View allAll Photos Tagged explain
"Someone's got some 'spainin' to do!!"
If you can think of a better caption, please leave a comment.
By JAKE RUSSELL of the Jacksonville Journal Courier
Cannon fire interrupted the narrator as he explained the Battle of Newton’s Station to an audience lined along the Community Park field.
Suddenly, confederate soldier re-enactors rushed hay bales and barrels to the field for cover as union soldiers marched in. Rifles fired, cannons roared and the Gen. Benjamin Grierson Days Civil War re-enactment played out.
After 17 years, the props were a way to breathe new life into the re-enactments, said Erik Hack, a Gen. Benjamin Grierson Days committee member. Re-enactors had objectives and the props helped to stagger the battle and delay action.
All this was only a fraction of the new life breathed into Gen. Benjamin Grierson Days this year.
After floodwaters forced its cancellation last year, the two-day event came back with a renewed energy — new World War I and World War II skirmishes as well as the Veterans Remembered Timeline exhibits that were supposed to debut last year.
For Hack, it’s a chance to relive the camaraderie felt among fellow soldiers and also to honor and remember veterans.
“When somebody comes back from a combat situation, they’re changed,” he said. “We honor our vets and this is a safe way to remember the past.”
Christian Jebb portrayed David Dalton, a young Confederate soldier with the Eighth Arkansas.
Jebb was born into re-enacting, following his brother’s and father’s footsteps.
“It’s a brotherhood really,” he said. “You can’t find anything better than a fellow re-enacting brother. You find out how many cool jackets the Confederate side had and then you find out how hot the wool was. It’s pretty toasty.”
Re-enacting goes beyond a love of history, though.
“We’ve made it our lives, in a way,” he said. “I love history because of the common soldier. It’s scary to think of how many thousands of soldiers aren’t remembered.”
The Civil War re-enactment went as it does usually — re-enactors gathered for an officer’s call in the morning and came up with a battle plan. The battle plan changed three or four times through the morning until it had changed completely about 30 minutes before battle time, said Jon Cook, who portrayed a soldier with the 12th Illinois Calvary. Of course, the general plan stays in place for safety reasons.
Cook also portrayed a German soldier in the World War II skirmish, which caught a bit of the early afternoon rains that swept through the region.
His rifle malfunctioned in the skirmish so he took a hit and died right off the bat. When he fell on his side, his exposed ear filled with water.
“The things you do just to look dead,” he joked, explaining how his first re-enactment, he took a hit and fell on his back, arms spread out directly under the sun’s fierce beams. “I’ll never do that again.”
The rain did little to deter the crowd.
Cook’s been involved in Civil War re-enactments for about 20 years. His first time was during the first Gen. Benjamin Grierson Days event when his high school friend, Jim Phillips, recruited him.
Phillips had been trying to get Cook to re-enact since high school, so Cook gave it a chance. He went through safety checks until it came time for battle. Then he marched single-file between cannons until he was given the order “Double time!” at which point he ran.
Past the safety line — about 50 feet — Phillips gave the order, “Belly down!”
“So we all went belly down, the cannons go off, the hairs on the back of my neck stood up and I was hooked,” Cook said.
He was so hooked, in fact, that he took an entire paycheck and spent it on his first uniform. Since then, he’s spent about $6,000 in warfare paraphernalia, he said.
“I’ve always been interested in the history of the warfare of America,” he said. “It’s our heritage. For what all these men have given, they’ve all given their freedom and lives for us to have the freedom to be able to do things like this. I feel like if we don’t show the youth what happens in war, we’re doomed to repeat it.”
That’s what Gen. Benjamin Grierson Days is all about — remembering and honoring veterans.
For example, the highlight of the day for Hack was the opportunity to give a World War II veteran a ride in a deuce and a half vehicle.
“We made his day and that made the weekend worth it,” he said.
A 1972 letter from Lawrence Caldwell, who shot and killed officer William Sigmon during a savings and loan robbery in Washington, D.C. in 1971, explains his side of the story.
On May 25, 1971 Lawrence Caldwell, Eros Timm and Heidi Ann Fletcher robbed a savings and loan company at Arizona Avenue and MacArthur Blvd. NW, Washington, D.C.
There had been a spate of bank robberies across the District and police had staked out this savings and loan.
As the two men made their way out of the bank to their getaway van driven by Fletcher, two police officers burst from the back of the loan company.
Caldwell and Timm said their guns were tucked away when officer William Sigmon opened fire.
Caldwell wrote a letter to the Washington Post explaining his version:
“We were coming out of the parking lot with our backs to the door when I heard, ‘alright, hold it right there,’ Our guns were in our pockets, his was drawn. We turned to him and he fired! At that point it became an escape or die situation.”
As Sigmon pursued Timm, the officer took up a defensive position below a stairwell. Caldwell came up behind him at shot him in the back, striking his heart. Timm was wounded in the shoot-out.
