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Maurice Riodan performing at the Universe Explained at Gorilla, Manchester, on Saturday 20th July 2013
A rather grubby, and somewhat unloved, war memorial found right in Gloucester's City Centre. It's located on the exterior west wall of St Michael's church tower, and it is a little difficult to read in places.
I'm still trying to find out about the two units mentioned on the memorial:
The Volunteer Training Corps was a voluntary home defence militia. A sort of Home Guard.
Not yet found out anything much about the Gloucester VTC, but there's an article on the KORL museum site which explains how things were organised in their Lancashire area.
"The Volunteer movement of 1914-1919 appears to have originated spontaneously, mainly from the action taken by ex-officers and members of the old Volunteer Force in forming Miniature Rifle Clubs and later, “Volunteer Training Corps”, entirely self-supporting and not under War Office recognition."
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"1914 - 1918
Gloucester Volunteer Training Corps and 'A' Company III Volunteer Battalion, Gloucestershire Regiment.
In Memory of those who passed through to the Supreme Sacrifice for Honour and Freedom in the Great War.
...
Erected by grateful Comrades"
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R. I. P.
L/Cpl PLY/2444(S) Clifford Andrews (probable match)
06.04.18 Pozières Memorial
1st Royal Marine Battalion, R.N. Division, Royal Marine Light Infantry
The following information was found on the Great War Forum site (thanks to Somerset Sniper)
Service History:
Enlisted at Gloucester 19/9/17 age 27 ; Embarked RM Brigade 16/11/17 ; Draft for BEF 19/3/18, posted to 1st RM Bn. from Base Depot Calais 24/3/18-6/4/18
Appointed Lance Corporal (paid) 26/1/18
Previous occupation: A Slaughterman
Next of kin:
Mother:- Sarah Andrews, Stoborough, Wareham, Dorset (ADM/159)
Wife:- Eliza E.J. Andrews, 1 Alma Terrace, Bristol Rd., Gloucester (ADM/242)
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09.04.18 Loos Memorial
157th Siege Bty, Royal Garrison Artillery
20.03.17 Rouen
2nd Battalion, Devonshire Regt
Age 18
L/Cpl CH/2657(S) Claude A. Browning (possible match)
07.10.18 Buegny, nr Cambrai
1st Royal Marine Battalion, R.N. Division, Royal Marine Light Infantry
Captain Basil V. Bruton Mentioned in Despatches
15.06.18 Boscon, nr Asiago, Italy
1/5th Battalion, Gloucestershire Regt
Gunner/Signaller 107017 Francis H. Chubb
01.07.17 Vlamertinghe, nr Ypres
262nd Siege Battery, Royal Garrison Artillery
Pte 7/18827 Henry J. Coleman (possible match)
13.04.18 St Omer
96th Battalion, Training Reserve
transferred to (378296) Base Depot, (attached XV Corps School) Labour Corps
01.05.18 Godewaersvelde, nr Poperinge
298th Siege Battery, Royal Garrison Artillery
formerly Pte (30364) Gloucestershire Regt., and Gunner (13935) RGA
WO 372/5/222385
27.04.18 Robecq, nr Bethune
2/4th Battalion, Royal Berkshire Regt
formerly Pte (46146) Hampshire Regt
WO 372/6/206483
Harold D. Evans
Pte 128339 Kingsley S. Franklin
29.04.18 Villars-Bretonneux
Machine Guns Corps (Infantry)
Age 19
24.10.18 Ramillies, nr Cambrai
'A' Company, 1st Battalion, Somerset Light Infantry
James C. Jenkins (possible match)
Air Mechanic 263531 2nd Class David L. Kiddle
18.09.19 Wimille, nr Boulogne
91st Wing, Royal Air Force
Age 18
22.10.18 Lijssenthoek, nr Ypres
1/1st Battalion, Herefordshire Regt
04.10.17 Tyne Cot Memorial
1/5th Gloucestershire Regt
WO 372/12/76653
Stanley. W. E. Lewis Military Medal (possible match)
10.08.17 Menin Gate Memorial
7th Battalion, Bedfordshire Regt
21.09.17 Tyne Cot Memorial
Bedfordshire Regt (posted to 1/1st Herefordshire Regt)
William A. Palmer
Thomas G. Smith
Pte 61059 Stanley Victor Stubbs
22.10.18 Kalamaria, Greece
78th Sanitary Section, Royal Army Medical Corps
Henry I. Thomas
Pte 38044 Gilbert G. Trenfield
25.02.19 Gloucester
Labour Company, Hampshire Regt, transf. to (108513) 275th Area Employment Company, Labour Corps
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From The Citizen: Friday 7th December 1917
"Gloucester Volunteer Corps
'A' Company, 3rd Battalion Gloucester Volunteer Regiment
Captain: W. Jarratt Thorpe
Orders for Week Ending 14th December 1947
Officer on Duty: Lieut T. L. Drury
Orderley Sergeant: Sgt J. W. Brown
Orderly Corporal: Corp W. T. Chinery
Sunday 9th December at 2.30pm
Drill Order
If wet, Great Coats to be worn
Band and Recruits to attend
Tuesday 11th
Platoon 3 at 7.30pm and 8.30pm
Wednesday 12th
Platoon 4 at 7.30pm and 8.30pm
Hotchkiss Class at 7.30pm
Thursday 13th
Officers and N.C.O.'s to attend a lecture at City Drill Hall, Brunswick Road at 7.30pm
Friday 14th
Platoons 1 and 2 at 7.30pm and 8.30pm
Recruits to attend Tuesday and Friday at 7.30pm and 8.30pm
Band to attend Wednesday at 8pm
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Gloucestershire Archives:
D11985: William Jarratt Thorpe, soldier, exponent of badger digging: diaries detailing badger digging, terrier breeding and hunt activity across Gloucestershire 1913-1925
See Gloucester Journal around 1st August 1917 for death announcement
So explain to me the difference between fireworks and "pyrotechnics"? These were the "pyrotechnics" that were shot off at CitiField. There are no "bursts" or flower-type fireworks, no big booms at the end -- it was just a bunch of colored lights that rippled around the roof of the stadium -- similar to what you would see at a concert. Boring, but kinda cool at the same time. Oh well.
Explain differentiation This third module of the Teaching series we investigate the planning and design of classes. Professor Eamon Murphy of the Department of Social Sciences at Curtin University devotes an entire chapter of Lecturing at University (1998) to emphasise his view that careful planning is the most important aspect of lecturing.
Explainer: While I wish I could fully dress, wig-up and make-up regularly, those days are rare. So I post these AI renderings. FYI: the photos are AI generated, from actual photos of me, enhanced slightly with FaceApp and then dressed from outfits I see and love on the interweb. Enjoy them or not! I do, that's all that matters! Love, Crystal
Finally, I'm back. The norovirus got me. Despite a gorgeous sunny weekend, I was no good to anyone...and no where near the camera. :(
But, now that we're on the mend, Phoebe thought she should explain exactly why she needs to use lip balm. (Yep, she's three, and she likes lip balm.) Is this normal?
Normal or not, I'm glad I've documented it!
Happy Sunday...and good health to all!
On 1-12-15 I wrote this description to the pictures I labeled as #1 to “#34 D of nukes, VJ day & 911”. It's because the Sweet and Low T-shirt I'm wearing led to a “theory of relativity” revelation that I explained in class #4 vimeo.com/116519992, here's the title:
#4 has a Sweet & Low "theory of relativity" explanation of Pearl Harbor, the 911 disaster and a “Heal The World” Christmas present from heaven.
The best Christmas present seemed to be class L123 (2-2013) because it has the most divine signs to assure us that there will be no nuclear war on earth. It includes the warning I gave on 12-18-02 that the USA was in danger of a nuclear war and the letter I wrote to six states on 9-21-04 saying we’d been delivered from the threat of the nuclear war. I got more confirmations of that on 12-7-04 at Pearl Harbor at pictures #23 to 32. Like #31 is a picture of a rainbow going through “the Christmas tree” on the USS Missouri. That was just like pictures #23, 24 & 25 at the Bowfin submarine museum of nuclear warheads pointed at a kid standing by a Christmas tree. These were big confirmations of the signs I got that we had been delivered from the threat of nuclear war especially because of another example when heaven took away our fears and gave us a Merry Christmas in it's place in 1993.
From class 216 www.youtube.com/watch?v=sfKJYXCgGNg&index=14&list....
