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It seems incredible to me that there are any churches in East Kent, at least parish churches, that I had yet to visit and photograph. Especially along Stone Street, which I thought that nks to churches and orchids I knew very well. And yet as I cross-referenced between John Vigar's book and the county A-Z, I saw more and more churches I had to visit.
And that brings us to Elmstead.
Elmstead is less a viallage and more a dog leg in a single track lane, and the church sits in the dog leg. Being a small place, surely it would have a small church? No, the church is large with two leat to chapels, and an extraordinary timber topped tower.
You reach Elmstone by taking tiny fork off Stone Street and following the narrowest of lanes, which has high banks and hedges both sides with few passing places. Down through woods, down steep hills crossing streams and up hills the other side, and all the while the road coated with a thick layer of mud, so that one hoped you were still on the road not having driven into a field.
In time I passed the village sign, and no missing the church, a large flint built church, and the triple gabled east end facing towards the road. Behind the tower was partially hidden, but I could already see the wooden upper part.
And it was open, and filled with much of interest, especially the stone altar in the south aisle.
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An extremely worthwhile church in remote countryside. The tower is an unusual shape, being almost twice as wide as it is deep and capped by a wooden upper storey with stumpy spire. The church consists of nave, aisles, chancel and equal length chapels. The nave is Norman: the original arch to the tower is still recognisable although a fourteenth-century replacement has been built inside it. At the same time the present arcade was built on the existing piers. In the north aisle is a medieval vestry screen, in front of which is a Norman font. There are very fine altar rails, each baluster looking like an eighteenth-century candlestick. Between the main altar and chapel is a simple thirteenth-century sedilia. The south chapel altar has a twelfth-century mensa which was discovered in the churchyard in 1956. The east window (1880) commemorates Arthur Honeywood who was killed in the Afghan war - only a dog survived and was given an award by Queen Victoria! Honeywood's ancestor, Sir John (d. 1781), is also remembered in the church by a splendid marble bust signed by Scheemakers
www.kentchurches.info/church.asp?p=Elmsted
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Parish Church. Late Cll or C12, C13 and C14, restored in 1877. Flint
with stone dressings. Plain tile roofs. West tower, nave with north
and south aisles, south porch, chancel with north and south chapels.
West tower: C13, with late Cll or C12 base: Medieval belfry. Single
stage, but north and south sides reduce in width about half way up
with plain-tile shoulders. Large stone north-west and south-west
quoins to lower half. Diagonal south-west buttress. Shingled timber-
framed belfry jettied to west. Splay-footed octagonal spire. Two
louvred three-light trefoil-headed windows to each face of belfry.
No tower windows to north or east. Broadly-pointed plain-chamfered
lancet towards top of west face, and another to south. Taller plain-
chamfered lancet West window. Plain-chamfered pointed-arched west doorway.
Nave: south elevation: continuous with south wall of tower base. C19
traceried three-light window. South aisle: C14 possibly with late Cll
or early C12 origins. Narrow and gabled, stopping short of west end nave.
Plinthless. Buttress towards east end. C14 or early C15 pointed west window
of two cinquefoil-headed lights, with tracery of vertical bars, and hoodmould.
One straight-headed C15 or C16 south window to east of porch, with two
cinquefoil-headed lights and rectangular hoodmould. South porch: medieval,
restored in C19. Coursed knapped flint. Gabled plain-tile roof.
Window with cambered head, to each side. Crown-post roof; two outer crown
posts plain. Broadly-chamfered rectangular central crown post with broach
stops and head braces. Chamfered tie-beams. Pointed-arched plain-chamfered
inner doorway with broach stops. Unchamfered pointed-arched outer doorway.
South chancel chapel: early C14. Continuous with south aisle, but with
chamfered stone plinth and lower eaves and ridge. East end flush with
chancel. Diagonal south-east buttress. Large straight-headed south window
with three cinquefoil-headed lights and moulded hoodmould. Similar two-
light east window. Chancel: C13, probably with late Cll or C12 origins.
Slightly narrower than nave. No plinth. Two buttresses. C15 or C16
untraceried east window with cambered head, three cinquefoil-headed lights,
and hoodmould. North chancel chapel: early C14. Flush with east end
of chancel. Plinthless. Diagonal north-east buttress. C14 pointed-arched
east window with three cinquefoil-headed lights, tracery of cusped intersecting
glazing bars with trefoils and quatrefoils, and with hoodmould. Pointed-
arched C14 north window with Y tracery and trefoil, without hoodmould.
North aisle: C14. More stone mixed with flint. Continuous with north
chancel chapel, and slightly overlapping tower. Plinthless. One untraceried
C15 or C16 north window, with cambered head, three cinquefoil-headed lights,
and hoodmould. Straight-headed west window with two cinquefoil-headed
lights and hoodmould. Small blocked plain-chamfered pointed-arched north
doorway. Rainwater heads dated 1877. Interior: Structure: two-bay early
C14 south arcade to nave, with doubly plain-chamfered pointed arches and
octagonal columns with moulded capitals and bases. Two-bay C14 north
arcade, similar to south arcade, but extending further to west and with
more intricately-moulded capitals. East end of south arcade rests on
late Cll or C12 pier of large ashlar blocks on plain-chamfered plinth,
and with top heavily corbelled to south side. Footings for further structure
to east and south. Small, probably pre-C14, stone quoins to east pier
of north arcade, capped by single block from which arch springs. Doubly
plain-chamfered pointed early C14 chancel arch, springing from moulded
rectangular capitals which break forwards unusually. Plain-chamfered
piers with broach stops. Two-bay early C16 north and south arcades to
chancel, with doubly hollow-chamfered four-centred arches and octagonal
columns with moulded capitals and bases. Early C14 pointed arch between
south chancel chapel and south aisle, with plain-chamfered inner order
and slightly ovolo-moulded outer order. Moulded rectangular capitals
slightly different from chancel-arch capitals, but similarly breaking
forwards under inner order of arch, each on image corbel. Piers slightly
hollow chamfered, with cushion stops to base and undercut trefoil to tops.
Doubly plain-chamfered pointed arch between north chancel chapel and north
aisle, springing from chamfered imposts which break forwards to centre
with rounded corbel under. Low, pointed C14 tower arch, with plain-chamfered
inner order springing from moulded semi-octagonal piers, and hollow-chamfered
outer order descending to ground with cushion and broach stops. Above
arch, exposed voussoirs of taller, broader, blocked, round-headed late
Cll or C12 tower arch. Roof: C19 crown-post roof to nave and north aisle.
Chancel and north chancel chapel roofs boarded in five cants. Plastered
barrel vault to south chancel chapel. Medieval crown-post roof to south,
with three cambered plain-chamfered tie-beams, with moulded octagonal
crown posts, sous-laces and ashlar pieces. Fittings: piscina in rectangular
recess towards east end of south chancel chapel. C13 piscina in moulded
recess with trefoiled head and moulded hoodmould, towards east end of
south wall of chancel. Image corbel to north wall of north chancel chapel.
Late Cll or C12 font, low, deep, octagonal, with two panels of blind
arcading to each side, circular central pier and eight slender perimeter
columns. Small C17 altar table. Hexagonal C17 pulpit with sunk moulded
panels, strapwork, fleur-de-lys frieze, and enriched cornice. Medieval
screen, probably of domestic origin, with close-studded partition under
moulded and brattished beam, across west end of north aisle. Laudian
altar rails with turned balusters. Monuments: Cartouche on south wall
of south chancel chapel, to Sir William Honeywood, d. 1748. Monument
on same wall, to Thomas Honeywood, d. 1622; grey-painted chalk in form
of triptych. Central section has moulded and pulvinated base, scrolled
base-plate and shield, and raised and moulded inscription panel in eared
surround, flanked by Composite columns. Above it, a recessed panel
with inverted scrolls, and triangular pediment with cherubs head and
achievements. Recessed flanking sections, each carved with angel in
husked surround, and with scrolled base plate and corniced pediment
with shields. Tablet on same wall, to Mary Honeywood, d. 1708, lettered
on a shroud with gilded fringe, cherubs' heads, and shield surmounted
by urn. Brass of a lady, part of a brass to Christopher Gay, d. 1507.
