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The smooth surface of the Marina Bullnose Coping Unit offers many opportunities that are only limited by your imagination. Whether you are looking for something to surround your pool or searching for a unique step application, the Marina coping will complement many of the pavers and walls within the Belgard collection.
Hooray for GMO technology. It can only lead to better places and bigger things. In the future, hummingbirds produce humdingers, not eggs. They're (the eggs) simply huge. Now THAT'S progress!
Master your craft! Katz roadshow in action at JLC Live in Providence. On a mission to teach builders proper installation techniques, learn more at www.katzroadshow.com/
I think the ferns are Maidenhair Spleenwort (Asplenium trichomanes)
Tenacious plants growing on next to nothing, they must be good at holding on to water.
A wall on Inch Abbey. discovernorthernireland.com/things-to-do/inch-abbey-p675371 beside where I live
Orchestral Manoeuvres In The Dark - King Of Stone
A Vietnamese mother with child in a refugee camp on Koh Paed Island.
01/01/1978. Koh Paed, Laeom Sing, Thailand. UN Photo/Saw Lwin. www.un.org/av/photo/
Posted by Lauren Cohan (Maggie) - how are we coping with sundays... doing a live facebook Q&A tomorrow at 3p/6p pacific/eastern… t.co/dHHXtQEeku #LaurenCohen #TWD #TheWalkingDead
Source: walkingdead.affiliatebrowser.com/how-are-we-coping-with-s...
Pool: Freeform Med Gunite
Plaster: "Blue" Regular Series by Quartzscapes
Coping: Sterling Gray TX Bullnose 12"
Tile: Tivoli Stone-Blue 6x6
Features: Tanning Ledge, 3 Bubblers, 6' Waterfall, 3 Barstools
Decking: Broom Finished Concrete
Furniture: Ledge Loungers & Umbrella in ledge
Since I often have no words or can’t even speak, I tried to capture one aspect of how I feel due to the awful, ongoing effects of experiencing unspeakable trauma—“blocked off,” trapped, isolated, alone, “figuratively disfigured,” stuck in the dark with perhaps some distant light noticeable once in a while, awful.
After creating these self portraits I was compelled to find a way to print these photos at home so I could share them with my psychologist at my neurofeedback therapy appointment—I write out and take notes since I’m not able to talk much and felt these photos would supplement my writing and perhaps give a look into how I feel.
Once I had processed the photos and decided on a sequence for the images, I noticed they seemed to show me a progression—the first image being completely stuck in a state of panic, shut down, hardly surviving, believing I’m not allowed to and not really being able to even try to look for help or support. And in the progression I came up with, the pictures seemed to show me a story—my own story—of very slowly, over time becoming more courageous, stronger, showing more awareness, more capacity and drive to fight for survival, life, growth and healing.
Since most of our belongings are packed up and in storage I don’t have access to much and I was able to find some (very lightweight) sewing thread and a very flimsy needle my daughter had here with her and I used our low budget home printer to create this little collection of photos. Normally I wouldn’t use such low quality items for something like this. I didn’t have much to work with and I was determined to not let this completely stop me from creating. I have since made a few more little photo collections like this and this practice and process has been very helpful in my coping and healing journey. I’m so thankful I gave this a try and for how I find this process to be therapeutic and how it helps me continue to grow.
[self portraits created on 1-17-2024, photos of printed images captured on 1-18-2024]
____________________________
As a way to cope with circumstances beyond my control, survive and work to keep fighting for life I decided to try to take at least one photo (or more) each day. I call this “a photo (or more) a day.” Practicing this form of therapeutic photography helps me work to focus on the present moment, gives me something familiar and enjoyable to focus on as I use photography skills that have become like second-nature to me and being able to view the images I capture helps me recall what I was thinking, feeling and noticing at the moment when I created the photos. More of the photos from this series can be seen on my Instagram account
I may not always have the energy, time or capacity to share photos from this series—especially with the very challenging circumstances my family and I are experiencing—and will do my best to continue taking a photo (or more) a day even if I’m not able to share.
If you would like to support my work and my family, one way you can do so is by ordering my zines:
Many thanks for your support.
Last night we had a low of -11F, windchill of -35. I waited until the temps climbed to 6F before venturing out. The Subaru fired up on the first crank which amazed me!
This is a rare selfie with Patagonia balaclava and dome hat. It's the first time since last winter I've resorted to North Face McMurdo parka, I only need it a few days each winter. I would probably wear it more often but it's a heavy, bulky coat and unless we're having extreme weather I prefer to use a down coat with several layers. I'm very lucky and very grateful to have a warm place to stay and warm clothes to wear. A day doesn't go by that I don't think of the Syrians braving the winter in refugee camps, or the homeless stateside sleeping on heating grates.
I had bird food out early and was happy to see my peeps mourning doves all lined up on the window sill, all puffed up like big feathery softballs.