In this video I explained that people were afraid of all the end of the world signs that were so obvious by December 1993, (it started with Desert Storm in January 1991). I was eating dinner at a restaurant in Waikiki when I heard a Christmas song and realized the answer to those “end of the world” fears was to get into the spirit of Christmas, it was a Christmas present from heaven to trade fear for a merry Christmas that year. This starts with a view of Waikiki where I was eating that dinner and the Christmas song I heard called “It’s The Most Wonderful Time of Year”.
These pictures at Flickr started when I was called, (loud and clear from heaven), to go to Pearl Harbor about four times a year from 1999 to my last visit on 9-2-05. One reason why is what I wrote at Pearl Harbor picture #2 at Flickr.
In my hotel room in Olgalala Nebraska in 1994 I saw cartoon of how much Porky pig hated history, (it was my worst subject in school), and the spirits of the founding fathers were teaching him that it's worth learning about. It's like the picture (#5 D of nukes) of me having a drink with a cigar, (because I needed two cigar breaks to get through a day at Pearl Harbor). After my third visit to Pearl Harbor at my cigar break I noticed on the cans of Nestea a snowman and a sign that said “it cools you to the core”. I knew it was a sign so I said to God, “I’m not getting anything out of this but I'll keep coming if you say it's going to cool me to the core”. I finally got up to speed on Pearl Harbor just before the 9/11 disaster which was like the saying “those who do not learn from history are condemned to repeat it” and that is main reason why we got a repeat of Pearl Harbor on 9/11/01. In other words it was the founding fathers teaching Pearl Harbor to the rest of the Porky pigs in the United States. I just realized that might be in the Beatles song, Come together, right now
Over me.
He roller coaster
HE GOT EARLY WARNING
He got muddy water
He one mojo filter
He say one and one and one is three
Got to be good looking
'Cause he's so hard to see [that’s don't exceed your 15 minutes of fame(?)]
Come together, right now
Over me
There's too much to write on this so I'll just provide links to the classes where talked about this before, like at this last paragraph at class L112 vimeo.com/50116128 or see my patriotic playlist at YouTube www.youtube.com/playlist?list=PLVDkjTNqYqh0ylmTqlRo-H5dVl....
This is a list of my patriotic classes at vimeo.com/user8696549 and www.viddler.com/channel/Mikeoverson.
#186a vimeo.com/32431850 & b vimeo.com/32431994 were first then 169 and 161, (the links are below). Class 161 is about The Pentagon Wars and classes 99, 103 and L109 have nearly an hour patriotism. I condensed L109 into L112 and made L113 vimeo.com/50390744 to go with it then I summed it all up in class L123 vimeo.com/60109388. Class 171 vimeo.com/43436258 is how America needs to get the magic of patriotism back. Class L97 vimeo.com/45990216 shows the difference in human rights and freedom in the USA verses in Europe. I tell a sweeter version of that at my YouTube
playlist PL11 www.youtube.com/playlist?list=PLVDkjTNqYqh1adV--hsXO4URt4..., it's at the fourth video, class L127C or read my patriotic playlist
PL7 www.youtube.com/playlist?list=PLVDkjTNqYqh0ylmTqlRo-H5dVl....
PL6 has similar info and so does PL1 to PL5 at www.youtube.com/channel/UC3-RWtlOIS_k_TbVkYj_c5Q/playlists.
A video plays on page 1 & 2 at MikeOversonEndTimes.org to explain why you need to be tolerant of a teacher, prophet and "the one" who is a disabled mess on welfare, (it's because this is the best your money and applause would pay for). It's also where I have more patriotic classes like on page 3 at #182a1 is 1776 & Vietnam @ 38 to 54 min.
Here's what I wrote at Pearl Harbor picture #1 here at Flickr.
Pearl Harbor picture #7 is nearly the same view as this picture #1 except it's from the other side of the Arizona and the Mo. I think only God could arrange for that aircraft carrier and crew to provide a perfect completion and balance of these pictures. It's just another example of how magic our military is like I said at class 161 vimeo.com/33034450, (after the first three paragraphs the rest is just extra info).
When I was trying to find out why this 161 was such a special class it seemed to be due to how much I paid attention to military, (=rq704pm on vets day 11-11-13 is a big confirmation). When it happened again in classes 99 vimeo.com/36995187 and L109 vimeo.com/49352072 I finally gave proper credits in L123 vimeo.com/60109388 when I said "the most magic in my classes always comes from touching base with the greatness of the US military, so here's the the American Revolution and World War II" @ 54 min. If the US military is this much good luck and magic when when you're doing bad, (the first 11 minutes of 161 is about corruption in the military), imagine what it would be like when you're doing good, (read 206 vimeo.com/76811342).
From class 169 vimeo.com/30629125.
I was hoping that God would bless us with a visit from heaven in this 169 if I put America’s heros first (@ 1 to 15 min) and that’s exactly what happened. One reason that is so important to God is because it’s impossible to comprehend all that God has done for us but a very good parallel is to pay proper respect to the sacrifices of America’s heros, (or any heros of faith like Ghandi or Bible heros). This 169 was the start of the AWESOME military magic in classes 161, 99, L109, L112 & L123 and all because I loved porn so much that I thought up a new angle to beg God to bless us with a visit. See how impressed God was with me @ 8 min in L5b vimeo.com/35772901.
The best two 15 minute summaries of this military magic and US history are in classes L112 vimeo.com/50116128 and L127c vimeo.com/107209155. I watch them both on a regular basis because it's such a good refresher course.
From class 194 @ vimeo.com/90080993.
The Eagles reunite CD titled "Hell Freezes Over" was also a prophetic "see (c//) parallel" confirmation sign and combined with my "rhythm nation" drive, (& many other c// signs), it all added up to a loud and clear sign to the USA and the world that everyone is going to heaven when they die. Another big proof of it is class 161 because it covers the next 16 years of my life to 2011. It includes when my "Rhythm Nation drive" ended and I flew back to Hawaii on 1-11-95, then it explains why I had to pray at least eight hours a day from March to September of 1995, (the #955 means "stay alive in 95" and only those long prayers could've kept me from being killed). Then I tell about "the powers that be" who persecuted me up to the 9-11 disaster and then backed off, here's a summary of it from the comments at
L99 vimeo.com/46238993.
Next was my way of mocking THE FBI ON 8-28-01, we were both saying that each other would die except MY PREDICTION CAME TRUE and theirs didn't. It's in class 161 @ 40 minutes where I said “Squirm you (powerless) worms I won big-time and you know it. Except I didn’t know HOW BIG I WON until after the 9/11 disaster”. Then I put it in class L127 vimeo.com/105315202 at 4 to 8 minutes, here's the title:
L127 is Walt Disney's 1948 prophecy of me as Pecos Bill saying to the powers that be “squirm you powerless worms!”
I could do that mainly due to how powerful prayer is to conquer evil and how important prayer is to God at 20 to 32 minutes in this 161.
From class 167:
I made #167 after Vimeo deleted 53 of my videos over copyright violations. I explained the apparent wrath of God that followed when 36 people were shot in New York over the Labor Day weekend in the 9-5-11 news, in other words Vimeo should watch class 167 before deleting messages from heaven over copyright violations, (this video #161 sums it up much better at 39 to 55 minutes).
My rock'n roll playlist PL11, (& PL2, 3, 5 & 9), at www.youtube.com/channel/UC3-RWtlOIS_k_TbVkYj_c5Q/playlists might best sum up the end of these classes or read L112 vimeo.com/50116128.
The Bottom Line of my classes is THE POWER OF PRAYER in L124 @ vimeo.com/63452028.
It is some years, maybe 5 or more, since we last visited the cathedral in Canterbury. In the spring, I found the entrance to St Augustine's Abbey, so the plan yesterday was to visit them both.
I arrived just after ten, soon after it opened its doors, and was shocked to find that the multi-entry you used to get after paying your entrance fee had been discontinued. When I tried to ask the young man at the ticket office, he wasn't really able to speak much English to explain this to me, repeatedly holding one finger up at me as I asked the questions. £10.50, is not bad, I guess, especially as photography is allowed everywhere, except in the crypt, so I don't mind paying.
The site has been a place of worship probably since Roman times, and in the grounds of St Augustine's, just a short distance away, remains of a 7th century church still remain. What we see now in the cathedral is largely Norman, but with many improvements over the centuries.
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Canterbury Cathedral in Canterbury, Kent, is one of the oldest and most famous Christian structures in England and forms part of a World Heritage Site. It is the cathedral of the Archbishop of Canterbury, leader of the Church of England and symbolic leader of the worldwide Anglican Communion; the archbishop, being suitably occupied with national and international matters, delegates the most of his functions as diocesan bishop to the Bishop suffragan of Dover. Its formal title is the Cathedral and Metropolitical Church of Christ at Canterbury.
