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Just a tool's workbench, isn't it?. what's the magic with that?.
Well, when i made that shot, the garage was completely surrounded by darkness.
Only a little torch on my hand, camera on tripod, shutter opened and side light painting, moving torch in circles to achieve that smooth shadows. If you see it full size you'll discover plenty of details, textures, and mood, special mood.
That technique (light painting) it's great for still life. You know, photography it's all about light, and the right amount and direction of light can transform an ordinary subject - as those old tools - in something different, special, cool.
This week I'll show you some samples I made on a workshop using this technique, working on different common objects: lamps, machinery, tools.
That's another way of composing still life creations, far away from fruits, bottles and flowers.
For me, the most important challenge to reach this kind of photographs it's to arrange all that stuff in an attractive way, and it's a hard work!!!. I must study a lot of theory on composition's rules, and also light's physics, but , meanwhile, i'm enjoying walking the path.
Copyright © 2011 Pedro Ferrer. All Rights Reserved. Todos los derechos reservados.
Juan Carlos Ferrero during his 2nd round match with Pere Riba.
Ferrero won 7-6, 6-7, 6-2, 6-2.
Roland Garros 2010.
Juan Carlos Ferrero during his 2nd round match with Pere Riba.
Ferrero won 7-6, 6-7, 6-2, 6-2.
Roland Garros 2010.
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Opening-act dei Whitesnake all’Alcatraz di Milano il 29 novembre 2015, The Dead Daisies.
Influenced by 70’s and early 80’s hard rock, The Dead Daisies sound is soulful and accessible – equal parts of The Faces, Bad Company and Foreigner: muscular vocals, bluesy riffs, big choruses, powerful melodies and strong hooks. With stellar musicianship and pulverizing live shows, fans across the globe are discovering the band that is bringing back Rock & Roll!
The musical collective is created by a rotating line-up that features some of the best Rock musicians on the planet. This includes: Richard Fortus (Guns N’ Roses/The Psychedelic Furs), Dizzy Reed (Guns N’ Roses/Hookers and Blow), Darryl Jones (The Rolling Stones), Charley Drayton (The X-pensive Winos/The Cult), Jon Stevens (Noiseworks/INXS), Brian Tichy (Ozzy Osbourne/Billy Idol), David Lowy (Red Phoenix/Mink), John Tempesta (The Cult/Rob Zombie), Marco Mendoza (Thin Lizzy/Whitesnake), John Corabi (Motley Crue/RATT), Alex Carapetis (Julian Casablancas + The Voidz/Nine Inch Nails), Bernard Fowler (The Rolling Stones) and Frank Ferrer (Guns N’ Roses/The Psychedelic Furs).
Richard Fortus, originally from St. Louis, Missouri, is probably best know for his ‘other’ position, guitarist with legendary American rock band Guns N’ Roses where he handles both rhythm and lead duties since first joining the band 2001.
Marco Mendoza is a well-known face around the rock music circuit. His bass playing skills have seen him hold down the rhythm section for many legendary bands like Thin Lizzy, Whitesnake, Dolores O'Riordan, Lynch Mob and Ted Nugent among others.
John Corabi was already an established singer in the rock world with bands like Angora and Scream before he joined Motley Crue in 1992 as their new lead singer. He recorded the critically acclaimed self titled album before Vince Neil returned in 1996.
Dizzy Reed is a multi-talented keyboard/vocalist who has been part of The Dead Daisies line-up since 2013.
Brian Tichy started drumming from age 8. He attended the prestigious Berklee College of Music from 1986-1990.
Throughout his career, rhythm guitarist David Lowy has extensively played with various Australian rock bands, including Red Phoenix, Mink and Doc Neeson’s Angels. Read
David Lowy – rhythm guitar
Richard Fortus – lead guitar
Dizzy Reed – keyboards
Marco Mendoza – bass
John Corabi – lead vocals
Brian Tichy – drums
Juan Carlos Ferrero acknowledges the crowd at the end of his 2nd round win over Pere Riba.
Ferrero won 7-6, 6-7, 6-2, 6-2.
Roland Garros 2010.
David Ferrer hits a forehand during his first round match against Evgeny Donskoy on day three of the 2016 French Open at Roland Garros on May 24, 2016 in Paris, France.