Travertine Pavers - Back Yard Pool Design - Long Island NY
deckandpationaturalstones.com/travertine-pavers-pool-pati... colored travertine Vincenza pattern pool patio and coping The mixture of two distinct styles into it's possible to be considered a perplexing, sensitive, and risky try to begin. Without correct learning both disciplines, which involve stringent design features, a general project can become a victim of subpar, imperfect, and crude results. It is known any particular one plus One doesn’t always equal two, which is true in this particular design, in which the design team of Gappsi Inc. in cooperation with Paving Stone Select, have seamlessly incorporated Classic and Contemporary to generate a hybrid design which includes no official label, but they can simply be called Devine.Situated in Lake Grove, New York 11755, this Suffolk County home exemplifies the harmonious marriage between Classical influences {inside a|in just a} very modern and contemporary pool design. This project right from the start took it's origin from the homeowners passion for an all natural freeform pool, which Gappsi Pools could bring a custom made cement wall pool with constructed in radius stairs. The swimming pool is designed with forms which are full of cement and reinforced with three eighths rebar running parallel through the single pour walls and steps. The benefits of cement wall pools when compared with either Steel Wall or Fiberglass are plenty of, strength being one primary factor. Steel Wall pools are susceptive to rusting out while Fiberglass pools over time begin to crack and lose strength from sun exposure. Overall Concrete wall pools are far better than your competition, using its versatility of shape and customizable additions for example built-in radius stair, bench seat, and fully encased returns and filter catches. After the pour has already established the perfect time to cure the forms are removed and across the walls and stairs a skinny padding membrane is added, then the bottom from the pool is formed giving perfect contours and edges all around. Clients are in a position to choose whether hard bottom or soft bottom pool, both of them are used universally, but a tough bottom is really a very popular option. Built with pool the client wanted a spa feature that spilled over to the main lake. Set eighteen inches over the pool level the spa includes a soothing and calming cascade which heats the primary pool water. The classical theme in this design is incorporated inside the spa spill over. The eighteen inch rise to support the spa becomes a highlight wall how the design team wrapped across the pools deep end to offer a multi-level patio. With full radiuses that encompass the swimming pool the accent wall adds classical elements of design that bring a focus towards the vertical rise adding more cascading water fountains by means of lion heads, a quintessential old school design element. The design teams’ vision ended up being to have a very raised patio area that does not only served accessibility spa but because a multifunctional position for seating, sunbathing or perhaps a jumping platform. This region contains a free formed bump out as added space for any portable bar and chairs used by light lunches and drink station, fully maximizing the outdoor space to enjoy during Long Island summers. Built inside the enclosed eighteen inch wall, four foot linear step treads brings you back off towards main patio for both sides, giving All over access. The Eighteen inch rise is carried through the entire design and it is used also like a seating wall across the fireplace area. These elements of design bring classical attributes which are extremely practical available and wrap the freeform patio into a unique entity, outside of the principle patio close to the back of the house. Built upon an eighteen inch footing the walls are constructed from the concrete wall system inside a Golden Brown color. The wall product is created by Nicolock paving company and is also the Mini Colonial Wall system as well as the cap is Paving Stone Select’s Signature Natural Travertine coping within the Crema color. Keeping inside the same material the Travertine coping is usually used throughout the pool’s edge. The contrast from the soft travertine appear and feel with all the darker textured wall system draws your eyes towards the overall appeal of the work. The vertical rise around the fireplace can also be the Nicolock wall system bringing continuity towards the project in general. The primary pool patio along with its upper patio area is laid with Paving Stone Select’s Signature Natural Travertine Vincenza four piece pattern, splitting up the patio lines and providing an arbitrary stone being similar to a roman bath house. These stones were important to the whole project because of their ability to withstand the tough heat emitted through the sun and remain cool in addition to keeping their color as long as the patio stands. To add another element towards the laid stone the style team turned top of the patios’ stones over a forty-five degree angle giving a brand new depth towards the stones pattern and splitting up the monotony from the lines running within the same plane. Such small intricate design features separates Paving Stone Select and also the Gappsi design team from your competition without costing the client any other charges. The appearance of this pool patio continues and is also tied into another free flowing main patio but is balanced and separated through the landscape team that built-in elegant flower beds and areas for grass. Bringing bright colors and deep green foliage into the design helps breath life, growth and essence of nature’s best qualities. Manicured and strategically placed flowering plants with annual evergreens give the homeowners a low maintenance landscape with function that softens the raised wall and larger paved area. The grass is raised towards the upper patio seamlessly, mimicking can be of sand and sea, simple yet elegant. Through the entire project the style team’s main focus was balance. With balance beauty is achieved, as well as the customer remains having a unique backyard which brings admiration, appreciation, and delight to any or all visiting. The alliance associated with any free-form pool and patio with classical aspects of the circular raised wall which is carried completely round the swimming pool area accentuated by lion head fountain and spill over spa, unpretentiously announces its grace and glamor for all those to experience on the hot summer day.
Main phone 631-670-6868 or 1855-427-7741
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Paving Stone Select, is really a stone wholesale / Importer Distributor with the fallowing items: pavers and veneers of marble, granite, travertine, Sandstones, Limestone, Bluestones, quartzite, porphyry, slate, onyx and coral stones. For pools, patios, driveways, porches and steps, walkways and retaining walls the whole natural stones are selected and first quality. Our head quarter is within Smithtown long island New York therefore we supply and install throughout the USAhttp://deckandpationaturalstones.com/travertine-pavers-pool-patio.html
The Parish Church of St. Peter, near the centre of the town, has walls of Greensand ashlar and rubble and is roofed partly with lead and partly with modern materials. In the West Tower, 14th-century N. and S. arches indicate a building of that date; the rest of the tower, the Nave, the North Aisle and the West Porch are of the late 15th century; the South Aisle was rebuilt and enlarged in the 16th century. There is no chancel.
