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The third phase of White's "low cab forward" trucks was the "Road Xpeditor." In announcing this next generation truck, the sales brochure described it as "all that was good and tough" of the two predecessors plus "a couple dozen new ideas to make it even tougher." This and other photos from the Jim Steele Collection may be found at www.hankstruckpictures.com.
Leiden
The plate is irretraceable, but after a little search this electric tricycle looks like a Forward ZK3.
dutch.automaticelectriccar.com/sale-14265946-3-wheel-rick...
The Chinese brand name is 丰沃德 (Fengwode) and apparently Forward Vehicle Industry Co., Ltd. is based in Chongqing
January has passed, in shadows and sighs. My beloved father-in-law never recovered from his injuries. My flu dragged on and became pneumonia. I miss my busy and contented life.
I miss taking pictures, too. This is an old one, grabbed randomly before I head back to my bed. Between now and total recovery I will catch up; I can only imagine how much loveliness you have presented in the weeks gone by...
Forever Forward advert on the building and on the bus! Go North West 3237. Volvo B9TL / Wright Gemini, new in September 2008 to First Manchester as 37389. About to depart Manchester on route 135 for Bury via Cheetham Hill and Whitefield. 27.11.23
Was video taping self but some got in the picture and got a bit of a shock when they saw me doing a forward split. during last years Halloween dance at the LGBT center in NY City.
Pride and Prejudice: on Raphael Perez's Artwork
Raphael Perez, born in 1965, studied art at the College of Visual Arts in Beer Sheva, and from 1995 has been living and working in his studio in Tel Aviv. Today Perez plays an important role in actively promoting the LGBT (lesbian, gay, bisexual and transsexual) art and culture in Tel Aviv, and the internet portal he set up helps artists from the community reach large audiences in Israel and abroad. Hundreds of his artworks are part of private collections in Israel and abroad, and his artworks were shown in several group exhibitions: in Tel Aviv Museum of Art, "Zman Le'Omanut" art gallery, Camera Obscura, The Open House in Jerusalem, Ophir Gallery, The Haifa Forum and other private businesses and galleries.
In 2003-4 his paintings and studio appeared in a full-length movie, three student films and two graduation films.
Raphael Perez is the first Israeli artist to express his lifestyle as a Gay. His life and the life of the LGBT community are connected and unfold over hundreds of artwork pieces. His art creation is rare and extraordinary by every Israeli and international artistic standard. His sources of inspiration are first and foremost life events intertwined in Jewish and Israeli locality as well as influences and quotes from art history (David Hockney, Matisse). This uniqueness has crossed international borders and has succeeded in moving the LGBT and art communities around the world.
This is the first time we meet an Israeli artist who expresses all of his emotions in a previously unknown strength. The subjects of the paintings are the everyday life of couples in everyday places and situations, along with the aspiration to a homosexual relationship and family, equality and public recognition. Perez's works bring forward to the cultural space and to the public discourse the truth about living as LGBT and about relationships, with all of their aspects – casual relationships and sex, the yearning for love, the everyday life and the mundane activities that exist in every romantic relationship – whether by describing two men in an intimate scene in the bathroom, the bedroom or the toilet, a male couple raising a baby or the homosexual version of the Garden of Eden, family dinners, relationship ups and downs, the complexity in sharing a life as well as mundane, everyday life competing with the aspiration to self realization – through Perez's life.
Perez's first artworks are personal diaries, which he creates at 14 years of age. He makes sure to hide these diaries, as in them he keeps a personal journal describing his life events in the most genuine way. In these journals he draws thousands of drawings and sketches, next to which he alternately writes and erases his so-called "problematic texts", texts describing his struggle with his sexual orientation. His diaries are filled with obsessive cataloging of details, daily actions, friends and work, as well as repeating themes, such as thoughts, exhibits he has seen, movies, television, books and review of his work.
When he is done writing, Perez draws on his diaries. Each layer is done from beginning to end all along the journal. In fact, the work on the diaries never ends.
This struggle never ends, and when the emotion is passed on to paper, and it ends its role and becomes meaningless in a way, the visual-graphic side becomes dominant, due to the need to hide the written text, according to Perez. In books and diaries this stands out even more – when he chooses to draw in a style influenced by children's drawings, the characters are cheerful, happy, naïve and do not portray any sexuality, and when he tries drawing as an adult the sketches became more depressed and somber. During these years Perez works with preschool children, teaching them drawing and movement games. Perez says that during this period he completely abandoned the search for a relationship, either with a woman or a man, and working with children has given him existential meaning. This creation continues over 10 years, and Perez creates about 60 books-personal journals in various sizes (notepads, old notebooks, atlases and even old art books).
In his early paintings (1998-1999) the transition from relationships with women to relationships with men can be seen, from restraint to emotional outburst in color, lines and composition. Some characters display strong emotional expression. The women are usually drawn in restraint and passiveness, while a happy and loving emotional outburst is expressed in the colors and style of the male paintings.
"I fantasized that in a relationship with a woman I could fly in the sky, love, fly. However, I felt I was hiding something; I was choked up, hidden behind a mask, as if there was an internal scream wanting to come out. I was frustrated, I felt threatened…"
His first romance with a man in 1999 has drawn out a series of naïve paintings dealing with love and the excitement of performing everyday actions together in the intimate domestic environment.
"The excitement from each everyday experience of doing things together and the togetherness was great, so I painted every possible thing I liked doing with him."
From the moment the self-oppression and repression stopped, Perez started the process of healing, which was expressed in a burst of artworks, enormous in their size, amount, content and vivid colors – red, pink and white.
In 2000 Perez starts painting the huge artworks describing the hangouts of the LGBT community (The Lake, The Pool) and the Tel Avivian balcony paintings describing the masculine world, which, according to him, becomes existent thanks to the painting. Perez has dedicated this year to many series of drawings and paintings of the experience of love, in which he describes his first love for his new partner, and during these months he paints from morning to night. These paintings are the fruit of a long dialogue with David Hockney, and the similarity can be seen both in subjects and in different gestures.
In 2001 Perez creates a series of artworks, "Portraits from The Community". Perez describes in large, photorealistic paintings over 20 portraits of active and well-known members of the LGBT community. The emphasis is on the achievements that reflect the community's strong standing in Tel Aviv.
As a Tel-Avivian painter, in the past two years Perez has been painting urban landscapes of central locations in his city. Perez wanders around the city and chooses familiar architectural and geographical landmarks, commerce and recreation, and historical sites, and paints them from a homosexual point of view, decorated with the rainbow flag, which provide a sense of belonging to the place. His artworks are characterized by a cheerful joie de vivre and colors, and they also describe encounters and meetings. The touristic nature of his paintings makes them a declaration of Tel Aviv's image as a place where cultural freedom prevails.
Perez's Tel Aviv is a city where young families and couples live and fill the streets, the parks, the beach, the houses and the balconies – all the city's spaces. The characters in his paintings are similar, which helps reinforcing the belonging to the LGBT community in Tel Aviv. The collective theme in Perez's artwork interacts with the work of the Israeli artist Yohanan Simon, who dealt with the social aspects of the Kibbutz. Simon, who lived and worked in a Kibbutz, expressed the human model of the Kibbutznik (member of a Kibbutz) and the uniqueness of the Kibbutz members as part of a group where all are equal. Simon's works, and now Perez's, have contributed to the Israeli society what is has been looking for endlessly, which is a sense of identity and belonging.
Perez maps his territory and marks his boundaries, and does not forget the historical sites. Unlike other Tel Avivian artists, Perez wishes to present the lives of the residents of the city and the great love in their hearts. By choosing the historical sites in Tel Aviv, he also pays tribute to the artist Nachum Gutman, who loved the city and lived in it his whole life. In his childhood Gutman experienced historical moments (lighting the first oil lamp, first concert, first pavement), and as an adult he recreated the uniqueness of those events while keeping the city's magic.
Like Gutman, Perez has also turned the city into an object of love, and it has started adorning itself in rich colors and supplying the energy of a city that wishes to be "the city that never sleeps", combining old and new. Perez meticulously describes the uniqueness and style of the Bauhaus houses and balconies along the modern glass and steel buildings, all from unusual angles in a rectangular format that wishes to imitate the panorama of a diverse city in its centennial celebrations.
Daniel Cahana-Levensohn, curator.
Interview with the painter Raphael Perez about his family artist book
An interview with the painter Raphael Perez about an artist's book he created about his family, the Peretz family from 6 Nissan St. Kiryat Yuval Jerusalem
Question: Raphael Perez, tell me about the family artist book you created
Answer: I created close to 40 artist books, notebooks, diaries, sketch books and huge books. I dedicated one of the books to my dear family, a book in which I took a childhood photograph of my family, my parents and brothers and sisters.. I pasted the photographs inside a book (the photograph is 10 percent of the total painting) and I drew with acrylic paints, markers and ink on the book and the photograph, so that the image of the photograph was an inspiration to me Build the story that includes page by page..
Question: Tell me when you were born, where, and a little about your family
Answer: I was born on March 4, 1965 in the Kiryat Yuval neighborhood in Jerusalem
I have a twin brother named Miki Peretz and we are seven brothers and sisters, five boys and two girls
Question: Tell us a little about your parents
Answer: My parents were new immigrants from Morocco, both immigrated young.
My mother's name before the wedding was Alice - Aliza ben Yair and my father's name was Shimon Peretz,
My mother was born in the Atlas Mountains and was orphaned at a young age and was later adopted by my father's family at the age of 10, so that my mother and father spent childhood and adolescence together....
They had a beautiful and happy relationship but sometimes when they argued my mother would say "even when she was a child she was like that..." This means that their acquaintance and relationship dates back to childhood..
Question: What did your parents Shimon and Aliza Peretz work for?
Answer: My father, Shimon Perez, born in 1928 - worked in a building in his youth and then for thirty years worked as a receptionist at Hadassah Ein Kerem Hospital in Jerusalem... My father's great love was actually art, he loved to draw as a hobby, write, read, solve crossword puzzles and research Regarding the issue of medicinal plants, as a breadwinner he could not fulfill his dream of becoming an artist, in order to support and feed seven children. But we are the next generation, his children are engaged in the world of creativity and education, a field in which both of my parents were engaged during their lives. My father died at the age of 69
My mother, Alice Aliza Perez, born in 1934, worked as an assistant to a kindergarten teacher, and later took care of a baby at home. She is a woman of wholehearted giving and caring for children and people, a warm, generous and humble woman.. and took care of us in our childhood for every emotional and physical deficiency.. My mother is right For the year 2023, the 89-year-old is partly happy and happy despite the difficulties of age.. May you have a long life..
My mother really loved gardening and nature and both of them together created a magnificent garden, my parents have a relatively large garden so they could grow many types of special and rare medicinal plants and my father even wrote a catalog (unpublished) of medicinal plants and we even had botany students come to us who were interested in the field... today they They also grow ornamental plants, and fruit trees...
Question: A book about the brothers and sisters
Answer: My elder brother David Perez repented in his mid-twenties.. He was a very sharp, opinionated, curious and very charismatic guy who brought many people back to repentance, and also helped people with problems through the yeshiva and the synagogue to return to the normal path of life, he died young at the age of 56
Hana Peretz: My lovely sister, raised eight children, worked in the field of education, a kindergarten teacher, and child care.