Monument on north wall of north chancel chapel, to William Honeywood,
d. 1669. Black marble inscription panel in a frame which breaks forwards
twice. Each back panel eared, the outer with inverted scrolls to base
and festoon to return sides. Festooned rectangular panel flanked by
acanthus consoles and with scrolled acanthus base plate under inscription
panel. Moulded cornice over oak-leaf frieze, breaking forwards three
times. Segmental pediment with achievements over central break. Monument
by Thomas Scheemakers on same wall, to Sir John Honeywood, d. 1781.
White marble. Rectangular inscription panel, flanked by reeded pilasters
which curve out at top to form consoles under flower paterae. Shaped
base plate, also with inscription. Moulded cornice surmounted by -sarcophagus
with bust above it, against grey marble obelisk back plate. (J. Jewman,
Buildings of England Series, North-east and East Kent, 1983 edn.)
Listing NGR: TR1178645546
www.britishlistedbuildings.co.uk/en-440965-church-of-st-j...
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ELMSTED
IS the next parish northward from Hastingligh lastdescribed, taking its name, as many other places do, which are recorded in the survey of Domesday, from the quantity of elms growing in it, elm signifying in Saxon, that tree, and stede, a place. The manor of Hastingligh claims over some part of this parish, which part is within the liberty of the duchy of Lancaster.
THIS PARISH is situated in a lonely unfrequented part of the country, above the down hills, in a healthy air. It lies mostly on high ground, having continued hill and dale throughout it. The soil is but poor, and in general chalk, and much covered with flints, especially in the dales, where some of the earth is of a reddish cast. The church stands on a hill in the middle of it, having a green, with the village near it, among which is the court-lodge: and at a small distance westward, Helchin-bouse, belonging to Sir John Honywood, but now and for some time past inhabited by the Lushingtons. Lower down in the bottom is Evington-court, in a dull ineligible situation, to which however the present Sir John Honywood has added much, and laid out some park-grounds round it. At a small distance is a small heath, called Evington-lees, with several houses round it. At the southern bounds of the parish lie Botsham, and Holt, both belonging to Sir John Honywood. At the north-east corner of it, near Stone-street, is a hamlet called Northlye, the principal farm in which belongs to Mr. Richard Warlee, gent. of Canterbury, about half a mile from which is Deane, or Dane manor-house; and still further Dowles-farm, belonging to Mr. John Rigden, of Faversham; near Stone-street is the manor of Southligh, now called Mizlings, by which name only it is now known here; and near the same street is Arundel farm, belonging to Thomas Watkinson Payler, esq. and at the southern extremity of the parish, the manor-house of Dunders, with the lands belonging to it, called the Park, formerly belonging to the Graydons, of Fordwich, of whom they were purchased, and are now the property of the right hon. Matthew Robinson Morris, lord Rokeby, who resides at Horton. There are but two small coppice woods in this parish, lying at some distance from each other, in the middle part of it.
There is a fair kept yearly in this parish on St. James's day, the 25th of July.
THE MANOR OF ELMSTED was in the year 811 bought by archbishop Wlfred, of Cenulf, king of Mercia, for the benefit of Christ-church, in Canterbury, L. S. A. which letters meant, that it should be free, and privileged with the same liberties that Adisham was, when given to that church. These privileges were, to be freed from all secular services, excepting the trinoda necessitas of repelling invasions, and the repairing of bridges and fortifications. (fn. 1)
There is no mention of this manor in the survey of Domesday, under the title of the archbishop's lands, and of those held of him by knight's service, and yet I find mention of its being held of him in several records subsequent to that time; for soon afterwards it appears to have been so held by a family who assumed their name from it, one of whom, Hamo de Elmested, held it of the archbishop, by knight's service. But they were extinct here before the middle of king Henry III,'s reign, when the Heringods were become possessed of it, as appears by the Testa de Nevil, bearing for their arms, Gules, three herrings erect, two and one, or; as they were formerly in the windows of Newington church, near Sittingborne. John de Heringod held it at his death in the 41st year of that reign. His grandson, of the same name, died in the next reign of king Edward I. without male issue, leaving three daughters his coheirs, of whom, Grace married Philip de Hardres, of Hardres, in this county; Christiana married William de Kirkby; and Jane married Thomas Burgate, of Suffolk: but he had before his death, by a deed, which bears the form of a Latin will, and, is without a date, settled this manor, with the other lands in this neighbourhood, on the former of them, Philip de Hardres, a man of eminent repute of that time, in whose successors the manor of Elmsted remained till the 13th year of King James I. when Sir Thomas Hardres sold the manor of Dane court, an appendage to this of Elmsted, in the north-east part of this parish, to Cloake, and the manor of Elmsted itself to Thomas Marsh, gent. of Canterbury, whose son ton, whose great-grandson of the same name, at his death left it to his two sons, Richard and John, the former of whom was of Faversham, and left an only daughter Elizabeth, married to Mr. James Taylor, of Rodmersham, who in right of his wife became possessed of his moiety of it, and having in 1787 purchased the other moiety of John Lushington, of Helchin, in this parish, (son of Richard above-mentioned) became possessed of the whole of this manor, and continues owner of it at this time.
THE MANOR OF DANE, now called Deane-court, above-mentioned, remained in the name of Cloake for some time afterwards, and in 1652 Mr. Samuel Cloake held it. It afterwards passed into the name of Elwes, in which it continued down to John Elwes, esq. of Marcham, in Berkshire, who died in 1789, and by will gave it to his nephew Thomas Timms, esq. the present owner of it.
THE YOKE OF EVINGTON is an estate and seat in the south-west part of this parish, over which the manor of Barton, near Canterbury, claims jurisdiction. The mansion of it, called Evington-court, was the inheritance of gentlemen of the same surname, who bore for their arms, Argent, a sess between three burganetts, or steel caps, azure; and in a book, copied out from antient deeds by William Glover, Somerset herald, afterwards in the possession of John Philipott, likewise Somerset, there was the copy of an old deed without date, in which William Fitzneal, called in Latin, Filius Nigelli, passed over some land to Ruallo de Valoigns, which is strengthened by the appendant testimony of one Robert de Evington, who was ancestor of the Evingtons, of Evington-court, of whom there is mention in the deeds of this place, both in the reigns of king Henry III. and king Edward I. After this family was extinct here, the Gays became possessed of it, a family originally descended out of France, where they were called Le Gay, and remained some time afterwards in the province of Normandy, from whence those of this name in Jersey and Guernsey descended, and from them again those of Hampshire, and one of them, before they had left off their French appellation, John le Gay, is mentioned in the leiger book of Horton priory, in this neighbourhood, as a benefactor to it. But to proceed; although Evington-court was not originally erected by the family of Gay, yet it was much improved by them with additional buildings, and in allusion to their name, both the wainscot and windows of it were adorned with nosegays. At length after the Gays, who bore for their arms, Gules, three lions rampant, argent, an orle of cross-croslets, fitchee, or. (fn. 2) had continued owners of this mansion till the beginning of the reign of king Henry VII. Humphry Gay, esq. alienated it to John Honywood, esq. of Sene, in Newington, near Hythe, and afterwards of St. Gregory's, Canterbury, where he died in 1557, and was buried in that cathedral.