Founded in 597, the cathedral was completely rebuilt from 1070 to 1077. The east end was greatly enlarged at the beginning of the twelfth century, and largely rebuilt in the Gothic style following a fire in 1174, with significant eastward extensions to accommodate the flow of pilgrims visiting the shrine of Thomas Becket, the archbishop who was murdered in the cathedral in 1170. The Norman nave and transepts survived until the late fourteenth century, when they were demolished to make way for the present structures.
Christianity had started to become powerful in the Roman Empire around the third century. Following the conversion of Augustine of Hippo in the 4th century, the influence of Christianity grew steadily .[2] The cathedral's first archbishop was Augustine of Canterbury, previously abbot of St. Andrew's Benedictine Abbey in Rome. He was sent by Pope Gregory the Great in 596 as a missionary to the Anglo-Saxons. Augustine founded the cathedral in 597 and dedicated it to Jesus Christ, the Holy Saviour.[3]
Augustine also founded the Abbey of St. Peter and Paul outside the city walls. This was later rededicated to St. Augustine himself and was for many centuries the burial place of the successive archbishops. The abbey is part of the World Heritage Site of Canterbury, along with the cathedral and the ancient Church of St Martin.
Bede recorded that Augustine reused a former Roman church. The oldest remains found during excavations beneath the present nave in 1993 were, however, parts of the foundations of an Anglo-Saxon building, which had been constructed across a Roman road.[5][6] They indicate that the original church consisted of a nave, possibly with a narthex, and side-chapels to the north and south. A smaller subsidiary building was found to the south-west of these foundations.[6] During the ninth or tenth century this church was replaced by a larger structure (49 m. by 23 m.) with a squared west end. It appears to have had a square central tower.[6] The eleventh century chronicler Eadmer, who had known the Saxon cathedral as a boy, wrote that, in its arrangement, it resembled St Peter's in Rome, indicating that it was of basilican form, with an eastern apse.[7]
During the reforms of Dunstan, archbishop from 960 until his death in 988,[8] a Benedictine abbey named Christ Church Priory was added to the cathedral. But the formal establishment as a monastery seems to date only to c.997 and the community only became fully monastic from Lanfranc's time onwards (with monastic constitutions addressed by him to prior Henry). Dunstan was buried on the south side of the high altar.
The cathedral was badly damaged during Danish raids on Canterbury in 1011. The Archbishop, Alphege, was taken hostage by the raiders and eventually killed at Greenwich on 19 April 1012, the first of Canterbury's five martyred archbishops. After this a western apse was added as an oratory of St. Mary, probably during the archbishopric of Lyfing (1013–1020) or Aethelnoth (1020–1038).
The 1993 excavations revealed that the new western apse was polygonal, and flanked by hexagonal towers, forming a westwork. It housed the archbishop's throne, with the altar of St Mary just to the east. At about the same time that the westwork was built, the arcade walls were strengthened and towers added to the eastern corners of the church.
The cathedral was destroyed by fire in 1067, a year after the Norman Conquest. Rebuilding began in 1070 under the first Norman archbishop, Lanfranc (1070–77). He cleared the ruins and reconstructed the cathedral to a design based closely on that of the Abbey of St. Etienne in Caen, where he had previously been abbot, using stone brought from France.[9] The new church, its central axis about 5m south of that of its predecessor,[6] was a cruciform building, with an aisled nave of nine bays, a pair of towers at the west end, aiseless transepts with apsidal chapels, a low crossing tower, and a short choir ending in three apses. It was dedicated in 1077.[10]
The Norman cathedral, after its expansion by Ernulf and Conrad.
Under Lanfranc's successor Anselm, who was twice exiled from England, the responsibility for the rebuilding or improvement of the cathedral's fabric was largely left in the hands of the priors.[11] Following the election of Prior Ernulf in 1096, Lanfranc's inadequate east end was demolished, and replaced with an eastern arm 198 feet long, doubling the length of the cathedral. It was raised above a large and elaborately decorated crypt. Ernulf was succeeded in 1107 by Conrad, who completed the work by 1126.[12] The new choir took the form of a complete church in itself, with its own transepts; the east end was semicircular in plan, with three chapels opening off an ambulatory.[12] A free standing campanile was built on a mound in the cathedral precinct in about 1160.[13]
As with many Romanesque church buildings, the interior of the choir was richly embellished.[14] William of Malmesbury wrote: "Nothing like it could be seen in England either for the light of its glass windows, the gleaming of its marble pavements, or the many-coloured paintings which led the eyes to the panelled ceiling above."[14]
Though named after the sixth century founding archbishop, The Chair of St. Augustine, the ceremonial enthronement chair of the Archbishop of Canterbury, may date from the Norman period. Its first recorded use is in 1205.
Martyrdom of Thomas Becket
Image of Thomas Becket from a stained glass window
The 12th-century choir
A pivotal moment in the history of the cathedral was the murder of the archbishop, Thomas Becket, in the north-west transept (also known as the Martyrdom) on Tuesday, 29 December 1170, by knights of King Henry II. The king had frequent conflicts with the strong-willed Becket and is said to have exclaimed in frustration, "Who will rid me of this turbulent priest?" The knights took it literally and murdered Becket in his own cathedral. Becket was the second of four Archbishops of Canterbury who were murdered (see also Alphege).
The posthumous veneration of Becket made the cathedral a place of pilgrimage. This brought both the need to expand the cathedral and the wealth that made it possible.
Rebuilding of the choir
Tomb of the Black Prince
In September 1174 the choir was severely damaged by fire, necessitating a major reconstruction,[15] the progress of which was recorded in detail by a monk named Gervase.[16] The crypt survived the fire intact,[17] and it was found possible to retain the outer walls of the choir, which were increased in height by 12 feet (3.7 m) in the course of the rebuilding, but with the round-headed form of their windows left unchanged.[18] Everything else was replaced in the new Gothic style, with pointed arches, rib vaulting and flying buttresses. The limestone used was imported from Caen in Normandy, and Purbeck marble was used for the shafting. The choir was back in use by 1180 and in that year the remains of St Dunstan and St Alphege were moved there from the crypt.[19]
The master-mason appointed to rebuild the choir was a Frenchman, William of Sens. Following his injury in a fall from the scaffolding in 1179 he was replaced by one of his former assistants, known as "William the Englishman".
The shrine in the Trinity Chapel was placed directly above Becket's original tomb in the crypt. A marble plinth, raised on columns, supported what an early visitor, Walter of Coventry, described as "a coffin wonderfully wrought of gold and silver, and marvellously adorned with precious gems".[22] Other accounts make clear that the gold was laid over a wooden chest, which in turn contained an iron-bound box holding Becket's remains.[23] Further votive treasures were added to the adornments of the chest over the years, while others were placed on pedestals or beams nearby, or attached to hanging drapery.[24] For much of the time the chest (or "ferotory") was kept concealed by a wooden cover, which would be theatrically raised by ropes once a crowd of pilgrims had gathered.[21][23] Erasmus, who visited in 1512–4, recorded that, once the cover was raised, "the Prior ... pointed out each jewel, telling its name in French, its value, and the name of its donor; for the principal of them were offerings sent by sovereign princes."[25]
The income from pilgrims (such as those portrayed in Geoffrey Chaucer's Canterbury Tales) who visited Becket's shrine, which was regarded as a place of healing, largely paid for the subsequent rebuilding of the cathedral and its associated buildings. This revenue included the profits from the sale of pilgrim badges depicting Becket, his martyrdom, or his shrine.
The shrine was removed in 1538. Henry VIII summoned the dead saint to court to face charges of treason. Having failed to appear, he was found guilty in his absence and the treasures of his shrine were confiscated, carried away in two coffers and twenty-six carts.
Monastic buildings
Cloisters
A bird's-eye view of the cathedral and its monastic buildings, made in about 1165[27] and known as the "waterworks plan" is preserved in the Eadwine Psalter in the library of Trinity College, Cambridge.[28] It shows that Canterbury employed the same general principles of arrangement common to all Benedictine monasteries, although, unusually, the cloister and monastic buildings were to the north, rather than the south of the church. There was a separate chapter-house.[27]
The buildings formed separate groups around the church. Adjoining it, on the north side, stood the cloister and the buildings devoted to the monastic life. To the east and west of these were those devoted to the exercise of hospitality. To the north a large open court divided the monastic buildings from menial ones, such as the stables, granaries, barn, bakehouse, brew house and laundries, inhabited by the lay servants of the establishment. At the greatest possible distance from the church, beyond the precinct of the monastery, was the eleemosynary department. The almonry for the relief of the poor, with a great hall annexed, formed the paupers' hospitium.
