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Brad 'One Punch' Pickett chats to MMA Bay, Devoted MMA and MMA UK Blog at the UFC Undisputed 3 hands-on event in London.
UFC Undisputed 3 is available on PlayStation 3 and Xbox 360 on 17 February in the UK. Pre-order to get an exclusive bonus.
“[M]y whole soul is devoted to building this church here” wrote Pugin to the Earl of Shrewsbury.
St Augustine’s Church is the ‘ideal Church’ of Augustus Welby Pugin (1812-1852) who constructed it between 1845-1852 next to his home ‘the Grange’ according to his ‘true principles of Christian architecture’. He described it as ‘my own child’ and it was to be ‘a revival of the old Kentish churches stone & flint’, with a chantry chapel ‘that may be the burial place of my family’.
It stands as symbol of the Catholic revival of the 19th century which Pugin’s own life and conversion in 1835 epitomises. The church is also an integral part of Pugin’s own Gothic revival which inspired the nation at large. It was being constructed at the same time that Pugin was designing the new Houses of Parliament and Big Ben.
Pugin moved to St Augustine’s in 1843 specifically ‘close to the spot where blessed Austin landed’. His building of the church therefore stands as a monument to the arrival of Christianity to Anglo-Saxon England recalling the landing of St Augustine in 597AD. Pugin was keen to show that Catholicism and Gothic were part of the DNA of English identity and the church emphasises and celebrates the English saints in a particular way.
Pugin spared nothing in building this church and he would only use the finest material and workmen. He wrote to his son Edward, ‘I am giving you the best architectural lessons I can; watch the church’. The church provided Mass for local Catholics and visitors before a parish was formed. Ramsgate’s first post-reformation Catholic school was run from the site. At his death he gifted the Church to the Catholic community, for he always intended it to be “a Parochial church” (Pugin’s Letters).
The church’s exterior is stone covered with traditional hardy flint to withstand the weather. Its interior is also lined with Whitby stone forging a link with the great seaside church of St Hilda. There is exquisite decoration with stone and wood carvings throughout, unique statues, stained glass and ornate tiles. Pugin’s team for the church included other well knownassociates George Myers for construction, John Hardman Powell for the metalwork and especially stained glass and Herbert Minton for the tiles. Pugin died in 1852 before completing the project but the work was continued until 1893 and involved Edward Pugin (1834-75) and Peter Paul Pugin (1851-1904) and many of the original associates and their families.
St Augustine’s was consecrated in 1884 and Grade-1 listed only in 1988. From 1856 until 2010 the church was run by the Benedictine monks of St Augustine’s Abbey (which was constructed opposite by Edward Pugin). In 2010 the Benedictine Monks withdrew from the Church and it came under the jurisdiction of the Parish of SS Ethelbert and Gertrude, Ramsgate and Minster. In February 2011 after a sizeable grant from English Heritage, the church’s future was assured. It serves as a functioning local church of the Ramsgate and Minster Catholic parish and since March 1st 2012 as an official shrine of St Augustine for pilgrimage. It remains for all a monument of serious historical importance and site of great architectural, artistic and culture significance for the wider public.
Go to Page 278 in the Internet Archive
Title: The journal of the Gynaecological Society of Boston : a monthly journal devoted to the advancement of the knowledge of the diseases of women, 5, (1871)
Creator: Gynaecological Society of Boston
Publisher: Boston, Mass. : James Campbell
Sponsor: Open Knowledge Commons and the National Endowment for the Humanities
Contributor: Francis A. Countway Library of Medicine
Date: 1871
Vol: 5, (1871)
Language: eng
Description: Title from title page
"A monthly journal devoted to the advancement of the knowledge of the diseases of women."
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
Read/Download from the Internet Archive
Coaches devoted to their players’ well being can steal our hearts, but Tom Walter’s story is a home run. Making the ultimate sacrifice for team member Kevin Jordan, he donated a kidney, changing the young man’s life. Also in Hollywood Healthbeat, panic at the Playboy Mansion as bunnies and party guests fall ill from a mysterious, potentially fatal, respiratory disease similar to Legionnaire’s Disease, an aerobic bacterial infection. The CDC suspects… disco fog.
Dance performance in Nowohuckie Centrum Kultury, devoted to the remembrance of the choreographer and pedagogue Professor Janina Strzembosz. Kraków, Poland
Go to Page 124 in the Internet Archive
Title: The Water-cure journal, and herald of reforms, devoted to physiology, hydropathy and the laws of life, 12, (1851)
Publisher: New York : Fowlers and Wells
Sponsor: Open Knowledge Commons and the National Endowment for the Humanities
Contributor: Francis A. Countway Library of Medicine
Date: 1851
Vol: 12, (1851)
Language: eng
Description: Title varies slightly
Description based on: Vol. 19, no. 1 (Jan. 1855); title from caption
Continued by: Hygienic teacher and water-cure journal
If you have questions concerning reproductions, please contact the Contributing Library.
Note: The colors, contrast and appearance of these illustrations are unlikely to be true to life. They are derived from scanned images that have been enhanced for machine interpretation and have been altered from their originals.
Read/Download from the Internet Archive
The Lakshmi Narayan temples complex, devoted to the Vaishnavite sect, includes the main Lakshmi Narayan temple, built in the 10th century by Raja Sahil Verman. It has been built to suit the local climatic conditions with wooden chatries and has a shikara, and a sanctum sanctorum (Garbhagriha), with an antarala and a mantapa. A metallic image of Garuda, the vahana (mount) of Vishnu is installed on the dwajastamba pillar at the main gate of the temple. In 1678, Raja Chhatra Singh adorned the temple roof with gold plated pinnacles, as a riposte to Auranagzeb, who had ordered demolition of this temple.
____________________________________
Chamba (Hindi: चम्बा) is an ancient town in the Chamba district in the state of Himachal Pradesh, in northern India. According to the 2001 Indian census, Chamba has a population of 20,312 people. Located at an altitude of 996 metres above mean sea level, the town is situated on the banks of the Ravi River (a major tributary of the Trans-Himalayan Indus River), at its confluence with the Sal River.
Though historical records date the history of the Chamba region to the Kolian tribes in the 2nd century BC, the area was formally ruled by the Maru dynasty, starting with the Raju Maru from around 500 AD, ruling from the ancient capital of Bharmour, which is located 75 kilometres from the town of Chamba. In 920, Raja Sahil Varman (or Raja Sahil Verma) shifted the capital of the kingdom to Chamba, following the specific request of his daughter Champavati (Chamba was named after her). From the time of Raju Maru, 67 Rajas of this dynasty have ruled over Chamba until it finally merged with the Indian Union in April 1948, although Chamba was under British suzerainty from 1846 to this time.
The town has numerous temples and palaces, and hosts two popular jatras (fairs), the "Suhi Mata Mela" and the "Minjar Mela", which last for several days and involve music and dancing. Chamba is also well noted for its arts and crafts, particularly its Pahari paintings, which originated in the Hill Kingdoms of North India between the 17th and 19th century and its handicrafts and textiles.
HISTORY
Chamba has an ancient history, which is inseparable from that of the surrounding district of Chamba. The earliest rulers were Kolian tribes. In the 2nd century BC the Khasas and Audumbaras were in power in the region. In the 4th century AD during the Gupta period, the Thakurs and Ranas ruled. From the 7th century, the Gurjara Pratiharas or the Rajput dynasty came into power.
The recorded history of the Rajput rulers is traced to an eminent individual named Maru who is said to have moved to northwest India from Kalpagrama, around 500 AD. He founded his capital in the Budhal river valley at a place called Brahmaputra, which later became known as Bharmour or Bhramaur, which is situated 75 kilometres to the east of the present day Chamba town. For three hundred years, kings of Rajput Dynasty ruled from their capital in Bharmour.
However, in 920, Raja Sahil Varman (or Raja Sahila Verma), King of Bharmour, shifted his capital from Bharmour to a more centrally located plateau in the lower Ravi valley, and named the city Champavati, after his daughter. There is some variation in the story to how exactly this transition came about in the historical records of Chamba. One version tells how Varman, who, after being childless for a significant period, was blessed with ten sons and a daughter, named "Champavati". It was Champavati who urged her father to build a new capital town in the valley. However, obstacles stood in the way to relocating his capital, given that the king had previously granted the land in the modern Chamba vicinity to the Kanwan Brahmins. A solution was found in the form of offering a gift of eight copper coins called chaklis on the occasion of every marriage that took place in the Brahmin family, if they would agree to surrender their land to pave the way for the new capital. With the land thus obtained, the new capital was built and named as Champa after Chamapavati, the King’s daughter, which, over the years, was simply shortened to "Chamba'.
A variation of this origin of Chamba is that it originated as a hermitage which Champavati, a devout Hindu, used to frequent. The king, being suspicious of his daughter's fidelity, one day investigated and followed her to the hermitage, but surprisingly he found neither his daughter nor the hermit there. Suddenly he was said to have heard a voice which informed him that his suspicions were ill founded, admonishing him and informing him that his daughter had been taken away from him permanently as a punishment of his lack of trust in her morals. The King, fully chastened, sought redemption for his sin by expanding the hermitage into a temple, named in his daughter’s honour and built a city around the temple. Today this temple, called the Champavati Temple, belongs to the Royal family and the King’s daughter is venerated as a goddess. Every year, since 935, the Minjar festival or fair has been held. It lasts for 21 days, coinciding with the first day of Baisakhi.
Since Raja Sahil Varman, the dynasty ruled without successful invasion for around a millennium, until the British gained power. The isolation of the town and its rugged hilly terrain is believed to have been a contributing factor to this unusual state of security. Later, Mughal emperors Akbar and Aurangzeb did attempt to annex Chamba but were unsuccessful in subjugating this territory into their kingdoms. Raja Prithvi Singh (1641-1664 AD), who was on amiable terms with Emperor Shahjahan was instrumental in introducing the court life styles of the Mughals.
Many progressive reforms and developments were made in Chamba under the British. In 1863, the first Post office was established in Chamba and a daily mail service and a primary school. In December, 1866, a hospital was opened by Doctor Elmslie of the Kashmir Medical Mission. In the late 1860s two new roads to Dalhousie via Kolri and Khajiar were built. Gopal Singh, who ruled from 1870 to 1873, after abdicating, was responsible for building the grand Jandarighat Palace as his summer residence.
After India becoming an independent nation in August 1947, the princely state of Chamba finally merged with India on April 15, 1948 along with the other princedoms of Mandi-Suket State, Sirmour State and all of those in the Shimla hills.
Buildings in Chamba were traditionally constructed using local materials. Buildings were made out of dry stone masonry, with the walls and floors of the older houses plastered with a concoction of clay and cow-dung. Thick wooden beams were used to support the walls, paying attention to durability and to withstand earthquakes, and wooden cantilever construction was often used to support the verandas. The staircases and doors were made from wood, with the doors often decorated in religious reliefs and flanked by two lamps to light it at night. Before the arrival of the British, who introduced slate roofs to Chamba, roofs were covered with planks, coated in clay. Few of these houses remiain today, although a number still have wood-clay roofs in villages in the suburbs.
The old heritage monuments, which are palaces and temples are located in the old town (east of the Chaugans), on the lower slopes of Shah Madar hill. They were built in the lower valley where the two rivers and steep thickly forested hillsides provided a strong defense. Located here is the 10th century Champavati Temple, said to have marked the birth of the town, the Lakshmi Narayan group of temples (built from 10th-19th century), the 10th century Sita Ram Temple, Bansi Gopal temple, Kharura Mohalla and Hari Rai temple, the 11th century Sui Mata Temple and Chamunda Devi Temple, and the Akhand Chandi palace, overlooking the Chaugan, which has since been converted into a college. Additions were made to the palace in the form of the Zenana Mahal and the Rang Mahal in the 18th century. The temples built in Chamba demonstrate a strong Kashmiri influence with their stone temple architecture and temple iconography. Given their age however, only their unicellular layout with fluted pillars has been retained.
WIKIPEDIA
ID number: H16377
Photographer: Dorothy Warner
Place: Kapunda, South Australia
May Reynell lost her husband‚ Lieutenant-Colonel Carew Reynell‚ and her brother‚ Private Douglas Byard‚ on Gallipoli. Despite her loss she remained committed to the war effort. Already active in several patriotic committees, including the Red Cross Sock Club and Cheer–Up Society, she travelled to Egypt‚ where she ran at her own expense a tea house for light horsemen at Heliopolis.
Reynell was dedicated to her work, almost to the detriment of her own health. In April 1916, a concerned officer of the 3rd Light Horse Regiment wrote to her father-in-law commending her for her work but cautioning that she may be overworking herself.
Returning to Australia, she continued her volunteer work, becoming president of the local chapter of the Red Cross and secretary and treasurer of the League of Loyal Women. She maintained this contribution after the war, working to support bereaved families‚ war widows, and returned soldiers.
Reynell never remarried but she was to experience wartime loss again. Her son‚ 32091 Flight Lieutenant Richard Carew Reynell‚ served with the 43 Squadron Royal Air Force in the Second World War and was killed in 1940 during the defence of London.
Rights Info: No known copyright restrictions.
This photograph is from the Australian War Memorial's collection www.awm.gov.au
Persistent URL: www.awm.gov.au/collection/H16377
The Lakshmi Narayan temples complex, devoted to the Vaishnavite sect, includes the main Lakshmi Narayan temple, built in the 10th century by Raja Sahil Verman. It has been built to suit the local climatic conditions with wooden chatries and has a shikara, and a sanctum sanctorum (Garbhagriha), with an antarala and a mantapa. A metallic image of Garuda, the vahana (mount) of Vishnu is installed on the dwajastamba pillar at the main gate of the temple. In 1678, Raja Chhatra Singh adorned the temple roof with gold plated pinnacles, as a riposte to Auranagzeb, who had ordered demolition of this temple.
