock and five bells.

 

When the Danes plundered and burnt the abbey of Minster, they seem to have spared the two chapels of St. Mary, and of St. Peter and St. Paul, or however the stone work of them was preserved, and not burnt with the roof and other works of timber. The former of these was afterwards made into the present parish church, and has since been considerably enlarged.—The nave or body of the church seems to have been the old building; the pillars of which are thick and short, and the arches all circular, and a low roof was probably upon them, according to the simplicity and plainness of those times; but since the wall has been built higher, as appears by the distance there is, betwixt the top of the arches and the wall plate across; and an handsome chancel added at the east end, and a square tower on the west, with a high spire covered with lead placed on it. The chancel or choir and the middle of the cross are vaulted, and by the footings which are left, it was certainly intended that the whole cross should have been finished in the same manner. The eighteen stalls mentioned before, have very handsome wainscot behind, according to the mode of those times; in these the monks, vicars, and priests used to sit during the performance of divine service. Besides the high altar in this church, there were before the reformation other altars in it, dedicated to the Holy Trinity, St. James, and St. Anne. At these, as likewise before the Holy Cross, were lights constantly burning; for the maintenance of which, there were societies or fellowships, who contributed towards the maintenance of them, and those who died left in their last wills constantly small sums of money for that purpose. Under the middle of the cross was the rood-lost, the going up to which out of the chancel is yet to be seen, as are the mortice holes in which the timbers were put, on which the lost was built. On the north wall of it is the antient tomb of Edile de Thorne. On the pavement, as well as in the church porch, are several large flat gravestones, the inscriptions, if any on them, entirely worn away; they seem very antient, and are not improbably, memorials of some of the religious of this place, but they do not seem always to have lain where they do now. On the front of the tower of the steeple is a shield, carved in the stone work, viz. A fess, between three lion's passant. Among other memorials in this church, in the chancel, is one for Francis, son and heir to Edward Saunders, gent. of Norbourne-court, which Edward married the female heir of Francis Pendrick, esq. by his wife, who was nurse to queen Elizabeth. He died anno 1643; arms, A chevron, between three elephants heads, impaling a saltier, ermine, between three leopards faces. In the middle isle a monument for Bartholomew Sanders, gent. and Mary his wife, daughter of Henry Oxenden, esq. of Wingham; arms, Per chevron, sable and argent, three elephants heads, counterchanged, impaling Oxenden. On a mural monument are the effigies of a man and woman. kneeling at a desk, for Thomas Paramor, esq. sometime mayor of Canterbury, and Anne his first wife; arms, Azure, a fess embattled, between three stars of six points, or, impaling or, on a chevron, three stars of six points, sable, between as many dragons heads, quartered. In the north isle are several memorials for the Paramors. On a wooden frame, near the altar, a memorial for Col. James Pettit, obt. 1730. On the south side of the chancel, a mural monument for Mary, youngest daughter of Robert Knowler, gent. of Herne, wife of John Lewis, vicar of this church, obt. 1719. A memorial for John Lewis, formerly vicar of this church, obt. 1746, æt. 72. A memorial for Elizabeth Blome, daughter and coheir of John Blome, gent. of Sevenoke, obt. 1731; arms, in a lozenge, A cross fitchee, and cinquefoil, quartered with a greybound, current. A mural monument for Harry Verelst, esq. of Aston, in Yorkshire, formerly governor of Bengal, obt. 1785; he married Anne, coheir of Josiah Wordsworth, esq. of Wadworth, in Yorkshire, and of Sevenscore, in this parish, and left by her four sons and five daughters. In the south isle memorials for the Harnetts, Kennetts, and Colemans. In the middle isle are memorials for several of the Jenking's. Leland, in his Itinerary, vol. vii. p. 130 says, S. Florentius jacet in Cemiterio S. Mariæ in Thanet, cujus Tumba Crescit signis. (fn. 13)

 

On the top of the spire was formerly a globe, and upon that a great wooden cross, covered with lead, over which was a vane, and above that, an iron cross; but about the year 1647, the noted fanatic Richard Culmer, having got the sequestration of this vicarage, took it into his fancy that these were monuments of superstition and idolatry, and got these crosses demolished by two persons of the parish, whom he had hired, after he had himself before day, by moon light, fixed ladders for them to go up and down, from the square of the tower to the top of the spire. But if all the figures of a cross are monuments of idolatry, and to be removed, the poor caitiff has done his work but by halves, or rather not all, when he took down these from the spire and left the church standing, which is itself built in the form of a cross.

 

The church of Minster was antiently appendant to the manor, and as such was granted with it, first to Domneva, and afterwards became part of the possessions of the abbey founded by her here; and after the destruction of it came with the manor, by king Cnute's grant, to the abbot and convent of St. Augustine, to which it became appropriated in the year 1128, anno 29 Henry I. and was at that time assigned, with the chapels of St. John, St. Peter, and St. Laurence, with all rents, tithes, and other things, belonging to them, to the sacristy of that monastery; which regulation was confirmed by archbishop Theobald, and afterwards, in 1168, by pope Alexander, who consigned it to the reparation of the church of the monastery, which had been but just before burnt down. (fn. 14)

 

In the year 1176, anno 23 Henry II. the tenants of the Halimot, or manor court of Minster, agreed, that from thenceforth they would all cop their corn; and that they and their heirs, then and for ever afterwards, should pay all their tithes lawfully by cops, and all other matters of tithes, which they were accustomed to pay, as amply as they had ever paid them from the time of the dedication of the church of St. Mary of Menstre.

 

By an agreement entered into in 1182, between the archbishop and the abbot of St. Augustine's, this church was exempted from the payments of all dues and procurations to the archdeacon; and that year the archbishop confirmed this church to the monastery; which agreement was renewed in 1237, by archbishop Edmund; and further, that the abbot and convent should present to the archbishop, in the chapels of St. Peter, St. John, and St. Laurence, fit perpetual chaplains to the altarages in them, provided those altarages were worth ten marcs, with which the chaplains should be content, on pain of forfeiting the same; the vicar of the mother church of Menstre, having a sufficient vicarage taxed from antient time in the same, taking and receiving in right of his vicarage, the tenths of small tithes, viz. of lambs and pigs, and the obventions arising from marriages and churchings, which were forbid at the chapels, and were solemnized, &c. at the mother church only, and the burials of certain corpses, being those of the tenants or occupiers of lands in these chapelries, who were to be buried at Minster, unless the vicar gave leave to the contrary. At the same time the archbishop, with the consent of the archdeacon, confirmed this church to the abbot and convent, together with the several archiepiscopal confirmations of it, and those of the several kings of England. This part above-mentioned of the revenue of the vicarage of Minster, arising from these chapelries, has long since been lost, except that out of Salmestone Grange, amounting to 10s. a year; which, perhaps, might be a composition for the tenths of the small tithes, &c. in them. The altarages above-mentioned were the customary and voluntary offerings at the altar, for some religious office or service of the priest. To augment these, the regular and secular priests invented many things. For it is to be observed, that only a portion of these offerings, to the value of ten marcs, or 6l. 13s. 4d. was what the chaplains of these three chapels were presented to, and that they were accountable for the residue to the abbot and convent, and that if they presumed to detain any more of these offerings beyond that sum, they were to be deprived even of that. For this reason, they were to swear to the abbot and convent, to give a true account of the offerings made at their several altars, on their respective offering days, and in no shape to detriment their parish of Menstre, as to legacies or obventions, personal or predial, but to conserve all the parochial rights of the same, entire and untouched, to the utmost of their power. Then marcs appear now but a small sum for the maintenance of a parish minster; but when the value of money at the time when this composition was made is considered, it will be found to be a handsome and generous allowance to a chaplain, especially as their stipends were then paid by authority; ten marcs were then equal to more than sixty pounds now, and in a council held at Oxford but fifteen years before, it was decreed, that where the churches had a revenue as far as five marcs per annum, they should be conferred on none but such as should constantly reside in person, on the place, as being a sufficient maintenance. In 1348 H. Kinghton informs us, a chaplain's usual stipend was no more than four or five marcs, or two and his board; as for the chaplains of these three chapels, though they were to receive no more than ten marcs of these altarages, they were not excluded the enjoyment of the manses and glebes, given to these chapels when they were first consecrated, which made some addition to their income, and perhaps enabled them to keep a deacon to assist them. (fn. 15)

 

On the great and principal festivals, the inhabitants of these three chapelries, preceded by their priests and other officers, with their banners, tapers, &c. were used to go in procession to Minster, their mother church, there to join at the solemn mass and other divine service then performed, to make their offerings and pay their accustomed dues, in token of their subjection to their parochial or mother church.

 

The appropriation of the church of Minster, together with the advowson of the vicarage, continued, in manner as has been already mentioned, with the abbot and convent till the dissolution of their monastery in the 30th year of king Henry VIII. when it was surrendered, together with the rest of the possessions of the monastery, into the king's hands. After the dissolution of the monastery, there could not be said to be any parsonage or appropriation of this church, for the demesne lands of the manor of Minster, which are very extensive in this parish, were subject, as to the tithes of corn, to only a small modus or composition to the vicar, of eighteen shocks or cops of wheat, and eighteen shocks or cops of barley, or thereabouts; and the vicar was intitled, in right of his vicarage, to the corn tithes of the lands in the remaining part of the parish, as will be further noticed hereafter.

 

When the vicarage of this church was endowed and a vicar instituted, is no where found; but certainly it was before the year 1275; for in the act of consecration of the church or chapel-yard of St. Laurence that year, when that chapel was made parochial, mention is made of the vicar of Menstre, &c. and in the year 1384, anno 8 Richard II. this vicarage was valued at thirty marcs. After the dissolution of the abbey of St. Augustine, the advowson of this vicarage continued in the hands of the crown, till king Edward VI. in his first year, granted it, among other premises, to the archbishop, since which it has continued parcel of the pos sessions of that fee, the archbishop being the present patron of it.