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Ibrahim Ferrer Kindelan, known as "Junior", is the son of the Cuban singer of the same name, known by the famous Buena Vista Social Club.
Looking east down the nave past the north transept entrance, Begun c 1243 by Sir William de Ferrers d1280 who lies with one of his wives under an arch north of the chancel altar. www.flickr.com/gp/52219527@N00/ca39t9BYh6 He founded an Arch Presbytery, with 4 priests and a deacon under an Arch Priest, to pray for the family in perpetuity.
c 1332, Sir William's grandson another William, extended the church, in part with money from a successful silver mine nearby .
This Sir William is thought to be the knight kneeling in the wonderful 14c stained glass in the chancel east window being the oldest glass of any parish church in Devon.
- Church of St Andrew, Bere Ferrers Devon
Picture with thanks - copyright Tim britishlistedbuildings.co.uk/101163103-church-of-st-andre...
Church of St Mary the Virgin in Churston Ferrers Devon from the Bascombe Road
Picture with thanks - copyright Tom Jolliffe CCL www.geograph.org.uk/photo/1283568
10 November 2022, 10th Subsidiarity Conference
Spain - Valencia - November 2022
© European Union / David Martin Diaz
Vasco Ilídio ALVES CORDEIRO, President of the European Committee of the Regions
Ximo PUIG I FERRER, President of the Regional Government of Valencia
Baddesley Clinton is not one the grandest of houses, nor is it filled with rare works of art, but having been owned by one family, the Ferrers, since the 16th century and maintained largely intact and original, it is a rare example of the average early-modern home of the lesser gentry. Unlike such mansions as nearby Coughton Court, Baddesley Clinton is relatively small, even cozy, and one can easily imagine the life of the people who lived here. It is best known for being the home of the Jesuit Henry Garnet for almost 14 years, and the existence of several priest hides conceived and built by Nicholas Owen.
The Clintons settled here in the thirteenth century, when it was called just Baddesley, and added their name to the place. They were responsible for the digging of the moat that you see above. It was eventually sold in 1438 to John Brome, a wealthy lawyer, and the Bromes built most of the east and west sides of the house.
John Brome was the Under Treasurer of England but a Lancastrian, and when Henry VI was deposed in 1461 by the Yorkist claimant Edward IV, Brome lost all of his court appointments. He later quarreled with John Herthill, Steward to Richard "the Kingmaker", Earl of Warwick, and Herthill murdered him in 1468 on the porch of the Whitefriars Church in London. Brome's second son, Nicholas, who inherited the estate, eventually avenged his father's murder by killing Herthill in 1471.
Nicholas Brome seems to have had a taste for violence. According to Henry Ferrers, a later owner of the house, it was soon after inheriting Baddesley Clinton that Nicholas 'slew the minister of Baddesley Church findinge him in his plor (parlour) chockinge his wife under ye chinne, and to expiatt these bloody offenses and crimes he built the steeple and raysed the church body ten foote higher". He was pardoned for this killing by both the King and the Pope. Nicholas seems also to have developed a taste for building, and is thought to have been responsible for the building of much of the earliest part of the house. Baddesley Clinton passed into the hands of the Ferrers family in 1517, through the marriage of Nicholas Brome's daughter, Constance, to Sir Edward Ferrers.
The most interesting of the Ferrers is Henry Ferrers (1549-1633), the great-grandson of Sir Edward Ferrers, and contemporary with the times of the Gunpowder Plot. He inherited the property in 1564, and lived through the reigns of Edward VI, Mary I, Elizabeth I and James I, dying in the reign of Charles I. He carried out extensive building, including the wing that contains the Great Hall, as well as adding the Great Parlour above the existing entranceway. He also installed much oak paneling and mantels that are still there as well.
Henry Ferrers was an antiquarian, and spent a lifetime collecting historical information, much of which was later used by Sir William Dugdale in the 'Antiquities of Warwickshire'. This interest of his can be seen by the enormous amount of heraldic glass and devices throughout the house. He was trained in the law, and admitted to the Middle Temple in 1572. He may also have served a term as an MP for Cirencester in 1593.