____________________________________
Chamba (Hindi: चम्बा) is an ancient town in the Chamba district in the state of Himachal Pradesh, in northern India. According to the 2001 Indian census, Chamba has a population of 20,312 people. Located at an altitude of 996 metres above mean sea level, the town is situated on the banks of the Ravi River (a major tributary of the Trans-Himalayan Indus River), at its confluence with the Sal River.
Though historical records date the history of the Chamba region to the Kolian tribes in the 2nd century BC, the area was formally ruled by the Maru dynasty, starting with the Raju Maru from around 500 AD, ruling from the ancient capital of Bharmour, which is located 75 kilometres from the town of Chamba. In 920, Raja Sahil Varman (or Raja Sahil Verma) shifted the capital of the kingdom to Chamba, following the specific request of his daughter Champavati (Chamba was named after her). From the time of Raju Maru, 67 Rajas of this dynasty have ruled over Chamba until it finally merged with the Indian Union in April 1948, although Chamba was under British suzerainty from 1846 to this time.
The town has numerous temples and palaces, and hosts two popular jatras (fairs), the "Suhi Mata Mela" and the "Minjar Mela", which last for several days and involve music and dancing. Chamba is also well noted for its arts and crafts, particularly its Pahari paintings, which originated in the Hill Kingdoms of North India between the 17th and 19th century and its handicrafts and textiles.
HISTORY
Chamba has an ancient history, which is inseparable from that of the surrounding district of Chamba. The earliest rulers were Kolian tribes. In the 2nd century BC the Khasas and Audumbaras were in power in the region. In the 4th century AD during the Gupta period, the Thakurs and Ranas ruled. From the 7th century, the Gurjara Pratiharas or the Rajput dynasty came into power.
The recorded history of the Rajput rulers is traced to an eminent individual named Maru who is said to have moved to northwest India from Kalpagrama, around 500 AD. He founded his capital in the Budhal river valley at a place called Brahmaputra, which later became known as Bharmour or Bhramaur, which is situated 75 kilometres to the east of the present day Chamba town. For three hundred years, kings of Rajput Dynasty ruled from their capital in Bharmour.
However, in 920, Raja Sahil Varman (or Raja Sahila Verma), King of Bharmour, shifted his capital from Bharmour to a more centrally located plateau in the lower Ravi valley, and named the city Champavati, after his daughter. There is some variation in the story to how exactly this transition came about in the historical records of Chamba. One version tells how Varman, who, after being childless for a significant period, was blessed with ten sons and a daughter, named "Champavati". It was Champavati who urged her father to build a new capital town in the valley. However, obstacles stood in the way to relocating his capital, given that the king had previously granted the land in the modern Chamba vicinity to the Kanwan Brahmins. A solution was found in the form of offering a gift of eight copper coins called chaklis on the occasion of every marriage that took place in the Brahmin family, if they would agree to surrender their land to pave the way for the new capital. With the land thus obtained, the new capital was built and named as Champa after Chamapavati, the King’s daughter, which, over the years, was simply shortened to "Chamba'.
A variation of this origin of Chamba is that it originated as a hermitage which Champavati, a devout Hindu, used to frequent. The king, being suspicious of his daughter's fidelity, one day investigated and followed her to the hermitage, but surprisingly he found neither his daughter nor the hermit there. Suddenly he was said to have heard a voice which informed him that his suspicions were ill founded, admonishing him and informing him that his daughter had been taken away from him permanently as a punishment of his lack of trust in her morals. The King, fully chastened, sought redemption for his sin by expanding the hermitage into a temple, named in his daughter’s honour and built a city around the temple. Today this temple, called the Champavati Temple, belongs to the Royal family and the King’s daughter is venerated as a goddess. Every year, since 935, the Minjar festival or fair has been held. It lasts for 21 days, coinciding with the first day of Baisakhi.
Since Raja Sahil Varman, the dynasty ruled without successful invasion for around a millennium, until the British gained power. The isolation of the town and its rugged hilly terrain is believed to have been a contributing factor to this unusual state of security. Later, Mughal emperors Akbar and Aurangzeb did attempt to annex Chamba but were unsuccessful in subjugating this territory into their kingdoms. Raja Prithvi Singh (1641-1664 AD), who was on amiable terms with Emperor Shahjahan was instrumental in introducing the court life styles of the Mughals.
Many progressive reforms and developments were made in Chamba under the British. In 1863, the first Post office was established in Chamba and a daily mail service and a primary school. In December, 1866, a hospital was opened by Doctor Elmslie of the Kashmir Medical Mission. In the late 1860s two new roads to Dalhousie via Kolri and Khajiar were built. Gopal Singh, who ruled from 1870 to 1873, after abdicating, was responsible for building the grand Jandarighat Palace as his summer residence.
After India becoming an independent nation in August 1947, the princely state of Chamba finally merged with India on April 15, 1948 along with the other princedoms of Mandi-Suket State, Sirmour State and all of those in the Shimla hills.
Buildings in Chamba were traditionally constructed using local materials. Buildings were made out of dry stone masonry, with the walls and floors of the older houses plastered with a concoction of clay and cow-dung. Thick wooden beams were used to support the walls, paying attention to durability and to withstand earthquakes, and wooden cantilever construction was often used to support the verandas. The staircases and doors were made from wood, with the doors often decorated in religious reliefs and flanked by two lamps to light it at night. Before the arrival of the British, who introduced slate roofs to Chamba, roofs were covered with planks, coated in clay. Few of these houses remiain today, although a number still have wood-clay roofs in villages in the suburbs.
The old heritage monuments, which are palaces and temples are located in the old town (east of the Chaugans), on the lower slopes of Shah Madar hill. They were built in the lower valley where the two rivers and steep thickly forested hillsides provided a strong defense. Located here is the 10th century Champavati Temple, said to have marked the birth of the town, the Lakshmi Narayan group of temples (built from 10th-19th century), the 10th century Sita Ram Temple, Bansi Gopal temple, Kharura Mohalla and Hari Rai temple, the 11th century Sui Mata Temple and Chamunda Devi Temple, and the Akhand Chandi palace, overlooking the Chaugan, which has since been converted into a college. Additions were made to the palace in the form of the Zenana Mahal and the Rang Mahal in the 18th century. The temples built in Chamba demonstrate a strong Kashmiri influence with their stone temple architecture and temple iconography. Given their age however, only their unicellular layout with fluted pillars has been retained.
WIKIPEDIA
Dance performance in Nowohuckie Centrum Kultury, devoted to the remembrance of the choreographer and pedagogue Professor Janina Strzembosz. Kraków, Poland
I have a set devoted to Park Hill:
www.flickr.com/photos/shefftim/sets/72157642537014264/
More to upload during the week.
Park Hill is a large disused council housing estate in Sheffield, South Yorkshire, England. It was built in the late 1950s. It was closed in 1998 following a period of steep decline and a reputation for crime, drugs & social problems. It now is largely depopulated, though oddly its nursery school is still open.
The estate is structurally sound & has Grade II listed building status for its modernist style, influenced by the architect Le Corbusier. Part of the estate is currently being renovated by developer Urban Splash.
More about Park Hill’s history:
www.telegraph.co.uk/culture/art/architecture/9551327/Mult...
Devoted followers are offering their respect in Durga Puja. It is the oldest religious festival of Hindu religion that celebrates worship of the Hindu goddess Durga.
This picture was taken at Shyamoli, Dhamrai, Savar, Dhaka.
Title leaf of of a volume containing a series of neo-Latin poems by David Peifer, each devoted to an Ottoman sultan, written to arouse Europe's rulers to wage war against the Turks. Printed by Joannes Oporinus of Basel.
Established heading: Oporinus, Joannes, 1507-1568
DNB heading: Peifer, David 1530-1602
Penn Libraries call number: GC55 P3513 550i
Seen during a quick trip to Paris: detail of a wooden altarpiece in the Musée de Cluny, the city's museum devoted to the Middle Ages.
I have a set devoted to Park Hill:
www.flickr.com/photos/shefftim/sets/72157642537014264/
Park Hill is a large disused council built social housing estate in Sheffield, South Yorkshire, England. It was built in the late 1950s. It was closed in 1998 following a period of steep decline and a reputation for crime, drugs & social problems. It now is largely depopulated, though its nursery school is still open.
The estate is structurally sound & has Grade II listed building status for its modernist style, influenced by the architect Le Corbusier. Part of the estate is currently being renovated by developer Urban Splash.
More on Park Hill’s history:
www.telegraph.co.uk/culture/art/architecture/9551327/Mult...
Dance performance in Nowohuckie Centrum Kultury, devoted to the remembrance of the choreographer and pedagogue Professor Janina Strzembosz. Kraków, Poland
I have a set devoted to Park Hill:
www.flickr.com/photos/shefftim/sets/72157642537014264/
Park Hill is a large disused council built social housing estate in Sheffield, South Yorkshire, England. It was built in the late 1950s. It was closed in 1998 following a period of steep decline and a reputation for crime, drugs & social problems. It now is largely depopulated, though its nursery school is still open.
The estate is structurally sound & has Grade II listed building status for its modernist style, influenced by the architect Le Corbusier. Part of the estate is currently being renovated by developer Urban Splash.
More on Park Hill’s history:
www.telegraph.co.uk/culture/art/architecture/9551327/Mult...
NARMADA PARIKRAMA
The Narmada also called the Rewa, is a river in central India and the fifth longest river in the Indian subcontinent. It is the third longest river that flows entirely within India, after the Godavari and the Krishna. It is also known as "Life Line of Madhya Pradesh" for its huge contribution to the state of Madhya Pradesh in many ways. It forms the traditional boundary between North India and South India and flows westwards over a length of 1,312 km (815.2 mi) before draining through theGulf of Khambhat into the Arabian Sea, 30 km (18.6 mi) west of Bharuch city of Gujarat. It is one of only three major rivers in peninsular India that run from east to west (longest west flowing river), along with the Tapti River and the Mahi River. It is the one of the rivers in India that flows in a rift valley, flowing west between the Satpura and Vindhya ranges. The other rivers which flows through rift valley include Damodar River in Chota Nagpur Plateau and Tapti. The Tapti River and Mahi River also flow through rift valleys, but between different ranges. It flows through the states of Madhya Pradesh(1,077 km (669.2 mi)), and Maharashtra, (74 km (46.0 mi))– (35 km (21.7 mi)) then along the border between Madhya Pradesh and Maharashtra (39 km (24.2 mi) and the border between Madhya Pradesh and Gujarat and in Gujarat (161 km (100.0 mi)).
The Periplus Maris Erythraei (c. 80 AD) calls it the Nammadus, and theBritish Raj called it the Nerbudda or Narbada. Narmadā is a Sanskrit word meaning "the Giver of Pleasure".
To Hindus the Narmada is one of the five holy rivers of India; the other four beingGanges, Yamuna, Godavari and Kaveri. It is believed that a dip in any of these five rivers washes one's sins away. According to a legend, the river Ganges, polluted by millions of people bathing in it, assumes the form of a black cow and comes to the Narmada to bathe and cleanse itself in its holy waters. Legends also claim that the Narmada River is older than the river Ganges.
The river was mentioned by Ptolemy in the second century AD as Namade and by the author of the Periplus. The Ramayana, the Mahabharat, and thePuranas refer to it frequently. The Rewa Khand of Vayu Purana and the Rewa Khand of Skanda Purana are entirely devoted to the story of the birth and the importance of the river, and hence Narmada is also called the Rewa.
There are many fables about the origin of the Narmada. According to one of them, once Lord Shiva, the Destroyer of the Universe, meditated so hard that he started perspiring. Shiva's sweat accumulated in a tank and started flowing in the form of a river – the Narmada. Another legend has it that two teardrops that fell from the eyes of Lord Brahma, the creator of the universe, yielded two rivers – the Narmada and the Son.
Legends also say that for Lord Shiva, the Hindu God, the river is especially sacred on account of its origin, and it is often called Shankari, i.e., daughter of Shankar (Lord Shiva). All the pebbles rolling on its bed are said to take the shape of his emblem with the saying, "Narmada Ke Kanker utte Sankar" (a popular saying in the Hindi belt of India), which means that 'pebble stones of Narmada get a personified form of Shiva'. These lingam shaped stones (cryptocrytalline quartz), calledBanalinga also called (Banashivalingas) are much sought after for daily worship by the Hindus. The Brihadeeswara Temple in Thanjavur, Tamil Nadu, constructed by Rajaraja Chola, has one of the biggest Banalingas. Adi Shankara met his guru Govinda Bhagavatpada on the banks of the river Narmada.
Narmada is also said to have been in love with the Sonbhadra, another river flowing on the Chota Nagpur Plateau. According to the Puranas, the Narmada is also called the Rewa, from its leaping motion (from the root 'rev') through its rocky bed.
Important religious places and Ghats along the course of the river, starting from its origin at Narmadakhund at Amarkantakhill, are a) the Amarkantak (in Sanskrit: Neck of Shiva) or Teertharaj (the King of Pilgrimages), b) Omkareshwar, Maheshwar, and Mahadeo temples, Nemawar Siddeshwar Mandir in the middle reach of the river – all named after Shiva, c) Chausath Yogini (sixty four yoginis) temple, d) Chaubis Avatar temple, e) Bhojpur Shiva temple and Bhrigu Rishi temple in Bharuch. The Narmada River is also worshipped as mother goddess by Narmadeeya Brahmins.
