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30-365. Saturday, 30 January 2010.
Still can't believe she's mine. I got her from my sister today and it was love at first sight. I really can't decide on her name. I would love it if it was something very seventies, but what could that be? I know she's definitely a disco queen.
Edit: She's Klara.
Jenny doll
Jenny is a 10½ inch fashion doll produced by Japanese toy company Takara since 1982. The doll was originally known as the Takara Barbie, but became "Jenny" in 1986 after Takara ended their licensing agreement with Mattel. The differences between the Takara Barbie and the Western Barbie are that Takara Barbie was altered to suit Japanese preferences. Takara Barbie did not sell very well, and sold better after she was renamed to Jenny. Today the Jenny doll is a sentimental favorite doll in Japan, but she is much less popular than Licca-chan, Mattel's Barbie or MGA Entertainment's Bratz dolls.
Texture by Parée Erica.
We're Here - Spot the difference.
There are five obvious things and one tricksy thing missing. Shadows do not count...and neither does the black bit in the right bottom corner...which I didn't even notice until after posting. :(
Put some zing into your 365! Join We're Here!
Morris Minor 1000 2 door Saloon (1962-71) Engine 1098cc S4 OHV Production 850,000 (Both Minor 1000's)
Registration Number WKA 584 H (Liverpool)
MORRIS SET
www.flickr.com/photos/45676495@N05/sets/72157623690377489...
The Minor 1000 (1956-62) was a direct descendant of the earlier Minor series II with a 948cc S4 OHV engine it had a revised front grille, a curved one piece windscreen, larger rear window, dished steering wheel, and painted 14inch wheels, flashing direction indicators replaced semaphore trafficators.
This (1962-71) version had a larger 1098cc S4 OHV engine boosting output to 48bhp and a top speed of 77 mph bracket. Differences were however slight a new dashboard layout with a lidded glove box on the passenger side and open cubby hole in front of the driver, and a different heater, externally the new car gained a new larger tail flasher and front side/flasher lights
Many thanks for a fantabulous 31,839,700 views
Shot on 06.04.2015 at Weston Park, Weston-under-Lizzard, Shropshire Ref 103-136
"7 Days of Shooting" "Week #2" "Birds" "Focus Friday"
The Willie Wagtail is the largest, and most well-known, of the Australian fantails. They are active feeders and can be seen darting around lawns as they hunt for insects on the ground. As they do so, the tail is wagged from side to side. Insects are also chased and captured in the air.
The Sacred Kingfisher is 19–23 cm (7.5–9.1 in) long, and feeds on insects, small crustaceans, fish, small rodents and reptiles. Usually, they will sit on a low branch and wait for prey to pass by. Then swoop down to grab the prey and return to their perch to eat. They are found throughout Australia and New Zealand.
I decided that it might be a fun thing to pit two ASA-25 speeds films against one another. I've always called RPX 25 a spiritual successor to APX 25, but what is the difference between these two films? What surprised me is not only how different they are, but also how similar they are!
Left Image:
Nikon F5 - AF Nikkor 50mm 1:1.4D - Agfa APX 25 @ ASA-25
Adox FX-39 II (1+9) 5:15 @ 20C
Scanner: Nikon Coolscan V ED + Nikon Scan 4
Editor: Adobe Photoshop CC
Right Image:
Minolta Maxxum 9 - Minolta Maxxum AF 50mm 1:1.4 - Rollei RPX 25 @ ASA-25
Adox FX-39 II (1+9) 7:45 @ 20C
Scanner: Nikon Coolscan V ED + Nikon Scan 4
Editor: Adobe Photoshop CC
"Wrong Exhibition" - A 1-day exhibition held at the roof top of the Green Office Bussines Centre in Tbilisi, Georgia - Nov 2006.
If you were to put an Alfasud and an Alfa 33 Permanent 4 on hoists and gaze at their bellies, you would have some trouble spotting differences. The flat-four motors look much the same; so do the gearboxes, the suspensions, much of the exhaust systems and the floor pressings.
Of course, the Permanent 4 has allwheel drive, and that means there’s a stout steel tube running down the centreline to drive a live rear axle, but this aside, the pair are near as dammit identical. The reason is simple - the 33 is merely a re-shelled Alfasud. And there’s nothing wrong with that. Not when the Sud's entrails were so good in the first place and the engineering philosophies behind them so sound.
Today, the Sud is best known for the frightening speed with which it turns to dust. Sub-standard steel, poor paintwork and foam-filled box-sections that soak up water are just some of the flaws that earned the Sud its terrible reputation. Yet the car still earns respect because of its handling, which reached a new plane for front-wheel-drive cars. This, and the boxer engine’s fabulous smoothness, gained the car a place on plenty of short lists.
Indeed, the Sud’s qualities here are so exceptional they obscure the fact that it has other strings to its bow. It was designed by a small team led by Rudolph Hruska, who hired the talents of a then- fledgling ItalDesign to shape and package the car. The singular approach of this group produced a machine of remarkably few unpleasant compromises.
It is immensely practical, for a start. Excellent packaging provides ample room for four adults and all their luggage, visibility is good, refinement and cruising ability well above average for its day. Servicing is a doddle, too, the carb, distributor and oil filter all being very accessible. It was, after all, designed as an ordinary family car as well as a real Alfa.
So if the Sud doesn’t have a twin-cam motor and rear-wheel drive, it nevertheless keeps faith with the tradition of innovative engineering and, most important of all, it drives like an Alfa. The aim was to endow a front-driver with the handling characteristics of a rear-drive machine, and, amazingly, Alfa succeeded.
Examine the innards of a Sud, and you begin to see why. It might incorporate MacPherson struts up front, but the suspension geometry was designed to provide a high roll centre and plenty of negative camber, both of which counter the understeer inherent to such a nose- heavy design. Mounting the brake discs inboard reduces both unsprung weight and the effects of torque reaction under braking, and careful bushing of all the suspension mounts cuts road noise.
1971 Alfasud 1.5Ti vs. 1991 Alfa Romeo 33 Permanent 4
Alfasud (top) puts huge loads on outside front tyre, cornering neutrally. Has very sharp steering. New 33 looks undramatic, but is travelling faster. It understeers at limit, has more rubbery steering. Alfasud interior clad in cruddy plastic (third from top); 33 only a little better. Soundproofing robs 33 of foot room. Short-legged driving position in both.
At the rear, Alfa’s liking for rigid rear axles lives on: a dead beam is located by pairs of Watt linkages at each end and a Panhard rod in the middle to provide sideways location. This is an ingenious solution. The Watt linkages allow plenty of vertical movement while restricting scope for rear-wheel steering, and because they are bolted direct to the axle, they force the dead beam to double as an anti-roll bar during cornering without in any way limiting suppleness. Add to this the layout’s low cost and the limited space it takes up, and it is easy to overlook the fact that it isn’t fully, independent. Coils, which encircle the dampers, are the springing medium.
The Sud might share its flat-four engine layout with the Citroen GS, but the Italian motor is water-cooled, and remarkable for using a one-piece cylinder block, whereas most boxer crankcases are split. There is a single overhead camshaft per bank.
The flat four was chosen not just for its inherent smoothness - a boxer motor is naturally better balanced than an in-line four - but for the low centre of gravity it allows, which helps the car’s handling. The low engine height also allows a lower, aerodynamically favourable, bonnet line.
Not that the body is terribly clean through the air by today’s standards with its 0.41 Cd, but that wasn’t a bad figure. More effort went into engineering the body for space, lightness and stiffness. Deep box sections help, and are one of the reasons the Sud acquired its double bulkhead, the forward wall further sealing the noisy bits from the cabin. In the space behind, the battery, wiper and fan motors, brake servo, fusebox and coil are housed away from dirt and spray.