The three made their escape, but hours later they were stopped in their van on Connecticut Avenue near Van Ness shopping center and arrested for murder, among other charges.
Caldwell claimed they were conducting bank robberies in order to buy a farm they hoped to use as a base for revolutionary activity.
Caldwell had a history of political activism and was arrested during a February 1970 march on the Watergate home of Attorney General John Mitchell protesting the convictions of the Chicago 7. He was one of the plaintiffs in a suit against police that resulted in the dropping of all charges against the 142 arrested that day.
He claimed that the three struck against financial institutions not for personal monetary gain, but instead to strike a blow against “banking institutions, stock exchanges, et. al.”
Fletcher, the daughter of a former deputy mayor of Washington, D.C., pled guilty and received an indeterminate sentence under the Youth Corrections Act. She served 53 months before being released.
Timm and Caldwell received life sentences. Timm was murdered in prison in 1983. Caldwell pursued somewhat of a career in prison as a jailhouse lawyer and an escape artist. He was skilled enough at brief writing to obtain hearings, sometimes winning cases including winning damages against the District of Columbia for denying him medical attention.
He tried many times to escape and succeeded for 14 months, but was recaptured. He was ultimately released in December 2003 after 33 years.
Caldwell recalled after his release, “There was a saying: ‘Kill a commie for Christ.’ So we said, ‘Off a pig for Krishna.’”
For more information and related images, see flic.kr/s/aHsmeHkt1M
Reprinted from the Montgomery County Spark, April 15, 1972.
Street candid taken of a young boy explaining something to his mum. Because he's so young and not so articulate he was was taking more with his hands than his mouth.
Photo citation: Ted Auch, FracTracker Alliance, 2021.
Each photo label provides this information, explained below:
Photographer_topic-sitespecific-siteowner-county-state_partneraffiliation_date(version)
Photo labels provide information about what the image shows and where it was made. The label may describe the type of infrastructure pictured, the environment the photo captures, or the type of operations pictured. For many images, labels also provide site-specific information, including operators and facility names, if it is known by the photographer.
All photo labels include location information, at the state and county levels, and at township/village levels if it is helpful. Please make use of the geolocation data we provide - especially helpful if you want to see other imagery made nearby!
We encourage you to reach out to us about any imagery you wish to make use of, so that we can assist you in finding the best snapshots for your purposes, and so we can further explain these specific details to help you understand the imagery and fully describe it for your own purposes.
Please reach out to us at info@fractracker.org if you need more information about any of our images.
FracTracker encourages you to use and share our imagery. Our resources can be used free of charge for noncommercial purposes, provided that the photo is cited in our format (found on each photo’s page).
If you wish to use our photos and/or videos for commercial purposes — including distributing them in publications for profit — please follow the steps on our ‘About’ page.
As a nonprofit, we work hard to gather and share our insights in publicly accessible ways. If you appreciate what you see here, follow us on Twitter, Instagram, or Facebook @fractracker, and donate if you can, at www.fractracker.org/donate!
Alistair Cooke's 'map of America' bookshelf system: Alistair Cooke explaining how he visually filed his books about America to aid a secretary who was not geographically-minded. Books about various parts of America were filed by placing them as if the bookshelves were a map of America - books on California to the bottom left, New Hampshire and Maine top right and so. This means that in this shot, Cooke is pointing towards North Dakota or Minnesota and, so his narration went, high heels were needed to reach books on Canada.
Still taken from the DVD version of the BBC's 1973 TV series Alistair Cooke's America.
If at some point in your life you chose/choose to try P90X, this was, is, or will be you.
Allow me to explain. P90x is designed in one way and advertised in a slightly different way. Along with the DVDs is a guide that advises #1 to check with your doctor before you start anything and #2 to perform their fitness test to make sure you’re ready for the program. If you really struggle with the test, it’s advised that you try one of their less intensive programs.
…but you just spent at least $100 for this program! And the advertisements show really overweight people (more than you!) that have had complete transformations! SO WHAT if you couldn’t hold a wall squat for a full minute!?
So here’s what you did. You jumped right in to Day #1 Chest and Back + Ab Ripper X. The first part is a resistance workout that had all sorts of push-ups and pull-ups, and it wasn’t too bad, but the ab work that followed it was pretty brutal because you hadn’t really worked on your abs in the past 6 months. But you made it through Day #1. You woke up on Day #2 and you definitely felt the previous day’s work, but you were still riding that “new program” high so you were all ready to go for the day’s Plyometrics routine. It was an aerobic killer and the supporting cast member “Dom” was the recipient of a lot of your curses and “are you kidding me?”, but you got through it.
And then we come to this photo. The morning of Day #3. Every part of your body aches. Your chest from the push-ups, your shoulders and back from the pull-ups, your stomach from the abs and your legs from plyo. Getting out of bed is going to be a careful, slow, tactical maneuver…in fact, you’re pretty sure you aren’t able to move at all.