The importance of the Narmada River as sacred is testified by the fact that the pilgrims perform a holy pilgrimage of aparikrama or circumambulation of the river.[17] The Narmada Parikrama, as it is called, is considered to be a meritorious act that a pilgrim can undertake. Many sadhus and pilgrims walk on foot from the Arabian Sea at Bharuch in Gujarat, along the river, to the source in Maikal Mountains (Amarkantak hills) in Madhya Pradesh and back along the opposite bank of the river. It is a 2,600-kilometre (1,600 mi) walk.[18] Important towns of interest in the valley are Jabalpur, Barwani, Hoshangabad, Harda, Narmada Nagar, Omkareshwar, Dewas (Nemavar, Kity, Pipri), Mandla and Maheshwar in Madhya Pradesh, andRajpipla and Bharuch in Gujarat. Some places of historical interest are Joga Ka Quilla, Chhatri of Baji Rao Peshwa andBhimbetka, and among the falls are the Dugdhdhara, Dhardi falls, Bheraghat, Dhuandhara, Kapiladhara and Sahastradhara. By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
NARMADA PARIKRAMA
The Narmada also called the Rewa, is a river in central India and the fifth longest river in the Indian subcontinent. It is the third longest river that flows entirely within India, after the Godavari and the Krishna. It is also known as "Life Line of Madhya Pradesh" for its huge contribution to the state of Madhya Pradesh in many ways. It forms the traditional boundary between North India and South India and flows westwards over a length of 1,312 km (815.2 mi) before draining through theGulf of Khambhat into the Arabian Sea, 30 km (18.6 mi) west of Bharuch city of Gujarat. It is one of only three major rivers in peninsular India that run from east to west (longest west flowing river), along with the Tapti River and the Mahi River. It is the one of the rivers in India that flows in a rift valley, flowing west between the Satpura and Vindhya ranges. The other rivers which flows through rift valley include Damodar River in Chota Nagpur Plateau and Tapti. The Tapti River and Mahi River also flow through rift valleys, but between different ranges. It flows through the states of Madhya Pradesh(1,077 km (669.2 mi)), and Maharashtra, (74 km (46.0 mi))– (35 km (21.7 mi)) then along the border between Madhya Pradesh and Maharashtra (39 km (24.2 mi) and the border between Madhya Pradesh and Gujarat and in Gujarat (161 km (100.0 mi)).
The Periplus Maris Erythraei (c. 80 AD) calls it the Nammadus, and theBritish Raj called it the Nerbudda or Narbada. Narmadā is a Sanskrit word meaning "the Giver of Pleasure".
To Hindus the Narmada is one of the five holy rivers of India; the other four beingGanges, Yamuna, Godavari and Kaveri. It is believed that a dip in any of these five rivers washes one's sins away. According to a legend, the river Ganges, polluted by millions of people bathing in it, assumes the form of a black cow and comes to the Narmada to bathe and cleanse itself in its holy waters. Legends also claim that the Narmada River is older than the river Ganges.
The river was mentioned by Ptolemy in the second century AD as Namade and by the author of the Periplus. The Ramayana, the Mahabharat, and thePuranas refer to it frequently. The Rewa Khand of Vayu Purana and the Rewa Khand of Skanda Purana are entirely devoted to the story of the birth and the importance of the river, and hence Narmada is also called the Rewa.
There are many fables about the origin of the Narmada. According to one of them, once Lord Shiva, the Destroyer of the Universe, meditated so hard that he started perspiring. Shiva's sweat accumulated in a tank and started flowing in the form of a river – the Narmada. Another legend has it that two teardrops that fell from the eyes of Lord Brahma, the creator of the universe, yielded two rivers – the Narmada and the Son.
Legends also say that for Lord Shiva, the Hindu God, the river is especially sacred on account of its origin, and it is often called Shankari, i.e., daughter of Shankar (Lord Shiva). All the pebbles rolling on its bed are said to take the shape of his emblem with the saying, "Narmada Ke Kanker utte Sankar" (a popular saying in the Hindi belt of India), which means that 'pebble stones of Narmada get a personified form of Shiva'. These lingam shaped stones (cryptocrytalline quartz), calledBanalinga also called (Banashivalingas) are much sought after for daily worship by the Hindus. The Brihadeeswara Temple in Thanjavur, Tamil Nadu, constructed by Rajaraja Chola, has one of the biggest Banalingas. Adi Shankara met his guru Govinda Bhagavatpada on the banks of the river Narmada.
Narmada is also said to have been in love with the Sonbhadra, another river flowing on the Chota Nagpur Plateau. According to the Puranas, the Narmada is also called the Rewa, from its leaping motion (from the root 'rev') through its rocky bed.
Important religious places and Ghats along the course of the river, starting from its origin at Narmadakhund at Amarkantakhill, are a) the Amarkantak (in Sanskrit: Neck of Shiva) or Teertharaj (the King of Pilgrimages), b) Omkareshwar, Maheshwar, and Mahadeo temples, Nemawar Siddeshwar Mandir in the middle reach of the river – all named after Shiva, c) Chausath Yogini (sixty four yoginis) temple, d) Chaubis Avatar temple, e) Bhojpur Shiva temple and Bhrigu Rishi temple in Bharuch. The Narmada River is also worshipped as mother goddess by Narmadeeya Brahmins.
The importance of the Narmada River as sacred is testified by the fact that the pilgrims perform a holy pilgrimage of aparikrama or circumambulation of the river.[17] The Narmada Parikrama, as it is called, is considered to be a meritorious act that a pilgrim can undertake. Many sadhus and pilgrims walk on foot from the Arabian Sea at Bharuch in Gujarat, along the river, to the source in Maikal Mountains (Amarkantak hills) in Madhya Pradesh and back along the opposite bank of the river. It is a 2,600-kilometre (1,600 mi) walk.[18] Important towns of interest in the valley are Jabalpur, Barwani, Hoshangabad, Harda, Narmada Nagar, Omkareshwar, Dewas (Nemavar, Kity, Pipri), Mandla and Maheshwar in Madhya Pradesh, andRajpipla and Bharuch in Gujarat. Some places of historical interest are Joga Ka Quilla, Chhatri of Baji Rao Peshwa andBhimbetka, and among the falls are the Dugdhdhara, Dhardi falls, Bheraghat, Dhuandhara, Kapiladhara and Sahastradhara. By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
NARMADA PARIKRAMA
The Narmada also called the Rewa, is a river in central India and the fifth longest river in the Indian subcontinent. It is the third longest river that flows entirely within India, after the Godavari and the Krishna. It is also known as "Life Line of Madhya Pradesh" for its huge contribution to the state of Madhya Pradesh in many ways. It forms the traditional boundary between North India and South India and flows westwards over a length of 1,312 km (815.2 mi) before draining through theGulf of Khambhat into the Arabian Sea, 30 km (18.6 mi) west of Bharuch city of Gujarat. It is one of only three major rivers in peninsular India that run from east to west (longest west flowing river), along with the Tapti River and the Mahi River. It is the one of the rivers in India that flows in a rift valley, flowing west between the Satpura and Vindhya ranges. The other rivers which flows through rift valley include Damodar River in Chota Nagpur Plateau and Tapti. The Tapti River and Mahi River also flow through rift valleys, but between different ranges. It flows through the states of Madhya Pradesh(1,077 km (669.2 mi)), and Maharashtra, (74 km (46.0 mi))– (35 km (21.7 mi)) then along the border between Madhya Pradesh and Maharashtra (39 km (24.2 mi) and the border between Madhya Pradesh and Gujarat and in Gujarat (161 km (100.0 mi)).
The Periplus Maris Erythraei (c. 80 AD) calls it the Nammadus, and theBritish Raj called it the Nerbudda or Narbada. Narmadā is a Sanskrit word meaning "the Giver of Pleasure".
To Hindus the Narmada is one of the five holy rivers of India; the other four beingGanges, Yamuna, Godavari and Kaveri. It is believed that a dip in any of these five rivers washes one's sins away. According to a legend, the river Ganges, polluted by millions of people bathing in it, assumes the form of a black cow and comes to the Narmada to bathe and cleanse itself in its holy waters. Legends also claim that the Narmada River is older than the river Ganges.
The river was mentioned by Ptolemy in the second century AD as Namade and by the author of the Periplus. The Ramayana, the Mahabharat, and thePuranas refer to it frequently. The Rewa Khand of Vayu Purana and the Rewa Khand of Skanda Purana are entirely devoted to the story of the birth and the importance of the river, and hence Narmada is also called the Rewa.
There are many fables about the origin of the Narmada. According to one of them, once Lord Shiva, the Destroyer of the Universe, meditated so hard that he started perspiring. Shiva's sweat accumulated in a tank and started flowing in the form of a river – the Narmada. Another legend has it that two teardrops that fell from the eyes of Lord Brahma, the creator of the universe, yielded two rivers – the Narmada and the Son.
Legends also say that for Lord Shiva, the Hindu God, the river is especially sacred on account of its origin, and it is often called Shankari, i.e., daughter of Shankar (Lord Shiva). All the pebbles rolling on its bed are said to take the shape of his emblem with the saying, "Narmada Ke Kanker utte Sankar" (a popular saying in the Hindi belt of India), which means that 'pebble stones of Narmada get a personified form of Shiva'. These lingam shaped stones (cryptocrytalline quartz), calledBanalinga also called (Banashivalingas) are much sought after for daily worship by the Hindus. The Brihadeeswara Temple in Thanjavur, Tamil Nadu, constructed by Rajaraja Chola, has one of the biggest Banalingas. Adi Shankara met his guru Govinda Bhagavatpada on the banks of the river Narmada.
Narmada is also said to have been in love with the Sonbhadra, another river flowing on the Chota Nagpur Plateau. According to the Puranas, the Narmada is also called the Rewa, from its leaping motion (from the root 'rev') through its rocky bed.
Important religious places and Ghats along the course of the river, starting from its origin at Narmadakhund at Amarkantakhill, are a) the Amarkantak (in Sanskrit: Neck of Shiva) or Teertharaj (the King of Pilgrimages), b) Omkareshwar, Maheshwar, and Mahadeo temples, Nemawar Siddeshwar Mandir in the middle reach of the river – all named after Shiva, c) Chausath Yogini (sixty four yoginis) temple, d) Chaubis Avatar temple, e) Bhojpur Shiva temple and Bhrigu Rishi temple in Bharuch. The Narmada River is also worshipped as mother goddess by Narmadeeya Brahmins.
The importance of the Narmada River as sacred is testified by the fact that the pilgrims perform a holy pilgrimage of aparikrama or circumambulation of the river.[17] The Narmada Parikrama, as it is called, is considered to be a meritorious act that a pilgrim can undertake. Many sadhus and pilgrims walk on foot from the Arabian Sea at Bharuch in Gujarat, along the river, to the source in Maikal Mountains (Amarkantak hills) in Madhya Pradesh and back along the opposite bank of the river. It is a 2,600-kilometre (1,600 mi) walk.[18] Important towns of interest in the valley are Jabalpur, Barwani, Hoshangabad, Harda, Narmada Nagar, Omkareshwar, Dewas (Nemavar, Kity, Pipri), Mandla and Maheshwar in Madhya Pradesh, andRajpipla and Bharuch in Gujarat. Some places of historical interest are Joga Ka Quilla, Chhatri of Baji Rao Peshwa andBhimbetka, and among the falls are the Dugdhdhara, Dhardi falls, Bheraghat, Dhuandhara, Kapiladhara and Sahastradhara. By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
NARMADA PARIKRAMA
The Narmada also called the Rewa, is a river in central India and the fifth longest river in the Indian subcontinent. It is the third longest river that flows entirely within India, after the Godavari and the Krishna. It is also known as "Life Line of Madhya Pradesh" for its huge contribution to the state of Madhya Pradesh in many ways. It forms the traditional boundary between North India and South India and flows westwards over a length of 1,312 km (815.2 mi) before draining through theGulf of Khambhat into the Arabian Sea, 30 km (18.6 mi) west of Bharuch city of Gujarat. It is one of only three major rivers in peninsular India that run from east to west (longest west flowing river), along with the Tapti River and the Mahi River. It is the one of the rivers in India that flows in a rift valley, flowing west between the Satpura and Vindhya ranges. The other rivers which flows through rift valley include Damodar River in Chota Nagpur Plateau and Tapti. The Tapti River and Mahi River also flow through rift valleys, but between different ranges. It flows through the states of Madhya Pradesh(1,077 km (669.2 mi)), and Maharashtra, (74 km (46.0 mi))– (35 km (21.7 mi)) then along the border between Madhya Pradesh and Maharashtra (39 km (24.2 mi) and the border between Madhya Pradesh and Gujarat and in Gujarat (161 km (100.0 mi)).
The Periplus Maris Erythraei (c. 80 AD) calls it the Nammadus, and theBritish Raj called it the Nerbudda or Narbada. Narmadā is a Sanskrit word meaning "the Giver of Pleasure".
To Hindus the Narmada is one of the five holy rivers of India; the other four beingGanges, Yamuna, Godavari and Kaveri. It is believed that a dip in any of these five rivers washes one's sins away. According to a legend, the river Ganges, polluted by millions of people bathing in it, assumes the form of a black cow and comes to the Narmada to bathe and cleanse itself in its holy waters. Legends also claim that the Narmada River is older than the river Ganges.