Architectural Description—The E. wall of the Nave has a chamfered plinth, a chamfered string-course below the sill of the E. window, and a gabled parapet of shallow inclination with a moulded coping and a hollow-chamfered string-course. The restored E. window (Plate 7) has five cinquefoil-headed lights with vertical tracery in a two-centred head. The N. and S. arcades have uniform two-centred arches with wave-moulded inner orders and hollow-chamfered outer orders; they spring from piers with four attached shafts alternating with vertical hollow-chamfers, with capitals with hollow-chamfered abaci and roll-mouldings, and with moulded bases, much mutilated. Above each arcade are four irregularly spaced clearstorey windows; those on the N. are of two square-headed lights with chamfered surrounds; in the S. clearstorey the windows are of two and three lights with trefoil two-centred heads in casementmoulded square-headed surrounds. The clearstorey walls have parapets with string-courses and copings continuous with those of the E. gable.
The North Aisle has an E. window of two trefoil-headed lights with vertical tracery in a moulded four-centred head with continuous jambs; over it, a moulded and hollow-chamfered parapet string-course is inclined in correspondence with the low-pitched roof. Above, a horizontal parapet, embattled and enriched as on the N. wall (see below), dies into the sloping string-course. The N. wall has four windows with moulded two-centred heads, continuous jambs and moulded labels; each opening is divided into two lights by a mullion which runs straight from sill to apex. The N. doorway has a two-centred head of two chamfered orders with continuous jambs and a moulded label; the wall is thinner near the doorway than elsewhere, but an internal corbel-table above the doorway carries the masonry out to its normal thickness. The N. wall has an elaborate embattled parapet with a hollow-chamfered string-course and a frieze of blind quatrefoils with bosses carved with heraldic devices including Tudor roses, portcullises, suns and crescents, crossed sheaves of arrows, and embowed dolphins; over these is an upper frieze of pierced panels with cusped diagonal and vertical tracery, and merlons with trefoil-headed panels and continuous chamfered and roll-moulded coping. At intervals along the parapet, pinnacles with panelled, trefoil-headed sides and gable-headed finials rise from gargoyles on the string-course. High up in the W. wall of the N. aisle is a small window of two square-headed lights; above, the embattled parapet continues horizontally (Plate 62).
In the South Aisle the masonry of the E. wall appears to be in two parts, that on the S. resulting from the 16th-century widening of the aisle. An E. doorway with a chamfered four-centred head, below floor-level in the early part of the aisle, presumably gave access to a crypt in the 15th-century structure; it is now blocked. The 16th-century E. window is of four segmental-headed lights in a chamfered square-headed surround. Above, the plain wallhead is raised slightly at the centre, following the shallow slope of the double-pitched lead roof. The S. wall has windows of two chamfered square-headed lights flanking a buttress of two weathered stages; further W. is a reset 15th-century window of three cinquefoil-headed lights in a chamfered square-headed surround. The W. wall has a window similar to that on the E., its lower part masked by the upper storey of an adjacent house (8). The Crypt below the S. aisle is of the 16th century. The S. wall has square-headed windows, and a blocked square-headed doorway; at the W. end is a fireplace with a deep cambered bressummer and a chimneybreast with weathered offsets; it is disused and a modern window opens in the S. wall. The W. wall contains a blocked doorway which formerly opened into the house.
The West Tower is of three stages. At the base is a moulded plinth; the stages are defined by hollow-chamfered stringcourses; at the top is an embattled parapet with a moulded coping and a parapet string-course with corner gargoyles. The top stage has corner pilasters which continue through the parapet and end in crocketed finials. The lower stages have weathered diagonal buttresses on the N.E. and S.E. corners and square-set three-stage buttresses to N. and S. on the W. side; the S. side has three square-set buttresses irregularly spaced, that on the W. being a raking buttress of uncertain date built on the lower part of a mediæval buttress. The polygonal vice turret on the N.W. corner of the tower continues through all stages and ends in a pyramidal stone capping, level with the parapet finials. The E. tower arch is two-centred and of three orders, the inner order wave-moulded, the others hollow-chamfered; the responds have attached shafts flanked by hollow-chamfers and wave mouldings, with moulded polygonal bases and capitals similar to those of the nave piers, but enriched with angels (now headless) bearing scrolls. The 14th-century N. and S. tower arches are two-centred and of two chamfered orders dying into plain responds. The S. arch is closed by a wall on the S. and is reinforced by a pier of rough masonry at the centre; adjacent to the pier is a blocked window with a chamfered two-centred head. The W. doorway has a moulded four-centred head and continuous jambs; above, the W. window has two 18th-century transomed square-headed lights, inserted in a 15th-century opening with a four-centred head and a moulded label. The second stage has small square-headed openings on the N. and E. Each face of the third stage has a belfry window of two trefoil-headed lights with a trefoil tracery light in a two-centred head with a moulded label.
Straight-joints show that the West Porch is later than the tower, albeit probably of the 15th century; it has a moulded plinth and a parapet with a hollow-chamfered string-course and a moulded coping; the string-course has foliate bosses. The diagonal western buttresses are of two weathered stages and above them are plain corner pinnacles, formerly with finials, now gone. The porch archway has a casement-moulded four-centred head with continuous responds and a label with square stops.
