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I have been to St Mary on at least four previous occasions, but the last of which was some three or so years ago, and as I had revisited the others in the Nailbourne Valley, I thought we would go here too.

Just as well we did, as I saw so many other features and interesting details, and met a nice chap who was on his way to visit friends.

There is the most amazing glass here, and wall paintings, complete with the best rose window outside of Barfrestone.

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A charming village church with a greater number of interesting furnishings than is usual in this part of the county. There are twelfth-century window openings in the chancel, whilst a lavish south doorway tells of an extremely wealthy medieval church. Next to it are the remains of eight mass dials - which must be a record! Inside the south, or Bifrons, chapel is separated from the aisle by a screen and steps and there is a plain hagioscope to the chancel. Many mural tablets catch the eye and tell of the long association with the village of the Conyngham family. However, it is the stained glass which really deserves our attention at Patrixbourne. Set among very basic nineteenth-century glass are many panels of seventeenth-century Swiss origin, including scenes of the Garden of Gethsemane, St Elizabeth of Hungary and the Raising of Lazarus. With the exception of Temple Ewell. this is the largest collection of pictorial Swiss glass in a Kent church. By way of contrast, the north aisle displays an excellent twentieth-century window by G.C. Abbs.

www.kentchurches.info/church.asp?p=Patrixbourne

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LOCATION: Situated to the west of centre of the (later) village near the Court Lodge, with Bifrons (now demolished) not far to the north-west. The park was immediately beyond the churchyard on the west with its own gate. It is at c. 70ft above OD on Head brickearth (over chalk) with the road and Nailbourne to the south-east.

DESCRIPTION: The coursed whole flints in the west wall of the nave of this church suggest that its earliest fabric may date from the late 11th/early 12th century, though there is no certain evidence for this. A church is mentioned in Domesday Book (1086), so the nave of this church (or the west end of the nave) may well be the early Norman one.

This church is well-known because of its fine late 12th century south doorway under an unusual contemporary south tower-porch. There is also a fine wheel-window in the east gable of the chancel of the same date, as is the chancel arch and other windows in the chancel. The church and particularly the late 12th century features have been discussed and described in various articles (see references below), so will only be briefly described here. As usual, it is Livetts' paper of 1909 (though unfortunately the outside walls were almost completely covered in ivy at that time), and the brief notes of Stuart Rigold (1970) that are most useful for the building history. The various 19th century rebuildings (in c. 1824, 1849 and 1857), however, complicate matters.

As Stuart Rigold suggests, the church was perhaps rebuilt in the 1190s as a cell for the Augustinian canons of Merton Priory, Surrey. The elaborate chancel and the lean-to south aisle, straddled by the tower-porch were both built at about this time, no doubt for the canons (as well as parochial) use. Externally the chancel has been heavily restored with knapped flint and Bathstone, but the general form of all the windows on a string-course must be original, as is the small late 12th century south doorway with scalloped capitals and chevron mouldings. However early 19th century views show the south-east chancel window with 2-lights with trefoiled heads (?13th century), cutting the string-course. There is also a late 13th century piscina below it (and an aumbry) inside the chancel. The simple roof trusses over the chancel are also of later medieval date.

As Livett has ably shown, the tower porch on the south was originally flanked by a contemporary aisle on either side with a shed roof, probably continuing the line of the nave roof. There is external evidence for this at the west end of the aisle, where the lower part of the wall can still be seen to be original. There is also an original west window, and the lower part of a blocked south window (a new two-light window was inserted in the 15th century when the aisle wall was heightened. The heavy knapped flint gable on the west is 19th century. As Livett has also suggested, there was probably a similar aisle on the east side of the tower, but this was completely replaced in the 15th century when the new chapel of ?St John was built.

The tower itself is a fine late-12th century structure with a magnificent monumental decorated south doorway, last restored in 1939, when the flanking brick sloping buttresses were removed, and ties were put in. The upper part of the squat tower has a string-course with, above it, small round belfry windows. There is a later medieval shingled spire on top of it, and a 19th century clock inside (with south clock face). Beneath the tower, there is an original half-round arch into the south-west aisle, and simple pointed arches (?13th century) into the nave and south-east chapel. The chancel arch is also late 12th century but the arcades were replaced by Scott in 1857. A plain late 12th century north doorway to the nave (and the decorated window to the west on it) were reset in the north wall of the c. 1824 north aisle.

The church underwent a major rebuilding in the 15th century when a five-bay crown-post roof was put on the nave, and a 3-light perpendicular window, with its new gable above, was put into the west wall (below it are traces of a filled-up earlier west doorway). Two western buttresses, with plinths, were added, and, as we have seen, the south-west aisle was heightened and given a new 2-light south window with a square hood-mould. The south-east chapel was also rebuilt at this time, but this may be a rebuilding of an earlier rebuilding. The east window of this chapel replaced a simpler perpendicular window with a square hood-mould in the 19th century when the fireplace and chimney flue above (in the gable) were put into the Conyngham `pew'. This chapel has a tomb recess in its south wall, and externally there are two south buttresses and a continuous plinth, but it too has been heavily restored and refaced externally (and given a new roof). There is a squint into the chancel from this chapel, and a reused 12th century niche in the south-east corner.

The fine south door is 17th century (restored in the 19th century).

The north aisle was built in c. 1824 and has triple course of buff-bricks half way up, and reused Caenstone quoins; also cement render around the windows, and some reused windows and doorway (see above). The chancel was restored by Mr Marshall of Canterbury in 1849, when the triple east windows and the south doorway were reopened. (Fine 16th-17th century glass was then put into the windows, and the Conyngham vault was made beneath the chancel. Finally (Sir) Gilbert Scott was brought in, in 1857 to restore the whole church, and he created new arcades in the nave, paid for by the Conynghams. (The screen at the west end of the nave was originally from behind the 19th century high altar - was it first a Rood screen?)

In 1939, the brick buttresses were removed, and metal ties were put into the tower.

BUILDING MATERIALS (Incl. old plaster, paintings, glass, tiles etc.): The west wall has coursed whole flints, and all the late 12th century work is in fine quality Caenstone, with Ragstone quoins being used in the 15th century for quoins, etc.

There are some brick repairs, but much 19th century knapped flintwork with Bathstone dressings. The east quoins of the chancel appear to be of Tunbridge Wells sandstone, as well as the original Caenstone.

EXCEPTIONAL MONUMENTS IN CHURCH: Various Conyngham monuments of the 19th century.

CHURCHYARD AND ENVIRONS:

Size & Shape: Rectangular area to south and west of church with small 19th century extensions to south and west.

Condition: Good

Boundary walls: 19th century iron-railings and low flintwall to road on south east.

Exceptional monuments: Some good 18th century headstones and memorials.

Ecological potential: ? Yes, but mostly now neatly mown. Line of fastigiate yews from south door to iron gate into Bifrons grounds. [It is worth noting that on 19th December 1668 (according to the Registers) the vicar had some Ash trees planted in the churchyard, to replace two very old rotten ash trees.]

HISTORICAL RECORD (where known):

Earliest ref. to church: Doomsday Book, where it is just called Bourne.

Evidence of pre-Norman status (DB, DM, TR etc): Possibly an early Minster church; it had the Chapelry of Bridge attached to it after the Norman Conquest.

Late med. status: Vicarage, appropriated from 1258, with the Chapelry of Bridge attached to it.

Patron: Given by the Lord of the Manor to Beaulieu Priory (near Rouen in Normandy) c. 1190. In c. 1410 it was transferred to Merton Priory in Surrey. After the Dissolution to the crown. Then to the owners of Bifrons.

Other documentary sources: Hasted IX (1800), 284-6. Test. Cant. (E Kent, 1907), 245 mentions lights of Our Lady and the Holy Cross; also the chapel of St John (? that on the south east).

ARCHAEOLOGICAL RECORD

Finds within 0.5km: Pagan Anglo-Saxon cemetery on the higher ground _ mile to the south.

SURVIVAL OF ARCHAEOLOGICAL DEPOSITS:

Inside present church: Good.

Outside present church: Good, except ? disturbed on the north by new aisle.

Quinquennial inspection (date/architect): JUNE 1993 A Clague

ARCHAEOLOGICAL AND HISTORICAL ASSESSMENT:

The church and churchyard: An important church because of its late 12th century rebuilding with high quality sculpture. It was, however, over-restored in the 19th century (and given a new north aisle in c. 1824). There was a major rebuilding in the 15th century when the nave was rebuilt along with the south east chapel.

The wider context: One of a small group of churches in East Kent showing high quality later 12th century architectural sculpture.

REFERENCES: Note by S Rigold Arch J 126 (1970), 214-5 + plan. Note by G M Livett Arch J 86 (1930), 316-7 + plan. W A Scott Robertson `Patricksbourne Church, and Bifrons' Arch. Cant. 14 (1882), 169-184 (with list of vicars). G M Livett `Architectural notes on Patrixbourne church? Arch. Cant. 28 (1909), 305-310. S R Glynne Notes on the Churches of Kent (1877), 26-7 (He visited before 1849).

Guide book: Recent leaflet (undated and anon) - not very accurate.

Plans and early drawings: Early 19th century view from SE in V+A Museum (nave is covered in ivy). Also Petrie view from SE in 1807 (No Ivy!). Also engravings of Norman doorways in Antiquarian Itinerary, Vol VI.

DATE VISITED: 22nd August 1993 REPORT BY: Tim Tatton-Brown

www.kentarchaeology.org.uk/01/03/PAT.htm

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PATRIXBORNE

IS situated the next parish southward from Bekesborne last-described. It is called in Domesday, Borne, which name it took from the bourn or stream which runs through it; and it was afterwards called Patrixborne, to distinguish it from the neighbouring parishes of Borne, situated on the same stream. There are two boroughs in this parish, viz. of Marten, alias Cheney, and of Patrixborne.

The PARISH is pleasantly situated in a fine healthy country; the bourn or stream of the Little Stour runs through this parish, close to it in the valley is the village, with the church, court-lodge, and vicarage near together, the latter a neat genteel habitation; opposite to them is a house called Heart-hall, formerly belonging to the family of Sabine, or Savin, but now to Mr. Taylor, of Bifrons. The upper, or north part of the village, is in the parish of Bekesborne, in which is a house, formerly the residence of the Coppins, now the property of Mr. Milles, of Nackington; and further on, one formerly owned by the Pordages, and afterwards by Mr. Litheridge. Eastward this parish extends up the hill, over the high downs, to within one field of Ileden, and from the village southward, across the Dover road, to a wild hilly country, as far as Whitehill wood, part of which is within this parish. It is well cloathed with trees along the valley, where the soil is fertile, especially towards Hoath, for both hops and corn, but the hill parts round the outskirts, are in general poor chalky land, covered with stones. There is no fair.