The river was mentioned by Ptolemy in the second century AD as Namade and by the author of the Periplus. The Ramayana, the Mahabharat, and thePuranas refer to it frequently. The Rewa Khand of Vayu Purana and the Rewa Khand of Skanda Purana are entirely devoted to the story of the birth and the importance of the river, and hence Narmada is also called the Rewa.
There are many fables about the origin of the Narmada. According to one of them, once Lord Shiva, the Destroyer of the Universe, meditated so hard that he started perspiring. Shiva's sweat accumulated in a tank and started flowing in the form of a river – the Narmada. Another legend has it that two teardrops that fell from the eyes of Lord Brahma, the creator of the universe, yielded two rivers – the Narmada and the Son.
Legends also say that for Lord Shiva, the Hindu God, the river is especially sacred on account of its origin, and it is often called Shankari, i.e., daughter of Shankar (Lord Shiva). All the pebbles rolling on its bed are said to take the shape of his emblem with the saying, "Narmada Ke Kanker utte Sankar" (a popular saying in the Hindi belt of India), which means that 'pebble stones of Narmada get a personified form of Shiva'. These lingam shaped stones (cryptocrytalline quartz), calledBanalinga also called (Banashivalingas) are much sought after for daily worship by the Hindus. The Brihadeeswara Temple in Thanjavur, Tamil Nadu, constructed by Rajaraja Chola, has one of the biggest Banalingas. Adi Shankara met his guru Govinda Bhagavatpada on the banks of the river Narmada.
Narmada is also said to have been in love with the Sonbhadra, another river flowing on the Chota Nagpur Plateau. According to the Puranas, the Narmada is also called the Rewa, from its leaping motion (from the root 'rev') through its rocky bed.
Important religious places and Ghats along the course of the river, starting from its origin at Narmadakhund at Amarkantakhill, are a) the Amarkantak (in Sanskrit: Neck of Shiva) or Teertharaj (the King of Pilgrimages), b) Omkareshwar, Maheshwar, and Mahadeo temples, Nemawar Siddeshwar Mandir in the middle reach of the river – all named after Shiva, c) Chausath Yogini (sixty four yoginis) temple, d) Chaubis Avatar temple, e) Bhojpur Shiva temple and Bhrigu Rishi temple in Bharuch. The Narmada River is also worshipped as mother goddess by Narmadeeya Brahmins.
The importance of the Narmada River as sacred is testified by the fact that the pilgrims perform a holy pilgrimage of aparikrama or circumambulation of the river.[17] The Narmada Parikrama, as it is called, is considered to be a meritorious act that a pilgrim can undertake. Many sadhus and pilgrims walk on foot from the Arabian Sea at Bharuch in Gujarat, along the river, to the source in Maikal Mountains (Amarkantak hills) in Madhya Pradesh and back along the opposite bank of the river. It is a 2,600-kilometre (1,600 mi) walk.[18] Important towns of interest in the valley are Jabalpur, Barwani, Hoshangabad, Harda, Narmada Nagar, Omkareshwar, Dewas (Nemavar, Kity, Pipri), Mandla and Maheshwar in Madhya Pradesh, andRajpipla and Bharuch in Gujarat. Some places of historical interest are Joga Ka Quilla, Chhatri of Baji Rao Peshwa andBhimbetka, and among the falls are the Dugdhdhara, Dhardi falls, Bheraghat, Dhuandhara, Kapiladhara and Sahastradhara. By Kailash Mansarovar Foundation Swami Bikash Giri www.sumeruparvat.com , www.naturalitem.com
Dance performance in Nowohuckie Centrum Kultury, devoted to the remembrance of the choreographer and pedagogue Professor Janina Strzembosz. Kraków, Poland
Here we have a section of Hensler's devoted to pre-cut Christmas trees for those not wanting to head out to chop down one of their own. These are handpicked by the staff themselves and are deemed the best of the lot. This section is made purely for convenience and for easy Christmas tree shopping. Every type of tree offered is here, gently laid against fencing and with price tags donning each one. Have fun picking!
Let's dive in and discuss the visual elements present in this photo. First is the warm and cool colors. This photo seems more on the cool side than the warm. The only warm color I really see is that of the beige, brown and orange ground made up of dirt and fallen leaves. This does come to the forefront of the photo. The cooler colors can be seen in the rows of the pine trees. They are so green and have a calming effect on the viewer. Even the trees in the distance, while dark, seem to be more on the cool side and kind of fade into the background of the photo. There are many lines to be seen in this photo. The vertical lines are most apparent. All of these lines are very thick, straight and sturdy. The fact that they are vertical has a halting effect on the viewer's eye and makes the eye movement seem to stop suddenly. The giant bare trees in the background create these vertical, halting lines. They create an interesting pattern. I see rectangles, triangles and circle shapes in this photo. The pine trees themselves are triangular in their general and overall shape but the lines are soft and curving, which mimic that of a circle. I also see the rectangular shapes in the wood that supports the trees. While the beams are vertical, some are horizontal for the trees to lean against and this creates the rectangular shape. I would say that while the photo is not completely asymmetrical, it is not entirely balanced either. While the pine trees are centered in the middle of the photo, there seems to be more weight towards the right of the photo than to the left. There is so much visual texture in this photo. It can be seen in the bristly pine needles on the pine trees. It can be seen on the gravelly dirt and the crunchy leaves littering the ground. Even the bare, tall trees in the background give off the feeling of a texture. There is definite movement in this photo that can be seen in the lines of the photo. The vertical lines in this photo direct the eye straight up.
Now let's talk about the Gestalt Laws seen in this photo. Similarity, Proximity and Continuation are all present in this photo. You can see similarity in the large, bare trees in the background as well as the pine trees lined up by the wooden posts. Because these objects are similar in size, shape and color to one another they are grouped together. Their proximity to one another also allows them to be perceived as being together. This goes for the pine trees and the large bare trees in the background as well. Continuation can be seen because the pine trees are lined up in neat rows, this creates a visual line. It also creates continuation. There is no break in the line and the line continues throughout the photo for every single row of trees. You can also easily explain the positive and negative space in this picture, the figure ground relationship. The green pine trees lined up ready for picking would be the focus, or the positive, of the photo. The background, or negative space, would be the ground, the sky and the large bare trees.
The Cognitive Elements in this photo are several. Memory can play a part here in this photo. The viewer might remember or recall memories of picking Christmas trees before. This setting also seems to be a forest one. This could also recall memories of playing in the woods or camping in the woods maybe. This photo is full of nature and this could make the viewer recall memories of being involved with nature. Projection, a person's mental state, could also influence how this photo is viewed. If the viewer is in a happy and merry state, this photo will evoke feelings of joy and excitement. If the viewer is in a bad mood, this kind of photo could evoke feelings of creepiness or doom because of the darkness of the background trees. It all depends on the viewer. I believe the viewer would be selective about what he or she views and focuses on in the photo. The viewer would probably ignore the trees in the background and the ground itself. This leads into the concept of habituation. These trees, the sky and the ground are things people see everyday, therefore, these things would be ignored out of habit of seeing them. Once again, the culture of the viewer is directly related to how they will view this photo. The United States culture would see this photo in a holiday light, something very normal that many people do. If you are from some other culture, this photo could seem very strange and confusing to you.
Lastly, it is time to discuss the use of semiotics in this photo. There are no symbolic or iconic signs used in this photo. Everything represents exactly what it is. There are indexical signs present. The bare trees in the background and the fallen leaves on the ground are a good indicator that it is the colder winter months and not springtime or summertime. Also the fact that there is a pine tree farm is another indicator that it is around the holiday time. You can also see the Metonymic code here in this photo. The elements that make up this photo allow for the viewer to make assumptions and associations about what the photo is about. The fact that it is fall or wintertime and that there are several, pre-cut pine trees lined up with tags on them are good indicators that it is around the holiday season and that people will go and buy pine trees as Christmas trees.
May - Divers 2018
KANAL - Centre Pompidou!
13 months of exhibitions and shows before conversion work begins
Before it becomes the largest cultural institution in Brussels, with 35,000 m2 devoted to artistic creation in all its forms, KANAL - Centre Pompidou proposes a unique cultural immersion in the buildings of the former Citroen garage.
Before conversion work begins, KANAL - Centre Pompidou will open its doors from May 2018 until June 2019 to allow the public to discover an exceptional cultural heritage, rich in history and preserved in its current state. Benefiting from the richness of the collections of the Centre Pompidou, the former Citroen garage will turn into a site hosting several exhibitions mixing visual arts, design, architecture, major installations and creations by Brussels-based artists, as well as a programme of performing-arts shows co-produced for this occasion with many of the city's cultural actors.
A future cultural hub
The ambition of KANAL - Centre Pompidou is to offer a centre of culture and exchange open to all, to put the creative scene of Brussels in the limelight, and to contribute to the capital's cultural appeal.
Driven by the Brussels-Capital Region, this ambitious project seeks to provide Brussels with a cultural hub favourable to the aura of the capital of Europe. In the context of a ten-year partnership with the Centre Pompidou, the future KANAL - Centre Pompidou will not only house a museum of modern and contemporary art, but also the rich collections of architecture and urbanism of the CIVA Foundation. It will also accommodate many public spaces with a range of functions, including several stages for the performing arts.
A wide-ranging programme
Events imagined in response to the identity of the site and its unique aesthetic qualities, but also its history
From 5 May 2018 until 10 June 2019, following a radically experimental approach, the former Citroen garage will turn into a platform open to a reflection on the stakes of the museum of the future. Curated by Bernard Blistene, the director of the Musee national d'art moderne, Centre Pompidou, a multidisciplinary programme will seek to fill the spaces that were recently emptied of their functions and left in their current state. Many of the proposals seek to echo the identity of the site, but also its human and social history, tangible across the different workshops and offices and in the different fittings of this vast complex.
Eager to integrate Kanal - Centre Pompidou in its context, the programme will let a vast audience have access, in one and the same venue, to a wide-ranging and unique cultural offer. The programme follows the rhythm of the Brussels cultural calendar, in partnership with, among others, Kunstenfestivaldesarts, BOZAR, Performatik Festival, Flagey, Kaaitheater and La Raffinerie (Charleroi Danse).
Photos of May 2018
Photos de mai 2018
( Diverses photos prisent en 2018 sans sujet reel.
Various pictures taken in 2018 without real subject. )
Inscription: "DIVAE MARIAE MATRI DEI AC DIVO IOANNI EVANGEL[ISTAE] IOANNES IOVIANUS PONTANUS DEDICAVIT, ANNO DOMINI MIL.CCCCLXXXXII" (=TO VIRGIN MARY, GOD'S MOTHER, AND TO SAINT JOHN THE EVANGELIST, JOHN IOVIANUS PONTANO DEVOTED, YEAR 1492) - The Pontano Chapel in Naples
www.flickr.com/groups/napolinobilissima/discuss/721576356...
This is devoted to the first resin doll I’ve ever purchased. My Soom Mini-Gem Uyoo wasn’t the first Asian ball-jointed doll (my Volks Dollfie Dream was the first) but she was my first resin doll. I was attracted by her looks, the relatively low price for a resin doll (mainly because she was a small doll), and the fact that she was the same size as Barbie so I have lots of cheap clothing options for this doll. She is also the doll whom I praticed the most faceups on,
Had the privilege to accompany this young shepherd boy during his work day.
It was fun to learn what a shepherd boy does all day, we even played cards during his 'break time' ...
[shepherd boy]
In loving memory of
Alexander GALE
Died 17 September 1940
Age 23 years
A devoted son
He died for his country
And
Private John W H GALE
Drowned 5th December 1941
Enemy action near Tobruk
Age 22 years
His duty nobly done
And
Mina GALE
Loved mother of
Alex and John
Died 8th March 1982
Aged 90 years
********************************************************************
Sergeant Alexander GALE
Service number: 3/10/24
His Cenotaph database record:
muse.aucklandmuseum.com/databases/Cenotaph/24199.detail?O...
***************************************************************
Private John William Hunter GALE
Service number: 16604
Occupation before enlist: Shop assistant
Unmarried on enlisting
Campaign: Western Desert
Mother lived at 203 Worcester Street, Christchurch
His Cenotaph database record:
muse.aucklandmuseum.com/databases/Cenotaph/24197.detail?O...
Lost in H.M.S. Chakdina
freepages.genealogy.rootsweb.ancestry.com/~sooty/chakdina...
also
nzetc.victoria.ac.nz/tm/scholarly/tei-WH2MMed-c8-19.html
***************************************************************
Mina GALE [Benjamina]
Husband was Joseph Hopkinson GALE [1] He died in 1935 aged 45 years[3]
Otago Daily Times , Issue 15937, 3 December 1913, Page 4
GALE-M’LAREN – At Knox Church, on November 11, by the Rev. R. Evan Davies, M.A., Joseph Hopkinson, elder son of W. Paget GALE**, Dunedin, to Mina, younger daughter of the late John Fisher M’LAREN, solicitor and notary, Glasgow, Scotland.”
Evening Post, Volume CXIX, Issue 62, 14 March 1935, Page 17
“The death of Joseph Hopkinson GALE was the subject of an inquest yesterday. Mr. E. Gilbertson, the Coroner, returned a verdict of suicide by gas poisoning.”[4]
Evening Post, Volume CXIX, Issue 59, 11 March 1935, Page 1
“On March 9, 1935, at Wellington, Joseph Hopkinson, dearly loved husband of Mina Gale and son of Paget Gale, DUEDIN. Interred at Karori Cemetery March 11, 1935.” [5]
Block 16 Plot 342
Born: Scotland
In NZ 69 years at time of death.[2]
** W Paget GALE was involved in the music scene in Dunedin. He conducted a choir of 800 people in peace celebrations. Photo of the choir here
hocken.recollect.co.nz/nodes/view/26730
SOURCES:
[1]
Sons Cenotaph database record
[2]
librarydata.christchurch.org.nz/Cemeteries/interment.asp?...