The group of buildings devoted to monastic life included two cloisters. The great cloister was surrounded by the buildings essentially connected with the daily life of the monks,-- the church to the south, with the refectory placed as always on the side opposite, the dormitory, raised on a vaulted undercroft, and the chapter-house adjacent, and the lodgings of the cellarer, responsible for providing both monks and guests with food, to the west. A passage under the dormitory lead eastwards to the smaller or infirmary cloister, appropriated to sick and infirm monks.[27]
The hall and chapel of the infirmary extended east of this cloister, resembling in form and arrangement the nave and chancel of an aisled church. Beneath the dormitory, overlooking the green court or herbarium, lay the "pisalis" or "calefactory," the common room of the monks. At its north-east corner access was given from the dormitory to the necessarium, a building in the form of a Norman hall, 145 ft (44 m) long by 25 broad (44.2 m × 7.6 m), containing fifty-five seats. It was constructed with careful regard to hygiene, with a stream of water running through it from end to end.[27]
A second smaller dormitory for the conventual officers ran from east to west. Close to the refectory, but outside the cloisters, were the domestic offices connected with it: to the north, the kitchen, 47 ft (14 m) square (200 m2), with a pyramidal roof, and the kitchen court; to the west, the butteries, pantries, etc. The infirmary had a small kitchen of its own. Opposite the refectory door in the cloister were two lavatories, where the monks washed before and after eating.
[27]
Priors of Christ Church Priory included John of Sittingbourne (elected 1222, previously a monk of the priory) and William Chillenden, (elected 1264, previously monk and treasurer of the priory).[29] The monastery was granted the right to elect their own prior if the seat was vacant by the pope, and — from Gregory IX onwards — the right to a free election (though with the archbishop overseeing their choice). Monks of the priory have included Æthelric I, Æthelric II, Walter d'Eynsham, Reginald fitz Jocelin (admitted as a confrater shortly before his death), Nigel de Longchamps and Ernulf. The monks often put forward candidates for Archbishop of Canterbury, either from among their number or outside, since the archbishop was nominally their abbot, but this could lead to clashes with the king and/or pope should they put forward a different man — examples are the elections of Baldwin of Forde and Thomas Cobham.
Early in the fourteenth century, Prior Eastry erected a stone choir screen and rebuilt the chapter house, and his successor, Prior Oxenden inserted a large five-light window into St Anselm's chapel. [30]
The cathedral was seriously damaged by an earthquake of 1382, losing its bells and campanile.
From the late fourteenth century the nave and transepts were rebuilt, on the Norman foundations in the Perpendicular style under the direction of the noted master mason Henry Yevele.[31] In contrast to the contemporary rebuilding of the nave at Winchester, where much of the existing fabric was retained and remodelled, the piers were entirely removed, and replaced with less bulky Gothic ones, and the old aisle walls completely taken down except for a low "plinth" left on the south side. [32][6] More Norman fabric was retained in the transepts, especially in the east walls,[32] and the old apsidal chapels were not replaced until the mid-15th century.[30] The arches of the new nave arcade were exceptionally high in proportion to the clerestory.[30] The new transepts, aisles and nave were roofed with lierne vaults, enriched with bosses. Most of the work was done during the priorate of Thomas Chillenden (1391–1411): Chillenden also built a new choir screen at the east end of the nave, into which Eastry's existing screen was incorporated.[30] The Norman stone floor of the nave, however survived until its replacement in 1786.
From 1396 the cloisters were repaired and remodelled by Yevele's pupil Stephen Lote who added the lierne vaulting. It was during this period that the wagon-vaulting of the chapter house was created.
A shortage of money, and the priority given to the rebuilding of the cloisters and chapter-house meant that the rebuilding of the west towers was neglected. The south-west tower was not replaced until 1458, and the Norman north-west tower survived until 1834, when it was replaced by a replica of its Perpendicular companion.[30]
In about 1430 the south transept apse was removed to make way for a chapel, founded by Lady Margaret Holland and dedicated to St Michael and All Angels. The north transept apse was replaced by a Lady Chapel, built in 1448–55.[30]
The 235-foot crossing tower was begun in 1433, although preparations had already been made during Chillenden's priorate, when the piers had been reinforced. Further strengthening was found necessary around the beginning of the sixteenth century, when buttressing arches were added under the southern and western tower arches. The tower is often known as the "Angel Steeple", after a gilded angel that once stood on one of its pinnacles.
Photo of our TV of a scene when the dwarves were about to enter the mountain of the dragon Smaug and its gold and treasure. Some might liken carvings above the key to look somewhat like Masonic Square and Compasses.
Masonic Square and Compasses.
The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".
However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.
Square and Compasses:
Source: Mackey's Encyclopedia of Freemasonry
These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.
So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.
If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.
It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).
In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:
Yet I this forme of formelesse Deity,
Drewe by the Squire and Compasse of our Creed.
In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.
Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.
The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."
Square and Compass:
Source: The Builder October 1916
By Bro. B. C. Ward, Iowa
Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.
As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.
Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.
The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."
Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,
"You should not in the valley stay
While the great horizons stretch away
The very cliffs that wall you round
Are ladders up to higher ground.
And Heaven draws near as you ascend,
The Breeze invites, the Stars befriend.
All things are beckoning to the Best,
Then climb toward God and find sweet Rest.”
The secrets of Freemasonry are concerned with its traditional modes of recognition. It is not a secret society, since all members are free to acknowledge their membership and will do so in response to enquiries for respectable reasons. Its constitutions and rules are available to the public. There is no secret about any of its aims and principles. Like many other societies, it regards some of its internal affairs as private matters for its members. In history there have been times and places where promoting equality, freedom of thought or liberty of conscience was dangerous. Most importantly though is a question of perspective. Each aspect of the craft has a meaning. Freemasonry has been described as a system of morality, veiled in allegory and illustrated by symbols. Such characteristics as virtue, honour and mercy, such virtues as temperance, fortitude, prudence and justice are empty clichés and hollow words unless presented within an ordered and closed framework. The lessons are not secret but the presentation is kept private to promote a clearer understanding in good time. It is also possible to view Masonic secrecy not as secrecy in and of itself, but rather as a symbol of privacy and discretion. By not revealing Masonic secrets, or acknowledging the many published exposures, freemasons demonstrate that they are men of discretion, worthy of confidences, and that they place a high value on their word and bond.
Masonic Square and Compasses.
The Square and Compasses (or, more correctly, a square and a set of compasses joined together) is the single most identifiable symbol of Freemasonry. Both the square and compasses are architect's tools and are used in Masonic ritual as emblems to teach symbolic lessons. Some Lodges and rituals explain these symbols as lessons in conduct: for example, Duncan's Masonic Monitor of 1866 explains them as: "The square, to square our actions; The compasses, to circumscribe and keep us within bounds with all mankind".
However, as Freemasonry is non-dogmatic, there is no general interpretation for these symbols (or any Masonic symbol) that is used by Freemasonry as a whole.
Square and Compasses:
Source: Mackey's Encyclopedia of Freemasonry
These two symbols have been so long and so universally combined — to teach us, as says an early instruction, "to square our actions and to keep them within due bounds," they are so seldom seen apart, but are so kept together, either as two Great Lights, or as a jewel worn once by the Master of the Lodge, now by the Past Master—that they have come at last to be recognized as the proper badge of a Master Mason, just as the Triple Tau is of a Royal Arch Mason or the Passion Cross of a Knight Templar.
So universally has this symbol been recognized, even by the profane world, as the peculiar characteristic of Freemasonry, that it has recently been made in the United States the subject of a legal decision. A manufacturer of flour having made, in 1873, an application to the Patent Office for permission to adopt the Square and Compasses as a trade-mark, the Commissioner of Patents, .J. M. Thatcher, refused the permission as the mark was a Masonic symbol.
If this emblem were something other than precisely what it is—either less known", less significant, or fully and universally understood—all this might readily be admitted. But, Considering its peculiar character and relation to the public, an anomalous question is presented. There can be no doubt that this device, so commonly worn and employed by Masons, has an established mystic significance, universally recognized as existing; whether comprehended by all or not, is not material to this issue. In view of the magnitude and extent of the Masonic organization, it is impossible to divest its symbols, or at least this particular symbol—perhaps the best known of all—of its ordinary signification, wherever displaced, either as an arbitrary character or otherwise.