The Ti, the direct antecedent of the Permanent 4 and the car we feature in our comparison, came three years after the Sud was announced in late 1971, and featured a modest battery of changes to appeal to enthusiasts, the most important of which was more power, something the chassis was well capable of containing.
The first 1974 Tis stayed with the 1186cc engine but used a twin-choke carb to boost power from 63bhp to 68bhp, which was not much, especially as torque dropped back from 71 lb ft to 67lb ft. However, a five-speed gearbox was standard, there were spoilers front and rear, real carpets and a tachometer.
Drivers loved the Ti but moaned about the power shortfall, which brought about a 76bhp 1286cc model in 1977. A year after that came the 85bhp 1.5 Ti motor, and with it the Sud’s first facelift, which ran to a new facia, allegedly improved rust protection, 165/70x13 tyres rather than 145s, trim changes and, for the Ti, wheel- arch extensions and restyled spoilers.
It’s one of these cars (my own, in fact) that we test here, survivors of the original series being exceptionally rare. Though more powerful, the series-2s lost none of the first car’s handling prowess and ride quality, characteristics that would gradually desert later versions of the Sud as Alfa successfully fiddled with it.
Recapturing that magic from the early days is something Alfa has been trying to do ever since. The problems began in the Alfasud’s twilight days, when the need to improve power and grip upset its delightful manners. The extra power induced torque-steer - despite equal-length drive shafts - and wider, lower profile tyres spoiled the ride. On top of that, alterations to the front suspension geometry, the springs and anti-roll bar undermined the wonderfully neutral feel.
When the 33 emerged as a replacement in 1983, it brought many of these problems with it, because apart from a new bodyshell and a redesigned interior, there was a little that was truly new in the 33. The short list of novelties ran to an instrument binnacle that adjusted with the steering column (later dropped), a change to outboard front discs and drum rear brakes, a retrograde step except that it made the stoppers easier to service and, most important of all, vastly improved corrosion protection. And that was it.
Two facelifts and dozens of derivatives later, we have the new Permanent 4, however, a car that appears to offer far more than 33s past. The fact that the gearbox lies behind the boxer engine and that the car has a dead beam rear axle makes it easy to convert the 33 to four-wheel drive, and indeed there was a part-time 4x4 estate some years back.
The Permanent 4 takes things a stage further by being full-time four-wheel drive, its centrally mounted viscous differential sending 95 percent of the drive to the front wheels unless traction trouble strikes. ABS is standard, the computer disconnecting drive to the rear wheels when it’s triggered.
Power comes from the ultimate version of the boxer engine, which has twin overhead cams per bank, 16 valves and Bosch Motronic ignition and injection. From 1712cc it produces 137bhp and 116 lb ft of torque at 4600rpm, quite an improvement on the 1.5 Ti’s 85bhp and 98 lb ft of torque at 3500rpm.
They both sound much the same when you fire up, though, the flat fours settling to an even, electric motor-like hum. Needless to say, the 1.7 has more life in it, the revs climbing eagerly to the backdrop of a rattling rasp that’s quite unique. The rasp is more subdued from the 1.5, and so is the performance, which by today’s standards would be called languid even for a family saloon. But the smaller engine endears with smoothness that lives to the red line - in the 1.7’s case, there’s more throbbing, if to a higher rev limit - and a more even torque spread. The 16-valve boxer serves maximum zest only when past 4000rpm.
1971 Alfasud 1.5Ti vs. 1991 Alfa Romeo 33 Permanent 4
In a straight line (opposite top) both cars ride firmly, but Permanent 4 less crashy than some old 33s. It’s the quicker of the pair by a mile. Both roomy in the back despite compact dimensions (opp middle). The Sud has more instruments, and a left foot rest. Otherwise, 33 has more equipment and better ergonomics - Sud’s heater fan switch is on a stalk and is easier to trigger than wipers. Rearward visibility poor on high-tailed 33. Engines: Sud’s single-carb 85bhp 1.5 (top); 33’s injected quad-cam 137bhp 1.7. Note double bulkhead.
To get the best of both cars the gearbox has to be used, but in neither case is the shift particularly good. Redesigned linkages make the 33’s change tighter and less floppy, but it’s doubtful whether it’s actually any quicker. Further impediments to rapid transit include the seat and steering wheel positions, which have never been right in either car. The Permanent 4 has a pair of good Recaros, but the steering wheel is curiously angled no matter how it’s adjusted, and the pedals are too bunched.
1971 Alfasud 1.5Ti vs. 1991 Alfa Romeo 33 Permanent 4
In the Sud the driver’s stance is still more emphatically stretched-arms crumpled-legs, but at least there’s a rest for an idle left foot-the 33 does without. The Permanent 4 is certainly the quieter cruiser, mainly because wind noise is better quelled. Both cars are vociferous under acceleration, though keen drivers won’t object, and at a steady speed the motors miraculously pipe down.
Neither car rides brilliantly - rapidly- taken humps and bumps are checked quite severely by the dampers, and the lower-profile tyres of the Permanent 4 patter more. But this 33 certainly is more supple than earlier examples, absorbing bumps effectively enough that, most of the time, the ride goes unnoticed. The same is true of the Sud.
It’s in the chassis department that the odds swing in the Sud’s favour. Of course, it can’t muster anywhere near the grip of the 33, with its skinny tyres, nor the 33’s security in tricky conditions, but it handles more pleasingly, sends more messages.
1971 Alfasud 1.5Ti vs. 1991 Alfa Romeo 33 Permanent 4
The biggest difference is the Sud’s responsiveness. It reacts instantly to the wheel, whether it’s entering a bend or halfway through, and resists understeer like almost no other front-driver, ancient or modern. It’s a cliche to say it, but it really does corner like a kart. This terrific quality is backed by accurate, reasonably quick steering that delivers plenty of feel.
The 33’s assisted steering is numb and not much quicker, though less effort is required. Initial vagueness and a surprisingly lethargic response to inputs don’t help. The Permanent 4 also understeers more. There’s no doubt, though, that the 33 is vastly more effective cross-country. It’s much quicker, of course (0-60mph in 8.5sec, 126mph against the Sud’s 11.7 and 102mph), but it’s also grippier and more effortless. And entertaining, too, the most fun any 33’s ever been, and more than the majority of rival rocket shoppers.
But it lacks the neutral handling and delicacy of response that marked out the Sud, and for that reason it’s often less satisfying. If Alfa could combine these with the extra grip and go, the Permanent 4 would be highly desirable.
The 4 also ought to make less noise, provide a slicker gearshift, a smoother ride and deliver decent ergonomics. Above all, it ought to be better made. But the 33 stands out with its marvellous engine - unmatched for entertainment value in this class - distinctive styling and capable chassis. Those who enjoy engineering will savour its layout, too.
That contrasts well with a couple of the cars in this comparison, the Audi and the Citroen, which abandon completely the philosophies promoted by their predecessors 20 years earlier. The ZX does without a flat four and fluid suspension, the 100 without a rotary engine and step-ahead styling, despite the fact that these approaches yielded such promise. They were killed by commercial cowardice in the first case and, in the second, spectacular warranty bills.
The Sud concept, on the other hand, remains intact to a startling extent. But on its own that's not enough to make the 33 a class leader 20 years on. Alfa has not had the money, nor perhaps the will, to develop the mechanicals to the pitch they might have reached today. It's to the Italians’ benefit that most rival manufacturers have been similarly reluctant to advance. Richard Bremner.
St Mary and St Walstan, Bawburgh, Norfolk
There are islands off the coast of Norwich. Here we are in typical rural Norfolk, a quiet village set in a rolling landscape of farms and sprawling fields punctuated by woods and copses, the sound of traffic on the busy A11 and A47 not so very far off. And yet, we are very close to Norwich, but floating free from it thanks, perhaps to local authority planning.