AT THE TIME of taking the survey of Domesday, in the year 1084, this parish was chiefly owned by Odo, bishop of Baieux, under the general title of whose lands it is thus described in that survey;

In Brige hundred, Richard, son of William, holds of the bishop, Borne. It was taxed at six sulings. The arable land is eight carucates. In demesne there are three carucates, and forty-four villeins, with three borderers having ten carucates. There is a church, and one servant, and four mills of sixteen shillings and eight pence. A fishery of six-pence. Pasiure, of which the foreign tenants have plougbed six acres of land. Wood for the pannage of four hogs. In the time of king Edward the Confessor it was worth eighteen pounds, when be received it ten pounds, now nineteen pounds.

Four years after the taking of this survey, the bishop was disgraced, and this manor, among the rest of his possessions, escheated to the crown. After which it appears to have been divided into moieties, one of which, called afterwards THE MANOR OF PARTIXBORNE MERTON, was held by Margerie de Bornes, who carried it in marriage to John de Pratellis, or De Pratis, as he was sometimes written, a Norman, who soon after the year 1200, gave it to his new-erected priory of Beaulieu, or De Bello loco, in Normandy, to which it afterwards became an alien cell. (fn. 1) In which state this manor continued till the 11th year of king Henry IV. when it was, with the king's licence, alienated to the priory of the same order of Augustine canons of Merton, in Surry, whence it acquired the name of Patrixborne Merton; and with this priory it remained till the suppression of it by the act of the 31st of king Henry VIII. when this manor coming into the hands of the crown, was granted that year, together with the rectory and advowson of the vicarage of Patrixborne, and all liberties, free-warren, &c. to Sir Thomas Cheney, to hold to him and his heirs male in capite, as of the castle of Rochester. After which, king Edward VI. by new letters patent, in his 4th year, regranted the whole of them, to hold to him and his heirs for ever. He was succeeded in it by his only son Henry Cheney, esq. afterwards lord Cheney; (fn. 2) and he soon afterwards alienated it to Sir Thomas Herbert, who in the 21st year of that reign sold it to Thomas Smith, who passed it away before the end of the same reign to William Partherich, and his grandson Sir Edward Partherich, of Bridge, alienated it in 1638 to Mr. afterwards Sir Arnold Braems, of that parish, the heirs of whose son Walter Braems, sold it in 1704 to John Taylor, esq. of Bifrons, in this parish, in whose descendants it continued down to Edward Taylor, esq.' the present possessor of this manor, with the rectory and advowson of the church of Patrixborne.

The OTHER MOIETY of the manor of Patrixborne, called afterwards THE MANOR OF PATRIXBORNE CHENEY, after the bishop's disgrace, came into the possession of the family of Say, in which it continued till Sir William de Say, in Henry III.'s reign, gave it to Sir Alexander de Cheney. He afterwards resided here, whence it gained the name of Patrixborne Cheney; but his son William having married Margaret, daughter and heir of Sir Robert de Shurland, of Shurland, in Shepey, removed afterwards thither. After which it remained in his descendants down to Sir T. Cheney, K. G. of Shurland, who having obtained from Henry VIII. in his 31st year, a grant of the other moiety of the manor of Patrixborne, as above-mentioned, became possessed of the whole of this manor, which, notwithstanding, continued as two separate manors, in both which he was succeeded by his son Henry Cheney, (afterwards created lord Cheney, of Tuddington) who in the beginning of that reign alienated them to Sir Thomas Herbert. Since which they both remained in the same succession of ownership, as has already been mentioned before, in the description of the manor of Patrixborne Merton, down to Edward Taylor, esq. the present possessor of both these manors; which appear now to be united, as one court only is held for both of them, stiled, the court leet and court baron of the manors of Patrixborne Merton and Cheney.

BIFRONS is a seat in this parish, situated at a small distance westward from the church, which was originally built by Mr. John Bargar, or Bargrave, whose ancestors were originally of the adjcining parish of Bridge. Robert Bargrave, of Bridge, died in 1600, leaving a numerous issue; of whom John, the eldest son, was the builder of Bifrons, and Isaac, the sixth, was dean of Canterbury, and ancestor of Isaac Bargrave, esq. of Eastry, where further mention will be made of him. They bore for their arms, Argent, on a pale, gules, a sword with the point upwards, the pomel, or, on a chief, azure, three bezants. His grandson John Bargrave, esq. sold it in 1662 to Sir Arthur Slingsby, knight and baronet, descended of a younger branch of the Slingsbys, of Scriven, in Yorkshire, and created a baronet at Brussells in 1657; his arms were, Gules, a chevron, between two leopards faces, in chief, and a bugle born, in base, argent. His son and heir Sir Charles Slingsby, bart. in 1677, alienated it to Mr. Thomas Baker, merchant, of London, (fn. 3) on whose death it came to Mr. William Whotton, gent. of London, and he in 1680 passed it away to Thomas Adrian, esq. who kept his shrievalty here in 1690. He alienated it in 1694 to John Taylor, esq. the son of Nathaniel Taylor, barrister at law, descended of a family at Wlitchurch, in Salop, whose arms were, Gules, three roses, argent, a chief chequy, argent and sable. He died in 1729, leaving four sons and four daughters. Of the former, Brook, the eldest, was LL.D. and F. R. S. a learned and ingenious gentleman, who, among other treatises, wrote one on perspective. He died in 1731, leaving an only daughter Elizabeth, married to Sir William Young, bart. Herbert, in holy orders, of whom hereafter; Charles, a merchant at Moscow; and Bridges. Of the daughters, Mary died unmarried, at Bridge-place, in 1771, and Olive married John Bowtell, D. D. vicar of Patrixborne. The eldest son Dr. Brook Taylor succeeded his father in this seat, but dying without male issue in 1731, his next brother the Rev. Herbert Taylor became possessed of it, and resided here. He died in 1763, leaving by Mary, one of the daughters of Edward Wake, clerk, prebendary of Canterbury, and first-cousin to the archbishop, two sons, Herbert and Edward, the eldest of whom succeeded him in this seat, with his other estates in this county, but dying unmarried in 1767, his brother, the Rev. Edward Taylor, succeeded him in it, and afterwards rebuilt, nearly on the old scite, this seat of Bifrons, so called from its double front, and the builder of it, in commendation of his wife, placed this motto on the fore front: Diruta ædificat uxor bona, ædificata diruit mala. It was a handsome spacious house, the front of which had a very grand and venerable appearance. He died in 1798, leaving by Margaret his wife, daughter of Thomas Turner Payler, esq. of Ileden, who died at Brussells in 1780, four sons and three daughters, of whom Edward, the eldest, is a captain in the Romney fencible dragoons; Herbert is a captain likewise in the army, private secretary, and aid de camp to the duke of York; Brook is private secretary to the secretary of state for foreign affairs; and Bridges, the youngest, is a lieutenant in the navy. Of the daughters, the eldest, Mary Elizabeth married Edward-Wilbraham Bootle, esq. M. P. Charlotte married the Rev. Mr. Northey, and Margaret. Edward Taylor, esq. the esdest son, succeeded on his father's death to this seat, and continues owner of it.

HODE, now usually called Hothe, and Hothe-house, in this parish, was antiently part of the possessions of the family of Isaac, who bore for their arms, Sable, a bend, in the sinister point, a leopard's head, or; one of whom, John Isaac, held it in the 20th year of king Edward III. His descendant Edward Isaac had his lands disgavelled by the act of 31 Henry VIII. and his descendant of the same name, at length leaving only three daughters his coheirs, this estate went in marriage by Jane, his only daughter by his first wife, first to Martin Sidley, esq. of Great Chart, and secondly to Sir Henry Palmer, of Howlets, who by his will in 1611, gave it to his son in-law Sir Isaac Sidley, bart. and he conveyed his right in it to his brother-inlaw Sir Henry Palmer, from whose descendant it went by sale to Merriweather, and Edward Merriweather, about the year 1680, alienated it to Thomas Adrian, gent. who conveyed it, with Bifrons and other estates in this parish, in 1694, to John Taylor, esq. in whose descendants it has, in like manner, continued down to Edward Taylor, esq. the present possessor of it.

RENVILLE is a manor, in this parish, which formerly belonged to owners of the name of Crippen, one of whom, Thomas Crippen, died possessed of it in the beginning of king James I.'s reign, leaving an only daughter and heir Joane, who carried it in marriage to Robert Naylor, gent. whose arms were,Argent, on a bend, sable, three covered cups of the field, their rims, or. His son John, about the year 1638, sold it to William Kingley, S. T. P. archdeacon of Canterbury, who left a numerous issue, of whom George, the eldest son, succeeded to this estate, whose only son William died in 1701, leaving William, of whom mention will be made hereafter; and Anthony, who was ancestor of Thomas Pincke Kingsley, gent. now of London. From William Kingsley, esq. the eldest son, this estate came down at length to his grandson lieutenant general William Kingsley, who resided at Maidstone, where he died in 1769 unmarried, and bequeathed this manor by will to his first-cousin Mr. Charles Kingsley, of London, for his life, (fn. 4) on whose death in 1785, it came by the entail of the above will to his second son Mr. Thomas Pincke Kingsley, now of London, who is the present possessor of it.

HIGHAM is another manor, for it was formerly so accounted, though it has long since lost the reputation of having been one, situated at the boundary of this parish, upon the high grounds, at a small distance from the northern side of Barham-downs. It was antiently owned by a family of the same name, one of whom, Nicholas, son of William de Higham, by a deed of the 13th year of king Edward III. to which his seal is appendant, viz. a lion passant regardant, between six crosses formee, fitchee, appears to have held it at that time, together with the manor of Northington, in the hundred of Downhamford, not far distant. Not long after which it passed into the name of Bourne, and afterwards of Haut, of the adjoining parish of Bishopsborne, in which it remained till at length Elizabeth, daughter and coheir of Sir William Haut, of Bishopsborne, carried it in marriage to Thomas Colepeper, esq. of Bedgbury, and he, in the 34th year of king Henry VIII. alienated it to Sir Anthony Aucher, in whose descendants it continued down to Sir Hewit Aucher, bart. who dying in 1726, s. p. by his will gave it to his sister Elizabeth, who entitled her husband John Corbet, LL. D. of Salop, to the possession of it. He left five daughters his coheirs, viz. Katherine, married to Stephen Beckingham; Elizabeth to Thomas Denward; Frances, to Sir William Hardres, bart. Antonina, to Ignatius Geohagan; and Hannah, to William Hougham, who became on his death jointly entitled to it. After which, Ignatius Geohagan, esq. before-mentioned, about the year 1768, built the present seat, called HIGHAM PLACE, and resided in it for some time, and then alienated his fifth part of it, as did the heirs of Katherine, Elizabeth, and Hannah, who were before deceased, their respective fifth parts, about 1781, to James Hallet, esq. who now resides in it, and has since purchased the remaining fifth part of the heirs of Frances, widow of Sir William Hardres, bart. who died in 1783. (fn. 5)

Charities.