 

This vicarage is valued in the king's books at 33l. 3s. 4d. and the yearly tenths at 3l. 6s. 8d. In 1588 here were three hundred communicants, and it was valued at 1501. It is endowed with a manse and glebe of about twenty-four acres of land, upland and marsh; all the corn tithes, and other tithes of that part of the parish called Street-borough; and of about one hundred acres in the other borough, called Weyborough, except the corn tithes of the demesnes of the manor of Minster, for which the modus or composition above-mentioned is paid.

 

¶The land in Minster level, which is pasture, paying but four-pence an acre for tithes, Dr. Richard Clarke, vicar here in 1597, made a composition with his parishioners, by which they obliged themselves to pay him at the vicarage house, within three days after every quarter, after the rate of twelve-pence an acre for their marsh land, or else to lose the benefit of the composition. (fn. 16) Dr. Meric Casaubon, who succeeded Dr. Clarke, would not abide by this composition, but afterwards compounded with the occupiers, at the rate of twelve-pence an acre for the worst of the land, and of fourteen pence and sixteen pence for that which is better; and in the year 1638 he demanded his tithes of the marsh land in kind, or eighteen pence per acre, which was agreed to by the parishioners, and paid by them till the year 1643; when the civil wars being begun, and this county in the power of the parliament, Dr. Casaubon, being continually threatened to be turned out of his vicarage, was content to receive one shilling per acre for the marsh land; in which manner he received it till the end of the year 1644, when this vicarage was sequestered, and one Richard Culmer was put into possession of this vicarage, (fn. 17) who to ingratiate himself with the parishioners, agreed to take no more than twelve pence an acre of them, as did Dr. Casaubon in 1660, on his being restored to this vicarage; at which rate the tithes were afterwards uniformly taken, till the time of the present vicar; the several vicars not being disposed to quarrel with their neighbours, though the land now lets for as much again as it did in Dr. Casaubon's time, viz. at 28s. an acre and upwards. There have been several litigations and issues at law tried between the present vicar, Mr. Dodsworth, and his parishioners, on account of this modus for the marsh land, all which have been decided in the vicar's favor, who set aside the modus of one shilling per acre by the verdict in his favor, and now takes from 1s. 6d. to 2s. 6d. for the grass land, according to its goodness; yet there are ten acres of grass land late in the possession of Josias Fuller Farrer, esq. which never having paid more than four-pence per acre, remain at that composition. The present value of it is about 350l. per annum.

 

www.british-history.ac.uk/survey-kent/vol10/pp264-294

Conserving the soil where our food begins!

 

Illustrating what the division does in the field, the upper portion of the cake is a reflection of a watershed implemented with sustainable land management practices and technologies (contouring/trees planted in a contoured manner), to protect the whole spectrum of the soil from land degradation.

 

The cake depicts how the applied soil conservation technologies on the surface or top layers of the soil improves the status of the soil at the lower layers as well as the quality of water within the watershed.

 

The cake also shows the connection between the condition of the soil and the quantity and quality of food that can be produced from it. Healthy soil brings more abundant and safer foods to our tables while degraded soil brings hunger to us. Hence, let us continue to conserve the soil where the food that we eat, begins!

 

Rijks Museum - National Museum of Netherlands

 

Vision:

 

The Rijksmuseum links individuals with art and history.

 

Mission:

 

At the Rijksmuseum, art and history take on new meaning for a broad-based, contemporary national and international audience.

 

As a national institute, the Rijksmuseum offers a representative overview of Dutch art and history from the Middle Ages onwards, and of major aspects of European and Asian art.

 

The Rijksmuseum keeps, manages, conserves, restores, researches, prepares, collects, publishes, and presents artistic and historical objects, both on its own premises and elsewhere.

 

From 1800 to 2013

 

The Rijksmuseum first opened its doors in 1800 under the name ‘Nationale Kunstgalerij’. At the time, it was housed in Huis ten Bosch in The Hague. The collection mainly comprised paintings and historical objects. In 1808, the museum moved to the new capital city of Amsterdam, where it was based in the Royal Palace on Dam Square.

 

After King Willem I’s accession to the throne, the paintings and national print collection were moved to the Trippenhuis on Kloveniersburgwal, while the other objects were returned to The Hague. The current building was put into use in 1885. The Netherlands Museum for History and Art based in The Hague moved into the same premises, forming what would later become the departments of Dutch History and Sculpture & Applied Art.

The beginning

 

On 19 November 1798, more than three years after the birth of the Batavian Republic, the government decided to honour a suggestion put forward by Isaac Gogel by following the French example of setting up a national museum. The museum initially housed the remains of the viceregal collections and a variety of objects originating from state institutions. When the Nationale Kunstgalerij first opened its doors on 31 May 1800, it had more than 200 paintings and historical objects on display. In the years that followed, Gogel and the first director, C.S. Roos, made countless acquisitions. Their first purchase, The Swan by Jan Asselijn, cost 100 Dutch guilders and is still one of the Rijksmuseum’s top pieces.

Move to Amsterdam

 

In 1808, the new King Louis Napoleon ordered the collections to be moved to Amsterdam, which was to be made the capital of the Kingdom of Holland. The works of art and objects were taken to the Royal Palace on Dam Square, the former city hall of Amsterdam, where they were united with the city’s foremost paintings, including the Night Watch by Rembrandt. In 1809, the Koninklijk Museum opened its doors on the top floor of the palace.

 

A few years after Willem I returned to the Netherlands as the new king in 1813, the ‘Rijks Museum’ and the national print collection from The Hague relocated to the Trippenhuis, a 17th-century town-palace on Kloveniersburgwal, home to what would later become the Royal Netherlands Academy of Arts and Sciences. Much to the regret of the director, Cornelis Apostool, in 1820 many objects including pieces of great historical interest were assigned to the Kabinet van Zeldzaamheden [Royal Gallery of Rare Objects], which had been founded in The Hague. In 1838, a separate museum for modern 19th-century art was established in Paviljoen Welgelegen in Haarlem. Contrary to the days of Louis Napoleon, very few large acquisitions were made during this period.

 

Cuypers Cathedral

 

The Trippenhuis proved unsuitable as a museum. Furthermore, many people thought it time to establish a dedicated national museum building in the Netherlands. Work on a new building did not commence until 1876, after many years of debate. The architect, Pierre Cuypers, had drawn up a historic design for the Rijksmuseum, which combined the Gothic and the Renaissance styles. The design was not generally well-received; people considered it too mediaeval and not Dutch enough. The official opening took place in 1885.

 

Nearly all the older paintings belonging to the City of Amsterdam were hung in the Rijksmuseum alongside paintings and prints from the Trippenhuis, including paintings such as Rembrandt’s Jewish Bride, which had been bequeathed to the city by the banker A. van der Hoop. The collection of 19th-century art from Haarlem was also added to the museum’s collection. Finally, a significant part of the Kabinet van Zeldzaamheden, which had by then been incorporated into the new Netherlands Museum for History and Art, was returned to Amsterdam.

 

Renovations

 

Over the years, collections continued to grow and museum insight continued to expand, and so the Rijksmuseum building underwent many changes. Rooms were added to the south-west side of the building between 1904 and 1916 (now the Philips wing) to house the collection of 19th-century paintings donated to the museum by Mr and Mrs Drucker-Fraser. In the 1950s and 1960s, the two original courtyards were covered and renovated to create more rooms.

 

In 1927, while Schmidt-Degener was Managing Director, the Netherlands Museum was split to form the departments of Dutch History and Sculpture & Applied Art. These departments were moved to separate parts of the building after 1945. The arrival of a collection donated by the Association of Friends of Asian Art in the 1950s resulted in the creation of the Asian Art department.

 

The 1970s saw record numbers of visitors of almost one-and-a-half million per year, and the building gradually started to fall short of modern requirements.

‘Verder met Cuypers'

 

The current renovation reinstates the original Cuypers structure. The building work in the courtyards are removed. Paintings, applied art and history are no longer displayed in separate parts of the building, but form a single chronological circuit that tells the story of Dutch art and history.

 

The building is thoroughly modernized, while at the same time restoring more of Cuypers original interior designs: the Rijksmuseum has dubbed the venture ‘Verder met Cuypers‘ [Continuing with Cuypers]. The Rijksmuseum will be a dazzling new museum able to satisfy the needs of its 21st-century visitors!

 

Every year, the Rijksmuseum compiles an annual report for the previous year. Annual reports dating back to 1998 can be found here (in Dutch only). Reports relating to the years before 1998 are available in the reading room of the library.

 

O Museu Rijks é um dos maiores e mais importantes museus da Europa.É o maior dos Países Baixos, com acervo voltado quase todo aos artistas holandeses. As obras vão desde exemplares da arte sacra até a era dourada holandesa, além de uma substancial coleção de arte asiática.

Esse é o Rijksmuseum, o Museu Nacional dos Países Baixos. E aproveite, caro leitor, porque o Rijks esteve parcialmente fechado para reforma durante 10 anos – voltou a funcionar só em 2013. Ou seja, quem esteve em Amsterdam na última década não conheceu o Rijks, pelo menos não completamente.

 

Mas o quê tem lá? Muita coisa. Destaque para as coleções de arte e História holandesas. Os trabalhos dos pintores Frans Hals e Johannes Vermeer são alguns dos mais concorridos, mas imbatível mesmo é Rembrandt van Rijn, considerado um dos maiores pintores de todos os tempos. Se você não é um fã de museus de arte, mas faz questão de conhecer o trabalho desses grandes artistas, uma dica: assim que chegar ao Rijks, vá direto para a ala onde estão as obras-primas. Assim você vê o mais importante no início da visita, quando ainda está descansado e poderá dedicar o tempo necessário para essas obras.