Norfolk and Suffolk have their similarities of course. Norfolk is a lot bigger, and emptier, especially towards the west. But the biggest difference between the two counties is their relationship with their county towns. Ipswich, above all else, is Suffolk distilled and amplified, the working and historic county translated into an urban setting. Industrial Ipswich was the fountainhead of the county's agricultural production, the docks an interface between Suffolk and the world. To know brash and breezy Ipswich is to know what Suffolk was and is.
But Norwich is different to Ipswich, and it is different to the rest of Norfolk. As you enter the city you pass hoardings which proudly proclaim, in George Borrow's words, that you are entering Norwich, a Fine City! It is like crossing a forcefield. Norwich is a fine city, and it is also a small city, but as Norwich is so far from any other place of near-equivalent size - Ipswich is 40 miles away, Cambridge nearly 60 - it is completely out of scale to its population. If Norwich were dropped into South or West Yorkshire, or Greater Manchester, it would disappear. Here, it assumes the importance of a Leeds or a Sheffield, cities four times as big.
At times, Norwich can feel like a great European city, living a technicolour life in the soft, pastel setting of its rural hinterland. Its industrial past, in shoes, textiles and chocolate, was not grounded in the local countryside in the same way as the industry of Ipswich. In the 1960s the University of East Anglia came, and Norwich's nightlife is lived by people who have, in fair proportion, not grown up in Norfolk.
To set off from Norwich is to enter a countryside that feels different. It is like leaving a shore for the open sea, a sea with islands. The soft fields of Norfolk wash right up against the edge of the city, insulating villages that would have been absorbed if she had grown any larger. Just a mile or so from the edge is Bawburgh. Every island has a story, and Bawburgh's is the story of St Walstan.
St Walstan was a Prince, the son of Benedict and Blid of the royal house of East Anglia. Blid would herself become a Saint. Walstan was born in Bawburgh, or perhaps at the royal vill of Blythburgh in Suffolk. As a teenager, he followed Christ's instruction to renounce all he possessed and become a disciple. Giving up his claims to succession, he did not delay to reach northern parts, as the Nova Legenda Anglie tells us, and humbled himself to become a farmworker in central Norfolk.
After a series of adventures which revealed his saintly character, one of which involved him being rewarded with a pair of young oxen, he received news in about 1015 from an Angel. He would die and be received into heaven in three days time. With typical East Anglian stoicism, he nodded his head and left his scythe to go and find a Priest to receive the Last Rites. Unfortunately, the Priest had no water, but, magically, a spring welled up where they stood.
This was in Taverham, and when Walstan died the two oxen carried his body on a cart to be buried at Bawburgh. On the way, they stopped to rest in Costessey, where another spring sprang up. At last, they came to Bawburgh. They stopped outside the church, and a third spring appeared, the biggest. And then, the Nova Legenda Anglie tells us, Angells opened the walls in hast, and the two oxen with their burden walked into the church. Walstan's body was placed in the church, becoming a site of pilgrimage for people who sought miracles and healing. Eleven miracles have been handed down to us.
The St Walstan legend is interesting for all sorts of reasons. Compared with the West Country, survivals of local Saints' cults are very rare in East Anglia. This part of Norfolk was strongly recusant during the penal years, and it is likely that local people kept stories of Walstan in their tradition even after the practice of devotion to him became impossible. When the penal years ended, the new Catholic church at Costessey in 1841 was dedicated to Our Lady and St Walstan.
Although there is no evidence that the Saint was part of the original dedication of Bawburgh church, the foundations of which certainly predate the St Walstan legend, it bears the name today, and that is because the relics of St Walstan continued to be important right up to the Reformation. Bequests made to the shrine are recorded in late Medieval wills, and these in turn were noted by 18th century antiquarians who restored dedications to parish churches, not always very accurately, after the long puritan night.
During the late 14th century, when acts of pilgrimage were at their most significant, thousands of people must have made their way every year. On the north side of the church was the chapel that contained his bones. From this, a sunken pathway led down the steep hill to the well on the site of the third spring. Incredibly, this pathway was destroyed as recently as 1999, to be replaced by a sterile driveway that circumnavigates the farm to the north of the church.
The date of the Walstan legend is interesting, right on the eve of the Norman settlement of England. It is almost exactly contemporary with that much more famous legend, the founding of the shrine at Walsingham by Lady Richeldis. Could it be that these cults endured partly as a form of resistance by the Saxons, popular local legends in the face of Norman cultural hegemony? Or was it that the Normans themselves who ensured that these popular pieties continued, nurturing them in the place of surviving neo-pagan practices?
We can never know, but what is certain is that St Walstan's legend recommended him as a Saint of the ordinary people, a worker Saint if you will, which may explain his almost complete disappearance from popular English story after the Reformation.
Two excellent books by local author Carol Twinch have helped popularise this very East Anglian figure. And, interestingly, in the latter half of the 20th century his cult has been explored increasingly by the Anglicans, at a time when devotion to Saints seems to be going out of fashion in that Communion. There are popular pilgrimages here every year still under the auspices of the Anglican Diocese of Norwich. Perhaps it is the simplicity of Walstan's life, and the healing nature of his miracles, that lend themselves particularly to the quiet nature of modern Anglican spirituality.
You approach the church from the village street and your first sight of it is from the south-east, looking down into the churchyard. What a beautiful church it is! It must be among the loveliest of all East Anglia's 160-odd round-towered churches. The idiosyncratic stepped gables, the red roof of the nave and a little flame-like pinnacle on the cap of the tower are memorable, particularly in this dramatic setting on the steeply-pitched side of the ridge. The graveyard falls away dramatically on the northern side, and from there St Mary and St Walstan appears fortress-like.
You step into a wide, simple interior, white walls and bare wood setting into relief sudden flashes of colour. How much of this church was here when Walstan's body was brought here? Probably, none of it. The archway to the tower is 13th century, and the windows suggest that the rest of the building is early 14th century. Quite probably, the whole church was rebuilt as a result of the prosperity brought about by the shrine of St Walstan. On the north side of the nave there is a large archway, a filled-in opening. It is tempting to think this is the wall that the Angells had opened in hast, but it was probably the entrance to the later chapel of St Walstan, since this wall post-dates the St Walstan legend by 300 years.
The remains of the 15th century roodscreen are made up rather dramatically into an early 20th century screen with bubbly cusping and a canopy of honour above, all of it unpainted. It is difficult to know how they resisted painting it, but it suits the simplicity of the building just as it is. And there are plenty of survivals here of Bawburgh's colourful Catholic past. Most interesting of all, the collection of brasses. Bawburgh has two shroud brasses and a chalice brass. The biggest of these is above a memorial inscription to Thomas Tyard who died in 1505. It is 60cm long, and he lies with the shroud partly open, his hands crossed in an act of piety. Beneath it is the inscription plate, but it seems likely to me that the inscription and the shrouded figure do not belong together, given the differences in the quality of the two. As if to confirm this, a surviving brass rivet in the stone above the figure's head suggests the loss of another brass, presumably Tyard's.
The other shroud brass is unidentified, and quite different. It depicts a smaller figure sewn tightly into a shroud, with just the face peeking out. It is so like the figures mounted on the wall at Yoxford in Suffolk that I assume it is a figure adrift from a larger collection, perhaps representing one of the dead children of a larger figure.