“But Tony,” you say to the ceiling, “I did everything you asked! I took the vitamins, I did the stretches before and after, I drank the recovery drink! What have you done to me Tony Horton? What have you done!?” If you have a dog, they will probably lick your face at this point. Alternatively if you have a cat, they will look at you apathetically and offer no help.
In talking with other people that have tried the program, this is the most important day of the whole 90. That’s because this is the point where you either say “it’s too much, too often” or you suck it up and do Day #3 Shoulders and Arms. That first week is absolutely brutal, I’m not going to lie, and the morning of day’s 4, 5 and 6 will be just like this one. But by week 2 you’ll start to adapt and provided you aren’t doing silly things with the rest of your life (diet for example), you will make it through.
…however, if you’re NOT taking vitamins, real diet changes, stretching, recovery drinking, then you’re in for a world of hurt. But that’s another photograph…
Information Architecture - „the interdisciplinary, professional field to structure information and thereby design services, products and creative solutions that meet business goals and user needs, under consideration of the given strategy - in the digital and the real world.“
Session outlines for Australian National Architecture conference.
Friday 15 April
Introduction
9.00am-9.30am
In which all things Natural Artifice are explained by Angelo Candalepas.
What Emerges
9.30am-11.00am
Speculative imagery pervades today’s architectural culture. Unbuilt work often competes with the reality on the ground. The immediacy of virtual architecture is often at odds with the processes through which architecture and landscape emerge. Young Colombian landscape and architecture studio Paisajes Emergentes has come to the fore through rediscovering Romanticism within the technological constraints of virtual architecture. Yet the practice does not attempt to fool the eye with realistic images, instead depicting eerie environments in which the mood is set by ephemeral conditions of light, shadow, reflection and condensation. These images counter the culture of architectural speculation by communicating a vision for the authentic development of place. ‘We are not interested in poetic, pictorial or nostalgic relationships with locations,’ Paisajes Emergentes director Luis Callejas has said. ‘We look for their emerging qualities to make visible what lies unseen to the public.’
Things Get Wild
11.45am-1.10pm
The controlled delivery of a built form is a central tenet of architecture. What happens when we let things go? Operating at the architectural avant-garde are practitioners who ‘design the process’, not the outcome. In these instances the programmatic and aesthetic bandwidth is determined and the architects seem to rock backwards on their heels, watching gleefully as the ensuing form materialises. This ‘letting go’, which is antithetic to the tradition of the craftsman, allows an architect like Francois Roche to concentrate his considerable energies in other directions. Roche is staking new territories at the boundaries of ethics, bio-morphology, robotic construction and environmentally responsive structures; within his constantly evolving laboratory. As Bruce Sterling noted of Roche’s architecture, come to this session to experience what happens when the usual constraints are allowed to fall away and things get wild and loose. Roche and Stephanie Lavaux of the Paris based R&Sie will present the results of such experiments within a blurred boundary between the natural and artificial.
Walk The Line
2.30pm-3.55pm
There is a paradox implicit in every path: we cannot appreciate the landscape without altering it. The projects of Chilean landscape architect Teresa Moller convey an ambivalence which recognises this problem. There is often nothing to see; which is confronting. Other times, the intervention is disarmingly stark. Moller’s paths, gardens, platforms and pools seem to graft onto the terrain in a way which taps into a well of visceral experiences. This is done whilst embodying a fearful restraint. And it would seem that this is her acknowledgement of the significance of simply observing the nature in which she is working; and making observers observe; like they never knew or saw before, that landscape which forms part of their life. Positioned carefully before Fumihiko Maki, Moller’s talk will form, with Maki’s, a contrapuntal and symmetrical moment in the conference.
Inner Space
4.40pm-6.05pm
Architect Fumihiko Maki has written eloquently on the subject of Inner Space: the transferal of nature from the hilltop shrines of the rural village to the innermost recesses of contemporary urban life. The attempt to locate nature within such confines, parallels another of Maki’s preoccupations: his quest to provide the experience of solitude within public spaces. Architecture’s power has traditionally resided in shared experiences. In a dense and contested world, perhaps the illusion of solitude is even more powerful. Both subjects address concerns of the 21st Century: the place of nature within the city; and the accommodation of individuals’ natural desires within collective space. Maki, a revered Japanese architect, stands at the edge of history’s precipice; his vision is one where nature and culture are inseparable.
Day one Q&A
6.05pm-6.35pm
Saturday 16 April
Total Fabrication
9.00am-10.30am
The pioneers of digital design promised such new and seductive forms that the manner of their making was often relegated to afterthought. For this reason it is refreshing to see the emergence of a second generation of digital practitioners who embrace the possibilities offered by technology by concerning themselves with how things are made. Lisa Iwamoto works with methods which she describes as sectioning, tessellating, folding, contouring, and forming; to posit architecture which is responsive to, and often emulative of natural systems. This session will help to explain how these methods can be developed and disseminated within both a successful architectural practice and the academy. With Craig Scott, Iwamoto is director of the San Francisco based practice Iwamoto Scott and author of Digital Fabrications: Architecture and Material Techniques.