SIR HENRY PALMER, of Bekesborne, by will in 1611, gave the sum of 10s. to be yearly paid out of his manor of Well-court, towards the relief of the poor of this parish, and he left the like som towards the relief of the poor of several of the neighbouring parishes, none of which has ever been paid to them.

The poor constantly maintained are about eight, casually 12.

THIS PARISH is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Bridge.

The church, which is dedicated to St. Mary, consists of one middle and two smaller side isles, a high and a south chancel, having a spire steeple on the south side, in which there is only one bell. This church is but small. It seems very antient. The pillars in it are very large and clumsy, and the arches circular. In the middle isle are several memorials of the Dennes, of this parish. The south chancel, formerly called the Isaac, but now the Bifrons chancel, as belonging to that seat, is covered with pews. In it are monuments for the Taylors, of Bifrons. At the entrance a memorial for John Bargrave, builder of Bifrons. In the north isle, in a window, are the arms of Fogge. Under the steeple, on the south side, is a fine arched doorway, circular, ornamented with much carvework and emblematical figures of Saxon architecture, much like that at Barfriston, (of which a plate is given in Grose's Antiquities, vol. i. præf. p. 66); and a smaller one on the south side of the high chancel, of a similar sort, over which is a small stone figure, having on its head, seemingly, a crown, and head-dress on each side hanging down, with its hands listed up as if having had something between them, perhaps for the virgin and child; but it is so corroded by time, that what it was meant for, can only be guessed at. At the east end of the chancel is a small circular window, of different compartments, like that at Bartriston. In the west part of the church-yard, are tombs for James De Roussell, esq. a truly good and worthy man, obt. 1775, and Elizabeth his wife; and for John Bowtell, D. D. vicar of Patrixborne, and Olive his wife; and one for Mrs. Mary Taylor, who died in 1771.

The church of Patrixborne, with the chapel of Bridge annexed, was given and appropriated to the priory of Merton, in Surry, as early as the year 1258, anno 43 Henry III. on condition that three canons should reside, for the performance of all parochial duties; and if the profits increased, more should be sent for that purpose. (fn. 6) In which state this church continued till the dissolution of the priory, by the act of the 31st year of king Henry VIII. when it came, together with the manor of Patrixborne Merton, belonging to the priory, into the king's hands, who granted both that year to Sir Thomas Cheney. Since which they have passed, in the same tract of ownership as has been already related before, in the description of that manor, down to Edward Taylor, esq. the present owner of the appropriation and advowson of the vicarage of this church, with the chapel of Bridge annexed.

¶It is, with the chapel of Bridge, valued in the king's books at 5l. 7s. 3½d. and the yearly tenths at 10s. 8¾d. In 1578 here were thirty-nine communicants. In 1640 it was valued at fixty pounds, communicants fifty.

www.british-history.ac.uk/survey-kent/vol9/pp277-286

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Barnard Castle is a well-documented example of a ringwork which developed into a shell keep. It is one of the largest castles in the north of England and its importance lies not only in the good state of preservation of its standing remains but also in the wide range of ancillary features which survive as buried features within its four wards. Equally important are its associations with the Balliols and the Earls of Warwick, the former being one of the most important families in Scottish medieval history and the latter in later medieval English history.

The monument is situated on a cliff above the River Tees and includes an early 12th century ringwork, a 12th to 14th century shell keep castle with four wards or enclosures, a chapel and a dovecote. Formerly, an outer ditch enclosed the east side of the castle between the curtain wall and the Horse Market. Although the remains of this ditch will survive beneath later urban development, it is not included in the scheduling as the extent of the remains is not sufficiently understood. A series of partial excavations carried out within the later castle walls between 1974 and 1982 has shown that the earliest fortification dates to between c.1109 and 1125. It was constructed overlooking the river where the cliff turned eastwards into the mouth of a gully. A ditch was quarried in an arc from the north cliff to the west cliff, enclosing a roughly circular area with a diameter of c.50m. The upcast from the ditch was used to create a rampart along the inside of the ditch and this, together with the cliff edge, was surmounted by a timber palisade. Within this ringwork the remains of wooden outbuildings and a large timber hall have been found beneath the floors of later stone buildings. Access to the interior was via a bridge across the ditch which led through a timber gatehouse located at the junction of the ditch with the west cliff. This gatehouse was soon afterwards rebuilt in stone and was the earliest stone building of the castle. The main period of reconstruction came in two phases between c.1125 and 1170. During the first phase, 1125-1140, the ringwork was strengthened by the excavation of the Great Ditch, a substantial rock-cut feature along the line of the earlier ditch, and the palisade was replaced by a multi-angular curtain wall with a wall walk and an interval tower along the east side. The original entrance was blocked and a new entrance was built alongside it at the head of a wooden bridge across the Great Ditch. The stone gatehouse became incorporated into the larger Headlam Tower and a small rectangular keep was built at the north east angle of the enclosure. In addition, the rampart was widened to create a site for timber buildings along the inside of the east and south curtain. The resultant shell keep, occupying the site of the original ringwork, formed the Inner Ward of the castle. To the south and east were three more wards which originated at the same time as the ringwork though they were not fortified in stone until the second phase of rebuilding between 1140 and 1170. The smallest of these was the Middle Ward, situated south of the Inner Ward with the Great Ditch forming its north side and walls enclosing it on the south, west and east sides. The walls here have been heavily robbed but it is clear that this enclosure acted as a barbican or fortified entry for the Inner Ward. It controlled access to the Inner Ward by means of a gate beneath the Constable Tower, a three storey gate-tower on the south side of the Middle Ward. Little of the Constable Tower remains standing, but its foundations and those of other buildings, located by excavation in the south east corner of the ward, survive as buried remains. The approach to the gate was from the Outer Ward which lay to the south and was the largest of the four wards with an area of c.1.5ha. It was enclosed by a curtain wall on the south, west and east sides, and also by the outer ditch which lay outside the east curtain. On the north side another ditch ran from west to east, below the cross-curtain wall that separated the Outer Ward from the Middle and Town Wards and effectively divided the castle in two. The main route into the castle ran parallel with this ditch before turning north to pass beneath the Constable Tower. The Outer Ward has not been excavated but documentary evidence indicates that a chapel dedicated to St Margaret had been built on the east side by the mid-12th century and bestowed on St Mary's Abbey, York. The remains of this chapel survive incorporated into a later stable. Further remains which survive as buried features beneath the buildings, paddocks, yards and gardens that now occupy the Outer Ward, are the farm buildings belonging to the castle and the gate-tower in the east curtain which controlled the approach from the town. The fourth ward was the Town Ward, located in the north east quarter of the castle and enclosed on the north side by the outer curtain. On the east side it was bounded by the curtain and the outer ditch, on the south side by a cross-curtain wall and, on the west side, by the Great Ditch. Excavations inside the Town Ward have uncovered a number of buildings set against the curtain wall round at least one cobbled courtyard containing a pond and a well. Other buildings and yards occupied the open interior and also the wide bank extending round the inside of the walls. Incorporated into the curtain wall were at least three towers and also a postern or pedestrian gate, located in the east curtain. The east curtain does not survive well round the Town Ward, having in places been replaced by a modern wall. Towards the north angle, however, it survives sufficiently well to illustrate a typical defensive feature of the castle: arrow loops set inside recessed arches. In addition, it includes the remains of Brackenbury Tower, a large rectangular structure of two storeys which projects slightly beyond the wall. The upper storey contained a fireplace, two garderobes or privies, and a window with seats converted from one of three recessed arrow loops. Beneath was a barrel-vaulted basement which also contained a fireplace, a garderobe and cupboards. The arrangements on both floors indicate that the tower had a domestic or administrative function. The curtain wall round the north side of the Town Ward is unusual in that it is too narrow to have carried the usual wall walk. It also contains many nesting boxes for pigeons or doves. Included within it is the north gate, a two storey tower with a chamber above the gate passage and rooms flanking it. Though both ground floor rooms contain fireplaces, that to the right is less elaborate and would have been the guardroom while that to the left opened onto the ward and probably also had an administrative function. The third tower of the Town Ward is a small square structure in the north curtain, adjacent to the Great Ditch. It is known as the Dovecote Tower because the interior, from top to bottom, consists of tiers of nesting boxes. In construction the tower dates, like the rest of the ward, to the later 12th century but, before it was a dovecote, it may have had another function connected with a doorway which now opens into mid-air. The doorway led into another building set against the curtain wall, but nothing of this structure survives above ground. As yet, its buried remains have not been excavated, and so its function and relationship to the Dovecote Tower cannot yet be determined. Between 1170 and 1185, following the second building phase, there was a third period of reconstruction carried out only in the Inner Ward. The timber hall was rebuilt in stone and was connected to the gate-tower by a wall behind which lay kitchens and other ancillary buildings. The keep in the north east angle was replaced by the three-storey Round Tower which had both a military and a domestic function, and, between the tower and the new hall was built the Great Chamber: a three-storey residence for the lords of Barnard Castle. The wall round the Inner Ward was strengthened by the addition of the Postern Tower and the Prison Tower, the latter replacing the earlier projecting tower. A bakehouse was also constructed against the curtain. Following this, there were no further alterations until the 14th century when the hall and service buildings were rebuilt and enlarged by the addition of the Mortham Tower, and the access into the Inner Ward was changed to make it more secure. This was achieved by relocating the bridge over the Great Ditch, so that it now ran alongside the west curtain, and by building a demi-bastion, or semicircular tower, which extended from the original Headlam Tower to the edge of the ditch. The route from the bridge was then walled off so that the way into the Inner Ward was completely covered by the new defences even before it reached the gate under the demi-bastion. Also at this time, a portcullis was inserted into the curtain wall at the bottom of the Great Ditch so that the bridge over the Tees could be protected from the castle. During this period the Outer Ward went out of use and at least one building in the Town Ward was demolished. A wet moat was dug alongside the east wall of the Middle Ward and a tower was built to overlook the moat and protect the drawbridge across it. In this way, the castle was made smaller and more defensible, cheaper to run and also more comfortable for its residents. For the next hundred years no further changes were made, and then modifications were only of a minor and domestic kind, including the insertion of an oriel window into the Great Chamber and the addition of a turret onto the Mortham Tower. The first castle was built by Guy de Balliol to be the caput or chief centre of his estates in the north of England. At that time the site was defended not only by the cliffs alongside the Tees but by a steep gully to the north. This gully has since been infilled but, in the 12th century, it still carried the old Roman road between Bowes and Binchester, and the castle commanded the point where this road forded the river. Guy was succeeded by his nephew Barnard de Balliol who, together with his second son, also called Barnard, was responsible for the reconstruction of the castle and the creation of the borough which bears their name. Throughout the next hundred years, the Balliols grew in power and importance until, in 1290, John Balliol defeated the claim of Robert de Brus and became King of Scotland. In his bid for the Scottish throne, however, he had been dependent on the support of Edward I and, in the war which followed his subsequent refusal to do homage to the English king, he rapidly lost power, was taken prisoner by the English, and lost all his estates save the family lands in Picardy. Meanwhile, Barnard Castle was seized by Anthony Bek, Bishop of Durham, in response to a long-standing claim that the bishops had rights over the estates which included the castle. Edward I tolerated this for a time but, in 1306, confiscated the lordship of Barnard Castle and granted it in 1307 to Guy de Beauchamp, Earl of Warwick. From being a home and a stronghold, the castle became merely a source of revenue, and, though it was kept on a war-footing due to the ever-present threat from Scotland, the Beauchamps rarely visited it despite the domestic improvement carried out during their period of lordship. In 1445 the Nevilles succeeded to the Earldom of Warwick and, with the death of Richard Neville at the Battle of Barnet in 1471, the castle passed to Richard, Duke of Gloucester who in 1481 became King Richard III. Richard planned to found an ecclesiastical college within the castle, but these plans had not been realised by the time of his death in 1485.