After the death of Henry Ferrers, the fortunes of the Ferrers family fluctuated through periods of heavy taxation such as during the Civil War and in the early eighteenth century, followed by attempts by some generations to maintain and improve the property in better times. The last Ferrers in the direct male line, Marmion Edward Ferrers (1813-1884), was so poor that Lady Chatterton, the aunt of his wife Rebecca, and her husband, Edward Heneage Deering, had to come and live with him to share the expense. These two were only married because of a misunderstanding. It is said that Deering came to Lady Chatterly to ask permission to pay address to her niece, but she thought it was a proposal to her, and accepted. Deering, although she was old enough to be his mother, was too chivalrous to set the story straight!
The estate passed down through Marmion Edward Ferrer's nephew through several relatives, and it was Mr. Thomas Ferrers-Walker who eventually sold the house to the Government, after which it became part of the National Trust. The Ferrers Archive is kept at the Shakespeare Birthplace Trust in Stratford-upon-Avon.
Henry Ferrers was also a devout Catholic, but a cautious one and was never convicted for recusancy. He must have been aware of the activities of the Vaux sisters, who rented the house from him in the 1590's in order to secretly shelter Father Henry Garnet and other priests, and to be able to conduct catholic services. Soon after they rented the house, Anne Vaux had Nicholas Owen build secret hiding places, including one created out of the sewer and the moat.
A spectacular raid on Baddesley in October 1591 was recorded both by Father John Gerard in his Autobiography of an Elizabethan, and also by Father Henry Garnet in a letter to his Jesuit superior, Aquaviva. Several priests, including Garnet and Gerard, as well as lay assistants had risen early and were preparing to leave the house, when it was surrounded and all the approach roads blocked by pursuviants. The stable-boys, knowing that so many horses saddled and ready to go would be suspicious, armed themselves with farm implements and blocked the pursuviants attempt at violent entry. This bought some time for those inside the house, as the pursuviants had to resort to requests, and led them to believe that the lady of the house had not yet arisen. Those outside had to wait patiently, albeit not quietly, while those inside were quickly hiding away the priests, Catholic vestments, and all other signs of the presence of a Catholic priest, including the overturning of their mattresses so that the pursuviants could not feel the warmth.
The priests stood in the hiding place in the moat, ankle-deep in cold water for over four hours while the pursuviants tore through the house, although their attempts at intimidation seemed to have far outweighed their skills in searching. Anne Vaux said "here was a searcher pounding the walls in unbelievable fury, there another shifting side-tables, turning over beds. Yet, when any of them touched with their hand or foot the actual place where some sacred object was hidden, he paid not the slightest attention to the most obvious evidence of a contrivance."
The searchers turned up nothing, and eventually left after being paid off by Anne Vaux with twelve gold pieces. As Gerard later said, "Yes, that is the pitiful lot of Catholics when men come with a warrant ... it is the Catholics, not the men who send them, who have to pay. As if it were not enough to suffer, they have to pay for their suffering."
You can still inspect these hiding places today, and we must say they are not for those who are claustrophobic or faint of heart. Until you actually see them, it is hard to imagine the cramped, damp, dark and tomb-like conditions these priests endured.
The first of these is a lath and plaster hutch in the roof above a closet off the bedroom in the gatehouse block. It measures six feet three inches by four feet, and is three feet nine inches high. It contains two wooden benches and is lined with fine hair-plaster.
In the corner of the kitchen, where a garderobe once existed, you can see through to the medieval drain where the hiding place used by Father Gerard and Father Garnet was located. At the time, this could only be accessed through the garderobe shaft in the floor of the Sacristy above. A hiding space beneath the floor of the Library was accessed through the fireplace in the Great Parlour, and can now be viewed from the Moat Room. It was in the Library Room that Nicholas Brome was said to have murdered the priest, and it is reputed to be haunted.
For an excellent account of the priest holes and the work of Nicholas Owen at Baddesley Clinton, the article Elizabethan Priest Holes : III - East Anglia, Baddesley Clinton, Hindlip by Michael Hodgetts, and published in Recusant History, is a must read.
The house itself consists almost entirely of building done by either the Bromes in the fifteenth century or by Henry Ferrers in the sixteenth, and although much repair and alteration work has been carried out inside the house, the panelling, fireplaces and heraldic glass throughout the house all date from the work of Henry Ferrers.