Set in between them is a late 17th century brass inscription and shield to a minister of this church, Philip Tenison. It is quite fitting that it should be here, because Tenison was an antiquarian at a time when such things were looked on with grave suspicion, and Carol Twinch notes that he recorded information about the Walstan shrine here that might otherwise have been lost to us. Deprived of his living by the Puritans, he later became an Archdeacon after the Restoration, in which case the date of 1660 here is obviously wrong.
I think that all five of these brasses were reset here from elsewhere in the church by the Victorians. The chalice brass may well be in its original position. It is to the Priest William Rechers, and is right on the eve of the Reformation, 1531, so he would have been one of the last Priests to be commemorated in this fashion. As at Little Walsingham, two hands are shown holding the base of the chalice, elevating it.
In the nave, there are three further pre-Reformation brass inscriptions, at least two of which are on their original matrices, and one of which retains one of the two figures commemorated, Robert Grote, who died in 1500. His wife is missing, as is the Priest Edward Kightling, whose empty matrix shows that he was wearing priestly vestments.
This is a wonderful collection of late medieval brasses, and is extraordinary that so much has survived. Only a couple have been stolen, but it is clear an attempt has been made on the life of the smaller shroud brass. It has been broken in half, and the lower part protrudes upwards. These chancel brasses have also suffered very badly from being covered by carpets, the underlay breaking up and soaking with moisture to scour the brass. On my most recent visit, the churchwarden agreed that to would be better to remove the carpet altogether, and I do hope that this will happen.
But the most vivid memory of the past at Bawburgh is the superb collection of late medieval glass in the nave. Best of all is the wonderful St Barbara, as good as anything else in Norfolk. She stands proudly, holding her church. Across the nave is a lovely fragment of an Annunciation scene. Mary stands in front of a pot of lilies, and a scroll declares Ecce Ancilla Domini Fiat ('Behold the Handmaid of the Lord, Let it be so'). A crowned female head nearby is probably from a Coronation of the Blessed Virgin.
There are floating angels, perhaps censing or collecting the precious blood at the crucifixion, and a king who may be Christ from the same Coronation scene. There is larger, crowned, bearded king, perhaps God the Father, some fragments of St Catherine and perhaps St Gregory, and a lay figure in late medieval dress who might just be a pilgrim to the Shrine of St Walstan. Perhaps most pleasing, because it is so complete, is a set of roundels featuring the words of the Nunc Dimmitis, Simeon's prayer on seeing the infant Christ for the first time. It is rather moving to find them in the same window as the Annunciation, which features words which would be familiar to pilgrims from both the Ave Maria and the Magnificat. It is easy to imagine them sitting telling their beads at a journey's end, contemplating this glass.
At the west end of the church is a small patch of wall painting which defies easy interpretation. It is obviously at least three separate subjects, the most recent being part of an Elizabethan text, below that apparently two figures embracing, the lowest a roundel topped by indecipherable text. It is likely that there is part of a Seven Works of Mercy sequence, which was often placed on the western wall of a smaller church like this.
There is much else besides. The people here were obviously very pleased at the 1660 Restoration, and immediately erected a new set of royal arms to Charles II. You can't help thinking of Philip Tenison, and how it might just be his influence that the people were pleased to see the back of puritanism. One old bench end with an inscription is marooned on the wall, curiously in the shape and location of a holy water stoup (is it covering it?) and there's a nice European roundel in the chancel, which I take to be from a series of Stations of the Cross. Otherwise all is Victorian, or the influence of Victorians. And then you spot the 17th century poorbox fashioned like a newel post, still secured in the east end of the nave. It is from the protestant days of this church, but it is still a reminder of charity, and the offerings of generations of pilgrims that made this one of Norfolk's most significant shrines, and still a beautiful and interesting church today.
Functionality of the Difference Layer Script.
Left is before, right after the script.
The top three layer together are the same image as the bottom layer. But you can switch the difference between the original and the modified layer on or off.
Kitten is from here:
OK so I am a novice and hardly in a position to inform but some people have emailed asking how to tell the difference between house and tree sparrows so I thought to upload both should help to show their distinctive plumage
This is a tree sparow with his or maybe it is her chestnut cap and black cheek patches. The brown overall is slightly brighter than the house sparrow as I hope you will see.
Cocks and hen Tree Sparrows are alike and sexing is nigh impossible unlike the house sparrow where the difference in the sexes is obvious..
Dover Castle reveals another striking difference in tower design – geometry. Originally, castle towers were predominately square. Unfortunately, this configuration leaves the castle vulnerable to areas that archers can’t cover. In the 12th century, medieval engineers begin to design circular and semicircular towers to solve this problem. Because it was built over several decades, Dover boasts square and circular towers – the former being attributed to construction under Henry II, the latter to work that’s believed to have been carried out several years later under his son John. Additionally, the castle has several polygonal towers, including the Avranches Tower, which was specifically designed to maximize the garrison’s firepower.
Battle Castle is an action documentary series starring Dan Snow that is now airing on History Television and is scheduled to premiere on Discovery Knowledge in the UK in Spring 2012 and on various BBC-affiliated channels in the near future.
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This show brings to life mighty medieval fortifications and the epic sieges they resist: clashes that defy the limits of military technology, turn empires to dust, and transform mortals into legends.
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Castles conjure thoughts of romantic tales, but make no mistake, they are built for war.
Dover: Prince Louis' key to England. Malaga: the Granadans final stronghold. And Crac des Chevaliers: Crown Jewel of Crusader castles. Through dynamic location footage and immersive visual effects, Battle Castle reveals a bloody history of this epic medieval arms race.
As siege weapons and technology become more ruthless, the men who design and built these castles reply ... or perish. Follow host Dan Snow as he explores the military engineering behind these medieval megastructures and the legendary battles that became testaments to their might.
Each episode will climax in the ultimate test of the castle's military engineering -- a siege that will change the course of history. Which castles will be conquered and which will prevail? You'll have to watch to find out.
But the journey doesn't end there --in fact, it's just beginning. Battle Castle extends into a multi-platform quest, taking us deep into the secret world of medieval warfare and strategy. Become the ultimate 'Castle Master'. Stay tuned for more on the Battle Castle experience.
A farmer in Morogoro, Tanzania, discusses differences in his maize ears caused by differences in on-farm conditions, at a field day organized by Tanzanian seed company Tanseed International.
For more about the collaboration between Tanseed and CIMMYT, see CIMMYT's June 2009 e-news story "No maize, no life!" available online at: www.cimmyt.org/en/about-us/media-resources/newsletter/pre....
Photo credit: Anne Wangalachi/CIMMYT.
Snoopy and friends diptych.
8/365 in 2013 and
#16/113 in 113 pictures in 2013 , the topic is - Spot the difference (present two images as a diptych with one or more differences to see if others can spot the differences.)
This sculpture demonstrates the concept of difference by not being just one of the forms it suggests. It is not a column, not a totem, not a beacon, not a tree. Combining several materials underlies the interdependency of all minorities. Together, differences form an equilibrium as fundamental as an ecosystem.
1-1/2 cups cashew milk
2 scoops chocolate fudge vegan protein
2 Tbsp frozen Organic orange juice concentrate
1 tbsp dutch cocoa
1-1/4 tsp Pines Organic #wheatgrass powder from @wheatgrass_people
1 cup frozen organic blueberries
Topped with pine nuts, chocolate covered cacao nibs, and a mandarin orange!
As always, #ckscooking :-)
CK is a consultant for Pampered Chef®. She uses food and fellowship to make a difference with real food, health, and great kitchen tools! Check out @ckscooking on Instagram for more recipes.
CK teaches sourcing individual ingredients rather than using complex blends.
This is especially important for #greensuperfood products, which can be blended with darkly colored ingredients to hide poor color and quality.
When you select single ingredients rather than blends, you can see, smell, touch and taste each individual ingredient to check for quality.