Throughout the 15th and 16th centuries the castle gradually fell into disrepair, as illustrated by surveys done at the time. In 1569 it enjoyed a brief period of importance during the so-called Rising of the North when the Earls of Westmorland and Northumberland, together with the Scropes and Dacres, moved to release Mary, Queen of Scots from Castle Bolton, place her on the throne of England and restore the country to Catholicism. Their rebellion failed, in part due to the time bought by Sir George Bowes, a loyal supporter of Elizabeth I, who moved to Barnard Castle and managed to withstand a ten-day siege before surrendering the castle, thus giving the Earl of Sussex time to muster an army in support of the queen. Following this, the castle and its estate were rented out by the Crown to various tenants, including the Bowes family, until 1603 when James I granted it to Robert Carr, together with the lordship of Raby. By 1630, both Barnard Castle and Raby were in the possession of Sir Henry Vane who proceeded to dismantle the former to provide building material for his improvements to the latter. Since 1952, by a number of Deeds of Gift, the Inner, Middle and Town Wards have been brought into State care. The ruins are also a Grade I Listed Building. (Scheduling Report)

BERLIN, GERMANY - NOVEMBER 30: Team Cloud9 poses at the VALORANT Champions Features Day on November 30, 2021 in Berlin, Germany. (Photo by Lance Skundrich/Riot Games)

BERLIN, GERMANY - NOVEMBER 11: Melanie "meL" Capone of Cloud9 White poses at the VALORANT Game Changers Championship 2022 Features Day on November 11, 2022 in Berlin, Germany. (Photo by Colin Young-Wolff/Riot Games)

Features exclusive interview with HH member, Flea, on how she transform an Ikea shelf t

Features exclusive interview with HH member, Flea, on how she transform an Ikea shelf to a hamsters' paradise - www.hamsterhideout.com/blog

Dire of Team Secret Whales at MSI 2026 Features Day on July 02, 2026 at Daejeon Convention Center II in Daejeon, South Korea. (Photo by Christina Oh/Riot Games)

Hizto of Team Secret Whales at MSI 2026 Features Day on July 02, 2026 at Daejeon Convention Center II in Daejeon, South Korea. (Photo by Christina Oh/Riot Games)

T1 at the League of Legends Worlds 2025 Features Day on October 11, 2025 in Beijing, China. (Photo by Colin Young-Wolff/Riot Games)

I lied :3

Enjoy!

BERLIN, GERMANY - NOVEMBER 11: KRÜ Fem poses at the VALORANT Game Changers Championship 2022 Features Day on November 11, 2022 in Berlin, Germany. (Photo by Colin Young-Wolff/Riot Games)

BERLIN, GERMANY - NOVEMBER 11: Romina "romi" Álvarez (L) and Catalina "baesht" Arancibia of KRÜ Fem pose at the VALORANT Game Changers Championship 2022 Features Day on November 11, 2022 in Berlin, Germany. (Photo by Colin Young-Wolff/Riot Games)

REYKJAVIK, ICELAND - APRIL 12: Jonah "JonahP" Pulice of The Guard poses for the VALORANT Masters Features Day on April 12, 2022 in Reykjavik, Iceland. (Photo by Lance Skundrich/Riot Games)

UnionDocs presents the first screening of the Optical Boundaries tour. This program features three filmmakers whose respective works explore a variety of environments as well as the formal properties of the film medium. Though working independently, their films culminate in an examination of the film material as a true document of past and present. Each artist calls attention to the process of separation and recombination through the use of discarded View-master cells, appropriated 16mm nature footage, and a kaleidoscopic amalgam of the new and old world.

Program runtime approximately 60 minutes.

HHOOWWLLby Steve Cossman

USA, 2010, 7 minutes, 16mm

Shot on a Kodak Cine II special effects camera, a collection of recognizable masks are captured and layered on film. The screaming colors fuse together in a choir of haunting forms, slipping and melting on the screens surface.

CRUSHERby Steve Cossman

USA, 2010 video transferred to 16mm

An unabridged photograph translated from its still print. Read left to right, pixel by pixel, CRUSHER mechanically sequences single color as single frame creating organic waves of color.

TUSSLEMUSCLE by Steve Cossman

USA, 2007-9, 5 minutes, 16mm

The work presented is a reflection on humanity’s ecological relationship and the ritual of restoration. The violent pulse speaks with a sense of urgency and chaotic struggle while the hypnotic arrangement keeps us in blinding awe us to its condition. TUSSLEMUSCLE is composed of 7,000 single frames, which were appropriated from view-master reel cells. Each frame was hand-spliced to create a linear film-strip.

tonal tide by Ross Nugent

USA, 2009,9 minutes, 16mm

This camera-less film was conceived as a darkroom performance to expose the potential and vulnerability of the color film stock at hand. Both the image and sound were created by flashing raw stock; a peculiar pattern emerged in the soundtrack area as light was scattered by the edge of the film base.

Spillway Study/ Carpe Diez by Ross Nugent

USA, 2010, 8 minutes, 16mm

This three-projector piece was created as a color separation project using 16mm Kodachrome nature photography footage from the late ‘70s as its source. The original was optically printed onto three strands and arranged to simultaneously abstract and call attention to the forces at hand. Using a primary color filter on each projector (R-G-B) and some precise hand-jiving, I combine the images and tease out a range colors.

Sahara Mosaic by Fern Silva

USA, 2009, 10 minutes, 16mm

An orientalist kaleidoscope that constitutes a geographically complex yet cinematic whole. From Egypt to Las Vegas: the old and the new world are reflected and doubled in this experimental travelogue.

Steve Cossman received his BFA in Sculpture from Albright College and went on to study Animation in the Czech Republic at FAMU. After returning to the United States, he worked as artist assistant to John Chamberlain from 2006-2009 during which his focus turned primarily to film and video work. Currently he lives and works in Brooklyn, NY. There he is founder/director of Mono No Aware, an ‘annual exhibition of expanded cinema’ showcasing contemporary artists who incorporate live projections as part of their work. Cossman believes that ‘time is constantly moving within a framework of units and that this irrepressible motion is the nexus of human experience’. Working to create a resonating interval, he often re-structures a familiar sequence within a patterned visual language causing the viewer to give thought to established perceptional relationships. Recent film screenings of his work include Ann Arbor Film Festival, Chicago Underground Film Festival, Milwaukee Underground Film Festival, Seattle International Film Festival, and VideoEx in Zurich. His work can be found in the collections of the University of Seattle, WA, University of Hartford Art School, and The Len Lye Foundation, New Zealand. A solo show of his video works will be held in March 2011 at Trinity College, CT.

Ross Nugent hails from wilds of Western Pennsylvania. He earned a BA in Film Studies at the University of Pittsburgh and studied film and video production at Pittsburgh Filmmakers, where he began working in media exhibition in 2003. Ross served as the Exhibition Coordinator from 2005-2008, and matriculated to the University of Wisconsin-Milwaukee to pursue an MFA in Film. He is also the Program Manager of the UWM Union Theatre, the Faculty Advisor for the Milwaukee Underground Film Festival, and an instructor in the Film Dept.

His film, video, installation, and sculptural work is rooted in using process-oriented techniques of film production, including contact and optical printing, and examines nostalgia and decay as mediated through cinema. Poetic gestures emerge through hand-manipulation of film material, which serves as the impetus for many of his artistic endeavors. His current work includes live cinema projects. Exhibitions of these multi-projector performances include The Museum of Modern Art (NYC) as part of a group show utilizing Analyst projectors, Mono No Aware (NYC), and recently at the Onion City Experimental Film and Video Festival (Chicago).

Since 2005, Fern Silva has been an active filmmaker whose personal journeys and impulsery disposition give rise to his visionary process. He has created a body of film, video, and projection work that conveys a congruent existence through the aesthetics of reflections and detriments within controlled microcosms. His work has been screened and performed at various festivals, galleries, and cinematheques including International Film Festival Rotterdam, New York Film Festival, Anthology Film Archive, Images Festival, IndieLisboa International Film Festival, Bangkok Experimental Film Festival, Biennale Bandits-Mages Festival, Roulette Gallery, Millennium Film Workshop, White Box Gallery, 119 Gallery, and P.S.1. Fern Silva is from central Connecticut, he received a BFA from Massachusetts College of Art and his MFA from Bard College. Fern will be screening two works as part of this years Views from the Avant-Garde.

Inspired by the strength and bravery of a bull-taming matador, El Toro features the steepest drop of any wooden roller coaster in the country at a record-breaking

76 degrees. This imposing thrill ride combines all the best features of wooden coasters with the smooth speed of their steel counterparts.

Experience weightlessness with nine separate "airtime" opportunities

Take on four fast-charging drops, multiple highly-banked turns and a beastly "twister" finale

Ride the second tallest and fastest wooden coaster in the world

El Toro (Spanish for "The Bull") is a wooden roller coaster at Six Flags Great Adventure. It opened to the public June 11, 2006. It was designed by Intamin AG of Switzerland. It had the steepest drop of any wooden roller coaster in the world, at 76 degrees, until this record was broken by T Express in 2008. It is the third tallest (188 ft) and third fastest (70 mph) wooden roller coaster in the world. It is also the first wooden roller coaster to use a cable lift hill instead of the traditional chain lift. Because of the extreme negative g-forces (airtime) on the ride, the lap-bar restraints are very tight, causing some problems for older and larger riders.

El Toro is the main attraction of a new Mexican-themed section, Plaza Del Carnaval. Some of the ride's track is located in Rolling Thunder's infield. It is the steepest lifted (as opposed to launched) roller coaster in the park.