Open Door
11.15am-12.40pm
The limits of architecture are typically defined by walls, roofs and floors. Portuguese architects AIRES MATEUS prefer to leave the door open, allowing negative space to flood into their projects and confusing the boundary between object and figure, building and landscape. It is true that their work is often white, yet it is far from minimal. With the exclusion of the non-essential, other things are allowed into the project: historical references, traces of occupation, the rawness of the terrain. In this session, Manuel Aires Mateus will describe an architecture which is absolutely clear in its language, and completely ambiguous in its definition of territory.
Transformation
2.00pm-3.25pm
The earliest architects adapted forms directly from nature. As methods of production and re-production progressed, architecture became increasingly self-referential. In recent times, with a renewed search for inspiration outside of architecture, the basis for form is continuously in question. Luis Mansilla, director of Spanish practice Mansilla and Tunon, has moved beyond this uncertainty. For Mansilla, what is important is not the source of inspiration, but how the source is transformed to make architecture. His projects focus on the techniques of transformation, manipulating age-old motifs such as circles, mosaic tiles and tilled fields through computer-age processes of scaling, copying, warping and agglomerating. Mansilla has developed an architecture which is both at home with history and of its time.
Natural Artifice
4.10pm-5.35pm
Juhani Pallasmaa sees the task of architecture as “the defence of the authenticity of human experience”. He asserts the importance of a ‘primary’ human condition which predates any notions of nature or artifice. His is a world of deep and profound observations and he has been a prolific writer as evidenced by the numerous and essential texts that have influenced the thinking of some of the greatest architects in the world. We hope his talk will do the same for the delegates who will enjoy the final stages of the conference in the presence of, arguably, one of the most original and influential architectural thinkers of our time. Architecture cannot be seen, Pallasmaa will argue, it must be lived.
Day two Q&A
5.35pm-6.05pm
Conclusion
6.05pm-6.35pm
In which all things Natural Artifice are unexplained by the conference speakers.
Six advisory signs will operate through a central control system to provide real-time train crossing information — indicating if the crossing is open or closed — so drivers can make informed decisions for travel in Langley, Surrey and the Township of Langley. The signs will specify the train’s location and travel direction, enabling drivers to use alternate crossing options at adjacent railway overpasses, in order to avoid traffic delays. In addition to reducing traffic congestion and minimizing greenhouse gas emissions due to decreased vehicle idling times, the signs will increase travel efficiency and mobility for emergency vehicles.
A student explains why Flipped Mastery has helped her to become a confident and competent math student.
So after a lot of unrelated pictures, I finally decided to upload this one (eventhough I'm not entirely happy with it): those who wanted to understand what they were looking at on The Conqueror will enjoy the immersive experience.
This equirectangular panorama is made out of 50 pictures stitched together with Autopano-sift, Hugin and Enblend, and is part of my equirectangular set.
Here Peter Rocko Crowfoot Explains To Homeowner's And Our Facebook listening audience; and respective social media communities; the importance of re-inspections and a supplemental (an insurance term referring to damages not detected in the original summary of work) Crowfoot & Associates Construction Management team provided a host of engineering and architectural drawings and field reports that enabled Surpass Construction's LLC client to a substantially better insurance settlement and thus a much better finished product with state of the art upgrades and Lowe's lifetime architectural roofing system along with Lowe's echo -friendly passive ventilation system which will keep the new Architectural Roofing System from prematurely aging. Fact, 90 percent of roofing systems are not adequately ventilated and will pre-maturely age the newly installed roofing shingles thus voiding the manufacturer's lifetime warranty. Crowfoot Homes LLC strictly enforces and installs to the manufacturer's specification's thus ensuring the warranty is not void. Crowfoot Homes LLC pre- screened certified installers are licensed and insured and manufacturer certified and provide an unprecedented lifetime labor warranty on all roofing systems installed with customers that sign up for an annual maintenance contract. Just like having a tune or an oil change a roof must be cleaned periodically and gutter s cleaned. Von Hatcher, building supplies expert, with over 35 years' experience in sales to residential builders and commercial contractors, designed a brand new state of the art pressure treated decking system using Lowes Top Choice KLM pressure treated pre-aged ready to stain decking along with a new state of the art James Hardee Cement siding system that will never rot and is impervious to outside elements. Water actually hardens cement. Negotiations for mildew remediation due to the water that cascaded and poured into the home during the initial May 23rd 2011 storm damages sustained to the dwelling will be done next. Peter Rocko Crowfoot Insurance Claims specialist will keep you posted.