She has a very large extended family of grandchildren, great-grandchildren and great-great-grandchildren...
My brother Avi (Abraham) Peretz studied in Israel at the University of Philosophy and Judaism, he married a wonderful woman named Mira Drumi, a nurse by profession, and together they had three wonderful children, when they moved to the United States in their mid-twenties, where my brother Avi Peretz completed his master's degree in education, worked in the field Education and for the last twenty years is A conservative rabbi
The fourth brother is Asher Peretz - a great man of the world, very fond of traveling and has been to magical places all over the world, engaged in the creation of jewelry with two children.
I am Rafi Peretz english raphael perez the fifth and after fifteen minutes my twin brother was born
My mother still gets confused and can't remember who was born first :-)
My twin brother Miki micky - Michael Peretz, a beloved brother (everyone is beloved), a talented industrial designer, he has three children, his wife Revital Peretz Ben, who is a well-known art curator, active and responsible for the art field in Tel Aviv, they are a dynamic and talented couple, full of talents and action
The lovely little sister Shlomit Peretz - has been involved in the Bezeq telephone company for almost three decades, and is there in management positions, raising her lovely and beloved child.
The art book I dedicated to my family is colorful, rich in details, shows a very intense childhood, happy, cheerful, colorful, ... We were taught to be diligent and to be happy in our part and to see the glass half full in life, to have emotional intelligence and to put the relationship and love at the center with self-fulfillment in work that will interest you us and you will give us satisfaction.
Each of us is different in our life decisions and my family is actually a mosaic of the State of Israel that includes both religious and secular people from the entire political spectrum who understand that the secret to unity is mutual respect for each other... when my mother these days is also the family glue in everyone's gatherings on Shabbat and holidays..
The personification of the flower couple paintings by the Israeli painter Raphael Perez
Raphael Perez, also known as Rafi Peretz, is an Israeli painter who
explores his personal and sexual identity through his flower paintings. He created a series of flower paintings from 1995 to 1998, when he was in his early thirties and still in relationships with women, despite feeling gay. His flower paintings reflect his emotional turmoil and his struggle with his sexual orientation. He painted two flowers, one blooming and one wilting, to represent the contrast and conflict between his heterosexual relationships and his true self. He also painted single flowers or two flowers in their prime, to express his longing for a harmonious relationship that matches his nature. He chose sunflowers, white lilies, and red lilies as symbols of expression, purity, and joy, respectively. He painted from real flowers, using different styles and light to create drama and mood. Perez’s paintings of the flower couples are minimalist and focused on the theme of the complex relationship. He omitted any background or context, leaving only the canvas and the drawing of the flower couples. In some of the paintings, he added a very airy abstract surface with thin oil paints that give an atmosphere of watercolors. He also made drawings of flowers in ink, markers and gouache on paper. Later on, he created large acrylic paintings of flowers and still life. Perez’s flower paintings are not mere illustrations or decorations. They are autobiographical and psychological expressions of his inner state and his struggle with his sexuality. He wanted to reveal his loneliness, distress and concealment through these paintings, and to connect with people who are in a similar situation. He deliberately chose only two flowers and no more to intensify the engagement in the charged and complex relationship. Perez also painted and drew couples of men and women with charged psychological states, as well as states of desire for connection and realization of a heterosexual relationship that did not succeed. He used hyperrealism and expressive styles to convey his frozen and calculated state, as well as his mental stress. He used harsh lighting to create contrast and drama, with one side very bright and the other side darker. Perez was influenced by some of the famous artists who painted flowers, such as Van Gogh, who also used sunflowers as a symbol of expression. He also used white lilies and red lilies to convey freshness, cleanliness, purity, color, joy, movement, eruption, and splendor. Perez also painted some single flowers or two flowers in their prime, to show his aspiration for a future where he will have a harmonious relationship. Today, he is 58 years old and in a happy relationship for 10 years with his partner Assaf Henigsberg. He is surrounded by female friends and soulmates and not conflicted with heterosexual relationships as he used to be. He occasionally paints flowers in pots to symbolize home, stability, and peace. Sometimes I paint flowers in pots, which represent home, stability, and solid ground for me. I don’t paint just a couple of flowers, but pots full of flowers that overflow with life. This means that we also have a supportive network of family, friends, and peers around us. We live in a rich, supportive, and protective world. These paintings are a personification of my psychological state, when I had no words to express my feelings to myself. The painting began In 35 years of my creation (starting in 1998), you can read more about how my art and style evolved over time. Perez’s flower paintings are a unique and extraordinary artistic creation that reveals his personal journey and his sexual identity. His work is honest, expressive, and emotional, as well as beautiful and vibrant.
The characteristics of the naive painting of the painter Raphael Perez
A full interview with the Israeli painter Raphael Perez (Hebrew name: Rafi Peretz) about the ideas behind the naive painting, resume, personal biography and curriculum vitae Question: Raphael Perez Tell us about your work process as a naive painter? Answer: I choose the most iconic and famous buildings in every city and town that are architecturally interesting and have a special shape and place the iconic buildings on boulevards full of trees, bushes, vegetation, flowers. Question: How do you give depth in your naive paintings? Answer: To give depth to the painting, I build the painting with layers of vegetation, after those low famous buildings, followed by a tall avenue of trees, and behind them towers and skyscrapers, in the sky I sometimes put innocent signs of balloons, kites. A recurring motif in some of my paintings is the figure of the painter who is in the center of the boulevard and paints the entire scene unfolding in front of him, also there are two kindergarten teachers who are walking with the kindergarten children with the state flags that I paint, and loving couples hugging and kissing and family paintings of mother, father and child walking in harmony on the boulevard. Question: Raphael Perez, what characterizes your naive painting? Answer: Most naive paintings have the same characteristics (Definition as it appears in Wikipedia) • Tells a simple story to absorb from everyday life, usually with humans. • The representation of the painter's idealization to reality - the mapping of reality. • Failure to maintain perspective - especially details even in distant details. • Extensive use of repeating patterns - many details. • Warm and bright colors. • Sometimes the emphasis is on outlines. • Most of the characters are flat, lack volume • No interest in texture, expression, correct proportions • No interest in anatomy. • There is not much use of light and shade, the colors create a three-dimensional effect. I find these definitions to be valid for all my naive paintings Question: Raphael Perez, why do you choose the city of Tel Aviv? Answer: I was born in Jerusalem, the capital city which I love very much and also paint, I love the special Bauhaus buildings in Tel Aviv, the ornamental buildings that were built a century ago in the 1920s and 1930s, the beautiful boulevards, towers and modern skyscrapers give you the feeling of the hustle and bustle of a large metropolis and there are quite a few low and tall buildings that are architecturally fascinating in their form the special one Also, the move to Tel Aviv, which is the capital of culture, freedom, and secularism, allowed me to live my life as I chose, to live in a relationship with a man, Jerusalem, which is a traditional city, it is more complicated to live a homosexual life, also, the art world takes place mainly in the city of Tel Aviv, and it is possible that from a professional point of view, this allows I can support myself better in Tel Aviv than in any other city in Israel. Question: Raphael Perez, are the paintings of the city of Tel Aviv different from the paintings of the city of Jerusalem? Answer: Most of the paintings of Jerusalem have an emphasis on the color yellow, gold, the color of the old city walls, the subjects I painted in Jerusalem are mainly a type of idealization of a peaceful life between Jews and Arabs and paintings that deal with the Jewish religious world, a number of paintings depict all shades of the currents of Judaism today In contrast, the Tel Aviv paintings are more colorful, with skyscrapers, the sea, balloons and more secular motifs Question: Raphael Perez, tell me about which buildings and their architects you usually choose in your drawings of cities Answer: My favorite buildings are those that have a special shape that anyone can recognize and are the symbols of the city and you will give several examples: In the city of Tel Aviv, my favorite buildings are: the opera building with its unusual geometric shape, the Yisrotel tower with its special head, the Hail Bo Shalom tower that for years was the symbol of the tallest building in Tel Aviv, the Levin house that looks like a Japanese pagoda, the burgundy-colored Nordeau hotel with the special dome at the end of the building, A pair of Alon towers with the special structure of the sea, Bauhaus buildings typical of Tel Aviv with the special balconies and the special staircase, the Yaakov Agam fountain in Dizengoff square appears in a large part of the paintings, many towers that are in the stock exchange complex, the Aviv towers and other tall buildings on Ayalon, in some of the paintings I took plans An outline of future buildings that need to be built in the city and I drew them even before they were built in reality, In the paintings of Jerusalem, I mainly chose the area of the Old City and East Jerusalem, a painting of the walls of the Old City, the Western Wall, the Church of the Holy Sepulcher, the El Akchea Mosque, the Tower of David, most of the famous churches in the city, the right hand of Moses, in most of the paintings the Jew is wearing a blue shirt with a red male cord I was in the youth movement and the Arab with a galabia, and in the paintings of the religious public then, Jews with black suits and white