It will be universally understood, or misunderstood, as having a Masonic significance; and, therefore, as a trade-mark, must constantly work deception. Nothing could be more mischievous than to create as a monopoly, and uphold by the poser of lacy anything so calculated. as applied to purposes of trade. to be misinterpreted, to mislead all classes, and to constantly foster suggestions of mystery in affairs of business (see Infringing upon Freemasonry, also Imitative Societies, and Clandestine).
In a religious work by John Davies, entitled Summa Totalis, or All in All and the Same Forever, printed in 1607, we find an allusion to the Square and Compasses by a profane in a really Masonic sense. The author, who proposes to describe mystically the form of the Deity, says in his dedication:
Yet I this forme of formelesse Deity,
Drewe by the Squire and Compasse of our Creed.
In Masonic symbolism the Square and Compasses refer to the Freemason's duty to the Craft and to himself; hence it is properly a symbol of brotherhood, and there significantly adopted as the badge or token of the Fraternity.
Berage, in his work on the higher Degrees, Les plus secrets Mystéres des Hauts Grades, or The Most Secret Mysteries of the High Grades, gives a new interpretation to the symbol. He says: "The Square and the Compasses represent the union of the Old and New Testaments. None of the high Degrees recognize this interpretation, although their symbolism of the two implements differs somewhat from that of Symbolic Freemasonry.
The Square is with them peculiarly appropriated to the lower Degrees, as founded on the Operative Art; while the Compasses, as an implement of higher character and uses, is attributed to the Decrees, which claim to have a more elevated and philosophical foundation. Thus they speak of the initiate, when he passes from the Blue Lodge to the Lodge of Perfection, as 'passing from the Square to the Compasses,' to indicate a progressive elevation in his studies. Yet even in the high Degrees, the square and compasses combined retain their primitive signification as a symbol of brotherhood and as a badge of the Order."
Square and Compass:
Source: The Builder October 1916
By Bro. B. C. Ward, Iowa
Worshipful Master and Brethren: Let us behold the glorious beauty that lies hidden beneath the symbolism of the Square and Compass; and first as to the Square. Geometry, the first and noblest of the sciences, is the basis on which the superstructure of Masonry has been erected. As you know, the word "Geometry" is derived from two Greek words which mean "to measure the earth," so that Geometry originated in measurement; and in those early days, when land first began to be measured, the Square, being a right angle, was the instrument used, so that in time the Square began to symbolize the Earth. And later it began to symbolize, Masonically, the earthly-in man, that is man's lower nature, and still later it began to symbolize man's duty in his earthly relations, or his moral obligations to his Fellowmen. The symbolism of the Square is as ancient as the Pyramids. The Egyptians used it in building the Pyramids. The base of every pyramid is a perfect square, and to the Egyptians the Square was their highest and most sacred emblem. Even the Chinese many, many centuries ago used the Square to represent Good, and Confucius in his writings speaks of the Square to represent a Just man.
As Masons we have adopted the 47th Problem of Euclid as the rule by which to determine or prove a perfect Square. Many of us remember with what interest we solved that problem in our school days. The Square has become our most significant Emblem. It rests upon the open Bible on this altar; it is one of the three great Lights; and it is the chief ornament of the Worshipful Master. There is a good reason why this distinction has been conferred upon the Square. There can be nothing truer than a perfect Square--a right angle. Hence the Square has become an emblem of Perfection.
Now a few words as to the Compass: Astronomy was the second great science promulgated among men. In the process of Man's evolution there came a time when he began to look up to the stars and wonder at the vaulted Heavens above him. When he began to study the stars, he found that the Square was not adapted to the measurement of the Heavens. He must have circular measure; he needed to draw a circle from a central point, and so the Compass was employed. By the use of the Compass man began to study the starry Heavens, and as the Square primarily symbolized the Earth, the Compass began to symbolize the Heavens, the celestial canopy, the study of which has led men to think of God, and adore Him as the Supreme Architect of the Universe. In later times the Compass began to symbolize the spiritual or higher nature of man, and it is a significant fact that the circumference of a circle, which is a line without end, has become an emblem of Eternity and symbolizes Divinity; so the Compass, and the circle drawn by the Compass, both point men Heavenward and Godward.
The Masonic teaching concerning the two points of the Compass is very interesting and instructive. The novitiate in Masonry, as he kneels at this altar, and asks for Light sees the Square, which symbolizes his lower nature, he may well note the position of the Compass. As he takes another step, and asks for more Light, the position of the Compass is changed somewhat, symbolizing that his spiritual nature can, in some measure, overcome his evil tendencies. As he takes another step in Masonry, and asks for further Light, and hears the significant words, "and God said let there be Light, and there was Light," he sees the Compass in new light; and for the first time he sees the meaning, thus unmistakably alluding to the sacred and eternal truth that as the Heavens are higher than the Earth, so the spiritual is higher than the material, and the spiritual in man must have its proper place, and should be above his lower nature, and dominate all his thoughts and actions. That eminent Philosopher, Edmund Burke, once said, "It is ordained that men of intemperate passions cannot be free. Their passions forge the chains which bind them, and make them slaves." Burke was right. Masonry, through the beautiful symbolism of the Compass, tells us how we can be free men, by permitting the spiritual within us to overcome our evil tendencies, and dominate all our thoughts and actions. Brethren, sometimes in the silent quiet hour, as we think of this conflict between our lower and higher natures, we sometimes say in the words of another, "Show me the way and let me bravely climb to where all conflicts with the flesh shall cease. Show me that way. Show me the way up to a higher plane where my body shall be servant of my Soul. Show me that way."
Brethren, if that prayer expresses desire of our hearts, let us take heed to the beautiful teachings of the Compass, which silently and persistently tells each one of us,
"You should not in the valley stay
While the great horizons stretch away
The very cliffs that wall you round
Are ladders up to higher ground.
And Heaven draws near as you ascend,
The Breeze invites, the Stars befriend.
All things are beckoning to the Best,
Then climb toward God and find sweet Rest."
OSAN AIR BASE, Republic of Korea (Jan. 21, 2014) - Capt. Edward Ellingson, 35th Air Defense Artillery Brigade public affairs officer, explains the U.S. Patriot missile system to Republic of Korea Air Force cadets. Nearly 100 cadets attended the trip to learn about the U.S. Patriot missile and Army air defense. (U.S. Army photo/Staff Sgt. Heather A. Denby)
140122-F-XX000-084
** Interested in following U.S. Pacific Command? Engage and connect with us at www.facebook.com/pacific.command and twitter.com/PacificCommand and www.pacom.mil/
Explainer: While I wish I could fully dress, wig-up and make-up regularly, those days are rare. So I post these AI renderings. FYI: the photos are AI generated, from actual photos of me, enhanced slightly with FaceApp and then dressed from outfits I see and love on the interweb. Enjoy them or not! I do, that's all that matters! Love, Crystal
Decided to post in full resolution for your enjoyment and readability purposes...
Oh and look carefully - there are three artifacts in this photo!
----------------------
Enjoy this picture of the Insitu ScanEagle UAV. This one helped rescue Captain Phillips in 2009 from Somali pirates by providing from the USS Bainbridge real-time aerial footage of the lifeboat Captain Phillips was kept hostage in.
Decided to post this drone picture on 18 February because the day before, the Washington State House passed drone regulation legislation. If my State Senate passes EHB 2789, the drone industry will dramatically expand in a safe, thoughtful way.
One might like the Insitu website on this fine UAV.
Can't explain...
Anything...
Not even how im feeling...
My emotions are so messed up lately...
Im not myself, But sometimes im more than myself.
I don't sleep.
Im just not me, Then who am i?
I act stuck up and mean, But thats not me.
Whats gotten into me...
I need to find myself, But i can't.
I push everyone close to me away...
I need them more than ever rightnow.
sometimes i feel like my heart
is beating extremlyy fast like im having
a heart attack, almost like im dying,
i've been told these are panic attacks
bah i get them most frequently grr
Random Fact: that peace sign headband i wear that almost everyday. :)
Saint Georges des Sept Voies (Maine et Loire)
Le Grand Menhir de Nidevelle ou du Sale Village.
Haut de 5,90 m et large d'1 m.
C'est le 2e plus haut menhir d'Anjou.
La légende nous explique que le géant Gargantua, après avoir traversé la Loire entre Les Rosiers et Gennes, s'arrêta au niveau du Sale village.
Il y faucha un champ de blé, puis il s'assit pour retirer ses chaussures.
Elles s’étaient remplies de terre. Il les vida, ce qui est à l'origine des deux collines de chaque coté du village.
Sa pierre à aiguiser abandonnée par le géant se planta pour devenir le menhir.