The family of Honywood, antiently written Henewood, take their name from the manor of Henewood, in Postling, where they resided as early as Henry III.'s reign, when Edmund de Henewood, or Honywood, as the name was afterwards spelt, of that parish, was a liberal benefactor to the priory of Horton, and is mentioned as such in the leiger book of it. After which, as appears by their wills in the Prerogative-office, in Canterbury, they resided at Hythe, for which port several of them served in parliament, bearing for their arms, Argent, a chevron, between three hawks heads erased, azure; one of them, Thomas Honywood, died in the reign of king Edward IV. leaving a son John, by whose first wife descended the elder branch of this family, settled at Evington, and baronets; and by his second wife descended the younger branch of the Honywoods, seated at Petts, in Charing, and at Markshall, in Effex, which branch is now extinct. (fn. 3) John Honywood, esq. the eldest son of John above-mentioned, by his first wife, was the purchaser of Evington, where his grandson Sir Thomas Honywood resided. He died in 1622, and was buried at Elmsted, the burial place of this family. (fn. 4) He left by his first wife several sons and daughters; of the former, John succeeded him at Evington and Sene, and Edward was ancestor of Frazer Honywood, banker, of London, and of Malling abbey, who died s. p. in 1764. (fn. 5) Sir John Honywood, the eldest son, resided during his father's time at Sene, in Newington, and on his death removed to Evington. He served the office of sheriff in the 18th, 19th, and 20th years of king Charles I. Sir Edward Honywood, his eldest son, resided likewise at Evington, and was created a baronet on July 19, 1660. His great grandson Sir John Honywood, bart. at length in 1748, succeeded to the title and family estates, and afterwards resided at Evington, where he kept his shrievalty in 1752. On the death of his relation Frazer Honywood, esq. banker, of London, in 1764, he succeeded by his will to his seats at Malling abbey, and at Hampsted, in Middlesex, besides a large personal estate; after which he resided at times both here and at Hampsted, at which latter he died in 1781, æt. 71, and was buried with his ancestors in this church. He had been twice married; first to Annabella, daughter of William Goodenough, esq. of Langford, in Berk shire, whose issue will be mentioned hereafter; and secondly to Dorothy, daughter of Sir Edward Filmer, bart. of East Sutton, by whom he had two sons, Filmer Honywood, esq. of Marks-hall, in Essex, to which as well as other large estates in that county, and in this of Kent, he succeeded by the will of his relation Gen. Philip Honywood, and lately was M. P. for this county, and is at present unmarried; and John, late of All Souls college, Oxford, who married Miss Wake, daughter of Dr. Charles Wake, late prebendary of Westminster; and Mary, married to Willshire Emmett, esq. late of Wiarton. By his first wife Sir John Honywood had two sons and four daughters; William the eldest, was of Malling abbey, esq. and died in his father's life time, having married Elizabeth, daughter of Mr. Clack, of Wallingford, in Berkshire, by whom he had three sons and one daughter Annabella, married to R. G. D. Yate, esq of Gloucestershire; of the former, John was heir to his grandfather, and is the present baronet; William is now of Liminge, esq. and married Mary, sister of James Drake Brockman, esq. of Beechborough, and Edward married Sophia, daughter of the Rev. Mr. Long, of Suffolk. Edward, the second son, was in the army, and died without issue. The daughters were, Annabella, married to Edmund Filmer, rector of Crundal; and Thomasine, married to William Western Hugessen, esq. of Provenders, both since deceased. On Sir John Honywood's death in 1781, he was succeeded by his eldest grandson abovementioned, the present Sir John Honywood, bart. who resides at Evington, to which he has made great improvements and additions. He married Frances, one of the daughters of William, viscount Courtenay, by whom he has three daughters, Frances-Elizabeth, Charlotte-Dorothea, and Annabella-Christiana, and one son John, born in 1787. (fn. 6).
BOTTSHAM, antiently and more properly written Bodesham, is a manor in the western part of this parish. About the year 687 Swabert, king of Kent, gave among others, three plough-lands in a place called Bodesham, to Eabba, abbess of Minister, in Thanet, and in the reign of king Edward the Consessor, one Ælgeric Bigg gave another part of it to the abbey of St. Augustine, by the description of the lands called Bodesham, on condition that Wade, his knight, should possess them during his life. (fn. 7) The former of these continued in the monastery till the reign of king Canute, when it was plundered and burnt by the Danes. After which the church and lands of the monastery of Minster, and those of Bodesham among them, were granted to St. Augustine's monastery, and remained, together with those given as above-mentioned by Ælgeric Bigg, part of the possessions of it at the taking of the survey of Domesday, in which record it is thus described:
In Limowart left, in Stotinges hundred, Gaufrid holds Bodesham of the abbot. It was taxed at one suling. The arable land is two carucates, and there are, with eight borderers, wood for the pannage of fifteen hogs. In the time of king Edward the Confessor it was worth four pounds, and afterwards twenty shillings, now four pounds, A certain villein held it.
Hugh, abbot of St. Augustine, and his chapter, in the year 1110, granted to Hamo, steward of the king's houshold, this land of Bodesham, upon condition that he should, if there should be occasion, advise and assist him and his successors in any pleas brought against him by any baron, either in the county or in the king's court.
Hamo above-mentioned, whose surname was Crevequer, had come over into this kingdom with the Conqueror, and was rewarded afterwards with much land in this county, and was made sheriff of it during his life, from whence he was frequently stiled Hamo Vicecomes, or the sheriff. He lived till the middle of king Henry I.'s reign; and in his descendants it most probably remained till it came into the possession of the family of Gay, or Le Gay as they were sometimes written, owners of the yoke of Evington likewise, in which it continued till it was at length sold with it, in the beginning of Henry VII.'s reign, to Honywood, as has been fully mentioned before; in whose descendants it still remains, being now the property of Sir John Honywood, bart. of Evington.
IN THE REIGN of king Edward I. Thomas de Morines held half a knight's fee of the archbishop in Elmsted, which estate afterwards passed into the family of Haut, and in the reign of king Edward III. had acquired the name of the Manor Of Elmsted, alias SOUTHLIGH. In which family of Haut it continued down to Sir William Haut, of Bishopsborne, who lived in the reign of king Henry VIII. and left two daughters his coheirs, Elizabeth, married to Thomas Culpeper, of Bedgbury; and Jane, to Thomas Wyatt. The former of whom, in the division of their inheritance, (fn. 8) became possessed of it; from his heirs it passed by sale to Best, and from thence again to Rich. Hardres, esq. of Hardres, whose descendant Sir Tho. Hardres, possessed it in king James I.'s reign; at length, after some intermediate owners, it passed to Browning, whose descendant M. John Browning, of Yoklets, in Waltham, is the present owner of this manor.
There are no parochial charities. The poor constantly relieved are about thirty, casually seventeen.
Elmsted is within the Ecclesiastical Jurisdiction of the diocese of Canterbury, and deanry of Elham.
The church, which is dedicated to St. James, is a handsome building, consisting of three isles and three chancels, having a low pointed wooden steeple at the west end, in which are six bells. The chancels are open, one towards the other, the spaces between the pillars not being filled up, which gives the whole a light and airy appearance. In the middle chancel, which is dedicated to St. James, are memorials for the Taylors, who intermarried with the Honywoods, and for the Lushingtons, of Helchin; one for John Cloke, gent. of Northlye, obt. 1617. In the east window is a shield of arms, first and fourth, A lion rampant, or; second, On a fess, argent, three eros-croslets; third, obliterated. In another compartment of the window is the figure of an antient man sitting, in robes lined with ermine, a large knotted staff in his left hand. The north chancel is called the parish chancel, in which is an elegant monument, of white marble, with the bust of the late Sir John Honywood, bart.(a gentleman whose worthy character is still remembered with the highest commendation and respect, by all who knew him). He died much lamented by his neighbours and the country in general in 1781; and on the pavement are numbers of gravestones for the family of Honywood and their relatives. The south chancel, dedicated to St. John, belongs to Evington, in which there are several monuments, and numbers of gravestones, the pavement being covered with them, for the Honywood family, some of which have inscriptions and figures on brasses remaining on them. Underneath this chancel is a large vault, in which the remains of the family lie deposited. On the north side of this chancel is a tomb, having had the figures on it of a man between his two wives: and at each corner a shield of arms in brass for Gay. On the capital of a pillar at the east end of this tomb is this legend, in old English letters, in gold, which have been lately repaired: Pray for the sowlys of Xtopher Gay, Agnes and Johan his wifes, ther chylder and all Xtian sowlys, on whose sowlys Jhu have mcy; by which it should seem that he was the founder, or at least the repairer of this chancel. Underneath is carved a shield of arms of Gay. In the east window are two shields of arms, of modern glass, for Honywood. In the south isle is a monument for Sir William Honywood, bart. of Evington, obt. 1748. In the middle isle are several old stones, coffin shaped. William Philpot, of Godmersham, by will anno 1475, ordered that the making of the new seats, calledle pewis, in this church, should be done at his expence, from the place where St. Christopher was painted, to the corner of the stone wall on the north side of the church.