shirts, tallitas, kippahs, special hats, synagogues and more I also created three paintings of the city of Haifa and one painting of Safed In the Haifa paintings I drew the university, the Technion, the famous Egged Tower, the Sail Tower, well-known hotels, of course the Baha'i Gardens and the Baha'i Temple, Haifa Port and the boats and other famous buildings in the city Question: Raphael Perez, have you created series of other cities from around the world? Answer: I created series of New York City with all the iconic and famous buildings such as: the Guggenheim Museum, the famous skyscrapers - the Chrysler Building, the Empire State Building, Lincoln Center, the famous synagogue in the city, the Statue of Liberty, the flags of the United States and other famous buildings Two paintings of London and all its famous sites, Big Ben, famous monuments, the Ferris wheel, Queen Elizabeth and her family, the double bus, the famous public telephone, palaces, famous churches, well-known monuments I created 4 naive paintings of cities in China, a painting of Shanghai, two paintings of the city of Suzhou and a painting of the World Park in the city of Beijing... I chose the famous skyline of Shanghai with all the famous towers, the famous promenade, temples and old buildings, two Paintings of the city of Suzhou with the famous canals, bridges, special gardens, towers and skyscrapers of the city Question: Raphael Perez What is the general idea that accompanies your paintings Answer: To create a good, beautiful, naive, innocent world in which we will see the innovation of the modern city through the skyscrapers in front of small and low buildings that bring the history and past of each country, all with an abundance of vegetation, boulevards, trees Resume, biography, CV of the painter Rafi Peretz and his family Question: When was Raphael Perez born in hebrew his name rafi peretz? Answer: Raphael Perez in Hebrew his name Rafi Peretz was born on March 4, 1965 Question: Where was Raphael Perez born? Answer: Raphael Perez was born in Jerusalem, Israel Question: What is the full name of Raphael Perez? Answer: His full name is Raphael Perez Question: Which art institution did Raphael Perez graduate from? Answer: Raphael Perez graduated from the Visual Arts Center in Be'er Sheva Question: When did Raphael Perez start painting? Answer: Raphael Perez started painting in 1989 Question: When did you start making a living selling art? Answer: Raphael Perez started making a living selling art in 1999 Question: Where does Raphael Perez live and work? Answer: Since 1995, Raphael Perez has been living and working from his studio in Tel Aviv Question: In which military framework did Raphael Perez serve in the IDF? Answer: Raphael Perez served in the artillery corps Question: Raphael Perez, what jobs did he work after his military service? Answer: Raphael Perez worked for 15 years in education in therapeutic settings for children and taught arts and movement Question: How many brothers and sisters does Raphael Perez, the Israeli painter, have? Answer: There are seven children in total, with the painter 5 sons and two daughters, that means the painter Raphael Perez has 4 more brothers and two sisters Question: What do the brothers and sisters of the painter Raphael Perez do? Answer: The elder brother David Peretz Perez was involved in the field of religious studies, the sister Hana Peretz Perez is involved in the field of education, a kindergarten teacher and child care, the brother Avi Peretz Perez who is in the United States today is a conservative rabbi but in the past was involved in education and therapy, the brother Asher Peretz Perez is involved in the fields of creativity and jewelry The twin brother Mickey Peretz Perez is a well-known industrial designer and seller. The younger sister Shlomit Peretz Perez works in a managerial position at Bezeq. Question: Tell me about the parents of the painter Raphael PerezAnswer: The painter Raphael Perez's parents are Shimon Perez Peretz and Eliza Alice Ben Yair, they were married in 1950 in Jerusalem, both were born in Morocco and immigrated to Israel in 1949, Shimon Peretz worked in a building in his youth and later as a receptionist at the Hadassah Ein Kerem Hospital, Eliza Alice Peretz dealt in child care Kindergarten, working in kindergartens and of course taking care of and raising her seven children
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רפי פרץ צייר אמן ישראלי עכשווי מודרני אמנים ישראלים אומנים
ישראליים עכשוויים מודרניים האמנים הישראלים העכשוויים המודרניים האומנים הישראליים העכשוויים המודרניים יוצר הומו הומוסקסואל קווירי הומוסקסואליות באמנות הישראלית מגדר אומנות ומגדר אמנות ישראלית עכשווית מודרנית האמנות הישראלית העכשווית המודרנית
erotic gay art painting artist raphael perez pintura homossexual da arte de gomoseksual badiiy rasm гомосексуальний художній живопис pittura di arte omosessuale lukisan seni homoseksual listmálun samkynhneigðra péintéireacht ealaíne homaighnéasach pikturë arti homoseksual homoseksuaalne kunstimaal хомосексуална художествена живопис homoseksualno likovno slikarstvo жывапіс гомасэксуальнага мастацтва সমকামী আর্ট পেইন্টিং homoseksuel kunstmaleri homoszexuális művészeti festmény рассоми санъати гомосексуалӣ gomoseksual sungat suratkeşligi homoseksuālas mākslas glezniecība homoseksualaus meno tapyba homoseksuell kunstmaleri homoseksualno likovno slikarstvo
queer artworks paintings homoerotic painter lgbt artwork glbt artworks homo erotica man nude male naked men image images picture pictures homosexual homosexualiy artists painters artist body realism realistic famous
مثلي الجنس الفن الغريبة الأعمال الفنية معرض معرض رجل عارية لوحة رجال عراة صورة الجسم الإسرائيلي فنان رسام مثلى الفنانين الرسامين لوحات واقعية مثلي الجنس الشهير صورة كبيرة
arte homosexual queer obras de arte galería exposición hombre desnudo pintura hombres desnudos retrato cuerpo artista israelí pintor artistas gay pintores pinturas realistas homoerótico famoso imagen grande
гомосексуальное искусство квир произведения искусства галерея выставка мужчина ню живопись голые мужчины портрет тело израильский художник художник геи художники художники реалистичные картины гомоэротика знаменитый большое изображение
ομοφυλοφιλική τέχνη queer artworks γκαλερί έκθεση άντρας γυμνή ζωγραφική γυμνοί άντρες πορτραίτο ισραήλ καλλιτέχνης ζωγράφος γκέι καλλιτέχνες ζωγράφοι ρεαλιστικοί πίνακες ομοιορωτική διάσημη μεγάλη εικόνα
homosexuelle kunst queer kunstwerke galerie ausstellung mann nackt malerei nackte männer porträtkörper israelischer künstler maler schwule künstler maler realistische gemälde homoerotisch berühmtes großes bild
homoseksuele kunst queer kunstwerken galerie tentoonstelling man naakt schilderij naakte mannen portret lichaam Israëlische kunstenaar schilder homo kunstenaars schilders realistische schilderijen homo-erotisch beroemd groot beeld
art homosexuel queer oeuvres d'art galerie exposition homme peinture nue hommes nus portrait corps artiste israélien peintre artistes gais peintres peintures réalistes homoérotique célèbre grande image
homoseksualna sztuka queer dzieła galeria wystawa mężczyzna nago malarstwo nagi mężczyzna portret ciało izraelski artysta malarz homoseksualiści malarze realistyczni obrazy homoerotyk sławny duży obraz
Eşcinsel sanat queer sanat eseri galeri sergi adam çıplak boyama çıplak erkekler portre vücut İsrail sanatçı ressam eşcinsel sanatçılar ressamlar gerçekçi resim sergisi homoerotik ünlü büyük resim
समलैंगिक कला क्वीर कलाकृतियों गैलरी प्रदर्शनी आदमी नग्न पेंटिंग नग्न पुरुषों चित्र शरीर इजरायल कलाकार चित्रकार समलैंगिक कलाकारों चित्रकारों यथार्थवादी चित्रों समलैंगिक प्रसिद्ध बड़ी छवि
homoseksuell konst queer konstverk galleri utställning man nakenmålning nakna män porträtt kropp israelisk konstnär målare gay konstnärer målare realistiska målningar homoerotisk berömd stor bild
Plumer planned to capture Gheluvelt Plateau in four steps, with an interval of six days between each to allow time to bring forward artillery and supplies, a faster tempo of operations than that envisaged by Gough in the planning before 31 July.[Each step was to have even more limited geographical objectives, with infantry units attacking on narrower fronts in greater depth. The previous practice of attacking the first objective with two battalions and the following objectives with a battalion each, was reversed in view of the greater density of German defensive positions the further the attack penetrated. Double the medium and heavy artillery was available than that used on 31 July. The method would ensure that more infantry was on tactically advantageous ground, having had time to consolidate and regain contact with their artillery, before they received German counter-attacks. The British began a desultory bombardment on 31 August and also sought to neutralize the German batteries with gas in the days before the attack, including gas attacks on the three evenings before the assault. Aircraft were to be used for systematic air observation of German troop movements to and on the battlefield, to avoid the failures of previous battles where too few aircraft had been burdened with too many duties in bad weather.
Like the attack of 31 July, nine British divisions from four corps were to participate on a front of approximately 10,000 yards. In late August destructive fire by the heaviest artillery began on German strongpoints and counter-battery began early in September, although hampered by poor visibility.
Elastic defence had been rejected by the Fourth Army Chief of Staff, Major-General von Lossberg, who believed that a tactical withdrawal by trench garrisons would disoganise the counter-attacking reserves, leading to the loss of the sector concerned and danger to flanking units. Lossberg ordered the front line of sentry groups (Postengraben) to be held rigidly; British attacks would exhaust themselves and then be repulsed by local German reserves or Eingreif divisions if needed. Lossberg also judged that there was little prospect of British attacks being delayed by their need to move artillery forward and build supply routes. The British had a huge mass of artillery and the infrastructure necessary to supply it with ammunition, much of it built opposite Flandern I in the period between the attack at Messines and 31 July.
Lossberg's methods had succeeded on the front of XIX Corps in 31 July and against II Corps on the Gheluvelt Plateau on 31 July and during August, although the counter-attacks had been stopped in their turn by British artillery fire, when they reached areas where observation and communications between British infantry and artillery had been restored.[18] Ludendorff later wrote that losses in the August battles had been unexpectedly high.[32] The pause in British operations in early September helped to mislead the Germans. General von Kuhl (Chief of Staff, Army Group Crown Prince Rupprecht) doubted that the offensive had ended but by 13 September had changed his mind. Despite Kuhl urging caution, two divisions, thirteen heavy batteries and twelve field batteries of artillery, three fighter squadrons and four other air force units were transferred from the German Fourth Army.[33] In the area about to be attacked, the Fourth Army had six ground-holding divisions backed by three Eingref divisions and 750 guns.