The ride

Once the first car of the train is past the catch-car, the cable begins moving and the catch-car locks onto the first car. As soon as the entire train is on the lift, the cable accelerates to its full speed of 13.5 mph. At this speed, it takes about 15 seconds for the train to reach the top of the lift. The cable slows down slightly as the train crests the lift, but this is barely noticeable on the ride. The cable continues to pull the train until the entire train is over the top of the lift.

After cresting the top of the lift (in which some airtime could be felt before the lift was slowed down in 2007), the train briefly travels forward and makes a sharp 180 degree turn as it quickly picks up speed. It then drops 176 ft at a 76 degree angle. The train reaches 70 mph; however, according to some ride operators the ride runs faster than it should, around 75 mph. Some people say that it feels like the train is being dragged down the first drop. The drop is noted as one of the best drops on any coaster because of its pull and feeling of the world dropping-out from beneath the rider. The drop is experienced very differently in each row because of the length of the train. The front row hangs over the drop for quite a long time, the train only starting to really pick up speed when the front row is almost at the steepest part of the drop. In the back row, the train picks up speed upon reaching the end of the turn before the drop, resulting in strong ejector air that's sustained almost all the way down the drop.

As the train reaches the bottom of the drop it comes close to the track above it creating a headchopper-effect. It then speeds up and over a 112 ft hill where riders experience strong and extreme air-time. After going down the hill riders have their picture taken and then go up and crest a 100 ft hill, once again with strong ejector air. As it comes out of the hill more headchoppers are speedily passed as it the shoots up an 82 ft hill, giving less intense ejector airtime. The train speeds into a sharp 180 degree downward-banked turn and up another banked turn and then drops, this time riders experience floater airtime. The train goes through more headchoppers and a small 2nd hill that speeds past the station and the lakeside. The ride then makes another turn and up a smaller hill over Rolling Thunder. After coming down the drop, the ride snakes through twists and turns through Rolling Thunder's infield. After coming out of the twister section, the train slows down as it moves through small S turn hills and into the brake run.

Location Six Flags Great Adventure

Park section Plaza Del Carnaval

Type Wood

Status Open

Opened June 11, 2006

Manufacturer Intamin AG

Designer Werner Stengel

Model Wooden Coaster (Prefabricated Track)

Track layout Hybrid: Out and Back and Twister

Lift/launch system Cable lift hill

Height 181 ft (55 m)

Drop 176 ft (54 m)

Max speed 70 mph (110 km/h)

Inversions 0

Duration 1 min. 42 sec.

Max vertical angle 76°

Capacity 1296 riders per hour

Height restriction 4 ft 0 in (120 cm)

Rolling Thunder info:

Rolling Thunder is a racing wooden roller coaster at Six Flags Great Adventure in Jackson, NJ. Rolling Thunder was the park's first wooden coaster and debuted during the park's fifth anniversary. The ride has an adjoining entrance and a separate queue for each track. Coaster 1 can be reached by the right queue and Coaster 2 can be reached by the left.

Structure & track

The structure and track is comprised mostly of 850,000 feet of Douglas Fir. In the past it had been treated with a pesticide that is not considered environmentally friendly and is slowly being replaced with southern yellow pine.

The track is made by bolting together seven layers of wood. In most places on the ride, two layers of southern yellow pine sit atop five layers of Douglas-Fir. There are older sections with 7 layers of Douglas-Fir (mostly on the lift) and refurbished sections with 7 layers of southern pine. A seven inch wide strip of steel is bolted onto the top of the layers of wood and a three-inch-wide piece of steel is bolted onto the side. The train's wheels ride on the steel.

Trains

There are four trains that are distinguishable by color: Red, Blue, Yellow and Green. In 2007, Red and Green run on Coaster 1 and Blue and Yellow run on Coaster 2. Each train is 4 three-bench Philadelphia Toboggan Company cars held together by hitch bars. Each car contains 6 seats and each train can hold a maximum of 24 riders.

The trains use buzz bars that lock in one position, rather than using ratcheting lap bars which are capable of locking in multiple positions. The buzz bars are preferred by coaster enthusiasts because of the room they provide. However the ride is not considered an ACE Coaster Classic as seat dividers and headrests were added in 1981 to prevent people from standing on the ride while it is in operation.

Seat belts were added on the ride's 25th anniversary and guests often have trouble buckling the seat belts or sit on the belts after closing their locked lap bar. The seat belts can get caught under the seats because they are not designed to accommodate belts. The boarding process can take a long time due to the restraints being unlocked so that guests can latch their seat belts. Furthermore, guests who are overweight may not be able to comfortably sit in the seats.

There are three types of wheels used on the trains. Sixteen road wheels ride on the top layer of steel on the track. Sixteen guide wheels guide the trains around the turns on a separate steel track located on the sides of the wooden track. Sixteen upstop wheels ride on the bottom of the track only in moments of negative forces when the road wheels leave the track.

Brakes

Rolling Thunder uses skid brakes to stop the trains rather than modern fin brakes. The trains have brake pads underneath each car which slide against the brakes to lift the train's wheels off the track. The brakes are always in the up position unless the operator, in conjunction with the rear unloader attendant, advances a train. The road wheels can be heard spinning at the end of the ride and will continue to spin until the operator, in conjunction with the unload attendant, advances the train.

There are three sets of brakes. The trim and ready brakes are located in the tunnel at the end of the ride. The trim brake slows and stops the train and serves as a holding place for one train until the second train is dispatched out of the station. The train can then be advanced off the trim and onto the ready brake. The ready brake holds the train until the second train reaches the top half of the lift hill. The dispatch brake holds the train in the station while it is being unloaded and loaded for the next ride. The trains are stopped manually and will not always aligned with the queue stalls in the station. Therefore the attendants will have to direct the guests to their rows from time to time before the airgates are opened.

When the brake pads and wheels get wet, there is little friction to stop the trains and they will slide too far onto the brakes. For safety reasons, only one train can run per side in rainy weather.

Ride

Guests who are not tall enough for 54-inch height-requiring coasters can ride Rolling Thunder as it has a 44-inch height requirement.

History

Rolling Thunder ran Coaster 2 backwards in 1984 to mark the 100th anniversary of the roller coaster. During this time, the "remain seated" signs faced the opposite direction on one side of the station and normal on the other.

Location Six Flags Great Adventure

Park section Plaza del Carnaval

Type Wood - Out and Back - Racing

Status Open

Opened 1979

Manufacturer William Cobb and Associates

Designer Don Rosser & William Cobb

Model custom

Track layout Figure 8

Height 96 ft (29 m)

Drop 85 ft (26 m)

Length 3,200 ft (980 m)

Max speed 56 mph (90 km/h)

Duration 2:20

Cost $5 million

Height restriction 3 ft 8 in (110 cm)

This portrait features a modern, monochromatic denim look set against a minimalist gray backdrop. The subject wears a dark blue denim halter top characterized by a daring split-front design and cinched waist, paired with matching low-rise flare jeans. The ensemble combines elements of vintage Y2K fashion with contemporary street style, highlighting a bold and confident aesthetic.

Instrumental electronic music by Eigenfrequenz. Video features model Rebecca Tun. For the full video go to YouTube or Vimeo.

Equipment used: Roland Juno 60, Yamaha CS15, Roland TR-606.

Eigenfrequenz creates electronic music based around analogue synthesisers, guitars and sounds, from melodic instrumental to abstract soundscapes, inspired by the sounds of the 70s and 80s.

Eigenfrequenz is also looking at moving images as a way to connect music and visuals, in a different way to the conventional ‘music video’.

For more of my work please go to Eigenfrequenz on YouTube, Eigenfrequenz on Vimeo, Eigenfrequenz on Facebook, Eigenfrequenz on Bandcamp or Eigenfrequenz on Soundcloud.

Inspirations include Tangerine Dream, Klaus Schulze, Jean Michel Jarre, Vangelis, Kraftwerk, Cluster, Neu!, Brian Eno, Cabaret Voltaire, Orchestral Manoeuvres in the Dark (OMD), Human League and Gary Numan.

The postcard features the back side of the Queen Victoria statue in Gore Park in downtown Hamilton looking west with the Canadian Bank of Commerce in the background at the intersection of James and King Streets.

"The postcard is addressed to Mrs. James Coyle, Kingslake, Ont. The transcription reads: ""Dear Mother, We are in Hamilton today at Fred's sisters. She is lovely. Fred is sending Dad a card so I thought I'd send you one from here too. Lots of love Ida."" There is adhesive remnants where a stamp was on the verso. The return stamp is dated October 5, 1919, 11 PM, Hamilton. The postcard corners are slightly bent. The number 110689 is printed on the recto.

The Valentine & Sons Publishing Company Limited

Postcard Collection HPL_PC_s18_77r_32022206616001

Cite Hamilton Public Library, Local History & Archives

b>Supra Ride System

The Supra Ride System (SRS) integrates features and design to maximize wake riding performance in the 2014 SC350-550.

ProEdge Wakeboard Tower: Starting with your connection to this professional wake maker, the ProEdge Tower is a Supra system in and of itself. Complete with an adjustable weightless folding mechanism, Bridge and Garage Block fold stops, Swivel Board Racks, 4 Spin Speakers and an integrated bimini, this tower is way beyond better. It also features thoughtful details like LED tower accent lighting, upholstery-matched hand-covered panels, rope spool posts to keep excess rope from hanging down into the lounge or storing your rope when you're just cruising and a pull strap to elevate your boat cover for optimum runoff. New for this year the ProEdge Tower is available with the Contrast option that offers 13 color choices on tower base farings and bimini arms to further customize your Supra SC350-550.  

Wake Enhancement and Speed Control: The Supra SC's 900-pound Liquid Lead Ballast and optional 1300-pound expandable Flex system with the wake-shaping SmartPlate can create ideal wakes for every level of rider. Zero Off speed control with GPS mapping and the unaffected wakes under Supra’s PURE Surf swim platform finish this perfect ride. The VISION Touch dash brings all of this function to your finger tips with 16 available Supra Rider Profiles that house speed, ballast and SmartPlate position information. Also at your finger tips is the redundancy of manual wake enhancement and speed controls with simple toggle switches. This includes two quick bump sticks on either side of the steering wheel for SmartPlate and Zero Off speed control without wasted distracting motion.  

Designed to Ride.: The Supra SC is not only designed to create large sculpted wakes, it's built to perform beyond better while making them. The running attitude of the SC, even at full ballast, does not impede the driver's view. SC handling does not degrade with weight or slow speeds. You can turn around to get a fallen rider with ease and not have to worry about taking water over the transom or the bow in the process. The SC is a deep boat and because of that you feel safe on the inside whether your surfing, riding or cruising. 

Flash Gordon - Comic-Taschenbuch / Taschenbuch-Reihe

Condor Verlag (Deutschland; 1982)

Copyright: King Features (USA; 1952-1982)

ex libris MTP

www.comics.org/issue/929395/

Key features have been labelled, and an approximate scale added. (Note that there is no universal nomenclature for the guitar anatomy. The soundboard is often called the 'top-plate', for example.)

