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BMW Art Car: 1989 BMW M3 Group A Race Version
What do BMW Art Cars 7 and 8 have in common? Both were created using the same model – a BMW M3 racing car – and both were adorned with the work of Australian artists. Anyone looking for visual similarities will do so in vain, as these contradictory models are representations of the two main antithetic cultures of the Australian continent.
As with the rest of his artwork, Done was not mean with his use of colors on this Art Car. The bright colors and powerful brush strokes are symbolic of modern Australia with its sunny beaches and semi-tropical landscapes. All these impressions of life and joy are embodied by BMW Art Car 8. The bodywork is emblazoned with an abstract portrayal of parrots and parrot fish. What do these animals symbolize? Explaining his creation, Done explained his work as follows:
“Both are beautiful and move a fantastic speeds. I wanted to express this with the BMW Art Car.”
Group A Race Version
Ken Done, born in Sydney in 1940, left school at the age of only 14 and commenced his art studies at the National Art School in Sydney. After working for 20 years as an advertising graphic designer in Sydney, New York and London, he quit this profession to devote more time to painting.
Since his first exhibition in 1980, he has rapidly gained a reputation as a leading Australian painter, to complement his established credentials as a top graphic designer. In 1988 he was commissioned to execute the exterior design of the Australian and United Nations pavilions at EXPO.
Highly talented, Done is often engaged on several projects simultaneously. The lively colors and brush strokes of his pictures reflect the typical face of Australia – landscapes, the animal kingdom, beaches and gardens. His works are on display at exhibitions and in museums and private galleries all over the world.
Technical Data: 1989 BMW M3 Group A Race Version
4-cylinder inline engine
4 valves per cylinder
Double overhead camshafts
Displacement: 2,332 cc
Power output: 300 bhp
Top speed: 281 km/h
Ken Done and his BMW Art Car
“I have painted parrots and parrot fish. Both are beautiful and able to move at fantastic speeds. I wanted my BMW Art Car to express the same qualities.”
After assessing the impressive series of works produced by his illustrious predecessors, Ken Done considered the task of painting a BMW racing car a huge challenge and a “great compliment.” He compared it to playing Jack Nicklaus at golf or having a car race against Nelson Piquet. During the creative process he was particularly conscious that the Art Car represented a linking together of artistic and technical modes of thought.
Done had definite ideas from the very first moment as to how to decorate the car. On the one hand it was to express something of the fascination which the swift, high-performance M3 held for him, and on the other it had to be typically Australian. The vitality and optimism of his home continent were to be as much in evidence as things which he particularly appreciates about Australia. He therefore decided to paint parrots and parrot fish, as he saw a strong affinity between them and the BMW M3. The result is as appealing as it is original: Done has indeed succeeded in representing speed and beauty in his own unmistakably Australian style.
Ken Done’s BMW Art Car originates from the Motorsport division of BMW Australia, formerly run by famous Australian racing driver Frank Gardner. The car took to the road in 1987 with the JPS-BMW Team, carrying Jim Richards to victory in the Australian Group A Driver’s Championship. The M3 only participated in one race in 1988, after which it was withdrawn from competition racing and earmarked for its ultimate destiny as a work of art.
[Text from BMWArtCar Collection]
www.bmwartcarcollection.com/2011/05/08-ken-done-bmw-art-car/
This Lego miniland-scale BMW M3 Racer - Art Car #8 (1989 - Ken Done), has been created for Flickr LUGNuts' 90th Build Challenge, - "Fools Rush In!", -
to the subtheme - "Art Car 2015!". The 90th build challenge presenting 13 different subthemes to choose to build to.
Create a high-fashion surrealist portrait of a glamorous model whose upper body is replaced by a glossy red soda can, shaped like an elegant hourglass. She wears a shimmering red gown that flows like liquid metal, capturing studio light in dazzling reflections. Silver stiletto heels accentuate her confident stride, while the muted background highlights her bold, iconic silhouette. Blend haute couture with pop-art whimsy, celebrating the fusion of fashion, fantasy, and commercial nostalgia in a striking editorial style.
Colors of Compassion flags for the LGBT Compassion Games created at LA PRIDE's Momentum Pavillion to send to LGBT youth with love, support and encouragement.
➡️ Logo created by eMagination : www.youtube.com/channel/UCb1N-vNT8Y1-qx0PdlvLRpg
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🎮 Game : Hitman Codename 47
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Hitman: Codename 47 is a stealth video game developed by IO Interactive and published by Eidos Interactive exclusively for Microsoft Windows. It is the first installment in the Hitman video game series.
The story centers on Agent 47, a genetically enhanced human clone branded with a barcode tattooed on the back of his head, who is rigorously trained in methods of murder. Upon escaping from a test facility, 47 is hired by the Agency, a European contract killing organization. His mission takes him to several locations in Asia and Europe to assassinate wealthy and decadent criminals.
In the basement of a remote sanatorium, a bald man, referred to as "Subject 47", is awakened by an unidentified man over a loudspeaker. Following the man's instructions, the Subject completes an obstacle course, undergoes firearms training, and practices various assassination techniques. He then ambushes and kills a guard, using his uniform to escape. The man watches him through the CCTV surveillance, with a satisfied laugh.
A year later, the Subject resurfaces as a hitman for the International Contract Agency (ICA), under the designation "Agent 47". He is briefed by his handler, Diana Burnwood, who sends him to Hong Kong to kill triad leader Lee Hong. He kills Hong's negotiator during a peace summit with a rival gang, frames him for a retaliatory car bombing, and assassinates the police chief protecting him, stripping Hong of his allies. He then infiltrates Hong's restaurant and assassinates him. For his next assignment, 47 travels to Colombia and kills cocaine trafficker Pablo Belisario Ochoa in a staged drug raid. His third target is Austrian mercenary Franz Fuchs, who has been hired to detonate a dirty bomb at an international conference in Budapest. 47 kills him at a hotel and recovers the bomb. His final contract takes him to Rotterdam, where he finds gunrunner Arkadij "Boris" Jegorov trying to sell weapons, including a nuclear warhead, to an extremist group. After confirming Jegorov's death, 47 finds a letter addressed to him, similar to the other three targets. He learns from Diana that all four were once part of a French Foreign Legion unit serving in Vietnam, and that they've been discussing something involving an "experimental human". The letters also mention a fifth man, Professor Ort-Meyer.
Diana then informs him that all four contracts were ordered by the same man in violation of Agency rules, and that her superiors have authorized an additional mission. 47 is to kill Odon Kovacs, a doctor at a sanatorium in Satu Mare, Romania, which turns out to be the one from which 47 escaped. Ort-Meyer is revealed to be the client, as well as the man who oversaw 47's orientation. Romanian special forces raid the building while 47 kills Kovacs, who he recognizes as Ort-Meyer's assistant.
47 then learns the truth behind his existence. He is the result of a cloning experiment which combined the genetic material of each of his four previous targets, as well as Ort-Meyer, with the goal of creating a flawless human being. Ort-Meyer orchestrated 47's escape from the asylum in order to test his performance in the outside world and ordered his associates' deaths because they wanted to use 47 for their own purposes.