Second Army
The 19th Division in IX Corps covered the southern defensive flank of the attack front against the German 9th Reserve and 207th divisions, on a 1,600 yards (1,500 m) front from the Comines canal to Groenenburg Farm on the west slope of the Bassevillebeek valley. The six attacking battalions of the 58th Brigade on the right and the 57th Brigade on the left and their supporting battalions had a difficult approach. The 58th brigade battalions had to make their way through the obstructions of Opaque Wood and Imperfect Copse and then at midnight it began to rain until 5:00 a.m.. Zero hour was decided according to the weather and the time of 5:40 a.m. was passed forward at 1:45 a.m. so all ranks had to lie quiet in the rain for more than three hours. Around dawn a heavy mist formed and at 5:40 a.m. the barrage began. On the right the short advance to the first objective (red line) was met with opposition from dug-outs south-west of Hessian Wood, Jarrocks Farm, Pioneer House and a small wood nearby. Heavy machine-gun fire was also encountered from Hollebeke Château and the railway embankment. The right battalion reached the objective on time but the two to the left had many casualties and lost touch with their flanking units and the barrage, until the pause on the red line (first objective) allowed them to reorganise, mop-up and regain touch with units which had lost direction. The third battalion on the left was still held up by Hessian Wood so a defensive flank was formed facing north.[35]
The 57th Brigade advanced to the red line with slight opposition on the right while the two battalions on the left had to cross an extremely boggy area which slowed them and stopped them from keeping up with the barrage. The delay resulted in them being caught by machine-gun fire from dug-outs near Top House while bunched up because of the heavy going. The red line (second objective) which here was little different to the first objective (green line) was reached and two platoons from each attacking company moved up ready to advance to the blue line (second objective) which began at 6:24 a.m. The second and final lines (red and blue) were contiguous on the right from Hessian Wood but the Germans defending the wood were still fighting when the advance was due to resume. Two companies of the right hand battalion had advanced after suffering many losses and then a platoon went to assist the centre battalion. A number of dug-outs were cleared 50 prisoners taken which enabled the centre battalion to get into the north end of the wood and gain touch with the left-hand battalion in the south-western corner. On the front of the 57th Brigade opposition at Wood Farm and Belgian Wood was overrun by a bayonet charge and the blue line (third objective) reached on time. During this advance machine-gun sections and a battalion liaison detachment of the 39th Division pushed forward to North Farm, which was captured with four machine-guns and 29 prisoners. At 8:10 a.m. the protective barrage lifted 200 yards (180 m) and patrols were sent forward to establish outposts and to clear the area of remaining German troops; Moat Farm and Funny Farm being mopped-up. Consolidation was begun despite machine-gun fre from Hollebeke Château, the green line (first objective) was dug-in and posts forward to the blue line (final objective) defended in depth by posts. A German counter-attack was attempted at 7:30 a.m. and "annihilated" by small-arms and artillery fire.[36]
In X Corps to the north the 39th Division on the right prolonged the southern defensive flank, from Groenenburg Farm northwards down the slope to the Bassevillebeek. The division suffered badly from German fire as it advanced 800 yards (730 m) to its objective, from hidden dug-outs in the area further north, which had already stopped the 41st Division. When the division reached its objective it swung back its left flank to link with the right hand brigade of 41st Division.[37] The main attack was made by X Corps and 1st Anzac Corps on a 4,000 yards (3,700 m) front on the Gheluvelt plateau. Steady pressure by the 47th Division had advanced the British front line near Inverness Copse a considerable distance, during the pause in large operations in early September, which made better jumping-off positions for the attack by I Anzac Corps.[21] The four divisions advanced behind a creeping barrage of unprecedented weight. The increased amount of artillery allowed the heavy guns to place two belts of fire beyond the two from the field artillery; a machine-gun barrage in the middle made five belts of fire, each 200 yards (180 m) deep in front of the infantry.[38] The creeping barrage started quickly, lifting 50 yards (46 m) every two minutes and this allowed the British infantry to surprise the German outpost garrisons while the Germans were still in their shelters, by looming out of the mist; after four lifts, the barrage slowed to 100 yards (91 m) every six minutes. Most German troops encountered were so stunned by the bombardment that they were incapable of resistance and surrendered immediately, despite few of the concrete pill-boxes and Mebu shelters being destroyed by the British artillery. In the few areas where the German defenders were capable of resisting, they inflicted heavy losses but were quickly outflanked in the mist. The new system of local reserves allowed the British to maintain momentum despite local checks.[39]
The 41st Division had to advance across the Bassevillebeek valley against the right of the German 9th Division and the left of the Bavarian Ersatz Division to capture Tower Hamlets spur. The advance was hampered by overnight rain, which affected the valley more than the plateau to the north. Fire from camouflaged German machine-gun nests in the valley caused confusion and delay in the British infantry and the barrage was lost. The Bassevillebeek stream in the valley was eventually crossed, with the 122nd Brigade struggling forward and the 124th brigade held up near the British front line, by numerous machine-guns in the Quadrilateral, fortifications in three ruined cottages inside a digging 400 by 100 yards (370 m × 91 m) at the south end of the spur. The Quadrilateral commanded the western approach to the spur and the rise north to the pill-boxes at Tower Hamlets. The left hand brigade of the division reached the third objective and threw back its right flank to the brigade on the right, which had advanced just beyond the second objective and then joined the left flank of 39th Division. Despite the failure to capture Tower Hamlets and parts of the two leading battalions of 124th brigade running away before being rallied, two dead and three wounded battalion commanders, the division defeated all German counter-attacks during the day.[40]
The 23rd Division was held up for a short time by a German strong point in Dumbarton Wood, which had been missed by the barrage and caused many casualties. Despite the delay and the difficulty of navigating through clouds of dust and smoke, caused by the barrage and the marshy ground north of Dumbarton Lake, the first objective was reached a few minutes after the barrage and consolidated along the source of the Bassevillebeek. 69th Brigade on the left managed to get through Inverness Copse but German troops emerged from cover and fired on the troops behind, as they moved up to attack the second objective, causing severe losses before they were killed or captured. The troops who had been severely reduced in numbers, following on through the copse, were still able to capture a line of German fortifications along Menin Road, north of the hamlet of Kantinje Cabaret. Of four tanks attached for the attack along Menin Road, one bogged early and the infantry advance was too swift for the other three tanks to keep up. One tank was knocked out on the road and the other two carried ammunition and equipment to the troops at the final objective.
The 1st Australian Division on the right of I Anzac Corps, advanced on a 1,000 yards front north of the Menin Road, with its right aimed at Fitzclarence Farm against part of the Bavarian Ersatz Division and most of the 121st Division. The Australians passed through Glencorse Wood, which had changed hands twice in August, quickly suppressing German resistance. The Germans at Fitzclarence Farm were kept under cover by rifle grenade fire, while other groups got behind and rushed the garrison, taking 41 prisoners. Infiltration was also used against German machine-gunners in concrete shelters in the sunken road in the north of the wood, who had caused many casualties. Close reserves worked behind the shelters and fought their way in and killed or captured the garrison. Nonne Bosschen was crossed by moving along the edges of shell craters, the second objective along the west edge of Polygon Wood being reached on time at 7:45 a.m. The Wilhelm (third) Line pill-boxes and Mebu shelters[Note 3] were captured quickly, while the German defenders were dazed by the bombardment and unable to resist.[43] Few accounts survive from the Bavarian Ersatz Division companies holding the ground either side of the Menin road, as they were quickly overwhelmed by the 23rd and 1st Australian divisions. Machine-gun fire was heard from the Albrecht (second) Line at 8:30 a.m. but by 9:00 a.m. the British were well on the way to the Wilhelm (third) Line.[44]
The 2nd Australian Division attacked with two brigades, one either side of the Westhoek – Zonnebeke road, against the German 121st Division, down the Hanebeek valley to the near bank. The German outpost garrisons were surprised and overrun. On the far side of the stream the advance overwhelmed the Germans who mostly surrendered en masse. Visibility began to improve to 200–300 yards (180–270 m) and on breasting the rise, machine-guns in Albert and Iron Cross redoubts in the Wilhelm (third) Line on Anzac House spur, the next rise to the east, were blinded by smoke grenades and the garrisons ran off. Further to the left, Anzac House, an important German artillery observation post overlooking the Steenbeek valley to the north, was captured as the garrison tried to engage the Australians by moving their machine-guns outside. As the divisions on the Gheluvelt plateau reached their second objective at 7:45 a.m. a breeze blew away the mist and revealed the magnitude of their achievement. The British had carried the defences which had held them up through August and had gained observation all the way to Broodseinde.[45]
No German counter-attacks were mounted in the two hours that the British spent consolidating the second objective, as the creeping barrage stood for fourteen minutes in front of the second objective, then advanced 2,000 yards (1,800 m) before returning to the new British front line and then advancing again to lead the British troops to the third objective. German counter-attacks were stopped before they reached the new British outposts. The German artillery only managed to fire a disjointed and sparse barrage, which did little to obstruct the troops ready to advance to the third objective as they moved up but snipers and long-range machine-gun fire began to harass the troops consolidating the second objective. Local operations were mounted to stop sniping, using the methods that had been so successful earlier in the morning, leading to Black Watch Corner at the south-west of Polygon Wood and Garter Point east of Anzac House and other strong-points being captured.[46]
At 9:53 a.m. the barrage resumed its forward movement towards the third objective, another 300–400 yards (270–370 m) away. The 23rd Division had to fight forward through pill-boxes hidden in ruined cottages along the Menin Road, concrete shelters in Veldhoek and a hedgerow in front of it, before the German garrisons retreated. The left brigade was held up by a dozen pill-boxes in the Wilhelm (third) Line until noon, which caused the division many losses but the ground at the final objective proved to be dry enough for the troops to dig in.[47] The two Australian divisions reached the third objective in half an hour, finding the Germans in those strongpoints not subdued during the halt on the second objective as stunned as those met earlier in the day. Strafing by eight German aircraft, (one of which was shot down by ground fire) and some shelling by German artillery caused minor losses as the Australian divisions consolidated captured trenches and shell holes in their new front line.[47]
Fifth Army[edit source | editbeta]
Frezenberg Ridge, September–October 1917.
The British Fifth Army attacked on the left of the Second Army, V Corps on the right to capture the Wilhelm (third) Line, XVIII Corps in the centre, to finish the capture of the line from Schuler Farm to Langemarck and then advance 500–800 yards (460–730 m) east towards Poelcappelle; XIV Corps formed the northern flank with 20th Division. V Corps had more field guns than the I Anzac Corps to the right and fewer heavy guns so only three barrage belts were possible. A creeping barrage by 18-pdr field guns was to move at the same speed as that of the Second Army. 18-pdr and 4.5-inch howitzer fire were to comb the area in front of the creeping barrage, from 100–400 yards (91–370 m) deep and a neutralizing barrage by 6-inch howitzers and 60-pdr guns was to sweep ground 450–1,200 yards (410–1,100 m) in front of the creeping barrage. Artillery not needed for counter-battery fire was to put standing barrages on the most dangerous German positions, like Hills 37 and 40 and the German assembly areas in the dips behind Zonnebeke and Gravenstafel.[48]
9th and 55th Divisions of V Corps were to attack on fronts of 1,800 yards (1,600 m) over ground held by the right of the German 121st Division and the 2nd Guards Reserve Division, which had also changed hands twice in August. The large numbers of strong-points, pill-boxes and fortified farms east of the Hanebeek and Steenbeek streams were mostly intact, despite numerous attempts to smash them with artillery fire. The artillery brought to the Ypres salient in September went to the Second Army so the Fifth Army adopted a new infantry formation, where moppers-up were reorganised into small groups of up to half a platoon, moving with the leading assault waves to capture specific strong-points and then garrison them. XVIII Corps adopted the same practice, which became standard in the Fifth Army soon after the battle.[49]
The 9th Division was confronted by the morass of the Hanebeek valley, where the stream had been choked by frequent bombardment and turned into a swamp and water-filled shell-holes. Both brigades sent two battalions forward to the first objective and leap-frogged two more through them to take the final objective. Hanebeek Wood on the right was barraged with smoke and high-explosive shell rather than shrapnel, except for a lane along which a company was able to move behind the wood. When the artillery fire moved beyond the wood it was rushed from both directions and captured with fifty prisoners and four machine-guns. The South African Brigade on the left did the same thing at Borry Farm. In the mist the strong points were easily overrun except for four pill-boxes around Potsdam House, which were eventually attacked on three sides and captured, after inflicting heavy casualties on the attackers. Delays caused by machine-gun nests dug in along the Ypres–Roulers railway did not stop the division reaching the first objective as the barrage began to creep forward again at 7:08 a.m.[50] At 7:08 a.m. when the 9th Division began the advance to the final objective, the right hand brigade found only minor opposition. The South African Brigade on the left was badly hit by German machine-gun fire from Hill 37, as delays to the 55th Division meant that it was well short of the hill. The South Africans managed to capture Bremen Redoubt and Waterend House in the Zonnebeek valley and extend a defensive flank back to the first objective.[51]