Here I am, futilely explaining to Nate the 'rules' before heading out to dinner while at the beach. Miss Amy, the babysitter and owner of a day care facility, said that Liam and Nate were a "challenge" and that she had to use time-out for the first time ever in her babysitting career. Ever.
We tipped Miss Amy very, very well.
~Jill
Photo citation: Ted Auch, FracTracker Alliance, 2021.
Each photo label provides this information, explained below:
Photographer_topic-sitespecific-siteowner-county-state_partneraffiliation_date(version)
Photo labels provide information about what the image shows and where it was made. The label may describe the type of infrastructure pictured, the environment the photo captures, or the type of operations pictured. For many images, labels also provide site-specific information, including operators and facility names, if it is known by the photographer.
All photo labels include location information, at the state and county levels, and at township/village levels if it is helpful. Please make use of the geolocation data we provide - especially helpful if you want to see other imagery made nearby!
We encourage you to reach out to us about any imagery you wish to make use of, so that we can assist you in finding the best snapshots for your purposes, and so we can further explain these specific details to help you understand the imagery and fully describe it for your own purposes.
Please reach out to us at info@fractracker.org if you need more information about any of our images.
FracTracker encourages you to use and share our imagery. Our resources can be used free of charge for noncommercial purposes, provided that the photo is cited in our format (found on each photo’s page).
If you wish to use our photos and/or videos for commercial purposes — including distributing them in publications for profit — please follow the steps on our ‘About’ page.
As a nonprofit, we work hard to gather and share our insights in publicly accessible ways. If you appreciate what you see here, follow us on Twitter, Instagram, or Facebook @fractracker, and donate if you can, at www.fractracker.org/donate!
Dina was explaining to us about how Bette Midler rose out of this clamshell during a stage production in San Diego way back in the day...it sat in a theater props shop (or was it a pawn shop? anyway...) for two years, complete with life-size mermaid sculpture. The clam shell has a light inside of it, for night-time viewing!
Title
Letter from Eliza Lewes to G H Lewes
Date
26 Jul 1876
Description
Eliza explains to G H Lewes that she requires to draw some of the money he has put at her disposal in order that she can find somewhere for herself and the children to live. In this letter Eliza, due to her own recurring illness, asks G H Lewes to bring up her children should anything happen to her. Written from Durban. Signed Eliza Lewes.
Transcript
Durban July 26th. /76
My Dear Pater
I shall be so glad when I receive a letter again from you and My Dear Mutter, it seems such a long time since I had one, not since I was in Newcastle on my way down here, when you said you were going on the Continent. I hope so much the change has been benificial to you and my Mutter. I should have written before but I have been waiting to have the portraits taken to send to you and my dear Mutter. Dear little George Herbert was recovering from his illness when I went for a short ride with Mr. Sanderson to look at a place he thought might suit me. When I returned I was obliged to send for the Doctor I and was not able to move about for some time, this morning the artist sent me the ones enclosed. Baby's is a very good portrait I think with the exception of the hair being much too dark the man has just struck a bell & he opened his mouth in astonishment - I think he looks a little frightened. Marian's is not so good she was kept so long in that attitude that she was wearied. She is much brighter and prettier looking. Mine is a fright I think.
Dear Pater I do not like to do it but I fear I must draw the remainder of the money you were so good to say I could if I realy wanted it. I can rent no house that is at all healthy and those that would do are 5 and 6 a month. I and Mr. Sanderson think my only plan is is to buy a small piece of land and have a little house built out at Sydenham it is about four miles from here. I did not think I should have been obliged to stay here so long it is so expensive. Mr. Sanderson does all he can to assist me if I could only get stronger I could do much more to help us. I think if ever you did a good action it was when you and my Mutter did not leave us to the mercy of strangers. Dear Pater if anything should happen to me will you and my Mutter take our little ones to bring up? I don't think I shall leave them, only when I am not well I am so uncomfortable about them if they were to be left. I know it is a great thing to ask, but I only ask it supposing they should be left.
I hope they won't, they are very very dear to me. I did think they were so dear untill the other week Mrs. Ashton Mrs. Sanderson's sister took little Marian home with her to stay for a week when I was not well. Marian much enjoyed the change and did not ask to come home because she said poor Mama was not well.
Dear little George Herbert grows very nicely. I think rubbing the cod liver oil on his chest every night is doing him much good, he runs about now quite alone. I have to keep a Kafir boy to carry him out - I should so like to read my Mutter's last work. Won't you please send it to me, I hope I have not done wrong to ask for it, but I do so much wish for it.
With much love
Your affectionate daughter
Eliza Lewes
Please excuse errors I have neuralgia in my head and face.
All Right's Reserved. All images are subject to copyright restrictions. Contact Warwickshire Libraries for further details. Part of Warwickshire Libraries' George Eliot Collection.
Original held at Warwickshire County Record Office.