With the help of CIA Agent Carlton Smith, who he rescued earlier during his time in Hong Kong, 47 discovers a sophisticated lab beneath the hospital. In response, Ort-Meyer reveals "Subject 48", a perfect replica of 47 who is both mindless and loyal. A squad of 48's are sent to hunt down 47, who manages to kill them using his superior training and experience.
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The Vienna Prater
Lieblingsnahausflugsziel (favourite nearby excursion destination) in Biedermeier Vienna is the Prater. The season opens with the race of "noble runners" on May 1. The usually before the carriages of the nobility running lackeys on that day line up under high bets to public competition. The main avenue along to the pleasure house (Lusthaus) and back drag the racers to the cheers of the audience. Trumpet-blasts, flags and cash prizes await the winner. Military music they escorts into the first Prater coffee house where them a splendid breakfast is arranged, while the ones having fallen by the wayside are collected. This race is banned in 1848 because of inhumanity. In the afternoon swayed - as from now on every Sunday - people and cars down the hunter line (Jägerzeile - since 1862 Prater Road). The state-carriages of the Court, the nobility and the wealthy bourgeoisie to evening make in a continuous parade the main street with its lofty Prater coffee houses to a "Nobel Prater".
"Bey the public-houses (Inns)" in the Prater.
Coloured engraving, T. Mollo. 1825
The people has fun in the Wurstelprater (Hanswurst, clowning on Vienna stages) in a tangle of guest houses and Prater lodges, puppet booths, calendula games and swings between the Prater harpists, salami sellers and spectacle. Here is the stronghold of the showmen with their monkey theater and flea circus, jugglers and fire-eaters, giants and dwarfs, menageries, panoramas, wax figures and ghostly apparitions. On the "Zirkuswiese" in Circus gymnasticus the popular equestrian companies by Christoph de Bach (? 1808) and Alexander Guerra perform. One camps in the Prater floodplains and waits until at nightfall on the "fireworks meadow" Stuwer (? 1802) lets shoot up his sparkling rockets.
City Chronicle Vienna
Dr. Christian Brandstätter, Dr. Günter Treffer
2000 years in data, documents and images
From the beginnings to the present
Courtesy
Christian Brandstätter Verlag mbH
The publishing service for museums, businesses and public authorities
www.brandstaetter - verlag.at
The historically grown amusement park looks back to a rich history. First documentary references of that area, which originally had jungle-like character, go back to the 12th Century. The former imperial hunting ground in 1766 under the "popular" Austrian Emperor Joseph II was made accessible to the public. Soon after, a number of small entertainment venues (carousels, shooting galleries, food stalls, ...) arrived, entertaining the people and also providing for the physical well-being.
The inhabitants of Vienna enjoyed themselves by riding artfully designed Hutschpferden (swing horses) and by swinging into lofty altitudes. In the process you could with long poles jab into rings. Hence the name carousel. It had been created recreational devices for the general public.
The fireworks of Stuwer and the balloon ascents end of the 18th Century dragged the Viennese from the city to the fairgrounds in the Prater. Following the trend of the times were national artistic institutions (theaters, waxworks museum and people museum - "Präuschers panopticon" with 2,000 objects, Vivarium, Planetarium, ... ) built and connected to the hustle and bustle. Sensations in the old Prater were the Abnormitätenshows (abnormalities) in which Lilliputian, Hirsute men, Siamese twins including "Freaks" (monster, abnormal shape) were to see. The thick Prater-Mitzi or the Russian-born trunk man Kobelkoff, as well as the ghostly magic theater of Kratky Baschik enriched the morphology of the bizarre Prater landscape. With the development of technology and electricity, the entertainment in the Prater was becoming more and more diverse.
In the emerging age of railways, the in Trieste born Basilio Calafati founded the first railway carousel in 1844. In this hut in 1854 the figure of the "big Chinesers" was set up as a mast. Many showmen and technicians from all over the Austrian-Hungarian monarchy, but also from the rest of Europe in the illustrious Viennese amusement park their ideas put into practice.
The Englishman Basset succeeded in 1897 to set up the still existing Ferris wheel in the Prater. This vehicle with a diameter of 61 meters originally had 30 cars. When the first "living pictures", the Cinematography, were born, 1896 the first cinema was opened in the Prater. Electricity in 1898 the first electrically operated Grottenbahn brought in the Prater. This fairytale train was also the first in Europe. On the occasion of the popularity of the airplane in 1911 the first "Aeroplan Carousel" was established. Followed in 1926 the first "Autodrome" and in 1933 the first "ghost train". In 1928, the still running "Liliputbahn", a reduced form of the great steam locomotives was placed in the Prater. 1935 brought a Prater entrepreneur from Chicago the rapid "flight path" in the Prater, a system not running on rails.
The Prater always changed its face, modernized and adapted itself to the trend of times. One attraction always replaced the other. Only few historical venues have been able to transport themselves into the present. Tradition-conscious companies such as the "Pony Carousel" from the year 1887 or the nostalgic slide tower "switchback (Tobogan)" from the 50s fight against the taste of the times and the needs of the visitors. In popularity but the historic Ferris wheel, the "Miniature Train" and of course the restaurant "Swiss House" (specialty: stilt and beer) will never lose.
Rickety ghost trains and sparkling grotto railways, although dusty, will not allow to be pushed out of the Prater. Between the historical venues flash the new, modern, hydraulically operated high-tech fairground rides. 1909-1944 the enormous dimensioned "roller coaster" always was a magnet for the Prater trippers. A reduced form is the after the war built "Neue Wiener roller coaster". Was swallowed entirely by history the magnificent "Venice in Vienna". On the site of the present Emperor's Meadow (Kaiserwiese) was located around the turn of the century the illusory world of the artificially recreated lagoon city. The initiator Gabor Steiner created in 1895 a world in the Prater, in which not only the high society, but also the Bohemian maids and the soldiers of the Austro-Hungarian multinational state amused themselves. In the era of the fin de siècle (= the decadent over-refinement of feeling and taste at the end of the 19th century), in which the Prater flourished, performed the most famous conductors of the time (Strauss, Lanner, Ziehrer).
Characteristic for the Wiener Prater today is also the adjacent green, left in its naturale state Praterau (Prater floodplain). An engaging recreational landscape with trees, meadows and ponds. Through this welcoming and quiet part of the Prater leads the 4.5 km long main avenue, which is lined with old chestnut trees. At the time, colorful flower parades were held there where, inter alia, even the Emperor and Empress and Mayor Lueger showed up. Along the main avenue were situated the now defunct, three famous coffee houses. The1783 built by Canevale "pleasure house" (Lusthaus) at the end of the main avenue, however, is still to be found. Past is the "Vaudeville Light", where for a long time popular movie stars and artists of yesteryear (Aslan, Jeritza, Moser, ... ) entertained the Prater audience.
To the Prater belongs also the fairgrounds. There in 1873 took place the world exhibition. The Rotunda, those proud crowned by a cupola central building in 1937 became a prey to the flames. What in the course of time of historic buildings of facilities in the Prater not had outlived itself, was destroyed in World War II. The most severely battered amusement park but was rebuilt. It established itself again as an integral part of the cultural entertainment of the city of Vienna. The force measuring machine "Watschenmann" is part of the local history of this unique institution, but also the cheeky and defiant "Prater Puppet" characterizes the color of the Vienna Prater.
as part of a prize draw you can now find yellow tokens at shops, cafes across Portsmouth. If you are given a token please take to aspex gallery, Gunwharf and enter our prize draw. More info - creatingbalanceproject.tumblr.com/
Size: 140x40x20mm weight: 773gr.