To the north of 9th Division the 55th Division began the day understrength, after the losses of 31 July. Replacements had arrived slowly and 1,000 soldiers were left out of the battle having arrived too late to be trained for the attack. German artillery and machine-gun fire from Reserve Regiment 91 of the 2nd Guards Reserve Division hit the infantry with intense fire as the attack began. The mist worked to the Germans' advantage in this part of the front, because the depleted British units missed several German strong points and dug-outs, from which the Germans were able to stop the British support waves from moving up. The advanced troops realising this either halted or turned back and lost the barrage. The difficulties of the division were made worse at 7:08 a.m. when the scheduled advance to the final objective coincided with the dispersal of the mist. Reserves were pushed forward around 10:00 a.m. from 166th Brigade, which allowed the 165th and 164th Brigades to take the first objective around Gallipoli Farm and the Schuler Galleries in front of Schuler Farm by mid-day. Fighting at Hill 35 continued and the Germans regained Hill 37 with a counter-attack. Machine-guns were placed in the Schuler Galleries and nine were dug in near Keir Farm, which were able to stop German counter-attacks from making any more progress. In the afternoon the rest of the reserve brigade was able to capture Hills 35 and 37, which dominated the Zonnebeke spur. The right of the division established touch with the 9th Division but the centre and left of 55th Division were 500 yards (460 m) short of the final objective.[52]
XVIII Corps was to advance onto the Gravenstafel and Poelcappelle spurs, held by the German 36th Division since 8 September. The divisions had to assemble east of the Steenbeek between St Julien and Langemarck in low ground which was still muddy and full of flooded shell-holes despite the better weather. The 58th Division objective was 1,000 yards (910 m) ahead, among German strong points on the west end of Gravenstafel spur. As a frontal attack here had failed, the division feinted with its right brigade, while the left brigade made the real attack from the flank. The feint captured Winnipeg cross-roads, as the main attack by three battalions one behind the other, captured Vancouver Farm, Keerselaere and Hubner Farm. The next two battalions passed through and turned right half way up the spur, to reach Wurst Farm on a tactically vital part of the spur at the same time as the barrage. Nearly 300 prisoners and fifty machine-guns were taken and outposts were established to the left overlooking the Stroombeek valley. The division ascribed the success to the excellence of their training, an excellent creeping barrage and smoke shell, which had thickened the mist and blinded the German defenders and that gas shell barrages on the German reinforcement routes had depressed German morale.[53]
51st Division further north, had the same task on Poelcappelle spur. The division advanced with one brigade on a 1,400 yards (1,300 m) front. The Germans in the Wilhelm (third) Line were ready for them and fought until they were almost annihilated in new machine-gun nests that they had dug in front of their front line, which had avoided the worst of the artillery bombardment. The division was able to reach the final objective in sight of Poelcappelle village. By these advances XVIII Corps got observation of Poelcappelle and up the Lekkerboterbeek and Lauterbeek valleys, the capture of which allowed British artillery to move forward of the Steenbeek.[54]
20th Division on the right of XIV Corps, had to form the northern defensive flank of the offensive, on a front of 1,400 yards (1,300 m) from Poelcappelle spur to the Ypres – Staden railway. Two brigades attacked with two battalions each. The German Wilhelm (third) Line, here known as Eagle trench, was held as determinedly as that part in the 51st Division sector ("Pheasant trench") despite a bombardment from Livens Projectors (which fell behind the German trench and illuminated the British infantry as they advanced). By the end of the day the division was still short of the first objective, except on the left next to the railway.[55]
The British offensive had captured most of the German outpost zones to a depth of about 1,500 yards (1,400 m). As the ground was captured it was prepared for defence, in anticipation of counter-attacks by the German Eingreif divisions. Captured German machine-gun nests and strong points were garrisoned and wired with German barbed wire found in the area. The final objective became the outpost zone and the second objective the main line of resistance, a chain of irregular posts using shell-holes concealed by folds of the ground and reverse slopes, avoiding trenches which attracted German shell fire. Communication between the infantry and artillery was established with runners, messenger dogs and pigeons. Wireless transmitters and power buzzers were set up at brigade headquarters and artillery observation posts, one for each artillery group. Engineer and pioneer units began to dig in telephone lines, which took until the afternoon of 21 September.[56]
Air operations[edit source | editbeta]
Hannover CL.II
Observing and reporting on German counter-attack movements was made a duty for all aircraft and patrol areas were given to II and V Brigades and the Ninth Wing to patrol. "Hostile Tactical Maps" were issued, showing German assembly points and the likely routes to them and towards the front line. II Brigade covered the Second Army front east to the Roulers–Menin railway. The area was divided into three sectors, each with a counter-attack patrol of two fighters, maintained for eight hours after "zero-hour", flying below 500 feet and using the special maps, to attack any German units they caught on the move and to drive off German low-flying aircraft. On return they were to telephone a report direct to the Second Army Report Centre at Locre, similar arrangements being made for the Fifth Army. Ninth Wing aircraft were to patrol at low altitude east of Zarren–Oostnieukerke–Menin beginning two hours after the start of the attack, to harass German reinforcements. Corps squadrons were to maintain counter-attack patrols on their Corps fronts, calling for immediate artillery fire and warning British infantry by smoke signal. Not all of these measures were possible on the day due to the weather, because it had rained on 19 September and was misty next morning. Air operations commenced as soon as the mist cleared at 8.00 a.m.[23] German aircraft attempting to intervene during the battle suffered from the presence of anti-aircraft guns near the front line, a Lewis gunner of a pioneer battalion in the 19th Division, shooting down a German aircraft in flames at 1:30 p.m.; the feat was repeated next day and several German formations were broken up by ground fire.[57]
German Fourth Army counter-attacks[edit source | editbeta]
Reproduction of captured German trench map, 20 Sept 1917.
During the British infantry advances, German artillery managed a considerable amount of counter-battery fire, particularly from Zillebeke to Vebrandenmolen but this was not enough to stop the British artillery heavily bombarding German reserve battalions of the ground-holding (Stellungsdivisionen) divisions as they made futile attempts to counter-attack between 10:00 a.m. and 1.30 p.m. At 1:48 p.m. the British standing barrage in front of the new line ended. Air reconnaissance from zero hour by a contact aeroplane over each Corps area, to observe the progress of the British infantry and one counter-attack observation machine watching for German counter-attacks, revealed German Eingreif units advancing from Flandern III at Menin, Moorslede and Westroosebeek. During the day 394 wireless messages were received from British observation aircraft, about a third resulting in immediate artillery fire.[58]
After 3.00 p.m. approximately three German infantry battalions were reported north of the Menin Road moving up the Reutelbeek valley towards Polderhoek, a similar force with field artillery was seen moving west towards I Anzac Corps at Polygon Wood and Anzac spur and another was observed, descending from the Poelcappelle spur at Westroosebeek towards positions held by the Fifth Army. These troops were the leading regiments of three Eingreif divisions, 16th Bavarian from Gheluwe, 236th Division from Moorslede and 234th Division from Oostniewkirke. The 16th Bavarian Division counter-attack plan "Get Closer" (Näher heran) had been ordered at 5:15 a.m. By 9:00 a.m. the division advanced towards the area between Polygon Wood and Inverness Copse.[59] British medium and heavy artillery fired on the German units, which were forced to deploy and advance from cover. After considerable delay the survivors reached British machine-gun range as their artillery support overshot the British positions. Visibility was still exceptionally good, with the sun behind the British who were easily able to see all movement in front of them on the Gheluvelt plateau. The German force moving up the Reutelbeek valley into the area of 23rd and 1st Australian divisions was watched by the infantry for an hour, when at 7:02 p.m. a field artillery and machine-gun barrage fell on the Germans for an hour, stopping all movement towards the British positions, "16th Bavarian Division was a high quality formation, but all the skill and dash in the world stood no chance in the face of the torrent of fire the British artillery could bring to bear at the critical points".[60]
A similar barrage for forty minutes in front of 2nd Australian division on a regiment of the 236th Division advancing from Molenaarelsthoek and downhill from Broodseinde, stopped the counter-attack long before it came within range of the Australian infantry. On the southern edge of the plateau, German troops dribbling forward in the 39th Division area managed to reinforce the garrison at Tower Hamlets, then tried twice to advance to the Bassevillebeek and were "smashed" by artillery and machine-gun fire.[61]
In the Fifth Army area, from 800 yards (730 m) south of the Ypres – Roulers railway, north to the Ypres – Staden railway, many Germans were seen moving west down Passchendaele ridge around 5:30 p.m. into the area held by the 55th, 58th and 51st divisions. In the 58th Division area fire was opened on the Germans after half an hour, which forced the Germans to deploy into open order. When the Germans were 150 yards (140 m) from the first British strong point, the British defensive barrage arrived with such force that the German infantry "stampeded". No Germans were seen in the area until night when patrols occupied an outpost. On the 55th Division front "an extraordinarily gallant" German counter-attack by the 459th Reserve Regiment (236th Division) from Gravenstafel, on Hill 37 through Reserve Regiment 91, was stopped by artillery and enfilade fire by machine-guns at Keir Farm and Schuler Galleries.[62] A German attack down Poelcappelle spur at 5:30 p.m. towards the 51st Division had much better artillery support and although stopped in the area of the Lekkerboterbeek by 7:00 p.m., pushed the British left back to Pheasant trench (Wilhelm Line) before the British counter-attacked, pushing the Germans back to the line of the first objective, 600 yards (550 m) short of the final objective. By nightfall the German Eingreif divisions had been defeated.[63][Note 4] The British Official History records that the counter-attack divisions had been held back, waiting for another British advance.[66]
Aftermath[edit source | editbeta]
Casualties[edit source | editbeta]
British casualties 20–25 September are given by the British Official Historian as 20,255; 3,148 being killed, the 19th Division lost 1,933 casualties.[67] 3,243 prisoners were taken with "very heavy" losses of killed or wounded inflicted on the German defenders.[68][Note 5] The Official Historian's calculations of German losses have been severely criticised ever since.[70]
Subsequent operations[edit source | editbeta]
Minor attacks took place after 20 September as both sides jockeyed for position and reorganised their defences. In the Second Army area on 21 September, a 41st Division brigade attacked towards Bassevillbeek Copse, through extremely boggy ground by short rushes and consolidated posts on the Bassevillebeek. Several German counter-attacks in the afternoon were repulsed and at 7:00 p.m. a much larger German attack was dispersed by artillery and small-arms fire.[71] In the evening a German attack was made on Hill 37 against the 55th Division, taking some ground behind a heavy barrage, until a British counter-attack restored the position by 9:15 p.m. A German raid on posts of the 8th Division (II Corps) next day failed and in the X Corps area the 23rd Division and the 1st Australian Division (I Anzac Corps) re-took the front line. In the XVIII Corps area the 58th Division held Stroppe Farm and in the evening the 51st Division repulsed a big German attack from Poelcappelle with artillery and small-arms fire. The 20th Division repulsed a German attack at 6.30 a.m., then attacked Eagle Trench from both ends and captured it, despite fierce German resistance.[72] Crown Prince Rupprecht wrote in his diary for 23 and 24 September that the Germans could not allow the British to remain in control of the higher ground around Zonnebeke or the Gheluvelt Plateau and that counter-strokes during the next enemy attack must reach their objectives. The Fourth Army lacked reserves and needed time to meet another attack.[73]
A bigger German attack on 25 September, on a 1,800 yards (1,600 m) front, from the Menin Road to Polygon Wood, began as the 23rd Division was being relieved by the 33rd Division. A German bombardment from 20 heavy and 44 field batteries (nearly four times the usual amount for a German division) began at 5:15 a.m., part of which fell short onto the German infantry of two 50th Reserve Division regiments, which fell back until the bombardment began its creep towards the British positions. The German infantry advanced in the morning mist, either side of the Reutelbeek as the artillery boxed the British position opposite, which isolated it from its supports and prevented supplies of ammunition from being brought to the front line.[74] The German attack made little progress on the British right, lost direction in the gloom and veered north, joined with the German battalion there and reached Black Watch Corner, at the south-western extremity of Polygon Wood, which was lost during the Battle of Polygon Wood next day.[75]
Notes
Private Josh Thompson of the Wing Auxiliary Security Force controls access to the airfield for authorized personnel of Operation SPRING FORWARD in Yellowknife, Northwest Territories on April 9, 2014.