A mais famosa delas é a “A Ronda Noturna”, de Rembrandt, uma obra que inspirou músicas, pinturas, filmes e até um flash mob. Quando o Rijks foi reaberto, artistas recriam a cena mostrada no quadro dentro de um shopping de Amsterdam. A ação está no vídeo abaixo e eu te garanto que vale a pena dar play.

 

Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...

Read more: www.360meridianos.com/2014/01/museus-de-amsterdam.html#ix...

Rijksmuseum, Museu Nacional

42 Stadhouderskade

Amsterdam

 

O museu Rijksmuseum de Amsterdã é o Museu Nacional da Holanda, onde você encontrará uma impressionante coleção permanente, formada por 5.000 pinturas e 30.000 obras de arte, além de 17.000 objetos históricos.

 

Esse museu nacional foi fundado em 1885 e está instalado em um edifício de estilo neogótico. A sua principal atração é a extensa coleção de quadros pintados por artistas holandeses, abrangendo um período que vai do séc. XV aos dias de hoje. A obra de arte mais famosa em exibição é o quadro A Ronda Noturna, de Rembrandt.

O museu Rijksmuseum está dividido em cinco departamentos: pintura, escultura, arte aplicada, arte oriental, história dos Países Baixos e gravuras. O núcleo da coleção é a pintura e suas obras mais representativas são as que pertencem ao Século de Ouro holandês, com quadros de artistas como Rembrandt, Vermeer ou Frans Hals.

Ver fonte: dreamguides.edreams.pt/holanda/amsterda/rijksmuseum

 

Museu Rijks, Amesterdão

O Museu Rijks (Museu Nacional) é um edifício histórico, sendo o maior museu nos Países Baixos. O Museu é o maior no numero relativamente às suas colecções, na área do edifício em si, no financiamento e no numero de funcionários empregados.

Cada ano, mais de um milhão de pessoas visitam o Museu Rijks. O Museu emprega cerca de 400 pessoas, incluindo 45 conservadores de museu que são especializados em todas as áreas.

O Museu Rijks é internacionalmente reconhecido pelas suas exibições e publicações, mas não só apenas por estes produtos de grande qualidade, mas também pelas áreas no museu em si que são fonte de inspiração e encorajam a criação de novas ideias.

O museu também tem recursos consideráveis para a educação, para a decoração e apresentação de exibições. Importantes designers são regularmente chamados a trabalharem em projectos no Museu Rijks.

O edifício principal do Museu Rijks está a ser renovado. A boa noticia é que a melhor parte da exposição está apresentada na redesenhada ala Philips. O nome desta exposição denomina-se "The Masterpieces'.

O museu abre diariamente das 10 da manhã até ás 5 da tarde.

A entrada é pela Stadhouderskade 42.

www.rijksmuseum.nl

 

Rijksmuseum

Origem: Wikipédia, a enciclopédia livre.

O Rijksmuseum é um museu nacional dos Países Baixos, localizada em Amsterdão na Praça do museu. O Rijksmuseum é dedicado à artes e história. Ele tem uma larga coleção de pinturas da idade de ouro neerlandesa e uma substancial coleção de arte asiática.

O museu foi fundado em 1800 na cidade da Haia para exibir a coleção do primeiro-ministro. Foi inspirado no exemplo francês. Pelos neerlandeses ficou conhecida como Galeria de Arte. Em 1808 o museu mudou-se para Amsterdã pelas ordens do rei Louis Napoleón, irmão de Napoleão Bonaparte. As pinturas daquela cidade, como A Ronda Nocturna de Rembrandt, tornaram-se parte da coleção.

Em 1885 o museu mudou-se para sua localização atual, construído pelo arquiteto neerlandês Pierre Cuypers. Ele combinou elementos góticos e renascentistas. O museu tem um posição proeminente na Praça do Museu, próximo ao Museu van Gogh e ao Museu Stedelijk. A construção é ricamente decorada com referências da história da arte neerlandesa. A Ronda Nocturna de Rembrandt tem seu próprio corredor no museu desde 1906. Desde 2003 o museu sofreu restaurações, mas as obras-primas são constatemente presentes para o público.

A coleção de pinturas inclui trabalhos de artistas como Jacob van Ruysdael, Frans Hals, Johannes Vermeer e Rembrandt e de alunos de Rembrandt.

Em 2005, 95% do museu está fechado para renovação, mas as pinturas da coleção permanente ainda estão em mostra em uma exibição especial chamada As Obras-primas.

Algumas das pinturas do museu:

Rembrandt van Rijn

A Ronda Nocturna

Os síndicos da guilda dos fabricantes de tecidos

A noiva judia

A lição de Anatomia do Dr. Deyman

Pedro negando Cristo

Saskia com um véu

Retrato de Titus em hábito de monge

Auto-retrato como Apóstolo Paulo

Tobias, Ana e o Bode

Johannes Vermeer:

A Leiteira

A Carta de Amor

Mulher de Azul a ler uma carta

A Rua pequena

Frans Hals:

Retrato de um jovem casal

A Companhia Reynier Real

O bebedor alegre

Retrato de Lucas De Clercq

Retrato de Nicolaes Hasselaer

Retrato de um homem

Página oficial do Rijksmuseum

Virtual Collection of Masterpieces (VCM)

O melhor museu de Amsterdam: Rijksmuseum

O Commons possui uma categoria contendo imagens e outros ficheiros sobre Rijksmuseum

 

Rijksmuseum Amsterdam

  

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Se você visitar Amsterdam, precisará conhecer o Museu Nacional da Holanda: Rijksmuseum Amsterdam. O Museu Nacional fica na Praça do Museu, situada no centro de Amsterdam. O Museu Nacional, ou Rijksmuseum, possui uma maravilhosa coleção de arte e história holandesas. Após uma visita ao Rijksmuseum, você saberá mais sobre história e arte e terá visto alguns dos maiores marcos culturais da Holanda.

 

Obras-primas do Museu Nacional

Ao todo, a coleção do Rijksmuseum apresenta a história da Holanda em um contexto internacional, desde 1.100 até o presente. Há alguns ícones da história e cultura da Holanda que você não pode perder:

 

Ronda Noturna (de Nachtwacht) de Rembrandt é uma das mais famosas obras desse mestre holandês e é de tirar o fôlego.

 

O Rijksmuseum tem uma das melhores coleções de pinturas dos grandes mestres do século XVII, como Frans Hals, Jan Steen, Vermeer e Rembrandt.

 

Assim como o Museu Histórico de Haia, o Rijksmuseum apresenta lindas casas de bonecas, mobiliadas em detalhes, datando de 1676.

 

Se você não puder ir ao Delft Real, pode ainda apreciar algumas das melhores cerâmicas de Delft, de conjuntos de chá a vasos, no Museu Nacional.

 

Museu que é visita obrigatória em Amsterdam

Quer sua estadia em Amsterdam seja breve ou longa, você deve visitar o Rijksmuseum. Chegue cedo para evitar enfrentar filas. Combine a visita ao Rijksmuseum com várias outras atrações próximas, como o Museu Van Gogh, o Museu Stedelijk Amsterdam e a Coster Diamonds

 

Para obter mais informações sobre Amsterdam, retorne à página sobre Amsterdam ou à página sobre os museus de Amsterdam.

   

Des stalles du château de Gaillon sont conservées dans la basilique Saint-Denis près de Paris. Ce château était la résidence de loisir des archevêques de Rouen. Commandées au début du XVIe siècle par Georges d’Amboise, ces stalles ont été construites lorsque cet archevêque, devenu légat du pape et premier conseiller de Louis XII a fait transformer le château médiéval en palais de la Renaissance. Seules stalles en France à présenter de nombreux panneaux de marqueterie et une iconographie inédite, elles forment un mobilier unique, chef-d’œuvre de cette période charnière entre gothique et Renaissance, arborant une grande mixité de styles. Ces stalles sont les chaires qui étaient destinées aux trois chanoines qui officiaient dans la chapelle haute du château de Gaillon, dédiée à saint Georges. Elles étaient ceintes d’une clôture en boiset constituaient ainsi le chœur liturgique de l'édifice.

 

Les stalles en chêne sont composées de deux rangées disposées côté nord et sud du transept de la basilique de Saint-Denis. La rangée nord présente un ensemble de six stalles, la rangée sud de cinq stalles et une isolée. Seules douze stalles ont été créées au XVIe siècle alors que le programme iconographique en prévoyait quatorze. De 2,83 m de haut, elles composées d’un siège et d’un dorsal, ce dernier comprenant deux registres : un bas-relief surmontant un panneau de marqueterie. Tous les éléments sont sculptés ou marquetés. De manière unique, les dossiers, les dorsaux et les voussures des dais sont galbés. De même les chaires ont des largeurs variées, fixées par celles des bas-reliefs des dorsaux. Pour s’adapter, les largeurs d’autres composants ont été rectifiées. La mixité de style se retrouve dans la globalité, les interdorsaux et deux dais étant gothiques alors que les faibles reliefs sont apparentés aux grotesques de la Renaissance, les bas-reliefs et les marqueteries des dorsaux étant quant à eux à la fois d’inspiration péninsulaire et septentrionale.

 

Sont illustrées sur les bas-reliefs originaux des dorsaux deux scènes de la vie d’Anne et Joachim, parents de la vierge Marie, cinq scènes de la vie de saint Jean-Baptiste le précurseur et sept scènes de la vie de saint Georges selon les textes d’Évangile ou de la Légende dorée. Nombre d’autres saints sont présentés en pied, sous forme de statuettes sur les interdorsaux ou de bas-reliefs sur les soubassements des jouées, notamment les quatre évangélistes sur ces derniers. Sur les panneaux marquetés des quadrants des parcloses sont figurées les affres des enfers des condamnés selon les sept péchés capitaux, avec les planètes et leurs influences. Les représentations sont inspirées des gravures du Calendrier des bergers imprimé à cette époque.