The Roof of the nave (Plate 66) is of 16th-century origin. It is divided into seven bays by heavily moulded main beams with raised centres; shafted timber wall-posts rising from moulded stone corbels support three of the beams and have curved braces with foliate spandrels. Similarly moulded ridge-beams and wall-plates intersect the main beams. On each side of the ridge each bay is divided into four panels by intersecting beams of lighter cross-section than the main beams; the panels are filled with plain boarding. In 1965 the roof was rebuilt in concrete, with the moulded 16th-century timbers suspended beneath it. The roof of the N. aisle is similar to that of the nave, but smaller in scale, having eight bays in its length; in 1969 it was in process of restoration.
The W. porch has a stone lierne Vault (Plate 10) with moulded ribs springing from angel corbels (two gone); the rib junctions have bosses carved with foliage, flowers, a blank shield and, at the centre, a large rose. Stone-panelled wall-arches extend the vault laterally to N. and S.
Fittings—Bells: six; treble by Thomas Purdue, inscribed 'A wonder great my eye I fix where was but 3 you may see six, 1684, T.P.'; 2nd inscribed 'When I doe ring prepare to pray, RA, TB, 1670'; 3rd inscribed 'Wm. Cockey Bell Founder 1738'; 4th inscribed '1738 Mr Henry Saunders & Mr Richard Wilkins Ch. Wds.'; 5th inscribed 'While thus we join in chearful sound may love and loyalty abound. H. Oram, C. Warden. R. Wells Aldbourne fecit MDCCLXXVI '; tenor by Thomas Purdue, inscribed 'When you hear me for to tole then pray to God to save the soul, anno domini 1672, TH, RW. CW. TP'. Brass and Indents: In N. aisle, stone floor-slab with central plate (17 by 3¾ ins.) with worn black-letter inscription of Stephen Payne (Hutchins III, 46), 1508 or 1514, and indents for four shields. Communion Rails: In eastern bay of N. and S. nave arcades, with stout turned oak balusters and moulded rails, late 17th century; defining two eastern bays of nave, with profiled flat balusters and moulded rails, 17th century, made up with modern work. Communion Tables: In S. aisle, of oak, with plain stretchers, heavy turned legs enriched with acanthus carving, and enriched rails with escutcheon dated 1631. Near N. doorway, of oak, with tapering octagonal legs with claw feet, arcuated rails, scrolled diagonal stretchers with turned finial at intersection, and beaded edge to top board, c. 1700. Font: (Plate 12) with octagonal bowl with two trefoil-headed sunk panels on each face and moulded underside, similarly panelled octagonal stem and plain octagonal base, 15th century; ovolo-moulded plinth, perhaps 17th century. Font cover, of wood, low eight-sided dome with moulded rim and ribs, 18th century. Glass: Five small panels reset in E. window of nave; (1) in a roundel with indecipherable inscription, shield-of-arms of Fitzjames impaling Newburgh (Sir John Fitzjames of Lewston, d. 1539, married Alice Newburgh of E. Lulworth); (2) former tracery light depicting Virgin and Child, c. 1500; (3) former tracery light with shield of Five Wounds, 15th century; (4) shield-of-arms of Eliot quartering another coat; (5) emblem of Trinity. Graffiti: on communion table in S. aisle, W.K., H.R.E.; on lead roof of tower, Jn. Reynolds, 1779.
Monument and Floor-slabs. Monument: In N. aisle, of Robert Woolridge, 1777, oval tablet with cherub and foliage. Floor-slabs: In nave, (1) of Walter Barnes, 1776, and his wives Elizabeth, 1729, Frances, 1757, and Mary, 1767, stone slab with shield-of-arms now indecipherable; (2) of Elizabeth Barnes, 1729, stone slab with inscription in architectural framework. In N. aisle, (3) of Stephen Payne, see Brass and Indents.
Niches: In N. aisle, in E. wall, with soffit carved to represent vaulting, formerly with canopy, pinnacles and corbel; in N.E. angle, with trefoil ogee head, carved enrichment at springing of soffit, shelf cut back; in N. wall, three ogee-headed niches, one with cinquefoil cusping, others trefoiled; externally, in N. wall of N. aisle, with crocketed ogee head and shafted jambs; over arch of W. porch, with canopied cinquefoil head and shafted jambs with crocketed finials; all 15th century.
Panelling: In nave, on E. wall, of oak, with moulded and shaped cornices and fielded panels surrounding tables of Creed, Decalogue etc., 18th century; in S. aisle, reset fragments with chip-carving and fielded panels, 17th and 18th century. Plate: includes undated Elizabethan silver cup by 'Gillingham' maker; silver paten inscribed 1714; silver stand-paten inscribed 'ex dono Thomae Hackny 1714'; large pewter flagon inscribed 'Shaston St. Peter's 1770'; with no marks; (some of these items may belong to Holy Trinity Church, proper attribution being impossible since the union of the two benefices). Poor-box: of oak, with foliate carving and inscription 'Remember the poore ', and with three locks, probably 17th century. Pulpit: of oak, polygonal, with fielded panels and moulded cornice, 18th century, base gone.
Rainwater Head: on S. wall of nave, of lead, inscribed I.M., R.W., 1674, with contemporary down-pipe. Royal Arms: see (3). Seating: incorporates twenty-three reused oak bench-ends with traceried decoration, 15th century; also one oak bench with beaded decoration, 17th century. Stoup: in W. porch, with bowl cut off, 15th century. Tables of Creed and Decalogue etc.: In nave, on panelled E. wall, with shaped and gilded frames, one panel with Creed, one with Lord's Prayer, two with Decalogue, 18th century.