Photo: Cpl Kevin McMillan, Canadian Forces Combat Camera
Le soldat Josh Thompson, membre de la force auxiliaire de sécurité de l’escadre, contrôle l’accès à l’aérodrome réservé au personnel autorisé de l’opération Spring Forward, à Yellowknife (Territoires du Nord-Ouest), le 9 avril 2014.
Photo : Cpl Kevin McMillan, Caméra de combat des Forces canadiennes
IS2014-6005-020
Model : Huyen Namy - Pup
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Photo : Mac Fotography
Assist : Huy Anh
Location : Vinh Tuy
Sgt. Victor Aguirre, 509th Signal Battalion (rear), observes Spc. James Lagerstrom adjust cables on a satellite dish on communications gear associated with the U.S. Army Africa Forward Command Element.
Photo by Rich Bartell, U.S. Army Africa Public Affairs Office
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When the U.S. Army Africa Forward Command Element rolls onto a C-130 to head to Ghana in August, it will be with state of the art electronics allowing worldwide communications.
The USARAF FCE, similar to a tactical operations center with sophisticated internet and video teleconference capabilities, is a flexible command post that responds to deployment requests through U.S. Africa Command.
“The USARAF FCE can move out and be in any given African country in less than 72 hours,” said Sgt. Maj. Aaron Miller, non-commissioned officer in charge of the USARAF Contingency Command Post.
During a recent tour of the mobile command center, USARAF Commander, Maj. Gen. David R. Hogg saw firsthand the power and flexibility of the mobile command post.
“Our C-130 version of a crisis command headquarters makes USARAF capable of deploying anywhere in the world if needed, but more specifically, anywhere in Africa. We can roll off the plane and within two hours have a fully operationally command and control system to cover any environment, Army pure, joint or inter-agency. We have tremendous capability now,” Hogg said.
Hogg expressed his gratitude to Soldiers of the USARAF G-6, Communications and Information Services and higher headquarters.
“Colonel Joe Angyal and his G-6 staff have done a wonderful job and none of this would have happened without the support of Headquarters Department of the Army. So we definitely want to thank them,” Hogg added.
NEW COMMUNICATIONS GEAR GIVES WORLDWIDE REACH
Recently, USRAF communications Soldiers with the FCE took on the challenges that new electronics can pose. The new system provides worldwide communications capability along with the added ability to work from a remote location with few amenities.
“We have about two weeks of training to smooth out some of the wrinkles” said Maj. Gary Philman, the USARAF signal operations officer and acting chief of the CCP. “We’ve been fortunate to get the new communications package and we’re integrating it with some of our existing systems.”
Philman said the FCE is the deployable headquarters for USARAF, and can be the first organization to hit the ground in advance of a joint task force.
“The FCE staff size depends on the mission request and can vary from eight to more than 20 personnel,” Philman said. “Our commanding general comes with the FCE when requested by an ambassador, [but] it can be commanded by a USARAF staff colonel or the CCP chief,” Philman said.
USARAF Spc. James Lagerstrom, information technology specialist with the CCP, deploys with FCE as one of the Soldiers ensuring the command element’s communications gear is up and running.
“Wherever we go … we can communicate,” Lagerstrom said. “We have internet and even have video teleconference ability [as well as] highly mobile.”
In August the FCE will get a chance do a live shakedown test of its communications equipment in the Republic of Ghana.
Standing in a queue, a woman looking forward to the people waiting in line ahead of her to get into the Royal Ontario Museum in Toronto. Some parts of the people waiting in queue are reflected on the glass wall (i.e., “the Crystal”) of the museum.
I saw this second-generation (1978-'79) Ford Bronco on my way to the drug store after deboarding my CTA Red Line train back to my neighborhood after work today.
When I see this particular generation Bronco, I think not of something sordid from the 1990's. Instead, I'm transported to a childhood trip from Flint in the family Plymouth Volare to a Ford dealership in Detroit.
I had to have been about four years old.
Our family had planned to move to my father's country, Liberia, in 1980. We had made all kinds of preparations - listing our house for sale, getting our affairs in order, and then there was the matter of purchasing a tough, reliable vehicle that would be able to withstand the mountainous terrain of upcountry Liberia.
I remember the Bronco we looked at being beige or tan, with the white, painted roof toward the back. It seemed like a very nicely-appointed truck - in my mind's eye, I think I remember seing an AM/FM radio in the dash.
We didn't buy the Bronco, much to the chagrin of the salesman (Mom had later informed me, when recounting this story to me as an adult).
Liberia went into one of the worst, longest-lasting civil wars in its history in 1980, and our family stayed in the United States while Monrovia, Liberia's then-modern capitol city, was reduced to ruin.
My father has since passed on, but the sight of this two-year-only style of Ford Bronco SUV still reminds me of a road trip to the Motor City to test drive a truck our family ultimately didn't buy, for a move we never made.
en.wikipedia.org/wiki/Ford_Bronco#1978.E2.80.931979
Edgewater, Chicago, Illinois.
On Granville, east of Broadway.
Monday, November 5, 2012.
All of WestJet's planes are Boeing 737s (for now, anyway - next year we add the Bombardier Q400, for our new regional subsidiary). Each has two galleys (kitchens), one small one forward and one aft.
I've always been fascinated by the interiors of airliners, especially the galleys and so when I started working gates I thought it was cool indeed to be able to go into the galley as if I worked there. I love how every inch of space is used creatively, and how solidly built the fittings are.
It seems incredible to me that there are any churches in East Kent, at least parish churches, that I had yet to visit and photograph. Especially along Stone Street, which I thought that nks to churches and orchids I knew very well. And yet as I cross-referenced between John Vigar's book and the county A-Z, I saw more and more churches I had to visit.
And that brings us to Elmstead.
Elmstead is less a viallage and more a dog leg in a single track lane, and the church sits in the dog leg. Being a small place, surely it would have a small church? No, the church is large with two leat to chapels, and an extraordinary timber topped tower.
You reach Elmstone by taking tiny fork off Stone Street and following the narrowest of lanes, which has high banks and hedges both sides with few passing places. Down through woods, down steep hills crossing streams and up hills the other side, and all the while the road coated with a thick layer of mud, so that one hoped you were still on the road not having driven into a field.
In time I passed the village sign, and no missing the church, a large flint built church, and the triple gabled east end facing towards the road. Behind the tower was partially hidden, but I could already see the wooden upper part.
And it was open, and filled with much of interest, especially the stone altar in the south aisle.
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An extremely worthwhile church in remote countryside. The tower is an unusual shape, being almost twice as wide as it is deep and capped by a wooden upper storey with stumpy spire. The church consists of nave, aisles, chancel and equal length chapels. The nave is Norman: the original arch to the tower is still recognisable although a fourteenth-century replacement has been built inside it. At the same time the present arcade was built on the existing piers. In the north aisle is a medieval vestry screen, in front of which is a Norman font. There are very fine altar rails, each baluster looking like an eighteenth-century candlestick. Between the main altar and chapel is a simple thirteenth-century sedilia. The south chapel altar has a twelfth-century mensa which was discovered in the churchyard in 1956. The east window (1880) commemorates Arthur Honeywood who was killed in the Afghan war - only a dog survived and was given an award by Queen Victoria! Honeywood's ancestor, Sir John (d. 1781), is also remembered in the church by a splendid marble bust signed by Scheemakers
www.kentchurches.info/church.asp?p=Elmsted
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Parish Church. Late Cll or C12, C13 and C14, restored in 1877. Flint
with stone dressings. Plain tile roofs. West tower, nave with north
and south aisles, south porch, chancel with north and south chapels.
West tower: C13, with late Cll or C12 base: Medieval belfry. Single
stage, but north and south sides reduce in width about half way up
with plain-tile shoulders. Large stone north-west and south-west
quoins to lower half. Diagonal south-west buttress. Shingled timber-
framed belfry jettied to west. Splay-footed octagonal spire. Two
louvred three-light trefoil-headed windows to each face of belfry.
No tower windows to north or east. Broadly-pointed plain-chamfered
lancet towards top of west face, and another to south. Taller plain-
chamfered lancet West window. Plain-chamfered pointed-arched west doorway.
Nave: south elevation: continuous with south wall of tower base. C19
traceried three-light window. South aisle: C14 possibly with late Cll
or early C12 origins. Narrow and gabled, stopping short of west end nave.
Plinthless. Buttress towards east end. C14 or early C15 pointed west window
of two cinquefoil-headed lights, with tracery of vertical bars, and hoodmould.
One straight-headed C15 or C16 south window to east of porch, with two
cinquefoil-headed lights and rectangular hoodmould. South porch: medieval,
restored in C19. Coursed knapped flint. Gabled plain-tile roof.
Window with cambered head, to each side. Crown-post roof; two outer crown
posts plain. Broadly-chamfered rectangular central crown post with broach
stops and head braces. Chamfered tie-beams. Pointed-arched plain-chamfered
inner doorway with broach stops. Unchamfered pointed-arched outer doorway.
South chancel chapel: early C14. Continuous with south aisle, but with
chamfered stone plinth and lower eaves and ridge. East end flush with
chancel. Diagonal south-east buttress. Large straight-headed south window
with three cinquefoil-headed lights and moulded hoodmould. Similar two-
light east window. Chancel: C13, probably with late Cll or C12 origins.
Slightly narrower than nave. No plinth. Two buttresses. C15 or C16
untraceried east window with cambered head, three cinquefoil-headed lights,
and hoodmould. North chancel chapel: early C14. Flush with east end
of chancel. Plinthless. Diagonal north-east buttress. C14 pointed-arched
east window with three cinquefoil-headed lights, tracery of cusped intersecting
glazing bars with trefoils and quatrefoils, and with hoodmould. Pointed-
arched C14 north window with Y tracery and trefoil, without hoodmould.
North aisle: C14. More stone mixed with flint. Continuous with north
chancel chapel, and slightly overlapping tower. Plinthless. One untraceried
C15 or C16 north window, with cambered head, three cinquefoil-headed lights,
and hoodmould. Straight-headed west window with two cinquefoil-headed
lights and hoodmould. Small blocked plain-chamfered pointed-arched north
doorway. Rainwater heads dated 1877. Interior: Structure: two-bay early
C14 south arcade to nave, with doubly plain-chamfered pointed arches and
octagonal columns with moulded capitals and bases. Two-bay C14 north
arcade, similar to south arcade, but extending further to west and with
more intricately-moulded capitals. East end of south arcade rests on
late Cll or C12 pier of large ashlar blocks on plain-chamfered plinth,
and with top heavily corbelled to south side. Footings for further structure
to east and south. Small, probably pre-C14, stone quoins to east pier
of north arcade, capped by single block from which arch springs. Doubly
plain-chamfered pointed early C14 chancel arch, springing from moulded
rectangular capitals which break forwards unusually. Plain-chamfered
piers with broach stops. Two-bay early C16 north and south arcades to
chancel, with doubly hollow-chamfered four-centred arches and octagonal
columns with moulded capitals and bases. Early C14 pointed arch between
south chancel chapel and south aisle, with plain-chamfered inner order
and slightly ovolo-moulded outer order. Moulded rectangular capitals
slightly different from chancel-arch capitals, but similarly breaking
forwards under inner order of arch, each on image corbel. Piers slightly
hollow chamfered, with cushion stops to base and undercut trefoil to tops.