 

Les miséricordes figurent des scènes des Métamorphoses d’Ovide ainsi que les arts libéraux selon la Margarita Philosophica de G. Reisch. Les artisans se sont inspirés de gravures d’ouvrages imprimés au début du XVIe siècle, par exemple le soldat romain Caius Mucius Scaevola devant le roi Étrusque Porsenna y étant représenté exposant ainsi des thématiques propres à la culture antique. De manière également tout à fait inédite, les 7 vertus, cardinales et théologales, et 7 sibylles sont figurées et représentées sur les panneaux de marqueterie du premier registre des dorsaux. Les allégories et les prophétesses sont encadrées d’architectures identiques deux à deux qui les mettent en concordance. Les sibylles ont été choisies parmi celles du manuscrit des Heures de Louis de Laval dont les auteurs ont cité les prophéties. Ces dernières proviennent du manuscrit des Institutions divines de Lactance qui était de nouveau traduit et que le cardinal a lui-même fait enluminer. Ce grand rhéteur du IVe siècle ayant quant à lui repris les oracles rédigés dans les Oracles sibyllins.

 

Georges Ier d’Amboise n’a pas manqué de faire valoir qu’il était le commanditaire des stalles en demandant à ce que ses armes et sa devise y figurent à de nombreuses reprises. Le légat a donné pour modèles aux artisans des stalles des enluminures ou gravures de manuscrits faisant partie de sa splendide bibliothèque, digne d'un grand érudit humaniste. Il fit venir l’Italie en choisissant la marqueterie figurative en sus de la sculpture, seule technique utilisée à l'époque en France. Sans renier la tradition en faisant figurer les saints, il a fait représenter de manière inédite leur cycle de vie, dont il a choisi des événements bien spécifiques. De plus, il a incité les fidèles à s’instruire et à étudier les auteurs antiques en faisant sculpter des allégories des arts libéraux et des personnages mythiques ou héroïques. Enfin, par le dialogue des sibylles et des vertus, il a montré que la rhétorique de Lactance était convaincante. Il a ainsi non seulement introduit en France la mode italienne dans le mobilier, le décor et les ornements du château de Gaillon, mais surtout donné corps à l’esprit humaniste en faisant de ses stalles les messagères qui appellent à une vie vertueuse, dans la foi au Christ annoncé à tous les hommes (cf. wikipédia, merci Glass Angel pour la photo).

Conserved ruins of a late 13th Century castle on a hill in a long and tight valley. The builders formerly colonized western Bohemia, and when they secured eastern Bohemia, they built new castles which they named after those in the West, there is also another Litice Castle (almost non-existent today). This castle mas a major strongpoint in the area for the next centuries, besieged and damaged in 1421, rebuilt and extended after 1450. It lost importance in the 16th Century, only the most basic personal maintained it, it´s seen as half demolished on a 1657 illustration, and last repairs were made in 1681. The northern palace was saved when it got a new roof in 1776, but the southern palace was left to it´s faith. Conservations of the remaining buildings and walls were done between 1890 and 1935, the preserved remains show that it was indeed a well built and durable fortress. The ruin was closed for some years due bad statics in the 1980´s, and reopened only after basic stabilization, a palace wall partially collapsed in 2015 and the castle still needs rescue efforts.

Mont Saint-Michel

  

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Le mont Saint-Michel est un îlot rocheux granitique d’environ 960 mètres de circonférence situé à l’est de l’embouchure du fleuve du Couesnon, dans le département de la Manche en Normandie, et dont le nom vient de l'archange saint Michel. Avant l'année 709, il était connu comme le « mont Tombe ». Pendant tout le Moyen Âge, il est couramment appelé « mont Saint-Michel au péril de la mer » (Mons Sancti Michaeli in periculo mari). L'abbaye du Mont-Saint-Michel est située sur le mont, et le mont constitue une petite partie du territoire de la commune du Mont-Saint-Michel.

Le mont Saint-Michel baigne dans la baie du Mont-Saint-Michel, ouverte sur la Manche. L’îlot atteint 92 mètres d’altitude et offre une superficie émergée d’environ 7 ha, la partie essentielle du rocher étant couverte par l’emprise au sol de l’abbaye du Mont-Saint-Michel et de son domaine. Cet îlot s’élève dans une grande plaine sablonneuse.

L’architecture du Mont-Saint-Michel et sa baie en font le site touristique le plus fréquenté de Normandie1. Le mont Saint-Michel est le troisième site touristique culturela le plus fréquenté de France après la tour Eiffel et le château de Versailles, avec près de 2,3 millions de visiteurs par an2 (3,25 millions en 20063, 2,3 millions en 20144).

Une statue de saint Michel placée au sommet de l’église abbatiale culmine à 150 mètres au-dessus du rivage. Éléments majeurs, l'abbaye et ses dépendances sont classées au titre des monuments historiques par la liste de 18625. (soixante autres constructions étant protégées par la suite6) ; le mont (îlot rocheux) et le cordon littoral de la baie figurant depuis 19797 sur la liste du patrimoine mondial de l’UNESCO ainsi que le moulin de Moidrey depuis 20077. Depuis 1998, le mont Saint-Michel bénéficie en outre d'une seconde inscription sur la liste du patrimoine mondial en tant que composante du bien en série Chemins de Saint-Jacques-de-Compostelle en France8.

En 1846, Édouard Le Héricher le décrivait ainsi : « Le mont Saint-Michel apparaît comme une montagne circulaire qui semble s’affaisser sous la pyramide monumentale qui la couronne. On voudrait prolonger sa cime en une flèche aiguë qui monterait vers le ciel (la flèche actuelle ne date que de 1899), dominant son dais de brouillards ou se perdant dans une pure et chaude lumière. De vastes solitudes l’environnent, celle de la grève ou celle de la mer, encadrées dans de lointaines rives verdoyantes ou noires9. »

La baie

Le mont Saint-Michel (l’îlot ou l’abbaye) est situé dans la baie du Mont-Saint-Michel, dont le cordon littoral figure au patrimoine mondial de l’Unesco (inscription de 1979).

La baie qui fait partie du Massif armoricain repose sur un socle précambrien de grès et de schistes argileux qui se métamorphisent autour des éperons granitiques cadomiens de Cancale, Avranches, Chausey et Carolles. Toujours pendant le cycle cadomien, les granites intrusifs cambriens ont donné le mont-Dol, l'îlot Tombelaine et le mont Saint-Michel qui est constitué d'un pluton de leucogranite à biotite et muscovite datant de 525 millions d'années : l'îlot Saint-Michel fait une circonférence d'environ 960 mètres et une hauteur de 92 mètres10.

Les marées dans la baie du mont Saint-Michel ont une amplitude de près de treize mètres les jours de fort coefficient, la mer se retire à grande vitesse sur une dizaine de kilomètres, mais revient aussi vite. L’expression consacrée est « qu’elle revient à la vitesse d’un cheval au galop ». Le mont Saint-Michel n’est entouré d'eau et ne redevient une île qu’aux grandes marées d'équinoxe, cinquante-trois jours par an, pendant quelques heures. Mais c’est un spectacle impressionnant qui attire de nombreux touristes ces jours là.

L'ancienne digue

La digue-route qui reliait le mont au continent avait été construite en 1879. En retenant le sable, elle avait aggravé l’ensablement naturel de la baie, au point que le mont risquait un jour de ne plus être une île. D'où la mise en œuvre du projet de rétablissement du caractère maritime du Mont-Saint-Michel.

Le projet de rétablissement du caractère maritime de l’île

Le 24 juin 1983, François Mitterrand inaugure les travaux de démolition de la digue (submersible) de la roche Torin et du rétablissement du caractère maritime. Le projet, appelé jusque dans les années 1990 « désensablement du Mont », est rebaptisé « rétablissement du caractère maritime du mont Saint-Michel » car il s'agit d'un processus naturel, la marée montante (vitesse du courant de flot : 1 m/s par coefficient de marée moyen, soit 3,6 km/h) ayant un flux plus élevé que celui de la marée descendante (vitesse du courant de jusant : 0,75 m/s, soit 2,7 km/h)11.

En 1995, les études sont déclarées honnêtes ; la puissance des ordinateurs a augmenté ainsi que les codes de calcul : on peut monter la commission[précision nécessaire] du Mont-Saint-Michel, qui doit préserver son insularité et faire arriver des touristes payants régulés.

Il s'en déduit les éléments suivants du projet12 :

•suppression du parking : un autre parking est construit au sud du barrage de la Caserne sur le Couesnon (barrage qui est reconstruit) à 2,5 km du mont (planté de 45 000 arbres et arbustes, ce parking situé dans la zone commerciale La Caserne propose plus de 4 000 places de stationnement). Des navettes spéciales (à moteur et à cheval type maringotte) amènent les visiteurs par une nouvelle digue sur les herbus (levée de terre empierrée longue de 1 085 m et haute de 9,50 m). Cette digue est prolongée par un pont-passerelle (longue de 760 m). Cette « jetée » sur pilotis en acier enfoncés dans des pieux de béton de (30 m) de profondeur jusqu'à la roche, est scindée en 3 branches : deux cheminements piétonniers recouverts d’un platelage de chêne et une chaussée centrale en béton armé réservée à la circulation de navettes) et un terre-plein d'ancrage (permettant l'accès aux secours) au pied des remparts surmonté d’un gué en béton submersible lors des grandes marées (120 m), permettant au mont de conserver son insularité 20 jours par an lors des grandes marées ; dans le futur, une gare SNCF sera construite sur le continent, avec des trains directs depuis Paris-Vaugirard (Montparnasse-3)[réf. à confirmer] ;

•côté île : le Couesnon doit être chenalisé de part et d’autre du mont Saint-Michel, 2⁄3 à l’Ouest en Bretagne et 1⁄3 à l’Est en Normandie, le barrage servant de barrage de chasse de 700 000 m3. Des échelles à poissons sont prévues, pour les anguilles (catadromes) comme les saumons (anadromes). La construction du barrage sur le Couesnon est officiellement lancée le 16 juin 2006.