All Pines products are packaged in amber glass bottles with special metal caps containing tight seals that allow us to remove the oxygen.
This safeguard protects sensitive nutrients from the oxidation and loss of nutrients that occurs when green food products are packaged in plastic tubs or paper packets. After opening, the special caps allow you to tightly seal the product between uses to keep it fresh and vibrant.
Nearly all our Pines products consist of ingredients that we grow ourselves on our own #familyfarm. All products are certified #organic, #gmofree, #raw, #Kosher and #glutenfree.
CK's Twitter: twitter.com/CKsCooking
CK's Instagram: instagram.com/ckscooking/
Pampered Chef Website: www.pamperedchef.com/pws/ckhall
Pines Website: www.wheatgrass.com/
Pines Instagram: instagram.com/wheatgrass_people
Pines Twitter: twitter.com/PinesWheatGrass
Pines Flickr: bit.ly/1I60Mzc
Pines Tumblr: pineswheatgrass.tumblr.com/
The Father of Wheatgrass: www.cerophyl.net/
The WheatGrass Girl's Twitter: twitter.com/WheatGrass76
More tags: #stamina #endurance #athlete #triathlon #marathon #spartanrace #bodybuilding #Ironman #swimming #biking #cycling #spin #workout #plantbasedprotein #antioxidants #PinesWheatGrass #GreenEnergy #NitricOxide #Fitness
I was inspired by a recent comment by finsbry on one of my uploads www.flickr.com/photos/50889628@N08/5319404990/
I live in beautiful Oregon and don't see much sunshine in winter; in fact, we Oregonians are known to abandon all and any indoor work to rush outside for a "sunbreak" , even if it's just for a few seconds! It's a good thing that I do love clouds and fog or I'd be in Mexico for the winter.
Credit to Wikipedia for the image of jumping girls commons.wikimedia.org/wiki/File:Bundesarchiv_Bild_183-480...
Cedit to David Nagy www.flickr.com/photos/ndave/2143957177/in/set-72157600198...
for the snow scene photograph.
Credit to Jerry Jones www.flickr.com/photos/skeletalmess/collections/7215761567...
for texture layers.
I used his texture Beneath The Surface 1 set on linear burn at 76%.
Jerry also has a blog: shadowhousecreations.blogspot.com/
Dover Castle reveals another striking difference in tower design – geometry. Originally, castle towers were predominately square. Unfortunately, this configuration leaves the castle vulnerable to areas that archers can’t cover. In the 12th century, medieval engineers begin to design circular and semicircular towers to solve this problem. Because it was built over several decades, Dover boasts square and circular towers – the former being attributed to construction under Henry II, the latter to work that’s believed to have been carried out several years later under his son John. Additionally, the castle has several polygonal towers, including the Avranches Tower, which was specifically designed to maximize the garrison’s firepower.
Battle Castle is an action documentary series starring Dan Snow that is now airing on History Television and is scheduled to premiere on Discovery Knowledge in the UK in Spring 2012 and on various BBC-affiliated channels in the near future.
For the latest air dates, Like us on Facebook (www.battlecastle.com/facebook) or follow us on Twitter (www.twitter.com/battlecastle)
This show brings to life mighty medieval fortifications and the epic sieges they resist: clashes that defy the limits of military technology, turn empires to dust, and transform mortals into legends.
Website: www.battlecastle.tv/
Twitter: www.twitter.com/battlecastle
YouTube: www.youtube.com/battlecastle
Flickr: www.flicker.com/battlecastle
Facebook: www.facebook.com/battlecastle
Castles conjure thoughts of romantic tales, but make no mistake, they are built for war.
Dover: Prince Louis' key to England. Malaga: the Granadans final stronghold. And Crac des Chevaliers: Crown Jewel of Crusader castles. Through dynamic location footage and immersive visual effects, Battle Castle reveals a bloody history of this epic medieval arms race.
As siege weapons and technology become more ruthless, the men who design and built these castles reply ... or perish. Follow host Dan Snow as he explores the military engineering behind these medieval megastructures and the legendary battles that became testaments to their might.
Each episode will climax in the ultimate test of the castle's military engineering -- a siege that will change the course of history. Which castles will be conquered and which will prevail? You'll have to watch to find out.
But the journey doesn't end there --in fact, it's just beginning. Battle Castle extends into a multi-platform quest, taking us deep into the secret world of medieval warfare and strategy. Become the ultimate 'Castle Master'. Stay tuned for more on the Battle Castle experience.
The difference between the circa-1910 bldg at the left and the circa-1885 bldgs next to it is approximately the difference between circa-2010 and circa-1985. Amazing!
I got stuck thinking about this for I-don't-know-how-long.
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In downtown Jacksonville, Illinois, on October 31st, 2020, the "Andre & Andre" building, the "Schmalz & Son Bakery" building, the "E. S. Van Anglan & Co." building, and the "Phelps & Osborne Dry Goods" building on North Central Park Plaza, each a "contributing property" to the Jacksonville Downtown Historic District, 100002915 on the National Register of Historic Places.
The Andre & Andre building contains offices of the Illinois Department of Children and Family Services.
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Getty Thesaurus of Geographic Names terms:
• Jacksonville (2028478)
• Morgan (county) (1002693)
Art & Architecture Thesaurus terms:
• awnings (300254200)
• barbershops (300005250)
• brick (clay material) (300010463)
• brick red (color) (300311462)
• brown (color) (300127490)
• central business districts (300000868)
• commercial buildings (300005147)
• green (color) (300128438)
• historic buildings (300008063)
• historic districts (300000737)
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• parking (area) (300055248)
• remodeling (300135427)
• shop signs (300211862)
• sporting goods stores (300005336)
• tan (color) (300266248)
Wikidata items:
• 31 October 2020 (Q57396957)
• 1880s in architecture (Q60996911)
• 1910s in architecture (Q11185482)
• 1960s in architecture (Q11185676)
• Andre (Q13510892)
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• October 2020 (Q55281169)
• Western Illinois (Q14925128)
Transportation Research Thesaurus terms:
• Angle parking (Brddna)
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Library of Congress Subject Headings:
• Business names (sh85018315)
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Spofforth Castle was originally an 11th century fortified manor house, founded by William de Percy. In the early 13th century, the Percy family added a stone hall house, of which the undercroft remains, set against a sandstone outcrop.
In 1309, King Edward II granted, Henry, Lord Percy of Alnwick, a licence to crenellate and he founded the quadrangle castle. Sadly only the west range remains, of two storeys, with a hall and a chamber block, flanked by a polygonal stair turret.
The first floor hall, was modernised in the 15th century and leads directly on to the low eastern platform, which supports the buried remains of the other ranges.
The castle is owned by English Heritage but is free to visit and open daily.
Spofforth Castle History by R. J. A. Bunnett
In 1067, the year before the earliest visit of William the Conqueror to York, William de Percy, the first of the English line (nicknamed ‘Aux Gernons' - the Bewhiskered: Algernon has since been a favourite name in the family), arrived in this country from Normandy. De Percy was a man of powerful physique and strength of mind and greatly esteemed by the King, who gave him no less than 86 Lordships in Yorkshire, including Spofforth, Bolton Percy, Tadcaster, Cowthorpe and Wetherby.
The Spofforth parish covered a very large area, and here the young Norman established his headquarters, which thus became the original English home of the famous de Percy family. Within ten years, William converted a desolate waste into a fertile pasture. Doomsday book related that ‘Spawford' (i.e. the ford by the Spaw) was a manor held by Gamelbar, and that William de Percy had 4 ‘carucates' of land, 9 ‘villanes', and 10 ‘bordars'. The name of Gamelbar appears on several occasions in doomsday, and he undoubtedly must have been a man of some substance as he held extensive possessions in the Forest of Knaresborough. These were fortified at the conquest and a number of his manors were granted to Giselbert of Gilbert Tyson, another follower of William I and ‘great standard-bearer of England'.