Doubly plain-chamfered pointed arch between north chancel chapel and north
aisle, springing from chamfered imposts which break forwards to centre
with rounded corbel under. Low, pointed C14 tower arch, with plain-chamfered
inner order springing from moulded semi-octagonal piers, and hollow-chamfered
outer order descending to ground with cushion and broach stops. Above
arch, exposed voussoirs of taller, broader, blocked, round-headed late
Cll or C12 tower arch. Roof: C19 crown-post roof to nave and north aisle.
Chancel and north chancel chapel roofs boarded in five cants. Plastered
barrel vault to south chancel chapel. Medieval crown-post roof to south,
with three cambered plain-chamfered tie-beams, with moulded octagonal
crown posts, sous-laces and ashlar pieces. Fittings: piscina in rectangular
recess towards east end of south chancel chapel. C13 piscina in moulded
recess with trefoiled head and moulded hoodmould, towards east end of
south wall of chancel. Image corbel to north wall of north chancel chapel.
Late Cll or C12 font, low, deep, octagonal, with two panels of blind
arcading to each side, circular central pier and eight slender perimeter
columns. Small C17 altar table. Hexagonal C17 pulpit with sunk moulded
panels, strapwork, fleur-de-lys frieze, and enriched cornice. Medieval
screen, probably of domestic origin, with close-studded partition under
moulded and brattished beam, across west end of north aisle. Laudian
altar rails with turned balusters. Monuments: Cartouche on south wall
of south chancel chapel, to Sir William Honeywood, d. 1748. Monument
on same wall, to Thomas Honeywood, d. 1622; grey-painted chalk in form
of triptych. Central section has moulded and pulvinated base, scrolled
base-plate and shield, and raised and moulded inscription panel in eared
surround, flanked by Composite columns. Above it, a recessed panel
with inverted scrolls, and triangular pediment with cherubs head and
achievements. Recessed flanking sections, each carved with angel in
husked surround, and with scrolled base plate and corniced pediment
with shields. Tablet on same wall, to Mary Honeywood, d. 1708, lettered
on a shroud with gilded fringe, cherubs' heads, and shield surmounted
by urn. Brass of a lady, part of a brass to Christopher Gay, d. 1507.
Monument on north wall of north chancel chapel, to William Honeywood,
d. 1669. Black marble inscription panel in a frame which breaks forwards
twice. Each back panel eared, the outer with inverted scrolls to base
and festoon to return sides. Festooned rectangular panel flanked by
acanthus consoles and with scrolled acanthus base plate under inscription
panel. Moulded cornice over oak-leaf frieze, breaking forwards three
times. Segmental pediment with achievements over central break. Monument
by Thomas Scheemakers on same wall, to Sir John Honeywood, d. 1781.
White marble. Rectangular inscription panel, flanked by reeded pilasters
which curve out at top to form consoles under flower paterae. Shaped
base plate, also with inscription. Moulded cornice surmounted by -sarcophagus
with bust above it, against grey marble obelisk back plate. (J. Jewman,
Buildings of England Series, North-east and East Kent, 1983 edn.)
Listing NGR: TR1178645546
www.britishlistedbuildings.co.uk/en-440965-church-of-st-j...
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ELMSTED
IS the next parish northward from Hastingligh lastdescribed, taking its name, as many other places do, which are recorded in the survey of Domesday, from the quantity of elms growing in it, elm signifying in Saxon, that tree, and stede, a place. The manor of Hastingligh claims over some part of this parish, which part is within the liberty of the duchy of Lancaster.
THIS PARISH is situated in a lonely unfrequented part of the country, above the down hills, in a healthy air. It lies mostly on high ground, having continued hill and dale throughout it. The soil is but poor, and in general chalk, and much covered with flints, especially in the dales, where some of the earth is of a reddish cast. The church stands on a hill in the middle of it, having a green, with the village near it, among which is the court-lodge: and at a small distance westward, Helchin-bouse, belonging to Sir John Honywood, but now and for some time past inhabited by the Lushingtons. Lower down in the bottom is Evington-court, in a dull ineligible situation, to which however the present Sir John Honywood has added much, and laid out some park-grounds round it. At a small distance is a small heath, called Evington-lees, with several houses round it. At the southern bounds of the parish lie Botsham, and Holt, both belonging to Sir John Honywood. At the north-east corner of it, near Stone-street, is a hamlet called Northlye, the principal farm in which belongs to Mr. Richard Warlee, gent. of Canterbury, about half a mile from which is Deane, or Dane manor-house; and still further Dowles-farm, belonging to Mr. John Rigden, of Faversham; near Stone-street is the manor of Southligh, now called Mizlings, by which name only it is now known here; and near the same street is Arundel farm, belonging to Thomas Watkinson Payler, esq. and at the southern extremity of the parish, the manor-house of Dunders, with the lands belonging to it, called the Park, formerly belonging to the Graydons, of Fordwich, of whom they were purchased, and are now the property of the right hon. Matthew Robinson Morris, lord Rokeby, who resides at Horton. There are but two small coppice woods in this parish, lying at some distance from each other, in the middle part of it.
There is a fair kept yearly in this parish on St. James's day, the 25th of July.
THE MANOR OF ELMSTED was in the year 811 bought by archbishop Wlfred, of Cenulf, king of Mercia, for the benefit of Christ-church, in Canterbury, L. S. A. which letters meant, that it should be free, and privileged with the same liberties that Adisham was, when given to that church. These privileges were, to be freed from all secular services, excepting the trinoda necessitas of repelling invasions, and the repairing of bridges and fortifications. (fn. 1)
There is no mention of this manor in the survey of Domesday, under the title of the archbishop's lands, and of those held of him by knight's service, and yet I find mention of its being held of him in several records subsequent to that time; for soon afterwards it appears to have been so held by a family who assumed their name from it, one of whom, Hamo de Elmested, held it of the archbishop, by knight's service. But they were extinct here before the middle of king Henry III,'s reign, when the Heringods were become possessed of it, as appears by the Testa de Nevil, bearing for their arms, Gules, three herrings erect, two and one, or; as they were formerly in the windows of Newington church, near Sittingborne. John de Heringod held it at his death in the 41st year of that reign. His grandson, of the same name, died in the next reign of king Edward I. without male issue, leaving three daughters his coheirs, of whom, Grace married Philip de Hardres, of Hardres, in this county; Christiana married William de Kirkby; and Jane married Thomas Burgate, of Suffolk: but he had before his death, by a deed, which bears the form of a Latin will, and, is without a date, settled this manor, with the other lands in this neighbourhood, on the former of them, Philip de Hardres, a man of eminent repute of that time, in whose successors the manor of Elmsted remained till the 13th year of King James I. when Sir Thomas Hardres sold the manor of Dane court, an appendage to this of Elmsted, in the north-east part of this parish, to Cloake, and the manor of Elmsted itself to Thomas Marsh, gent. of Canterbury, whose son ton, whose great-grandson of the same name, at his death left it to his two sons, Richard and John, the former of whom was of Faversham, and left an only daughter Elizabeth, married to Mr. James Taylor, of Rodmersham, who in right of his wife became possessed of his moiety of it, and having in 1787 purchased the other moiety of John Lushington, of Helchin, in this parish, (son of Richard above-mentioned) became possessed of the whole of this manor, and continues owner of it at this time.
THE MANOR OF DANE, now called Deane-court, above-mentioned, remained in the name of Cloake for some time afterwards, and in 1652 Mr. Samuel Cloake held it. It afterwards passed into the name of Elwes, in which it continued down to John Elwes, esq. of Marcham, in Berkshire, who died in 1789, and by will gave it to his nephew Thomas Timms, esq. the present owner of it.
THE YOKE OF EVINGTON is an estate and seat in the south-west part of this parish, over which the manor of Barton, near Canterbury, claims jurisdiction. The mansion of it, called Evington-court, was the inheritance of gentlemen of the same surname, who bore for their arms, Argent, a sess between three burganetts, or steel caps, azure; and in a book, copied out from antient deeds by William Glover, Somerset herald, afterwards in the possession of John Philipott, likewise Somerset, there was the copy of an old deed without date, in which William Fitzneal, called in Latin, Filius Nigelli, passed over some land to Ruallo de Valoigns, which is strengthened by the appendant testimony of one Robert de Evington, who was ancestor of the Evingtons, of Evington-court, of whom there is mention in the deeds of this place, both in the reigns of king Henry III. and king Edward I. After this family was extinct here, the Gays became possessed of it, a family originally descended out of France, where they were called Le Gay, and remained some time afterwards in the province of Normandy, from whence those of this name in Jersey and Guernsey descended, and from them again those of Hampshire, and one of them, before they had left off their French appellation, John le Gay, is mentioned in the leiger book of Horton priory, in this neighbourhood, as a benefactor to it. But to proceed; although Evington-court was not originally erected by the family of Gay, yet it was much improved by them with additional buildings, and in allusion to their name, both the wainscot and windows of it were adorned with nosegays. At length after the Gays, who bore for their arms, Gules, three lions rampant, argent, an orle of cross-croslets, fitchee, or. (fn. 2) had continued owners of this mansion till the beginning of the reign of king Henry VII. Humphry Gay, esq. alienated it to John Honywood, esq. of Sene, in Newington, near Hythe, and afterwards of St. Gregory's, Canterbury, where he died in 1557, and was buried in that cathedral.