Le projet de liaison ferroviaire est actualisé, mais de nombreuses incertitudes demeurent. Dans un rapport13, le Conseil général des ponts et chaussées détaille les options possibles, en omettant la liaison ferroviaire établie entre 1901 et 1938.

À partir de 2006, l'État, seul concepteur du projet, se désengage de sa réalisation opérationnelle. Les travaux sont alors confiés exclusivement aux collectivités territoriales locales, déjà regroupées depuis 1997 dans un syndicat mixte, le syndicat mixte « Baie du Mont-Saint-Michel »14.

En août 2008, les quatre premières vannes sont opérationnelles dans la partie ouest du nouveau barrage du Couesnon, fonctionnant en portes à flots en attendant la livraison des quatre autres en cours de montage. L'ancien barrage est détruit en novembre 200815.

Le nouveau barrage-passerelle est mis en service en mai 200916 et ouvert au public en juin 201017. La retenue d'eau constituée à marée montante est lâchée à marée descendante, générant un effet « chasse d'eau » qui doit permettre le désensablement de la baie du Mont-Saint-Michel18.

Le projet de rétablissement du caractère maritime de 200 millions d'euros, notamment le stationnement et le transport des visiteurs attribué à l’automne 2009 à la délégation de service public Veolia Transdev, suscite de vives polémiques, tant au niveau de son suivi financier que de ses choix techniques et économiques (prix du parking, suppression de la navette gratuite « Montoise » qui transporte les habitants du Mont et les 600 employés saisonniers), comme le révèle un rapport de la chambre régionale des comptes de Normandie19,14.

Depuis le 22 juillet 2014, les visiteurs peuvent se rendre au mont par les nouveaux ouvrages d'accès créés par l'architecte Dietmar Feichtinger. Une nouvelle digue et une passerelle sur pilotis laissant passer l'eau en dessous desservent désormais l'île. L'ancienne digue a maintenant été totalement démolie20.

Toponymie

À l'origine, il était connu sous l'appellation de in monte qui dicitur Tumba vers 850 (mont Tombe) : le mot tumba, « tombe », rare en toponymie, est à interpréter dans le sens de « tertre », « élévation »)21. Le nom de la localité est attesté sous les formes Montem Sancti Michaelis dictum en 966, loco Sancti Archangelis Michaelis sito in monte qui dicitur Tumba en 1025 et, en 1026, Saint Michiel del Mont au XIIe siècle22, au Moyen Âge, il est couramment appelé « mont Saint-Michel au péril de la mer » (Mons Sancti Michaeli in periculo mari)23.

Son nom viendrait d'un petit oratoire en forme de grotte construit en 708 (ou 710) par saint Aubert, évêque d'Avranches24, dédié à l'archange saint Michel. Les restes de cet oratoire ont été retrouvés et sont encore visibles dans la chapelle Notre-Dame-sous-Terre, c’est-à-dire sous la terrasse qui prolonge la nef de l’abbatialeb.

Histoire

Un village, implanté sur le mont dès 709, voit vers le milieu du siècle suivant sa population s'accroître à la suite semble-t-il des raids vikings qui incitent les populations habitant des établissements ruraux et des villages voisins au mont, à s'y réfugier. Il se développe tout au long du Moyen Âge à l’ombre de son abbaye25. Au nord de l’église paroissiale Saint-Pierre, le bâtiment double appelé La Merveille est un chef-d’œuvre de l’architecture gothique. Il est construit sur trois niveaux à flanc de rocher.

L’économie du mont a donc été tributaire, pendant douze siècles, des nombreux pèlerinages à Saint Michel, notamment jusqu’à la Révolution française, la population locale s'installant pour proposer gîte et couvert aux miquelots. Le pèlerin, appelé michelet26, venait de toute l’Europe : depuis l’Angleterre, la France du nord et de l’ouest, etc. Un réseau de routes montoises a été récemment étudié et remis en valeur, notamment à cause de l’attrait touristique important que représente le site et sa baie. À la suite de la tempête de fin décembre 1999, les vestiges d'un ancien atelier de plombs de pèlerinage sont mis au jour27.

Les habitants du mont vivent aussi du XVe au XIXe siècle grâce à la prison en hébergeant ses gardiens et en accueillant ses visiteurs. La dernière prison ferme en 1863. La construction d'une digue-route en 1879 puis d'une voie ferrée reliant Pontorson permet l'essor du tourisme de masse qui vit notamment grâce à la vente d'articles de souvenir de pèlerinage25.

Le temps du tourisme

Déjà depuis le XIXe siècle, les auteurs et peintres romantiques venaient au mont, pour son charme unique et ses qualités pittoresques, tels Guy de Maupassant. À la fin du siècle, plusieurs hôtels sont établis au Mont. Dans la deuxième moitié du XXe siècle, la mutation du site en un lieu de visite de rang mondial a fait de la petite commune normande l’une des premières destinations touristiques de France.

La fréquentation du site et de l'abbaye est concentrée dans le temps. Elle est la plus forte au cours de la période estivale et de certains week-ends printaniers qui concentrent le tiers des visiteurs du Mont-Saint-Michel, avec une moyenne journalière approchant les 12 000 visiteurs et des pics dépassant les 16 000 visiteurs par jour, avec un flux de visiteurs de moins en moins dense au fur et à mesure de l'ascension vers l'abbaye (un tiers seulement montant jusqu’à l’abbaye). Le temps moyen de visite est de deux à trois heures. « Au cours d’une journée, c’est entre 11h et 16h que la densité de visiteurs sur le site est la plus forte »28.

Le Mont connaît un déclin de fréquentation depuis le début du XXIe siècle, passant de 3,5 millions de visiteurs à 2,3 millions en 2014. Le site pâtirait en effet des nouvelles conditions de desserte de l'îlot et de la mauvaise réputation du Mont-Saint-Michel qui fait payer cher des prestations médiocres29.

Les prisons

Des prisons furent établies sur le mont Saint-Michel durant une très longue période de son histoire30,31,32. Après que les moines furent chassés lors de la Révolution française, le mont Saint-Michel fut transformé en prison pour prêtres réfractaires en 1793 et son nom changé en Mont Libre33 ; puis en 1811 en maison de force pour prisonniers de droit commun et prisonniers politiques jusqu'en 1863.

Monuments et lieux touristiques

Soixante-et-un immeubles situés sur l'îlot sont protégés au titre des monuments historiques6, par plusieurs campagnes de protection, réalisées notamment en 1928 et 1934.

D’une dimension hors norme, les travaux de rénovation de l’immense bâtiment du XIIIe siècle, lancés fin 2020, devraient durer jusqu’en 202334.

Présence humaine sur le mont

Les Fraternités monastiques de Jérusalem

Depuis 2001, des frères et des sœurs des Fraternités monastiques de Jérusalem, venues de l’église Saint-Gervais de Paris, assurent une présence religieuse toute l'année. Ils remplacent les moines bénédictins, qui peu à peu désertèrent le Mont après 1979.

Le Festival 13 siècles entre ciel et mer

Lors de l'élaboration des festivités du 13e centenaire de la fondation du mont, le diocèse de Coutances et d'Avranches et l'association Robert de Torigni décident, entre autres, de créer un festival d'art chrétien pour « sensibiliser le visiteur au côté spirituel du Mont-Saint-Michel ».

Après ce festival, il est décidé de perpétuer le festival, chaque été, pendant une semaine[Passage à actualiser].

Économie

Trois grandes familles se partagent les commerces de la commune, et se succèdent à l’administration de la ville (Éric Vannier35, Jean Yves Vetelé36 et Patrick Gaulois37). On compte trois cents commerces pour trois millions de touristes, alors qu'en 2013 la commune compte 44 résidents (20 dans les polders, 24 intra-muros) et 99 électeurs. Intra-muros travaillent 54 commerçants et résident 24 Montois (une famille de deux parents et deux enfants, une commerçante, l'administrateur du monument, deux pompiers, un agent de sécurité, cinq moines, sept moniales et trois prêtres)38.

L’abbaye est propriété de l’État, gérée par le Centre des monuments nationaux.

Le Mont-Saint-Michel est dénommé « commune touristique » depuis août 200939.

À la suite des travaux de rétablissement du caractère maritime du Mont Saint-Michel mis en œuvre localement par un Syndicat mixte et débutés en 2006, les groupes hôteliers du Mont se livrent à une guerre commerciale, notamment à propos du chemin pédestre qui relie depuis 2012 les parkings au départ des navettes touristiques pour le Mont, Jean Yves Vetelé et Patrick Gaulois accusant Éric Vannier d'avoir usé de son statut de maire pour peser sur un vote en 2009 du syndicat mixte au sujet du point de départ des navettes qui a été fixé au milieu de deux établissements gérés par Vannier40,41. Le maire du Mont-Saint-Michel Éric Vannier est finalement condamné en correctionnelle à 30 000 euros d’amende, dont 20 000 avec sursis, pour prise illégale d'intérêts42.

Personnages célèbres liés au mont Saint-Michel

•Robert de Torigni, célèbre abbé du mont.

•Guillaume de Saint Pair, moine de l’abbaye auteur du Roman du Mont-Saint-Michel.

•Le duc de Chartres (futur Louis-Philippe Ier), venu démolir la « cage de fer ».