At Spofforth, where for 300 years the family led the life of feudal barons, de Percy built a manor house probably rather by way of residence than for defence. This would probably have consisted of a hall surrounded by a wooden palisade, with one or two outbuildings.
There is an unconfirmed tradition that Richard de Percy, the head of the house, and one of the leading signatories of Magna Carta, held a meeting of the insurgent barons at Spofforth where the provisions of the Charter were drawn up in 1215. In 1224 Henry III granted license to William de Percy of the day to hold a market every Friday in the town of Spofforth.
Towards the close of the thirteenth century, the direct Percy line became extinct, and the present branch of the family owes its descent to the union of Lady Agnes de Percy, sole inheritor of the vast family estates and Josceline de Louvain, Duke of Brabant, a direct descendant of Charlemagne. The marriage was arranged, however, only on the prospective bridegroom agreeing to take the name of Percy.
Their son Henry, the first of a long line of de Percy ‘Henries', obtained from Edward II in 1308 a licence to fortify his house at Spofforth and probably at this time he began the extensive alterations and additions visible in the present building. The next year Henry purchased the Manor of Alnwick, Northumberland, from the Bishop of Durham. The family had then been established in Yorkshire for nearly 250 years before they began their more northern connection, and such place names as Bolton-Percy, Kilnwick Percy and Wharram Percy, and the exquistily sculptured Percy shrine in Beverly Minster, testify to their power and influence, and to the once vast extent of their possessions in the country. Henry de Percy also built a residence in Topcliffe, near Thirsk, the earthworks of which can still be clearly seen, alongside the Norman motte and baily castle.
It seems as if the Percies always preferred comfort and convenience to military strength and thus they lavished their wealth on building manor houses. Spofforth, of which there is no further record of renovation until 1559, was never more than a fortified residence, in contrast with the grim fortresses which other Yorkshire barons erected for their defence of the fiefs e.g. Pontefract, Consiborough, Helmsley, and Richmond. Wressle Castle was the greatest of their Yorkshire dwellings - a magnificent palace built by Sir Thomas Percy between 1370 and 1390, where the family, when in residence, kept almost royal state until the sixteenth century. As they obtained prominence and power in Northumberland, the importance of Spofforth as a residence gradually declined.
In 1377 Henry, Baron Percy, 4th Lord of Alnwick, was created Earl of Northumberland. Thirty-one years later the family lost possession of Alnwick and also of Spofforth, when the Earl, in a fruitless endeavour to retrieve the fallen fortunes of his son, the renowned Harry Hotspur, was killed at Bramham Moor in rebellion against Henry IV. His estates were conferred upon Sir Thomas Rokeby, Sheriff of Yorkshire, who commanded the royal forces. Hotspur, who was slain at the battle of Shrewsbury in 1403, is said to have been born at Spofforth.
A little later the Percies recovered their properties, but the 3rd Earl with Sir Richard, his brother and Sir William Plumpton, the Chief Steward of the Lordships at Spofforth, lost the lives at Towton in 1461, among thousands of other Lancastrians.
The Yorkists under the Earl of Warwick marched to Spofforth, plundered the countryside and burnt the castle. Leland states in his intineary, ‘The manor house was sore defaced in the time of the Civil War between Henry the Sixth, and Edward Fourth by the Earl of Warwick, and the Marquis of Montacute'.
The story runs that the heir to the now hunted Percies, a minor, was smuggled away and brought up by peasants (a similar tale is told of the heir of the clifford of Skipton Castle); but nine years after Towton, the family were reinstated in their possessions, which had meanwhile been held by the earl of Warwick.
The young heir later married the daughter of Lord Herbert, 1st Earl of Pembroke; but in 1489 he was murdered at his home at Topcliffe by an angry mob, and for close on one hundred years Spofforth Castle remained neglected. In 1559 however, it was restored by another Henry, Lord Percy, who made the place an occasional residence. Probably by this time it was regarded as too insignificant for the growing importance of the family, and Alnwick being now the main Percy seat, they practically deserted Yorkshire.
Spofforth, c 1600, was the home of Sampson Ingleby, steward of the family; but after his death, four years later , there is no record of further habitation, and the castle was finally reduced to ruins during he civil war.
In 1670 on the death of Joceline, 11th Earl of Northumberland, Spofforth with the other ‘Percy' Yorkshire estates passed into the possession of his daughter, the Duchess of Somerset. Her eventual descendant dying without male issue, the inheritance came to his nephew Sir Charles Wyndham.
The Percy arms are to be seen on the chancel wall of the village church.
Not Really a Castle ...
The Ministry of works taking responsibility for the Castle in 1925 described it merely as a Fortified Manor. The ‘manor House' would have been primarily for residence rather than defence; a wooden balustrade would have surrounded the hall with one or two outbuildings forming a courtyard
‘Indeed it seems likely from the general Percy practice and evidence of the irregular surface of what I still called Manor Garth that the present building is only one side of original four square enclosure!!' (extract from The History of Spofforth by William Grange Topographer 181-1896)
A short history of the Percy Family
1067: William de Percy, one of William the Conquers favourites was given 86 Lordships in Yorkshire, including Spofforth, which he established as his headquarters.
1124: Henry III granted a licence to william de Percy of the day to hold a market every Friday in the town of Spofforth
1125: Richard de Percy and insurgent Barons meet at the Castle to reputedly draw up the provisions of the Magna Carta
1308: William de Percy obtained a licence from Edward II to fortify his house at Spofforth
1403: Harry Hotspur Baron of Spofforth who was born at Spofforth was killed at the Battle of Shrewsbury
1408: Henry Baron Percy was killed at Braham Moor in rebellion against Henry VI. Estates conferred to Sir Thomas Rokely Sheriff of Yorkshire
Description by O. J. Weaver and R. Gilyard-Beer
The castle stands on the west side of the village, on a small plateau of slightly higher ground that slopes gently towards Castle Street on the east side but, on the west, ends abruptly in a rocky outcrop against which part of the castle has been built. Also, on the west side are two small streams, one very close to the castle itself, which no doubt afforded a measure of protection, but the original aspect on this side has been changed out of recognition by the massive embankment of a now disused railway line.
Originally, the castle would probably have consisted of a number of buildings grouped round a courtyard. All that remains now is a western range, a two-storeyed building which, owing to the difference in levels appears from the east to be of one storey only. This range contained the principal apartments of the castle, the hall at the south end and the private chambers of the lord and his family at the north.
The oldest surviving part of the castle, however, is the undercroft below the hall, dating probably form the first half of the thirteenth century. It uses the rocky outcrop as its fourth wall and has four single light windows in the west wall, one in both the north and south walls and two opposing entrances, also in the north and south walls. There is a third doorway at the north end of the east wall, reached through means of steps from the courtyard cut through the rock and originally there was a similar stairway, now blocked, at the south end.
In the fourteenth century, a stone vault was inserted in the undercroft. This has since disappeared but the stumps of its supporting columns survive as well as a number of wall corbels, two of which are built into masonry blocking original windows. At the same time as this alteration, the hall above was either wholly or partly rebuilt and, at the north end, a large solar block was added, thereby blocking a window at the north wall of the undercroft.
The principal room on the ground floor of this new building is on the north side and has the remains of a stone vault, a fireplace in the centre of its north wall and windows in its north and west walls, the one in the west wall having been altered subsequently to form a doorway. At the north east corner there is a doorway to a smaller, subsidiary chamber, and a second doorway at the south-west corner leads to the adjoining room on the south, which is also vaulted and must have served as a form of lobby. Originally, it had a doorway in the west wall with a window above, the doorway being later blocked and the window altered. The third and smaller doorway in the large chamber leads to a newel staircase in the corner turret giving access to the rooms above.