[3]
NZ Dept Internal Affairs historic BDM – Death registration 1935/14143
[4]
paperspast.natlib.govt.nz/cgi-bin/paperspast?a=d&cl=s...
[5]
The Lakshmi Narayan temples complex, devoted to the Vaishnavite sect, includes the main Lakshmi Narayan temple, built in the 10th century by Raja Sahil Verman. It has been built to suit the local climatic conditions with wooden chatries and has a shikara, and a sanctum sanctorum (Garbhagriha), with an antarala and a mantapa. A metallic image of Garuda, the vahana (mount) of Vishnu is installed on the dwajastamba pillar at the main gate of the temple. In 1678, Raja Chhatra Singh adorned the temple roof with gold plated pinnacles, as a riposte to Auranagzeb, who had ordered demolition of this temple.
____________________________________
Chamba (Hindi: चम्बा) is an ancient town in the Chamba district in the state of Himachal Pradesh, in northern India. According to the 2001 Indian census, Chamba has a population of 20,312 people. Located at an altitude of 996 metres above mean sea level, the town is situated on the banks of the Ravi River (a major tributary of the Trans-Himalayan Indus River), at its confluence with the Sal River.
Though historical records date the history of the Chamba region to the Kolian tribes in the 2nd century BC, the area was formally ruled by the Maru dynasty, starting with the Raju Maru from around 500 AD, ruling from the ancient capital of Bharmour, which is located 75 kilometres from the town of Chamba. In 920, Raja Sahil Varman (or Raja Sahil Verma) shifted the capital of the kingdom to Chamba, following the specific request of his daughter Champavati (Chamba was named after her). From the time of Raju Maru, 67 Rajas of this dynasty have ruled over Chamba until it finally merged with the Indian Union in April 1948, although Chamba was under British suzerainty from 1846 to this time.
The town has numerous temples and palaces, and hosts two popular jatras (fairs), the "Suhi Mata Mela" and the "Minjar Mela", which last for several days and involve music and dancing. Chamba is also well noted for its arts and crafts, particularly its Pahari paintings, which originated in the Hill Kingdoms of North India between the 17th and 19th century and its handicrafts and textiles.
HISTORY
Chamba has an ancient history, which is inseparable from that of the surrounding district of Chamba. The earliest rulers were Kolian tribes. In the 2nd century BC the Khasas and Audumbaras were in power in the region. In the 4th century AD during the Gupta period, the Thakurs and Ranas ruled. From the 7th century, the Gurjara Pratiharas or the Rajput dynasty came into power.
The recorded history of the Rajput rulers is traced to an eminent individual named Maru who is said to have moved to northwest India from Kalpagrama, around 500 AD. He founded his capital in the Budhal river valley at a place called Brahmaputra, which later became known as Bharmour or Bhramaur, which is situated 75 kilometres to the east of the present day Chamba town. For three hundred years, kings of Rajput Dynasty ruled from their capital in Bharmour.
However, in 920, Raja Sahil Varman (or Raja Sahila Verma), King of Bharmour, shifted his capital from Bharmour to a more centrally located plateau in the lower Ravi valley, and named the city Champavati, after his daughter. There is some variation in the story to how exactly this transition came about in the historical records of Chamba. One version tells how Varman, who, after being childless for a significant period, was blessed with ten sons and a daughter, named "Champavati". It was Champavati who urged her father to build a new capital town in the valley. However, obstacles stood in the way to relocating his capital, given that the king had previously granted the land in the modern Chamba vicinity to the Kanwan Brahmins. A solution was found in the form of offering a gift of eight copper coins called chaklis on the occasion of every marriage that took place in the Brahmin family, if they would agree to surrender their land to pave the way for the new capital. With the land thus obtained, the new capital was built and named as Champa after Chamapavati, the King’s daughter, which, over the years, was simply shortened to "Chamba'.
A variation of this origin of Chamba is that it originated as a hermitage which Champavati, a devout Hindu, used to frequent. The king, being suspicious of his daughter's fidelity, one day investigated and followed her to the hermitage, but surprisingly he found neither his daughter nor the hermit there. Suddenly he was said to have heard a voice which informed him that his suspicions were ill founded, admonishing him and informing him that his daughter had been taken away from him permanently as a punishment of his lack of trust in her morals. The King, fully chastened, sought redemption for his sin by expanding the hermitage into a temple, named in his daughter’s honour and built a city around the temple. Today this temple, called the Champavati Temple, belongs to the Royal family and the King’s daughter is venerated as a goddess. Every year, since 935, the Minjar festival or fair has been held. It lasts for 21 days, coinciding with the first day of Baisakhi.
Since Raja Sahil Varman, the dynasty ruled without successful invasion for around a millennium, until the British gained power. The isolation of the town and its rugged hilly terrain is believed to have been a contributing factor to this unusual state of security. Later, Mughal emperors Akbar and Aurangzeb did attempt to annex Chamba but were unsuccessful in subjugating this territory into their kingdoms. Raja Prithvi Singh (1641-1664 AD), who was on amiable terms with Emperor Shahjahan was instrumental in introducing the court life styles of the Mughals.
Many progressive reforms and developments were made in Chamba under the British. In 1863, the first Post office was established in Chamba and a daily mail service and a primary school. In December, 1866, a hospital was opened by Doctor Elmslie of the Kashmir Medical Mission. In the late 1860s two new roads to Dalhousie via Kolri and Khajiar were built. Gopal Singh, who ruled from 1870 to 1873, after abdicating, was responsible for building the grand Jandarighat Palace as his summer residence.
After India becoming an independent nation in August 1947, the princely state of Chamba finally merged with India on April 15, 1948 along with the other princedoms of Mandi-Suket State, Sirmour State and all of those in the Shimla hills.
Buildings in Chamba were traditionally constructed using local materials. Buildings were made out of dry stone masonry, with the walls and floors of the older houses plastered with a concoction of clay and cow-dung. Thick wooden beams were used to support the walls, paying attention to durability and to withstand earthquakes, and wooden cantilever construction was often used to support the verandas. The staircases and doors were made from wood, with the doors often decorated in religious reliefs and flanked by two lamps to light it at night. Before the arrival of the British, who introduced slate roofs to Chamba, roofs were covered with planks, coated in clay. Few of these houses remiain today, although a number still have wood-clay roofs in villages in the suburbs.
The old heritage monuments, which are palaces and temples are located in the old town (east of the Chaugans), on the lower slopes of Shah Madar hill. They were built in the lower valley where the two rivers and steep thickly forested hillsides provided a strong defense. Located here is the 10th century Champavati Temple, said to have marked the birth of the town, the Lakshmi Narayan group of temples (built from 10th-19th century), the 10th century Sita Ram Temple, Bansi Gopal temple, Kharura Mohalla and Hari Rai temple, the 11th century Sui Mata Temple and Chamunda Devi Temple, and the Akhand Chandi palace, overlooking the Chaugan, which has since been converted into a college. Additions were made to the palace in the form of the Zenana Mahal and the Rang Mahal in the 18th century. The temples built in Chamba demonstrate a strong Kashmiri influence with their stone temple architecture and temple iconography. Given their age however, only their unicellular layout with fluted pillars has been retained.
WIKIPEDIA
Memorial devoted to students, graduates and teachers of Gymnasium Mathias/lower secondary school of St Matthias who died on fronts during World War I; erected in 1922, author - Theodor von Gosen; Wroclaw, Poland
Dance performance in Nowohuckie Centrum Kultury, devoted to the remembrance of the choreographer and pedagogue Professor Janina Strzembosz. Kraków, Poland
Steely Dan is an American rock duo founded in 1972 by core members Walter Becker (guitars, bass, backing vocals) and Donald Fagen (keyboards, lead vocals). Blending rock, jazz, latin music, reggae, traditional pop, R&B, blues,[2] and sophisticated studio production with cryptic and ironic lyrics, the band enjoyed critical and commercial success starting from the early 1970s until breaking up in 1981.[2] Throughout their career, the duo recorded with a revolving cast of session musicians, and in 1974 retired from live performances to become a studio-only band. Rolling Stone has called them "the perfect musical antiheroes for the Seventies".[4]
After the group disbanded in 1981, Becker and Fagen were less active throughout most of the next decade, though a cult following[2] remained devoted to the group. Since reuniting in 1993, Steely Dan has toured steadily and released two albums of new material, the first of which, Two Against Nature, earned a Grammy Award for Album of the Year. They have sold more than 40 million albums worldwide and were inducted into the Rock and Roll Hall of Fame in March 2001.[5][6][7][8] VH1 ranked Steely Dan at #82 on their list of the 100 greatest musical artists of all time.[9] Founding member Walter Becker died on September 3, 2017, leaving Fagen as the sole official member.
Contents
1History
1.1Formative and early years (1967–1972)
1.2Can't Buy a Thrill and Countdown to Ecstasy (1972–1973)
1.3Pretzel Logic and Katy Lied (1974–1976)
1.4The Royal Scam and Aja (1976–1978)
1.5Gaucho and breakup (1978–1981)
1.6Time off (1981–1993)
1.7Reunion, Alive in America (1993–2000)
1.8Two Against Nature and Everything Must Go (2000–2003)
1.8.1Firing of Roger Nichols
1.9Touring, solo activity (2003–2017)
1.10After Becker's death (2017–present)
2Musical and lyrical style
2.1Music
2.1.1Overall sound
2.1.2Backing vocals
2.1.3Horns
2.1.4Composition and chord use
2.2Lyrics
3Members
3.1Timeline
4Discography
5See also
6References
7External links
History
Formative and early years (1967–1972)
Becker and Fagen met in 1967 at Bard College, in Annandale-on-Hudson, New York. As Fagen passed by a café, The Red Balloon, he heard Becker practicing the electric guitar.[10] In an interview, Fagen recounted the experience: "I hear this guy practicing, and it sounded very professional and contemporary. It sounded like, you know, like a black person, really."[10] He introduced himself to Becker and asked, "Do you want to be in a band?"[10] Discovering that they enjoyed similar music, the two began writing songs together.
Becker and Fagen began playing in local groups. One such group, known as the Don Fagen Jazz Trio, the Bad Rock Group and later the Leather Canary, included future comedy star Chevy Chase on drums. They played covers of songs by The Rolling Stones ("Dandelion"), Moby Grape ("Hey Grandma"), and Willie Dixon ("Spoonful"), as well as some original compositions.[10] Terence Boylan, another Bard musician, remembered that Fagen took readily to the beatnik life while attending college: "They never came out of their room, they stayed up all night. They looked like ghosts—black turtlenecks and skin so white that it looked like yogurt. Absolutely no activity, chain-smoking Lucky Strikes and dope."[10] Fagen himself would later remember it as "probably the only time in my life that I actually had friends."[11]
After Fagen graduated in 1969, the two moved to Brooklyn and tried to peddle their tunes in the Brill Building in midtown Manhattan. Kenny Vance (of Jay and the Americans), who had a production office in the building, took an interest in their music, which led to work on the soundtrack of the low-budget Richard Pryor film You've Got to Walk It Like You Talk It or You'll Lose That Beat. Becker later said bluntly, "We did it for the money."[12] A series of demos from 1968 to 1971 are available in multiple different releases, not authorized by Becker and Fagen.[13] This collection features approximately 25 tracks and is notable for its sparse arrangements (Fagen plays solo piano on many songs) and lo-fi production, a contrast with Steely Dan's later work. Although some of these songs ("Caves of Altamira", "Brooklyn", "Barrytown") were re-recorded for Steely Dan albums, most were never officially released.
Becker and Fagen joined the touring band of Jay and the Americans for about a year and a half.[14] They were at first paid $100 per show, but partway through their tenure the band's tour manager cut their salaries in half.[14] The group's lead singer, Jay Black, dubbed Becker and Fagen "the Manson and Starkweather of rock 'n' roll", referring to cult leader Charles Manson and spree killer Charles Starkweather.[14]
They had little success after moving to Brooklyn, although Barbra Streisand recorded their song "I Mean To Shine" on her 1971 Barbra Joan Streisand album. Their fortunes changed when one of Vance's associates, Gary Katz, moved to Los Angeles to become a staff producer for ABC Records. He hired Becker and Fagen as staff songwriters; they flew to California. Katz would produce all their 1970s albums in collaboration with engineer Roger Nichols. Nichols would win six Grammy Awards for his work with the band from the 1970s to 2001.[15]
After realizing that their songs were too complex for other ABC artists, at Katz's suggestion Becker and Fagen formed their own band with guitarists Denny Dias and Jeff "Skunk" Baxter, drummer Jim Hodder and singer David Palmer, and Katz signed them to ABC as recording artists. Fans of Beat Generation literature, Fagen and Becker named the band after a "revolutionary" steam-powered dildo mentioned in the William S. Burroughs novel Naked Lunch.[16][17][18] Palmer joined as a second lead vocalist because of Fagen's occasional stage fright, his reluctance to sing in front of an audience, and because the label believed that his voice was not "commercial" enough.
In 1972, ABC issued Steely Dan's first single, "Dallas", backed with "Sail the Waterway". Distribution of "stock" copies available to the general public was apparently extremely limited;[19] the single sold so poorly that promotional copies are much more readily available than stock copies in today's collectors market. As of 2015, "Dallas" and "Sail the Waterway" are the only officially released Steely Dan tracks that have not been reissued on cassette or compact disc. In an interview (1995), Becker and Fagen called the songs "stinko."[20] "Dallas" was later covered by Poco on their Head Over Heels album.