The family of Honywood, antiently written Henewood, take their name from the manor of Henewood, in Postling, where they resided as early as Henry III.'s reign, when Edmund de Henewood, or Honywood, as the name was afterwards spelt, of that parish, was a liberal benefactor to the priory of Horton, and is mentioned as such in the leiger book of it. After which, as appears by their wills in the Prerogative-office, in Canterbury, they resided at Hythe, for which port several of them served in parliament, bearing for their arms, Argent, a chevron, between three hawks heads erased, azure; one of them, Thomas Honywood, died in the reign of king Edward IV. leaving a son John, by whose first wife descended the elder branch of this family, settled at Evington, and baronets; and by his second wife descended the younger branch of the Honywoods, seated at Petts, in Charing, and at Markshall, in Effex, which branch is now extinct. (fn. 3) John Honywood, esq. the eldest son of John above-mentioned, by his first wife, was the purchaser of Evington, where his grandson Sir Thomas Honywood resided. He died in 1622, and was buried at Elmsted, the burial place of this family. (fn. 4) He left by his first wife several sons and daughters; of the former, John succeeded him at Evington and Sene, and Edward was ancestor of Frazer Honywood, banker, of London, and of Malling abbey, who died s. p. in 1764. (fn. 5) Sir John Honywood, the eldest son, resided during his father's time at Sene, in Newington, and on his death removed to Evington. He served the office of sheriff in the 18th, 19th, and 20th years of king Charles I. Sir Edward Honywood, his eldest son, resided likewise at Evington, and was created a baronet on July 19, 1660. His great grandson Sir John Honywood, bart. at length in 1748, succeeded to the title and family estates, and afterwards resided at Evington, where he kept his shrievalty in 1752. On the death of his relation Frazer Honywood, esq. banker, of London, in 1764, he succeeded by his will to his seats at Malling abbey, and at Hampsted, in Middlesex, besides a large personal estate; after which he resided at times both here and at Hampsted, at which latter he died in 1781, æt. 71, and was buried with his ancestors in this church. He had been twice married; first to Annabella, daughter of William Goodenough, esq. of Langford, in Berk shire, whose issue will be mentioned hereafter; and secondly to Dorothy, daughter of Sir Edward Filmer, bart. of East Sutton, by whom he had two sons, Filmer Honywood, esq. of Marks-hall, in Essex, to which as well as other large estates in that county, and in this of Kent, he succeeded by the will of his relation Gen. Philip Honywood, and lately was M. P. for this county, and is at present unmarried; and John, late of All Souls college, Oxford, who married Miss Wake, daughter of Dr. Charles Wake, late prebendary of Westminster; and Mary, married to Willshire Emmett, esq. late of Wiarton. By his first wife Sir John Honywood had two sons and four daughters; William the eldest, was of Malling abbey, esq. and died in his father's life time, having married Elizabeth, daughter of Mr. Clack, of Wallingford, in Berkshire, by whom he had three sons and one daughter Annabella, married to R. G. D. Yate, esq of Gloucestershire; of the former, John was heir to his grandfather, and is the present baronet; William is now of Liminge, esq. and married Mary, sister of James Drake Brockman, esq. of Beechborough, and Edward married Sophia, daughter of the Rev. Mr. Long, of Suffolk. Edward, the second son, was in the army, and died without issue. The daughters were, Annabella, married to Edmund Filmer, rector of Crundal; and Thomasine, married to William Western Hugessen, esq. of Provenders, both since deceased. On Sir John Honywood's death in 1781, he was succeeded by his eldest grandson abovementioned, the present Sir John Honywood, bart. who resides at Evington, to which he has made great improvements and additions. He married Frances, one of the daughters of William, viscount Courtenay, by whom he has three daughters, Frances-Elizabeth, Charlotte-Dorothea, and Annabella-Christiana, and one son John, born in 1787. (fn. 6).
BOTTSHAM, antiently and more properly written Bodesham, is a manor in the western part of this parish. About the year 687 Swabert, king of Kent, gave among others, three plough-lands in a place called Bodesham, to Eabba, abbess of Minister, in Thanet, and in the reign of king Edward the Consessor, one Ælgeric Bigg gave another part of it to the abbey of St. Augustine, by the description of the lands called Bodesham, on condition that Wade, his knight, should possess them during his life. (fn. 7) The former of these continued in the monastery till the reign of king Canute, when it was plundered and burnt by the Danes. After which the church and lands of the monastery of Minster, and those of Bodesham among them, were granted to St. Augustine's monastery, and remained, together with those given as above-mentioned by Ælgeric Bigg, part of the possessions of it at the taking of the survey of Domesday, in which record it is thus described:
In Limowart left, in Stotinges hundred, Gaufrid holds Bodesham of the abbot. It was taxed at one suling. The arable land is two carucates, and there are, with eight borderers, wood for the pannage of fifteen hogs. In the time of king Edward the Confessor it was worth four pounds, and afterwards twenty shillings, now four pounds, A certain villein held it.
Hugh, abbot of St. Augustine, and his chapter, in the year 1110, granted to Hamo, steward of the king's houshold, this land of Bodesham, upon condition that he should, if there should be occasion, advise and assist him and his successors in any pleas brought against him by any baron, either in the county or in the king's court.
Hamo above-mentioned, whose surname was Crevequer, had come over into this kingdom with the Conqueror, and was rewarded afterwards with much land in this county, and was made sheriff of it during his life, from whence he was frequently stiled Hamo Vicecomes, or the sheriff. He lived till the middle of king Henry I.'s reign; and in his descendants it most probably remained till it came into the possession of the family of Gay, or Le Gay as they were sometimes written, owners of the yoke of Evington likewise, in which it continued till it was at length sold with it, in the beginning of Henry VII.'s reign, to Honywood, as has been fully mentioned before; in whose descendants it still remains, being now the property of Sir John Honywood, bart. of Evington.
IN THE REIGN of king Edward I. Thomas de Morines held half a knight's fee of the archbishop in Elmsted, which estate afterwards passed into the family of Haut, and in the reign of king Edward III. had acquired the name of the Manor Of Elmsted, alias SOUTHLIGH. In which family of Haut it continued down to Sir William Haut, of Bishopsborne, who lived in the reign of king Henry VIII. and left two daughters his coheirs, Elizabeth, married to Thomas Culpeper, of Bedgbury; and Jane, to Thomas Wyatt. The former of whom, in the division of their inheritance, (fn. 8) became possessed of it; from his heirs it passed by sale to Best, and from thence again to Rich. Hardres, esq. of Hardres, whose descendant Sir Tho. Hardres, possessed it in king James I.'s reign; at length, after some intermediate owners, it passed to Browning, whose descendant M. John Browning, of Yoklets, in Waltham, is the present owner of this manor.
There are no parochial charities. The poor constantly relieved are about thirty, casually seventeen.
Elmsted is within the Ecclesiastical Jurisdiction of the diocese of Canterbury, and deanry of Elham.
The church, which is dedicated to St. James, is a handsome building, consisting of three isles and three chancels, having a low pointed wooden steeple at the west end, in which are six bells. The chancels are open, one towards the other, the spaces between the pillars not being filled up, which gives the whole a light and airy appearance. In the middle chancel, which is dedicated to St. James, are memorials for the Taylors, who intermarried with the Honywoods, and for the Lushingtons, of Helchin; one for John Cloke, gent. of Northlye, obt. 1617. In the east window is a shield of arms, first and fourth, A lion rampant, or; second, On a fess, argent, three eros-croslets; third, obliterated. In another compartment of the window is the figure of an antient man sitting, in robes lined with ermine, a large knotted staff in his left hand. The north chancel is called the parish chancel, in which is an elegant monument, of white marble, with the bust of the late Sir John Honywood, bart.(a gentleman whose worthy character is still remembered with the highest commendation and respect, by all who knew him). He died much lamented by his neighbours and the country in general in 1781; and on the pavement are numbers of gravestones for the family of Honywood and their relatives. The south chancel, dedicated to St. John, belongs to Evington, in which there are several monuments, and numbers of gravestones, the pavement being covered with them, for the Honywood family, some of which have inscriptions and figures on brasses remaining on them. Underneath this chancel is a large vault, in which the remains of the family lie deposited. On the north side of this chancel is a tomb, having had the figures on it of a man between his two wives: and at each corner a shield of arms in brass for Gay. On the capital of a pillar at the east end of this tomb is this legend, in old English letters, in gold, which have been lately repaired: Pray for the sowlys of Xtopher Gay, Agnes and Johan his wifes, ther chylder and all Xtian sowlys, on whose sowlys Jhu have mcy; by which it should seem that he was the founder, or at least the repairer of this chancel. Underneath is carved a shield of arms of Gay. In the east window are two shields of arms, of modern glass, for Honywood. In the south isle is a monument for Sir William Honywood, bart. of Evington, obt. 1748. In the middle isle are several old stones, coffin shaped. William Philpot, of Godmersham, by will anno 1475, ordered that the making of the new seats, calledle pewis, in this church, should be done at his expence, from the place where St. Christopher was painted, to the corner of the stone wall on the north side of the church.
The church of Elmsted belonged to the priory of St. Gregory, in Canterbury, perhaps part of its original endowment by archbishop Lanfranc, in the reign of the Conqueror. It was very early appropriated to it, and was confirmed to the priory by archbishop Hubert, among its other possessions, about the reign of king Richard I. at which time this church, with five acres of arable, and five acres of wood, and the chapel of Dene, appear to have been esteemed as chapels to the adjoining church of Waltham, and the appropriation of it continued part of the possessions of the priory till the dissolution of it in king Henry VIII.'s reign, when it was surrendered into the king's hands, where this appropriation remained but a small time, for an act passed that year, to enable the king and the archbishop to make an exchange of estates, by which means it became part of the revenues of the see of Canterbury, and was afterwards demised by the archbishop, among the rest of the revenues of the above-mentioned priory, which had come to him by the above-mentioned exchange, in one great lease; under which kind of demise it has continued from time to time ever since. Philip, earl of Chesterfield, as heir to the Wottons, was lessee of the above estates, in which this parsonage was included; since whose decease in 1773, his interest in the lease of them has been sold by his executors to Geo. Gipps, esq. of Canterbury, who is the present lessee, under the archbishop, for them.
But the vicarage of this church seems never to have belonged to the priory of St. Gregory, and in the 8th year of Richard II. anno 1384, appears to have been part of the possessions of the abbot of Pontiniac, at which time it was valued at four pounds. How long it staid there, I have not found; but it became afterwards part of the possessions of the see of Canterbury, and remains so at this time, his grace the archbishop being the present patron of it.
¶The vicarage of Elmsted is endowed with the tenths of hay, silva cedua, mills, heifers, calves, chicken, pigs, lambs, wool, geese, ducks, eggs, bees, honey, wax, butter, cheese, milk-meats, flax, hemp, apples, pears, swans, pidgeons, merchandise, fish, onions, fowlings, also all other small tithes or obventions whatsoever within the parish; and also with all grass of gardens or other closes, vulgarly called homestalls, although they should be at any time reduced to arable; and the tithes of all and singular feedings and pastures, even if those lands so lot for feedings and pastures should be accustomed to be ploughed, as often and whensoever they should at any time be let for the use of pasture; which portion to the vicar was then valued at twelve marcs. (fn. 9)
It is valued in the king's books at 61. 13s. 4d. It is now a discharged living, of the clear yearly certified value of forty-five pounds. In 1587 it was valued at thirty pounds, communicants one hundred and eighty. In 1640 it was valued at ninety pounds, the same number of communicants. There was an antient stipend of ten pounds, payable from the parsonage to the vicar, which was augmented with the like sum by archbishop Juxon, anno 15 Charles II. to be paid by the lessee of the parsonage; which sum of twenty pounds continues at this time to be paid yearly by the lesse. There was a yearly pension of 1l. 6s. payable from the vicar of Elmsted to the priory of St. Gregory; which still continues to be paid by him to the archbishop's lessee here.
Looking forward on the port side of the tank deck on a sunny day in the Atlantic.
Another one that jumped in and out of Explore #294 best position August 26 2010
It's always the same, a window I can't see through, don't think I'll ever do. It's covered in rain like me as I'm waiting for you. I'm not sure I wanted to. Like horses on a carousel never win but always keep racing. Standing here got time to kill, watching them a little oh, they don't know. All that I want is always to push forward, nut since you've been gone I just wanna push rewind. If yesterday could only be tomorrow, whatever I do I always run behind. -Lena
Yesterday everything's gone bad! I said the wrong words, I laughed at the wrong time. The first mistake was to get up in the morning, i think... but today everything was great. :) i've won my first print giveaway!! thank you so much, AJ Clark Photography :)))
“Life is full of beauty. Notice it. Notice the bumble bee, the small child, and the smiling faces. Smell the rain, and feel the wind. Live your life to the fullest potential, and fight for your dreams.” -Ashley Smith