Density: X,XXgr./cm³ / Estimated grit size: very fine >12K
Usage: only with water, never use Oil!!
Colour: a yellow green (YG) colored stone
General Information on Thuringian Water Razor Hones:
These stones are ones of the most known and well appreciated water razor hones today and they have been within the last 200 years. Beeing quarried in Thuringia in the region around Sonneberg (some Quarries were in Steinach, Steinheid, Goldisthal, Forschengereuth, Hämmern, Lauscha, etc.) These stones seem to have already been quarried since the 14th Century. Actually it’s a pity that there is no documented evidence about this fact . There are many historical sources naming these stones, which were sold under different older german names like (Wetzschalen, Abziehsteine, Poliersteine, etc.)
The most interesting and most un-researched Issue is the export of the Thuringian water hones around the world. They can be found everywhere around the world, especially in the USA, Russland, England, France, Spain and other countries. There are a bunch of retailers who sold the stones under their own trademark (f.ex. Bieber, Hahn, etc) . There were also a lot of US catalog companies who sold German Water Razor Hones, just to name a few here: Sears Roebruck, Gustav Knecht M.F.G. Barber Suplies, Theo A. Koch, and a lot more….also smaller Barber Supplies Stores and Companies had the stones in their product catalogues or in their stores. Within the second World War the sale of the german water razor hones were stopped which is well visible and documented in the Sears Roebruck catalogs.
One of the most known trader and exporter of the Thuringian water razor hones is “ESCHER” (known during time periods as Escher & Co. shortened E&Co., Escher & Sohn, Escher & Son, J.G. Escher & Sohn shortened JGES ). The Company was founded in 1789 by Johann Gottfried Escher from Sonneberg. Escher sold slate products in the first step afterwards their products ranged from soft water hones to hard oilstones which were quarried from layers of Ordovician age and Devonian age.
The Company started early to sell their products after their foundation on the well-known world fair’s in Frankfurt, Leipzig (at the Union Messehaus) and Vienna. Escher was already selling products one year after their foundation on the fair in Frankfurt . Within the marketing on these fair’s Escher created a name/brand which got more and more attention around the world, probably this was the consequence of a well done marketing campaign which seems to work quite good to these days.
Between 1890 and 1925 the Escher Company had another additional business in producing and selling dolls. They had their own Puppet label signed (J. G. Escher & Sohn / IGES) with a Girl holding a puppet and a Bear in her hands.
Escher created a well-known “Brand” which is still known under Straight Razor Users and People working with fine instruments. The stones today, especially if the labels are full intact are sold for a big amount of money. But it has to be stated that only a label doesn’t say anything about the quality of these stones. So any of these Thuringian Stones without label might be in the same range or quality as a full labelled stone could be.
The last operating quarry (Christoph Luthard Fikken Sohn, Am Petersberg, Steinach) was closed in 1966, which was the end of the operating business of quarrying whetstones in this region. Actually there are nearly no official sources or stores where “Vintage” Thuringian Stones can be bought, most of the stones on the market are old finds or new old stocks from older closed companies.
My Videos about technical topics:
Possible Touch Up Strokes on Thuringian Stone
www.youtube.com/watch?v=odrpiW16HCc
My Videos about Stones:
Escher & Co. Water Razor Hone type "Barber's Delight" yellow/green (Y/G) size: 6"x2"
www.youtube.com/watch?v=eHBNRGcYrXk&list=UUvv6dx-BXb3..
Escher & Co. Water Razor Hone type "Baber's Delight" yellow/green (Y/G) size: 6"x2"
www.youtube.com/watch?v=zp0TPZszuZ0&index=51&list..
Escher & Co. Water Razor Hone Type "Rasierstube" darkblue (DB) size: 6"x2"
www.youtube.com/watch?v=xQa7PTTv5wU&list=UUvv6dx-BXb3..
Escher & Co. Wasserabziehstein yellow/green (YG) size: 10" x 2"
www.youtube.com/watch?v=AFdouu_G5Cs&list=UUvv6dx-BXb3..
FASO Water Razor Hone in green C. Jul. Herbert packaging size: 6"x2"
www.youtube.com/watch?v=FCYMvklAVJo&list=UUvv6dx-BXb3..
Karl Brächer Jr. Water Razor Hone yellow/green (YG) size: X"xX"
www.youtube.com/watch?v=RvsSpaPQVJw&list=UUvv6dx-BXb3..
Thuringian double layered Stone yellow/green (YG) and darkblue (DB):
www.youtube.com/watch?v=xjGW6GN_Y0w&list=UUvv6dx-BXb3..
Thuringian Bout Stone No. 1 from Hatzicho:
www.youtube.com/watch?v=KxR1Ho4T608&list=UUvv6dx-BXb3..
Thuringian Bout Stone No. 2 from Hatzicho:
www.youtube.com/watch?v=tFuI0FNpjOw&list=UUvv6dx-BXb3..
Thuringian Bout Stone No. 3 from Hatzicho:
www.youtube.com/watch?v=LZUBsgdl_co&list=UUvv6dx-BXb3...
more Information:
Razorandstone.com (R&S): "Barbers Delight Escher"
www.razorandstone.com/showthread.php?174-Barbers-delight-...
Razorandstone.com (R&S): "Wide Escher Hone"
www.razorandstone.com/showthread.php?963-Wide-Escher-hone
Razorandstone.com (R&S): "Nakayama Mizu Asagi vs Barbers Delight Escher"
www.razorandstone.com/showthread.php?2193-Nakayama-Mizu-A...
Straightrazorplace.com (SRP): "Escher Price"
straightrazorplace.com/honing/55677-escher-price.html
Badgerandblade.com (B&B): "Escher Thuringian Love Show of your rocks"
badgerandblade.com/vb/showthread.php/320736-Escher-Thurin...
Gut-rasiert.de: "Zeigt her eure Steine"
www.gut-rasiert.de/forum/index.php/topic,15571.0.html
General Information on Thuringian Water hones and the Escher Company:
Strazors.com: "Thuringian waterwhetstones from the J.G. Escher Company in Germany"
(C) by Peter Buhlmann (Hatzicho), Oktober 2013
strazors.com/uploads/images/articles/escher.pdf
general Information on Water Hones:
Gammas Site Tomonagura.com:
Olivia-Seife.de: “Steinevergleich”
www.olivia-seife.de/steinevergleich.htm
other Literature/Information:
[1] Bautsch, Riederer „Zur Herkunft der Wetzsteine aus der Grabung
aus dem Burgwall in Berlin Spandau“ Rhythmus und Saisonalität, Kongreßakten des 5. Symposions des Mediävistenverbandes in Göttingen, 1933
Jan Thorbecke Verlag Sigmaringen, 1995
[2] Hahn Renate "Sonneberger Spielzeug - Made in Judenbach", 2010
[3] Thomas Schwämmlein "Wetzsteinbergbau und Wetzsteinherstellung im Landkreis Sonneberg" Geschichts- und Köhlerverein Mengersgereuth-Hämmern e.V. Nr. 8
[4] Thomas Schwämmlein "Herstellung und Handel mit Wetzsteinen im Bereich des Thüringer Schiefergebirges während des frühen und hohen Mittelalters"
Geschichts- und Köhlerverein Mengersgereuth-Hämmern e.V. Nr. 21
[5] Zeno.org "Tonschiefer"
www.zeno.org/Lueger-1904/A/Tonschiefer
[6] Thoma, Witzgall, Bravidor „Seminarfacharbeit Gruppe 5 "Kulturelle und wirtschaftliche Bedeutung von Schiefern im Thüringer Schiefergebirge am Beispiel des Staatsbruchs Lehesten" sites.bravidor.de/skool/sf/schiefer/files/seminarfacharbe...