PAvimento exterior y coronación de piscina en Albamiel /Albamiel Exterior floor and pool coping
Contácta con nosotros /contact us:
Tel: +34 968725656
info@rosalstones.com
Kim Stanley Robinson speaking with attendees at an event titled "The Comedy of Coping: Alarm and Resolve in Climate Fiction" hosted by the ASU Center for Science and Imagination, and the Virginia G. Piper Center for Creative Writing at Whiteman Hall at the Phoenix Art Museum in Phoenix, Arizona.
Please attribute to Gage Skidmore if used elsewhere.
Detail of one of the three 'Or Nué' copes that form part of the Vestments of the Order of the Golden Fleece. Designed between 1433 and 1442 by Robert Campin and commissioned by Philip the Good, Duke of Burgundy, they took about 30 years to make and are almost certainly the most expensive pieces of clothing ever made. Composed of a linen base completely covered with silk, gold and silver thread and many thousands of seed pearls - in some places there are over a thousand hand-stitches to an inch.
Now in the Kaiserliche Schatzkammer of the Hofburg, Vienna.
They are kept in a very dark room, for obvious reasons, and are almost impossible to photograph well.
Refugee children from Cambodia at the Ban Mai Rut refugee camp near Klong Yai, Thailand. There are about 5,200 refugees in this camp which has a permanent wooden structure and several new ones made of bamboo poles and thatched roofs and walls.
Photo ID 86026. 01/07/1979. Klong Yai, Thailand. UN Photo/John Isaac. www.unmultimedia.org/photo/
Refugees living at the Lubhini Transit Centre in Bangkok, Thailand. There are about 2,000 refugees in this camp from Cambodia, Vietnam and Laos and they will be going to the United States, Canada, Italy and France.
01/07/1979. Bangkok, Thailand. UN Photo/John Isaac. www.un.org/av/photo/
Vietnamese refugees living in their boats at the Government Dockyard in Kowloon, Hong Kong.
01/08/1979. Kowloon, Hong Kong. UN Photo/John Isaac. www.un.org/av/photo/
The idea being that young ladies, getting bored by the sermon, would be tempted to use their looking glasses to admire their appearance, and be admonished by what they read in a paraphrase of the First Epistle of Peter, Chapter One, Verse 24::
"All flesh is grasse and the glory of it is as the floure of the feilde"
The church of St Andrew, Trent, Dorset.
Listed Grade I.
Nave and north chapel of thirteenth century origin, altered and extended.
South tower and porch added early fourteenth century.
Chancel rebuilt in fifteenth century, when nave lengthened. Repairs of 1694 and 1729 (panels on south wall). Restoration of 1840. Organ
chamber and west vestry, nineteenth century additions.
Rubble-stone and ashlar walls. Stone slate and slate roofs, with gable-copings.
Nave has two fifteenth century three-light windows to north and south walls, much restored.
Immediately east of the eastern window are the E. splay and part of the cill of a medieval window, straight joint between the two indicating former extent of nave. fifteenth century west window is of three cinquefoiled lights with vertical tracery in a pointed head, with a moulded label and returned stops.
West doorway into vestry.
South tower, of three stages with angle buttresses with set-offs, finished with a trefoiled corbel-table with head corbels, a parapet of pierced quatrefoils and angle-pinnacles.
East wall of tower: ground window of two trefoiled lights with pointed trefoils and Y-tracery head. two-light window with Y-tracery to winging-chamber. Tall two-light window with Y-tracery and quatrefoil
in head, stone tracery to bell-openings. All have labels and head-stops.
South wall has a three-light window with trefoiled lights and geometrical tracery in head; the windows above are are similar to the east wall. Access to turret staircase in S.W. angle of tower, externally. N. wall of tower has a doorway to nave roof, with chamfered jambs and pointed head. Stone spire largely rebuilt, nineteenth century, octagonal
with ribbed angles.
South porch: outer archway, pointed and of one continuous chamfered order, moulded label and defaced head stops.
High pent roof against west face of the tower. Restored quatrefoil parapets.
The north chapel has a restored early fourteenth century E. window of three trefoiled ogee lights with tracery in a pointed head. Label and head-stops. North wall and windows are nineteenth century. West wall has a blocked lancet window, thirteenth century. Angle and clasping buttresses externally.
Chancel with diagonal and straight buttresses, and above them carved figures, fifteenth century.
East window is of four cinquefoiled ogee lights with vertical tracery in a pointed head. Label with returned stops. Both N. and S. walls have two windows of two lights, similar
design to E. window. West vestry, nineteenth century, of polygonal form, reset in the W. wall is a fifteenth century doorway with moulded jambs flanked by small square buttresses set diagonally.
Interior: Nave, north wall has fourteenth century archway, segmental pointed, to
N. chapel. Cavity in wall E. of this. E. wall has a fifteenth century lower doorway to the
road loft staircase, with moulded jambs and four-centred head. The upper doorway is square-headed.
Roofs: nave, mid-nineteenth century with depressed vaulting and angels holding Apostles' shields-of-arms at the springers. Porch, early fourteenth century of two bays, with moulded braces forming segmental arches, carved bosses, moulded corbels carved with heads and leaves.
Fittings: Rood-screen, oak, five bays including doorway, divided by grouped shafts supporting ribbed soffit of loft. Panelled
dado, six panels to a bay, with trefoiled ogee and crocketed heads, moulded and carved rail. Open upper panels of six cinquefoiled ogee lights with vertical tracery in pointed heads, fifteenth century.
