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I arrived at St Mary, a journey from Wortham, following a slow moving delivery driver, looking for some obscure house looking onto the common.
Across fields,, mostly flat but with barely without a straight bit of road.
THe church is on a slight rise above the road, and to my dismay there were two cars parked in the churchyard, thus spoiling my exterior shots.
Inside I saw two chaps of a certain age dismantling a stage under the chancel arch.
I take a couple of shots, then one of them somes to speak to me. I was expecting to be told to keep away, or better still, leave as it was clearly unsafe for me to be there. But no, I was warmly greeted and given my own personal tour by the two wardens with whom we shared two mutual friends, John and Simon, or at least they knew them too.
There had been a celo concert the night before, but I was welcome to clamber of the stage to get shots of the fixtures and fittings, including a fine table tomb, though am wondering how Simon got a shot from above, maybe he grew wings and flew?
Lots of good memorials, interesting glass and lots of hatchments.
Under the care of the CCT, St mary is open every day, and you should visit it.
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It was May 2001, and I was cycling out across the gently rolling acres of north Suffolk. Redgrave is one of those large and relatively self-sufficient villages that you get more in the north and west of Suffolk than around Ipswich. However, this was not apparent to me, as I approached it from the direction of Wortham Common. I had cycled through the Long Green, a strange, otherworldly place. The Commons and Greens around here were still, until half a century ago, intensively grazed. Now, they have been let go back to nature, and are in many places covered in gorse and furze, with outcroppings of angular trees. Occasionally, as at Wortham, there are settlements which seem carved out of the common land. There’s nowhere else in Suffolk quite like it.
I left this behind, and a deep cutting of a lane led me up and out into open fields. The sun came out, and the tower of St Mary was ahead of me. It is a curious sight. Suffolk has a handful of towers rebuilt in the 18th century. Mostly, they are red brick, as at Layham, and rather less successfully Grundisburgh. However, Redgrave’s tower is white brick, and would be quite at home in the City of London, if a little more austere than most there.
Attached to it is a huge church. St Mary is big; it is a little-known church, but has more to offer than most. Simon Jenkins ignored it in England’s Thousand Best Churches; most probably, he didn’t know about it. It would fit quite comfortably into his three star category along with the likes of Westhall which he also missed. Incidentally, when I met him and pointed out his omission of Redgrave and Westhall, he looked at me as if I was some kind of sad lunatic. I suppose that he’s approached by someone with a similar complaint at least twice a day.
I stepped inside to a vast space. This church is full of light. The clerestory and aisle windows are huge, and although the east window is full of coloured glass, it too is vast, one of the widest I've seen. It would take hundreds and hundreds of people to fill this place, more than a thousand perhaps; but it was a gentle reminder to me that our medieval parish churches were not built for congregational Anglican worship.
St Mary has one of Suffolk's three best brasses, the 1609 memorial to Anne Butts. It has been reset in the sanctuary floor. She was related to the Bacons, that mighty Suffolk family, and her inscription reads:
The weaker sexes strongest precedent
Lies here belowe; seaven fayer years she spent
In wedlock sage; and since that merry age
Sixty one years she lived a widowe sage
Humble as great as full of Grace as elde,
A second Anna had she but beheld
Christ in His flesh who now she glorious sees
Below that first in time, not in degrees.
Mortlock thought it the finest post-Reformation brass in England.
To get to it, you will have to pass an awesome table tomb in the north aisle. On it lie, life-size, Sir Nicholas and Lady Anne Bacon. Lady Anne was the daughter of Anne Butts (and Sir Nicholas her son-in-law) so we may assume that they are responsible for the quality of her memorial. But the grandeur of theirs quite outshines her, and everybody else. It is by Nicholas Stone, famous for the Coke memorial at Bramfield; she died in 1616, he in 1624. There is an excellent modern window behind it.
The Bacons are responsible for most of the thirteen hatchments here - more than in any other church in Suffolk. Others are for the Holt and Wilson families (who later intermarried). The latest is dated 1929.