•Mathurin Bruneau, sabotier, escroc et faux Louis XVII, prisonnier au mont en 1821-1822.

•Auguste Blanqui, prisonnier politique au mont.

•Armand Barbès, prisonnier politique au mont.

•Monseigneur Bravard, restaurateur de l'abbaye après la Révolution.

•La mère Poulard, restauratrice (voir ci-dessous).

•Émile Couillard, écrivain, historien du mont et abbé du Mont-Saint-Michel.

Gastronomie locale

Le mont Saint-Michel se situe à l’embouchure du Couesnon. Côté terre, des aménagements de digues déjà anciens ont permis jusqu’à aujourd’hui de gagner sur la mer des terrains consacrés à l’agriculture et à l’élevage (dont celui des ovins, qualifiés de moutons « de pré-salé »). Le mouton ou l’agneau de pré-salé, appelé grévin43 est ainsi une spécialité normande, à déguster de préférence grillé au feu de bois.

Une grande activité médiatique, à laquelle a participé de facto le dessinateur Christophe avec sa famille Fenouillard entoure la préparation de l’omelette de la mère Poulard (du nom du restaurant situé dans le village et réputé pour cette spécialité). Celle-ci est faite d’œufs et de crème fraîche, abondamment battus en neige dans une bassine de cuivre avec un long fouet sur un rythme spécial que peuvent entendre les passants avant d’être cuite dans une poêle de cuivre sur un feu de bois.

Références culturelles au mont Saint-Michel

Dans la peinture

•Le mont Saint-Michel fait fréquemment l'objet de représentations dans les manuscrits enluminés du Moyen Âge. La plus célèbre est sans doute celle des Très Riches Heures du duc de Berry, illustrant la fête de l'archange dans le livre d'heures. La miniature est attribuée à l'un des frères de Limbourg, qui l'a peinte entre 1411 et 1416. Le mont est également représenté dans au moins sept autres livres d'heures du XVe siècle comme celui de Bruxelles à l'occasion de l'illustration d'une fuite en Égypte (vers 1400), dans les Heures du Maréchal Boucicaut (musée Jacquemart-André) au folio 11v (vers 1405), dans le Livre d'heures Sobieski conservé au château de Windsor, (f.204v) et attribué au Maître de Bedford, le Livre d'heures à l'usage de Nantes conservé à la Bodleian Library (1450-1455)44.

•L'affiche Le Mont-Saint-Michel réalisée en 1934 par le peintre Pierre Matossy pour les Chemins de fer de l'Ouest est recherchée des collectionneurs.

Dans la littérature

•En 1832, dans le roman fantastique La Fée aux miettes, Charles Nodier évoque les sables mouvants de la baie du Mont-Saint-Michel45.

•En 1850, le roman historique de Paul Féval, La Fée des grèves, dont l’action se situe en 1450, évoque les légendes du Mont-Saint-Michel et du mont Tombelaine46.

•En 1887, dans Le Horla, récit fantastique de Guy de Maupassant, le personnage principal termine son voyage thérapeutique au mont Saint-Michel47.

•En 1967, dans le cycle des Princes d'Ambre, Roger Zelazny s'inspire des aménagements et particularités du Mont-Saint-Michel pour créer sa cité d'Ambre.

•En 1984, le ministère de la Culture publie le livre découpage du créateur François Rouillay, permettant de revivre mille ans d'histoire et d'architecture du mont Saint-Michel, préfacé par Françoise Chandernagor.

•En 2003, Da Vinci Code (The Da Vinci Code) de Dan Brown fait référence au mont Saint-Michel.

•En 2004, La Promesse de l'ange, roman policier archéologique de Frédéric Lenoir et Violette Cabesos situe l’action principalement au mont Saint-Michel.

•En 2005, le thriller Le Sang du temps de Maxime Chattam se déroule au mont Saint-Michel en 2005 et dans l’Égypte des années 1920.

•En 2011, le roman de science-fiction L'Ère du Vent de Pierre Bameul, donne le mont Saint-Michel comme siège d'un Nouveau Vatican post-apocalyptique.

Dans la bande dessinée

•En 1999 et 2000, le mont Saint-Michel est le cadre des Aventures de Vick et Vicky ; Bruno Bertin publie aux Éditions P'tit Louis deux bandes dessinées jeunesse, Les Archanges du Mont-Saint-Michel : Le Testament (tome 1) et La Malédiction (tome 2).

•En 2008, la bande dessinée Le Diable & l’Archange, texte et dessin de Guillaume Néel, couleur de Julien Gondouin, reprend une légende médiévale sur la création du Mont-Saint-Michel ; en accompagnement, un livret pédagogique permet de mieux comprendre le Diable et l’Archange, l’historique du Mont, la ville.

Dans la musique

•En 1996, le compositeur anglais Mike Oldfield publie l’album Voyager, dont un des titres est consacré au mont Saint-Michel.

•En 1998, le compositeur français Patrick Broguière [archive] publie sous le titre Mont Saint-Michel un concept album de rock progressif entièrement consacré aux légendes du mont Saint-Michel.

•En 1999, le harpiste breton Kirjuhel publie l’album Echo of Mont-Saint-Michel.

•En 2001, le musicien anglais Aphex Twin, originaire de Cornouailles, publie l’album de musique électronique Drukqs, dont le titre Mt Saint Michel + St Michael's Mount est inspiré à la fois par le mont Saint-Michel et le St Michael's Mount, situé en Cornouailles.

Au cinéma

Voir la catégorie : Film tourné au Mont-Saint-Michel.

•1975 : L'Incorrigible de Philippe de Broca, où le rêve d'un des personnages est d'empêcher l'ensablement du mont Saint-Michel

•1976 : Passion violente (Dedicato a una stella) de Luigi Cozzi

•1983 : Pauline à la plage d'Éric Rohmer

•1998 : Armageddon de Michael Bay

•2009 : Une semaine sur deux (et la moitié des vacances scolaires) d'Ivan Calbérac

•2013 : À la merveille (To the Wonder) de Terrence Malick

•2016 : Tout pour être heureux de Cyril Gelblat

À la télévision

•2010 : L'Ombre du Mont-Saint-Michel, téléfilm français de Klaus Biedermann

•2017 : The Package (더 패키지, Deo Paekiji), série télévisée sud-coréenne, où le groupe de touristes y fait une étape lors de leur voyage en France.

En philatélie

•Dès 1930 la poste a émis un timbre de 5 Francs brun.

•En 1966, un nouveau timbre de 25 centimes, noir, vert et rouge sur paille est émis à l'occasion du millénaire de l'abbaye du Mont-Saint-Michel.

•En 1998, nouveau timbre de 3 francs, multicolore. Ce timbre sera élu plus beau timbre de l'année.

•En 2006, la poste dans une émission commune avec les Nations unies de Genève émet deux timbres dont l'un est le mont Saint-Michel et son abbaye (Manche) dont la valeur est de 90 centimes d'euro. Le thème était : Monuments. Patrimoine mondial48.

En numismatique

•Le mont Saint-Michel est représenté sur la pièce de 20 francs Mont-Saint-Michel (1992-2001).

Dans les jeux vidéo

•Le mont Saint-Michel est représenté dans Onimusha 3.

•Le mont Saint-Michel est une des merveilles mondiales qu'il est possible de construire dans le jeu Civilization VI.

•Le mont Saint-Michel est représenté à l'époque de la Renaissance dans Assassin's Creed Brotherhood, jeu vidéo édité par Ubisoft Montréal. La ville est en effet proposée comme terrain de jeu (« carte ») pour des parties multijoueurs dans le premier contenu téléchargeable sorti en décembre 201049,50.

•Dans Kingdom Hearts 3D, le mont Saint-Michel est une partie du monde Pays des Mousquetaires. On en entend aussi parler dans certains dialogues.

•Le mont Saint-Michel est présent sur une des jaquettes du jeu Castlevania: Symphony of the Night.

  

Featured speakers:

 

-Juan Martinez

-Majora Carter

-Michael Gale

 

Alchemy, the business strategy consulting firm, was on hand at the Conserving the Future conference to help visually map out the future of conservation.

I thought Paul could use his own equivalent to Sam's food-themed pants.

We like to share the insider's scoop about the people who carry out the important work of protecting and conserving fish, wildlife, plants, and their habitats along the central and Southern California coast. Meet one of U.S. Fish and Wildlife Service Directorate Resource Assistants Fellows, Andrew Dennhardt:

 

What led you to a career with the U.S. Fish and Wildlife Service?

 

My passion for people, research, education, and wildlife conservation led me to a summer fellowship with the Service, and I look forward to transitioning this position into a lifelong career with the Service. Growing up with self-proclaimed “land stewards” as parents, our family visited many conservation festivals together, and one particular celebration, called “Bald Eagle Days,” first introduced me to local agents of the Service as well as to their daily work with and passions for wildlife. Early on, I knew that I wanted to explore this agency more in the future, and I have now been afforded the unique opportunity to do so as part of my summer fellowship experience. I am especially grateful to the Service’s Directorate for sponsoring such an incredible program for both undergraduate and graduate students, early-career folks just as passionate about addressing today’s conservation challenges.

 

What role do you play within the agency?

 

I work in Ecological Services as part of the Listing and Recovery Division in the Ventura, California field office. My primary role is to develop a draft management and monitoring plan for the federally-endangered least Bell’s vireo in the Santa Clara River watershed of Southern California, a potential source location for helping populate other historically-occupied areas of the vireo’s range. Further exploring the agency, my secondary roles involve sitting in on various topic-relevant meetings and assisting my coworkers with scientific outreach programs and other projects.

 

Where did you go to school and what did you study, and/or for which military branch did you serve and in what capacity?