The church of Elmsted belonged to the priory of St. Gregory, in Canterbury, perhaps part of its original endowment by archbishop Lanfranc, in the reign of the Conqueror. It was very early appropriated to it, and was confirmed to the priory by archbishop Hubert, among its other possessions, about the reign of king Richard I. at which time this church, with five acres of arable, and five acres of wood, and the chapel of Dene, appear to have been esteemed as chapels to the adjoining church of Waltham, and the appropriation of it continued part of the possessions of the priory till the dissolution of it in king Henry VIII.'s reign, when it was surrendered into the king's hands, where this appropriation remained but a small time, for an act passed that year, to enable the king and the archbishop to make an exchange of estates, by which means it became part of the revenues of the see of Canterbury, and was afterwards demised by the archbishop, among the rest of the revenues of the above-mentioned priory, which had come to him by the above-mentioned exchange, in one great lease; under which kind of demise it has continued from time to time ever since. Philip, earl of Chesterfield, as heir to the Wottons, was lessee of the above estates, in which this parsonage was included; since whose decease in 1773, his interest in the lease of them has been sold by his executors to Geo. Gipps, esq. of Canterbury, who is the present lessee, under the archbishop, for them.
But the vicarage of this church seems never to have belonged to the priory of St. Gregory, and in the 8th year of Richard II. anno 1384, appears to have been part of the possessions of the abbot of Pontiniac, at which time it was valued at four pounds. How long it staid there, I have not found; but it became afterwards part of the possessions of the see of Canterbury, and remains so at this time, his grace the archbishop being the present patron of it.
¶The vicarage of Elmsted is endowed with the tenths of hay, silva cedua, mills, heifers, calves, chicken, pigs, lambs, wool, geese, ducks, eggs, bees, honey, wax, butter, cheese, milk-meats, flax, hemp, apples, pears, swans, pidgeons, merchandise, fish, onions, fowlings, also all other small tithes or obventions whatsoever within the parish; and also with all grass of gardens or other closes, vulgarly called homestalls, although they should be at any time reduced to arable; and the tithes of all and singular feedings and pastures, even if those lands so lot for feedings and pastures should be accustomed to be ploughed, as often and whensoever they should at any time be let for the use of pasture; which portion to the vicar was then valued at twelve marcs. (fn. 9)
It is valued in the king's books at 61. 13s. 4d. It is now a discharged living, of the clear yearly certified value of forty-five pounds. In 1587 it was valued at thirty pounds, communicants one hundred and eighty. In 1640 it was valued at ninety pounds, the same number of communicants. There was an antient stipend of ten pounds, payable from the parsonage to the vicar, which was augmented with the like sum by archbishop Juxon, anno 15 Charles II. to be paid by the lessee of the parsonage; which sum of twenty pounds continues at this time to be paid yearly by the lesse. There was a yearly pension of 1l. 6s. payable from the vicar of Elmsted to the priory of St. Gregory; which still continues to be paid by him to the archbishop's lessee here.
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Right to the City network
Under the impression of yesterday’s killings in Paris, around 9.000 refugees and supporters took to the streets of Hamburg.
We stand together united, in hope not hate!
Let’s be neighbors: Housing in apartments!
No isolation in tents, warehouses and mass-camps!
Migration happens: Freedom of movement is a human right! Right to stay for everyone!
Against defining asylum down; No one is a ›bad‹ migrant; stop deportations!
Make solidarity practical: Support the migrant struggles! For the right to full participation in society!
U.S. Secretary of State John Kerry delivers remarks at the Equal Futures Partnership meeting, at the Palace Hotel, in New York City, New York on September 22, 2016. [State Department Photo/Public Domain]
Equal Sweetener Sugar Substitute Sucralose , 9/2014 by Mike Mozart of TheToyChannel and JeepersMedia on YouTube.
First of all, apologies for the motion blur. 100asa film and weak November light equals poor quality I'm afraid. New to Stagecoach Manchester(535), in 06/1997, this Merc. Vario was delivered in a batch of thirty-five. Having migrated north to Barrow-in-Furness, together with several stablemates, it is seen here at Ramsden Square, in the town, sometime during 11/2004. It is operating Service 3 Newbarns - Barrow Town Centre - Furness HospitalThese replaced several Alexander AM bodied Merc. 709Ds at Barrow, which as a passenger I thought these Varios, although looking pleasant, weren't a patch on the ultrareliable 709s. After working at Barrow, it moved to the Morecambe depot and was later exported to the Republic of Ireland where it worked for Malahide Coaches, Malahide, near Dublin. It received Irish registration 97-D-71350 in the process.
The camera being a Pentax MZ-M with the film being a FujiChrome Colourslide.
I would request, as with all my photos, that they are not copied or downloaded in any way, shape or form. © Peter Steel 2004.
Mel B Of Spice Girls Fame Signs On With Jenny Craig, by Eva Rinaldi
Mel B aka Melanie Brown has just been signed up as the new face of Jenny Craig (Australia and New Zealand).
Today at 10.30am Mel B, the top brass at Jenny Craig, and over a dozen news media enjoyed a healthy and delicious breakfast (and a media gig) at the Centennial Parklands function centre.
In the extremely unlikely event that you didn't know, Mel B is an English pop singer-songwriter, actress, author and television presenter. She is best known around the world as Scary Spice, one of the members of the girl group Spice Girls.
It's well know that brands around the world are often interested in signing up suitable celebrities to promote their wares, and on the surface it looks to be a great match with Jenny Craig being a leader in the weight loss industry for over 30 years, and Mel B recently off pregnancy, enjoying motherhood and looking to loose weight.
The international star told our table "I just love the breakfast. Jenny Craig is just right for me being a busy mum".
Mel B said on her eating "I was eating literally eating morning, noon and night, and its didn't matter what time. I was just eating. I was a house. I love my humps and bumps, but when a newspaper described my shape as the 'bootylicious, curvylicious, post-baby body of Melanie, I knew I had to do something. I had to get the eating under control".
Jenny Craig boss Amy Smith released in a media statement: "Mel told us she doesn't like dieting at all. She loves eating healthy foods and she is thrilled with the health snack options and the amount of fruit and vegetables she gets to eat. Jenny Craig's team of nutritionists and doctors have created a program especially for women like Mel who have recently given birth, that takes into consideration the nutrient levels needed for breastfeeding women", says Ms Smith.
Mel B said: "Life gets a bit crazy when you've got four daughters but it's important for us mums to live healthy and to be in good shape. Mums really need to take time for themselves and get to a place where they are happy with their body again. We should not put it off because we deserve more than that. I healthy happy mum equals a healthy happy family."
After breakfast Mel did some on site TV interviews, believed to be for Channel Seven, followed by a relaxed photo shoot in the lush green parklands. Apparently word must have spread around Sydney press circles, as after just minutes after going outside for the shoot a number of uninvited paparazzi showed up and started snapping away. Mel and her media team probably expected it, so its a good thing that the word is well and truly out about her new campaign with Jenny Craig.