The guitars featured in this set are made by the major UK luthier, Tanglewood.

Further guitar related references:

Tanglewood Guitar Company UK / British Website

Tanglewood Guitar Company North America

Tanglewood [Wikipedia]

UNSW (The University of New South Wales) Guitar Acoustics - Resource Index

UNSW Guitar Acoustics - Construction

UNSW Guitar Acoustics - Chladni pattern images

REYKJAVIK, ICELAND - APRIL 8: Roberto Francisco "Mazino" Rivas Bugueno of KRU Esports poses for the VALORANT Masters Features Day on April 8, 2022 in Reykjavik, Iceland. (Photo by Lance Skundrich/Riot Games)

Top Features of Blue & White Leather Biker Gloves: Full-grain leather construction. Pre-curved palm and fingers. Rubber protection. Velcro cuff wrist closure. Safety stitched.

Regular Price = $250.00 U$

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The postcard features the back side of the Queen Victoria statue in Gore Park in downtown Hamilton looking west with the Canadian Bank of Commerce in the background at the intersection of James and King Streets.

"The postcard is addressed to Mr. Jack [Jolley], c/o Royal Bank,

Niagara Falls Center, Ont. The transcription reads: ""Hello John. Why don't you write? Am resting this evening after much a busy week we had last Mr. Martin and father both being away. So you are thinking of joining the army? It is great life I guess. Mother is feeling better today Charlie. Write soon Harold."". The verso has a 1 cent green Canadian stamp with straight cancellation marks from the stamp labelled ""HELP THE HAMILTON MOUNTAIN SANATORIUM TDR CONSUMPIVES"". The return stamp is illegible. The number 110689. J.K. is printed on the recto. The postcard corners are bent and the lower right corner is torn off. "

Postcard Collection HPL_PC_s18_76v_32022206615946

Cite Hamilton Public Library, Local History & Archives

REYKJAVIK, ICELAND - APRIL 7: Nutchaphon "sScary" Matarat of team XERXIA poses for the VALORANT Masters Features Day on April 7, 2022 in Reykjavik, Iceland. (Photo by Lance Skundrich/Riot Games)

BERLIN, GERMANY - NOVEMBER 30: Team Cloud9's Son "xeta" Seon-ho poses at the VALORANT Champions Features Day on November 30, 2021 in Berlin, Germany. (Photo by Lance Skundrich/Riot Games)

REYKJAVIK, ICELAND - APRIL 7: Team XERXIA poses for the VALORANT Masters Features Day on April 7, 2022 in Reykjavik, Iceland. (Photo by Lance Skundrich/Riot Games)

REYKJAVIK, ICELAND - APRIL 12: The Guard poses for the VALORANT Masters Features Day on April 12, 2022 in Reykjavik, Iceland. (Photo by Lance Skundrich/Riot Games)

SEOUL, SOUTH KOREA - NOVEMBER 16: Lee "Gumayusi" Min-hyeong of T1 at the League of Legends World Championship 2023 Finals Features Day on November 16, 2023 in Seoul, South Korea. (Photo by Colin Young-Wolff/Riot Games)

NEW YORK, NEW YORK - OCTOBER 17: Kim "Kellin" Hyeong-gyu of DAMWON KIA poses at the League of Legends World Championship Quarterfinals Features Day on October 17, 2022 in New York City. (Photo by Lance Skundrich/Riot Games)

This image features a Mute Swan (Cygnus olor), characterized by its prominent orange bill with a black base and a graceful, long neck often held in an "S" curve. The species is known for its heavy body, dense white plumage, and generally silent nature compared to other swan species. Mute Swans are often found swimming in pairs or small groups on lakes, ponds, and slow-moving rivers.

Swans, Humber Bay Park West Lookout Point, TORONTO ONTARIO, CANADA

Features a sleek design with polished ends, ideal for any trade show or exhibit.

www.signworldamerica.com/Premium-Retractable-Roll-Up-Bann...

REYKJAVIK, ICELAND - APRIL 7: Team XERXIA poses for the VALORANT Masters Features Day on April 7, 2022 in Reykjavik, Iceland. (Photo by Lance Skundrich/Riot Games)

SEOUL, SOUTH KOREA - NOVEMBER 16: T1 at the League of Legends World Championship 2023 Finals Features Day on November 16, 2023 in Seoul, South Korea. (Photo by Colin Young-Wolff/Riot Games)

NEW YORK, NEW YORK - OCTOBER 17: DAMWON KIA poses at the League of Legends World Championship Quarterfinals Features Day on October 17, 2022 in New York City. (Photo by Lance Skundrich/Riot Games)

St Mark's Church of England, in the Melbourne suburb of Camberwell, features the largest collection of stained glass windows created by the husband and wife artistic team of Christian and Napier Waller outside of the National War Memorial in Canberra. The collection of stained glass at St Mark's dates from the 1930s through to the mid Twentieth Century. These include windows above the sanctuary.

St Mark's Parish was first established in 1912, as ribbon housing estates and developments were established along the Burke Road tramline. In 1914, a church hall, designed by Louis Reginald Williams and Alexander North, was built to be used for all church services and any parish activities on a temporary basis. The temporary accommodation lasted for fourteen years, until St Mark's Church of England was built between 1927 and 1928, to the design specifications of noted local architect Rodney Howard Alsop. Mr. Alsop was a significant and prolific contributor to the Arts and Crafts movement in Australia. St Mark's Church of England is an interesting building as it has been designed in rather imposing Gothic design, and yet it is heavily influenced by the Arts and Crafts movement, no doubt as a result of the architect's passion for the design movement. The foundation stone was laid in 1927 and the building opened in July of the following year. During the post Great War era, there was a war memorial movement that influenced architectural design throughout Australia. The movement was at its peak in the 1920s, so a key feature of the planning of St Mark's Church of England was the inclusion of a war memorial within the church building. This was achieved by way of a chapel which was dedicated to the memory of the men of the parish who died during the Great War (1914 - 1918). St Mark's Church of England was completed during the one construction period and the building has never been altered architecturally since. The design of St Mark's includes an elegant broach spire, and use of stucco rendering and minimal ornamentation. There are interesting internal aspects, including the octagonal baptistery and the placing of the square chancel behind the altar.

Christian Waller (1894 – 1954) was an Australian artist. Born in Castlemaine, Victoria, Christian was the fifth daughter and youngest of seven children of William Edward Yandell a Victorian-born plasterer, and his wife Emily, née James, who came from England. Christian began her art studies in 1905 under Carl Steiner at the Castlemaine School of Mines. The family moved in 1910 to Melbourne where Christian attended the National Gallery schools. She studied under Frederick McCubbin and Bernard Hall, won several student prizes, exhibited (1913-22) with the Victorian Artists Society and illustrated publications. On 21 October 1915 at the manse of St Andrew's Presbyterian Church, Carlton, she married her former fellow-student Mervyn Napier Waller; they were childless, but adopted Christian’s niece Klytie Pate, in all but a legal sense. During the 1920s Christian Waller became a leading book illustrator, winning acclaim as the first Australian artist to illustrate Alice in Wonderland (1924). Her work reflected Classical, Medieval, Pre-Raphaelite and Art Nouveau influences. She also produced woodcuts and linocuts, including fine bookplates. From about 1928 she designed stained-glass windows. The Wallers travelled to London in 1929 to investigate the manufacture of stained glass at Whall & Whall Ltd's premises. Returning to Australia via Italy, they studied the mosaics at Ravenna and Venice. Christian signed and exhibited her work under her maiden name until 1930, but thereafter used her married name. In the 1930s Waller produced her finest prints, book designs and stained glass, her work being more Art Deco in style and showing her interest in theosophy. She created stained-glass windows for a number of churches—especially for those designed by Louis Williams—in Melbourne, Geelong, and rural centres in New South Wales. Sometimes she collaborated with her husband, both being recognized as among Australia's leading stained-glass artists. Estranged from Napier, Christian went to New York in 1939. In 1940 she returned to the home she shared with her husband in Fairy Hills where she immersed herself in her work and became increasingly reclusive. In 1942 she painted a large mural for Christ Church, Geelong; by 1948 she had completed more than fifty stained-glass windows.

Mervyn Napier Waller (1893 – 1972) was an Australian artist. Born in Penshurst, Victoria, Napier was the son of William Waller, contractor, and his wife Sarah, née Napier. Educated locally until aged 14, he then worked on his father's farm. In 1913 he began studies at the National Gallery schools, Melbourne, and first exhibited water-colours and drawings at the Victorian Artists' Society in 1915. On 31 August of that year he enlisted in the Australian Imperial Force, and on 21 October at the manse of St Andrew's Presbyterian Church, Carlton, married Christian Yandell, a fellow student and artist from Castlemaine. Serving in France from the end of 1916, Waller was seriously wounded in action, and his right arm had to be amputated at the shoulder. Whilst convalescing in France and England Napier learned to write and draw with his left hand. After coming home to Australia he exhibited a series of war sketches in Melbourne, Sydney, Adelaide and Hobart between 1918 and 1919 which helped to establish his reputation as a talented artist. Napier continued to paint in water-colour, taking his subjects from mythology and classical legend, but exhibited a group of linocuts in 1923. In 1927 Napier completed his first major mural for the Menzies Hotel, Melbourne. Next year his mural 'Peace after Victory' was installed in the State Library of Victoria. Visiting England and Europe in 1929 to study stained glass, the Wallers travelled in Italy where Napier was deeply impressed by the mosaics in Ravenna and studied mosaic in Venice. He returned to Melbourne in March 1930 and began to work almost exclusively in stained glass and mosaic. In 1931 he completed a great monumental mosaic for the University of Western Australia; two important commissions in Melbourne followed: the mosaic façade for Newspaper House (completed 1933) and murals for the dining hall in the Myer Emporium (completed 1935). During this time he also worked on a number of stained-glass commissions, some in collaboration with his wife, Christian. Between 1939 and 1945 he worked as an illustrator and undertook no major commissions. In 1946 he finished a three-lancet window commemorating the New Guinea martyrs for St Peter's Church, Eastern Hill. In 1952-58 he designed and completed the mosaics and stained glass for the Hall of Memory at the Australian War Memorial, Canberra. On 25 January 1958 in a civil ceremony in Melbourne Waller had married Lorna Marion Reyburn, a New Zealand-born artist who had long been his assistant in stained glass.