Under arch to north chapel, low screen of oak, five bays divided by carved brackets, arched panels below and enriched above, mid-seventeenth century.
Doors: S. doorway, medieval. W. doorway, two leaves with four-centred head and panelled, fifteenth century. Pews and bench-ends, with moulded and panelled backs. Square-headed bench-ends carved with window-tracery, Apostles, symbols of Passion, etc, early sixteenth century. Some dated 1840 to match. Font-cover in tower, octagonal with base of quatrefoils and pierced traceried sides, fifteenth century.
Pulpit: octagonal, withcarved angles including figures, each face with cartouche below and figure-subject above, probably Dutch, c. 1600. Glass: chancel E. window, collection of sixteenth century and seventeenth century Swiss, German and other glass placed here in nineteenth century by Rev. Turner.
N. and S. windows have glass by Wailes, 1842, with figures of Apostles. Helmets, late sixteenth century and seventeenth century in north chapel.
Monuments, numerous, to Storke, 1530, Freestone effigies in N. chapel, both fourteenth century. Against arch to nave, monument of plain side-columns supporting an entablature with achievement-of-arms of Gerard impaling Coker, and painted decoration on respond at back. Soffit of arch above painted with a genealogical tree.
Seventeenth century monuments to Gerards, and to Sir Francis Wyndham, Bart, 1676.
Weathercock, on spire, copper with rounded body. On wings are the names of the rector, churchwardens, maker and date, George Gaylard, 1698.
ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA. Opinion - How Italy Coped, and Will Keep Coping. THE NEW YORK TIMES (04/05/2020).
ITALY - How Italy Coped, and Will Keep Coping. As Italians move toward a less stringent regimen to minimize their exposure to the coronavirus, they can take pride in an unusual collective effort.
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"Il grazie di tutti gli italiani a medici, infermieri, oss, farmacisti e a tutti coloro che direttamente e indirettamente stanno mettendo tutte le proprie energie per proteggere la nostra vita e quella dei nostri cari. Siete più che eroi".
Sig. Savethewall (nome d'arte di Pierpaolo Perretta), in: La Pietà di Michelangelo racconta l'emergenza coronavirus. La Repubblica / Milano (24/03/2020).
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CREMA, Italy — The first country outside Asia to experience the coronavirus pandemic on a large scale was Italy. It was the first to go into lockdown and impose a national quarantine, on March 9. And it is the part of Europe that suffered most. As of May 3, 29,000 people were known to have lost their lives because of Covid-19. The actual figures are likely to be higher, as they will be everywhere else. My northern region — Lombardy, Italy’s economic powerhouse — has registered half of the country’s deaths. Army truck convoys carried coffins to crematories around the country from Bergamo — where the death rate in March and April rose to more than four times what it was last year. Brescia, Lodi, Cremona and Crema — where I live — were also deeply affected. My hometown has been a ghost town for two months. People moaned but stayed at home.
On Monday, Italy started reopening, but cautiously. Limited outdoor activity will be allowed, and visits to relatives, partners and lovers (“affetti stabili,” the government called them, opening a national debate about what makes your affections stable). Factories and construction companies are allowed to go back to work. On May 18, it will be the turn of shops. On June 1, if the contagion rate stays down, bars and restaurants will reopen. Schools, stadiums, theaters and churches will remain closed. Face masks will be compulsory on public transportation and in confined public spaces. More coronavirus tests are available, and a contact-tracing app, based on Bluetooth technology, should be near distribution.
The path that Italy strode before getting to this point has repeated itself in every coronavira-stricken country. First, the underestimation; then the disbelief, the shock, the lockdown. Next, jokes shared on smartphones, mood swings, the reassurance of the national anthem. At that point, after two weeks of lockdown, reality kicked in. We realized that the challenge was a long-distance run, and we started running.
Here in Crema the hospital was being overwhelmed by patients, many needing intensive care; the Italian Army built a field hospital in a week, and a Cuban medical brigade, composed of 52 doctors and nurses, arrived on March 26. For the next three weeks — until after Easter — ambulance sirens filled the air under blue skies, blooming trees and the loveliest spring for years.
Now that we are beginning to relax the lockdown — cautiously, anxiously — perhaps we can say it: Italy coped. The national health system sustained the impact, although 153 doctors and over 50 nurses lost their lives, and thousands were infected. Sixty million people stayed at home and, by and large, followed the rules. That was a surprise, given our reputation for being undisciplined.
But is it surprising?
In Italy rules are not obeyed — or disobeyed — as they are elsewhere. We think it’s an insult to our intelligence to comply with a regulation without questioning it first. We want to decide whether a particular rule or regulation applies to our specific case. Once we’ve established that it does, we’ll respect it. With Covid-19, we decided the lockdown made sense — so there was no need to enforce it.
We coped because we found other resources that were always there: realism, inventiveness, extended families, solidarity, memories. The architect Carlo Ratti, director of the M.I.T. SENSEable City Lab, who’s from Turin, puts it this way: “For centuries, invaders — the Spanish, the French, the Austrians, the Germans — held authority over we Italians. Now we are the authority; the invader is a nasty virus. Bonding was the obvious thing to do.”
We are a social bunch, and the web just provided us with extra tools. Family and personal relationships — whose importance in Italian life cannot be underestimated — helped a lot in this crisis. Men cooked for their families with the help of their children, while mothers became part-time teachers. Friends sought out friends; if they were unwell, even more so. Aperitivo on the balcony — toasting with your neighbors — was no one-off Instagram occasion; for many, especially people living alone, it became a regular, soothing way to end a nerve-racking day.