Can't Buy a Thrill and Countdown to Ecstasy (1972–1973)
Can't Buy a Thrill, Steely Dan's debut album, was released in 1972. Its hit singles "Do It Again" and "Reelin' In the Years" reached No. 6 and No. 11 respectively on the Billboard singles chart. Along with "Dirty Work" (sung by David Palmer), the songs became staples on classic rock radio.
Because of Fagen's reluctance to sing live, Palmer handled most of the vocal duties on stage. During the first tour, however, Katz and Becker decided that they preferred Fagen's interpretations of the band's songs, persuading him to take over. Palmer quietly left the group while it recorded its second album. He wrote the No. 2 hit "Jazzman" (1974) with Carole King.
Released in 1973, Countdown to Ecstasy was not as commercially successful as Steely Dan's first album. Becker and Fagen were unhappy with some of the performances on the record and believed that it sold poorly because it had been recorded hastily on tour. The album's singles were "Show Biz Kids" and "My Old School", both of which stayed in the lower half of the Billboard charts (though "My Old School" and—to a lesser extent—"Bodhisattva" became minor FM Rock staples in time).
Pretzel Logic and Katy Lied (1974–1976)
Guitarist Jeff "Skunk" Baxter left Steely Dan in 1974 when they ceased performing live and began working in the studio exclusively.
Pretzel Logic was released in early 1974. A diverse set, it includes the group's most successful single, "Rikki Don't Lose That Number" (No. 4 on the Billboard Hot 100), and a note-for-note rendition of Duke Ellington and James "Bubber" Miley's "East St. Louis Toodle-Oo".
During the previous album's tour, the band had added vocalist-percussionist Royce Jones, vocalist-keyboardist Michael McDonald, and session drummer Jeff Porcaro.[21] Porcaro played the sole drum track on one song, "Night By Night" on Pretzel Logic (Jim Gordon played drums on all the remaining tracks, and he and Porcaro both played on "Parker's Band"), reflecting Steely Dan's increasing reliance on session musicians (including Dean Parks and Rick Derringer). Jeff Porcaro and Katy Lied pianist David Paich would go on to form Toto. Striving for perfection, Becker and Fagen sometimes asked musicians to record as many as forty takes of each track.[22]
Pretzel Logic was the first Steely Dan album to feature Walter Becker on guitar. "Once I met [session musician] Chuck Rainey", he explained, "I felt there really was no need for me to be bringing my bass guitar to the studio anymore".[22]
A rift began growing between Becker-Fagen and Steely Dan's other members (particularly Baxter and Hodder), who wanted to tour. Becker and Fagen disliked constant touring and wanted to concentrate solely on writing and recording. The other members gradually left the band, discouraged by this and by their diminishing roles in the studio. However, Dias remained with the group until 1980's Gaucho and Michael McDonald contributed vocals until the group's twenty-year hiatus after Gaucho. Baxter and McDonald went on to join The Doobie Brothers. Steely Dan's last tour performance was on July 5, 1974, a concert at the Santa Monica Civic Auditorium in California.[23]
Becker and Fagen recruited a diverse group of session players for Katy Lied (1975), including Porcaro, Paich, and McDonald, as well as guitarist Elliott Randall, jazz saxophonist Phil Woods, saxophonist/bass-guitarist Wilton Felder, percussionist/vibraphonist/keyboardist Victor Feldman, keyboardist (and later producer) Michael Omartian, and guitarist Larry Carlton—Dias, Becker, and Fagen being Steely Dan's only original members. The album went gold on the strength of "Black Friday" and "Bad Sneakers", but Becker and Fagen were so dissatisfied with the album's sound (compromised by a faulty DBX noise reduction system) that they publicly apologized for it (on the album's back cover) and for years refused to listen to it in its final form.[24] Katy Lied also included "Doctor Wu" and "Chain Lightning".
The Royal Scam and Aja (1976–1978)
The Royal Scam was released in May 1976. Partly because of Carlton's prominent contributions, it is the band's most guitar-oriented album. It also features performances by session drummer Bernard Purdie. The album sold well in the United States, though without the strength of a hit single. "Haitian Divorce" (Top 20) drove sales in the UK, becoming Steely Dan's first major hit in that country.[25] Steely Dan's sixth album, the jazz-influenced Aja, was released in September 1977. Aja reached the Top Five in the U.S. charts within three weeks, winning the Grammy award for "Engineer – Best Engineered Recording – Non-Classical." It was also one of the first American LPs to be certified 'platinum' for sales of over 1 million albums.[26][27]
Roger [Nichols] made those records sound like they did. He was extraordinary in his willingness and desire to make records sound better.[28] The records we did could not have been done without Roger. He was just maniacal about making the sound of the records be what we liked... He always thought there was a better way to do it, and he would find a way to do what we needed to in ways that other people hadn't done yet.[29]
~ Steely Dan producer Gary Katz regarding Roger Nichols' role in the band's recording legacy.
Featuring Michael McDonald's backing vocals, "Peg" (No. 11) was the album's first single, followed by "Josie" (No. 26) and "Deacon Blues" (No. 19). Aja solidified Becker's and Fagen's reputations as songwriters and studio perfectionists. It features such jazz and fusion luminaries as guitarists Larry Carlton and Lee Ritenour; bassist Chuck Rainey; saxophonists Wayne Shorter, Pete Christlieb, and Tom Scott; drummers Steve Gadd, Rick Marotta and Bernard Purdie; pianist Joe Sample and ex-Miles Davis pianist/vibraphonist Victor Feldman and Grammy award-winning producer/arranger Michael Omartian (piano).
Planning to tour in support of Aja, Steely Dan assembled a live band. Rehearsal ended and the tour was canceled when backing musicians began comparing pay.[30] The album's history was documented in an episode of the TV and DVD series Classic Albums.
After Aja's success, Becker and Fagen were asked to write the title track for the movie FM. The movie was a box-office disaster, but the song was a hit, earning Steely Dan another engineering Grammy award. It was a minor hit in the UK and barely missed the Top 20 in the U.S.A.[25]
Gaucho and breakup (1978–1981)
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Becker and Fagen took a break from songwriting for most of 1978 before starting work on Gaucho. The project would not go smoothly: technical, legal, and personal setbacks delayed the album's release and subsequently led Becker and Fagen to suspend their partnership for over a decade.
Misfortune struck early when an assistant engineer accidentally erased most of "The Second Arrangement", a favorite track of Katz and Nichols,[31] which was never recovered. More trouble — this time legal — followed. In March 1979, MCA Records bought ABC, and for much of the next two years Steely Dan could not release an album. Becker and Fagen had planned on leaving ABC for Warner Bros. Records, but MCA claimed ownership of their music, preventing them from changing labels.
Turmoil in Becker's personal life also interfered. His girlfriend died of a drug overdose in their Upper West Side apartment, and he was sued for $17 million. Becker settled out of court, but he was shocked by the accusations and by the tabloid press coverage that followed. Soon after, Becker was struck by a taxi while crossing a Manhattan street, shattering his right leg in several places and forcing him to use crutches.
Still more legal trouble was to come. Jazz composer Keith Jarrett sued Steely Dan for copyright infringement, claiming that they had based Gaucho's title track on one of his compositions, "Long As You Know You're Living Yours" (Fagen later admitted that he'd loved the song and that it had been a strong influence).[32]
Gaucho was finally released in November 1980. Despite its tortured history, it was another major success. The album's first single, "Hey Nineteen", reached No. 10 on the pop chart in early 1981, and "Time Out of Mind" (featuring guitarist Mark Knopfler of Dire Straits) was a moderate hit in the spring. "My Rival" was featured in John Huston's 1980 film Phobia. Roger Nichols won a third engineering Grammy award for his work on the album.
Time off (1981–1993)
Steely Dan disbanded in June 1981.[33] Becker and his family moved to Maui, where he became an "avocado rancher and self-styled critic of the contemporary scene."[34] He stopped using drugs, which he had used for most of his career.[35][36][37] Meanwhile, Fagen released a solo album, The Nightfly (1982), which went platinum in both the U.S. and the U.K. and yielded the Top Twenty hit "I.G.Y. (What a Beautiful World)." In 1988 Fagen wrote the score of Bright Lights, Big City and a song for its soundtrack, but otherwise recorded little. He occasionally did production work for other artists, as did Becker. The most prominent of these were two albums Becker produced for the British sophisti-pop group China Crisis, who were strongly influenced by Steely Dan.[38] Becker is listed as an official member of China Crisis on the first of these albums, 1985's Flaunt the Imperfection, and played keyboards on the band's Top 20 UK hit "Black Man Ray". For the second of the two albums, 1989's Diary of a Hollow Horse, Becker is only listed as a producer and not as a band member.
In 1986 Becker and Fagen performed on Zazu, an album by former model Rosie Vela produced by Gary Katz.[39] The two rekindled their friendship and held songwriting sessions between 1986 and 1987, leaving the results unfinished.[40] On October 23, 1991, Becker attended a concert by New York Rock and Soul Revue, co-founded by Fagen and producer/singer Libby Titus (who was for many years the partner of Levon Helm of The Band and would later become Fagen's wife), and spontaneously performed with the group.
Becker produced Fagen's second solo album, Kamakiriad, in 1993. Fagen conceived the album as a sequel to The Nightfly.[citation needed]
Reunion, Alive in America (1993–2000)
Steely Dan, shown here in 2007, toured frequently after reforming in 1993.
Becker and Fagen reunited for an American tour to support Kamakiriad, which sold poorly despite a Grammy nomination for Album of the Year. With Becker playing lead and rhythm guitar, the pair assembled a band that included a second keyboard player, second lead guitarist, bassist, drummer, vibraphonist, three female backing singers, and four-piece saxophone section. Among the musicians from the live band, several would continue to work with Steely Dan over the next decade, including bassist Tom Barney and saxophone players Cornelius Bumpus and Chris Potter. During this tour, Fagen introduced himself as "Rick Strauss" and Becker as "Frank Poulenc".
The next year, MCA released Citizen Steely Dan, a boxed set featuring their entire catalog (except their debut single "Dallas"/"Sail The Waterway") on four CDs, plus four extra tracks: "Here at the Western World" (originally released on 1978's "Greatest Hits"), "FM" (1978 single), a 1971 demo of "Everyone's Gone to the Movies" and "Bodhisattva (live)", the latter recorded on a cassette in 1974 and released as a B-side in 1980. That year Becker released his debut solo album, 11 Tracks of Whack, which Fagen co-produced.
Steely Dan toured again in support of the boxed set and Tracks. In 1995 they released a live CD, Alive in America, compiled from recordings of several 1993 and 1994 concerts. The Art Crimes Tour followed, including dates in the United States, Japan, and their first European shows in 22 years. After this activity, Becker and Fagen returned to the studio to begin work on a new album.
Two Against Nature and Everything Must Go (2000–2003)
In 2000 Steely Dan released their first studio album in 20 years: Two Against Nature. It won four Grammy Awards: Best Engineered Album – Non-Classical, Best Pop Vocal Album, Best Pop Performance by Duo or Group with Vocal ("Cousin Dupree"), and Album of the Year (despite competition in this category from Eminem's The Marshall Mathers LP and Radiohead's Kid A). In the summer of 2000, they began another American tour, followed by an international tour later that year. The tour featured guitarist Jon Herington, who would go on to play with the band over the next two decades. The group released the Plush TV Jazz-Rock Party DVD, documenting a live-in-the-studio concert performance of popular songs from throughout Steely Dan's career. In March 2001, Steely Dan was inducted into the Rock and Roll Hall of Fame.[5][6]
In 2003 Steely Dan released Everything Must Go. In contrast to their earlier work, they had tried to write music that captured a live feel. Becker sang lead vocals on a Steely Dan studio album for the first time ("Slang of Ages" — he had sung lead on his own "Book of Liars" on Alive in America). Fewer session musicians played on Everything Must Go than had become typical of Steely Dan albums: Becker played bass on every track and lead guitar on five tracks; Fagen added piano, electric piano, organ, synthesizers, and percussion on top of his vocals; touring drummer Keith Carlock played on every track.
Firing of Roger Nichols
In 2002 during the recording of Everything Must Go, Becker and Fagen fired their engineer Roger Nichols, who had worked with them for 30 years, without explanation or notification, according to band biographer Brian Sweet's 2018 revision of his book Reelin' in the Years.[41]
Touring, solo activity (2003–2017)
To complete his Nightfly trilogy, Fagen issued Morph the Cat in 2006. Steely Dan returned to annual touring that year with the Steelyard "Sugartooth" McDan and The Fab-Originees.com Tour.[42] Despite much fluctuation in membership, the live band featured mainstays Herrington, Carlock, bassist Freddie Washington, the horn section of Michael Leonhart, Jim Pugh, Roger Rosenberg, and Walt Weiskopf, and backing vocalists Carolyn Leonhart and Cindy Mizelle. The 2007 Heavy Rollers Tour included dates in North America, Europe, Japan, Australia, and New Zealand, making it their most expansive tour.[43]
The smaller Think Fast Tour followed in 2008, with keyboardist Jim Beard joining the live band. That year Becker released a second album, Circus Money, produced by Larry Klein and inspired by Jamaican music. In 2009 Steely Dan toured Europe and America extensively in their Left Bank Holiday and Rent Party Tour, alternating between standard one-date concerts at large venues and multi-night theater shows that featured performances of The Royal Scam, Aja, or Gaucho in their entirety on certain nights. The following year, Fagen formed the touring supergroup Dukes of September Rhythm Revue with McDonald, Boz Scaggs, and members of Steely Dan's live band, whose repertoire included songs by all three songwriters. Longtime studio engineer Roger Nichols died of pancreatic cancer on April 10, 2011.[44] Steely Dan's Shuffle Diplomacy Tour that year included an expanded set list and dates in Australia and New Zealand. Fagen released his fourth album, Sunken Condos, in 2012. It was his first solo release unrelated to the Nightfly trilogy.