Jukka explaining his vision about the Leica M, clearly gripping an imaginary M3 as he speaks. From the Leica Shooters Finland meet 11.9.2013
Quite possibly the most remarkable street in all Norwich, St Benedict's Street boasts 5 mediaeval churches within its short 500 metre length, and all of them either ruined or redundant.
St Laurence is easy to miss, quite a feat for a huge church; you approach the porch down some steep steps. I met who I thought was an old lady climbing down, but she turned out to be one of the volunteers, and she could remember the light and the glory of the church when in use.
Inside it is a vast empty space, empty except for a simple aluminium framed greenhouse in the middle of the nave. It was explained this was for the use of locals who used the space to grow seedlings, although to my eyes it hadn't been used for some years.
The fittings and furnishings are faded, and the roof looks to be in a worrying state, but after climbing the steep steps to the altar to look back west, it must have been a fine church in its day.
-----------------------------------------------
One of the staggering experiences of the church explorer in Norwich is the sheer proximity of one church to another. In a little over four hundred yards, you can walk past five redundant medieval churches in the length of St Benedict's Street alone, from the back of St Gregory to the ruin of St Benedict itself. One of these churches, St Swithin, is now the Norwich Arts Centre, while St Gregory and St Margaret have occasional uses for exhibitions and concerts.
That leaves St Laurence, the biggest of the five, a grand and prominent landmark now in the care of the Churches Conservation Trust; without their loving care it would be little more than a rotting corpse. As it is, it is quite the biggest empty shell in the middle of Norwich.
It was not always so, of course. This was one of half a dozen large city centre churches completely rebuilt during the 15th century. It took about sixty years, but nevertheless St Laurence is all of a piece, a textbook Perpendicular church. From St Benedict's Street it is not immediately clear quite how vast this building is; it is the third biggest medieval church in Norwich after St Peter Mancroft and St Andrew, bigger even than St Stephen. The clerestory is 12 windows long, and the mighty tower almost 120 feet high.
It is more imposing from Westwick Street, standing high above the street like a fortress. For pedestrians coming into central Norwich from Coslany, it is like a gateway to the city, far more impressive than the city walls. The spired stair turret on the tower is castle-like, especially in George Plunkett's 1938 images.
One of the most interesting aspects of the exterior is the west doorway, easily missed and seen only from the narrow St Laurence's Passage. The spandrils feature two exquisitely carved martyrdoms, quite undamaged by time or the hand of iconoclasts. One is that of St Laurence himself, and shows him tied to the gridiron while the fire is prepared (St Laurence being the patron saint of those who cook on barbecues) , and the other is of St Edmund shot full of arrows. You can see them on the left.
Above the passage, the great tower's height is accentuated by the narrowness of the gap to its left. And the unbroken length of the nave and chancel is so high, too; the north side drops away to Westwick Street, and the floor takes this as its level. You step down a flight of stairs into the south porch, which is otherwise hard against the street, thanks to widening for trams in the late 19th century, and then through a 15th century door down into the church itself..
The sheer scale of this building is only apparent once you are inside. The roof seems absurdly high, the 1490s hammerbeam roof lost far off in the shadows. The arcades are less elegant than forceful, and the unbroken line, with no chancel arch, marches purposefully eastward.
This is all accentuated by the fact that St Laurence is pretty much completely empty. Almost, but not quite. In the late 19th and early 20th centuries, St Laurence underwent an extraordinary makeover.
In a city renowned for the excesses of its Anglo-Catholic churches, this was among the highest of the high. The sanctuary had always been raised above the level of the chancel because it goes over a large vault, shown in the old engraving on the left, as at Tunstead. But here the entire easterly third of the building was elevated by the late Victorians into a great platform, a flight of steps leading through a stone screen and then again to the sanctuary, until the altar was fully twelve feet above the floor of the nave.
George Plunkett's 1938 image shows the interior with Victorian benches and a passageway accentuating the view east.
The altar and reredos are now gone, but the painted panels that flanked them survive. They depict angels and Saints, but the most curious thing about them is that all the faces are drawn from the life, little Edwardian boys and youths cloaked out in contemporary clothes, but wearing nimbuses and holding gilded symbols, and older men with wings and in armour. It is all at once grotesque and fascinating. The reredos they flanked was the Parish war memorial, so they may be even later than they appear. The screen to the north aisle chapel has panels painted in a similarly naive manner. I strove to understand what it was that had possessed people to do this, but I could not.
There is a 15th century font contemporary with the rebuilding of the church, and a scattering of medieval glass has been built into an abstract design in the north aisle chapel. There were brasses, but these were removed; first to St Peter Hungate, and then into storage when the museum there closed.