Italy has the largest share of people older than 80 among all European Union member nations. Half the deaths happened in nursing homes, as in other countries. But many grandparents live at home, often near their grown-up children; they spend time with their grandchildren and often replace babysitters. This time they had to stay away, of course, for fear of contagion. But they learned quickly how to help by supporting their children’s families financially from their own safe homes and tried to cheer them up. Most learned new tricks — Zoom and FaceTime have no secrets for Italian grandparents.
A pandemic, like any major crisis, is revealing. It’s a lie detector for individuals and for nations. People can bluff for a day, a week, maybe a month, but not throughout a time like this.
American culture has a libertarian streak and there it was last week, from Michigan to Pennsylvania, asking for “reopening,” encouraged by the president who had ordered the restrictions. The French have always shown a flair for protest and unrest, and they duly arrived, in their suburbs, following lockdown restrictions. Swedes believe in an open society, and they were the last to close, reluctantly. Quite a few Britons, lately, have come to believe in conspiracy theories. The burning down of phone towers there, in the grotesque fear that 5G cellular networks helped to spread the virus, proves the point.
Fonte / source:
--- THE NEW YORK TIMES (04/05/2020).
www.nytimes.com/2020/05/04/opinion/italy-coronavirus.html
--- THE NEW YORK TIMES (23/02/2020).
www.nytimes.com/2020/02/23/world/europe/italy-coronavirus...
Foto / fonte / sources:
--- La Pietà di Michelangelo racconta l'emergenza coronavirus. La Repubblica / Milano (24/03/2020).
milano.repubblica.it/cronaca/2020/03/24/foto/coronavirus_...
______________________
1). ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA. ROME – THE IMPERIAL FORA: SCHOLARLY RESEARCH & RELATED STUDIES (2010-2020).
rometheimperialfora19952010.wordpress.com/
Questa è la nuova seconda parte del blog:
This is the New Second Part of the Blog:
2). ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA 2020.
ROME – THE IMPERIAL FORA: SCHOLARLY RESEARCH & RELATED STUDIES.
ROMA ARCHEOLOGIA e RESTAURO ARCHITETTURA. Opinion - How Italy Coped, and Will Keep Coping. THE NEW YORK TIMES (04/05/2020).
ITALY - How Italy Coped, and Will Keep Coping. As Italians move toward a less stringent regimen to minimize their exposure to the coronavirus, they can take pride in an unusual collective effort.
___
"Il grazie di tutti gli italiani a medici, infermieri, oss, farmacisti e a tutti coloro che direttamente e indirettamente stanno mettendo tutte le proprie energie per proteggere la nostra vita e quella dei nostri cari. Siete più che eroi".
Sig. Savethewall (nome d'arte di Pierpaolo Perretta), in: La Pietà di Michelangelo racconta l'emergenza coronavirus. La Repubblica / Milano (24/03/2020).
----
CREMA, Italy — The first country outside Asia to experience the coronavirus pandemic on a large scale was Italy. It was the first to go into lockdown and impose a national quarantine, on March 9. And it is the part of Europe that suffered most. As of May 3, 29,000 people were known to have lost their lives because of Covid-19. The actual figures are likely to be higher, as they will be everywhere else. My northern region — Lombardy, Italy’s economic powerhouse — has registered half of the country’s deaths. Army truck convoys carried coffins to crematories around the country from Bergamo — where the death rate in March and April rose to more than four times what it was last year. Brescia, Lodi, Cremona and Crema — where I live — were also deeply affected. My hometown has been a ghost town for two months. People moaned but stayed at home.
On Monday, Italy started reopening, but cautiously. Limited outdoor activity will be allowed, and visits to relatives, partners and lovers (“affetti stabili,” the government called them, opening a national debate about what makes your affections stable). Factories and construction companies are allowed to go back to work. On May 18, it will be the turn of shops. On June 1, if the contagion rate stays down, bars and restaurants will reopen. Schools, stadiums, theaters and churches will remain closed. Face masks will be compulsory on public transportation and in confined public spaces. More coronavirus tests are available, and a contact-tracing app, based on Bluetooth technology, should be near distribution.
The path that Italy strode before getting to this point has repeated itself in every coronavira-stricken country. First, the underestimation; then the disbelief, the shock, the lockdown. Next, jokes shared on smartphones, mood swings, the reassurance of the national anthem. At that point, after two weeks of lockdown, reality kicked in. We realized that the challenge was a long-distance run, and we started running.
Here in Crema the hospital was being overwhelmed by patients, many needing intensive care; the Italian Army built a field hospital in a week, and a Cuban medical brigade, composed of 52 doctors and nurses, arrived on March 26. For the next three weeks — until after Easter — ambulance sirens filled the air under blue skies, blooming trees and the loveliest spring for years.
Now that we are beginning to relax the lockdown — cautiously, anxiously — perhaps we can say it: Italy coped. The national health system sustained the impact, although 153 doctors and over 50 nurses lost their lives, and thousands were infected. Sixty million people stayed at home and, by and large, followed the rules. That was a surprise, given our reputation for being undisciplined.
But is it surprising?
In Italy rules are not obeyed — or disobeyed — as they are elsewhere. We think it’s an insult to our intelligence to comply with a regulation without questioning it first. We want to decide whether a particular rule or regulation applies to our specific case. Once we’ve established that it does, we’ll respect it. With Covid-19, we decided the lockdown made sense — so there was no need to enforce it.