One of the Holts can also be found up in the sanctuary. He's life-size, as you might expect here. He was Lord Chief Justice of England in the first decade of the 18th century, and he sits in his judge's robes. He's flanked by two voluptuous figures who are Justice and Mercy, and the whole piece is by Thomas Green of Camberwell. I know this, because he signed it in very large letters. Perhaps he was particularly proud of it.
In this great palace of slightly absurd grandeur, mention should also be made of the vast wooden decalogue hanging in the north aisle. I've never seen Moses and Aaron look so important. It once stood at the east end of the chancel, has ridiculously large scrolls, and would certainly have concentrated the mind. All of this is overseen by that lovely glass in the huge east window. Mortlock tells us it is by a local firm, Farrow and son of Diss. I thought it splendid, quite in keeping with this mighty place. Also in keeping is the white stone pulpit, which is rather camp, although one assumes this was not the intended effect.
In 2004, three years after my first visit to Redgrave church, the parish walked away from it. The cost and effort of maintaining this vast barn full of priceless treasures had become too great a burden for the small congregation, so they locked the doors and decamped to the village hall, declaring that St Mary was now no longer their responsibility. As you may imagine, this caused a certain amount of consternation. While Redgrave church is a building of national significance, there is a certain protocol required if you want to declare a building redundant and have it conveyed into the stewardship of the Churches Conservation Trust. Not being able to pay the repair bills is not considered a good enough reason to declare redundancy. Even so, the parish persisted, which rather placed the Diocese in a quandary. While their first responsibility was to the parishioners, they clearly did not have the resources needed to look after St Mary, and yet the church commissioners would have looked with some doubt on any attempt to declare the building redundant.
It was, in modern political parlance, uncharted territory. Nevertheless, it was obvious that the ultimate destination must be to ensure the future security and upkeep of the building, and so after eighteen months or so of what one imagines must have been fairly tense meetings, the church was conveyed into the care of the Churches Conservation Trust.
And in the meantime, something else had happened. The shock of the incident had galvanised some local people, including a few of the former congregation, to get together and form a group to look after St Mary. With the support of the Churches Conservation Trust this has become one of the most successful support groups in the county, putting on exhibitions and concerts for which the church is eminently suitable. Before the end of the decade, the Daily Telegraph newspaper awarded Redgrave church the prize of English Village Church of the Year. On that occasion I was asked by BBC Radio Suffolk to do an interview about the church while standing in the nave, and as I looked around I thought it seemed a happy ending.
In fact, within a few months I was back at Redgrave church for a quite exciting reason. The Eastern Daily Press of 13th July 2010 takes up the story: It had remained hidden for centuries. But the entrance to a 500-year-old vault beneath a medieval Suffolk church has been discovered after a woman accidentally stamped her foot through one of the floor tiles. While rehearsing a scene from an upcoming performance of the musical Quasimodo at St Mary's Church, in Redgrave, near Diss, actor Kathy Mills dislodged a marble flagstone near the altar and her foot disappeared into a dark void below. Mrs Mills, who is in her 60s, suffered a swollen ankle, but the pain soon subsided when she was later told she had uncovered a tomb never seen in living memory with coffins inside suspected to contain the remains of the village's past aristocracy.
Just weeks before a geophysicist had used an advanced radar to map out where the long-forgotten vault was, but if it was not for Mrs Mills' freak accident they would never have been certain of where its boarded-up entrance was or what hid inside. The church is now hosting an open weekend to give the public a chance to glimpse through the hole and see exactly what they've been walking above all these years. St Mary's Church will be open to the public this Saturday and Sunday, between 10am and 4pm, where a video camera will beam images from inside the vault onto a projector screen.
“I was just doing a rehearsal for the production and I walked onto the flagstone, whether it was already loose I'm not sure, but my foot went down,” said Mrs Mills. “They lifted it up (the flagstone) and you could just see some mud and sand underneath. It's possible my foot went down eight inches. I wondered where I was going. It was quite a shock. I was thrilled when they told me I had discovered this vault they did not know was there. One or two people call me the Tomb Raider.”