 

I received my Bachelor’s degree in Zoology, with a minor in Environmental Studies, from Southern Illinois University, during which I researched natal dispersal in peregrine falcons of the U.S. Midwest. Later, I received my Master’s degree in Wildlife and Fisheries Resources from West Virginia University, during which I researched the migration and population ecology of golden eagles in eastern North America. In the near future, I will be completing my doctoral degrees in Fisheries and Wildlife as well as Ecology, Evolutionary Biology, and Behavior at Michigan State University, and my dissertation research describes multi-year fish and landbird community responses to environmental and anthropogenic factors in the Great Lakes region.

 

Of all the species our agency works to protect along the central California coast, which is your favorite? Why?

 

The California condor is my favorite species that our agency works to protect along the central California coast. Not only do I favor these condors because I am a raptor fanatic, but I also favor them for their incredible life history and conservation story. These Pleistocene-period birds are one of the largest and most powerful soaring raptors in the world, which readily warrants our protection and appreciation. Despite their awesome appeal, these birds are also very sensitive to lead poisoning. These and other reasons make California condors exciting to research, protect, and conserve here in Region 8.

 

Tell us about a particular project from your career or schooling that makes you really proud.

 

My Master’s research was quite the challenge in its day. For the first time in my education, I was asked to code computer programs, particularly those that would predict the migration patterns of a rare soaring raptor in response to updrafts in the environment. To boot, I was also tasked with collating historic records on sightings of these rare birds across a large geographic region, in order to later integrate such records with relevant outputs from my migration simulations. Together, these data would be used to generate population abundance estimates for the region, and with the help of several mentors and other collaborators, I found a way to do just that. After first witnessing the scientific community receive and later cite my work, I have never felt so proud of a personal accomplishment.

 

How do you spend your free time?

 

During my free time, I like to partake in sports such as hunting, fishing, hiking, football, biking, volleyball, ultimate frisbee, softball, and basketball. Given my love of raptors and other birds, I also enjoy getting out to observe our feathered friends in wild places every now and then.

 

Do you have a hidden talent? If so, what is it?

 

I am not ashamed to admit that I like to impersonate animals and sometimes other people. I also like to think that I am pretty good at it, depending on the subject of my flattering imitations. Perhaps the best proof of my skills in this area is that several years ago, I was told by my supervisors at the time that one of the main reasons they had hired me for one of the technician positions at our consulting company was because a former supervisor of mine at the U.S. Forest Service had told them that, during a reference call, I was “an excellent replicator of owl calls.” Needless to say, I had a real hoot that summer surveying the California Redwood Coast for Northern spotted owls, and I often did not need to use the electronic callers. Those were the days!

 

A visit to Beaumaris Castle on the Isle of Anglesey in Wales. Our 2nd visit in around 20 years.

 

Within the Inner Wall of Beaumaris Castle.

  

Beaumaris Castle (Welsh: Castell Biwmares), located in the town of the same name on the Isle of Anglesey in Wales, was built as part of Edward I's campaign to conquer the north of Wales after 1282. Plans were probably first made to construct the castle in 1284, but this was delayed due to lack of funds and work only began in 1295 following the Madog ap Llywelyn uprising. A substantial workforce was employed in the initial years under the direction of James of St George. Edward's invasion of Scotland soon diverted funding from the project, however, and work stopped, only recommencing after an invasion scare in 1306. When work finally ceased around 1330 a total of £15,000 had been spent, a huge sum for the period, but the castle remained incomplete.

 

Beaumaris Castle was taken by Welsh forces in 1403 during the rebellion of Owain Glyndŵr, but was recaptured by royal forces in 1405. Following the outbreak of the English Civil War in 1642, the castle was held by forces loyal to Charles I, holding out until 1646 when it surrendered to the Parliamentary armies. Despite forming part of a local royalist rebellion in 1648 the castle escaped slighting and was garrisoned by Parliament, but fell into ruin around 1660, eventually forming part of a local stately home and park in the 19th century. In the 21st century the ruined castle is managed by Cadw as a tourist attraction.

 

Historian Arnold Taylor described Beaumaris Castle as Britain's "most perfect example of symmetrical concentric planning". The fortification is built of local stone, with a moated outer ward guarded by twelve towers and two gatehouses, overlooked by an inner ward with two large, D-shaped gatehouses and six massive towers. The inner ward was designed to contain ranges of domestic buildings and accommodation able to support two major households. The south gate could be reached by ship, allowing the castle to be directly supplied by sea. UNESCO considers Beaumaris to be one of "the finest examples of late 13th century and early 14th century military architecture in Europe", and it is classed as a World Heritage site.

  

Grade I listed building

 

Beaumaris Castle

 

History

 

Beaumaris Castle was begun in 1295, the last of the castles built by Edward I to create a defensive ring around the N Wales coast from Aberystwyth to Flint. The master mason was probably James of St George, master of the king's works in Wales, who had already worked on many of Edward's castles, including Harlech, Conwy and Caernarfon. Previously he had been employed by Philip of Savoy and had designed for him the fortress palace of St Georges d'Esperanche.

 

Unlike most of its contemporaries, Beaumaris Castle was built on a flat site and was designed on the concentric principle to have 4 defensive rings - moat, outer curtain wall, outer ward and inner curtain wall. It was originally intended to have 5 separate accommodation suites. In the event they were not built as work ceased c1330 before the castle was complete. A survey made in 1343 indicates that little has been lost of the fabric in subsequent centuries, despite being besieged during the revolt of Owain Glyndwr. However it was described as ruinous in 1539 and in 1609 by successive members of the Bulkeley family, who had settled in Anglesey and senior officials at Beaumaris from the C15, although they were probably unaware that the castle had never been finished. During the Civil War the castle was held for the king by Thomas, Viscount Bulkeley, who is said to have spent £3000 on repairs, and his son Colonel Richard Bulkeley. After the Restoration it was partly dismantled. The castle was purchased from the crown by the 6th Viscount Bulkeley in 1807, passing to his nephew Sir Richard Bulkeley Williams-Bulkeley in 1822. Sir Richard opened the castle grounds to the public and in 1832 Princess Victoria attended a Royal Eisteddfod held in the inner ward. Since 1925 it has been in the guardianship of the state, during which time the ruins have been conserved and the moat reinstated.

 

Exterior

 

A concentrically planned castle comprising an inner ward, which is square in plan, with high inner curtain wall incorporating gatehouses and towers, an outer ward and an outer curtain wall which is nearly square in plan but has shallow facets to form an octagon. The outer curtain wall faces the moat. The castle is built mainly of coursed local limestone and local sandstone, the latter having been used for dressings and mouldings. Openings have mainly shouldered lintels.

 

The main entrance was the S side, or Gate Next the Sea. This has a central gateway with tall segmental arch, slots in the soffit for the drawbridge chains, loop above it and machicolations on the parapet. The entrance is flanked by round gatehouse towers which, to the L, is corbelled out over a narrower square base set diagonally, and on the R is corbelled out with a square projecting shooting platform to the front. The towers have loops in both stages, and L-hand (W) tower has a corbelled latrine shaft in the angle with the curtain wall. The shooting platform has partially surviving battlements, and is abutted by the footings of the former town wall, added in the early C15. On the R side of the gatehouse is the dock, where the curtain wall has a doorway for unloading provisions. The dock wall, projecting at R angles further R has a corbelled parapet, a central round tower that incorporated a tidal mill and, at the end, a corbelled shooting platform, perhaps for a trebuchet, with machicolations to the end (S) wall. The E side of the dock wall has loops lighting a mural passage.

 

The curtain walls have loops at ground level of the outer ward, some blocked, and each facet to the E, W and N sides has higher end and intermediate 2-stage round turrets, and all with a corbelled parapet. The northernmost facet of the W side and most of the northern side were added after 1306 and a break in the building programme. The towers at the NW and NE corners are larger and higher than the other main turrets. On the N side, in the eastern facet, is the N or Llanfaes Gate. This was unfinished in the medieval period and has survived much as it was left. The gateway has a recessed segmental arch at high level, a portcullis slot and a blocked pointed arch forming the main entrance, into which a modern gate has been inserted. To the L and R are irregular walls, square in plan, of the proposed gatehouse towers, the N walls facing the moat never having been built. Later arches were built to span the walls at high level in order to facilitate a wall walk. The NE tower of the outer curtain wall has a corbelled latrine shaft in the angle with the E curtain wall, and in the same stretch of wall is a corbelled shaft retaining a gargoyle. The SE tower also has a corbelled latrine shaft in the angle with the E curtain wall.

 

In the Gate Next the Sea the passage is arched with 2 murder slots, a loop to either side, and a former doorway at the end, of which draw-bar slots have survived. In the R-hand (E) gatehouse is an irregular-shaped room with garderobe chamber. On its inner (N) side are mural stair leading to the wall walk and to a newel stair to the upper chamber. The upper chamber has a fireplace with missing lintel, and a garderobe. The L-hand (W) gatehouse has an undercroft. Its lower storey was reached by external stone steps against the curtain wall, and retains a garderobe chamber and fireplace, formerly with projecting hood. The upper chamber was reached from the wall walk.

 

On the inner side facing the outer ward, the outer curtain wall is corbelled out to the upper level, except on the N side where only a short section is corbelled out. To the W of the gatehouse are remains of stone steps to the gatehouse, already mentioned, and stone steps to the wall walk. Further R the loops in the curtain wall are framed by an arcade of pointed arches added in the mid C14. The curtain wall towers have doorways to the lower stage, and were entered from the wall walk in the upper stage. In some places the wall walk is corbelled out and/or stepped down at the entrances to the towers. On the W side, the southernmost facet has a projecting former garderobe, surviving in outline form on the ground and with evidence of a former lean-to stone roof. Just N of the central tower on the W side are the footings of a former closing wall defining the original end of the outer ward before the curtain wall was completed after 1306. Further N in the same stretch of wall are stone steps to the wall walk. The NW corner tower has a doorway with draw-bar socket, passage with garderobe chamber to its L, and a narrow fireplace which formerly had a projecting hood. The upper stage floor was carried on a cross beam, of which large corbels survive, and corbel table that supported joists. In the upper stage details of a former fireplace have been lost.