We coped because we found other resources that were always there: realism, inventiveness, extended families, solidarity, memories. The architect Carlo Ratti, director of the M.I.T. SENSEable City Lab, who’s from Turin, puts it this way: “For centuries, invaders — the Spanish, the French, the Austrians, the Germans — held authority over we Italians. Now we are the authority; the invader is a nasty virus. Bonding was the obvious thing to do.”
We are a social bunch, and the web just provided us with extra tools. Family and personal relationships — whose importance in Italian life cannot be underestimated — helped a lot in this crisis. Men cooked for their families with the help of their children, while mothers became part-time teachers. Friends sought out friends; if they were unwell, even more so. Aperitivo on the balcony — toasting with your neighbors — was no one-off Instagram occasion; for many, especially people living alone, it became a regular, soothing way to end a nerve-racking day.
Italy has the largest share of people older than 80 among all European Union member nations. Half the deaths happened in nursing homes, as in other countries. But many grandparents live at home, often near their grown-up children; they spend time with their grandchildren and often replace babysitters. This time they had to stay away, of course, for fear of contagion. But they learned quickly how to help by supporting their children’s families financially from their own safe homes and tried to cheer them up. Most learned new tricks — Zoom and FaceTime have no secrets for Italian grandparents.
A pandemic, like any major crisis, is revealing. It’s a lie detector for individuals and for nations. People can bluff for a day, a week, maybe a month, but not throughout a time like this.
American culture has a libertarian streak and there it was last week, from Michigan to Pennsylvania, asking for “reopening,” encouraged by the president who had ordered the restrictions. The French have always shown a flair for protest and unrest, and they duly arrived, in their suburbs, following lockdown restrictions. Swedes believe in an open society, and they were the last to close, reluctantly. Quite a few Britons, lately, have come to believe in conspiracy theories. The burning down of phone towers there, in the grotesque fear that 5G cellular networks helped to spread the virus, proves the point.
Fonte / source:
--- THE NEW YORK TIMES (04/05/2020).
www.nytimes.com/2020/05/04/opinion/italy-coronavirus.html
--- THE NEW YORK TIMES (23/02/2020).
www.nytimes.com/2020/02/23/world/europe/italy-coronavirus...
Foto / fonte / sources:
--- La Pietà di Michelangelo racconta l'emergenza coronavirus. La Repubblica / Milano (24/03/2020).
milano.repubblica.it/cronaca/2020/03/24/foto/coronavirus_...
______________________
1). ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA. ROME – THE IMPERIAL FORA: SCHOLARLY RESEARCH & RELATED STUDIES (2010-2020).
rometheimperialfora19952010.wordpress.com/
Questa è la nuova seconda parte del blog:
This is the New Second Part of the Blog:
2). ROMA ARCHEOLOGIA E RESTAURO ARCHITETTURA 2020.
ROME – THE IMPERIAL FORA: SCHOLARLY RESEARCH & RELATED STUDIES.
A rainy day visit to the Holyhead Maritime Museum.
The museum is housed in an old lifeboat station that they have had since 1998.
The Holyhead Maritime Museum is a maritime museum located in Holyhead, North Wales.
Housed in what is claimed to be the oldest Lifeboat station in Wales (built c. 1858), it houses a number of collections.
The lifeboat station opened in 1858 and the first lifeboat was unnamed, launching 18 times, saving 128 persons. Replaced by the Prince of Wales, she launched 38 times and rescued 128 persons. In 1875, Member of Parliament Joshua Fielden and his brothers donated the Thomas Fielden, named after their father, which necessitated extending the house. In 1890, a second large boat was obtained, for which the house was extended to enable beach based landing from a horse-drawn carriage.
After local maritime exhibitions were held in 1982 and 1983 elsewhere, a trustees group was formed on 24 September 1984. The trustees obtained a nine-year lease on the redundant St Elbods church from the Church in Wales, with the museum opened officially by the Duke of Westminster in March 1986.
On expiration of the lease, and after failing to agree a lease within a new development, Stena Line offered the museum a peppercorn rent on the renovated Lifeboat house at Newry Beach. Deciding to improve the building through the construction of new visitor facilities, after a successful bid for funding from the Heritage Lottery Fund and a renegotiation of the lease to 99 years, the museum reopened on its current site in 1998.
The museum today tells the maritime history of Holyhead and Anglesey, from earliest days to the modern ferries to Ireland. It features an interactive combination of historical artifacts, models and sensory exhibitions. All of its part-time volunteers have extensive maritime and local knowledge. Accessible to wheelchairs, the museum has its own cafe, the Harbour Front Bistro.
The Holyhead at War exhibition is located in an air raid shelter located alongside the Maritime Museum.
Grade II Listed Building
History
Former lifeboat house, circa 1850s, now converted to restaurant.
Exterior
Rubble with freestone dressings and copings (but mainly rendered and painted), slate roof. Aligned roughly N-S with gable and facing sea. Shaped gables (similar to Holyhead market hall) with ball finials; former broad doorways covered during conversion to restaurant (added bay window to N). Long shallow extension to W side; attached gabled range to NE. Some remains of slipway mechanism to seaward side.
Reasons for Listing
Believed to be the oldest surviving lifeboat house in Wales.
Listing above from 1994. The museum moved in 1998.
Model ship - Sealink British Ferries - St. Columbia