Originally quadrangular in shape, the property today consists of only three blocks, the east including the gatehouse and the Great Parlour, the south containing the Hall, and the west containing the kitchen. The gatehouse and kitchen wing are of grey sandstone, whereas the Hall, which was reconstructed in the 18th century, is of brick.
The crenellated gatehouse is one of the house's most interesting features. The lower part with the gun ports was built by Nicholas Brome in the late fifteenth century, and is thought originally to have had a drawbridge. The upper part was re-formed by Henry Ferrers to accommodate the Great Parlour. The brick bridge was built in the early eighteenth century, and the crenelations added in the nineteenth century. The massive carved oak door in the gatehouse leading through to the courtyard dates from Nicholas Brome.
The present owners are still undertaking restoration work to enable all the documented priest hides and trapdoors to be made available for viewing, this work includes part of the moat tunnel complex that is presently plugged in order to prevent midges from penetrating into the Sacristy and bedrooms
Baddesley Clinton, although still a private dwelling was sold to the Government and passed to the National Trust in 1980 and opened to the public in 1982.
The above was copied from "The gunpowder plot" website.
Great to place to visit. If only there had been some sun!
Newton Ferrers is a village in the civil parish of Newton and Noss in the English county of Devon, about 6 miles south-east of Plymouth on the River Yealm estuary. It lies within the South Devon Area of Outstanding Natural Beauty. The village has a population of 1,268 according to the 2011 Census. Wikipedia
EDIFICIO FERRER. C/ Cirilo Amorós 29, c/ Pizarro 16. Arquitecto,:Vicente Ferrer Pérez
Tras una primera etapa modernista adscrita al Art-Nouveau llegó, de la mano de Demetrio Ribes y Vicente Ferrer, la Escuela de Glasgow y la Sezesión austriaca. Este edificio, con lenguaje innovador casi único a nivel nacional, es la muestra más completa de arquitectura sezessionista de Valencia. Esta corriente llegó a España a través del “Congreso Internacional de Arquitectos” de Madrid (1904) con la asistencia de Otto Wagner, y de diversas publicaciones sobre la Exposición de la Sezesión (1900) en la que intervino Mackintosh o sobre la Exposición Internacional de Artes Decorativas Modernas de Turín (1902) con obras de Behrens y D’Aronco. La influencia de estos autores es evidente en la composición de la Casa Ferrer.Fue una promoción familiar de ocho viviendas por encargo de su padre, que presentó como novedad tipológica la agrupación en uno sólo de los patios y la ubicación de los baños en las esquinas del chaflán. El lenguaje no se limita al exterior como en la mayoría de edificios valencianos de la época, incorporándose a zaguán, escalera y viviendas. La fachada se organiza en tres paños con esquema compositivo simétrico propio, que se independizan entre sí y de los edificios colindantes con estrechos cuerpos rehundidos. Otto Wagner también utiliza un recurso similar en la Casa Mayólica de Viena de 1899. Se jerarquizan las plantas destacando la principal con miradores y multiplicando los vanos del último nivel. Destaca de esta obra la elección de las líneas geométricas. Geométricos son la rejería y los típicos triglifos Sezesión que penden de discos de los que, sobre la segunda planta, surgían marquesinas hoy desaparecidas. Los hastiales de remate presentan líneas curvas. Los huecos, escarzanos o adintelados según la planta, presentan jambas curvas en planta baja. La forma de estos últimos recuerda a los arcos mixtilíneos de Peter Behrens para el Pabellón de Alemania en la Exposición de Turín. Una fachada polícroma en tonos suaves incorpora en algunos entrepaños paneles cerámicos. Cerámica es también la guirnalda superior y el manojo de rosas en el remate del hastial del chaflán, cuyo antecedente está en el vestíbulo del Palacio Stoclet de Bruselas de Joseph Hoffmann. Por otra parte retoma ménsulas, rejería, óculos, discos, triglifos, dameros y decoración interior de Raimundo D’Aronco, reproduciendo la carpintería del Pabellón de Fotografía de la Exposición de Turín en el zaguán. El cuidado por los detalles revela el interés de Ferrer por las artesanías aplicadas, lo que le llevó al cargo de Secretario de la Sección de Artes Aplicadas de la Asociación para el Progreso de las Ciencias. Este edificio resultó ajeno a los lenguajes reconocidos por la burguesía valenciana, como el modernismo o los historicismos. No obstante, esta burguesía admitió la Sezesión en las artes menores. Ferrer ocupó diversos puestos en la Administración, produciendo escasa obra y sin llegar a crear escuela.