St Laurence was one of the 24 Norwich churches recommended for demolition by the Brooke Report, a shocking possibility that galvanised Lady Harrod and others into forming the Norfolk Churches Trust to defeat the philistines. Under the circumstances, it seems ungrateful for us not to actually do anything with the place. My friend Tom tells me that this church has a wonderful acoustic, and in truth it is hard to see it ever having any use other than for performance or liturgy - it is simply too big for conversion into anything else. Its shell is recognised today as a vital part of the Norwich townscape, and that at least is now safe for future generations; but will it ever again be anything more than a shell?
Simon Knott, November 2005
www.norfolkchurches.co.uk/norwichlawrence/norwichlawrence...
-------------------------------------------
St Lawrence’s has a very dramatic site: owing to the steep slope down to the river, on its south side, it stands several feet below street level, but on the north, an equal height above it!
St Lawrence was a deacon in 3rd century Rome, who was martyred by being roasted alive on a gridiron.
The most notable feature of the exterior is the unique profile of the tower, with its corner turret. This very un-East Anglian feature dates from the restoration of the church in 1893. The tower itself is 112 feet high. The nave and chancel with their clerestorey run without a break under one roof. The clerestorey is faced with freestone. There is a very prominent rood stair turret on the south side, which marks the division between nave and chancel.. The west door has two carved spandrels: one of St Lawrence being roasted on a gridiron, and the other of the martyrdom of St Edmund: the Abbey at Bury St Edmund’s was the original patron of the church. The south door is the original mediæval one.
The church has long since been stripped of its furnishings, and now stands as an impressive empty space, flooded with light from the great windows and the clerestorey. With the exception of the font, which is of the 15th century, all the fittings were of late 19th or early 20th century date.
These fittings include the flight of seven steps up to the altar, and the reredos, which is a war memorial of 1921. It includes painted panels by Kingston Rudd, though inspection will reveal that many of them are unfinished, and so have a rather ’impressionistic’ effect. The figure painting is very much of the period.
The nave and chancel are in fact divided internally, which may indicate that the continuous clerestorey is a later addition. The nave pillars are octagonal, with rounded angles, and their capitals are wavy.
The roof is well seen from inside, and dates from 1498. There is some mediæval stained glass in a mosaic in the east window of the south aisle.
There were several brasses, but these have been removed to storage. On the east wall of the north aisle, however, is a brass plaque of 1891 to the memory of Sarah Glover, inventor of the Norwich Sol-fa, on which the later Tonic Sol-fa (‘doh, ray, me …’) was based; her father was curate here from 1811 to 1827. Sarah died in 1867, at Great Malvern, where she is buried.
The church was a centre of controversy in 1863, when the Rector, Edwin Hillyard, allowed ‘Father Ignatius’ (Joseph Leycester Lyne) and his ‘monks’, who had a house on Elm Hill, to take part in the services. The services were conducted in an extremely Ritualistic manner, with candles, incense, and vestments – all virtually unknown in the Church of England at this time. Large crowds attended for the spectacle, and there were riots in the street outside. Ignatius left Norwich in 1865, but Hillyard stayed until 1876. By then, the classical style reredos had been removed, and also the box pews (chopped up one night by Ignatius and his cohorts), and the altar steps and the screens inserted.
After Hillyard left, the church went into a decline, and was united with St Gregory in 1903; it was finally closed in 1968. After many years of uncertainty about its future, it came under the care of the Churches’ Conservation Trust in 19....
www.norwich-churches.org/St Lawrence/home.shtm
Asian Heritage Foundation's Jiyo is organizing a 4-day long handicraft and designer’s exhibition at The Ashok, Chanakyapuri. It is also hosting South Asia's first food exhibition named Sanjha Chulha, curated by Dr. Pushpesh Panth to promote the incredible variety of local and regional cuisines of South Asia showcasing the diversity of culinary art.
After hovering around the Lotus Bazaar (the handicraft market) for 10-15 minutes, we landed up at the nicely decorated interior of The Audh, one of the best restaurants of The Ashok, for an interaction session with chef Rajan Loomba.
Rajan Loomba, senior executive chef of The Ashok, who has been attached to the hotel for a very long time, explained how culinary arts have evolved rapidly in recent years. "Eating out was a rare thing in our boyhood. Wedding parties were perhaps the only means of eating out at that time", Chef Loomba continued, "Now a days the growing usage of mobile phones and internet has given a boom to this industry. Growing number of foodies and food blogging websites are also playing a enormous role here." Then moving on to the concept of Sanjha Chulha, which literarily means Community Kitchen, Chef clarified that despite political barriers how people from SAARC countries are trying to connect through art and culture. This festival is another step towards that. Chef mentioned that once you leave Asia, people hardly recognize cuisine of these 9 countries separately as the basic flavor and spices used are very similar in these places. "Look how people from Bangladesh are selling food in the street using Indian names", Mr. Loomba cited. "Diversity is there, but somehow we are connected somewhere" and this food festival is an attempt to explore that connection. When we asked how they select a few dishes given such a wide range of dishes available in these countries, Chef told that they made a selection from the dishes they can make using the available resources on the basis of feedback received over several buffet parties. They got a huge help from embassies to stitch together recipes and make them even better. Here Mr. Loomba shared a beautiful memory about how they got one of their very special dishes Irani Raita, a usual Raita with raisins, honey and peeled cucumber skin from Late Usha Narayanan, wife of 10th President of India, Late K.R. Narayanan.