One final aspect of the seated figure of Caligula on the consensv dupondius is worth examining. Could Caligula have been the first living princeps to ever appear radiate on Roman coinage? B.E. Levy. in her article entitled "Caligula's Radiate Crown," finds traces of a radiate crown on two pieces: One in the Princeton University Library; the other in a private collection. Some scholars believe this theory strengthens the argument that the seated figure is Augustus and not Caligula. H.M. Von Kaenal advanced this interpretation of the dupondii this way: His first argument is that on some of the reverses you could identify Caligula's features; secondly, that the reverse legend iis suited to certain events of his accesion. As Dio tells us, the event was altered by an erruption into the senate- house of equites et populus, and in Von Kaenal's view it is to this, and not the award of an honorific statue, that the legend CONSENSV SENAT ET EQ ORDIN P Q R must refer. H. Kuthmann brings even stronger evidence of the reverse type not being Augustus when he suggests that on pre-Flavian coins the curule chair is the seat of the living princeps, while that of DIVUS Augustus is a throne. This is strong evidence that the seated figure is that of Caligula. (Interestingly, Kuthmann identifies the seated figure as Claudius.)

Levy brings further evidence to light when she suggests that the bronze provincial issues of at least three or four mints show Caluigula with radiate attribution (one from Alexandria, but this issue may represent Helios.) Another issue from the province of Asia shows a spikey Hellenistic crown. Even stronger evidence that the radiate crown did exist can be seen on consensv dupondii , where the die engraver shortened the vertical bar on the T in ET to accomadate the crown, while the entire letter T is slightly raised in the second Princeton piece. Levy mentions that the radiate crown is neglected in descriptions which follow illustrations in catalouges. In specifically looking for the radiated crown on the consensv dupondii, There are at least three issues that have been found via the art trade. It has been suggested that the radiate crown is occasionally used on Roman coinage to distinguish a newly elevated Emperor. Thus, the Roman radiate crown was not a true piece of insignia: Its meaning was flexible and its use optional.

1. See in general J. Pollini, Book Review, Dietrich Boschung, Die

Bildnisse des Augustus, Das romische Herrscherbild, pt. 1, vol. 2.

2. See D. Boschung, Die Bildnisse des Caligula. Deutsches

.

Archaologisches Institut, Das romische Herrscherbild 1,4 Berlin:

Gebr. Mann Verlag, 1989. 138pp, 52 pls. ISBN 3-7861-1524-9.

DM190.

3. I 7: D. Boschung, Die Bildnisse des Caligula (1989)

II 1: G. Daltrop - U. Hausmann - M. Wegner, Die Flavier. Vespasian,

Titus,Domitian, Nerva, Julia, Titi, Domitilla, Domitia (1966)

II 2: W. H. Groß, Bildnisse Trajans (1940)II 3: M. Wegner, Hadrian, Plotina, Marciana,

Matidia, Sabina (1956) II 4: M. Wegner, Die Herrscherbildnisse in antoninischer Zeit (1940)

III 1: H. B. Wiggers - M. Wegner, Caracalla, Geta, Plautilla, Macrinus bis Balbinus

(1971)III 2: R. Delbrueck, Die Münzbildnisse von Maximinus bis Carinus (1940)

4. See Joe Geranio, "Portraits of Caligula: The Seated Figure? - Society of Ancient Numismatics, Vol. XX, (1997)

For more photos of Caligula appearing radiate go to: www.portraitsofcaligula.com/3/miscellaneous10.htm

Joe Geranio

If you are interested in Julio Claudian Iconography and portrait study you may enjoy these two links:

Julio Claudian Iconographic Association- Joe Geranio- Administrator at groups.yahoo.com/group/julioclaudian/

The Portraiture of Caligula- Joe Geranio- Administrator- at

portraitsofcaligula.com/

Both are non-profit sites and for educational use only.For more on Caligulan Numismatic Articles see: Coins courtesy cngoins.com

Related Articles of Caligula from American Numismatic Society Library Search

Library Catalog Search (Preliminary Version)

Full Record: Barrett, Anthony A. The invalidation of currency in the Roman Empire : the Claudian demonetization of Caligula's AES. (1999)

Full Record: Bost, Jean-Pierre. Routes, cits et ateliers montaires : quelques remarques sur les officines hispaniques entre les rgnes d'Auguste en de Caligula. (1999)

Full Record: Bibliothque Municipale d'Etude et d'Information de Grenoble. Grenoble : Bibliothque Municipale d'Etude et d'Information : catalogue des monnaies. II. Monnaies romaines. Monnaies impriales romaines. 2. Caligula - Neron . Index. / Bernard Rmy, Frdric Bontoux, Virginie Risler. (1998)

Full Record: Gainor, John R. The image of the Julio-Claudian dynasty from coins / by John R. Gainor.

Full Record: Martini, Rodolfo. Monete romane imperiali del Museo G. B. Adriani. Parte 3, Caius (37-41 d.C.) / Rodolfo Martini. (2001)

Full Record: ACCLA privy to presentation by Richard Baker on Caligula. (2002)

Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 1. (2002)

Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 2. (2002)

Full Record: Wend, David A. Caligula, the emperor as autocrat. Part 3. (2002)

Full Record: Kemmers, Fleur. Caligula on the Lower Rhine : Coin finds from the Roman Fort of Albaniana (The Netherlands) / Fleur Kemmers. (2004)

Full Record: Estiot, Sylviane. Le trsor de Meussia (Jura) : 399 monnaies d'argent d'poques rpublicaine et julio-claudienne / Sylviane Estiot, Isabelle Aymar. (2002)

Full Record: Gocht, Hans. Namenstilgungen an Bronzemünzen des Caligula und Claudius / Hans Gocht. (2003)

Full Record: Gomis Justo, Marivi. Ercavica : La emision de Caligula. Estimacion del numero de cunos originales.

Full Record: Sayles, Wayne G. Fakes on the Internet. (2002)

Full Record: Kemmers, Fleur. The coin finds from the Roman fort Albaniana, the Netherlands / Fleur Kemmers . (2005)

Full Record: Lopez Snchez, Fernando. La afirmacion soberana de Caligula y de Claudio y el fin de las acunaciones ciudadanas en occidente / Fernando Lopez Snchez. (2000)

Full Record: Besombes, Paul-Andr. Les monnaies hispaniques de Claude Ier des dpôts de la Vilaine (Rennes) et de Saint-Lonard (Mayenne) : tmoins de quel type de contact entre l'Armorique et la pninsule ibrique ? / Paul-Andr Besombes. (2005)

Full Record: Catalli, Fiorenzo. Le thesaurus de Sora / Fiorenzo Catalli et John Scheid.

Full Record: Giard, Jean-Baptiste. Faux deniers de Caligula de la Renaissance.

Full Record: Vermeule, Cornelius. Faces of Empire (Julius Caesar to Justinian). Part II(B), More young faces : Caligula again and Nero reborn / Cornelius Vermeule. (2005)

Full Record: Geranio, Joe. Portraits of Caligula : the seated figure? / Joe Geranio. (2007)

Full Record: Aguilera Hernandez, Alberto. Acerca de un as de Caligula hallado en Zaragoza / Alberto Aguilera Hernandez. (2007)

Full Record: Butcher, K. E. T. Caligula : the evil emperor. (1985)

Full Record: Fuchs, Michaela. Frauen um Caligula und Claudius : Milonia Caesonia, Drusilla und Messalina. (1990)

Full Record: Faur, Jean-Claude. Moneda de Caligula de Museo Arqueologico Provincial de Tarragona. (1979)

Full Record: British Museum. Dept. of coins and medals. Coins of the Roman Empire in the British museum. Vol. I: Augustus to Vitellius / by Harold Mattingly. (1976)

Full Record: Conrad, Edwin. A Caligula Isotope of Hadrian. (1968)

Full Record: Conrad, Edwin. The Metamorphosis of an Allegad 'As of Hadrian.' (1968)

Full Record: Bendall, Simon. A 'new' gold quinarius of Caligula. (1985)

Full Record: Cortellini, Nereo. Le monete di Caligola nel Cohen.

Full Record: Guey, Julien. Les "bains d'or" de Caligula "Immensi Avreorvm Acervi (Sutone, Cal., 42,3).

Full Record: Guey, J. Les "bains d'or" de Caligula : Sutone, Cal. 42, 3.

Full Record: Curry, Michael R. The Aes Quadrans of Caligula. (1968)

Full Record: Jonas, Elemr. L'emploi dar "damnatio memoriae" sur l'un des "dupondius" de Calgula. (1937)

Full Record: Julian, R. W. The coins of Caligula. (1994)

Full Record: Donciu, Ramiro. Cu privire la activitatea militara a lui Caius (Caligula) in anul 40 e.n. (1983)

Full Record: Hansen, Peter. A history of Caligula's Vesta. (1992)

Full Record: Kaenel, Hans-Markus von. Augustus, Caligula oder Caludius? (1978)

Full Record: Kaenel, Hans-Markus von. Die Organisation der Münzprgung Caligulas. (1987)

Full Record: Johansen, Flemming S. The sculpted portraits of Caligula. (1987)

Full Record: Carter, G. F. Chemical compositions of copper-based Roman coins. V : imitations of Caligula, Claudius, and Nero / G. F. Carter and others. (1978)

Full Record: Giard, Jean-Baptiste. L'atelier de Lyon sous Auguste : Tibre et Caligula. (1979)

Full Record: Giard, Jean-Baptiste. Les missions d'or et d'argent de Caligula dans l'atelier de Lyon. (1976)

Full Record: Giard, Jean-Baptiste. Le monnayage de l'atelier de Lyon des origines au rgne de Caligula (43 avant J.-C. - 41 aprs J.-C.). (1983)

Full Record: Nony, D. Quelques as d'imitation de Caligula trouves a Bordeaux (Gironde). (1981)

Full Record: Levy, Brooks Emmons. Caligula's radiate crown. (1988)

Full Record: Poulsen, Vagn. Un nouveau visage de Caligula. (1972)

Full Record: Price, Martin Jessop. Elephant in Crete? New light ona cistophorus of Caligula. (1973)

Full Record: MacInnis, H. Frank. Ego-driven emperor commits excesses. (1979)

Full Record: McKenna, Thomas P. The case of the curious coin of Caligula : a provincial bronze restruck with legend-only dies. (1994)

Full Record: Mowat, Robert. Bronzes remarquables de Tibre, de son fils, de ses petits-fils et de Caligula. (1911)

Full Record: Koenig, Franz E. Roma, monete dal Tevere : l'imperatore Gaio (Caligola). (1988)

Full Record: Kollgaard, Ron. Caligula's coins profile despot. (1993)

Full Record: Kollgaard, Ron. A numismatic mystery : "the Caligula quadrans." (1994)

Full Record: Martini, Rodolfo. Osservazioni su contromarche ed erosioni su assi de Caligula. (1980)

Full Record: Szaivert, Wolfgang. Moneta Imperii Romani. Band 2 und 3. Die Münzprgung der Kaiser Tiberius und Caius (Caligula) 14/41 / von Wolfgang Szaivert. (1984)