Rumours had circulated for decades that under the ancient slabs of the 14th century church, now owned by The Churches Conservation Trust, laid a labyrinth of passages and tombs. Bob Hayward, chairman of the Redgrave Church Heritage Trust, said stories had passed through the generations of how people walked through the tunnels as recently as the 1920s, but records of their existence cannot be found. In a bid to establish fact from fiction, the group employed Malcolm Weale, of Geofizz Ltd, from East Harling, near Thetford, about two months ago to analyse what lied below. Using a ground penetrating radar, Mr Weale identified a large void, about 6ft deep, spreading under the altar and into the adjacent vestry. The Trust was prepared to leave its investigations at that until the day of Mrs Mills' fateful accident just over a week ago.
When the damaged flagstones were lifted and a light was lowered down, a tunnel was discovered with a set of steps descending into the ground visible in one direction and a cluster of about six coffins tucked inside a dark chamber in the other. It appears timbers holding up the floor tiles had rotted. Mr Hayward said: “It's exciting. You think you know these places but you don't until something like this happens.”
It is thought the coffins belong to descendents of the Holt family. Sir John Holt became lord of the manor in 1703 and a large memorial to his life sits above the newly uncovered vault. However it is believed to have been built in the late 1500s by the Bacon family, but their remains are located in another tomb beneath the church's font. Archaeologists will be descending into the vault at the end of the year to assess whether any of the other supporting timbers are rotten and to record what's inside, but the coffins will remain as they are found.
Now, this was something I had to see. The hole was about 20cm by 40cm. Bob Hayward very kindly opened it up the hole for me and allowed me to lower my camera into it - it wasn't safe to go down there, because of the high concentration of carbon monoxide.
How exciting! My photograph showed the high-vaulted tunnel of 18th Century brick, and in a room beyond there were five lead coffins, almost directly under the magnificent Holt memorial.
This was a fascinating experience, and all in all St Mary is a fascinating church, one of the best in East Anglia, despite what that Jenkins book says. It is not understated, it never attempts to be tasteful or refined. After the thrill of exploring the tunnel, I sat for a moment on the steps leading up to the organ at the west end, surveying the wonderful brick floors, the expanses of light beneath the arcades, the awesome seriousness of the chancel. If, at that moment, a group of 18th century ladies and gentlemen had stepped out of a Samuel Richardson novel and into this church, I should not have been the least bit surprised.
And curiously, Redgrave village is not the largest population centre in the parish. That honour goes to Botesdale, down on the main road, and part of the extended village of the Rickinghalls. Botesdale has its own church, but strictly speaking it is a chapel of ease to this one. The most famous residents of the parish these days are not Bacons, Holts or Wilsons, but the extremely rare great raft spiders which live in Lopham fen, to the north of the village. It is one of only two places they are found in the British Isles.
Simon Knott, September 2001, updated July 2015
Another beauty from Yanoman, from their Art Series No. 05-71 (early 1980s).
The piece shapes had quite a bit of personality to them and this puzzle went very quickly the whole way through. The pieces were about the loosest fitting that I can recall.
Completion time: 1 hr. 23 mins. with no box reference. 10.0 secs/piece; 361.4 pcs/hr. Difficulty rating: 1.0/10.
I really needed to move some of that shoulder dart to the waist. I wanted to keep a reasonable shoulder dart due to my prominant shoulder blades. As I am not (yet) an expert in dart rotation I may find in the future a better way.
Example of "cleaned" industrial boiler components following asbestos abatement activities. While the former asbestos insulation materials appeared to have been adequately removed, some asbestos materials remain; can you find them?
Actually, the remaining asbestos materials are concealed within the various vintage flanges of pipe fittings and valves as highly fibrous gaskets and as fibrous packings inside the old steam valves.
In this case, there were several hundred pipe fittings and valves throughout this facility, each with asbestos materials requiring further abatement.
Photos taken on an evening visit to Philae for son et lumiere (we returned the following morning for a longer visit in daylight!).
The temple of the goddess Isis at Philae is one of the most beautiful in Egypt, not as large as some but structurally largely complete, which is fitting for the temple believed to be the last to operate under the ancient Egyptian religion, having only formally closed for pagan worship in the 6th century AD.
It was also the first of Egypt's great temples I ever saw in person and left me spellbound, and thus it was fitting that this should again be the first we visited on this trip.