The Mood Swings: 8 Miles to Pancake Day Tour began in July 2013 and featured an eight-night run at the Beacon Theatre in New York City.[45] Jamalot Ever After, their 2014 United States tour, ran from July 2 in Portland, Oregon to September 20 in Port Chester, New York.[46] 2015's Rockabye Gollie Angel Tour included opening act Elvis Costello and the Imposters and dates at the Coachella Valley Music and Arts Festival. The Dan Who Knew Too Much tour followed in 2016, with Steve Winwood opening. Steely Dan also performed at The Hollywood Bowl in Los Angeles with an accompanying orchestra.
The band played its final shows with Becker in 2017. In April, they played the 12-date Reelin' In the Chips residency in Las Vegas and Southern California.[47] Becker's final performance came on May 27 at the Greenwich Town Party in Greenwich, Connecticut.[48] Due to illness, Becker did not play Steely Dan's two Classics East and West concerts at Dodger Stadium and Citi Field in July.[49] Fagen embarked on a tour that summer with a new backing band, The Nightflyers.
After Becker's death (2017–present)
Becker died from complications of esophageal cancer on September 3, 2017.[50] In a note released to the media, Fagen remembered his longtime friend and bandmate, and promised to "keep the music we created together alive as long as I can with the Steely Dan band."[51] After Becker's death, Steely Dan honored commitments to perform a short North American tour in October 2017 and three concert dates in the United Kingdom and Ireland for Bluesfest on a double bill with the Doobie Brothers.[52] The band played its first concert following Becker's death in Thackerville, Oklahoma, on October 13.[52] In tribute to Becker, they performed his solo song "Book of Liars", with Fagen singing the lead vocals, at several concerts on the tour.[53]
Becker's widow and estate sued Fagen later that year, arguing that the estate should control 50% of the band's shares.[54] Fagen filed a counter suit, arguing that the band had drawn up plans in 1972 stating that band members leaving the band or dying relinquish shares of the band's output to the surviving members. In December, Fagen said that he would rather have retired the Steely Dan name after Becker's death, and would instead have toured with the current iteration of the group under another name, but was persuaded not to by promoters for commercial reasons.[55]
In 2018, Steely Dan performed on a summer tour of the United States with The Doobie Brothers as co-headliners.[56] The band also played a nine-show residency at the Beacon Theatre in New York City that October.[57] In February 2019, the band embarked on a tour of Great Britain with Steve Winwood.[58] Guitarist Connor Kennedy of The Nightflyers joined the live band, beginning with a nine-night residency at The Venetian Resort in Las Vegas in April 2019.[59]
On June 25, 2019, The New York Times Magazine listed Steely Dan among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.[60]
Musical and lyrical style
Music
Overall sound
Special attention is given to the individual sound of each instrument. Recording is done with the utmost fidelity and attention to sonic detail, and mixed so that all the instruments are heard and none are given undue priority. Their albums are also notable for the characteristically 'warm' and 'dry' production sound, and the sparing use of echo and reverberation.
Backing vocals
Becker and Fagen favored a distinctly soul-influenced style of backing vocals, which after the first few albums were almost always performed by a female chorus (although Michael McDonald features prominently on several tracks, including the 1975 song "Black Friday" and the 1977 song "Peg"). Venetta Fields, Sherlie Matthews and Clydie King were the preferred trio for backing vocals on the group's late 1970s albums.[61] Other backing vocalists include Timothy B. Schmit, Tawatha Agee, Brenda White-King, Carolyn Leonhart, Janice Pendarvis, Catherine Russell, Cynthia Calhoun, Victoria Cave, Cindy Mizelle, and Jeff Young. The band also featured singers like Patti Austin and Valerie Simpson on later projects such as Gaucho.
Horns
Horn arrangements have been used on songs from all Steely Dan albums. They typically feature instruments such as trumpets, trombones and saxophones, although they have also used other instruments such as flutes and clarinets. The horn parts occasionally integrate simple synth lines to alter the tone quality of individual horn lines; for example in "Deacon Blues" this was done to "thicken" one of the saxophone lines. On their earlier albums Steely Dan featured guest arrangers and on their later albums the arrangement work is credited to Fagen.
Composition and chord use
Steely Dan is famous for their use of chord sequences and harmonies that explore the area of musical tension between traditional pop sounds and jazz. In particular, they are known for their use of the add 2 chord, a type of added tone chord, which they nicknamed the mu major.[62][63][64] Other common chords used by Steely Dan include slash chords for example Bb/C or E7/A. This notation shows a chord (shown to the left of the slash) with a note other than the tonic (shown to the right of the slash) as the lowest pitched note.[65]
Lyrics
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Steely Dan's lyrical subjects are diverse, but in their basic approach they often create fictional personae that participate in a narrative or situation. The duo have said that in retrospect, most of their albums have a "feel" of either Los Angeles or New York City, the two main cities where Becker and Fagen lived and worked. Characters appear in their songs that evoke these cities. Steely Dan's lyrics are often puzzling to the listener,[66] with the true meaning of the song "uncoded" through repeated listening, and a richer understanding of the references within the lyrics. For example, in the song "Everyone's Gone to the Movies," the line "I know you're used to 16 or more, sorry we only have eight" refers not to the count of some article, but to eight-millimeter film, which was lower quality than 16 mm or larger formats, underscoring the illicitness of Mr. Lapage's movie parties.
Thematically, Steely Dan creates a universe peopled by losers, creeps and failed dreamers, often victims of their own obsessions and delusions. These motifs are introduced in the Dan's first hit song, "Do It Again," which contains a description of a murderous cowboy who beats the gallows, a man taken advantage of by a cheating girlfriend, and an obsessive gambler, all of whom are unable to command their own destinies; similar themes of being trapped in a death spiral of one's own making appear throughout their catalog. Other themes that they explore include prejudice, aging, poverty, and middle-class ennui.
Many would argue that Steely Dan never wrote a genuine love song, instead dealing with personal passion in the guise of a destructive obsession.[67] Many of their songs concern love, but typical of Steely Dan songs is an ironic or disturbing twist in the lyrics that reveals a darker reality. For example, expressed "love" is actually about prostitution ("Pearl of the Quarter"), incest ("Cousin Dupree"), pornography ("Everyone's Gone to the Movies"), or some other socially unacceptable subject.[68] However, some of their demo-era recordings show Fagen and Becker expressing romance, including "This Seat's Been Taken", "Oh, Wow, It's You" and "Come Back Baby".
Steely Dan's lyrics contain subtle and encoded references, unusual (and sometimes original) slang expressions, a wide variety of "word games." The obscure and sometimes teasing lyrics have given rise to considerable efforts by fans to explain the "inner meaning" of certain songs.[69][70] Jazz is a recurring theme, and there are numerous other film, television and literary references and allusions, such as "Home at Last" (from Aja), which was inspired by Homer's Odyssey.
Some of their lyrics are notable for their unusual meter patterns; a prime example of this is their 1972 hit "Reelin' In the Years", which crams an unusually large number of words into each line, giving it a highly syncopated quality.
"Name dropping" is another Steely Dan lyrical device; references to real places and people abound in their songs. The song "My Old School" is an example, referring to Annandale (Annandale-on-Hudson, New York, is home to Bard College, which both attended and where they met), and the Two Against Nature album (2000) contains numerous references to the duo's original region, the New York metro area, including the district of Gramercy Park, the Strand Bookstore, and the upscale food store Dean & DeLuca. In the song "Glamour Profession" the conclusion of a drug deal is celebrated with dumplings at Mr. Chow, a Chinese restaurant in Beverly Hills. The band even employed self-reference; in the song "Show Biz Kids," the titular subjects are sardonically portrayed as owning "the Steely Dan T-shirt."
The band also often name-checks drinks, typically alcoholic, in their songs: rum and cokes ("Daddy Don't Live in That New York City No More"), piña coladas ("Bad Sneakers"), zombies ("Haitian Divorce"), black cows ("Black Cow"), Scotch whisky ("Deacon Blues"), retsina ("Home at Last"), grapefruit wine ("FM"), cherry wine ("Time Out of Mind"), Cuervo Gold ("Hey Nineteen"), kirschwasser ("Babylon Sisters"), Tanqueray ("Lunch with Gina"), Cuban breeze (Fagen's solo track "The Goodbye Look"), and margaritas ("Everything Must Go") are all mentioned in Steely Dan lyrics.[71]
Members
Current members
Donald Fagen – lead vocals, keyboards (1972–1981, 1993–present)
Former members
Walter Becker – guitar, bass, backing and lead vocals (1972–1981, 1993–2017; his death)
Jeff "Skunk" Baxter – guitar, backing vocals (1972–1974)
Denny Dias – guitar (1972–1974, studio contributions until 1977)
Jim Hodder – drums, backing and lead vocals (1972–1974; died 1990)
David Palmer – backing and lead vocals (1972–1973)
Royce Jones – backing and lead vocals, percussion (1973–1974)
Michael McDonald – keyboards, backing vocals (1974, studio contributions until 1980)
Jeff Porcaro – drums (1974, studio contributions until 1980; died 1992)
Ivory bowl, possibly 1100-1200, mounts 1525-6
Katherine of Aragon, Queen of England and Henry VIII's first wife, was a devoted Roman Catholic. In 1513 she was given an ivory bowl reportedly owned by Becket and had it set into this spectacular cup. The gilded-silver mounts are decorated with pearls, gems and her personal emblem, the pomegranate. A mitre and the letters 'TB' are engraved on the side, perhaps a reference to Becket.
[British Museum]
Thomas Becket: Murder and the Making of a Saint
(May - Aug 2021)
On 29 December 1170, Becket was assassinated in Canterbury Cathedral by four knights with close ties to King Henry II, an act that left Medieval Europe reeling. Becket was one of the most powerful figures of his time, serving as royal chancellor and later as Archbishop of Canterbury. Initially a close friend of Henry, the two men became engaged in a bitter dispute that culminated in his violent and public death – an event that sent shockwaves across Europe and caused an immense political fallout.
Marking the 850th anniversary of his brutal murder, this special exhibition presents Becket's tumultuous journey from a merchant's son to an archbishop, and from a revered saint in death to a 'traitor' in the eyes of Henry VIII more than 350 years later.
Becket was a second-generation French immigrant, born around 1120 in Cheapside, in the City of London, to Gilbert and Matilda, who had left Normandy following the Norman Conquest. His father was a well-connected merchant but the family were neither excessively wealthy nor powerful. Becket was sent to school at Merton Priory and, after a few years studying in Paris, he eventually gained employment through one of his father’s friends as a clerk for Theobald, the then Archbishop of Canterbury. Becket was described by his contemporaries as intelligent, charming and authoritative and, in 1155, he got his biggest break. Recognising his talents, Theobald suggested that Henry II appoint Becket as Chancellor of England. He and the king quickly became close friends, hunting, gaming and travelling around England together. Becket embraced life in the royal court: he is said by his contemporary biographers to have enjoyed vast wealth, throwing lavish parties, decorating his residences with beautiful furnishings and making numerous journeys to France on his own ships.
When the position of Archbishop of Canterbury became vacant, Becket was put forward. Given his lifestyle and reputation he was an unlikely candidate but the king had other ideas. Henry was keen to appoint his close friend to the role but, crucially, he wanted him to continue as Chancellor. With Becket in both positions, Henry saw an opportunity to exercise greater authority over the Church as well as the state. Becket was appointed Archbishop on 23 May 1162 and consecrated (officially blessed) on 3 June. However, at some point during the rest of that year, and against the king’s wishes, Becket resigned as Chancellor. His actions drove a wedge between him and the king which would never be repaired. From this point on, Becket’s relationship with Henry began to deteriorate. A series of disputes ensued regarding the division of power between the Crown and the Church. By 1164, tensions were at an all-time high and, in October, Becket was summoned to appear before the King’s council and ordered to forfeit all his personal property. He refused to accept the terms of his punishment and, fearing further repercussions from the king, he fled to France.
Becket remained in exile in France for six years. During this time Henry flexed his power in England. His most blatant snub of his old friend’s authority was his decision to have his son, Henry the Young King, crowned in June 1170 by Becket’s long-standing enemy, the Archbishop of York. Becket appealed to the Pope and, under significant pressure, Henry agreed to reopen negotiations. Following this, the Archbishop and the king spoke privately for the first time since 1164, and Henry promised to restore Becket’s rights as Archbishop of Canterbury. Becket was reassured that it would be safe to return to England. However, his final act was to punish those involved in the unauthorised coronation. Before leaving France Becket issued three letters expelling (excommunicating) the Archbishop of York and two bishops from the Church. This act was to have devastating consequences upon his return to England.
Becket returned from exile on 1 December 1170. Contemporary reports record that he was greeted on his journey back to the Cathedral by cheering crowds and rejoicing monks, but he faced increasing hostility by the authorities loyal to the king. Meanwhile, the Archbishop of York and the Bishops of London and Salisbury, furious that they had been excommunicated, travelled to Henry’s royal court in Normandy where they relayed Becket’s actions to the king. Henry was outraged and, although it is unclear whether he ever specifically ordered retribution for Becket’s actions, his furious outburst prompted four knights – Reginald FitzUrse, William de Tracy, Hugh de Morville and Richard le Bret – to travel to Canterbury in search of Becket.