Full Record: Boschung, Dietrich. Die Bildnisse des Caligula. Kaenel, Hans-Markus von. Jucker, Hans. Deutsches Archaologisches Institut. Das Romische Herrscherbild. 1. Abt., Bd. 4, Die Bildnisse des Caligula / Dietrich Boschung ; mit einem Beitrag von Hans-Markus von Kaenel ; auf Grund der Vorarbeiten und Marterialsammlungen von Hans Jucker. (1989)

Full Record: Rosborough, Ruskin R. An epigraphic commentary on Suetonius's life of Gaius Caligula. A thesis...for the...Doctor of Philosophy. (1920)

Full Record: Richard, Jean-Claude. A propos de l'aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)

Full Record: Richard, Jean-Claude. Un aureus de Caligula dcouvert Saint-Colomban-des-Villards (Savoie). (1982)

Full Record: Ritter, Hans-Werner. Adlocutio und Corona Civica unter Caligula und Tiberius. (1971)

Full Record: Kumpikevicius, Gordon C. A numismatic look at Gaius. (1979)

Full Record: Savio, Adriano. La coerenza di Caligola nella gestione della moneta / Adriano Savio. (1988)

Full Record: Savio, Adriano. Note su alcune monete di Gaio-Caligola. (1973)

Full Record: Stylow, Armin U. Die Quadranten des Caligula als Propaganda-münzen.münzen" aus der stdtischen sammlung zu Osnabrück. (1971)

Full Record: Schwartz, Jacques. Le Monnayage Snatorial entre 37 et 42 P.C. (1951)

Full Record: Rodolfo Martini, ed. Sylloge nummorum Romanorum. Italia. Milano, Civiche Raccolte Numismatiche Vol. 1 Giulio-Claudii / a cura di Rodolfo Martini. (1990)

Full Record: Szaivert, Wolfgang. Zur Julisch-Claudischen Münzprgung. (1979)

Full Record: Vedrianus. The Roman Imperial series. V. Gaius. (1963)

Full Record: Tietze, Christian M. Kaiser Cajus Caesar, genannt Caligula. (1979)

Full Record: Wood, Susan. Diva Drusilla Panthea and the sisters of Caligula / Susan Wood. (1995)

Full Record: Sutherland, Carol Humphrey Vivian. Coinage in Roman imperial policy 31 B.C.-A.D. 68. (1951)

Full Record: Sutherland, C. H. V. The mints of Lugdunum and Rome under Gaius : an unsolved problem. (1981)

Full Record: Trillmich, Walter. Familienpropaganda der Kaiser Caligula und Claudius : Agrippina Maior und Antonia Augusta auf Münzen. (1978)

Full Record: Voirol, August. Eine Warenumsatzsteuer im antiken Rom und der numismatische Beleg inher Aufhebung : Centesima rerum venalium. (1943)

Full Record: Trillmich, Walter. Zur Münzprgung des Caligula von Caesaraugusta (Zaragoza). (1973)

REYKJAVIK, ICELAND - APRIL 12: Jonah "JonahP" Pulice of The Guard poses for the VALORANT Masters Features Day on April 12, 2022 in Reykjavik, Iceland. (Photo by Lance Skundrich/Riot Games)

Story by Army.Mil Features.

Sgt. 1st Class Leroy Arthur Petry is currently assigned to Headquarters and Headquarters Company, 75th Ranger Regiment at Fort Benning, Ga. with duties as a liaison officer for the United States Special Operations Command Care Coalition—Northwest Region, providing oversight to wounded warriors, ill and injured service members and their families.

He was born in 1979 in New Mexico.

After graduating from Saint Catherine’s Indian High School in May 1998, Petry spent the next year working with his father and grandfather at Pecos Public Transportation working in the maintenance department and making signs at AI Signs.

In September 1999, Petry enlisted in the United States Army from his hometown in New Mexico, something he wanted to do since he was 7-years-old. Petry then volunteered for the 75th Ranger Regiment because of its reputable history.

After completion of One Station Unit Training, the Basic Airborne Course and the Ranger Assessment and Selection Program – all at Fort Benning – Petry was assigned to 2nd Battalion, 75th Ranger Regiment. He served as a grenadier, squad automatic rifleman, fire team leader, squad leader, operations sergeant and a weapons squad leader.

He has deployed eight times in support of overseas contingency operations with two tours to Iraq and six tours to Afghanistan.

At the time of the May 26, 2008 combat engagement, Petry was a Staff Sergeant Squad Leader assigned to Co. D, 2nd Bn., 75th Ranger Regiment at Joint Base Lewis-McChord, Wash.

Petry plans to retire from the Army after many more years of service. Petry enjoys serving in the Army, and has a great opportunity to work with the care coalition; in his words, "If I can’t go to the fight, I can help the men who are wounded, injured or ill."

His military education includes the Basic Airborne Course, Combat Life Saver Course, U.S. Army Ranger Course, Warrior Leader Course, Jumpmaster Course, Advanced Leader Course, Senior Leader Course and Combatives Level One Course.

His awards and decorations include the Ranger Tab, the Combat Infantryman’s Badge, Expert Infantryman’s Badge, Senior Parachutist Badge, the Parachutist Badge and Canadian Jump Wings.

He has also been awarded two Bronze Star Medals, a Purple Heart, three Army Commendation Medals, two Army Achievement Medals, Valorous Unit Award, three Army Good Conduct Medals, National Defense Service Medal, Afghanistan Campaign Medal with Combat Star, Iraq Campaign Medal with Combat Star, Global War on Terrorism Expeditionary Medal, Global War on Terrorism Service Medal, Non-commissioned Officer Professional Development Ribbon with numeral 3, Overseas Service Ribbon and the Army Service Ribbon.

Petry and his wife have four children. His father lives in Pecos, N.M., and his mother lives in Bernalillo, N.M. Petry has four brothers and when he is not spending time with his family, he enjoys golf, pheasant hunting and fishing. He is currently attending Pierce College at Joint Base Lewis-McChord, Wash., with plans for a Bachelor of Science degree in business management.

Welcome fellow Paddington Bear spotter! My photostream features all 50 Paddingtons. If you would like to shortcut to a specific one, please use the links below

No. 1: Love, Paddington X (Lulu Guinness) |

No. 2: Texting Paddington (Westminster Academy) | No. 3: The Mayor of Paddington (Paddington Waterside and Costain) | No. 4: Bearing Up (Taylor Wimpey) | No. 5: Brick Bear (Robin Partington & Partners) | No. 6: Futuristic Robot Bear (Jonathan Ross) | No. 7: Paddington (Michael Bond) | No. 8: Paddingtonscape (Hannah Warren) | No. 9: The Journey of Marmalade (Hugh Bonneville) | No. 10: Paws Engage (Canterbury of New Zealand) | No. 11: Flutterby (Emma Watson) | No. 12: W2 1RH (Marc Quinn) | No. 13: Paws (Sally Hawkins) |

No. 14: Goldiebear (Kate Moss) | No. 15: Sparkles (Frankie Bridge) | No. 16: Bear Humbug (Ant and Dec) | No. 17: The Spirit of Paddington (Rolls-Royce Motor Cars) | No. 18: Thread Bear (Matthew Williamson) | No. 19: Golden Paws (David Beckham) | No. 20: Parka Paddington (Liam Gallagher) | No. 21: Bearer of Gifts (Hamleys) | No. 22: Little Bear Blue (Intel) | No. 23: Bearodiversity (Peru) | No. 24: Paddington the Explorer (Ripley’s Believe it or Not! London) | No. 25: Andrew Lloyd Webbear (Andrew Lloyd Webber) | No. 26: Blush (Nicole Kidman) | No. 27: The Bear of London (Boris Johnson) | No. 28: Paddington Jack (Davina McCall) | No. 29: Good News Bear (The Telegraph) | No. 30: Paddington is GREAT (Stephen Fry) | No. 31: Special Delivery (Ben Wishaw) | No. 32: Rainbow (Darcey Bussell) | No. 33: Bear Necessities (John Hurt) | No. 34: Sherlock Bear (Benedict Cumberbatch) | No. 35: Bear in the Wood (Rankin) | No. 36: Fragile (Ryan McElhinney) | No. 37: Shakesbear (Michael Sheen) | No. 38: Good Morning, London (Michael Howells) | No. 39: RGB (Zaha Hadid) | No. 40: Taste of Peru (Peru) | No. 41 Wonders of the World (Peru) | No. 42 Paddington Who? (Peter Capaldi) | No. 43 Gravity Bear (Sandra Bullock) | No. 44 Wish You Were Here (Nick Mason) | No. 45 Toggle (Benjamin Shine) | No. 46 Primrose Paddington (Julie Walters) | No. 47 Sticky Wicket (Ian Botham) | No. 48 Chief Scout Bear (Bear Grylls) | No. 49 The Special One (Chelsea FC) | No. 50 Dapper Bear (Guy Ritchie)

Faker of T1 at the League of Legends Worlds 2025 Features Day on October 11, 2025 in Beijing, China. (Photo by Colin Young-Wolff/Riot Games)

BUSAN, SOUTH KOREA - MAY 24: Moon "Oner" Hyeon-joon of T1 poses at the League of Legends - Mid-Season Invitational Knockouts Features Day on May 24, 2022 in Busan, South Korea. (Photo by Lee Aiksoon/Riot Games)

BERLIN, GERMANY - NOVEMBER 30: Team Cloud9's Nathan “leaf” Orf poses at the VALORANT Champions Features Day on November 30, 2021 in Berlin, Germany. (Photo by Lance Skundrich/Riot Games)

BERLIN, GERMANY - NOVEMBER 30: Team Fnatic's Nikita "Derke" Sirmitev (L) and James "Mistic" Orfila pose at the VALORANT Champions Features Day on November 30, 2021 in Berlin, Germany. (Photo by Lance Skundrich/Riot Games)

NEW YORK, NEW YORK - OCTOBER 05: Tian "Meiko" Ye of EDward Gaming poses at the League of Legends World Championship Groups Features Day on October 5, 2022 in New York City. (Photo by Colin Young-Wolff/Riot Games)

NEW YORK, NEW YORK - OCTOBER 17: Son "Lehends" Si-woo of Gen.G poses at the League of Legends World Championship Quarterfinals Features Day on October 17, 2022 in New York City. (Photo by Lance Skundrich/Riot Games)

[Houda Trablesi] Tunisian protesters face off over the role of Islam in their new society

مواجهة بين المتظاهرين التونسيين حول دور الإسلام في مجتمعهم الجديد

Les manifestants tunisiens s'affrontent à propos du rôle de l'Islam dans leur nouvelle société

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Whatsapp dunya ki subse bari social sharing app ban chukki hai, is k Users me din badin izafa hota jarha hai ajj k door me shaid he koi aysa shaks ho jo mobile aur internet dastiab hone k bawajod bhi Whatsapp use na karta ho lakin Whatsapp me buht se features ayse bhi hain jo buht kum log jante aur use karte hain.

click this link to read artical

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