On the upper floor of the solar block there is, as below, a large chamber on the north side with three handsome two-light windows and a doorway in the north east corner to a subsidiary chamber containing a garderobe at the north end of its east wall. The pit of this garderobe may be seen at the foot of the wall. There is no evidence now of a fireplace but this may have been in the vanished south wall of the main chamber or, alternatively there may have been a central hearth.
The room between this large chamber and the hall was probably at first a chapel with a richly moulded window in its west wall, but there is evidence that it was converted later into a chamber with a garderobe in the thickness of the east wall. Also on the east side is a passage, now mostly destroyed, which gave access from the hall to the upper rooms of the solar block.
The hall in its present form is mainly fifteenth century. Nothing survives of the original hall, which is probably smaller in width, and all that remain of the fourteenth-century alterations are the south wall and the doorway and adjoining masonry in the north east corner. The east and west walls with their large two light windows are fifteenth century and so is the greater part of the north wall which has the remains of a fireplace at its centre. At the north end of the west wall is a garderobe reached by means of a wall passage from the most northerly of the four windows.
The entrance to the hall is at the south end of the east wall and, next to this, there is a doorway of sixteenth century date, which probably led to the now vanished buttery and kitchens.
On the east wall of the solar block are the marks of later farm buildings, now removed, which represent the last phase of the castle's occupation.
East again, the ground is generally uneven and here there may be foundations of other buildings of which ate present nothing is known.
Devotees of the www.flickr.com/photos/nlireland/ photosream might think that this picture by Waterford photographer A.H. Poole looks familiar. But this one, from the UK National Archives at Kew, differs in several ways (I spent a considerable time yesterday wearing white cotton gloves squinting through a magnifying glass at the 1910 print).
Simliarities;
- Poole was in the same position for both photos (the lamppost aligns with the T of Waterford on both photos),
- and both photos were subject to the same 'photoshopping' (the ends of the shafts removed and the W of Waterford restored)
Differences
- The Kew picture has the van in the centre, rather than to the left
- The people (other than the tea ladies) and cattle are different (or not obviously the same as far as I could judge)
- the NLI photo has some liquid manure (I presume) trickling towards the van, suggesting it was taken after the Kew one.
- The board advertising Lipton's tea looks as if it is leaning against the steps. and barely visible.
- the printer of the Kew photo has de-emphasised the buildings in the background.
The difference between a walk and a wander is the time spent. I had little over an hour spare once I arrived, so instead of getting some lunch, I took photos instead.
Down the street lined with shops to the town square with the large church, town hall and many wonderful looking bars and restaurants.
I was in town for a few hours for a meeting, I drove over, then drove back. As you do.
Not a bad day, but I think I will try the train next time....
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Leuven (Dutch pronunciation: [ˈløːvə(n)] ( listen); French: Louvain, pronounced: [luvɛ̃], often used in English) is the capital of the province of Flemish Brabant in Belgium. It is located about 25 kilometres (16 miles) east of Brussels, close to other neighbouring towns such as Mechelen, Aarschot, Tienen, and Wavre. The municipality itself comprises the historical city of Leuven and the former municipalities of Heverlee, Kessel-Lo, a part of Korbeek-Lo, Wilsele and Wijgmaal.
It is home to Anheuser-Busch InBev, the world's largest brewing group and one of the five largest consumer-goods companies in the world; and to the Katholieke Universiteit Leuven, the largest and oldest university of the Low Countries and the oldest Catholic university still in existence.[2] It is also home to the UZ Leuven, one of the largest hospitals of Europe.
The earliest mention of Leuven ("Loven") is from 891, when a Viking army was defeated by the Frankish king Arnulf of Carinthia (see: Battle of Leuven). According to a legend the city's red and white arms depict the blood-stained shores of the river Dyle after this battle.
Situated beside this river, and near to the stronghold of the Dukes of Brabant, Leuven became the most important centre of trade in the duchy between the 11th and 14th centuries. A token of its former importance as a centre of cloth manufacture is shown in that ordinary linen cloth is known in late-14th-century and 15th-century texts as lewyn (other spellings: Leuwyn, Levyne, Lewan(e), Lovanium, Louvain).[3]
In the 15th century a new golden era began with the founding of what is now the largest and oldest university in the Low Countries, the Catholic University of Leuven, in 1425.[4]
In the 18th century the brewery Den Horen (meaning "the horn") flourished. In 1708 Sebastien Artois became the master brewer at Den Horen, and gave his name to the brewery in 1717, now part of AB InBev, whose flagship beer, Stella Artois, is brewed in Leuven and sold in many countries.
Leuven has several times been besieged or occupied by foreign armies; these include the Battle of Leuven (891), Siege of Leuven (1635) and Battle of Leuven (1831).
Both world wars in the 20th century inflicted major damage upon the city. Upon Germany's entry into World War I, the town was heavily damaged by rampaging soldiers. Some German soldiers shot the burgomaster, the university rector and all of the city's police officers.[5] In all, about 300 civilians lost their lives.[6] The university library was also destroyed on 25 August 1914, using petrol and incendiary pastilles.[7][8] 230,000 volumes were lost in the destruction, including Gothic and Renaissance manuscripts, a collection of 750 medieval manuscripts, and more than 1,000 incunabula (books printed before 1501).[8][9] The destruction of the library shocked the world, with the Daily Chronicle describing it as war not only against civilians but also against "posterity to the utmost generation."[10] It was rebuilt after the war, and much of the collection was replaced. Great Britain (on the initiative of the John Rylands Library, Manchester) and the United States were major providers of material for the replenishment of the collection.[6] The new library building was financed by the National Committee of the United States for the Restoration of the University of Louvain and built to the design of architect Whitney Warren; it was officially opened on 4 July 1928.[11]
In World War II, after the start of the German offensive, Leuven formed part of the British Expeditionary Force's front line and was defended by units of the 3rd Division and Belgian troops. From 14 to 16 May 1940, the German Army Group B assaulted the city with heavy air and artillery support. The British withdrew their forces to the River Senne on the night of 16 May and the town was occupied the next day.[12] The new university library building was set on fire by shelling on 16 May and nearly a million books were lost.
The Town Hall, built by Sulpitius van Vorst (nl), Jan II Keldermans, and, after both of them died, Matheus de Layens between 1439 and 1463 in a Brabantian late-Gothic style. In the 19th century, 236 statues were added to the exterior, each representing a prominent local scholar, artist or noble from the city’s history. The reception hall dates from 1750.
The St. Peter's Church (1425–1500) was finished by Jan Keldermans and Matheus de Layens. During the Second World War the church was damaged; during the restoration a Romanesque crypt from the 11th century was found. In the church itself there are several paintings from the 17th and 18th centuries (among others, Dirk Bouts's famous painting of the last supper) and the grave of Duke Henry I of Brabant. The 50-metre-high tower — which was meant to be 169 metres high, but was never completed — is home to a carillon. The tower was included in UNESCO's list of Belfries of Belgium and France in 1999.
Saint-Anthony's Chapel, Pater Damiaanplein, from the 17th to the 20th centuries, contains the tomb of Father Damien, the "leper priest" of Molokai, who was canonized by Pope Benedict XVI on Sunday October 11, 2009.[15][16] The Catholic Encyclopedia calls him "the Apostle of the Lepers",[17] and elsewhere he is known as the "leper priest". The Catholic priest's remains were returned in Belgium with great fanfare in 1936, after having been originally buried on the Hawaiian Island of Molokai where he had served the outcast lepers until his death.