...One key account was written by a man named Edward Grim, who was so close to Becket during the skirmish that he was wounded by one of the knight’s swords. Grim tells us that when the four knights arrived at Canterbury Cathedral, Becket was in the Archbishop’s Palace. They attempted to arrest him but he refused. Becket was persuaded by the monks to take refuge in the church, but the knights pursued him, bursting into the Cathedral with swords drawn...As Grim recounts, Becket held tight onto one of the Cathedral’s pillars to prevent them seizing him, and it was at this point that one of the knights raised his sword for the first time, bringing it down on Becket, slicing off the crown of his head. Two of the other knights then started to attack Becket and most of the monks fled. The third blow brought the Archbishop’s life to an end...
Chaos ensued following the murder, and with none of those present knowing what to do next, the body remained where it had fallen for several hours. Some individuals dipped parts of their clothes in his spilled blood, or collected it in small vessels to take away in anticipation of Becket’s future sanctity. After spending the night on the high altar of the Cathedral, he was buried by the monks the next day in the crypt. Reports immediately circulated of miraculous healings connected to Becket. Facing increasing pressure from the people of Canterbury, the monks opened the crypt of the Cathedral so pilgrims could visit his tomb. An extraordinary wave of miracles was recorded and, in recognition of this, Becket was made a saint (canonised) by the Pope on 21 February 1173. It was one of the fastest canonisations in history. Becket’s reputation as a miracle-working saint spread quickly and people from all over Europe started to flock to Canterbury in the hope that they would be healed. As well as visiting the tomb, pilgrims could also purchase a mixture of his blood and water, called St Thomas’ Water, which was bottled and sold by opportunistic monks in small lead vessels called ampulla. Henry II, in a public act of penance for his involvement in the murder, visited the tomb in 1174, granting royal approval to Becket’s cult.
Becket’s death and subsequent miracles transformed Canterbury Cathedral into one of the most important pilgrimage destinations in Europe. In 1220 his body was moved from the crypt to a glittering new shrine in a purpose-built chapel upstairs in the Cathedral. Geoffrey Chaucer famously captured something of the atmosphere of pilgrimage to this shrine in his Canterbury Tales. In death Becket remained a figure of opposition to unbridled power and became seen as the quintessential defender of the rights of the Church. To this end you can find images of his murder in churches across Latin Christendom, from Germany and Spain, to Italy and Norway. Becket was, and remains, a truly European saint. His relics at Canterbury were visited by people from across the continent until 1538, when Henry VIII would label him a traitor, order the destruction of his shrine and try to wipe him from history altogether.
[British Museum]
Taken in the British Museum
Had a pit stop during a field trip on Earth Day. It started to rain but the vantage point I wanted was under a bridge so I had cover. I waited for a person to stand out in this scene. Fortunately he was wearing a contrasty colored shirt.
Agua Grande resort, Pagudpud
Ilocos Norte
Philippines
Honeywell Pentax SP1000
SMC Takumar 55mm f2.0
Fujicolor ISO 100
April 2009
--
Copyright 2009 © ALARIC YANOS. Unauthorized use is punishable by law.
Primarily devoted to biological samples involving morphological and immuno-cyto chemistry studies, EMSL’s cryo-transmission electron microscope, or cryo-TEM, also supports imaging of samples such as soft materials and polymers. EMSL Senior Research Scientist Alice Dohnalkova operates the cryoTEM. EMSL is a Department of Energy national scientific user facility located at PNNL.
“[M]y whole soul is devoted to building this church here” wrote Pugin to the Earl of Shrewsbury.
St Augustine’s Church is the ‘ideal Church’ of Augustus Welby Pugin (1812-1852) who constructed it between 1845-1852 next to his home ‘the Grange’ according to his ‘true principles of Christian architecture’. He described it as ‘my own child’ and it was to be ‘a revival of the old Kentish churches stone & flint’, with a chantry chapel ‘that may be the burial place of my family’.
It stands as symbol of the Catholic revival of the 19th century which Pugin’s own life and conversion in 1835 epitomises. The church is also an integral part of Pugin’s own Gothic revival which inspired the nation at large. It was being constructed at the same time that Pugin was designing the new Houses of Parliament and Big Ben.
Pugin moved to St Augustine’s in 1843 specifically ‘close to the spot where blessed Austin landed’. His building of the church therefore stands as a monument to the arrival of Christianity to Anglo-Saxon England recalling the landing of St Augustine in 597AD. Pugin was keen to show that Catholicism and Gothic were part of the DNA of English identity and the church emphasises and celebrates the English saints in a particular way.
Pugin spared nothing in building this church and he would only use the finest material and workmen. He wrote to his son Edward, ‘I am giving you the best architectural lessons I can; watch the church’. The church provided Mass for local Catholics and visitors before a parish was formed. Ramsgate’s first post-reformation Catholic school was run from the site. At his death he gifted the Church to the Catholic community, for he always intended it to be “a Parochial church” (Pugin’s Letters).
The church’s exterior is stone covered with traditional hardy flint to withstand the weather. Its interior is also lined with Whitby stone forging a link with the great seaside church of St Hilda. There is exquisite decoration with stone and wood carvings throughout, unique statues, stained glass and ornate tiles. Pugin’s team for the church included other well knownassociates George Myers for construction, John Hardman Powell for the metalwork and especially stained glass and Herbert Minton for the tiles. Pugin died in 1852 before completing the project but the work was continued until 1893 and involved Edward Pugin (1834-75) and Peter Paul Pugin (1851-1904) and many of the original associates and their families.
St Augustine’s was consecrated in 1884 and Grade-1 listed only in 1988. From 1856 until 2010 the church was run by the Benedictine monks of St Augustine’s Abbey (which was constructed opposite by Edward Pugin). In 2010 the Benedictine Monks withdrew from the Church and it came under the jurisdiction of the Parish of SS Ethelbert and Gertrude, Ramsgate and Minster. In February 2011 after a sizeable grant from English Heritage, the church’s future was assured. It serves as a functioning local church of the Ramsgate and Minster Catholic parish and since March 1st 2012 as an official shrine of St Augustine for pilgrimage. It remains for all a monument of serious historical importance and site of great architectural, artistic and culture significance for the wider public.
“[M]y whole soul is devoted to building this church here” wrote Pugin to the Earl of Shrewsbury.
St Augustine’s Church is the ‘ideal Church’ of Augustus Welby Pugin (1812-1852) who constructed it between 1845-1852 next to his home ‘the Grange’ according to his ‘true principles of Christian architecture’. He described it as ‘my own child’ and it was to be ‘a revival of the old Kentish churches stone & flint’, with a chantry chapel ‘that may be the burial place of my family’.
It stands as symbol of the Catholic revival of the 19th century which Pugin’s own life and conversion in 1835 epitomises. The church is also an integral part of Pugin’s own Gothic revival which inspired the nation at large. It was being constructed at the same time that Pugin was designing the new Houses of Parliament and Big Ben.
Pugin moved to St Augustine’s in 1843 specifically ‘close to the spot where blessed Austin landed’. His building of the church therefore stands as a monument to the arrival of Christianity to Anglo-Saxon England recalling the landing of St Augustine in 597AD. Pugin was keen to show that Catholicism and Gothic were part of the DNA of English identity and the church emphasises and celebrates the English saints in a particular way.
Pugin spared nothing in building this church and he would only use the finest material and workmen. He wrote to his son Edward, ‘I am giving you the best architectural lessons I can; watch the church’. The church provided Mass for local Catholics and visitors before a parish was formed. Ramsgate’s first post-reformation Catholic school was run from the site. At his death he gifted the Church to the Catholic community, for he always intended it to be “a Parochial church” (Pugin’s Letters).
The church’s exterior is stone covered with traditional hardy flint to withstand the weather. Its interior is also lined with Whitby stone forging a link with the great seaside church of St Hilda. There is exquisite decoration with stone and wood carvings throughout, unique statues, stained glass and ornate tiles. Pugin’s team for the church included other well knownassociates George Myers for construction, John Hardman Powell for the metalwork and especially stained glass and Herbert Minton for the tiles. Pugin died in 1852 before completing the project but the work was continued until 1893 and involved Edward Pugin (1834-75) and Peter Paul Pugin (1851-1904) and many of the original associates and their families.
St Augustine’s was consecrated in 1884 and Grade-1 listed only in 1988. From 1856 until 2010 the church was run by the Benedictine monks of St Augustine’s Abbey (which was constructed opposite by Edward Pugin). In 2010 the Benedictine Monks withdrew from the Church and it came under the jurisdiction of the Parish of SS Ethelbert and Gertrude, Ramsgate and Minster. In February 2011 after a sizeable grant from English Heritage, the church’s future was assured. It serves as a functioning local church of the Ramsgate and Minster Catholic parish and since March 1st 2012 as an official shrine of St Augustine for pilgrimage. It remains for all a monument of serious historical importance and site of great architectural, artistic and culture significance for the wider public.
“[M]y whole soul is devoted to building this church here” wrote Pugin to the Earl of Shrewsbury.
St Augustine’s Church is the ‘ideal Church’ of Augustus Welby Pugin (1812-1852) who constructed it between 1845-1852 next to his home ‘the Grange’ according to his ‘true principles of Christian architecture’. He described it as ‘my own child’ and it was to be ‘a revival of the old Kentish churches stone & flint’, with a chantry chapel ‘that may be the burial place of my family’.
It stands as symbol of the Catholic revival of the 19th century which Pugin’s own life and conversion in 1835 epitomises. The church is also an integral part of Pugin’s own Gothic revival which inspired the nation at large. It was being constructed at the same time that Pugin was designing the new Houses of Parliament and Big Ben.
Pugin moved to St Augustine’s in 1843 specifically ‘close to the spot where blessed Austin landed’. His building of the church therefore stands as a monument to the arrival of Christianity to Anglo-Saxon England recalling the landing of St Augustine in 597AD. Pugin was keen to show that Catholicism and Gothic were part of the DNA of English identity and the church emphasises and celebrates the English saints in a particular way.
Pugin spared nothing in building this church and he would only use the finest material and workmen. He wrote to his son Edward, ‘I am giving you the best architectural lessons I can; watch the church’. The church provided Mass for local Catholics and visitors before a parish was formed. Ramsgate’s first post-reformation Catholic school was run from the site. At his death he gifted the Church to the Catholic community, for he always intended it to be “a Parochial church” (Pugin’s Letters).
The church’s exterior is stone covered with traditional hardy flint to withstand the weather. Its interior is also lined with Whitby stone forging a link with the great seaside church of St Hilda. There is exquisite decoration with stone and wood carvings throughout, unique statues, stained glass and ornate tiles. Pugin’s team for the church included other well knownassociates George Myers for construction, John Hardman Powell for the metalwork and especially stained glass and Herbert Minton for the tiles. Pugin died in 1852 before completing the project but the work was continued until 1893 and involved Edward Pugin (1834-75) and Peter Paul Pugin (1851-1904) and many of the original associates and their families.
St Augustine’s was consecrated in 1884 and Grade-1 listed only in 1988. From 1856 until 2010 the church was run by the Benedictine monks of St Augustine’s Abbey (which was constructed opposite by Edward Pugin). In 2010 the Benedictine Monks withdrew from the Church and it came under the jurisdiction of the Parish of SS Ethelbert and Gertrude, Ramsgate and Minster. In February 2011 after a sizeable grant from English Heritage, the church’s future was assured. It serves as a functioning local church of the Ramsgate and Minster Catholic parish and since March 1st 2012 as an official shrine of St Augustine for pilgrimage. It remains for all a monument of serious historical importance and site of great architectural, artistic and culture significance for the wider public.
Fleet Air Arm Museum
The museum is devoted to the history of British naval aviation.
It has an extensive collection of military and civilian aircraft, aero engines, models of aircraft and Royal Navy ships (especially aircraft carriers), and paintings and drawings related to naval aviation.
It is located on RNAS Yeovilton airfield, and the museum has viewing areas where visitors can watch military aircraft (especially helicopters) taking off and landing.
Hall 1
Fly Navy 100
The Fly Navy 100 exhibition dramatically presents the development of naval aviation from the first Royal Navy airship in 1909 and early bi-planes, to today's formidable air power from the sea.
The earliest complete aircraft on display is a replica of a 1912 Short S27 together with the un-restored remains of the first aircraft to have taken part in a naval battle in 1916, the Short 184.
en.wikipedia.org/wiki/Fleet_Air_Arm_Museum
Westland Whirlwind HAR3
XG574
Search and Rescue
www.fleetairarm.com/exhibit/westland-whirlwind-har3-xg574...
The attractive church, named for St. Stephen but still devoted to St. Geneviève, is located right next to the Panthéon. The interior of St-Etienne-du-Mont is Gothic, an unusual style for a mostly 16th-century church.
Along with the patroness of Paris, such illustrious men as Pascal and Racine were entombed here. St. Geneviève's tomb was destroyed during the Revolution, but the stone on which her coffin rested was discovered later, and her relics were gathered for a place of honor at St-Etienne.
The church possesses a remarkable early-16th-century rood screen. Dramatically crossing the nave like a bridge with spiral staircases on either side, it's unique in Paris and beloved by many (and deplored by a few).
Also notable is the wood pulpit, supported by Samson with a jawbone in hand and slain lion at his feet. The fourth chapel on the right from the entrance contains impressive 16th-century stained glass.