[7] Volk, Max „Die Wetzschiefervorkommen in der Phycodenserie bei
Mengersgereuth-Hämmern, Steinach und Gräfenthal“
Hallesches Jahrbuch Mitteldeutsche Erdgeschichte, 7. Band, 1965
B.G. Teubner Verlagsgesellschaft, Leipzig, 1966
[8] Volk, Max „Die Hiftenberger Wetzsteinbrüche“
Hallesches Jahrbuch Mitteldeutsche Erdgeschichte, 8. Band, 1966
B.G. Teubner Verlagsgesellschaft, Leipzig, 1967
[9] Volk, Max „Volkstümliche Aufsätze zur Geschichte von Geologie und Bergbau“
Ausgewählte Aufsätze Teil 7, Herausgegeben von Karl Eichhorn
Museumsverein Schieferbergbau Steinach/Thüringen e.V., 2005
[10] Weise, Gerhard „Die Nutzung thüringischer Gesteine zur Herstellung von Wetzsteinen“
[11] Weber, Martin "Wetzschiefer - Wetzsteine bei Lauenstein und Gräfenthal"
Beitrag Geologie Thüringen, N.F. 12, 71-97, 5 Abb., 5 Tab., Jena 2005
███▓▒░░.RAZORLOVESTONES 06.04.2015.░░▒▓███
This is my wife Mairi (Sammy) with her mother, father and brother in 1939. A very famous artist at that time (sorry, don't have her name) sat this family down and, with a fine pair of scissors, cut out their likenesses in one sitting in unbelievably accurate detail. I didn't become familiar with this family until 20 years later, but I clearly recognize her father, and from photos from that era, the other likenesses are dead on.
Sammy's father was Counsel General from Estonia to the United States, and they had this art work done just before they left America to return to Estonia at a most inopportune time, for shortly thereafter, at the beginning of World War II, the Communists took over Estonia, and Mairi and her family were trapped. Their escape was the sort of thing international intrigue novels are made from, but theirs was no novel. Unfortunately, it's too long a story to tell here, but John Le Carre never created a novel that could top their true story.
Relief, or relievo rilievo, is a sculptural technique. The term relief is from the Latin verb relevo, to raise. To create a sculpture in relief is to give the impression that the sculpted material has been raised above the background plane. What is actually performed when a relief is cut in from a flat surface of stone (relief sculpture) or wood (relief carving) is a lowering of the field, leaving the unsculpted parts seemingly raised. The technique involves considerable chiselling away of the background, which is a time-consuming exercise. On the other hand, a relief saves forming the rear of a subject, and is less fragile and more securely fixed than a sculpture in the round, especially one of a standing figure where the ankles are a potential weak point, especially in stone. In other materials such as metal, clay, plaster stucco, ceramics or papier-mache the form can be just added to or raised up from the background, and monumental bronze reliefs are made by casting. There are different degrees of relief depending on the degree of projection of the sculpted form from the field, for which the Italian appellations are still sometimes used. The full range includes high relief (alto-rilievo), where more than 50% of the depth is shown and there may be undercut areas, mid-relief (mezzo-rilievo), low-relief (basso-rilievo, or French: bas-relief /ˌbɑːrɪˈliːf/), and shallow-relief or rilievo schiacciato, where the plane is scarcely more than scratched in order to remove background material. There is also sunk relief, which was mainly restricted to Ancient Egypt. However the distinction between high relief and low relief is the clearest and most important, and these two are generally the only terms used to discuss most work. The definition of these terms is somewhat variable, and many works combine areas in more than one of them, sometimes sliding between them in a single figure; accordingly some writers prefer to avoid all distinctions. The opposite of relief sculpture is counter-relief, intaglio, or cavo-rilievo, where the form is cut into the field or background rather than rising from it; this is very rare in monumental sculpture.
Reliefs are common throughout the world on the walls of buildings and a variety of smaller settings, and a sequence of several panels or sections of relief may represent an extended narrative. Relief is more suitable for depicting complicated subjects with many figures and very active poses, such as battles, than free-standing "sculpture in the round". Most ancient architectural reliefs were originally painted, which helped to define forms in low relief. The subject of reliefs is for convenient reference assumed in this article to be usually figures, but sculpture in relief often depicts decorative geometrical or foliage patterns, as in the arabesques of Islamic art, and may be of any subject.
Rock reliefs are those carved into solid rock in the open air (if inside caves, whether natural or man-made, they are more likely to be called "rock-cut"). This type is found in many cultures, in particular those of the Ancient Near East and Buddhist countries. A stela is a single standing stone; many of these carry reliefs.
TYPES
The distinction between high and low relief is somewhat subjective, and the two are very often combined in a single work. In particular, most later "high reliefs" contain sections in low relief, usually in the background. From the Parthenon Frieze onwards, many single figures have heads in high relief, but their lower legs are in low relief; the slightly projecting figures created in this way work well in reliefs that are seen from below (see Moissac portal in gallery). As unfinished examples from various periods show, raised reliefs, whether high or low, were normally "blocked out" by marking the outline of the figure and reducing the background areas to the new background level, work no doubt performed by apprentices (see gallery). Hyphens may or may not be used in all these terms, though they are rarely seen in "sunk relief" and are usual in "bas-relief" and "counter-relief". Works in the technique are described as "in relief", and, especially in monumental sculpture, the work itself is "a relief".
BAS RELIEF OR LOW RELIEF
A bas-relief ("low relief", from the Italian basso rilievo) or low relief is a projecting image with a shallow overall depth, for example used on coins, on which all images are in low relief. In the lowest reliefs the relative depth of the elements shown is completely distorted, and if seen from the side the image makes no sense, but from the front the small variations in depth register as a three-dimensional image. Other versions distort depth much less. It is a technique which requires less work, and is therefore cheaper to produce, as less of the background needs to be removed in a carving, or less modelling is required. In the art of Ancient Egypt and other ancient Near Eastern and Asian cultures, and also Meso-America, a very low relief was commonly used for the whole composition. These images would all be painted after carving, which helped to define the forms; today the paint has worn off in the great majority of surviving examples, but minute, invisible remains of paint can usually be discovered through chemical means.
The Ishtar Gate of Babylon, now in Berlin, has low reliefs of large animals formed from moulded bricks, glazed in colour. Plaster was sometimes used in Egypt and Rome, and probably elsewhere, but needs very good conditions to survive – Roman decorative plasterwork is mainly known from Pompeii and other sites buried by ash from Mount Vesuvius. Low relief was relatively rare in Western medieval art, but may be found, for example in wooden figures or scenes on the insides of the folding wings of multi-panel altarpieces.