The temple sits in a uniquely picturesque setting on a small island in the Nile south of Aswan and thus has only ever been approached boat. The complex consists of the main temple building dedicated to Isis (wife of Osiris and mother of Horus) whose inner sanctum is entered via a forecourt with towering pylons guarding the inner and outer entrances. All this is approached from the Nile through an open court flanked by lengthy colonnades making an unforgettable first impression.
There are several subsidary buildings of note around the site, the most imposing of which is undoubtedly the large rectangular colonnaded structure known as 'Trajan's Kiosk', which features some beautifully carved capitals.
The temple is relatively new by Egyptian standards, begun under one of the last of the native pharoahs, Nectanebo I (c380-62 BC) but mostly dating to the Ptolemaic period (as do many of the better preserved temples in the south of the country).
The temple's long use and later conversion to a church along with its remote location helped preserve it more or less completely over the centuries, but in the 20th century it faced its biggest threat, the construction of the Aswan dams which are located either side and caused Philae island to flood. The first dam (built 1902) caused the temple to be inundated for much of the year (thus washing away all the remaining paintwork from the interior; 19th century watercolours record what a loss the coloured details were). The bigger threat came in the 1960s when the Aswan High Dam was built to the south, causing the water levels to rise enough to completely submerge most of the temple. For some years all that could be seen of Philae were the four main towers and the columns of Trajan's Kiosk emerging from the waters.
Fortunately salvation came in the 1970s following the campaign to rescue and relocate the Nubian temples further south also threatened by the rising waters. Following the construction of a coffer-dam around the temple the entire temple complex was dismantled and rebuilt on higher ground on the adjoining island of Agilkia where it can be enjoyed in its full splendour today.
For more on this wonderful site see below:-
You then need to cut from the side seam (you could from the waist I suppose) to make the wrap sit flat. You cut to the apex.
Everything is taped in place to test fitment. The lower angled portion was designed using a long piece of aluminum. This design proved very flimsy, so the piece will be redesigned using folded metal.
Building the 1/43 scale second hand car showroom.
Kingsway Models OSHC card kit. Fitting the walls to the detailed floor and pavement.
" SAFETY WARNING " Should you ever work any of these mains electric tube radios, Always disconnect the mains supply lead from the wall socket and ensure you DISCHARGE the internal capacitors, As " LETHAL VOLTAGES " will still be present inside the transceiver!! I always check and check again, Before i lay a hand on it! Will upload more photos as the repair gets underway, One Sorry looking Yaesu
FT-102 HF Transceiver, The previous owner fitted the wrong fuse!! 25amp! Should have only been a 4amp, And soon after whilst tuning up he noticed smoke coming out and reported a burning and frying sizzling sound!
When the rig arrived at my shack as part of a rig swap deal, The smell was so bad we had to leave it outside for a few days!
Anyway having removed the old burnt out mains transformer, Choke, PA Tubes and PA relay board the smell is not to bad now.
Having now purchased some off the shelf used parts etc
At great expense!
I hope to get this nice classic radio back to full working order,
The good news is after fitting a nice almost new transformer, Choke assembly and PA relay board plus new mini choke,
And new 4amp fuse, The old girl sprang into life again! The receiver works great, And once i get the three new PA Valves fitted the TX should work? I hope
73, de Dave 2W0DAA / GW4JKR
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I copied the wrap onto paper and then cut and rotated the dart so that I had the dart divided between the side and the waist. I probably did not need to do that but most patterns look like that.
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St George, Stowlangtoft, Suffolk
Given that our parish churches almost without exception underwent restorations in the 19th Century, it should be obvious that when we enter a medieval church, we are encountering a Victorian vision of the medieval. Even when the actual furnishings and fittings are medieval, the whole piece is still a Victorian conception.
Inevitably, the question arises of what was there before the restoration and what wasn't. The obvious answer is that we must assume that nothing is as it first appears.
A prime example of a church that assumes a continuity that may not actually be the truth is here in the flat fields between Woolpit and Ixworth. This part of Suffolk can be rather bleak in winter, but in summer the churchyard here is verdant and golden, as beautiful a place as any in the county. The church is large, and yet unusually narrow. It sits on a mound that has been cut down on one side by the road. In the churchyard you'll find the well-known memorial to the art critic Peter Fuller and his unborn son, killed in a car crash in 1990.