The Linen-hall, in an early-Gothic style, with baroque addition, is today the University Hall.
The Church of Saint Michael was built in the typical Jesuit Baroque Style.
The Church of Saint Quinten incorporates remains of a Romanesque church built in the 13th century.
The University Library on the Ladeuzeplein was built by the American architect Whitney Warren. It was a gift from the American people to Leuven after World War I, during which the Germans burned down the original library. The tower houses one of the largest carillons in the world.
Totem is a statue at the centre of the Ladeuzeplein; it is a work of the Belgian artist Jan Fabre. Featuring a 23-metre-high needle impaling a giant jewelled beetle, the statue towers over the square in front of the university library.
There is a neo-Romanesque Abbey on the Keizersberg ("Emperor's Mountain"), where there once stood a 12th-century ducal castle, which was demolished in the 17th Century.
The Large Beguinage is one of the world's best remaining examples of its architectural type. It was recognized by UNESCO as a World Heritage Site in 1998.
There are several other smaller churches and chapels throughout the town.
"Fonske" is a statue near the centre of town. Its full name is Fons Sapientiae, Latin for "fountain of wisdom". The statue represents a university student who, while reading a book, lets wisdom flow into his head as liquid from a glass. Just like Manneken Pis in Brussels, Fonske is, from time to time, dressed in costumes appropriate for specific occasions.
The 'Oude Markt' or "Old Market" square located in the center of Leuven features a vibrant social scene the center of which displays a lifesize statue of 'De Kotmadam', or "The Landlady" resting on a bench.
Lerkeveld is a famous Jesuit abbey, and headquarters of the Jesuits in Belgium.
St Anthony's College, Leuven was located in the city, on Pater Damiaanplein. The Leuven Institute for Ireland in Europe is now located on the premises.
Sint-Donatus Park contains remains of the medieval city wall
Girl Scout Troop #41280 from Bethel, Ohio
Title - "Reduce, Reuse, Recycle....Make a difference one piece at a time."
Dream Theme - Conservation
Who Participated?
Alex Fridel, Alyson Bauer, Brook Jones, Cara Bowen, Destanie Haney, Fiona Leahr, Hannah Davis, Julia Bowen, Lauren Abner, Libby Richards, Lovely Michel, Summer Fields, Deborah Davis, Denae Bowen, & Sharee Manning
Techniques Used & Materials Used: Plastic canvas & yarn
Tell us the story behind your panel:
Our Girl Scout Troop has been learning about the Great Pacific Garbage
Patch and how long it takes various materials to break down.
Through this visible reminder, we will learn ways that we can make a
difference in our community one piece at a time. We hope this will make a difference in how our community
thinks about the containers they use everyday.
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★What IS THE INTERNATIONAL FIBER COLLABORATIVE?
As the leading voice for collaborative public art projects around the world, the International Fiber Collaborative is dedicated to promoting understanding and appreciation of contemporary art & craft through educational experiences. We are committed to developing vital education programs that elevate, expand, modernize and enhance the image of collaboration and education today.
★WHAT IS THE DREAM ROCKET PROJECT?
The Dream Rocket Team is collecting nearly 8,000 artworks from participants around the globe. The artwork will be assembled together to create a massive cover in which will wrap a 37 story Saturn V Moon Rocket at the U.S. Space & Rocket Center in Huntsville, Alabama. We will also be displaying submitted artwork in dozens of national venues prior to the wrapping of the Saturn V. Additionally, we are posting images of submitted artwork & their stories on our Website, Flickr, and Facebook.The Dream Rocket project uses the Saturn V Moon Rocket as a symbolism of universal values of the human spirit. Optimism, hope,
caring for our natural resources, scientific exploration, and harnessing technological advancements for a better quality of life while safeguarding our communities, are all common desires across national and international boundaries. Participants are able to express and learn about these values through this creative collaboration. With the completion of each artwork, participants are asked to write an essay explaining their artwork, and the dream theme in which they chose.
★How can I Participate & Have my Artwork Displayed?
The Dream Rocket project would like to challenge you to ‘Dare to Dream’. To dream about your future and the future of our world through dream themes such as health, community, conservation, science, technology, space, peace, and so on. We would like you to use your selected Dream Theme to express, explore, and create your vision on your section of the wrap. We hope that you are able to express and learn through this creative collaboration. With the completion of each artwork, you are asked to write a brief essay explaining your artwork, and the dream theme in which you chose.
“The Saturn V is the ideal icon to represent a big dream. This rocket was designed and built as a collaboration of nearly half-a-million people and allowed our human species to venture beyond our world and stand on ANOTHER - SURELY one of the biggest dreams of all time. ENABLING THE DREAMS of young people to touch this mighty rocket sends a powerful message in conjunction with creating an educational curriculum to engage students to embrace the power of learning through many important subjects”
-Neil deGrasse Tyson, Director of the Hayden Planetarium, New York
★I VALUE THE ARTS!!!!
The International Fiber Collaborative is able to share the power of a collaboration and art, thanks to the support of generous individual donors. We welcome any amount of donations and remember the International Fiber Collaborative is exempt under Section 501(c)(3) of the Internal Revenue Code, making this gift tax deductible.
Donate Today at: www.thedreamrocket.com/support-the-dream-rocket
See our Online Flickr Photo Album at: www.flickr.com/photos/thedreamrocket/
★★★SIGN UP AT WWW.THEDREAMROCKET.COM
1. Up Close, 2. Connie Orton
Created with fd's Flickr Toys.
Uploaded for a flickr challenge. What a difference 1 year can make
By Lee, Seung-bin
DAEGU GARRISON — With the first quarter of 2012 almost behind us, we thought it would be a good time to sit down with the Garrison Commander and take a quick look at where we are, where we’re going, and what might be in store for the rest of the year; and while there, here about what goes into “Making A Difference.”
U.S. Army Garrison Daegu Commander Col. Kathleen Gavle, shared her thoughts about what the Garrison can expect in terms of change and challenges in the coming months, as well as how a good attitude can help each person to make a difference.
“Overall, I believe we are doing okay,” Gavle began. “The Garrison continues to build its partnership with the 19th ESC (Expeditionary Sustainment Command), and together we are working very hard to support 19th ESC’s new missions. Not only that, we are working hard to understand our customers and the direction our footprint is going, to make USAG Daegu the best place to live, work and play in South Korea.
“We are looking at near-term progress, as well as long-term; and how to take care of the alliance.”
Gavle explained that the Southeast Enduring Hub of Area IV faces many challenges.
“We still have many missions to challenge ourselves,” she said. “Right now our biggest challenge is the decision the Army is making in terms of the overall infrastructure investment in overseas. Our community is supposed to be an enduring hub, and we have not had the same level of investment for manpower, equipment and infrastructure (as the other enduring hub). So, we are really fighting for those resources to set the condition for the long-term success in USAG Daegu.”
The Commander strongly supports taking care for the Family members of the Soldiers, Sailors, Airmen, Marines and Civilians serving throughout the Army and the Southeast Enduring Hub.
“The Army cannot accomplish its goals without the family’s support,” Gavel explained. “That is why the USAG Daegu command is unwavering in its support for the Army family. As you can see, we have an important job, and one not just within buildings.”
Gavle underlined “changing attitude” and Making A Difference (her “trademark” as MAD-6) as one of biggest goals in 2012. The Commander said this process is about our attitude at the beginning of a difficult task which, more than anything else, will affect its successful outcome.
“Attitude is first,” Gavle explained in conclusion. “Understanding why we are here as a part of the U.S. Army and the alliance, and giving 100 percent in all that we do every day. We want USAG Daegu to be the best community in Korea, and we start that by having a good attitude.”