Low relief is probably the most common type of relief found in Hindu-Buddhist arts of India and Southeast Asia. The low reliefs of 2nd-century BCE to 6th-century CE Ajanta Caves and 5th to 10th-century Ellora Caves in India are noted for they were carved out from rock-cut hill. They are probably the most exquisite examples of Buddhist, Hindu, and Jain arts in India. Most of these low reliefs are used in narrating sacred scriptures, such as those founds in 9th century Borobudur temple in Central Java, Indonesia, that narrating The birth of Buddha (Lalitavistara). Borobudur itself possess 1,460 panels of narrating low reliefs. Another example is low reliefs narrating Ramayana Hindu epic in Prambanan temple, also in Java. In Cambodia, the temples of Angkor are also remarkable for their collection of low reliefs. The Samudra manthan or "Churning of Ocean of Milk" of 12th-century Angkor Wat is an example of Khmer art. Another examples are low reliefs of Apsaras adorned the walls and pillars of Angkorian temples. The low reliefs of Bayon temple in Angkor Thom also remarkable on capturing the daily life of Khmer Empire.
The revival of low relief, which was seen as a classical style, begins early in the Renaissance; the Tempio Malatestiano in Rimini, a pioneering classicist building, designed by Leon Battista Alberti around 1450, uses low reliefs by Agostino di Duccio inside and on the external walls. Since the Renaissance plaster has been very widely used for indoor ornamental work such as cornices and ceilings, but in the 16th century it was used for large figures (many also using high relief) at the Chateau of Fontainebleau, which were imitated more crudely elsewhere, for example in the Elizabethan Hardwick Hall.
In later Western art, until a 20th-century revival, low relief was used mostly for smaller works or combined with higher relief to convey a sense of distance, or to give depth to the composition, especially for scenes with many figures and a landscape or architectural background, in the same way that lighter colours are used for the same purpose in painting. Thus figures in the foreground are sculpted in high-relief, those in the background in low-relief. Low relief may use any medium or technique of sculpture, stone carving and metal casting being most common. Large architectural compositions all in low relief saw a revival in the 20th century, being popular on buildings in Art Deco and related styles, which borrowed from the ancient low reliefs now available in museums. Some sculptors, including Eric Gill, have adopted the "squashed" depth of low relief in works that are actually free-standing.
Mid-relief, "half-relief" or mezzo-rilievo is somewhat imprecisely defined, and the term is not often used in English, the works usually being described as low relief instead. The typical traditional definition is that only up to half of the subject projects, and no elements are undercut or fully disengaged from the background field. The depth of the elements shown is normally somewhat distorted. Shallow-relief or rilievo stiacciato, used for the background areas of compositions with the main elements in low-relief, was perfected by the Italian Renaissance sculptor Donatello. It is a very shallow relief, which merges into engraving in places, and can be hard to read in photographs.
HIGH RELIEF
High relief (or altorilievo, from Italian) is where in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially heads and limbs, are often completely undercut, detaching them from the field. The parts of the subject that are seen are normally depicted at their full depth, unlike low relief where the elements seen are "squashed" flatter. High-relief thus uses essentially the same style and techniques as free-standing sculpture, and in the case of a single figure gives largely the same view as a person standing directly in front of a free-standing statue would have. All cultures and periods in which large sculptures were created used this technique in monumental sculpture and architecture.
Most of the many grand figure reliefs in Ancient Greek sculpture used a very "high" version of high-relief, with elements often fully free of the background, and parts of figures crossing over each other to indicate depth. The metopes of the Parthenon have largely lost their fully rounded elements, except for heads, showing the advantages of relief in terms of durability. High relief has remained the dominant form for reliefs with figures in Western sculpture, also being common in Indian temple sculpture. Smaller Greek sculptures such as private tombs, and smaller decorative areas such as friezes on large buildings, more often used low relief.
Hellenistic and Roman sarcophagus reliefs were cut with a drill rather than chisels, enabling and encouraging compositions extremely crowded with figures, like the Ludovisi Battle sarcophagus (250–260 CE). These are also seen in the enormous strips of reliefs that wound round Roman triumphal columns. The sarcophagi in particular exerted a huge influence on later Western sculpture. The European Middle Ages tended to use high relief for all purposes in stone, though like Ancient Roman sculpture their reliefs were typically not as high as in Ancient Greece. Very high relief reemerged in the Renaissance, and was especially used in wall-mounted funerary art and later on Neo-classical pediments and public monuments.
In Hindu-Buddhist art of India and Southeast Asia high relief can also be found, although it is not as common as low reliefs. Most of Hindu-Buddhist sculptures however also can be considered as a high relief, since these sculptures usually connected to a stella as the background to support the statue as well as provides additional elements such as aura or halo in the back of sculpture's head, or floral decoration. The examples of Indian high reliefs can be found in Khajuraho temple, that displaying voluptuous twisting figures that often describes the erotic Kamasutra positions. In 9th-century Prambanan temple, Central Java, the examples are the high reliefs of Lokapala devatas, the guardian of directions deities.
SUNK RELIEF
Sunk or sunken relief is largely restricted to the art of Ancient Egypt where it is very common, becoming after the Amarna period of Ahkenaten the dominant type used, as opposed to low relief. It had been used earlier, but mainly for large reliefs on external walls, and for hieroglyphs and cartouches. The image is made by cutting the relief sculpture itself into a flat surface. In a simpler form the images are usually mostly linear in nature, like hieroglyphs, but in most cases the figure itself is in low relief, but set within a sunken area shaped round the image, so that the relief never rises beyond the original flat surface. In some cases the figures and other elements are in a very low relief that does not rise to the original surface, but others are modeled more fully, with some areas rising to the original surface. This method minimizes the work removing the background, while allowing normal relief modelling.
The technique is most successful with strong sunlight to emphasise the outlines and forms by shadow, as no attempt was made to soften the edge of the sunk area, leaving a face at a right-angle to the surface all around it. Some reliefs, especially funerary monuments with heads or busts from ancient Rome and later Western art, leave a "frame" at the original level around the edge of the relief, or place a head in a hemispherical recess in the block (see Roman example in gallery). Though essentially very similar to Egyptian sunk relief, but with a background space at the lower level around the figure, the term would not normally be used of such works.
COUNTER RELIEF
Sunk relief technique is not to be confused with "counter-relief" or intaglio as seen on engraved gem seals - where an image is fully modeled in a "negative" manner. The image goes into the surface, so that when impressed on wax it gives an impression in normal relief. However many engraved gems were carved in cameo or normal relief.
A few very late Hellenistic monumental carvings in Egypt use full "negative" modelling as though on a gem seal, perhaps as sculptors trained in the Greek tradition attempted to use traditional Egyptian conventions.
SMALL OBJECTS
Small-scale reliefs have been carved in various materials, notably ivory, wood, and wax. Reliefs are often found in decorative arts such as ceramics and metalwork; these are less often described as "reliefs" than as "in relief". Small bronze reliefs are often in the form of "plaques" or plaquettes, which may be set in furniture or framed, or just kept as they are, a popular form for European collectors, especially in the Renaissance.
Various modelling techniques are used, such repoussé ("pushed-back") in metalwork, where a thin metal plate is shaped from behind using various metal or wood punches, producing a relief image. Casting has also been widely used in bronze and other metals. Casting and repoussé are often used in concert in to speed up production and add greater detail to the final relief. In stone, as well as engraved gems, larger hardstone carvings in semi-precious stones have been highly prestigious since ancient times in many Eurasian cultures. Reliefs in wax were produced at least from the Renaissance.