In the churchyard wall there is what appears to be broken medieval window tracery, which is worth noticing, for hereby hangs a tale.
St George is one of the great Suffolk churches. Although it may externally appear a little severe, and is by no means as grand as Blythburgh, Long Melford and the rest, it is a treasure house of the medieval inside. Unusually for a church of its date, it was all rebuilt in one go, in the late 14th century, and the perpendicular windows are not yet full of the 'walls of glass' confidence that the subsequent century would see. The tracery appears to have been repaired, and possibly even renewed, which may explain the tracery in the churchyard wall. However, it doesn't take much to see that the tracery in the wall is not perpendicular at all, but decorated. So it may be that the broken tracery is from the original church that the late 14th century church replaced. But the wall itself isn't medieval, so where had it been all those years? Is it possible that the current window tracery is not medieval at all?
Stowlangtoft church featured in Simon Jenkins' book England's Thousand Best Churches, which sends plenty of visitors to its locked door, and may help stave off the inevitable for a while, for there is no real congregation here any more and the church is moribund. Regular services are held across the fields at Pakenham, and St George is now only used on special occasions. The key is kept across the road, where the very nice lady told me in February 2018 that the church is now headed for redundancy. It seems likely that care of it will be conveyed into the hands of the Churches Conservation Trust.
You step in through the chancel door (the lock here is very awkward, but do persevere) and if you are anything like me you will head straight down to the west end where you will find the font. Likethe window tracery, it asks some questions. Unusually, it features a Saint on seven of the panels, Christ being on the westwards face. Mortlock dates it to the early 14th century, and the Saints it shows are familiar cults from that time: St Margaret, St Catherine, St Peter and St Paul, and less commonly St George. The cult of St George was at its height in the early years of the 14th century. Mortlock describes the font as mutilated, and it certainly isn't looking its best. But I think there is more going on here than meets the eye. Fonts were plastered over in Elizabethan times, and only relief that stood proud of the plaster was mutilated. These are all shallow reliefs, and I do not think they have been mutilated at all. To my eye at least, this stonework appears weathered. I wonder if this font was removed from the church, probably in the mid-17th century, and served an outdoor purpose until it was returned in the 19th century.
The story of this church in the 19th century is well-documented. In 1832, as part of his grand tour of Suffolk, David Davy visited, and was pleased to find that the church was at last undergoing repair. The chancel had been roofless, and the nave used for services. A new Rectory was being built. Who was the catalyst behind all this? His name was Samuel Rickards, and he was Rector here for almost the middle forty years of the 19th century. Roy Tricker notes that he was a good friend of John Henry Newman, the future Cardinal, and they often corresponded on the subject of the pre-Reformation ordering of English churches. It is interesting to think how, at this seminal moment, Rickards might have informed the thought of the Oxford Movement. Sadly, when Newman became a Catholic, Rickards broke off all correspondence with him.
During the course of the 1840s and 1850s, Rickards transformed Stowlangtoft church. He got the great Ipswich woodcarver Henry Ringham in to restore, replicate and complete the marvellous set of bench ends - Ringham did the same thing at Woolpit, a few miles away. Ringham's work is so good that it is sometimes hard for the inexperienced eye to detect it. However, as at Woolpit, Ringham only copied animals here, and the weirder stuff is all medieval, and probably dates from the rebuilding of the church. The glory of Stowlangtoft's bench ends is partly the sheer quantity - there are perhaps 60 carvings - but also that there are several unique subjects.
The carvings appear to be part of the same group as Woolpit and Tostock - you will recognise the unicorn, the chained bear, the bull playing a harp, the bird with a man's head, from similar carvings elsewhere. And then hopefully that little alarm bell in your heard should start to go "Hmmmm....." because some of the carvings here are clearly not from the same group. It is hard to believe that the mermaid and the owl, for example, are from the same workshop, or even from the same decade. The benches themselves are no clue, as it was common practice in the 19th century to replace medieval bench ends on modern benches, or on medieval benches, or even on modern benches made out of medieval timber (as happened at Blythburgh). Could it be that Samuel Rickards found some of these bench ends elsewhere? Could he have been the kind of person to do a thing like that?