Une légende explique le drôle de nom du hameau, le Sale Village : "La Comtesse de Caen traversant ce petit hameau, en revenant d'une visite à l'église de Saint-Georges-des-Sept-Voies et à la Ferme-école qu'elle fonda et finança, le carrosse de la comtesse s'embourba dans le chemin de terre qui traversait ce petit hameau (ou qu’il versa dans le virage)… La comtesse se serait exclamée : Quel sale village !".
Les toponymistes, estimant que beaucoup de noms de lieux remontent à des peuples installés avant l'arrivée des Indo-Européens, ont reconstitué une liste de radicaux caractéristiques. Ainsi Sal ou Sala serait une racine pré-indo-européenne désignant des terrains marécageux. Ce qui est bien possible, le "Sale-Village" étant dans un creux. (Bahlow (Deutsches Namenlexikon)
Autre possibilité : demeure noble (Saal = salle), comme pour le nom français Salles. Plusieurs communes allemandes s'appellent Saal : Saal an der Donau, une commune de Bavière, Saal an der Saale, un bourg de Bavière (Allemagne).
Saint Georges Seven Ways (Maine et Loire)
The Grand Menhir of Nidevelle or Sale Village.
Top of 5.90 m and a width of 1 m.
This is the 2nd highest menhir of Anjou.
The legend explains that the giant Gargantua, after crossing the Loire River between Gennes and Les Rosiers, stopped at the Sale village.
There mowed wheat field, then sat down to remove his shoes.
They were filled with soil. He drained soil contained, what is the origin of the two hills on either side of the village.
His sharpening stone abandoned by the giant planted to become the menhir.
A legend explains the strange name of the hamlet, the Sale-Village : "La Comtesse de Caen crossing this small hamlet, returning from a visit to the church of Saint-Georges-des-Sept-Ways and Farm School she founded and financed, the coach of the Countess got stuck in the dirt road that ran through this little hamlet (or he poured into the turn) ... The Countess would have exclaimed: How dirty town (Quel sale village)! ".
Toponymists, considering that many place names back to peoples settled before the arrival of Indo-Europeans, have reconstructed a list of radicals characteristics. So Sal or Sala is a pre-Indo-European root designating wetlands. What is possible, the "Sale-Village" being in a hollow. (Bahlow Deutsches Namenlexikon)
Another possibility : noble residence (Saal = en), as the French name rooms. Several German towns are called Saal: Saal an der Donau, a town of Bavaria, Saal an der Saale, a town of Bavaria (Germany).
I hadn't been able to take out the M4 and 35mm Nikkor in awhile, so brought it with me on several occasions. Was trying to focus on the pictures in my mind rather than what was in front of me, basically to construct things differently. I had seen a number of flickeranians who really impressed me with their work where I could feel what they were doing, from images in Los Angeles to the tri-state area to South East Asia. I keep trying and thank those who keep inspiring!
Explainer: While I wish I could fully dress, wig-up and make-up regularly, those days are rare. So I post these AI renderings. FYI: the photos are AI generated, from actual photos of me, enhanced slightly with FaceApp and then dressed from outfits I see and love on the interweb. Enjoy them or not! I do, that's all that matters! Love, Crystal
Spanish Defense Minister Margarita Robles listens to Prime Minister Pedro Sanchez (unseen) delivering a speech to explain the declaration of the 'state of alarm' issued to deal with coronavirus outbreak during a plenary session at Lower Chamber in Madrid, Spain, 18 March 2020. Sanchez addressed the measures taken to deal with the COVID-19 outbreak. EFE/Mariscal POOL
For mountainous, landlocked Armenia, Lake Sevan, one of the largest high-altitude lakes in the world, is a major source of people’s livelihood. Azat Karapetyan is one of many people who literally depend on the lake. “My son and I decided to build this small restaurant by the shores of the lake so that customers can enjoy its beauty and our food, says Azat.
Their company, manages several businesses in the town of Sevan. All of them, including a bee farm that relies on the flora around the lake for its honey, and a grocery shop, are either directly or indirectly linked to the lake.
Since the Soviet era, profligate use of the lake’s water for irrigation and electricity generation had caused the level of the lake to drop by 20 meters, with dramatic consequences for the environment. Today, thanks to a rescue plan, the water level is rising again, giving hope that the lake can re-gain its original shape.
However, a major threat still looms over the delicate ecosystem and the people living in the dozens of lakeside villages. “In the past years, the lake has become very polluted, explains Azat. “It’s a problem for our work; the number of clients has decreased. The danger for public health is even greater; until recently, none of the towns and villages around the lake had any wastewater treatment or adequate sewage disposal. Outdated wastewater collection systems, utilising damaged pipes and unsanitary cesspits, would discharge raw sewage into rivers and streams flowing directly into the lake.
To help the Armenian government bear the high costs of a wastewater system upgrade in five municipalities around the lake, the EBRD has provided a €7 million loan and the European Union has contributed a €5 million capital expenditure grant. The project includes sewer pipe repairs in the Sevan and Jermuk area and construction of sewer networks and wastewater treatment plants to serve the towns of Gavar, Vardenis and Martuni. These are among the most destitute areas of Armenia, a country where 30 per cent of the population lives below the poverty line.
The government has on-lent the EBRD funds to the Armenian Water and Sewerage Company (AWSC). “We have already built 50 km of sewerage network and wastewater collectors, announces Alexander Ohanyan, AWSC’s senior officer. “We are about to finish building the three wastewater treatment stations. The works are expected to be completed by the summer. “Thanks to this programme, the water will be treated and the environment will be spared further pollution," he says.
Skills transfer with donor support
To support the preparation and implementation of this first EBRD Municipal and Environmental Infrastructure operation in Armenia, the Early Transition Country’s Fund and the EU provided €1.1 million for technical cooperation (TC) projects. This will encourage the transfer of knowledge and skills to the AWSC and expose the company to best practices in design, engineering and high standards of transparency and governance in procurement.
“It will be delightful to see the lake clean again, comments Azat strolling on the beach after a long day at work. “The neighbours and the guests are very happy that so much attention is being paid towards cleaning the water. It’s very important for our health and for our business.
To secure a healthier environment and to improve people’s lives, the EBRD recently signed another water project in Armenia which will see a further €20 million from the Bank, the EIB and the EU invested in water supply and wastewater system improvements in 17 other small municipalities across the country – helping to save Lake Sevan’s waters drop by drop.
4th visit to Brookland, this time to see of the unique tower was open.
It wasn't.
Sadly.
But the church was, as it always is.
Then I remembered the font. The lead font. And the chuch has seen fit to have an educational form near the font explaining it.
Wonderful work.
Brookland is large. And yet only the second largest church we visited that day of three.
The pub next door has closed, which is very sad, as it is when any pub closes.
The church is large, and rustic, and yet has tombs, memorials and much of interest. The glory though is the font:
The font as two tiers:
Top tier depicts the zodiac and the lower tiew shows the months.
January: Two faced Janus.
February: A man seated warming himself by a fire out of doors.
March: A man pruning a vine.
April: A bareheaded figure in a long robe, holding in each hand a sprouting branch.
May: A knight on a palfrey with a hawk on his left arm.
June: A man mowing with a long-bladed scythe.
July: A man working with a rake.
August: A man reaping with a sickle.
September: A man threshing corn with a flail.
October: Wine pressing.
November: A swineherd holding aloft a hooked stick.
December: A man with uplifted axe killing a pig, no doubt for Christmas cheer.
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A long low church with the most famous spire in Kent. This three-stage 'candle-snuffer' erection which stand son the ground instead of on a tower is the result of several enlargements of a thirteenth-century bell cage and its subsequent weatherproofing with cedar shingles. It contains a peal of six bells, the oldest of which is mid-fifteenth century in date. The spire is surmounted by a winged dragon weathervane, dating from 1797. The monster has a prominent forked tongue. The reason for the bells being hung in a cage rather than a tower is shown inside the church where the pillars of the nave have sunk into the soft ground and splayed out to north and south. The tie-beams of the roof came away from the walls and have had to be lengthened by the addition of new timber supports. The outstanding Norman font in cast lead has been fully described in Part 1. To the south of the church is a headstone incorporating the only 'Harmer Plaque' in Kent - a terracotta panel made in East Sussex where they are a common feature.
www.kentchurches.info/church.asp?p=Brookland
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BROOKLAND,
SO called from the several brooks and waterings within the bounds of it, lies the next parish southeastward, mostly within the level of Walland Marsh, and within the jurisdiction of the justices of the county; but there are some lands, which are reputed to be within this parish, containing altogether about 124 acres, which lie in detached pieces at some distance south-eastward from the rest of it, mostly near Ivychurch, some other parishes intervening, which lands are within the level of Romney Marsh, and within the liberty and jurisdiction of the justices of it.