(Texto extraido de la "Guia de Arquitectura de Valencia" CTAV 2007.
Nivel de Protección 1
Beneath the east window of the south aisle, surmounted by the arms of the Barons Churston, in bronze, is an alabaster panel, running along the whole length of the east wall, www.flickr.com/gp/52219527@N00/pm2tT3dD6b with the following inscription:—
"On the south side of this church in the appointed resting place of the family lie the mortal remains of,
Gyles Yelverton Yarde Buller second son of John 2nd Baron Churston and Barbara his wife, Born 10th December 1875, Died 9th September 1900.
(There are several spaces left for further inscriptions, and at the bottom of the panel are the words:—)
" On whose souls may Christ Jesus have mercy"
The heraldic achievement sculpted in bronze of John Yarde-Buller, 2nd Baron Churston (1846–1910) of Lupton House, Brixton Surrey, The shield shows the arms of Buller (Sable, on a cross argent quarter pierced of the field four eagles displayed of the first) quartering Yarde of Churston (Argent, a chevron gules between three water bougets sable) with a baronet's inescutcheon of the Red Hand of Ulster (the 2nd Baron was also the 4th Baronet). Above is a coronet of a baron, above which is the crest of Buller: A Saracen's head and shoulders couped affrontée proper. If this is blazoned alternatively as A Moor's head it possibly becomes a canting crest referring to the Buller's early seat of Morval in Cornwall.
Supporters: Dexter: An ostrich proper in the beak a horse-shoe or, probably the crest of the ancient Ferrers family of Churston-Ferrers (ancestors of Yarde and hence of Buller), whose arms were: Argent, on a bend sable three horse-shoes or, the horse-shoe being a canting reference to the Latin words faber ferrarius, iron-worker, blacksmith, hence farrier.
A sculpted figure of a bird's head holding in its beak a horseshoe appears on the "Yard Capital", c1500 (Tregaskes, Jean, Churston Story 1088-1998, 2nd edition, 1998, p.14 (church guidebook)), of the south-easternmost column of the nave - . Sinister: An eagle sable. Latin motto of Buller below: Aquila Non Capit Muscas ("The eagle does not catch flies"). (Heraldry per: Montague-Smith, P.W. (ed.), Debrett's Peerage, Baronetage, Knightage and Companionage, Kelly's Directories Ltd, Kingston-upon-Thames, 1968, p.253)
Gyles was the 2nd of 3 children of John Yarde-Buller, 2nd Baron Churston (26 October 1846 – 19 April 1910) of Churston Hall
& Barbara only child of Admiral Sir Hastings Yelverton and Barbara, 20th Baroness Grey de Ruthyn.
His brother was Hon John Reginald Lopes Yarde-Buller, 3rd Baron 1873 - 1924
His sister Hon Barbara Lois Yarde-Buller, born 5 January 1875, died unmarried on 31 October 1945
de.wikipedia.org/wiki/John_Yarde-Buller,_2._Baron_Churston
Picture with thanks - copyright CCL commons.wikimedia.org/wiki/Category:St_Mary_the_Virgin%27...(interior)#/media/File:1901Arms_JohnYarde-Buller_2ndBaronChurston_ChurstonFerrersChurch_Devon.PNG
15th-century painted wood statue in the Dominican church in Dubrovnik.
Saint Vincent Ferrer, O.P. (1350 – 1419) was a Valencian Dominican missionary and logician; born in Valencia. For twenty-one years, he was said to have traveled to Aragon, Castile, Switzerland, France, Italy, England, Ireland, and Scotland, preaching the gospel and converting many.
Everywhere he went, tens of thousands of sinners were reformed; infidels and heretics were converted, and great miracles supported his words. Speaking only his native Spanish, he was understood in all tongues. St. Vincent chanced to meet the corpse of a man who had been murdered, which was being carried on a bier. In the presence of a multitude, St. Vincent Ferrer commanded the deceased man to rise, which he instantly did. It is said that a wooden cross was erected on the spot as a monument that can still be seen.