Well, yes he could. As Roy Tricker recalls, the medieval roof at the tractarian Thomas Mozley's church at Cholderton in Wiltshire is East Anglian. Rickards acquired it after finding it in storage in Ipswich docks. It presumably came from one of the Ipswich churches. In the ferment of the great 19th century restoration of our English churches, there was loads of medieval junk lying around, much of it going begging. But was Samuel Rickards the kind of person to counterfeit his church's medieval inheritance?
Well, yes he probably was. The faux-medieval roundels in the windows of the nave are clearly not medieval at all, but were in fact the work of the young Lucy Rickards, daughter of Samuel Rickards himself. Some are clearly to the young girl's design, and Pevsner notes that others are copied from medieval manuscript illustrations in the British Museum, although the Holy Kinship and Presentation in the Temple roundels at least are very close copies of the Flemish roundels of the same subjects in Nowton church on the other side of Bury St Edmunds.
Truly medieval is the vast St Christopher wall-painting still discernible on the north wall. It was probably one of the last to be painted. The bench ends are medieval, of course, as is the fine rood-screen dado, albeit repainted. There is even some medieval figure glass in the upper tracery of some of the windows, including St Agnes holding a lamb and four Old Testament prophets. The laughable stone pulpit is Rickard's commission, and the work of William White. What can Rickards have been thinking of? But we step through into the chancel, and suddenly the whole thing moves up a gear. For here are some things that are truly remarkable.
In a county famous for its woodwork, the furnishings of Stowlangtoft's chancel are breathtaking, even awe-inspiring. Behind the rood screen dado is Suffolk's most complete set of return stalls. Most striking are the figures that form finials to the stall ends. They are participants in the Mass, including two Priests, two servers and two acolytes. The figure of the Priest at a prayer desk must be one of the best medieval images in Suffolk, and Mortlock thought the stalls the finest in England.
The benches that face eastwards are misericords, and beneath them are wonderful things: angels, lions and wodewoses, evangelistic symbols and crowned heads. A hawk captures a hare, a dragon sticks out its tongue. Between the seats are weird oriental faces.
Now, you know what I am going to ask next. How much of this is from this church originally? It all appears medieval work, and there is no reason to believe it might not have been moved elsewhere in the church when the chancel was open to the elements. What evidence have we got?
Firstly, we should notice that the only other Suffolk church with such a large number of medieval misericords of this quality is just a mile away, at Norton. I don't ask you to see this as significant, merely to notice it in passing. Secondly, I am no carpenter, but it does look to me as though two sets of furnishings have been cobbled together; the stalls that back on to the screen appear to have been integrated into the larger structure of stalls and desks that front them and the north and south walls.
However, if you look closely at the figures of the two Deacons, you will see that they are bearing shields of the Ashfield and Peche families. The Ashfield arms also appear on the rood screen, and the Ashfields were the major donors when the church was rebuilt in the 14th century. So on balance I am inclined to think that the greater part of the stall structure was in this church originally from when it was rebuilt. And the misericords? Well, I don't know. But I think they have to be considered as part of the same set as those at Norton. In which case they may have come from the same church, which may have been this one, but may not have been. Almost certainly, the stalls at Norton did not come from Norton church, and folklore has it that they were originally in the quire of Bury Abbey.
Other remarkable things in St George include FE Howard's beautiful war memorial in the former north doorway, and in the opposite corner of the nave Hugh Easton's unexpectedly gorgeous St George, which serves the same purpose. He's not an artist I usually admire, but it is as good as his work at Elveden. Back up in the chancel is a delightful painted pipe organ which was apparently exhibited at, and acquired from, the Great Exhibition of 1851.
But St George at Stowlangtoft is, of course, most famous for the Flemish carvings that flank the rather heavy altarpiece. They were given to the church by Henry Wilson of Stowlangtoft Hall, who allegedly found them in an Ixworth junk shop. They show images from the crucifixion story, but are not Stations of the Cross as some guides suggest. They date from the 1480s, and were almost certainly the altarpiece of a French or Flemish monastery that was sacked during the French Revolution. The carvings were once brightly painted, and piled up in a block rather than spread out in a line. The niches, and crowning arches above them, are 19th century.