The PARISH of Brookland lies on higher ground than either Snargate or Fairfield last described, and consequently much drier. It is more sheltered with trees, and inclosed with hedges, than any of the neighbouring parishes. The village is neat and rather pleasant, considering the situation, and the houses, as well as inhabitants, of a better sort than are usually seen in the Marsh. The church stands in the middle of it. The lands towards the south are by far the most fertile, for towards Snargate they are very poor and wet, and much covered with rushes and thistles. It consists in general of marsh-land, there not being above thirty acres of land ploughed throughout the parish, which altogether contains about 1730 acres of land.
A fair is held here yearly on the feast of St. Peter ad Vincula, or Lammas-day, being August I, for toys and pedlary.
The MANORS of Fairfield, Apledore, Bilsington, and Court at Wick, extend over this parish, subordinate to which is THE MANOR OF BROOKLAND, which has long since lost even the reputation of having been a manor. It was in early times the patrimony of the family of Passele, or Pashley, as they were afterwards called, whose seat was at Evegate, in Smeeth, (fn. 1) of whom Edward de Passeley is the first that is discovered in public records to have been possessed of this manor, and this appears by the inquisition taken after his death, anno 19 Edward II. Soon after which it was alienated to Reginald de Cobham, a younger branch of the Cobhams, of Cobham, whose descendants were seated at Sterborough castle, in Surry, whence they were called Cobhams, of Sterborough, and they had afterwards summons to parliament among the barons of this realm. At length Sir Thomas Cobham died possessed of it in the 11th year of king Edward IV. leaving an only daughter and sole heir, who carried it in marriage to Sir Edward Borough, of Gainsborough, in Lincolnshire, whose son and heir Thomas was summoned to parliament as lord Burgh, or as it is usually pronounced, Borough, anno 21 king Henry VIII. and left a son and heir Thomas, lord Burgh, whose lands were disgavelled by the act anno 31 Henry VIII. His son William, lord Burgh, about the 12th year of queen Elizabeth's reign, passed it away to Eversfield, of Suffex, from whom it was alienated soon afterwards to Godfrey, of Lid, at which time this estate seems to have lost its name of having been a manor. He, before the end of that reign, sold it to Wood, by whom it was again alienated in the beginning of king James I.'s reign to Mr. John Fagge, of Rye, whose descendant John Fagge, esq. of Wiston, in Suffex, was created a baronet in 1660. He had a numerous issue, of which only three sons and two daughters survived. Of the former, Sir Robert, the eldest, was his successor in title; Charles was ancestor of the present baronet, the Rev. Sir John Fagge, of Chartham; and the third son Thomas Fagge, esq. succeeded by his father's will to this estate at Brookland. His son John Meres Fagge, esq. of Glynely, in Sussex, left surviving an only daughter Elizabeth, who on his death in 1769, entitled her husband Sir John Peachy, bart-of West Dean, in Sussex, to the possession of it. He died s. p. and she surviving him, again became entitled to it in her own right, and is at this time the present owner of it.
There are noparochial charities.
BROOKLAND is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Limne.
The church, which is dedicated to St. Augustine, is a very large handsome building, consisting of three isles and three chancels. The steeple stands on the north side, and at some small distance from it, in which are five bells. The church is kept exceedingly neat and clean. It is cieled throughout, and handsomely pewed. In the high chancel there is a confessionary, and a nich for holy water within the altar-rails. There are several memorials in it, but none of any account worth mentioning. At the west end is a gallery, lately erected at the charge of the parish. The font is very curious, made of cast lead, having on it two ranges of emblematical figures, twenty in each range. The steeple is framed of remarkable large timber. It is built entirely of wood, of an octagon form, perpendicular about five feet from the bottom, and from thence leffening to a spire at top, in which it has three different copartments or stories, the two uppermost larger at the bottom, and projecting over those underneath them. Although there are but five bells in it, yet it has frames for several more. The whole is much out of the perpendicular leaning towards the church. In the church-yard are several tombs and gravestones for the Reads.
¶The church of Brookland was part of the antient possessions of the monastery of St. Augustine, to which it was appropriated by pope Clement V. at the request of Ralph Bourne, the abbot of it, in king Edward II.'s reign, but the abbot declined putting the bull for this purpose in force, till a more favourable opportunity. At length John, abbot of St. Augustine, in 1347, obtained another bull from pope Clement VI for the appropriation of it, and having three years afterwards obtained the king's licence for this purpose, (fn. 2) the same was confirmed by archbishop Islip in 1359, who next year endowed the vicarage of this church by his decree, by which he assigned, with the consent of the abbot and convent, and of the vicar, of the rents and profits of the church, to John de Hoghton, priest, then admitted perpetual vicar to the vicarage of it, and canonically instituted, and to his successors in future in it, a fit portion from which they might be fitly maintained and support the undermentioned burthens. In the first place he decreed and ordained, that the religious should build on the soil of the endowment of the church, at their own costs and expences, a competent mansion, with a sufficient close and garden, for the vicar and his successors, free from all rent and secular service, to be repaired and maintained from that time by the vicar for the time being; who on the presentation of the religious to be admitted and instituted by him or his successors, into the vicarage, should likewise have the great tithes of the lands lying on the other side of le Re, towards Dover, viz. beyond the bridge called Brynsete, and towards the parish churches of Brynsete, Snaves, and Ivercherche, belonging to the church of Brokelande, and likewise the tithes arising from the sheaves of gardens or orchards dug with the foot, and also all oblations made in the church or parish, and all tithes of hay, calves, chicken, lambs, pigs, geese, hens, eggs, ducks, pidgeons, bees, honey, wax, swans, wool, milkmeats, pasture, flax, hemp, garden-herbs, apples, vetches, merchandizes, fishings, fowlings, and all manner of small tithes arising from all things whatsoever. And he taxed and estimated the said portion at the annual value of eight marcs sterling, at which sum he decreed the vicar ought to contribute in future, to the payment of the tenth and all other impositions happening, of whatsoever sort. Not intending that the vicar of this church should be entitled to, or take of the issues and rents of it, any thing further than is expressed before, but that he should undergo the burthen of officiating in the same, either by himself or some other sit priest, in divine offices, and in the finding of lights in the chancel, and of bread and wine for the celebration of masses, the washing of vestments, and the reparation of the books of the church, and should nevertheless pay the procuration due to the archbishop, on his visitation. But the rest of the burthens incumbent on the church, and no ways here expressed, should belong to the abbot and convent, &c. (fn. 3) After this, the church and advowson of the vicarage of Brookland remained part of the possessions of the above monastery till the final dissolution of it, anno 30 Henry VIII. when it was, with all its revenues, surrendered into the king's hands, where this rectory and advowson staid but a short time, for the king, by his dotation charter, settled them on his newerected dean and chapter of Canterbury, part of whose possessions they continue at this time.
On the abolition of deans and chapters, after the death of king Charles I. this parsonage was surveyed in 1650, when it appeared that it consisted of a close of land of one acre, on which stood the parsonage barne, and other outhouses, with the tithe of corn and other profits belonging to it, estimated coibs annis at twenty four pounds, all which were by indenture, in 1635, demised for twenty-one years, at the yearly rent of eight pounds, but were worth, over and above the said rent, sixteen pounds per annum, and that the lessee was to repair the premises, and the chancel of the parish church.
In 1384 this church or rectory appropriate was valued at 13l. 6s. 8d. but anno 31 Henry VIII. it was demised to ferme at only 8l. 3s. 4d. It is now demised on a beneficial lease by the dean and chapter, at the yearly rent of eight pounds to Mrs. Woodman, the present lessee of it. The vicarage of this church is valued in the king's books at 17l. 12s. 8½d. and the yearly tenths at 1l. 15s. 3¼d. In 1587 it was valued at sixty pounds, communicants one hundred and sixtysix, and in 1640 the same, and it is now of about the same value.
There is a modus of one shilling per acre on all the grass-lands in this parish. The vicar is entitled to all the small tithes, subject to this modus, throughout the parish, and to the tithes of corn of those lands, being one hundred and twenty-four acres, which lie in detached pieces beyond Brenset bridge, in Romney Marsh, as mentioned before, in the endowment of this vicarage.
There is a school here, for teaching reading and writing, supported by contribution, at which fifty children are usually taught.
Explaining the pros & cons of a new lens a 58mm f1.4. Only thing in common was mine was 58mm as well.