Carved ivory reliefs have been used since ancient times, and because the material, though expensive, cannot usually be reused, they have a relatively high survival rate, and for example consular diptychs represent a large proportion of the survivals of portable secular art from Late Antiquity. In the Gothic period the carving of ivory reliefs became a considerable luxury industry in Paris and other centres. As well as small diptychs and triptychs with densely packed religious scenes, usually from the New Testament, secular objects, usually in a lower relief, were also produced.
These were often round mirror-cases, combs, handles, and other small items, but included a few larger caskets like the Casket with Scenes of Romances (Walters 71264) in Baltimore, Maryland, in the United States. Originally there were very often painted in bright colours. Reliefs can be impressed by stamps onto clay, or the clay pressed into a mould bearing the design, as was usual with the mass-produced terra sigillata of Ancient Roman pottery. Decorative reliefs in plaster or stucco may be much larger; this form of architectural decoration is found in many styles of interiors in the post-Renaissance West, and in Islamic architecture.
WIKIPEDIA
Created with fd's Flickr Toys Una parella de 440R encapcelades per la 440 204M, descansen sota l'estació del Transpirinenc, a la via 5 de l'estació de Ripoll. Com a curiositat, durant aquells dies, les 447 es van esfumar, segurament per passar R.
A pair of 440R leads for 440 204M, resting under the Transpirinenan station, the station via 5 Ripoll. As a curiosity, for those days, 447 were disappeared, probably to spend revision.
Students of color, the LGBTQ community and female students convened in Reeve Union Ballroom April 2 to hone their networking skills with professionals at Creating Connections: Empowering through Networking, a Social Justice Week event hosted by University of Wisconsin Oshkosh Career Services.
The upper limbs for Tigricia have been turned from yellow into neon orange by means of UV acrylic gel. Result is even more bright than lower limbs!!!
Created by Antonio and Julia Smith-Plata (family project) from Payson, AZ
Title: Arizona Centennial Celebration
Participants: Antonio Smith-Plata (age 9) and Julia Smith-Plata (age 6) designed and created the panel – I am their Nana (Pamela Smith) -- I provided the supplies for the project, contacted Sue Coccia for permission to use her art and paid the fee.
Dream Theme: Conservation (Nature, animals, etc)
Materials and Techniques Used:
With permission from Sue Coccia -- colored some of her art panels with watercolor pencils. Scanned them into the computer and printed them onto fabric. Used steam a seam 2 to fuse the pictures onto a background fabric. Added a border. Quilted the project. Bound the edge with yarn fibers.
What is your artwork about?
We are Antonio (age 9) and Julia (age (6). We made a quilt panel with our cousins and our Nana two years ago. Now that we are older we wanted to try to do one by ourselves – next year is the Arizona centennial – wit permission we used Sue Coccia art pages with a southwest theme for our quilt. The border is a specially designed Arizona centennial fabric. We hope our quilt is chosen to be shown in Phoenix as we live there. We have done some sewing before and wanted to try a quilt. It was fun and we like how it turned out. We plan to do another one for ourselves.
…
Print a Dream Rocket Flyer:
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Wrestling Alliance Company - Anniversaire 10 ans - Day 2 - Ruby Rebel Vs Candy Caraibes
Ruby Rebel (Concrete Jungle) Def. (Pin) Candy Caraibes
Type of match : Tournament Semi Finals
Info on the match : Tournoi pour le nouveau titre europeen feminin de la WAC.
( Les 10 ans de la Wrestling Alliance Company )
Once upon a time, I guess Kingsnorth was a small leafy village, set in loamy countryside, rarely visited. Indeed this is what Hasted suggests.
Set a mile or two outside Ashford, all was calm and peaceful until the railways came to Ashford and the town grew and grew.
In the 21st century, Kingsnorth is found from the main road into the town centre, along a busy road to where the old village pub still sits. And opposite is the start of Church Hill, at the top, not surprisingly, sits the church.
Inbetween now is a large and modern housing estate, and beside the church, a busy school, even busy on a Saturday morning due to football practice and the fleet of MPVs and Soccer Moms taking their darlings for a kickabout.
It is the modern way, after all.
St Michael sits quietly next door to the school, the end of a footpath leading to another housing development on the Brenzett road, were an old friend once had a house. And I can remember him leading us on a walk over the fields through clouds of Gatekeepers where we found, as today, the church open.
I took a few shots then, but am back now to complete the task.
First highlight was the 17th century graffiti in the porch.
In truth it is a small and simple church, mostly clear what looks like modern glass, though a single panel of ancient glass is in one of the north have windows and a single panel of wall painting on the side of the north chancel arch.
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KINGSNOTH,
THE next parish south-eastward is Kingsnoth, sometimes called Kingsnode, and by Leland written Kinges-snode.
THIS PARISH is so obscurely situated as to be but little known, the soil in it is throughout a deep miry clay; it is much interspersed with woodlands, especially in the south-east part of it, the whole face of the country here is unpleasant and dreary, the hedge rows wide, with spreading oaks among them; and the roads, which are very broad, with a wide space of green swerd on each side, execrably bad; insomuch, that they are dangerous to pass except in the driest time of summer; the whole of it is much the same as the parishes adjoining to it in the Weald, of which the church, which stands on the hill nearly in the middle of the parish, is the northern boundary, consequently all that part of it southward is within that district. There is no village, the houses standing single, and interspersed throughout it At no great distance eastward from the church is the manor house of Kingsnoth, still called the Park-house, the antient mansion, which stood upon a rise, at some distance from the present house, seems from the scite of it, which is moated round, to have been large, remains of Mosaic pavement, and large quantities of stone have been at times dug up from it. South-eastward from the church is Mumfords, which seems formerly to have been very large, but the greatest part of it has been pulled down and the present small farm-house built out of it; westward from the church stands the court-lodge, now so called, of East Kingsnoth manor, it is moated round, and seems likewise to have been much larger than it is at present, and close to the western boundary of the parish is the manor-house of West Halks, which has been a large antient building, most probably of some consequence in former times, as there appears to have been a causeway once from it, wide enough for a carriage, which led through the courtlodge farm towards Shadoxhurst, Woodchurch, and son on to Halden, remains of which are often turned up in ploughing the grounds. In the low grounds, near the meadows, is the scite of the manor of Moorhouse, moated round. The above mansions seem to have been moated round not only for defence, but to drain off the water from the miry soil on which they were built, which was no doubt the principal reason why so many of the antient ones, in this and the like situations were likewise moated round. There is a streamlet, which rises in the woods near Bromley green, and slows along the eastern par to this parish northward, and joining the Postling branch of the Stour near Sevington, runs with it by Hockwood barn and under Alsop green, towards Ashford. Leland in his Itinerary says, vol. vii. p. 145, "The river of Cantorbury now cawled Sture springeth at Kinges Snode the which standeth sowthe and a lytle by west fro Cantorbury and ys distant of Cant. a xiiii or xv myles."