One cold winter's night in January 1977, a gang of thieves broke into this locked church and stole them. Nothing more was seen or heard of them until 1982, when they were discovered on display in an Amsterdam art gallery. Their journey had been a convoluted one. Taken to Holland, they were used as security for a loan which was defaulted upon. The new owner was then burgled, and the carvings were fenced to an Amsterdam junk dealer. They were bought from his shop, and taken to the museum, which immediately identified them as 15th century carvings. They put them on display, and a Dutch woman who had read about the Stowlangtoft theft recognised them.
The parish instituted legal proceedings to get them back. An injunction was taken out to stop the new owner removing them from the museum. The parish lost the case, leaving them with a monstrous legal bill, but the story has a happy ending. A Dutch businessman negotiated their purchase from the owner, paid off the legal bills, and returned the carvings to Stowlangtoft. Apparently this was all at vast cost, but the businessman gave the gift in thanks for Britain's liberation of Holland from the Nazis. No, thank you, sir.
Today, the carvings are fixed firmly in place and alarmed, so they won't be going walkabout again. But a little part of me wonders if they really should be here at all. Sure, they are medieval, but they weren't here originally, and they weren't even in England originally. Wouldn't it be better if they were displayed somewhere safer, where people could pay to see them, and provide some income for the maintenance of the church building? And then, whisper it, when St George is taken on by the CCT they might even be able to leave it open.
Went into a fitting room with a bundle of clothes and hung the clothes on the nearest hook. I noticed that "maybe" was written above one of the hooks and, on closer inspection, discovered "definitely" above the hook on which I had placed the clothes. By the time I was through, most of the clothes were discarded on the bench instead of on a hook.
the (in)famous cirrus 8ch analog volume control, being test-fitted along with its 8 input and output blocks.
each block is a 2x3 pin grid that is IDC compatible. only 2 (outside corner) wires are hot and the others are all ground. thus, each connector carries a pair of channels. ribbon cable can be used to make easy patch cables from this board to the other parts of the system.
the little 'flying LED scary resistor-network thing' on the bottom/left is an SPI SPY ;) it just shows the states of the spi lines and the chip-reset line. in operation, I will remove that.
SET 2 – Horn Lake Target, Post-Remodel
The fitting rooms are in the same spot as before, but totally reconfigured, including a more squared-off wall, as shown here. Now, the department sign is no longer visible from the full corner – and as we discussed last time when we first saw it, the text is rather crammed together! (I guess that’s somewhat not as obvious in this view with the pole right in the way, but you can see what I’m talking about in that linked pic.)
(c) 2025 Retail Retell
These places are public so these photos are too, but just as I tell where they came from, I'd appreciate if you'd say who :)
One of the concrete pontoons for the State Route 520 bridge project is seen being pushed (just barely) into place for lifting through the Ballard Locks.
Driving power is provided by Westar Marine Services' tug SOLANA. Built in 1975 at Krotz Springs, Louisiana by the Louis G. Ortis Boat Company, the tug originally bore a name I have yet to determine. Later she would be renamed MORMON ISLAND, then GOLDEN EAGLE, before coming under the possession of Westar. Normally based in the San Francisco bay area, SOLANA and her fleetmates MUDCAT, TERILYN and TAURUS have relocated to Puget Sound for the duration of the bridge project.
Selinsgrove, PA. March 2018.
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Banbury Plastic Fittings (BPF) produces and markets plastic components, with over 2,000 standard product lines and 75 million off-the-shelf components, BPF was founded in 2000.
We have designed and produced the product catalogue for BPF for 8 years.