1/5
Members of the American High School Theatre Festival presenting excerpts of their show "The Chronicles of Narnia: The Lion, the Witch and the Wardrobe" on and around one of the Virgin Money free stages on The Mile
For a variety of reasons, not all of them rational, I have decided to mess around in Facebook. You can find me at:
For those interested, this is our rain barrel system. We took video to explain it, haven't gotten around to editing it yet.
We have 7-55 gallon barrels all hooked together. They fill at the same time and drain together. We have one spigot to fill watering cans and a pump with another spigot for use with the hose or sprinkler.
There's an overflow as well, they're all hooked together and overflow into the downspout if they're full. We have a clear tube at the end so we can see how much water we have. The system is also easily expandable if we want to add more barrels, we think we can fit 7-10 more across the back of the garage.
One of the best things about this system is the cost. We only spent about $120 for the entire system (including deck). The deck was built with lumber we removed from the deck on our house, we wanted a smaller sized deck on the house. The barrels are food grade plastic barrels and cost us only $10 each (you want to make sure you don't get barrels that had chemicals in them). We spent about $50 on other materials, posts, PVC (we also had some of that sitting around that we used up).
Mia explains why it is so much fun to be in Ms. Cephus' class. "She is always funny, but you learn a lot!"
“No reason explains war”
From the 10th to the 13th November, our socio-cultural partners and friends in the AfroReggae Band from Rio de Janeiro, will be in and around the state of São Paulo to launch their latest show, “No reason explains war”. Formed by youth from the infamous shanties of Rio de Janeiro, the AfroReggae Band has been an important inspiration and motivation for the actions of our own youth group and especially the Beija-Flor Band.
São Paulo was chosen by the group for the launching and tour of their latest show, which will be passing through the cultural centres of SESC Pompéia (10/11), SESC Bauru (11/11), SESC Ribeirão Preto (12/11) and SESC Itaquera (13/11). The images in this series are from the show at SESC Pompéia. The relationship between AfroReggae and the SESC of São Paulo began in 2001 and extends further than just their circuit of shows and cultural presentations. This year, the choice by AfroReggae to realize the premier viewing of their prize-winning film Favela Rising, in São Paulo at the SESC Pinheiros, was no mere coincidence, not to mention all the other social, cultural and artistic activities already realized in partnership with the group.
The show coincides with the launching of their latest CD at the end of November. The CD, “No reason explains war”, unites 10 songs – most of which are unpublished – composed by diverse members of AfroReggae in partnership with some of the grand names in Popular Brazilian Music, such as Arnaldo Antunes, Nando Reis, Jorge Mautner, Nelson Jacobina and Liminha, besides a new version of Caetano Veloso e Gilberto Gil’s music “Haiti”. With their unique sonority in the track titled “No reason explains war”, AfroReggae also counts on the special participation of the English Rappers, TY and Estelle.
The performances in São Paulo – directed by José Junior e Johayne Hidelfonso – brings us songs from the new álbum like "Negro Affairs", "I only want you" and “Another Chance”, besides great successes from their first album, like "I’m annoyed" and "Front Cover". Also acclaimed songs such as “Let’s Escape”, by Gilberto Gil and Liminha, “Fly In My Soup” by Raul Seixas, and “What country is This” by Renato Russo, are in the selection.
The AfroReggae Band surfaced in 1995, as a result of the dance and percussion workshops that were held by the NGO in the Vigário Geral Shanty. During the São Paulo tour, the band is made up of Ando (vocals); LG (vocals); Dinho (vocals); Altair Martins (percussion); Dada (percussion); Wallace (percussion); Juninho (percussion); Jairo Cliff (bass guitar); Joel Dias (guitar); Magic Julio (DJ); Cosme (drums); Maílson (keyboards) and Mariana Rangel (backing vocals).
With the passing of time, AfroReggae has also changed and gained new dimensions, increasing the sounds of the drums, bass and guitar. The presence of a DJ put final touches on the songs being composed by the band. In 1998, the first International invitiation delivered AfroReggae to Europe and in 2001 the banda launched their first album called “New Face”.
Portuguese Text:
“Nenhum motivo explica a guerra”
Entre os dias 10 e 13 de novembro, a banda AfroReggae estará em São Paulo para lançar o seu novo show, “Nenhum motivo explica a guerra”. O estado foi escolhido pela banda para começar a turnê de shows que passará pelas unidades do Sesc Pompéia (em 10/11), Sesc Bauru (11/11), Sesc Ribeirão Preto (12/11) e Sesc Itaquera (13/11). A relação entre o AfroReggae e o SESC-SP começou em 2001 e vai além do circuito de shows e apresentações. Neste ano o AfroReggae fez questão de fazer a primeira exibição do premiado filme Favela Rising, em São Paulo, para a direção do SESC-SP, na unidade de Pinheiros. Além de inúmeras ações sociais, culturais e artísticas.
Com lançamento marcado para o fim de novembro, o cd “Nenhum motivo explica a guerra” reúne 10 canções - a maioria inédita - compostas pela turma do AfroReggae em parceria com alguns dos grandes nomes da música popular brasileira como Arnaldo Antunes, Nando Reis, Jorge Mautner, Nelson Jacobina e Liminha, além de uma versão para a música “Haiti”, de Caetano Veloso e Gilberto Gil. Com sonoridade única, a banda AfroReggae conta com participação especial dos rappers ingleses TY e Estelle, na faixa título “Nenhum motivo explica a guerra”.
A apresentação em São Paulo – com direção de José Junior e Johayne Hidelfonso - traz músicas do novo cd como "Coisa de negão", "Quero só você" e “Mais uma chance”, além de sucessos do primeiro disco como "Tô bolado" e "Capa de revista". Canções consagradas como “Vamos fugir”, de Gilberto Gil e Liminha, “Mosca na sopa” de Raul Seixas e “Que Pais é este”, de Renato Russo também estão na seleção.
Formada pelos integrantes Ando (voz); LG (voz); Dinho (voz); Altair Martins (percussão); Dada (percussão); Wallace (percussão); Juninho (percussão); Jairo Cliff (baixo); Joel Dias (guitarra); Magic Julio (Dj); Cosme (bateria); Maílson (teclado) e Mariana Rangel (backing vocal), a banda AfroReggae surgiu em 1995, a partir de oficinas de dança e percussão que eram realizadas em Vigário Geral.
Com o passar do tempo, o AfroReggae mudou e ganhou novas formas, acrescentando em suas melodias naipes de bateria, baixo e guitarra. A presença de um DJ deu um toque final às músicas que a banda começava a compor. Em 1998 surge o primeiro convite internacional, que levou o AfroReggae para Europa. Em 2001 a banda lança o primeiro Cd chamado “Nova Cara”.
More AfroReggae Images
At the AIC, there were young students giving lessons on some of their favorite paintings. They were doing a great job and even fielding questions from their classmates.
Decorator crab climbing a soft coral. I used some notes to point out the eye, a claw and a leg of the crab so that you can visually parse it. Plenty of these curious animals in Nelson Bay.
Please consider donating for typhoon relief in my underwater-photographic home country, the Philippines: ushare.redcross.org.ph/
Like my pictures? There are more in "Sex, Drugs and Scuba Diving" and on my blog.
A talk on Barcode Wales - Beyond the Visible for Chongqing Two River Volunteer Service Development Centre - a local NGO, dedicated to environmental action through education, community projects and citizen science.
I start with some background on DNA barcoding and the Barcode Wales project and Andrea continues with an explanation about her artwork and the Barcode Wales - Beyond the Visible exhibition. We then discuss the links between the art and the science.
Andrea's photographs illustrate some of the plant species DNA barcoded as part of the Barcode Wales project. She takes a different approach to her subjects. Instead of photographs that look 'at' the world around us, she wants us to be part of that landscape and involved with it. Instead of 'pictures of plants' she asks us to imagine being part of their world, like a bee foraging through their habitat. Her photographs give equal value to all plants not just the rare or conventionally beautiful.
Below the photographs is a visual representation of the plants DNA barcode. The Barcode Wales project is also about giving value to every plant species and its DNA barcode allows us to understand their habitats in new ways. The name of the species is not given on the photographs, instead the DNA barcode represents the signature of the species, as it is the DNA code locked up in every cell of the plant's body. The DNA barcode visualisations use the actual rbcL DNA barcode of the species with the A,G,C,Ts of the DNA bases each having a different colour and shape. The shapes are the Morse code for that letter. The visualisations were designed by Col Ford who wrote a software script to generate the visualisations from the Barcode Wales database. The Barcode Wales - Beyond the Visible exhibition is a collaboration between art, science and software engineering.
The Barcode Wales Paper: dx.plos.org/10.1371/journal.pone.0037945