Mel B looks great, so just imagine how hot she will look a few months into the Jenny Craig program. She acknowledge that media, the other former Spice Girls and everyone else will be watching her progress closely, and judging by today it appears UK pop queen is on set to achieve her diet goals. Will you achieve your dieting goals as summer sneaks up on you? Needless to say, you now know who to call, which we strongly suspect for the ideal in the first place.
Thanks for the tasty J.C breakfast guys. Highly recommended.
Websites
Jenny Craig
Melanie Brown official website
Centennial Parklands Dining
www.trippaswhitegroup.com.au/our-venues/Centennial-Parkla...
Centennial Parklands
www.centennialparklands.com.au
Hollywood Treatment
Eva Rinaldi Photography Flickr
www.flickr.com/evarinaldiphotography
Eva Rinaldi Photography
President Obama, who is traveling to Africa on Air Force One today called the plaintiffs in the Defense of Marriage Act case, congratulating them on their victory.
In a statement, the president said that he applauds the court's decision to strike down "discrimination enshrined in law."
"The Supreme Court has righted that wrong, and our country is better off for it. We are a people who declared that we are all created equal – and the love we commit to one another must be equal as well," Obama said. "This ruling is a victory for couples who have long fought for equal treatment under the law; for children whose parents' marriages will now be recognized, rightly, as legitimate; for families that, at long last, will get the respect and protection they deserve; and for friends and supporters who have wanted nothing more than to see their loved ones treated fairly and have worked hard to persuade their nation to change for the better."
Cornell’s is First Organ with Multiple Historic Wind Systems
Cornell’s new baroque organ has become the world’s first organ with multiple historic wind systems, using a technique organ designer Munetaka Yokota perfected on a research instrument at the Göteborg Organ Art Center (GOArt) at the University of Gothenburg, Sweden.
With simple manual adjustments, organists can authentically re-create the wind systems of organs from the 15th to the beginning of the 19th century from north and central Germany on the instrument.
Professor of music Annette Richards, who led the organ project at Cornell, explains that “the wind is the basis of any organ’s sound, and to appreciate music like Bach’s as it was intended, you need to hear it played on the kind of organ for which it was written.”
The organ is intended to reintroduce modern audiences to this authentic, historic sound, which was gradually lost over the centuries as equal temperament in keyboard intervals and highly stable wind systems became the norm.
The ingenious system includes seven new valves and 80 new feet of conductors, and has attracted worldwide attention from organists and researchers. An international group of scientists gathered at Cornell in spring 2012 to share data on the organ’s key action characteristics and wind behavior.
Yokota and GOArt research engineer Carl Johan Bergsten will use the new system to study general wind system behavior in organs. They’ll compare the measurements they took in November 2011, before the modification, to measurements they will take after.
“We’re excited to hear how the collaborative research on this organ between mathematical modelers, engineers and a builder with Munetaka Yokota’s historical knowledge and incomparable musical intuition can make our instrument speak with even more clarity, power, nuance and expressivity—even while acting as a cutting-edge laboratory for the latest experimental study,” Richards says.
The $2 million organ is the culmination of more than seven years of research and collaboration by GOArt and the Department of Music, and more than two years of work by 21st-century craftsmen, who used authentic 17th- and early 18th-century methods to hand-build the instrument.
The organ re-creates the tonal design of the 1706 Arp Schnitger organ at Charlottenburg in Berlin, which was destroyed by Allied bombers during WWII. The massive wooden case has a design based on a Schnitger organ at Clausthal-Zellerfeld, Germany, and was hand-built by local cabinetmaker Christopher Lowe.
The original wind system on Cornell’s organ was built by Parsons Pipe Organ Builders in Canandaigua, N.Y.; the 1,827 pipes were handcrafted in Sweden by Yokota, using rediscovered historic techniques. The modifications to the wind system were made by Lowe.
The Cornell Baroque Organ
The new majestic baroque organ in Cornell’s Anabel Taylor Chapel required over seven years of research in an international, collaborative effort by Cornell’s College of Arts and Sciences and the Gothenburg Organ Art Center (GOArt) at the University of GÖTEBORG, Sweden.
Interdisciplinary Effort
The instrument re-creates the tonal design of the celebrated Charlottenburg organ in Berlin, handmade in 1706 by master organ builder Arp Schnitger and tragically destroyed during WWII. The interdisciplinary effort to understand the many aspects of this historic organ’s construction included experts in fluid dynamics, electro-acoustics, and metallurgy, as well as craftsmen and musicians. Each of the nearly 2,000 pipes was handcrafted in Sweden under the direction of project designer Munetaka Yokota.
Exquisite Craftsmanship
View from behind the keyboardThe massive, intricately designed wooden case is based on another Schnitger organ in Germany. Every detail is handmade and historically accurate, from the wooden pegs and hand-forged nails to the hand-planed wooden surface and dovetail joints.
Musical Versatility
Commissioned by the Department of Music, the organ is perfect for the music of J.S. Bach and his north German predecessors, and is versatile enough for solo and ensemble music from the 16th century onward. As a complement to the music department’s strengths in performance and research, the organ is expected to attract top organ students, professional performers, composers and scholars to Cornell.
The Cornell Baroque Organ Project
A New Organ for Anabel Taylor Chapel
In 2003 Cornell University began work on a new organ for Anabel Taylor Chapel—an instrument based on a German 18th century masterpiece—as part of an international research project involving three academic institutions in the field of organ studies: Cornell, the University of Gothenburg, Sweden, and the Eastman School of Music at the University of Rochester. This interdisciplinary and international effort encompasses scholars, physical scientists, musicians, craftsmen and visual artists from Sweden, Japan, The Netherlands, Germany and New York State. Joining their efforts under the artistic direction of Munetaka Yokota at the Gothenburg Organ Art Center (GOART), the members of this team created an organ that is not just a fine vehicle for teaching, performance and scholarship, but also a magnificent work of art. (See Photo Galleries section below.)
Historical Models
The Cornell Baroque Organ will reconstruct the tonal design of the celebrated instrument at the Charlottenburg-Schlosskapelle built in the first decade of the 18th century in Berlin by Arp Schnitger, one of history’s greatest organ builders. The instrument’s layout and visual design will be based on Schnitger’s breathtaking organ case at Clausthal-Zellerfeld in central Germany. See Historic Model Photo Gallery.
Arp Schnitger was the most important organ builder of late 17th-century North Germany; although he was active mainly in its northwestern corner, his work was well known in all of the German speaking lands. He built several organs in the eastern cities as well, with unique features not possessed by their northwestern counterparts. Many of his works in the northwestern areas survive today and are well-known, but none of his instruments in the eastern areas are extant today, with the one exception of the organ case in Clausthal-Zellerfeld.
Tragically destroyed in the Second World War, the Charlottenburg organ and its unique tonal qualities can be recreated today using original documentation alongside early 20th-century studies and recordings of the instrument. Unique to this Berlin instrument, and still little-understood, is the way in which Schnitger combined North- and Central-German organ aesthetics in its design, to result in an unusual, even exceptional, tonal concept. This recreation will allow us to explore this fascinating sound world once again. (See Specification section below.)
Research, Collaboration and Outreach
The project involves extensive research into the art of woodworking, metallurgy, organ construction and the crucial voicing of organ pipes in the early 18th century. It seeks to go beyond simply revivifying these skills, and attempts to place them in the cultural and aesthetic contexts so particular to Berlin and its environs. As part of this process, Cornell’s new organ is being built using sophisticated handcraft techniques, replicating the construction techniques of its storied historical models. In a landmark collaboration with local talent, Cornell is engaged not just with GOArt, but also with Ithaca-based master woodworkers Christopher Lowe and Peter De Boer, who built the organ case entirely by hand, and with the Canandaigua-based organ-building firm Parsons Pipe Organ Builders (see Case Construction Photo Gallery). This is more than an academic exercise. The historical entity that was the Berlin organ will enrich the active musical culture of Cornell, Ithaca, and Central New York and will provide valuable data and insights that can be drawn on by kindred projects globally. And with the inauguration of Cornell’s Baroque organ, the Fingerlakes region of New York will become an unprecedented destination for historic organ performance and research, with musicians and scholars able to work both at Cornell and on the nearby Eastman School of Music’s historic organs.