Tom Stevens
Kamerin 20
Kyler 16
Jeffery 10
Point N’ Thyme Farm
pntntyme@yahoo.com
Jordan, NY 13080
631-766-9508
Foxglove Farm
Aquebogue, NY
L.I. Scapegoats
Maribeth Andersen
631.255.3161
Foxglve10@gmail.com
Martha Adams
madaafool@hotmail.com
Shannon
Vice President of Ney York state Dairy Goat Breeders Association
Certified milk tester for NYS
Show chairman for NYSDGBA
Registered operating room nurse for Syracuse Ortho Specialists SOS
Judged the youth 4-H fitting and showmanship class @ NYS Fair
Won her first goat at 8 by writing a 300 word essay on how she would care for it.
“I remember being in the car and getting butterflies when I saw the fairgrounds exit.” First started to really talk to Tom in their early 20s, they had started to date long distance while she was in nursing school in AZ. When Tom had his accident they began to speak more and more. She came up to help take care of him after one of his surgeries to rebuild his ears. She stayed at his families house for a week after the surgery to take care of him. That was a defining moment in their relationship. After she graduated she moved to Syracuse. Her and Tom bought his parents farm, the same house she had stayed to take care of him. They still live there to this day.
“All the goats have their own personalities, some I hate and some I love. I can just look at them and tell if something is wrong.”
“Favorite thing at the fair is walking around, people watching, there is always something new to see.”
“The worst part of the fair is leaving, and saying good-buy to the whole goat barn family until next year.
Tom
Prison guard at a maximum security facility for NYS Auburn
He does all of our hay yearly, cut, bail, stacking
He does a lot of the milking and chores in the am
Fixing all the things that break, builds things
Volunteer firefighter – burned over 28% over body, 22 surgeries
First remembers Shannon walking in the goat barn when he was 11 or 12.
Hates goats
“The best part of the fair is going home.”
“The best part really is that it’s like a family reunion with our goat family, some of us come from Texas, Arkansas, South Carolina. We all grew up together. We were in each other’s weddings. This is a home for all of us.”
Kamerin 20
Works at Barber Welding as a welder fabricator
Was the first in the family to get a Lamancha goat, it’s name is Eve and it’s five years old.
The fair is his vacation of choice
Girlfriend breeds Huskies and Great Pyrenees
Plans to go work in North Carolina fabricating and welding oil platforms
“my favorite part of the fair is sitting outside the goat barn with the rest of the goat family and watching people pass by as we do our pranks.”
Kyler 16
Track, cross-country, basketball, lifeguard. Works at an apple orchard working in the store front. Taking college courses, is on her high-school honor roll.
Enjoys jumping horses
“My favorite part of the fair is hanging out with my friends.”
Might raise goats when she is older, but would rather raise horses
“I love the goat family here because they are crazy—fun.”
Jeffery 10
Is a quarterback on his football team, also plays lacrosse, wrestling and basketball. But does not want to play baseball again.
His girlfriend is Piper Mcallister, age 10, they met when they first met when they were 4 in the goat barn. Both of their families show goats each year at the fair.
“My favorite part of the fair is the roller-coasters”
Does not want to raise goats when he grows up
Favorite part about being at the goat barn is pranking people
Pranks include:
Gluing money to the ground, putting someone in a large stuffed prize and scaring people, putting someone in a large box or can and, with a cell phone, telling them which way to walk to scare people, using a fake spider or a snake on a piece of fishing string to pull or drop in front of people.
Goats
Peppermint
Dairy Goats
Milk to feed baby goats
Must pasteurize milk to stop to spread of CAE Caprine Arthritic Encephalitis. AIDS like virus for goats that is spread though bodily fluids.
Breads Lamancha and Alpine dairy goats
They use also raise and show draft horses
Brittany Smith
Met the Stevens 10 years ago at the fair. Started coming to the fair each year with extend family, who also show goats. Started watching/ babysitting all the kids in the barn during the fair while the parents handled the show.
Works at Wellfleet as an account manager – company provides student health care to universities/ colleges.
a wooden block plane
bevel down so i believe called a strike block plane
using an old sorby blade
pencil and oil on blade to show high spots on bed
using tiny shavings to remove high spots
om 50 1.8
Bain News Service,, publisher.
Fitting - out wharf - N.Y. Shipbuilding Co.
[between ca. 1915 and ca. 1920]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from unverified data provided by the Bain News Service on the negatives or caption cards.
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.23382
Call Number: LC-B2- 4076-14