 

In the Llanfaes Gate the proposed gatehouses both have doorways with ovolo-moulded surrounds. The L-hand (W) doorway leads to a newel stair. The NE curtain wall tower is similar to the NW tower, with garderobe, fireplaces and corbels supporting the floor of the upper stage. Both facets on the E side have remains of garderobes with stone lean-to roofs, of which the northernmost is better preserved. The SE tower was heated in the upper stage but the fireplace details are lost. In the dock wall, a doorway leads to a corbelled mural passage.

 

The inner ward is surrounded by higher curtain walls with corbelled parapets. It has S and N gatehouses, and corner and intermediate round towers in the E and W walls. The towers all have battered bases and in the angles with the curtain walls are loops lighting the stairs. The curtain walls have loops lighting a first floor mural passage, and the S and N sides also have shorter passages with loops in the lower storey. The inner curtain wall has a more finely moulded corbel table than the outer curtain wall, and embattlements incorporating arrow loops. The main entrance to the inner ward was by the S Gatehouse. It has an added barbican rectangular in plan. The entrance in the W end wall has a plain pointed arch, of which the voussoirs and jamb are missing on the L side. The S wall has 3 loops and 2 gargoyles, the L-hand poorly preserved, and has a single loop in the E wall. Inside are remains of stone steps against the E wall leading to the parapet. The 2-storey S gatehouse has a 2-centred arch, a pointed window above, retaining only a fragment of its moulded dressings, spanned by a segmental arch with murder slot at high level. The towers to the R and L are rounded and have loops in the lower stage, and square-headed windows in the middle stage.

 

The SW, W (Middle) and NW towers have similar detail, a loop in the lower stage and blocked 2-light mullioned window in the middle stage. The 3-storey N Gatehouse, although similar in plan and conception to the S Gatehouse, differs in its details. It has a central 2-centred arch and pintles of former double gates. In the middle storey is a narrow square-headed window and in the upper storey a 2-light window with cusped lights and remains of a transom. A high segmental arch, incorporating a murder slot, spans the entrance. The rounded towers have loops in the lower stage. The R-hand (W) has a window opening in the middle storey, of which the dressings are missing, and in the upper storey a single cusped light to the N and remains of a pair of cusped lights, with transom, on the W side. The L-hand (E) tower has a single square-headed window in the middle storey (formerly 2-light but its mullion is missing) and in the upper storey a single cusped light and square-headed window on the E side. The NE and SE towers are similar to the towers on the W side. In the middle of the E curtain wall is the chapel tower, which has 5 pointed windows in the middle storey.

 

The S gateway has a well-defended passage. The outer doorway has double draw-bar sockets, followed by a portcullis slot, 4 segmental arches between murder slots, loops in each wall, then another portcullis slot and a segmental arch where the position of a doorway is marked by double draw-bar sockets. Beyond, the passage walls were not completed, but near the end is the position of another doorway with draw-bar socket and the base of a portcullis slot.

 

The gatehouses have a double depth plan, but only the outer (S) half was continued above ground-floor level. The N side has the footings of guard rooms, each with fireplaces and NE and NW round stair turrets, of which the NW retains the base of a newel stair. Above ground floor level the N wall of the surviving building, originally intended as a dividing wall, has doorways in the middle storey. Both gatehouses have first-floor fireplaces, of which the moulded jambs and corbels have survived, but the corbelled hood has been lost.

 

Architectural refinement was concentrated upon the N gatehouse, which was the principal accommodation block, and the chapel. The S elevation of the N gatehouse has a central segmental arch to the entrance passage. To its R is a square-headed window and to its L are 2 small dressed windows, set unusually high because an external stone stair was originally built against the wall. In the 5-bay middle storey are a doorway at the L end and 4 windows to a first-floor hall. All the openings have 4-centred arches with continuous mouldings, sill band and string course at half height. The R-hand window retains a transom but otherwise no mullions or transoms have survived. Projecting round turrets to the R and L house the stairs, lit by narrow loops. To the N of the R-hand (E) stair tower the side wall of the gatehouse has the segmental stone arch of a former undercroft.

 

The N gate passage is best described from its outer side, and is similar to the S gate. It has a doorway with double draw-bar sockets, portcullis slot, springers of former arches between murder slots, loops in each wall, another portcullis slot, a pointed doorway with double draw-bar sockets, doorways to rooms on the R and L, and a 3rd portcullis slot. The gatehouses have, in the lower storey, 2 simple unheated rooms. The first-floor hall has pointed rere arches, moulded C14 corbels and plain corbel table supporting the roof, a lateral fireplace formerly with corbelled hood, and a similar fireplace in the E wall (suggesting that the hall was partitioned) of which the dressings are mostly missing. Rooms on the N side of the hall are faceted in each gatehouse, with fireplaces and window seats in both middle and upper storeys. Stair turrets have newels stairs, the upper portion of which is renewed in concrete on the W side.

 

The Chapel tower has a pointed rubble-stone tunnel vault in the lower storey. In the middle storey is a pointed doorway with 2 orders of hollow moulding, leading to the chapel. Above are 2 corbelled round projections in the wall walk. The chapel doorway opens to a small tunnel-vaulted lobby. Entrance to the chapel itself is through double cusped doorways, which form part of a blind arcade of cusped arches with trefoiled spandrels, 3 per bay, to the 2-bay chapel. The chapel has a polygonal apse and rib vault on polygonal wall shafts. The W side, which incorporates the entrance, also has small lancet openings within the arcading that look out to the mural passage. Windows are set high, above the arcading. The W bay has blind windows, into which small windows were built that allowed proceedings to be viewed from small chambers contained within the wall on the N and S sides of the chapel, reached from the mural passage and provided with benches.

 

The SW, NW, NE, SE and the Middle tower are built to a standard form, with round lower-storey rooms, octagonal above. They incorporate newel stairs, of which the NW has mostly collapsed, and the SW is rebuilt in concrete at the upper level. The lower storey, which has a floor level lower than the passage from the inner ward, was possibly used as a prison and has a single inclined vent but no windows. Upper floors were supported on diaphragm arches, which have survived supporting the middle storeys of the Middle and SE towers, whereas the SW and NE towers retain only the springers of former arches, and the NE tower has a diaphragm arch supporting the upper storey. In the middle storey of each tower is the remains of a fireplace with corbelled hood.

 

Each section of curtain wall contains a central latrine shaft, with mural passages at first-floor level incorporating back-to-back garderobes. The N and S walls also have short mural passages in the lower storey to single garderobes in each section of wall. Mural passages have corbelled roofs. The S side is different as it has tunnel-vaulted lobbies adjacent to the towers, between which are short sections of corbelled passage with garderobes. The wall walk also incorporates back-to-back latrines, in this case reached down stone steps.

 

There is evidence of buildings within the inner ward. Footings survive of a building constructed against the E end of the N wall. In the curtain wall are 2 fireplaces, formerly with corbelled hoods, to a first-floor hall. On the S side of the chapel tower is the stub wall of a larger building. On the N side of the W curtain wall are the moulded jambs of a former kitchen fireplace, and adjacent to it against the N wall is the base of a bake oven. On the E side of the S curtain wall the wall is plastered to 2-storey height.

 

Reasons for Listing

 

Listed grade I as one of the outstanding Edwardian medieval castles of Wales.

Scheduled Ancient Monument AN001

World Heritage Site

  

corridor - South-West Tower to North-West Tower. While here I also went up to the top of the walls for the Inner Wall Walk.

NEW JERSEY’S BALD EAGLE POPULATION CONTINUES TO SOAR

January 14th, 2016

 

CONSERVE WILDLIFE FOUNDATION OF NEW JERSEY RELEASES RESULTS OF 2015 STATE BALD EAGLE REPORT

 

by Lindsay McNamara, Communications Manager

 

Conserve Wildlife Foundation of New Jersey today released the 2015 Bald Eagle Report, highlighting the number of nesting pairs, active nests and nest productivity for the raptors throughout New Jersey with data collected by New Jersey Department of Environmental Protection Division of Fish and Wildlife biologists, CWF biologists and committed volunteers.

 

“With 161 pairs of bald eagles this past year — up from just a single nest in the early 1980’s — the dramatic ongoing recovery of bald eagles across the northeast continues to inspire so many of us,” said David Wheeler, Conserve Wildlife Foundation Executive Director. “The thrill of seeing a bald eagle fly across the sky is unparalleled. This report captures how these eagles are continuing their All-American return.”

 

The report notes that thirteen new eagle pairs were found this season, nine in the south, two in Central Jersey and two in Northern New Jersey.

 

For more info: www.conservewildlifenj.org/blog/2016/01/14/new-jerseys-ba...

Coventry Transport Museum opened in 1980, after it became clear that the road transport collection was outgrowing the space it occupied in the Herbert Art Gallery & Museum. The Museum’s current collection of vehicles is acknowledged as being one of the finest in the world, and the largest in public ownership.

The Museum’s collection consists of motor cars, commercial vehicles, cycles and motorcycles. In addition, extensive collections of automobilia, books, photographs and a wealth of other archive material is held and conserved at the Coventry History Centre at the Herbert Art Gallery & Museum.

 

365/201 #2022PAD

On October 30, 2013, the U.S. Fish and Wildlife Service designated the Urban Oases project in the New Haven Harbor Watershed as an urban wildlife refuge partnership. The designation is under the Service's Urban Refuge Initiative which grows out of the 2011 Conserving the Future vision, which sets a strategic path for the National Wildlife Refuge System for the next ten years and beyond.