St. Vincent Ferrer is the patron saint of builders because of his fame for "building up" and strengthening the Church: through his preaching, missionary work, in his teachings, as confessor and adviser.
Archdiocesan Shrine of St. Vincent Ferrer
Banay- Banay San Vicente, Lipa City, Philippines
April 5, 2013
Churston Court Hotel, Churston Ferrers, stands next to the church and retains the unique atmosphere of the ancient manor house of the 15c Ferrers family
During early Norman times the Manor House would have been converted into stone from its original timber and the early stone chapel erected close by. The doorway for the Lord to access the chapel still exists together with the Norman south porch and priest's room above. Here the visiting monk from Totnes could rest his head before continuing his journey on foot to St. Mary's, Brixham, via Monk's Bridge. The people of the village and Manor would never had entered the Lord's Chapel, but gathered round the village cross in sunshine or rain to be given Mass, in Latin, by the same monk.
During the Norman 12th & 13th centuries Churston Court was used as a dower house (the widow of the owner of the Manor being of the Nonant, later Bozun, families of Totnes). In 1303 Alice Bozun, daughter of William, married Hugo de Ferrers of Bere Ferrers, near Plymouth, and Ferrers wasa added to the village name . After Hugo died in 1310 the Manor House continued being the seat of succeeding Ferrers
In 1405 Joan Ferrers, heiress of Churston Ferrers, married Richard Yarde of Bradley Manor within the Parish of Highweek, now a part of Newton Abbot. The name of Yarde had come to Churston and was to remain here for the next 350 years However Bradley Manor was the early focal point of the family, with little attention paid to Churston Court.
Gilbert Yarde, as Lord of the Manor, lived here during the latter years of the century. By his death in 1492 certainly the church and highly likely the Court also, had undergone major reconstruction. This is the period in which the present building began to take on its present identity, and after his death or just before, the chapel was given to the local parishioners as a perpetual curacy to St Mary's Higher Brixham. It had its own churchwardens in the 17c & in 1953 was described by the Archdeacon of Totnes as a 'parish by tradition'.
During the late 17c the interior of the Court was remodelled, resulting in its present day ground-floor layout and moulded panelling either side of the entrance hall.
During 1763 the three centuries of Yarde family leadership over the Manor of Churston Ferrers finally came
to an end, yet the name Yarde was to continue, through marriage. Susanna, only child of Francis Yarde,
married 17 year old Francis Buller. Eventually Francis, his son, would take on the name Yarde Buller. Judge
Buller In 1788 status probably determined that Churston Court was no longer of suitable eminence and he purchased nearby Lupton House as his seat. Churston Court now became the residence of the elder son.
Judge Buller died in 1800 and his son became known as Francis Buller Yarde Buller. His son, John, having
resided at Churston Court became 1st Baron Lord Churston of Churston Ferrers & Lupton in 1858.
"Sir J.B.Yarde Buller, Bart., is lord of the manor of Churston Ferrers, and his eldest son resides at Churston Court, the ancient seat of the Yardes, which has lately been modernised, and has tasteful grounds, approached by a fine avenue of lofty elms." Whites Devon 1850
1st Baron Lord Churston died in 1871 and was succeeded by his son, to become 2nd Baron Lord Churston.
The Dowager Lady Churston, widow of the 2nd Baron Lord
Churston, lived here following World War 1. Her butler, Arthur, used to drive the pony & trap down to the bathing house to light the fires before returning to the Court to pick up the Dowager. www.flickr.com/gp/52219527@N00/2S0m9f8cVN
The daughter of The 3rd Lord Churston, Joan Yarde Buller, married Prince Ali Khan in 1936 in Paris, but their marriage did not survive. Parents of the present Aga Khan
he 4th Baron Lord Churston followed along the line of many of the gentry of the 1920's and married into the London theatrical set through Betty du Pre.
After nearly 1,000 years the Manor House of Churston Ferrers finally came to the end of its aristocratic identity with its sale from the Churston estate in 1967.
churstoncourt.com/wp-content/uploads/2020/03/Churston-Man...
Gandalf`s Ride, South Woodham Ferrers, Essex.
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