Performance and Teaching
The Cornell Baroque Organ will be ideal both for the glorious solo repertoire of the 17th and 18th centuries, especially the music of J. S. Bach, and for the accompaniment of ensemble music for instruments and voices; in addition, it will be versatile enough for performance of music from the 16th to the 19th centuries and beyond. This instrument will act as a magnet for top student organists, as well as being an inspiring tool for teaching, solo and group performance, and new composition. The Cornell Baroque Organ will complement the existing strengths of the Cornell music department in performance and research, especially in the music of the 17th to 19th centuries. In addition, it will contribute to the university and wider community in diverse and unforeseen ways. This project does not simply import a historic organ into Central New York, but seeks to transplant and nurture the skills required to make and maintain such an instrument, and of course to play and use it, drawing on the best of the past in pursuit of a rich future. This is not an exercise in reconstruction and museum-style curatorship but an effort to invigorate a constellation of skills and musical activities to help further energize both local culture and the University’s international standing.
Specification:
Hauptwerk (Manual I)
Principal 8′, Quintadena 16′, Floite dues 8′, Gedact 8′, Octav 4′, Violdegamb 4′, Nassat 3′, SuperOctav 2′, Mixtur IV, Trompete 8′, Vox humana 8′
Rückpositiv (Manual II)
Principal 8′, Gedact lieblich 8′, Octav 4′, Floite dues 4′, Octav 2′, Waltflöit 2′, Sesquialt II, Scharf III, Hoboy 8′
Pedal
Principal 16′, Octav 8′, Octav 4′, Nachthorn 2′, Rauschpfeife II, Mixtur IV, Posaunen 16′, Trommet 8′, Trommet 4′, Cornet 2′
Baroque Organ Fact Sheet
Total cost: approx. $ 2 million
Number of years of research, planning and construction: 7
Number of years organ is projected to last: several hundred
Pipes:
•Number of pipes 1,847
•Largest pipe; c. 16 feet long, 8 inches diameter
•Smallest pipe—c. 1 inch long, ¼ inch diameter
•Materials for pipes: lead, tin, pine
•Sheets of metal for pipes cast on beds of sand
•Seven and a half months required to “voice” pipes (ensure each has perfect sound in the chapel, and responds correctly to pressure and speed of the touch of the performer)
•42 ranks (individual rows of pipes)
•30 stops
Keyboards:
•2 manuals, each with 50 notes (C, D to d3)
•1 pedal, with 26 notes (C, D to d1)
•over 740 feet of wooden trackers traveling from key to pallet
Bellows:
•4 wedge bellows (each weighing approximately 430 pounds)
•two pumpers required to manually run the bellows
•fastened together with cow hide and cow hide organic glue
Scale:
•lowest pitch: c. 30 Hz
•highest pitch c. 8, 000 Hz
Case:
•quarter-sawn fumed white oak
•many tons of lumber in the case (estimated around 7)
•handcrafted; every surface hand-planed rather than sanded
•longest boards, 18 ft, imported from 300-year old sustainable forest in Germany
•case dimensions: 25ft wide; 4 and ½ feet deep; 23ft high in the center
•number of structural nails in case: zero—case held together by wooden pegs, dovetail joints, wedges, drawboard mortise and tenon
All nails, hinges, etc. hand-forged of solid iron in Sweden
Contacts
•Cornell University
oContact: Annette Richards, University Organist
oProfessor of Musicology and Performance (17th-18th-century music, organ)
oPh.D., Stanford University
o607-255-7102, ar34@cornell.edu
Annette Richards provided the passion and organization behind the Cornell Baroque Organ project. She managed every aspect, from coordinating the international team of builders to shoveling snow for the delivery trucks, and is now delighted to be one of the primary organists to play the unique instrument. More details at: music.cornell.edu/people/faculty/?page=cudm/facultyCtrl&a... and vivo.cornell.edu/humanities/individual/vivo/individual23295
•David Yearsley
oProfessor of Musicology and Performance (17th-18th-century music, early keyboards)
oPh.D., Stanford University
o607-255-9024, dgy2@cornell.edu
David Yearsley provided key support for the Cornell Baroque Organ project through his expertise with organs and his skill as a performer. He is also one of the primary organist to play this magnificent instrument. More details at: music.cornell.edu/people/faculty/?page=cudm/facultyCtrl&a...
•CCSN Woodworking
oContact: Christopher Lowe
oCabinet Maker
oFreeville, NY(607) 347-6633 scmarlowe@frontiernet.net
Christopher Lowe is a local craftsman who has been a cabinet maker for 28 years, specializing in everything from barn restoration to furniture making. This was his first organ commission.
•Göteborg Organ Art Center
oUniversity of Gothenburg, Sweden
oGOArt was responsible for the overall design and project coordination, the production of the pipework, and the voicing of the pipes. More details at www.goart.gu.se/Research/
oContact: Munetaka Yokota
oEmail: munetaka.yokota@goart.gu.se
Munetaka Yokota supervised the assembly of the organ at Cornell. He is the main researcher and designer of the instrument and the primary craftsman for the organ pipes. He brought his family to Ithaca to live for almost a year, while he installed and voiced the pipes at Cornell.
•Parsons Pipe Organ Builders
oCanandaigua, New York
oParsons Pipe Organ Builders was responsible for constructing the wind system inside the organ, including all the mechanicals and the bellows. More details at: www.parsonsorgans.com/home.htm
oContact: Richard Parsons
oPresident and owner (585) 229-5888 or (888) 229-4820 or info@parsonsorgans.com
Timeline
•2/2/10 Delivery of wind chest, organ case, to Anabel Taylor Chapel
•Assembly of organ begins
•2/8/10-2/19/10 Pipe racking (involves burning wood and making a great deal of smoke, and will happen in a little shed right outside the chapel)
•2/17/1 Voicing of pipes begins
•3/1/10 Basic organ assembly complete, though all pipes might not be in
•03/4-6/10 Inspection by the great Dutch organist and organ expert Jacques van Oortmerssen
•03/10-11/10 Final tuning of organ
•04/10 Open house to display assembled organ
•11/10 Late November concert to inaugurate organ for local audience
•3/11 Official inauguration of organ
Annette Richards
University Organist
Professor
Musicology, Performance
17th-18th-century music, organ
Ph.D., Stanford University
Tel#: 607-255-3712
ar34@cornell.edu
340 Lincoln Hall
In her work as a music historian and keyboard player, Annette Richards draws on her training in English literature, art history, musicology, and musical performance. Musical and visual aesthetics and criticism are of particular interest to her, as is music in literature, and changing attitudes and approaches to performance in the late eighteenth and early nineteenth centuries. Her book The Free Fantasia and the Musical Picturesque (Cambridge, 2001) explores the intersections between musical fantasy and the landscape garden in late eighteenth- and early nineteenth-century music culture, ranging across German-speaking Europe to England. Other topics on which she has written include Mozart and musical automata, the German keyboard song and solitude, and Haydn and the grotesque. She is the editor of CPE Bach Studies (Cambridge, 2006), and, with David Yearsley, of the Organ Works of C. P. E. Bach for the new complete edition (Packard Humanities Institute, 2008). She is also the founding editor of Keyboard Perspectives. Prof. Richards is currently working on two projects: a reconstruction of the extraordinary collection of musical portraits belonging to C. P. E. Bach, and a book that expands on her work on death, fantasy, and the grotesque to explore the dark hermeneutics of musical life in the age of European enlightenment and revolution—Music and the Gothic on the Dark Side of 1800.