THE ROYAL MANOR OF WYE claims paramount over this parish. The lord of that manor, George Finch Hatton, esq. of Eastwell, holds a court leet here for the borough of East Kingsnoth, which claims over this parish, at which a borsholder is yearly appointed; subordinate to which is THE MANOR OF KINGSNOTH, which in early times was the residence of a family to which it gave name, who bore for their coat armour, as appeared by seals appendant to their antient deeds, Ermine, upon a bend, five chevronels; and John de Kingsnoth, who lived here about the latter end of king Edward I. sealed with that coat of arms; yet I find that Bartholomew de Badlesmere, who was attainted about the 17th year of king Edward II had some interest in this manor, which upon his conviction escheated to the crown, and remained there until Richard II. granted it to Sir Robert Belknap, the judge, who had, not long before, purchased that proportion of this manor which belonged to the family of Kingsnoth, by which he became possessed of the whole of it; but he being attainted and banished in the 11th year of that reign, that part which had belonged to Badlesmere, and was granted by the king to Sir Robert Belknap, returned again to the crown, a further account of which may be seen hereafter. (fn. 1) But the other part of this estate, which belonged to the family of Kingsnoth likewise, henceforward called the manor of Kingsnoth, which seems to have been the greatest part of it, on the petition of Hamon Belknap his son to parliament, to be enabled in blood and lands to his father, notwithstanding the judgement against him, was restored to him, and he was found by inquisition to die possessed of it in the 7th year of king Henry VI. Soon after which I find Sir Thomas Browne, of Beechworth castle, treasurer of the king's houshold, to have become possessed of it; for in the 27th year of that reign, he obtained licence for a fair in this parish, on the feast of St. Michael, and that same year he had another to embattle his mansion here and to inclose a park, and for freewarren in all his demesne lands within this manor; and in a younger branch of his descendants this manor continued down to Richard Browne, esq. of Shingleton, in Great Chart, who married Elizabeth, daughter of Sir William Andrews, of Lathbury, in Buckinghamshire, and dying soon after the death of king Charles I. Elizabeth, their only daughter and heir, carried it in marriage to Thomas, lord Leigh, of Stoneleigh, who afterwards alienated it again to Andrews, in which name it continued till Alexander Andrews, executor and devisee of William Andrews, in 1690, conveyed this manor, with the farm called the Park, the manor of Morehouse, and other lands in this parish, being enabled so to do by act of parliament, to the company of haberdashers of London, as trustees, for the support of the hospital at Hoxton, commonly called Aske's hospital, in whom they are now vested. There is not any court held for this manor.
THE OTHER PART of the above-mentioned estate, which had formerly belonged to the family of Badlesmere, and had escheated to the crown on the attainder of Bartholomew de Badlesmere in the 17th year of king Edward II. remained there until Richard II. granted it to Sir Robert Belknap, on whose attainder and banishment in the 11th year of that reign it returned again to the crown, whence it seems, but at what time I have not found, to have been granted to the abbot and convent of Battel, in Sussex, by the name of THE MANOR OF EAST KINGSNOTH, together with the manors of West Kingenoth, in Pluckley; Morehouse, in this parish; and Wathenden, in Biddenden, lately belonging to that monastery, in as ample a manner as the late abbot, or any of his predecessors had possessed them, (fn. 2) and they continued part of the possessions of it till its dissolution in the 30th year of Henry VIII. when they came into the hands of the crown, where they staid but a short time; for the king that year granted these manors to Sir Edw. Ringsley for his life, without any rent or account whatsoever; and four years afterwards the king sold the reversion of them to Sir John Baker, one of his council, and chancellor of the first fruits and tenths, to hold in capite by knight's service. He died in 1558, possessed of this manor, with the advowson of the church of Kingsnoth, and the manors of West Kingsnoth and Morehouse, held in capite, in whose descendants the manor of East Kingsnoth, with the advowson of the church, descended down to Sir John Baker, bart. who, in the reign of king Charles I. passed it away by sale to Mr. Nathaniel Powell, of Ewehurst, in Sussex, and afterwards of Wiarton, in this county, who was in 1661 created a baronet; and in his descendants it continued down to Sir Christopher Powell, bart. who died possessed of it in 1742, s.p. leaving his widow surviving, whose trustees sold this manor and advowson, after her death, to Mrs. Fuller, widow of Mr. David Fuller, of Maidstone, attorney-at-law, who in 1775 devised them by will to her relation William Stacy Coast, esq. now of Sevenoke, the present owner of them. There is not any court held for this manor.
MUMFORDS, as it is now called, though its proper and more antient name is Montfort's, is a manor in this parish, which was once the residence of the family of Clerc, written in antient deeds le Clerc, and afterwards both Clerke and Clarke, in which it continued till about the latter end of the reign of king Edward I. when Henry le Clerc leaving no issue male, Susan his daughter and heir carried it, with much other inheritance, in marriage to Sir Simon de Woodchurch, whose descendants, out of gratitude for such increase of fortune, altered their paternal name from Woodchurch to Clerke, and in several of their deeds subsequent to this marriage, were written Clerke, alias Woodchurch. They resided at Woodchurch till Humphry Clerke, esq. removed hither in Henry VIII.'s reign. (fn. 3) His son Humphry Clerke, about the end of queen Elizabeth's reign, sold this manor to John Taylor, son of John Taylor, of Willesborough, who afterwards resided here. His son John Taylor, gent. of Winchelsea, alienated it, about the beginning of king Charles I.'s reign, to Edward Wightwick, gent. descended of a family originally of Staffordshire, who bore for their arms, Argent, on a chevron, argent, between three pheons, or, as many crosses patee, gules, granted in 1613. He afterwards resided here, as did his descendants, till at length Humphry Wightwick, gent. about the beginning of king George II.'s reign removed to New Romney, of which town and port he was jurat, in whose descendants this manor became afterwards vested in several undivided shares. At length Mr. William Whitwick, the only surviving son of Humphry, having purchased his mother's life estate in it, as well as the shares of his brother Martin's children, lately sold the whole property of it to Mr. Swaffer, the present possessor and occupier of it.
WEST HALKS, usually called West Hawks, is a manor, situated near the western bounds of this parish, being held of the manor of Kenardington; it formerly was the residence of a family of the name of Halk, who bore on their seals a fess, between three bawks, and sometimes only one, and were of no contemptible account, as appears by old pedigrees and writings, in which they are represented as gentlemen for above three hundred years. Sampson de Halk, gent. died possessed of this manor about the year 1360, and held besides much other land at Petham and the adjoining parishes; but about the latter end of king Henry VI.'s reign, this manor had passed from this family into that of Taylor, in which name it continued till the latter end of king Henry VII. when it was alienated to Clerc, whose descendant Humphry Clerke, esq. about the end of queen Elizabeth's reign, passed it away to Robert Honywood, esq, of Charing, who settled it on his fourth son by his second marriage Colonel Honywood. How long it continued in his descendants, I cannot learn; but it has been for some length of time in the name of Eaton, of. Essex, Mr. Henry Eaton being the present owner of it.
Charities.
HUMPHRY CLARKE, gent. of this parish, left by will in 1637, a parcel of land, called Pightland, containing about three acres, in the eastern part of this parish, for the benefit of the poor of it.