Meantime we got to taste a few dishes: Mutton Kebab, Momo, Murg Rihana, Anda Keema Kaleji, Afgani Shorba, Coconut Naan, Rice, Haleem etc. Items were light and tasted good. Chef specially mentioned two dishes: Murg Rihana and Haleem. "Murg Rihanna is a different take on Butter Chicken ", Mr. Loomba continued "and spices of Halim are bought by one delegate from Pakistan". Specialty of the Halim is that they put chicken instead of mutton in it, which is a new concept to me. Coconut Naan along with juicy Shorba (light mutton stew) melted in our mouth. Spice level of all dishes are kept at the minimum level as their usual visitors are very health conscious. As an example Chef mentioned health consciousness of our PM Mr. Modi who wanted cookies without butter and how team of Chefs had a brainstorming session to solve it.
Researcher explains points to training participants in a cowpea field. Photo by IITA. (file name: ISS_229 ). ONLY low res available.
*Muslim Women’s Forum of Azamgarh hosts Islamic Exhibition*
News Link:
twocircles.net/2010may22/muslim_women_s_forum_azamgarh_ho...
"The Hôtel Biron is a jewel of Parisian rocaille architecture, with its park that covers nearly three hectares, adding to its immense attraction and explaining the museum’s very high attendance. In total, it welcomes over 700,000 visitors every year.
Late in 2005, the architect Pierre Louis Faloci finished the restoration of the chapel building, making possible the reopening of a temporary exhibition room.
Stretching over three hectares, the grounds are divided into a rose garden, north of the Hôtel Biron, and a large ornamental garden, to the south, while a terrace and hornbeam hedge backing onto a trellis concealed a relaxation area, at the bottom of the garden. Pierced by three openings, this trellis reflects the design and proportions of the three bay windows on the mansion’s garden façade. Two thematic walks were also laid out: in the east, plants thrive amidst the rockery in the “Garden of Orpheus”, and, in the west, water is omnipresent in the “Garden of Springs”.
Rodin started to place selected works in the overgrown garden that he liked so much in 1908, together with some of the antiques from his personal collection. Male and female torsos, copies made in the Roman or modern period, after Greek works, were presented in these natural surroundings, their contours dappled by the sunlight: “Nature and Antiquity are the two great sources of life for an artist. In any event, Antiquity implies nature. It is its truth and its smile.” (Rodin)
The first bronzes were erected in the gardens before World War I. Since 1993, they have been regularly cleaned and treated so as to preserve their original patinas."
"The Musée Rodin in Paris, France, is a museum that was opened in 1919, dedicated to the works of the French sculptor Auguste Rodin. It has two sites: the Hôtel Biron and surrounding grounds in central Paris and just outside Paris at Rodin's old home, the Villa des Brillants at Meudon (Hauts-de-Seine). The collection includes 6,600 sculptures, 8,000 drawings, 8,000 old photographs, and 7,000 objets d’art. The museum receives 700,000 visitors annually.
While living in the Villa des Brillants, Rodin used the Hôtel Biron as his workshop from 1908 and subsequently donated his entire collection of sculptures (along with paintings by Vincent van Gogh and Pierre-Auguste Renoir that he had acquired) to the French State on the condition that they turn the buildings into a museum dedicated to his works.
The Musée Rodin contains most of Rodin's significant creations, including The Thinker, The Kiss, and The Gates of Hell. Many of his sculptures are displayed in the museum's extensive garden. The museum is one of the most accessible museums in Paris. It is located near a Metro stop, Varenne, in a central neighborhood, and the entrance fee is very reasonable. The gardens around the museum building contain many of the famous sculptures in natural settings. Behind the museum building are a small lake and casual restaurant.
Additionally, the Metro stop, Varenne, features some of Rodin's sculptures on the platform. The building is served by Métro (line 13: Varenne or Invalides), RER (line C: Invalides), and bus (69, 82, 87, 92).
The museum has also a room dedicated to the works of Camille Claudel. Some paintings by Monet, Renoir, and Van Gogh that were in Rodin's personal collections are also presented. The Musée Rodin collections are very diverse, as Rodin used to collect besides being an artist."
en.wikipedia.org/wiki/Musée_Rodin
.....
Executive Chef Gene Briggs, of Blue Restaurant in Charlotte, demonstrates succotash-making at Matthews Farmers Market.
Manual lens at probably something like f/4 or f/5.6.
Digital; compare film at flic.kr/p/xV2ove