As a performer Annette Richards specializes in music of the Italian and North German Baroque, and has played concerts on numerous historic and modern instruments in Europe and the United States. She also regularly performs music from the nineteenth and twentieth centuries, and has won prizes in international competitions including the 1992 Dublin International Organ Competition and first prize for organ duo with David Yearsley at the Bruges Early Music Festival in 1994. Her CD Melchior Schildt and the North German Organ Art ( on the Loft label) was recorded on the historic organ at Roskilde Cathedral, Denmark.
Prof. Richards has won numerous honors, including fellowships at the Stanford Humanities Center, the Getty Center in Santa Monica and at the Society for the Humanities at Cornell. She has also held a New Directions Fellowship from the Mellon Foundation and a fellowship from the Alexander von Humboldt Foundation.
At Cornell Prof. Richards teaches courses on eighteenth- and early nineteenth-century music aesthetics and criticism; intersections between music and visual culture; music and the uncanny; the undergraduate history survey; music of the Baroque; and the organ and its musical culture, as well as organ performance. She has organized several conferences and concert festivals at the university, including “German Orpheus: C. P. E. Bach and North German Music Culture” (1998) and “British Modernism” (2003).
Prof. Richards is also the Executive Director of the Westfield Center for Historical Keyboard Studies.
David Yearsley
Professor
Musicology, Performance
History, literature, and performance of 17th-18th-century music
Ph.D., Stanford University
Tel#: 607-255-9024
dgy2@cornell.edu
341 Lincoln Hall
David Yearsley was educated at Harvard College and Stanford University, where he received his Ph.D. in Musicology in 1994. At Cornell he continues to pursue his interests in the performance, literature and history of northern European music among other activities. His musicological work investigates literary, social, and theological contexts for music and music making, and he has written on topics ranging from music and death, to alchemy and counterpoint, musical invention and imagination, and musical representations of public spaces in film. His first book, Bach and the Meanings of Counterpoint (Cambridge, 2002) explodes long-held notions about the status of counterpoint in the mid-eighteenth century, and illuminates unexpected areas of the musical culture into which Bach’s most obsessive and complicated musical creations were released. More recently, his Bach’s Feet: the Organ Pedals in European Culture (Cambridge, 2012) presents a new interpretation of the significance of the oldest and richest of European instruments—the organ—by investigating the German origins of the uniquely independent use of the feet in music-making. Delving into a range of musical, literary, and visual sources, Bach’s Feet pursues the wide-ranging cultural importance of this physically demanding art, from the blind German organists of the 15th century, through the central contribution of Bach’s music and legacy, to the newly-pedaling organists of the British Empire, and the sinister visions of Nazi propagandists.
He is currently working on a monograph entitled The Musical Lives of Anna Magdalena Bach, a study of the changing musical contributions and restrictions, performing possibilities and perils that characterized the musical world of the women of the Bach household in the first half 18th century.
David’s musical and musicological interests extend to the Elizabethans, the Italian keyboard traditions of the seventeenth century, Handel’s operas, film music, musical travels, and the intersections between music and politics.
The only musician ever to win all major prizes at the Bruges Early Music Festival competition, David’s recordings of seventeenth- and eighteenth-century organ music are available from Loft Recordings and Musica Omnia.
While his primary interests are in European music culture of the seventeenth and eighteenth centuries, he has taught courses in music theory, film music, music and travel, and music historiography.
Works by David Yearsley
Articles
•An essay on the political implications of Bach’s vocal works: konturen.uoregon.edu/vol1_Yearsley.html
Performances
•Concert performance of C. P. E. Bach’s Abschied von meinem Silbermannischen Claviere for the Cambridge Society for Early Music played on Ferruccio Busoni’s 1906 Dolmetsch clavichord
•Concert performance of C. P. E. Bach’s Fantasia in C Major from Kenner und Liebhaber VI for the Cambridge Society of Early Music played on Ferruccio Busoni’s 1906 Dolmetsch clavichord
Why Cornell?
“A great university deserves to have a really great organ,” says Annette Richards, university organist and project manager. Although Cornell had a number of organs already, it lacked an instrument of the style and scope appropriate to the music of the noted German organist composers of the 17th and 18th centuries. “There was no great vehicle for playing the music especially of Johann Sebastian Bach and his North German predecessors. So I felt it was important for us to get a new really first class—world class—instrument at Cornell,” says Richards.
Cornell’s New Baroque Organ
“Cornell is an institution that fosters many kinds of scholarship, and it also has a long and very storied musical tradition,” continues Richards. “Andrew Dickson White was a big organ supporter and fan. He initiated getting an important organ for Bailey Hall when that building was built. And Cornell’s College of Arts and Sciences has a music department where the 18th century is a real strength. It also has a fine collection of keyboard instruments already, and it made sense to build on all those strengths and that history to bring something like this here.”
I used the photo shop adjustment equalize for this result
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Plot uses DE:Yes
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Plotted with symmetry:Yes
Plotted with boundary following:Yes
Plotted with multiple processors:Yes
Total plot time:116.283 seconds
Total iterations:8126384165
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.
Mum’s Day-tripper Bag
The majority of what I am designing at the moment is baby related! I have a 5 month old girl and a 3 year old boy and have an endless list of items that I want to design to make things easier or prettier or both!
This bag is really 3 items in one. The main bag, a change mat that acts as a compact changing bag in its own right and a toy I have named the sleepy fish!
I used the layer cake by cutting the squares diagonally into equal strips and piecing these for the main bag. I then used the off-cuts of this with some yardage to make the outside of the changing mat. The remaining squares (the louder, busier ones) were used to make all the components of the sleepy fish toy.
The main bag has 2 elastic sections at the sides designed to hold bottles or anything you need to hold upright, like lotion. There is a large zipped pocket for all your ‘mum’ bits – phone, purse, lippy etc. I have included the eyelet on a flap just inside the bag. This was primarily to hold my sleepy fish toy but could also be used for keys. As with any item that comes in contact with children it needed to be sturdy! I put metal studs on the bottom to protect the fabric and a plastic bag base to help maintain the shape and stability. I have also inserted tubing into the handles for extra strength and interfacing has been used throughout.
The compact changing bag is padded and wipe clean. It has enough storage for a basic change kit. i.e. two or three nappies, wipes and disposal bags. I designed it to be carried within the main bag for a quick change. Once the mat is unfolded all the other bits you need are right there. No more rummaging in your bag to find them mid-change! It is also great when you child is a little older and you don’t need to carry so much ‘stuff’ around. It can just be hung on the back of the push chair and doesn’t take up too much space. As you may have noticed, my laptop wrap, submitted in the audition round was born from this design as the fold up function is so quick and compact.
Although you can’t see it, the sleepy fish toy has a ball rattle inside and all the scales and fins have a crinkly cellophane sewn in to make lots of noises. Perfect for entertaining your baby while you change her. There is a hanging loop with Velcro so it can be attached easily to the eyelet inside the bag or onto a pushchair etc
Happy day-tripping!
Equal-armed brooch.
Bronze, iron and textile.
Equal-armed brooches are significant for the Swedish mainland and often have geometric decor or animal ornamentation.
Grave find, Björkö, Adelsö, Uppland, Sweden.
SHM 34000:Bj 1081
Use or share this graphic on your website or social media networks to show your support for equal marriage.
Infographic text:
"SOMETHING OLD, SOMETHING NEW, SOMETHING BOROWED, SOMETHING BLUE, EVERYONE EQUAL #equalmarriage".
Read the DCMS news item at www.culture.gov.uk/news/news_stories/9692.aspx
2015-11-14 Hamburg-Germany Demonstration
Refugees Welcome means Equal Rights for all
Right to the City network
Under the impression of yesterday’s killings in Paris, around 9.000 refugees and supporters took to the streets of Hamburg.
We stand together united, in hope not hate!
Let’s be neighbors: Housing in apartments!