MRS. ELIZABETH MAY, in 1721, gave by will 9l. every third year, chargeable on Bilham farm, to be paid, clear of all deductions, to this parish in turn, during a term of years therein mentioned, to be applied yearly towards the binding out a child an apprentice, of the poorest people in three parishes in turn, as has been already mentioned more at large under Sevington. One girl only has as yet been put out apprentice from this charity, by this parish.
The number of poor constanly relieved are about twentyfive, casually twelve.
KINGSNOTH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Limne.
The church, which is dedicated to St. Michael, is small, consisting only of one isle and one chancel, having a square tower steeple at the west end, in which are five bells. In the isle is an antient gravestone, coffin-shaped, with old French capitals round it, now illegible. In the chancel is a stone, with an inscription on it in brass, for Thomas Umfrey, rector, no date; and a monument for Thomas Reader, A. M. son of Thomas Reader, gent. of Bower, in Maidstone, obt. 1740. Against the north wall is the tomb of Humphry Clarke, esq. made of Bethersden marble, having the figures of him and his wife remaining in brass on it, and underneath four sons and five daughters. Over the tomb, in an arch in the wall, is an inscription to his memory, set up by his daughter's son Sir Martin Culpeper, over it are the arms of Clarke, Two pales wavy, ermine, impaling Mayney. In the glass of the south window of the isle are several heads remaining, and in the north-west window the figure of St. Michael with the dragon. The north chancel fell down about thirty years ago. It belonged to the manor of Mumfords, and in it were interred the Wightwicks, owners of that manor; the gravestones of them, nine in number, yet remain in the church-yard, shut out from the church; and on one next to theirs, formerly within this chancel, is the figure of a knight in armour, with a lion under his feet, and an inscription in brass, for Sir William Parker, son of William Parker, esq. citizen and mercer of London, obt. 1421; arms, On a fess, three balls.
The advowson of the rectory of this church was formerly parcel of the possessions of the priory of Christ-church, and at the dissolution of it in the 31st year of Henry VIII. came into the king's hands, where it remained till that king in his 34th year, granted it in exchange, among other premises, to archbp. Cranmer, (fn. 4) who did not keep it long; for four years afterwards, he reconveyed it, with the consent of his chapter, back again to the king, (fn. 5) who soon afterwards granted it to Sir John Baker, one of his council, and chancellor of his first-fruits and tenths, who died possessed of the manor of East Kingsnoth, together with the advowson of this church, in the year 1558, in whose descendants it continued down to Sir John Baker, bart. who in the reign of king Charles I. alienated it, with that manor, to Mr. Nathaniel Powell. Since which this advowson has continued in the like succession of ownership with that manor, as may be seen more fully in the account of it before, to the present patron of it, William Stacy Coast, esq. now of Sevenoke.
There was formerly a pension of forty shillings payable from this church to the abbot of Battel.
¶This rectory is valued in the king's books at 11l. 9s. 9½d. and the yearly tenths at 1l. 2s. 11¼d. In 1578 it was valued at sixty pounds, communicants one hundred. In 1640 it was valued at fifty pounds only, and there were the like number of communicants. It is now worth about one hundred and forty pounds per annum. The rector takes no tithes of wood below the hill southward. There are about seventeen acres of glebe land.
www.british-history.ac.uk/survey-kent/vol7/pp583-592
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There has been a Church in Kingsnorth from Saxon Times but the present building probably dates from the 11thC. There are examples of 13thC and 14thC stained glass remaining in some of the windows. The chancel was rebuilt in the 18thC following a storm and the two side chapels were demolished at this time. Major restoration was carried out in the 19thC at which time the stained glass in the East Window was installed. At this time and again in the 1920s work was carried out to try and cure the problem of rising damp due to the high water table. In 2006 major restoration was once again required and in addition to repairs to the tower and external stonework it was decided that an extension would be built on the site of the old chantry chapel on the north side of the building and that the interior of the church would be re-ordered. This involved digging out the interior of the church and laying a new suspended floor to try and cure the problem of the rising damp (This has been largely successful). The old pews and choir stalls were replaced with modern stackable pews to enable a more flexible use of the space, new lighting and a new heating system was installed. This has resulted in a light airy user friendly building. At the back of the church a glass screen was erected forming a separate area. This provides a space where parents can take their children if they become restless during the services. The ground floor of the extension consists of a large meeting room with kitchenette plus toilet. On the first floor there is a choir vestry and church office. There are currently plans to install a second toilet on this floor. On the second floor there is a further small meeting room and a store room.
My business is to create. It doesn't even matter what it is. All I know is if you don't figure out that something, you'll just stay ordinary. And it doesn't matter if its a work of art, or a taco, or a pair of socks. Just create something new and there it is, and it's you, out in the world, outside of you. And you can look at it, or hear it, or read it, or feel it, and you know a little bit more about you. A little more than anyone else does.
-P.S. I love you.
All of you flikr users can probably understand why this quote stood out to me. I was watching the movie for the millionth time and I stopped and thought about it, paused the DVD, and went and wrote it down. It inspired me. :)
Okay, you know how on the internet you can see those crazy awesome pictures of professionals who do amazing chalk drawings on random streets? Maybe that's just me. I don't know, but lets give those people a round of applause because in my opinion chalk is evil. I don't know, just the feeling of the chalk scraping against the sidewalk is the worst. Plus it is all powdery so the wind kept blowing away my drawings. grr. But after much frustration and a little blood (I sorta scraped my knuckle on the concrete instead of the chalk. ouch), I finally got this shot. I love it. It's probably not even that good but I don't care. You know when you work really hard on something and no matter what it looks like you just love it? I don't know, I guess since I went through so much frustration and chalk to get this, not to mention the fact that I was actually inspired for once, I'm just really happy with it. So don't judge me. =P
It is a BEAUTIFUL day!:) I can't stand not being outside right now. I hope all of you have a great day!!
A bunch more in comments, btw.
p.s. I went to the orthodontist today and got the obnoxious blue off of my braces! Now they are slightly less unattractive. :)
This is the entrance for a beautiful cave.
If you expect a tiger or bear to be in this one, then you are in for a surprise. This is in a beach and is constructed by those who can walk only sideways! This is a cave whose entrance was not more than 1 cm.
Audio is live recording capturing the combination of the sea breeze and the sound of the waves.
I created a teen bedroom scene from the eighties, they’re wearing Rainbow High clothes. Bratz accessories are strewn on the bed. I printed off some posters and they’re listening to ‘Club Tropicana’ 😘
Peters Valley 44th Annual Fine Craft Fair
I had a really hard time deciding whether or not to go on Saturday. I knew I wanted to, but I also knew that I had taken 5 days off from work to get some projects done at home and so far, this being Day 4, I had done nothing. I also had a soccer game to go to. I decided to go anyway (no work got done in 5 days, I made it to the last half of the second half of the game) and I did not regret going. This is an amazing show and I could have spent more time there if I didn't have to run off to soccer.
We stood and watched the entire process involved in creating a hand marbled silk scarf using liquid paints
floating on a thickened transparent fluid bath. Once the paint colors were selected and applied to the water bath,
the pattern effects were created using a hand held stylus. The plain silk scarf was then carefully laid over the
paint pattern in the bath, transferring the design to the silk. The process is called Ebru or Turkish Marbling. The only disappointing thing was once the finished scarf came out of the bath, it was rinsed and then put right into a plastic bag, so we didn't really get to see the final result. It was interesting to watch though!