No isolation in tents, warehouses and mass-camps!
Migration happens: Freedom of movement is a human right! Right to stay for everyone!
Against defining asylum down; No one is a ›bad‹ migrant; stop deportations!
Make solidarity practical: Support the migrant struggles! For the right to full participation in society!
taken at the fest-cup. fest-cup is part of das fest in
karlsruhe, germany. das fest is a three days for free
festival in the guenther-klotz-anlage in karlsruhe.
other shots taken at das fest here.
some of photos i took at the fest cup 2006 have been published in the official photogallery of one of the main sponsors, equal athletics.
click here to see where this photo was taken.
(google earth recommended)
Manhattan Criminal Courthouse
100 Centre Street
Built 1938-41, by architect Wiley Corbett and Charles B. Meyers.
The Criminal Courthouse was designed by Wiley Corbett and Charles B. Meyers. Construction began in 1938 and was completed in 1941, at a cost of $14 million. The site, formerly known as Collect Pond, had been the location of the old 1894 Criminal Courthouse and the old Tombs prison.
The seventeen-story Art Deco courthouse has a steel frame and a granite and limestone facade. The building is composed of four towers in front, with a jail behind. The taller center tower is stepped, like a ziggurat. The windows and spandrel form vertical bands alternating with the stone piers. The imposing entrance consists of two huge, freestanding granite columns. A wing designed by the Gruzen Partnership was added in 1986.
One of the original designers, Harvey Wiley Corbett (1873-1954), was one of the architects who planned Rockefeller Center. He also designed the Art Deco style North Building of Metropolitan Life. Charles B. Meyers (1875-1958) designed the Family Courthouse at 135-43 East 22nd Street, the unusual Art Deco/Byzantine style Main Building of Yeshiva University, and the former Municipal Health Building nearby at 125 Worth Street. He won a gold medal for his New York State building at the 1915 Panama Pacific Exposition in San Francisco.
[NYC.gov]
Photographer - Isaac Erb (1846-1924) was born in Kars, Kings County, the son of John Erb and Mary Ann Morrell Erb. He married Frances Huestis and they had two children, John H. and Lavinia F. A professional photographer, his career spanned more than 50 years, from 1870 to 1924. Whether in the studio or on location, Erb’s camera captured the many facets of contemporary Saint John, and his work led him throughout New Brunswick, Nova Scotia, and Maine. The composition of his portraits and commercial photographs show the artistic temperament of the 19th century cameraman. This personal style continues well into the 20th century. His attention to detail and unique perspective on his subjects contributed in equal parts to his success in a business marked by transiency and brevity. By the end of his career he had produced more than 12,000 images, all of which he meticulously recorded in his logbooks. The approximately 3,400 extant glass negatives make up one of the most comprehensive collection of its kind in the Maritimes, and one of the best in Canada. Isaac's son, John Erb (1876-1939) was also an accomplished photographer in his own right. By at least as early as the time of the 1900 directory, Isaac's studio was listed as "Erb & Son". According to his death certificate, John Erb continued in the trade until his death in 1939. LINK - archives.gnb.ca/Search/Collections/Details/0/6323/en-CA
Rothesay is a suburban town located in Kings County, New Brunswick, Canada. Located within Saint John's metropolitan area, it borders the town of Quispamsis to form the Kennebecasis Valley and is located along the lower Kennebecasis River. As of 2021, the population of Rothesay was 11,977.
Rothesay College School in New Brunswick
LINK to - 1906 Rothesay Collegiate School Hockey team - hockeygods.com/system/gallery_images/12765/original.JPG?1...
1932 Team Photo - R. C. S. / Rothesay Collegiate School, Second Rugby / Football Team, Rothesay, New Brunswick
(back row - left to right)
Lewis J. Archibald - Sydney Mines, Nova Scotia - Lewis Johnston Archibald (b. 1 April 1916 - d. 1988 in Nova Scotia, Canada) - LINK to his find a grave site - www.findagrave.com/memorial/36098150/lewis-johnston-archi...
William Fraser Napier - (b. 1916 in Campbellton, New Brunswick - d. 2 December 2004 in Victoria, B.C.) - LINK to his newspaper obituary - www.newspapers.com/article/times-colonist-obituary-for-wi...
H. B. Kee - Fair Vale, (Rothesay), New Brunswick - Harold Burgess Kee (b. 23 November 1920 – Deceased)
F. B. Edgett - Moncton, New Brunswick / Fred Brewster Edgett (b. 16 April 1915 in Moncton, Westmorland County, New Brunswick, Canada - d. 18 December 1988 (aged 73) in Moncton, Westmorland County, New Brunswick, Canada) - LINK to his Find a Grave site - www.findagrave.com/memorial/200848543/fred_brewster-edgett
R. B. Coates - Hampton Station, New Brunswick / Ralph Bamford Coates (b. 15 November 1917 in Scoudouc, New Brunswick – d. 26 June 1993 at age 75 in Moncton, New Brunswick) - LINK to his newspaper obituary - www.newspapers.com/article/the-times-transcript-obituary-...
Norman Sproul - Chatham, New Brunswick -
(b. October 2, 1913 in Chatham, New Brunswick - d. February 20, 2014 at age 100 in British Columbia) - Dr. Norman Sproul passed away at home on February 20, 2014 with his daughter by his side. He was born in Chatham New Brunswick on October 2, 1913, the youngest of 7 children to Dr. George Jasper Sproul and Janie Amanda Sproul, nee Searle. In December, 1941 he married Marjorie Campbell Armitage from Deseronto, Ontario. He graduated from University of Toronto Faculty of Dentistry in 1943. He served in the Canadian Army from 1942 to 1946 rising to the rank of Captain. Following the war he opened a dental practice in Kingston, Ontario. He was awarded the Queen's Silver Jubilee medal in 1977 for his contribution to geriatric dental care. LINK - www.legacy.com/us/obituaries/legacyremembers/norman-sprou...
Eric Blanchet - Rothesay, New Brunswick / Eric Sidney Blanchet (b. 14 November 1916 in Rothesay, Kings County, New Brunswick, Canada – d. 4 December 1993 at age 77 in Duncan, British Columbia, Canada) - LINK to his death certificate - search-collections.royalbcmuseum.bc.ca/Image/Genealogy/6c...
Harold Harding - Hammond River, New Brunswick - LINK to his newspaper obituary - www.newspapers.com/article/saint-john-times-globe-obituar...
Mr. Jackson - Coach
(front row - left to right)
Ralph Mason Burchell - Little Bras D'Or, Nova Scotia (1916-1998) - LINK to his Find a Grave site - www.findagrave.com/memorial/249548348/ralph-mason-burchell
Horace MacDonald Browne - (b. 1916 in Hamilton, Bermuda - d. 2005 in Bermuda) - Spouse - Kathryn "Kay" Mary Gault (1919 - 1981) LINK to his Find a Grave site - www.findagrave.com/memorial/146313774/horace-m-browne - LINK to their marriage - www.newspapers.com/article/the-post-standard-mrs-horace-m...
Donald Walton McNeill Good - Sussex (1917-1990) - LINK to his Find a Grave site - www.findagrave.com/memorial/226562911/donald-m-good
Ian Montgomery Malcom (1915-1985) - Frederickton - LINK to his Find a Grave site - www.findagrave.com/memorial/114532026/ian-montgomery-malcom
James Lawrence Gerry - New York (b. 31 May 1916 in
Pelham, Westchester County, New York, United States - d. September 1978)
Keith Burton Logie - Nassau, New York (b. 6 February 1917 in Lancashire, England - d. 1998 in Surrey, England)
Henry Blair Blanchard - Truro, N.S. LINK to his Find a Grave site - www.findagrave.com/memorial/212790642/henry-blair-blanchard
LINK to - 1932 Rothesay Collegiate School - List of Students - www.newspapers.com/article/saint-john-times-globe-1932-ro...